Julie L Lockwood
《暴风雪中的白鸟》影评观后感
《暴风雪中的白鸟》影评观后感导演: 格雷格•阿拉基编剧: 格雷格•阿拉基主演: 谢琳•伍德蕾 / 伊娃•格林 / 安吉拉•贝塞特 / 加布蕾•丝迪贝 / 克里斯托弗•米洛尼 / 雅各布•雅迪斯 / 希罗•弗南德兹 / 戴尔•迪奇 / 雪莉•李 / Ava Acres / 马克•印第里凯托 / Brenda Koo / 迈克尔•帕特里克•麦克吉尔 / 克莱特•斯通 / Brandy Futch类型: 剧情 / 惊悚制片国家/地区: 法国 / 美国语言: 英语上映日期: 2014-01-20(圣丹斯电影节) / 2014-09-25(美国) / 2014-10-15(法国)片长: 91分钟又名: 反思中的娇娇女暴风雪中的白鸟的剧情简介• • • • • •影片根据美国女作家劳拉•卡塞斯克（Laura Kasischke）1999年的同名小说改编。
故事背景设在1980年代，美国郊区中产家庭。
伍德蕾扮演的凯特17岁时，美丽神秘，同时又是个完美家庭主妇的母亲（爱娃•格林饰）忽然消失。
对于从小生活在压抑家庭环境中的凯特，母亲的失踪几乎是一种“松了一口气”的窃喜和安慰。
但随着时间的推移，她渐渐发现了这件事情对于自己的影响。
大学放假回家，她忽然发现了母亲离家的真相，意识到种种线索当时就在她眼前，自己却未曾发现。
一开始就是冲着伊娃格林去的，没有想到女神竟然就是一个打酱油的角色，不过没有想到的就算是女神在打酱油也还是能让我惊艳到，尤其是那身翠绿色的比基尼穿在身上躺在游泳池边的躺椅上的时候着实又把我给惊艳到了。
电影的导演似乎一直都在悬疑上面下功夫，而且还是下了很大的功夫，但是，用力过猛之后导致的结果就是把电影的主题给跑偏了，凯特作为一个故事的讲述人，从她的嘴中我们看到了一个不幸的家庭故事，一段不幸得婚姻。
美丽的母亲河自己的父亲结婚之后没有过就生活就开始出现问题了，她认为一切都是自己母亲的错，她想和那个看起来很是平庸的父亲在一起生活，那栋房子，这段婚姻成为了母亲的绊脚石，从一开始她就带着自己先入为主的思想同情着自己的父亲，同时也痛恨这自己的母亲，因为那个女人曾经干涉过自己和男朋友交往，并且还试图勾引自己的男朋友。
爱丽丝,沃克紫色简介sunny.
◆亚马逊女性主义（Amazon feminism） ◆文化女性主义 ◆生态女性主义（ecofeminism） ◆自由意志女性主义（libertarian feminism）或个人女 性主义（individualist feminism） ◆唯物女性主义（material feminism） ◆性别女性主义 ◆法国女性主义 ◆大众女性主义（pop feminism） ◆自由女性主义 ◆马克思女性主义（Marxist feminism） ◆社会女性主义（socialist feminism） ◆激进女性主义（radical feminism） ◆性解放女性主义（sexually liberal feminism或sexpositive feminism） ◆心灵女性主义（spiritual feminism） ◆隔离女性主义 ◆第三世界女性主义 ◆跨性别女性主义（transfeminism）
我们可以找到她早年生活滞留下来的某些痛苦记忆以及她对这一段婚姻的反思。艾丽斯随后辞去工作 开始专职写作，在旧金山，她遇上《黑人学者》的编辑罗伯特·亚伦，不久即与之共同生活。
女性主义（女权运动、女权主义）是指一个主要以女性 经验为来源与动机的社会理论与政治运动。在对社会关 系进行批判之外，许多女性主义的支持者也着重于性别 不平等的分析以及推动妇女的权利、利益与议题。 女性主义理论的目的在于了解不平等的本质以及着重在 性别政治、权力关系与性意识（sexuality）之上。女性 主义政治行动则挑战诸如生育权、堕胎权、教育权、家 庭暴力、产假（maternity leave）、薪资平等、投票权、 性骚扰、性别歧视与性暴力等等的议题。女性主义探究 的主题则包括歧视、刻板印象、物化（尤其是关于性的 物化）、身体、家务分配、压迫与父权。 女性主义的观念基础是认为，现时的社会建立于一个男 性被给予了比女性更多特权的父权体系之上。 现代女性主义理论主要、但并非完全地出自于西方的中 产阶级学术界。不过，女性主义运动是一个跨越阶级与 种族界线的草根运动。每个文化下面的女性主义运动各 有其独特性，并且会针对该社会的女性来提出议题，比 如苏丹的性器割除（genital mutilation，请见女性割礼） 或北美的玻璃天花板效应（glass ceiling）。而如强奸、 乱伦与母职则是普世性的议题。
纽伯瑞金奖小说中英文名及蓝思指数精要
纽伯瑞金奖小说中英文名及蓝思指数Lexile 520 Flora and Ulysses by Kate DiCamillo (2014）弗洛拉和尤利西斯Lexile 560 Sarah, Plain and Tall by Patricia MacLachlan (1986) 又丑又高的莎拉Lexile 570 Carry On, Mr. Bowditch by Jean Lee Latham (1956) 加油，鲍迪奇先生Lexile 570 The Whipping Boy by Sid Fleischman (1987) 挨鞭童Lexile 570 The One and Only Ivan by Katherine Applegate (2013) 独一无二的伊万Lexile 610 A Year Down Yonder by Richard Peck (2001）背井离乡的365天Lexile 620 M.C. Higgins the Great by Virginia Hamilton (1975) 了不起的M.C.希金斯Lexile 650 Strawberry Girl by Lois Lenski (1946) 草莓女孩Lexile 660 Holes by Louis Sachar (1999) 别有洞天Lexile 670 Number the Stars by Joan Lowery Nixon (1990) 数星星Lexile 670 Tale of Despereaux by Kate DiCamillo (2004) 浪漫鼠佩罗Lexile 700 From the Mixed-Up Files of Mrs. Basil E. Frankweiler, E.L. Konigsburg (1968) 天使雕像Lexile 710 Dicey’s Song by Cynthia Voigt (1983) 孤女悲歌Lexile 710 Onion John by Joseph Krumgold (1960) 洋葱约翰Lexile 710 Secret of the Andes by Ann Nolan Clark (1953) 安第斯山脉的秘密Lexile 710 The Wheel on the School by Meindert De Jong (1955) 学校屋顶上的轮子Lexile 740 A Wrinkle in Time by Madeleine L’Engle (1963) 时间的皱纹Lexile 740 Kira-Kira by Cynthia Kadohata (2005) 亮晶晶Lexile 740 Shadow of a Bull by Maia Wojciechowska (1965) 公牛的阴影Lexile 750 Miracles on Maple Hill by Virginia Sorensen (1957) 枫树山的奇迹Lexile 750 The Westing Game by Ellen Raskin (1979) 威斯汀游戏Lexile 750 When You Reach Me by Rebecca Stead (2010) 当你找到我Lexile 750 The Crossover by Kwame Alexander (2015) 跨界Lexile 760 The Bronze Bow by Elizabeth George Speare (1962) 青铜弓箭Lexile 760 The Giver by Lois Lowry (1994) 授者Lexile 770 Walk Two Moons by Sharon Creech (1995)Lexile 780 . . . And Now Miguel by Joseph Krumgold (1954) 难忘牧羊人Lexile 780 Crispin: The Cross of Lead by Avi (2003) 铅十字架的秘密Lexile 780 Shen of the Sea by Arthur Bowie Chrisman (1926) 海神的故事Lexile 790 Mrs. Frisby and the Rats of NIMH by Robert C. O’Brien (1972) 费里斯比夫人和尼姆老鼠Lexile 810 Bridge to Terabithia by Katherine Paterson (1978) 仙境之桥Lexile 810 It’s Like This Cat by Emily Neville (1964) 就是这样，猫儿Lexile 810 Roller Skates by Ruth Sawyer (1937) 滑轮冰鞋Lexile 810 Thimble Summer by Elizabeth Enright (1939) 银顶针的夏天Lexile 820 Maniac Magee by Jerry Spinelli (1991) 马尼亚可传奇Lexile 820 Criss Cross by Lynne Rae Perkins (2006) 生命交叉点Lexile 820 Moon over Manifest by Claire Vanderpool (2011) 阿比琳的夏天Lexile 820 The Graveyard Book by Neil Gaiman (2009) 坟场之书Lexile 830 Call It Courage by Armstrong Sperry (1941) 海上小勇士Lexile 830 King of the Wind by Marguerite Henry (1949) 风之王Lexile 830 The Summer of the Swans by Betsy Byars (1971) 夏日天鹅Lexile 840 Johnny Tremain by Esther Forbes (1944) 乔尼ž特瑞美Lexile 850 The Witch of Blackbird Pond by Elizabeth George Speare (1959) 黑鸟池塘的女巫Lexile 860 Julie of the Wolves by Jean Craighead George (1973) 狼群中的朱莉Lexile 860 The Voyages of Doctor Dolittle by