On the Dramatic Features in Robert Browning's Poems of Dramatic Monologue

This paper explored the three dramatic features intrinsic in Robert Browning's poems of dramatic monologue, namely, the employment of first-person point of view, the use of irony, and the intricate psychological exploration and vivid characterization. Such features are crucial in the successful presentation of various human nature and experience with profundity, making his poems an enduring classic in the English literature.

The dramatic characterization in ＂My Last Duchess＂

This paper is to analyze the authentic and vivid characterization in Browning＇s poem ＂My Last Duchess＂, which resembles dramatic representation on stage, and thus to reveal the unspoken authorial intention and the societal reality of the Victorian Age. The exquisite sketch of characters in the poem reestablishes Robert Browning as a master of poetry for his application of dramatic monologue and repays every credit he deserves.

On the Application of Dramatic Monologue in English Poetry

The diachronic method is applied to analyze the works of the representative writers of the corresponding period.By comparing the features of poems,a conclusion can be drawn that the authors tried to reveal the social truth.It attempts to carry forward the characteristics of dramatic monologue and also hopes it will enrich the expressions of English poetry so that poetry presents a qualitative leap.

On the Integration of Dramaticity and Virtuality in English Movie Creation——Take "The Number One Player" as An Example

English movie works have a unique style.From the newly released"Number One Player",The research problem is mainly to discover the dramatic narrative style and the characteristics of virtuality.

Tibet's Dramatic Changes Over the Last 60 Years

The days when Wangdu was a serf are long gone, since democratic reform in Tibet in 1959 declared the endof serfdom there. However, he won fame and was remembered as Serf Champa.

戏剧化结构中的现实主义和悬疑叙事——以网剧《漫长的季节》为例

近几年,悬疑剧热播。2023年播出的网剧《漫长的季节》以1997年、1998年、2016年三个时间段为叙事线索,使用典型化的符号表达时代的变迁和人性的面相,包括20世纪90年代末国企改制的社会变迁、权力关系的变化、女性所处的“第二性”地位等,体现了鲜明的现实主义特点。剧作在寻找套牌车的“总悬念”之下,通过时空转场、音乐音响等视听手段来表达分悬念,强化了惊悚、恐怖和诡异的感觉,调动了观众的思维和推理能力。为此,该剧设计了戏剧化的结构,通过寻找套牌车这一贯穿剧作始终的线索,使现实主义和悬疑得到很好的融合,扩展了戏剧叙事的“一人一事”结构,从而具备了较大的信息空间。该剧恰当地使用东北方言强化了现实感、平衡悬疑的恐怖感,使用色彩呼应了剧作的主题、丰富了叙事的感性因素,为悬疑剧表达思想、吸引观众提供了优秀的例证。

Motion and Special Relativity in Complex Spaces

A natural extension of the Lorentz transformation to its complex version was constructed together with a parallel extension of the Minkowski M4 model for special relativity (SR) to complex C4 space-time. As the [signed] absolute values of complex coordinates of the underlying motion’s characterization in C4 one obtains a Newtonian-like type of motion whereas as the real parts of the complex motion’s description and of the complex Lorentz transformation, all the SR theory as modeled by M4 real space-time can be recovered. This means all the SR theory is preserved in the real subspace M4 of the space-time C4 while becoming simpler and clearer in the new complex model’s framework. Since velocities in the complex model can be determined geometrically, with no primary use of time, time turns out to be definable within the equivalent theory of the reduced complex C4 model to the C3 “para-space” model. That procedure allows us to separate time from the (para)space and consider all the SR theory as a theory of C3 alone. On the other hand, the complex time defined within the C3 theory is interpreted and modeled by the single separate C1 complex plane. The possibility for application of the C3 model to quantum mechanics is suggested. As such, the model C3 seems to have unifying abilities for application to different physical theories.

戏剧诗境:基本内涵、营构方法与多重价值

“戏剧诗境”是戏剧学领域值得探讨的一个重要概念。所谓“戏剧诗境”是指兼具戏剧性与诗性的情境,或者说是戏剧性情境与诗境复合而成的有机整体。它们往往既扣人心弦、引人入胜,又出人意外、耐人寻味,使人进入一个有别于现实生活的、更高远更深邃的灵境之中。有无戏剧诗境对于戏剧作品来说是性命攸关之事:有则可演可传,无则湮没无闻。对于戏剧创作者来说,精心营构戏剧诗境,实现戏剧性与诗性的高度融合,有助于创造出优秀戏剧或一流戏剧;对于戏剧鉴赏者、评论者来说,重点关注戏剧诗境,着重探讨作者营构戏剧诗境的方法,有助于贴近戏剧本体、把握作品精髓。鉴于在事实层面中国戏曲可称为“剧诗”、中国话剧具有“诗化传统”、域外一流戏剧往往戏剧性很强且兼具“诗的境界”的事实,在理论层面上“戏剧诗境”对于戏剧创作、戏剧评论、戏剧美育都具有重要意义,因而完全可以考虑将“戏剧诗境”纳入中国戏剧学话语体系之中。

THE DRAMATIC STORY OF DRAMA

Modern Chinese theater is an evolving animal that has worn many different coats over the years. At one time it was a tool for promoting revolutionary change, at another a popular art form. On its centennial birthday modern Chinese drama now faces a threat from the very thing that once spawned it-modernization. Television, the Internet and other forms of easily accessible entertainment have taken its place and led to falling audience figures. But modern theater is fighting back and according to some observers it will rise again as China's growing middle class rediscovers the power of a good play.

