More and more neologisms are created with the change of world situation and the development of economy. The creation of neologisms is the result of human cognition. The paper tries to interpret Chinese neologism foxi (Buddha-like) from three perspectives of cognitive linguistics: conceptual metaphor, conceptual blending and prototype theory. This cognitive interpretation will help language learners to have a better understanding of the cognitive mechanisms of neologisms.
{"title":"A Cognitive Interpretation of Chinese Neologism Foxi","authors":"Ping Li","doi":"10.35532/jahs.v1.008","DOIUrl":"https://doi.org/10.35532/jahs.v1.008","url":null,"abstract":"More and more neologisms are created with the change of world situation and the development of economy. The creation of neologisms is the result of human cognition. The paper tries to interpret Chinese neologism foxi (Buddha-like) from three perspectives of cognitive linguistics: conceptual metaphor, conceptual blending and prototype theory. This cognitive interpretation will help language learners to have a better understanding of the cognitive mechanisms of neologisms.","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132430451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eric Foner’s Give Me Liberty! An American History[1] utilizes theme of "freedom" to describe American history. This article demonstrates various "views of freedom" of different groups before the founding of the United States, and shows the complexity and multifaceted nature of "American freedom."
{"title":"Views of Freedom Prior to American Revolution—A View of Eric Foner’s Give Me Liberty! An American History","authors":"Yitong Zhao","doi":"10.35532/jahs.v1.003","DOIUrl":"https://doi.org/10.35532/jahs.v1.003","url":null,"abstract":"Eric Foner’s Give Me Liberty! An American History[1] utilizes theme of \"freedom\" to describe American history. This article demonstrates various \"views of freedom\" of different groups before the founding of the United States, and shows the complexity and multifaceted nature of \"American freedom.\"","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129803174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Format design is the overall art form of layout of various kinds of information in magazines, periodicals and advertisements. With the help of visual stylization and emotional shaping, excellent format design can effectively attract the audience's attention, cause the audience's emotional fluctuation, make the audience perceive the attitude and position of magazines, periodicals and advertisements to specific news events, and better perceive the personality and emotional color of the magazine, periodicals and advertisements. Format design can guide the audience to interpret the order of information, facilitate the audience to search for information of concern, and deepen the transmission of information by means of visual style and emotional expression.
{"title":"Visual Stylization and Emotional Analysis of Format Design","authors":"Bing Liu, Ruiqiu Pang","doi":"10.35532/jahs.v1.011","DOIUrl":"https://doi.org/10.35532/jahs.v1.011","url":null,"abstract":"Format design is the overall art form of layout of various kinds of information in magazines, periodicals and advertisements. With the help of visual stylization and emotional shaping, excellent format design can effectively attract the audience's attention, cause the audience's emotional fluctuation, make the audience perceive the attitude and position of magazines, periodicals and advertisements to specific news events, and better perceive the personality and emotional color of the magazine, periodicals and advertisements. Format design can guide the audience to interpret the order of information, facilitate the audience to search for information of concern, and deepen the transmission of information by means of visual style and emotional expression.","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114790883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
this essay examines how the presentation of time in Tom Stoppard’s play Arcadia contributes to how Stoppard brings together the themes of the play, and provides its central plot-line. First of all, Stoppard employs juxtaposition to convey one of the major themes in the play: the conflict of emotion and intellect. Moreover, Stoppard’s use of two timelines enables Stoppard to explore the historical progression of knowledge, therefore addressing the theme of wisdom and knowledge. Lastly, time manifests itself in the discussion of sex in the play; it has the same effect as sex – it links characters from two generations together due to their shared desire for discovery. As a play that masterfully explores the nature of truth and time, the differences between the Classical and Romantic temperament, (According to Stoppard: “those who have particular respect for logic, geometry and pattern and those with a much more spontaneous, unstructured communion with nature) and the disruptive influence of sex on our orbits or life – “the attraction which Newton left out”, Tom Stoppard’s Arcadia needs a means to bring all the subjects together, through two different plot lines (that is, the plot line of the past and the plot line of the present) – and time acts as a particularly effective tool to accomplish the goal. As Paul Edwards stated in his article “Science in Hapgood and