从朱迪斯·巴特勒的性别表演角度重读《紫色》

艾丽丝.沃克在代表作《紫色》中塑造了男性化的女人和女性化的男人,有意模糊了男女性别差异,打破了明确的性别界限。朱迪斯.巴特勒的性别表演理论完美阐释了书中人物性别的建构与解构。人们通过对性别规范进行表演来建构自己的性别,又在不断重复的表演中解构了性别的稳定性而使性别处于开放过程之中,从而为主体提供了多种生存可能性。     

西方女性主义后性别社会理论与实践初探

首先从女性主义者角度指出性别社会存在对男性和女性不利的社会性别分工和角色定型,有必要提出消灭社会性别的后性别社会的概念;然后从生物性别的视角分析性别的多样性,指出两种性别的分类法不能反映世界的本来面目,又根据心理生理社会的解释模式和社会物理学的成果分析社会性别复杂性,解析本能、直觉等概念的经验来源及其性别歧视的成分;最后参考了有关性别平等的一些理论和实践,建议一些通向后性别社会的渠道.     

Melancholic mothering: mothers,daughters and family violence

Through selected theories of melancholia, this paper seeks to shed some fresh interpretive light on the reproduction and disruption of gender, violence and family turmoil across generations of mothers and daughters. The originality of the paper lies in its exploratory deployment of theories of melancholia to consider issues of women, violence and generation. It addresses these matters through a discussion of the intergenerational emotional archives accumulated by two mother–daughter pairs in relation to their different experiences of sexual and other violence. It shares the mothers’ experiences of violence in their childhood and shows how these help to shape the ways in which they raise their daughters and address the troubles that their daughters experience. Different theories of melancholia assist us to explain the dissimilar emotional dynamics between these mother and daughter pairs. But equally their stories suggest the analytical potential of different theories of melancholia for understanding women’s and girls’ diverse responses to violence. Freud’s, Irigaray’s and Silverman’s constructions of melancholia, which are to some extent based on notions of emptiness, lack and insufficiency, are deployed alongside Eng and Kazanjian’s interpretation of a melancholic state of being which focuses on the creative potential of animating the remains of loss; an interpretation that invokes an agential relationship to the losses that violence provokes. The former help to explain what Eng and Kazanjian might see as the ‘hopeless politics’ associated with certain melancholic responses to violence and the latter help to explain what they might consider more ‘hopeful politics’ associated with responses that mobilise a more agential relationship to loss. Although not subscribing to such a stark binary interpretation, we nonetheless argue for an analysis that acknowledges the different ways that the remains of loss are animated. The paper arises from a wider cross‐generational study in Australia of the lives of educationally, economically and culturally marginalised young women and their mothers.     

“我是女性主义者吗？”——由王安忆的性别表述兼谈中国的女性主义

作为当代文坛的一个重要的女性作家,王安忆本人的性别表述和文本中的性别表达以及女性主义者的批评之间存在着断裂与缝隙,而且王安忆的这种女性作家的性别表述在当代女性作家中极具代表性,如何看待这种断裂和缝隙,不仅能加深对作家本人及文本的了解,更能透视中国女性主义批评内在的矛盾和复杂。因此。在既要看到王安忆本人的性别表述的同时,更要注意她如何在女性主义批评者的理论框架和预设中以及在何种现实背景中进行表述。从而观其中间存在的复杂性和矛盾性。     

大学日语会话课应把握的几个重要问题

日语会话课在日语教学中起着举足轻重的作用,如何上好日语会话课已经成为一个很有探讨价值的课题。在当前的日语会话课程教学中应该以学生为中心,积极为学生营造日语会话环境,并采取互动式教学模式;根据场景,突出口语用法;为了提高学生的日语会话水平,应该让学生了解日语的各种省略形式以及男女性别用语的差别,以及加强学生口语能力的培养。     

论金庸小说的女性形象和性别意识

金庸小说在华人世界中的流行和风靡塑造了文坛奇迹,他以现代意识介入女性形象的塑造,笔下出现了一大批鲜活的有生命质感和力度的女性形象。她们表面上有个性解放、人格独立,背叛父权社会主旋律的一面,但另一方面由于传统的男权中心模式观念的影响,叛道与守道的矛盾在金庸的作品中表露无遗,狭隘的男性意识与开放的女性意识形成了其创作面貌的两个对立支点。     

论《聊斋志异》中的“阴盛阳衰”现象

中国封建社会长期以来都是以男性角色占主导的社会,文学是现实的反映,这种历史现象无疑会映射到当时的文学作品中去,然而蒲松龄的《聊斋志异》中却出现了引人注目的"阴盛阳衰"现象。文章试图从女性意识的强化和男性意识的弱化两方面对这一现象进行分析,并试图找出出现这种现象的原因所在,从而为解读《聊斋志异》提供一个较为独特的视角。