This study explores the application of Abrams’Fourfold Model in the classification of Western literary criticism.Abrams’framework categorizes literary criticism into four fundamental elements:text,author,world,and a...This study explores the application of Abrams’Fourfold Model in the classification of Western literary criticism.Abrams’framework categorizes literary criticism into four fundamental elements:text,author,world,and audience.The text is viewed as an independent entity with intrinsic artistic value,necessitating a detailed analysis of its structure,style,themes,and symbols.Author study delves into the creator’s life and socio-cultural context,often to uncover the work’s deeper meanings.Contextual study situates the work within its historical and social milieu,examining its reflection of or response to societal norms and events.Audience response analysis considers the diverse interpretations shaped by readers’backgrounds,emphasizing the reader’s role in constructing the work’s meaning.The study concludes that Abrams’Fourfold Model offers a comprehensive and flexible analytical tool,enabling critics to engage with literary works from multiple perspectives,thereby enriching the understanding of literary complexity and diversity.展开更多
作为2006年暑期第一炮,《碟中谍3》(Mission Impossible3)的宣传攻势不可谓不猛烈,简直要超过片中所使用军火的总和。如此"火力",也许只有吴宇森大师才可以媲美。但有趣的是,这一集,与老吴执掌的那第二部在风格上有天渊之别,...作为2006年暑期第一炮,《碟中谍3》(Mission Impossible3)的宣传攻势不可谓不猛烈,简直要超过片中所使用军火的总和。如此"火力",也许只有吴宇森大师才可以媲美。但有趣的是,这一集,与老吴执掌的那第二部在风格上有天渊之别,也与第一集风格迥异。总的来说,本片的确充分展现了编导亚波兰(J.J.Abrams)的才能。作为全美热播电视剧集《Alias》和《Lost》的创意灵魂人物,亚波兰的特长是将作品拍得非常紧凑惊险,外加一些小意外。而这些元素,正是该系列第二集所缺乏、而 FANS 们却迫切想看到的。最显著的一点,每一个电影观众都能发觉的,是影片整体的影像风格更"实在"了,不要说老吴那样磨磨叽叽的"枪舞",就算是寻常的表现精彩动作瞬间的慢镜头,也是难得一见。仔细回想一下,俺只记得有三处用上了慢动作摄影(扔枪、跳洞、发飙),而且每次时间都很短,观众几乎没有特别深刻的印象。同时,与第一集导演帕尔玛(BrianDe Palma)钟意 old school 的长镜头方式不同,年轻气盛的亚波兰更喜欢短促而有动感的镜头。展开更多
基金The paper was supported by Henan Province Teaching Reform and Practice Project(Project Fund No.135)-Research on the Reform of Literary Theory Courses for English Majors in Universities.
文摘This study explores the application of Abrams’Fourfold Model in the classification of Western literary criticism.Abrams’framework categorizes literary criticism into four fundamental elements:text,author,world,and audience.The text is viewed as an independent entity with intrinsic artistic value,necessitating a detailed analysis of its structure,style,themes,and symbols.Author study delves into the creator’s life and socio-cultural context,often to uncover the work’s deeper meanings.Contextual study situates the work within its historical and social milieu,examining its reflection of or response to societal norms and events.Audience response analysis considers the diverse interpretations shaped by readers’backgrounds,emphasizing the reader’s role in constructing the work’s meaning.The study concludes that Abrams’Fourfold Model offers a comprehensive and flexible analytical tool,enabling critics to engage with literary works from multiple perspectives,thereby enriching the understanding of literary complexity and diversity.
文摘作为2006年暑期第一炮,《碟中谍3》(Mission Impossible3)的宣传攻势不可谓不猛烈,简直要超过片中所使用军火的总和。如此"火力",也许只有吴宇森大师才可以媲美。但有趣的是,这一集,与老吴执掌的那第二部在风格上有天渊之别,也与第一集风格迥异。总的来说,本片的确充分展现了编导亚波兰(J.J.Abrams)的才能。作为全美热播电视剧集《Alias》和《Lost》的创意灵魂人物,亚波兰的特长是将作品拍得非常紧凑惊险,外加一些小意外。而这些元素,正是该系列第二集所缺乏、而 FANS 们却迫切想看到的。最显著的一点,每一个电影观众都能发觉的,是影片整体的影像风格更"实在"了,不要说老吴那样磨磨叽叽的"枪舞",就算是寻常的表现精彩动作瞬间的慢镜头,也是难得一见。仔细回想一下,俺只记得有三处用上了慢动作摄影(扔枪、跳洞、发飙),而且每次时间都很短,观众几乎没有特别深刻的印象。同时,与第一集导演帕尔玛(BrianDe Palma)钟意 old school 的长镜头方式不同,年轻气盛的亚波兰更喜欢短促而有动感的镜头。