Arcadia”, “The brilliantly conceived structure of Arcadia enables the audience to witness the effects of time in Sidley Park, since the play is set in two different periods, but in the same garden room of the stately home.” Enoch Brater raised the similar claim of time in the world of Arcadia: “An apple and a tortoise and ‘and old-fashioned theodolite’ exercise a similar mantic power in Tom Stoppard’s Arcadia.” This essay will survey how the presentation of time in Arcadia contributes to how Stoppard brings together the themes of the play, and provides its central plot-line. Stoppard employs juxtaposition to convey one of his major themes: the conflict between emotion and intellect. He does so by using two different characters to represent this clash from the two different time periods presented in the play. Time itself acts as a tool for Stoppard to compare how this conflict plays out in different historical moments and to build up the characters. In the world of Arcadia, intellectual pursuits and emotional fulfillment are often in conflict. This discord is especially conspicuous in the protagonist Thomasina’s story. When she asks Septimus, her tutor, what the term “carnal embrace” means, Septimus’ initial response is to attempt to avoid the question, and provide a fumbling response: “Carnal embrace is the practice of throwing one’s arms around a side of beef.” The inquiry of sexual knowledge gets in the way of their lessons, making emotion and intellect conflict. This develops across the play, as Thomasina begins to develop feelings for Septimus’ friend, Lord Byron, and later, for Septimus
{"title":"The Passage of Time in Tom Stoppard’s Arcadia","authors":"Junyi Zhou","doi":"10.35532/jahs.v1.002","DOIUrl":"https://doi.org/10.35532/jahs.v1.002","url":null,"abstract":"this essay examines how the presentation of time in Tom Stoppard’s play Arcadia contributes to how Stoppard brings together the themes of the play, and provides its central plot-line. First of all, Stoppard employs juxtaposition to convey one of the major themes in the play: the conflict of emotion and intellect. Moreover, Stoppard’s use of two timelines enables Stoppard to explore the historical progression of knowledge, therefore addressing the theme of wisdom and knowledge. Lastly, time manifests itself in the discussion of sex in the play; it has the same effect as sex – it links characters from two generations together due to their shared desire for discovery. As a play that masterfully explores the nature of truth and time, the differences between the Classical and Romantic temperament, (According to Stoppard: “those who have particular respect for logic, geometry and pattern and those with a much more spontaneous, unstructured communion with nature) and the disruptive influence of sex on our orbits or life – “the attraction which Newton left out”, Tom Stoppard’s Arcadia needs a means to bring all the subjects together, through two different plot lines (that is, the plot line of the past and the plot line of the present) – and time acts as a particularly effective tool to accomplish the goal. As Paul Edwards stated in his article “Science in Hapgood and Arcadia”, “The brilliantly conceived structure of Arcadia enables the audience to witness the effects of time in Sidley Park, since the play is set in two different periods, but in the same garden room of the stately home.” Enoch Brater raised the similar claim of time in the world of Arcadia: “An apple and a tortoise and ‘and old-fashioned theodolite’ exercise a similar mantic power in Tom Stoppard’s Arcadia.” This essay will survey how the presentation of time in Arcadia contributes to how Stoppard brings together the themes of the play, and provides its central plot-line. Stoppard employs juxtaposition to convey one of his major themes: the conflict between emotion and intellect. He does so by using two different characters to represent this clash from the two different time periods presented in the play. Time itself acts as a tool for Stoppard to compare how this conflict plays out in different historical moments and to build up the characters. In the world of Arcadia, intellectual pursuits and emotional fulfillment are often in conflict. This discord is especially conspicuous in the protagonist Thomasina’s story. When she asks Septimus, her tutor, what the term “carnal embrace” means, Septimus’ initial response is to attempt to avoid the question, and provide a fumbling response: “Carnal embrace is the practice of throwing one’s arms around a side of beef.” The inquiry of sexual knowledge gets in the way of their lessons, making emotion and intellect conflict. This develops across the play, as Thomasina begins to develop feelings for Septimus’ friend, Lord Byron, and later, for Septimus","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121884191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Is there no market for Chinese opera films? The disconnection between supply and demand and the absence of effective convection channels may be the real causes for the contraction of market. How can marketing avoid falling into the misconception of “promotion”? The ecology of opera film changes with the improvement of population economic level and quality. Therefore, we believe that opera producers must understand that the audience and the media have changed substantially in order to get out of the dilemma of production and marketing.
