On the Emancipation and Sublimation of Humanism in the Evolution of
V ampire in Western Fictions
从西方小说中吸血鬼形象的演变看人性的解放和升华
Abstract
In western world, the legend of vampire has been in existence since the birth of history. After that, literature and movies on vampires are enduring and prosperous through centuries. Vampire culture plays an important role in the western mass cultural traditions, and has great influence on them. One of the most well-known products is the fiction Dracula (1897) written by Ireland author Bram Stoke at the end of 19th century. There are over 100 adaptations which are based on the fiction. Therefore, Stoke is regarded as the founder of vampire fictions and the image of Dracula dominates in people’s mind as the authoritative and prototypical image of vampires. Nevertheless, Anne Rice, an American contemporary writer, wrote The Vampire Chronicles at the end of 20th century, which is called the Bible of vampires by vampire fans and vampire researchers. She overthrows the traditional rigid figure of the vampire, reveals the truth of realistic world by describing unrealistic world, digs arcanum of the deep human nature from vampires’inner being, and then reflects certain layers of the existent state. It is undeniable that Rice has inherited and also revolutionized the image of the vampire in Dracula.
By comparing and analyzing the difference between the image and feature of the two group of vampires, we can find that every age does indeed seem to embrace “the vampire that it needs‖ (Gordon and Hollinger, 1997: 1), because each of them reflects the culture of their age to a large extent. And by examining the evolution of vampires, we can grasp the emancipation and sublimation of humanism in the two centuries. As the two works are representative and influential at each age, this thesis here interprets and analyzes the transformation of their cultural backgrounds to present the development of humanism in western society from 19th century to 20th century.
Key words: vampire；humanism；comparison；culture；evolution
摘要
在西方世界，关于吸血鬼的传说有史以来便存在。之后，以吸血鬼为题材的文学和电影便经久不衰，几个世纪以来仍欣欣向荣。吸血鬼文化在西方大众文化传统中占据着举足轻重的地位，并对之有不可小觑的影响力。爱尔兰19世纪末作家布兰姆·斯托克于1897年所著的小说《德库拉》是其中最著名的作品之一。之后大约有100多部基于该小说所作的改写本。斯托克因此被公认为吸血鬼小说的奠基者，而德库拉的形象也因此扎根于读者的头脑中成为吸血鬼的原型。20世纪末，美国当代作家安妮·赖斯，撰写了一部恢宏的系列小说《吸血鬼编年史》，它被吸血鬼爱好者和专家誉为“吸血鬼的圣经”。安妮推翻了吸血鬼传统和刻板的形象，通过描绘一个虚幻的世界挖掘出真实世界的真相，从吸血鬼的内心世界探索人性深处的奥秘，并反映出了人类现存状态的某些层面。难以否认的是，安妮继承并且改革了《德库拉》中的吸血鬼形象。
通过对比和分析两部吸血鬼作品所塑造的吸血鬼形象和特征的不同，我们可以发现似乎每个时代都在创造着“它所需要的吸血鬼”（Gordon and Hollinger, 1997:1），因为每一部作品都在很大程度上反应了它所处时代的文化。通过分析吸血鬼的发展变化，我们能看到一百年来西方社会人性的解放和升华。由于那两部作品在各自时代中都相当具有代表性和影响力，因此这篇论文便通过分析和解读两部作品中的文化背景的演变以展示西方社会从19世纪至20世纪人文主义的发展。
关键词：吸血鬼; 人文主义；人性；比较法；文化；演变
Introduction
V ampires are popular figures, often appearing in Gothic fiction of the eighteenth and nineteenth centuries. Among them, the most influential work at that time is Bram Stoker’s Dracula at the end of 19th century. The prime characteristic of his vampires is that they are mostly portrayed as monsters. They are nothing but a bloodthirsty killer. Opposing the monster there is always a hero or even a group of heroes who, at the end, will succeed in annihilating the fiend and saving humanity. An explicit separation exists between vampires and humans. The reader will identify with the human hero and feel completely detached from the monster that, along with its horrific characteristics, inhabits remote and ghastly locations.
The resurgent vampire fiction of the late twentieth century presents us with a different image. Contemporary authors place ―increasing emphasis on the positive aspects of the vampire’s eroticism and on his or her right to rebel against the stifling constraints of society‖(Seaf, 1988:163). More and more authors explored a more natural, rather the supernatural vampire (I am Legend, Richard Matheson), or a vampire hero. The most typical work of this kind is Anna Rice’s The Vampire Chronicles at the end of 20th century.
V ampires have transformed from their late nineteenth-century signification as monstrous Others into largely sympathetic characters. This literary domestication presents us a shift of human’s perspective from which they go to approach and understand the figure of vampire. And this shift reflects a humanism development and sublimation in the western culture. This thesis aims to explore the cultural background behind the image of vampires in Dracula and The Vampire Chronicles respectively and by examining the transformation of vampires it presents the process of emancipation and sublimation of humanism in western culture from the 19th century to 20th century.
This thesis starts from a brief introduction to the vampire. The second chapter explores the image of vampires in Dracula and its Victorian culture overtone. The third chapter focuses on the interpretation of the transformational characteristics of
vampire sin in The Vampire Chronicles and examine how and in what ways this particular popular vampire character may reveal symbolically aspects of the hidden nature in contemporary western society. The last chapter compares the differences between the two representative images of vampires and explores the transformation and evolution of humanism theme in western culture. The thesis ends with a conclusion –the evolution of vampires in western fictions is a process of the emancipation and sublimation of humanism in western culture.
Chapter One Brief Introduction to the V ampire
1.1 Folk beliefs
The notion of vampirism has existed for millennia; cultures such as the Mesopotamians, Hebrews, Ancient Greeks, and Romans had tales of demons and spirits which are considered precursors to modern vampires. However, despite the occurrence of vampire-like creatures in these ancient civilizations, the folklore for the entity we know today as the vampire originates almost exclusively from early 18th century Southeastern Europe, when verbal traditions of many ethnic groups of the region were recorded and published. In most cases, vampires are revenants of evil beings, suicide victims, or witches, but they can also be created by a malevolent spirit possessing a corpse or by being bitten by a vampire. Belief in such legends became so pervasive that in some areas it caused mass hysteria and even public executions of people believed to be vampires.
1.2 Description and common attributes
It is difficult to make a single, definitive description of the folkloric vampire, though there are several elements common to many European legends. V ampires were usually reported as bloated in appearance, and ruddy, purplish, or dark in color; these characteristics were often attributed to the recent drinking of blood. Indeed, blood was often seen seeping from the mouth and nose when one was seen in its shroud or coffin and its left eye was often open. It would be clad in the linen shroud it was buried in, and its teeth, hair, and nails may have grown somewhat, though in general fangs were not a feature.
Chapter Two
The Attributes of Dracula and Its Victorian Culture Overtones 2.1The image building of Dracula and its attributes
2.1.1 Its appearance and attributes
The fiction gives a vivid and detailed description of the appearance of vampire Dracula: Dracula's face was a strong - a very strong - aquiline, with high bridge of the thin nose and peculiarly arched nostrils; with lofty domed forehead, and hair growing scantily round the temples, but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel looking, with peculiarly sharp white teeth; these protruded over the lips, whose remarkable ruddiness showed astonishing vitality in a man of his years. For the rest, his ears were pale and at the tops extremely pointed; the chin was broad and strong, and the cheeks firm though thin. The general effect was one of extraordinary pallor.（Jonathan Harker's Journal, Dracula, Chapter 2）
Their residence mostly is a dilapidated castle built on the top of a remote mountain, filled with rats, bats and spiders. They sleep in a coffin with mud and dirt on it. At night, they rise from the coffin to suck the blood of sleeping people.
In Dracula, vampire is such a cruel and disgusting monster who is only a reanimated corpse without soul and emotion. They are evil and appalling, and stand an opposite position against human being. They belong to the long dark night and are afraid of sunlight. They aim to destroy human being and rebuilt a world under their command and order.
In this novel, vampire is associated with cold, death, horror, darkness, wickedness and sin.
2.1.2The narrative mode of vampire’s image--building
Dracula is an epistolary novel, written as a collection of diary entries, telegrams, and letters from the characters, as well as fictional clippings from the
Whitby and London newspapers and phonograph cylinders. This literary style adds a sense of realism and provides the reader with the perspective of most of the major characters. By use of the epistolary structure, Stoker, without employing either an omniscient narrator or any awkward framing device, maximizes suspense by avoiding any implicit promise to the reader that any first-person narrator must survive all of the story's perils. Nevertheless, this narrative mode avoids any descriptions about vampires’inner world or thoughts, thus readers have no idea of what they think and their emotions, if they have any.
The novel puts vampires in a remote and defamliar position who are totally alien and incomprehensible. The attitudes people take towards vampires are detached and hostile. That is all the narrative mode creates. And a strong feeling of hatred against vampires prevails the whole novel.
2.2Its Victorian culture overtones
2.2.1Religion overtone
The novel saturates itself with a strong sense of religion. In it, the vampire is the embodiment of Satan, the foe of God. It represents all the evilness, fall, and moral depravation. V ampire plays the role of a villain, and it is a common scene in the novel that a churchman holds the bible and the cross to destroy vampire, and in the end, it is the victory of Christianity over the vampire, the paganism.
It is known that in the year of 1897, Queen Victoria witnessed her Diamond Jubilee, and her son and successor was only a fatuous playboy. In a period of political riots and a reign of chaos, the revolutionary enthusiasm brought by the French Revolution only to add insult to injury. In order to keep the prosperity and stability of the empire, the authorities need to repress any kind of invasion from alien races and religions. Dracula, as a vampire of Transylvanian origin, implies an alien and a pagan. The common destiny of vampires is to be exiled and abandoned, which can be easily associated with the destiny of those aliens and pagans at a time of imperialism and xenophobia. The cruel slaughter of Dracula in that novel to some extent reflects the merciless repression of the paganism at that time. And from that readers can get a glimpse of the severe religious conflicts between Christianity and paganism, and also
the brutal and inhuman suppression.
