TY - GEN A1 - Xu, Yong T1 - The Study of the Politics in Popular Culture 大众文化政治研究, Doctoral dissertation, Literature and Art, Huazhong Normal University, Wuhan, Hubei, China 2007 [application of Fromm's theories to art]. N2 - 在经过十多年的发展后,中国的大众文化研究逐渐走向成熟,许多深层次的理论问题一一暴露出来,大众文化政治问题就是其中的一个。可以说,>政治<一直是大众文化研究或隐或显的主题之一,这个主题需要思考的是:大众文化问题是在什么意义上成为政治问题的?它的内涵是什么?应该怎样认识和评价这种内涵?在某种意义上,研究大众文化政治不仅是一个理论探讨的问题,它还是一个思想解放的问题。然而目前关于这个问题的系统的研究还比较缺乏。本文将从这种问题意识出发,分别从商品、语言和美学三个维度入手对大众文化政治进行研究,以求达到理论探讨和实践分析的双重突破。本文共分四章:第一章梳理大众文化研究的基本概念和理论范式。>大众文化<本来是一个西方语境中的概念,但在文化研究成为前沿显学的时候,中国学界常常把大众文化当成一个不言自明的概念在使用。然而任何一个社会的词语都不是纯粹中性和客观的知识,它背后都隐藏着政治利益和权力斗争。西方大众文化研究在选择用popular culture(褒义)还是mass culture(贬义)来命名大众文化的时候,更多地是出于立场与评价方面的考虑。例如阿多诺使用的是mass culture,甚至是culture industry(文化工业),洛文塔尔则是mass culture和popular culture混用,而到了当前的费斯克等人则完全舍弃mass culture而使用popular culture。这个用语的转变体现的是对大众文化认识和评价的转变,即从否定大众文化(法兰克福学派主流)到肯定大众文化(英美文化批评)的转变。大众文化这个西方概念在进入中国语境时不可避免地与民间文化、通俗文化、革命性大众文化等概念发生语义上的纠缠,为了捍卫大众文化的独立性,肯定其积极的政治潜能,一些学者有意识地把大众文化与其它相似概念区分开来,并且对大众文化进行了现代意义上的界定。接下来,本章着重梳理了大众文化研究范式转换的历史,总体来看,它表现为从注重政治经济学批判的社会分析向注重符号解读的文化研究转换的过程。不同的研究范式对应着不同的政治立场。当前大众文化研究所处的困境之一是批判的弱化和政治关怀的空洞化,学界有种观点认为这种不良状况是由社会分析的退场和符号解读的兴起导致的,由于政治经济学范式可以做到对文化和社会进行细致深入地分析,并且将这种分析建立在坚实的社会实践基础之上,因此它能够在很大程度上弥补当前文化研究的某些不足。这种观点可以说切中当前大众文化研究的弊端,但是我们认为,如果社会分析的再出场就意味着符号解读的退场,那么我们又将失陷在另一种历史话语的迷宫之中。要解决这些复杂的问题,在学科上必须实现政治经济学与文化研究的统一,在研究范式上必须实现社会分析与符号解读的统一。本章最后本着这种范式理想,以改革开放后的中国社会为个案分析了社会结构与大众文化功能之间的对应关系:如果说现代社会的中间层是整个社会的政治稳压器,那么中间层所代表的大众文化也是文化意识形态领域的稳压器,稳压器的作用就是削峰填谷,所以大众文化既反对保守,也反对盲目的激进。第二章从商品维度入手分析大众文化政治。与传统文化形式相比,大众文化具有一种赤裸裸的商品性,它力图通过大众对批量化生产的文化产品的消费与其它商品一样实现利润最大化,并且大众文化从来都不否认自己与资本的紧密联系,然而正是因为大众文化所具有的商品性这个特殊属性才使得它与传统文化形式区分开来。从这个意义上看,文化商品化是大众文化研究首先需要面对的问题。文化商品化到底是导致了艺术堕落和专制统治还是促进了文化普及和民主自由,这是学界争论的焦点。法兰克福学派正统思想认为艺术向商业屈服甚至献媚是艺术最大的堕落,这种堕落的结果就是负载着资本主义统治意识形态的大众文化的制造与流行。我们之所以要把精力首先集中在文化商品化的历史考察上,其中一个重要原因就在于法兰克福学派对文化商品化的批判深深地影响了中国知识分子对于文化商品化的认识,进而左右了中国知识分子对大众文化的判断。单纯的争论是无济于事的,这需要我们对文化商品化的历史进行深入地考察。文化发展的史实表明,文化商品化促进了文化公共性的兴起,这主要表现在以下三个方面:其一是作为文化生产者的公共知识分子的产生;其二是作为文化传播者的大众传媒的产生;其三是作为大众文化消费者的市民阶层的产生。文化公共性进一步促进了政治公共性的产生,但是通过商品化而得以暂时逃脱政治束缚的文化却又面临着落入资本圈套的危险。在消费社会语境下,如何正确认识批判精神与消费意识的关系,如何保持公共领域与私人空间的平衡在很大程度上取决于我们能否深入研究并且正确认识大众文化的符号政治经济学。第三章从语言维度入手分析大众文化政治。后现代社会的特征并不仅仅是>经济变成了文化,文化变成了经济<,从某种意义上说,它更表现为>传媒变成了文化,文化变成了传媒<。科技的每一次飞跃都会带来传媒的巨大发展,传媒的巨大发展及其对大众文化的深刻影响则又会反过来促使人们不断地修正对传媒和文化的认识,而每一次这样的修正都是以更为广泛的语言理论变革为思想背景的。法兰克福学派的弗洛姆等人从卢卡奇的总体性思想和弗洛伊德的精神分析理论出发,把语言定位为社会意识的过滤器,这个比喻暗示了语言的单向度特征。马尔库塞进一步揭示了单向度语言得以实现的秘密,即抽掉历史和反对抽象,他认为唯一能有效对抗单向度语言的办法就是重新引入历史维度和辩证法。单向度语言已经渗透到日常生活和大众媒介的领域,阿多诺就对广播和电视等单向度媒介进行了批判。这个历史阶段是马克•波斯特所谓的第一媒介时代,它的语言理论背景是结构主义语言学。随着语言理论从结构主义向后结构主义的转向,互文性理论对大众传媒的研究产生了深远影响,受众研究被推向了前台。以霍尔为代表的理论家们逐渐认识到文本的意义并不是编码者单向决定的,它取决于编码者与解码者之间的对话,文化和传媒是一种活动、一种过程和一种意识形态斗争的场。再后来,作为第二媒介时代之标志的互联网的发明使互文性在文化实践中真正得以实现,文本进一步发展为超文本,超文本不仅解构了逻各斯中心主义,更重要的是它赋予了大众更多的表达政治诉求的话语空间。尽管学界对于大众传媒的民主性存有争议,然而不可否认的是,随着传媒技术的日益发展,大众获得了越来越多的知情权和话语权,我们不能苛求大众传媒,因为绝对的民主和平等只是遥远的乌托邦。第四章从美学维度入手分析大众文化政治。美学在诞生之初是关于感性的学问,它自启蒙运动以来一直是哲学竭力进入生活世界的途径。审美一直被界定为普遍与特殊、理性与身体冲动在>心灵法则<之下发生潜在冲突的领域,这样美学就不得不关涉到意识形态,从这个意义上讲,现代美学在根本上就具有了政治性。身体快感作为一个与艺术美感相对的范畴,从某种意义上说就是大众文化的美学。随着身体美学的兴起,快感在大众文化时代日益成为一个政治问题。从阶级政治的角度看,在什么情况下快感会被知识分子视为>革命的统治的政治美学化<,快感被张扬甚至泛滥,那么快感就倾向于成为统治的工具。而在>艺术政治化<情况下,即在极权社会中,快感被压抑甚至被否定,那么快感则往往倾向于成为革命的工具。再从性别政治的角度看,大众文化到底是女性反抗男权的斗争场,还是男权统治女性的新领域?或者说女性对自己性别特征的充分表露到底是女性权利的张扬还是仅仅满足了男性的窥淫癖?各方观点争执不下。然而问题的关键并不在此,因为任何性别政治都必然关涉到民族国家和阶级政治,性别问题的解决不可能脱离民族国家和阶级问题的解决而单独进行。中国的大众文化研究发展到现在,面临的问题不是越来越少而是越来越多。对这些问题的研究要求我们摆脱非历史的和非语境化的研究模式,强调文化生产和知识生产的历史性和地方性,大众文化政治也只有放在具体的时间和空间维度中才能被准确地定位。从某种意义上说,对大众文化政治的分析不仅有利于把大众文化研究推向深入,还有利于打开一扇探究现代性问题的窗口。 