Reassessing Portia: The Iconic Potential ofShakespeare's Woman Lawyer

This paper considers the adoption ofPortia, the heroine of The Merchant ofVenice, by feminist legal scholars as ametaphor for the woman lawyer. It suggests thatPortia has both captured and is captured by thefeminist legal scholar's imagination, becomingat once an idol, myth and icon. She is to somethe personification of the woman lawyer'sperceived difference, a mouthpiece for mercyand `the different voice' and to others, a shamor myth, her idolised reputation sullied, her`difference' rejected. Yet ultimately thisconstant and simultaneous idolisation andvilification of Portia threatens not only tosilence and constrain conversations about thewoman lawyer, but also to eclipse her promiseand potential. Thus in the final section of thepaper, Portia is established as an icon. Assuch her story, understood as a myth or fairytale, is seen to reveal previously unimaginedpossibilities for change, as an iconicunderstanding of Portia becomes a windowthrough which feminist legal scholars can lookonto alternative understandings of lawyeringand adjudication.     

论高校励志教育的主体向度

高校励志教育是一个由主体与客体及其两者关系构成的结构系统。在目前,从主体向度开展励志教育具有重要意义。在主体层面,励志教育的主要内容表现为开放性的思想教育,激励机制建构与挫折教育。     

音乐心理剧对海洛因依赖者戒毒动机的干预

目的:研究音乐心理剧对我国海洛因依赖者的戒毒动机和操守的临床干预效果。方法:将62名女性海洛因依赖者随机分为实验组(n=31)和对照组(n=31)。实验组进行为期12周的Joseph.J.Moreno音乐心理剧临床干预;对照组常规治疗。将实验组干预后的戒毒动机与干预前及对照组进行比较;追踪所有被试的复吸情况并进行统计;对总体戒毒动机、操守率和各戒毒动机因子进行相关分析,了解干预的方法对戒毒动机和操守率的干预效果。结果:实验组总体戒毒动机与对照组和干预前相比显著提高(P<0.05);总体戒毒动机与"家庭因子"呈显著正性相关(r=0.364)。实验组操守情况(58.06%,18/31)优于对照组(35.48%,11/31),但无统计学意义上的显著性差异(P>0.05)。结论:音乐心理剧临床干预对提高海洛因依赖人群的戒毒动机有明显作用,但在提高复吸率方面效果不明显。提高戒毒动机需要从家庭角度进行干预。由于文化上的差异,本法在临床运用的过程中有些技术的使用存在一定的局限性。     

明代文人剧及其表现特色

明代人剧，是指中下层人创作并主要体现人审美趣味的短杂剧，康海，王九思是共早期代表，其中创作特色集中表现为创作主体强烈的情性及其现实的批判精神。     

宋杂剧金院本剧目新探

周密《官本杂剧段数》与陶宗仪《院本名目》,是认识宋杂剧、金院本整体面貌最重要的依据。本文在前人基础上论证宋杂剧、金院本的许多作品取材于小说 ,特别是《太平广记》这样分门别类的小说总集 ;还有不少作品取材于词作和词人轶事。宋杂剧、金院本为宋元南戏、元杂剧提供了进一步创作的基础。     

论元杂剧《赵氏孤儿》的戏剧冲突

元杂剧<赵氏孤儿>主要冲突和正义人物之间的冲突交织在一起,人物性格的内部冲突与外部冲突交织在一起,正面人物的正义行为全都凝聚在人的生命的光点之中.要生命,就看不到正义;要重现正义,就要毁灭生命.惨烈的悲剧气氛,严肃的正义精神,以及丰富而生动的戏剧效果,都是<赵氏孤儿>戏剧冲突光彩耀目的重要因素.     

红色文化与大学生励志教育

红色文化作为一种先进的文化形态,具有丰富的思想内涵,是加强大学生励志教育的有效载体。在实现中华民族伟大复兴的历史进程中,运用红色文化充分挖掘其育人价值,对于引导大学生树立崇高理想、培育积极心态、践行人生志向等方面具有十分重要的意义。因此,高校只有把红色文化纳入课堂教学、大学生社会实践活动和校园文化之中,并积极构建红色德育基地,才能推动大学生励志教育不断走向深入。     

Fifteen Minutes of Fame

正Earlier last year when I was dreaming of more time to relax at the end of the week,I was confronted with additional work,which later paved the way for me to work on a TV show.It all started in April 2013,when Beijing Love Story,a popular Chinese TV show,was to be translated into Hausa.Hausa is a Chadic language;a branch of the Afro-Asiatic language family with the largest number of speakers in     

Little Teachers: Children's Drama,Traveling, and Ruptured Childhoods in 1930s and 1940s China

This paper examines and problematizes complex relationships among war, the construction of “children,” and pursuit of national salvation and modernity in wartime China through case studies of children's traveling troupes. Children have received less attention than women and the masses in relation to modern Chinese literature and culture: wartime conceptions of children can contribute to rethinking ideas about orphan and refugee children's role in the national rescue movement during the War of Resistance against Japan (1937–1945). Influential reformer Tao Xingzhi's radical educational philosophy of “little teachers” liberated children's power and organized them for war propaganda. Shaped into a potent cultural symbol, self-administered children's troupes like the Xin'an Traveling Troupe and the Children's Drama Troupe demonstrated the politicization of Tao's slogan “Life is Education.” The children's “long march,” narratives of their travel experience, and amateur performances became a political means to educate themselves as responsible citizens and motivate the nation in wartime.     

我国网络自制剧发展的现状及对策

互联网时代的到来,为网络自制剧的产生和发展准备了技术条件和受众基础,在视频网站和政策引导等多重因素推动下,网络自制剧成为了一种将与传统电视剧相抗衡的新兴文化形态.2014年各大视频网站纷纷投入巨资加入到网络自制剧的制作中来,被称为网络自制剧元年.网络自制剧具有制作成本低、周期短、制播合一、题材多元、内容贴近生活、交互性强等特点,深受年轻网民的喜欢.网络自制剧的发展有得天独厚的优势,也存在诸如质量低、格调低俗、同质化严重、盈利模式有待拓展等问题.要实现网络自制剧的健康发展还需要在内容、盈利模式、产业链条等多方面进行探索.