Site-specific protein-polymer conjugate micelles with dramatically enhanced pharmacology

Protein drugs are increasingly used in the clinical treatment of various diseases including cancer and infectious diseases because of their specificity and high biological activity[1]. Nevertheless, the efficacy of protein drugs is constrained by their relatively short in vivo circulation half-life [2].As a result,frequent administration at high concentrations is often required,leading to undesirable side effects and poor patient compliance [3].

Dramatic Changes

The TV drama industry seeks new growth amid the development of online platforms The Hengdian World Studios, located in the eponymous small town in the eastern province of Zhejiang, is one of China’s largest film and TV production bases.But it is used less frequently these days.

"TaskTracer" Could Dramatically Aid Computer Users

"任务跟踪器"系统的开发可谓人类使用电脑的一次革命,给电脑使用者带来了福音。它能够自动组织各种任务所需的材料,提供有序而便捷的服务,人们不必再为资料的过载而担心。

《英美文学选读》辅导(17)

Ⅰ.文学常识1. dramatic monologue - A poetic or narrative form presented as the speech of one person, in which a dramatic situation is established and a dramatic listener is implied. Its particular tension is between the reader’s initial sympathy for the speaker and the reader’s moral judgement. We understand the speaker’s point of view not only by what he or she says, but also by judging the speaker’s limitations and distortions.

The Joumey of the Magi： A Lyric Monologue for First and Second Voices and Three-in-One Character（s）

Although T. S. Eliot＇s ＂The Journey of the Magi＂ is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot contrived to manufacture a poem which, at fu＇st glance, resembles a dramatic monologue （generally understood as a poem for one voice----that of a historical/fictional/mythological character addressing a silent listener, group of listeners or reader）, yet which is slowly revealed as a lyrical monologue （for the poet＇s own voice） which yet--and this quite intentionally----contains considerably more than mere echoes of another two speakers： namely a Magus and the biblical translator and, most famously, sermon writer Archbishop Launcelot Andrewes （1555-1626） court preacher to James 1 and Charles 1 of England. I wish to show how Eliot, in writing what is ultimately confessional verse, goes out of his way to hoodwink the reader by allowing the first two of his ＂{The} Three Voices of Poetry＂ （1957） to overlap with and then incorporate the third. His own descriptions of these voices are （i） lyric, defined as ＂the poet talking to himself＂, （ii） that of the single speakerwho gives a （dramatic） monologuel ＂addressing an {imaginary} audience in an assumed voice＂ and （iii） that of the verse dramatist ＂who attempts to create a dramatic character speaking in verse when he {i.e. the author} is saying.., only what he can say within the limits of one imaginary character addressing another imaginary character＂ yet adding ＂some bit of himself that the author gives to a character may be the germ from which that character starts＂ （Eliot, 1957, pp. 38, 40）. The basis of my argument is that such an act of＂giving of the self＇ as the raw material for the creation of a dramatic monologue persona as well as a character designed for the stage had been part and parcel of Eliot＇s modus operandi up to and including ＂Prufrock＂ and The Waste Land; further, that in ＂The Journey of the Magi＂ and his later commentary upon it he fmally comes out and admits the fact, and in far clearer a manner than he does when defining the Objective Correlative in his essays on Hamlet. Far from attempting to erase the sense of selfhood from his poetry, I believe that Eliot, consciously or not, ended up by demonstrating to those who worshipped the Romantics and their cult of personality just how difficult it was to express the purely subjective self in poetry.

从“间离效果”看品特戏剧中非现实的现实性

"非现实的现实性"是哈罗德·品特(Harold Pinter,1930—2008)剧作最突出的艺术特征。目前,学界对这一特征的阐释主要基于四个维度,即荒诞、象征、心理分析及政治。不同维度对品特剧作艺术特征的理解各不相同。但是,只在提及"荒诞性"时,品特剧作才与贝托尔特·布莱希特(Bertolt Brecht,1898—1956)"间离效果"戏剧理论联系起来,这无疑忽视了品特剧作的另一个重要维度,即品特对观众—戏剧关系的建构。

Cloning and Characterization of Polyphosphoinositide Binding Protein (Gh-sh2) Gene from Cotton

Fiber initiation and early elongation areimportant developmental stages at which thefinal fiber number per seed is determined and thefibers show dramatically changes in cell shapeand gene expression.In order to identify genesfunction in fiber initiation and elongation,cDNA-AFLP technique was used to compare thegene expressions of the ovules of

Future perspective of China's feed demand and supply during its fast transition period of food consumption

China has experienced dramatic changes in food consumption patterns over the last three decades. However, there are different opinions regarding the future trends in consumption. By adopting the well-developed partial equilibrium model-China Agricultural Policy Simulation Model（CAPSi M）, the demand for livestock products and the main feed crops over 2011–2030 is predicted and analyzed. It is found that China＇s per capita consumption of livestock products will continue to rise during this period, even though its growth rate will slow down gradually. Meanwhile, the expansion of livestock production will pose great challenges for feed supply in China. More accurately, China will be confronted with feed security rather than grain security in the future.