君主专制与政治抵制:早期现代英国法律语境中的《复仇者悲剧》

英国自都铎王朝后期至斯图亚特早期，立宪君主论或混合君主论者抵制君权神授论，坚持家庭是一个自治的、涉及臣民私人权益的小政府，受到自然法、古代宪法或神圣法的保护。《复仇者悲剧》中公爵王室言行映射詹姆士一世在《皇家礼物》中所宣扬的君权神授论，温迪斯兄弟俩及追随者的复仇隐含当时的政治抵制学说，公爵王室与温迪斯兄弟俩的对立象征君权神授论与普通法理论的对峙。温迪斯兄弟俩却以威胁新君为由被处死，司法斗争简约为复仇冲动，维权英雄陡变为暴徒，暴君化身为明君，这暴露出君权神授论的悖论性和剧作家含混的复仇伦理。     

A sociolinguistic application of Bakhtin's authoritative and internally persuasive discourse

Through the use of two central Bakhtinian concepts, authoritative and internally persuasive discourse (word), this paper examines the tension between the ideology of linguistic hegemony as a source of power in the Greek public sphere and the condition of language shift faced by the Albanian‐speaking communities of modern Greece. I argue here that a cautious application of these two notions, which are relevant to linguistic ideology, can reveal crucial aspects of two processes: that of subordination to and that of questioning of the dominant linguistic ideology by local Albanian‐speaking communities. Thus, in language shift contexts, it is possible that no simple relations obtain that place social agents in unquestionable and easily predictable positions. Such an approach proves useful for the sociolinguistic study of threatened language communities.     

两个版本系统两个尤三姐形象

尤三姐是《红楼梦》中一个比较重要的人物形象。由于《红楼梦》在版本上有“脂本”、“程本”两大不同系统 ,不同版本系统中的尤三姐的艺术形象也就有很大不同。对此 ,红学史上是有争议的 ,但是争论者往往各执一词 ,常常出现片面和偏激。平心而论 ,两个尤三姐形象的塑造 ,其实各有所短 ,亦各有所长 ,人们不应该轻易肯定或否定。然而如果认真比较分析 ,就尤三姐形象的悲剧意义和可信程度而言 ,笔者认为“脂本”系统高于“程本”系统。     

中西古代教育理念比较

本文选取对现代教育有直接影响的几个最重要文化区域，古希腊、古罗马、古犹太和古代中国，对比它们在的教育理念上的不同和由此而导致的教育结果。从教育的结果来看，斯巴达人重体能，雅典人重智力，罗马人重情商，犹太人重圣灵，中国人爱官位。     

试论希腊神话和中国神话的差异及其影响

本文通过对希腊神话和中国神话的详细对比分析,阐述了希腊神话和中国神话的差异及其实质,以及其对社会的重要影响.同时指出在现代社会中,我们应吸取西方文化中的精华部分,以促进文化和文明的进一步发展.尤其在外语教学中应加强文化教育,以促进跨文化交际.     

Phusis与Natura的词源考察与词义分析

希腊词phusis与拉丁词natura都是西方的"自然"概念,是罗马人将phusis翻译作natura。通过对二者进行词源考察和词义分析可知,它们都具有本源、存在和性质等基本含义;但是二者的词根之间和词缀之间的差异使得phusis的词义比natura更具能动性,并且phusis更倾向于意指"创造"等动作的目的,而natura更倾向于意指这些动作的结果。     

Public intellectuals,political satire and the birth of activist public relations: The case of Attic Comedy

The purpose of this article is to explore the origins of dissent public relations and to establish its emergence in the context of the ancient Greek comedy represented by Aristophanes. Indeed, Attic Comedy (also known as Old Comedy) was the first great example of today’s mass communication, in which political satire was used to dissent and protest against political and social circumstances in fifth-century BC Athens. This situation was conditioned by the Peloponnesian War and its political, economic and social consequences. From this perspective, this article also constitutes an investigation into the intellectual history of public relations, of which Aristophanes can be considered to be one of the first practitioners.     

Whitewashing the nation: racist jokes and the construction of the African ‘other’ in Greek popular cinema

This article explores representations of race in three Greek popular films of the 1970s and 1980s. The portrayal of African characters in these films is antagonistically positioned in relation to the dominant, ‘whitewashed’ Greek national narrative which relies on the nineteenth century idea that Greece is the progenitor of European civilization. Often masquerading itself as ‘just a joke’, the discourse of these films narrates the African Other as lacking in terms of culture, intelligence and beauty – the three central categories upon which the idea of the ‘white supremacy’, according to Cornell West, is historically constructed in modernity. Tightly woven with this idea (largely introduced in Greece by the leading European powers), these films enunciate explicitly colonial viewpoints in a country that was neither a colonial power nor at the geopolitical center of the European project. The article argues that the racialized representations of these films are an effect of appropriating the Eurocentric idea of historicism, where the ‘progress’ and ‘backwardness’ of groups and nations are measured according to how effectively they perform the values of modernity.     

Thinking through tragedy: critical distance and the law of genre

Abstract

This article focuses on two problems associated with tragedy. One ancient: what is it that draws us to the dramatic presentation of events of terrible suffering and loss? And one modern: namely, that while tragedies are still performed and appreciated, little new tragedy is being written. It will be argued in relation to the second problem that the vitality of tragedy as a dramatic form requires a less rigid approach to what might be considered tragic. And in relation to the first problem it will be argued that this more expansive conception of tragedy will allow an understanding of the ‘pay-off’ of tragedy in a way that draws both on the tradition that focuses on tragedy as cathartic therapeutic, and on the tradition that sees it as a thought laboratory that allows ethical dilemmas to be posed and explored from different perspectives. This argument constitutes a two-fold dialectical synthesis (emotional and intellectual approaches to tragedy on the one hand and the technical and popular use of the word ‘tragedy’ on the other) and the effect of this is to facilitate an understanding of tragedy as establishing a ‘critical distance’ that sets the scene for the possibility of thinking.