Border Patrolling and “Passing” in Eminem's 8 Mile

This essay argues that the semi-biographical film 8 Mile represents Eminem as being both racially distinctive and as possessing universal commercial appeal. 8 Mile accomplishes this paradoxical construction by portraying “Rabbit” as “white trash,” a discursively “dark” (white) object, and as an American mythological white subject. The film makes whiteness hyper-visible by subjecting it to raced and gendered struggles. Through real and symbolic violence, Rabbit battles “dark” villains and grapples with “dark” women, initiating a rite of passage. The film grounds Eminem's hip hop authenticity in Rabbit's discursive darkness, but attaches to this image the marketable allure of mythic whiteness. I conclude by contemplating how the film's conservatism reifies “blackness.”     

Unbinding an Audience and a Speech: Dove's Answer to the Beauty/Authenticity Double Bind

Western culture puts women in a number of double binds. One of these is constituted by society's expectation that women attain a standard of beauty whose attainment requires much beauty work and its contrary expectation that women present a physically unembellished self. Because these expectations are so emphatically sanctioned, women should respond positively to a message promising to deliver them from this double bind. This article illustrates the power of that double bind and women's desire for release from it by examining a remarkably unexpected audience reaction to a public speech that only tangentially addressed this double bind. Along the way, it demonstrates that audiences are active participants in speech events (e.g., Atkinson, 1984 Atkinson , M. ( 1984 ). Our masters’ voices: Language and body language of politics . London , England : Methuén . [Google Scholar]) and can respond to a message in a manner different than what the speaker wished or anticipated.     

Reading Science Texts—Epistemology, Inquiry, Authenticity—A Rejoinder to Jonathan Osborne

We shall structure this rejoinder around two main sections. In the first, we address three underlying assumptions of our work that Osborne has identified. We indicate points of agreement, disagreement, and clarification. In the second section, we discuss briefly and add our clarifications to three understandings of his that Osborne introduces into the discussion. It should be noted that Osborne’s response is grounded in the same basic assumption as our set of papers, namely, the central role played by reading and writing, and communicative activities in general, both in science and in learning science.     

Syslog协议的安全漏洞

Syslog协议有着非常优秀的网络日志管理机制,提供了网络日志的存储方法和传输通道。但是该协议在网络信息安全方面存在着缺乏数据加密、传输加密与认证等多个漏洞,若不加改进地直接应用可能会导致非常严重的安全问题。本文将对这些漏洞进行详细的分析与阐述。     

重论 ESP 真实性原则

针对我国ESP教学中存在的各种问题以及学者提出的应对策略,本文从需求分析、载体内容、语言载体和教学任务四个方面重论了ESP的真实性原则,并借用国外EWP和EAP教学实践说明真实性原则对ESP教学的重要价值.本文指出,ESP践行者必须正视学习者的语言水平和教师的专业知识给我国ESP实践带来的挑战,以真实性为准则指导ESP课程设计和教材编写.     

真实学习:意义、特征、挑战与设计

真实学习的理论观点和实践主张强调学生通过解决真实世界的问题进行学习,从而逐步发展信息时代所需要的多种能力。真实学习涉及学习者面对的问题和任务、结果或者产品、环境和过程等多个层面的真实性,因而给学校教育情境中的实现带来了巨大挑战。为应对这些挑战,教师在教学设计和实施过程中,可以采用重构学习单元、聚焦核心知识的理解与建构、将真实活动结构化、设计清晰的支持系统等策略,设计真实学习活动和学习支持系统。通过分析人如何与现代信息技术共存,将为运用信息技术促进真实学习的实现及整个学校学习的革新提供基础。     

论柏格森的生命哲学对余华创作的影响

柏格森的生命哲学对余华的文学真实观产生了最直接、最集中、最深刻的影响：关于“个人的真实”的看法、关于“文明、秩序”的态度、关于作家要处在“不断发现之中”的观点及对非理性层面的把握等等,都直接或间接地可以在生命哲学里找到思想的渊源。     

Learning transferable skills through adventure education: The role of an authentic process

Abstract

The purpose of this study is threefold: (a) to explore what 18 adolescents learned while participating in a three week long adventure program, (b) to examine how they learned while on the program, and (c) to determine what program outcomes they considered most applicable to their home environments, or which learning is “transferable”. To address these purposes, 18 participants 13–18 years old on 14 different three-week long sail and dive training courses were interviewed. The study found that participants learned both hard skills (e.g., sailing and diving) and life skills. They learned these skills experientially, by observing and receiving feedback from others, by exposure to new and different persons, and through the authenticity of needing to learn these skills through the course design. Participants reported that the life skills were most likely to be applicable after course completion in the home environment. Implications for research and practice are discussed.     

从尤耐斯库的三部作品看荒诞派戏剧的真实

"现实"和"真实"是两个不同的概念,前者强调客观"存在性",后者注重"内在性质"。作为20世纪现代派文学重要组成部分的荒诞派戏剧突破了传统戏剧的艺术表现手法,以平庸的故事情节、分解的语言和破碎的人物取代传统戏剧中跌宕起伏的故事情节、突出尖锐的戏剧冲突和完整的人物形象。总而言之,是以一种荒诞的手法表现荒诞的世界。对于荒诞派戏剧是否能体现现实世界,以及它所体现的现实是否具有真实性,一直存在着争议。尤奈斯库是荒诞派戏剧的代表人物,其三部作品《秃头歌女》、《椅子》、《犀牛》在表现生活、表现人物方面的确能以一种反传统的方式折射出当时社会环境和人的内心世界,较好地诠释了荒诞派戏剧真实观及具体表达手法,强调通过人物的言语动作表达作者自身对世界的看法,并让读者慢慢体会,力图进而将作者心中的真实转化为读者的真实理解。