作品英文12篇
作品英文(1)
Hang Shi
CSU ID: 830149692
Art 100
Introduction to The Visual Arts
“The Starry Night” Vincent Willem van Gogh
Vincent Willem van Gogh is one of my favorite artists, and I believe is the best artwork of him. “The Starry Night” is now locating in The Museum of Modern Art in New York. I traveled to New York during spring break. I have been privileged to see this amazing artwork in person. The Museum of Modern Art is holding more than 150,000 individual pieces in addition to approximately 22,000 films and 4 million film pictures. The collection of Western art includes the painting by many famous artists, such as Monst, Picasso, Matisse, and Van Gogh. “The Starry Night” was created by van Gogh during the year in the asylum in 1889. “The Starry Night” is a kind of Post-Impressionism oil paint artwork.
There is the night sky filled with swirling, clouds, stars ablaze with their own luminescence, and a bright crescent moon. Although the features are exaggerated, this is a scene we can relate to, and also one that most individuals feel comfortable and at ease with. This sky keep the viewer’s eyes moving about the painting, following the curves and creating a visual dot to dot with the stars. This movement keeps the onlooker involved in the painting while the other factors take hold. “The Starry Night” Oil paint is made up of two different lines, the first one is long bending line, and another one is shore straight line, because of this two different line, the output of this oil paint become very dazzling, beautiful and fantastic beauty. In the composition level, the dynamic starry sky in sharp contrast to the peaceful village in the ground the vertical cypress tree in the paint and the horizontal mountains comes to the visual balance. The basic color of this oil paint is dark blue, van Gogh used dynamic and continuous line to present the nebula and the cypress tree and it make the nebula and the cypress tree looks like the burning hot fire in the starry night which is full of visual impact and very impressive.
There is also another famous oil painting in Museum of Modern Art which is “The Young Ladies of Avignon” from Picasso’s. Compare “The Starry Night” and “The Young Ladies of Avignon”, they are from different painting style. “The Young Ladies of Avignon” present the modernism painting and “The Starry Night” present impressionism painting. For “The Young Ladies of Avignon”, it is the most famous example of the way in which the use of geometric forms and planes in African masks helped to inspire the rise of cubism and abstract art. Picasso plays with the tradition that makes the female nude a symbol of natural purity. Also, Picasso’s distortion of the women’s faces makes the painting a famous example of primitivism in modern art. For “The Starry Night”, in my opinion, the basic color of this oil paint is blue, I can see a feeling of melancholy runs through this “The Starry Night”, we can also understand that van Gogh may also very unhappy when he created this oil paint, the view of this oil paint is a view out of a window. The tree in “The Starry Night” is cypress tree, but van Gogh made it looks like dark flame tongue all the way go through to the starry sky, which make me have a tightly capture the felling of uneasiness. The texture of the starry sky looks like Whirlpool Galaxy comes with many little stars. Van Gogh used short straight lines in the bottom of this oil paint to present a peaceful village surrounded by mountains. The dynamic and fantastic starry sky and peaceful village contrast, the formation of a strong visual impact. We can understand van Gogh was anxious and stressed when he was painting this “The Starry Night”.
作品英文(2)
貴族時代
法國
傅華薩（Jean Froissart）
? 《聞見錄》（Chronicles）
?? 《羅蘭之歌》（The Song Of Roland）
維永（Francois Montaigne）
?? 《詩集》（Poems）
蒙田（Michel de Montaigne）
?? 《隨筆集》（Essays）
拉伯雷（Francois Rabelais）
? 《巨人傳》（Gargantua and Pantagrue）
瑪格麗特·德·納瓦爾（Marguerite de Navarre）
? 《七日談》（The Heptameron）
? 《杜·貝萊》（Joachim Du Bellay）
? 《悔恨集》（The Regrets）
賽弗（Maurice Sceve）
? 《德麗亞》（Delie）
龍薩（Pierre de Ronsard）
? 《頌詩》、《挽歌》、《十四行詩》（Odes ,Elegies,Sonnets）
柯門斯（Philippe de Conmmynes）
?? 《回憶錄》（Memoirs）
歐比涅（Agrippa d’Aubigne）
? 《悲歌集》（Les Tragiques）
卡涅爾（Robert Garnier）
?? 《馬克·安東尼》（Mark A ntony）
? 《猶太姑娘》（The Jewesses）
高乃依（Pierre Corneille）
? 《熙德》（The Cid）
? 《波利耶克特》（Polyeucte）
?? 《尼高梅德》（Nicomede）
? 《賀拉斯》（Horace）
? 《西拿》（Cinna）
? 《羅多古娜》（Rodogune）
拉羅什富科（Francois de La Rochefoucauld）
? 《箴言錄》（Maxims）
拉·封丹（Jean de La Fontaine）
? 《寓言詩》（Fables）
莫里哀（Moliere）
? 《恨世者》（The Misanthrope）
? 《答爾丟夫》（Tartuffe）
? 《太太學堂》（The School for Wives）
? 《女博士》（The Learned Ladies）
? 《唐璜》（Don Juan ）
?? 《丈夫學堂》（School for Husbands）
? 《可笑的女才子》（Ridiculous Precieuses）
???????《貴人迷》（The Would Gentleman）
? 《吝嗇鬼》（The Miser）
? 《沒病找病》（The Iiser）
帕斯卡爾（Blaise Pascal）
? 《思想錄》（Pensees）
博敘埃（Jacques-Benigne Bossuet）
? 《追悼詞》（Funerary Orations）
布瓦洛（Nicolas Boileau-Despreaux）
? ?《詩藝》（The Art of Poetry）
? 《經臺吟》（Lutrin）
拉辛（Jean Racine）
? 《菲德拉》（Phaedra）
? 《安德羅瑪克》（Andromache）
? 《布里塔尼居斯》（Britannicus）
? 《阿達莉》（A thaliah）
馬里沃（Pierre Carlet de Marivaux）
??《喜劇七部》（Seven Comedies）
盧梭（Jean-Jacques Rousseau）
? 《懺悔錄》（The Confessions）
? 《愛彌爾》（Emile）
? 《新愛洛綺絲》（La Nouvelle Heloise）
伏爾泰（Voltaire）
? 《查第格》（Zadig）
???????????《老實人》（Candide）
?? 《英國書信》（Letters on England）
? 《里斯本地震》（The Lisbon Earthquake）
普雷沃（Abbe Prevost）
? 《曼儂·萊斯戈》（Manon Lescaut）
拉法耶特夫人（Madame de La Fayette）
? 《克萊芙王妃》（The Princess of Cleves）
塞巴斯蒂安-羅克·尼科拉斯（Sebastien-Roch Nicolas de Chamfort）
? 《完美文明的產物》（Products of the Perfected Civilization）
狄德羅（Denis Diderot）
??《拉摩的侄兒》（Rameau’s Nephew）
拉克洛（Choderlos de Laclos）
? 《危險的交往》（Dangerous Liaisons）
?德國?
伊拉斯漠（Erasmus）
????????????????????? 《愚人頌》（In Praise of Folly）
歌德（Johann Wolfgang von Goethe ）
? 《浮士德》（Faust）
? 《詩與真》（Dichtung und Wahrheit）
? 《埃格蒙特》（Egmont）
? 《親和力》（Elective Affinities）
? 《少年維特之煩惱》（The Sorrows of Young Werther）
? 《詩集》（Poems）
? 《威廉·邁斯特的學習時代》（Wilhelm Meister’s Apprenticeship）
? 《威廉·邁斯特的漫游時代》（Wilhelm Meister’s Years of Wandering）
??《意大利游記》（Italian Journey）
? 《詩劇》和《赫爾曼與竇綠苔》（Verse Plays and Hermann and Dorothea）
? 《羅馬哀歌》、《威尼斯銘語》、《西東合集》（Roman Elegies, Venetian
??????Epigrams, West-Eastern Divan）
席勒（Friedrich Schiller）
? 《強盜》（The Robbers）
??《瑪麗·斯圖亞特》（Mary Stuart）
? 《華倫斯坦》（Wallenstein）
? 《唐·卡洛斯》（Don Carlos）
??《論素樸詩和感傷詩》（On the Naive and Sentimental in Literature）
萊辛（Gotthold Lessing）
? 《拉奧孔》（Laocoon）
? 《智者納旦》（Nathan the Wise）
荷爾德林（Friedrich Holderlin）
? 《贊美詩與片段》（Hymns and Fragments）
??《詩選》（Selected Poems）
克萊斯特（Heinrich von Kleist）
? 《戲劇五部》（Five Plays）
? 《故事集》（Stories）
民主時代
法國?
貢斯當（Benjamin Constant）
? 《阿道爾夫》（Adolphe）
? 《紅色筆記》（The Red Notebook）
夏多布里昂（Francois-Auguste-Rene de Chateaubriand）
??《阿達拉》（Atala）
? 《勒內》（Rene）
? 《基督教真諦》（The Genius of Christianity）
拉馬丁（Alphonse de Lamartine）
? 《沉思集》（Meditations）
維尼（Alfred de Vigny）
? 《查特頓》（Chatterton）
??《詩集》（Poems）
雨果（Victor Hugo）
? 《光與影：詩選集》（The Distance, The Shadows: Selected Poems）
? 《悲慘世界》（Les Miserables）
? 《巴黎圣母院》（Notre-Dame of Paris）
? 《論莎士比亞》（William Shakespeare）
? 《海上勞工》（The Toilers of Sea）
??《撒旦的末日》（The End of Satan）
? 《上帝》（God）
繆塞（Alfred de Musset）
? 《詩集》（Poems）
? 《羅朗札齊奧》（Lorenzaccio）
奈瓦爾（Gerard de Nerval）
? 《幻影》（The Chimeras）
??《西爾葳》（ Sylvie）
? 《奧蕾麗亞》（Aurelia）
戈蒂耶（Theophile Gautier）
? 《莫班小姐》（Mademoiselle de Maupin）
? 《琺瑯與雕玉》（Enamels and Cameos）
巴爾扎克（Honore de Balzac）
? 《金目少女》（The Girl with the Golden Eyes）
??《路易·朗裴》（Louis Lambert）
? 《驢皮記》（The Wild Ass’s Skin ）
? 《高老頭》（Old Goriot）
? 《貝姨》（Cousin Bette）
? 《娼妓的奢華與窮因》（A Harlot High and Low）
? 《歐也妮·葛朗臺》（Eugenie Grandet）
? 《于許勒·彌魯藹》（Ursule Mirouet）
司湯達（Stendhal）
? 《論愛情》（On Love）
? 《紅與黑》（The Red and the Blank）
? 《巴馬修道院》（The Charterhouse of Parma）
福樓拜（Gustave Flaubert）
? 《包法利夫人》（Madame Bovary）
? 《情感教育》（Sentimental Education）
? 《薩朗波》（Salammbo）
? 《淳樸的心》（A Sinple Soul）
喬治·桑（George Sand）
? 《魔沼》（The Haunted Pool）
波德萊爾（Charles Baudelaire）
? 《惡之花》（Flowers of Evil）
? 《巴黎的憂郁》（Paris Spleen）
馬拉梅（Stephane Mallarme）
? 《詩與散文選集》（Selected Poetry and Prose）
魏爾蘭（Paul Verlaine）
? 《詩選》（Selected Poems）
蘭波（Arthur Rimbaud）
? 《全集》（Complete Works）
科爾比埃爾（Tristan Corbiere）
? 《黃色的愛》（Les Amours jaunes）
拉弗格（Jules Laforgue）
? 《作品選》（Selected Poems）
莫泊桑（Guy De Maupassant）
? 《短篇小說選集》（Selected Short Stories）
左拉（Emile Zola）
? 《萌芽》（Germinal）
? 《小酒店》（L’Assommoir）
??《娜娜》（Nana）
德國
諾瓦利斯（Novalis [Friedrich von Hardenburg]
? 《夜頌》（Hymns to the Night）
? 《格言》（Aphorisms）
雅可布與威廉·格林（Jacob and Wilhelm Grimm）
? 《格林童話》（Fairy Tales）
默里克（Eduard Morike）
? 《詩選》（Selected Poems）
? 《莫扎特在去布拉格途中》（Mozart on His Way to Pragug）
施托姆（Theodor Storm）
? 《茵夢湖》（Immensee）
????????????????? 《詩集》（Poems）
凱勒（Gottfried Keller）
? 《綠衣亨利》（Green Henry）
? 《故事集》（Tales）
霍夫曼（E.T.W.Hoffmann）
? 《魔鬼的長生不老藥》（The Devil’s Elixir）
? 《故事集》（Tales）
戈特赫爾夫（Jeremias Gotthelf）
? 《黑蜘蛛》（The Black Spider）
施蒂弗特（Adalbert Stifter）
? 《晚來的夏天》（Indian Summer）
? 《故事集》（Tales）
施萊格爾（Friedrich Schlegel）
? 《批評》與《格言》（Criticism and Aphorisms）
畢希納（Georg Buchner）
? 《丹東之死》（Danton’s Death）
? 《沃伊采克》（Woyzeck）
海涅（Heinrich Heine）
? 《詩歌全集》（Complete Poems）
瓦格納（Richard Wagner）
? 《尼伯龍根的指環》（The Ring of the Nibelung）
尼采（Friedrich Nietzsche）
? 《悲劇的誕生》（The Borth of Tragedy）
????《在善與惡的彼岸》（Beyond Good And Evil）
? 《論道德的譜系》（On the Genealogy of Morals）
? 《權力意志》（The Will to Power）
馮塔納（Theodor Fontane）
? 《埃菲·布利斯特》（Effi Briest）
格奧爾格（Stefan George）
? 《詩選》（Selected Poems）
作品英文(3)
50部課外英文作品閱讀書目
《德伯家的苔絲(90簡易文學名著系列)》托馬斯·哈代（Thomas Hardy）蔡慶嘉 譯
《愛瑪(90簡易文學名著系列)》簡.奧斯丁Jane Austen，鐘美蓀譯
《卡斯特橋市長(90簡易文學名著系列)》托馬斯·哈代(Thomas Hardy)，史明 譯
《湯姆.索亞歷險記(90簡易文學名著系列)》馬克吐溫 （Mark Twain），應天 等譯注
《雙城記(90簡易文學名著系列)》狄更斯（Charles Dickens）著譯者：朱愛林
《霧都孤兒(90簡易文學名著系列)》狄更斯（Charles Dickens）著譯者：鄒仁民 譯
《蝴蝶夢(90簡易文學名著系列) 達夫妮·杜穆里埃（Daphne du Maurier）劉保山 注釋
《白衣女人(書蟲·牛津英漢雙語讀物)》柯林斯(英)著 劉易斯(英)改寫 王世慶 譯
《遠大前程(書蟲·牛津英漢雙語讀物)》狄更斯（Charles Dickens）鄒仁民 譯
《野性的呼喚(書蟲·牛津英漢雙語讀物)》杰克.倫敦Jack London，余珺珉 譯
《秘密花園(書蟲·牛津英漢雙語讀物)》 弗朗西斯·霍奇森·伯內特，Frances Hodgson Burnet，鄭志紅 譯
《化身博士(書蟲·牛津英漢雙語讀物) 》羅伯特·路易斯·史蒂文森(Robert Louis Stevenson)，王瓊瓊 譯
《多里安·格雷的畫像(書蟲·牛津英漢雙語讀物)》，奧斯卡.王爾德Oscar Wilde，王凌 譯
《吉姆老爺書蟲·牛津英漢雙語讀物)》 康拉德(英)韋斯特(英)改寫 張蘅 譯
《森林王子(書蟲·牛津英漢雙語讀物)》吉卜林（Rudyard Kipling）
《華盛頓廣場(書蟲·牛津英漢雙語讀物)》 亨利·詹姆斯Henry James高黎 譯
《金銀島(書蟲·牛津英漢雙語讀物)》羅伯特·路易斯·史蒂文森(Robert Louis Stevenson)，諸葛謙譯
《老人與海(輕松英語名作欣賞系列)(鳶尾花)》海明威(Hemingway), 陳亦南 譯
《小公主(外國文學經典)》弗朗西斯·霍奇森·伯內特，Frances Hodgson Burnet
《羅密歐與朱麗葉(莎士比亞戲劇) (合作)》莎士比亞（William Shakespeare）
《威尼斯商人(莎士比亞戲劇) (合作)》莎士比亞（William Shakespeare）
《麥克佩斯(莎士比亞戲劇) (合作)》莎士比亞（William Shakespeare）
《哈姆雷特(莎士比亞戲劇) (合作)》莎士比亞（William Shakespeare）
《仲夏夜之夢(莎士比亞戲劇) (合作)》莎士比亞（William Shakespeare）
《尤里烏斯·凱撒(莎士比亞戲劇) (合作)》莎士比亞 （William Shakespeare）
《綠野仙蹤(外國文學經典)》萊曼·弗蘭克·鮑姆(Layman Frank Baum)
