中学古典诗歌“四环节”解读教学策略

古典诗歌鉴赏是中学语文教学的重点和难点,而诗歌鉴赏的要点是对诗"意"的把握,对诗"意"的解读除了要打通阅读经验与诗歌内容的内在联系外,还要充分尊重诗歌的"言"、"义"、"象"、"意"四层结构和"言"、"音"、"意"三层结构的双重召唤结构这一个性特征。这一个性规定了在文本解读的整体意识下其解读的一般流程:看看,定"调";读读,明"义";想象,造"象";读、悟,解"意"。在整个过程中,需要在以往知识经验、情感经验的基础上,调动理解力、联想想象力、感受力、直觉力等多种心理能力的共同参与,"读"是重要的方法。

On image and English grammar analysis

As a term of cognitive psychology, image is closely related to grammar analysis. The present paper takes English as an example and through the analysis of parameters--basal body and side, selection, angle of view, degree of detail, prominence, which constitute different images, to demonstrate the relationship between image and English grammar analysis.

The Apocalypse of Love--An Analysis of Symbolism in D. H. Lawrence Women in Love

D.H.Lawrence is a great writer and Woman in Love is considered as his masterpiece and one of the undoubted classic ofthe 20tb century. Through his flexible application of symbolism, the novel is presented with fragmentary scenes instead of the usual plots, and a lot of separate and unrelated images are employed to reflect the mental conflicts among the major characters. By analyzing the symbolism in this paper, the author hopes to find the importance of symbolism in strengthening the distinct characteristics, enhancing the development of the plot, and hence the emphasis of the theme of the novel.

A Study of the Symbolic Meaning of the Main Characters in The Scarlet Letter

Hawthorne is an influential romantic novelist in America in 19thcentury. He is famous in handling the application of symbolism. The Scarlet Letter makes the American writer Nathaniel Hawthorne known all around the world. The vivid description of the four characters in the novel shows that Hawthorne is skilful in the use of symbolism. The Scarlet Letter was published in 1850 and it is Hawthorne＇s most important symbolic novel, which stands as the best work of Hawthorne. It has great significance in America literature. Hawthorne used symbolism through the whole novel. The most obvious symbol is the four main characters in the novel： Hester Prynne, Arthur Dimmesdale, Roger Chillingworth and Pearl have their own symbolic meanings. This thesis is written in the hope to introduce ananalyze the symbolic meaning of the four main characters in The Scarlet Letter.

Giorgio Vasari＇s The Conception of Our Lady： A Divine Fruit

The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engravings made after his paintings by his contemporary artists. This essay focuses on Vasari＇s complex iconography of The Conception of Our Lady of 1540 at SS. Apostoli in Florence, Italy. In his documentation of the painting, Vasari never referred to or entitled the painting as an Allegory of the Immaculate Conception or Immaculate Conception but coined it as The Conception of Our Lady （Concezione di Nostra Donna） as it will be referred in this essay. Vasari＇s complex iconography derived from the writings of the A retine canon Giovanni Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DAAVIT/MARIAE GRATIAE SOLVIT, ECCE AGNIU[S] and UNIUS ONNOSTAA. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay： （1） discussion of Vasari＇s recorded commissions; （2） stylistic observations and influences; and （3） interpretation of the imagery, that is, some observations on the symbolism of the painting.

Pussy Riot at the Crossroads of Politics and Faith Today

Moscow-based Feminist Punk performers Pussy Riot challenged the millennial patriarchal Russian State-Church Religio-Political control on freedom in arts and suppression of women. Woman is still the other of this Church-State totalism, outside. The event is extremely small but the symbolism enormous of an intrinsic lack and its insane compensations. Philosopher Zi^ek sees the significance of what Pussy Riot represent for contemporary global capitalism, represented by the American dollar and Wall Street. Performer Madonna sees the difference between America, where she has been able to express herself and says that anyone can, and other parts of the world, namely Russia, where this is not possible. Although Edward Snowdon found sanctuary in Russia from America, so perhaps Zizek is right.

