F.Scott.Fitzgerald and His Protagonists' Fascination about Rich Girls:Seen from His Works "The Great Gatsby" and "Winter Dreams"

F.Scott.Fitzgerald was a well known American writer in the 1920s.He worte some works which represented the characteristics of the 1920s America and he was considered as the spokesman for that time period,the Jazz Age..His masterpiece was The Great Gatsby.The novel fully reveals the life and people of the Jazz age,showing the epicurean,indulging,and immoral ethos of the whole American society and people's fasicination about wealth and enjoyment,looking down upon and deserting the traditional faiths and values.This article discusses F.Scott.Fitzgerald and his protagists' fascination about rich girls in his two novels The Great Gatsby and "Winter Dreams" from the life and love stories of the author and his protagonists,men's love ideal under the influence of American dream and the Jzaa Age,several characteristivs of love itself.Through this article,we may see the influence of the social faith and social ethos on individual's love ideal,and the beautiful and wordly aspects about love.

The Analysis of the Growth of the Protagonist in Harry Potter

This paper is trying to analyze the protagonist named Harry Potter in Harry Potter series, interpreting the influence to the Harry Potter's growth. Through the analysis of his family, his own family and relatives, his school and teachers who are very caring for him, as well as his best friends who grow up with him together, readers can know each person showed up in Harry Potter's life had contributed to his growth. At the same time, this paper emphatically elaborates factors of Harry Potter's growth. It explains why Harry Potter can grow from a ordinary person to a hero who saved the world.

Analysis of the Interaction between Protagonist and Environment in Black Boy

Richard Wright was one of America’s greatest black writers andone of the first African American writers to achieve liter⁃ary fame and fortune.Black Boy(1945)ishis autobiographical novel,consisting of Southern Nightand Fear and Honor,which tells the story of the protagonist's experiences in five different environments and his great changes.This thesis explores the interaction between space and characters.It finds that,on the one hand,space provides a place for the characters to move around,which af⁃fects them physically and psychologically and shapes their personality.On the other hand,characters make resistances against space,and their behavior and living conditions further reflect the characteristics of each space.Through research,the protagonist grows under the change of spaces,and such growth also highlights the characteristics of different spaces.The interaction between the two carries all the transitions between the stories.

How Are Traditional Chinese Opera and Drama Integrated into Fiction? An Analysis Based on Chen Yan's Novels The Comedy and The Protagonist

Chen Yan's novels are steeped in traditional Chinese culture.The Comedy and The Protagonist draw on and use traditional national art resources such as Chinese opera and drama to discover anew and create"tradition"from a modern perspective.Traditional Chinese opera and drama shape the narrative aesthetic nature of Chen Yan's novels both explicitly and implicitly.The difference between opera and drama,lyrical and impressionistic style,and narrative and action also forms its diverse narrative aesthetic style.The origin and distinction of style and form between Chen Yan's novels and traditional Chinese comedies and modern Chinese novels are profoundly influenced by time and history,which essentially determines the spiritual structure and narrative aesthetic of Chen Yan's novels.

On the Stylistic and Cultural Awareness of Chen Yan's Novels: Taking The Protagonist and The Backstage Clan as Examples

The Protagonist is another full-length masterpiece of realism by Chen Yan following his previous novel The Backstage Clan.His rich experience in drama creation enables Chen Yan to skillfullyemployclassical literature and traditional opera librettos,and be keener on entering a narrative where novel and opera communicate without any barriers,thereby forming his distinctive narrative aesthetic.In addition,Chen Yan has proficiently created in the abovementioned books typical characters such as Diao Shunzi and Yi Qin'e,creating a blueprint for how these two novels will be passed down to later generations.Unlike The Backstage Clan,which focuses on the extraordinary nature of ordinary people,The Protagonist presents the potential of the rise of ordinary people and a panorama of man and culture by portraying the legendary lives of the protagonist and the secondary protagonist.

Using the Operatic Stage to Showcase the Changing Times and the Vicissitudes of Fate: A Study on The Protagonist by Chen Yan

Chen Yan has emerged as an outstanding novelist thanks to his rich experience in theatrical literature.His latest novel,The Protagonist,focuses on the heroine Yi Qin'e's forty-year on the stage,and creates a group of characters living in obscurity under the social changes of the times,portraying a broader spectrum of life and society beyond the domain of drama and conveying his profound observations on life,the times,society,and the world.The epic artistic nature of the novel and the interplay between the fate of the characters and the social changes taking place at the time in the novel,along with Chen Yan's deep insight into the complexity of humanity are the keys to the successful presentation of the art and ideology of The Protagonist.

