This article examines some ideas on reading Plato by three scholars, dating from different decades of the 20th century and setting off from various theoretical starting points, who explored an alternative possibility ...This article examines some ideas on reading Plato by three scholars, dating from different decades of the 20th century and setting off from various theoretical starting points, who explored an alternative possibility by suggesting theories that incorporate the element of＂dramatic＂ performance. According to Auguste Diès the written dialogue is a literary version of a dialectical duel actually held in the Academy between a distinguished visitor and a selected group of students. Through the so-called process of＂transposition＂, Plato transforms a real life event into an artful piece of literature recreating the original scene for educational purposes. Gilbert Ryle, on the other hand, held that the dialogues were primarily intended for dramatic recitation in public, with Plato himself delivering the words of Socrates. They were delivered orally to audiences, as a rule in the context of literary competitions, in which the other Socratics also took part. Finally, Holger Thesleff has once suggested that the （re）performance of the dialogues as an established activity in the Academy constitutes a necessary stage in the composition of new works and the revision of the old ones. In view of his conviction that Plato was the inventor of the dramatic philosophical dialogue he also seemed to have been the first one who explicitly, however cautiously, entertained the idea of theatrical presentation of Plato＇s dialogues-though he later changed his mind and fallen back to the theory of public reading.展开更多
The new prototype of the inetto, a helpless and impassive character, makes his first appearance near the end of the nineteenth century in Italian literature, continues to gain strength and status throughout the twenti...The new prototype of the inetto, a helpless and impassive character, makes his first appearance near the end of the nineteenth century in Italian literature, continues to gain strength and status throughout the twentieth-century artistic climate （through the existentialist philosophy of Sartre and Camus） and reemerges in contemporary cinema. The present study examines whether there is a gradual exacerbation or overcoming of this psychological disorder across the centuries in the novels and films investigated. Specifically, I offer a comparative analysis of Svevo＇s character Emilio Brentani in Senilitd （1898） and Giuseppe Piceioni＇s Guido in Giulia non esce la sera （Giulia Does Not Date at Night） （2009）. This study will also draw unusual parallels between Schopenhauer, Svevo＇s existentialist philosophy and contemporary cinema.展开更多
In recent years, selection range of Chinese students for institutions of higher education is no longer limited to domestic range, with the rise of studying abroad, an increasing number of undergraduate and graduate st...In recent years, selection range of Chinese students for institutions of higher education is no longer limited to domestic range, with the rise of studying abroad, an increasing number of undergraduate and graduate students choose to go to the overseas for expansion of knowledge.This phenomenon has both advantages and disadvantages,on the one hand, it can promote the cultural exchange between countries,but on the other hand, the higher talent loss on China＇s economy caused great damage.For China＇s higher education workers and researchers, our research scope is not limited to the cultivation of the higher talents, and it also considers how to cultivate talent substantial contribution to economic civilization construction of the motherland without loss to foreign countries.This paper aims to analyze the current situation of higher talent loss in China from the perspective of higher education, and carries on the brief analysis on how to deal with this situation.展开更多
文摘This article examines some ideas on reading Plato by three scholars, dating from different decades of the 20th century and setting off from various theoretical starting points, who explored an alternative possibility by suggesting theories that incorporate the element of＂dramatic＂ performance. According to Auguste Diès the written dialogue is a literary version of a dialectical duel actually held in the Academy between a distinguished visitor and a selected group of students. Through the so-called process of＂transposition＂, Plato transforms a real life event into an artful piece of literature recreating the original scene for educational purposes. Gilbert Ryle, on the other hand, held that the dialogues were primarily intended for dramatic recitation in public, with Plato himself delivering the words of Socrates. They were delivered orally to audiences, as a rule in the context of literary competitions, in which the other Socratics also took part. Finally, Holger Thesleff has once suggested that the （re）performance of the dialogues as an established activity in the Academy constitutes a necessary stage in the composition of new works and the revision of the old ones. In view of his conviction that Plato was the inventor of the dramatic philosophical dialogue he also seemed to have been the first one who explicitly, however cautiously, entertained the idea of theatrical presentation of Plato＇s dialogues-though he later changed his mind and fallen back to the theory of public reading.
文摘The new prototype of the inetto, a helpless and impassive character, makes his first appearance near the end of the nineteenth century in Italian literature, continues to gain strength and status throughout the twentieth-century artistic climate （through the existentialist philosophy of Sartre and Camus） and reemerges in contemporary cinema. The present study examines whether there is a gradual exacerbation or overcoming of this psychological disorder across the centuries in the novels and films investigated. Specifically, I offer a comparative analysis of Svevo＇s character Emilio Brentani in Senilitd （1898） and Giuseppe Piceioni＇s Guido in Giulia non esce la sera （Giulia Does Not Date at Night） （2009）. This study will also draw unusual parallels between Schopenhauer, Svevo＇s existentialist philosophy and contemporary cinema.
文摘In recent years, selection range of Chinese students for institutions of higher education is no longer limited to domestic range, with the rise of studying abroad, an increasing number of undergraduate and graduate students choose to go to the overseas for expansion of knowledge.This phenomenon has both advantages and disadvantages,on the one hand, it can promote the cultural exchange between countries,but on the other hand, the higher talent loss on China＇s economy caused great damage.For China＇s higher education workers and researchers, our research scope is not limited to the cultivation of the higher talents, and it also considers how to cultivate talent substantial contribution to economic civilization construction of the motherland without loss to foreign countries.This paper aims to analyze the current situation of higher talent loss in China from the perspective of higher education, and carries on the brief analysis on how to deal with this situation.
