This paper explored the three dramatic features intrinsic in Robert Browning's poems of dramatic monologue, namely, the employment of first-person point of view, the use of irony, and the intricate psychological e...This paper explored the three dramatic features intrinsic in Robert Browning's poems of dramatic monologue, namely, the employment of first-person point of view, the use of irony, and the intricate psychological exploration and vivid characterization. Such features are crucial in the successful presentation of various human nature and experience with profundity, making his poems an enduring classic in the English literature.展开更多
This paper is to analyze the authentic and vivid characterization in Browning＇s poem ＂My Last Duchess＂, which resembles dramatic representation on stage, and thus to reveal the unspoken authorial intention and the ...This paper is to analyze the authentic and vivid characterization in Browning＇s poem ＂My Last Duchess＂, which resembles dramatic representation on stage, and thus to reveal the unspoken authorial intention and the societal reality of the Victorian Age. The exquisite sketch of characters in the poem reestablishes Robert Browning as a master of poetry for his application of dramatic monologue and repays every credit he deserves.展开更多
The diachronic method is applied to analyze the works of the representative writers of the corresponding period.By comparing the features of poems,a conclusion can be drawn that the authors tried to reveal the social ...The diachronic method is applied to analyze the works of the representative writers of the corresponding period.By comparing the features of poems,a conclusion can be drawn that the authors tried to reveal the social truth.It attempts to carry forward the characteristics of dramatic monologue and also hopes it will enrich the expressions of English poetry so that poetry presents a qualitative leap.展开更多
English movie works have a unique style.From the newly released"Number One Player",The research problem is mainly to discover the dramatic narrative style and the characteristics of virtuality.
The days when Wangdu was a serf are long gone, since democratic reform in Tibet in 1959 declared the endof serfdom there. However, he won fame and was remembered as Serf Champa.
NCPA Drama Pride and Prejudice Date:March 31-April 5,2026 Venue:National Centre for the Performing Arts The timeless masterpiece Pride and Prejudice by the great British literary figure Jane Austen has become a classi...NCPA Drama Pride and Prejudice Date:March 31-April 5,2026 Venue:National Centre for the Performing Arts The timeless masterpiece Pride and Prejudice by the great British literary figure Jane Austen has become a classic in world literature with its witty writing,profound insights into human nature,and eternal theme of love.The National Centre for the Performing Arts will proudly stage a drama of the same name,reinterpreting this Western literary classic from a contemporary perspective while staying true to the spirit of the original work,giving it new dramatic vitality.展开更多
As the most eminent dramatist in the history of English literature,William Shakespeare's works retain their enduring vitality over four centuries,a phenomenon intrinsically linked to the extraordinary magic of his...As the most eminent dramatist in the history of English literature,William Shakespeare's works retain their enduring vitality over four centuries,a phenomenon intrinsically linked to the extraordinary magic of his language.This paper systematically explores the literary charm embedded within Shakespearean dramatic dialogue,focusing on four dimensions:rhetorical devices,lexical innovation,imagery construction,and characterization.Drawing on specific lines from masterpieces such as Hamlet and Macbeth,it analyses how language serves as the core vehicle for conveying thought,emotion,and dramatic action.Building upon this foundation,the study extends its perspective to applied linguistics and education,demonstrating the unique value of Shakespearean lines in enhancing learners'linguistic perception,critical thinking,and cross-cultural humanistic literacy.By dissecting pedagogical models such as"performance-based learning"and"classical imitation writing"–approaches that"teach language through drama"–this paper proposes feasible pathways and strategies for integrating Shakespearean lines into modern language teaching through stratification and categorization.This aims to achieve effective integration between classical literature and contemporary education,thereby advancing the transmission of humanistic spirit and the synergistic development of linguistic competence.展开更多
Modern Chinese theater is an evolving animal that has worn many different coats over the years. At one time it was a tool for promoting revolutionary change, at another a popular art form. On its centennial birthday m...Modern Chinese theater is an evolving animal that has worn many different coats over the years. At one time it was a tool for promoting revolutionary change, at another a popular art form. On its centennial birthday modern Chinese drama now faces a threat from the very thing that once spawned it-modernization. Television, the Internet and other forms of easily accessible entertainment have taken its place and led to falling audience figures. But modern theater is fighting back and according to some observers it will rise again as China's growing middle class rediscovers the power of a good play.展开更多
