《伊丽莎白》与《建国大业》的对比分析

《伊丽莎白》和《建国大业》是两部优秀的历史影片,影片中运用了交叉剪辑和平行剪辑手法。两部影片在叙事结构、镜头运用、道具使用、色调与画面关系等方面存在相似之处,但在体裁、叙事、风格、表现手法、价值观和主题等方面各有特点。这两部影片反映了不同民族、不同国家的价值观念,但二者共同反映的战斗精神和顺应人民意志的精神是值得称道的。文章将通过对比分析,阐述两部影片在体裁、作者、叙事、风格、表现手法、价值观和主题等方面的异同。

《伊丽莎白济贫法》确立分析

近代英国社会转型过程中,受多种因素影响,大量劳动力失业,人们生活日益贫困。随着社会贫困问题日益严重,原有宗教和世俗救济渠道已无法保证贫民的生存所需,政府被迫采取解决措施,并最终颁布《伊丽莎白济贫法》,初步确立了社会济贫体系。

战争与记忆:村田喜代子《伊丽莎白的朋友》中的历史书写

《伊丽莎白的朋友》是当代日本作家村田喜代子以日本侵华战争记忆为主题创作的小说。作品以亲历战争一代老人在罹患认知症后的现实与梦境时空转换方式,揭开日本侵略战争的历史真相,以皇室的隐喻暗讽天皇从极权到象征的权力衰落,以年轻一代对战争历史的无知形象传达在当代日本右倾民族主义裹挟下,对战争教训如何传承的担忧。村田喜代子以小说的形式书写历史,是战后一代作家在文本与历史中探寻真相的尝试,也是其作为小说家的隐性政治介入、社会责任感及历史使命感的体现。

打开人文主义君王世界的一扇窗口——评《伊丽莎白一世翻译文稿》

芝加哥大学出版社出版的由哈内尔.穆勒和约书亚.司哥德尔合编的《伊丽莎白一世翻译文稿》收集了伊丽莎白女王一世从1544年-1589年和1592年-1598年跨度长达半个多世纪的翻译文稿,向读者提供了一扇赏阅作为人文主义者的伊丽莎白女王一世宗教、政治、哲学观点的窗口,也是对伊丽莎白一世时期历史和文学感兴趣的读者们的宝贵文本。

复调叙事与镜像隐喻——《伊丽莎白的朋友》中的战争记忆书写

村田喜代子的《伊丽莎白的朋友》刻画了以不同方式经历过日本侵华战争的三位罹患认知症的女性老人,她们在现实和幻想交错的混沌状态中度过生命最后一程。小说运用复调叙事的手法,呈现了日本侵华战争时期天津租界、伪满洲和日本国内的历史场景,构建出战争亲历者的回忆空间。同时,小说还以实像与虚像的对立揭示日本在侵华战争时期所鼓吹的“共荣”的虚幻性与欺骗性。作品暗示在日本右倾民族主义抬头的当下,对侵略历史教训进行反思和代际传递的重要性。

抓紧你,不放手

一一：转眼又到了2016年末大戏上演的时候了，想想马上能看到新排的《莫扎特!》我就兴奋，之前的《伊丽莎白》还历历在目呢。

Spatio-temporal Variation of Arctic Sea Ice in Summer from 2003 to 2013

The variation in Arctic sea ice has significant implications for climate change due to its huge influence on the global heat balance. In this study, we quantified the spatio-temporal variation of Arctic sea ice distribution using Advanced Microwave Scanning Radiometer(AMSR-E) sea-ice concentration data from 2003 to 2013. The results found that, over this period, the extent of sea ice reached a maximum in 2004, whereas in 2007 and 2012, the extent of summer sea ice was at a minimum. It declined continuously from 2010 to 2012, falling to its lowest level since 2003. Sea-ice extent fell continuously each summer between July and mid-September before increasing again. It decreased most rapidly in September, and the summer reduction rate was 1.35 × 10~5 km^2/yr, twice as fast as the rate between 1979 and 2006, and slightly slower than from 2002 to 2011. Area with >90% sea-ice concentration decreased by 1.32 × 10~7 km^2/yr, while locations with >50% sea-ice concentration, which were mainly covered by perennial ice, were near the North Pole, the Beaufort Sea, and the Queen Elizabeth Islands. Perennial Arctic ice decreased at a rate of 1.54 × 10~5 km^2 annually over the past 11 years.

