Characteristics of Moral Problems as Formulated by Gifted Adolescents

Abstract

A study was conducted to examine the nature of moral problems as formulated by gifted adolescents. Subjects from Grades 9‐12 were asked to generate stories involving a moral problem and to provide a solution. As in Kohlberg's moral dilemmas, students depicted a central protagonist as well as a definite subsidiary character. There was a significant relationship between the sex of the student and the sex of the protagonist. The protagonist and subsidiary characters were approximate to the age of the subject. Half (53 per cent) of the moral problems involved friendship or a love relationship between the protagonist and the subsidiary character. Most subjects (92 per cent) were able to give guidelines for a solution to their moral problem. Solutions to moral problems were categorized as indicating primarily either a personal (focus on self) or social (focus on group or society at large) perspective. The majority (55 per cent) of subjects gave solutions based on a social perspective, while 45 per cent offered solutions indicating a personal perspective. Comparisons by sex and grade revealed that older students (Grades 11 and 12) tended to resolve their moral problems from a personal perspective while the younger students (Grades 9 and 10) more often took a social perspective. Comparisons were also made between the stories written by gifted adolescents, the Kohlberg dilemmas, and the moral dilemmas formulated by a general population of adolescents (Yussen, 1977).     

Kind-hearted by Nature——On the Anti-hero Yossarian

Yossarian,the protagonist of Catch-22,lives in a marginal position and in the dilemma,and he has done many ridiculous things to keep alive.But basically Yossarian is still kind-hearted.He is an upright man and very compassionate to others.     

文化壁垒间的苦涩人生——试论赫西的长篇小说《召唤》

评析了美国著名作家约翰·赫西的长篇小说《召唤》 (1985 )所表现的文化交流的主题。小说描写一个美国传教士在中国长达 6 0余年的生活经历和思想历程 ,反映了中美文化交流过程中 ,各种文化因素纷至沓来 ,互相牵制 ,形成合力 ,导致交流中的冲突和融汇的情况。虽然小说对异质文化间最终达成理解的前景表示悲观 ,但其中具有历史跨度的文献实录和对主人公内心世界的生动描写 ,对我们加强了解不同文化进行交往和沟通的艰巨性和可能性 ,是一个有益的启示     

Identity in Invisible Man——from the clue of words by grandfather

The protagonist in Invisible Man experiences many painful incidents and gradually grows into a mature individual. He undergoes the transformation from with self-oriented ambition to racial-oriented ambition, and then to self-oriented ambition in a new sense. The process of his transformation can be seen from his changing contemplations on words by his grandfather. The process of his transformation is also a process of pursuing his identity.     

人物性格特征在中文故事阅读理解中的预期作用

采用记录阅读时间的方法,考察了读者在中文故事阅读中是否会根据人物性格特征对该人物在特定情境下的行为进行预期推理.三个实验均采用2×2被试内设计.实验一结果表明人物性格特征的预期作用不大.实验二结果表明详述的人物性格特征的预期作用变大了.实验三结果表明,读者通过共振过程从长时记忆中重新激活了人物性格特征对该人物在特定情境下的行为进行了预测.三个实验中均没有出现溢出效应,这可能表明性格特征这类信息缺乏稳定性.     

论《死者》的重生主题——从雪景的象征意义谈起

詹姆斯·乔伊斯的短篇小说《死者》讲述了一个知识分子在雪中顿悟的故事。他从最初的沾沾自喜,走向否定自我,继而认识真我。雪景的描述贯穿了整篇小说。文章拟从其中三处雪景谈起,着重讨论这三场雪景下主人公的心理世界,从而展示出三场雪景中的主人公的心理变化过程,揭示他对祖国爱尔兰爱恨交织的情感态度。     

20世纪50-70年代文化地形的初探——以《神州儿女》为例谈草明的工业小说创作

20世纪50-70年代中国文化地形的坎坷与复杂是众所周知的,它其中纠葛着同时也呈现着那个时代里人们的文化心理、政治选择、性别指向等多重关系,是可以而且也值得我们从很多方面和很多作家及其作品中去探究的.笔者以草明的工业小说为介入点,从主人翁角色的转换、脱俗性与功利性、城市的特征与性别三个方面,来对50-70年代的文化地形予以初步的勘探和反思.     

