Naipaul＇s novels are real and acute, which reflect many countries and social realities, especially terrible lives and depressed emotions, including human interests, opinions, ideas, consciousnesses, self-acceptance, ...Naipaul＇s novels are real and acute, which reflect many countries and social realities, especially terrible lives and depressed emotions, including human interests, opinions, ideas, consciousnesses, self-acceptance, idea crisis, looking for identity, spiritual trouble, contradiction between religion and life, cultural conflict in colonized countries and post-colonized areas. Such novels are from actual realities, life facts, street matters with miscellaneous, vicissitudinous, and integrative skills and abilities.展开更多
. Chinese and foreign film and cultural exchanges, the translation is necessary to ensure the realization of information across language barriers to effective communication. Particularity TV drama text language determ.... Chinese and foreign film and cultural exchanges, the translation is necessary to ensure the realization of information across language barriers to effective communication. Particularity TV drama text language determines the TV drama translation from other forms of translation particularity. According to the analysis of the speci？ c case, we discussed the basics of film and television drama translation. In recent years, foreign film and television works more and more popular in China, Subtitling received more attention. Filmography is an important medium for intercultural communication that subtitling has a very important role in cross-cultural communication. By analyzing the subtitle translation of particularity, we propose the appropriate translation approach. News translation is an interlingual intercultural communication activities and news translation there are a lot of cultural barriers that improper handling will seriously affect the effect of news media, and even misleading. News translator should understand the source culture, and appropriate use of domesticating translation strategy interpretive translation means to overcome cultural barriers in order to achieve intercultural communication.展开更多
Kenneth Burke＇s rhetoric on language as a symbolic action offers an enlightening perspective for revealing the connection between the motivations and actions of the characters in Thomas Kyd＇s The Spanish Tragedy. Th...Kenneth Burke＇s rhetoric on language as a symbolic action offers an enlightening perspective for revealing the connection between the motivations and actions of the characters in Thomas Kyd＇s The Spanish Tragedy. This work is a Renaissance drama that features hues of rhetorical language. Linguistic obfuscation, scapegoat mechanism, and the malfunction and dysfunction of language in victimization and revenge are thrown into relief through Burke＇s elaborate system of the symbolism of language. Analyzing the discursive performances of the main characters, readers could get clues of their motives that drive their actions, which are both a representation and an illustration of how language as a symbolic action works in literature展开更多
Drama is an important area in teaching of mother tongue. It should be as important as language and literature. The teacher needs drama as a tool of motivation and as a common exercise for all pupils. In developing a n...Drama is an important area in teaching of mother tongue. It should be as important as language and literature. The teacher needs drama as a tool of motivation and as a common exercise for all pupils. In developing a new method, interview drama, the author has used design-based research telling about three samples, where there is document about its advantages. The method has been developed since 1996 and used it with several groups （adult student teachers and young pupils）. As a text the author has used fairy tales, novels, Hamlet and Kalevala. With Finnish2-students we have read Bibi Moves into Finland and writer Kari Hotakainen＇s novel Ihmisen osa （The Human Fortune）. The students have written positively about the interview drama in their learning logs. Also assessments concerning the method have been positive. It is a funny method. It is not possible to fulfill without laughter. Student teachers （n 90） evaluated the method with Likert scale 1-5. The mean was 4,00. They said： very nice; I shall use it; very useful; phantastic; very interesting; deepens the text and makes it very lively. Only a few were astonished, is it possible to use drama in the university.展开更多
