莎士比亚和汤显祖戏剧结构比较

莎士比亚和汤显祖作为东西方文学史上的杰出代表,在戏剧创作上,分别突破了当时传统的创作手法,“三一律”和李渔的减头绪立主脑的束缚,不约而同的采用了双线索或多线索形式,主副线相辅相成,既增强了戏剧的情节的丰富性和生动性,又展现出丰富的社会层面。     

莎翁罗马剧《裘力斯·凯撒》的“雅努斯面孔”

莎翁罗马剧《裘力斯·凯撒》历来争议颇多,主要涉及戏剧种类划分、主角界定、政治意图归属等方面。援引文化诗学批评策略解构其＂雅努斯面孔＂,或可为进一步探索莎翁戏剧的文化内涵提供有益尝试。     

以《吟边燕语》为例探究林译之“讹”

以《吟边燕语》为例,点出林纾"讹"译若干实例,并从伦理文化、叙述技法、情感表达等方面分析林纾翻译的干预策略,在译书与著书的辨析中剖析林译特点及林纾的思想,认为林纾在翻译中渗入自己的理想和对民族与国家的认同,主要是迎合市场和读者,应和政治,并传达一种新秩序的构想和新文化的移植。     

Aesthetic Learning,Creative Writing and English Teaching

My article argues that the concept of ‘aesthetic learning’ can be helpful for English teachers on two levels. First, it can be a useful identity for English teachers and students to adopt, based upon my own experiences as a secondary English teacher, creative writer and PhD student. Second, I argue that ‘aesthetic learning’ is an effective and productive way of analysing some of the learning processes that happen in the English teacher’s classroom. In order to arrive at these conclusions, I examine my own creative writing, teaching and learning processes from which I extrapolate the notion that we are all ‘aesthetic learners’ in the sense that we learn to appreciate the qualities of the worlds we inhabit, whether these are actual or virtual. Throughout, my own writing, learning and teaching are used to illustrate my argument. In particular, the article seeks to re-position my own teaching in secondary schools within the context of ‘aesthetic learning’.     

中国戏曲莎剧与莎剧现代化

戏曲编演莎士比亚戏剧近年来频频出现在中国舞台上,不但引起了国内观众的强烈兴趣,而且吸引了英关莎学家的关注。戏曲编演莎剧取得了很大的成功,也引起了一些争议。戏曲编演莎剧融入现当代人类意识,为中国传统戏剧与西方戏剧结合,开辟了莎剧现代化的一条路子。     

莎士比亚矛盾的妇女观

在莎士比亚的第一时期创作的剧作中，女性都是高举反封建专制的大旗，追求自由、平等的男士。这是文艺复兴时期人文主义思想的体现，是进步的。而在他第二时期剧作中，他却把女性都描写成“祸水女人”或弱女子，这是传统的妇女观，是与他第一时期创作中所体现的妇女观相矛盾的。     

莎士比亚与《圣经》

莎士比亚的戏剧创作与《圣经》有着密切的联系。这种联系主要表现在两大方面 ,一是《圣经》的观念和精神 (主要指仁慈、宽恕、博爱 )对作者创作的巨大影响 ,二是作者在艺术上对圣经典故的巧妙运用     

隐喻在诗歌中的应用(英文)

隐喻是理解诗歌的有效途径,隐喻思维是英语学习的必要手段。该文基于隐喻在诗歌如莎士比亚十四行诗歌中的作用和表达探讨了隐喻的重要性并力求开辟出阅读教学的新方法。     

Political Reality and Nature in Shakespeare’s King Lear

King Lear is considered to be Shakespeare’s greatest tragedy.Using analysis of the play and the contemporary politics of Jacobe an time,this paper examines how this play serves its traditional role as a"mirror for princess"play and how a broader dimension provided by a Christianized natural law is available for the exploration of possibilities of human experiences.     

伊阿古——莎士比亚悲剧《奥赛罗》的导演(英文)

伊阿古无疑是莎翁塑造的最具导演天赋的反面角色,在嫉妒心与极端利己主义的驱使下,伊阿古亲手策划了这场悲剧带领他自己与身边的人走向灭亡。通过伊阿古的动机和导演悲剧天分的探讨,充分展示了文学巨匠莎士比亚深刻洞悉文艺复兴时期人类的内心矛盾,认识并警示人文主义思想遭遇到的危机。