Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direct...Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.展开更多
The 16th-century Protestant Reformation shattered the foundations of faith and art. As traditional theology was both besieged and defended, art had to adapt. Of course, a new theology needed new kinds of pictorial ext...The 16th-century Protestant Reformation shattered the foundations of faith and art. As traditional theology was both besieged and defended, art had to adapt. Of course, a new theology needed new kinds of pictorial extrapolations. But truly, the most interesting change was hidden in plain sight. Subjects that may have looked familiar were in fact utterly new, because subversive ideas and contexts uprooted older meanings. The painting Madonna with Parrots （1533）, by Hans Baldung Grien demoted the chaste protectress by transforming her into a flawed, even dangerous, human mother. In the painting, an oddly sultry Virgin shows off her breast, her shoulder, and her chest as a parrot nibbles her neck. The complexities of Baldung＇s painting underpin debates about the status of the Virgin during the Reformation and the freedom of an artist to tamper with sacred subject matter.展开更多
Orwell＇s text The Road to Wigan Pier, henceforth referred to as RWP, is problematic due to the ambiguity of its status as a literary genre. The text is subversive on many levels, namely on the level of form. In order...Orwell＇s text The Road to Wigan Pier, henceforth referred to as RWP, is problematic due to the ambiguity of its status as a literary genre. The text is subversive on many levels, namely on the level of form. In order to show some aspects of the author＇s challenge of the conventional norms and methods of literary writing, a comparison between the writer＇s original diary of the journey to the industrial North of England, the main site of the coal mines, and the present book could be of great import. This reveals the author＇s genuine intellectual ability to manipulate and rearrange the events and scenes of the story on the discourse level. The author＇s manipulation and rearrangement of the story （the journey）, events and scenes, clearly reveals his potential literary creativity and imagination. Orwell has deployed many strategies to fulfil this purpose. Each strategy is actually a contribution to the author＇s overall argument and at the same time it constitutes a further aspect of subversion. The first aspect of subversion lies on the level of form itself. The form of the book is effectively very challenging. Contrary to the conventional view of the fictional novel, the study of Orwell＇s text based on Grrard Genette＇s model reveals his challenge of the basic novelistic parameters. The novelistic ingredients such as setting, characterisation, and plot development have been treated in a subverting way. Though not totally discarded, they have been manipulated for the purpose of the author＇s general argument, which is Socialism. For instance, characters in the novel are treated as types, that is, representatives of their class. Besides, the order of scenes and events has been rearranged for the purpose of foregrounding representative scenes like the description of the Brookers＇ lodging-house. The author＇s treatment of the material of the text is primarily based on his personal experience as an outside observer during his journey to the North. Therefore, the exploration of the novel from a structuralist perspective based on Genette＇s model does not merely aim at the pure application of some literary and critical approaches to Orwell＇s text. This may be misleading since the investigation may fall in superficiality and simplicity. But the strategy deployed is actually a further contribution to the author＇s general argument and a manifestation of the novel＇s status as a creative and subversive text.展开更多
The use of ＂should＂ in the applied translation studies such as translators training, translation aids and translation criticism has proved to be one of the most important tools for progress in the discipline since H...The use of ＂should＂ in the applied translation studies such as translators training, translation aids and translation criticism has proved to be one of the most important tools for progress in the discipline since Holme put forward the basic map of Translation Studies. In this paper, the author discusses mainly the use of ＂should＂ in translation criticism, arguing that, the many advantages to be had by this method notwithstanding, there are problems. For example, it is not always fair to judge one translator＇s work too soon and too sure; and offering overwhelming advice induces disrespect to the translator. For these reasons, the author argues, it is worth exploring ways of translation criticism beyond traditional mode of＂should＂ which may seem subversive of standard uses, either alone or in conjunction with Descriptive Translation Studies （DTS）.展开更多
This paper analyzes the poetry of Delmira Agustini, Alfonsina Storni, and Giovanna Pollarolo, three Latin American poets who collectively spanned the arc of the 20th century, in order to demonstrate that they were all...This paper analyzes the poetry of Delmira Agustini, Alfonsina Storni, and Giovanna Pollarolo, three Latin American poets who collectively spanned the arc of the 20th century, in order to demonstrate that they were all acting to subvert certain stereotypical notions propagated by society and by canonical literature. While Agustini used a parodic discourse to deconstruct the sacrality of masculinity, Storni employed parody and excessive calculated use of quotes from canonical male authors to subvert the traditional images and roles assigned to women. Parody, hyperbolic images, and ambiguity will be analyzed here as the major literary means used by these two poets to criticize the deep-rooted, gendered discourse of their times. Pollarolo＇s poetry, as well as that of Stomi, will be analyzed as ＂minor＂ literature, as described in the theories of Deleuze and Guattari展开更多