{"title":"Constructing the Marketing Channel of Chinese Opera Films from the Perspective of Communication","authors":"Qianhui Xu, Chenggang Xu","doi":"10.35532/jahs.v1.009","DOIUrl":"https://doi.org/10.35532/jahs.v1.009","url":null,"abstract":"Is there no market for Chinese opera films? The disconnection between supply and demand and the absence of effective convection channels may be the real causes for the contraction of market. How can marketing avoid falling into the misconception of “promotion”? The ecology of opera film changes with the improvement of population economic level and quality. Therefore, we believe that opera producers must understand that the audience and the media have changed substantially in order to get out of the dilemma of production and marketing.","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133142886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The French Lieutenant’s Woman is generally regarded as one of the classic postmodernist novels. This paper attempts to analyze the postmodern writing techniques in The French Lieutenant’s Woman : the first is the narrator’s intervention, who dissects the characters, plots and so on; the second is alternative endings that complement and deconstruct one another; the third is self-revealed characteristics, which is reflected in the exposure of and mediation upon the creative process and fiction of the novel;the fourth is uncertainty of the character, particularly the characterization of the protagonist Sarah. The postmodern writing techniques in this novel helps reconstruct and deconstruct the Victorian society.
{"title":"A Probe into the Postmodernism in The French Lieutenant’s Women","authors":"Zhang Minglan","doi":"10.35532/jahs.v1.014","DOIUrl":"https://doi.org/10.35532/jahs.v1.014","url":null,"abstract":"The French Lieutenant’s Woman is generally regarded as one of the classic postmodernist novels. This paper attempts to analyze the postmodern writing techniques in The French Lieutenant’s Woman : the first is the narrator’s intervention, who dissects the characters, plots and so on; the second is alternative endings that complement and deconstruct one another; the third is self-revealed characteristics, which is reflected in the exposure of and mediation upon the creative process and fiction of the novel;the fourth is uncertainty of the character, particularly the characterization of the protagonist Sarah. The postmodern writing techniques in this novel helps reconstruct and deconstruct the Victorian society.","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127152559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyzes the cultural connation of the tourist slogan of Gansu Province, China, and tentatively provides different translations considering different contexts. The slogan has been applied in the tourism advertising both officially by relevant governmental departments and commercially by travel agencies, while its English translation was quite far from satisfaction. The existing translation version used is “Amazing Gansu along the Silk Road” and “Symphony Silk Road, Desirable Gansu”. The translation fails to transmit enough cultural connation of the source text which leads to a big information leakage. Meanwhile the translation is not orally catchy in terms of rhythm and rhyme. To explore a better translation, the paper specifically analyzes the cultural connotation of each word in the slogan, and search for the most proper diction for its English equivalence. On the basis of careful and professional search, the paper provides the systematic translation of the slogan with the consideration of its multi-contexts in application. 1. The Introduction: no satisfying translation for“交响丝路,如意甘肃” On September 27, 2018, the 3rd Silk Road (Dunhuang) International Culture Expo and Tourism Forum was held in Dunhuang, Gansu Province, China. The author received a translation work about the conference documents commissioned by the Gansu Provincial Department of Culture and Tourism. During the translation, it was found that the widely used tourist slogan of Gansu Province “交响丝路,如意甘肃” has no accepted English translation. Therefore, the author conducts a translation exploration based on the translation work and attempts to construct the English translation system in multi-contexts. 