怀疑与徘徊——乔治·爱略特的人文主义思想探析

19世纪英国的人文主义有两个主要倾向,一是对神学的否定,一是对物质主义的批判。前一种倾向在乔治·爱略特的思想发展和小说创作中体现得非常明显,可以说是维多利亚时代人文主义的一个缩影。她小说中的两位女主人公反映着在宗教危机的大背景下,个人如何得以摆脱由之带来的焦虑和绝望,实现更完美的人生。她对神学产生怀疑,但在表达自己的思想时并没有做出直白的批判。爱略特创作中的怀疑与徘徊也是维多利亚时代知识分子的一个特征。     

The Narrative Authority of George Eliot in Middlemarch:An Analysis of Dorothea and Her Marriages

Middlemarch is considered Eliot's one of the most controversial novels. Most critics apply feminist criticism to unscramble the novel and draw that it's a comedown of feminist fight and a loss of feminist discursive authority for the protagonist Dorothea hides in the protection of marriage.The paper aims to employ the theory of feminist narratology to reinterpret Middlemarch. Through the analysis of the two marriages of Dorothea, the dissertation draws the conclusion that Eliot manages to win the discursive authority in a man-dominating era, and the authority is based on a dual voice-the voice of a woman writing in the name and company of men.     

女性哥特视野下的《弗洛斯河上的磨坊》

《弗洛斯河上的磨坊》是乔治·艾略特前期作品中最著名的小说之一。它继承了英国女性哥特小说的传统,蕴含了大量女性哥特小说的元素,集中体现在女性形象的矛盾性及其双重作用、女性与父权制度的矛盾关系和小说文本的矛盾性这三个方面。在女性哥特这一新的视角下考察这部小说,有助于读者深入理解乔治·艾略特女性意识的矛盾性。     

从麦琪的塑造看《弗洛斯河上的磨坊》的写作特征

英国著名的女性小说家乔治·艾略特的早期代表作《弗洛斯河上的磨坊》最引人注目的特征是与很强的自传成分连在一起的东西。她将自己的经历、对传统道德因素的深刻洞察以及当时广泛流传的新思想统统融入到了女主人公麦琪身上。作品中不仅保留传统的一面,同时也不乏许多现代元素。     

萧伯纳的戏剧创作及对中国的影响

本文对世界著名戏剧家萧伯纳的戏剧理论和艺术作出了一定介绍和评价,并谈了萧伯纳对中国的影响。本文指出,萧伯纳是现实主义剧作家,他忠实于戏剧创作的原则,不盲目崇拜莎士比亚等名家。他有自己的理论主张,在实践过程中,他尽力实行自己的理论主张。本文同时还指出,萧伯纳也有着自己严重的不足。不过,瑕不掩瑜,萧伯纳仍然是一位伟大的剧作家,幽默家,他的造访中国,带来了很大的影响。     

Culture without “world”: Australian cultural policy in the age of stupid

In March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed.