《百年孤独》与《水乳大地》魔幻叙事之比较

加西亚·马尔克斯的《百年孤独》是魔幻现实主义的代表作,因此而成为许多中国作家学习的案头书和范本。范稳创作的长篇小说《水乳大地》在模仿《百年孤独》同时,也极力创新。文章运用比较的方法,从魔幻叙事的角度切入,分成魔幻时空叙事、魔幻事象叙事和魔幻叙事手法三个部分来论述《百年孤独》与《水乳大地》的异同。     

老子的审美自由论

老子学说追求的是一种神奇而神秘的精神境界:“道德玄同,天人合一”的境界。这实际上就是一种至高的审美自由境界。要进入这种神奇的境界,获得这种神秘的感受,先要确立两种观念,其一是“自然至上,天真至美”的观念,其二是“道体浑然,周延遍在”的观念。要进入这种神奇境界,获得这种神秘感受,行为和心理活动必须合乎两条原则:“自然无为”的原则和“直觉体悟”的原则。要进入这种神奇境界,获得这种神秘感受,还必须遵循一种特殊的“相反相成,圆融流转”的心理逻辑。一旦进入这种神奇的境界,人便能体验到物我、心象、情景、意境、天人浑然合一的至高审美情感。     

论《灵感女孩》中的魔幻现实主义

谭恩美在她的第三部小说《灵感女孩》中引入了魔化元素,在人与鬼,前世与今生之间架起了桥梁,营造了亦真亦幻的氛围。本文主要从人鬼世界,时空跨越和魔幻意象三方面分析小说所表现的魔幻现实主义色彩,解读作家在魔幻元素背后所表达的现实意义,从而进一步探讨作者对美国华裔后代生存状态的关注和文化身份的反思。     

《平天仙姑宝卷》中的河西历史

《平天仙姑宝卷》系据临泽县板桥镇一代民间宗教平天仙姑的传说和神异事迹编辑而成,它是河西地区为数不多的土生土长的宝卷之一。《平天仙姑宝卷》曲折地反映了明代河西地区的历史和风土民情,尤其是《宝卷》中的"仙姑近代显应分第十九"讲述了近代以来仙姑显灵之事,总共有五件事,这五件事情均以明代后期河西历史为依据,其中讲到的人物和事件除了仙姑神异事迹外,基本上都是真人和真事,更是直接反映了当时河西地区的历史,值得我们重视和研究。     

论《百年孤独》的魔幻现实性

哥伦比亚作家马尔克斯的长篇小说《百年孤独》吸引了全世界不计其数的读者,他以其奇特的表现手法展现了一个魔幻般的世界,使拉美19世纪的历史进程如哈哈镜中的影象,夸张而真实地得以反映,体现出鲜明的魔幻现实主义特征。     

The Cultural Work of Magical Realism in Three Young Adult Novels

Magical realism as a literary mode is often subversive and transgressive, questioning the values and assumptions of the dominant society that it depicts. Young adult literature, by contrast, is typically thought to serve a socializing function, helping to integrate young readers into adult society. What then is the cultural work of magical realism when it appears within young adult novels? An examination of three young adult novels—by Francesca Lia Block, David Almond, and Isabel Allende—reveals that they employ magical realism to accomplish socialization through subversion.     

异曲同工——庄子与卢梭人文教育思想的契合

庄子是中国古代道家思想的集大成者,卢梭则是西方近代人文主义教育观的浪漫派代表,然而,他们却跨越二千余年的历史时空与数万里的地域之隔达成了一种教育思想的神性契合,实谓异曲同工之妙!     

Thinking about Fantasy: Are Children Fundamentally Different Thinkers and Believers from Adults?

Young children are often viewed as being unable to differentiate fantasy from reality. This article reviews research on both children's and adults beliefs about' fantasy as well as their tendency to engage in what is thought of as "magical thinking." It is suggested that children are not fundamentally different from adults in their ability to distinguish fantasy from reality: Both children and adults entertain fantastical beliefs and also engage in magical thinking. Suggestions are offered as to how children and adults may differ in this domain, and an agenda for future research is offered.     

论现代湖南剧作家群与湖湘文化

现代湖南剧作家群受到湖湘文化的潜在影响,其剧作中的人物形象的执拗性格和地方风土人情韵味,与剧作家本人的人生经历及幼时体验密切相连。楚文化中绚丽奇幻的想象,在现代湖南剧作家心灵深处的复活,一方面使现代湖南剧作家的创作充满着奇幻的想象和怪异的戏剧意象,另一方面,也是一种创造性的转化,这些奇幻怪异的意象,更多地倾向于阴森怪异、反叛叛逆的情绪表达。     

王士祯神韵说的鼓扬者--田同之诗学观简析

田同之论诗"笃信谨守乃在新城王公"《沈德潜语》.他的论诗专著《西圃诗说》明确表述了心折神韵的美学祈尚,对兴会、根柢等创作论命题深入阐释,对含蓄蕴藉的审美标准集中解读,对宗唐、宗宋的核心问题反复辨析,成为王士祯神韵说的热情鼓扬者.     

