The common ways of interpreting and re-telling the myth of the Thracian musician Orpheus and his bride Eurydice are similar to the traditional way of narrating the myth: starting with Orpheus and emphasising Orpheus’s unilateral output of “love” and the tragic nature of their destiny. This article selects Eurydice to Orpheus by Robert Browning and Eurydice Saved by Linda Gregg as examples in modern poetry to explore how the legacy and reflection of classical interpretations, such as the tradition of faith in the validity and reliability of Orpheus’ love, are portrayed from Eurydice’s point of view. The emotional tendencies presented in these two poems are different, but they still have significant ideas in common when it comes to the fact that a visual regime has been established in the relationship between Eurydice and Orpheus. Orpheus can only empower their love by “looking” and losing. This indicates his role as the dominant one while Eurydice is given the status of the object being looked at and shaped.

Ted hughes is a British writer and poet laureate of the 20th century, who is famous for writing animal poetry based on his meticulous observation on animals since childhood. Poetry in hughes’ eyes is as an organic whole, which is just like the animals, or even beyond animals, and become a more eternal art that can be created by words. Ted Hughes is well versed in the use of language in his works. He advocates the accuracy of words in his animal poetry, because the right words can best convey the meaning; he advocates the unique use of grammar, which could give the seemingly thin text the power to travel through time and space; he advocates the musicality of animal poetry, because the aesthetic of rhyme can evoke the resonance of the reader’s multiple senses. Therefore, this article will focus on a few of Ted Hughes’ Animal poetry to analyze his unique writing style and intentions from the perspective of language usages.

Being one of the most renowned American poets, Robert Frost has paid much attention to the interplay between humans and nature, and this interplay usually takes place at a boundary – a wall, a fence, or a house. To examine the human-nature relationship and respond to the existing studies, the article delves into the theme of boundary in Frost’s poetry through close reading of Frost’s poems, interviews, and notes. Because of the development of natural science in Frost’s time, the image of landscape undergoes metamorphosis, switching from a mirroring of the human spirit to a living entity with agency. Therefore, nature is depicted as a counterpart of human beings with an attempt to cross over limits. Nevertheless, Frost emphasizes on coexistence and interdependence between two realms by deliberately leaving the boundary unsettled. Moreover, figures in Frost’s poetry bear two opposite impulses: to destroy and recreate limits, which reveals the floating and playful nature of boundaries; in this regard, the images of houses, walls, and fences are a metaphor for the contradictory human attributes. The article further argues that the feeling of limits reappears in poems displaying emptiness. In Frost’s poetry, a boundary is regarded as a protection both physically and mentally, yet it fails in a state of consolation.

Shelley’ s poetry is rich and varied, harmonious in tone, delicate in feeling and expansive in artistic conception, which pushed the British romantic poetry to the peak. Shelley had a very high talent, received a good education since childhood, coupled with diligent thinking, and has twists and turns of life experience, so his works all reflect the pursuit of the truth of the strong philosophical mood. This article mainly focuses on two of Shelley’ s poems to analyze the romantic style of his poems from the image and theme. Shelley, as a political poet and lyric poet, expressed his poetic aesthetics very clearly. He endowed poets with a lofty mission, believing that they shoulder the dual mission of social revolution and artistic innovation. Of course, Shelley believes that this dual mission is realized in the poet’ s creative artistic imagination. Therefore, in Shelley’ s view, the real “imaginary expression” of poetry should have a spiritual inspiration and aesthetic influence. It can be said that Shelley’ s poetry aesthetics not only clearly reflects the characteristics of his changing era, but also illustrates his romantic aesthetic stance. Shelley’ s aesthetic thoughts of poetry are enlightening for people to better appreciate and understand his poems.

With the in-depth development of Internet, memes have spread from real life to cyberspace and various types of Internet memes have emerged during the process, including controversial ones. Hellish memes are one of the most typical memes among them. From the perspective of audience, this study uses Bakhtin’s Carnival theory to explore the reasons of the prevalence of hellish memes on China’s Internet, and provide communication strategies for the propaganda department of Chinese government. This research hopes to reveal the reasons of hellish memes’ prevalence in the field of audience analysis and enrich the research dimensions of hellish memes. The study finds that three closely-related reasons account for the prevalence of hellish memes on China’s Internet: Firstly, hellish memes satisfy people’s sensory pleasure; Secondly, hellish memes fit people’s rebellion against the dominant values; Thirdly, hellish memes cater to people’s pursuit of open thinking and innovation. Based on the reasons of hellish memes’ prevalence, this study also puts forward three communication Strategies for the propaganda departments of Chinese government: Firstly, they should strengthen the immorality of hellish memes through recreation on hellish memes; Secondly, they should take advantages of new media to improve the quality of hellish memes; Thirdly, they should adopt the character of open thinking shown in hellish memes to enriching the dimensions of dominant values.