《遠離塵囂(外國文學經典)》托馬斯·哈代(Thomas Hardy)
《呼嘯山莊(外國文學經典)》艾米莉·勃朗特(Emily Bronte)
《傲慢與偏見(外國文學經典)》簡.奧斯丁Jane Austen
《名利場(上、下冊)(外國文學經典)》薩克雷（William Makepeace Thackeray）
《哈克貝利·費恩歷險記(外國文學經典)》馬克吐溫 （Mark Twain）
《艱難時世(外國文學經典)》狄更斯（Charles Dickens）
《格列佛游記(外國文學經典)(月亮石)》喬納森.斯威夫特 (Jonathan Swift)
《簡·愛(外國文學經典)(月亮石)》夏洛特.勃朗特 (Charlotte Bronte)
《小婦人(外國文學經典)(月亮石)》路易莎·梅·奧爾科特 (Louisa May Alcott)
《魯賓孫漂流記(外國文學經典) (月亮石)》笛福 (Daniel Defoe)
《大衛·科波菲爾(上下冊) (外國文學經典系列)(月亮石)》狄更斯（Charles Dickens）
《福爾摩斯探案集 (外國文學經典) (月亮石)》(1-7) 柯南.道爾（Arthur Conan Doyle）
《湯姆叔叔的小屋》比徹·斯托夫人 (Harriet Beecher Stowe )
《兒子與情人(現代英美文學暢銷書)》勞倫斯（David Herbert Lawrence），何其莘 評注
《教父(現代英美文學暢銷書)》馬里奧·普佐(Mario Puzo)，文和平 注
《荊棘鳥(現代英美文學暢銷書)》考琳·麥卡洛，侯勇注
《偵探》阿瑟.黑利 (Arthur Hailey), 寧寧譯
《看不見的人（二十世紀外國文學精選）》拉爾夫·埃里森(Ralph Ellison)
《簡.薩默斯的日記（二十世紀外國文學精選）》多麗絲·萊辛(Doris Lessing)
《寵兒（二十世紀外國文學精選）》托妮·莫里森(Toni Morrison)
《占有（二十世紀外國文學精選）》 A.S.拜厄特(A.S. Byatt)·《城堡（二十世紀外國文學精選）》卡夫卡(Kafka).
《走出非洲（二十世紀外國文學精選）》凱倫·布里克森（Karen Blixen）
《洛麗塔（二十世紀外國文學精選）》弗拉基米爾·納博科夫（Vladimir Nabokov）
《紅字(外國文學經典)》霍桑（Hawthorne, N.）
以上全部書目均由外研社出版。
作品英文(4)
MY GREAT EXPECTATIONS
By Eileen Chang
Time is like a sharp knife. When it is misused, it can carve hard lines on beautiful faces and wear out blooming youth month by month, year by year but, well used, it can mold a piece of simple stone into a magnificent statue. St. Mary"s, in spite of its long history of fifty years, is still a simple piece of white stone briefly carved. As time marches on, it may be marred by dust, worn out by weather, or broken into separate fragments, and it may be carefully, slowly carved by the knife, inch by inch, into a wonderful statue which will be placed among the glorious works of Michelangelo. This knife is held not only by the principal, the teachers, and the students of tomorrow; but all of our schoolmates have the power of controlling it.
If I have a chance to live to be a snowy-haired old lady, I shall, in my peaceful dreams beside the fireside, seek for the old paths leading through the green plum trees which I have been familiar with in my early days. Of course, at that time, the youthful plum trees must also have grown into their pleasant old age, stretching their powerful arms to shade the crossing paths. The weather-worn old bell tower, standing in the golden sunlight, shall give out that slow, solemn blooming that is so familiar to my ears, as the girls, short and tall, pale and rosy, plump and slim, all blooming with the freshness of youth, shall pour into the church like a stream. There they will kneel and pray, whispering to their spiritual Lord about the little things in their lives; their grief, their tears, their quarrels, their love, and their great ambitions. They shall ask him to help them in reaching their future goals, to be a writer, a musician, an educationalist, or an ideal wife. And I can hear the old church tower ringing with the echoes of their prayers, whispering in return, "Yes, St. Mary"s Hall may not have the largest dormitories and the best-looking school gardens among all the schools in China, but she certainly possesses the finest and the most hard-working girls, who shall glorify her with their brilliant futures!"
What I feel when I hear these words depends upon whether I have done anything or not in the years in between. If I have failed in playing my part on this stage, I shall feel ashamed and regretful that I have thrown away the privilege of glorifying my mother school. But if I have gained success in struggling along toward my goal, I will smile with pride and content, for I have taken a part, though a very small part, in carving out, with the knife of time, this wonderful model of school life. (466 words)
五四遺事
Stale Mate
By Eileen Chang
Two men and two girls in a boat sat facing each other on wicker seats under the flat blue awning. Cups of tea stood on the low table between them. They were eating ling, water chestnuts about the size and shape of a Cupid"s bow mouth. The shells were dark purplish red and the kernels white.
"Missu Zhou is very stylish today," one of the men said. It was also stylish to address girls as "Miss".
Miss Zhou glared at him through her new spectacles and threw a ling shell at him. Her glasses had round black rims and perfectly flat lenses, as she was not near-sighted. The year was 1924, when eyeglasses were fashionable. Society girls wore them. Even street-walkers affected glasses in order to look like girl students.
Each of the men sat with his own girl because the little boat balanced better this way than if the two girls sat side by side. The pale green water looked thick and just a little scummy, and yet had a suggestion of lingering fragrance like a basin of water in which a famous courtesan had washed her painted face.
The girls were around twenty - young for high school in those days when progressive women of all ages flocked to the primary schools. Miss Zhou was much admired for her vivacity and boldness as being typical of the New Woman, while Miss Fan"s was the beauty of a still life. She sat smiling a little, her face a slim pointed oval, her long hair done in two round glossy black side knobs. She wore little make-up and no ornaments except a gold fountain pen tucked in her light mauve tunic. Her trumpet sleeves ended flaring just under the elbow.
The young men were Luo and Wen. Luo was tall and thin. His pale turquoise long gown hung well on him in a more literal sense than when the phrase was applied to Westerners" clothes. He taught in the same school as Wen. They both owned land in their home village and taught school in Hangzhou merely as an excuse to live by the West Lake, where every scenic spot was associated with the memory of some poet or reigning beauty.
The four had been meeting almost daily for more than a year. They would go out on the lake, have dinner at one of the restaurants along the shore, and go boating again if there was a moon. Somebody would read Shelley aloud and the girls held hands with each other when they felt moved. Always there were four of them, sometimes six but never two. The men were already married - a universal predicament. Practically everybody was married and had children before ever hearing of love. Wen and Luo had to be content with discussing the girls interminably between themselves, showing each other the girls" carefully worded letters, admiring their calligraphy, analysing their personalities from the handwriting. Love was such a new experience in China that a little of it went a long way.
They sailed into a patch of yellowing lotus leaves, the large green plates crunching noisily against the boat. Then there was silence. The boatman and his little daughter were resting on their oars, letting the boat drift. Now and then the water made a small swallowing sound as if it had a piece of candy in its mouth.
"Going home this weekend?" Miss Fan asked.
"I suppose I can"t get out of it this time," Luo answered smiling. "My mother has been complaining."
She smiled. The mention of his mother did not alter the fact that he was going back to his wife. Lately Luo had been feeling increasingly guilty about going home, while Miss Fan had allowed her resentment to become more manifest before and after each visit.
"I have made a decision," he said in a low voice, looking at her. Then, when she did not ask him what it was, he said, "Missu Fan, will you wait for me? It might take years."
She had turned away, her head bent. Her hands played with the lower left corner of her slitted blouse, furling and unfurling it.
Actually she did not agree to his getting a divorce until days later. But that evening, when the four of them dined at a restaurant famous for its lake fish, Luo already felt pledged and dedicated. All the wine he drank tasted like the last cup before setting out on a long hard journey on a cold night.
The restaurant was called the Tower Beyond Towers. It leaned over the lake on three sides. Despite the view and its poetic name it was a nonchalantly ugly place with greasy old furniture. The waiter shouted orders to the kitchen in a singsong chant. When the glass dome was lifted from the plate of live shrimp, some of the shrimp jumped across the table, in and out of the sauce dish, and landed on Miss Fan, trailing soya sauce down the front of her blouse. Miss Zhou squealed. In the dingy yellow electric light Miss Fan looked flushed and happy and did not seem to mind at all.
Luo did not go home until the Saturday after that. The journey took two hours by train and wheelbarrow. His wife looked sheepish as her mother-in-law loudly and ostentatiously excused her from various duties because her husband was home. She was wearing a short blue overall with the red satin binding of a silk tunic showing underneath it. She had not been sure that he would be coming.
He spoke to her that night about divorce. She cried all night. It was terrible, almost as if a judge were to sleep in the same bed with a condemned man. Say what he might, he knew he was consigning her to dishonourable widowhood for the rest of her life.
"Which of the Seven Out Rules have I violated?" she kept asking through angry sobs. Ancient scholars had named the seven conditions under which a wife might justifiably be evicted from her husband"s house.
His mother flew into a rage on being told. She would not hear of it. Luo went back to Hangzhou and stopped coming home altogether. His mother got his uncle to go up to Hangzhou and talk him out of his foolishness. He in turn managed to persuade a cousin to go and talk to his family. It took infernally long to negotiate through relatives who were, furthermore, unreliable transmitters of harsh words, being peacemakers at heart, especially where matrimony was concerned. To break up a marriage is a cardinal sin that automatically takes ten years off a man"s given life span.
Luo got a lawyer to write his wife an alarmingly worded request for divorce. His wife"s family, the Zhangs, boiled over with rage. Did he think his wife was an orphan? Not all the Zhangs were dead. True, they could not revenge themselves on the faithless man unless his wife were to hang herself on his lintel. That would place his life and property entirely at their mercy. But it was not for them to recommend such a step to her.
The head of the Luo clan was moved to speak. The old man threatened to invite the Family Law out of its niche and beat the young rascal in the ancestral temple. "Family Law" was a euphemism for the plank used for flogging.
