Catch-22,which is written by Joseph Heller,can be recognized as the "Modern Classic" of American literature,and this fiction uses a distinctive non-chronological third-person omniscient narration,describing ...Catch-22,which is written by Joseph Heller,can be recognized as the "Modern Classic" of American literature,and this fiction uses a distinctive non-chronological third-person omniscient narration,describing the stories from different figures' visual angles.The novel features tragic content with comic form,anti-hero and illogical narrative structure.Catch-22,which no one can get out of,is not a simple rule;in other words,it's really a snare and this no-win situation exists in every corner of people's daily time.展开更多
Northrop Frye' s four narrative forms:romance,tragedy,irony,and comedy can help explain the problematic structure of Margaret Atwood' s novel Cat' s Eye,in which the narrative,as well as certain other lite...Northrop Frye' s four narrative forms:romance,tragedy,irony,and comedy can help explain the problematic structure of Margaret Atwood' s novel Cat' s Eye,in which the narrative,as well as certain other literary features,indicates that it is essentially a come dy - a story of how a hero forms a desirable new society in the face of strong opposition.But this comedy is also ironic.展开更多
We utilize data on comedy moviegoers from 18 cities in China to investigate the impact of the positive mood triggered by these movies on the stock returns of locally headquartered listed companies.We find that althoug...We utilize data on comedy moviegoers from 18 cities in China to investigate the impact of the positive mood triggered by these movies on the stock returns of locally headquartered listed companies.We find that although these movies have no relation to investment itself,the sentiment triggered by these movies could affect the risk decision making of investors.Moreover,the stock returns of locally headquartered companies become significantly negative after comedy movies are screened in their respective cities.These results support the mood maintenance hypothesis.This research also provides new evidence for the presence of home bias in capital markets.展开更多
Humor not only exists in people's daily life,but also through sketch,cross talk talk show,stand-up Comedy and other forms of performance to bring people happy.Many scholars analyze Joe Wong's stand-up comedy f...Humor not only exists in people's daily life,but also through sketch,cross talk talk show,stand-up Comedy and other forms of performance to bring people happy.Many scholars analyze Joe Wong's stand-up comedy from the Relevance Theory.But few scholars analyze it from the Cooperative Principle.Based on a review of previous studies on stand-up comedy,this thesis selects some classic utterances from stand-up comedy of Joe Wong at Radio and Television Correspondent's Association Dinner(RTCA dinner),The David Letterman Show and The Ellen Show as a research corpus and studies the humor is created from the perspective of violating of the Cooperative Principle,and then attempts to help people understanding and appreciating American humor deeply.This thesis finds violating the Cooperative Principle(CP)is an important way for talk show performers to create humor,which will help them make people laugh.Besides,during this way,they can use many rhetoric tactics to help them,such as irony,exaggeration and pun.This thesis has important significances for the study of talk show's humor with the help of flouting the CP.Firstly,it contributes to the development of the talk show performs.Secondly,it can add more interesting things to communication and help the Chinese audiences to comprehend the American humor from a different aspect.Thirdly,it riches the theories of humor by violating the CP in the talk show programs.展开更多
Multidimensional Scale Evaluation Rules as a performer in the field of learning assessment is feasible, but for each dimension settings, level settings and value setting need to be developed according to the actual ra...Multidimensional Scale Evaluation Rules as a performer in the field of learning assessment is feasible, but for each dimension settings, level settings and value setting need to be developed according to the actual raters, object evaluation, the focus of the evaluation. Scores of overall dimensions use variance analysis, and the results show a significant difference. In sub-dimension score comparison, the high group and low group both got higher scores in the degree of difficulty performing works and read music accuracy. The high group and low group are different on dimensions of the lowest score. Total scores in the scale of multi-dimensional evaluation of rules are positively correlated on the scores on the improvising horizontal dimension, but the correlation is not very high level, that is not all students who is better in playing levels, and they can get higher scores on the improvising horizontal dimension. Using multi-dimensional scale scores and teacher direct evaluation rules score are significantly different for student achievement.展开更多