2. The cultural connotation of “交响丝路,如意甘肃”and the diction for its translation 2.1 The text interpretation and cultural connotation of the word “丝路” More than 2,000 years ago, the industrious and brave people on the Eurasian continent explored a number of trade and humanities communication channels connecting Asia, Europe and Africa. Later generations collectively referred to them as the “Silk Road”. [1] In 2013, President Xi Jinping proposed a major initiative to jointly build the “Silk Road Economic Belt” and the “21st Century Maritime Silk Road”. Now the “One Belt, One Road” construction has transformed from a vision to an action, “The development strategy, focusing on economic cooperation such as infrastructure construction, injecting new impetus into the world economy, quickly ignited the enthusiasm and imagination of the relevant countries and regions. The symphony of the new Silk Road has become a strong voice at the new historical starting point. ” [2]. Therefore, the associative meaning of the term “ 丝路” comprises both the ancient Silk Road in history and the great initiative of the “One Belt, One Road” in contemporary China. Therefore the English equivalence of the word can be selectively adapted to “the Silk Road” or the “Belt and Road”. 2018 International Conference
{"title":"Analysis on the Cultural Connotation of Gansu Province Tourist Slogan and its Systematic Translation in Multi-contexts","authors":"Yanlin Wang","doi":"10.35532/jahs.v1.012","DOIUrl":"https://doi.org/10.35532/jahs.v1.012","url":null,"abstract":"This paper analyzes the cultural connation of the tourist slogan of Gansu Province, China, and tentatively provides different translations considering different contexts. The slogan has been applied in the tourism advertising both officially by relevant governmental departments and commercially by travel agencies, while its English translation was quite far from satisfaction. The existing translation version used is “Amazing Gansu along the Silk Road” and “Symphony Silk Road, Desirable Gansu”. The translation fails to transmit enough cultural connation of the source text which leads to a big information leakage. Meanwhile the translation is not orally catchy in terms of rhythm and rhyme. To explore a better translation, the paper specifically analyzes the cultural connotation of each word in the slogan, and search for the most proper diction for its English equivalence. On the basis of careful and professional search, the paper provides the systematic translation of the slogan with the consideration of its multi-contexts in application. 1. The Introduction: no satisfying translation for“交响丝路,如意甘肃” On September 27, 2018, the 3rd Silk Road (Dunhuang) International Culture Expo and Tourism Forum was held in Dunhuang, Gansu Province, China. The author received a translation work about the conference documents commissioned by the Gansu Provincial Department of Culture and Tourism. During the translation, it was found that the widely used tourist slogan of Gansu Province “交响丝路,如意甘肃” has no accepted English translation. Therefore, the author conducts a translation exploration based on the translation work and attempts to construct the English translation system in multi-contexts. 2. The cultural connotation of “交响丝路,如意甘肃”and the diction for its translation 2.1 The text interpretation and cultural connotation of the word “丝路” More than 2,000 years ago, the industrious and brave people on the Eurasian continent explored a number of trade and humanities communication channels connecting Asia, Europe and Africa. Later generations collectively referred to them as the “Silk Road”. [1] In 2013, President Xi Jinping proposed a major initiative to jointly build the “Silk Road Economic Belt” and the “21st Century Maritime Silk Road”. Now the “One Belt, One Road” construction has transformed from a vision to an action, “The development strategy, focusing on economic cooperation such as infrastructure construction, injecting new impetus into the world economy, quickly ignited the enthusiasm and imagination of the relevant countries and regions. The symphony of the new Silk Road has become a strong voice at the new historical starting point. ” [2]. Therefore, the associative meaning of the term “ 丝路” comprises both the ancient Silk Road in history and the great initiative of the “One Belt, One Road” in contemporary China. Therefore the English equivalence of the word can be selectively adapted to “the Silk Road” or the “Belt and Road”. 2018 International Conference ","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123734112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The principle of painting art has penetrated into all aspects of landscape design, whether in the surface of two-dimensional space, the body of three-dimensional space , the time of four-dimensional space, the meaning of five-dimensional space, the meaning of the shape, or in the color of the mix and harmony. The artistic principle of painting permeates into the garden design and at the same time, it push the beauty of gardens to the highest level.
