Compared with the other characters in The Merchant of Venice,Shylock seems to be totally an outsider and alien of Venice which is because he is considered to be the“Other”in the eyes of the other Venetians as a result of his identity a Jew as well as his occupation as a usurer,both of which are despised and degraded at the Elizabethan times.
It has been commonly recognized by the academic community that Chinese English learners can be regarded as the trilingual learners in dialects,Mandarin,and then English.Thus the first two acquired languages seem to be unavoidable to result in some effects on the study of English,especially the prosody of English.At the same time,the fact that the English prosodic research has been a significant project in the linguistic study with the globalization and localization of English,draws the public’s attention to the further study of the prosody of English for which is of vital importance in English learning.Focusing on the intonation,stress,tone,pause,and so on,prosody is the fundamental element of speech and the core of English phonetics.Taking Shandong dialect as an example,the study investigates the influence of the dialects on the learning of English prosody from two aspects—intonation and stress,by the acoustic analysis and comparison of the English prosody of linguistic data from Shandong EFL learners and English native speakers based on IViE(Intonational Variation in English)and ToBI(Tone and Breaks Indices)systems using Praat software.In addition,the reasons why these effects and problems take place are discussed profoundly.Therefore the corresponding measures should be taken in order to help students eliminate the negative impacts of their dialects and deliver standard English.The study may have great references on the improvement and elevation of teaching methods on the dialectal regions and some implications on second language acquisition.
This paper takes an integrative approach to the communication and comprehension of humor from the perspectives of the humorist’s manipulation and the recipient’s vigilance informed by relevance theory.It is proposed that,in order to communicate humor,the humorist manipulates the recipient’s expectation of relevance in the setup and in the punchline in two different but related ways:misleading and guiding.It is also proposed that,in order to comprehend and appreciate humor,the recipient exercises vigilance against his/her own shallow processing in the setup and exercises vigilance for special cognitive effects in the punchline.On this approach,humorous communication and comprehension is viewed as an interaction between manipulation and epistemic vigilance.Strategies of manipulation and vigilance are described,and some essential issues arising from the relevance-theoretic approach to humor are reconsidered with some implications drawn.This paper contributes to enhancing the explanatory power of relevance theory for the communication and comprehension of humor.
The city of Shanghai was for a long time known as the Paris of the Orient,and sometimes as New York West.In 1972,the United States of America and the People’s Republic of China Published the Shanghai Joint Communique.Since then,the America culture had great influences to Shanghai,from TV series to fast food,sports,and tourism,and so on.
This paper presents the major analyses carried out on shape and form’s characteristic database from Japanese and Vietnamese traditional daily products(TDPs).The aim of the research is to recognize the vital specifications representing for a national style by comparing two different countries together.By using Quantification Theory Type III and Cluster analysis,firstly,the analyses were undergone separately for Japanese and then Vietnamese product data in succession so that a view of general direction for each country was caught.The result showing a difference in scale of“Complexity”and“Specification”axis between Japan and Vietnam leads to performance of the analysis done on combine database of the two countries to get a clearer view of correlation between them.However,the biggest difference between the two countries lies in“Form”(Geometric—Organic)axis.Continuously,for studying more deeply into outline of product shape,the main ratios that affect the appearance or gorgeousness of product’s outline were taken into account and analyzed.By comparing this result to the previous ones,finally a wider and more detail perspective of Japan and Vietnam shape’s specification in a mutual relationship was discovered.
Going to theatre,may be a unique experience for schoolchildren,which is indelibly etched in their memory.The Primary School pupil-spectator comes in touch with the theatre principles and is initiated in its world.S/he experiences its ritual and cohesively structured character within the frame of the collectivity that is required and with the particularity of the formation of the psychic mechanism and social conscience in this specific phase of the development of his/her personality,as well as the influence of a number of some other differentiating factors,thus leading to the establishment of a very special relation and interaction between the stage and the audience.S/he also focuses on the elements of the performance that attract his/her interest,are closer to his/her mentality,and challenge his/her attention and emotional stimulation.In this way,the mnemonic recording is activated.The theatre performance consists of a very rich environment for mnemonic traces because of its wealth of codes,their multiple combinations,and variety of functions.The actors’speech,the intense content of ideas and principles in combination with the challenging audio-visual stimuli of the secondary codes of the performance,the plot dynamics,and the director’s techniques and practices,are elements that may initiate mnemonic recording.It is important on the other hand that the school invests in cultural activities such as the attendance of a theatre performance and includes them in the school curriculum.The teacher,as the best advocate of cultural education,the active mediator and coordinator of this visit,undertakes a large part of the responsibility for its successful and indelible mnemonic recording—from the difficult part of the selection of a performance to the care of the suitable conditions for the reception of the spectacle—thus creating the appropriate frame for the pupils to experience the acting event as a means of interaction,play,learning,communication and above all of the activation of the old and the creation of ne
Black Panther is the first superhero film in Marvel’s history that is directed and acted predominantly by African-American artists.The complementary academic review,high box office and audience rating are highly attributed to the political elements embodied in the movie.A breakthrough is achieved in the conventional cinematic image of the African-American man through the creation of a black hero playing the role of world savior.It also presents a prosperous and advanced image of Africa,fulfilling and expanding the African-American people’s imagination of their spiritual home.Moreover,in responding to the Black Panther movement in black history,the film implicitly explores three possible routes of struggle for the black ethnic group and conveys a political message to the audience.
