自然的伟大歌者——威廉·华兹华斯

英国"湖畔派"诗人威廉.华兹华斯终生崇尚自然,歌咏自然。其作品运用通俗的平民语言,描述自然中的景、人和事,在诗歌的形式和内容主题上,都开创了英国诗歌的新风,产生了深远影响。华兹华斯不愧为自然的伟大歌者。     

Technology and Copyright in 1735: The Engraver's Act

Without printing technology there would be no need for copyright. Anglo-American copyright has its roots in early booksellers' practices that in 1710 were incorporated into the Statute of Anne. Several decades later in 1735 the provisions of this statute were copied in a new piece of legislation for the protection of engravings. However, “Hogarth's Act” protected only those engravings that involved original designs and thus, implicitly, made a distinction between artists and mere craftsmen. Soon, however, Parliament was persuaded to extend protection to all engravings. The history of Hogarth's Act foreshadowed the logic whereby a century later protection was extended first to special and then to ordinary photographs. Together these instances of copyright extension raise the question of to what degree similar patterns are at work in the continuing expansion of copyright today.     

Some sources for the history of teacher‐training in England and Wales

Abstract:

Though his best‐selling novel of school life Eric, or, Little by Little: A Tale of Roslyn School has over the years been the subject of much attention, the wider educational thought and practice of Frederic William Farrar, teacher, novelist, scientist, classicist, theologian, and Dean of Canterbury, has for the most part been neglected by scholars. This paper discusses certain aspects of Farrar the educationist, including his distinctive evangelical attitude toward children; his fervent criticism of the prevailing Classical public school curriculum; his advocacy that much more science be taught; his strong antipathy to corporal and other punishment; his distaste for the increasing athleticism in the public schools; his view of the main purpose of education, namely the inculcation of morality, religious conviction, and intellectual rigor.     

文本里的视觉艺术与视觉艺术里的文本——以威廉·巴特勒·叶芝与杰克·巴特勒·叶芝为例

文本与视觉艺术在某些语境下可以打破原有的学科界限,发生密切的联系,这就使得文本与视觉艺术产生了互相阐释互相呼应的可能性.这种打破学科界限综合研究的思路可以为探索文本或视觉艺术的更全面内涵取得新的向度和维度.爱尔兰最著名的威康·巴特勒·叶芝与杰克·巴特勒·叶芝兄弟的作品均不可忽视地涌动着这两者的融合和交汇.在文化诗学文学文本与非文学文本共鸣的观照下,关注威廉·叶芝诗作中的绘画因素,剖析杰克·叶芝绘画中的文学韵味,这样的阐释及相关结论无论是对叶芝兄弟的研究还是对文本与视觉艺术关系可行性的研究都是有意义的.     

威廉·杜宾异化生活探析

《杜宾的生活》被公认为是二十世纪美国犹太作家伯纳德·马拉默德的代表作。小说主要描写了一位五十六岁的传记作家威廉·杜宾的异化生活。本文试从杜宾过去的生活经历,杜宾的研究以及杜宾所处的美国社会环境三个方面,对造成杜宾异化生活的主要原因作出分析。     

Ideology,Materiality, and Counterpublicity: William E. Simon and the Rise of a Conservative Counterintelligentsia

As a conceptual term, “counterpublic” serves scholarship best when contributing to a critical-theory project, which means that particular constellations of materiality and ideology may bolster some calls for counterpublicity while gainsaying others. This may be investigated by examining how a text upholds or betrays an advocate's values, seeking out textual markers of access and influence that belie claims of marginalization, and assessing whether an advocate's discourse implicitly or explicitly widens or narrows discursive space for others. From this perspective, although William Simon claimed that pro-business advocates had been excluded from public debates in his 1978 book A Time for Truth, he nevertheless asserted a commitment to negative liberty that discounted potentially conflicting values in a pluralistic society, evidenced strong financial and political connections as well as a patrician background and bearing, and restricted discursive space for others.     