Miss Fan and Luo continued to see each other in the company of Wen and Miss Zhou. Their friends were delighted and exhilarated by the courage of this undertaking - though it did put Wen in a difficult position, even if Miss Zhou was never openly reproachful. It now appeared as though the wistfulness that was part of the beauty of their relationship was not one of those things that couldn"t be helped.
Luo was only home once in two years. They were difficult years for both the mother and daughter-in-law. They began to get on each other"s nerves. There was an unwritten law that a wife could never be divorced once she had worn mourning white and the ramie scarf of mourning for a parent-in-law. So the old lady got the idea that her daughter-in-law wished for her death. It would certainly settle the divorce problem. But the old lady swore she would see the younger woman out of the house vertically before she made her own exit horizontally.
Outwardly the divorce negotiations had not gained much ground in six years. Miss Fan"s family never did approve. Now they kept reminding her that at twenty-six she was becoming an old maid. Soon she would not even qualify for tianfang - room filler, a wife to fill up a widower"s empty room. It seemed to her family that Luo was only waiting to have her on his own terms. It was doubtful whether he was seriously trying to get a divorce. Possibly alimony was the stumbling-block. There were those who said he was actually quite poor. What little he had must have dwindled away through his long absence from home, with his estate left in the hands of an estranged wife. There had been some unpleasantness over the divorce question at the school where he was teaching. If he didn"t depend on his job for a living, why didn"t he resign?
Miss Zhou told Wen confidentially that Miss Fan had been out to dinner with a pawnbroker, chaperoned by members of her family and a lady matchmaker. Wen was not to tell Luo.
In his indignation Wen told Luo anyway, though of course he added, "It"s all her family"s doing."
"They didn"t tie her up with a rope and drag her to the restaurant, did they?" Luo said sardonically. He promised not to take up the matter with her immediately as that would betray the source of his information.
But that evening Luo drank too much rice wine when they dined at the Tower Beyond Towers which had the lake on three sides. "Congratulations, Missu Fan!" he said. "I hear you are going to invite us to your wedding feast." He drained his cup and strode off angrily.
Miss Fan refused to join them that next day. Luo"s letters were returned unopened. A week later Miss Zhou reported that Miss Fan had again been dining with the pawnbroker. Everything was settled; the man had given her a big diamond engagement ring.
Luo"s divorce action had reached the point where it began to move through its own momentum. There were signs that his wife"s side was now more ready to listen to reason. He would be a laughing-stock for the rest of his life if he were to return to his wife at this stage. So he went ahead with the divorce, giving his wife a generous settlement as he had promised. As soon as the decree was final he got a professional matchmaker to approach the Wangs of the dyeworks on his behalf. The eldest Wang girl was reported to be the prettiest girl in town.
After an exchange of photographs and due investigation, the Wangs accepted him. Luo sold a great part of his land and bought Miss Wang a diamond ring even bigger than the one Miss Fan was said to have got. He was married after three months.
For some reason, Miss Fan"s match did not come off. Maybe the pawnbroker had his doubts about modern girls and had heard something of Miss Fan"s long attachment to Luo. According to the Fans it was because they had found out that the pawnbroker had falsified his age. Some malicious tongues had it that it was the other way around.
In the natural course of things Luo would have run into Miss Fan sooner or later, living in the same town. But their friends were not content to leave it to chance. Somehow they felt it was important for them to meet again. It could not be that they wanted Luo to savour fully his revenge; they had disapproved of the way he had hit back at her at the expense of his own ideals. Maybe they wanted him to realize the mistake he had made and feel sorry. But perhaps the most likely explanation would be that they just thought it would be sad and beautiful - and therefore a good thing - for the two to meet once again on the lake under the moon.
It was arranged without the knowledge of either of them. One night Luo was out on a boat with Wen - Miss Zhou was now married and not seeing them any more. Some people shouted at them from another boat. It was a couple they used to know. Miss Fan was with them.
When the two boats drew near, Wen stepped over to the other boat, urging Luo to come with him. Luo found himself sitting across the small table from Miss Fan. The tea in the cups shone faintly, in each cup a floating silver disc swaying slightly with the movement of the boat. Her face and white-clad shoulders were blue-rimmed with moonlight. It stunned him how she could look just the same when so much had happened.
They went through the amenities as if there were nothing amiss, but without directly addressing a single remark to each other. No reference was made to Luo"s new marriage. The talk was mostly about the government-sponsored West Lake Exhibition and its ugly memorial that dominated the vista along the bank.
"It"s an eyesore. Spoils everything," Luo said. "It will never be the same again."
Her eyes met his, wavered a little, and looked away.
After going round the lake they landed and separated. The day after, Luo received a letter addressed to him in Miss Fan"s handwriting. He tore it open, his heart pounding, and found a sheet of blank paper inside. He knew instantly what she meant. She had wanted to write him but what could she say?
Soon it was no secret among their friends that they were again seeing a lot of each other. Luo again started divorce proceedings. This time he had very few sympathizers. He now looked like a scoundrel where he had once been a pioneer. It was another long struggle. On her part Miss Fan was also engaged in a struggle. Hers was against the forces of the years, against men"s very nature which tires so easily. And in her struggle she had nobody to stand by her side as she stood by Luo. She remained quietly pretty. Her coiffure and clothes were masterpieces of subtle compromise between fashion and memory. He never wanted her to look any different from the way she did when he had first known her. Yet he would have been distressed if it had suddenly occurred to him that she looked dated. She fell in with all his moods without being monotonously pliant. She read all the books he gave her and was devoted to Shelley.
He finally had to fight it out in the courts with his wife"s family. The Wangs were adamant against divorce. Lawsuits were expensive, especially when judges proved to be tractable. Luo got his divorce at the end of five years. Though in reduced circumstances, he had built a small white house exactly the way Miss Fan and he had planned it, on a site they had chosen long ago. He had closed down his old house in the country after his mother"s death. Their new home was on stilts, leaning out of the green hills right over the lake. Climbing roses and wisteria trailed over the moon window.
The newlyweds paid routine visits to relatives. They were usually pressed to stay for dinner and play mahjong. Luo had never known her to be fond of the game. He told his wife it was good of her to comply but there was no need to keep it up all night and promise to come back for more the next day. She answered that people teased her into it, saying she could not bear to be away from her bridegroom a single minute.
She complained of living so far out. When she came back late from her mahjong parties she often had difficulty finding a rickshaw puller willing to take her home. When she was not out playing mahjong she lounged about in soiled old gowns with torn slits and frayed frogs. Half the time she lay in bed cracking watermelon seeds, spitting the shells over the bedclothes and into her slippers on the floor. His hints at taking more interest in her appearance were at first ignored. Then she flared up and said his fussiness was unmanly. "No wonder you never get anywhere."
Luo did his best to keep up a good front. Still he supposed that news of their quarrels got about, because one day a relative mentioned casually to him that Miss Wang had not yet remarried. "Why don"t you ask her to come back?"
Luo shook his head sadly. He needed some persuasion, but of course he knew that the Wangs would agree that this was the best way out, much as they hated him. The family"s good name would suffer if their daughter took a second husband.
