Representations of class and gender on primetime Spanish‐language television in the United States

This study examines the content of primetime Spanish‐language programming available in the United States. Four alternate nights of primetime, serial programming, which included 6 telenovelas and 1 drama, were analyzed on three Spanish TV networks—Telemundo, Univision and Azteca America. Content analysis included gender roles, class, sexual talk, and physical and verbal aggression. Women were represented comparably to men in overall numbers, but with more childcare responsibilities, less job status and a greater emphasis on attractiveness. Lighter skin characters were more likely to play major roles, were more fit and younger, and more likely to be upper class than their darker skin counterparts. Sexual talk followed a pattern similar to U.S. soaps but was more pronounced on Spanish‐language television. Verbal and physical aggression were less prevalent compared to U.S. programming. The potential impact of stereotypical class and gender roles on U.S. viewers is discussed.     

试论新世纪以来港陆喜剧电影类型与风格的异同

进入新世纪以来,大陆和香港两地的喜剧片在题材类型与风格基调上有异有同。类型之异主要表现为：战争喜剧和民工喜剧是体现内地特色的题材类型,警匪喜剧和合家欢式市井喜剧是港式传统喜剧类型的延续;风格之异主要体现在：大陆一批喜剧片染有“黑色幽默”“冷幽默”色调,香港喜剧片擅长无厘头恶搞。两者的差异与各自的历史政治背景、地域位置、文化观念等因素有关。同时两地均拍摄有轻喜剧与爆笑两种风格的都市爱情喜剧;都创作有喜中含悲的小人物“悲喜剧”;奇幻喜剧、穿越喜剧与“黑色”喜剧片等片种均传达出某种荒诞性审美特征。两者的相似处说明处于同一时代的港陆电影在创作者的交流合作中相互影响、相互渗透。     

人神共舞:莎士比亚喜剧对古希腊神话的传承

莎士比亚喜剧汲取了古希腊神话的养分,大量的古希腊神话因子通过故事类型、主题类型、人物类型在剧中显现。莎翁喜剧与古希腊神话一样,是人性与神性的合璧,表达了世俗与神圣并置、狂欢与理性并置的人神观念。     

杨绛喜剧中“寄居者”人物形象分析

杨绛的两部喜剧作品《称心如意》和《弄真成假》是中国现当代世态喜剧最典型的代表。杨绛在这两部剧本中塑造两个具有着鲜明个性的女性人物形象，同时她们有一个共同的特征，即她们都是借住在他人家中的“寄居者”。杨绛通过剧本中塑造出的“寄居者”人物形象来反映当时40年代沦陷区上海这个大都市既传统又现代的世态风貌，在揭露当时处处金钱的社会现状的同时，传达出在不如意的生存状态下乐观向上的可贵精神。她以独特的创作风格推动中国现当代世态喜剧的发展，在中国现当代文学史上占有一席之地。     

Deceitful Behaviour in Situation Comedy: effects on children's perception of social reality

Research findings in the last decade indicated that although situation comedies were most popular with children, most children did not fully understand the moral of stories or the messages conveyed. Psychologists expressed concern that an adequate comprehension of messages in this genre may require complex intellectual operations which young viewers were not capable of. A broadcast presenting deceitful behaviour in a situation comedy, tested among 314 9‐12 year old children in Israel, had no immediate effect on the perception of children vis‐à‐vis norms of behaviour in their surroundings. The degree of understanding increased with age as did the level of children's critical approach and moral judgement of deceitful behaviour in the broadcast. Young viewers regarded negative behaviour presented on the screen as wrong. Evaluations of such behaviours on TV were independent of children's perception regarding the norms of behaviour in their real life environment. The study revealed that even at the age of 9, Israeli children display a high degree of understanding of motives and effects presented in a situation comedy. Sympathy for TV characters was not based on the characters’ moral/immoral behaviour, but rather on their entertaining appearance and quality of acting.     

From Adultescents to Zoomers: An Examination of Age and Gender in Prime-Time Television

In sampling situation comedies and dramas airing on the six broadcast networks during the 2003–2004 prime-time season, this study examined the characterization of age and gender. Findings indicated that prime time over-represented individuals in their 30s and 40s and under-represented individuals 60 and older. Characters in their 20s enjoyed an extended adolescence, participating in more leisure and sexual activities than any other adult cohort. When characters 60 and older were seen at all, they wielded less occupational power, were less likely to be leaders, were less sexually active, and engaged in fewer leisure activities than younger characters. The authors concluded that prime-time offers a truncated view of adulthood.     