{"title":"Application of painting principle in garden planning and design","authors":"Su Chang","doi":"10.35532/jahs.v1.013","DOIUrl":"https://doi.org/10.35532/jahs.v1.013","url":null,"abstract":"The principle of painting art has penetrated into all aspects of landscape design, whether in the surface of two-dimensional space, the body of three-dimensional space , the time of four-dimensional space, the meaning of five-dimensional space, the meaning of the shape, or in the color of the mix and harmony. The artistic principle of painting permeates into the garden design and at the same time, it push the beauty of gardens to the highest level.","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126692389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a world-renowned book that influences long-lasting ambitions, Jane Eyre has been favored by Chinese literary theory critics since its birth. Along with the development of post-colonial theory, after the 1980s, the domestic academic circles conducted a related post-colonial interpretation of Jane Eyre from multiple dimensions, but few studies have carried out an in-depth exploration of property issues in literary works. This paper is based on the analysis of the post-colonial meaning of the relevant property in the novel, and exposes the postcolonial nature of the unclear property in many literary works of the 19 century. 1. Domestic Post-colonial Interpretation of Jane Eyre As one of the classic works of world literature, the Chinese academic circles have long studied the renowned novel Jane Eyre. In the 1917 Women's Magazine, the article "Tai Xi Female Novelist" first introduced the Bronte sisters to Chinese readers. With the rise and fall of literary theory in the 20th century, Chinese scholars and readers praised the words. And pointed out its many shortcomings. Nowadays, in the Chinese online search keyword "Jane Eyre", there are 1857 related papers from 1979 to 2011. Most of them are researched and analyzed from the perspectives of literary theory such as feminism, post-colonialism, Marxism, and Christian cultural studies and narratology. In the late 1980s and early 1990s, the introduction of postcolonial theory in domestic academic circles and the interpretation of post-colonialization of Jane Eyre had a clear causal relationship. As early as 1986, Spivak pointed out in her book, “If we don’t remember that imperialism, as the mission of the British society, was once a key part of Britain’s construction of its culture, then we have no way of interpreting British literature in the 10th century. The function of literature in cultural expression cannot be ignored. In the 19th century Britain In the reading of literature, these two obvious 'facts' have been ignored, and it itself proves the continued success of imperialism that is constantly evolving into a modern form,"[1] In 2000, Zhang Zhongzai pointed out in "The Trip to India: The Disharmonious Double Voice: Anti-colonial Discourse and Colonial Discourse", starting from the "Robinson Crusoe" in the 18 century, the British people involved in the writer should be overseas. Adventures, business, missions and other activities are more or less imprinted with racism. "The British generation of literati is more or less inherited the empire or colonial consciousness in this text reference tradition, and in many Under the construction of the text saturated with colonial discourse, it formed a collective consciousness that was sometimes not realized by the writer himself; this collective consciousness constructed countless colonial images and formed a white discourse of a colonial country." [2] Even though many writers have their own anti-colonial tendency, "both British writers and colonial write
{"title":"Post-colonial Interpretation of the Property in Jane Eyre","authors":"Wang Xiteng","doi":"10.35532/jahs.v1.001","DOIUrl":"https://doi.org/10.35532/jahs.v1.001","url":null,"abstract":"As a world-renowned book that influences long-lasting ambitions, Jane Eyre has been favored by Chinese literary theory critics since its birth. Along with the development of post-colonial theory, after the 1980s, the domestic academic circles conducted a related post-colonial interpretation of Jane Eyre from multiple dimensions, but few studies have carried out an in-depth exploration of property issues in literary works. This paper is based on the analysis of the post-colonial meaning of the relevant property in the novel, and exposes the postcolonial nature of the unclear property in many literary works of the 19 century. 