高校女大学生体育素质教育与小群体学习法的探索性研究

根据21世纪人才结构和高校体育素质理论,分析女大学生身心特点,通过对常州市普通高校的女大学生体育课教学进行小群体学习法的实践,探索一条符合时代要求的组织教学方式,以达到提高女大学生综合体育素质的目的。     

试论李清照词的审美客体化

李清照的词在中国古代文学史上有不可忽视的价值,但是,其创作成就放在诸多男性作家中并不十分出色.究其原因,封建社会对女性气质的性别角色塑造是不可忽略的因素.整个封建社会中,对女性意识的审美客体化评价严重影响了她的创作理论和实践,压制了她作为创作主体的自由和胆识,限制了她在词作和词论方面的成就.从李清照创作中女性角色定位入手,挖掘隐于作品中的创作客体现象,并追溯其原因.通过研究李清照的审美客体现象,论证女性作家角色意识在作品中的投影.     

The Occurrence of Male-to-Female Intimate Partner Violence on Days of Men's Drinking: The Moderating Effects of Antisocial Personality Disorder.

In this study, the moderating effects of antisocial personality disorder (ASPD) on the day-to-day relationship between male partner alcohol consumption and male-to-female intimate partner violence (IPV) for men entering a domestic violence treatment program (n = 170) or an alcoholism treatment program (n = 169) were examined. For both samples, alcohol consumption was associated with an increased likelihood of nonsevere IPV among men without a diagnosis of ASPD but not among men with ASPD (who tended to engage in nonsevere IPV whether they did or did not drink). Drinking was more strongly associated with a likelihood of severe IPV among men with ASPD compared with those without ASPD who also drank. These results provide partial support for a multiple threshold model of intoxication and aggression. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

西方女性服饰胸部造型特点与女性紧身上体内衣

通过历史回顾,阐述了西方女性服饰胸部造型与女性紧身上体内衣间的渊源和对应关系,并总结出了西方紧身上体内衣塑造女性胸部造型的基本形式,以及女性服饰胸部"立体化"和"半袒露化"造型的总体特点;分析了当代西方女性服饰胸部造型与上体内衣"人性化"的发展趋势;提出了"洋为中用"的几点思考.     

北朝时期绞缬女绢衣的研究与复制

以中国丝绸博物馆馆藏的1件北朝时期绞缬女绢衣为对象进行了研究与复制。选择电力纺作为复制服饰用面料,采用纹样间的上下间距为1. 4 cm、左右间距为1 cm、捆扎圈数为2圈的绞缬工艺实现了鱼子缬纹样效果;以五倍子为染料、Fe³⁺为媒染剂的手工天然染色方法还原了复制对象的颜色并推断为近深咖色;利用鱼子缬花版,采用顺接式和对称式2种纹样定位方式,使鱼子缬纹样与服装版型相配合,达到了鱼子缬女绢衣完整复原的效果。北朝绞缬女绢衣的复制,为今后此件服饰的深入研究提供理论与实物参考。     

Female Spectatorship and the Masquerade: Cindy Sherman's Untitled Film Stills

Since the late 1970s Cindy Sherman has been one of the most prominent artists in the USA. She is a cult figure because of her chameleon-like masquerade in a female imagery reminiscent of American and European cinema and western art. Her dramatic metamorphosis began with Untitled Film Stills (1977–1980), in which she acted out a variety of female roles from Hollywood and European movies. In the early 1980s she gradually transformed her image into horrific monsters and decaying matter. In the late 1980s Sherman assumed different male and female personas based on old master paintings. Since then, the subject matter of her pictures has increasingly been taken up by hybrid dolls with surreal or grotesque connotations. This paper attempts to venture back into the terrain of Untitled Film Stills that inaugurated Sherman's artistic career. This series of photographs has become one of the most prominent landmarks of feminist/postmodern art. I will propose a new interpretation against the grain of the established feminist readings of these photographs.     

近十年我国女性成人教育研究述评

女性接受成人教育的情况受社会化程度与女性生活方式的双重制约,给予女性平等的教育机会既是利益制衡也是对其能力发展的尊重。近十年中女性成人教育研究文献总量相对较少且占比低,研究层次与整体水平有待提高。呈现的特征为多元化的研究视角、研究方法跨学科化且研究领域较为广泛,但总体来说研究成果理论深度不足、研究队伍缺乏高水平研究者的参与、研究内容空泛化现象较重,需要多方共同努力加大对女性成人教育研究的力度。     

浅析当代国内女性胸部美标准

随着时代和社会潮流的发展,人们的审美观也随之改变,本文首先对影响当代女性胸部美标准的主要因素进行分析。并且把胸部美标准分为位置美和形态美两个方面,进而从当代美学与美容整形的角度出发,对这两个方面进行具体的美的标准分析。     

female figurines in early christian egypt: reconstructing lost practices and meanings

Abstract

This paper addresses the great diversity of female figurines produced during the Christian period (iv–vii ce) in Egypt, from Aswan to Karanis to the Abu Mina pilgrimage city. While not documented in any texts, by their sheer number the figurines offer important evidence of local religious practices performed under the aegis of Christianity (e.g., at saints’ shrines) yet without any ostensible connection to Christian liturgy or mythology. Their usage seems to have been predominantly votive, signifying a desired procreative body to deposit in hope, while the diversity of figurines points to an autochthonous, rather than imported or imposed, ritual tradition. The paper, part of a larger project on the local sites of Christianization, uses these figurines and their forms to reconstruct the iconographic strategies of the workshop, the ritual procedures of the client or ritual subject (at shrine or tomb), and the nature of domestic altars as stages for images.     

年轻女性经乳晕单孔腔镜甲状腺手术18例

目的 探讨年轻女性经乳晕单孔腔镜甲状腺手术的价值.方法 2010年1月至2012年12月对18例≤35岁女性甲状腺结节患者行经乳晕单孔腔镜甲状腺手术.观察记录手术时间、术中出血量、术中皮下建腔面积、术后复发情况和美容效果.结果 18例手术均成功,无一例中转三孔腔镜手术或开放手术.手术时间106～205 min,平均157 min;术中出血量15～40 mL,平均25 mL;术中皮下建腔面积120～150 cm2,平均130 cm2.术后病理：甲状腺腺瘤13例,结节性甲状腺肿5例.术后随访4～23个月无复发.患者术后美容满意度评分8～10分,平均9.2分.结论 经乳晕单孔腔镜甲状腺手术具有安全、切口隐蔽、皮下建腔面积小、美容效果好的特点,尤其适合对美容有强烈要求的年轻女性患者.