This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems...This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems to uncover the motives which allow the readers to find excuses to deny ＂pure＂ evilness. Stoker＇s Dracula （1897） introduced the plausibility--in the realm of the gothic horror novel--of finding heroes in modem day ＂villains＂. This paper will argue this influence by introducing connections with modem ＂pop＂ vampires： from the teenage vampires in the Twilight saga both the texts （2005, 2006, 2007, ＆ 2008） and the film versions （ 2008, 2009, 2010, ＆ 2012）, to the grown-up fantasies of Charlaine Harris in the True Blood saga （both the 13 books published between 2001 and 2012 and the Home Box Office TV series that started in 2008 and, so far is in its 7th season in 2014） and Tim Button＇s Dark Shadows （2012）, the remake of the 70s American Broadcasting Company Gothic soap opera （which ran between june 1966 to April 1977）. Bearing in mind the history of the vampire, through a brief account of its constant presence in the contemporary film and television industry, we will attempt to unveil the cultural reasons that bring light to the fact that modem society is out of brave good villains. The presentation will retrieve some theoretical support from Cristopher Frayling＇s analysis of the vampire myth, David Punters＇ ideas on the modem gothic and Maggie Kilgour＇s assumptions on the rise of the gothic.展开更多
This article reviews famous monsters in Western literature that reveal a hidden humanity or affinity with the hero that elicits compassion or emphasizes their bestiality in surprising ways. Their monstrosity is often ...This article reviews famous monsters in Western literature that reveal a hidden humanity or affinity with the hero that elicits compassion or emphasizes their bestiality in surprising ways. Their monstrosity is often a distorted mirror image of the hero＇s humanity. Shakespeare＇s Caliban is a famous example of the affinity between monster and protagonist. Homer＇s Polyphemus, the first monster in Western tradition establishes certain traits that persist through later literature： lawless, barbarian, cannibal, and giant. Polyphemus hates men, but loves his old ram. Grendel, Grendel＇s mother, and the dragon in Beowulf are giants, lawless, cannibals. The dragon Beowulf dies fighting anticipates the identity between hero and monster that Borges makes explicit in Asterion, the Minotaur. Dante＇s Satan in the Inferno fails to leave later successors. In Borges＇s ＂The House of Asterion＂ the Minotaur is both monster and hero. Asterion＇s affinities with other protagonists in Borges＇ stories suggest that the monster in the labyrinth is not the Minotaur, but the concept of infinity.展开更多
The paper argues that the three women are all tragic characters and their tragedies lie in the fact that they only function as stones in Paul＇s life road to art and the world of men and their suffering from the impri...The paper argues that the three women are all tragic characters and their tragedies lie in the fact that they only function as stones in Paul＇s life road to art and the world of men and their suffering from the imprisonment of the patriarchal society. The alleged tragic hero, Paul, is patriarchal, self-centered, and sometimes even sadistic. This paper gives respective analysis of the Victorian morality and industrial civilization. Mrs. Morel is pitifully diagnosed with Oedipus complex, which enables her to be a powerful hermaphrodite and gains access to power Miriam is also imprisoned by Victorian morality, but her world is not purely spiritual. Paul just cannot see the physical aspect of her, so he refuses to enter her world. Clara is the woman who makes Paul a real man, but Paul only sees the physical aspect of her. So Paul＇s patriarchal character is revealed in the discussion of these three women. This paper explores the cause of these women＇s struggle and points out that the problems these characters face still exist and need to be solved today展开更多
For many years now, scholars or researchers have been advocating for an androgynous or all-embracing （multicultural） approach in teaching and learning of musical arts and other performing arts at universities, perfo...For many years now, scholars or researchers have been advocating for an androgynous or all-embracing （multicultural） approach in teaching and learning of musical arts and other performing arts at universities, performing arts centres and other institutions. This article discusses the study and teaching situation of musical arts in South Africa, based on the research of nine institutions of higher learning. The major objective of this article therefore is to explore the extent to which South African institutions of higher learning and performing arts centres have incorporated the arts and culture of the historically marginalised people of South Africa in their respective curricula. From the results, it points out that music departments at South African institutions of higher learning have not yet fully transformed their programmes away from European models to programmes that affirm and embrace all the musical styles and genres practiced in the country. The article provides an advocacy for a strong androgynic approach in the study and teaching of performing arts in South Africa： the incorporation of both African indigenous and Western art forms in the respective curricula.展开更多