Amiable Shakespeare Versus Satirical Jonson?——A Contrastive Myth between Shakespearean and Jonsonian Comedies

Shakespeare and Ben Jonson have frequently been paired up for comparison in studies of early modern English drama.Conventional views about Shakespeare’s and Jonson’s comedies evolved and crystallized in the seventeenth,eighteenth and nineteenth centuries.People believed or were led to believe that Shakespeare’s and Jonson’s comedies were in clear opposition:Shakespeare’s comedies were sweet,romantic,amiable,popular and entertaining,whereas Jonson’s were based on an abstract theory of humors,cold,satiric,pedantic,and moralizing.Only in the last century did these oppositions begin to change,but too slowly.This paper calls those binary oppositions into question.It tries to present a more truthful picture of these two playwrights and their comedies through an examination of some of their works.It argues that some of those oppositions are stereotypes and should not be taken seriously by contemporary Shakespearean and Jonsonian scholars.     

One-sided and mutually aggressive couples: Differences in attachment,conflict prevalence,and coping

This study investigated concurrent links between adolescent romantic couples’ reports of aggression (relational and physical) and relationship functioning (e.g., attachment security, conflict prevalence, coping strategies, jealousy, and affiliative and romantic relationship quality) using a pattern-oriented approach. The sample included 194 romantic partner dyads (Mage = 16.99 years for females and Mage = 18.41 years for males). A hierarchical cluster analysis identified five distinct subgroups of dyads based on male and female reports of relational and physical aggression, ranging from nonaggressive couples (42%), to those characterized by aggressive females (18%), aggressive males (14%), physically aggressive females (20%), and mutually aggressive females and males (6%). Clusters in which one partner was perceived as either relationally or physically aggressive were characterized by higher rates of conflict, less adaptive coping, and more jealousy (particularly in males). The mutually aggressive couples showed the least adaptive relationship functioning, with high rates of conflict, a deficit in reflection and emotion regulation in conflict situations, and a lack of affiliative relationship qualities. The discussion focuses on the formative character of aggression in these early romantic relations, the aggravating impact of mutual aggression on relationship functioning, and the gender-specific functions of aggression in relationships characterized by unilateral aggression.     

变奏·冲突·交融--喜剧片《喜宴》与《刮痧》的文化意义比较

20世纪 90年代 ,以台湾的《喜宴》和大陆的《刮痧》为代表的中国优秀喜剧片 ,在内容表现上不仅都提升到了文化的层面 ,具体展示了中国传统伦理关系的现代变奏 ,以及对中西传统文化的冲突与融合 ,并且在文化这一层面上 ,《刮痧》以更朴实和更深邃的人文意味超越了《喜宴》中所表现的对中西文化冲突的无奈的审美主题。     

从理想走向现实:莎士比亚喜剧、悲剧中的女性形象比较

莎士比亚在他的戏剧中塑造了一系列女性形象。喜剧中的女性大部分处于主角地位，她们充满智慧、才能和美德，大胆反抗传统道德，追求爱情自由和婚姻自主，是体现人文主义理想的新女性。悲剧中的女性退为次要人物，她们要么是纯洁的天使，要么是狠毒邪恶的恶魔，体现了作者对英国社会现实生活的深入认识。喜剧和悲剧中女性形象的变化，反映了作者认识生活和创作思想的变化，也可以看出作者男权意识的自然流露。     

父母教养方式与儿童的反应性主动性攻击

父母教养方式作为儿童发展中最重要的背景因素如何影响与塑造儿童的行为方式一直是儿童发展心理学研究的重点。文章选取了中国内陆843名初中儿童（12．66±1．34）为被试,考察了不同的教养方式与不同亚类型攻击的关系。结果显示,儿童反应性主动性攻击行为受不同类型的教养方式的影响方式显著不同。权威型的教养方式下儿童无论是反应性攻击还足主动性攻击都显著低于其他三种不利的教养方式;而三种不利的教养方式在反应性攻击上没有显著差异,但在主动性攻击上差异显著。     

“一夫不笑是吾忧”——试论李渔小说的喜剧风格

李渔是个喜剧型作家,其喜剧手段主要有戏剧化情节和喜剧型人物,以及"俗中求雅"的语言风格。其小说虽云"无声戏",实可看作"无声的喜剧"。     

市井文学框架与诗骚抒情传统--论元杂剧三国戏的美学风格

从戏剧美学的角度观照 ,元杂剧三国戏中有典型的英雄悲剧 ,也有真正的英雄喜剧与歌颂喜剧 ,并且能悲中寓喜 ,喜中有悲 ,具有悲喜交集的美学风格 ,这是那个时代士人群体沉郁苦闷的人生悲剧借助历史人物的心理宣泄 ,是元剧家们在沉入社会下层的人生境遇中所吸取的民间三国故事中孕含的富有理想色彩的乐观主义精神的艺术投影 ,是经典文化与大众文化相碰撞的火花在元代文化土壤结出的艺术果实 ,这种美学风格大大扩展了元代三国戏的审美张力 ,也增加了其文化意蕴与审美价值。     