新片预告

《黄金时代》导演:谢加·凯普尔主演:凯特·布兰切特、杰弗里·拉什、克里夫·欧文《黄金时代》是曾获得多项奥斯卡提名的《伊丽莎白女王》的续集。影片紧接着《伊丽莎白女王》没有讲完的史实,讲述这位女王带领英国走向世界霸主的过程。在她在位的45年间,英国经济繁荣昌盛、文学璀灿辉煌、军事欧洲无敌,被称为英国历史上的“黄金时代”,本片片名亦由此而来。主演《伊丽莎白女王》

The Feigned Madness of Ulysses and Hamlet： A Derridean Reading of Cartesian Cogito

Ulysses, the towering mythological figure and the hero of the world＇s most famous epic The Odyssey, put on the pretence of madness to shirk the Trojan War. This is not mentioned in Homer, but in Fabulae by Gaius Julius Hyginus. Similarly, Hamlet put on an ＂antic disposition＂ after the ghost exhorted him to kill King Claudius. In these two cases taken from mythology and literature, and pertaining to the Classical period and the Elizabethan age respectively, intelligent characters put on the pretence of madness, in their battle with society though they are in control of their senses. It is the aim of this paper to examine the dynamics of reason and non-reason when combined and brought so close to one another, that they could be easily confounded, in light of Derrida＇s reading of Descartes＇ formulations about reason. Since the two examined works pertain to the Classical and Elizabethan ages respectively, the paper will shed light on the historical background of madness in these periods to give a broader perspective of reason and madness in these works.

＂Had He a Hand to Write This？＂ Missing ＂Secretary＂ Hands

When Elizabethan＇s were trained to read and write, the handwriting they first learned was ＂Secretary＂ （or ＂Secretarial＂） hand, reflecting the style used by monks and scribes well back into the Middle Ages. Only in the mid-1500s did an alternative hand called ＂Italic＂ （or ＂Italianate＂） slowly begin to be adopted as a second hand, reflecting handwriting used on the continent, and Italic was rarer than Secretary until well after 1600. Today, extant Elizabethan handwriting samples normally show each person used both hand styles, and where only one hand is extant for a given person, it is usually a Secretary hand. Thus, it＇s a surprise that two noblemen, the great William Cecil, Lord Burghley, and his son-in-law Edward DeVere, the 17th Earl of Oxford, are each assumed to have only Italic hand samples among their voluminous collections of handwriting. Did they not learn and never use Secretary hands, or is it that any Secretary hands in their documents are simply presumed to be written by clerks？ This article begins with questioning whether the two men really were limited to Italic hands, fmds a few plausible Secretary hand samples for one of them （possibly for both）, reconstructs a hypothetical Italic alphabet for him, and nominates many candidate manuscripts （MSS, singular MS） for having been written or contributed to by him, some of which may be relevant to Shakespeare studies. Other subjects touched on are calligraphy, a clerk （or amanuensis）, and griffe de notaire （literally a ＂notary＇s scratch＂, or identifying scribble）.

Hypothetical Earlier Dating for The Passionate Pilgrim and First Folio

Did part or all of Shakespeare＇s The Passionate Pilgrim （TPP） actually predate 1593 Venus ＆ Adonis （V＆A） and 1594 Rape ofLuereee （RofL）？ Oddly enough, that may be the case, because the sole extant copy of its first edition has no title page, thus no date. Copies of its second edition do have a title page and are clearly dated 1599, plus a 1612 augmented project was marked ＂third edition＂. Thus, it should be significant that some of TPP＇s poetry have been found in manuscript or early publications back to the early 1590s, and in one case perhaps as early as 1585. But TPP may be a relic of a much larger anthology of poetry which possibly existed in manuscript circa 1589-94, was revised circa 1610-12 to accompany an intended publication of all of Shakespeare＇s works （poetry and drama）, but was not fully published until nearly three decades later. It is also notable that the 1640 anthology attributed to Shakespeare contained TPP plus lengthy poetic paraphrases from Ovid in much the same mold as V＆A and RofL. Moreover, the 1640 anthology may hold a key to radically earlier dating of the 1623 First Folio （F1）. We will briefly delve into the murky world of the Elizabethan publishing world of the 1580s and beyond, wherein the 17th Earl of Oxford＇s former servant, Anthony Munday, may have had an important role in the disposition of each ＂Shake-speare＂ work.

