An Analysis of Puns in Romeo and Juliet by Shakespeare

The play Romeo and Juliet written by Shakespeare is one of the most great tragedies in the world.Even through it is not in the Four Great Tragedies of Shakespeare,the play had won many readers' and audience's tear.Shakespeare is such a great writer that he used many writing techniques to model his characters.The most obvious technique is the use of pun.This thesis is going to make a simple research of the puns in the play.     

改革开放三十年中国大学的莎士比亚戏剧演出

自20世纪80年代以来,中国高校校园莎剧的演出呈日趋繁荣趋势,演出形式以话剧为主,兼用中文和英文两种.莎士比亚戏剧在中国高校的演出构成了莎士比亚在中国经典化的重要一环.但是,高校校园莎剧的演出也存在着明显的不足,即从事莎剧演出的学生戏剧艺术素养相对欠缺,表演手段贫乏,演出缺乏表现力,随意性较大等.高校校园莎剧演出的繁荣,近年来已经成为莎士比亚在中国传播的一个重要方面,但高校校园莎剧的演出质量亟待提高.     

You Are Not Like Us: On Teacher Exclusion,Imagination and Disrupting Perception

Debates on educational exclusion are almost exclusively focused on the experiences of learners as they navigate their way through barriers of race, culture, gender, sexuality, class, disability and language. Similar attention has not been afforded to the experiences of teachers, creating the impression that, unlike learners, teachers do not struggle with matters of inclusion, participation and belonging. Adding to the complexity of teacher inclusion is that it is often reduced to a pre‐occupation with external practices of inclusion, discounting the experiences and complex challenges encountered by minority group teachers as they attempt to assert their pedagogical identities. Focused on a post‐apartheid South African context, this paper has two concerns. Firstly, it brings into question the dichotomy of inclusion/exclusion in relation to teacher exclusion, and suggests, instead, that exclusion exists in a dyadic relation to inclusion. In this regard, attention is given to the various experiences of teachers in relation to a language of ‘standards’ and ‘competence’, even when they are included. Secondly, by calling into question the uncontested constructions of norms and perceptions, a case is made for teacher inclusion, not only for the sake of including diverse narratives and lived experiences, but for the purpose of offering symbolic points of reference for learners and learner inclusion. In other words, inasmuch as the focus is on learner exclusion, deeper consideration and reflection on the experiences of teacher exclusion might be useful in understanding learner inclusion.     

Shakespeare in the Curriculum: direction by content

The results of a survey of secondary English Shakespeare teaching in one local education authority are reported. Centralised control of curriculum content in English is discussed in relation to findings about how much Shakespeare teaching is done and which plays teachers selected. The suggestion is made that recent controversy about content direction has deflected attention from the more important issues of methods of teaching and in‐service education.     

教育戏剧:一种创新的教学方法

教育戏剧是一种运用戏剧与剧场技巧,推广于学校课堂的教学方法。它在欧美已有近百年历史,被广泛运用到课堂教学中,取得了良好的效果。在我国,随着素质教育的推行,教育戏剧作为一个新兴的教学方法,受到了教育工作者和学界的关注。但现有国内研究大多是关于教育戏剧的普及型介绍,缺乏对教育戏剧具体教学策略和教学效果的研究。本文在结合教育戏剧理论和实践的基础上对教育戏剧的概念与内涵、教育戏剧教学策略、教育戏剧效果进行系统梳理,并在此基础上分析我国教育戏剧发展中存在的问题,提出相应的解决策略,以为相关研究者提供借鉴。     

An Integrated Curriculum for English, Media and Drama at KS 4

This article describes the development and implementation of a curriculum model that seeks to integrate the study of different types of text in a coherent and meaningful way. An explanation of the rationale behind the model is given and supported by exemplar tasks designed by teachers working within the context of an integrated English, media and drama curriculum. The impact of the model at the end of its first year of operation is evaluated and further areas of development are highlighted.     