Protein drugs are increasingly used in the clinical treatment of various diseases including cancer and infectious diseases because of their specificity and high biological activity[1]. Nevertheless, the efficacy of pr...Protein drugs are increasingly used in the clinical treatment of various diseases including cancer and infectious diseases because of their specificity and high biological activity[1]. Nevertheless, the efficacy of protein drugs is constrained by their relatively short in vivo circulation half-life [2].As a result,frequent administration at high concentrations is often required,leading to undesirable side effects and poor patient compliance [3].展开更多
The TV drama industry seeks new growth amid the development of online platforms The Hengdian World Studios, located in the eponymous small town in the eastern province of Zhejiang, is one of China’s largest film and ...The TV drama industry seeks new growth amid the development of online platforms The Hengdian World Studios, located in the eponymous small town in the eastern province of Zhejiang, is one of China’s largest film and TV production bases.But it is used less frequently these days.展开更多
Role shaping in dramatic performance is a fusion of art and skills,which involves the deep digging of character,the delicate expression of emotion,and the logical construction of behavior.Actors not only analyze the s...Role shaping in dramatic performance is a fusion of art and skills,which involves the deep digging of character,the delicate expression of emotion,and the logical construction of behavior.Actors not only analyze the script and understand the emotions of the role to create a multi-dimensional,three-dimensional character image,but also need to use the skills of sound,form,lines,and so on,to convey the role’s internal emotions and psychological changes.This process tests the artistic accomplishment and skill level of the actors,and requires them to have keen observation and rich imagination and creativity.Through the analysis of the role of Yu Ji in the Peking Opera Farewell My Concubine,it shows the deep integration of artistry and skill,highlighting the unique charm of dramatic performance.展开更多
Ⅰ.文学常识1. dramatic monologue - A poetic or narrative form presented as the speech of one person, in which a dramatic situation is established and a dramatic listener is implied. Its particular tension is between t...Ⅰ.文学常识1. dramatic monologue - A poetic or narrative form presented as the speech of one person, in which a dramatic situation is established and a dramatic listener is implied. Its particular tension is between the reader’s initial sympathy for the speaker and the reader’s moral judgement. We understand the speaker’s point of view not only by what he or she says, but also by judging the speaker’s limitations and distortions.展开更多
Although T. S. Eliot＇s ＂The Journey of the Magi＂ is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot con...Although T. S. Eliot＇s ＂The Journey of the Magi＂ is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot contrived to manufacture a poem which, at fu＇st glance, resembles a dramatic monologue （generally understood as a poem for one voice----that of a historical/fictional/mythological character addressing a silent listener, group of listeners or reader）, yet which is slowly revealed as a lyrical monologue （for the poet＇s own voice） which yet--and this quite intentionally----contains considerably more than mere echoes of another two speakers： namely a Magus and the biblical translator and, most famously, sermon writer Archbishop Launcelot Andrewes （1555-1626） court preacher to James 1 and Charles 1 of England. I wish to show how Eliot, in writing what is ultimately confessional verse, goes out of his way to hoodwink the reader by allowing the first two of his ＂{The} Three Voices of Poetry＂ （1957） to overlap with and then incorporate the third. His own descriptions of these voices are （i） lyric, defined as ＂the poet talking to himself＂, （ii） that of the single speakerwho gives a （dramatic） monologuel ＂addressing an {imaginary} audience in an assumed voice＂ and （iii） that of the verse dramatist ＂who attempts to create a dramatic character speaking in verse when he {i.e. the author} is saying.., only what he can say within the limits of one imaginary character addressing another imaginary character＂ yet adding ＂some bit of himself that the author gives to a character may be the germ from which that character starts＂ （Eliot, 1957, pp. 38, 40）. The basis of my argument is that such an act of＂giving of the self＇ as the raw material for the creation of a dramatic monologue persona as well as a character designed for the stage had been part and parcel of Eliot＇s modus operandi up to and including ＂Prufrock＂ and The Waste Land; further, that in ＂The Journey of the Magi＂ and his later commentary upon it he fmally comes out and admits the fact, and in far clearer a manner than he does when defining the Objective Correlative in his essays on Hamlet. Far from attempting to erase the sense of selfhood from his poetry, I believe that Eliot, consciously or not, ended up by demonstrating to those who worshipped the Romantics and their cult of personality just how difficult it was to express the purely subjective self in poetry.展开更多
文摘This paper explored the three dramatic features intrinsic in Robert Browning's poems of dramatic monologue, namely, the employment of first-person point of view, the use of irony, and the intricate psychological exploration and vivid characterization. Such features are crucial in the successful presentation of various human nature and experience with profundity, making his poems an enduring classic in the English literature.
