共查询到20条相似文献，搜索用时 62 毫秒
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母性的呼唤 诗意的咏唱──访女画家孔紫 总被引：1，自引：0，他引：1
我与孔紫的相识，是在1995年全国八届美展期间。她的那一幅名曰《秋风》的中国画令我久久驻足。这幅画不仅仅让我感受到胜似火焰的秋光扑面而来，仿佛让我听到了那纷被枝头的金黄的玉米叶一阵阵温柔的喧响；它还让我感受到了丰收之秋在掌声和笑容后的一种凋零的美丽——崇高的生命之株的辉煌，从而领略到大地母性的宽厚和大自然创造的殷殷期待之情，进而理解枯萎也是一种美丽，一种庄严的回归；秋风飒飒之处，听到一种宛若人类哲理的思索和饱含诗意的咏唱。感叹之后，禁不住追问：这新鲜的“歌者”是谁？何以有如此的魁力2那年元旦刚过，我… 相似文献
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日前，荣获2001年“世界小姐”桂冠的尼日利亚黑人姑娘阿芭妮·达蕾格，在世界选美组织者莫华女士的陪同下，踏上了中国的土地。举世瞩目的黑美人与荣获本届“世界小姐”选美大赛第四名的中国姑娘李冰，联袂为中国观众做了精彩的表演秀。当阿芭妮小姐在T型台上身着一袭白色旗袍浮云般地翩然而至时，她那独到的容貌与气质，让中国观众获得了一次近距离欣赏这位尼日利亚姑娘才貌的难得机会。2001年“世界小姐”选美大赛评比结果，是在2001年11月16日于南非太阳城揭晓的。当来自全球的近百名绝色佳丽，屏心静气地等待着最终名次时，一个几乎令… 相似文献
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《Popular Communication》2013,11(4):231-255
In this article, I present an analysis of Steven Soderbergh's The Limey that is informed by auteurism and an effort to unpack the film's antinomies. Although it was not as high profile as subsequent Soderbergh films, The Limey presents an interesting entry in the director's corpus for its stylistic signature and its "liberal" politics; a political posture that, nonetheless, only extends so far in entertaining a critical discourse about the society that produced it. I begin the investigation by filling in the background. First, I unpack the newer formulations of auteur theory and emphasize themes, stylistic signature, and social determinations in constituting auteurs. Second, I characterize the independent sector of U.S. film production and its relation to the major studios while positioning Soderbergh as a chimerical case between an independent and a studio director. Thereafter, I orient to the film and its place within Soderbergh's corpus. I analyze Soderbergh's striking and acclaimed stylistic signature (notably with respect to editing). Proceeding to the themes embedded in the film, I examine some of the antinomies in The Limey and their political valence. In particular, I discuss The Limey's class antinomies, its presentation of the United Kingdom in contrast with that of its former colony, the US, and the tropes of femininity that circulate within the film. On the view developed here, Soderbergh's The Limey entertains some fundamental criticisms of the United States, class striation, masculinity and femininity, before making a partial and uneven retreat. 相似文献
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Jane C. Owen 《Multicultural Perspectives》2013,15(3):60-63
The journey toward becoming a multicultural person is not easy and is never finished. As an educational administrator in a tri-cultural state, I felt comfortable that I was proficient in dealing with diversity. Only when I began a doctoral program at a major Texas university was my naivety exposed. I quickly learned that experience in working with diverse populations and the ability to relate effectively to people of different ethnic backgrounds were vastly different. The two years I spent deeply immersed in a multiculturally rich cohort of doctoral students changed me. My eyes were opened to injustices that I had never before seen as I vicariously experienced life through the eyes of the “other.” Today, I am a professor at a regional university. My experiences, focused through the lens of theory, are the basis for the message to my students. I have traveled the road before and can now point the way toward a broader definition of acceptance and tolerance. 相似文献
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《Popular Communication》2013,11(4):239-264
I argue that Calvin Schrag's performative notion of the "self after postmodernity" provides an innovative, multidisciplinary approach to the investigation of the rhetorical functions of spectacular subcultures. Focusing my discussion on the discourse, fashion, and demeanor of goth subculturalists, I argue that active human agents through their choices, decisions, and actions, rhetorically coauthor a degree of self-constancy. The rhetorical nature of self-identity, group identity, and subcultural ideology is the focal point of my work. 相似文献
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Wei-Chih Wang 《Inter-Asia Cultural Studies》2018,19(4):578-596
ABSTRACTThe denial of Taiwan's status as a nation by international communities has long-served as a catalyst for Taiwanese theatre practitioners’ pursuit of an expressive body that responds to complex national identities. Taking Taiwanese society as the basis for considering the irreducible complexity of postcolonial struggles vis-à-vis the power relations of neoliberal cultural production, in the theoretical framework of this paper, I propose a biopolitical reading of modern Taiwanese theatre. In particular, to reveal the constructedness of the idea of the body, I foreground the embeddedness of theatre in local society and scrutinize the interplay between an imagined body and the theatre through Taiwanese practitioner Tian Chi-Yuan's (1964–1996) White Water (or Baishui, 1993). Using this work as a case study, I focus on his experiment of intercultural bodily gestures through which the fabrication of national identity is both revealed and questioned. I consider Tian's practice of integrating cultural traditions expressive of the dynamics of decolonization with the experiment in reconfiguring the local body—a practice that positions the theatre in Taiwan as an experimental and cathartic site for pursuing an epistemological change in identity formation. Thus, the theatre constitutes a performance of a necessary identity-burdened space between history and memory, struggling to renew itself in distinctive contexts. 相似文献
