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萧红的作品,以低处向上看的体恤情怀,始终聚焦在穷人和妇女身上,她完全自觉地站在受难的穷人和妇女一边,控诉社会的不公。此外,她在批判底层民众的愚昧麻木的同时,也在一定程度上深入到20世纪二三十年代整个东北乃至整个中国底层的人生。展现了沉重的社会悲剧以及历史惰性之源。她的小说所展示的底层生活不是一个阶层或个体的命运,而是民族历史的性格和命运的投射。 相似文献
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Wilna A. J. Meijer 《Interchange》2009,40(3):251-268
In current-day criticisms of consumer culture as well as of the performativity culture of the work place, the originally religious
concept of the vice of acedia or sloth is reinterpreted as a virtue. Art, especially poetry, is put to the fore in that connection.
The image of the reader is addressed when the question of the relationship between poetics and religion is under discussion.
The observation of the decline of reading has often been part of forms of cultural criticism and pessimism. Empirical research
from the Netherlands over a few decades as to the free time spent in reading as compared to other leisure activities, is reviewed.
The pattern emerges that not reading as such, but reading books is losing ground. The “Cultural Citizen” of present, as characterized
by the Dutch Culture Council in 2007, is involved in so many diverging leisure activities, that the time and quiet needed
for the time-honoured pastime of reading is lacking.
The article then discusses the question whether there is a relationship between poetics and religion as to their imminent
concentration and contemplation. An intrinsic relation between poetry and reading on the one hand and religion and transcendence
on the other, is advocated by the famous British literary theorist George Steiner and by the Dutch essayist Jan Oegema. Steiner
distinguishes five categories of solitude in his Grammars of Creation (2001). These categories are explored in order to test the validity of the idea that the seeking of solitude and concentration
necessary for reading, eventually leads to spiritual and religious experience. This idea is rejected. In conclusion, reading
is, after the fashion of the novelist Milan Kundera, tied to the experience, not of a transcendent unity, but rather of a
polyphony of human voices. 相似文献
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路成文 《南阳师范学院学报》2005,4(2):76-79
辛弃疾赋闲家居时期创作的词中，多次使用“懒”这一心理一情感意象。以唐宋词中的“懒”意象为参照，唐宋词中的“懒”意象包含三个层面：其一，表现慵懒无聊的美人情态，心理基础在“怨”；其二，表达逍遥闲散的生活姿态，心理基础在“倦”；其三，寄寓壮志难酬的孤愤情怀，心理基础在“愤”。其中前两类在唐宋词中比较普遍，第三类则为稼轩所特有。 相似文献
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