Elite Indigenous Masculinity in Textual Representations of Aboriginal Service in the Vietnam War

This article analyses three texts that feature Aboriginal soldiers or veterans of the Vietnam War as protagonists: the novel Not Quite Men, No Longer Boys (1999), the play Seems Like Yesterday (2001) and the Redfern Now television episode “The Dogs of War” (2013). In all three texts, military service in Vietnam inculcates among the protagonists sentiments constitutive of what Brendan Hokowhitu refers to as elite Indigenous masculinity—the mimicry and appropriation of white hegemonic masculinity. Constructing themselves as elite Indigenous males allows the Aboriginal soldiers/veterans to position themselves as superior to “other” Aboriginal males. Through the course of the texts, though, the protagonists come to realise that elite Indigenous masculinity is a myth because civilian (white) Australia will continue to judge them the same as other Aboriginal men. Through encounters with other Aboriginal men, the Aboriginal soldiers/veterans are able to reconceptualise their own masculinities and to accept the legitimacy of multiple Aboriginal masculinities.     

何谓“农业女性化”：文献述评与概念提出

“农业女性化”作为城镇化进程中农业劳动力性别再分配现象,从20世纪80年代末开始引起了国内学界的广泛关注,然而,关于何谓“农业女性化”的问题却始终未能有效回应。文献梳理发现,国内学者主要从非农转移性别差异角度出发对“农业女性化”进行了释义,围绕农业主导权和女性发展,就“农业女性化”与“女性农业化”展开了讨论。国外研究则通过“农业劳动力女性化”与“农业生产管理女性化”来综合认识“农业女性化”,对于概念的界定与测量更加精致和清晰。通过对已有研究的评析,可从“数理女性化”“劳动女性化”“管理女性化”3个层面重新讨论“农业女性化”的内涵及其外延。     

论20世纪90年代中国文化散文的文化意蕴

深厚的文化蕴涵是20世纪90年代中国文化散文最本质的特征。作为有着深厚古典文化根底、警醒的现代文化意识和强烈的社会责任感的知识分子,在西方文化冲击源远流长的古老的中华文明,民族虚无主义和悲观主义滋生的时候,转向挖掘中国传统文化,寻找跨越千年的民族文化之根,探究中国悠远的历史和文化底蕴,体现了深刻的文化寻根意识。     

20世纪50年代的台湾文学场域与媒介

20世纪50年代的台湾文学前承光复后台湾文学的转折,后启60年代文学的兴盛。此时期文学杂志的“民营”状况,副刊非一统的存在状态,都悄然改变了权力场和文学生产场之间的单一支配关系,使控制文学场域的合法逻辑出现了裂隙,并使得作者、编者、读者的性情最大程度地影响文学生产。此种历史境遇中的文学传播,使政治高压下的20世纪50年代仍能涌动起多种文学思潮,也使台湾文学的乡土性、本土性得以延续、流布。20世纪50年代的台湾文学不应在意识形态层面上被看做文学的断裂。     

生态文学批评述评

生态文学批评是崛起于20世纪90年代英美文学界的批评浪潮,它把文学批评放在地球生物圈这个广阔的语境下,结合切实的生态问题和文学文本,探讨人与自然的关系问题。生态批评的主要任务是：通过文学批评重新审视文化,进行文化反思、文化批判,揭露和批判导致环境恶化和生态危机的思想根源——人类中心主义,唤醒人类的生态保护意识,从而建立人与自然和谐相处、物种平等、生态平衡的社会。     

比较文学视阈下的中国俄罗斯文学研究（1978-2017）

自俄罗斯文学进入我国学者的视野起,比较文学即被应用于其研究当中。特别是20世纪90年代以来,比较文学更是以其跨文化性和开放性的特点为我国的俄罗斯文学研究带来了较为丰硕的成果。但是,相较于比较文学在其他国别文学研究中的应用,我国学者在中俄文学关系、俄罗斯文学的中国形象建构研究等问题的研究中,存在着研究思路与话语陈旧、方法运用生硬刻板、中国学者的主体性意识与民族立场弱化、具有国际影响力的高质量成果欠缺等一系列问题。此外,我国学者编撰的俄罗斯文学史著作也折射出其在世界文学眼光与比较文学意识方面存在的欠缺。     

精神视界的开发与“点”的深入——谈“中国当代文学”的教学

本文探讨大学中文专业基础课＂中国当代文学＂教学中的精神追求与方法特征。文章强调挖掘中国当代文学发展历程所蕴涵着的丰富精神内涵、突出它与源远流长的世界文学和中国古代文学之间的深度关联,并阐述了教学过程中的＂问题意识＂和情感体验在文学教育中的重要性,反对平面化单一性的知识介绍。     

The Challenge of Administrative Internationalization: Taking Stock and Looking Ahead

The study of the processes and effects of internationalization has become a major field of inquiry in the social sciences. This article takes stock of corresponding research efforts in the field of public administration (PA) to understand the internationalization phenomenon by analyzing studies that were systematically sampled from major PA journals over recent decades. After delineating, sampling, categorizing, and subsequently examining the scholarly production of PA regarding what can be understood as the internationalization of domestic PA, three major themes of PA-related debates are identified: diffusion, resistance, and the transformation of bureaucratic power. The article concludes that PA has developed neither genuine research questions nor a coherent theoretical framework able to come to grips with the internationalization challenge. It ends with an appeal for PA to become aware of this deficit and recommends PA scholars liaise more intensively with other social sciences to overcome the current state of affairs.     

High heels as a disciplinary practice of femininity in Sandra Cisneros’s The House on Mango Street

With high heels brought back into fashion in the 2000s by the beauty-industrial complex, health organizations have since reported an ‘epidemiology of high-heeled shoe injuries’, especially among young women. Feminist theory in general, and literary criticism on gender, have not yet systematically addressed the role high heels play in upholding and naturalizing the construct of femininity. This article examines seemingly diverse but complementary ways in which high heels function as one of the contemporary devices of femininity in capitalist patriarchy, and argues that the promotion of high heels has a direct stake in reconfiguring women, and their bodies, as symbolically, and literally, tiny and unstable, as fragile and helpless, and as sexually objectified and commodified. The article relies on an interdisciplinary approach, which brings together feminist theory on body and recent medical findings on the effects that wearing high heels has on women’s health and motility. These are applied to the way the problematics of high heels tends to be captured and exposed in socially engaged literary works such as Sandra Cisneros’s The House on Mango Street, which serves as a rare instance of a critically engaged literary piece on this matter.     

“Seeing Her Through a Bamboo Curtain”: Envisaging a National Literature through Chinese Folk Songs

In 1922, Chang Hui (1894–1985) published in Folk Song Weekly ten ballads with a shared motif: “seeing her through a bamboo curtain” (gezhe zhulian kanjian ta). Regarding the ballads as at once ten place-based, local folk songs and one placeless, national poetry, Chang urged attention to the exemplary influence of folk songs on the unification of languages in early twentieth-century China. Throughout the folk song campaign (c. 1918–c. 1927), however, the potential of folk songs to facilitate nationalization of Chinese language and literature remained arguably unfulfilled. This article examines the reasons for folk songs’ lack of influence on modern Chinese literary history. Through an analysis of contesting ideas and agendas regarding the literary nature of folk song, the author reveals that folk songs were rediscovered at a moment of modern Chinese history when prevalent discourses on Chinese language and literature could not fully accommodate the folk, the dialect, or the oral nature of folk song.