Protagonist gender as a design variable in adapting mathematics story problems to learner interests

Junior-high students solved mathematics story problems featuring a male protagonist, a female protagonist, or both. A total of 252 eighth-graders from a rural school and a suburban school participated. Females and especially males strongly preferred own-gender over opposite-gender protagonists. Female performance exceeded male performance overall, regardless of protagonist gender. For the rural sample only, and more so for high-ability than low-ability students, performance was higher for those who received preferred-protagonist problems. Problem-solving performance was strongly related to standardized mathematics achievement scores, but was not significantly related to race or socioeconomic status. The implications of the findings for using preferred contexts as a basis for instructional adaptation in mathematics education are discussed.     

论吉本芭娜娜《厨房》主人公的人物设定——“轻”与“重”并存

《厨房》正如其题目一样,文体上无处不展现一种"轻快"。但同时透过这层面纱读者又能感受到作者真实要表达的"沉重"。"轻"与"重"的共存是通过主人公的心理与言行传达给读者的。此文从作品开篇与结尾处主人公的心理、主人公的出场设定、主人公成为孤儿初的行为以及主人公回归现实方式尝试着讨论这部作品的写作风格。     

玩转各国跳蚤市场

逛跳蚤市场不光需要超人的体力、锐利的眼光、独特的品味，“心狠手辣”的杀价本事也是淘宝人的看家本领。从层层叠叠的货摊上挑出一盏表现英国贵族奢华时光的台灯，一顶充满法国浪漫情怀的时装帽，一件意大利手工艺术品，或是好莱坞电影里主人公用过的道具……对淘宝者来说，此时拥有的不仅是独一无二的物品，更拥有了背后令人心动的故事以及发掘过程的满足。     

网为谁而织?——从生态女性主义探寻《兔子,跑吧!》中兔子逃跑的真正原因

约翰·厄普代克作为当代美国文学当中著名的作家之一,创作出了许多佳作,《兔子,跑吧》就是其中代表作之一。这部小说的主人公虽是男性但作者在塑造男性形象的过程中,女性形象的塑造是不可或缺的,或者可以说是他们相互塑造。本研究主要从生态女权主义的视角,探究小说中三个主要女性对父权制社会反抗的深层含义,并进一步找出主人公"兔子"从家中逃跑的真正原因,然后再从中揭示当代美国现实生活的本质。     

浅析《一封陌生女人的来信》中永恒的爱

奥地利犹太作家斯蒂芬.茨威格以精神描写而著名。他的作品《一个陌生女人的来信》强调了女主角追求生命最后的意义。这种女性的疯狂的爱打动并震撼了如此多的人,因此也可以说女主角终其一生投身于为爱的伟大行为艺术中。在这篇论文中我将从人物的态度和主人公一生的经历中探寻这刻苦铭心的爱及其影响。     

刀刃上的舞者——评《太阳照样升起》中勃莱特·阿施利的双重形象

勃莱特.阿施利是海明威的长篇小说《太阳照样升起》中的女主人公。长期以来,她被评定为“魔女”或者“坏女人”。60年代中后期,许多女学者从女权主义批评的角度出发将勃莱特视为西方20世纪20年代新女性的代表。二种观点相左。本文从勃莱特所处的时代背景着手,通过分析她的生活方式和思想情绪,说明她在《太阳照样升起》中既有颠覆者又有依附者的双重性格,扮演着刀刃上舞者的形象。     

Drawing Out the Resistance Narrative via Mapping in <Emphasis Type="Italic">The Selected Works of T. S. Spivet</Emphasis>