N2 - After ten years’ development, popular culture study in China has entered a mature stage, with many in-depth questions coming out, one of which being the political problem in popular culture. >Politics<, whether explicitly or implicitly has always been an issue in popular culture study, which deals with the following questions: For what purpose popular culture study become political? What is its connotation? And how should we understand it and evaluate its connotation? In a certain way, political study in popular culture is not only a theoretic matter, but also a matter of idealistic liberation. Yet, at present there is scarcely any systematic study on this issue. Therefore, this paper approaches this issue from three dimensions of commodity, language, and aesthetics, in order to make breakthrough both in theoretic discussion and practical analysis. This paper consists of four parts. Chapter one sorts out the basic concepts and theoretic paradigms of popular culture study. >Popular culture< is a concept in western context, but Chinese scholars have often used it as a self-evident concept since Cultural Studies became a trend in china. However, no social word is entirely neutral and objective knowledge, behind which hides political interests and power struggles. The choice of whether commendatory wording >popular culture< or derogatory >mass culture< depends on the user’s standpoint and evaluation of it. For instance, Adorno uses mass culture or culture industry; Löwenthal, a combination of mass culture and popular culture; Fiske and others, only popular culture. The change of the wording indicates the change of attitudes towards popular culture, i.e. from negative attitude of Frankfurt school to positive attitude of British and American criticism. When the concept >popular culture< was introduced into China, it entangled with other concepts as folk culture, popular culture, revolutionary mass culture. In order to main the autocephaly of popular culture and affirm its positive political potential, some scholars distinguished it from other concepts and gave it a modern definition. Then this chapter goes on to sort out the shifting history of the paradigms of popular culture study, which changed from social analysis focusing on political and economical criticism to cultural studies centered around semeiotic explanation. The different paradigms of study correspond to different political positions. At present, one of the difficulties facing popular culture study is the weakening of criticism and the emptiness of political concern, which according to some scholars, was caused by the absence of social analysis, and the rising up of semeiotic study. As political and economical paradigm carries out a thorough analysis of culture and society which is based on the solid social practice, it can make up to the deficiency of the current cultural study. While this view hits the point, it does not mean the recovery of social analysis requires the refuse of semeiotic explanation. On the contrary, to solve the present problem, we must realize the unification of both political economics and semeiotics in disciplinary, and the unification of social analysis and semiotic study in paradigm. According to this paradigm, the end of this chapter analyzes the corresponding relation between the social structure and the function of popular culture study based on the case study of China after the reform and opening policy: if the middle sphere of a modern society is the regulator of the whole society, then popular culture which is the representative culture of the middle sphere will be the regulator of cultural ideology. Hence, popular culture is against both conservative and blindfold radicalists. Chapter two analyzes the politics in popular culture from the perspective of commodity. It is undeniable that the nature of popular culture is to make the most benefits by mass production of cultural products, just like other commodities, which distinguishes popular culture from traditional forms of culture. In this sense, the merchandising of culture is one of the priorities for popular culture study. Whether the merchandising of culture leads to the degeneration of art and the autocratic domination or promotes popularity