文摘This paper is to analyze the authentic and vivid characterization in Browning＇s poem ＂My Last Duchess＂, which resembles dramatic representation on stage, and thus to reveal the unspoken authorial intention and the societal reality of the Victorian Age. The exquisite sketch of characters in the poem reestablishes Robert Browning as a master of poetry for his application of dramatic monologue and repays every credit he deserves.
文摘The diachronic method is applied to analyze the works of the representative writers of the corresponding period.By comparing the features of poems,a conclusion can be drawn that the authors tried to reveal the social truth.It attempts to carry forward the characteristics of dramatic monologue and also hopes it will enrich the expressions of English poetry so that poetry presents a qualitative leap.
文摘English movie works have a unique style.From the newly released"Number One Player",The research problem is mainly to discover the dramatic narrative style and the characteristics of virtuality.
文摘The days when Wangdu was a serf are long gone, since democratic reform in Tibet in 1959 declared the endof serfdom there. However, he won fame and was remembered as Serf Champa.
文摘NCPA Drama Pride and Prejudice Date:March 31-April 5,2026 Venue:National Centre for the Performing Arts The timeless masterpiece Pride and Prejudice by the great British literary figure Jane Austen has become a classic in world literature with its witty writing,profound insights into human nature,and eternal theme of love.The National Centre for the Performing Arts will proudly stage a drama of the same name,reinterpreting this Western literary classic from a contemporary perspective while staying true to the spirit of the original work,giving it new dramatic vitality.
文摘As the most eminent dramatist in the history of English literature,William Shakespeare's works retain their enduring vitality over four centuries,a phenomenon intrinsically linked to the extraordinary magic of his language.This paper systematically explores the literary charm embedded within Shakespearean dramatic dialogue,focusing on four dimensions:rhetorical devices,lexical innovation,imagery construction,and characterization.Drawing on specific lines from masterpieces such as Hamlet and Macbeth,it analyses how language serves as the core vehicle for conveying thought,emotion,and dramatic action.Building upon this foundation,the study extends its perspective to applied linguistics and education,demonstrating the unique value of Shakespearean lines in enhancing learners'linguistic perception,critical thinking,and cross-cultural humanistic literacy.By dissecting pedagogical models such as"performance-based learning"and"classical imitation writing"–approaches that"teach language through drama"–this paper proposes feasible pathways and strategies for integrating Shakespearean lines into modern language teaching through stratification and categorization.This aims to achieve effective integration between classical literature and contemporary education,thereby advancing the transmission of humanistic spirit and the synergistic development of linguistic competence.