A revolution in Shakespeare studies over the past three decades asks that we take earlier quarto versions of his plays as fully independent texts. In no case can such a change in our outlook yield more illuminating re...A revolution in Shakespeare studies over the past three decades asks that we take earlier quarto versions of his plays as fully independent texts. In no case can such a change in our outlook yield more illuminating results than a serious look at the 1608 Quarto version of Shakespeare＇s King Lear. The 1623 Folio version and the ＂conflated＂ modem editions, which combine the ＂best＂ readings of the Quarto and Folio versions, both anoint his godson Edgar, the Earl of Gloucester, as the new king at the end. However, the 1608 Quarto version elevates, not Edgar, but Lear＇s son-in-law, the Duke of Albany, to the kingship at the end. Shakespeare may be telling the same story in texts that seem strikingly similar, but the difference in the endings shifts the center of gravity in both plays, requiring an interpretation that makes sense out this difference. The title page of the 1608 Quarto version of King Lear describes it as a ＂history＂; yet this ＂same＂ King Lear is listed as a ＂tragedy＂ in the 1623 Folio. The difference between those two words is the key to why Shakespeare＇s two versions could have startlingly different outcomes.展开更多
＂Hamlet＂ is one of the most famous representative plays, Shakespeare was known as the＂ Mona Lisa＂ in the literary world, the topics include love, family, betrayal and madness and death. These topics through the ce...＂Hamlet＂ is one of the most famous representative plays, Shakespeare was known as the＂ Mona Lisa＂ in the literary world, the topics include love, family, betrayal and madness and death. These topics through the centuries can still resonate with the audience, the main reason is the play the protagonist Danish prince Hamlet is a typical representative of the Renaissance humanist thinker. His concern for the fate, advocating rational, sensible to judge the situation in the country was Denmark, with the people as a fundamental, to overcome personal feelings, to sacrifice their lives to save the country＇s fate. By analyzing the characters of Hamlet Shakespeare analyzed profound reflection on humanism, humanist tragedy reveals the reason, the contribution of Shakespeare＇ s era reviewed humanism.展开更多
When discussing the roots of Arab theatre, we find ourselves confronting two main streams of thought. The first one, represented by prominent Arab writers like Najib Mahfuz, Abbas A1-Aqqad, M. Badawi, and other critic...When discussing the roots of Arab theatre, we find ourselves confronting two main streams of thought. The first one, represented by prominent Arab writers like Najib Mahfuz, Abbas A1-Aqqad, M. Badawi, and other critics, rejects the theory that an Arab theatre existed before the mid-19th century. The second stream, represented by prominent scholars like Ali A1-Rai, Ibrahim Hamada and S. Moreh, see modern Arab theatre as part of a continuum, emphasizing of some elements of dramatic manifestations in Arab literary heritage. This paper intends to examine these two streams, their evidences and arguments. Such examination will shed some light on the origin of Arab theatre as a literary genre, and how it was influenced, if any, by Western theatrical heritage. Thus, answering the main question of this paper, whether Arab theatre is original or simply a Western imitation.展开更多
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
Toni Morrison has a unique status in American literature. She is the winner of the National Book Critic Circle Award, the Pulitzer for Fiction and many other literary awards. She was granted the Nobel Prize for litera...Toni Morrison has a unique status in American literature. She is the winner of the National Book Critic Circle Award, the Pulitzer for Fiction and many other literary awards. She was granted the Nobel Prize for literature in 1993, thus becoming the first A^can-American writer to receive this honor. Her first novel The Bluest Eye （1970） tells the story of the bitter and tragic experience suffered by Pecola, a little black girl, and loss of black people＇s self-respect, confidence, value, and culture. The present paper, first of all, gives a brief introduction of the story Then the paper explores the root causes of Pecola＇s tragedy from two aspects： The cause of racial oppression and self-hatred, and the cause of the loss in her independent consciousness. The paper concludes that Pecola is the victim and scapegoat of racial oppression, self-hatred and the loss of her independent consciousness existing in the black community展开更多
Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Do...Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Don Giovanni composed for Prague because of reminiscences on Mozart＇s dramma giocoso）. It is not uneasy to find clear musical hints on Puccini in Fibich＇s next opera Sarka （premiered 1897）, but it was already in Hedy where drastic and geographically clearly determined subject was mixed with Wagnerian gesture of love extasy, which is everywhere and endless. Obviously, Fibich, as a mature artist, was able to connect rules of both Czech declamation and contemporary veristic fashion. This study tries to identify main stylistic features which shaped Fibich＇s fifth opera, and analyses receptive expectations from the side of Czech audience and its influence on Fibich＇s opera composition.展开更多
