Experience the course of comparative literature this semester. The theme of elective comparative literature is "Seeking Sex: Reading Fortress Besieged and Jane Eyre". I don't know much about Besieged City. I haven't read the whole book, but I have read some books and book reviews about it. As soon as Gong Hung-chien, the hero of the novel, set foot in his hometown after four years' absence, he fell into "besieged city" one after another. Fang Hung-chien came back from Europe in the summer of 1937. Based on his life track, the novel reflects the ups and downs of life and psychology of some intellectuals (mainly some European and American students and university professors). ) In those days. They don't belong to the advanced intellectuals of that era. At the height of the Anti-Japanese War, most of them stayed out of the storm of this great struggle. First in Shanghai Shili Sheep Farm, and then in a remote town in Hunan, they launched a series of intrigues around life, career, marriage and love. This is also a war. Although there is no smoke, the swords and shadows of the old society are everywhere, jumping in love and vanity fair. Although there is no physical harm, we can always see how gray life eats away people's years and lives, and how dirty air corrodes people's integrity and soul. Naturally, there are sincere friendship and good wishes here; But these are so weak and powerless in front of the powerful barrier of the old society. Where is the way out for these intellectuals who have not exhausted their vitality on the road of life that may fall into "birdcage" or "besieged city" everywhere? This is a serious problem left by this profound realistic novel. As for Jane Eyre, fortunately, I happened to see it when I was wandering around the second-hand bookstore in high school and bought it back. So, I have read Jane Eyre and read some book reviews about it. Jane Eyre is a novel with a revolving color. The author is Charlotte Brontexq, one of the three famous British sisters in the 19th century. This is a book forged with my own heart and strong spirit, which contains the author's infinite emotion and personality charm and has won a brilliant sky for women. "Do you think that just because I am poor, humble and not beautiful, I have no heart and soul? I have the same soul as you, and I have the same heart. If God gave me beauty and wealth, I would make it as hard for you to leave me as it is for me to leave you now! " Every time I read Jane Eyre, I will be shocked by this passage. These are two books written by authors from different countries. The mental journey of a man and a woman, struggle and struggle, vagrancy and blind obedience. Fortress Besieged is mainly written around the protagonist Fang Hung-chien, describing his mental journey. The novel Fortress Besieged is divided into nine chapters, which can be roughly divided into four units. The first chapter to the fourth chapter is the first unit, which describes Fang Hung-chien's life scenes in Shanghai and his hometown (a county in the south of the Yangtze River), with Shanghai as the center. In this unit, the "love" entanglement between Fang Hung-chien and Su occupies an important part. Chapter 5 can be counted as the second unit, which is "transitional" or "cohesive". In this unit, Fang Hung-chien and Zhao, two people who suffered setbacks in their personal lives, rushed out of the cage of "love". They changed from imaginary rivals to real friends, and went to San Lv University in Pingcheng, Hunan Province to look for jobs together. Chapters 6 and 7 are the third unit, which mainly describes the infighting in San Lv University. The sixth chapter we choose here is a heavy scene in this unit. From the headmaster, dean, department head, to faculty, students and even their families, they are involved in a dizzying personnel dispute. Professional exclusion, love competition, public affairs, slanderous rumors and conspiracy, San Lv University has become a competitive arena. Chapters 8 and 9 are Unit 4. Fang Hung-chien and Sun Roujia got married on their way back to Shanghai. For both sides, this is not an exciting combination, and the anxiety about the future brought by unemployment makes them quarrel constantly after marriage. This quarrel is relatively simple on the way back to Shanghai. After settling in Shanghai, the contradiction became more complicated due to the intervention of families and relatives of both sides. At one time, a series of discord and disputes occurred between mother-in-law, Weng Xu, sister-in-law, relatives and friends, master and servant. Jane Eyre mainly describes the heroine's mental journey, Jane's pursuit of female spirit, the accusation of male oppression, the shaping of the image of a strong woman, and the bold and frank description of female emotional life. In the eyes of men in the19th century, the ideal woman is pure, beautiful, sweet, passive, doll-like and selfless. However, there is a monster behind this angel: a destructive, impulsive and crazy woman, who makes men sexy to fear, just like the crazy woman in Jane Eyre always threatens Rochester. Men created the images of angels and evil women out of their desire and fear for women. The latter is full of women's true colors and represents the competitive power to subvert male rule. The strength of this power can be seen from Bertha's burning of Thornfield. Bertha from the feminist perspective has become another self of Jane Eyre and a rebel of women. Gateshead was the starting point of her trip, and losing her home left her behind. Lowood School is the place where she received education and spiritual development. Here, Jane's "Fight Back" and Helen Burns' "Return evil for good", "I still think that Helen Burns sees things through a light that my eyes can't see." Jane's life gradually came to her