文摘Modern Chinese theater is an evolving animal that has worn many different coats over the years. At one time it was a tool for promoting revolutionary change, at another a popular art form. On its centennial birthday modern Chinese drama now faces a threat from the very thing that once spawned it-modernization. Television, the Internet and other forms of easily accessible entertainment have taken its place and led to falling audience figures. But modern theater is fighting back and according to some observers it will rise again as China's growing middle class rediscovers the power of a good play.
文摘Protein drugs are increasingly used in the clinical treatment of various diseases including cancer and infectious diseases because of their specificity and high biological activity[1]. Nevertheless, the efficacy of protein drugs is constrained by their relatively short in vivo circulation half-life [2].As a result,frequent administration at high concentrations is often required,leading to undesirable side effects and poor patient compliance [3].
文摘The TV drama industry seeks new growth amid the development of online platforms The Hengdian World Studios, located in the eponymous small town in the eastern province of Zhejiang, is one of China’s largest film and TV production bases.But it is used less frequently these days.
文摘Role shaping in dramatic performance is a fusion of art and skills,which involves the deep digging of character,the delicate expression of emotion,and the logical construction of behavior.Actors not only analyze the script and understand the emotions of the role to create a multi-dimensional,three-dimensional character image,but also need to use the skills of sound,form,lines,and so on,to convey the role’s internal emotions and psychological changes.This process tests the artistic accomplishment and skill level of the actors,and requires them to have keen observation and rich imagination and creativity.Through the analysis of the role of Yu Ji in the Peking Opera Farewell My Concubine,it shows the deep integration of artistry and skill,highlighting the unique charm of dramatic performance.
文摘Ⅰ.文学常识1. dramatic monologue - A poetic or narrative form presented as the speech of one person, in which a dramatic situation is established and a dramatic listener is implied. Its particular tension is between the reader’s initial sympathy for the speaker and the reader’s moral judgement. We understand the speaker’s point of view not only by what he or she says, but also by judging the speaker’s limitations and distortions.
文摘Although T. S. Eliot＇s ＂The Journey of the Magi＂ is a religious poem in the profoundest sense, the title of my paper is intended to give only a sly wink at Trinitarianism. My real object is to explain how Eliot contrived to manufacture a poem which, at fu＇st glance, resembles a dramatic monologue （generally understood as a poem for one voice----that of a historical/fictional/mythological character addressing a silent listener, group of listeners or reader）, yet which is slowly revealed as a lyrical monologue （for the poet＇s own voice） which yet--and this quite intentionally----contains considerably more than mere echoes of another two speakers： namely a Magus and the biblical translator and, most famously, sermon writer Archbishop Launcelot Andrewes （1555-1626） court preacher to James 1 and Charles 1 of England. I wish to show how Eliot, in writing what is ultimately confessional verse, goes out of his way to hoodwink the reader by allowing the first two of his ＂{The} Three Voices of Poetry＂ （1957） to overlap with and then incorporate the third. His own descriptions of these voices are （i） lyric, defined as ＂the poet talking to himself＂, （ii） that of the single speakerwho gives a （dramatic） monologuel ＂addressing an {imaginary} audience in an assumed voice＂ and （iii） that of the verse dramatist ＂who attempts to create a dramatic character speaking in verse when he {i.e. the author} is saying.., only what he can say within the limits of one imaginary character addressing another imaginary character＂ yet adding ＂some bit of himself that the author gives to a character may be the germ from which that character starts＂ （Eliot, 1957, pp. 38, 40）. The basis of my argument is that such an act of＂giving of the self＇ as the raw material for the creation of a dramatic monologue persona as well as a character designed for the stage had been part and parcel of Eliot＇s modus operandi up to and including ＂Prufrock＂ and The Waste Land; further, that in ＂The Journey of the Magi＂ and his later commentary upon it he fmally comes out and admits the fact, and in far clearer a manner than he does when defining the Objective Correlative in his essays on Hamlet. Far from attempting to erase the sense of selfhood from his poetry, I believe that Eliot, consciously or not, ended up by demonstrating to those who worshipped the Romantics and their cult of personality just how difficult it was to express the purely subjective self in poetry.