Looking at the last decades of the 19th and 20th century from our vantage point encourages parallels to be drawn between the two periods： in fact, both are affected by a process of cultural fragmentation, social, and...Looking at the last decades of the 19th and 20th century from our vantage point encourages parallels to be drawn between the two periods： in fact, both are affected by a process of cultural fragmentation, social, and epistemological transformations and crises that permeate the whole civil society. In the specific field of English literature, the genre of the fantastic is undoubtedly a common presence. In Fantasy： The Literature of Subversion, Jackson （1981） noted the re-emergence of the fantastic as a transgressive force at moments of cultural stress and repression. Waugh （1995） held a similar view in The Harvest of the Sixties. At the end of the 20th century, in its postmodernist shape, fantastic literature becomes one of the favourite genres of a number of feminist writers, and among them, Jeanette Winterson transforms it into a truly transgressive genre. This paper examines Winterson＇s The Passion （1996） and Sexing the Cherry （1990） in the light of Jackson＇s theory of the fantastic, as a narrative that establishes an oppositional dialogic relationship with the ＂real＂, to interrogate it and collapse the traditional distinction between the normative and the ＂other＂. In The Passion, the real is signified by the dominant ideological discourse, exemplified by Napoleon; the fantastic by Villanelle＇s webbed feet and her ability to walk on water. In Sexing the Cherry, the real is represented by the Puritans with their bigoted and hypocritical morality; the fantastic by the huge Dog-Woman and her foundling son, Jordan. Besides, in both novels, the female body is metamorphosed to challenge the view of a ＂normal＂, acceptable femininity; what emerges is a monstrous and sublime body that collapses distinctions between gender boundaries. In Sexing the Cherry （1990）, Winterson created the grotesque, gigantic body of the Dog-Woman, a figure of Kristevan ＂abjection＂. In The Passion （1996）, she gave life to the hybrid body of Villanelle, an oxymoronic combination of the terrible beautiful. The conclusion of the paper argues that Winterson deploys the fantastic to deconstruct the gendered subject of the dominant signifying order and create a dislocated world outside commercial culture, where new voices can be heard, speaking for unheard, neglected groups, particularly women.展开更多
What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibil...What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibility that might destabilize his newly-imagined order, such as a cyborg that might upset heterosexuality. The absence of any female agency or desire in his cyber fantasy questions its subversive potential. Oshii seems to be immune to feminist theories on posthuman existence that conceptualizes subjectivity outside the gender polarities. Oshii describes a society where high technology only reinforces gender polarities. The representations of women＇s relationship to technology in Oshii＇s film, therefore, are quite problematic; the transgression of boundaries does not work out to reduce or annihilate domination by patriarchal needs and desires. Despite the fact that Oshii denies his female cyborgs a subject position other than that based exclusively in patriarchal fear and desire, his representations mark an ambivalence inherent in cyborg resistance, and feminist politics need to pay attention to such ambivalence.展开更多
One of the key aspects of the teaching reform of the higher vocational colleges is to give prominence to the ability training of the students. In this paper, from the teaching practice of the network marketing course,...One of the key aspects of the teaching reform of the higher vocational colleges is to give prominence to the ability training of the students. In this paper, from the teaching practice of the network marketing course, with the applicative competition platform as the breakthrough point, the author carries through a series of teaching reforms, to realize the goal of training, and especially to give prominence to the ability training of the students.展开更多
文摘Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.
文摘The 16th-century Protestant Reformation shattered the foundations of faith and art. As traditional theology was both besieged and defended, art had to adapt. Of course, a new theology needed new kinds of pictorial extrapolations. But truly, the most interesting change was hidden in plain sight. Subjects that may have looked familiar were in fact utterly new, because subversive ideas and contexts uprooted older meanings. The painting Madonna with Parrots （1533）, by Hans Baldung Grien demoted the chaste protectress by transforming her into a flawed, even dangerous, human mother. In the painting, an oddly sultry Virgin shows off her breast, her shoulder, and her chest as a parrot nibbles her neck. The complexities of Baldung＇s painting underpin debates about the status of the Virgin during the Reformation and the freedom of an artist to tamper with sacred subject matter.
文摘Orwell＇s text The Road to Wigan Pier, henceforth referred to as RWP, is problematic due to the ambiguity of its status as a literary genre. The text is subversive on many levels, namely on the level of form. In order to show some aspects of the author＇s challenge of the conventional norms and methods of literary writing, a comparison between the writer＇s original diary of the journey to the industrial North of England, the main site of the coal mines, and the present book could be of great import. This reveals the author＇s genuine intellectual ability to manipulate and rearrange the events and scenes of the story on the discourse level. The author＇s manipulation and rearrangement of the story （the journey）, events and scenes, clearly reveals his potential literary creativity and imagination. Orwell has deployed many strategies to fulfil this purpose. Each strategy is actually a contribution to the author＇s overall argument and at the same time it constitutes a further aspect of subversion. The first aspect of subversion lies on the level of form itself. The form of the book is effectively very challenging. Contrary to the conventional view of the fictional novel, the study of Orwell＇s text based on Grrard Genette＇s model reveals his challenge of the basic novelistic parameters. The novelistic ingredients such as setting, characterisation, and plot development have been treated in a subverting way. Though not totally discarded, they have been manipulated for the purpose of the author＇s general argument, which is Socialism. For instance, characters in the novel are treated as types, that is, representatives of their class. Besides, the order of scenes and events has been rearranged for the purpose of foregrounding representative scenes like the description of the Brookers＇ lodging-house. The author＇s treatment of the material of the text is primarily based on his personal experience as an outside observer during his journey to the North. Therefore, the exploration of the novel from a structuralist perspective based on Genette＇s model does not merely aim at the pure application of some literary and critical approaches to Orwell＇s text. This may be misleading since the investigation may fall in superficiality and simplicity. But the strategy deployed is actually a further contribution to the author＇s general argument and a manifestation of the novel＇s status as a creative and subversive text.
