A comparison of the two films There are many differences in both depictions of the original play be Shakespeare, in Kenneth Branagh’s Hamlet, starring Branagh himself as Prince Hamlet, Julie Christie, Kate Winslet, Brian Blessed, and Derek Jacobi, among others was released on December 25, 1996. Branagh’s version as a whole captures the essential elements, themes, and dramatizations of the centuries old play. His vision is quite clear, and he brings debated interpretations to the surface. While there is a modern spin on the story—it’s setting being sometime in the 19th century, it still remains true to the characters’ many dimensions and struggles, and reveals hidden secrets—demonism, sex before marriage, and complex madness. On the other hand, Franco Zeffirelli’s Hamlet, starring Mel Gibson, Glenn Close, Alan Bates, Paul Scofield, Helena Bonham-Carter, Jan Holm, and released in 1990, takes a more dramatic, hidden approach to the story.
She's the Man Vs Twelfth Night When we think of the story of Cinderella, about eight different variations of the story from different times and cultures come to mind. Nevertheless, the varying renditions of the stories fail to take away from the overall moral of the story (yes, dreams do come true). Somehow, the same understanding is forgotten as more and more people recreate literary classics. The film “She’s the Man” is a modern adaption of the Shakespearian comedy Twelfth Night. At first glance, the film and play share apparent congruities; however the differences and alterations that the screenplay writer and director have laid on top of the original play has transformed this traditional play in order to fit the mold and taste of modern audiences.
The Creation of “Orientalism and Exoticism” in Western Music Saint-Saëns’ Samson et Dalila, as well as other operas written in the eighteenth and nineteenth century, used “Orientalism” and “Exoticism” to help capture the hidden world of Eastern culture. In his opera, Saint-Saëns uses modal structure, rhythm, instrumentation and the exotic Delilah to captivate the Western world. Without Orientalism, Western composers would be unable to explore the social curiosities of Eastern cultures. To the normal Western European ear, Samson et Delila conveys “Eastern” instrumentation at first listen, but with further in depth analysis, reveals use of mode mixture in an effort to distort Western compositional technique writing and make it seem like that of the “other.” Orientalism was first employed by British and French intellectuals in the late eighteeth century. These intellectuals regarded Asians, North Africans and Middle Easterners as an unruly, barbaric populous that needed to be civilized.
They also borrowed the system of a bureaucracy from China. Chinese-style court rituals and a system of court rankings for officals were also borrowed by SouthEast Asia and Japan. In SouthEast Asia, they found the Chinese aporoach to government useful and made use of Chinese court rituals. Both SouthEast Asia and Japan borrowed Buddhism and Confucianism from the Chinese. Tolerance was showed in bothe for each religion.
to A.D. 939) have profuondly influenced the life, culture and music of the Vietnamese people . Musical instruments, such as the 16 stringed zither, the 4 stringed pear shaped lute, 3 stringed lute, 2 stringed fiddle, vertical and transverse flutes, the oboe, large and sall drums, cymbal, stone chime, bell chime, undoubtedly orignated from China . Names of musical instruments are written in Chinese characters but their pronunciation differs according to whether they are read by a Chinese or Vietnamese (16 stringed zither ZHENG in Chinese, TRANH in Vietnamese, pear chaped lute PIPA in Chinese, TY BA in Vietnamese, etc….) During the Lê Dynasty (1428-1788) the first theory of Vietnamese music was copied from the Chinese (the theory of five degrees, of seven tones and twelve LYU or basic tones, and the eight categories of court music : music of the esplanade of heaven, temple music, music of the five sacrifices, musi for helping the sun and the moon in the event of the eclipse, music for formal audiences, music for ordinary audiences,
Indeed, in the critical reading of most dramatic literature, we face the added complication that though we can read a play as "literature," the play itself was conceived as a performance text. (1) Most of the studies on the language of Shakespeare's plays have been essentially textual ones, however, ones based not on the sound of the enacted spoken word, but rather on the contemplation of the printed word in the text. Yet drama, above all verse drama, is the spoken word, or, more accurately, heightened spoken language for acting. Madeleine Doran opens her book Shakespeare's Dramatic Language with the observation that "those of us who make our roomy home in Shakespeare never cease to wonder at his artistry" (3). A major part of this artistry, she asserts, is how each of the plays "has a distinctive quality, something peculiar to that play alone - a quality that is not altogether attributable to differences in plot, theme, character, and setting, but something that feels different, or that sounds different to our ears" (3).
IMPACT OF BUNRAKU ON CONTEMPORARY THEATRE The rise of Bunraku: Bunraku is a term commonly used for ningyo-joruri, which literally means puppets and storytelling. The combination of chanting and shamisen playing is called jōruri and the Japanese word for puppet (or dolls, generally) is ningyō. The term while describing a puppet performance, also alludes to its predecessors. In Japan, along with the tradition of travelling storytellers, who used biwa as their accompaniment, there were also travelling puppeteers. The period of confluence of these two arts forms is not known.
l [pic][pic] 英文学院研究生学期课程论文 课程名称 跨文化交际学 学 期 2012~2013 第一学期 学号 2012529 姓名 王玮 专 业 英语语言文学 研究方向 跨文化交际 学生类别 硕士研究生 任课教师 李本现 成 绩 Differences in Humor Styles between China and America by Wang Wei School of English Studies Xi'an International Studies University Xi’an, China 2013 Differences in Humor Styles between China and America ABSTRACT Humor, as a relaxing topic, is a very complicate thing in the intercultural communication. Humor can be the source of misunderstanding, cause many embarrassed moments. Meanwhile, different cultures have their own preferred humor styles. The famous professor of psychology at the University of Western Ontario, Rod A. Martin who focuses his study on functions of humor and laughter proposes four humor styles, that is, affiliative humor, self-enhancing humor, self-defeating humor and aggressive humor. People of all ages and backgrounds engage in humor, but the way they use it can vary greatly.
French sociologist Perre Bourdieu developed the notion of cultural capital, which implies that difference between subculture groups may rely on differences in capital (Webb at al, 2002). Thronton then developed the concept of subcultural capital based on the work of Bourdieu, which can be used to study how subculture groups differentiate themselves (Gelder, 2005). This essay will express the notion of ‘subcultural capital’ briefly and give an introduction to the E’gao Subculture in China in the first part. Next, it will examine how the subculture group of E’gao forms its own style with the help of subcultural capital. The notion of subcultural capital originates from Bourdieu’s cultural capital critically.
Realism, which began in the last half of the 19th century (and has remained dominant in theatre for the last 120 years), started as a tool to make theatre more useful in society. The emergence of realism in theatre encouraged playwrights to write realistically with faithfulness to situations from real life without adding any color or embellishments to it. The language used and events that occurred in these literary works highlighted the reality of life and were never out of the ordinary. The predecessor to realism was romanticism, a theatrical movement that left hardly any room for imperfections. The worlds and events portrayed in romantic plays were perfect, surreal and beautiful.