Seeing Is Believing: Children's Explanations of Commonplace, Magical, and Extraordinary Transformations

Children's magical explanations and beliefs were investigated in 2 studies. In Study 1, we first asked 4- and 5-year-old children to judge the possibility of certain object transformations and to suggest mechanisms that might accomplish them. We then presented several commonplace transformations (e.g., cutting a string) and impossible events (magic tricks). Prior to viewing these transformations, children suggested predominantly physical mechanisms for the events and judged the magical ones to be impossible. After seeing the impossible events, many 4-year-olds explained them as "magic," whereas 5-year-olds explained them as "tricks." In Study 2, we replaced the magic tricks with "extraordinary" events brought about by physical or chemical reactions (e.g., heat causing paint on a toy car to change color). Prior to viewing the "extraordinary" transformations, children judged them to be impossible. After viewing these events, 4-year-olds gave more magical and fewer physical explanations than did 5-year-olds. Follow-up interviews revealed that most 4-year-olds viewed magic as possible under the control of an agent (magician) with special powers, whereas most 5-year-olds viewed magic as tricks that anyone can learn. In a third study, we surveyed parents to assess their perceptions and conceptions of children's beliefs in magic and fantasy figures. Parents perceived their children as believing in a number of magic and fantasy figures and reported encouraging such beliefs to some degree. Taken together, these findings suggest that many 4-year-olds view magic as a plausible mechanism, yet reserve magical explanations for certain real world events which violate their causal expectations.     

祭神之舞法 场域之法器——荆山《扛神》的舞蹈与道具特征之探

《扛神》起源于先秦时期荆楚腹地的驱鬼逐疫仪式,是一种原始宗教的巫文化现象。它是一种融歌、舞、乐为一体,以多种道具为法器、带有宗教色彩巫术表演的民俗祭神仪式。在仪式场域的结构中,舞蹈是祭神最为活跃的因子,道具则视为通神最灵验的“法器”。文章从实地调查所采集的历史文献与口述资料入手,对《扛神》的舞法与法器中所隐蔽着的令人莫解的文化符号、形态特征作一初步梳理与描述,其意义在于为本领域的研究提供可参性的资料,并从中捕捉一些历史久远的信息。     

评《政要素描》

《政要素描》是林茂前先生的一本诗集,以其独特的取材描绘了各国政坛显要的一些趣闻杂事,使诗具有可读性并增加了诗歌的艺术魅力,成为一本诗的随笔。     

论儿童文学的神性

儿童文学具有泛灵性、神秘性和平和性,从而构成其独特的"神性",这在整个人类文化范畴中有着重要的意义和价值。     

走进一种别样的乡土——论仡佬族女作家王华的小说创作

王华是贵州仡佬族女作家,她的创作以柔软独特的民俗表现、本土化的魔幻书写以及对乡土温暖情怀的克制抒发,在当下众多的乡土文学中呈现出别样的特色。     

通识选修课《神奇的材料世界》在MOOC平台的应用研究探讨

实施大规模开放式课程(MOOC)已成为世界范围内高等教育教学的一种全新方式。面对MOOC教育背景,贵州理工学院的通识选修课《神奇的材料世界》开始MOOC课程实施,作为面向多专业的选修课。MOOC课程实施以来,其教学结果表明学习者学习体验较好,学习效率有所提高。本文将介绍《神奇的材料世界》在MOOC教学实践中的经验、课程建设的关键点、教学理念变化及教学模式等体会,旨在为通识选修课在MOOC课程实施中提供参考。     

推定——一个魔术词语的概念解析

推定被喻为魔术词语,在诉讼历史、词汇学、立法实践和法学理论语境中,推定的概念运用十分混乱。推定应界定为:"由法律规定或者根据基础事实与待证事实之间的恒常联系,当基础事实确证时,可认定待证事实存在,但允许受不利推定的当事人举证反驳的一项辅助证据证明的标准化规则。"     

人鱼的意象 荒原的主题——艾略特的《普鲁弗洛克的情歌》解读

美人鱼意象是《阿尔弗瑞德.普鲁弗洛克的情歌》中最为重要的意象,凸显了整首诗歌的意象群的内在联系。它对诗中主人公普鲁弗洛克丰富复杂、充满矛盾的内心世界的揭示,对诗歌主题意义的诠释起着至关重要的作用,是整首诗歌的灵魂。艾略特通过人鱼意象来展示现代西方社会人们空虚迷惘的生存状态,并凸显了其早期诗歌中的荒原主题。     

The Last of the Magicians? Children, Scientists, and the Invocation of Hidden Causal Powers

It is often assumed that scientific thinking displaces magical thinking, both historically and ontogenetically, but the tendency to invoke hidden causal powers straddles both modes of thought. The strength of this disposition among children and adults alike stands in need of explanation.     

浅谈虚拟演播室建设在校园文化建设中的应用

虚拟演播室利用色键chromakey技术,使得以主持人为主的前景画面完全融合于计算机所产生的背景画面,运用日益成熟的3D建模技术,镜头前的人在虚拟演播室里能进入任意场景,正是因为这些神奇而真实的效果,虚拟演播室的应用正在逐步拓展,特别是在高校,越来越广泛地用于校园文化的建设当中。