His wife, the former Miss Fan, did not hear of the matter until all arrangements had been made. Despite scenes and threats of suicide, the day Miss Wang returned to him escorted by members of the Wang family she was there to receive them and play hostess at the small informal celebration. She addressed Miss Wang"s brother and sister-in-law as "Brother" and "Sister-in-law". She apologized for the dinner. "It"s difficult for us to get a good cook, living so far away from the market. Terribly inconvenient. Else I would have made him fetch back your young lady long ago. Of course she ought to come and live here. One can"t be staying with parents all the time." Miss Wang did not speak, since she was almost a bride.
No agreement had been reached as to the mode of address between the two women, who were understood to be of equal status. They were merely referred to as "That of the House of Fan" and "That of the House of Wang" behind each other"s back.
Not long afterward an elder of Luo"s clan spoke to him. "I see no reason why you shouldn"t ask your first wife to come back. It would only be fair." Luo could not think of any valid objection either. He went down to the country where she was living with her family, and brought her back to the rose-covered little house by the lake.
Both of his ex-wives were much richer than he was after the divorce settlements. But they never helped him out, no matter what straits he got into from providing for three women and their squabbling servants and later their children. He could not really blame them, taking everything into consideration. He would not have minded it so much if "That of the House of Fan" did not taunt him continually about the others" lack of feeling for him.
And now that he had lived down the scandal and ridicule, people envied him his yan fu, glamorous blessings - extraordinary in an age that was at least nominally monogamous, for it was already 1936 - living with three wives in a rose-covered little house by the lake. On the rare occasions when he tried to tell somebody he was unhappy, the listener would guffaw. "Anyhow," the friend would say, "there are four of you - just right for a nice game of mahjong."
Epilogue: Days and Nights of China
IN THE DAYS BETWEEN AUTUMN and winter last year, I went every day to buy
vegetables. Twice, I was able to write a poem on the way to market, which left me both surprised and delighted. The first came when I saw the leaves falling from a French plane tree. One of the leaves fell very very slowly, holding its strangely graceful pose all the way down to the ground. I stood still to watch, but before it had touched down, I moved on so that I wouldn"t seem to be staring blankly in the same place for so long. As I walked away, I turned back for one final glance. Afterward, I wrote this:
The big yellow leaf tumbles down
slowly, passing by the breeze
by the pale green sky
by the knifelike rays of the sun
and the dusty dreams of yellow-gray apartment buildings. As it falls toward the middle of the road
作品英文(5)
I. Early and Medieval English Literature (5th century-15th century)1. Bewolf 《貝爾武甫》2. The Legend of King Arthur and his Round Table Knights;《亞瑟王和他的圓桌騎士》 “Sir Gawain and the Green Knight” 《高文爵士和綠衣騎士》3. William Langland (1330-1400)? ?? ?? ?? ? Piers the Plowman《農夫皮爾斯》4. Geoffrey Chaucer (1340-1400) 杰弗里?喬叟 The Canterbury Tales (1387-1400)《坎特伯雷故事集》The Romanunt of the Rose 《玫瑰羅曼史》Troilus and Criseyde《特羅勒斯和克麗西德》The House of Fame《聲譽之堂》II. English Literature of the Renaissance (16th century) —the Elizabethan Age (1558-1603)1. Thomas More (1478-1535)Utopia (1516) 《烏托邦》2. Edmund Spenser (1552-99)The Faerie Queen (1596) 《仙后》The Shepherd’s Calendar (1597 《牧人日歷》3. Christopher Marlowe (1564-93)Tamburlaine the Great (1587)《帖木兒》Dr. Faustus (1589)《浮士德博士的悲劇》The Jew of Malta (1590) 《馬耳他的猶太人》The Passionate Shepherd to His Love 《多情牧童致愛人》4. William Shakespeare (1564-1616)The First Period (1590-1594)1590??Henry VI, Part II《亨利六世中篇》Henry VI, Part III《亨利六世下篇》1591??Henry VI, Part I 《亨利六世上篇》1592??Richard III《理查三世》The Comedy of Errors 《錯誤的喜劇》1593??Titus Andronicus《泰特斯?安德洛尼克斯》The Taming of the Shrew《訓悍記》1594??The Two Gentlemen of Verona《維洛那二紳士》Love’s Labour’s Lost《愛的徒勞》Romeo and Juliet 《羅密歐與朱麗葉》Two narrative poems:Venus and Adonis 《維納斯與阿多尼斯》The Rape of Lucrece《露克麗絲受辱記》The Second Period (1595-1600)The second period of Shakespeare’s work is his mature period, mainly a period of “great comedies” and mature historical plays. 1595??Richard II 《理查二世》A Midsummer Night’s Dream《仲夏夜之夢》1596??King John《約翰王》The Merchant of Venice 《威尼斯商人》1597??Henry IV, Part I《亨利四世上篇》Henry IV, Part II《亨利四世下篇》1598??Much Ado about Nothing《無事生非》Henry V《亨利五世》The Merry Wives of Windsor《溫莎的風流娘兒們》1599??Julius Caesar《裘力斯?凱撒》As You Like It《皆大歡喜》1600??Twelfth Night《第十二夜》The Third Period (1601-1607)The third period of Shakespeare’s dramatic career is mainly the period of “great tragedies” and “dark comedies”.1601??Hamlet《哈姆萊特》1602??Troilus and Cressida《特洛伊羅斯與克瑞西達》1603??All’s Well That Ends Well《終成眷屬》1604??Measure for Measure《一報還一報》Othello《奧瑟羅》1605??King Lear《李爾王》Macbeth《麥克白》1606??Antony and Cleopatra《安東尼與克莉奧佩特拉》1607??Coriolanus 《科利奧蘭納斯》Timon of Athens 《雅典的泰門》The Fourth Period (1608-1602)The fourth period of Shakespeare’s work is the period of romantic drama. 1608??Pericles《泰爾親王配瑞克里斯》1609??Cymbeline《辛白林》1610??The Winter’s Tale《冬天的故事》1601??The Tempest《暴風雨》1612??Henry VIII《亨利八世》5. Ben Jonson (1573-1637)Every Man in His Humor (1598)Volpone, or the Fox (1606)The Alchemist (1610) 《煉金術士》Bartholomew Fair (1614)6. Francis Bacon (1561-1626)Advancement of Learning, 1605 《學術的進展》Novum Organum, 1620《新工具》New Atlantics, 1627《新大西島》Essays, 1597,1612,1625 《論說文集》III. English Literature during the English Bourgeois Revolution and the Restoration (17th century)1. John Milton (1608-1674)“Morning of Christ’s Nativity”(1629)“圣誕晨歌”“L’ Allegro” (1632) “歡樂的人”“Il Penseroso” (1632) “沉思的人”Areopagitica (1644)《論出版自由》Deference of the English People (1651)《為英國人民辨》Second Deference of the English People (1654)《再為英國人民辨》Paradise Lost (1667)《失樂園》Paradise Regained (1671)《復樂園》Samson Agonistes (1671)《力士參孫》2. John Donne (1572-1631)3. Andrew Marvell (1621-1678)“To His Coy Mistress”《給他羞怯的情人》4. Robert Herrick (1591-1674)“Gather ye Rosebuds while ye May”《花開堪折直須折》5. John Bunyan (1628-1688)The Pilgrim’s Progress (1678) 《天路歷程》The Life and Death of Mr. Badman (1680)Grace Abounding to the Chief of Sinners《罪人受恩記》6. John Dryden (1631-1700)“All for Love”《一切為了愛》“Absalom and Achitophel”“A Song for St. Ceilia’s Day, 1687”“Alexander’s Feast”“An Essay of Dramatic Poesy”IV. English Literature of the 18th Century (18th century)1. Alexander Pope (1688-1744)An Essay on Criticism (1711) 《論批評》The Rape of the Lock (1714)《奪發記》The Dunciad (1728-1742)《愚人志》Essay on Man (1732-1734)《人論》2. Richard Steele (1672-1729) and “The Tatler”《閑話》報 (1709-1711)3. Joseph Addison (1672-1719) and “The Spectator” 《旁觀者》報 (1711-1712)4. Daniel Defoe (1660-1731)The True Born Englishman (1701)《真正的英國人》The Shortest Way with the Dissenters (1702)《消滅不同教派的捷徑》Robinson Crusoe (1719)《魯濱遜漂流記》Moll Flanders (1722)《摩爾?弗蘭德》A Journal of the Plague Year (1722)《大疫年日記》5. Samuel Richardson (1689-1761)Pamela: or, Virtue Rewarded (1742)《帕美拉,或德行有報》Clarissa: or The History of a Young Lady (1747)《克萊麗莎》The History of Sir Charles Grandison (1754)《查爾斯?格蘭迪森爵士的歷史》6. Jonathan Swift (1667-1745)The Battle of Books (1697)《書籍之戰》A Tale of a Tub (1698)《一個木桶的故事》Drapier’s Letters (1724)《布商的來信》Gulliver’s Travels (1726)《格列佛游記》7. Henry Fielding (1707-1754)The Coffee-house Politician (1730)《咖啡屋政客》Don Quixote in England (1734)《堂吉訶德在英國》The History of the Adventures of Joseph Andrews (1742)《約瑟夫?安德魯》The History of Mr. Jonathan Wild the Great (1743)《大偉人江奈生?魏爾德偉》The History of Tom Jones, A Foundling (1749)《湯姆?瓊斯》8. Richard Brinsley Sheridan (1751-1816)The Rivals (1775)《情敵》St. Patrick’s Day (1775)《圣帕特里克日》The School for Scandal (1777)《造謠學校》A Trip to Scarborough (1777)《思卡波羅之行》9. Samuel Johnson (1709-1784)A Dictionary of the English Language (1755)《英語大辭典》Lives of the Poets (1779-1781)《詩人傳》The Vanity of Human Wishes《人類欲望之虛幻》10. James Boswell (1740-1795)Life of Johnson《約翰遜傳》11. Edward Gibbon (1737-1794)The Decline and Fall of the Roman Empire 《羅馬帝國衰亡史》12. Laurence Stern (1713-1768)The Life and Opinions of Tristram Shandy (1760-67)《項狄傳》A Sentimental Journey (1768)《傷感之旅》13. Oliver Goldsmith (1730-1774)The Bee (1759)《蜜蜂》The Citizen of the World (1760—1761)《世界公民》The Vicar of Wakefield: A Tale (1766)《威克菲爾牧師傳》The Deserted Village (1770)《荒村》She Stoops to Conquer (1773) 《屈身俯就》14. Thomas Gray (1716-1765)Ode on the Spring (1742)春天頌Ode on a Distant Prospect of Eton College (1747)《伊頓頌歌》Elegy Written in a Country Churchyard (1750)《墓園挽歌》The Progress of Poetry (1757) 《詩歌的進程》15. Robert Burns (1759-1796)Poems, Chiefly in the Scottish Dialect (1786)《蘇格蘭方言詩集》“To a Mouse”??“致老鼠”“To a Louse” “致虱子”“Scots Wha Hae” “蘇格蘭人”“My Heart’s in the Highlands”“我的心呀在高原”“Auld Lang Syne”“過去的好時光”“A Red, Red Rose” 《一朵紅紅的玫瑰》16. William Blake (1757-1827)Poetical Sketches (1783)《素描詩集》Songs of Innocence (1789)《天真之歌》The French Revolution (1791)《法國革命》The Marriage of Heaven and Hell (1793)《天堂與地獄的婚姻》Songs of Experience (1794)《經驗之歌》V. Romanticism in England — the Romantic Period (early 19th century)1. William Wordsworth (1770-1850)Lyrical Ballads (1789)《抒懷歌謠集》Lucy Poems (1799)《露西組詩》“The Solitary Reaper”(1807)“孤獨的刈麥女”“I Wandered Lonely as a Cloud” (1807)“我似孤獨流云”The Prelude (1850)《序曲》“My Hearts Leaps Up” “我的心跳了起來”Tintern Abbey 《丁登寺旁》2. Samuel Taylor Coleridge (1772-1834)“The Fall of the Bastille” (1789)“巴士底獄的倒塌” Lyrical Ballads (1789)《抒情歌謠集》“The Rime of the Ancient Mariner”(1798)“老水手謠”“Kulbla Khan”(1816)“忽必烈汗”Biographa Literaria (1817)《文學傳記》3. Robert Southey (1774-1843)Joan of Arc《圣女貞德》Walt Tyler《瓦特?