Hugh Lofting (1923) 杜立特医生航海记Lexile 860 The Matchlock Gun by Walter Edmonds (1942) 火枪Lexile 870 Miss Hickory by Carolyn Sherwin Bailey (1947) 山胡桃小姐Lexile 880 Jacob Have I Loved by Katherine Paterson (1981) 我和我的双胞胎姐妹Lexile 890 Caddie Woodlawn by Carol Ryrie Brink (1936) 凯蒂ž伍德劳恩Lexile 890 Shiloh by Phyllis Naylor (1992) 喜乐与我Lexile 890 Young Fu of the Upper Yangtze by Elizabeth Foreman Lewis (1933) 扬子江上游的小傅Lexile 900 Sounder by William H. Armstrong (1970) 大嗓门传奇Lexile 900 The High King by Lloyd Alexander (1969) 高大的国王Lexile 910 Dear Mr. Henshaw by Beverly Cleary (1984) 亲爱的汉修先生Lexile 910 Rifles for Watie by Harold Keith (1958) 给威蒂的枪Lexile 920 A Single Shard by Linda Sue Park (2002) 碎瓷片Lexile 920 Roll of Thunder, Hear My Cry by Mildred D. Taylor (1977) 黑色棉花田Lexile 920 Dead End in Norvelt by Jack Gantos (2012) 诺维特小镇的尽头Lexile 930 The Grey King by Susan Cooper (1976) 灰国王Lexile 950 Bud, Not Buddy by Christopher Paul Curtis (2000) 巴德，不是巴迪Lexile 960 A Gathering of Days: A New England Girl’s Journal, 1830-1832 by Joan W. Blos (1980) 日子的聚会Lexile 970 The Slave Dancer by Paula Fox (1974) 月光之号Lexile 980 Missing May by Cynthia Rylant (1993) 想念梅姨Lexile 990 Ginger Pye by Eleanor Estes (1952) 金吉·派伊Lexile 990 The Door in the Wall by Marguerite De Angeli (1950) 墙上的门Lexile 1000 Island of the Blue Dolphins by Scott O’Dell (1961) 蓝色海豚岛Lexile 1000 The Cat Who Went to Heaven by Elizabeth Coatsworth (1931) 上了天堂的猫Lexile 1010 The Higher Power of Lucky by Susan Patron (2007) 乐琦的神奇力量Lexile 1020 The White Stag by Kate Seredy (1938) 白牡鹿Lexile 1030 Adam of the Road by Elizabeth Janet Gray (1943) 大路上的亚当Lexile 1040 Gay Neck, the Story of a Pigeon by Dhan Gopal Mukerji (1928) 花颈鸽Lexile 1050 Rabbit Hill by Robert Lawson (1945) 兔子坡Lexile 1070 The Twenty-One Balloons by William Pène du Bois (1948) 二十一个气球Lexile 1090 Amos Fortune: Free Man by Elizabeth Yates (1951) 自由人Lexile 1100 I, Juan de Pareja by Elizabeth Borton De Trevino (1966) 我，胡安·德·朴瑞哈Lexile 1110 Lincoln: A Photobiography by Russell Freedman (1988) 林肯：自画像Lexile 1120 The Hero and the Crown by Robin McKinley (1985) 英雄的皇冠Lexile 1130 Up a Road Slowly by Irene Hunt (1967) 在路上漫步Lexile 1150 Invincible Louisa by Cornelia Meigs (1934) 不可征服的路易莎：小妇人作者的故事Lexile 1180 Hitty, Her First Hundred Years by Rachel Field (1930) 海蒂：木偶百年历险记Lexile 1200 The Trumpeter of Krakow by Eric P. Kelly (1929) 波兰吹号手Lexile 1230 The Dark Frigate by Charles Hawes (1924) 黑暗护卫舰Lexile 1240 The Midwife’s Apprentice by Karen Cushman (1996) 孤女流浪记Lexile 1240 The View From Saturday by E.L. Konigsburg (1997) 相约星期六Lexile 1260 The Story of Mankind by Hendrik Willem van Loon (1922) 人类的故事Lexile 1320 Tales from Silver Lands by Charles Finger (1925) 银色大地的传说Lexile NC1440 Smoky, the Cowhorse by Will James (1927) 牧牛小马斯摩奇暂未有蓝思分级信息的获奖书：Laura Adams Armer. Waterless Mountain. (1932) 荒泉山Monica Shannon. Dobry. (1935) 杜伯瑞James Daugherty. Daniel Boone. (1940) 丹尼尔ž布恩Nancy Wi llard. A Visit to William Blake’s Inn. (1982) 威廉ž布莱克旅店的一次访问Paul Fleischman. Joyful Noise: Poems for Two Voices. (1989) 欢愉的喧嚣Karen Hesse. Out of the Dust. (1998) 风儿不要来Laura Amy Schlitz. Good Masters, Sweet Ladies! Voices from a medieval village. (2008) 好心的大爷！帮帮忙！附录：对于英语为母语的学生，蓝思官方提供的蓝思级别与年级对照表可供参考：年级蓝思级别1 - Up to 300L2 - 140L to 500L3 - 330L to 700L4 - 445L to 810L5 - 565L to 910L6 - 665L to 1000L7 - 735L to 1065L8 - 805L to 1100L9 - 855L to 1165L10 - 905L to 1195L11 and 12 - 940L to 1210L古今名言敏而好学，不耻下问——孔子业精于勤，荒于嬉；行成于思，毁于随——韩愈兴于《诗》，立于礼，成于乐——孔子己所不欲，勿施于人——孔子读书破万卷，下笔如有神——杜甫读书有三到，谓心到，眼到，口到——朱熹立身以立学为先，立学以读书为本——欧阳修读万卷书，行万里路——刘彝黑发不知勤学早，白首方悔读书迟——颜真卿书卷多情似故人，晨昏忧乐每相亲——于谦书犹药也，善读之可以医愚——刘向莫等闲，白了少年头，空悲切——岳飞发奋识遍天下字，立志读尽人间书——苏轼鸟欲高飞先振翅，人求上进先读书——李苦禅立志宜思真品格，读书须尽苦功夫——阮元非淡泊无以明志，非宁静无以致远——诸葛亮熟读唐诗三百首，不会作诗也会吟——孙洙《唐诗三百首序》书到用时方恨少，事非经过不知难——陆游问渠那得清如许，为有源头活水来——朱熹旧书不厌百回读，熟读精思子自知——苏轼书痴者文必工，艺痴者技必良——蒲松龄声明访问者可将本资料提供的内容用于个人学习、研究或欣赏，以及其他非商业性或非盈利性用途，但同时应遵守著作权法及其他相关法律的规定，不得侵犯本文档及相关权利人的合法权利。
our town 中文版
桑顿•怀尔德（美国）翻译：姜若瑜校译：康强中央戏剧学院导演系演员：（以出场先后为序）舞台监督季布斯医生久•克洛威尔豪微•纽山姆季布斯太太威博太太乔治•季布斯蕊贝卡•季布斯瓦力•威博艾密丽•威博卫拉德教授威博先生包厢的女士观众席中的男士盒子中的女士席蒙•斯第文森萨莫斯太太魏任警官赛•克罗威尔打棒球的人久•思塔德助理舞台监督这个戏发生在新罕布什尔州的歌洛威尔小镇，1901年——1913年我们的小镇第一幕没有大幕。
没有布景。
观众到来时看见的是只开了一半灯的空空的舞台。
现在舞台监督头戴帽子、嘴里衔着烟斗上场，他开始在左边的下台口摆放一张桌子和几把椅子，也在右边放一张桌子和几把椅子。
“左”“右”的概念是演员面对观众而言。
“上”是接近天幕的部分。
当场灯将灭时，他摆完了桌椅并靠到了右边前台口的柱子旁，注视着刚刚到来的观众。
当场灯全灭时，他开始说话：舞台监督：这个戏叫“我们的小镇”。
编剧桑屯•怀尔德；制作和导演是某某。
在戏中你会看到某某小姐；某某先生，还有别的人。
这个小城的名字叫歌洛威尔小镇，新•罕布什尔州，刚刚穿过麻省的边界：经度为42度40分，纬度为70度37分。
第一幕是我们小镇的一天，时间是1901年5月7日破晓前。
（一只公鸡啼鸣）在山峦的背面，东边的天际开始有了一些霞光，早晨的星星在消失之前，格外的美丽。
（他看了一会，然后向舞台的后区走去）我最好让你们看看我们小镇的布局。
上边——（和天幕平行）是大街。
街的后面是火车站；铁道从这边延伸。
跨过铁道是波兰城，还有一些加拿大的家庭。
（走向左边）那边是公理会教堂；穿过街道是严守教规的长老教会；浸信教徒在河的那边；天主教堂在铁道的远处。
镇政府兼做邮局，地下室是监狱。
布拉扬有一次曾在这些石阶上演讲过。
沿着这边是一些小店铺，在店铺的前面是栓马的柱子。
第一辆汽车要五年后才会在这个小城出现，那辆车是我镇最有钱的公民银行家卡特来特的。
他住在山丘上的一所白色房子里。
这是食品店，这是墨根的杂货店，多数的人差不多每天都会光顾这两个小店。
《疯狂愚蠢的爱》暑期档最好的浪漫喜剧?