Though many children’s texts include maps that visually demarcate their journeys, modern texts rarely involve active mapping by child characters themselves, suggesting that children cannot (or should not) conceptualise the world for themselves, but require an adult’s guidance to traverse it. Reif Larsen’s The Selected Works of T. S. Spivet (2009), however, views the child as active cartographer and expands the conversation on the relationship between children and space to uncover new (or more nuanced) understandings of children’s place in society, and their constant tension in finding selfhood. This article examines how the act of mapping in literature often leads a character away from home to a place where the child can reconstruct “home” within his or her memory—a memory that instils resistance against the status quo of the child’s position in life. Cartography’s direct relationship with children experiments with and subverts the binaries of child/adult, fantasy/reality, civilised/primitive and home/memory of home, completely dismantling them in the specific example of Larsen’s novel and demonstrating that the child protagonist’s space is neither solely real nor fantastic. Mapping induces the young protagonist to move into alternative spaces, and to resist social pressures in order to assert fuller agency over his or her identity formation.     

How do children who understand mixed emotion represent them in freehand drawings of themselves and others?

This research is the first to assess children’s representation of mixed emotion using a freehand drawing task. Two hundred and forty-one 5–11-year olds completed a drawing and a colour preference task. Children heard a condition appropriate vignette about themselves or a protagonist designed to evoke mixed emotion, and were asked to draw the self or the protagonist experiencing neutral, happy and sad affect. Children who reported mixed emotions after the story also drew themselves or the protagonist experiencing mixed emotion. For mixed emotion, children used red, green and blue more in drawings of the protagonist, and yellow more in drawings of the self. Interestingly, strategies for mixed emotion drawings were similar to those used for happy drawings; more specifically, in drawings of the self, children were particularly more likely to use smiles (for happy and sad drawings) and fewer frowns. Findings are discussed in relation to self-presentational behaviour.     

1601年的《哈姆莱特》：结构与人物

《哈姆莱特》的阐释多为近现代自然主义戏剧观所囿，因而在阐释与批评过程中遇到了许多困难。而如果在1601年的英国基督教化与中世纪英国宗教戏剧的语境中解读《哈姆莱特》，则可以看到：剧本表现的是一个类基督教圣徒成长的心路历程，并且在《哈姆莱特》与《圣经》的《新约》之间存在一种对话关系。     

巴赫金与圣经对话

“一与多”的关系是理解巴赫金与圣经对话的关键。巴赫金对话哲学强调存在意义上的多元性,然而他对“多”的强调导致将其哲学观点移植到文艺学观点时发生错位,具体体现在其复调理论中作者与主人公的关系上以及其狂欢理论缺乏史料支持的尴尬。圣经的宏观思想与微观文本皆具有鲜明对话性。然而其先天的信仰胎记导致它强调“一”而忽视“多”,具体表现为上帝在基督教传统中的主导地位以及上帝形象在圣经文本中的绝对主人公地位。巴赫金对话理论与圣经中的对话思想并非乌托邦式幻想,而是出于对普世的深沉关注而生发的可贵理想。     

碎裂的家庭影像--解读《变形记》中的兄妹关系

表现主义文学大师卡夫卡的代表作<变形记>深刻地揭示了资本主义社会里人的异化现象.小说主人公的悲剧是资本主义社会里靠金钱来维系的家庭关系的一个真实写照.主人公与妹妹关系的显著变化有力地烘托出小说的这一主题.     

从自由意志角度看《觉醒》中爱德娜的选择与沉沦

自由意志是西方伦理思想中最基本的概念之一。在凯特·肖邦的《觉醒》中,多处有着自由意志的内涵。在细读文本的基础上,本文将从自由意志的角度解读《觉醒》的女主人公爱德娜的挣扎选择,以及选择后的沉沦。本文将通过对自由意识这一概念的探析,来指出爱德娜有权利去选择她自己的思想、感情和生活,并且有能力对她的选择所负责。