Constructing a feminist icon through erotic friend fiction: millennial feminism on Bob’s Burgers

This study engages in current scholarly debates regarding third-wave versus postfeminist media icons through an analysis of Tina Belcher, the eldest daughter in the animated series Bob’s Burgers and a paragon of what I coin “millennial feminism.” In it, I argue that Tina rejects popular postfeminist discourses and experiences a politicized feminist awakening. While Tina is significant in her own right, most remarkable is the way millennial audiences have utilized the internet to position Tina as a feminist folk hero. Ultimately, I trace how popular critics use Tina to theorize a millennial feminism that reflects the values and characteristics of the millennial generation. Revisiting Sarah Banet-Weiser’s (2004. “Girls rule! Gender, feminism, and Nickelodeon.” Critical Studies in Media Communication, 21, pp. 119–139) argument that Nickelodeon’s girl power programming demonstrated third-wave feminist politics for its audiences, I argue that adult-oriented animated sitcoms lend themselves to an absurdity and disregard for hegemonic gender ideologies which have the potential to unsettle dominant ideologies of gender and sexuality and can define contemporary feminist politics for viewers.     

鲍勃.特罗特曼于雕刻中探索未知

通过对美国著名雕刻家鲍勃·特罗特曼作品形式与象征意义、作品表达的思想概念、作品的构思及创作过程、对其艺术产生过影响的人、创作所受的哲学启发等五方面的分析论述,认为其创作是在探索一种脱离的概念,契合了具有理想之美的希腊美学,展现一种残缺美的理性价值——粗俗的、破败的、零散的、碎裂的,使人感受到心灵慰藉的沉郁和孤独感,是于雕刻中探索未知的典范。     

Who killed Davey Moore? Some thoughts on Bob Dylan and boxing

Abstract

This article was prompted by the observation that the veteran influential singer–songwriter Bob Dylan had once written a song about boxing. The song, neither sung, played nor very much remarked on since it was composed in the early 1960s, was provoked by the death of American featherweight Davey Moore following a title bout in Los Angeles in 1963. This seemed to invite comment, first, because it was one of Dylan’s few engagements, artistically, with the world of sport; second, because the song alluded (mistakenly) to the banning of boxing in Cuba and, third, because, Bob Dylan has occasionally in recent times made known his enjoyment of boxing and his endorsement of it as a social practice that built individual character. Drawing on some of the (voluminous) biographical writing on Dylan, the article analyses the factors of both the agency and the structure in Dylan’s career in an attempt to account for this apparent paradox.     

Effects of success and failure on emotionally handicapped boys

The study was designed to investigate the extent to which expectancies and performance of emotionally handicapped children could be altered by success- or failure-induced experiences. Students were randomly assigned to either of two experimental conditions during five trials of a guessing task. Immediately following the initial experience, all children were asked to estimate their expectancy of success on a novel learning task; students were then given a progressive matrix worksheet with ten problems which required adding and/or subtracting. It was hypothesized that those students in the success condition would have higher expectancies and actual performance scores than the children in the failure condition. It was further hypothesized that expectancy levels and performance scores would be related. An analysis of the results indicated that success and failure on a task were influential on subsequent expectancy estimates and performance; a discussion of these results is presented.     

论鲍勃·霍克时期的多元文化政策

澳大利亚的多元文化政策始于戈夫·威特拉姆时期,至鲍勃·霍克时期已基本成型。霍克政府在继承前两届政府政治遗产的基础上,将多元文化社会的建设纳入制度化轨道。这一时期,旨在推进多元文化建设的管理、服务或咨询机构的建立与完善,使得多元文化政策的制定与落实有了一个制度上的保障;《澳大利亚多元文化的国家议程》的出台,将多元文化建设提到前所未有的政治高度;倡导与土著人的讲和政策则从一个方面诠释了澳大利亚多元文化建设的丰富内涵。     

源于音乐的幻象——从流行音乐角度再读《你从哪里来,要到哪里去》

乔伊斯·卡罗尔·欧茨的作品《你从哪里来,要到哪里去》结合20世纪60年代美国的社会背景,以贯穿全文的流行音乐为依据,特别是一代巨星鲍勃·迪伦的音乐对于故事情节的作用以及同主要人物之间的关系,尝试从全新的角度解释少女康妮为何要跟随陌生来客阿诺德·弗雷德走出家门的原因。实际上,阿诺德·弗雷德是康妮在流行音乐刺激下产生的幻象,代表着其潜意识中的各种渴望;康妮的出走,归根结底,是在响应自己的渴望和需求。