Spatial Representations in Charles Dickens＇s New York and London

The purpose of this research is to see the image of New York and London in Charles Dickens＇s writings. In American Notes （1987）, on the surface, the city shows Dickens＇s eye of observation, revealing the dark side of the city. However, his writing expresses more than what he sees. In this paper, the author sees New York and London not only as realistic accounts of what things look like, but also a true realization of how Dickens feels about himself, and about the country in which he was situated in. In Oliver Twist （2003）, a New York prison can be linked to Dickens＇s London, representing the darkness of the city with the prison cell and its suggestiveness, including punishment, exclusion, and dehumanization. A New York Asylum reveals the dialectic of order and disorder, in a way which alienation brings out the crisis of humanity. This research shows that New York is an extension of London, in a way which the personal crisis is vividly revealed, as the reader can see in Charles Dickens. A Life （2012）. Through New York, Dickens is more conscious about his London childhood, as spatial representations of London have their own symbolic meanings

Particular Ways of Planting in Cemeteries of Siauliai City （Lithuania）

The issue of cemetery planting is not yet sufficiently studied in Lithuania. Cemetery is one of the sites where people could give way to their subjective comprehension of beauty. Analysis of the cemetery planting revealed certain noticeable features that could be ascribed to the forms of folk art. These are various objects with implied specific content or ornamented compositions. The aim of the research was to ascertain and distinguish graves characterised by specific planting features associated with plants, their layouts on graves. Analysis of the research results shows that two options form the peculiarities of grave planting： depiction of specific objects and ornamentation.We think that majority of the ornaments are made with the single purpose of decoration, and do not associate with symbolic meanings. During this research the graves decorated with planted symbolic objects and ornaments were distinguished. This phenomenon becomes more and more popular in cemeteries of Siauliai city in Lithuania.

E. A. Poe＇s The Masque of the Red Death： Symbol vs. Allegory？

The paper is concerned with E. A. Poe＇s unique symbolic method as manifested in his tale The Masque of the Red Death. It offers a picture of the general state of critical treatment of the supposed opposition between allegory and symbol. I present a historical overview of how the distinction between the literary terms arose, tracing the roots of the issue to the end of the 18th century and showing its development over the next two centuries. The second section of the paper is devoted to the analysis of The Masque in the light of the theoretical background provided in the opening section. The Masque is interpreted in terms of Poe＇s modulation of＂closed＂ and ＂open＂ symbolism by focusing on aspects of the story that relate to the use of numbers, colors, and time.

The Role of the Forest in German Literature： From the Medieval Forest to the Griines Band

This paper demonstrates how much the forest was used by medieval writers as a symbolic space where critical events take place deeply affecting their protagonists. The forest motif can be found in the works of St. Augustine as well as in Dante＇s Divina Commedia （ca. 1308-1321）, and then in a plethora of other texts. Here the author examines more closely the symbolic meaning of the forest as a mysterious, dangerous, yet also spiritual location in Wolfram von Eschenbach＇s Titurel （ca. 1220） and then in two 15th-century prose novels： Thtiring von Ringoltingen＇s Melusine （1456） and the anonymous Fortunatus （1509）. Each time we recognize how much the poets placed their central figures one in the forest where their life takes a major turn. Recognizing this intriguing function of the forest as a metaphor and symbol, we can employ the modern interest in and fascination with the forest as a refuge from the destruction of the natural environment through modem civilization as segue to attract students to the study of medieval literature once again.

On the ＂good understanding＂ of the Scientific Spirit： The Use of Metaphors and Images in the Physical Sciences

In Bachelard＇s thought, the understanding ＂of the other＂ in scientific thought is given usually by means of empirical or rational discourse. However, it is not unusual to realize the emphasis of scientific thought as rationally justifiable. Certainly, the dynamics of scientific thought throughout history has not been indifferent to other possibilities of epistemological construction. We cannot escape the facts： Science needs linguistic devices to strengthen its principles and criteria for validation. The aim of this paper is to answer, based on a new conception of metaphor, under what conditions metaphor can be a ＂physical metaphor＂ and the extent to which the symbolism in general brings a special light gain of sense to the understanding of physical reality that surrounds us.