2.2.2Morality overtone: good vs. evil, light vs. darkness--survive or
perish
An intense conflict between vampires and human beings is that they can not coexist. V ampires have to kill human beings to survive and human beings vice versa. Clearly, vampires are the speaker of evil and darkness, while human beings of good and light. V an Helsing, a character in the novel who kills Dracula in the end proves that good can always defeat evil.
A simple moral duality exists and each of which takes an opposite end without compromise and reconciliation. Dracula and V an Helsing, each belongs to darkness and light, are fated to fight each other to survive, and the final victory of V an Helsing tells that evil is doomed to fail. All of these imply that the moral system of Victorian society is dual, strict, extreme and cruel.
2.2.3Sexuality overtone
In the novel, Dracula is a typical demon gathering all kinds of sins, among which is a ―dark desire‖, i.e., the lust for sexuality. Some critics say that the novel is somewhat crude and sensational, and the sexual longings underlying the vampire attacks are manifest. As one critic wrote:
What has become clearer and clearer, particularly in the fin de siècle years of the twentieth century, is that the novel's power has its source in the sexual implications of the blood exchange between the vampire and his victims...Dracula has embedded in it a very disturbing psychosexual allegory whose meaning I am not sure Stoker entirely understood: that there is a demonic force at work in the world whose intent is to eroticize women. In Dracula we see how that force transforms Lucy Westenra, a beautiful nineteen-year-old virgin, into a shameless slut.(Leonard Wolf, "Introduction" to the Signet Classic Edition, 1992)
Dracula represents the strong desire to monopolize and the liberation of women’s sexual desire. His kiss of death symbolizes male’s possessive desire to female. In the meantime, female also get lots of satisfaction with their sexual demand in that process. This wicked breakthrough, brought by Dracula, of the tradition that
female is not in a position to be satisfied but to satisfy the male during the sexual relationship, is horrible to the Victorian people.
Lucy’s death and Mina’s salvation in the novel also reflect Victorian norms about women. Lucy is beautiful and innocent, but also conceited and ignorant. She juggles three men at the same time and doesn’t know who to choose. She vexes: ―Why can’t they let a girl marry three men, or as many as want her.‖(Chapter 5); she is totally ignorant of the danger that approaches her, let alone death: ―There was a sort of scratching or flapping at the window. But I did not mind it.‖(Chapter 9) In contrast, Mina, who gives first priority to husband’s career, earns many compliments from V an Helsing ―so clever woman‖, ―believe me that I came here full of respect for you, and you give me hope…!‖ (Chapter 14) In comparison, it is easy to find that, according to the traditional ethical and moral standards, Lucy represents depravation and ignorance, while Mina embodies intelligence and braveness and she sets a good model for Lucy, and for all other women. Lucy fails to resist Dracula’s enticement and is finally drained to the point of death; while Mina, resisting Dracula’s powerful temptation with the strength and discipline of strict traditional female ethics finally survives. Here, as a matter of fact, the writer punishes those licentious women who violate the female ethics and indulge in sex in the name of Dracula, from which, we can see the sexual constrain on women in Victorian times. That is because, to the author living in the late Victorian times, sexuality is usually associated with bestiality, pollution, filth, evil, crazy, lowliness and death. But to the women, the dark kiss of Dracula is what they pine for. So ―Dracula‖, in this sense, is a symbol of human’s self denial of their inner sexual desire.
Chapter Three
The Attributes of V ampire by Anna Rice and Its
Contemporary Culture Overtones
3.1 The image building of vampire and its attributes
3.1.1 Its appearance and attributes: counter-tradition
It’s undeniable that The Vampire Chronicles by Anne Rice has revolutionized the image of vampire. Firstly, all the vampires in it are handsome and gorgeous, look like angels in the Bible, and are fascinating to human beings. Lestat, a vampire in it, is a blond and elegant up-class gentleman; Louis de Point, another vampire, is compared to Wilde, a writer in the decadence period in the late 19th century. Lewis has dark-colored curls, and is handsome, graceful and also gentlemanlike. Claudia, a girl vampire, is a beautiful and intelligent child who looks like a princess. All of these transformations on appearance has added a luster to vampire’s image and reduced its horror effect.
On top of that, Rice’s vampires still live on human being’s blood, which is the same as Dracula, yet it is out of their instinct biological need but not to create any terror as Dracula does. They seclude themselves from outside world and cover their true identity in the hope of avoiding attack from human beings, while Dracula conceals his vampire identity to wait for his chance to conquer human beings. As a result, the holy water, the cross and the mantra have no threatening effect to them but are lethal to Dracula.
Last and the most important is that all these vampires of Anne Rice have been endowed with a rich inner world and distinct personality. They have affections and desires, love and hates. They may fall in love desperately with someone. Love, the most invaluable emotion in humanity still remains in them. It’s this touch of humanity that gets them rid of the unicity of a monster.
In this novel, different from the detestable, monstrous and low vampires in Dracula, the vampires here are depicted as noble and emotional beings.
3.1.2 Narrative mode of vampire’s image--building
Interview with the Vampire, a famous volume of The Vampire Chronicles, will be taken as a sample for my analysis.
For an author, it’s one of the most important choices she or he makes about telling the story. A first-person narrator puts the reader into the action but requires that the author report all events from the narrator’s experience and in the narrator’s voice.
A third-person limited narrator distances the reader from the story,but allows the author more freedom to use a more authoritative voice and to make more detailed descriptions of actions and their meanings. In Interview with the Vampire, Anne Rice had a tough point-of-view choice to make. She wanted to tell the story of the intense emotional longings of a moral being after hundred years as a vampire. Louis’s story was not interesting to Rice simply because he sucked blood to survive. What fascinated Rice about the character of Louis was that after all those years as in immortal, he still retained his humanity and still anguished over what he had become. Given her interest in Louis’s psychology and inner torment, first-person point of view would seem to be Rice’s logical choice because it would put the reader in Louis’s mind to suffer the torment with him, to regard Louis as the familiar. But Rice also wanted the reader to feel the seductive pull of the vampire, to see him as the Other, the unfamiliar, someone who is different from the ―normal‖ people in society, a tragic outcast, inhuman and beautiful. To do that, she needed the distance of a third-person observer-narrator. A third-person narrator who was a ―normal‖ person could see and describe not only the alluring way Louis looked and moved, but also the emotional pull of his story on those he met. In other words, Rice needed to show both points of view so that the reader understood the agony of being a vampire completely and yet was as drawn to it a the interviewer in the story. Needing both, Rice chose to have her delicate shift from the third person point of view to the first person point of view.
The beginning of the story is told in the third-person observer point of view through the eyes of the young man who has asked to interview the vampire. This interviewer is like the reader in every way, ignorant of the ways of the vampire, fascinated by and fearful of the dark figure before him, and finally seduced into the lure of the Other. As the interviewer observes Louis’s agony form a distance, the
vampire becomes a real physical presence, and the reader listens and is seduced into the vampire’s story along with the interviewer. But the interviewer’s role in the story—and the story that the interviewer actually takes part in—is only a fraction of Interview with the Vampire. The majority of the story is Louis’s, and he tells it to the interviewer as a first-person narrator. That is, most of this story is Louis telling his story using ―I‖ as his pronoun. This means that the reader gets to participate in Louis’s agony, becoming one with Louis as the ―I‖narrator. So Rice has surrounded Louis’s intimate first-person story with the interviewer’s distant third-person limited-observer frame story, thereby getting the benefits of both points of view. By combining the two narrative modes Rice arouses readers’ sympathy with and understandings of vampires.
3.2 Its contemporary culture overtones
Rice’s vampire is mobile enough to touch a range of contemporary issues: loss of faith, skeptic for the established rules, homoerotism, with which readers are generally familiar.
3.2.1 Religion overtone
There are some inversion images in the Chronicles; the most obvious one is the notion of the vampires as angels or gods. Rather than presenting them as demons from Hell and thus evil, Rice views them as ―angels going in another direction,‖and as vegetation gods dethroned by Christianity. Louis first appears as an angel to Babette, although she later sees him as a devil (Rice, 1984:58, 66). In Interview with the Vampire, Louis lifts a finger towards heave ―as if he were an angel about to give the Word of the Lord‖ (Rice, 1984:25)
The novel inverts Christian symbols and rituals. Just as Christ’s blood is central to the Christian concepts or redemption and resurrection, vampire blood also conveys immortality and when the vampire drinks, the blood ―is transmuted into ecstasy‖(Rice, 1986:295), the vampiric inversions of Christianity define Lestat’s negative relationship to God but more importantly, serve to highlight the irrelevance of God and religion in the modern world. ―This is my Body, this is my Blood,‖ Magnus tells Lestat just before the coup de grace that carries him into the darkness (Rice, 1986:89). This moment of Letat’s vampire origin is central to The Vampire Chronicles. This is
not an accidental use of Christian imagery. Magnus understands that he is literalizing the transubstantiation of the Catholic Mass both a way of suggesting the brute physicality of the image which is central to Christianity, the image of the crucified figure of Christ, and as a way of hinting that Lestat will challenge Christ himself. Anne Rice actually goes so far in The Vampire Chronicles as to suggest that vampires have nothing to fear from religion, as the following sentences demonstrate: ―The power of Satan will blast you into hell,‖the boy bellowed, gathering all his
remaining strength. ―Y ou keep saying that!‖ I said, ―And it keeps not happening, as
we can all see!‖(Rice, 1986:243-244)
This is different from early vampire novels, where crucifixes, wooden stakes, holy water and garlic can all devastate vampires.