文摘The use of ＂should＂ in the applied translation studies such as translators training, translation aids and translation criticism has proved to be one of the most important tools for progress in the discipline since Holme put forward the basic map of Translation Studies. In this paper, the author discusses mainly the use of ＂should＂ in translation criticism, arguing that, the many advantages to be had by this method notwithstanding, there are problems. For example, it is not always fair to judge one translator＇s work too soon and too sure; and offering overwhelming advice induces disrespect to the translator. For these reasons, the author argues, it is worth exploring ways of translation criticism beyond traditional mode of＂should＂ which may seem subversive of standard uses, either alone or in conjunction with Descriptive Translation Studies （DTS）.
文摘This paper analyzes the poetry of Delmira Agustini, Alfonsina Storni, and Giovanna Pollarolo, three Latin American poets who collectively spanned the arc of the 20th century, in order to demonstrate that they were all acting to subvert certain stereotypical notions propagated by society and by canonical literature. While Agustini used a parodic discourse to deconstruct the sacrality of masculinity, Storni employed parody and excessive calculated use of quotes from canonical male authors to subvert the traditional images and roles assigned to women. Parody, hyperbolic images, and ambiguity will be analyzed here as the major literary means used by these two poets to criticize the deep-rooted, gendered discourse of their times. Pollarolo＇s poetry, as well as that of Stomi, will be analyzed as ＂minor＂ literature, as described in the theories of Deleuze and Guattari
文摘Looking at the last decades of the 19th and 20th century from our vantage point encourages parallels to be drawn between the two periods： in fact, both are affected by a process of cultural fragmentation, social, and epistemological transformations and crises that permeate the whole civil society. In the specific field of English literature, the genre of the fantastic is undoubtedly a common presence. In Fantasy： The Literature of Subversion, Jackson （1981） noted the re-emergence of the fantastic as a transgressive force at moments of cultural stress and repression. Waugh （1995） held a similar view in The Harvest of the Sixties. At the end of the 20th century, in its postmodernist shape, fantastic literature becomes one of the favourite genres of a number of feminist writers, and among them, Jeanette Winterson transforms it into a truly transgressive genre. This paper examines Winterson＇s The Passion （1996） and Sexing the Cherry （1990） in the light of Jackson＇s theory of the fantastic, as a narrative that establishes an oppositional dialogic relationship with the ＂real＂, to interrogate it and collapse the traditional distinction between the normative and the ＂other＂. In The Passion, the real is signified by the dominant ideological discourse, exemplified by Napoleon; the fantastic by Villanelle＇s webbed feet and her ability to walk on water. In Sexing the Cherry, the real is represented by the Puritans with their bigoted and hypocritical morality; the fantastic by the huge Dog-Woman and her foundling son, Jordan. Besides, in both novels, the female body is metamorphosed to challenge the view of a ＂normal＂, acceptable femininity; what emerges is a monstrous and sublime body that collapses distinctions between gender boundaries. In Sexing the Cherry （1990）, Winterson created the grotesque, gigantic body of the Dog-Woman, a figure of Kristevan ＂abjection＂. In The Passion （1996）, she gave life to the hybrid body of Villanelle, an oxymoronic combination of the terrible beautiful. The conclusion of the paper argues that Winterson deploys the fantastic to deconstruct the gendered subject of the dominant signifying order and create a dislocated world outside commercial culture, where new voices can be heard, speaking for unheard, neglected groups, particularly women.
文摘What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibility that might destabilize his newly-imagined order, such as a cyborg that might upset heterosexuality. The absence of any female agency or desire in his cyber fantasy questions its subversive potential. Oshii seems to be immune to feminist theories on posthuman existence that conceptualizes subjectivity outside the gender polarities. Oshii describes a society where high technology only reinforces gender polarities. The representations of women＇s relationship to technology in Oshii＇s film, therefore, are quite problematic; the transgression of boundaries does not work out to reduce or annihilate domination by patriarchal needs and desires. Despite the fact that Oshii denies his female cyborgs a subject position other than that based exclusively in patriarchal fear and desire, his representations mark an ambivalence inherent in cyborg resistance, and feminist politics need to pay attention to such ambivalence.
文摘One of the key aspects of the teaching reform of the higher vocational colleges is to give prominence to the ability training of the students. In this paper, from the teaching practice of the network marketing course, with the applicative competition platform as the breakthrough point, the author carries through a series of teaching reforms, to realize the goal of training, and especially to give prominence to the ability training of the students.
