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<正>舟是古人出行常见的交通工具,它作为诗歌中的常见意象早在先秦时期就已出现。《诗经》中就有诸多舟意象出现,如“泛彼柏舟,亦泛其流”“二子乘舟,其逝”“泛泛杨舟,载沉载浮”“就其深矣,方之舟之”。在几千年的诗歌创作中,舟之“景”与文人之“情”建构了感人至深的意象群,具有深刻的文人思想、文人情怀。 相似文献
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黄花菜是摘下萱草的花蕾使之干燥而成的。因为形状象针故有金针菜之称,又因为花是橙黄色的,也叫它黄花菜。萱草在日本被视为野草,任其在各地自生自长。在中国,它的芽、花蕾、花全有用,所以是人工栽培的。中国早在公元前的《诗经》中,称它为“谖草”,这个谖字含有忘记的意思。在日本也曾给萱草起个别名叫忘记草。因为人吃了它的幼芽便有几分醉意,忘记了人世的忧愁。黄花菜所含的铁为菠菜的10倍,所含的维生素 A 和维生素 C 也很多。常食用黄花菜,对治疗贫血和眼翳有效。东西方的交通改为海路以后,中国的船员总是随船携带大量茶叶和黄花菜,以 相似文献
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《三国演义》:效法孔子作《春秋》——罗贯中“有志图王者”新说 总被引:1,自引:0,他引:1
明王圻《稗史汇编》称罗贯中为“有志图王”,是关于《三国演义》作之性情行状的宝贵资料,对认识《三国演义》的创作动机及思想、艺术都有十分重要的意义。但由于对其“图王”事实语焉不详,迄今为止又乏旁证,故人们认识多存疑惑。本认为其或系指效法孔子作《春秋》,所图之王当为观念之王,而并非指实际地争做帝王。 相似文献
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太极图:东方太极科学之光束景南一、“太极图”原始名称叫“先天图”我们今天所能见到的最早的“阴阳鱼图”出自宋代,“太极图”起源的年代当距此不远。但是从宋代到明代,凡是称“太极图”的,都是指理学家周敦颐所解说的那张图(图1),而不是指“阴阳鱼圈”。把“阴... 相似文献
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1939年,全民抗战已进入第三个年头。这年6月,作家老舍代表中华全国文艺界抗敌协会,参加全国慰劳总会北路慰劳代表团,慰劳与日寇作战的军民。代表团从重庆出发,先到西安,再到洛阳。由洛阳、南阳到襄樊、老河口,而后出武关折回西安。由西安奔兰州,由兰州到榆林、青海、绥远、宁夏、兴集,同年12月返回重庆。一共走了5个多月,行程两万多里,一路险情万端。老舍在陕州,差一点被日本的飞机炸死;在兴集, 相似文献
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《Cultural and Social History》2013,10(4):424-444
In the interwar years the loosening of constitutional bonds between Britain and the settler colonies was facilitated by a perceived strengthening of economic, social, and cultural ties. In the case of broadcasting, this closer cultural connection becomes apparent when programming is placed in its institutional context, for example through analysis of BBC and CBC coverage of the 1939 royal tour of Canada. Despite tensions produced by different agendas and interests, in general the two broadcasters collaborated to achieve common goals. In particular, both presented an empire divided along lines of race and class as nevertheless united in loyalty to the crown. 相似文献
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Michelle Phillipov 《Popular Communication》2016,14(2):111-122
Over the past decade in the West, television cooking shows have popularized interest in the provenance of food against a backdrop of public concern about the practices of industrial food production. This article explores two series that offer self-sufficiency as a solution to the problem of industrial agriculture. Escape to River Cottage and Gourmet Farmer each centre on a narrative of a city-dweller moving to the country to set up a smallholding. With their nostalgia for an earlier—simultaneously unproblematic and emotionally fulfilling—time of food production, these series imagine a Utopian lifestyle in which audiences are encouraged to choose to produce and consume differently. That it is (middle-class) men who are rediscovering traditional food practices highlights how media discourses surrounding food production can become entangled in gendered representations that give rise to niche food products and experiences designed to ameliorate feelings of risk and uncertainty in contemporary food systems. 相似文献