温庭筠《乾(月巺)子》的第一人称叙事分析——以《阎济美》为考察中心

叙事学理论自从上个世纪80年代被介绍到中国以来,不但使中国的叙事理论不断丰富和完善,同时为叙事作品的研究打开了一扇新的大门。关于温庭筠的小说《乾(月巺)子》,以前的研究者大多从文献角度对其加以关注,尚未见运用叙事学理论对其研究的先例。在叙事学视角理论的观照下,选取《乾(月巺)子》中《阎济美》一篇,考察其第一人称叙事,在文本研究基础上,加入西方叙事理论,并将其叙事艺术放之文学史中考察,庶几对唐代小说视角艺术的发展有比较清楚的认识,亦能对温庭筠的小说视角艺术作出正确理解定位。     

形象生成的性属特征指认与限定--对路遥小说叙事的一种透视

路遥的小说叙事，多是将女性视为美与善的化身来进行塑造，并且在男女并置的共构关系中，呈现出女尊男卑的叙写模式，但在主导的叙事观念上却仍然因袭着传统父权制的价值认知标准。对其文本叙事中形象塑造的性属特征与主观意图之间的关联进行具体的分析阐释，具有重要意义。     

在边缘处叙事——孙犁文本叙事艺术的边缘化选择

孙犁边缘化选择在叙事艺术上的表现为“白描-烘托”的表现手法、诗化意境的营造与抒情氛围的渲染、叙事视角的现代性与包容性三方面。孙犁不仅继承和传扬五四新文学传统，而且吸收了西方现代文学的优良传统。这就使得孙犁的创作脱离了时代主流文学的通俗化面目，以诗情画意的描绘区别于那种农民化的艺术品位，呈现出一种能够超越时代、超越具体语境的现代文学品格。     

论《茶花女》对《断鸿零雁记》创作的影响

《断鸿零雁记》是苏曼殊的代表作。长期以来，苏曼殊在文学史上的地位未得到充分肯定。本文通过分析《断鸿零雁记》在引入书信体、叙事模式的使用、宗教观以及悲剧结局等方面受《茶花女》的影响，认为苏曼殊在中国小说从古典向现代过渡过程中起到承前启后的作用。     

Uncertainty at the EU's borders: narratives of EU external relations in the revised European Neighbourhood Policy towards the southern borderlands

This article analyses the role of narratives in European Union (EU) external relations in the revised European Neighbourhood Policy (ENP) and systematically explores how they operate in practice in the context of the EU's border management practices vis-à-vis the “southern borderlands”, in particular with respect to their inclusionary and exclusionary potential. Key EU documents and statements by EU agents, released throughout the first three years of Arab uprisings and pertaining to the revised ENP, will be subjected to a thorough examination which highlights four observations: first, in spite of the fact that the revised ENP is rooted in several narratives, some nevertheless dominate over others; second, the simultaneous presence of and recourse to different narratives contribute to an increase, rather than a decrease, of uncertainty in the EU's southern borderlands; third, despite a multitude of narratives which serve to legitimize EU action in the framework of the revised ENP, the latter perpetuates the logics of its predecessor by generating benefits mainly for the EU itself; fourth, that the first three years of the revised ENP have in practice demonstrated that an imbalance exists between on the one hand the original acceptance of the narratives by EU stakeholders and on the other hand their willingness to abide by them and fill them with life.     

台湾的现代性“怨恨修辞”

结合中国古典"诗怨"传统,并运用尼采、舍勒等人的现代性怨恨理论对台湾的现代性叙事进行意识形态分析,指出由于割台、日据、二·二八事件等历史原因造成台湾政治大众在祖国认同上的某种怨恨心态.从"伟大叙事"的角度,对于国民党意识形态在台湾的失败与"本土政治"的兴起作了历史的剖析.     

空间形式:现代小说的叙事结构

长期以来,叙事学理论对时间问题关注较多,对空间问题着力甚少。在关于现代小说叙事结构“空间形式”的探讨中,其“空间”非指日常生活经验中具体的物件或场所,而是一种抽象空间、知觉空间、“虚幻空间”。只有在完全弄清楚了小说的时间线索,并对整部小说的结构有了整体的把握之后,这种“空间”才能在读者的意识中呈现出来。构成现代小说空间形式的要件是时间,或者说时间系列。小说的空间形式必须建立在时间逻辑的基础上,才能建立起叙事的秩序;只有“时间性”与“空间性”的创造性结合,才是创作伟大小说的条件,也是未来小说发展的趋势所在。     

Editors’ introduction: critical terrorism studies: practice,limits and experience

The articles in this special issue are drawn from papers presented at a conference titled Critical Terrorism Studies: Practice, Limits and Experience. The conference was organised by the Critical Studies on Terrorism Working Group of the British International Studies Association (BISA). The event was supported by both a BISA workshop grant and by Loughborough University’s Centre for the Study of International Governance (CSIG) and was held at Loughborough University from 9–10 September 2013. The conference aimed to explore what we know about terrorism and counterterrorism and importantly to ask how we know it. Reflecting the recent “materialist”, “everyday”, “experiential” and “narrative” turns in the fields of International Relations (IR), Geography and Cultural Theory, the event brought together scholars and practitioners to reflect on practices of research and knowledge production in Critical Terrorism Studies and related fields. The articles in this special issue reflect those aims.     

‘No toques mi pelo’ (don’t touch my hair): decoding Afro-Cuban identity politics through hair

ABSTRACT

People across the African Diaspora have developed a complex socio-visual-language system of hair as a means of self-expression; however, the decades of economic sanctions in Cuba generated a unique political dynamic that has shaped concepts of self-image and cultural expressions. Sixteen Afro-Cuban women were interviewed about the cultural significance of their hair using The Guided Hair Autobiography methodology. Participant themes included aesthetic pride and confidence, hair bullying and embarrassment, and hair damage and distress. A Cuban cultural critique underlines how Afro-Cuban women have been socialized to have a bias towards straightened long hair over tightly coiled hair textures. These findings suggest that despite the ‘raceless’ political revolutionary spirit infused into Cuban cultural ideology, people of African descent process racial politics and identity through hair.