"小品文"的现代性隐喻

本文认为,五四时期将公安派小品文和英国essay确立为散文的源流,是散文现代性理论的重要部分。散文源流辨析最终要提挈的是现代散文的文体意识,以及这种意识包容着的文体特质。散文现代性理论创设不论在文体界说还是文体内质的设定上,均越来越向着essay和小品文倾斜,并把essay翻译为中国式的“小品文”,其中涌动着一种深刻的理论转变,应将这一名称看作具有丰富寓意的理论命题。     

"小女人散文"与晚明小品文

晚明小品文是中国历史上创作个人化的一个高潮，它在许多方面与“小女人散文”的个性化写作有相通之处。后人对晚明小品文的评价多从艺术角度加以肯定，而对其蕴含的知识男性生活意识和生存方式给以忽略，而对“小女人散文”则带有负面的性别审美倾向。该文在论述这一文学现象后，认为女作家“女”性意识的客体化在“小女人散文”遭受不公平评价中应负有责任。     

周作人小品文的文化意蕴探析

20世纪20年代之后,周作人的小品文创作全面铺开,并且以冲淡平和、闲适旷达的独特格调迅速制胜,为其时的散文创作开创了新的园地。其创作风格的形成与他自身对于中国传统文化与世界文化的理解有密不可分的关系。通过探究周作人小品文中以古典情怀、世界眼光以及民族本位思想为代表的文化意蕴可见出其小品文的独特价值。     

《史记》对袁中道传记小品文创作的影响研究

袁中道是"公安派"领袖之一,与其兄宗道、宏道并称"三袁"。他的作品以散文为优,而小品文又占据其散文创作的大部,且成就突出。袁中道的传记小品文称得上篇篇精彩,在中国传记文学中占有重要地位。本文从对袁中道的传记小品文的研究入手,探讨《史记》章法和笔法对袁中道传记小品文创作的影响。     

中国小品文界说

小品文概念的模糊，给小品文的研究带来了非科学性。小品文就其文体而言，指体制短小、形式自由、题材广泛、语言隽永、笔调闲适，文以自娱的散文作品；其精神内核是自娱性和闲适性。小品文当起源于西汉滑稽短文。晚唐小品不属于小品文范畴；现代散文中的“匕首”、“投枪”式小品文当属于杂文。     

袁宏道小品文:边缘文体的中心化创作

本文以明代后期公安派著名作家袁宏道的小品文创作为例证,从文体发展的角度探讨了边缘文体的中心化问题.论证了袁宏道在开创小品文体时,兼容了业已跻身中心文体的诗歌(包括词)、散文(包括辞赋)的特质,因而有效避免了小品文的长期边缘化,使小品文在草创时期就得以类归散文之正宗.     

晚明小品文述略

晚明小品文是中国散文发展史上的一朵“奇葩”,它一反传统古文的“明教载道”宗旨,以其独特的文学特质给中国散文带来了新观念和新风格。晚明小品文的文学特质主要表现在其文学思想的离经叛道,创作目的的自娱性追求,内容题材上的生活化、个性化等方面。     

试论周作人散文理论与晚明小品文的渊源

周作人以名士式的小品文为创作主要体裁的文本,以及由此而形成的散文理论丰富和发展了二十世纪初的新文学革命运动.其散文中所表现出的与明代小品文相近情趣,是建立在二者背景近似的基础之上的.周作人对晚明散文理论有意识的继承主要表现在三个方面:一是在散文的语言上,要自然大方;二是对晚明小品文平淡境界的继承;三是提倡不为情牵,不为物累的情感表达方式,以期通过这种方式达到平淡的境界.     

梁遇春和英国小品文的影响

本文阐述了梁遇春的散文深受英国小品文的影响,特别是兰姆的影响,有苦痛也有微笑,文字随意、率真,富有理趣.同时,把梁遇春的散文与同样受英国小品文影响的周作人、林语堂、鲁迅的散文进行了比较.     