A Comparative Architectural Study of the Structural Form between Two Religious Buildings in Brasilia： The Cathedral and the Tibetan Stupa

Brasilia, born of the urban plan by Lficio Costa and of the unexpected concrete structural forms designed by Oscar Niemeyer, knew how to adapt to the new forms that came from the country＇s religious syncretism. This article aims to compare, through religious symbolism, structural forms and architectural spaces, two sacred monuments： The cathedral of Brasilia （1958-1967） and the stupa of the Tibetan Buddhist Center, inaugurated in 2006. The millenary construction form of the stupa, one of the primordial sacred structures for all Buddhism traditions, the sacred symbol of enlightenment, must obey some construction rules according to its lineage＇s Buddhist tradition. In this way, the stupa is the opposite of a strong and fearless structural form embodied in the cathedral, with its 16 revolution hyperboloid concrete pillars and its subterranean entrance. Although built in concrete both are unusual forms of architecture with distinct spatial conception and sculptural form structures. While respecting religious differences, it is noticeable a real commitment between form and structure, volume and religious symbolism. At the conclusion, it is perceivable how distinct forms--the Cathedral and the Stupa--can respond in analog manners to the necessity of a gathering space where visitors go in search of expressing their faith. Along with them, Buddhism and Catholicism are rooted in Brazil＇s new capital.

The Symbols of the Fire in Georgian Folklore in Comparison With Global Experience

Fire is the world meaning symbol of wisdom, purification. Elements of place symbolism associated with fire are day time and specifically noon when the sun＇s light and heat is the greatest. The association with the sun makes fire an above space phenomena rather than a below or within space phenomena. The fireplaces have the same meaning for the houses like the sun for the earth. This paper is divided in several topics to show how the fire changes its meaning and how do peoples attitude to fire can be changed. Fire can represents in wedding ceremony, fire out of control makes chaos, destroying around everything from which arise the new life, and fire make the soul to be free from the sin. Fire, the eternal flame is the symbol of strong emotional feelings. The purpose of the paper is to give the interesting examples of fire symbols in Georgian folklore and make some similarities with world experiences. Georgian people as a part of ancient world make their own culture and in order to integrate Georgian materials in world cultural fund paper aims to make comparative work to achieve the main goal.

Interpretation of Symbolic Meaning of＂The Great Gatsby＂ by American Writer Fitzgerald

＂The Great Gatzby＂ is a novel written by American writer Fitzgerald, which was selected as one of the top hunderd excellent novels by American academic authority at the end of 20th Century. Since the birth of the novel, Fitzgerald has become one of the most important American writers. In this novel, the author has used many symbolic techniques, which makes the novel theme extend to the American Dream failure from the surface love tragic love story. This paper interpretes the symbolic meaning of novel from the three aspects of specific things, color symbol and character symbol.

Terms and Metaphors in TasawwufDiscourse

This paper treats metaphors and terminology or the discourse of tasawwuf Having in mind that tasawwuf is a discipline developed in the scope of Islamic tradition and that its focus is on the esoteric dimension of the Qur＇an （ta wil）, which relates to the cognition of the highest rank, an approach to such a discourse needs special effort, both intellectual and spiritual. The language of literature belonging to either theoretical or practical tasawwuf is highly symbolic： theoretical tasawwuf deals with ontology and discusses God, world, and human being, while pragmatic tasawwuftries, just as the ethics, to change human being, that is, to ennoble him. Because of its specific way of presentation and its specific discourse, a communication with that discourse is determined by the knowledge of its symbolism, its terminology and, generally, its professional terminology.

