论《黑暗中的笑声》的电影叙事策略

从《黑暗中的笑声》所使用的电影背景、电影画面和电影手法等特点出发,深入发掘小说的电影叙事策略,突出小说通过电影叙事所达到的"游戏性"、"娱乐性"效果,论证纳博科夫杰出的叙事技巧和独特的艺术理念。     

Four Student Teachers' Pedagogical Reasoning on Functions

This study attempts to identify theinfluence of student teachers' subject matterknowledge for teaching on the process ofpedagogical reasoning. This influence isstudied through the way in which the concept offunction is presented to pupils in teachingthrough the textbook problems. Our findingsshow that the four student teachers in ourstudy differed in their subject-matterknowledge for teaching both in the differentaspects of concepts they emphasised and in theuse of a representation repertoire to structurelearning activities. All of this conditionedthe use of graphical and algebraic modes intheir planning of subject matter to bepresented to pupils. We explored also theinfluence of images of mathematics,teaching and learning on student teachers'organisation of the subject matter forteaching, but found this only slight. Finally,regarding the relationship between subjectmatter knowledge and pedagogical contentknowledge in student-teachers' ways of knowingthe subject matter, we offer some implicationsof these findings for mathematics teachereducation programmes.     

沉浮的世界——高尔基小说中底层女性形象的美学意蕴

高尔基把底层女性形象放置在１９世纪末２０世纪初无产阶级革命的背景上，塑造了传奇型、蒙昧型、迷惘型和自主型四类女性形象，系统地展示了底层女性的精神成长历程，并对她们的宗教意识、母性意识进行了新的探索，展示了高尔基无产阶级美学观的形成和发展     

试论中古游仙文学中的女性形象

在中古游仙文学中,女性形象主要有四种类型:母亲型、情人型、女乐型和女仙型。母亲型的形象是西王母,她是传说中的太阴之神,兼管死亡与复活;情人型的形象是作为男性游仙者的追求或被追求者而出现的,其原型较为复杂,可能与迎神巫术、春祭仪式及房中术等有关;女乐型形象的出现可能源于娱神乐舞;女仙型形象指的是作为仙界象征符号而出现女性。     

从《聊斋》的女性形象谈蒲氏的女性观

从分析蒲松龄《聊斋志异》中栩栩如生、形态各异的人鬼狐仙的女性形象入手，将鲜活艳丽、风情万种的人狐仙鬼进行分类、剖析，并从女性审美、婚恋角度，探讨了蒲松龄独特的讲究才智美、提倡真性情，主张 恋爱自由、强调男女平等进步的女性观。这里，对作者的进步思想给予认可、赞扬，对作者的封建士大夫思想作出鞭挞、批判，挖掘了蒲氏女性观产生的根源及社会影响，给予客观的分析评价。     

An account of practice: employing drawings and stories to enable reflective learning

Facilitating reflection for personal growth in a business context requires careful thought and planning. As a learning process, Business-Driven Action Learning (BDAL) has two points of focus. It aims to firstly identify and make recommendations regarding a business challenge, whist secondly facilitating potentially significant individual personal learning and growth. The research reported in this account of practice focused on personal learning by exploring the potential for individuals to experience transformative learning during a BDAL process. During the research I used a number of methods including hand-drawn images and in-depth interviews to enable the writing of interpretive stories. Findings revealed that participants found reflection during and after the BDAL beneficial. They gained insights into what they learnt, what changed since the BDAL experience and also what they still need to focus on. The findings have practical implications for the action learning facilitator of BDAL during management development programmes. One of the ways action learning facilitators can initiate the reflection process of new participants is to share the experience of previous participants. ‘Sandy’s interpretive story’, contained in this article, is such an example and includes hand-drawn images of her learning journey. I argue that the use of interpretative stories helps new participants understand programme challenges and stimulates their individual learning journey.     

“中性”叙事姿态下的机遇与困境——论苏童小说女性形象的塑造

苏童通过“中性”的叙事姿态来营造他想象中的女性世界 ,获得了一种超越传统的写作机遇 ,但同时又难以避免男性作家在塑造女性形象时常有的尴尬处境。     

论《诗经》中的舟船意象

《诗经》里有大量篇章描写到舟船这一意象，诗人或凭舟船渲染男女情思，或以舟船直抒羁旅乡愁，或借舟船象征君臣遇合。《诗经》中的舟船作为一种独特的审美意象，凝聚着人们驾舟行船的切身体验和日常的生活感受，反映着人类的志趣情感和文化精神，乃是诗人的心境、情绪的寄寓和外化形式。     

词源意义与词汇意义论析

汉语词源学的"意义"与词汇学的"意义"二者实质不同,属于完全不同的范畴;但长期以来不少同源词研究经常不能严格区别二者,导致确定同源词"义同"、"义通,,标准的混乱.在辨析词源意义与词汇意义之别的基础上,对词源意义的实质和内涵进行探讨,进而讨论词源意义的表述问题.