生活、口语与调笑：流沙河诗歌的区域化精神品质

流沙河“归来”后的诗歌具有写实性倾向与口语化风格，以及后来在20世纪80年代中期凸显诙谐、机智的幽默感特点。写实性审美倾向是巴蜀化“重实际，黜玄想”风格的典型表现；幽默感的出现一方面体现了诗人人格的全面成熟，另一方面又与巴蜀“摆龙门阵”的悠久地域传统息息相关。因此，流沙河“归来”后的诗歌较为集中地体现了巴蜀化独特的区域化精神品质。     

从《远大前程》的人物塑造解读狄更斯的创作风格

《远大前程》是现实主义小说家狄更斯最后一部、也是最为重要的一部长篇小说。小说一方面揭露出资本主义社会里金钱腐蚀灵魂的众生面相,另一方面又对许多小人物进行了细致的刻画,作者把自己的心境准确地投射到这些人物身上,把自己的处世哲学以艺术手段转化在作品之中,这在很大程度上反映了狄更斯的人道主义思想和创作理念,也是他性格中梦想和现实双重性的显现。为我们更深层地理解作者的创作风格提供了很好的素材。     

略论马克·吐温、果戈理和鲁迅创作中的幽默

马克·吐温、果戈理和鲁迅作品创作风格的共同点是幽默。马克·吐温批判资本主义弊端时“婉而多讽”,果戈理则以幽默方式尽情戏谑俄国官僚集团与农奴主,而鲁迅的幽默不仅洋溢着战斗的激情,而且还注入其对中华民族命运的深沉思索。     

电影《非诚勿扰》经典幽默对白析赏——从故意违反会话合作原则角度

《非诚勿扰》是冯小刚导演最新推出的一部贺岁电影,影片融合了众多笑点,关注时下热点、人生态度和逢场作戏的,特别是那些轻松而诙谐的人物对白,蕴涵着一种独特的冯氏幽默。文章以格赖斯的会话合作原则为理论框架,以电影《非诚勿扰》中人物的对白为实例,重点分析故意违反会话合作原则所产生的幽默效果。分析表明,通过对会话合作原则的恰当故意违反,说话者可以更成功地制造意想不到的幽默效果。     

Language play in the narrative writing of 9–11-year-olds

There has been little research into ‘language play’, the manipulation of language for enjoyment, in children’s narrative writing. The unprompted language play of 36 children was investigated in their writing of an imaginative story. The sample comprised three attainment sub-groups from a larger repeat-design quantitative study of writing development in the 9–11 age range. A total of 71 stories were further analysed, using qualitative methods derived from the relevant literature. Extensive use of language play was evident, as well as some stylistic differences between the sub-groups. The findings suggest that children’s propensity for manipulating the forms, meanings and uses of language might be channelled more explicitly into the teaching and learning of writing.