论长篇小说《主角》中的女性形象及其意义

陈彦的长篇小说《主角》讲述了5位旦角演绎与传承秦腔的故事,以忆秦娥为中心,描写了她在老一辈旦角胡彩香和米兰的影响下的成长历程。她们传承传统戏曲的过程,也是她们日渐成熟、走向自立自强的过程。通过刻画其中的女性形象,作家发掘出女性这一特殊群体的生存困境,揭示了传统戏曲传承的必要性与紧迫性。这使得《主角》成为一部现实主义的力作。

《爱·文姬》音乐剧中女主角“角色化”演唱思考

《爱·文姬》这部音乐剧以“蔡文姬归汉”为线索,从女性视角对蔡文姬这个人物进行塑造。她对亲人有小爱之心,对苍生有博爱之心,对国家有大爱之心,同时更是挚爱文化。这些特质在女主角“角色化”演唱的过程中都被淋漓尽致地表达了出来,也体现了这部音乐剧深刻的内涵和时代主题,即民族的融合、团结和发展。虽然,在这部音乐剧中没有提到一个“爱”字,但是全剧爱意浓浓,同时,这也是音乐剧女主角“角色化”演唱的结果。

主角式教学法在宫颈癌临床教学中应用效果评价

目的研究主角式教学法在宫颈癌临床教学中应用效果。方法选取2018年1月1日—2022年12月31日本院妇科实习同学60名,数组排列随机分组处理,对照组的30名实习同学,利用常规教学方法,实验组的30名实习同学,利用主角式教学法。对比两组自我护理核心能力评分、评判思维能力、教学结果评分、带教教师满意度评分、实习同学工作满意度。结果实施教学手段后,实验组对比对照组实习同学,研究指标改善意义较为明确(P<0.05)。结论主角式教学法在宫颈癌临床教学中,应用效果积极,可进一步提升学生综合素养,有推广应用价值。

南戏中生旦脚色核心地位的深度考察

生、旦脚色在南戏脚色体制中居于核心地位,早已成为学界共识,却从未有人核实过这一结论的可靠性。根据对现存十种保存南戏原貌较好的早期南戏剧本的考察,生、旦两种脚色在南戏中确实居于核心地位。从演唱曲牌的情况来看,南戏中生、旦标注的角色均为剧中主唱脚色,所唱曲牌数量最多;从扮演角色的情况来看,南戏中生、旦不兼演其他角色,仅仅只扮演剧中的男女主角;从脚色形成和发展的规律来看,南戏中的生、旦不仅与净、末、丑等脚色相对独立,与外、贴等脚色也是相对独立的。

“脱冕的同貌人”:20世纪西方“戏仿型”小说主人公的“反英雄”形象

作为一种依托于经典叙事作品的“二手文本”,西方现代“戏仿型”小说通过对源文本中英雄式主角进行降格处理,获得了一个与古代原型平行并置的现代对应角色——一个“脱冕的同貌人”或“反英雄”——作为主人公,来实现独特的作品意旨和艺术效果。尽管因其形象的滑稽可笑而常常成为作者和读者嘲弄和讥讽的对象,但这些被脱冕或降格的反英雄式的主人公却并非被彻底否定的反面人物,而是一些集双重性格或二元品格于一身的正反同体式的悲喜剧角色。

《主角》与《秦腔》叙事艺术比较研究

陈彦的《主角》和贾平凹的《秦腔》均以秦腔艺术为故事线索。《主角》以细腻的笔触讲述了秦腔名伶忆秦娥近五十年的起伏人生,《秦腔》用平实动人的语言叙述了清风街近三十年的历史变迁。两部作品的叙事策略各有优长。对《主角》和《秦腔》的叙事艺术进行比较研究,有助于加深对两部作品内容和主旨的认识,获得更丰富的审美体验。

新时代中国民族歌剧主角形象塑造探究

新时代中国民族歌剧是对上世纪40年代中期以来中国民族歌剧的继承性发展,是新时代文艺创作的具体成果。新时代中国民族歌剧主角身份的确立,源于三个立足点,即实现了从以女角为主到男、女角色并重的转变,主角的“身份多样化”,以及多地域、多民族特征的主角气质。就主角身份特征看,体现出真实性、精神性和典型性的特征。正是基于上述特征,作为新时代中国民族歌剧主角的诠释者,需要在把脉剧情的基础上,理解角色的性格;在聚焦细节内容的前提下,充分构想角色的行动;最后通过演唱技术与艺术想象的结合,力求从情感表达出发诠释角色。

《勇者的后盾》——Analysis of the Back-Up Forces behind Scarlett in Gone with the Wind(英文)

The protagonist, Scarlett, in the book Gone with the Wind, impresses people throughout the world, not only because of her beautiful appearance, but also her brave and strong spirit. However, everyone has his weak points, and she is not an exception. So it's sure that she needs some backup forces to support her to get through the tough days. This thesis tries to put forward Scarlett's strong backup forces, which help her pull through the tough life and finally become a real brave person who could face the rest life strongly and fearlessly all by herself.