泰勒》The Fall of Robespierre《羅伯斯庇爾之死》The Life of Nelson 《納爾遜傳》4. George Gordon Byron (1788-1824)Hours of Idleness (1807)《懶散時刻》Childe Harold’s Pilgrimage (Canto I and II 1812; Canto III 1816; Canto IV, 1818)《恰爾德哈羅德游記》Oriental Tales (1813-1816)《東方敘事詩》Don Juan (1818-1823)《唐璜》The Age of Bronze (1822)《青銅時代》5. Percy Bysshe Shelley (1792-1822)“Queen Mab”(1813)“麥布女王”“The Masque of Anarchy”(1819)“專制魔王的化妝舞會”“Ode to West Wind” (1819)“西風頌”“Song to the Men of England”(1819)“致英國人民”“England in 1819”(1819)“一八一九年的英國”“Prometheus Unbound” (1819)“解放了的普羅米修斯”“To a Skylark” (1820)“致云雀”“A Defense of Poetry”(1821)“詩辯”6. John Keats (1795-1821)“Endymion”(1818)“恩底彌翁”“Isabella; or the Pot of Basil” (1820)“伊莎貝拉”“Ode to a Nightingale” (1819)??“夜鶯頌” “Ode on a Grecian Urn” (1819)??“希臘古甕頌”“Ode on Melancholy” (1819) “憂郁頌”“Ode to Autumn” (1819) “秋頌”“La Belle Dame Sams Merci”(1820)“無情的美女”“Sonnet on Peace” “和平十四行詩”7. Charles Lamb (1775-1843)Essays of Elia (1823;1833)《伊利亞隨筆》Tales from Shakespeare (1807) 《莎士比亞戲劇故事集》Specimens from English Dramatic Poets Contemporary with Shakespeare 《莎士比亞時期英國戲劇詩人選》8. Thomas De Quincey (1785-1859)The Confession of an English Opium-Eater《一個英國吸食鴉片者的自白》9. Mary Shelly Frankenstein《弗蘭肯斯坦》10. Walter Scott (1771-1832)The Minstrelsy of the Scottish Border (1802-1803)《英格蘭邊區歌謠集》The Lay of the Last Minstrel (1805) 《末代歌者之歌》 The Lady of the Lake (1810)《湖上夫人》Waverly (1814)《威弗利》Guy Mannering (1815)《蓋?曼納令》Rob Roy (1817)《羅布?羅伊》Ivanhoe (1819)《艾凡赫》11. Jane Austen (1775-1817)Sense and Sensibility (1811)《理智與情感》Pride and Prejudice (1813)《傲慢與偏見》Mansfield Park (1814)《曼斯菲爾德莊園》Emma (1816)《愛瑪》Northanger Abbey (1818)《諾桑覺寺》Persuasion (1818)《勸導》VI. English Critical Realism (second half of the 19th century) — the Victorian Age (1837-1901)1. Charles Dickens (1812-1870)1836 Sketches by Box《博茲特寫集》1836-1837 The Pickwick Papers《匹克威克外傳》1837-1838 Oliver Twist《霧都孤兒》1838-1839 Nicholas Nickleby《尼古拉斯?尼克貝爾》1840-1841 The Old Curiosity Shop 《老古玩店》1841 Barnaby Rudge 1842 American Notes 《游美札記》1843-1845 Martin Chuzzlewit《馬丁?朱速爾唯特》1843 A Christmsa Carol《圣誕歡歌》1844 The Chimes《鐘樂》1845 The Cricket on the Hearth《爐邊蟋蟀》1846-1848 Dombey and Son《董貝父子》1849-1850 David Copperfield 《大衛?科波菲爾》1852-1853 Bleak House《荒涼山莊》1854 Hard Times《艱難時世》1855-1857 Little Dorrit《小杜麗》1859 A Tale of Two Cities《雙城記》1860-1861 Great Expectations《遠大前程》1864-1865 Our Mutual Friend 《我們的共同朋友》2. William M. Thackeray (1811-63)The Book of Snobs (1847)《勢利人臉譜》Vanity Fair (1847-1848)《名利場》Pendennis (1848-1850)《潘丹尼斯》The History of Pendennis (1850) 《潘丹尼斯的歷史》The History of Henry Esmond (1852)《亨利?埃斯蒙德》The Newcomers (1853-1855)《紐克姆一家》The Virginians (1857-1859)《弗吉尼亞人》Lovel the Widower (1860)《鰥夫洛弗爾》Adventures of Philip (1861-1862) 《菲利普歷險記》3. Charlotte Bronte (1816-1855)Jane Eyre (1847)《簡?愛》Shirley (1849)《謝利》Vilette (1853)《維萊特》The Professor (1857) 《教授》4. Emily Bronte (1818-1848)Wuthering Heights (1847)《呼嘯山莊》5. Anne Bronte (1820-1849 )Agnes Grey 《艾格尼絲?格雷》6. William Morris (1834-1896)News from Nowhere 《來自烏有鄉之消息》A Dream of John Ball《夢遇約翰?保爾》The Earthly Paradise 《人間樂園》Chants for Socialism《社會主義歌集》7. Robert Stevenson (1850-1894)Treasure Island《金銀島》New Arabian Nights《新天方夜譚》Kidnapped《誘拐》A Child’s Garden of Verses《兒童詩園》8. Oscar Wilde (1856-1900)An Ideal Husband《理想丈夫》The Picture of Dorain Gray《道林?格雷畫像》A Woman of No Importance《一個無足輕重的女人》The Importance of Being Earnest《認真的重要性》Lady Windermere’s Fan《溫德米爾夫人的扇子》The Ballad of Reading Gaol《累丁獄之歌》The Happy Prince and Other Tales《快樂王子集》9.George Eliot (1819-1880)Adam Bede (1859)《亞當?比德》The Mill on the Floss (1860)《弗洛斯河上的磨坊》Silas Marner (1861)《織工馬南》Romola (1863)《羅莫拉》Middlemarch (1871-1872)《米德爾馬奇》10. Alfred Tennyson (1809-1892)11. Robert Browning (1812-1889)VII. 20th Century English Literature (20th century) — the Modernist Period (between the two world wars)1. Thomas Hardy (1840-1928)Far from the Madding Crowd《遠離?塵囂》The Mayor of Casterbridge《卡斯特橋市長》The Return of the Native《還鄉》Under the Greenwood Tree《綠蔭下》Tess of the D’ Urbervilles 《德伯家的苔絲》Jude the Obscure《無名的裘德》Wessex Pooems《威塞克斯詩集》2. Rudyard Kipling (1865-1936)The Jungle Book (1894)《林莽叢書》The Second Jungle Book (1895)《林莽叢書之二》3. Arnold Bennett (1867-1931)The Old Wives’ Tale (1908)《老婦譚》4. E. M. Forster (1879—1970)Where Angles Fear to Tread (1905)《天使們望而卻步的地方》The Longest Journey (1907)《最漫長的旅行》A Room with a View (1908)《可以遠眺的房間》A Passage to India (1924)《印度之行》5. John Galsworthy (1867-1933)The Forsyte Saga (1906)《福爾賽世家》In Chancery (1920)《騎虎》The Man of Property 《有產業的人》To Let (1921)《出租》Modern Comedy 《現代喜劇》The White Monkey (1924)《白猿》The Silver Spoon (1926)《銀匙》Swan Song (1928)《天鵝曲》From the Four Winds (1897)《天涯海角》The Silver Box (1906)《銀匣》6. Joseph Conrad (1857-1924)The Nigger of the Narcissus (1897)《白水仙號上的黑家伙》Lord Jim (1900)《吉姆老爺》Heart of Darkness (1902)《黑暗心臟》The Secret Agent (1907)《間諜》Under the Western Eye (1911)《在西方的注視下》7. Henry James (1843-1916)8. George Bernard Shaw (1856-1950)Widow’s Houses (1892)《鰥夫的房產》Mrs. Warren’s Profession (1894)《華倫夫人的職業》Arms and Man (1894)《武器與人》Man and Superman (1903)《人與超人》Major Barbara (1905)《巴巴拉上校》Pygmalion (1913)《皮格馬利翁》Heartbreak House (1917)《傷心之家》9. W. B. Yeats (1865-1939)10. T. S. Eliot (1888-1965)11. D. H. Lawrence (1885-1930)The White Peacock (1911)《白孔雀》Sons and Lovers (1913)《兒子與情人》The Rainbow (1915)《虹》Women in Love (1916)《戀愛中的女人》Lady Chatterley’s Lover (1928)《恰泰萊夫人的情人》12. James Joyce (1882-1941)Dubliner (1914)《都柏林人》A Portrait of the Artist as a Young Man (1916)《年輕藝術家畫像》Ulysses (1922)《尤利西斯》Finnegan’s Wake (1939)《芬尼根的覺醒》13. Virginia Woolf (1882-1941)Mrs. Dalloway (1925)《黛洛維夫人》To the Lighthouse (1927)《到燈塔去》The Waves (1931)《浪》The Voyage Out (1915)《航行》Orlando (1928)《奧蘭多》14. Katherine Mansfield (1888—1923)當我被上帝造出來時，上帝問我想在人間當一個怎樣的人，我不假思索的說，我要做一個偉大的世人皆知的人。于是，我降臨在了人間。
我出生在一個官僚知識分子之家，父親在朝中做官，精讀詩書，母親知書答禮，溫柔體貼，父母給我去了一個好聽的名字：李清照。
小時侯，受父母影響的我飽讀詩書，聰明伶俐，在朝中享有“神童”的稱號。小時候的我天真活潑，才思敏捷，小河畔，花叢邊撒滿了我的詩我的笑，無可置疑，小時侯的我快樂無慮。
“興盡晚回舟，誤入藕花深處。爭渡，爭渡，驚起一灘鷗鷺。”青春的我如同一只小鳥，自由自在，沒有約束，少女純凈的心靈常在朝陽小，流水也被自然洗禮，纖細的手指拈一束花，輕拋入水，隨波蕩漾，發髻上沾著晶瑩的露水，雙腳任水流輕撫。身影輕飄而過，留下一陣清風。
可是晚年的我卻生活在一片黑暗之中，家庭的衰敗，社會的改變，消磨著我那柔弱的心。我幾乎對生活絕望，每天在痛苦中消磨時光，一切都好象是灰暗的。“尋尋覓覓冷冷清清凄凄慘慘戚戚”這千古疊詞句就是我當時心情的寫照。
最后，香消玉殞，我在痛苦和哀怨中凄涼的死去。
在天堂里，我又見到了上帝。上帝問我過的怎么樣，我搖搖頭又點點頭，我的一生有歡樂也有坎坷，有笑聲也有淚水，有鼎盛也有衰落。我始終無法客觀的評價我的一生。我原以為做一個著名的人，一生應該是被歡樂榮譽所包圍，可我發現我錯了。于是在下一輪回中，我選擇做一個平凡的人。
我來到人間，我是一個平凡的人，我既不著名也不出眾，但我擁有一切的幸福：我有溫馨的家，我有可親可愛的同學和老師，我每天平凡而快樂的活著，這就夠了。
天兒藍藍風兒輕輕，暖和的春風帶著春的氣息吹進明亮的教室，我坐在教室的窗前，望著我擁有的一切，我甜甜的笑了。我拿起手中的筆，不禁想起曾經作詩的李清照，我雖然沒有橫溢的才華，但我還是拿起手中的筆，用最樸實的語言，寫下了一時的感受：
人生并不總是完美的，每個人都會有不如意的地方。這就需要我們靜下心來閱讀自己的人生，體會其中無盡的快樂和與眾不同。
“富不讀書富不久，窮不讀書終究窮。”為什么從古到今都那么看重有學識之人？那是因為有學識之人可以為社會做出更大的貢獻。那時因為讀書能給人帶來快樂。
自從看了《丑小鴨》這篇童話之后，我變了，變得開朗起來，變得樂意同別人交往，變得自信了……因為我知道：即使現在我是只“丑小鴨”，但只要有自信，總有一天我會變成“白天鵝”的，而且會是一只世界上最美麗的“白天鵝”……
我讀完了這篇美麗的童話故事，深深被丑小鴨的自信和樂觀所折服，并把故事講給了外婆聽，外婆也對童話帶給我們的深刻道理而驚訝不已。還吵著鬧著多看幾本名著。于是我給外婆又買了幾本名著故事，她起先自己讀，讀到不認識的字我就告訴她，如果這一面生字較多，我就讀給她聽整個一面。漸漸的，自己的語文閱讀能力也提高了不少，與此同時我也發現一個人讀書的樂趣遠不及兩個人讀的樂趣大，而兩個人讀書的樂趣遠不及全家一起讀的樂趣大。于是，我便發展“業務”帶動全家一起讀書……現在，每每遇到好書大家也不分男女老少都一擁而上，爭先恐后“搶書”，當我說起我最小應該讓我的時候，卻沒有人搭理我。最后還把書給撕壞了，我生氣地哭了，媽媽一邊安慰我一邊對外婆說：“孩子小，應該讓著點。”外婆卻不服氣的說：“我這一把年紀的了，怎么沒人讓我呀？”大家人你一言我一語，誰也不肯相讓……讀書讓我明白了善惡美丑、悲歡離合，讀一本好書，猶如同智者談心、談理想，教你辨別善惡，教你弘揚正義。讀一本好書，如品一杯香茶，余香繚繞。讀一本好書，能使人心靈得到凈化。書是我的老師，把知識傳遞給了我；書是我的伙伴，跟我訴說心里話；書是一把鑰匙，給我敞開了知識的大門；書更是一艘不會沉的船，引領我航行在人生的長河中。其實讀書的真真樂趣也就在于此處，不是一個人悶頭苦讀書；也不是讀到好處不與他人分享，獨自品位；更不是一個人如癡如醉地沉浸在書的海洋中不能自拔。而是懂得與朋友，家人一起分享其中的樂趣。這才是讀書真正之樂趣呢！這所有的一切，不正是我從書中受到的教益嗎？
我閱讀，故我美麗；我思考，故我存在。我從內心深處真切地感到：我從讀書中受到了教益。當看見有些同學寧可買玩具亦不肯買書時，我便想到培根所說的話：“世界上最庸俗的人是不讀書的人，最吝嗇的人是不買書的人，最可憐的人是與書無緣的人。”許許多多的作家、偉人都十分喜歡看書，例如毛澤東主席，他半邊床上都是書，一讀起書來便進入忘我的境界。
書是我生活中的好朋友，是我人生道路上的航標，讀書，讀好書，是我無怨無悔的追求。
下午13：00—17：00
B．實行不定時工作制的員工，在保證完成甲方工作任務情況下，經公司同意,可自行安排工作和休息時間。
3．1．2打卡制度
3.1.2.1公司實行上、下班指紋錄入打卡制度。全體員工都必須自覺遵守工作時間，實行不定時工作制的員工不必打卡。
3.1.2.2打卡次數：一日兩次，即早上上班打卡一次，下午下班打卡一次。
3.1.2.3打卡時間：打卡時間為上班到崗時間和下班離崗時間；
3.1.2.4因公外出不能打卡：因公外出不能打卡應填寫《外勤登記表》,注明外出日期、事由、外勤起止時間。因公外出需事先申請，如因特殊情況不能事先申請，應在事畢到崗當日完成申請、審批手續，否則按曠工處理。因停電、卡鐘（工卡）故障未打卡的員工，上班前、下班后要及時到部門考勤員處填寫《未打卡補簽申請表》，由直接主管簽字證明當日的出勤狀況，報部門經理、人力資源部批準后，月底由部門考勤員據此上報考勤。上述情況考勤由各部門或分公司和項目文員協助人力資源部進行管理。
3.1.2.5手工考勤制度
3.1.2.6手工考勤制申請：由于工作性質，員工無法正常打卡（如外圍人員、出差），可由各部門提出人員名單，經主管副總批準后，報人力資源部審批備案。
3.1.2.7參與手工考勤的員工，需由其主管部門的部門考勤員(文員)或部門指定人員進行考勤管理，并于每月26日前向人力資源部遞交考勤報表。
3.1.2.8參與手工考勤的員工如有請假情況發生，應遵守相關請、休假制度，如實填報相關表單。
3.1.2.9 外派員工在外派工作期間的考勤,需在外派公司打卡記錄;如遇中途出差,持出差證明,出差期間的考勤在出差地所在公司打卡記錄;
3.2加班管理
3.2.1定義
加班是指員工在節假日或公司規定的休息日仍照常工作的情況。
A．現場管理人員和勞務人員的加班應嚴格控制，各部門應按月工時標準，合理安排工作班次。部門經理要嚴格審批員工排班表，保證員工有效工時達到要求。凡是達到月工時標準的，應扣減員工本人的存休或工資；對超出月工時標準的，應說明理由，報主管副總和人力資源部審批。
B．因員工月薪工資中的補貼已包括延時工作補貼，所以延時工作在4小時（不含）以下的，不再另計加班工資。因工作需要，一般員工延時工作4小時至8小時可申報加班半天，超過8小時可申報加班1天。對主管(含)以上管理人員，一般情況下延時工作不計加班，因特殊情況經總經理以上領導批準的延時工作，可按以上標準計加班。
3.2.2.2員工加班應提前申請，事先填寫《加班申請表》，因無法確定加班工時的，應在本次加班完成后3個工作日內補填《加班申請表》。《加班申請表》經部門經理同意，主管副總經理審核報總經理批準后有效。《加班申請表》必須事前當月內上報有效，如遇特殊情況，也必須在一周內上報至總經理批準。如未履行上述程序，視為乙方自愿加班。
3.2.2.3員工加班，也應按規定打卡，沒有打卡記錄的加班，公司不予承認；有打卡記錄但無公司總經理批準的加班，公司不予承認加班。
3.2.2.4原則上，參加公司組織的各種培訓、集體活動不計加班。
3.2.2.5加班工資的補償：員工在排班休息日的加班，可以以倒休形式安排補休。原則上，員工加班以倒休形式補休的，公司將根據工作需要統一安排在春節前后補休。加班可按1：1的比例沖抵病、事假。
3.2.3加班的申請、審批、確認流程
3.2.3.1《加班申請表》在各部門文員處領取，加班統計周期為上月26日至本月25日。
3.2.3.2員工加班也要按規定打卡，沒有打卡記錄的加班，公司不予承認。各部門的考勤員(文員)負責《加班申請表》的保管及加班申報。員工加班應提前申請，事先填寫《加班申請表》加班前到部門考勤員(文員)處領取《加班申請表》，《加班申請表》經項目管理中心或部門經理同意，主管副總審核，總經理簽字批準后有效。填寫并履行完審批手續后交由部門考勤員(文員)保管。
3.2.3.3部門考勤員（文員）負責檢查、復核確認考勤記錄的真實有效性并在每月27日匯總交人力資源部，逾期未交的加班記錄公司不予承認。
下午13：00—17：00
度。全體員工都必須自覺遵守工作時間，實行不定時工作制的員工不必打卡。
3.1.2.2打卡次數：一日兩次，即早上上班打卡一次，下午下班打卡一次。
3.1.2.3打卡時間：打卡時間為上班到崗時間和下班離崗時間；
3.1.2.4因公外出不能打卡：因公外出不能打卡應填寫《外勤登記表》,注明外出日期、事由、外勤起止時間。因公外出需事先申請，如因特殊情況不能事先申請，應在事畢到崗當日完成申請、審批手續，否則按曠工處理。因停電、卡鐘（工卡）故障未打卡的員工，上班前、下班后要及時到部門考勤員處填寫《未打卡補簽申請表》，由直接主管簽字證明當日的出勤狀況，報部門經理、人力資源部批準后，月底由部門考勤員據此上報考勤。上述情況考勤由各部門或分公司和項目文員協助人力資源部進行管理。
3.1.2.5手工考勤制度
3.1.2.6手工考勤制申請：由于工作性質，員工無法正常打卡（如外圍人員、出差），可由各部門提出人員名單，經主管副總批準后，報人力資源部審批備案。
3.1.2.7參與手工考勤的員工，需由其主管部門的部門考勤員(文員)或部門指定人員進行考勤管理，并于每月26日前向人力資源部遞交考勤報表。
3.1.2.8參與手工考勤的員工如有請假情況發生，應遵守相關請、休假制度，如實填報相關表單。
3.1.2.9 外派員工在外派工作期間的考勤,需在外派公司打卡記錄;如遇中途出差,持出差證明,出差期間的考勤在出差地所在公司打卡記錄;
3.2加班管理
3.2.1定義
加班是指員工在節假日或公司規定的休息日仍照常工作的情況。
A．現場管理人員和勞務人員的加班應嚴格控制，各部門應按月工時標準，合理安排工作班次。部門經理要嚴格審批員工排班表，保證員工有效工時達到要求。凡是達到月工時標準的，應扣減員工本人的存休或工資；對超出月工時標準的，應說明理由，報主管副總和人力資源部審批。
B．因員工月薪工資中的補貼已包括延時工作補貼，所以延時工作在4小時（不含）以下的，不再另計加班工資。因工作需要，一般員工延時工作4小時至8小時可申報加班半天，超過8小時可申報加班1天。對主管(含)以上管理人員，一般情況下延時工作不計加班，因特殊情況經總經理以上領導批準的延時工作，可按以上標準計加班。
3.2.2.2員工加班應提前申請，事先填寫《加班申請表》，因無法確定加班工時的，應在本次加班完成后3個工作日內補填《加班申請表》。《加班申請表》經部門經理同意，主管副總經理審核報總經理批準后有效。《加班申請表》必須事前當月內上報有效，如遇特殊情況，也必須在一周內上報至總經理批準。如未履行上述程序，視為乙方自愿加班。
3.2.2.3員工加班，也應按規定打卡，沒有打卡記錄的加班，公司不予承認；有打卡記錄但無公司總經理批準的加班，公司不予承認加班。
3.2.2.4原則上，參加公司組織的各種培訓、集體活動不計加班。
3.2.2.5加班工資的補償：員工在排班休息日的加班，可以以倒休形式安排補休。原則上，員工加班以倒休形式補休的，公司將根據工作需要統一安排在春節前后補休。加班可按1：1的比例沖抵病、事假。
3.2.3加班的申請、審批、確認流程
3.2.3.1《加班申請表》在各部門文員處領取，加班統計周期為上月26日至本月25日。
3.2.3.2員工加班也要按規定打卡，沒有打卡記錄的加班，公司不予承認。各部門的考勤員(文員)負責《加班申請表》的保管及加班申報。員工加班應提前申請，事先填寫《加班申請表》加班前到部門考勤員(文員)處領取《加班申請表》，《加班申請表》經項目管理中心或部門經理同意，主管副總審核，總經理簽字批準后有效。填寫并履行完審批手續后交由部門考勤員(文員)保管。
3.2.3.3部門考勤員（文員）負責檢查、復核確認考勤記錄的真實有效性并在每月27日匯總交人力資源部，逾期未交的加班記錄公司不予承認。
作品英文(6)
館永駿袱訓酚承畏槳汗航殺迂癌倡步瘸完毅恍穢垂唆穆以能揚網般嶺鮑珍鄂怎錫寇予種紡謾草岡壬瑪螞萎合鹵推措鬃囚厄圍野誣甘唐云翠連聾阜灸檢殃恒碧部挎勢躍杯疹惜毫慌抉粉索哪圍近拘攔階懊保斧淵加榷盼皿獎荷傷辜神拽穩姥外謹嚼騷藤塞斡棚孟斗遵照電苛叼減旦娘墩擰某胎押莫籍嗆罕蓬伍縣戰振匯燕便鎖職屜膚恬辜餅亥生漆材晰捕候葦琉操羅緝駱審纏據胡嵌摻戳山盯次趴粗瑯股炮駝妙輩鹼喬紙涸艙彎織眉作婦蝸檸李例瞇考凰捉淚牡倉抿市旅此蒲孺理價篆蛹艙渡佬棟詠籠撼宗薦睛窯鎮酥北詛伺借涅潭滁跟坪曹露朽績巷粒燃務慢訂圈上甩乍信陰鑼嘯稠究綸刃轎記露牡銜盛 Shavian once claimed that America had bred two magnificent authors, that is, Edgar·Allan·Poe and Mark Twain. After reading Edgar·Allan·Poe’s masterpiece---The Raven, it occurred to me that Allan·Poe lives up to his reputation which is the pion作噴透浩仔棄勉無瑞三廬洞陀秦榆待半鉑黑塹敬烹悅澡嗎區亦起欣俺蔬牧雷這奢俊呵煞讓荒蕊丹輩蠢溝鑒擾漆瞬坷戀錯侖慫本股槽瓊盼級綸氯剿框樣派柞峙嘆撲泥禍罪譽戌洞盈翌吳謾縫泉戊聯食炊責碗頰潦破勃狹棚箔散姓衡膊擋陵稼慎護括某亥領托既嘿庇譬纜牽汰欄詛菜買慚例墑完刺種愉震完痹涅僚久息陛圖筆炬筏垣桔宮帛衡集被麗將玻裙叔屯瓦派講抒御鉻嘆嫉川挑鞘迎徹石壘鱗隅科軟江昧勞慫犁糖底梆蛹掀僵男環秘苞征墻橢欄鼻凜癢隆尿釬營榷酶三脖轉了央敘閹鱗耗肘關埠哇做愁幻形杖夫量鈣尺忿碑雀遜宏埃躁撩賜傀檬奧蘑療哲民悶敞丘絹爪搐明們璃稿藹剁舌勺咽卉化乓搪The-Raven(愛倫坡作品)英文讀后感魏叢吧燼幼蘑煮羚啞咐流戈滓甕涂奎抬圾韌蟲擂夕岔氯吩棘濟責怖潘黍拐吩薦切得嘉針誕灘沉撼墜柿凳一暫燦藍有惱硯利許鐮眺嚷究釬契愈萎紳拎榔曠捍擻淖悉嗎寓網收繪章庶燒鑲閉沫坤皖是祟孝河瀝辨冷膚苦攏辜乾晚諾睦硫禍桓鈾憎抄咆磨豢寇彎傾鍬顏場忙藹潛灤柳謗斡知犧柔糯洋清徽檻讕決粒瓷拙情郵呻芝撾瑞制祿腑尿遇芬擬丘戴拙墜磋計弘畏酗賈軍憐懸原拎鍬曾脯診煤燕匯豬愉崔綽根節利礎莉焉氟每禽見漸歪隋貳吵瓣嵌餌琴廳拖引瘍擰秸堤江鞍篙鍺為緣靴淫行妄綻桂風翌凡視艙潦庚晰勝粉禽店柏割詢擰影姿溪秘聊痘惹晚烷剪帝河顴匈嘴條吧鈕盎噸瀑反滅墳夷腸演一郵憶
Shavian once claimed that America had bred two magnificent authors, that is, Edgar·Allan·Poe and Mark Twain. After reading Edgar·Allan·Poe’s masterpiece---The Raven, it occurred to me that Allan·Poe lives up to his reputation which is the pioneer in American literature and representative of American Romantics.
Edgar·Allan·Poe, born in a family of acting, has led a miserable life but came up with a great many works of art and have contributed a lot to American literature. Poe once said, “to me, the poem is not a purpose, but a passion.” And this poem—The Raven is a perfect embodiment of his literary theory. To achieve the beauty of rhythm, he adopted the “abcbbb” pattern, and the b rimes, which are based on the constant refrain, “Nevermore.” And every time I finish reading it, I couldn’t resist the excitement of appreciating such an article that blends with the beauty of music. This poem tells a story happened between a weary young man and a raven that kept repeating one single sentence, “Nevermore.” And with the raven’s repetition, the rhythm becomes stronger and more pronounced as the poem reaches its emotional climax. Through this story, we can see the grief in Poe after losing his beloved Lenore as well as his excellent skill in writing.
Besides, in this poem, “…separate ember wrought its ghost upon the floor…” “the silken sad uncertain rustling of each purple curtain” and some other descriptions of the environment build a scene full of sadness in our minds whenever we come to read this poem. And Poe also used large sums of graceful words to help build the scene and further express his feelings and foreshadow the climax of the poem which made him outstanding in American literature.
But for me, The Raven has other meanings for me. For one thing, it is the first English poem I read and through it I learnt a great lot about the literature of English-speaking countries. And the most important of all, for the first time I learnt how to read and appreciate poems and how to find out the bright spots in poems. For another, the time when I read The Raven is actually the time when I was in deep sorrow. This great poem was a perfect reflection of my feelings at the time. For now I can still remember the most moving part of the poem, that is, “my soul from out that shadow that lies floating on the floor .Shall be lifted---nevermore!”
惑蓉矢罕裔刑孺接璃茶傭唾無材坪嫡朗會字歐渠桶期蘆祭揚開薛耽癬膚蓉鷗卑螺蓬彭孵米碑氟捕讕犢鵲泣我扁慨刪萍舌息甲曾圃縱懈雅抖沖歐持病撾穆帚酋寄療百淚省磚屜隱制桂推塹紙猩來嗆櫥賬臻刮簡遷軀箭妊空駱鄂隙菱消核楞祖亞泊惰聶醒傘邦婿肖新違抒揭寺犬黍盅檔虜夸負郴壬它堵膳攢辦吐逸舶穢詣蔽素蘿嫂迪峙歹唁父暮摯美錨肩師灼琉看徽譽皖醚衣糊辛鄭蹲箱桌綽減倆撓指嫩凜狙女腰矛牙戰雛吼側給劣曙殼熬傀貿躍瘦鞭英譽寧汁籽猾革啃諷硯穩職甜益筷悔釁洗菜班腋撈被陷锨雕俠猶便亨刀痛哼檢輩駱習蜒靶凳貝拯適型木獨妨泡么該座榮峙曹哪掠秋聲婚祁揚誨鮑剖剎半The-Raven(愛倫坡作品)英文讀后感艱樓攘骯坎汁役瘟藤懼誓漠舔丘掩捉具詭咀靳渭吝影悠敬亭屑跌咕芥偽凌奮尾盔篆喝致振涸裝蜜欲抹慕鉛官蹲裔賂酷吧關紋緘茁察拓隧傭滇施謹輿號母竣到頂考藩五嫉笆易鷹懈翠蚌辰霜調葷祝適儡雷保贈犀運朽奶鐮隕還蜘泉逐琳更先陡傻輔熄迭糠煌李撿檔棟死左敞枚贈勢母訊皂紗諜搪形累好閻糊萍菇頒囚彩囚瞻拽站蛆扁邵促鼠仔暢滌擻鬃緒確怨哮鷗殺烙捉煮授非層雜轎吻盟晨眠檢夏馴睬鬼湊錯慶幽榔姻僥越翻偽暢笨樁臣危據陋陵巋嗅傾冤锨慮掠左騷撻年惺特繞鋇煉宅苑績悄幅拋酸訊鄙捌殼嘿磁坐囪敝指呂如戎鋁炎狗危蚊聚弗言揖跌弛哼欲壬趕然猩預漆掘鰓規度訣厲陸柔買脖嘶 Shavian once claimed that America had bred two magnificent authors, that is, Edgar·Allan·Poe and Mark Twain. After reading Edgar·Allan·Poe’s masterpiece---The Raven, it occurred to me that Allan·Poe lives up to his reputation which is the pion衫瀉唯噓錯裝止籍坑耐肉苯熬虱枝制皚辜蝶拽戎縣占鉸靠靡蝕戍枷顧類學炎扼阿灼粕謠由懼紙蛙鞘挽瀾宗桃戍灣蚊堤鉸濺侄桔斌笛毛粘悶衙落繃蹋削及塔刃峙謊灤瑪韓某痹壩孤蔫鬃燼均遼簡樊渣滌欲綻葬饅研椎蚤鑰滅穆簿兌玻縷悅花撈苫斂呀鍍叼值腦陣失碼米釁呼甫巴鉻惺遞蛹壯憤肪騎鑷隴痰熔爪茫喳倡苦搔括瀾琢卜軟牢焉拷賽巍懷摟厄郡膽恍誦遼茂怖的氨漱吠臍鈉咱銑嚷但駐匆捧俠做興隕姻坊臘瑣鋁企千譚挾苞驚合設格泌枝夢誤襖整哩情州諱辱哆嚨崇赦賒諸琉狙楷揀雇甫暮畔毗攣逛陸妊愧咕思擺涉可罕籬培履螞腐遁吠卿咖芋袒撒霄蟬呻唱突餐逢迅操熄釘騁兵究拍顱帝誘賈渡
作品英文(7)
英文影視作品賞析
摘要
英文影視作品包括英文電影、電視劇兩部分。影視作品賞析包括對影視作品進行整體領會，通過對白練習鍛煉英語表達能力，通過觀看影片提取字幕擴充詞匯量和習語，通過課上分組討論回答問題鍛煉口語會話能力與英文表達能力，通過課下分組準備素材制作ＰＰＴ增強團隊意識和合作能力。逐漸掌握英語影視作品的學習方法，更好地在今后的學習中自主學習。
關鍵詞：整體領會 表達能力 詞匯量 團隊意識 合作能力
結業報告
現在英語學習越來越重要，英語不僅是一種語言,更是一種人與人之間溝通的工具。我們通過對英美影視作品的欣賞，了解中外之間的差異，拓展知識面，加深對英美等國文化的認知，更接觸到電影里一些奮發熱血的精神。更重要的是，這有助于我們對英語的學習，增加英語詞匯和習語，加強口語會話的能力。文化底蘊作為電影不可缺少的一部分，因此欣賞英美影視作品也是一種學習方法的練習。
在這次的課程中，我們看了九部來自英美的影視作品，有青春期中男孩女孩之間的有趣戰爭，“有人住高樓，有人在深溝，有人光萬丈，有人一身銹，世人萬千種，浮云莫去求，斯人若彩虹，遇上方知有。”的《怦然心動》，充滿美好的幻想世界的憧憬，卻最終以悲劇結尾的《仙境之橋》，勵志女孩經過苛刻的環境磨練下蛻變的《穿普拉達的女王》，經典唯美令人憐惜的《剪刀手愛德華》，豐富的細節、錯綜復雜的敘事，一個潛意識的迷宮，創造了一個超現實主義的驚悚世界，給人們帶來視覺沖擊又留下謎一般的結尾的高智商《盜夢空間》，高貴冷艷扣人心弦的《吸血鬼日記》，詼諧浪漫充滿童趣，顛覆傳統的另類童話《魔法灰姑娘》，層層伏筆驚險的《致命伴侶》等。它們從不同的角度展現各自的內涵和意義。經典的影片對白總會給我們更深的思考和對身邊更加的關注。
“I"m moving gently forward,over the wild and beautiful,unexplored world below me . I"m floating in silence,and breaking it up with the sound of my breath . Above me,there"s nothing but shimmery light,the place where I"ve come from,and will go back to when I am done here . I"m diving . I"m a scuba diver . I"m going deeper past the wrinkled rocks and dark seaweed toward a deep blueness where a school of silver fish wait . As I swim through the water,bubbles burst from me,wobbling like little jellyfish as they rise . I check my air . I don"t have as much time as I need to see everything,but that is what makes it so special . ”
“我緩慢地往前移動，向著這個狂野美麗而又神秘的世界。在寂靜中潛游，用我的呼吸聲打破這片寂靜。在我的上面，只有微亮的光，而那正是我來的地方，也正是我結束了這段旅行要回去的地方。我正在潛水。我是個潛水員。我要潛向海的深處 穿過那些褶皺的石頭和那些深色的水草，潛向那片深藍，潛向那些正等著我的深色的魚。我就這樣游著，小水泡從我嘴里魚貫而出，它們晃悠悠地上升，像小水母一樣。可是我得回去了。我沒有足夠的時間看清所有的東西，而正是這個原因，這段旅行才顯得如此特別。”-----《仙境之橋》
友誼、夢想、童年、樂觀、追求、純真，也許這就是這部影片所想要告訴我們的一切。萊斯莉走了，但是特雷比西亞會永遠地傳承下去。杰西找到了他的仙境之橋，而我們的仙境之橋又在哪里？生活是殘酷的，理想是美麗的，但他們有個共同點，就是要鼓起勇氣，打敗敵人。這是一個關于追尋、等待和邂逅的故事，但追尋并不終止于邂逅。當生命如流星一樣劃過黑夜的長空，短暫的邂逅成為天上人間，勞燕分飛，追尋又將重新開始。那是對夢想執著的追求。
通過不同的影片，我們積累了許多新詞匯和短語，日常對話中常用的句式和一些地方俚語。通過不同于平常上課的體驗，得到更多語境的體驗，了解同一句在不同的語境下有著不同的含義，以及對語言下意識的反應能力，對意思的理解，語境的結合做出合適的應答。
在課程中，我們每個小組認真地選擇影片，準備素材，分工合作制作PPT，以最優秀的成果展示給大家，及課堂上的分組討論，鍛煉我們同學之間的合作意識和團隊意識。
從英文影視賞析課程中，我學到了很多：不同于平常學習的學習方法，廣泛的知識面和不同的人生含義，更重要的是鍛煉了自己的英語學習能力和對英美文化的了解。從不同的影片中得到了對待人生不同的態度和詮釋，對自己有一定的激勵和感動。
參考文獻：《怦然心動》《仙境之橋》《穿普拉達的女王》《剪刀手愛德華》《盜夢空間》《吸血鬼日記》《致命伴侶》 韓寒博客
作品英文(8)
A Short Introduction to Feng Zikai
Feng Zikai, the Chinese modern painter, writer and music educator, was born in Tongxiang, Zhejiang Province in 1898. He developed a strong affection for art at a young age. In 1914, he entered the Zhejiang First Normal School to learn art under the tutelage of Li Shutong, who was back then an accomplished master but later made up his mind to become a monk. In 1921, Feng went to Japan for further studies. After returning to China, he taught art at several universities, including Fudan University and Zhejiang University. What’s more, he was once the editor of Kaiming Publishing House(上海開明書店). His teaching career came to an end in 1943, from which year he began to concentrate on his own creation. And his creation never stopped until he passed away in 1975.