《疯狂愚蠢的爱》暑期档最好的浪漫喜剧？
佚名
【期刊名称】《电影世界》
【年(卷),期】2011(000)007
【摘要】《疯狂愚蠢的爱》导演:格伦·费卡拉、约翰·雷夸主演:史蒂夫·卡瑞尔、瑞恩·高斯林、朱丽安·摩尔、艾玛·斯通、玛丽莎·托梅类型:喜剧出品:华纳兄弟公司上映日期:2011年7月29日为史蒂夫·卡瑞尔量身订做的角色本片讲述斯蒂夫·卡瑞尔饰演的中年男子卡尔在遭妻子抛弃之后,学习如何重追女人,而瑞恩·高斯林则饰演大众情人雅各布,有点《全面情敌》的意思。
【总页数】1页(P94-94)
【正文语种】中文
【中图分类】J905
【相关文献】
1.2011年暑期档好莱坞大片"最后的疯狂"? [J], 沁缘
2.“换头术”:是愚蠢?还是疯狂? [J], 唐旭;苟兴春
3.《铤而走险》定档830暑期档最"猛"影片引期待 [J],
4.我疯狂，但绝不愚蠢 [J],
5.古装浪漫喜剧情人档花好月圆 [J], honey
因版权原因，仅展示原文概要，查看原文内容请购买。
《蓝色茉莉》:伍迪·艾伦回归“严肃”
《蓝色茉莉》：伍迪艾伦回归“严肃”
佚名
【期刊名称】《电影世界》
【年(卷),期】2013(000)007
【摘要】导演:伍迪·艾伦编剧:伍迪·艾伦主演:凯特·布兰切特、亚历克·鲍德温类型:
剧情、喜剧制片国家/地区:美国上映日期:2013年7月26日(美国)剧情简介:经历
了三部"风光片"的伍迪·艾伦终于在新片《蓝色茉莉》中回归到他挚爱的严肃戏剧。
影片讲述一位居住在纽约的富婆(凯特·布兰切特饰)不仅失去了金钱更失去了家庭,
只好到洛杉矶投奔自己的妹妹(莎莉·霍金斯饰),习惯锦衣
【总页数】1页(P132-132)
【正文语种】中文
【中图分类】J905
【相关文献】
1.女权主义很伟大伍迪·艾伦谈《蓝色茉莉》 [J], 汽车大师（编译）;
2.《蓝色茉莉》：伍迪·艾伦迟来的成功 [J], 赤陶陶（编译）;
3.伍迪·艾伦的意大利电影课影响伍迪·艾伦最深的四部意大利电影 [J],
4.《蓝色茉莉》中伍迪·艾伦的别样自我 [J], 王欣彦;刘景
5.从电影《蓝色茉莉》探讨伍迪·艾伦的叙事特色 [J], 何星
因版权原因，仅展示原文概要，查看原文内容请购买。
奥菲利娅的影子剧院
奥菲利娅的影子剧院《奥菲利亚的影子剧院》是由美国作家犹达-荣斯坦（Judith Rossner）所著的一部心理小说。
该小说于1979年出版，被翻译成多种语言，并成为畅销书。
本书的原名为《Looking for Mr. Goodbar》，意为“寻找好男人”，但在电影改编时被改为了《奥菲利亚的影子剧院》。
《奥菲利亚的影子剧院》讲述了主人公泰莉丝（Theresa）的生活故事。
泰莉丝是一名年轻的教师，她满足不了传统社会对女性角色的期待。
她喜欢独立自主、自由地生活，不愿承担婚姻的束缚和责任。
虽然泰莉丝在职业上很成功，却在情感生活中并不幸福。
为了满足自己的欲望和快乐，泰莉丝开始与各种男人交往。
她深陷一夜情的圈子，寻找刺激和短暂的满足感。
她在夜店里遇到了各种各样的男人，但却找不到那个真正能给她安全感和满足她欲望的男人。
在泰莉丝认识了外号为马丁的男人后，她的生活开始发生了变化。
马丁是一个有暴力倾向的人，他和泰莉丝开始了一段危险的恋情。
泰莉丝陷入了虐待和暴力的漩涡中，在矛盾的欲望与恐惧之间无法自拔。
最终，泰莉丝在这段危险的恋情中遭受到了致命的打击，生命被无情地夺走。
她成了另一个只为满足男人欲望而存在的女人。
她的一生就像一个影子剧院，充满了黑暗、痛苦和无尽的欲望。
《奥菲利亚的影子剧院》通过泰莉丝的生活故事，探讨了女性在传统社会中的束缚与追求自由的冲突。
小说中对性与暴力的描写直观而震撼，引发了读者对于性别平等、女性权益等问题的思考。
小说也对现代社会中的道德沦丧和个体探索的困境提出了质疑。
通过《奥菲利亚的影子剧院》，犹达-荣斯坦向读者呈现了一个现实而残酷的社会画面，并让人们意识到，对于一名女性来说，要想追求真正的快乐和满足，并不是一件容易的事情。
该小说引发了广泛的讨论和争议，被认为是20世纪70年代美国文学中的经典之作。
流动的性别-酷儿理论视角下的《新夏娃的激情》
摘要安吉拉·卡特（1940-1992），英国最具独创性的女性作家之一。
她的作品以天马行空的想象力见长，在西方是一位有较大影响力并被广泛阅读的作者。
《新夏娃的激情》是安吉拉·卡特的第七部小说。
小说中，卡特彻底颠覆现存的生理性别与社会性别，呈现给读者一个混乱、颠倒、流动的全新两性世界。
酷儿理论( Queer Theory）是20世纪90年代在西方兴起的文学批评理论。
“酷儿 (Queer)”指的是在文化中所有非常态的表达方式，是所有在性倾向方面与主流文化和占统治地位的社会性别规范或性规范不一致的人。
它批判性地研究生理的性别决定体系、社会的性别角色和性取向。
酷儿理论认为性别认同和性取向不是“天生”的，而是在社会和文化的同化过程中形成的。
酷儿理论质疑传统的异性恋霸权，反对传统的性别观点对人们的压制和禁锢。
安吉拉·卡特的作品是伴随着酷儿理论产生的背景及发展过程而创作出来的。
特别是她的重要小说《新夏娃的激情》，阐述了“酷儿理论”的许多新视点，如男权下的异性恋、扭曲的一元世界、和谐的双性同体、超性别之恋以及性别操演。
小说描述了主人公艾弗林变性前后对自身性别认知的心理变化，“母亲”和“零”扭曲的一元世界，特里丝岱莎的变装，以及新夏娃和特丽丝岱莎的超性别之爱。
这些现象表明，安吉拉‧卡特理想中的两性关系是超二元对立，即男女霸权话语均得到消解后两性完美的融合，是打破性别约束之后的自我重建。
本文的意义在于通过分析《新夏娃的激情》所体现的酷儿思想，使人们对生理性别及社会性别有更好的理解，从而建立更加和谐包容的两性社会。
关键词：安吉拉·卡特；《新夏娃的激情》；酷儿理论；流动性AbstractAngela Carter (1940-1992), is one of the most original female writers, and her works make a feature of wild and fantastical imagination. She is also an influential writer whose works are widely read in west. The Passion of New Eve is Angela Carter‘s seventh novel, it is set in the background of American Civil War. In the novel, Carter completely subvert biological sex and cultural gender, presents to the reader a chaotic, reverse and flowing world.The ―Queer Theory‖ is a new critical theory that rose in the west in 1990s. As the abnormal expression of the culture, the ―Queer‖refers to those people whose sexual orientations are different from the mainstream culture and the dominant social gender and sexual norms. This theory conducts the research about the physiological sex-determination system, the social gender role and the sexual orientation critically. According to this theory, the gender identity and the sexual orientation are not inborn but develop in the process of social and cultural assimilation. The ―Queer Theory‖ opposes against the hegemony of the traditional heterosexuality and the imprisonment of the traditional gender perspective.Angela Carter‘s works are produced under the background of Queer Theory‘s emergence and development. Especially, The Passion of New Eve, one of her major works, interprets many new viewpoints of Queer Theory, such as the androcentric heterosexuality under male patriarchy, the twisted monistic world, harmonious androgynies, drag performance of Tristessa and the performativity in New Eve. The novel describes Evelyn‘s change of gender identity before and after the transsexual surgery, the twisted monistic world created by Mother and Zero, Tristessa‘s drag performance and the ultra-sex love between Tristessa and New Eve. All these parts illustrate that the author‘s ideal sexual relations is to go beyond the binary oppositions between man and woman—the perfect combination in men and women after decomposing hegemonic discourse, and theself-construction after breaking the binary gender constraints.The significance of this thesis is that by analyzing The Passion of New Eve, we may have a better understanding of sex and gender and it will be helpful to build a more harmonious and inclusive society.Key Words: Angela Carter; The Passion of New Eve; Queer Theory; fluidContents摘要 (i)Abstract .......................................................................................................................... i i Chapter 1 Introduction (1)1.1 Angela Carter and Her Works (1)1.2 Literature Review (4)1.2.1 Overseas Research Status (4)1.2.2 Domestic Research Status (7)1.3 Angela Carter and Queer Theory (8)Chapter 2 Queer Theory (10)2.1. The Modern Background of Queer Theory (11)2.1.1 The Emergence of Feminist Literary Criticism (11)2.1.2 Michel Foucault and Discourse Space Theory (12)2.1.3 Jacques Derrida and the Deconstruction of Logocentrism (13)2.1.4 Jacques Lacan and the Three Orders (14)2.2 The Major Points of Queer Theory (15)2.2.1 Queer Theory and Heterosexuality & Homosexuality (16)2.2.2 Queer Theory and Androgyny (17)2.2.3 Queer Theory and Gender Performativity (19)Chapter 3 Rebellion Against Dichotomy of Gender (21)3.1 Evelyn and Leilah: the Androcentric Heterosexuality (21)3.2 The Twisted Monistic World (23)3.2.1 ―Mother‖ and Her Female Utopia (24)3.2.2 Zero and His Patriarchy Kingdom (25)Chapter 4 Fluid Gender in The Passion of New Eve (28)4.1 The Performativity in New Eve (28)4.2 The Drag Performance of Tristessa (31)4.3 New Eve and Tristessa: Harmonious Androgynes (33)Chapter 5 Conclusion (36)5.1 Major Findings (36)5.2 Limitations of the Present Study (37)Bibliography (38)Papers Published During the Study for M. A. Degree (42)Acknowledgements (43)Chapter 1 Introduction1.1 Angela Carter and Her WorksAngela Carter (1940-1992) was one of the Britain‘s most disturbing, original and controversial writers of the late 20th century, who won les models and Somerset Maugham Award. In 2008, Carter was ranked tenth in Times‘ list of ―The 50 greatest British writers since 1945‖(Times Jan.5, 2008). The year, 2006, has been called ―Carter‘s Year‖by English because of the unprecedented prosperous research achievements on her works. In the course of her career, Angela Carter wrote novels, short stories, journalism, radio plays, fairy tales, academic articles and pieces of cultural commentary. She could be variously described as a novelist, a short story writer, a journalist, a dramatist, a teacher or a critic. As Abigail Dennis said, ―Attempts to pin her oeuvre to a particular style or genre have been hampered by the discursive and thoroughly original