By comparing Love Actually and Pretty Woman,the two representatives of romance comedy,it is not difficult to arrive at the conclusion that UK romance comedy is more realism while the other is more idealism.It more or ...By comparing Love Actually and Pretty Woman,the two representatives of romance comedy,it is not difficult to arrive at the conclusion that UK romance comedy is more realism while the other is more idealism.It more or less has something related to the different cultures and national characters between the US and the UK.展开更多
The Comedy is another of Chen Yan's masterpieces of realism after The Backstage Clan and The Protagonist.The difference is that the portrayal of He Jiabei in The Comedy echoes the theoretical idea of"typical ...The Comedy is another of Chen Yan's masterpieces of realism after The Backstage Clan and The Protagonist.The difference is that the portrayal of He Jiabei in The Comedy echoes the theoretical idea of"typical characters under typical circumstances."Through studies on Chen Yan's writing in a tensive theoretical space of"typicality,"we find that he has applied several important"typical"theories to his novels.He Jiabei,as a"typical character under typical circumstances"no longer embodies the ideal value as did Yi Qin'e in The Protagonist.The function of this character regardsthe communication between individuals and thetimes,phenomenon and essence."Typical characters under typical circumstances"is a theory generated from an analysis of realism inseparable from the"totality"of the times and history.The focus of The Comedy,a novel based on this theory,has also shifted from creating characters with distinct traits toexploring the historical essence of theera of"comedy."展开更多
Chen Yan's new novel The Comedy is a continuation of his writing of the life and destiny of the artists in The Protagonist.Through shaping characters of the Chou(role of the clown)and describing the joy and sadnes...Chen Yan's new novel The Comedy is a continuation of his writing of the life and destiny of the artists in The Protagonist.Through shaping characters of the Chou(role of the clown)and describing the joy and sadness experienced by them,his new novel presents the artists’mixed feelings of sorrow and joy and reveals the crises and dilemmas encountered by traditional art against the background of modernity along with the possibility of transformation and conversion.Like The Protagonist,The Comedy follows Chen Yan's consistent realistic narrative techniques;unlike the solemn and grand aesthetic style of The Protagonist,however,the new novel develops its narrative with a comic approach more in tune with the characters'identity and inner spirit and shapes the characters and the story based on the dialectics of comedy and tragedy,thus enriching Chen Yan's original narrative style and contributing a new a aesthetic experience.展开更多
Chen Yan's novels are steeped in traditional Chinese culture.The Comedy and The Protagonist draw on and use traditional national art resources such as Chinese opera and drama to discover anew and create"tradi...Chen Yan's novels are steeped in traditional Chinese culture.The Comedy and The Protagonist draw on and use traditional national art resources such as Chinese opera and drama to discover anew and create"tradition"from a modern perspective.Traditional Chinese opera and drama shape the narrative aesthetic nature of Chen Yan's novels both explicitly and implicitly.The difference between opera and drama,lyrical and impressionistic style,and narrative and action also forms its diverse narrative aesthetic style.The origin and distinction of style and form between Chen Yan's novels and traditional Chinese comedies and modern Chinese novels are profoundly influenced by time and history,which essentially determines the spiritual structure and narrative aesthetic of Chen Yan's novels.展开更多
During the coming winter vacation, a new children’s comedy entitled The Mouse Wedding will be per- formed by the Beijing Dingshang Culture Co. Ltd. at the PLA Theater. We warmly welcome children three to 10
Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art s...Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art shatters the audience’s perception of this god’s traditional image.The role’s exaggerated and awkward body also results in a performance-centered structure in which negative aspects of human nature are vividly portrayed.The eccentric representation brings laughter,but the laughter is also fully charged with Confucian concepts of goodness,righteousness,justice,and tianli天理(the way of heaven).Turning a divine image into a hilarious one is an unconventional manner and also a peculiar tactic of these performers.Through this tactic,these performers not only hide their subtle criticism of the reality and the authority to survive censorship but also disseminate successfully traditional values and folk religious beliefs.This tactic indicates the cultural function of the theater and demonstrates how traditions can remain valid and functional through a force that arises from the interaction between Confucianism,folk religious beliefs,and performance.展开更多
The ending(Act V) of The Merchant of Venice makes this play a great comedy because it skillfully represents the unity of the organic whole which is highly emphasized by Aristotle. As a text to be read, the ending of t...The ending(Act V) of The Merchant of Venice makes this play a great comedy because it skillfully represents the unity of the organic whole which is highly emphasized by Aristotle. As a text to be read, the ending of this play has reached organic unity concerning plot structure. As a play to be performed, the ending is an organic whole when it comes to dramatic effects.The unity of comic spirit in the ending attributes to the everlasting beauty of this play.展开更多
This essay is twofold： the first part focuses on the interpretation of the concept of Hell in Dante＇s Inferno and Italian culture as depicted in Last Judgment scenes such as Giotto＇s in the Arena Chapel of Padua; S...This essay is twofold： the first part focuses on the interpretation of the concept of Hell in Dante＇s Inferno and Italian culture as depicted in Last Judgment scenes such as Giotto＇s in the Arena Chapel of Padua; Signorelli＇s in the Orvieto Cathedral; and Michelangelo＇s in the Sistine Chapel in Rome. The second part deals with the drawing illustrations for the text of Dante＇s Divine Comedy composed by the Florentine painters Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Here the emphasis is on Dante＇s Inferno, which comments upon Neoplatonic personalities, Florentine politics, and current popular art. Comparisons with some of Botticelli＇s, Stradano＇s, and Zuccaro＇s drawing illustrations indicate the assimilation of classical artistic concepts such as Horace＇s ut pictura poesis [as is painting so is poetry] as well as Plato＇sfurorpoeticus [poetical inspiration] promoted in the writings of Marsilio Ficino, a Renaissance Neoplatonic philosopher.展开更多
Shakespeare and Ben Jonson have frequently been paired up for comparison in studies of early modern English drama.Conventional views about Shakespeare’s and Jonson’s comedies evolved and crystallized in the seventee...Shakespeare and Ben Jonson have frequently been paired up for comparison in studies of early modern English drama.Conventional views about Shakespeare’s and Jonson’s comedies evolved and crystallized in the seventeenth,eighteenth and nineteenth centuries.People believed or were led to believe that Shakespeare’s and Jonson’s comedies were in clear opposition:Shakespeare’s comedies were sweet,romantic,amiable,popular and entertaining,whereas Jonson’s were based on an abstract theory of humors,cold,satiric,pedantic,and moralizing.Only in the last century did these oppositions begin to change,but too slowly.This paper calls those binary oppositions into question.It tries to present a more truthful picture of these two playwrights and their comedies through an examination of some of their works.It argues that some of those oppositions are stereotypes and should not be taken seriously by contemporary Shakespearean and Jonsonian scholars.展开更多
文摘Catch-22,which is written by Joseph Heller,can be recognized as the "Modern Classic" of American literature,and this fiction uses a distinctive non-chronological third-person omniscient narration,describing the stories from different figures' visual angles.The novel features tragic content with comic form,anti-hero and illogical narrative structure.Catch-22,which no one can get out of,is not a simple rule;in other words,it's really a snare and this no-win situation exists in every corner of people's daily time.
文摘Northrop Frye' s four narrative forms:romance,tragedy,irony,and comedy can help explain the problematic structure of Margaret Atwood' s novel Cat' s Eye,in which the narrative,as well as certain other literary features,indicates that it is essentially a come dy - a story of how a hero forms a desirable new society in the face of strong opposition.But this comedy is also ironic.
