周作人、茅盾、鲁迅与早期乡土文学理论的形成

有关乡土文学理论的分歧,根本点不在于对乡土文学这一概念中的"乡土"内涵的不同理解,而在对"乡土文学"这一概念的整体性把握上.中国文学传统中有浓厚的乡土意识,但没有乡土文学的概念和理论.新文学初期,对于美国local colour小说理论如何与中国文论对接与转换,在茅盾与周作人之间初步形成了中国乡土文学发展的两个向度.这两个向度后来被鲁迅整合成相对完整的乡土文学理论,即寓乡土思念、民生关怀和乡土批判于一体的乡土文学观.     

‘I Want to Wear It’: Fashioning Black Feminism in Mahogany (1975)

ABSTRACT

In this article I focus on the portrayal of fashionable clothing in the 1975 film Mahogany and connect it to the history of African American women engaging with sartorial self-representation as a means to assert their visibility in American culture. My aim is to analyse Mahogany’s emphasis on brightly-coloured highly-ornamented clothing, which has a long history of signifying bad taste and became part of accusations of racial and sexual inferiority. I want to show how Mahogany’s representation of fashion undermines the historically entrenched bias against colourful, highly adorned clothing while also revealing how this bias has played a subtle but significant role in the racism and sexism black women have encountered, further (but not finally) impeding them from the forms of recognition the category of femininity offers. Mahogany represents those impediments and repeats the sexual and racial commodification underlying them, but also resists them (albeit quite subtly) through the film’s loving display of fashion and its attention to the work of designing and making clothes. Mahogany tells a story of bright sartorial resistance that can be understood as an articulation of black feminist desires for women of colour to be able to compose the images through which their bodies are perceived.     

Contesting Ideologies: Deconstructing Racism in African-American Fiction

Baillie's article is concerned with how African-American fiction seeks to define and shape an aesthetic in opposition to racial ideologies as diffused through science, education and popular culture. In an examination of Count Joseph de Gobineau's Essai sur l'inégalité des races humaines (1853-5), it traces the construction of racialized discourse in nineteenth-century America. Baillie examines Toni Morrison's first novel The Bluest Eye (1970) in terms of Morrison's engagement with nineteenth-century racial theory and its implicit presence within ideologies of beauty and American popular culture of the 1930s. Through the figure of Shirley Temple, Morrison shows how the African-American community's internalization of cinematic images of beauty can lead to a psychosis that leaves identity fractured and the racial self all but erased. As well as reading The Bluest Eye as both a critique of scientific racism and as an historical novel in sustained debate with the cultural hegemony of the 1930s, Baillie examines its significance as a text in dialogue with the social and political milieu in which it was written. Here, The Bluest Eye becomes an intervention into the affirmative aesthetic of 1960s Black Power politics and its extreme proclamations of racial pride rooted firmly in black lower-class expression. She discusses the Black Power movement's appropriation of Frantz Fanon's theories and argues that Morrison's own articulation of a black identity eschews the nationalism of Black Power, and instead finds its focus in the political contestation of ideologies through the expression of African-American art forms. The Bluest Eye is an oppositional narrative that draws on western forms and yet privileges African-American vernacular as a counter-balance to language as a vehicle for ideologies of beauty and scientific racism.     

眼部损伤程度鉴定意见一致性的影响因素分析

目的 分析眼部损伤程度重新鉴定意见不一致的原因,为此类鉴定提供借鉴.方法 选取法大法庭科学技术鉴定研究所2016～2019年受理的108例眼部损伤程度重新鉴定案例进行回顾性分析.结果 鉴定时机的选择、鉴定材料的利用、检验方法 的采用、损伤的论证、标准条款的理解等问题是重新鉴定与原鉴定意见不一致的常见原因.结论 针对上述...     

乡土文学的“大题目“:略论20年代乡土文学对鲁迅的继承

２０年代乡土小说主流地位的确立和基本特征的形成,一个重要的原因在于它紧紧抓住了改造国民性文化批判的大题目。这个大题目的抓取和展开是在鲁迅的影响下进行的,具体表现于题材和主题的转换,文化视界的拓展,国民心态的揭示,民俗文化的批判等四个方面。     

The importance of dark adaptation for forensic examinations; an evaluation of the Crime-lite Eye™