nature of her writing, drawing as it does on sources as diverse as classical mythology, European folklore and fairytale, medieval fable, French surrealism, and popular culture, as well as postmodernist, feminist, psychoanalytic, and literary theories‖ (Dennis, 1999: 119).Angela Carter was born in Eastbourne, a large town in the south coast of England, and brought up by her maternal grandmother in industrial south Yorkshire since she was a child. In some sense, she breathed the world tales. Throughout her teenage years, she fought against anorexia. Her youth was also the neorealist fifties—the era of the ―glum poetry of domestic complaint‖ (Sage, 1994: 119). On the contrary, Angela Carter began to read the works of Symbolist poets such as Blake, Dada, the decadents, James Joyce, Baudelaire and Nabokov. And her reading brought her a dim view of the English literary fashions of her youth. This experience left traces in her later work and that‘s one of the reasons why she couldn‘t be found any sign of an English writer.After attending Streatham & Clapham High School in south London, she began working as a journalist on the Croydon Advertiser, following in his father‘s footsteps. Meanwhile, She married Paul Carter at twenty-one before she attended Bristol University, where she read English and majored in medieval literature. When she was in college, she widely read psychology, sociology, anthropology, myth and folklore.In the 1960s, she was reading Melville and Dostoevsky, plus ―the camp fiction of Ronald Firbank, the fables of Isak Dinesen, and the surrealist fiction of Cocteau‖(Showalter, 1998: 324). 1960s was also a period that the second wave of feminist movement fully launched like a raging fire. The influences of these movements would be found in her later novels. She wrote in Notes from the Front Line, ―The women‘s movement has been of immense importance to me personally, and I would regard myself as a feminist writer. ‖ ―I began to question … the nature of my reality as a woman. How that social fiction of my ‗femininity‘ was created, by means outside my control, and palmed off on me as the real thing‖ (Carter, 1997: 3). As an introduction John Smith wrote in 1997 in Shaking a Leg: Collected Journalism and Writings—―for she is in many senses a child of the 1960s‖ (Carter, 1997: 3). As well as Elaine Showalter described her ―As a thinker and writer, Carter was very much a product of the 1960s‖ (Showalter, 1998: 37). Angela Carter wrote her first novel, Shadow Dance, in 1965. In 1967, she won the John Llewellyn Rhys Prize with only her second novel, The Magic Toyshop, and her third, Several Perceptions, won the Somerset Maugham Award in 1968. In 1969, she published her fist post-apocalyptic novel Heroes and Villains.In 1969, Angela Carter left her 12-year marriage. She used her Somerset Maugham Award, 500 pounds, to travel all across the United States. This fellowship has been set up to help young English writers under the age of 35 to travel abroad. Then she went to live in Japan from 1969 to 1972 and relocate to Tokyo, where she claimed in Nothing Sacred(1982) that she ―learnt what it is to be a woman and became radicalized.‖ Her geographical distance from the British literary circlesintensified her sense of being an outsider. This is the period in which she claimed that her time in Japan was paradoxically responsible for both stimulating her fascination with the graphic extremism of pornographic forms and awakening her feminist consciousness. Over this decade, her fiction was increasingly self-reflexive and experimental, and also deliberately courted controversy. Her novels written over this period, including Heroes and Villains (1969),Love (1971), The Infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve(1977)remain among her most shocking and experimental, even though received a very lukewarm reception on their publication. She also wrote about her experiences there for New Society and her story collection, such as the story: A Souvenir of Japan in Fireworks: Nine Profane Pieces (1974).She then explored the United States, Europe and Asia, and she spent much of the late 1970s and 1980s as a teacher of writing in residence at universities, including the University of Sheffield in South Yorkshire, Brown University in the USA and the University of Adelaide in Australia. She also taught writing at the University of East Anglia from 1984 to 1987. ―Just as Carter spent much of her time travelling both in Britain and abroad, so the characters in her novels journeyed to America, Russia or Siberia‖ (Gamble 1997: 145).In 1977, Carter married Mark Pearce. In the same year, The Passion of New Eve was published. It is her only non-mythic novel, she mentioned it in Notes, ―I wrote one anti-mythic novel in 1977, The Passion of New Eve– I conceived it as a feminist tract about the social creation of femininity, amongst other things‖ (Gamble, 1997: 37). Her collection of short rewritten fairy tales, The Bloody Chamber and Other Stories, gained widespread attention. It was first published in the UK in 1979 and won the Cheltenham Festival Literary Prize in the same year. There was much controversy when Carter's penultimate novel, Nights at the Circus first published in 1984, but then it became that year's winner of the James Tait Black Memorial Prize for fiction.Angela Carter also translated the fairy tales of Charles Perrault in 1974, and inthe early nineties she edited The Virago Book of Fairytales (2 volumes). Her journalism appeared in almost every major publication; a collection of the best of these pieces was published by Virago in Nothing Sacred (1982). She also wrote poetry and film script. Her story ‗The Company of Wolves‘was made into a film together with Neil Jordan in 1984 and ‗The Magic Toyshop‘ was adapted for Granada Television in 1987. It was produced by Steve Morrison and directed by David Wheatley. Her last novel, Wise Children, was published to widespread acclaim in 1991. Angela Carter wrote this novel after she knew she had been diagnosed with cancer. She had a small son and a husband whom she would be leaving behind.Angela Carter‘s death at age fifty-one in February 1992 ―robbed the English Literary scene of one of its most vivacious and compelling voices‖ (Barker 1995: 14-16). Carter‘s enthusiasm for Japanese popular culture, American movies and magical realism, French surrealism, perverse sexuality, and carnivalesque masquerade marked a totally new turn in the English female literary tradition (Showalter 1998: 323). Categorizing Carter‘s mode of writing is quite difficult because of the fact that throughout her career, her narratives constantly negotiate and adjust their position on the margins of a variety of literary forms. C arter‘s acute observations are blend ed with her incisive matter-of-factness, her exceptional wit, her addiction for mockery, and her passion for the absurd. Carter persistently explores new territories and overturns old ideas. She loved to upset expectations, outrage convention and challenge preconceptions, which meant that the only thing she could be relied