莎士比亚文化史钩沉——加里克与1769年莎士比亚庆典

莎士比亚作为一个文化符号,是在18世纪以后被一步步构建起来的。1769年的莎士比亚庆典是历史上第一个专门为莎士比亚举办的庆祝活动,他的组织者大卫·加里克是当时最著名的演员,也是莎士比亚的狂热崇拜者。这次庆典从筹备到举办的整个过程都充满波折,但又被加里克一一克服;它看似一个偶然事件,但却因为其影响深远而在莎士比亚文化史上留下了值得书写的一笔。     

Drama in Education: An Annotated List of Selected Works

The present study aimed to examine Jewish, Arab (Christian and Muslims), and Druze teacher trainees' orientations toward teaching-learning processes in relation to their cultural background. The parameter used for characterizing culture comprised the continuum of individualism-collectivism. As a generalization, Jews were located at the individualistic end of the continuum, Muslim Arabs at its collectivistic end, and Christian Arabs and Druze in between them. Data were collected via a questionnaire. Teacher trainees' responses revealed differences in orientation toward teaching-learning processes in accordance with culture, mainly contributed by the Jewish and Muslim students.     

‘What Do You Read,My Lord?’ Oral and Silent Reading in Shakespeare’s Plays

ABSTRACT

There are many references to reading, and some to writing, in Shakespeare’s plays; a list is provided in an Appendix. They are analysed for what they reveal about the social status of literacy in Shakespeare’s day, and the references to reading are analysed further according to oral v. silent reading, and whether characters have company on stage, or are (or believe themselves to be) alone. Only a few characters are depicted as illiterate, sometimes for comic effect, more often for purposes of the plot. All persons of rank, and most others, are depicted as literate. It seems that in Shakespeare’s time, even among the highly educated, the practice of oral reading for varied purposes, even when alone, was still alive. One effect was, serendipitously, to give Shakespeare the freedom to manipulate reading practices plausibly, and brilliantly, for his own purposes.     

Presentation Wizards and You: An Instructional Design Case Study

This article presents a “messy” case study designed for intermediate and advanced students or trainees in instructional design courses. In the case study, a video production company has just hired the student as its first instructional designer to help the company position itself in the interactive video training market. The case study is presented in several scenarios. The initial scenario sets the stage, de scribing the video company and its first interactive video project. This is followed by a set of decisions the student designer must make. The subsequent scenarios add a set of complicated “realworld” constraints to the project, and are again followed by sets of decision questions for the student. The case study includes directions for the instructor, a set of enrichment questions, and a bibliography.     

莎士比亚与关汉卿悲剧的主体研究

关汉卿和莎士比亚分别是东西方的戏剧大师,两人都擅长悲剧的创作,从社会、人生的角度观照人的命运,反思不幸和灾难产生的根源。文章从悲剧主体的层面切入,按照社会地位、陷入矛盾冲突的方式和抗争的激烈程度三个方面来比较莎士比亚戏剧和关汉卿戏剧的不同之处,并深入探讨导致差异的主要原因。     

浓缩的历史深广的蕴藉——重读白桦的《呦呦鹿鸣》

《呦呦鹿鸣》中的中心意象雄鹿比比是真善美的象征，它被残忍虐杀的命运说明人类真正的解放是精神的解放、思想的自由，而不是肉体的解放。只有改变人的奴性，使人成为自由人，才能使人类与自然和谐共处，才能实现“可持续发展”的战略目标。     

45年：一项数学教改实验

这是来自上海西部城乡结合地区的一个数学教改实验报告。这项实验从1977年到2022年,走过了中国社会从拨乱反正、改革开放到教育现代化的40余年历程。实验早期,构建“调查—筛选—实验—推广”的实践研究方法体系,找到了一条在常见教育条件下普遍提高教育质量的有效途径,总结了学生在变式体验中学习、教师在教改行动中成长等“教学相长”的中国经验;实验后期,注重能力与素养目标,致力于开发“大数据执果溯因”实证方法,基于大样本测试与长周期抽样分析,通过临床观察与证据推理,找出提升学生探究与创新能力的关键举措,由此取得实效并产生积极的社会影响。整个报告,是老一辈师长、过渡代中坚力量和大批后辈才俊三代人“咬定青山不放松”顽强拼搏的实践结晶。实验分为三个阶段：1.低处起步,大面积提高教学质量（1977—1992年）;2.领会优先,突破高认知瓶颈（1992—2007年）;3.完善教研,推进探究与创造（2007—2022年）。     

