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话说,她遭遇车祸了。车祸就车祸吧,可是该死的……她竟然失忆了,连自己是谁也不知道。据说,她是那个帅得不像话的首席总裁的未婚妻?据说,她曾经是个不安分的女人,做了对不起那位首席总裁的事情,成了千夫所指的对象?据说,他现在还愿意娶她,但是只是为了有个已婚的名分,其余的,她丝毫不能干涉?……好吧,她相信。她忏悔。那么,就战战兢兢地做这个名不副实的总裁夫人。虽然憋屈得很,可是,谁叫自己曾经是那么坏的女人?你说,每天受着自己空白记忆的折磨,是不是很难受?你说,每天对着一张冷冰冰的脸孔,是不是很难熬?你说,每天看着那个帅老公搂着不一样的各路美女,是不是很难堪?没事,她忍。这叫,自作孽,不可活。忽然有一天,她被告知:她和那个帅帅的酷老公,根本是陌生人……新媒体时代的文化批评
本书收录了作者2008—2011年的文化研究成果,分为上海文化、文化形象、传媒文化、文化教育、世博文化五辑,呈现了新媒体时代文化和文化批评的现状。该论集的文章获得极好的社会反响:《大都市文化发展趋势与上海文化发展坐标、定位问题研究》一文获得第七届上海市人民政府决策咨询研究成果二等奖,《论中国城市化进程中的文化遗产保护》一文发表后为《新华文摘》全文转载,《新媒体时代的文学创作与阅读》整版刊载于《文汇报》学人演讲栏目。Burial at Thebes
Commissioned to mark the centenary of the Abbey Theatre in Dublin in 2004, The Burial at Thebes is Seamus Heaney's new verse translation of Sophocles' great tragedy, Antigone - whose eponymous heroine is one of the most sharply individualized and compelling figures in Western drama. Faithful to the 'local row' and to the fierce specificity of the play's time and place, The Burial at Thebes honours the separate and irreconcilable claims of its opposed voices, as they enact the ancient but perennial conflict between family and state in a time of crisis, pitching the morality of private allegiance against that of public service. Above all, The Burial at Thebes honours the sovereign urgency and grandeur of the Antigone, in which language speaks truth to power, then and now.