周作人"言志"文艺观对现代小品文的影响

周作人以“言志”坚守文学本体的独立性和纯洁性，坚持认为文学是作者独特的思想和感情的表达，对中国现代小品文理论和创作产生了很大的影响。“言志”既促成了现代散文的美学转型。也导致小品文故意脱离社会人生。     

郁达夫涉闽诗文与“闽都”形象的构建

郁达夫的散文、旧体诗以及日记,与古代的文人雅士的诗文一起,参与了闽都（福州）形象的构建。他饱览福建地方史志,对闽都福州的历史变迁,发展脉络把握十分清晰;他具体而细致地描写福州风光、尤其是福州的形制风貌,三面环山,中流一水,城中有山,山中有城等特点;他推崇闽学,景仰闽都人才荟萃,风雅不绝;他赞赏并陶醉于闽都之美女、美食、美味。     

Can a Two‐Question Test Be Reliable and Valid for Predicting Academic Outcomes?

Scores on essay‐based assessments that are part of standardized admissions tests are typically given relatively little weight in admissions decisions compared to the weight given to scores from multiple‐choice assessments. Evidence is presented to suggest that more weight should be given to these assessments. The reliability of the writing scores from two of the large volume admissions tests, the GRE General Test (GRE) and the Test of English as a Foreign Language Internet‐based test (TOEFL iBT), based on retesting with a parallel form, is comparable to the reliability of the multiple‐choice Verbal or Reading scores from those tests. Furthermore, and even more important, the writing scores from both tests are as effective as the multiple‐choice scores in predicting academic success and could contribute to fairer admissions decisions.     

“小说作法与制艺同”——论八股文对清代小说创作的影响

八股文对清代小说创作具有很大影响,主要表现在小说的作法上。明末清初的小说家多借用八股文的文法技巧作小说,出现了一批大量运用八股文法的小说文本,如《林兰香》等才子佳人小说。《林兰香》在写法上注重题文对应,运用了立局法、吊渡挽、股对法、代言法等多种八股文法,其他才子佳人小说亦多是如此。八股文法对小说创作具有积极意义,促进了清代整密、雅洁的文人小说风格的形成。在清前中期,八股文对小说发展的积极意义远远超过了其对小说的负面效应。     

论朱熹经学与文章之学的关系

理学宗师朱熹之经学与其文章之学的关系,尚未引起足够关注。他在奏疏的写作中时常引用《尚书》经文,除了利用《尚书》的劝谕功能影响帝王,还通过对经文的阐释,引导帝王接受自己的理学体系。与北宋儒者不同,朱熹十分注重阅读经书的主观感受与趣味,并在文章中传达、显现这种趣味。在记、序这两种文体的创作中,朱熹或阐发经义以提升立意,或反思学习经书的方式,或重绘经典传承的学术谱系,使其文章具备了深刻的学术内涵。     

八股文今辨

八股文是明清科举考试制度所规定的一种文体。几百年来,被人们认为是束缚人们的思想、维护封建统治的工具。笔者对此思考有三:其一,八股文迎合了当时社会选拔人才的需要。其二,八股文为后人的作文奠定了一个基础。其三,八股文继承和发挥了汉语言的优长。     

Academic essay writing as imitative problem solving: examples from distance learning

Students in tertiary education are often faced with the prospect of writing an essay on a topic they know nothing about in advance. In distance learning institutions, essays are a common method of assessment in the UK, and specified course texts remain the main sources of information the students have. How do students use a source text to construct an essay? The present paper presents a methodology for mapping the source text on to the finished student essay. The underlying assumption is that students are using a form of imitative problem solving when faced with the complex task of writing an essay. Twenty-two essays written by Open University students in the UK, based on three different questions, were analysed on the basis of the order in which novel concepts were introduced and the extent to which this order mirrored that of the source textbook. Correlations were then carried out between the structure of the essay, the structure of the source text and the eventual grade awarded. The average correlation for all three essays and source texts was 0.8, with some individual essays having a correlation of 0.98, demonstrating that the students were closely imitating the argument structure of the source text.     

