逃离农庄,逃离上帝——《农庄》的宗教之维

小说<农庄>中,"我"和"母素"的矛盾看似集中在对农庄的态度和选择妻子的标准上.实质上"母亲"对农庄的坚守象征着对上帝的守护,"我"的背弃象征着对上帝的逃离;"母亲"希望"我"选诗人作妻子,象征着昨日美国文化对神圣事物的渴望,"我"和"母亲"所喜欢的第一个妻子的离婚,以及和"母亲"所厌恶的第二个妻子的结婚,象征着年轻一代已经找到了上帝的替代物--性爱.     

小小农庄

我园充分利用周围条件,因地制宜创设了具有农村特色的活动区“小小农庄”,它有以下特点:一是形式多样。“农庄”设有特色自然角和劳作区两大系列的16个相对独立的小型活动区,如土区、根区、木工区、瓦工区、种植区、草编区等等;二是内容齐全。凡是农村中能诱发幼儿游戏兴趣的物品,都力求浓缩进入“小小农庄”;三是材料丰富。如土区中     

外婆的农庄

外婆家住在七楼,楼顶有一个小“农庄”。我常到上面去看,有时候也帮外婆的忙。     

农庄一日

正月初四,我带着女儿随《少年儿童研究》杂志社“星星河快乐家园”的11个家庭,一起来到了京郊平谷县大华山镇西长峪村,进行了一次非常有意义的“快乐农庄活动”。 西长峪村座落在平谷县大华山脚下,是一个名符其实的小山村。汽车一进村,我们就被热情好客的山里人团团围住了。他们争着为我们拿包,拉着我们的手,问寒问暖。     

农庄:我们自己构筑的家园——“玉米人农庄”综合实践活动课

“玉米人农庄”是中央电视台的一个电视栏目。我校建立的综合实践活动基地,因地处农村,所以也叫“玉米人农庄”。农庄建设过程中,我们密切联系学生生活和社会生活,充分发挥每一位小主人的自主性,让他们在实践课中分担责任,体验成功,培养了学生的创新精神,提高了学生的实践能力。一、稚笔涂鸦——人人为农庄画一个“梦”通州市石港小学为了给学生一个“撒野”的     

“玉米人农庄”创建记

新学期开学了;我就考虑怎样把班里的自然角布置得既新颖又受孩子们的欢迎。我们班的孩子都爱看中央电视台“大风车”剧场里播放的“玉米人农庄”,我想让“玉米人农庄”走进我们的活动室。走到孩子们中间。我将这个构想与孩子们说了,大家都说好。说干就干,我利用双休日到附近农村找来水稻、玉米、棉花、大豆、花生、山芋、辣椒、萝卜、白菜等农作物(与农民们商量,连根带土铲来,栽种到盆子里),摆放在“玉米人农庄”里。又从田野里捉来蚂蚱、螳螂,从小河边捉来虾、泥鳅、田螺,饲养在玻璃缸里。孩子们从家里带来一些秋天的水果、花草,搜集各种植物的种籽,拾来树     

春天,在我们的玉米人农庄里——语文综合实践活动课

活动设想 春天的玉米人农庄是一幅七彩的画,春天的玉米人农庄是一首无言的诗,春天的玉米人农庄是一曲悠扬的歌,春天的玉米人农庄是一个讲不完的故事。一提起春天,我们就会联想起无数优美的字眼和诗句:鸟语花香、万紫千红、莺歌燕舞、满面春风;“春眠不觉晓”、“春色满园关不住”、“桃花依旧笑春风”、“春江水暖鸭先知”……一提起春天的玉米人农庄,     