The Russian theatre has not been neglected in the studies on theatre history, literary criticism and dramatic arts. The paper attempts to have a look at the 1787 Drama Dictionary, the first theatre reference book publ...The Russian theatre has not been neglected in the studies on theatre history, literary criticism and dramatic arts. The paper attempts to have a look at the 1787 Drama Dictionary, the first theatre reference book published in the country （with a very long Russian title containing 35 words） as a cultural product of the Enlightenment Age produced by its representative. In the introduction to the dictionary the compiler says that the publication would help young people develop a taste for refined entertainment and reject violent leisure activities of the past, enjoy theatre and learn life moral lessons from it. He considers theatre as a powerful means of changing Russian society as has been demanded by the Enlightenment Age. The structural and sociocultural analyses of 1787 Drama Dictionary materials give us an insight into some ways of westernising Russian society through theatre and how this westernisation was reflected in the theatre terminology of the time. I have argued that Russian-European Relationships resulting in the westernisation of Russian theatre theory and practices went hand in hand with the Russian translation-adaptation of Western plays and adaptation of some Western cultural patterns of social thinking and behaviour without rejecting completely the national identity in newly-born Russian dramatic literature.展开更多
How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936,...How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.展开更多
The concept of violence mainly comprises the use of brutal force and fierceness. The acts of violence; on the other hand, can be defined as the practices pertaining to intimidating, terrorizing and even tyrannizing hu...The concept of violence mainly comprises the use of brutal force and fierceness. The acts of violence; on the other hand, can be defined as the practices pertaining to intimidating, terrorizing and even tyrannizing human beings. There is a widespread agreement on the idea that a healthy and balanced society necessitates the conscious contribution of each member to the solution of social, economic and cultural problems. Undoubtedly, the mass media, particularly TV, plays a significant role in this process. In the same way, the media content considerably accelerates the respective learning process through news, advertisements and particularly TV serials. The primary purpose of this study is to determine the types and ratios of violence displayed in popular Turkish TV serials with respect to the total airing time. Thus, three popular TV serials with the highest rating were determined as the corpus of this study. Then, every sixth episode of each serial in a 36-week-season was chosen as the sampling. With this idea in mind, the sequences displaying violence in the respective serials were measured with content analysis method and classified according to the types of violence. Thus, ratios for each type of violence were found out and shown on graphs. It is expected that the findings will provide a basis for a further study in which a comparison between the escalation of violence in Turkish society and the ratio of violence demonstrated in popular TV serials can be made.展开更多
文摘Naipaul＇s novels are real and acute, which reflect many countries and social realities, especially terrible lives and depressed emotions, including human interests, opinions, ideas, consciousnesses, self-acceptance, idea crisis, looking for identity, spiritual trouble, contradiction between religion and life, cultural conflict in colonized countries and post-colonized areas. Such novels are from actual realities, life facts, street matters with miscellaneous, vicissitudinous, and integrative skills and abilities.
文摘. Chinese and foreign film and cultural exchanges, the translation is necessary to ensure the realization of information across language barriers to effective communication. Particularity TV drama text language determines the TV drama translation from other forms of translation particularity. According to the analysis of the speci？ c case, we discussed the basics of film and television drama translation. In recent years, foreign film and television works more and more popular in China, Subtitling received more attention. Filmography is an important medium for intercultural communication that subtitling has a very important role in cross-cultural communication. By analyzing the subtitle translation of particularity, we propose the appropriate translation approach. News translation is an interlingual intercultural communication activities and news translation there are a lot of cultural barriers that improper handling will seriously affect the effect of news media, and even misleading. News translator should understand the source culture, and appropriate use of domesticating translation strategy interpretive translation means to overcome cultural barriers in order to achieve intercultural communication.