of culture and freedom and democracy remains the focus of argumentation for scholars. One of the important reasons for us to put emphasis first on the historical survey of the merchandising of culture is that the criticism of the merchandising of culture by Frankfurt school has had such great influence upon Chinese scholars that it resulted in their negative judgment about popular culture. However, the history of cultural development shows that the merchandising of culture promotes the publicity of culture, which includes the birth of public intellectuals as cultural producers the birth of mass media as cultural transmitter and the birth of middle class as cultural consumers. While the publicity of culture promotes the birth of political publicity, the merchandising of culture faces the danger of falling into the trap of capital. To well understand the relation between critical spirit and consumption consciousness, and balance public sphere with private space requires a deep understanding and a thorough investigation of semiotic political economics. Chapter three studies the politics in popular culture from the perspective of language. The feature of post-modern society is not only >economy becoming culture and culture becoming economy<, but also >media becoming culture and culture becoming media<. Every leap of science and technology has resulted in great development of media, whose profound influence upon popular culture in turn has led to better understanding of media and culture, in which the change of linguistic theory always plays the background. Based on Lukacs’s collectivity and Freud’s psychoanalysis, Fromm and other scholars of Frankfurt School defined language as the filter of ideology which implies language’s one-dimensional feature. Marcus pointed out that the secrete of one-dimensional language is its breaking away from history and its objection against abstraction, hence the only way to fight one-dimensional language is to restore history and dialectics in language. One-dimensional language has spread over everyday life and mass media, the latter was one of the critical topics of Adorno’s. This is the first era of media with the structural linguistics as its background. Then as linguistic theory shifted from structuralism to post-structuralism, inter-textuality began to exert great influence upon the study of mass media. Consequently, reception study became popular. The theorists represented by Hall realized that the meaning of text is not decided by the encoder alone, but it also depends on the communication between the encoder and the decoder, and hence culture and media is an activity, a process and an arena for ideological struggle. Later after that, the invention of internet, which marked the beginning of the second media era, helped the realization of inter-textuality in cultural practice, and text turned into hyper text, which deconstructed Logos and provided more discourse space for the mass to express their political views. Although there are disputes over the democracy of mass media, the fact which cannot be denied is that the mass gain more rights to know and speak as the result of the development of media technology, therefore, we should not be too critical towards mass media because absolute democracy and equality is just a Utopia. Chapter four studies popular culture from the perspective of aesthetics. Aesthetics, which was the knowledge about feeling when it came into being, has been taken as the way into life by philosophy since enlightenment movement. As aesthetics has been defined as the field for the struggle between the universal and the particular, reason and physical impulse, it has to be involved with ideology, in which sense, modern aesthetics is involved with politics. The pleasure of body as opposed to artistic beauty is in some way the aesthetics of popular culture. AS the rise