老舍作品的语言风格

作者说明；老舍先生是我国著名的现代文学家，有“语言大师”之称。他的多篇作品被选入大中小学语文教材。老舍先生一生中有8年是在山东度过的。这8年，是他创作生涯中最辉煌的时期。天近在济南举办的“老告文学创造生涯展暨‘老舍与济南’研讨会”，进一步激发了山东人民对老合作品的兴趣。今林撰写此文，一则表达对老舍先生的思念之情；二则为广大语文教师的业务研究和进修提供参考。俗白简练、幽默诙谐、散发着浓郁北京味的语言风格，是老舍作品（尤其是小说）的一个显著特点。1．北京韵味在中国现代文学史上，老舍是用地道的北京语言从…     

亲切、新鲜、恰当、活泼的味儿--谈老舍作品《骆驼祥子》的"北京味儿"

《骆驼祥子》是老舍的代表作，作品有一个很重要的特色，便是作品蕴含着鲜明浓厚的“北京味儿”。北京城是老舍写作的源泉，他能真切地展示这片土地所具有的独特韵味，创造性地运用北京市民俗白浅易的口语，注重对北京化心理结构的揭示。     

老舍与北京

文章先介绍老舍的作品，再介绍老舍其人。介绍老舍作品，突出其浓郁的北京地方特色，不论是人情风俗，还是景物地貌，处处表现其中鲜明的“北京的符号”；介绍老舍其人，着重于其人生阅历和对北京的热爱之情，而这正是他能写出具有鲜明“北京符号”的作品的主要原因。二者相辅相成，很好地扣住了文题，深化了主题。 值得指出的是，作者之所以能写出这样好的文章，与他熟读老舍先生的大量作品是分不开的，文章对老舍作品语段的引用，无论是用自己语言转述，还是直接引述，都恰到好处，很好地突出了文章的主题，丰富了其思想内容。阅读和积累对于写作的重要性由此可见一斑。     

论老舍笔下的悲剧人物——"骆驼祥子"

老舍是中国现代学史上一位卓越的现实主义作家。他一生创作了众多作品，作品内容均取材于现实生活，尤以贫民生活为主要写作内容。长篇小说《骆驼祥子》是老舍的代表作，作品通过塑造祥子这一悲剧人物，尖锐地提出了城市贫民摆脱悲剧命运的社会课题。     

老舍早期小说中的中国文化观

老舍受到了古老的中国文化的熏陶 ,亲历了五四文化传统影响 ,在英国的时候对西方文化又有了切身体会。特殊的思想资源构成了老舍复杂的心灵世界 ,当这种灵魂被老舍情不自禁地写进他的早期小说《老张的哲学》、《赵子曰》和《二马》时 ,体现出老舍那种跨文化眼光 ,体现了老舍一方面深刻反思民族传统文化 ,另一方面又在深层心理和情感上表现出一种对民族文化的眷恋。这种复杂的文化心态 ,使老舍的作品 ,尤其是早期的作品既体现出了时代的文化选择 ,又充分显示出属于老舍的个性精神和独特的文化心态。     

潜在的“二元对立心理结构”——论布迪厄的结构人类学作品《住宅或颠倒的世界》

布迪厄早年的学术活动深受以列维-施特劳斯为代表的结构主义思想的影响,这种影响主要体现在他的人类学作品《住宅或颠倒的世界》中。其核心思想就是结构主义一贯主张的“二元对立的心理结构”。这一作品为人们研究布迪厄思想的发展脉络提供了一个视角。     

论老舍的满族身份与小说《猫城记》创作的关系

老舍是当代文学史上杰出作家。他的作品植根北京市民生活,语言风趣幽默、充满京腔京韵,这与他的满族身份、下层旗人生活经历是息息相关的。《猫城记》作为老舍批判国民性,抒发对历史、文化、革命的看法的一部重要作品,其中所表达的情感、态度与老舍的满族身份是分不开的。本文将从老舍的满族身份出发,考察《猫城记》中所体现的爱国情怀、文化历史观念、国民性批判以及对政治革命的态度。     

试论宗教对老舍文学创作的影响

宗教为老舍的文学创作提供了难得的写作素材,启发了他文学创作的灵感和心扉,同时也提升了老舍文学文本的思想文化意蕴,在救亡压倒启蒙的现代中国,当绝大部分现代作家把文学创作焦点聚集在芸芸众生的此岸世界寻求救国救民良方的时候,老舍以接受洗礼的基督教徒和虔诚的佛教信徒把探求真理的目光投向人生彼岸,延伸了老舍作品与那个血与火革命年代的关学距离,这或许是老舍作品至今仍然活跃于影视网络传媒的一个重要因素。     

