报纸副刊文化探源

本文着重研究在中国报纸副刊出现、发展过程中,显示出来的富有代表性的文化特征。确切地说,中国报纸副刊具有文化的软性色彩,针砭时弊,推进社会变革,同时形式活泼,是大众文化的载体。     

Japanization of Modern Chinese Buzzwords——A case study of the word “yan”

Recently, the number of new words and buzzwords in Chinese borrowed from Japanese has exceeded vocabulary from other languages including English and French etc., showing a obvious trend of Japanization. Most of these new words were firstly borrowed, adapted and used by the young and later quickly spread via the Internet, among which some are frequently used by the mainstream media and finally accepted by the public with fixed connotation. Since most of these words are not included in dictionaries, they often cause communication difficulty and misunderstanding between people of different ages and social groups. Meanwhile, these new words and buzzwords become the target of severe criticism due to their clear Japanese characteristics and the widespread belief that they are the result of cultural invasion. With a case study of the word “yan”, this paper attempts to explore the Japanization of new words and buzzwords popular in modern China and the causes behind this trend to promote proper understanding of this trend so that it can provide help on proper use of modern Chinese language.     

近年来高校推进马克思主义大众化研究述评

党的十七大报告明确提出“推动当代中国马克思主义大众化”这一科学命题之后,教育部专门设立人文社会科学研究专项任务项目（马克思主义大众化）,学者们对高校推进马克思主义大众化进行了广泛而深入的探讨和研究,取得了丰硕的成果,全面梳理和研究这些成果,有着极其重要的理论意义和现实价值。     

试论网络文学通俗化的审美特征

目前,对于网络文学的研究,仍停留在外部特征上,像发表途径、传播方式及与传统文学比较的不同点等方面,而涉及到网络文学本体审美艺术特点的研究还很少,针对这种情况,本文从文学审美的角度来论述十年来发表于互联网上优秀网络文学的通俗化的审美特征,更具体来讲即通俗化、大众化、传奇性、娱乐性、思想性、教育性。     

从“快乐女声”看商业文化对青少年流行文化的影响

＂快乐女声＂是继＂超级女声＂之后在国内再次掀起了一场大型电视平民选秀节目活动。＂快女＂的受众对象主要是青少年群体,青少年在这一节目活动中除了获得名利双收外,更多的是受制于商家和媒体的操纵与诱导,进而成了给媒体带来高的收视率和给商家带来滚滚商机的＂牺牲品＂。＂快女＂火爆的原因,除了青少年自身因素外,其背后的商业力量也是其产生的重要原因。成人社会应该更加重视青年文化,尤其要正确引导青年流行文化向主流文化方向发展。     

依法询问证人 认真制作笔录

询问笔录是公安机关在审理刑事案件时依法制作的重要证据,本文从询问证人、制作笔录和审查证人证言三个方面提出了做好此项工作应主意的有关问题,以期引起同仁对严格执法的重视     

Anxious Images: Linder's Fem-Punk Photomontages

Discussion of British punk visual culture has generally been restricted to the work of the male protagonists, such as Jamie Reid's designs for the Sex Pistols. Jones seeks to present a wider view of punk imagery and its context by discussing the little-known photomontage work of the artist Linder Sterling during 1977-9. Her images are considered in the context of her other work (performance, music and graphic design), the concerns of radical feminism (namely, gender and representation) and feminist-inflected, iconoclastic photographic-based practices of the 1970s. Furthermore, drawing on the work of various theorists, such as Roland Barthes, Walter Benjamin and Angela McRobbie, he argues that Linder's use and subversion of mass media imagery represents a critique of constructed gender identities and the consumer society.     

‘Killing Ourselves is Not Subversive’: Riot Grrrl from Zine to Screen and the Commodification of Female Transgression

This article draws on material from the Riot Grrrl Collection at New York University's Fayles Library to examine the culture of ‘zine’ production in riot grrrl communities in the United States during the 1990s. After investigating the relationship between the political issues and aesthetic strategies explored by riot grrrl literary producers, the author analyses the points of tension arising within the movement, which become illuminated by zines’ revelatory confessional modes, or what Mimi Thi Nguyen has called riot grrrl's ‘aesthetics of access’. The author subsequently enquires after the implications for riot grrrl politics of understanding experiences of oppression and transgressive behaviour as cultural commodities. Finally, the author goes on to trace the commodification of the transgressive feminist gesture in mainstream popular culture and contemporary online feminist activism in the United States.     

The rise and fall and rise of populism in Venezuela

The article seeks to outline the main elements through which a populist political order was built in Venezuela. It will be done, first by looking at the golden years a of Venezuelan populism (1945–1948). It will be argued that the constitution of populist politics meant: an appeal to the people, the articulation of new social relations and constitution of new political identities. Then it will turn to the latter Pérez and Caldera showing the basic schemes of their governments. They sought to reconstitute politics and reshape political identities in a new populist way. The arrival of Chávez at power and the first months of his government are also analysed.