Crosses as a representation of Christ, in Bram Stoker’s Dracula have a magical influence over devil, while in Interview with the Vampire, they are a source of reflection for the vampires and induce feelings of despair, frustration or amusement. Louis explains to the boy reporter that he likes to look at crucifixes (Rice, 1984:22). Garlic in it is similarly ineffectual against vampires. The wooden stake is also disposed of, probably to ensure that the vampire’s bite is the primary instrument of penetration. Holy relics have no effect on them when they enter churches. In St. Louis Cathedral, Louis stress at the carved figures of the saints, frozen and lifeless; they present a ―cemetery of dead forms‖ (Rice, 1984:145). To him, the statues represent the absence of God and the embodiment of the supernatural within himself. His body convulses, as if rejecting the death of his religion, but he then envision himself desecrating the Host.
As a mortal, Louis was a Catholic, although when he first hears about what it is like to be a vampire, he recognizes that his true gods were actually food, drink and the security that arises from conformity. When he becomes a vampire, he sets out to find out what God means in the context of his former religious beliefs: is he, as a vampire, damned? Or is there no God, and thus no absolute meaning in the universe to condemn him? (Rice, 1984:13, 16)
Rice relates vampires to religion closely. They are not exiled or damned by the
Host anymore; quite oppositely, they play the role of the defiant against God. This reflects the contemporary western culture in the late 20 century. At that time, western society had evaded from the mainstreamed, organized religious rituals and at the same time searched for a broader, looser and more lenient religion notion. People still believed in religion, but to them, religion is more of a kind of custom, a superstition, the magic of the Nature, the fading courtesy of the ancient times. Meanwhile, human beings were being at the turning point to the age of atheism, when Christianity was gradually losing its influence and new humanitarianism was just emerging. The belief in humanism、human rights and human accomplishments was more powerful and influential than ever. Along with the transition of culture, the devil image of vampires built through centuries was also inverted. The vampire image in contemporary literature is much more complicated than that of any other times before.
3.2.2Morality overtone: the inversion and diversity of good and evil; the
relativity of good and evil; the dialectical approach to morality.
In the middle age of western world, the view of good and evil as a whole is comparable to the conformity to the authority of God. It is defined as the sacred doctrine of God and to a large extent is equivalent to the suppression of humanity. However, in the modern time, as the development of the natural science, people start to define the good and evil through several different angles. Hegel opposes to abstractly talk about the good and evil of humanity. He employs logics and historical analysis to draw the conclusion that humanity is both good and evil, i.e., good and evil is inseparable. Human’s desires are multi-sided, each of which has a reason to exist. To fulfill one desire is good, to meet another is evil, and vice versa. Therefore, different evaluation yardsticks and judging approaches lead to different conclusions of good and evil. Thus, there is a paradox on morality, because good and evil is relative. This dialectical approach also exists in The Vampire Chronicles.
When Louis encounters Armand, he asks what Armand, as the oldest vampire he has ever met, knows of God. Armand claims to know nothing, which depressed Louis. If he and the other vampires are the only existing creatures with supernatural powers and higher consciousness, yet have no knowledge of a supreme deity, then they bear
the burden of making meaning; they are the gods, deciding ethical questions and creating definitions of good and evil (Rice, 1984: 236-238). Louis also speaks about Satan, which puzzles Armand, for if Satan is the source of evil, and if God as the Creator also created Satan, then all evil ultimately derives from God; vampires would be, as the children of Satan, the children of God (Rice, 1984:236).
Lestat compares himself with God several times. As a vampire, he acts as the divine hand of God whenever he takes a life, and his vampire eyes allow him to see the whole of the person’s life from a godlike vantage point. He claims that no creature is as nearly like God as the vampire, because vampire, too, are free of the imitations of mortal conscience and can make whatever meaning they please. ―God kills,‖Letat says, ―and so shall we‖ (Rice, 1984:89).
Just as Lestat says, ―evil is just a point of view.‖(Rice, 1984:89) The evil of vampires exposes itself only when it is thrown into the human society and judged by the human standards. But if we replace the positions of human and vampires, the good and evil will become indefinite and relative accordingly. That is because to vampires, it isn’t the evil ideas but biological need that drives them to suck human’s blood. Drinking blood is their only way to survive, the same as human beings feed on animal’s meat.
Rice says, ―I don’t really think there’s a devil or an abstract concept of evil. I think most evil comes from a lack of imagination, the inability to empathize with others, and objectifying people and subjecting them to ideas‖（Ramsland, 1995:99）.
Rice often describes the vampires as gods, thus inverting the notion of evil as base, since they acquire no knowledge about, or proof of, the existence of God; they imagine that they themselves are gods. The novels, in particular, explore the modern reader’s confusion for the established good and evil. The notion of god and devil here is blurred, even inverted.
3.2.3 Sexuality Overtone: V ampirism as Homoeroticism
The homosexual community has become a powerful force in Interview with the Vampire. The modern metaphor of vampire as outsider meshes particularly well with the social identity of this group in the modern era. The novel begins in the
gay district of San Francisco, and the scene between the vampire Louis and the gay ―boy‖ who interviews him, after they have met in a ―bar‖, is a straightforward parody of a queer seduction. This cannot be accidental: Rice is interested in male-male desire and uses the imagery of gay life to give her characters substance and texture. She makes Lestat our culture’s prototypical gay predator, roving in the darkness with an insatiable appetite that is usually satisfied by the blood of a troubled but beautiful male. This setting adds to the idea of the vampire as the Other, an outcast of society, by making a possible reference to the homosexual’s outcast status in our homophobic society. Therefore, the setting seems to imply a concern with the difficulty of acceptance of difference in the twentieth century.
Rice’s modern vampires seldom choose their victims among traditional female virgins; the victim often belongs to the same gender as the vampire. Rice describes the relationship between vampire and victim as a relationship of love and surrender. ―Drinking up their life, their death, I love them,‖Lestat claims about his own victims (Rice, 1986:289).
But these feelings are not necessarily one-sided. The victim is, at the same time, both drawn and repulsed by the vampire. When Lestat is transforming Louis, Louis hears their hearts beating together, as two drums (Rice 1984:17). I think Rice’s vampires express western culture’s secret desire for and secret fear of the gay man.
While writing the novel, Rice lived in the Castro District in San Francisco. She observed how leather and gay bars served as hubs of the community. The invisible subculture came to life in bars: people who met here considered threatening by society at large, where social judgments that alienated them and made them outcasts were suspended, inside the bars, they formed a complex culture, similar to the way poets and writers of the fifties and sixties met in bars for community, support and relaxation. Just as outsiders who are shunned from one community, vampires seek another form of community: one among themselves. By writing this, Rice draws readers’attention to the outcasts of the society and also expresses the concern and sympathy with them.
Chapter Four
The Emancipation and Sublimation of Humanism in the Evolution of
V ampires
The vampire novels are not wholly reality, but they move through a real world and the contrast between their cynical immortality and the innocent and fragile mortality of the humans they encounter gives readers great scope in arguing the philosophical questions about religion, morality, human desires. V ampires in the western novels are a clear metaphor for the Other in different ages, the one who is different, who is cast out because he or she cannot conform. And people’s attitudes towards them embody the society’s attitudes towards difference.
During the one-century evolution of vampires in the two western masterpieces on vampires mentioned before, the formerly mysterious and defamiliar image of vampire began to be domesticated and familiarized by human beings and simultaneously, a theme of the emancipation and sublimation of humanism resonates through. I will analyze it from the following four aspects.
4.1 The beautification of the appearance
Dracula's face is aquiline, with high bridge of the thin nose and peculiarly arched nostrils. The mouth is fixed and rather cruel looking, with peculiarly sharp white teeth; his ears are pale and at the tops extremely pointed; the chin is broad and strong, and the cheeks firm though thin. The general effect is one of extraordinarily ugly, disgusting and monster like.
In contrast, Rice’s vampires are all handsome, good looking, and like angels. They are elegant, graceful, genteel, charming and captivating.
The appearance of vampires goes through an evolution and transformation from monster like to angel like. The beautification process displays an obvious shift of attitudes of human beings to an alienated and mysterious being. Towards the Other, people do not simply repel and reject any more. They try to approach and appreciate it from a different angle and perspective, which in turn presents the lenience and inclusiveness of humanity.
4.2 The shift of vampire’s position from the peripheral to the center
The shift of narrative mode from a third-person limited narrator to a first-person narrator fully displays the change of vampire’s position from the peripheral to the center. When people allow the Other to tell, to confide and to unveil their seemingly cold mark, it’s a sign of drawing near the distance and trying to understand and sympathize with them. The Other are no longer being forgotten and discriminated, but going to the center and drawing more attention and concern. People no longer judge the Other from a subjective outsider point of view, but make them the narrator to speak for themselves. Isn’t this a kind of speech freedom people grant them?
4.3 The evolution of society culture
4.3.1 Religion
Every age embraces“the vampire that it needs‖ (Gordon and Hollinger, 1997: 1). Indeed, the implications of religion, ethics and sex in the specific age are ubiquitous in the works of vampire. To examine the society evolution is to examine the humanity’s transformation.
As analyzed in the previous chapters, the society in 19th century to 20th century does go through a series of revolution. From the merciless repression of the paganism to the search for a broader, looser and more lenient religion notion, Christianity was gradually losing its influence and new humanitarianism was just emerging. The belief in humanism、human rights and human accomplishments was more powerful and influential than ever. The severe religious conflicts between Christianity and paganism, and also the brutal and inhuman suppression of paganism are no longer the mainstream, but the humanism is going to the stage.
4.3.2 Morality
The moral system of Victorian society is dual, strict, extreme and cruel. It’s people that define the meaning of good and evil and the two are definite and uncompromising. However, in the Contemporary society, the definition of good and evil becomes blurred and inverted. It’s more relative than absolute, more multi-sided than simply dual. People begin to redefine morality from the perspective of vampires, and abandon the tradition of autocracy but look for a kind of democracy, and change
from hegemony to enfranchisement, i.e. justice and fairness to all the beings in the world.