国内王尔德喜剧研究述评

早在1915年我国就开始了对王尔德喜剧的翻译,迄今为止,王尔德的所有喜剧皆有一个或几个中译本。对王尔德喜剧的研究则始于上世纪20年代。80年代至今,是王尔德喜剧研究的繁荣期。此期王尔德喜剧研究呈现出以下特点:第一,对王尔德喜剧作品进行具体、客观地分析,以此探讨王尔德喜剧的艺术特征与思想内涵;第二,从唯美主义角度研究王尔德的喜剧;第三,比较文学研究方法的运用。与国内王尔德唯美主义研究相比较,对王尔德喜剧的研究是一个薄弱环节,有关王尔德喜剧的诸多问题仍是众说纷纭,因此,王尔德喜剧研究是一个有待深入的课题。     

主动网络安全技术及应用

主动网络赋予了网络中间节点一定的计算能力和编程能力,用户可通过在节点中定制程序来控制网络行为。这使得网络体系结构更加灵活和更具可扩张性,但同时也带来了传统网络中没有的安全隐患,而安全问题是一个不可忽视的问题。本文在分析主动网络基本特征的基础上,指出了主动网络安全中潜在的安全问题,讨论了主动网络的安全机制,最后给出了主动网络安全技术在主动网管管理方面的一个安全管理应用实例。     

"数学思想方法与应用"网络课程建设的构思与实践

教师网络教育是在现代教育传播技术的支持下，利用多媒体技术、数据库技术、网络技术等，进行的适应社会对教师培养和培训需求的教育、教学活动．《数学思想方法与应用》网络课程一学习过程设计为中心，以介绍数学思想方法为主要内容，建立有效的学习评价系统，以培养具有可持续发展专业化能力的数学师资为目标．     

Verbal aggression in violent and nonviolent marital disputes

Recent research suggests that verbal aggression may function as a catalyst to violence between spouses in marital disputes. Communication skills deficiencies may predispose spouses to rely upon verbal aggression in family conflict situations instead of more constructive forms of communication such as argumentation. This suggests a need to understand better the role of verbal aggression in interspousal violence. A study is presented which compared a sample of nonabused wives to a clinical sample of abused wives in terms of self‐reports of the use of verbal aggression by the husband and wife in their most recent dispute. While there were several differences between the two groups, of the ten types of verbally aggressive messages examined, character attacks most clearly differentiated violent from nonviolent marital disputes. Two hypotheses which predicted the degree of verbal aggression in violent and nonviolent disputes and the relationship between husband and wife usage were supported. Implications are discussed especially in terms of studying interspousal violence from a communication orientation.     

Efficacy of Cognitive‐Behavioral therapy in the treatment of children with adhd,with and without aggressiveness

The objectives of this study were twofold: to show the efficacy of a cognitive‐behavioral self‐control therapy on children with ADHD and to determine whether the combination of training in self‐control with training in anger management has better outcomes on two subgroups of hyperactive children, aggressive and nonaggressive. Thirty‐two children with ADHD, 16 aggressive and 16 nonaggressive, participated in the research. We applied a cognitive‐behavioral self‐control training, which included self‐instructional training via modeling and behavioral contingencies, to 16 of the 32 hyperactive children. The other 16 hyperactive children were taught the same program, but combined with anger management training. The interventions were carried out by two therapists each taking care of four groups, one of each in the following conditions: hyperactive with the cognitive‐behavioral self‐control therapy, hyperactive with the combined treatment, hyperactive‐aggressive with the cognitive‐behavioral self‐control therapy, and hyperactive‐aggressive with the combined treatment. The results indicated important improvements on several measures in all treated groups. Furthermore the improvements of children with aggressiveness were slightly better, according to the parents, with the combined treatment than without it. The data provide support for including anger management training in the cognitive‐behavioral interventions for hyperactive‐aggressive students. © 2000 John Wiley & Sons, Inc.     

贺岁片的品牌策略研究——以“冯氏贺岁片”为例

在好莱坞大片的屡屡冲击下,中国电影确实经历了一个低迷期,但随着具有市民品味的贺岁电影的推出,不仅形成了一个固定的档期,而且在一定程度上打破了好莱坞模式的垄断。贺岁片主题的贴近性、悲情元素正剧因素对喜剧的注入、以及长期以来符合观众消费的期待心理、明星与故事角色的契合性使得这样一个平民化的电影模式在竞争的夹缝中顽强的生存了下来。