upon to do was the unexpected (Gamble 1997:2).1.2 Literature Review1.2.1 Overseas Research StatusOver Carter‘s 35-year‘s writing career, she published nine novels, six short fictions, five children‘s books and also some poetry collections, dramatic works,translations, radio plays, etc. Carter is the favorite of scholars and critics as always, ―She has been adopted, though not without disse nt, as one of the most astute feminist writers and critics of her generation‖ (Barker, 1995: 14-16).As Sarah Gamble notes, ―Since her death in 1992, Angela Carter's reputation has passed into academic urban legend. The story goes that, among the requests for grants for doctoral study received by the British Academy in the academic year 1992–3, there were 40 proposals to study Carter's work: more — and this is the punch-line —than the Academy received for the entire eighteenth century‖ (Gamble 1997:1).Her relationship with feminist critics and women's studies was an extremely ambivalent one. One of the most controversial areas of her work as far as feminists are concerned is both her apparent support for pornography, and her depictions of violence against women in her writing, which have led some critics to conclude that, in spite of the feminist opinions she began expressing from the late 1960s onwards, she actually only furthers reactionary portrayals of women as nothing more than the objects of male desire.One of the major researchers is Beth A. Boehm. In Wise Children: Angela Carter‟s Swan Song, Beth A. Boehm valued Wise Children as her ―swan song‖ which would burst forth into full and glorious song when it felt the approach of death, and she also valued the ending of Wise Children is ―Carter at her finest.‖ (Boehm 84) In her another essay published in Critique in 1995 entitled ―Feminist Metafiction and Androcentric Reading Strategies: Angela Carter‘s Reconstructed Reader in Nights at the Circus‖, she m ade a comparative study of account of the critical reception of Doris Lessing‘s The Golden Notebook (one of the first contemporary feminist metafictions) and Angela Carter‘s Wise Children. Lessing once bitterly complained about the many ―misreading‖ produc ed by critics of her novel and Gayle Greene explains why her intentions are always overlooked, ―the political implications of Lessing critique of ‗the forms‘ have still not been much noticed, which is why the novels feminism continues to be misunderstood.‖Then Beth A. Boehm labeledAngela Carter‘s Nights at the Circus ―a complex metafictional feminist novel‖ based on former premises. Upon Adam Mars Jones and Carolyn‘s failure to ―enter the authorial audience for Carter‘s texts‖ and their misreading result from their ―attempts to decode the novel using the very androcentric reading strategies that it attempts to undermine‖, Beth A. Boehm pointed out Nights at the Circus―offers a new model of erotic relationship between teller and be told‖ and she also indicated that ―Carter‘s feminist metafictions demand that … transforming ourselves into her ‗authorial‘ readers.‖Salman Rushdie called Wise Children Carter‘s ―finest‖ novel: ―In it, we hear the full range of her off-the-page, real-life voice. The novel is written with her unique brand of deadly cheeriness. It cackles gaily as it impales the century upon its jokes.‖ This passage Angela Carter, 1940-1992: A Very Good Wizard, a Very Dear Friend was published in New York Times Book Review in 1992.In Elaine Showa lter‘s A Literature of Their Own: British Women Novelists from Bronte to Lessing (1998), she talked about Angela Carter‘s female writing and her experimenting with an avant-garde literary style. Elaine Showalter concentrates on the Gothic and modernity in The Bloody Chamber and She pointed out that Angela Carter‘s fairy tale and the fable have provided a form for the women writers of her period.Studies on Carter's work are unprecedented widespread and ever-growing, employing more forms of essays, reviews and conference papers than book-length studies. Such as Feminist Metafiction and Androcentric Reading Strategies: Angela Carter‟s Reconstructed Reader in Nights at the Circus(1998) written by Beth A. Boehm in Critique, Patricia Juliana Smith‘s “The Queen of the Waste Land”: The Endgames of Modernism in Angela Carter‟s Magic Toyshop(2006)published in Modern Language Quarterly, Joanne Trevenna‘s Gender as Performance: Questioning the …Butlerification‟ of Angela Carter‟s Fiction(2002)in Journal of Gender Studies.Other researchers such as Lorna Sage, she is the editor of a volume of essays Flesh and the Mirror: Essays on the Art of Angela Carter (1994) and the author of Angela Carter (1994). Other Peach Linden‘s Angela Carter (1998),The Fiction of Angela Carter (2001), Angela Carter: A Literary Life (2004), Peter Childs‘s Contemporary Novelists: British Fiction Since 1970 (2005)and Critical Essays on Angela Carter (1998) edited by Tucker Lindsey. And other academic monographs include Lee Alison‘s Angela Carter (1997), Sarah Gamble‘s Angela Carter: Writing from the Front Line (1997) and Angela Carter and the Fairy Tale (2001) editied by Danielle M. Roemer & Critina Bacchilega.1.2.2 Domestic Research StatusThe domestic study of Angela Carter is not as prosperous as the studies abroad. it is quiet fall behind neither in quantity nor in quality. The Passion of New Eve has long been neglected. Not until 2005 did Taiwan scholar Yanyun translated her work Wise Children, then The Passion of New Eve in 2009 and Burning Your Boats in 2012. And then Wang Yuping introduced The Company of Wolves. The domestic researches on this novel mostly center on the fairy tales and the issues of feminism such as androgyny, binary opposition, anti-patriarchy etc. The studies on Angela Carter can be roughly divided into three aspects: the studies on feminism in her works, the studies on demythologizing or deconstructionism, the studies on modernism in her works. And it is generally confined to the research of her other works such as The Magic Toyshop, Heroes and Villains, The Infernal Desire Machines of Doctor Hoffman, Nights at the Circus and Wise Children,which seldom covers The Passion of New Eve.Both the doctoral theses ―Breaking the Magic Spell: From Body to Subject in Angela Carter‘s Rewriting of the Fairy Tale‖(2009) written by Mu Yang, ―Subversive Representation of Reality and Subjectivity in Angela Carter‘s Fiction‖ (2012) writtenby Zeng Xuemei make a detailed introduction of Carter.The theses ―Research on Carnivalization in Angela Carter‘s Novels‖(2012) written by Zhang Jun and ―Carnivalization in a Feminist World—Research on Nights at The Circus From The Perspective of Carnival Theory and Feminism‖(2012) written by Chai Yu explores the carnivalesque features in the novel. ―Means to Demythologize: On Intertextuality in Angela Carter‘s Short Stories‖ (2008) written by Lei Li and ―Towards a Harmonious Heterosexual Relationship in Angela Carter‘s Wolf Trilogy‖(2011) written by Tan Na and ―The Gothic in Angela Carter‘s Short Stories‖(2008) written by Hua Li analyze the postmodernism features in Angela Carter‘s works. In ―The