4.3.3 Sexuality
Sexual constraint was imposed on women at Victorian times and sexuality was usually associated with bestiality, pollution, filth, evil, crazy, lowliness and death. It’s an unscrupulous objection to the natural desire of human beings for sexuality. Luckily, people had a more lenient and scientific atmosphere about sexuality in the Contemporary society. Moreover, they also laid their eyes on the previously discriminated and exiled gay community and tried to empathize with them. The erotic scenes in the latter work are somewhat beautiful and aesthetic. It’s a sign of appreciation and acceptance of the natural sexual desire. To approach and accept the Other, to allow the existence of difference and to emancipate the natural desire of human being, it is really a huge step towards humanism.
中西方人性理论对比分析 一、西方人性假设 （一）“经济人”假设 “经济人”的观点最早是由亚当?斯密在《国富论》中提出的，他认为经济现象是具有利己主义的人们的活动所产生的，如果能够刺激他们的利己心，使之有利于他人，要达到目的就容易得多了。泰勒制是其典型的代表，这个经济理论对应的管理方法就是用严格的规章制度来管理人，从而达到预期的目标。不可否认的是，在当时的中国和西方，这种人性假设下对应出现的管理政策确实可以产生积极的作用，对应的是中国政治上的稳定，西方经济利润的增加。但是随着社会的发展，这种理论的片面性也更加凸显，这种人性假设的实质是把人看作一种单纯的动物，无视和抹杀了人的社会性。在这种人性理论指导下产生的管理措施，不可能真正、持久地调动人的积极主动性以及激发人的劳动热情和创造精神。 （二）“社会人”假设 社会人是梅奥总结了霍桑实验，提出了“社会人”的人性假设。“社会人”的观点认为，工人不是机械被动的动物，对工人劳动积极性产生影响的也绝不是只有经济报酬，工人还有一系列社会的、心理的需求，比如对尊重的需求等。这种“社会人”假设的观点类似于孟子“性善论”中的观点，将人性向好的一面去看，不再片面地将人性看作追求利益者，而是把人的社会需要看作人类行为的动机，“社会人”的本质特征之一就是在劳动中与其他人交往，紧密地结合在一起，从而获得社会的认同，这就给管理者提出了更高的要求。 （三）“自我实现人”假设 由美国心理学家和行为学家马斯洛提出。他认为：“人拥有五个层次的需要，即生理的、安全的、爱与归属的、尊重的和自我实现的需要。每当一种需要得到满足时，另一种需要便会取而代之。”其目标就是自我实现，竭尽所能地发挥自己的潜能，利用自己的天资和能力，使自己变得完美。该理论比较客观地分析了人作为一个客观存在的立体的个体，个人的需要之间的关系体现了西方哲学思想中的人本主义思想，重视个人的价值与尊严。他强调发挥人的潜能与价值，由此也推动了现代“以人为本”的管理。 （四）“复杂人”假设 美国行为学家沙因对人性进行了归类，并且提出了四种人性假设，除了上面提到的三种之外，又提出了“复杂人”假说，即每个人都有各自的需要和不同的能力，工作的动机不仅有复杂性而且有不确定性，人的许多动机安排在各种重要的需求层次之上，这种动机阶层不但因人而异，而且同一个人在不同的时间和地点也是不一样的。人可以依照自己的行为动机、工作能力及工作性质对不同的管理方式作出不同的反应。沙因基本上将人性的各种情况作出了一个非常好的归纳，给管理者提供了一个时代任何人的万能管理方式。 二、中国早期人性假设 （一）“性善论” 首先提出“性善论”的是孟子。“恻隐之心，人皆有之；羞恶之心，人皆有之；恭敬之心，人皆有之；是非之心，人皆有之。恻隐之心，仁也；羞恶之心，义也；恭敬之心，礼也；是非之心，智也。仁、义、礼、智，非由外铄我也，我固有之也。”孟子认为人有恻隐之心、羞恶之心、恭敬之心和是非之心，这就是仁义礼智，这些不是从外部给予我的，而是我自己本来就拥有这些的。[1]在管理学的角度上，孟子的“性善论”主张管理者应该施以仁政，因为人的本心是善的，是好的，所以管理者应加以引导，使其顺应自己的统治。 （二）“性恶论” 荀子作为“性恶论”的代表，他的思想与孟子截然相反。“人之性恶，其善者伪也。”荀子否定性善是与生俱来的，认为人生来是恶的，肯定性恶是人的固有的本质，主张对人的管理办
关羽人物形象 关羽是一位义薄云天，英勇无畏的的英雄。他是一位忠于蜀汉，知恩图报，义薄云天的豪杰，是一位英勇善战，智勇双全，威震华夏的英雄。他的孔武有力、英勇善战，特别是他的重然诺、讲义气、富贵不能淫、威武不能屈的品质，历来受到广大人民的喜爱。 《三国演义》第一回是“宴桃园豪杰三结义”，就是说的刘备、关羽、张飞三人看到国家动乱，民不聊生，想寻觅同心，共举大事。三人一拍即合，在张飞庄后桃园中桃花盛开之时“结为兄弟”，誓词是：念刘备、关羽、张飞，虽然异姓，既结为兄弟，则同心协力，救困扶危。上报国家，下安黎庶。不求同年同月同日生，只愿同年同月同日死。皇天后土，实鉴此心。背义忘恩，天人共戮。从刘关张的誓词可以看出小说塑造了一个义绝的人物形象。关羽华容释曹，在作者看来，更是“义薄云天”。因为重信守诺、知恩必报，向来就是“义”的重要表现。关羽当初兵败被俘，虽然最终未被曹操极为优厚的待遇彻底迷惑，但对曹操的所谓“新恩”，其实也并未完全舍弃，因而总有点不能忘怀。他在当时的辞曹信中就这样说过：“尚有余恩未报，候他日以死答之，乃某之志也。”曹操力排众议，坚持不杀关羽，“使归故主，以全其义”，成就了关羽“义”的美名。于是，有感于“丞相之恩，深如沧海”的关羽，不仅替曹操斩颜良、诛文丑，解了袁绍的白马之围，特别是在赤壁火起后，在华荣道一手“义释”了被大火烧得焦头烂额、走投无路的曹操。这里，关羽冒死释曹，以私废公，用今天的眼光看来，就是在关键时刻不顾军命，不讲原则，认敌为友，放虎归山，犯了政治上、军事上绝对不可原谅的错误；在关羽，他也并非不知这样做的严重后果。因为他事前曾和诸葛亮立过军令状，军中无戏言，违令是要杀头的。关羽在曹操求命时，正面临着“忠”与“义”的剧烈冲突：放走曹操，这是对刘备不忠；不放曹操，这显然又是忘恩负义。在这两难的境况下，最后还是舍“忠”取“义”，以“义”为上，放了曹操。对于关羽此举，作者极为赞赏，说他是“义重如山”，还引诗称赞他是：“彻胆长存义，终身思报恩。威风齐如日，名誉震乾坤”；是“拚将一死酬知己，致令千秋仰功名”。 关羽的一生是成功的。自黄巾之乱跟刘备一起东征西讨，就一生追随刘备左右，忠心不二。虽下坯被围，被迫降曹，但是后来千里走单骑，重回刘备身边，更加表现出他的忠肝义胆。温酒斩华雄（可以讨论），斩车胄，入万军之中杀颜良诛文丑，无不令人心惊胆战，是其骁勇过人之能也。水淹七军，降于禁，斩庞德，所以他且稍有谋略。这些都是他个人的功绩和优点，功绩带给他的是功成名就，威镇华夏。然而成功的背后却危机四伏，正是这些胜利让他更加目中无人，骄傲自大，飞扬跋扈，为他的失败埋下了伏笔。 作为封建时代的英雄，关羽亦非完美无缺。随着时间的推移，地位的提高，他的缺点逐渐显露出来。作品惟妙惟肖地刻画了他自高自大，刚愎自用的个人英雄主义的心理活动和行为。正因为他的骁勇善战、智勇双全、义薄云天，使之威震华夏。也因此而使他居功自傲，刚愎自用。最终导致他因小失大，给蜀汉事业造成了不可弥补的损失。对内居功自傲，争强好胜，不善于与周围人处好关系。对外缺少长远战略眼光，优柔寡断，甚至粗暴无礼。释敌酋，失盟友，丢了身家性命，害了一兄一弟，败了蜀汉帝业。可见他虽忠勇无双，但却无深谋远略，只能是以其忠义勇传世，而不能具有政治家、战略家之远见卓识。 作为一个文学形象，关羽富有特殊的气质和精神。是作者热烈颂扬的英雄人物，也是写得最成功的人物之一。关羽这一人物形象所具有的义，既不同于儒家的仁义，也不同于庸俗的义气，而是一种具有崇高，正义，神勇，刚直意义的义气——正义之气。 但他被尊为五虎上将之首后，随着地位的提高，他变得自高自大，居功自傲。刚愎自用。总观关羽，是一个性格复杂而个性鲜明的人物形象，我们不能一味的诋毁他，也不能一味的赞誉他，应用发展的眼光来看待这个人物形象。 1
注意：本文由合肥财经学院机电一体化1101班童永鹏原创和分享，不作为其他人的“中西方文化课”期末考试之用，如有发现，必将追究责任。 浅谈中西小说文化之差异 “两脚踏中西文化，一心评宇宙文章”。林语堂的这句诗恰好体现了他的文化情怀和态度。林语堂渊博的知识和丰富的海外经历，使他能站在世界一体化的高度，不偏不倚地看待不同的文化。他认为，人性是相通的，文化也是一体的，不管是中国文化还是西方文化，他们都是世界文化的一部分，是可以互相弥补互相吸收的。在全球不断一体化的今天，林语堂看待中西文化客观、全面、人性的态度是值得我们借鉴和学习的。 ——题记作为素质教育的受益者，我有幸阅读了《红与黑》、《汤姆索亚历险记》、《羊脂球》、《儒林外史》、《围城》、《钱钟书传》等大量的中外著作，不能说是完全吸收了全部的思想，只能说是粗略地了解大家所想诉说的大体含义。如果非要给小说做个比喻的话，我更愿意把小说比作是陈年老窖，越久越醇，越品越有味儿。虽然我不是像李白那样嗜酒如命，但是我愿意去慢慢品味那独特的香浓，虽然，有些烈、有些辣，甚至难以下咽，但是，酒过肚肠，那一丝丝的香滑顺着口飘溢心脾，荡气回肠。小说不也如此吗？一部著作的诞生倾注了作者的全部的心血和期盼，如女孩红那样装满了对孩子的期盼，这一点，中西方的小说都是一样的，
