目的论视角下的泰国电影片名汉译

在当前泰国影视剧正在中国传播的背景下，用功能学派翻译理论的目的论来指导电影片名的翻译无疑是正确的方法与手段。在翻译目的论的指导下，泰国电影片名的汉译能把电影的四项基本价值即信息价值、文化价值、审美价值和商业价值充分地体现出来；同时能总结出影片名翻译的多种方法，如音译、直译、意译与换译以及这些方法的运用条件与缘由。     

从观众接受史的角度看文明戏

以往的文艺研究,一般重视了文本本身的美学价值,而忽视了读者(观众)的接受心理层次,本文以上世纪初至30年代上海社会商品文化存在为剖面,从观众接受层次(与"接受史"理论相关)和商品意识的角度,探讨了同时期文明戏(新剧)创作与上演的成败情况及其发展轨迹。     

浅谈歌剧与音乐剧的关系

音乐剧的音乐形式是歌剧化的,它是古典歌剧艺术的现代传承,是现代音乐戏剧的主流。音乐剧与歌剧在形式上是相同的,它们之间没有明显的界限。如果说歌剧是用音乐展开的戏剧,那么,音乐剧则是用音乐展开的戏剧。音乐剧属于现代艺术,歌剧属于古典艺术,两者因为时代气息的不同而在表演方式和表演要素上又各有所侧重。     

论草原文化对古代戏曲形成的影响

古代戏曲的形成有两个重要时期,十六国北朝集中出现的一批古剧,促进了唐代古剧的繁荣,形成了以唐参军为标志的主流艺术,古代戏曲形成的艺术进程明显加快;金元两代草原游牧文化的传入,促使金院本、诸宫调、胡曲蕃乐的艺术融合,形成了元杂剧,古代戏曲正式成熟.十六国北朝与金元两代,都是草原文化大规模传入中原,各民族文化冲撞与融合的重要时期.古代戏曲是各民族文化冲撞与融合的艺术结晶,草原文化的传入,对古代戏曲形成有着极其重要的影响.     

转型：从写实传统到现代主义——论1960至70年代台湾话剧的发展

台湾话剧从写实传统向现代主义转型是在1960年代后半期及70年代.姚一苇等戏剧家为了真实深刻地描写现实和表现人,为了给已呈衰颓迹象的台湾话剧注入活力,借鉴西方现代派戏剧并融合民族戏曲传统去求新求变,推动了中国话剧艺术的发展.     

论明代浙江曲家的佛教情结及思想渊源

The Buddhism state of mind which all have a kind of mightiness of Drama writer in Zhejiang of Ming Dynasty, they not only deeply clear 佛 reason, and aware of self the 援佛 go into 儒 , 援佛 to go into a way, looking for three teach of agree with a point, they much with recluse and mountain person and call, is a clear certificate.Then with the publicity Buddhist doctrine, life and death round return for create an aim to return, and beg to take true meaning from the Buddhism, melt 佛 in the heart, the mind 佛 turns, the 禅 turn, purify, pursuing to be born, super take off, return a leisure method of returning the mind.The creation of this kind of current of thought, one is the heart learns, especially the king learns leftists to populars to song house in Zhejiang in Zhejiang of influence, two is after Drama writer in Zhejiang situation has the misfortune to, the mind needs a kind of spirit good medicine that can comfort or match more.     

Ellie’s first time: constructing self-cutting in a teen drama

Self-cutting attracted a growing interest in society during the 1990s and the early 2000s, and this was reflected in a similar increase in media during this period. In this article, the example of Ellie Nash’s self-cutting in the teen drama Degrassi: The Next Generation is used to investigate articulations of the phenomenon during this period. The starting point is that self-cutting, a behaviour that previously had mostly been connected to masculinity, had to be rearticulated to fit into already established constitutions of femininity. If this was not possible, self-cutting could only be understood as a radical and aggressive behaviour easily connected to movements such as Riot Grrrls that emerged during the same period. With the help of formal and narrative methods, and discourse theory, the scene that includes Ellie’s first cut is analysed. The results of the analysis show that themes such as success, control, family and alternative culture framed self-cutting as being executed by girls who are fragile and vulnerable but also sensible. Even if the things that led up to Ellie’s self-cutting were presented as structural problems, the solution for her was individual conversational therapy, which fitted with the hegemonic neoliberal values that dominated this period.     

台湾外省第二代李国修戏剧中的创伤记忆与超越

作为台湾具有代表性的外省第二代作家,李国修接收到了父辈遗留下来的移民身份和创伤记忆,从而形成了自己的创伤体验,并将之作为其戏剧表达的主要课题.他以戏剧形式记录并修补了父辈的创伤与遗憾.同时,面对父辈传递下来的创伤体验,他也以戏剧艺术纾解、治疗自己对灾难重演的恐惧和身份认同被破坏的焦虑,表达了对生命安定的渴求.从创伤心理学的理论视野对李国修的戏剧创作进行观照,既能真切感受到台湾外省第一代的移民创痛,更可深入理解台湾外省第二代所特有的现实和精神处境,从而对台湾社会有更为深刻的理解.     

老太太构图：老舍剧作中女性意识衍化探微

老舍在剧作中以老太太构图来突出本身的女性观,这些老太太的女性意识深受作家的成长过程及时代的变更所影响。剧中的角色塑造揭示了老舍对这些老太太在社会生活中表现出来的文化心理及道德素质的价值判断。老舍以独特的戏剧语言并通过其笔下的老太太角色来达到和社会主义革命与建设同步创作的动机实践,这使得老太太形象系列就成为老舍理想化人格和妇女解放的对象化,从而具有超越现实存在的文化象征意义。     

韩流后时代中国潜在游客群体分析

随着韩流席卷中国大陆,赴韩旅游市场发展迅速。定量分析显示,韩国的影视产业对吸引中国潜在游客的贡献率最大。韩流直接影响着韩国旅游目的地形象,然而对游客的购买决策影响较弱。建议韩国旅游业通过"4S"策略整合韩流元素,打造"影视+旅游"的产业发展模式。