Increasingly, people put much time into their phones and laptops for works and joy since the Internet has developed in a rapid speed in the recent years. It is particularly evident that this trend towards entertainment and work change the dissemination of Chinese culture especially the Chinese dialects. However, at the same time, it leads to some negative influence on the promotions of dialect short videos, such as less people now are willing to watch this kind of videos. Due to that reason, dialects from some areas have been forgotten and a plenty of people will not use their dialects during the daily communication with others. The lack of national policies can also be one of the reasons why people pay less attention to the Chinese dialects. Nevertheless, the causes and effects of dialects’ low use rate are relatively complex. Therefore, this paper aims to discuss and analyze the causes, potential risks and countermeasures of the limitation of dialect short videos’ dissemination. This research aims to clarify the factors and consequences of the problems of dialect short videos through using the research reviewing measures, and finds that the government, media network platform, video creators and local residents all need to stand out and find the efficient solutions to help the dissemination of dialect short videos.

In the age of globalization along with more frequent cross-cultural interactions, the importance of translation cannot be understated. Translation plays a vital role in facilitating intercultural communication between different countries and cultures. Through translation, people can understand and learn the culture, history, traditions and customs of other countries. Therefore, this paper explores the influence of Chinese and English cultural customs and translation through the study of literature and case studies. It is found that cultural practices have a great impact on language shaping and expression, and there are many difficulties in translating culture-specific terms and cultural customs. In order to better realize the communication and diffusion of cultures and translate effectively, translators need to be sensitive to cultural differences and thoroughly research the similarities and differences among cultures.

Based on the growing number of feminists and the rise of various media, this paper studies the reports and speeches about feminism in traditional media and new we-media, and explores how people use language to express and share feminist views. In a traditional medium, this paper presents the existence of gender stereotypes in language and examines how gender stereotypes are transmitted and reinforced in language, including gender biases expressed through vocabulary, phrases, and grammatical structures, by analyzing a large number of news reports from the year and year after Roe v. Wade was overturned in 2022. After the development of the new “we media”, feminism has also been developing rapidly. Feminists can express their ideas on the Internet to gain more support. Their use of words to voice feminism will also cause a series of problems. Female language is also ubiquitous in the media. This paper studies the language performance of female characters in TV, film, social media and other media to assess whether this reflects gender relations in the real world.

A horror game is a game genre that aims to create an intense and terrifying atmosphere among its players. However, the story of the game can sometimes be closely related to a certain culture. Chinese culture, as a typical example, includes enormous Chinese elements such as Chinese history and feudal superstitions. For individuals familiar with Chinese culture, this trait can enhance their gameplay experience and immersion. However, for those unfamiliar with Chinese culture, it might paradoxically impede their comprehension of the narrative, subsequently diminishing the sense of immersion during gameplay. In this case, the aim of this study is to find out the relationship between the cultural background of the player in a horror game and the flow experience of the player while playing. This paper primarily focuses on Chinese horror games, with “Devotion” at the forefront as the main subject of analysis. It categorizes the fear elements present within these games, explores the correlation between these elements and players’ cultural backgrounds, and concludes by employing questionnaire surveys and data analysis. The study shows that a relationship with a particular culture in a story-telling game can significantly affect the heart-flow experience that players have.

In the novel The God of Small Things, Arundhati Roy’s heroine Ammu’s short life is surrounded by multiple tragedies. As a divorced woman from a high caste class in India, the significance of Ammu’s tragic death is not only the literary aesthetic of the novel that serves to accentuate the conflict of the plot, but it is also a powerful political statement embodying the unlimited downward pressure exerted by the powerful class in Indian society. In this paper, the five-order model of Maslow’s Hierarchy of Needs Theory is categorised into three levels, namely, basic needs, middle needs and high needs, in accordance with the bottom-up order of the pyramid pattern and is combined with the traditional laws and institutions of Indian society embodied in the text to explore the causes of Ammu’s tragedy. Through analysing Ammu’s motives and behaviours of human needs, the readers can intuitively understand the opposition between the growing human needs of Indian women and the multiple ruling interests of the powerful class. In the process of pursuing the fulfilment of her human needs, Ammu, unfortunately, touches and even destroys the ruling pattern on which the powerful class relies, which is the main reason for her tragedy.