司汤达的《红与黑》酝酿和创作了多年终成就了这部批判现实主义著作，吴敬梓的《儒林外史》也是这样，终使之成为中国古代讽刺文学的典范，也使吴敬梓成为中国文学史上批判现实主义的杰出作家之一。 下面，就针对我最喜爱的两部中西方小说来粗略地谈谈我对中西方小说差异的理解。 先从中国的《儒林外史》开始谈起吧。我先谈谈喜欢《儒林外史》的理由吧。有的人会说，中国古代的著作多得是，为什么偏偏选择《儒林外史》来说呢。我想说的是，这是我接触到的第一本课本外的古代小说著作，作者对生活在封建末世和科举制度下的封建文人群像的成功塑造，以及对吃人的科举、礼教和腐败事态的生动描绘深深地吸引了我，似乎把我带到了康乾时期，我会为了高要县知县汤奉讲做牛肉生意的回民老师傅活活枷死而气愤，会为了范进中举后不省人事而黯然神伤，会为了科举制度下培养的一批批庸才而叹息，更会为了生活在科举制度下的文人墨客和能人志士而感到悲哀和怜悯。 中国古代小说多以传奇故事为题材，可以说都是“传奇型”的。到了明代中叶，从《金瓶梅》开始，才以凡人为主角，描写世俗生活。而真正完成这种转变的，则是《儒林外史》。它既没有惊心动魄的传奇色彩，也没有情意绵绵的动人故事，而是当时随处可见的日常生活和人的精神世界。全书写了二百七十多人，除士林中各色人物外，还把高人隐士、医卜星
第27卷第4期 唐山师范学院学报 2005年7月 Vol. 27 No.4 Journal of Tangshan Teachers College July 2005 ────────── 收稿日期：2005-03-09 作者简介：徐永泉（1958-），男，河北唐山人，唐山师范学院中文系教授。 - 5 - 幻想文学与人性思考 徐永泉 （唐山师范学院 中文系，河北 唐山 063000） 摘 要：幻想文学与写实性文学的审美指向有很大的不同。写实性文学注重对现实“并无差等”的细致描写；而幻想文学由幻以入真，从某种程度上看，它更接近哲学“追问——和全、绝对、终极、永恒”，它关涉世界的本质、人性的内容、人的生存状态、生命的价值、精神结构的丰富性与复杂性等。意大利的作家卡尔维诺、美国的作家茹恩在其各自的幻想作品中力图向人们说明“幻想文学的目的就是为了恢复人性。” 关键词：幻想文学；写实性文学；人格分裂；人性 中图分类号：I05 文献标识码：A 文章编号：1009-9115（2005）04-0005-03 关于幻想文学，可待言说的话题很多，但其审美指向是笔者首先要关注的。为论说方便，可将它与写实性文学做一简单比较。写实性文学作品是以现实存在的真实性为终极的。如宗白华先生所说：“诗人艺术家在这人世间，可具两种态度：醉和醒，醒者张目人间，寄情世外……世间的光明与黑暗，人心里的罪恶与圣洁，一体显露，并无差等……他们的‘世界’虽匠心创造，却都有真情实理，生香活色，与自然造化一般无二。”[1](P193)“与自然造化一般无二”可谓写实性作品的最高境界。尽管此类作品的创造者构思时要运用幻想，在优秀现实主义作品的具体描写中蕴含着对人性、人的命运的普遍关怀，对宇宙大道之理的哲理性思考，但因其对现实“并无差等”的细致描写，人们更关注于作家对历史现实的真实性描写。巴尔扎克在《人间喜剧·导言》中说：“法国社会将成为历史学家，我不过是这位历史学家的书记而已。”此话恰是这类文学使命的准确道白，亦即写实性文学的审美指向所在。比较而言，幻想文学──不客气地说──本身就是“编”的，所以脱去了真实具体的外壳，少了不必要的累赘，鼓动幻想的翅膀翩翩而至，带来更多是形而上的思考。正如宗白华先生所说，它“借幻境以表现最深的真境，由幻以入真，这种真不是普遍的语言文学，也不是科学公式所能表达的真，真只是艺术的‘象征力’所能启示的真实。”[1](P83)这种更深、更高的真实是本体意义上、抽象意义上的真实，它关涉世界的本质、人性的内容、人的生存状态、生命的价值、精神结构的丰富性与复杂性等。从某种程度上看，它更接近哲学“追问——和全、绝对、终极、永恒”，[2](P341)亦即本源的、本当如此的形而上的思考。对此人类需历经几代，运用理性的智慧才能有所探寻。幻想文学正于此处，呈现出了审美价值取向。 本文拟结合中外几部具有代表性的幻想文学文本，试述其对人格、人性的思考，从理性之维来审视幻想文学应有的地位和价值。 人是什么？人格、人性应有的内涵和状态是什么？这个千古之谜至今并没有得到完全破解，相反，随着人的自我意识的不断觉醒，越发显露出迷惘和深究的必要。从根本上说，它应是任何哲学体系的出发地和归结点。所以，“有人问泰利士，世上什么最难，他答‘认识你自己’。苏格拉底把哲学的使命限定为‘认识你自己’”。[2](P341)人对自身的探索，自古希腊阿波罗神庙上的铭文“认识你自己”出现以来，一直在苦恼着人自己。[3]这是任何人，尤其是哲人和艺术家都无法回避的问题。古代先哲在理想的王国中，描绘未来健全完美的人格蓝图，尽情讴歌人性的丰富与完满；而近代人则勇敢地撕破荣格所说的“人格面具”，[4]无情展露人格的分裂与异化，人性的扭曲与缺失，面对人的自我迷失发出惊世骇俗的呐喊。爱默生说：“社会是这样一种状态，每一个人都像是从身上锯下来的一段肢体，昂然地走来走去，许多怪物── 一个手指，一个颈项，一个胃，一个肘弯，但是从来不是一个人。”[2](P250)同样，尼采也说：“我的目光从今望到过去，发现比比皆是碎片、断肢和可怕的偶然──可是没有人。”[2](P250)尽管表述角度不同，但明眼人应当看得出，他们和先哲一样，同样热烈地怀抱着人格、人性全面发展的理想和渴望。 幻想文学作家勇敢地担当起探索的责任，同时又融入本人的体验与自省，其思想结晶弥足珍贵。卡尔维诺——意大利当代作家，经历了二次世界大战反法西斯抵抗运动的洗礼，收集整理、编写出版了闻名于世的两卷《意大利童话》（1956），对文学、人生有着独到的领悟。他于1952年写成
吸血鬼—西方文化的神秘主题 内容提要：吸血鬼文化属于西方地下文化的一支，发源于欧洲，在现代主要通过文学和影视传播，越来越多的人怀着既向往又恐惧的心情走近幻想中的吸血鬼。吸血鬼文化也深深地吸引着笔者，不过主要局限于其有关的影视作品，每部最新的吸血鬼作品发布我都会下载来看。然而，对于吸血鬼的文化笔者确知之甚少，希望通过对该专题的研究丰富相关的认知。 关键词：吸血鬼德库拉迷信 吸血鬼（vampire），意思是僵尸、吸取血液的恶魔的意思，是西方世界里著名的魔怪。作为一个和人类关系密切的恶魔形象，它在开始的几百年的传说里一直带有离奇而恐怖迷幻的色彩。近百年来，随着浪漫主义文学和影视兴起，带有神秘唯美的吸血鬼形象更成为了浓郁而坚持的文化情节——一个从宗教走向感性膜拜的奇特的夜之魔鬼。 一.吸血鬼与相关概念的区别 吸血鬼与鬼魂：鬼魂是不属于肉体躯壳的精神物质，我国关于鬼魂的传说很丰富，笔者就不赘述，而吸血鬼是附体的幽灵，是被从遗弃的世界里出来的恶灵所占据的身体。其本质的区别在于是否存在实体。 吸血鬼与僵尸：我国也有关于僵尸的传说，这与西方的僵尸相似，上世纪八、九十年代的香港盛产关于僵尸的影片，他们的主要特征是没有思维，其中林正英的僵尸系列较为典型。而吸血鬼与僵尸的本质区别就是吸血鬼有思维，和人类有着密切的联系,只是他们只在夜晚活动。 二.关于吸血鬼文化的起源 在欧洲，从历史开始的时候，就蔓延着吸血鬼的传说。成千上万的人们相信这一传说并在黑暗里因为这个传说而颤抖。 1. 一般认为，吸血鬼传说起源于人们对血的恐惧与崇拜。 希伯来人对血的崇拜和恐惧形成了一种难耐的情结，一方面血是灵魂和生命的象征，而另一点上他们又把血认为是灾难不祥的标记。 基督教认为，血同样代表着罪恶。《旧约·利未记》有这样的描述：“我对以色列的孩子说，你们不可吃任何活物的血，因为那就是它们的生命，否则你们就会受到惩罚！”。 2. 最早的吸血鬼形象难以确定，但一般来说主要有以下两种论点： 该隐：因杀兄弟而受上帝诅咒。在千年潜藏的吸血鬼传说中，该隐所受的天谴便是终生必需靠吸食活人鲜血，并且永生不死，世世代代受此诅咒的折磨。而且上帝让他的记号变成
孟子的人性论 Prepared on 22 November 2020
目 录 摘 要 (1) Abstract (1) 一、孟子思想产生的原因 (1) （一）时代的要求 (1) （二）继承与创新 (2) 二、孟子人性论的内容 (2) （一）何为人性 (2) （二）人性的本质 (2) 三、孟子人性论的意义 (2) （一）对当时的意义 (2) （二）对当代的意义 (3) 参考文献……………………………………………………………………………… 4