1. Domestic Post-colonial Interpretation of Jane Eyre As one of the classic works of world literature, the Chinese academic circles have long studied the renowned novel Jane Eyre. In the 1917 Women's Magazine, the article \"Tai Xi Female Novelist\" first introduced the Bronte sisters to Chinese readers. With the rise and fall of literary theory in the 20th century, Chinese scholars and readers praised the words. And pointed out its many shortcomings. Nowadays, in the Chinese online search keyword \"Jane Eyre\", there are 1857 related papers from 1979 to 2011. Most of them are researched and analyzed from the perspectives of literary theory such as feminism, post-colonialism, Marxism, and Christian cultural studies and narratology. In the late 1980s and early 1990s, the introduction of postcolonial theory in domestic academic circles and the interpretation of post-colonialization of Jane Eyre had a clear causal relationship. As early as 1986, Spivak pointed out in her book, “If we don’t remember that imperialism, as the mission of the British society, was once a key part of Britain’s construction of its culture, then we have no way of interpreting British literature in the 10th century. The function of literature in cultural expression cannot be ignored. In the 19th century Britain In the reading of literature, these two obvious 'facts' have been ignored, and it itself proves the continued success of imperialism that is constantly evolving into a modern form,\"[1] In 2000, Zhang Zhongzai pointed out in \"The Trip to India: The Disharmonious Double Voice: Anti-colonial Discourse and Colonial Discourse\", starting from the \"Robinson Crusoe\" in the 18 century, the British people involved in the writer should be overseas. Adventures, business, missions and other activities are more or less imprinted with racism. \"The British generation of literati is more or less inherited the empire or colonial consciousness in this text reference tradition, and in many Under the construction of the text saturated with colonial discourse, it formed a collective consciousness that was sometimes not realized by the writer himself; this collective consciousness constructed countless colonial images and formed a white discourse of a colonial country.\" [2] Even though many writers have their own anti-colonial tendency, \"both British writers and colonial write","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124928669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As the first people who studied drama systematically, Aristotle summarized six elements of drama in poetics. Character is among the six elements. Put it simply, drama is the imitation of actions of people. And character is the artistic manifestation of people in real life. Characters are depicted by appearance, speech, and others’ comments. The depiction should be in harmonious with the thought and helps to reveal the theme of works. Classically, characters will appear on the stage, wearing proper clothes and speaking consistent sentences. However, there is another kind of characters: offstage characters. Offstage characters are like the missing or the dead people in real life. They do not accompany the living any longer. They are absent. If the missing or dead people are beloved by the living, their absence will make people heartbreak. The recollection of those beloved makes people march forward or trapped in sadness. In a word, people live under the influence of the absent beloved. Similarly, offstage characters have an impact on the development of plot in the drama. This thesis will explore the manifestation, the function of offstage characters with examples of Tennessee Williams’ plays.
{"title":"Offstage Characters in Tennessee Williams’ Plays","authors":"Danqiu Qiaoa, Liyao Miaob","doi":"10.35532/jahs.v1.004","DOIUrl":"https://doi.org/10.35532/jahs.v1.004","url":null,"abstract":"As the first people who studied drama systematically, Aristotle summarized six elements of drama in poetics. Character is among the six elements. Put it simply, drama is the imitation of actions of people. And character is the artistic manifestation of people in real life. Characters are depicted by appearance, speech, and others’ comments. The depiction should be in harmonious with the thought and helps to reveal the theme of works. Classically, characters will appear on the stage, wearing proper clothes and speaking consistent sentences. However, there is another kind of characters: offstage characters. Offstage characters are like the missing or the dead people in real life. They do not accompany the living any longer. They are absent. If the missing or dead people are beloved by the living, their absence will make people heartbreak. The recollection of those beloved makes people march forward or trapped in sadness. In a word, people live under the influence of the absent beloved. Similarly, offstage characters have an impact on the development of plot in the drama. This thesis will explore the manifestation, the function of offstage characters with examples of Tennessee Williams’ plays.","PeriodicalId":218640,"journal":{"name":"2019 International Conference on Advances in Literature, Arts and Communication (ALAC 2019)","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115545613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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