of physical aesthetics, pleasure is becoming a political issue in an era of popular culture. Under what circumstances pleasure will be considered as >revolutionary< by intellectuals? If, under the spell of commodities, pleasure as aesthetics joins politics hand in hand, i.e. so-called >aesthetication of politics<, then pleasure will overflow and turn into the instrument of domination. On the other hand, if in a society of dictatorship, pleasure is oppressed or even denied, i.e. >politicalization of art<, then pleasure becomes the tool of revolution. From the perspective of gender, is popular culture the arena for women’s revolt against men’s authority or the new field for men’s ruling of women? Or in other words, does women’s entire exposure of their sexual features speak for women’s rights or only meet men’s desire to peep into women’s privacy? However hot the debate is, the key of this issue is outside it because any gender politics must concern the nation and the class politics. Up till now the development of popular culture in china, the problems facing it is not becoming fewer, but more. To solve these problems, we must pay enough attention to the history and the locality of cultural and intellectual production, and only in specific time and space, can popular culture be properly assessed. In a sense, the analysis of the politics in popular culture will not only deepen popular culture study, but also open a window to the study of modernity.] [Author’s translatio Y1 - 2007 ER - TY - GEN A1 - Xu, Yanhua T1 - On the Novel Creation of Zhang Xianliang and Its Death Consciousness [论张贤亮的小说创作及其死亡意识], Master thesis, Chinese Modern and Contemporary Literature, Jilin University, Changchun, Jilin, China 2007.[application of Fromm's theories to art] N2 - Zhang Xianliang is very active in the Chinese literary world in 1980s. As one of the contemporary era writers who first wrote about the hungry, sex, high school students' premature love and city revolution with his unique life experience he was well known by his >self narrate biography< writing style. As one of the most controversial writers in new era, his unique spiritual world which was brought up by 22 years distressful reconstruction course became the non-exhausted source of writing later. During the early days of writing, the writer was wild about the grand narrative words. In virtual of the idea write of >emotion<, >sex< which ultimately pointed to politics embodied his utilitarian objective of >literature as tool<. The write intended to record one generation highbrows' distressful experience and the pursuit of never change until die, selfless dedication by writing individual's destiny. His works mainly express the writer's opinion of socialization which includes strong imply of speaking for society, for public, for revolution, and constantly pour out his misery brought by political movements, the political cause of lofty ideal hard to fulfill and the depress of ambition can't be put to good use. Zhang Xianliang's novels in the 1980s are the focus of research in the common world, which are famous as >Love words in prison<, >Story of old man Xing and dog<, >Spirit and flesh<, >Virescence tree<, >Half of the man is woman<. Along with the opening of revolution, traditional view of value is gradually leaning aside; the pure literature which used to monopolize the literature world is pushed out to the edge, gone forever. The exterior social environment directly results in the desalting and clearing up of the highbrow elites' consciousness. Therefore Zhang Xianliang's evening works also have some changes, his utility color of >literature as tool< has faded out. Instead he paid more attention to the inner struggle, misery and desperation. During this inner change, the writer chose to profoundly self-questioning about the historical incidents, personal experience instead of losing his own writing style during the phase of literature to merchandize, entertainment. His poem >Gale song< says: >If I don't create, don't suffer / if I'm not brave enough, not strong / if I'm not in the vulgar, knowing, bureaucratic circle / be a traitor? Am I a little like myself?