More than just a drink, tea embodies social, cultural, economic and political meanings through time and across cultures. There is an essential tie between media and this meaning-making process. Media often create and ...More than just a drink, tea embodies social, cultural, economic and political meanings through time and across cultures. There is an essential tie between media and this meaning-making process. Media often create and carry the visions of health, nature, tranquility, and prosperity offered by tea. This mediated imaginary seems to persist even in the face of vast human inequalities and suffering and irreversible negative environmental impacts through the current practice of tea production under global conglomerates. Through textual analysis of media narratives of Teavana, a well-known tea brand, this project explores how media＇s mythic narratives potentially naturalize and celebrate the current production practice and the conspicuous consumption of tea, and silence the human suffering and environmental destruction endured, in order to gratify the very practice and consumption promoted by media.展开更多
This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at...This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at exploring the use of the comic elements that is not without purpose. Instead through this incorporation of farce, linguistic humor, witty repartee and exaggeration, the holistic vision of life is obtained which was earlier compartmentalized by the Greeks and Roman playwrights. Comic elements including slapstick humor, the singing of songs, and certain character portrayal are discussed as techniques employed at the hands of the playwrights to reflect over the real historical milieu of their respective times, yet giving a boost to realism as a theory and a practice. This is a qualitative study based upon hermeneutic theory of textual analysis. The paper establishes the similarities in Bernard Shaw＇s and Anton Chekhov＇s employment of comical elements as well as the difference between their essential purposes in generic transgression. Although the two writers have their roots in different countries, their humorous portrayal of various issues is seen to be similar. From the microanalysis of these plays, the same comic strains can be traced out in modern drama at macro level that will enhance the implication of this research paper. This paper therefore concludes that comic and tragic elements are not antagonistic rather complimentary to each other.展开更多
Taiwan Bangzi Opera is a branch of Henan Bangzi Opera in Henan, which was transmitted from China to Taiwan within the armies under a political and historical circumstance around 1947. As the trend of localisation in t...Taiwan Bangzi Opera is a branch of Henan Bangzi Opera in Henan, which was transmitted from China to Taiwan within the armies under a political and historical circumstance around 1947. As the trend of localisation in these ten years becomes obvious, several localised performances are created; however, the composers in China do not understand the music culture in Taiwan, so some interesting phenomenon can be found between an imaginary Taiwan from their viewpoints and the real culture in Taiwan. The Sorceress Bride is a performance which adapted so-called the aboriginal tune in 2012, and it arises several issues for further discussion.展开更多
文摘More than just a drink, tea embodies social, cultural, economic and political meanings through time and across cultures. There is an essential tie between media and this meaning-making process. Media often create and carry the visions of health, nature, tranquility, and prosperity offered by tea. This mediated imaginary seems to persist even in the face of vast human inequalities and suffering and irreversible negative environmental impacts through the current practice of tea production under global conglomerates. Through textual analysis of media narratives of Teavana, a well-known tea brand, this project explores how media＇s mythic narratives potentially naturalize and celebrate the current production practice and the conspicuous consumption of tea, and silence the human suffering and environmental destruction endured, in order to gratify the very practice and consumption promoted by media.
文摘This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at exploring the use of the comic elements that is not without purpose. Instead through this incorporation of farce, linguistic humor, witty repartee and exaggeration, the holistic vision of life is obtained which was earlier compartmentalized by the Greeks and Roman playwrights. Comic elements including slapstick humor, the singing of songs, and certain character portrayal are discussed as techniques employed at the hands of the playwrights to reflect over the real historical milieu of their respective times, yet giving a boost to realism as a theory and a practice. This is a qualitative study based upon hermeneutic theory of textual analysis. The paper establishes the similarities in Bernard Shaw＇s and Anton Chekhov＇s employment of comical elements as well as the difference between their essential purposes in generic transgression. Although the two writers have their roots in different countries, their humorous portrayal of various issues is seen to be similar. From the microanalysis of these plays, the same comic strains can be traced out in modern drama at macro level that will enhance the implication of this research paper. This paper therefore concludes that comic and tragic elements are not antagonistic rather complimentary to each other.
文摘Taiwan Bangzi Opera is a branch of Henan Bangzi Opera in Henan, which was transmitted from China to Taiwan within the armies under a political and historical circumstance around 1947. As the trend of localisation in these ten years becomes obvious, several localised performances are created; however, the composers in China do not understand the music culture in Taiwan, so some interesting phenomenon can be found between an imaginary Taiwan from their viewpoints and the real culture in Taiwan. The Sorceress Bride is a performance which adapted so-called the aboriginal tune in 2012, and it arises several issues for further discussion.
