共查询到18条相似文献，搜索用时 156 毫秒
1.
袁琦 《广西职业技术学院学报》2020,(1):117-119
本文以"殖民主义"为视角,分析《鲁滨逊漂流记》蕴含的殖民主义色彩。在殖民主义理论看来,鲁滨逊是一个殖民者,他以枪炮为后盾,有计划地对以"星期五"为代表的原住民实行思想控制、语言专制、习惯管制和自由遏制,这些殖民行为不仅使被殖民者丧失了原有的民族文化、自我身份,也使他们丧失了赖以生存的原住地,最终变成了鲁滨逊殖民统治的臣民。 相似文献
2.
3.
作为英国文学的经典之作,《鲁滨逊漂流记》被认为是一部反映欧洲早期殖民思想的作品。库切的小说《福》与该作品有很强的互文性,通过女性叙述者苏珊的抗争和星期五的沉默的描写,库切颠覆了这部经典之作,体现了库切在后殖民语境下对权力和压迫的思考。 相似文献
4.
王丽华 《思茅师范高等专科学校学报》2011,27(1):78-82
在《鲁滨逊漂流记》中,笛福通过鲁滨逊这个横空出世的、想象中的英雄,借助武力的枪和以《圣经》为代表的文化的＂枪＂来进行对外殖民扩张,构建霸权意识,实现帝国梦想,不仅全力歌颂了当时英国的殖民狂热,而且阐述了欧洲中小资产阶级的价值观和工作伦理,表达了资产阶级征服非西方世界的思想。 相似文献
5.
<鲁滨逊飘流记>是丹尼尔·笛福在1704年发表的一部深受读者喜爱的冒险小说,作品一经发表就引起了人们浓厚的兴趣.如果借用后殖民批评理论去解读这部小说,会发现它折射出殖民主义思想.本文从以下两个方面进行分析:鲁滨逊不断变换的自我身份及他同星期五的关系.从文本的分析不难看出笛福的欧洲中心论的思想,他笔下的鲁滨逊代表了欧洲人的高贵、优越、理智和勇敢,而星期五是西方人眼中的"他者",代表着原始、愚昧、无知和懒惰. 相似文献
6.
崔洁 《廊坊师范学院学报》2007,23(2):25-27
在丹尼尔·笛福的小说《鲁滨逊漂流记》(1719)中,主人公鲁滨逊在英国资产阶级大规模殖民扩张的大背景下,与传统群体关系日益疏离.其中最直接、也是最明显的表现就是殖民精神在很大程度上影响了鲁滨逊对"家"的理解.一方面,传统意义上的"家"在鲁滨逊看来显得微乎其微,另一方面,他与他的"荒岛之家"又表现出了特殊的亲密.鲁滨逊所谓的"家"并不是以感情纽带定义的,而是以他是否能成为自己的主人、控制一切的操纵者而定义的. 相似文献
7.
钟素花 《内江师范学院学报》2009,24(3):95-98
《鲁滨逊漂流记》中的典型二元戏剧特征主要表现在：人与人、人与自然、人与自我;笛福与鲁滨逊、鲁滨逊与星期五、鲁滨逊与荒岛、鲁滨逊与大海。 相似文献
8.
《兰州教育学院学报》2019,(3)
本研究主要运用著名的理论家保尔·吉尔罗伊的文化政治理论,在后殖民背景下从反种族主义视角解读《小岛》。从四位主人公的个人经历,管窥和分析黑人族群与白人群体之间的复杂关系。文章着重从种族主义、反种族主义斗争、种族融合趋向三个方面来分析小说的"反种族主义"主题,从而得出——英国,它已不再是专属于白人的社会,在当今多元文化社会背景下,它应该是不同民族在平等的基础上和谐共存、平等交流和对话的场所,是各民族共同构建的多元文化的社会。 相似文献
9.
后殖民文化批判逐渐被国际社会学术机构确定为一种重要的甚至是独特的文化批评模式。后殖民主义的文化批判,以否定和颠覆西方新旧殖民主义的文化霸权和文化殖民为宗旨,并以其人之道还治其人之身,批判和颠覆殖民主义所确立的"黑人/白人"、"自我/他者"和"男性/女性"等三组二元对立的文化模式,利用后殖民理论最终在"西方/东方"、"支配/被支配"的二元对立模式中对西方文化殖民现象作出解答,反对用西方殖民主义统治所构造的知识形式来框定和分析自己民族的文化而使其民族精神深处被殖民化和奴隶化。但是,这三组文化批判模式都存在各自的缺陷,即都是在殖民主义话语体系下对殖民主义文化及种族主义所进行的并不彻底的批判。 相似文献
10.
在英国小说《鲁滨逊漂流记》中,一个土著人被流落荒岛的鲁滨逊拯救。他没有姓名,鲁滨逊就叫他Friday,因为他是在星期五这一天被救的。 相似文献
11.
12.