< He deserves commend for holding his ground fort his creation of pure literature. Between late 1980s and early 1990s, Zhang Xianliang published novels >Adolescence<, >My puti tree<, >Good morning, friend!<, >Be used to death<, etc., in succession. But they still can't bring the comment world's recognition like former days. This is because the creation idea of the writer, material choose, taste decoration, etc, also affected by the reading taste of the current readers. This paper mainly focuses on the research of Zhang Xianliang's works in 1980s, especially his magnum opus >half of man is woman< and the research of female image in his works, and has reached a comparative high science level. Besides, the leading characters in Zhang Xianliang's works are mostly highbrows, almost all of them are >read man< who are exiled, reformed of criminals through labor, abandoned by society. He connected personal misery with national misery in order to provide personal misery with universal enlighten meaning of transcending the individual. The leading characters Zhang Yonglin, Xulingjun, Shizai, Longzhong, Wei Tiangui and Chen Baotie were both sufferers and heroes who helped theworld, pleaded for the people. The writer related his own miserable experience with national disasters, when talking about politics, >emotive play< is an inevitable par of Zhang Xianliang's works. So there were a series of female images, Mayinghua, Huangxiangjiu, Qiaoanping who served as a foil to male images. This made the forms more complete for the writer to express personal feelings and wishes, it's actually a practical approach to consider era history. As Professor Chen she says, this inevitably adds a layer of imaginary color to those highbrows' sufferer images, which embodies their effort to build highbrow legend between civilian and miaotang. Also it unfolded a kind of crush complex on their own experience of this set of highbrows. The writer particularity spread the suffering scene and psychology contrary of the highbrow, at the same time he expressed incline to hallow the misery of highbrows. The literature world spreads drastic discussion surrounding this kind of incline. Actually, this incline has already changed and even disappeared in Zhang Xianliang's evening works. The author of this paper especially regards and likes >My puti tree<, so quite large length of this paper analyzes this novel quite thoroughly. In fact, most readers neglect an important and pressing angle of view when paying too much attention to the >reform of criminals through labor complex that is too strong to resolve<: consciousness of death. Through some presentative things, we find a lot of descriptions about death in Zhang Xianliang's novels. The purpose of me choosing death complex as the cut-in point of unscrambling Zhang Xianliang's works is to differentiate the analysis of high brows images, female images, text rational color of previous comment papers, here through thoroughly reading the text, we can experience the subjective and unique feeling brought by that special age, and comprehend Zhang Xianliang's text creation again through the consciousness of death point of view. The discussion of this paper is made up of three parts.– 1. The beginning of consciousness of death. In this part, the author tries to search the death memory in the political incidents experienced by the writer, finds out the fundamental reason of consciousness of death in Zhang Xianliang's works. At the same time the author combines the writer's description of death, describes how the writer exhibit this kind of consciousness of death to the readers.