“四川作家群”乡土小说的民俗学意蕴

20世纪30年代“四川作家群”乡土小说具有鲜明的民俗学价值取向。沙汀乡土作品的民俗学意蕴主要体现在人物的刻画和环境的营造方面；民俗学对艾芜的影响不仅表现在作家主体行为的选择上，而且对本的创作也存在明显的制导作用；李劼人的小说则呈现出非常突出的地方志倾向。他们的乡土小说创作对纠正“左翼”小说的概念化、公式化倾向起了很好的作用。     

论中国民俗学新世纪的学科发展

20世纪中国民俗学经历坎坷 ,为新世纪学科的继续发展既奠定了基础和走向 ,又提供了有益的借鉴。 2 1世纪的民俗学发展将重点着力于七个方面 :建构独立的学科理论体系和独特的品格 ;进行学科基础理论的开放性探讨与拓展 ;区域民俗研究进一步深化 ,民俗学流派日渐形成 ;分支学科与应用民俗学快速发展 ;微观的社区民俗志成为今后民俗志的主流 ,基层民俗学工作者将大有可为 ;民俗学与人类学、社会学的相互渗透仍将持续 ;民俗学学位点建设将稳步发展。     

公法与私法间的抉择——论我国民间文学艺术的知识产权保护

我国非物质文化遗产体系中的民间文学艺术保护工作正在全面展开,知识产权是否能够适用于民间文学艺术的保护仍存有争议.探析民间文艺著作权保护的缘由是厘清选择何种保护模式必要的举措.社会正义是民间文学艺术知识产权保护的价值取向.采用分类保护方式是民间文学艺术保护的优先选择.     

论《源氏物语》的叙事手法

紫式部在继承了物语虚构的传统的同时,注重写实,真实再现人物的内心情感;利用历史叙事手法,适当加入史实,增加了作品的真实性;以和歌抒情,使原本单调的物语叙事手法变得丰满起来。     

论民间文艺知识产权保护的理论基础

民间文艺知识产权保护研究在国内还是一个新课题,也是当前学术界比较热门的问题,但大多数文章都是着重于讨论其概念、保护模式等方面的问题,对于保护民间文艺的理论基础,则鲜有论及。应从法哲学的角度来探讨保护民间文艺的问题。民间文艺知识产权保护有两种基本理论"激励论"与"平衡论,"民间文艺知识产权保护的法理基础应以此为基础。     

论一代白话诗人的形式探索——以诗的声调建设为中心

"声调"是胡适等人为建设白话新诗而特别关注的一个重点。他们试图用双声叠韵来改善白话诗的音节,认真学习古乐府、词曲和歌谣的声调,甚至提出过填皮簧的设想。总体上看,白话诗人对声调的"试验"并不成功,理论探讨也并未达到相应的深度。值得注意的是,白话新诗声调建设的种种努力虽然有新的文学史观念作为支撑,却更多是从旧诗创作和欣赏习惯出发的,是有意无意向守旧诗界妥协的结果,显示出在因袭势力强大背景下论证白话新诗合法性的一片苦心。到1940年代,朱自清有力论证了新诗适合朗诵而不适合吟唱,指出新诗虽具音乐性而不能音乐化,为白话新诗声调建设及新诗音乐性问题做出了完满的总结。     

民俗视角下群体性事件防控对策研究

各类群体性事件的频繁爆发,已成为当前和今后一个时期影响我国治安秩序和社会稳定的最突出问题之一。民俗作为一种文化模式和社会软控制的治理方式,可以制约民众的行为,对群体性事件具有极大的影响。因此,分析群体性事件的类型及表现方式,考察民俗与群体性事件防控的关系,从民俗视角研究当前群体性事件的成因及群体性事件的防控对策,对防控群体性事件有着重要的现实意义。     

Estonian Folklore as A Source of Baltic-German Poetry

Estonian folk tales form a common element in Estonian and Baltic-German (lyro)epic poetry. Baltic-German interest in Estonian folkloric heritage originated in the eighteenth century, when J. G. Herder first encouraged the collection of Estonian and Latvian folk songs. Systematic collection began in the 1830s, and peaked in the Estonian language area with the Estonian epic Kalevipoeg (1857–1861). Friedrich Reinhold Kreutzwald implemented this epic, but it was also influenced by many collectors and adaptors and was published in both German and Estonian. The myths of Friedrich Robert Faehlmann, presented in the Learned Estonian Society between 1840 and 1852, have had the biggest influence on the German-speaking audience. Literary adaptations of folk tales quickly found their way into journals, newspapers, poetry collections, and anthologies, often in the popular form of a ballad. This paper seeks to explore the role of Estonian folklore in Baltic-German lyroepic poetry.     

《著作权法》在调整民间文艺相关利益关系方面的缺漏

现有知识产权制度中与民间文艺保护紧密相关的是著作权法律制度。我国《著作权法》在调整民间文艺相关利益关系方面存在缺漏。首先最关键的一点是按现有著作权法理论,民间文艺被归入公有领域,民间文艺的改编人往往忽视其保有人的利益。其次是现有著作权法律制度没有准确定义并区分民间文艺领域中改编、整理、翻译、收集、编辑、记录、传承等行为的含义,更谈不上对相关人员与民间文艺保有人之间的权利义务关系作出规定,不利于民间文艺的传承、利用和发展。     

They Come over Here … 300 Years of Xenophobic Propaganda in England

England's rulers, merchants, and organized labor in the early modern period (from the 16th to the 18th centuries) were all actively using what today we would call propaganda. Each group appreciated the need to get popular opinion on its side, or at the least to convince other groups it was in the public interest to act in a particular way. This study focuses on the use of xenophobic narratives by these actors in order to further their political, economic, or cultural objectives. The targets were economic rivals including the Dutch, but most particularly ethnic and religious outgroups, including Roman Catholics, Muslims, and Jews. Although there were public relations win-wins for anyone who was able successfully to demonize foreigners, racist and xenophobic propaganda was often more pernicious than the tellers realized, in many cases extending its influence over several generations. In addition, it is clear that many narratives failed to engage with public opinion, for reasons that were not always clear to the groups responsible for them.