ABSTRACTThis article focuses on the work of three British Women Education Officers (WEOs) in Nigeria as the colony was preparing for independence. Well-qualified and progressive women teachers, Kathleen Player, Evelyn Clark (née Hyde), and Mary Hargrave (née Robinson), were appointed as WEOs in 1945, 1949, and 1950 respectively. I argue that the three WEOs endeavoured to reconcile their British cultural values, progressive education, English language instruction, and the intricacies of Nigerian cultures in order to prepare students for life and work in an independent Nigeria. Their roles were diverse, encompassing administration and teaching, teacher education, and leadership of girls’ boarding schools and residential training colleges where English was the language of instruction. Following an outline of the WEOs’ prior experiences, I compare and contrast their approaches to progressive education, beginning with Clark’s endeavours to make girls’ education “a graft that would grow onto and into their own way of life” at the Women’s Training College, Sokoto, in far Northern Nigeria. Then I discuss Robinson’s work in a men’s elementary training college at Bauchi where she dispensed a “down-to-earth practical” progressive education to prospective primary school teachers. Finally, Player gave girls “as complete an education as possible for life as a worker, wife and mother” at Queen Elizabeth School, the first government secondary school for girls in Northern Nigeria. Each situation illustrates the complex social relations involved in realising WEOs’ commitments to progressive education as an emancipatory project. 相似文献
13.
文章借助后殖民主义理论中的他者理论,分别以荒岛和星期五为例,对《鲁滨逊漂流记》的他者建构传统进行研究,分析了地理他者和民族他者是怎样被建构和被征服的,并进一步探讨了深层原因。 相似文献
14.
作为解构帝国神话《鲁滨逊漂流记》的重述之作,《主人》鲜为人知。从文本的改写策略切入,不仅有益于拓展安吉拉·卡特研究的疆域,还有助于揭示故事蕴含的深刻思想内涵和作者对小说艺术的贡献。通过改换叙述模式、颠覆人物性别、反转权利关系、卡特引领读者反思西方殖民主义、种族主义的危害,并指出弱势族群走出困境的策略与可能性。她笔下的少女星期五形象无疑是一大创新,为后殖民、后帝国语境下的经典重述注入了新的活力。 相似文献
15.
This paper analyses the impact of a UK local authority initiative – Fathers’ Friday – aiming to involve fathers in their children’s education, which took place in 20 early years’ and primary school settings. Whilst the study involved a range of methods, in this paper interview data associated with practitioners’ perspectives of the initiative are used. Theoretically, Bernstein’s concept of boundary and related notions of classification and framing provide a framework for exploring fathers’ positioning, and Bernstein’s concept of ‘voice’ helps to explain how relations are repositioned, as fathers engage with settings through their participation in the initiative. The authors’ contention is that whilst an existing structure of social relations positions how settings and individuals can relate to one another, experiencing the Fathers’ Friday initiative under changed conditions produces a weakened boundary space for fathers, from which ‘conversations can start’. Children themselves form part of this process of redrawing weakened boundaries. 相似文献
16.
埃德温.阿林顿.罗宾逊以蒂尔伯里镇为背景,创作了一系列表现现代人精神困惑的诗歌。诗歌中描写了一批具有典型意义的人物,他们在物欲横流的社会中成了与周围环境格格不入的一员。该文通过分析罗宾逊的蒂尔伯里诗歌来剖析现代人的精神困境和内心挣扎,同时探讨蒂尔伯里诗歌独特的情节设计和叙述手法。 相似文献
17.
《校园英语(教研版)》2015,(27)
<正>I’m a teacher of Grade 9.My school is a boarding school.Students have to live at the school from Monday to Friday.Every week if they do well in the dormitory,they will get a dormitory star.But it’s so difficult for the students to get the star.Why?Because the dormitory is always in a mess.There are 50 students 相似文献
18.
Nick Owen 《English in Education》2007,41(2):27-43
The paper proposes a thought experiment written in the spirit of Tom Stoppard's Travesties in which some major contemporary thinkers on and actors of creativity and culture are brought together in the same imagined space through the conceit of a (faulty) memory play. ‘Actors’ are drawn from the National Advisory Committee on Creative and Cultural Education (NACCCE, 19991, the Gulbenkian Committee (1981) and the Joint Council for Education through Art (1957). The paper suggests a series of hypothetical conversations between educationalists from the 1950s to the 2000s who have been engaged with developing arts and cultural education and creativity in our schools. It aims to establish what we have learnt about the discourses of creativity ‐ and what impact this may have had in our classrooms. It concludes with a speculative trial between a Professor Ken Robinson of 1999, adjudged by a Sir Herbert Read of 1957. Nick Owen is a Liverpool‐based film maker and researcher who has recently completed a PhD scholarship at the University of Hull. The scholarship, funded by Creative Partnerships, focused on developing pedagogies for creativity in contexts in which artists and educators work together. 相似文献