农地经营权主体差异与农地抵押方式选择——基于市场与组织合约的分类视角

本文立足市场与组织合约的分类视角,通过选取以农户为抵押主体的同心与平罗、以规模经营主体为抵押主体的明溪与枣庄这两对典型案例的对比,探讨农地经营权主体与农地抵押合约方式选择之间的联系,结果表明:在农地抵押中存在直接与间接定价的合约方式差异,且农户和规模经营主体这两类主体倾向于选择不同的抵押合约;当农户作为抵押主体时,采用组织合约的间接方式优于选择市场合约的直接方式;而当规模经营主体作为抵押主体时,以市场合约的直接抵押方式要优于采用组织合约的间接抵押方式。就此,提出考虑抵押主体差异、鼓励具有信息收集与定价功能的主体参与抵押进程、推进"三权分置"改革和活化农地经营权等政策建议。

舆论引导实践类型划分及主要特征——基于引导主体的视角

[目的/意义]新闻舆论处于意识形态领域的最前沿,做好舆论引导工作尤为重要。[方法/过程]依据研究现状,从舆论引导主体的视角出发,运用传播学基础理论,将舆论引导划分为不同类型:抗拒型、无视型、低效型、示范型、参谋型、渗透型以及理想型、塔西佗效应型、舆论自主型和舆论自由型共10类,并通过具体案例进行验证,总结其特点。[结果/结论]以充分体现舆论引导工作的实际特征,拓展当前研究的分析视角,为舆论引导工作提供理论和路径选择。

文本加工中情境模型建构的五个维度

情境模型理论是当代西方文本阅读加工的一个重要理论。该文通过详细介绍情境模型建构的空间、时间、因果、主人公、意图五大维度,以助于对情境模型理论整体理解。通过总结可知,目前国内外关于情境模型建构中的空间、因果和主人公三个维度的研究成果较多,研究范式也较为成熟,时间和意图维度则研究成果较少。

主角情绪和时间信息对情境模型加工的影响

采用移动窗口技术探讨了情境模型加工中主角情绪与时间转换因素对情境模型加工的影响。实验1采用单因素被试内设计,结果显示,关键句的阅读时间模式为:放松-放松=担心-放松<放松-担心=担心-担心。实验2采用4×2两因素被试内设计,结果在担心-担心模式下大的时间转换比小的时间转换的阅读时间长,而时间转换因素对于主角情绪状态是担心-放松、放松-放松和放松-担心模式的加工没有影响。实验结果表明,读者在阅读语篇时实时追踪主角的情绪状态,出现了部分的情绪转换效应。阅读中读者体验到的积极的情绪状态有利于情境模型的建构,相反,体验到的消极的情绪状态会妨碍情境模型的建构。时间转换因素在一定程度上影响了对主角情绪状态的加工,主角担心-担心的情绪状态在大的时间转换条件下,前后两种相同的消极情绪可能会产生一种叠加效应,使读者的情境模型加工更加困难;而在小的时间转换条件下,读者对从放松转向担心的情绪状态的加工会花费更多的认知资源。

论“我”和“马拉德太太”的解脱──《黄色墙纸》与《一小时故事》主人公比较

《黄色墙纸》中的主人公“我”与《一小时故事》中的主人公马拉德大太有着惊人的相似之处：她们都是她们所处时代的产物；她们都是男权文化中受压抑的女性，但她们的觉醒都是无意识的觉醒，她们的反叛也是无意识的反叛；她们都走向了相同的结局──终于自由了。

主人公的动机水平对句子理解中心理模拟的影响

通过两个实验,考察了主人公的动机水平对句子理解中读者的心理模拟的影响。实验1采用移动窗口技术,记录读者阅读句子中目的地词语的时间;实验2采用视觉情景眼动范式,主试播放描述运动的句子,同时呈现相应的情境图片,记录读者扫描图片中主人公、路径和目的地的时间。实验结果表明:(1)主人公的动机水平影响读者对目的地词语的阅读时间,主人公的动机水平越高,读者的阅读时间就越短;(2)读者对情景图片的扫描受主人公的动机水平影响,主人公的动机水平越高,读者对路径区域的扫描时间就越短,对目的地区域的扫描时间就越长。两个实验均表明,在句子的实时加工中,读者可以通过再入情境,遵循先内后外的顺序,先模拟主人公的动机水平,继而模拟主人公的动作,从而影响对句子的注视和理解。研究结果支持语言加工的具身认知观。