“Gesar”Thangka is an important type of Tibetan Tangka.With the generation and spread of Gesar epic,“Gesar”Thangka is also undergoing complex historical changes in the social and historical process of Tibetan areas.Since the 1980s,in the context of the rescue of Gesar epic,the rise of market economy,and the protection of intangible cultural heritage,“Gesar”Thangkar has gained creative vitality and experienced modern changes,presenting the aesthetic characteristics of secularization,sanctification,and art.
The major program of Chinese Academy of Social Sciences completed in 2012, entitled “The Research on Myths and Legends about Chinese Civilization Source”, led to such a conclusion: The imaginative myths and legends generated along with the Chinese civilization has a profound prehistoric root, far beyond the limit of the Chinese character generation period. The main path of Chinese myths and legends lies in the jade mythology and resulting jade belief. When viewing the origin of jade from a perspective of mythology, we find each major jade (e.g., jade ring, jade arc) form is covertly driven by a mythological concept. The investigation of the era and regional distribution of unearthed jade wares may outline the spreading path map of the jade mythology and belief.
Limited by the writing habits of the small tradition, conventional scholars tend to interpret "golden sound and jade vibration" as a musical tempo representing virtues of saints. In fact, we can prove how "golden sound and jade vibration" are closely linked to the sacred material beliefs (e.g.,"holy gold","holy jade") and the prehistoric religious ritual activities, by using various oral cultures and physical images, deeply exploring the profound cultural roots of "golden sound" and "jade vibration" in the local knowledge tradition and tracing its genetic system back to the prehistoric Jade Age and Bronze Age. The concept of "golden sound and jade vibration" is the sacred aural symbol of the "sage" entering the imaginary and illusionary realm. It also highlights the genetic system of the sage having "great accomplishments" and the Chinese ritual music system.
Objective Through the metaphorical archetypal spirit and mythological semantics of Chinese character structure, this paper explores the metaphorical mythological gene and the moral order of the Chinese character structure, geographical thinking and aesthetic orientation of the mythological prototypes derived from the Chinese characters. Method The cultural archetypes and the theories of big and small traditions are adopted to sort out the mythological beliefs in the former architectural forms of the big traditions and the ethical narrative system carried by the buildings in the small cultural traditional societies. In the architectural archetypes dominated by big and small cultural traditions, the thinking of “archetypes and ethics” is found to be a homologous gene, which confirms the universal significance of the spirit of Chinese Confucian ethics to the power of Chinese civilization flowing and inheriting and human morality. Conclusion The structure of Chinese characters has the function of “recording” and “interpreting”, and the mythological thinking of architectural form materials, understands the ultimate transformation of cultural archetypes in creation, and guides the value of the traditional architectural design of “bringing out goodness and symbiosis” in the contemporary era. To relieve the material pursuit of spiritual enjoyment at that moment, to promote cultural heritage and the role of social treatment, to build cultural identity and the spiritual transcendence of the existence value of space ethics and the overall social and cultural identity.
“Dan” is a Taoist method that integrates Chinese life culture. Between things and non-things, as the holy things that condense the essence of heaven and earth, Dan is not only the survival philosophy and life science passed down from generation to generation for thousands of years in China, but also the life aesthetics accompanied by the present reality. It creates, carries and reflects the thinking logic, perception mode and living habit of local traditional culture. It is the most important and rich “home heritage” of Chinese traditional culture.
The “poetry” is the spiritual and artistic creation of human during historical practice and civilization development, as well as a kind of literary style with both refined and popular tastes, strong flavor of life, wide range of dissemination, and strong vitality of art. While,“Ci”, as one of the poetry types with strong national characteristics, has always been enjoying the same reputation as “poetry” in the history of Chinese literature development.
There are three different opinions of the first sentence from Qin Nang Ao Yu (青囊奥语), which was written by Yang Jun-song (杨筠松). They are “Kun Ren Yi (坤壬乙) should start from the star Ju Men (巨门)”;“Kun Ren Yi should start from the star Wen Qu (文曲)” and “Kun Ren Yi should start from both the star Lian Zhen and the star Ju Men (Lian Ju (廉巨))”. Because of the sectarianism,though the people were at odds with the opinions, we cannot find out any comprehensive and objective study on these. According to the analysis of some relevant literatures, it can be seen that there are two viewpoints nowadays. One of the viewpoints deemed that the first sentence was falsified by Jiang Da-hong (蒋大鸿), and another one deemed that was falsified by Zhang Shou-qi (张受祺). But neither of the view was credible. More precisely is that “Wen Qu” and “Ju Men” were both found in the publications simultaneously, and there were more “Wen Qu”, during the period of the end of the Ming Dynasty and the era of the emperors Kangxi and Qianlong of the Qing Dynasty. The influence of “Ju Meg” was gradually spread when Jiang Da-hong used it in his book and also Si Ku Quan Shu (四库全书) cited it, then let to more pithy formulas of “Ju Men” to be used now. And the “Lian Ju” was rare to be used except Duan Mu Guo-hu (端木国瑚) who used to use it. The way of interpretation is so multiple and complex on the “Wen Qu” and “Ju Men” from the Qin Nang Ao Yu, according to the perspective of Feng Shui, which is reflecting the pluralism and uncertainty of the interpretation of the traditional Feng Shui. And it is still need to be required a further more careful consideration on how to treat the studies of the traditional Feng Shui for the nowadays scholars.