摘要：春秋战国时期是我国古代思想文化最为繁荣的时期之一，各派思想纷纷出现，儒家思想也在那个时候诞生了，孟子作为儒家大师之一，他的思想的产生不仅是时代的要求，而且也是在孔子基础上的发展，更是自身对儒家思想的一次创新，对儒家思想的形成与发展做出了巨大的贡献，他不仅初步完成了对儒家思想的构建，而且为儒家的核心思想“仁”找到了理论依据，即人性本善，并且在善的基础上使“仁”的思想内涵得到进一步的扩大，不仅促进了当时儒家思想的发展，对我国当前建设社会主义和谐社会也具有重要的意义。 关键词：孟子；人性；善；和谐社会 Abstract：The spring and autumn period and the warring states period is one of the most prosperous period of ancient Chinese ideology and culture, political ideas, Confucianism also at that time was born, mencius as one of the Confucian master, his thought is not only the request of the ages, but also in development, on the basis of Confucius is an innovation of Confucianism itself, on the formation and development of Confucian thought made great contributions, not only did he initially completed the building of Confucian school, and find the core of the Confucian "benevolence" as theoretical basis, namely human goodness, and on the basis of good make "benevolence" to further expand the thought of, not only promote the development of Confucianism, the current construction of a harmonious socialist society in China also has the vital significance. Keywords:Mencius; Human nature; Good; A harmonious society 浅谈孟子人性伦 一、孟子思想产生的原因 （一）时代的要求 孟子生活在东周战国时期，社会各个方面都纷乱复杂，政治上无非是各个诸侯国之间你打我拒，目的就是为了扩大疆土、富国强兵、称雄天 下，然而伴随它产生的各派的思想对于诸侯就复杂的多了，究竟那个可以令他们实现目标，这是个复杂的问题。 《史记·孟子荀卿列传》是这样描写孟子与孟子所处的时代的，“孟轲，邹人也，受业子思之门人。道既通，游事齐宣王，宣王不能用。适梁，梁惠王不果所言，则见以为迂远而阔於事情。当时之时，秦用商君，富国疆兵；楚、魏用吴起，战胜弱敌；齐威王、宣王用孙子、田忌之徒，而诸侯东面朝齐。天下方务於合从连横，以攻伐为贤，而孟轲乃述唐、虞、三代
三国演义中关羽的艺术形象分析电大汉语言文学本科毕业论文_三国演义关羽 XX广播电视大学毕业设计(论文、作业)评审表题目三国演义中关羽的艺术形象分析姓名教育层次本科学号分校专业汉语言文学教学点指导教师日期目录摘要、关键词............................................................第1页正文............................................................第1页一、人物形象............................................................第2页（一）勇武超群、人品出众..........................................第2页（二）刚毅果敢、深通谋略..........................................第2页（三）忠贞冠绝、义薄云天..........................................第3页（四）骄傲自满、刚愎自用..........................................第4页二、悲剧命运............................................................第5页参考文献 (7) 三国演义中关羽的艺术形象分析 【内容摘要】关羽，演绎了千年不变的精魂，演绎了荡气回肠的凝重。
其性格中最重要的两个方面就是勇武、忠义。是我国古典小说中塑造得相当成功的一个艺术典型。其浓厚的悲剧色彩才给后人留下深深的敬重和惋惜，令后人在深深崇敬的同时无不为其悲剧结局而深深叹息。艺术形象：勇武超群、人品出众； 刚毅果敢、深通谋略； 忠贞冠绝、义薄云天； 却又骄傲自满，刚愎自用。悲剧命运：关羽的悲剧形象，有明显的社会和时代烙印，高傲自负，缺乏战略眼光，导致孙曹联合使自己陷入两面受敌的困境，是蜀汉政权的巨大损失。关羽这一有着明显性格缺点的失败英雄，作者在悲剧的结局中使他的人格进一步升华。 【关键词】关羽艺术形象悲剧命运《三国演义》是一本家喻户晓、妇孺皆知的古典名著。该书将天下奇才诸葛亮，一代枭雄曹操，勇者张飞、许褚，庸主献帝、刘禅等人物，描写得淋漓尽致，无不各极其态。而给我印象最深的是“美髯公”关羽，他的忠、义、勇、气，很令我钦佩。关羽，字云长，河北解良人，身长九尺，髯长二尺，人称“美髯公”。书中描写为：丹凤眼，卧蚕眉，面如重枣，唇若涂脂，手提青龙偃月刀，胯下千里追风赤兔马。可谓气宇轩昂，威风凛凛。关羽文武双全：他读过很多书，知春秋，明大义； 他武功盖世，斩大将颜良、文丑，三战吕布等等。 关羽，演绎了千年不变的精魂，演绎了荡气回肠的凝重。关羽
浅谈中西方文化差异 语文是社会的产物，是人类历史和文化的结晶。它凝聚着一个民族世代相传的社会意识，历史文化，风俗习惯等各方面人类社会所有的特征。不同的文化背影和文化传统，使中西方在思维方式，价值观念，行为准则和生活方式等方面也存在有相当的文化差异。语文是文化的载体，词汇是文化信息的浓缩，是语言的重要组成部分，它反映着文化的发展和变化，同时也直接反映着文化的差异。 在中国两千多年的封建社会历史的过程中，儒家思想一直占据着根深蒂固的弦统治地位，对中国社会产生了极其深刻而久远的影响。中国人向来以自我贬仰的思想作为处世经典，这便是以儒家的“中庸之道”作为行为的基本准则。“中”是儒家追求的理想境界，人生处世要以儒家仁、义、礼、智、信的思想道德观念作为每个人的行为指南，接人待物，举止言谈要考虑温、良、恭、俭、让，以谦虚为荣，以虚心为本，反对过分地显露自己表现自我。因此，中国文化体现出群体性的文化特征，这种群体性的文化特征是不允许把个人价值凌驾于群体利益之上的。 西方国家价值观的形成至少可追溯到文艺复兴运动。文艺复兴的指导思想是人文主义，即以崇尚个人为中心，宣扬个人主义至上，竭力发展自己表现自我。“谦虚”这一概念在西方文化中的价值是忽略不计的。生活中人们崇拜的是“强者”“英雄”。有本事，有才能的强者得到重用，缺乏自信的弱者只能落伍或被无情地淘汰。因此，西方文化体现出个体文化特征，这种个体性文化特征崇尚个人价值凌驾于群体利益之上。 正因为如此，中西两种文化在对某些单词所带有褒贬色彩上有差异。如：ambition一词，本身具有褒贬两种含义。中国人用其贬义，表示“野心勃勃”，而英美人则取其褒义，表示“雄心壮志”。Aggressive一词，中国人常用来形容某人“挑衅”“好斗”，而美国人则用来形容某人“进取上进，有开拓精神”。 我国的群体性文化，非常重视家庭亲友关系，把它视为组成社会的细胞；而在西方国家，崇尚独立自主自强自立。中国人重视传统的君臣，父子，论资排辈，等级森严，而在英美国家，长辈与晚辈间地位平等，不计较老少界限，多以朋友相处。中国人的传统观念历来崇尚“四世同堂”“合家团圆”，自古就有“父母在，不远游”的良言古训；而在英美国家，18岁的子女仍住在家里依靠父母生活是不可思议的事情，他们必须依靠自己的双手去独立生活。同样，年龄大的父母即使失去了生活自理能力，一般也不会拖累子女，他们往往要住进老人院，由社会关照。 文化的不同带来价值观念的在不相同。如lod一词，中国人历来就有“尊老敬老”的传统。“老”在中文里表达尊敬的概念，如老祖宗，老爷爷，老先生等。“老张”，“老王”，透着尊敬和亲热，“张老”“王老”更是尊崇有加。中国人往往以年龄大为荣。和别人谈话时，年龄越大，资格越老，也就越会得到别人的尊敬。“姜还是老的辣”。在我们看来，长者不仅是智慧的化身，也是威望的象征。然而，西方国家极少有人愿意倚老卖老而自称”old”。在他们看来，“old”是“不中用”的代名词，是和“不合潮流”“老而无用”的含义连在一起的。英美人不喜欢别人说自己老，更不会倚老卖老。在西方文化中，他们把年龄作为个人极为重要的隐私看待。尤其是女士，更忌讳别人问自己的年龄。即使愿意谈论自己的年龄，也要别人猜测其年龄，而此时，他们的真正目的的期望别人恭维他们看上去比实际年龄小，是多么年轻。又如，英美人忌讳莫深的fat一词，见人说fat会令人沮丧不快而且反感。说到fatmeat（肥肉）多半会被认为是毫无价值的该扔掉的废物。而中国人见了小孩子说“胖嘟嘟”“胖乎乎”，表示对孩子的喜爱，对成年男子说fat有“发福”之义，对成年女子讲fat有“丰满”之义，都有赞美恭维之意。日