Subversion of Gender Identity: An Introduction of The Passion of New Eve From the Postmodern Feminist Perspective‖ (2011) written by Jin Yidan and ―From Deconstruct ion to Reconstruction: On the Female Characters in Angela Carter‘s Fictions‖ (2009) written by Mo Fan, the authors analyze how Carter deconstruct convention about both gender and fairy tales.1.3 Angela Carter and Queer TheoryThe Passion of New Eve is Angela Carter‘s seventh novel published in 1977, while most of Angela Carter‘s works were created during her 1960s to 1980s. Queer Theory, at that time, is experiencing the stages of burgeon, development, prosperity and ripeness. As a matter of fact, the foundation of Queer Theory are derived from feminist criticism and women‘s stud ies, such as gay/lesbian issues. There has been a huge overlap in both research content and development time. What‘s more, queer theorists are predominantly feminists at its embryonic stage. For Angela Carter sees herself as a feminist writer, in her ―Notes from the Front Line‖, ―I would regard myself as a feminist writer, because I am a feminist everything else‖ (Tucker, 24).As a feminist, Angela Carter has been very deeply influenced by Queer Theory in various ways. Many of her works touch the queer phenomenon such as androgyne,homosexual and transvestites. Of all her novels, The Passion of New Eve is the perfect embodiment of all these elements. So it is significant to explore the implied modern meanings of The Passion of New Eve from the perspective of Queer Theory.Chapter 2 Queer TheoryQueer Theory is a post-structuralist critical theory that emerged in the early 1990s out of the fields of women's studies and queer studies.The word ―queer‖ was once used to describe the people who once called themselves gay or lesbian as an insult, but now it has a broader definition and it was proudly claimed as a marker of transgression.The term ―Queer Theory‖ was coined by Italian feminist and fil m theorist Teresa de Lauretis in a conference on lesbian and gay sexualities that she organized at the University of California in February 1990. She introduced the phrase later in a special issue Differences: A Journal of Feminist Cultural Studies (vol.3,no.2,1992), entitled ―Queer Theory: Lesbian and Gay Sexualities.‖ In that essay, de Lauretis stated that, ―queer unsettles and questions the genderedness of sexuality.‖ One of de Lauretis‘s motives was to link up the theoretical activities of academics with the activist politics of the gay and lesbian rights group. The other motive was to distinguish the theorists who were questioning the gender identity and sexual orientation and those who were happy with the stable gender identity.According to New Zealand queer writer Annamarie Jagose who wrote in Queer Theory: An Introduction in 1997, ―Queer focuses on mismatches between sex, gender and desire. Unknown to many, queer is in association with more than just gay and lesbian, but also cross-dressing, hermaphroditism, gender ambiguity and gender-corrective surgery‖ (Jagose, 1996: 176). For most, queer used to be a slang for homosexual, only refers to gay and lesbian. While, n owadays, ―queer‖ usually refers to those lesbians, gay men, bisexuals, transgender and other groups whose sexualities are defined against the norm of heterosexuality rather than simply associated with those who are identified as lesbian and gay.The main queer theorists are Annamarie Jagose, Lee Edelman, Michael Warner, David Halperin, Judith Butler, William Pinar, Adrienne Rich and Diana Fuss, they are all largely influenced by the work of feminists or following the works of MichelFoucault. Some of the well-known essays which influenced Queer Theory are Luce Irigaray‘s This Sex Which Is Not One, and Eve Kosofsky Sedgwick‘s From Epistemology of the Closet. Some of the main queer theorists‘ works are Lee Edelman‘s Homographesis, Michael Warner‘s Homo-Narcissism; or, Heterosexuality, and Judith Butler‘s Gender Trouble: Feminism and the Subversion of Identity, etc.2.1. The Modern Background of Queer Theory2.1.1 The Emergence of Feminist Literary CriticismThe main feminist writers who inspired queer theorist are Kenneth Ruthven, Toril Moi, Helene Cixous,, Luce Irigaray and Elaine Showalter etc. Speaking of feminism, it is hard to ignore The Second Sex written by French feminist Simone de Beauvoir in 1949. She explicated the ways in which woman becomes the site of alterity for men—always an Object, never allowed to attain the status of Subject on her own, ―One is not born a woman, but, rather, becomes one.‖The influence of feminist literary theory on Queer Theory are self-evident, in a number of ways, the issues of Queer Theory overlap with those of feminist criticism, such as lesbian feminist criticism. It is one branch of feminist theory and confronts of the same difficulties as heterosexual feminism, such as whether lesbian writing has a historical continuity apart from the writing of women, and whether a female writer should establish her sexual orientation first.One of the main feminists who has great impact on the Queer Theory is Luce Iragaray. Her critique of Freud is largely of his theories of sexual differences (like the notions of penis envy and the castration complex). Freud perceived that men and women are more or less adequate versions of the same (male) norm, whereas Iragaray hold that men and women are actually different. In her essay ―This Sex Which Is Not One‖(1997), she characterizes ―both males and females as essentiall y like their primary genitalia: men, like the phallus, are single (-minded), hard, simple, direct; women, like the two lips of the vulva and their sensations, are multiple, diffuse, soft, indirect‖ (Richter, 2006:1436).Another feminist and also a queer theorist is Helene Cixous. She sets up a series of binary oppositions (active/passive, culture/nature, father/mother). Each pair can be analyzed as a hierarchy in which the former term represents the masculine and positive and the latter the feminine and negative. Cixous suggests that, in each case, the masculine term is forced to ―kill‖ the feminine one. It is a critique of logocentrism and phallogocentrism, having much in common with Jacques Derrida's earlier thought. In h er essay ―The Laugh of the Medusa‖, she supports ―the other bisexuality‖ which is a forerunner of Queer Theory's later contents.While Queer Theory and gender studies become areas of theory that are distinct from feminist criticism and women‘s studies, it would be misleading to ignore the connections between these schools. Gender studies became possible as a result of the projects of feminist criticism, and Queer Theory has drawn both energies and insights from feminist thinkers. In their first books, queer theorists such as Luce Iragaray, Helene Cixous, Judith Butler and Eve Kosofsky Sedgwick all defined their work as feminist, and Butler, especially, is still very sensitive to the connections between gender theory and feminism.2.1.2 Michel Foucault and Discourse Space Theory―Discourse‖ is the most imp ortant and complex concept in his theories, and also the