文摘We utilize data on comedy moviegoers from 18 cities in China to investigate the impact of the positive mood triggered by these movies on the stock returns of locally headquartered listed companies.We find that although these movies have no relation to investment itself,the sentiment triggered by these movies could affect the risk decision making of investors.Moreover,the stock returns of locally headquartered companies become significantly negative after comedy movies are screened in their respective cities.These results support the mood maintenance hypothesis.This research also provides new evidence for the presence of home bias in capital markets.
文摘Humor not only exists in people's daily life,but also through sketch,cross talk talk show,stand-up Comedy and other forms of performance to bring people happy.Many scholars analyze Joe Wong's stand-up comedy from the Relevance Theory.But few scholars analyze it from the Cooperative Principle.Based on a review of previous studies on stand-up comedy,this thesis selects some classic utterances from stand-up comedy of Joe Wong at Radio and Television Correspondent's Association Dinner(RTCA dinner),The David Letterman Show and The Ellen Show as a research corpus and studies the humor is created from the perspective of violating of the Cooperative Principle,and then attempts to help people understanding and appreciating American humor deeply.This thesis finds violating the Cooperative Principle(CP)is an important way for talk show performers to create humor,which will help them make people laugh.Besides,during this way,they can use many rhetoric tactics to help them,such as irony,exaggeration and pun.This thesis has important significances for the study of talk show's humor with the help of flouting the CP.Firstly,it contributes to the development of the talk show performs.Secondly,it can add more interesting things to communication and help the Chinese audiences to comprehend the American humor from a different aspect.Thirdly,it riches the theories of humor by violating the CP in the talk show programs.
文摘Multidimensional Scale Evaluation Rules as a performer in the field of learning assessment is feasible, but for each dimension settings, level settings and value setting need to be developed according to the actual raters, object evaluation, the focus of the evaluation. Scores of overall dimensions use variance analysis, and the results show a significant difference. In sub-dimension score comparison, the high group and low group both got higher scores in the degree of difficulty performing works and read music accuracy. The high group and low group are different on dimensions of the lowest score. Total scores in the scale of multi-dimensional evaluation of rules are positively correlated on the scores on the improvising horizontal dimension, but the correlation is not very high level, that is not all students who is better in playing levels, and they can get higher scores on the improvising horizontal dimension. Using multi-dimensional scale scores and teacher direct evaluation rules score are significantly different for student achievement.
文摘By comparing Love Actually and Pretty Woman,the two representatives of romance comedy,it is not difficult to arrive at the conclusion that UK romance comedy is more realism while the other is more idealism.It more or less has something related to the different cultures and national characters between the US and the UK.
文摘The Comedy is another of Chen Yan's masterpieces of realism after The Backstage Clan and The Protagonist.The difference is that the portrayal of He Jiabei in The Comedy echoes the theoretical idea of"typical characters under typical circumstances."Through studies on Chen Yan's writing in a tensive theoretical space of"typicality,"we find that he has applied several important"typical"theories to his novels.He Jiabei,as a"typical character under typical circumstances"no longer embodies the ideal value as did Yi Qin'e in The Protagonist.The function of this character regardsthe communication between individuals and thetimes,phenomenon and essence."Typical characters under typical circumstances"is a theory generated from an analysis of realism inseparable from the"totality"of the times and history.The focus of The Comedy,a novel based on this theory,has also shifted from creating characters with distinct traits toexploring the historical essence of theera of"comedy."
文摘Chen Yan's new novel The Comedy is a continuation of his writing of the life and destiny of the artists in The Protagonist.Through shaping characters of the Chou(role of the clown)and describing the joy and sadness experienced by them,his new novel presents the artists’mixed feelings of sorrow and joy and reveals the crises and dilemmas encountered by traditional art against the background of modernity along with the possibility of transformation and conversion.Like The Protagonist,The Comedy follows Chen Yan's consistent realistic narrative techniques;unlike the solemn and grand aesthetic style of The Protagonist,however,the new novel develops its narrative with a comic approach more in tune with the characters'identity and inner spirit and shapes the characters and the story based on the dialectics of comedy and tragedy,thus enriching Chen Yan's original narrative style and contributing a new a aesthetic experience.