Lonely Courage,Commemorative Confrontation,and Communal Therapy: William James Remembers the Massachusetts 54th

On May 31, 1897, William James, one of America's most influential philosophers and psychologists, delivered the first civic oration of his career. The principal orator at the dedication of the Robert Gould Shaw memorial in Boston, James did what commemorative speakers are not supposed to do. He chose to be confrontational and divisive in a situation that called for exactly the opposite. Nevertheless, upon conclusion of his speech the audience erupted in applause, hailing his remarks as both unconventional and fitting. In this essay, I explore how James's speech could be both unconventional and fitting. I argue that his Shaw memorial oration demonstrates a style of commemorative discourse that is conflictual, even disruptive, yet capable of serving the ends of the epideictic tradition. As I show, James used his intellectual ethos as the nation's leading psychologist to construct a kind of communal therapy session, at the heart of which was the notion of “lonely courage.” With this strangely individualistic civic virtue, James turned his audience from spectators gazing upon the Shaw memorial to active participants in the memorial's meaning. Ultimately, his individualistic notion of civic virtue stands as an alternative to other forms of civic virtue and to the patterns of epideictic discourse that authorize them.     

Reading the Other: Ethics of Encounter

Most scholarly fields, at least in the humanities, have been asking the same questions about the politics of encounter for hundreds of years: Should we try to find a way to encounter an other without appropriating it, without imposing ourselves on it? Is encountering‐without‐appropriating even possible? These questions are profuse and taken up with intense interest in scholarship about the personal essay, specifically, which has often been credited as a philosophical form.

Within debates about the ethics of the personal essay, the most significant concern is about the traditionally accepted relationship of the writer‐represented‐on‐the‐page. For example, the notable rhetoric and composition scholar, David Bartholomae, argues that students of what he calls ‘“creative nonfiction” or “literary nonfiction”’ (1995, p. 68) write ‘... as though they [are] not the products of their time, politics and culture, as though they could be free, elegant, smart, independent, the owners of all that they saw’ (p. 70).

In other words, the personal essay, as a subgenre of creative or literary nonfiction, allows for the perpetuation of the fallacy that a writer can be ‘free’ of social influences, ‘independent’ of a society and of its politics, and ‘owners’ of their own perspectives and experiences—of those the writer expresses on the page, specifically. Consequently, if the writer is not conscious and critical of the social influences acting on him/her, if s/he believes the text to be the singular and uninfluenced production of his/her own self, then the topic taken up in the essay is tyrannized by the self‐centered (and dangerously un‐critically‐conscious) perspective of the writer.

However, the personal essay also has its strengths as a philosophical form: in its privileging of skepticism; in its attention to complexity and complication; and even in its existence‐as‐evidence of some quality of its writer. Too, very often essays pay homage to works of other essayists, as in the case of Gass's ‘Emerson and the Essay’, instead of mowing down other works in order to establish its own reign. Despite these ethically responsible characteristics, though, I show, using Gass's essay about Emerson's work, that the personal essay continues to be devalued because of its reliance on and celebration of its transparent relationship to its author.

In general, essayists don't complain in their work about the belief in this transparent relationship; they advocate it. Thus, my purpose is not to suggest that there is no relationship between the essayist and the essay. Rather, I will, in the latter half of the article, turn to the work of philosopher Emmanuel Levinas, which describes and enacts an approach to an other (writer/text) that does not hinge on the assumption that writer and text are in a transparent relationship to each other. I hope that in presenting this possibility for re‐thinking the essay (and its relationship to its writer), writers, scholars, and teachers of the essay—and even its opposition—will give it new attention and explore further the possibilities that it may provide for engagement, for encounter.     

《献给艾米丽的玫瑰》象征意义之解读

以某种性质或观念上的联系为依据,借助有形的媒介,以表现某种抽象意义的手法就是象征。在运用象征手法时,应遵循一定的基本原则。通过详细解读美国作家威廉·福克纳的短篇小说《献给爱米丽的玫瑰》中的代表人物和主要事物的象征意义,描绘出旧南方社会一片衰败的没落景象,揭露出旧制度下种种丑恶的社会现象,表达出作者对道德观念、文化习俗等一切传统形态终将成为历史的无奈与眷恋,映射出其对旧南方社会爱恨交织、欲罢不能的既复杂又矛盾的南方情怀。