basic idea of his studies. In Foucault‘s theory, ―discourse‖ is not just another word for speaking, but a historically situated material practice that produces power relations. In The order of discourse written in 1970, Foucault himself produce a new form of discourse, an ―ungrounded language‖, in which the inclusion/exclusion, inside/outside, opposition of reason and madness would be erased. Foucault writes, ―the production of discourse is controlled, organized, redistributed, by a certain number of procedures whose role is to ward off its powers and dangers‖ (Young, 1981: 48). For Foucault, discourse is a violence that we do to things, or in any case ―a practice that we impose on them‖.Foucault said that the nature of power that operates in our society is repressive,such as the intensity of pleasures, and irregular modes of behavior. It is the discourse power that controls people‘s body and head. Foucault‘s ―power‖ and ―discourse‖ studies employed by a feminist may be concerned with patriarchal shaping of identities, by a queer theorist would be concerned with discourse shape people‘s thought. Foucault also points out that discourse is a ―free game‖, a discourse which is reborn absolutely new and innocent at first, and reappears constantly and ultimately until it is set permanently. This ―free game‖ liberated discourse from the worship to meaning or forms and contributes to the queer theorist to build up their own discourse theory. As Tamsin Spargo s aid, ―Foucault‘s work and life, achievements and demonization, have made him a powerful model for many gays, lesbian and other intellectuals, and his analysis of the interrelationships of knowledge, power and sexuality was the most important intellectual catalyst of Queer Theory‖(Spargo, 1999:41).2.1.3 Jacques Derrida and the Deconstruction of LogocentrismDeconstruction can be traced back to structuralism of 19th century. The word ―deconstruction‖ is derived from Jacques Derrida's work Of Grammatology in 1967. Deconstruction has a significant influence in diverse areas of the humanities and social sciences, including sociolinguistics, linguistics, psychoanalysis, feminism, gay and lesbian studies.In all traditional western literature and philosophy, deconstruction rests upon the metaphysics of presence and it denies the possibility of pure presence and stable meaning. While in logocentrism, every term has its opposition, e.g. speech/writing, mind/body, man/woman, interior/exterior, marginal/central, sensible/intelligible, nature/culture. Derrida points out that in a classical philosophical opposition, we are not coping with the peaceful coexistence of a vis-a-vis, on the contrary, we dealing with them with a violent hierarchy. That is, one of the two terms governs the other, or has the upper hand: signified over signifier; intelligible over sensible; speech over writing; activity over passivity, etc.。
【2024版】旅游学概论主要参考文献
可编辑修改精选全文完整版旅游学概论主要参考文献第一篇：旅游学概论主要参考文献旅游学概论主要参考文献1.孙文昌,郭伟编著.现代旅游学（第2版）.青岛:青岛出版社,20022.章必功.中国旅游史.昆明:云南人民出版社,19923.谢彦君.基础旅游学.大连:东北财经大学出版社,19994.刘住著.旅游学学科体系框架与前沿领域.北京:中国旅游出版社,20085.查尔斯·R·格德纳, J·R·布伦特·里奇著李天元,徐虹, 黄晶译.旅游学.北京:中国人民大学出版社,20086.张晓萍,李伟著.旅游人类学.天津:南开大学出版社,20087.李天元主编.旅游学（第2版）.北京:高等教育出版社,20068.尹德涛等著.旅游社会学研究.天津:南开大学出版社,20069.克里斯·库珀等主译张俐俐, 蔡利平旅游学北京:高等教育出版社,200410.谢彦君著.基础旅游学.北京:中国旅游出版社,1999.11.伦纳德·J·利克里什,卡森·L·詹金斯著.程尽能等译.旅游学通论.北京:中国旅游出版社,200212.王健民著.旅行社产品经营智慧.天津:南开大学出版社,200813.宋子千著.旅行社经济分析.北京:中国旅游出版社,200814.孙宗虎,肖书民编著.旅行社管理流程设计与工作标准.北京:人民邮电出版社,200815.杜江,戴斌著.旅行社管理比较研究..北京:旅游教育出版社,200016.(美)马文·塞特龙, 佛瑞德·德米科, 欧文·戴维斯著.张凌云, 李天元译.饭店与旅游业发展趋势分析.天津:南开大学出版社,200817.(加)罗伯特·C.刘易斯, 理查德·E.钱伯斯著.徐虹主译.饭店业营销领导：原理与实践.大连:东北财经大学出版社,200518.（加）刘易斯等著.谢彦君等译.饭店业营销案例（第三版）.大连:东北财经大学出版社,200619.戴斌等著.饭店品牌建设.北京:旅游教育出版社,200520.巫宁编著.旅游信息化与电子商务经典案例.北京:旅游教育出版社,200621.(美)约翰·沃德,乔·佩帕德著.吴晓波,耿帅译.信息系统战略规划.北京:机械工业出版社,200722.肖江南.旅游信息管理.福建:人民出版社，200723.陈志辉,陈小春.旅游信息学.北京：中国旅游出版社，200324.贾鸿雁.旅游信息管理与信息系统.北京:化学工业出版社，200725.黄娟琴.“3S”技术在旅游业中的应用及其展望.国土资源遥感，2004，（3）26.波林·谢尔登著，武彬译.旅游目的地信息系统.旅游学刊,1995,4.27.保继刚等著.旅游景区规划与策划案例.广州:广东旅游出版社,200528.李俊清,石金莲编著.生态旅游资源.北京:中国林业出版社,200729.张超著.旅游目的地产品差异化理论与实践.北京:旅游教育出版社, 200830.张晓萍,李伟著.旅游人类学.天津:南开大学出版社,200831.马耀峰,李天顺, 刘新平著.旅游者行为.北京:北京出版社,200832.黄翔著.旅游节庆策划与营销研究.天津:南开大学出版社,200833.李志刚.旅游市场监管与品质保障.北京:中国旅游出版社,200734.(英)约翰·斯沃布鲁克(John Swarbrooke)著.旅游景区开发与管理.大连:东北财经大学出版社,200535.A.J.维尔著.休闲与旅游研究方法.北京:中国人民大学出版社,200836.郭英之编著.旅游市场营销.大连:东北财经大学出版社,200637.薛群慧编著.旅游心理学理论·案例.天津:南开大学出版社,200838.潘建民著.旅游城市产业结构优化研究:理论和方法创新及其对中国旅游城市应用分析.北京:中国旅游出版社,200839.北京旅游发展研究基地《中国旅游研究·2005》编委会编.中国旅游研究.2006.北京:旅游教育出版社,200640..刘筱秋著.实践与思考:中国旅游业散论.北京:中国旅游出版社,200741.国家旅游局规划发展与财务司主编.中国旅游投资报告2007.北京:中国旅游出版社,200742.张文著.旅游影响.北京:社会科学文献出版社,200743.中华人民共和国国家旅游局汇编.中国旅游业发展“十一五”规划纲要地方篇.北京:中国旅游出版社,200744.何光炜著.朝阳产业走向辉煌: 上蓬勃发展的旅游业.北京:中国旅游出版社,200645.柳振万著.旅游产业发展的理论思考与实践探索.大连:大连出版社,200746.沈祖祥著.旅游策划.上海:复旦大学出版社,200747.刘纯编著.旅游者行为与旅游业组织行为.北京:高等教育出版社,200748.杨路明,巫宁等编著.现代旅游电子商务教程.北京:电子工业出版社,200749.崔凤军.旅游宣传促销绩效评估方法与案例.北京:中国旅游出版社, 200650.杨富斌,王天星, 韩玉灵主编.旅游景区经营管理中的法律问题.北京:中国旅游出版社,200651.张广瑞,魏小安,刘德谦主编.2007年:中国旅游发展:分析与预测.北京:社会科学文献出版社,200752.钟韵，彭华.旅游研究中的系统思维方法：概念与应用.旅游学刊.2001,（3）:48-5353.N.Leiper.The Framework of T ourism.Annals of tourism Research.1979,6(4):390-407cation for Tourism;The Challenge of a Multi-Disciplinaty Curriculum.International Journal of TourismSciences.2002,(1):1-955.Lisli S.Mitchell.Research on the geography of tourism, in Ritchie and Goeldner(eds), Travel and Tourism ,and hospitality research--a handbook for managers and researchers.John Wiley &Sons, 1987:856.杨新军，窦文章.旅游功能系统:结构与要素分析.人文地理.1998,(2):33-3757.Robert Christie Mill, Alastair M.Morrison.The Tourism System：an introductory text.2nd ed.Prentice-Hall, Inc.1992:10-1358.World T ourism Organization Business Council.Public:Private Sector Cooperation: Enhancing Tourism Competitiveness.Madrid :WTOBC,200159.Mueller,Hansruedi.Long:Haultourism2005.Delphi.Journal of Vacation Marketing, 1998,4(2)60.Crouch,Geoffery I.The Market For Space Tourism: Early Indications.Journal of TravelResearch, 2001, 40(2)61.Franklin, Adrain.Tourism: An Introducion.London:Sage Publications,200362.Lockwood,Andrew,AndS.Medlik.T ourism and Hospitality in the 21st Centry.Oxford, Uk: Butter worth: Heinemann, 200163.World Travel And Tourism Council.Progress And Priorities,.London:WTTC,200464.World Tourism Organization.Tourism And Air Transport.Madrid:WTO,200165.Alister.Athieson, Geoffrey.Wall, Tourism: How effective management makes the difference, David Gregson Associates,199766.Gooroochurn N,Sugiyarto petitiveness indicators in the travel and tourismindustry.Tourism Economics,2005,11(1):25-4667.Julie Jackson,PeterMurphy.Cluster in regional tourism an Australian case.Annals of Tourism Research,2006,(4):1018-103568.E.Jones, C.Haven-Tang(Eds.), Service Quality and Destination Competitiveness, Tourism Management,2007,2869.Bob McKercher.Segment Transformation in Urban Tourism.Tourism Management, 2008,(6):1215-1225第二篇：旅游学概论1.旅游者：旅游者又称游客，是为满足物质和精神文化需求进行旅游消费活动的主体，是旅游服务活动的需求者和服务对象。
Desperate_Housewives_1绝望主妇1精讲笔记(英文台词及注释)
