林纾的短篇小说创作，作为其晚年创作的重要组成部分，当中流露出的思想倾向与文学倾向都比较复杂，他的这些小说为“匡正”而作，其题材和内容都有很强的一致性。既无法摆脱传统文言小说从写作意义与写作手法上的窠臼，也表现出西方小说翻译带来的种种影响。在新旧文学交替的关键时期，这种矛盾性以及其最终走向似乎已体现了林纾的文学选择。

In Lin Shu＇s short stories, as an important tendency and literary tendency is very complex. The content key period of the new and old literary ahemate, this kind of Shug literary choice. part of his creation in his later years, their thought and subject matter has very strong consistency. In the contradiction and its eventual tendency embodies Lin

高丽后期的“海左七贤”不仅从理论上明确倡导宋诗，在创作上也有宗宋倾向。其汉诗的主题意蕴深受宋诗人影响：伤时悯乱的政治诗体现了忧国忧民的宋诗情韵；咏怀诗蕴含了源于宋诗经世致用的思想内核；写景、咏物诗具有宋诗的尚意倾向。另外，其诗歌的题材内容还具有生活化、谐谑化的宗宋倾向，在艺术风格、技巧上，体现了重学问、擅用典，重个性、求创新的宋诗因子。“海左七贤”对宋诗着力创新、自成一家的创作精神的继承是其与宋诗本质上的最契合之处。

HaiZuoQiXian in the second half of KoryǒDynasty not only theoretically and Clearly advocates Song poems but it has the tendency of learning from Song poems in their Chinese Poetry creation.The theme and connotation of their Chinese Poetry is deeply influenced by song poets,the Political Poem of grieving over time and showing sympathy for war demonstrates their concern about his country and his people which is similar to Song poems,the core ideology of poem of expressing is knowledge is useful to the country,the poem of describing the scenery and singing of goods has a tendency of admiring meaning similar to Song poems,in addition,its subj ect matter is closely connected with people’s daily life and pleasantry similar to Song poems.In artistic style and skills,it embodies attaching importance to knowledge and individual character,using allusions and striving for breakthrough.HaiZuoQiXian’s the succession of creative spirit of striving for breakthrough and being unique in th

本文详细解读了海明威的小说《太阳照常升起》、《永别了，武器》、《丧钟为谁而鸣》、《老人与海》以及他的传记，发现海明威在作品中无意流露出反智主义倾向。其反智主义思想主要有三种表现形式：小说人物对性和酒的喜好；人物对智慧和知识的排斥；人物对艺术的厌恶态度。本文还试图从海明威创作的文化背景以及其创作理念两个方面，对海明威的反智主义倾向做出解释，希望读者为理解这位诺贝尔奖得主提供一个新的视角。

By close reading Hemingway’s four greatest works The Sun Also Rises, A Farewell to Arms, For Whom the Bell Tolls and The Old Man and the Sea and referring to Hemingway’s biographies, this paper finds that in his major works, Hemingway’s anti-intellectualism is unconsciously represented in three aspects which are his fondness for sex and wine, his rejection of intelligence and knowledge and his aversion towards art. This paper also tries to make an explanation of Hemingway’s anti-intellectualism by exploring the cultural background and Hemingway’s opinion on literary creation.

柳永的创作风格前期以俗为主,堪为其时俗文化的代表。柳词"俗"风格的形成有其主观情趣选择的原因,更是时代文化和现实遭遇使然。步入仕途后,柳永创作逐渐摒弃"俗艳",融入士大夫文人的敦厚含蓄之美,题材上有了雅化的倾向。但仕途升迁的无望,沉沦下僚、疲于奔波的人生际遇使他的词境升华,实现了其创作的另一种姿态的雅化。

Liu-yong′s creation style in early stage is vulgar ,which was a typical image of the vulgarity culture of his era.The shaping of the style of Liu-ci was mainly due to Liu-yong′s subjective interest and the cultural envi-ronment of the time and his actual experience.After Liu-yong got a career in the official circles,his works gradu-ally abandonded “frippery”style,and melt the beauty of Confucian bonhomie and implication,and were inclined to elegance.But Liu-yong was disappointed in promotion in career,and got tired of HuanYou,which made his works elegant in another way.

上个世纪80年代，电影生产出现了新中国成立以来的巨大变革。此次变革以几代电影人创作观念的成熟和中国电影中现实主义的深化作为显著标志。但这种创作模式在新世纪到来之际出现了转型，大量涌现的商业电影多表现出了逃避现实的倾向。现实生活在古装大片和喜剧电影中几近消失，现实主义的创作理念也不再被奉为圭臬。中国电影又一次站在了巨变的十字路口，我们的电影人将做出何种抉择，将用什么样的方式为时代塑像，这会决定中国电影的未来。

In 1980s, huge reforms have taken place in film production since the founding of new China. This change was significantly signed by the mature of creation ideas from generations of filmmakers and the deepening of the realism in Chinese films. But this crea-tive mode came to a transformation in the new century and commercial films coming forth reflected the tendency of escaping from real-ity. The real life almost disappeared in costume and comedy movies, and the concept of realism creation would no longer be the stand-ard. Chinese movies stood once again at the crossroads of radical change, the choice that filmmakers make and the way they use to de-fine time statue will determine the future of Chinese films.