This essay aims to examine chick lit written within the Asian American context. For the most part, the chick lit genre has been typically regarded as a site to study contemporary white women’s experiences and to debate the genres’ credentials as feminist literature. Though some may disagree, there is general consensus that chick lit has fallen out of vogue after reaching its peak in the first decade of the new millenium.; nevertheless, it is being revisited by readers and critics alike as it has recently re-emerged as a location upon which to examine how race and gender inform notions of national belonging and female subject formation in the twenty-first century. To this end, this essay reads Kim Wong Keltner’s The Dim Sum of All Things (2004). Keltner’s protagonist Lindsey Owyang is yet another twentysomething “chick” looking for love, self, independence, and success in the huge megalopolis of San Francisco. What sets Lindsey apart from the chick prototype is that she is a third-generation ABC (American-born Chinese) and issues relevant to Asian America frequently make their way into Lindsey’s narrative. Though it is generally considered as standing a “few notches above the standard chick-lit fare” (Stover n. pag), I would argue that meaningful reflections on many of the major pillars of Asian American literature, history, and cultural politics are glossed over in favor of cursory musings about the daily vicissitudes of Lindsey’s life. This essay thus takes to task Ferriss’s claim that a “serious” consideration of chick lit “brings into focus many of the issues facing contemporary women and contemporary culture - issues of identity, of race and class, of femininity and feminism, of consumerism and self-image” (2). I contend that a close examination of Keltner’s The Dim Sum of All Things discloses that the chick lit format undermines a “serious consideration” of Asian American issues by presenting in particular a highly problematic representation of race and of Asian American femininity.
Konnen Synonyme ein reliabler Indikator fur gute Dolmetschleistung sein? Einige empirische Studien(Gerver et.al. 1989, Russo 2014 etc.) bejahen diese Frage und kommen zu dem Schluss, dass Synonyme und Dolmetschekompetenz in einer signifikanten Beziehung miteinander stehen. In der vorliegenden Arbeit geht man aus einer neuropsychologischen Perspektive der Frage nach, in welcher Art und Weise Synonyme beim Dolmetschprozess konkret mitwirken und welche Veranderungen die wiederholten Dolmetschubungen auf das mentale Lexikon eines angehenden Dolmetschers bringen konnen. In der anschliesenden empirischen Untersuchung wird anhand zweier Experimente die Hypothese verifiziert: “Je langer man sich Dolmetschkompetenz aneignet, desto starker werden die Verbindungen unter den synonymischen Begriffen im dessen mentalen Lexikon.” Untersucht wurden 92 Versuchspersonen in drei Gruppen(Studenten, Dolmetschstudenten sowie professionelle Dolmetscher). Unerwartet erwiesen sich die Dolmetschstudenten als die beste von drei Gruppen und die Ergebnisse waren in den meisten Fallen statistisch signifikant(ANOVA). “Dolmetschubung sowie -praxis in der letzten Zeit” schienen dabei die wichtigste Variable gewesen zu sein.
본 논문은 중국계 캐나다 작가 에블린 라우의 자서전 『가출소녀』(Runaway, 1989)에 나타난 몸의 재현문제를 다루고자 한다. 이 자서전은 십대였던 라우가 가출 후 성매매와 약물, 알콜 중독으로 보낸 2년간을 바탕으로 집필되었는데, 자극적이고 선정적인 주제로 캐나다 사회에서 큰 반향을 일으킨 작품이다. 사실 『가출소녀』는 십대인 라우가 행한 자기 파괴적인 행동을 여과 없이 조명하고 있어, 피해자로서의 그녀의 위치를 부각시킨다. 뿐만 아니라, 기존의 지배담론을 답습하여, 라우의 몸은 젠더와 인종/민족성으로 인해 타자화된다. 하지만, 이 작품을 단지 그 선정성을 악용하여 독자의 관심을 유도하기 위한 서술로 비하하는 것은 어려운데, 그 이유는 작가가 이 작품에서 가장 강조하고 있는 주제가 바로 주체성의 회복이기 때문이다. 그러므로 본고에서는 라우가왜 모순적인 자기묘사를 통해 자기 주체성 획득의 이야기를 담아내고자 하는지, 또한 이러한 문제적인 전략이 얼마나 성공적인지 살펴보고자 한다.
본 논문은 기업가정신과 창업환경을 근간으로 창업활동의 정도가 국가에 따라 어떻게나타나고 있는가, 기업가정신 및 창업환경 중 창업활동에 영향을 미치는 요인들은무엇인가 하는 연구문제를 통하여 창업과 기업가정신에 관한 이해의 제고와 창업활성화방안보색에 목적을 둔다.
문헌연구를 바탕으로 기업가정신 및 창업환경의 어떤 요인들이 창업활동에 유의한 영향을주는지를...
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