In recent years, tanbi novels have gradually become commercialized, exerting an unexpected impact on the cultural market. Adopting gender semiotics theory, this research delves into the content of them from the perspectives of emotional activities and sexual politics. Through text analysis, this study finds that female creators of tanbi novels express the pursuit of gender equality and autonomy by crafting male protagonists and establishing dystopian worldviews. These male protagonists serve as avatars for the female audience, fulfilling not just their sexual fantasies and emotional needs but also shielding them from the oppression of a patriarchal society. This creative approach mitigates the risks and threats to women in sexual relationships, providing the females with a space for spiritual fulfilment. Additionally, the dystopian worldviews redefine gender norms and break down gender stereotypes, advocating for gender equality and freedom. This research provides fresh insights and reflections on gender issues in Chinese online tanbi literature.

In recent years, much attention has been paid to research on the positive and negative transfer effects of learners’ native dialects on foreign language phonological learning. For native Chinese learners, dialects may have both positive and negative effects on learning Japanese phonology. This paper begins with an understanding of the phonetic characteristics of the Wu dialect, followed by an account of the influence of the dialect on Japanese phonological learning, and then discusses this influence with examples from both positive and negative aspects. The main purpose of this paper is to call on learners to strengthen their awareness of phonological differences and to improve their Japanese phonological skills by overcoming the difficulties posed by dialects through active phonological training and learning strategies. At the same time, teachers and educational institutions should provide targeted teaching and guidance based on learners’ dialectal backgrounds to help learners master the phonetic features of the Japanese language so that they can learn Japanese better.

In the 6th century AD, Buddhism was introduced to Japan from China through the kingdoms of Baekje, Silla, and Goguryeo. Concurrently, the distinctive artistic styles of the Northern and Southern Dynasties of China, which combined traditional Chinese elements with influences from the Western Regions, also made their way into Japan. This had a profound impact on the development of Buddhist art during the Asuka period, establishing itself as a dominant force in Japanese cultural aesthetics. The artistry of the Asuka period, with its classical charm and exquisite craftsmanship, continues to be admired today. This paper takes Horyu-ji Temple as a case study to explore the characteristics of Buddhist art in Japan’s Asuka period and the influence of Chinese culture on it. The research primarily focuses on three aspects: the architecture of Horyu-ji Temple, the sculptural representations of Buddha, and the paintings. As an emblematic representation of early Buddhist art in Japan, Horyu-ji Temple also stands as a significant testament to the influence of Chinese culture on Japanese art, contributing significantly to the cultural development of Japan.

Researchers in the field of film studies have identified that masculinity plays a significant role in all aspects of film narratives, encompassing character development, plot Within the realm of film studies, scholars have discerned the pervasive presence of masculinity as a pivotal element across various facets of cinematic narratives. This encompassing influence extends to character evolution, the trajectory of the plot, and the thematic exploration of films. The following discussion takes the film “Creation of the Gods I: Kingdom of Storms” as a focal point, a cinematic adaptation rooted in Chinese mythical fantasy. Employing a critical lens, this analysis delves into the film’s portrayal of “masculinity” and its profound impact on the overarching narrative and thematic underpinnings. In “Creation of the Gods I: Kingdom of Storms”, a compelling emphasis on potent male figures becomes readily apparent. The entire cinematic narrative revolves around a central theme of heroism and patricide, resulting in the conspicuous presence of masculinity throughout the film. This examination aims to elucidate how these masculine elements are intricately interwoven into the movie’s fabric, shedding light on the film’s broader implications in terms of gender representation and storytelling dynamics.

This article is primarily dedicated to an in-depth examination of the audio-visual style employed by documentary filmmaker Malcolm Clarke. This analysis is achieved through a meticulous dissection of scenes, shot composition, and sound elements within three of his notable oral history documentaries, namely, “A Long-Cherished Dream,” “The Lady in Number 6,” and “Soldiers in Hiding.” The article initiates by offering insights into the concept and evolution of oral history documentaries as a distinct subgenre within the broader documentary realm. Subsequently, the article embarks on a critical evaluation of how Clarke’s documentaries align with the specific attributes and expectations associated with oral history documentaries. It scrutinizes how Clarke adeptly harnesses a diverse array of cinematic techniques to unearth and present the often-overlooked facets of history, which remain concealed or marginalized within the grander narrative of historical discourse. Through this comprehensive analysis, the article provides a comprehensive assessment of Malcolm Clarke’s contribution to the realm of documentary filmmaking and his unique approach to elucidating the lesser-explored dimensions of history.