战争与人性 ——世界何时铸剑为犁 一、描写战争的诗 凉州词王翰 葡萄美酒夜光杯，欲饮琵琶马上催。 醉卧沙场君莫笑，古来征战几人还？ 春望 作者:【杜甫】年代：【唐】体裁：【五律】 国破山河在，城春草木深。 感时花溅泪，恨别鸟惊心。 烽火连三月，家书抵万金。 白头搔更短，浑欲不胜簪。 从军行其一王昌龄 青海长云暗雪山，孤城遥望玉门关。 黄沙百战穿金甲，不破楼兰终不还。 二、军事成语 【军】军令如山孤军奋战孤军深入千军万马全军覆没异军突起横扫千军溃不成军 【枪】枪林弹雨单枪匹马荷枪实弹临阵磨枪 【弹】弹尽粮绝枪林弹雨 【剑】剑拔弩张刀光剑影 【旗】旗开得胜旗鼓相当偃旗息鼓重装旗鼓顺风扯旗 【鼓】一鼓作气胶柱鼓瑟欢欣鼓舞偃旗息鼓重装旗鼓 【弓】惊弓之鸟杯弓蛇影鸟尽弓藏左右开弓 【阵】临阵脱逃严阵以待临阵磨枪冲锋陷阵 【战】百战百胜三战三北速战速决转战千里背水一战决一死战南征北战能征惯战身经百战浴血奋战 三、战争名言 用兵之道，攻心为上，攻城为下；心战为上，兵战为下。(三国·诸葛亮) 是故百战百胜，非善之善者也；不战而屈人之兵，善之善者也。(春秋·孙武) 得道者多助，失道者寡助。(战国·孟子) 兵民是胜利之本。(毛泽东) 敌进我退，敌退我追，敌驻我扰，敌疲我打。(毛泽东) 四、关于战争的阅读材料 1、以“世界何时铸剑为犁”为主题的佳作 『佳作1』 给安南先生的一封信 尊敬的安南先生： 您好! 我是中国的一名中学生，能给您写这封信，我深感荣幸与骄傲。我主要想和您谈谈自己对战争与和平的一点看法。 今天，我看到了一组伊拉克儿童祈祷和平的图片。许许多多本应该生活得无忧无虑的伊拉克儿童，在和平夜，点燃手中的蜡烛，用他们稚嫩而虔诚的心，祈祷和平。从他们饱含忧虑和悲伤的脸上，，我揪心地感觉到，战争已给这些幼小的心灵造成了严重的戕害。我想，全世界热爱和平的人们都忘不了3月20日上午10点30分，美英悍然发动了对伊战争。这个曾是人类文明发源之地的两河流域，在轰鸣的炮火中变成了“人间炼狱”。 纵观人类历史，血与火的战争屡屡发生，战争留给我们什么呢？古人早就有“千里无鸡鸣，白骨露于野”的诗句，就是最真实的写照。让我们看一组触目惊心的数据吧。据瑞典、印度学者统计，从公元前3200年到公元1964这5164年中，世界上共发生战争14513次，只有329年是和平的。这些战争给人类造成了严重灾难，使36。4亿人丧生。损失的财富折合成黄金可以铺一条宽150公里、厚10米、环绕地球一周的金带。第一次世界大战历时4年又3个半月。参加战争的有6个大洲的33个国家，卷入人口达15亿多人，交战双方动员的兵力达6000多万人，其中伤亡3000多万人，因战争而死于饥饿和其他灾害的达1000万人左右，各交战国经济损失约为2700亿美元。时至今天，战争离我们并不遥远。1994年，在卢旺达的部族屠杀中，有50多万人被杀；在科索沃战争中，北约调集了1100多架战机，在为期两个多月的时间里，致使2000多万平民丧生!海湾战争，使1614203人丧生。其中667773名是5岁以下的儿童！战争使繁荣成为一片废墟，使安定幸福化为泡影，代之已妻离子散，家破人亡，留给人们心灵深处难以愈合的伤痛。 无数的事实说明:战争只会给人类带来灾难。世界需要和平，人类需要和平。。我身为一名中学生，已经深深的体验到生命是弥足珍贵的了。我们在安享和平幸福，但依然还有一些人饱受战争之灾。我真诚地希望联合国能够担负起维护人类和平的重任，让蓝天，碧云，白鸽，回到伊拉克小朋友的身边，让和平永驻人间！ 此致 敬礼 中华人民共和国学生：张卓然 2004年9月 评析： 这篇文章由一幅伊拉克儿童祈祷和平的画面入手，引起读者的阅读兴趣，激发读者的情感，然后用一组数据来展示战争的危害之大，亮处自己的观点。主旨明确，思路清晰，前后衔接紧密。 旁批： 1用孩子对和平祈祷的画面，振聋发聩。 2罗列数据，鲜明地表现战争给人类带来的灾难之多。 3情真意切，强烈呼吁，表达心声。 『佳作2』 我渴望和平 我渴望和平。于是在一个静悄悄的黎明，我放飞了一只白鸽。它衔着橄榄枝向着和平飞去了。可是，世界会和平吗？“轰”——美国世贸大楼倒塌了，一阵阵凄厉的尖啸与撕心裂肺的哭喊声，打破了称雄于世的美国的宁静。失去亲人的人们望着一片废墟，痛不欲生；而一小部分侥幸逃生的人正大口大口喘气，不敢相信好莱坞片式的惨景竟真的发生了！坐在电视机前的我早已泪流满面，心里直呼唤：和平，你在哪儿？ “9·11”后，美国采取了“以牙还牙”的反恐策略，阿富汗遭到美军的狂轰滥炸，和平的乐章划上了休止符，战争的喧嚣在这里骤响。难民们流离失所，饥寒交迫，远在万里之遥的我，是多么同情这些无辜的人们啊。
中西方人性论比较集团标准化工作小组 #Q8QGGQT-GX8G08Q8-GNQGJ8-MHHGN#
中西方人性论比较 摘要：中国和西方人性论存在许多差异,其中最能够反映出两种不同文化中人性论分野的是整体和谐论与二元对立论的差异。中国传统文化把人以及人性作为一个整体来把握,相信“人皆可成尧舜”,认为人的灵与肉是和谐统一的,人能够自我控制、自我约束,从而直接导致中国传统文化的泛道德主义和等级主义、专制人治、清官情结、明君情结。西方认为人本身具有两极对立性,人自身具有灵与肉、理性与感性、天使的一面与野兽的一面,两者常常冲突,人并不必然趋善,人性有其局限性、脆弱性、需要外在的他律性,从而直接导致西方文化的自然主义,并成为西方平等、民主、法治思想的基础。 关键词：人性论整体和谐二元对立 法国18世纪着名的唯物主义哲学家霍尔巴赫曾指出的,“适合于人的道德学应当建立在人性上,它应当告诉人什么是人,什么是人给自己提出的目的,以及达到这个目的的方法。而对你的目的,这就是全部道德学的撮要。”因此，人性问题对于伦理学的特殊意义就在于人性理论是任何道德学说的理论前提。 一、中国人性论 中国传统哲学关于人性的理论主要表现在人性善恶上,其观点繁纷复杂,张岱年先生把我国传统哲学关于人性善恶的理论划分为六种:“( 1)性善论———孟子,后来的宋明理学以 及王夫之、颜元、戴震都主性善论。(2)性无善无不善论———告子,后来王安石亦主性无善恶。( 3)性恶论———荀子。( 4)性有善有恶论———世硕。后来董仲舒、扬雄亦主此说。(5)性三品论———王充、韩愈。(6)性二元论———张载讲天地与气质之性,程颢、程颐讲天命之性与气禀之性,朱熹讲本然之性与气质之性,朱门弟子讲义理之性与气质之性。”把这些观点归纳一下,实际上最具代表性的是孟子的性善论、荀子的性恶论和告子的性无善无不善论。后来关于人性善恶的思想都是对这三种观点的发挥或综合。
吸血鬼传说（上） 在欧洲，从历史开始的时候就蔓延着吸血鬼的传说。成千上万的人们相信这一传说并在黑暗里因为这个传说而颤抖…… 小麦：吸血鬼是西方世界里著名的魔怪，之所以说是魔怪，是因为他处于一种尴尬的境地：既不是神，也不是魔鬼，更不是人！关于吸血鬼的以下种种传说，你知道吗？ 这样的吸血鬼才够格！ 吸血鬼是一个古老而神秘的种族。理论上来讲，所谓吸血鬼，可以理解为某种程度上的死尸。他们没有心跳和脉搏，没有呼吸，没有体温，而且永生不老。同时，他们有自己的思想，会思考，会交谈，也会四处走动，甚至还会受伤和死亡。 他们的力量远大于常人，而且拥有常人无法获得的异能。实际上，为了维持他们这种生存状态，他们必须吸食鲜血。一般来说，大部分吸血鬼通常吸食人类的血液，但是也有部分吸血鬼以吸食动物甚至其他吸血鬼的血维持生命。从吸食的途径上来分，一些吸血鬼会豢养牲畜，这些牲畜并非牛、羊之类的动物，而是一些因为某种原因自愿贡献鲜血的人类：有一些吸血鬼会利用特殊场合诱惑人类达到目的；还有一些吸血鬼通常采取攻击的方式强行吸食血液。 吸血鬼谣言大揭穿！ 谣言1：人被咬后会变成吸血鬼 真相：很多人认为，只要被吸血鬼吸食了鲜血之后，被吸食的人就会变成吸血鬼，这种看法并不正确。被吸血鬼吸食过的人可能死亡，但是并不会变成吸血鬼。如果吸血鬼打算令一个人类变成吸血鬼，必须将自己的血液给予对方。被吸食者接受吸食者的血液，两种血液融合才有可能变成吸血鬼。被吸食者会变成吸食者的后裔，按照密党的戒律，吸血鬼不能随意发展后裔，而且一个吸血鬼必须为后裔的行为负责。
谣言2：吸血鬼的异能与生俱来 真相：每一个吸血鬼都拥有异于常人的能力，但是这种能力并不是生来就有的。年轻的吸血鬼的能力几乎和凡人相同。但是随着年龄和经验的i曾长，吸血鬼会逐渐发掘自身的能力，从而使自己变得强大。理论上来讲，越年长的吸血鬼拥有的能力就越强大。第三代吸血鬼拥有的能力甚至可以与神媲美。在这些吸血鬼面前，人类是不堪一击的。 谣言3：吸血鬼害怕大蒜、圣水和木桩 真相：很多资料认为吸血鬼害怕的东西有很多，比如吸血鬼怕大蒜、圣水和木桩。这些传闻大多是不正确的。吸血鬼最害怕的东西是阳光。部分异能强大的吸血鬼可以对阳光具有微弱的抵抗力，但是没有任何吸血鬼能经受阳光的暴晒。另外，高温对吸血鬼也有一定的克制作用，因此，吸血鬼通常都在夜间行动，因为白天的日光和高温都会严重影响他们的思维和能力。此外，吸血鬼完全不怕大蒜和圣水。如果有人拥有极端强烈的宗教信仰，有可能用十字架暂时抑制吸血鬼，但是吸血鬼绝不会因此而致死。同样的，木桩对吸血鬼也毫无作用，但如果能用木桩钉住吸血鬼的心脏，可以令其暂时麻痹直到拔除为止。 谣言4：吸血鬼生来就是邪恶的 真相：实际上，吸血鬼本身并不邪恶，在一个人刚被发展为吸血鬼之后，他通常还会保留着自己的人性。这些人会认为他们可以和从前一样自由地行动和生活，但同时他开始害怕阳光、害怕高温，无法在白天出门。他会感觉到自己对鲜血的强烈渴望，会发现自己必须靠吸取周围人的血液生活。这些思想是如此强烈以至于完全无法控制。但是本性最后会占据上风，他会逐渐习惯新的生活方式。最后，他彻底明白了自己已经不是常人。他通常会远离繁华地带，孤独地生活，不与任何人接触。由于他们本身的体质，他们不会衰老，他们目睹周围世界的变化，目睹他从前的亲人和朋友相继死去。而他只能日复一日地用鲜血和生命作为自己的食物。周围的人类对于他来说不过是一些弱小的生物罢了，他们已经完全没有理由也没有必要尊重和爱护人