– 2. Life experience and change of >consciousness of death<. The second part divides his works into three phases according to the differences of death expression in Zhang Xianliang's works, namely former escape, medium-term struggle and terminal deeply self-questioning. Through reading the text thoroughly, the author analyzes the transition of Zhang Xianliang's death idea in detail, and tries to find out the internal reason that causes this transition.– 3. Philosophy view of Zhang Xianliang's death idea. According to the philosophy thinking of death of Freud, Fromm, etc, the author further perceives the complex of tyrannizing and suffering, the death trend of returning to goddess, returning to mother's belly which are covered by the death narrate in Zhang Xianliang's works from a rational point of view. Looking at all of Zhang Xianliang's works on the contrary, the author sets him a new position in the history of literature from literature theme, lingual style, character image. This kind of cut-in point of research provides a newer point of view for researching Zhang Xianliang which also provides multi ways for researching, deep thinking for science, coexistence of various opinions, and will doubtless make science judgments more objective, justly, drive the development to free search of Zhang Xianliang. N2 - 本文试图通过文本细读的方式深入体会那个特殊年代带给作家的主观体验和独特感受,从死亡意识这一角度对其文本创作进行再理解。从三个方面的论述展开:一、死亡意识之萌生。在这一部分中,笔者试图追寻作家经历的政治事件中的死亡记忆,找出张贤亮作品之所以存在死亡意象的根本原因。同时结合作家对死亡的书写,表述作家又是如何将这种死亡意象展现给读者的。二、生命体验与>死亡意识<的转变。第二部分根据张贤亮作品中对死亡表现的不同,将其创作划分为三个阶段,即前期的逃避、中期的挣扎及后期的对死亡的深刻反思。通过文本细读,详细分析张贤亮死亡观念的转变,并力图寻找出这种转变的内在原因。三、张贤亮死亡观之哲学观照。根据弗洛伊德、弗洛姆等哲学家对死亡的哲学思考,进一步从理性角度透视张贤亮作品中死亡叙述掩盖下的施虐与受虐情结,及回归洛神,返归母腹的死亡倾向。并从文学主题、语言风格、人物形象等方面概括张贤亮的总体创作情况。 Y1 - 2007 ER - TY - JOUR A1 - Xu, Wenyue T1 - The Needs of Human Nature – Referring to Erich Fromm's >Marx Concept< [人之本性的诉求——读弗洛姆的《马克思关于人的概念》 JF - Journal of the Party School of CPC Zhengzhou Municipal Committee [中共郑州市委党校学报], No. 1 (2007), pp. 9-11. N2 - 对人的本性的诉求是贯穿在弗洛姆《马克思关于人的概念》这部著作中的主线,也是其人本主义马克思观的理论之基。弗洛姆以此出发阐释了其对马克思的人的概念、人的本质、异化理论及共产主义等问题的理解,虽多有偏颇,但对我们从另一个角度更全面地理解马克思也颇有启示和意义。 N2 - Aspirations of human nature throughout the mainline Fromm, >Marx concept< book the humanist Marxist concept of the theory of the base. Fromm this starting to explain the concept of Marx, human nature, alienation understanding of the theory and communism, many biased, but from another angle, a more comprehensive understanding of Marx is also quite inspiration and meaning. [automatic translation] Y1 - 2007 ER - TY - GEN A1 - Wu, Xia T1 - Lack of Motherly Love and Female Creation – Duras and Eileen Chang Comparative Study [缺失性母爱与女性创作 – 杜拉斯和张爱玲的比较性研究], Master thesis, Comparative Literature and World Literature, Zhengzhou University, Zhengzhou, Henan, China 2007 [application of Fromm's theories to art]. N2 - Chinese writer Zhang Ailing [Eileen Chang] and French writer Duras’ life occupies the identical time and they all were outstanding in extremely have the individuality female writer at that time. Moreover their work presents the similar main idea. This article discusses their work’s similarity from two aspects. First, they all not carries on to the traditional mother image, portrayed a series of crazy, selfish mother image >the wicked mother<. Second, their writing love always with the main key which despairs relates in together, or is the abstract passion washes out the love, or is realistic strangles the love. In brief, seeks the love is despairs.