论功能主义理论在体育社会学中的应用

结构功能主义是社会学以及人类学最经典的理论派别之一,对体育社会学的研究发展产生了重要的影响.论述了功能主义理论在体育社会学研究、宏观体育社会学和微观体育社会学中的应用.提出在应用结构功能主义的同时也要注意到功能主义对于社会需求一致性的假设,对体育群体不同利益的忽视以及对社会多元化的轻视等不足.     

体育教师教学理性的缺失及其回归

体育教学应当充盈着"理性精神"并由健全、合理的理性来引领和规范.但在经验主义、技术主义的影响下,体育教师论为"技术熟练者"而很少以一种理性的方式来考虑自己的教学是否理性.指出:要重塑自身的教学理性,体育教师必须由"技术熟练者"向"反思型实践家"转变.要注意在学习中提高理论素养,在反思中获得发展,在实践积累中获得智慧.     

“十七年”文学批评的文化特征及其批判

在“政治标准第一,艺术标准第二”的指导下,“十七年”文学批评形成了科学理性与政治异化的双重变奏、阶级属性之强化、矛盾的非审美化的批评逻辑等文化特征,但却缺乏自己独立的审美主体性。     

论情感型作家沈从文的文学批评

具有敏锐艺术直觉的沈从文善于感受和体验作品的情感内容,注重作家的创作心境与作品的情感表达方式。他的审美趣味随着其创作心理与欣赏心态的转变而发生相应的变化。沈从文的这一情感性批评方式与他女性化的情感人格以及楚文化的熏陶密切相关。     

Editorial statement

Grounded in the interdisciplinary educational work of Cultural Studies, this paper examines the pedagogical potentials of narrative and performance for the teaching of writing as a mode of public discourse. Guided to address a wide readership, students engage in critical communication aimed at linking self inquiry and narrative discourse to the contextual analysis of the social. Drawing on research findings derived from the undergraduate teaching of cultural criticism as a genre of public writing at Lingnan University, Hong Kong, we look at how educational drama mediates the work of narrative and performative acts involving the young learner-writers and contributes to the shaping of a dialogic mode of address and communication, thus articulating the process and impact of writing to the public-oriented discourse in Cultural Studies education. In light of such acts in critical discourse and imagination targeted at the potential reader, we show how the young writers' own engagement with critical thinking and communication are opened up by drama-in-education adopted in the class, and argue how, in this sense, both writing and its learning process become effective stages in the making of the kind of cultural criticism we want to help students to learn.     

The De Kretser case: a note on Sri Lankan writing in English

Abstract

How is the content of a literary canon, or tradition to be configured? What counts as a literary archive? More than 25 years after Edward Said’s Orientalism (1978 Said, W. Edward. 1978. Orientalism, New York: Vintage.  [Google Scholar]), it seems reasonable to assume, that central to such traditions, would be the work of those who live and work in the society that gives rise to it. In this review, such a location of Michele de Kretser’s new novel, The Hamilton Case, is offered, as a caution to metropolitan literary critics who continue to approach Sri Lankan writing in English, as Christopher Columbus approached ‘America’. It is argued that the novel owes much to, and can be read as echoing and elaborating the detective fiction of S.W.R.D. Bandaranaike, who was, also, the fourth Prime Minister of Ceylon (Sri Lanka), 1956–59.     

The undulating contours of sōgō geijutsu (total work of art), or Hanada Kiyoteru's thoughts on transmedia in postwar Japan

This article provides an insight into the theorization of sōgō geijutsu or the work of total art during the postwar decades in Japan, primarily through the language of Hanada Kiyoteru, a notable communist critic during the 1950s, as a way to present a discursive precursor to what would be explored as intermedia in the 1960s. It is an attempt to trace the debates that were seen in journal Sōgō Bunka, which was established immediately after the war, and how the question of collectivity and collective production of art was discussed among the contributing critics, artists, and intellectuals. Totality as some may know already, is a problematic term that comes close to the wartime notion of ‘totality’, as it was employed for Japanese government's ideological deployment for its war efforts. Although the term has accrued a sinister ring, the critics mentioned in the article, especially Hanada, were determined to reclaim the term as a way of devising a postwar aesthetic-political platform. One important component of sōgō geijutsu was popular art and its relationship to the masses, as it was designed to relocate avant-garde art practices to the juncture of popular space and political praxis, while critiquing the modernist avant-garde art associated with high art. In addition to providing a fuller historiography of intermedia (or transmedia) in Japan, interrogating sōgō geijutsu also serves to shed some light on the complex and multivalent discourse of locating a ‘people’ and their communicative action. Through this history, the term totality gains a greater texture, no longer dismissible as a mere vestige of fascism in the minds of the Japanese artists and critics.     

难以逃离的瘫痪——从空间批评视角解读乔伊斯的《阿拉比》

空间批评关注空间的社会文化等属性,文本中的空间是一种蕴含多维意义的指涉系统。乔伊斯在其短篇小说《阿拉比》中分别从景观空间、社会空间和个体空间三个角度呈现精神瘫痪的都柏林。景观空间反映出都柏林社会的沉闷压抑、毫无生气、令人窒息;社会空间为情节提供了发展的广度;个人空间则折射出主人公压抑的心情。这三种空间成为小说中的一种指涉系统,成功地展现了都柏林这座瘫痪中心的全景。     

《Seven Types of Ambiguity》之＂ambiguity＂的译名研究

燕卜荪《Seven Types of Ambiguity》中“ambiguity”作为燕卜荪诗学的核心术语而广为人知，并对其后的新批评文论产生了极大影响。这个术语在中国的译名以“多义”为起始，又经历了“晦涩”、“朦胧”、“含混”、“复义”等多种译名的变迁，体现了国内学界对于新批评乃至整个西方文论的接受现状。本文通过对其译名变迁过程的梳理以及对各种译名的辨析，最终认为“复义”是目前对于“ambiguity”较为适合的译名，并希望以此为突破点，加强国内学界对于相关文论术语定义范畴的共同认知。     

艾青的新诗批评体系

艾青为中国现代自由诗的发展做出了突出贡献。他在总结自身创作经验的基础上进行的新诗批评,始终坚持现实主义方向,同时又不断探寻新诗自身创作及文本规律,关注时代大众的接受意识,代表了中国现实主义诗学发展的一个高度。艾青的新诗理论以“大众的精神教育工具”说为基准,是一个由诗人“苦役”说、新诗“散文美”和读者接受反“晦涩”三根支柱支撑的批评体系。