《长夜漫漫路迢迢》中爱与恨的情感交织--用荣格原型理论解读人物关系

《长夜漫漫路迢迢》是尤金·奥尼尔的一部自传性家庭悲剧。剧中家庭成员间的爱恨情感相互交织。文章以爱与恨这2种情感为主线,分析剧中丈夫与妻子、父母与孩子之间爱恨情感的具体体现,并以荣格式原型的心理学为理论依据,探究剧中人物产生爱与恨情感的原因以及其中所体现的悲剧意义。根据荣格原型理论,阿尼玛和阿尼姆斯原型的存在影响了泰隆夫妻间的关系;个人无意识的存在则影响了他们与自己2个儿子间的关系。     

An evaluation of school district guidance and counseling programs: Procedures and results

This evaluation examines the administrative history, staffing levels, and content of school district guidance and counseling activities. Case studies were made in a 50% random sample of a district's 45 elementary schools. Eight hundred teachers, parents, and students were interviewed. All school plans were reviewed. Five-year staffing patterns and staff changes were studied. All district staff with guidance and counseling responsibilities recorded characteristics of guidance and counseling contacts for 15 days. Schools with and without counselors were studied to estimate differences in who receives services and what is provided. Results show systematic differences in the level and kind of services provided secondary and elementary students. Approximately one-third of the schools studied had stable programs. Schools with stable programs provided a broader range of services and distributed them in a more equitable manner.     

拳拳布道心原为译论精——对奈达翻译等值论的重新评价

尤金.奈达是20世纪国际公认的最杰出的翻译理论家之一,文章探究了奈达等值理论产生的根源和理据,剖析了近年来针对他的翻译等值论的质疑和批评,最后就等值论对翻译实践的实用价值和指导意义进行了评估。     

论奥尼尔的表现主义艺术

描写人和自己的斗争,表现人的内在的心理上的命运是尤金·奥尼尔戏剧的重要主题。奥尼尔借鉴和吸收表现主义戏剧艺术,运用象征、面具、音响、舞台布景等诸多艺术手段具体地、形象地表现人物的内心活动,展示其深刻的内心体验和复杂的心理。     

黑白之间:《琼斯皇》的创伤叙事与族裔想象

在《琼斯皇》中,显在的黑人叙事主体与隐在的白人作家主体之间,存在着某种创伤主体的转换机制。基于黑人的个体创伤经历及苦难的奴隶历史,奥尼尔将琼斯塑造成一个表现种族创伤的经典形象。在此基础上,奥尼尔以仪式作为建构创伤之文化媒介,揭示了族裔融合过程中的结构性暴力。究其根本,奥尼尔的创伤书写是与爱尔兰裔白人的创伤情结相关联的,反映出少数族裔群体在种族主义阴影下的生存焦虑。在美国社会的主体框架下,奥尼尔以非裔黑人的种族创伤为叙事起点,而以少数族裔的合理诉求为最终归宿,彰显出族裔作家对于社会现实问题的关切与忧虑。     

A self psychological study of dehumanization in Eugene O'Neill'sThe Hairy Ape

Experiences of isolation, alienation, and self-fragmentation have been expressed by literary artists throughout this century. Many of the plays of Eugene O'Neill depict human suffering in these terms. Applying the constructs of self psychology, particularly those relating to selfobjects and the selfobject milieu, these experiences in O'Neill's plays can be described as shifts in self-cohesiveness. O'Neill'sThe Hairy Ape depicts a man with a fragile sense of self who suffers a disruption of the selfobject milieu which had sustained him. As a consequence of this change in his social embeddedness, the character Yank experiences a sense of fragmentation and ultimately feels that he does not belong to the human race. The play depicts in a powerful way the necessity of a selfobject milieu in sustaining one's sense of self.     

尤金·奥尼尔《进入黑夜的漫长旅程》中的道家思想

中国道家思想对美国剧作家尤金·奥尼尔产生过深刻的影响。文章首先分析了道家思想在奥尼尔的代表作《进入黑夜的漫长旅程》中的具体体现，然后从他的生活经历和创作生涯等方面分析了道家思想对剧作家本人的深刻影响。其实，道家思想在《进入黑夜的漫长旅程》中的体现就表明了道家思想对剧作家本人的深刻影响。     

对《叶甫盖尼·奥涅金》中达吉雅娜形象的再认识

很多论者把达吉雅娜看作觉醒的女性形象的代表，认为她已经开始了对男权社会的反抗。有人认为她是一个具有强烈责任心的女性形象，她坚持嫁给别人就要一辈子对他忠诚；也有人认为她的思想还不够进步。但笔者认为这些看法都有些偏颇。其实，达吉雅娜自始至终都是一个能动的自觉者形象。她敢爱敢恨，果断坚决，是一个具有旺盛生命力的人物形象。     

论奥尼尔的俄狄浦斯情结

文学创作是被压抑的愿望的满足。美国现代戏剧之父尤金·奥尼尔的创作也不例外。无论是从其个人经历或是其剧作中的人物形象,都可看出奥尼尔身上具有显著的俄狄浦斯情结。本文以弗洛伊德主义有关文学的理论为依托,利用心理分析概念如压抑、转移和升华对奥尼尔的俄狄浦斯情结进行了探讨和分析,以期深刻地挖掘出促使其从事戏剧创作活动的深层心理动机。     

尤金·奥尼尔—宗教信仰的彷徨者

奥尼尔成长在虔诚的天主教家庭,自幼深受宗教思想熏陶和感染,宗教信仰深入其骨髓;其生平遭遇和他内心的自然主义情结却驱使他去排斥宗教,这种对于宗教欲罢而不能的态度导致他毕生陷于宗教迷茫与彷徨中。针对尤金·奥尼尔的戏剧及他的生平的研究,挖掘其内心世界对于宗教的彷徨和迷茫及其内在原因。