替罪羊——浅析莫里森小说《天堂》修道院中的女性人物(英文)

Morrison’s novel Paradise begins and ends with the raid of men in Ruby on the women in the Convent. The contradictions and conflicts between the two communities are the major parts of this novel. Finally, the contradictions and conflicts are intensified, leading to the scapegoating of the women in the Convent by the men in Ruby. This paper just intends to analyze and discuss how the tragic scapegoating is caused.     

Disquieting growth: urban space in Kawashima Yūzō's film Suzaki Paradise Red Light

This article examines how Japanese postwar cinematic texts manifest and comment upon contemporary political and economic events, and considers the usefulness of cinema for a more complete historical understanding of the period. In particular, it argues for the significance of fūzoku eiga, or ‘films of customs and manners’ by analyzing a representative text of that genre, Kawashima Yūzō's 1956 film Suzaki Paradise Red Light. Although Kawashima's film has been treated as an apolitical melodrama, a close textual analysis reveals it to be a counter-narrative to the success story of postwar economic recovery and growth that the Japanese state sought to promote. Key to this analysis is an examination of the urban space of the Suzaki neighborhood in Tokyo, as depicted in the film. Kawashima's tour of Suzaki addresses the issues of the economic stagnation within the metropolis, uneven development, and the liminal space of muen, or ‘no ties,’ which offers a brief refuge from an increasingly disciplined everyday life.     

何去何从--读《山歌天上来》

小说《山歌天上来》表现了作者在特定历史背景下对艺术创作的来源、现状、未来发展的忧思,表现了作者对艺术创作的人文关怀,是当代文学创作不可多得的中篇小说力作,具有深刻的现实意义。     

Editing the 1930s: The Lost Work of Josephine Johnson Excerpts from Josephine Johnson's published and unpublished writings are quoted with permission of the Estate of Josephine Johnson Cannon. All quoted materials © Estate of Josephine Johnson Cannon 2005.

The radical avant-garde has aged profoundly. Yet, led by director Judith Malina, the Living Theatre, founded in 1947, remains the longest surviving political theatre collective in the US. The Living Theatre opened its doors at a new theatre/home on New York City's Lower East Side in 2007, where Malina directed a much lauded revival of the company's groundbreaking 1963 production of Kenneth Brown's The Brig, and performed the role of Maudie in the premiere production of Hanon Reznikov's adaptation of Doris Lessing's Maudie and Jane. Vibrant and luminous at 81, an aged Venus rising from the half shell, Malina (dis)played the decaying and decrepit Maudie, standing naked onstage, sensually and lovingly bathed by Pat Russell, playing Jane. Malina's ageing activist/artist's body and voice spoke volumes about decades of societal and cultural transformations, of sexual revolutions, and of wounds that never heal.

Evoking Pierre Nora's ‘sites of memory’—this performative lieu de memoire ‘talks back’ on many levels, both in contemporary contexts and re-membering the zeitgeist of Malina's earlier performances—nearly naked, strident and much younger in the Living Theatres’ legendary production of Paradise Now (1968–70), and eloquently, flamboyantly anarchist, if too old, playing Antigone in Malina's adaptation of Brecht's version of Sophocles play (1967–84). This essay analyses the mise en scène and the reception of Maudie and Jane in light of the working processes and performance history of director/performer/inspirator Malina. Finally, the challenges and hope made visible and corporeal in Malina's on- and off-stage performances are explored.