Desperate Housewives 1绝望主妇1精讲笔记Danielle: Why can't we have a normal soup?Bree: Danielle, there is nothing abnormal about basil puree.Danielle: Just once, can we have a soup that people all heard of, like French onion, or navy bean.Bree: First of all, your father can't eat onions. He's deathly allergic. And I won't even dignify your navy bean suggestion. So, how's theosso buco?Andrew: It's okay.Bree: It's okay? Andrew, I spent three hours cooking this meal. How do you think it makes me feel when you say it's okay in that sullen tone?Andrew: Who asked you to spend three hours on dinner?Bree: Excuse me?Andrew: Tim Harper's mom gets home from work, pops open a can of pork and beans, and boom, they're eating. Everyone's happy.Bree: You'd rather I serve pork and beans?Danielle: Apologize now, I am begging you.Andrew: I'm saying, do you always have to serve cuisine? Can't we ever just have food? Bree: Are you doing drugs?Andrew: What?Bree: Change in behavior is one of the warning signs and you have been as fresh as paint for the last six months. That would explain why you're always locked in the bathroom. Danielle: Trust me, that is not what he is doing.Andrew: Shut up. Mom, I'm not the one have a problem here, right? You're the one who is acting like she's running for mayor of Stepford.Bree: Rex. Seeing that you're the head of this household, I would really appreciate you sayingsomething.Rex: Pass the salt.Mary Alice Young: Three days after my funeral, Lynette replaced her grief with a much more useful emotion. Indignation.Lynette: Tom, this is my fifth message and you still haven't called me back. Well, you must be having a lot of fun on your business trip. I can only imagine. Well, guess what, the kids and I want to have some fun, too, so unless you call me back by noon, we are getting on a plane and joining you.Boy: Mum.Lynette: Not now, honey, Mommy's threatening Daddy. No. Where are you brothers?Natalie Kline: Lynette Scavo!Lynette: Crap! Hi, don't believe it!Natalie Kline: Lynette! How long has it been?Lynette: Years! How are you? How's the firm?Natalie Kline: Good. Everyone misses you. We all say that if you hadn't quit, you'd be running the placeby now. So, how's domestic life? Don't you just love being a mom?Mary Alice Young: And there it was. The question that Lynette always dreaded.Lynette: Well, to be honest...Mary Alice Young: For those who asked it, only one answer was acceptable. So Lynette responded as she always did. She lied.Lynette: It's the best job I've ever had.妙语佳句，活学活用1. osso buco: An Italian dish made of veal shanks braised with olive oil, white wine, stock, onions, tomatoes, garlic, anchovies, carrots, celery and lemon peel. Traditionally, osso buco is garnished with gremolata and served accompanied by risotto. In Italian, osso buco means"pierced bone."翻译成中文就是“炖小牛膝”、“焖小牛腿肉”，是带骨头的。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
Julie L. Lockwood General Information Associate Professor Director, Graduate Program in Ecology and Evolution Ecology, Evolution, and Natural Resources 14 College Farm Road Rutgers University New Brunswick, NJ 08901-8525 732-932-9336 lockwood@aesop.rutgers.edu
Education Institution Degree Year Georgia Southern College BS Biology 1990 Georgia Southern Univ. MS Biology 1991 Univ. of Tennessee Ph.D. Zoology 1997
MS Thesis: Morphology, competition and the structure of some introduced passerine communities. Advisor: Michael P. Moulton.
Ph.D. Dissertation: Assembling ecological communities: investigations into theory and practice. Advisor: Stuart L. Pimm.
Post-doc: Patterns in biological invasions. Advisor: Daniel Simberloff.
Employment History 2009 – pres. Director, Graduate Program in Ecology and Evolution, Rutgers University.
2006 – pres. Associate Professor, Ecology, Evolution and Natural Resources, Rutgers University, New Brunswick, NJ.
2007-2008 Director, Hutcheson Memorial Forest, Rutgers University. 2006 – 2008 Director, Undergraduate Program, Ecology and Natural Resources Major, School of Environmental and Biological Sciences, Rutgers University.
2003 – 2006 Assistant Professor, Ecology, Evolution and Natural Resources, Rutgers University, New Brunswick, NJ.
1998 – 2003 Assistant Professor, Environmental Studies, University of California, Santa Cruz, CA.
1997 – 1998 Post-doctoral Research Associate, University of Tennessee, Knoxville, TN.
Books In Prep Lockwood, J.L., and B. Maslo (eds). Coastal Conservation. Cambridge University Press.
2009 Blackburn, T.M., J.L. Lockwood, and P. Cassey. Avian Invasions: The Ecology and Evolution of Exotic Birds. Oxford Avian Biology Series, Oxford University Press.
2007 Lockwood, J.L., M.F. Hoopes, and M.P. Marchetti. Invasion Ecology. Blackwell Scientific Press, UK.
2001 Lockwood, J.L. and McKinney, M. editors. Biotic Homogenization. Kluwer Academic/Plenum Publishers, New York.
Journal Articles and Book Chapters (peer-reviewed) In Review. Avery, J.D., D.M. Fonseca, and J.L. Lockwood. Cryptic invasion and the interpretation of island biodiversity. Proceedings of the National Academy of Sciences
In Review. Ricciardi A., M.F. Hoopes, M.P. Marchetti and J.L. Lockwood. Progress toward understanding the ecological impacts of non-native species. Annual Reviews in Ecology, Evolution and Systematics.
In Review. Brooks, W.R. J.L. Lockwood, R.C. Jordan. Tropical paradox: a multi-scale analysis of the invasion paradox within Caribbean hardwood hammocks. Ecology. In Review Gilroy, J.J., T. Virzi, R.L. Boulton, and J.L. Lockwood. A Bayesian approach to the ‘apparent survival’ problem: estimating true survival rates from capture-recapture studies. Ecology.
In Revision Virzi, T., R.L. Boulton, M.J. Davis, J.J. Gilroy and J.L. Lockwood. Effectiveness of artificial song playback on the settlement decisions of an endangered resident grassland bird. The Condor.
In Revision Gilroy, J.J., T. Virzi, R.L. Boulton and J.L. Lockwood. Too few data and not enough time: approaches to detecting Allee effects in threatened species. Conservation Letters.
In Press Blackburn, T.M., T.A.A. Prowse, J.L. Lockwood and P. Cassey. Passerine introductions to New Zealand show a positive effect of propagule pressure on establishment success. Biodiversity and Conservation.
2011 Mathys, B., and J.L. Lockwood. Contemporary morphological diversification of passerine birds introduced to the Hawaiian Archipelago. Proceedings of the Royal Society, B. 278: 2392-2400.
2011 Blackburn, T.M., J.L. Lockwood, and P. Cassey. Fifty years on: confronting Elton’s hypotheses about invasion success with data from exotic birds. In Fifty years of invasion ecology: the legacy of Charles Elton (D.M. Richardson, ed.). John-Wiley/Blackwell Publishing, UK.
2011 Lockwood, J.L., M.F. Hoopes, and M.P. Marchetti. Non-natives: plusses of invasion ecology. Nature 475: 36.
2011 Boulton, R.L., B. Baiser, M.J. Davis, T. Virzi, and J.L. Lockwood. Variation in laying date and clutch size: the Everglades environment and the endangered Cape Sable seaside sparrow. The Auk 128: 374-381.
2011 Lockwood, J.L., and T. Virzi. Taxonomic patterns. Pages 658-661, In Encyclopedia of Biological Invasions (D. Simberloff and M. Rejmanek, eds.) University of California Press, Berkeley, CA.
2011 Lockwood, J.L. A close look at extinction rates. Biological Conservation. 144: 665.