Giovanni Antonio Bazzi, Allegories of Love： Emblematic Ardor

Giovanni Antonio Bazzi （1477-1549）, also known as I1 Sodoma, was a Milanese painter who developed his mature style in Siena during the early Cinquecento. Between 1505 and 1510, under the tutelage of the Chigi and Petrucci families, Bazzi depicted mythological paintings focusing on the personifications of love both terrestrial and celestial. This paper looks at two such works. In one, there hangs on a sycamore tree a classical cartello with the Latin inscription Celestes, meaning celestial or heavenly, providing the title for the painting Amore Celeste （Celestial Love, Figure 3）. A woman, as the personification of love, stands in front of two altars. She ignites one urn with fire and at the same time pours water over another burning fire. In the second work, a tondo with the theme of Terrestrial Love and Celestial Love, Bazzi considered the mischievousness of Venus＇ children Eros and Anteros （Figure 12）. These paintings are mythological and poetical delights with complex symbolism, here analyzed in terms of their iconography in relation to classical influences and Renaissance Neoplatonic love or furor divinus. The paradoxical quest of Renaissance Neoplatonic love was to fuse pagan love with Christian love. For the humanists of the time （Bembo, Colonna, Poliziano, Ficino and Pico） this moral dilemma was a philosophical puzzle, but for artists （Botticelli, Nicoletto da Modena, Pinturicchio and Bazzi） the theme was a pictorial challenge.

Analysis of Winterbourne in Daisy Miller

Henry James is one of the greatest novelists, who enjoys great reputation in the English literary world. He spent many years in Europe. Fie had deep and subtle insights into the life of the upper class in America and Europe. He experienced the cultural differences between America and Europe profoundly, which was demonstrated in his literary works. Daisy Miller is one of the representative works of Henry James, reveals his ＂international theme＂, the American innocence in face of European sophistication, In D^dsy Miller, Winterbourne is an undeniable protagonist, embodies both narrative and symbolic meaning. Through his narration and his representative features of the sophistication of European culture, we can gradually realize that it is the inevitable collision between new world and old world that leads to the pathetic ending of Daisy Miller.

Reverberating Chinese Traditional Folk Art in a Contemporary Context

Envisioned as a practice-based research, this paper explored Chinese traditional folk arts and crafts with a focus on traditional decorative patterns, vivid colors, and symbolic motifs that enliven Foshan style paper-cuttings, New Year wood block prints, paper kites, festival lanterns, and Shiwan pottery figures from the areas of Foshan and Shiwan, near Guangzhou, China. The goal of this research was to create a series of original paintings by investigating Chinese traditional folk arts and handcrafts and integrating them physically or ichnographically on Ho＇s new body of paintings. Chinese traditional motifs including Chinese characters and Buddhist iconographies had already been important motifs in the contemporary Western paintings of Kong Ho for the past 10 years. This paper examined not only the artistic, cultural, and historical values but also the impacts of Chinese traditional folk arts and era~ on Ho＇s painting through a personal research travel and studies of a certain amount of Chinese paper-cuttings, folk prints, pottery, and handcrafts found in the famous Foshan Folk Art Studio and Foshan City Shiwan Ceramics Factory in Foshan, China. Furthermore, this paper investigated the symbolic meanings founded in Ho＇s spiritual paintings with strong Chinese heritage and how he reinterpreted those artifacts in a contemporary context.

On Translation of Cultural Images in Chang Hen Ge from the Perspective of Reception Theory

Based on concepts of horizon of expectation and indeterminacy in reception theory,this paper reports a comparative analysis of Chang Hen Ge,a narrative poem written by Chinese poet Bai Juyi in the Tang Dynasty,and its English translations by William John Bainbrigge Fletcher,Herbert Allen Giles,Xu Yuanchong as well as Yang Hsien-yi and Gladys Yang.Results are as follows:1)Xu’s translation is the best in that he adds annotations and combines literal and free translations so as to explicate cultural connotations and underlying implications of images while meeting and broadening target readers’horizon of expectation.In addition,he tries to replicate figurative characteristics and transform rhetorical techniques of original cultural images to retain the source text’s indeterminacy and aesthetic value and to provide target readers with intense aesthetic experience.2)There are inappropriate and inaccurate translations of cultural images in all the four English translations,and they are caused by differences in ethnic history,religious belief,mode of thinking,features of English and Chinese as well as the subjectivity of translators.