– In first chapter and the second chapter by the work separately the love subject analysis which and despairs after the mother image, and in the third chapter, creates the viewpoint from the writer which discusses to explain why they can display these two similar subjects. By Tong Qing Bing’s >Flaw Experience<, Cious’s >The Source of Female Writer’s< and Fromm’s >The Art of Loving< to discuss artistic which Zhang Ailing and the Duras’s wound childhood experience especially the maternal love flaw enables them to become the writer and the influence which creates to their disposition and the work color. Zhang Ailing and Duras also all is the time feeling greatly strengthened writer, their work has displayed the survival condition which the modern people in differently despairs, thus enable their work to have the world literature subject research the significance. N2 - 中国作家张爱玲和法国作家杜拉斯的生活处在同一个时代,她们都是优秀的在当时极具个性的女作家,而且她们的作品呈现出相似的主体意蕴。本文从两个方面来探讨她们作品主题的相似性,其一是她们都对传统母亲形象进行解构,刻画了一系列疯狂偏执、自私变态的>恶母<形象;其二是她们笔下的爱情总是与绝望的基调联系在一起,或者是抽象的情欲冲散爱情,或者是现实的物欲扼杀爱情,总之,寻找爱情是绝望的。在第一章和第二章以作品分别对母亲形象和绝望的爱情主题分析之后,在论文的第三章,从作家创作论的观点来解释为什么她们会表现出这两个相似的主题,以童庆炳的>缺失性经验<、西苏的女性写作源头论以及弗洛姆>爱的艺术<共同来看张爱玲和杜拉斯的创伤性的童年经验特别是母爱的缺失让她们成为作家并对她们的性格和作品色彩造成的影响。张爱玲和杜拉斯同时也都是时代感极强的作家,她们的作品表现了现代人冷漠绝望的生存状态,从而使 她们的作品具有世界文学主题研究的意义。 Y1 - 2007 ER - TY - JOUR A1 - Wilde, Lawrence T1 - The Ethical Challenge of Touraine's >Living Together< JF - Journal of Global Ethics, Vol. 3, No. 1 (2007), pp. 39-53. [Online ISSN 1744-9634] [doi.org/10.1080/17449620600991564] N2 - In >Can We Live Together?< Alain Touraine combines a consummate analysis of crucial social tensions in contemporary societies with a strong normative appeal for a new emancipatory >Subject< capable of overcoming the twin threats of atomisation or authoritarianism. He calls for a move from >politics to ethics< and then from ethics back to politics to enable the new Subject to make a reality out of the goals of democracy and solidarity. However, he has little to say about the nature of such an ethics. This article argues that this lacuna could usefully be filled by adopting a form of radical humanism found in the work of Erich Fromm. It defies convention in the social sciences by operating from an explicit view of the >is< and the >ought< of common human nature, specifying reason, love and productive work as the qualities to be realised if we are to move closer to human solidarity. Although there remain significant philosophical and political differences between the two positions, particularly on the role to be played by >the nation<, their juxtaposition opens new lines of inquiry in the field of cosmopolitan ethics. Y1 - 2007 ER - TY - BOOK A1 - Whittington, Dean T1 - Beaten Into Violence. Anger, Masculinities, Alcohol, Narcotics. Bloomington, IN (AuthorHouse) 2007. Y1 - 2007 N1 - Ex libris Marco Bacciagaluppi ER - TY - JOUR A1 - Whitehead, Clay C. T1 - Review Jerome A. Winer (Ed.): The Annual of Psychoanalysis, Rethinking Psychoanalysis and the Homosexualities JF - The Journal of the American Academy of Psychoanalysis, Vol. 35 (2007), pp. 340-344. Y1 - 2007 ER - TY - JOUR A1 - Wharton, Ralph N. T1 - Review Jerome Kagan: An Argument for Mind JF - The Journal of the American Academy of Psychoanalysis, Vol. 35 (2007), pp. 691- Y1 - 2007 ER - TY - JOUR A1 - West, Sharon T1 - Female Command Presence: Different Problems, Different Powers JF - The Journal of the American Academy of Psychoanalysis, Vol. 35 (2007), pp. 085-096. Y1 - 2007 ER - TY - JOUR A1 - Weinstein, Robert S. T1 - What Heals in Psychoanalysis? JF - Psychoanalytic Inquiry, Vol. 27, No. 3 (2007), pp. 302-309. [Online ISSN 1940-9133] [doi.org/10.1080/07351690701389494] N2 - This article explores the essential role of love and understanding in analysis. Love is seen as a healing force keeping the patient connected to life and to health, and as the glue that cements the analytic process. The four components of love which describes – care, respect, responsibility, and knowledge – are the heart of all successful analysis. Two case studies illustrate how the positive countertransference may be used therapeutically to help patients move towards healthy self-esteem and self-care, and a more benevolent and loving relatedness. Y1 - 2007 ER -