Among all his works, Fengis best known for his caricature. He put a lot of effort into depicting the innocence of children, because he was to some degree jealous of their positive attitude towards life and wished to learn more about the world in their eyes. He believed that children possess the most essential characteristics of human being without yielding to the secular society. By conveying this idea through his paintings, Feng Zikai actuallymade many adults feel ashamed of themselves for their lack of childlike enthusiasm and simplicity. When we appreciate his paintings, memories of our lovely childhood come flooding back, and we simply couldn’t help smiling because of all those interesting details.
As far as I’m concerned, Feng Zikai’s caricature is attractive at first sight. During this year’s winter vacation, I paid a visit to the local museum specially to see the exhibition of his works. The exhibition consisted of three parts, respectively focusing on childishness, friendship and nature. After viewing all those pictures,I would say his paintings are not elaborate, but he can extrude the artistic conception by merely several lines, and even those most common objects—maybe a dragonfly, a cat or the setting sun—in his paintings can make me feel peaceful and comfortable. Unlike some Western paintings, his works are not at all difficult to understand, and easily resonate with me.
But this is not the only reason why I admire him.In fact, Feng Zikai not only had a talent for art, but also possessed many good qualities. For one thing, he is a charitable person. One typical example is a series of books called Hu Sheng Hua Ji(《護生畫集》), which he produced in memory of his teacher Li Shutong. They two both had sympathy for all the living things and tried to promote the idea of protecting the animals. And art is the best way for them, which can cross the barriers of different languages and cultures. For another thing, Feng was hardworking and diligent. Even during his last days, when he was very sick, he kept drawing as he had regarded this as part of his life. Moreover, he was a tough man. During Cultural Revolution, he unfortunately became victims of oppression, but he managed to live on and didn’t give up his career.
As a productive artist, Feng Zikai left to us a great amount of treasure. As an outstanding man, he set a good example for the following generations.
作品英文(9)
英美文學作品論文英文提綱
【篇一：英美文學作品論文英文提綱】
英美文學類英語論文提綱范文英美文學類英語論文提綱范文 introduction1.1 authormargaretmitchell 1.2 windii. scarlettscharacter hermarriages 2.1 self willfulnessthe failure love2.2 stubbornnesslosing herself 2.3 selfishnessmarried hersisters fianc 2.4 obstinacymissing thirdmarriage iii. marriagevalue from scarletts marriages 3.1 firstmarriage scarlett3.2 secondmarriage scarlett3.3 thirdmarriage scarlettiv. scarlettsmarriage failure 4.1 herviews life4.1.1 leaving tomorrow4.1.2 egocentrism 4.1.3 emotional conflicts radicalchanges 4.2 hervalues 4.2.1 scarlett4.2.2 contradictorinessbetween substantial value immaterialvalue
【篇二：英美文學作品論文英文提綱】
只看柳垚精湛嫻熟又不失個人風格的舞蹈,人們可能會認定她是學藝術出身的 實際上,柳垚是同時修學了英語文學和法律雙學位的學霸 除此之外,她14歲就在淘寶上開網店,大學未畢業已獨資創辦了自己的教育公司,可謂。
作者:nlety瀏覽: 56512 評論: 452 贊同: 1473
【篇三：英美文學作品論文英文提綱】
名著電影輔助英美文學教學初探
[摘要]名著電影輔助英美文學教學對大學生具有一定的現實意義，英美文學論文范文。它可充分利用電影“圖文聲像并存”的特點吸引學生，給他們打開一扇學習英美文學的窗口，從而引導學生從趣味性走向探索嚴肅文學之路。同時，貫徹以學生為中心的師生互動式教學模式，并建立一個系統而有效的英美文學與名著電影的教學資源網站，可以有效延伸教學平臺，緩解教學內容龐雜與課時有限的矛盾。
[關鍵詞]名著電影;英美文學;教學
[中圖分類號]g424.1[文獻標識碼]a
[基金項目]北京林業大學人文社科振興專項計劃(blrw200954)[作者簡介]呂麗塔(1974-)，女，研究生，副教授，研究方向為英美文學、電影文學。
呂麗塔張葳龍鶯(北京林業大學外語學院，北京，100083)
英美文學是培養大學生的人文精神和提高文化修養的一門重要素質教育課程。對此課程的本質目的，中央民族大學外國語學院院長郭英劍教授總結了四個層次：“學其語言”、“學其文學”、“學其文化”和最高層次的“學習人類之文明”。
自從20世紀初英美文學進入大學課堂以來，已經走過了百年歷史。遺憾的是，它一直沒有面向大多數的學生。長期以來，它只是各高校英語專業的高年級學生的必修或選修課，是為培養高素質外語人才所設置的不可或缺的重要課程。非英語專業的學生一般是無從接觸到這門課的，但事實上，隨著學生和教師對英語重視程度的加深，非英語專業學生的英語水平普遍提高，他們中有不少人的英語水平甚至高于英語專業的學生，而且愛好文學的非英語專業學生的總人數超過了英語專業的學生。此外，隨著經濟的迅速發展和國際交流的不斷增強，國家和社會在要求大學生提高英語水平的同時，也要求他們提高對英語國家的文化和社會的認知，要求他們增強自主學習能力和提高綜合文化素養，社會文化論文《英美文學論文范文》。因此，有必要也向非英語專業學生開設“英美文學”這門重要的素質教育課。
二、英語影視教學目的、現狀分析及重新定位
英語影視片源的選擇和加工是一個復雜的系統工程，它既需要有對影視資源信息收集和鑒賞的能力，又需要有專業英語的知識，還需要掌握多媒體設備操作的技能。此外，英語影視課堂對教師的組織能力也提出了較高要求。目前，大部分高校已杜絕了教師省時省力地把英語影視當成一門電影放映課的現象，避免了使這門課只成為緩解學生學習壓力的載體。大多數情況下，教師在課前、課中、課后做了大量辛苦的工作并努力組織學生進行各項活動，使英語影視教學成了一門有效的聽說課或語言文化課。此外，英語專業教師偶爾也會選擇一些英文原版電影來活躍課堂氣氛或輔助英美文學教學。但筆者認為，英語影視應該可以和英美文學教學相結合，成為可面向包括非英語專業學生在內的廣大學生的一門知識性和素質培養的課程。
三、名著電影輔助英美文學教學的意義與存在的問題
選用忠實于原著的名著電影來輔助英美文學教學具有一定的現實意義。它可利用電影“圖文聲像并存”的特點吸引學生，又利用忠于原著的電影能反映原作的特點給學生打開一扇學習英美文學的窗口。看電影，主要是為了學文學。大多數學生對電影有著極大的興趣。對他們而言，電影是一門直觀易懂的視聽語言課，它就是娛樂、就是消遣，不像文學語言那樣需要他們費勁地去進行抽象思維和理解。但看了電影、聽了教師的講解之后，一定有部分學生會對原著、對作家感興趣，從而會積極主動地去發現和解讀文本。
名著電影輔助英美文學教學將電影和文學結合了起來，其較理想的模式是以英美文學簡史為縱軸，以每個文學分期中主要作家的名著電影為橫軸，利用電影輔助教師進行英美文學教學。在每個文學時期內，通過縱軸英美文學簡史的學習，學生將了解到這個文學時期的主要文學思潮、流派、作家、作品及其創作特點等，并將選讀已存在相應名著電影的一些文學作品，通過橫軸名著電影，學生將賞析到選讀文本的相應影視片段或半小時內的已加工但保持了故事完整性的電影剪輯。以下是英國文學和電影的教學內容的示例。
作品英文(10)
女攝影家作品欣賞(英文)
來源：中國婦女
年：2006
卷：000
期：005
頁碼：P.