An assessment of Charter airline benefits for Port Elizabeth and the Eastern Cape

Tourism is becoming a vital component for economic development in South Africa. The income generated by the tourism industry is about 6% of the GDP, which is significant but still falls short of the goal set by the White Paper on Tourism in 2000. In the light of South Africa hosting the 2010 Football World Cup, it is important to identify ways of sustainable tourism development that would continue to increase the benefits to the economy long after the event＇s over. The main objective of the research was to explore an idea for increasing the level of tourist income generated in the Port Elizabeth （Eastern Cape） area. The idea was researched by means of conducting a cost-benefit analysis of two tourist related projects. These projects would introduce Charter airline services between Europe and Port Elizabeth. A second objective was to identify constraints on the project or market failures which would prevent their implementation. The economic theory behind the operation of an airline showed that lease costs and aeroplane operating costs are the two most important factors determine Charter airline＇s profitability. In order to offset these costs, airlines must achieve high passenger load factors. Charter airlines have the advantage over scheduled airlines, in that they will only fly if a minimum level of people has pre-booked seats. Two aeroplanes were chosen for comparison purpose： an Airbus A 340-300 and a Boeing 767-300ER. The private benefits calculated were based on load factors between 80 and 95 percent for ticket prices of USD 667 and USD 773. In addition, to private costs and benefits, social benefits were also estimated in the form of additional secondary revenue generated. With the introduction of net social benefits, both projects become profitable. A 50 percent substitution of revenue generated by the Charter tourists reduces the profits for the both projects drastically. A project based on a Boeing 767-300ER is the most efficient project as it has the highest NPV and BCR values. A reduction in the lease cost of the Airbus 340-300 could make projects based on it more competitive. A few constraints on the establishment of a Charter airline operator based in Port Elizabeth are： the lack of adequate runway for the landing of the long-haul carriers and the need of a larger liberalisation of the aviation policy by eliminating protectionism. The cost benefit analysis undertaken in this research does not take into account social costs and benefits to the economy of establishing a Charter airline based in Port Elizabeth, such as an employment, infrastructure development and poverty alleviation. Nevertheless the analysis does suggest that there are strong private and social benefits warranting the establishment of an airline business between Europe and Port Elizabeth. The economic benefits of the tourism industry and its link to airline travel are outlined in section 3. It is shown that the growth of the airline industry is a major component and contributor to tourism growth.

Muse Turned ＂Femme Fatale＂ in D. G. Rossetti＇s Painting and Poetry

In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an artist. After Elizabeth＇s death, Rossetti seemed to have been preoccupied with the ＂Lilith＂ theme in his painting and poetry and somehow he could not free himself from the haunting memory of the ＂wronged wife＂, the muse. This often found manifestation in his portrayal of the ＂femme fatale＂ images. Applying psychoanalysis to art-criticism and literary appreciation, this paper is an attempt to explore the relationship between a model and an artist, which both psychologically and aesthetically, seemed to be working beyond the former＇s death. Through a detailed analysis of the ＂Lilith＂ image in D. G. Rossetti＇s art, this paper has shown the coplexities of the artist＇s agony and anxiety over the image of a muse, a homely beloved--turned into a threatening ＂femme fatale＂, now distant, unknown, frightening yet fascinating, and mystified by death.

Shakespeare＇s Language Strategies in Hamlet

This study investigates the language strategies used by Shakespeare in The Tragedy of Hamlet, Prince of Denmark （1603）. Emphasis is given to the type of language or register Shakespeare provides his characters with in order to give them genuine or assumed identities. The linguistic register of the three major characters of Claudius, the Ghost, and Hamlet is explored in light of the Elizabethan cultural context. This concern with these three characters stems from the basic assumption of the paper that the play is a struggle between Claudius and the Ghost over Hamlet. Claudius speaks the language of a monarch which is informed by the code of society; the Ghost, who used to speak such language of sovereignty while alive, speaks a language of the dead informed by a newly acquired experience not familiar to human beings. On the other hand, Hamlet＇s use of language is the most peculiar in the play. His register keeps changing according to his tragic growth and his readiness for action. The study indicates that the language functions Shakespeare utilizes in Hamlet are numerous. Language is used creatively for a variety of purposes in addition to communication. The playwright employs language as a shield for self-defense, a tool for defining and hiding identity and misleading and manipulating others, a means of search for reality, and a tool for punishment, among other functions. The study findings invite further research into Shakespeare＇s use of language in his plays. No detailed in-depth studies of Shakespearean language and its implications exist.