难忘的农庄之行

编辑导语读完这篇游记,农庄的闲适与诗意,久久环绕自己,这便是好文章的影响力!忘星期天,姥姥带我去农庄玩儿。早晨的农庄,空气特别清新,一片宁静祥和。突然,一阵狗叫,打破了这里的宁静。在主人的呵斥下,它不但不叫了,还向我们友好地摇起了尾巴。放眼望去,这个农庄好大呀!左边一望无际的绿油油的菜地吸引了我,我以百米冲刺的速度跑了过去。这里的蔬菜各式各样,好看极了。有穿绿袍的黄瓜、青椒哥哥,着红黄相间格子衫的柿子姐姐,全身裹着紫色运动服的胖嘟嘟的茄子妹妹,顶着黄     

“农庄,我的家”

我們学校有学生594人,其中96％都是东山农庄的庄員子弟。东山农庄是全省大型农庄之一,多少远方的客人都来这里参观,大家关怀着农庄的成長、壯大。但是生活在农庄的学生却有少数人对农庄不关心,不热爱,特别在去年上期还有个别的顽皮孩子講着怪話,翘起嘴巴說:“农庄,有甚么巧事!”这显然是由于他們年龄小,不知天高地厚,不了解旧社会的艰难,因而也就感觉不到新社会的幸福,加之受了农村资本主义思想的侵蝕,使他們在大是大非面前模糊起来。为了帮助孩子們提高觉悟,提高認識,学校必須用具体生动的事实来教育他們,使他们真正懂得合作化的道路是农民摆脫貧穷走向幸福的唯一道路,因此我們采取了一系列的办法,向学生进行了社会主义思想教育。     

希望就是力量

有一年的圣诞节前夕，一个美国青年想去纽约，妻子便去车站给他买票。车票已售完，妻子无奈地回家对他说：“很抱歉，没能买到票。售票员说有人退票的希望只有万分之一。”青年人听到妻子的话后，马上开始收拾行装准备出发。面对妻子不解的目光，他说：“我去碰碰运气，如果没有人     

"陈灵公通与夏征舒之家"的"家"字之意

许嘉璐先生在解释“陈灵公通于夏征舒之家”的“家”时说：“指夏征舒之妻”。这样解释是不正确的,和陈灵公、公孙宁仪行父私通的应是夏征舒的母亲夏姬,而不是他的妻子。这可从“家”字的字义、众多的译和原证之。     

浅析《为奴隶的母亲》中女主人公的三重角色

《为奴隶的母亲》是柔石最优秀的短篇小说,标志着作者的艺术视野开始从青年知识分子转向社会下层劳动人民的生活。小说成功地刻画了一个名为母亲实为奴隶的悲剧形象,她已经不被当做有生命、有灵魂、有意志的人,被剥夺了做母亲、做妻子的权利,只被当做可供买卖的物品。作品控诉了在"典妻"制度下封建阶级对于农村妇女的残酷压榨和欺凌,这是继鲁迅《祝福》之后,反映被侮辱被损害的劳动妇女的血泪生活的又一力作。     

MIMEOGRAPHED AND PAMPHLET LITERATURE

My first position as a teacher was in 1935 in Buffalo, N.Y. at Temple Emanuel. The rabbi was Morris Adler, a scholarly man and a rising star in the conservative rabbinate. My wife and I were sent as shlichim by the Hashomer Hatzair Zionist Youth Organization to Western New York to organize and train leaders for their branches in Buffalo, Rochester, and Syracuse. Specifically our duties consisted of recruiting and educating youth from ages 11 and up for eventual Aliyah. Some of our time was spent traveling between cities, especially on weekends. No budget was allowed. We were expected to find employment and finance our expenses. It is under these circumstances that we accepted positions at Emanuel. First my wife, a seminary graduate, got a job. Rabbi Adler told her that he also needed a male teacher. She described my background to him and he invited me for an interview. He was favorably impressed with my background in youth education, both in Lithuania and in New York City, my fluent Hebrew, my familiarity with the sources, and my positive approach to Jewish traditional practices. I was hired. The salary? Over $600 — for a 10 month year! Thus started my career in formal Jewish education for nearly half a century.     