文摘Chen Yan's novels are steeped in traditional Chinese culture.The Comedy and The Protagonist draw on and use traditional national art resources such as Chinese opera and drama to discover anew and create"tradition"from a modern perspective.Traditional Chinese opera and drama shape the narrative aesthetic nature of Chen Yan's novels both explicitly and implicitly.The difference between opera and drama,lyrical and impressionistic style,and narrative and action also forms its diverse narrative aesthetic style.The origin and distinction of style and form between Chen Yan's novels and traditional Chinese comedies and modern Chinese novels are profoundly influenced by time and history,which essentially determines the spiritual structure and narrative aesthetic of Chen Yan's novels.
文摘During the coming winter vacation, a new children’s comedy entitled The Mouse Wedding will be per- formed by the Beijing Dingshang Culture Co. Ltd. at the PLA Theater. We warmly welcome children three to 10
文摘Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art shatters the audience’s perception of this god’s traditional image.The role’s exaggerated and awkward body also results in a performance-centered structure in which negative aspects of human nature are vividly portrayed.The eccentric representation brings laughter,but the laughter is also fully charged with Confucian concepts of goodness,righteousness,justice,and tianli天理(the way of heaven).Turning a divine image into a hilarious one is an unconventional manner and also a peculiar tactic of these performers.Through this tactic,these performers not only hide their subtle criticism of the reality and the authority to survive censorship but also disseminate successfully traditional values and folk religious beliefs.This tactic indicates the cultural function of the theater and demonstrates how traditions can remain valid and functional through a force that arises from the interaction between Confucianism,folk religious beliefs,and performance.
文摘The ending(Act V) of The Merchant of Venice makes this play a great comedy because it skillfully represents the unity of the organic whole which is highly emphasized by Aristotle. As a text to be read, the ending of this play has reached organic unity concerning plot structure. As a play to be performed, the ending is an organic whole when it comes to dramatic effects.The unity of comic spirit in the ending attributes to the everlasting beauty of this play.
文摘This essay is twofold： the first part focuses on the interpretation of the concept of Hell in Dante＇s Inferno and Italian culture as depicted in Last Judgment scenes such as Giotto＇s in the Arena Chapel of Padua; Signorelli＇s in the Orvieto Cathedral; and Michelangelo＇s in the Sistine Chapel in Rome. The second part deals with the drawing illustrations for the text of Dante＇s Divine Comedy composed by the Florentine painters Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Here the emphasis is on Dante＇s Inferno, which comments upon Neoplatonic personalities, Florentine politics, and current popular art. Comparisons with some of Botticelli＇s, Stradano＇s, and Zuccaro＇s drawing illustrations indicate the assimilation of classical artistic concepts such as Horace＇s ut pictura poesis [as is painting so is poetry] as well as Plato＇sfurorpoeticus [poetical inspiration] promoted in the writings of Marsilio Ficino, a Renaissance Neoplatonic philosopher.
文摘Shakespeare and Ben Jonson have frequently been paired up for comparison in studies of early modern English drama.Conventional views about Shakespeare’s and Jonson’s comedies evolved and crystallized in the seventeenth,eighteenth and nineteenth centuries.People believed or were led to believe that Shakespeare’s and Jonson’s comedies were in clear opposition:Shakespeare’s comedies were sweet,romantic,amiable,popular and entertaining,whereas Jonson’s were based on an abstract theory of humors,cold,satiric,pedantic,and moralizing.Only in the last century did these oppositions begin to change,but too slowly.This paper calls those binary oppositions into question.It tries to present a more truthful picture of these two playwrights and their comedies through an examination of some of their works.It argues that some of those oppositions are stereotypes and should not be taken seriously by contemporary Shakespearean and Jonsonian scholars.