漫议关羽从人到神的嬗变 古今中外，恐怕都难以找到第二个这样的例子：一个极为普通的纠纠武夫，既没有像孔丘耶稣那样，上下求索，摩顶放踵，创造了某个民族的精神体系；也不曾如穆罕默德甘地一般横空出世挥斥八极，为立国兴邦建下名垂青史的旷世伟业，然而此人却在一个相当长的时代里，成为了一个民族万人崇仰的“圣人”，成为了绵延世代的精神偶像。这个人就是关羽。 应该说，关羽在中国历史上是一个极其普通的人物，在中华民族风云变幻大故迭起的历史长河里，他只不过是一粒小小的砂子。他的身世并不显赫，勋业也十分寻常。作为山西解良区区一介贩夫走卒，遭逢乱世，际会风云，与那个因时趁势努力想复兴汉室的刘备相识，在那群雄逐鹿之时，同甘共苦，南北转战，最终作了一个刘备自封的并非真正意义上的蜀汉“前将军”和“汉寿亭侯”；终其一生，除了与刘备一起经历了无数艰难困顿，颠沛流离之外，作为一位身经百战的蜀国主将，他平生的战绩也只有建安24年樊城之役降于禁擒庞德那一次最为辉煌，即便是这次胜利，某种意义上也得益于一场大水的帮助；在相当长的一段时间里，关羽并未给人们留下什么深刻美好的印象，仅就历史上那些吟咏三国故事的文人墨客的诗篇里，既有苏轼赞颂诸葛亮、周瑜的“羽扇纶巾，强虏灰飞烟灭”、“小乔初嫁了，雄姿英发”的词句，也有辛弃疾叹赏孙权“生子当如孙仲谋”的感慨，却偏偏就没有人肯提及关羽。作为一个真实的历史人物，关羽自身其实并不完美，他的目空一切，刚愎自用，目光短浅，心地褊狭，使他在各种情况下都吃过苦头。比如他极力阻止刘备三顾茅庐敦请诸葛亮而遭到刘备的呵斥；听说老将黄忠与他同列受封而大发脾气等等；尤其是当他身膺封疆重任镇守荆州时，骄狂猜忌，动辄构衅，严重破坏了刘备诸葛亮苦心经营的联吴抗曹战略决策，以致于建安24年10月痛失南郡，接着败走麦城，不仅将偌大个荆州拱手让与了孙吴，自己也丧元于一个无名小卒潘璋之手。平心而论：作为真实的历史人物，关羽充其量只不过是一位能在两军阵前斩将搴旗，好勇斗狠，常常讲点江湖义气也常常遭人诟病的武将，即便在三国时代，无论是战绩抑或是人品，他的名气甚至还在周瑜、陆逊、张辽诸人之下。然而，就是这样一个并不惹眼的人物，又怎么会逐渐演化成了声威赫赫香火绵延万人崇仰的“关圣帝 君”呢? 在人类社会发展史上，任何演进都有着它物质与精神方面的因素。对于关羽从人到“神”的演变，我认为也必须从历史方面去寻找根源；事实上，关羽被神化这一现象，既是一种历 在一些研究三国历史和研究“关公现象”的学者笔下，常常把这桩公案的始作俑者归于罗贯中的那部《三国演义》，其实我认为：如果从史籍上去追根溯源，有一句话才是后来的人们神化关羽时借以生发和附会的重要史乘依据。北宋学者司马光应该说是一位治学态度十分严肃的大史学家，在他的史学巨著《资治通鉴》里，曾经缕述了东汉建安24年关羽招降河南伊阳县流贼孙狼之后，自许昌以南众多盗寇群起南附蜀汉的史实，然而就在这一段文字后面，司马光却赫然用了十分醒目的一段文字，他写道：“……自许以南，往往遥应羽，羽威震华夏。魏王操议徙许都以避其锐。”(〈资治通鉴〉卷68汉纪60中华书局版12册大字直排本2163页)这句话中最关键的就是“威震华夏”四字，在后人的约定俗成与观念演变中，如此评价关羽，乃是一种非同小可的赞誉：“威震华夏”便是名震中国，威被遐迩。事实上，司马光所作的评价却有着具体的时代与地域限制，当时群雄割据，中国分裂，关羽活动的地域又恰恰逼近被称为“中原”的曹魏首都许昌附近，致使“挟天子以令诸侯”自封为正统的曹魏政权朝野震动，司马光所指的“华夏”并非我们今天认定的整个中国，而仅仅是指当时的中国政治核心的河南河北一带，司马光所谓的“威震华夏”也只不过是说关羽当时的招降
综 合 191 # 浅谈中西方文化差异 文/黄文娟 摘 要:中西方文化差异导致了中西方交流中的误解,引起了很多不便。本文针对日常生活中中西方文化交流中的典型现象如婚姻家庭,餐厅礼仪和日常招呼等进行分析,阐述了这些文化现象后所隐藏的文化内涵和其所植根的文化根基,从个人主义和集体主义,平等概念和等级观念,自我中心和牺牲精神等方面做出解释,为困顿于中西方文化的学习者提供参考。关键词:中西方文化;现象;文化内涵;文化根基作 者:湖南对外经济贸易职业学院 ?1Cited phenomena A 1Mar riage A Chinese gir l got mar ried with an Amer ican boy and sett led down in Los Angeles not far away from wher e her par ents-in -law lived.T he fir st few months went by much smoothly and the Chinese girl got along very well with her new family. Six months later,she got pr egnant and infor med her par ents -in-law at the fir st moment.The r eady grandparents blessed her and her baby and went to Europe where they planned to enjoy a half -year holiday.The Chinese gir l was surprised at their decision:/Don .t you stay to take car e of me and my baby?Don .t you think the baby is the most import ant thing in the family now?0T he parents-in-law also got confused:/We love this baby,but does it mean we should give up our own life and do everything for it?0 B 1Rest aur ant customs A young Chinese tourist sat in a Par is caf and or der ed tea.Twice he asked for more hot water to top it up while putting the saucer on the cup to keep the tea warm,as he would have done at home. T he waiter grew impatient./This Chinese is too stingy t o pay for mor e tea.And doesn .t he know t he saucer goes under the cup to cat ch the dr ips?0 T he Chinese man noticed the displeasure on the wait er .s face and lost pat ience himself./This Wester n waiter is r ea lly stingy and silly!Why is he so reluctant to serve me hot water?Why does he put the lid under the cup?0he got angry,and left the caf st eam ing with resent ment. C 1Greeting An American student Charlie went to China and continued his study in Peking University.Ever ything went well with him except that the Chinese people were hard to understand for him somet imes. One day afternoon,he was on his way back from the super market when he encounter ed two Chinese classmates./H i,Charlie,wher e are you going?0one of the Chinese classmates greeted him./I .m just back from the supermar ket.0H e answer ed./What did you buy?0T he Chinese student continued./Er ,0Char lie felt ver y awkward,/I bought a bar of bread,five apples,a bott le of salad jam and ,0/You don .t have to tell us all these specific t hings,we ar e just greeting you by asking you questions.0/What?You confused me!0 ò.Analysis on the cited phenomenon and the cor responding cultur al implications In the fir st case,both the Chinese girl and her par ents-in -law can keep their own opinion.In China,it is par ents .dut y t o be responsible for their childr en and this responsibility will last (4)勤巡视病房,观察生命体征、面色、意识及有无感染、周围组织坏死等。当出现因插管技术而导致的并发症(如穿破脐血管造成出血插进或堵塞腹主动脉分支、空气栓塞、血栓形成、误插在门静脉沟处、穿破肝实质等)时,应通知医生尽早拔管,同时给予对症治疗,使症状得以改善。 (5)细菌学检测。每周1次分别做外周血和脐部穿刺处皮肤的细菌培养。本组病例共做16次外周血和脐部穿刺处皮肤的细菌培养,无1例发生院内感染等插管并发症。 参考文献: [1]余波,李莎莎.新生儿126例脐静脉插管末端细菌培养的临床分析[J]中国新生儿科杂志,2007(4) [2]宋新志,曹明艳,何咏梅,等.新生儿窒息血肌钙蛋白T 变化[J ]湘南学院学报,2005(1) [3]周宇,周晓光.新生儿胎粪吸入综合征临床分型与特点的初步探讨[J]中国当代儿科杂志,2000(5) [4]高树辉,周杰,张映辉,等.早产儿血脂水平与出生体重的关系[J]中国当代儿科杂志,2003(3)