雷蒙德·威廉斯的戏剧理论研究

雷蒙德.威廉斯对“最具社会性的戏剧”的研究历经了一个继承、僭越和颠覆传统以及试图建构新的传统的过程。他的戏剧研究主要覆盖了如情感结构和“惯用手法”的关系、整体戏剧的概念和新的记录系统、悲剧的概念、戏剧的生活化和生活的戏剧化等等。根据这些批评和理论成就的发生和发展过程,本文把他的戏剧研究划分为三个阶段:革新传统、文化转向和社会学转向。     

果蝇GAL4/UAS系统在本科遗传学实验中的应用

GAL4蛋白是酵母中的一类转录因子,它能够与特定的上游激活序列结合,并驱动UAS下游基因的表达。将酵母中的GAL4和UAS元件分别引入到果蝇中,含有UAS-目的基因的转基因果蝇品系,无法在亲本中表达,只有与驱动者GAL4品系杂交后的子一代中,目的基因才会表达。在本科遗传学实验中,引入eyelessGAL4和UAS-Ras转基因果蝇品系杂交实验,通过观察F1代复眼中原癌基因ras表达后的表型,使学生了解如何通过GAL4-UAS系统在模式动物黑腹果蝇中实现靶基因的时空表达,认识GAL4-UAS系统在研究果蝇遗传发育中的重要性和优越性,理解分子调控、靶基因表达与个体的遗传和发育每个环节都是可以操作和控制的现代遗传学实验理念。     

Drawing with Children: An Experiment in Assisted Creativity

This report outlines the cognitive accomplishments of young children involved in graphic dialogue with adults. A token of collaborative drawing is examined exhibiting the degree to which adult informed tutoring enabled children in their drawing development, enhanced their motivation and ability in narration and resulted in drawings meaningful to them. The case studies examined are the result of a three‐year research project conducted by undergraduate students of Athens University Department of Early Childhood Education under the supervision of the author of this article. This game‐like pedagogical strategy is inspired by L. Vygotsky's educational philosophy and based on B. & M. Wilson's model of adult–child graphic dialogue. It is understood as a method of instructing drawing enabling children to pass from that which they can achieve alone to that which they can accomplish with adult assistance. This educational approach answers to a call for a more socially accountable art education addressing the child's need to deal with issues he encounters in his everyday life and as such is open to adult and cultural interference. A similar educational approach intends to challenge the long‐standing, non‐interventionist art educational theory also known as ‘child art’ and its contention that a prerequisite for a creative individual is expression free from social and adult influence.     

An Experiment in Teaching Ratio and Proportion

This paper summarizes our analysis of the complexity of ratio problems at Grades 6 and 7, and reports a two-year experiment related to the teaching and learning of rational numbers and proportionality in these grades. Two classes were followed and observed. Part of the teaching material was common to both classes, mainly the objectives and the corpus of ratio problems in a physical context. But in one class, here called “Partial-experiment”, the learning environment was exclusively a paper-pencil one and the teacher followed his usual method in designing and conducting teaching sequences. In the other class, here called “Full-experiment”, the teaching was based on a framework, emerging from our analysis of complexity of ratio problems, involving precise guidelines and a specific computer environment. Using a pre-test and a post-test, we observed clear progress in both classes compared to a sample of “standard” pupils. Our comparative pupil-oriented study indicates more complete improvement in the “full-experiment” class, i.e., a better acquisition of fractions and their use for solving usual proportionality problems. The average pupil’s progress is greater in the “full experiment”, with the pupils who were initially high- or low-level attainers benefiting the most from the “full-experiment”.