Shakespeare＇ s Sonnets Dated

By using echoes in some sonnets to lines in certain plays, emphasizing those echoes which were not later repeated, and by applying dates to those plays, in 1926 Elizabeth Beckwith tentatively dated a third of the 154 in the entire sonnets cycle. Her belief was that an unintentional authorial pattern of usage would be less subjective than other approaches to dating the sonnets. Yet, by use of dates from external allusions later applied by Prof. Leslie Hotson and other scholars, this author suggests that it may be possible to extend the total number of datable sonnets to over half of the cycle. However, Beckwith did not use dates for the plays which were later to become a standard dating scheme accepted by most scholars today, and so adjustments of her dates would change the dates she awarded to many of her selected sonnets. This author suggests that even the standard dating scheme is flawed, particularly if Shakespeare was dead when the Sonnets were published in 1609. He suggests another dating regime that meshes quite well with both Beckwith＇s 52 and an additional 27. Thus, the result for the 79 sonnets is to avoid certain problems in the distribution that Beckwith＇s method generated. The net result is what Beckwith termed ＂a skeleton around which the remaining sonnets can be safely built＂, but for over half rather than only a third of the cycle. This author suggests a half＂skeleton＂ is more indicative of the chronology for the whole sonnets cycle than only a third.

Vision and Imagination in the Renaissance Theatre

To see what lacks representation on stage is a fully creative act that the spectator performs thanks to his or her imagination, as （s）he is called to retrieve via memory what is objectively absent from the scene. The Renaissance audience accomplished such a creative act by making use of rhetoric and figurative arts. However, it is pre-eminently words that trigger and support the imagination, as Shakespeare＇s drama best exemplifies. Both in the Elizabethan drama and in the Italian Renaissance theatre, with its perspectival vision, the spectator＇s creative act takes place in an ideal space where the stage space turns into the locus of stereoscopic vision. Consequently, the creation and consumption of the vision originates first and foremost in drama （comedy and tragedy）. The psychological, aesthetic, and anthropological mechanisms at the heart of vision, and the fruition of the images deriving from words, can be found as operating within the dramatic text, from the point of view of both the playwright and of the spectator/listener, in a direct relationship of cause and effect. Religious and especially Jesuitical drama, whose theatrical experience aims at discovering a correspondence between words and images, testifies to the visual power of the theatre.

Different Characters and Destines of Four Sisters in Little Women

Little Women is a novel published in1868 and written by American author Louisa May Alcott. The story concerns the lives and loves of four sisters growing up during the American Civil War. It was based on Alcott＇s own experiences as a child in Concord, Massachusetts with her three sisters, Anna, May, and Elizabeth. It is a story about love, faith, fortitude, and devotion. And this paper aims at analyzing the four sisters＇ different characters and destinies and tries to give readers a new understanding about this novel.

1999年度加拿大总督文学奖揭晓

1999年度加拿大总督文学奖于去年11月16日在渥太华揭晓。该奖建立于1936年，每年评选一次，旨在奖励加拿大优秀的英语和法语虚构小说、诗歌、戏剧、非虚构小说、儿童文学、儿童画册和翻译等作品，奖金1万加元。本年度获奖的有关作家和作品如下：

The Villainous Moor： Eleazar in Dekker＇s Lust＇s Dominion （1600）

The article explores the disruptive social contexts and inter-racial rela- tionships in Thomas Dekker＇s Lust＇s Dominion （c.1599-1600） [Collier found out about its original performance date, which was in February 1600, and that it was first published in 1657 （Collier 1827, p. 264）] with focus on the Moorish Eleazar. The play is about race, lust, revenge and politics. The Elizabethan experienced a cultural blend and a fear of Africans and other foreigners. Like Dekker, Elizabethan dramatists imparted well-known contemporary prejudices and stereotypes on those of specific origin in Africa based solely on their dark skin. Elizabethan shows reinforced the image of the Moor as cruel, tyrannical and deceitful. The African Moors are portrayed to the Elizabethan expectations as being demi-devil, deceitful, lascivious, unpleasant, merciless egotist as soon as he appears. The depiction of the evil Moor contributes to Elizabethan superiority as an intrinsic right. Dekker illustrates the pervasive racism of Elizabethan Europe and the plain consequences of this institutionalized prejudice.