文摘This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems to uncover the motives which allow the readers to find excuses to deny ＂pure＂ evilness. Stoker＇s Dracula （1897） introduced the plausibility--in the realm of the gothic horror novel--of finding heroes in modem day ＂villains＂. This paper will argue this influence by introducing connections with modem ＂pop＂ vampires： from the teenage vampires in the Twilight saga both the texts （2005, 2006, 2007, ＆ 2008） and the film versions （ 2008, 2009, 2010, ＆ 2012）, to the grown-up fantasies of Charlaine Harris in the True Blood saga （both the 13 books published between 2001 and 2012 and the Home Box Office TV series that started in 2008 and, so far is in its 7th season in 2014） and Tim Button＇s Dark Shadows （2012）, the remake of the 70s American Broadcasting Company Gothic soap opera （which ran between june 1966 to April 1977）. Bearing in mind the history of the vampire, through a brief account of its constant presence in the contemporary film and television industry, we will attempt to unveil the cultural reasons that bring light to the fact that modem society is out of brave good villains. The presentation will retrieve some theoretical support from Cristopher Frayling＇s analysis of the vampire myth, David Punters＇ ideas on the modem gothic and Maggie Kilgour＇s assumptions on the rise of the gothic.
文摘This article reviews famous monsters in Western literature that reveal a hidden humanity or affinity with the hero that elicits compassion or emphasizes their bestiality in surprising ways. Their monstrosity is often a distorted mirror image of the hero＇s humanity. Shakespeare＇s Caliban is a famous example of the affinity between monster and protagonist. Homer＇s Polyphemus, the first monster in Western tradition establishes certain traits that persist through later literature： lawless, barbarian, cannibal, and giant. Polyphemus hates men, but loves his old ram. Grendel, Grendel＇s mother, and the dragon in Beowulf are giants, lawless, cannibals. The dragon Beowulf dies fighting anticipates the identity between hero and monster that Borges makes explicit in Asterion, the Minotaur. Dante＇s Satan in the Inferno fails to leave later successors. In Borges＇s ＂The House of Asterion＂ the Minotaur is both monster and hero. Asterion＇s affinities with other protagonists in Borges＇ stories suggest that the monster in the labyrinth is not the Minotaur, but the concept of infinity.
文摘The paper argues that the three women are all tragic characters and their tragedies lie in the fact that they only function as stones in Paul＇s life road to art and the world of men and their suffering from the imprisonment of the patriarchal society. The alleged tragic hero, Paul, is patriarchal, self-centered, and sometimes even sadistic. This paper gives respective analysis of the Victorian morality and industrial civilization. Mrs. Morel is pitifully diagnosed with Oedipus complex, which enables her to be a powerful hermaphrodite and gains access to power Miriam is also imprisoned by Victorian morality, but her world is not purely spiritual. Paul just cannot see the physical aspect of her, so he refuses to enter her world. Clara is the woman who makes Paul a real man, but Paul only sees the physical aspect of her. So Paul＇s patriarchal character is revealed in the discussion of these three women. This paper explores the cause of these women＇s struggle and points out that the problems these characters face still exist and need to be solved today
文摘For many years now, scholars or researchers have been advocating for an androgynous or all-embracing （multicultural） approach in teaching and learning of musical arts and other performing arts at universities, performing arts centres and other institutions. This article discusses the study and teaching situation of musical arts in South Africa, based on the research of nine institutions of higher learning. The major objective of this article therefore is to explore the extent to which South African institutions of higher learning and performing arts centres have incorporated the arts and culture of the historically marginalised people of South Africa in their respective curricula. From the results, it points out that music departments at South African institutions of higher learning have not yet fully transformed their programmes away from European models to programmes that affirm and embrace all the musical styles and genres practiced in the country. The article provides an advocacy for a strong androgynic approach in the study and teaching of performing arts in South Africa： the incorporation of both African indigenous and Western art forms in the respective curricula.