论老舍的爱国主义——纪念老舍诞辰九十周年

从老舍一踏上文坛起,他就是一个热情的爱国主义作家。从《老张的哲学》到《正红旗下》,没有一篇不洋溢着爱国主义的激情,洋溢着他对于祖国的山川土地,祖国的人民,祖国的文化传统,民俗风习,以及作为这一切的代表的北京和北京人民的深厚的爱。爱国主义,这是老舍世界观的核心,是他创作时的总根,作品的基本主题,也是贯穿他一生的鲜明的红线,是理解他的为人和他的作品的一把总的钥匙。     

老舍作品《月牙儿》中的“月牙儿”意象

自古以来,月亮都是人们情感的载体,关于月亮的描写数不胜数,不少诗人墨客都对它咏之叹之。老舍的作品《月牙儿》却不是如此,他写的是"月牙儿"陪着"下贱女人"的生活往事,"月牙儿"在其中的象征意义表现出凄凉的美。     

手机短信的反转技法

反转是一种技法，有不少整蛊短信运用反转技法来编写，即短信语段在看似理所当然中制造出人意料的东西，通过“逆差”反转出趣味来。短信反转技法有利用指示代词、词语别解、语词重复、利用多义词、利用谐音、运用排比、表明出错、刨设剧情等多种类型。短信反转是引人发笑的媒介，其机制在于心理期待的突然跌落。     

丹阳话的“嵌入式”变调

丹阳话的后退型变调(即由24-24变42-24)在音系学界曾引起热烈讨论,但对它的变调律至今仍缺少合理的解释。本文从两个方面分析该调式的特性:一是它的基调特征,一是它的扩展类型。笔者认为,后退型变调是丹阳话六个变调式里唯一以末字为主导成分、以倒数第二音节(penult)为异化成分的调式,该调式的扩展为倒数第二音节位置上的逐字嵌入。     

Midsession reversals with pigeons: visual versus spatial discriminations and the intertrial interval

Discrimination reversal learning has been used as a measure of species flexibility in dealing with changes in reinforcement contingency. In the simultaneous-discrimination, midsession-reversal task, one stimulus (S1) is correct for the first half of the session, and the other stimulus (S2) is correct for the second half. After training, pigeons show a curious pattern of choices: They begin to respond to S2 well before the reversal point (i.e., they make anticipatory errors), and they continue to respond to S1 well after the reversal (i.e., they make perseverative errors). That is, pigeons appear to be using the passage of time or the number of trials into the session as a cue to reverse, and are less sensitive to the feedback at the point of reversal. To determine whether the nature of the discrimination or a failure of memory for the stimulus chosen on the preceding trial contributed to the pigeons’ less-than-optimal performance, we manipulated the nature of the discrimination (spatial or visual) and the duration of the intertrial interval (5.0 or 1.5 s), in order to determine the conditions under which pigeons would show efficient reversal learning. The major finding was that only when the discrimination was spatial and the intertrial interval was short did the pigeons perform optimally.     

基于协同电子商务环境下的逆向物流研究综述

协同电子商务是电子商务发展的最高阶段,是电子商务时代供应链管理的核心,也是完全意义上的电子商务。逆向物流关系到资源的持续利用和环境的保护,它能有效提高供应链的整体绩效,强化企业的竞争优势。通过对协同电子商务环境下的逆向物流的国内外相关研究成果进行逻辑梳理和综述,在其基础上提出协同电子商务是一种崭新的商务模式,是将供应链的逆向物流置于协同电子商务环境中进行研究的新视角。     

《苔丝》的悲剧效果与悲剧结构的关系

本文把《苔丝》与被亚里士多德称为悲剧艺术典范的《俄狄浦斯王》进行对比,认为《苔丝》所产生的强烈的悲剧效果与它匠心独运的结构艺术有着密切的关系.本文从三个方面进行初略探讨:情节的统一;发现和突转;悬念的设置.     

Midsession reversal learning: why do pigeons anticipate and perseverate?