This article commences by exploring the renowned novel All Quiet on the Western Front by Remarque, offering a concise introduction to three film adaptations derived from it. It emphasizes the achievements of these adaptations and their societal impact during their respective eras. The subsequent section conducts an in-depth evaluation of a new cinematic adaptation, dissecting its strengths and weaknesses. The author’s perspectives primarily revolve around three key aspects: firstly, the article delves into the distinctive narrative perspectives and the desired emotional impacts conveyed through the use of third-person viewpoints in the films. Secondly, it scrutinizes the various artistic techniques employed, such as the immersive qualities of panoramic cinematography, the unconventional use of colors that distinguish it from typical war-themed films, and the occasionally unique, and at times eccentric, musical scores. Lastly, the article undertakes an analysis from the viewpoint of German filmmakers, seeking to comprehend the reasons behind significant alterations made to the original source material.

Crouching Tiger, Hidden Dragon, a groundbreaking film in Chinese cinema history, etched its name in the annals of cinema by becoming the first foreign-language film from China to clinch an Oscar. This monumental achievement not only marked a historic milestone but also laid a robust foundation for subsequent Chinese cinematic endeavors to carve their niche in the global film and television landscape. Director Ang Lee, renowned for his versatile filmmaking prowess, embarked on the audacious mission of seamlessly blending Chinese cultural nuances with Western ideologies within the canvas of this cinematic masterpiece. This essay embarks on a compelling exploration of cultural translation, wherein the writer delve into how Ang Lee masterfully transmits the profound essence of traditional Oriental martial arts cinema to Western audiences. Through an in-depth analysis of a specific case study, the writer dissect Ang Lee’s ingenious methods for constructing a shared cultural context that bridges the chasm between these two distinct worlds. By shining a spotlight on Ang Lee’s extraordinary accomplishment in transcending cultural boundaries through the medium of film, the writer unravel the intricate layers of this cinematic triumph, expanding the understanding of its significance in the realm of global cinema.

Vera Chytilová’s “Daisies” offers a particular case to view how montage, collage, and symbolism could contribute to feminist cinema. “Daisies” was subject to censorship when it was first released for its rebellious story which strongly challenged the social norms of that time. Although it has been widely regarded as a surreal exploration of nihilism, it explores the deconstruction and reconstruction of female identity. This study adopts a feminist theory to investigate how this movie communicates its feminist ideals using a defamiliarized visual language system. Specifically, the study analyzes certain scenes in the movie with a particular focus on how “Daisies” challenges conventional gender roles and creates a feminism narrative. It figures out that montage expands the inner space of these characters; collage allows for the fragmentation of their identities; symbolism such as apple trees, apples, and other motifs carry additional thematic possibilities of temptation, sin, and female resistance. These stylistic choices and visual strategies present a fresh female perspective, encouraging the audience to question social norms and embrace unfiltered viewpoints. By upending conventionally male-centric ideas, the movie’s defamiliarized visual language reinforces feminist messages and helps us comprehend its complex artistic and thematic issues.

This study examines the field of Chinese neorealism through the lens of acclaimed director Wang Xiaoshuai. Through an in-depth examination of Wang Xiaoshuai’s filmography, the significant influence of neorealism on the development of Chinese cinema will be teased out. The article concentrates on Wang Xiaoshuai’s works The Days and seeks to elucidate the distinctive style traits and artistic techniques he used to create his works. Also, the study examines how Wang Xiaoshuai depicts reality and investigates in depth the complex relationship between individuals and society depicted in his films. Through the analysis of themes and visual styles in Wang Xiaoshuai’s neorealist works, this study intends to disclose the characteristics of sixth-generation filmmakers who reinterpret the realist tradition. This helps us better comprehend the artistic portrayal of individual lives by Chinese filmmakers during the period of accelerated social change in the Chinese film industry during the late 1990s.

With the development of Internet technology and the accelerated pace of life, many of people’s activities have gradually moved online, and bloggers of various types have flocked to the site. Among them, food bloggers have attracted everyone’s love and attention. Xiaohongshu is also a media that collects multiple types of recommendations. In recent years, one of its important vertical contents, food short videos, has also entered public life relying on its unique content style and communication method. This article studies the influence of food bloggers on Xiaohongshu on the platform, fans and various businesses. This study shows that the operation of Xiaohongshu bloggers has both advantages and disadvantages for the public and daily life. It can not only promote the public’s participation in Reasonable consumption of food, but at the same time, it also faces the problem that the live broadcast of goods is sometimes unreasonable and irregular, which requires strict requirements and control by relevant departments and platforms. There are various types of food bloggers on Xiaohongshu: food tutorials, food broadcasts and shop explorations, scene presentations. However, there are too many bloggers of the same type, they are not very innovative, the content on the same channel is similar, the user experience gap is large, and they are overly entertaining. To address these problems, we can encourage innovation and optimize content production; collaborate with multiple parties to improve user experience; strictly control and standardize content dissemination; strengthen social networking and improve communication effects.