Forensic practitioners are recommended to dark adapt their eyes prior to conducting evidential searches in the dark. The dark adaptation process remains poorly standardised across the discipline, with little quantified regarding the benefits of such preparative steps. Herein, we report the findings of a study that recruited 50 participants to assess the effectiveness of the Crime-lite Eye?, a darkness adaptation device developed to assist forensic practitioners both in the laboratory and in field. Participants were tasked with searching for the fluorescent signatures left by reaction of 1,8-diazafluoren-9-one (DFO) with amino acids, in a manner akin to the fluorogenic fingerprint treatment of porous evidence. Using an Epson Stylus Photo R265 inkjet printer, ink cartridges were filled with alanine solutions of various concentrations, allowing different motifs to be printed onto copy paper and subsequently developed using DFO. Participants searched for this ‘evidence’ both with and without dark adapted vision. On average, participants were able to locate and correctly recognise 16% more evidence once dark adapted using the Crime-lite Eye?.The increase in evidence located by participants once dark adapted suggests that crime scene officers should be dark adapting in order to visualise as much as possible. The time taken to dark adapt, 10?min on average during this study, is not excessively long, and should not significantly slow the investigation.     

Eye Movement Characteristics of Cooperation Degree during Image Completion Test in Psychiatric Impairment AssessmentCSCD

Objective: To explore the difference of eye movement characteristics between uncooperative and cooperative subjects with mental disorder after cerebral trauma. Methods: Thirty-nine subjects which needed psychiatric impairment assessment were selected. According to the binomial forced-choice digit memory test (BFDMT), all subjects were divided into cooperative and uncooperative groups. The subjects were asked to take the image completion test from Wechsler adult intelligence scale. Meanwhile, the data of eye movement track, fixation, saccade, pupil and blink were recorded by the track system of eye movement. Results: There were significantly differences (P<0.05) in the data of saccade between cooperative (10 cases) and uncooperative groups (29 cases). The frequency, time, amplitude, acceleration of saccadic in uncooperative group were significantly higher than cooperation group. The saccade latencies of cooperation group increased more than uncooperative group. There was a significant difference (P<0.05) in total discrete distance, average distance and total time of fixation between two groups, while the average duration time, number and frequency of fixation had no significantly difference (P>0.05) between two groups. And the blink frequency of cooperation group was higher than uncooperative group. Conclusion: Eye movement can be an objective index for the primary judgment of cooperation level. © 2017 by the Editorial Department of Journal of Forensic Medicine.     

眼损伤法医学错误鉴定分析（附2例分析）

眼损伤法医学鉴定是法医临床学鉴定中的难点和研究热点,也是最容易出现错误鉴定的地方。本文针从两例错误鉴定入手,分析错误鉴定主要原因,一是鉴定人未关注病历材料中显示的重要信息,对病历材料中反映的既往病史、损伤动态发展及检查结果未予重视：二是鉴定人不具备眼损伤检查的基本技能,过度依赖外部信息。三是鉴定人不具备眼损伤的基础专业知识．对各类信息缺乏准确认识．对常见的眼损伤转归及预后不掌握。因此,结合上述问题,笔者建议鉴定人应当采取以下对策阻止或减少错误鉴定的发生,（1）完整审阅病历资料、影像学资料是基础;（4）实施细致、完善检查是关键;（3）准确把握鉴定标准是核心;（4）加强鉴定人专业技能和法律意识的提高是根本。     

A Letter Sent,Waiting to be Received: Queer Correspondence,Feminism and Black British Art

Abstract

This article examines what the published letter does as a form that is both intimate and public, and how it is particularly resonant when dealing with the silences and absences around queer and feminist artist of colour histories. Connections are made between three letters published in feminist and queer journals and books, written for readers who may include the writers’ loved ones, friends, contemporaries, and future readers. These three letters are contained within the following publications: Surviving Art School (2016) by the group Collective Creativity, a QTIPOC artist group who made the publication as part of a wider project examining the history of Black British Art (members are: Evan Ifekoya, Raisa Kabur, Rudy Lowe and Raju Rage); a special issue of FAN (Feminist Arts News) edited by Lubaina Himid and Maud Sulter in 1988, the precursor to the more well-known collection Passion, edited by Sulter in 1990; ending with Himid's recent reflections on her curation in the 1980s through a series of ‘Letters to Susan’ published in the 2011 catalogue for the exhibition Thin Black Line(s) at Tate Britain. Through close examination of these examples, this article explores the particularities of the letter form, asking if it allows feminist and queer artists of colour to present their experiences in a manner that encourages all their readers to take part in the conversation, whilst prioritizing calls for other people of colour to respond. The article proposes that the published letter form keeps feminist histories alive and creates a counterpublic that speaks to and for a community that is imagined as both geographically and temporally diffuse.