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1.
Author Bai Xianyong visited Guilin fromMay 11 through 14 this year. Whenever he went,he appeared somehow different from peoplearound him and he looked as if he had been in athings on his mind.Though his father was a high-ranking generalin the Kuomintang government before 1949, BaiXianyong had a passion for literature very earlyBai Xianyong becomes excited when it comes to Peony Pavilion.wrong place at a wrong time.But he was neither in a wrong place nor at awrong time. He came for a festi… 相似文献
2.
《文化交流》2002,(6)
For a long time, the southern side of the West Lake was crowded with residential run-down houses and villas, which were not a delight to look at. After years of unsuccessful efforts to relocate the stubborn residents from the southern lakeshore, a face-lifting project started at last in February 2002. After 6 months, the southern side of the West Lake looks new again. It is open to tourists in this October. 相似文献
3.
One weekend early this year, my husband and my daughter spent weekend at a holiday resort near Dongqian Lake near Ningbo. During a lakeside stroll, they met an artist sketching on the picturesque lake. They brought me a name card to testify one of their adventures at the resort. I examined the card. Touched by the artistic elegance of the name card, I wondered whether the name Fang Shicong would point to a wonderful art career. I searched online for 相似文献
4.
Fabio Vighi 《Culture, Theory & Critique》2013,54(2):147-161
Abstract This article looks at Marco Bellocchio’s 2002 film My Mother’s Smile to re‐assess the central feature of Bellocchio’s cinema, i.e. its attempt to delineate a subjective strategy of subversion against a social order perceived as fundamentally repressive. In line with the director’s previous output, the film takes the Catholic Church and the family as its explicit polemical targets, endeavouring to unmask the nefarious ideological pressure they exercise on the ordinary individual in today’s Italian society. However, my reading draws on Lacanian psychoanalytic theory to try and locate the disavowed (unconscious) kernel of Bellocchio’s narrative. Deploying Lacan’s controversial musings on ‘the gaze’, ‘desire’ and ‘femininity’, I suggest that the true stance of rebellion voiced by the film’s protagonist hinges on his recognition that the inconsistency of the ideological predicament he consciously struggles against paradoxically coincides with the traumatic inconsistency at the heart of his own attitude of defiance. 相似文献