I fall to musing

This is a narrative of the author reading—with his students in a remedial English class at a community college in Brooklyn, New York—a story by Leo Tolstoy about a shoemaker's awakening through reading. As it recounts the students' reactions and the instructor's remarks, it quotes the story ‘Where Love Is, There God Is Also’ piece by piece. For the instructor, Tolstoy's story is problematic, for the story is patently religious (and his students are widely divergent in their beliefs, he is an atheist and the college is emphatically and legally secular), and yet its deeper significance, he hopes, is that it dramatises the deep thinking and feeling that only reading seems able to provide.     

从《新爱洛伊丝》看卢梭的“贤妻良母”式女性教育

《新爱洛伊丝》是一部反映卢梭女性教育思想的文学名著,也是教育名著。卢梭通过朱莉这个完美女性的塑造,集中阐释了他的贤妻良母式的女性教育思想,他从自然主义哲学出发,在女性的爱情、婚姻教育等方面提出了超越前人的观点。反思卢梭的女性教育思想,对于当代女性教育的发展仍有借鉴作用。     

蒙古族地神崇拜观念的形成及演变

蒙古族的地神(斡脱坚)崇拜观念,是与天神(腾格里)崇拜相呼应的一种宗教文化现象,是萨满教自然崇拜中仅次于天神崇拜的一项具有代表性的宗教活动,源自于普遍信奉萨满教的远古北方草原民族。蒙古人认为天神是创造万物的父亲,地神是滋养万物的母亲。他们不但崇拜地神,还要对地神进行祭祀,把食物的精华(德吉)献给大地。对今人而言,崇拜地神有崇尚自然、爱护地球的积极意义和深刻内涵。     

‘I connected so well with it’: a teen mother talks about reading

In this paper, one 19‐year‐old married mother who was sexually abused when younger discusses the painful and important role reading has played in her life. By using narrative discourse analysis, I parse the young mother’s spoken narrative and illuminate the emotions that cluster around her reading experiences. I discover that she has used reading as a way to make sense of the traumatic experiences of her childhood. I discover as well that, though she evidences immaturity, her moral thinking – refined through her roles as daughter, mother, and wife – is more nuanced than are the texts she is able to read. The questions I ask about her relationship to these books can be generalized to many non‐traditional students going to high schools, or reading in book clubs, today.     

春风化雨润心田--论琦君散文中的母亲形象

琦君有台湾的“冰心”之誉,其作品大量与母亲有关,数量无人能及。琦君写得最好最感人的文章几乎都是写她母亲的,她母亲是个典型的贤妻良母,虔诚的佛教信徒。在琦君看来,她是女儿心灵的保护神,是传统美德的典范。琦君大量写母亲的散文在文学史上有着独特的价值。     

农地资源三大配置主体及其配置因素比较

在我国，农地资源配置的宏观、中观、微观主体在配置农地资源的过程中有着不同的功能和作用，在配置目标、决策方式、调控手段以及关注的要素等方面均有显著的差异；但无论是哪一个层面的农地资源配置主体，配置农地资源时都应避免规模效益偏差、时序效益偏差、布局效益偏差。     

Entropic Management: Restructuring District Office Culture in the New York City Department of Education

Although a growing body of literature is produced on reform of urban school districts, few studies examine shifts in the culture of managers resulting from reorganization in these bureaucracies. This article engages an analysis of central office managerial culture in the New York City Department of Education during a culminating moment of district office restructuring. I argue that a lack of consistent practices ensuring inter-office network building was instrumental in shifting the prevailing culture of the central office from an instruction-based to an accountability-based organization. Managerial restructuring was coordinated by way of empowerment, technology, and the use of space. I label this arrangement entropic, arguing an order through disorder as innovation, constraints from the district’s organizational environment, and uncertainty lead to a focus on performance conditions more than institutional capacity. The study draws on ethnographic research and in-depth interviews conducted with upper and middle managers of this school district.