文摘Kenneth Burke＇s rhetoric on language as a symbolic action offers an enlightening perspective for revealing the connection between the motivations and actions of the characters in Thomas Kyd＇s The Spanish Tragedy. This work is a Renaissance drama that features hues of rhetorical language. Linguistic obfuscation, scapegoat mechanism, and the malfunction and dysfunction of language in victimization and revenge are thrown into relief through Burke＇s elaborate system of the symbolism of language. Analyzing the discursive performances of the main characters, readers could get clues of their motives that drive their actions, which are both a representation and an illustration of how language as a symbolic action works in literature
文摘Drama is an important area in teaching of mother tongue. It should be as important as language and literature. The teacher needs drama as a tool of motivation and as a common exercise for all pupils. In developing a new method, interview drama, the author has used design-based research telling about three samples, where there is document about its advantages. The method has been developed since 1996 and used it with several groups （adult student teachers and young pupils）. As a text the author has used fairy tales, novels, Hamlet and Kalevala. With Finnish2-students we have read Bibi Moves into Finland and writer Kari Hotakainen＇s novel Ihmisen osa （The Human Fortune）. The students have written positively about the interview drama in their learning logs. Also assessments concerning the method have been positive. It is a funny method. It is not possible to fulfill without laughter. Student teachers （n 90） evaluated the method with Likert scale 1-5. The mean was 4,00. They said： very nice; I shall use it; very useful; phantastic; very interesting; deepens the text and makes it very lively. Only a few were astonished, is it possible to use drama in the university.
文摘A revolution in Shakespeare studies over the past three decades asks that we take earlier quarto versions of his plays as fully independent texts. In no case can such a change in our outlook yield more illuminating results than a serious look at the 1608 Quarto version of Shakespeare＇s King Lear. The 1623 Folio version and the ＂conflated＂ modem editions, which combine the ＂best＂ readings of the Quarto and Folio versions, both anoint his godson Edgar, the Earl of Gloucester, as the new king at the end. However, the 1608 Quarto version elevates, not Edgar, but Lear＇s son-in-law, the Duke of Albany, to the kingship at the end. Shakespeare may be telling the same story in texts that seem strikingly similar, but the difference in the endings shifts the center of gravity in both plays, requiring an interpretation that makes sense out this difference. The title page of the 1608 Quarto version of King Lear describes it as a ＂history＂; yet this ＂same＂ King Lear is listed as a ＂tragedy＂ in the 1623 Folio. The difference between those two words is the key to why Shakespeare＇s two versions could have startlingly different outcomes.
文摘＂Hamlet＂ is one of the most famous representative plays, Shakespeare was known as the＂ Mona Lisa＂ in the literary world, the topics include love, family, betrayal and madness and death. These topics through the centuries can still resonate with the audience, the main reason is the play the protagonist Danish prince Hamlet is a typical representative of the Renaissance humanist thinker. His concern for the fate, advocating rational, sensible to judge the situation in the country was Denmark, with the people as a fundamental, to overcome personal feelings, to sacrifice their lives to save the country＇s fate. By analyzing the characters of Hamlet Shakespeare analyzed profound reflection on humanism, humanist tragedy reveals the reason, the contribution of Shakespeare＇ s era reviewed humanism.
文摘When discussing the roots of Arab theatre, we find ourselves confronting two main streams of thought. The first one, represented by prominent Arab writers like Najib Mahfuz, Abbas A1-Aqqad, M. Badawi, and other critics, rejects the theory that an Arab theatre existed before the mid-19th century. The second stream, represented by prominent scholars like Ali A1-Rai, Ibrahim Hamada and S. Moreh, see modern Arab theatre as part of a continuum, emphasizing of some elements of dramatic manifestations in Arab literary heritage. This paper intends to examine these two streams, their evidences and arguments. Such examination will shed some light on the origin of Arab theatre as a literary genre, and how it was influenced, if any, by Western theatrical heritage. Thus, answering the main question of this paper, whether Arab theatre is original or simply a Western imitation.