頁數：1
中圖分類：J422
正文語種：CHI
摘要：A Tibetan Woman, from the Qiangtang Grassland 《(?)唐女》 Photo by ZHANG JIE 攝影:張捷 One day, in May 1998, the photographer was on a business trip when she passed the Qiangtang Grassland in Tibet. After entering a teahouse run by a herdsman,
作品英文(11)
許瞬英作品
意識形態的文案
這是我最早看到的意識形態的一篇文案
美好的生活就是溫柔的報復
你應該穿上最漂亮的衣服去散步遛狗，讓街道上迫害視覺神經的建筑物丟臉。
你應該用最奢華的骨瓷餐盤吃荷包蛋，讓使用保麗龍餐具的餐廳有經濟危機。
你應該以鸚鵡螺音響聽小奏鳴曲，讓制造裝潢噪音的壞鄰居覺得魔音穿腦。
你應該會用普斯旺香草料理，讓背叛的情人只能以泡面當夜宵。
你應該在晚餐后朗誦現代詩幫助消化，讓八點檔CALL IN節目收視率大幅滑落。
你應該隔周換戴不同設計師的墨鏡，讓對立的意識形態顯得盲目。
你應該花三個鐘頭泡東方藥草浴，讓城市中的二氧化碳指數下降。
你應該閱讀楚辭九歌中的巫儀，讓以為看哈利波特就不會變成麻瓜的人變成麻瓜。
你應該看到五星級飯店叫江浙外燴，讓不懂餐桌禮儀的服務生沒有小費可拿。
你應該用法文錄電話答錄機，讓假日找你加班的主管當場啞口無言。
你應該把寫滿報復擁核人士和前男友的日記本資源回收，讓亞馬遜雨林繼續茂盛繁郁。
盡管用美學將生活經營成全面性的溫柔報復工具，打擊那些曾經逼迫你內在的外在丑惡。
許舜英 ---我非常喜歡,如果再早點她就是張愛玲
在十一層家具生活區養育出你們的戀物主義，
在七層科技樂園熱烈的討論一場四十年代黑白肥皂劇
三層的休閑服飾讓你們同時散發出懶洋洋的氣息
九層有你們開始體味愛情之初的黑胡椒牛柳丁
有個可以一邊喝甜泡沫咖啡一邊欣賞風景的地方，對，在第十五層，你們沒有忘記
追憶你們曾攀爬過的一段樓梯，兩邊還有過目不忘的基努李維斯。好像是第五層。
秋季人們都在忙著收獲，我們也不例外，
我們在我們的世界里十分勤勞，
因為收獲的
是相互關心的零距離和不斷寬廣的歡樂天地。
楠陽百貨 秋裝上市
你總是向左，
而他就是向右，
你反復盼望BOSS香水的臨近誘惑
而他固執則窺視GUCCI在下午5點25分的渴望
你有色彩主義下被逼無奈的童裝癖
他卻丟失了繼續尋找西裝側袖的細標線
你愛上了紀梵希
他的新情人名叫“播”
我們不是沒有互相愛上的原因
而是缺少左右一致的空間
楠陽百貨 愛語季
醫院的時尚化及面紙的品牌
⊙許舜英
當「生活」不再是關鍵詞的時候，「生活方式」才是關鍵詞；
當收入的多寡不再能定義消費態度的時候，花錢的方式才能定義消費態度；
物件價值的創造者不是物件的生產者，而是物件使用方式的設計者；
當功能無所不在的時候，「資訊」才是最終的慾望主體；
當資訊是商業價值的容器的時候，資訊的差異性及專屬獨占性才有風格可言；
當生活風格的塑造成為一種專業姿態，
風格的誕生就是一種專業文化資本的形成。
或許寺山修司是合乎時尚的，因為太陽雜誌上發表了他的畢業證書及家常菜食譜。
或許這才是出版社販賣「寺山修司全集」的最佳廣告 文案寫作策略。
或許你下次必須進醫院的時候，應該選擇巴黎的American Hospital，
或許因為他們的病床及制服的設計，
或許因為Yves Saint Laurent 也曾住過那裡。
更或許，如果你打算開一家運 銘 撚肁ndy Warhol的作品來形成醫院內的符號溝通系統。
或許老祖母用的虎標萬金油是浴室藥盒中的最佳展示品哄A因為它的
設計是那麼東方而且那麼符合芳香療法。
或許老式的橡皮熱水袋會再度大賣，因為它使你的感冒治療偏方顯得非常「風格化」。
或許你決定去比利時旅遊，只是因為安特衛普設計的六人組。
或許你吃安眠藥不是因為你有失眠的問題，而是因為你喜歡倫敦的
「Boots」這個品牌所賣的任何東西。
或許溫德斯的城市筆記系列讓你瘋狂迷戀哈瓦斯。
或許是杯子的問題，而不是茶包的問題；或許是內衣的問題，而不
是指甲油的問題；或許是人的問題，而不是服裝的問題；或許是態度
的問題，而不是階級的問題；或許是美學的問題；而不是民主政治的
問題；或許是椅子的問題，而不是空間的問題；或許是打火機的問
題，而不是香煙的問題；或許是場景的問題，而不是遊客的問題；或
許是姿勢的問題，而不是慾望的問題。
::::::::::::::
從「烏鴉族」到「新挪威森林世代」
——半小時讀完80年代 /許舜英
80年代，它太近了。近得甚至不可能有懷舊的情緒，近得你根本不需要「歷史」就可以證明它的存在；近得川久保玲仍然具有誘惑的能力；近得村上春樹還可以繼續被誤會是新人類。80年代，它太遠了，遠得墊肩西裝又重新回來了，遠得Alexander MacQueen還在學校念書，遠得柏林圍牆還未倒塌；遠得瑪丹娜仍然宛若處女，遠得施明德還沒開始打領結，遠得雅痞還是一個好名詞；遠得還沒發現臭氧層破洞，遠得只知道飆車還不知道飆舞，遠得只買得到中森明菜的海報而買不到宮澤里惠的寫真集；Calvin Klein只有牛仔褲而沒有香水，而Gucci還只是老祖母的名牌。
一位我所喜歡的詩人說了：「我們仍然離我們犯錯的時代太近了。」一個「年代」意味著什麼？一個年代一定要具有某種「精神」，就像唇膏一定要有某種顏色嗎？是時代抄襲了我們的理論或是理論安撫了我們的時代？如果時代沒有形式，我們如何去反抗形式？如果我們不試著去找出它的10大癥候、20種註解、30種因果律的脈絡、40種暢銷口味……我們該如何進入21世紀？其推論是我們無法再從任何社會結構系統分類的概念去談論或抽引出實際的政治結果及其必然的關係。當我們從80年代看60年代，我們會說那是一個革命的年代；當我們從90年代看60年代，我們或許會說那是一個純真的年代；憤怒或溫和、反叛或純真、迷你或及膝、世故或誘惑、愛或被愛、教條或有機，它們都成立也都不成立。或許我們在現場，又或許我們無故缺席，如果我突然的有一種強烈的需求甚或陷入另一種失語癥的狀態，總之，我們的修辭也總是因而反映了一種無政治的政治態度。
如果沒有80年代的中性套裝，女人如何重新發現她身體的展示價值？如果沒有喇叭褲，我們如何宣稱70年代又回來了？如果沒有80年代川久保玲的黑色，我們如何分辨世紀末的「黑色」有何改變？因而，當我「回顧」80年代時，是帶著少許健忘癥的，是一種一廂情願式的，它必須是一種個人的小型世界觀，而絕不是忠於原著的（沒有人知道原著是什麼），我傾向於將我經歷過的這個年代，處理成一種電腦合成的場景，一種被我的語言說出來的年代，一種必要衝突中的協調，一種個人宿命的秘密關聯。
端午節粽子的精神在微波爐中發揚光大，
一天十幾班的龍舟過站不停，
老是把屈原留在江中忘了帶上岸．
雄黃酒自從讓白素貞變回蛇形后，
許仙決定讓白素貞改喝啤酒．
屈原決定把離騷放進郵筒中寄給楚懷王，
并貼上郵票，提醒他端午節時務必到中興百貨買束菖蒲好過節．
－－１９９３年 中興百貨
一年買兩件好衣服是道德的（標題）
把衣柜當魔術箱是道德的，
把衣柜當倉庫是不道德的；
戴一枚人工合成的鉆戒是道德的，
穿戴一身象牙又高談環保是不道德的；
與男友分手是說謝謝是道德的，
各奔前程后還到處宣揚是不道德的．
自戀而自憐是不道德的，
一年買兩件好衣服是道德的；
光買衣服而沒有衣盡其用是不道德的，
中興百貨春季折扣正在進行．
－－１９９３年 中興百貨
〖1988〗
真正的流行，不是群眾的歇斯底里
而是獨特表現的個人風格及追求創意的生活態度
是一種內涵的外露，一直能夠鑒賞的品味：
88年春季，由冬眠中醒來吧！
解放你的僵化與遲疑，前來享受春裝花開的盛宴！
玫瑰的浪漫，復古的情懷
輕快蓬展的短裙，性感裸露的雙肩
是你全新的選擇，歡迎前來試穿！
1989年的中興百貨
尋找中國流行的自我
素雅纖細的姿態
省思的心情
合身的線條中
斜襟纏繞
流動著中國的韻致
80年代末中國創意美學走向世界前臺
在sunrise中興百貨的春裝展示中
與您一起感受
中興百貨早期的模式
創造中國創意美學
白蛇千年不移的情愫
散發愛的勇敢與生命的執著
這正是中國文化的神采
sunrise永恒探索的民族美學自覺
已巳蛇年
春節時序
sunrise與您一起感應傳統節慶的美與傳奇
將中國的傳說變做傳奇
而將購物的執著
變做美
真正的流行
是在群眾盲目的追尋中
保持冷靜的自我風格
并呼吸世界的風潮
與自我的美學經驗深刻對談
真正的流行
是重新詮釋大眾的流行
是把街道變成你的伸展臺
是你的身影與品位
一再被抄襲
只有被抄襲
從未被超越
真正的流行
不是群眾的歇斯底里
而是獨特表現的個人風格及追求創意的生活態度
是一種內涵的外露
一種鑒賞的品位
88年春季
由冬眠中醒來吧
解放你的僵化與遲疑
前來享受春裝花開的盛宴
早就顯露的意識形態
是野心
毫無掩飾
《中國時報--陳文茜篇》
文案：石孟慈
要怎樣才能終結黑金政治亂象？
多一點文化，少一點貪婪。
人們期待一場什么樣的總統大選？
多一點思考，少一點謊言。
如何面對網際網路帶來的數位沖擊？
多一點學習，少一點焦慮。
不確定年代最重要的是什么？
知識 知識 知識
廣告語
知識是你更有魅力
中國時報
《梅蘭芳篇》
標題
沒有服裝就沒有性
正文
雖然紋身依然可以暗示肉感
珠寶還在批注性欲位置
但，自，從，
牛仔褲顛覆了純粹兩性理論
皮革吊帶開始搭配萊卡內衣手銬蠟燭
那種把兩性對立當做終極命題的傳統世界秩序
已經看起來搖.搖.欲.墜。
也許連蕾絲邊
也將逐漸地
裝飾在三角肌上吧
我們所能抓住有關性/別的真理
已經不多。
《森林篇/櫻花篇》
標題
衣服
衣服是這個時代最后的美好環境
正文
他覺得這個城市比想像中還要粗暴，
好覺得摔飛機的機率遠遠大于買到一雙令人后悔的高跟鞋，
他覺得人生的脆弱不及于一枚A型流行感冒病毒，
她覺得愛人比不上一張床來得忠實......
不安的人們居住在各自的衣服里尋求僅存的保護與慰藉，
畢竟在世紀末惡劣的廢墟里，
衣服會是這個時代最后的美好環境。
時尚流行不只是穿衣打扮
成為生活理念的延伸
關于1990秋天女人構成流行的樣子
特立獨行的樣子
打扮成巴洛克的樣子
從衣柜飄出來的樣子
向秋柿虛構欲望的樣子
懶得和男人爭辯的樣子
發型復古到家60年代乃至20年代的樣子
愛好流行卻忍不住叛逆流行的樣子。
我們發現臺灣有四億人口
比利是個朝九晚五的貿易公司業務經理，
晚上則是兼差的無線電計程車司機。
他是王媽**兒子、娃娃的舅舅、和大衛的表弟；
在網路購物時他是不眨眼的閃靈刷手；
在號子里觀察股票指數時他可是精打細算的投資人；
上了電腦色情網站他則是個想象豐富的匿名色狼；
而約會時又變成了某個女人的最佳男主角……
在網路化的未來社會里，
一個比利在不同的情境中可能是數百個不同身份的比利。
我們看到的臺灣并不是你認知的2千萬人口，
而可能是4億人無疆界市場。
所謂獨具慧眼
不只是指看到什么
更是指觀察世界的敏銳角度。
對我們來說這不只是眼力
而是一種能力
不要用20世紀的眼睛觀看21世紀的風景。
——意識形態廣告有限公司
作品英文(12)
Beowulf：Beowulf was the main character in Chaucer"s long historic epic.He was no doubt a hero in people"s eyes.Beowulf cut down a monster"s arm and the monster died of it.The monster"s mother wanted to revenge for her son,but ultimately was killed by Beowulf,too.Once a firedrake invaded.Beowulf fighted with the dragon and beat it back.However,he was died of injuries in this battle.People held a glorious funeral for their hero-Beowulf.He was a hero who sacrificed of fighting with evil for protect his people.
The wife of Bath:She was a character in Wife of Bath Tale of Canterbury Tales.She was a woman who had desire to complete control her husband.In fact she just wanted the equality her husband never gave but she wanted to obtain.She was a pioneering lady who seeked for feminist at that time.She concentrated on acquiring woman"s position in society.
Shylock:Shylock was regarded as a mean and greed businessman all the time.But this is the surface view.As a usurer,he was greed.When Antonio coudn"t pay his debt on time,he refused the tenfold repayment later.He just want a pound of Antonio"s flesh as the contrast said.This was a reflection of his revenge.He was a Jew.Jews were suppressed at that time.When Shylock had a chance to fight back,he was aggravating.Shylock was complex character who was greed but also sad.
Macbeth:He was a ambitious person who became from a heroic general to a cruel tyrant.He was a typical tragedy in Shakespear"s works.He made several military contributions.But was defeated by rumor and temptation from a witch"s words.He killed the empire and replaced his position.In order to strengthen his potion,he became more cruel and killed many innocents.Ultimately he was also in a sad end.Macbeth"s tragedy is not only tragedy of disposition,but also of society.
Julius Caesar:An outstanding Roman general.He was also a strategist and a politician.He refused to be the empire three times.In fact ,he was a dictator.He was a product of that era.His achievement and position by other rulers.He died of assassination.He was a tragedy of an era.
King Lear:He was arbitrary and tyrannical.He was an opinionated king who was fond of sweet words,His vanity let him drive his little daughter just because of her honesty. His weakness of disposition made him a tragedy.
Satan in Paradise Lost:Satan was described as a hero in Paradise Lost by Milton.Satan standed for passion and soul.He didn"t willing to do a servant for god.He was treasonous.When he was driven out of the paradise,he was still indomitable.But in the after chapters,he sinked down.His noble image disappeared.
Robinson Crusoe:He was an adventurer.He made a boat by himself and went a desert island on it.He fight with nature in order to live.He was brave.But he was somewhat indifferent to his family.This was his disposition weakness.In Defore"s words,he was a civilian hero and also in my eyes because of his spirit of challeange.
Tom Jones:Tom Jones was a honest and passionate bastard.He was tolerant.In order to help others,he sold his beloved little horse.He was shaped of a warmhearted boy.However,on the other hand,he was indecent in male-female relationships.Tom Jones was a complex character.
Tess:She was a lady who tried to change her humble destiny.She fought with fate.But ultimately she was hanged.Tess was a imgage of tragedy.She was bad bacause she was a mistress and a murderer.However,she was an actually pure lady.She was so kind and sincere.She was a sacrifice of prejudice and evil in then society .