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《Cultural and Social History》2013,10(2):195-209
ABSTRACTUsing a memoir written decades later, I examine key features of the religious scene in Knock, County Mayo, in the 1830s and 1840s. I address the nature of the writer's memory, embodied as it was in orally transmitted stories, and show how these narratives provide maps of the cultural terrain. Then, after briefly considering the class dimension of poor Catholic resentment of powerful Protestants, I focus on the sectarian feeling by and towards other poor people. I analyse the complex ideological work through which local Catholics who converted to Protestantism were socially constructed as ‘not-Knock’ people. 相似文献
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Muto Ichiyo 《Inter-Asia Cultural Studies》2013,14(1):25-37
This paper was originally written as a keynote speech for a specific occasion, an international forum that was held by the Presbyterian Church in Taiwan (PCT) in Taipei in February 2001, to discuss Taiwan's international status in the post-Cold War era. The PCT is known as a strong advocate of Taiwan independence and democratization, and I had this specific audience in mind in organizing this paper. My concern was that the independence advocacy that had aptly expressed people's aspirations in the democratization movement under the iron-fist rule of KMT was being subsumed, as Taiwan polity was Taiwanized and democratized, into a banal statist discourse. This discourse, I am afraid, has distanced itself from its original popular source and become the elite politicians' discourse, indifferent to the everyday life and security of the people in Taiwan. I approached this problematic from the perspective of 'people's security', which I discussed in my previous essay on the topic in Inter-Asia Cultural Studies , vol. 2, no. 1. As the mutual relationships between East Asian countries had to be shaped overwhelming by the US Cold War rhetoric and material influences, discussing Taiwan with regard to the transition to the post-Cold War era required me to go, albeit in outline, into the basics of these relationships as well as the modes of US hegemony in this region both in the Cold War and post-Cold War settings. I felt that characterization of these diverse elements, if sketchy, was indispensable to discussing the topic, Taiwan today. At my friends' suggestion, I tried to revise the original paper to fit into the concerns of the general readership, with the different aspects mentioned more fully explained. However, I have found this difficult as it would require me to write a completely new article, or maybe a whole book. So I present this paper almost as it was written for the original PCT audience. 相似文献
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Lilie Chouliaraki 《Popular Communication》2017,15(2):78-94
ABSTRACTIn this article, I combine theorizations of the selfie as an aesthetic and technological practice of digital self-representation with a theatrical conception of spectatorship, inspired by Adam Smith, in order to argue that the selfie has the potential to operate as a significant ethico-political spectacle in the spaces of Western publicity. I exemplify my argument by using the remediation of migrant and refugee selfies in mainstream news as a case study of “symbolic bordering”—as a technology of power that couples the geopolitical bordering of migrants in the outskirts of Europe with practices of “symbolic bordering” that appropriate, marginalize, or displace their digital testimonies in Western news media. 相似文献
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Yuan Peide 《中外文化交流(英文版)》2006,(4):40-43
The White Water Terrace, located in a valley in Shangri-La County, Yunnan Province, forms the second largest natural limestone terrace in the world. When I arrived at the White Water Terrace-one of the destinations for my trekking adventure, I lodged in a resort featuring Dongba Culture. The resort is set against green-covered mountains and faces the terrace. The resort gate is decorated with Dongba pictographic characters. I walked through a winding alley and in its end are rows of woo… 相似文献
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《Popular Communication》2013,11(3):203-211
Risk-adverse producers and investors seek to capitalize on marketing by co-launching concepts through multiple media: the game, film, novel, animated movie, T-shirt, action figure, perfume, amusement park ride, and so on. In this article, I explore the relation between such media content and cross-media production. Furthermore, I critically discuss the implications for cultural theory and present a model of cross-media content transfer. The model shows what must be left behind in content–concept migrations across media, and presents the role and importance of games as a nexus in this exchange. I conclude that cross-media transfer happens relatively smoothly between forms that are alike, such as books and films, but less so between forms that have strong structural differences. 相似文献