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Toni Morrison has a unique status in American literature. She is the winner of the National Book Critic Circle Award, the Pulitzer for Fiction and many other literary awards. She was granted the Nobel Prize for literature in 1993, thus becoming the first A^can-American writer to receive this honor. Her first novel The Bluest Eye （1970） tells the story of the bitter and tragic experience suffered by Pecola, a little black girl, and loss of black people＇s self-respect, confidence, value, and culture. The present paper, first of all, gives a brief introduction of the story Then the paper explores the root causes of Pecola＇s tragedy from two aspects： The cause of racial oppression and self-hatred, and the cause of the loss in her independent consciousness. The paper concludes that Pecola is the victim and scapegoat of racial oppression, self-hatred and the loss of her independent consciousness existing in the black community
文摘Fibich＇s opera Hedy （premiered in 1896） was received as a succesfull work, although many reviewers did not know how to call the prevailing style （mixture ofwagnerianism, Grand opera, verismo exotico, the second Don Giovanni composed for Prague because of reminiscences on Mozart＇s dramma giocoso）. It is not uneasy to find clear musical hints on Puccini in Fibich＇s next opera Sarka （premiered 1897）, but it was already in Hedy where drastic and geographically clearly determined subject was mixed with Wagnerian gesture of love extasy, which is everywhere and endless. Obviously, Fibich, as a mature artist, was able to connect rules of both Czech declamation and contemporary veristic fashion. This study tries to identify main stylistic features which shaped Fibich＇s fifth opera, and analyses receptive expectations from the side of Czech audience and its influence on Fibich＇s opera composition.
文摘The Russian theatre has not been neglected in the studies on theatre history, literary criticism and dramatic arts. The paper attempts to have a look at the 1787 Drama Dictionary, the first theatre reference book published in the country （with a very long Russian title containing 35 words） as a cultural product of the Enlightenment Age produced by its representative. In the introduction to the dictionary the compiler says that the publication would help young people develop a taste for refined entertainment and reject violent leisure activities of the past, enjoy theatre and learn life moral lessons from it. He considers theatre as a powerful means of changing Russian society as has been demanded by the Enlightenment Age. The structural and sociocultural analyses of 1787 Drama Dictionary materials give us an insight into some ways of westernising Russian society through theatre and how this westernisation was reflected in the theatre terminology of the time. I have argued that Russian-European Relationships resulting in the westernisation of Russian theatre theory and practices went hand in hand with the Russian translation-adaptation of Western plays and adaptation of some Western cultural patterns of social thinking and behaviour without rejecting completely the national identity in newly-born Russian dramatic literature.
文摘How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.
文摘The concept of violence mainly comprises the use of brutal force and fierceness. The acts of violence; on the other hand, can be defined as the practices pertaining to intimidating, terrorizing and even tyrannizing human beings. There is a widespread agreement on the idea that a healthy and balanced society necessitates the conscious contribution of each member to the solution of social, economic and cultural problems. Undoubtedly, the mass media, particularly TV, plays a significant role in this process. In the same way, the media content considerably accelerates the respective learning process through news, advertisements and particularly TV serials. The primary purpose of this study is to determine the types and ratios of violence displayed in popular Turkish TV serials with respect to the total airing time. Thus, three popular TV serials with the highest rating were determined as the corpus of this study. Then, every sixth episode of each serial in a 36-week-season was chosen as the sampling. With this idea in mind, the sequences displaying violence in the respective serials were measured with content analysis method and classified according to the types of violence. Thus, ratios for each type of violence were found out and shown on graphs. It is expected that the findings will provide a basis for a further study in which a comparison between the escalation of violence in Turkish society and the ratio of violence demonstrated in popular TV serials can be made.