论先秦时期小品文的特点

古代小品文是中国古代文化体系中一种独特的文学创作。它是以先秦诸子散文及历史散文为源头,又受到诗歌、小说创作的影响,从而形成自己独特魅力的一种文学形式。先秦时期,是古代小品文的产生和萌芽阶段。此时的小品文以一种简短的文字段落的形式出现。其特点是,在形式上尚未独立成篇,只是散见在诸子散文和历史散文之中;文辞简约,意旨却大,内容包括对于重大人事的讽刺劝诫、表达作者强烈的感情色彩、抒发作家远大的志向、提出严肃的人生哲理等;体裁较为单一,寓言占绝对优势;语言生动精练,简明流畅,而又含蓄蕴藉。     

MARC: A Thought Experiment in the Morality of Automated Marking of English

Automated essay scoring programs are becoming more common and more technically advanced. They provoke strong reactions from both their advocates and their detractors. Arguments tend to fall into two categories: technical and principled. This paper argues that since technical difficulties will be overcome with time, the debate ought to be held in terms of the principles. A thought experiment, based on a technically perfect Automated Essay Scorer, is proposed in order to explore the moral questions related to this topic, such as whether students deserve to have their work read by a human. It concludes that affect is an important component both of writing and of the debate, but that if the move to automated scoring stops being an ‘all or nothing’ debate, then many of the objections on principle will be obviated.     

Reading the Other: Ethics of Encounter

Most scholarly fields, at least in the humanities, have been asking the same questions about the politics of encounter for hundreds of years: Should we try to find a way to encounter an other without appropriating it, without imposing ourselves on it? Is encountering‐without‐appropriating even possible? These questions are profuse and taken up with intense interest in scholarship about the personal essay, specifically, which has often been credited as a philosophical form.

Within debates about the ethics of the personal essay, the most significant concern is about the traditionally accepted relationship of the writer‐represented‐on‐the‐page. For example, the notable rhetoric and composition scholar, David Bartholomae, argues that students of what he calls ‘“creative nonfiction” or “literary nonfiction”’ (1995, p. 68) write ‘... as though they [are] not the products of their time, politics and culture, as though they could be free, elegant, smart, independent, the owners of all that they saw’ (p. 70).

In other words, the personal essay, as a subgenre of creative or literary nonfiction, allows for the perpetuation of the fallacy that a writer can be ‘free’ of social influences, ‘independent’ of a society and of its politics, and ‘owners’ of their own perspectives and experiences—of those the writer expresses on the page, specifically. Consequently, if the writer is not conscious and critical of the social influences acting on him/her, if s/he believes the text to be the singular and uninfluenced production of his/her own self, then the topic taken up in the essay is tyrannized by the self‐centered (and dangerously un‐critically‐conscious) perspective of the writer.

However, the personal essay also has its strengths as a philosophical form: in its privileging of skepticism; in its attention to complexity and complication; and even in its existence‐as‐evidence of some quality of its writer. Too, very often essays pay homage to works of other essayists, as in the case of Gass's ‘Emerson and the Essay’, instead of mowing down other works in order to establish its own reign. Despite these ethically responsible characteristics, though, I show, using Gass's essay about Emerson's work, that the personal essay continues to be devalued because of its reliance on and celebration of its transparent relationship to its author.

In general, essayists don't complain in their work about the belief in this transparent relationship; they advocate it. Thus, my purpose is not to suggest that there is no relationship between the essayist and the essay. Rather, I will, in the latter half of the article, turn to the work of philosopher Emmanuel Levinas, which describes and enacts an approach to an other (writer/text) that does not hinge on the assumption that writer and text are in a transparent relationship to each other. I hope that in presenting this possibility for re‐thinking the essay (and its relationship to its writer), writers, scholars, and teachers of the essay—and even its opposition—will give it new attention and explore further the possibilities that it may provide for engagement, for encounter.     

What Types of Linguistic Information Do Children Use in Spelling? The Case of Flaps

We sought to determine what types of linguistic information children represent in their spelling by examining their performance on the flaps of words such as city and lady . In 4 experiments, children often misspelled flaps as d . This d bias was common until at least second grade, with few children showing a bias toward t . We found no evidence that children have an underlying representation of city as containing /t/, for children said such words with /d/ when speaking very slowly. Even kindergartners were more accurate at spelling the flaps of words such as dirty , which have a stem ending with /t/, than the flaps of words such as city . Thus, children use meaning relations among words to aid their spelling before they have formally been taught to do so. The results show that young children are not purely phonetic spellers as they are often portrayed. The results further suggest that phonology and orthography are closely related systems that interact during development.