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• 作者：云吞老丸子 发布时间：2012-07-28 23:25:52

  其实比起温馨这个词，在我眼里的麦兜是忧伤的，那些梦幻的粉色如同幻想的泡沫一戳就破，但麦兜的忧伤不是“为说新词强说愁”，是真真切切的疑问，他不是蠢，他只是真得不知道，也因为这样他更容易感受到好，有妈妈相伴的日子，有春天花花幼儿园有校长有MISS CHAN就是美好的当下。

• 作者：Chene Li 发布时间：2019-10-11 13:13:17

  音乐无国界，但音乐的诞生有其独特的渊源及影响。不仅是凝聚国家精神的源头活水，亦是表达民族情感的文化印迹。“国歌”是一个听来就让人心潮澎湃的词，配上书中选取的任意一首当作BGM，就这样沉浸于欧洲历史波澜壮阔的画卷中。

• 作者：文心孤竹 发布时间：2021-12-30 23:48:16

  本书收录了刘慈欣的《欢乐颂》、谢云宁的《外面的宇宙》、王晋康的《一掷赌生死》、索何夫的《魂兮归来》《二人谋事》、陈凡炜的《方外昆仑》。

• 作者：窈窕妃 发布时间：2024-02-17 13:21:41

  韩国有自己的中上健次/大江健三郎，三代人被历史洪流裹挟的无力抗争的宿命轮回，比起目睹过人间地yu失语的祖父和禽兽般可恨又可怜的父亲，祖母和母亲颠沛流离和被凌辱折磨的命运更令人心惊，男主努力奔逃黑道真的可以成功吗，也许是作者留给读者的一星光亮吧

• 作者：riicky 发布时间：2017-11-20 10:12:10

  描写人物和场景非常的细致出色，栩栩如生，感同身受，久久不能平静。凄楚而又真实的爱情，让人感同身受

• 作者：叶藏.!!张寄奴 发布时间：2014-05-29 20:44:40

  蛮有趣的，坐车时候很快就看完了

• 小结

  作者：酒後的獨舞 发布时间：2020-08-29 09:33:29

  从福岛核泄漏到毛里求斯油泄漏，就感觉媒体被操纵如此严重。

  去年底澳洲野火烧得最凶时，周围的aussies甚至装作不知道。

  海内外都差不多一个德行。大家都喜欢选择自己喜欢的，没毛病！

  

  

  媒体的力量

  7.6

  李希光 / 2002 / 南方日报出版社

  从福岛核泄漏到毛里求斯油泄漏，就感觉媒体被操纵如此严重。

  去年底澳洲野火烧得最凶时，周围的aussies甚至装作不知道。

  海内外都差不多一个德行。大家都喜欢选择自己喜欢的，没毛病！

• the Practice of Post-structural Literary Theory

  作者：普月·起看清冰 发布时间：2020-06-12 18:25:05

  Besides views that there has always been a challenge to linear text, another view expands on the work of Barthes, Foucault, and Derrida, in celebrating hypertext as a ‘technological embodiment’ of the poststructural literary theory (Lister, 2003: 28). The analogy, model, and paradigm of the open and non-linear network ‘so central to hypertext’ can be traced throughout poststructuralist theoretical writings (Landow, 1997: 43).

  In

  The Death of the Author,

  Roland Barthes challenges conventional notions of modern literature by claiming that it is the writing that exceeds the author, rather than being exceeded by the author. He argues:

  The image of literature to be found in ordinary culture is tyrannically centred on the author… The explanation of a work is always sought in the man or woman who produced it…it is language which speaks, not the author… to write is to reach that point where only language acts, ‘performs’, and not ‘me’.(1977: 143)

  Here a conventional notion of reading and understanding a book that the author controls the meaning of what he wrote has been attacked. As all texts have an intertextual character, text can only be comprehensible to the reader in relation to other texts, images, and content (Landow, 1997: 35-6). Neither can the author control how the text could be interpreted by different readers, nor could the sequence to navigate the book be pre-designated. What can be implied is that once the writing begins the author would enter into his own death.

  The ‘removal of the Author’, in other words, ‘the Author’s diminishing’ at ‘the far end of the literary stage’ utterly transforms the modern text (Barthes, 1977: 145). A literary text seems to be shaped by the reader and appears associative, rather than author-given and linear. This implies that the signified meaning of the signifier is variable rather than fixed. Therefore, hypertext, which enables multiple understandings beyond, outside and above the text itself, for Barthes, may be interpreted as refusing the ‘theological meaning’ of a text (1997: 146-7). In this sense, writing is released from authorization of the Author and God. Hypertext can be identified as what Barthes describes as ‘ideal text’, which ‘precisely matches that which in computing has come to be called hypertext-text composed of blocks of words (or images)’ linked electronically by multiple paths in an ‘open-ended’ textual network (Landow, 1997: 3). An ‘ideal text’ is ‘a galaxy of signifiers, not a structure of signifieds’, within which ‘the networks are many and interact’ (Barthes, 1973: 5).

  Comparing Barthes, who particularly stresses the writerly text and its nonlinearity, Jacques Derrida emphasizes ‘textual openness, intertextuality, and the irrelevance of distinctions between inside and outside a particular text’ (Landow, 1997: 33).

  Ref.:

  Barthes, R. (1973)

  S/Z,

  Trans. Richard Miller, Blackwell.

  Landow, G. (1997)

  Hypertext 2.0: the Convergence of Contemporary Critical Theory and Technology,

  1-95, Johns Hopkins University Press.

  Lister, M., Dovey, J. Giddings, S., Grant, I., and Kelly, K., (2003)

  New Media: A Critical Introduction,

  1-96, Routledge.