Past research has shown that when given a simultaneous visual-discrimination midsession reversal task, pigeons typically anticipate the reversal well before it occurs and perseverate after it occurs. It appears that they use the estimation of time (or trial number) into the session, rather than (or in addition to) the more reliable cue, the outcome from the previous trial (i.e., a win–stay/lose–shift response rule), to determine which stimulus they should choose. In the present research, we investigated several variables that we thought might encourage pigeons to use a more efficient response strategy. In Experiment 1, we used a treadle-stepping response, rather than key pecking, to test the hypothesis that reflexive key pecking may have biased pigeons to estimate the time (or trial number) into the session at which the reversal would occur. In Experiment 2, we attempted to make the point of reversal in the session more salient by inserting irrelevant trials with stimuli different from the original discriminative stimuli, and for a separate group, we added a 5-s time-out penalty following incorrect choices. The use of a treadle-stepping response did not improve reversal performance, and although we found some improvement in reversal performance when the reversal was signaled and when errors resulted in a time-out, we found little evidence for performance that approached the win–stay/lose–shift accuracy shown by rats.     

The development of ambiguous figure perception

Ambiguous figures have fascinated researchers for almost 200 years. The physical properties of these figures remain constant, yet two distinct interpretations are possible; these reverse (switch) from one percept to the other. The consensus is that reversal requires complex interaction of perceptual bottom-up and cognitive top-down elements. The specific processes that allow the phenomenal experience of reversal remain mysterious. This monograph has two aims: first, to identify specific processes of the reversal phenomenon by using a developmental approach. Second, to use ambiguous figures as a research tool to shed more light onto children's developing understanding of pictorial representation. Four studies (7 experiments), each involving around sixty 3-, 4-, and 5-year-old children, using multiple tasks, yielded the following conclusions. The concept of ambiguity develops between the ages of 3 and 4 (Study 1). Understanding ambiguity requires pictorial metarepresentation and is associated with understanding mental (false beliefs) and linguistic representation (synonymy, homonymy). This suggests a broader conceptual development of representation around the age of 4. The perception of ambiguity develops between 4 and 5 years (Study 2). Within this age range children also develop inhibitory (Study 3) and image generation abilities (Study 4). These are key processes allowing reversal. Further, when task demands are changed (prompted reversal task; feature identification), children's reversal reaches ceiling by the age of 5 (Studies 2, 3, and 4). The conclusion is a two-stage empirical model of reversal: During Stage 1 (between 3 and 4 years), children develop the conception of pictorial ambiguity (top-down knowledge). During Stage 2 (between 4 and 5 years) children develop the necessary additional processes for reversal to occur (inhibition and image generation). These are the key specific top-down and bottom-up developments underlying the phenomenon of ambiguous figure reversal. They correspond to the distinction of ambiguity and reversibility highlighted in adult research.     

Sensory-specific associations in flavor-preference reversal learning

In two experiments, we examined the effect of reversal learning on the status of initially learned associations. In Experiment 1, thirsty rats were first taught to associate one flavor with sucrose and another flavor with Polycose. These relations were then reversed in a subsequent phase. One of the nutrients was then devalued by being paired with lithium chloride. The results of a two-bottle flavor-choice test revealed that the most recently learned associations governed performance. In Experiment 2, we aimed to discern whether the initially learned associations in Experiment 1 were weakened or masked by reversal learning. In order to address this question, either a 1-day (Group Immediate) or a 21-day (Group Delayed) retention interval was interpolated between the reversal and devaluation phases. Subsequent flavor-choice tests revealed that Group Immediate avoided the flavor most recently associated with the devalued nutrient but that Group Delayed avoided the flavor that was initially associated with the devalued nutrient. These findings suggest that the second-learned associations do not erase, but transiently mask, the first-learned associations, which subsequently recover over a retention interval. These results suggest a parallel in the mechanisms of extinction and reversal learning.     

The Analysis Method of Time Reversal for Defect Diagnosis of Concealed Structure

本文基于结构声波检测技术及走时反演理论,提出了一种用于隐蔽结构缺陷诊断的走时反演分析方法,建立了联合高差异步测试的波速结构走时反演递推公式．该方法可以对隐蔽结构的波速结构进行网格化反演重建,实现了隐蔽结构的二维波速诊断．并以模型试验进行了验证．     

《我是歌手》节目的多重视角与情感叙事

电视可以被看作是一种包含大量连续性叙事元素的媒体,从叙事学的角度来审视电视节目是合理的。《我是歌手势节目中的每个参与者同时也是故事的叙述者;其颠倒常规赛制、悬念贯穿始终的叙事模式;多重视角交织、节奏舒缓的叙事方式;注重细节刻画、意在凸显人性的情感叙事,让整台节目完成一次流畅的叙事,吸引受众持续关注并获得受众情感认同。