senses. Thornfield is Jane's paradise, where she lost her happiness and later returned to heaven. Jane went to the wilderness, went to the swamp, came back, and finally returned to their eternal home with Rochester. Chen Meiqi 200819071KLOC-0/Teaching Methods of Comparative Literature: Comparative Literature is a new subject. Although it is one of the basic subjects of Chinese language and literature, it is difficult for many undergraduates in China to meet the requirements of the compulsory course of Chinese language and literature, but they have made relatively high achievements in research and teaching. As an undergraduate comparative literature teaching, I want to put forward my own views from the perspective of a student, mainly from the aspects of teaching purpose, classroom discussion form, how to improve students' interest, how to assign homework, etc., hoping to provide some help to the undergraduate comparative literature teaching. Key words: Comparative Literature Purpose Class Discussion Interest Homework Comparative Literature has been regarded as one of the main courses of Chinese language and literature major by the Ministry of Education in 1998 "Catalogue and Introduction of Undergraduate Majors in Colleges and Universities" for more than 20 years. Some people think that comparative literature has blossomed everywhere in undergraduate teaching. However, the author is skeptical about this, mainly because of its short theoretical knowledge and starting time, which is arranged in the third and fourth stages when undergraduates start looking for jobs. As a senior student, I have a deep understanding of the above doubts, but I won't say whether this doubt is correct or not, because I haven't done a detailed and comprehensive investigation, so I can't give a result. I just put forward some suggestions that may be useful for the teaching of comparative literature according to my own experience and the obstacles I mentioned above. In view of the above problems, I want to make a simple discussion from four aspects: teaching purpose, classroom teaching form and how to improve students' interest and assign homework to students. I. Teaching Purpose The university is a transitional stage to graduate students, and has begun to gradually cultivate students' awareness of scientific research. As can be seen from the way most subjects leave class-writing papers, it is not completely based on mastering basic knowledge like middle school. However, for the course of Comparative Literature, the author thinks that we should set out from reality and put forward different requirements for different students, mainly focusing on the teaching mode of middle schools and explaining some basic knowledge to students. The only difference is that we can teach students some methods to learn this subject. Although university is the foundation of graduate students, we are still undergraduates rather than graduate students. Therefore, the author thinks that the teaching method aimed at cultivating "elite" should not be adopted. If this is the goal, I think the result can only be failure. In this regard, we can see its infeasibility from the following aspects: first, from the time of class. The initial period of comparative literature is mainly concentrated in junior year and senior year. The author believes that this kind of theoretical knowledge should be taught to students when they are freshmen and sophomores. Because we should also be a journey from theory to practice in the learning process. Freshmen and sophomores focus on learning theories. Only when they are in their junior year and senior year can students have a more solid foundation for self-study, which is also a process of deepening their understanding of theories from practice. And senior students have been busy looking for jobs. At this time, practicality has become an important criterion for students to choose to study. When they come here, it is almost a waste of time to study this impractical course, because the work pressure is too great, and most of the time is spent looking for a job, and there is no time to take care of the process that is not practical for them. Secondly, from the length of class hours. Take the class of comparative literature as an example. It's about forty class hours, which sounds a lot, but the content to be learned is quite complicated. Moreover, this course is theoretical and difficult to learn, and it is difficult for students to learn in a way different from traditional thinking. It is difficult to understand, which will slow down the progress of the course, so it is quite difficult for students to master it comprehensively and for teachers to complete the teaching tasks as scheduled in a limited time. In view of the above situation, I think it should be a very wise choice for us to give up the purpose of cultivating "elites". There are many courses in universities, and each student has his own different hobbies. We don't need to ask every student to concentrate on comparative literature. Of course, this does not mean that comparative literature is not worth studying. For interested students, teachers can focus on training to satisfy their thirst for knowledge. For other students who are not so interested in this course, it is enough to let them know about it with common sense, which can broaden their literary horizons and teach them to use research methods initially without requiring them to fully understand it. Only when the purpose of teaching is clear can the teaching process be carried out more smoothly. Second, the form of classroom teaching There are many forms of classroom teaching. For traditional teaching, the teaching form is mainly the teaching method that teachers talk and students listen. Teachers have knowledge of a bucket of water, but students get knowledge of a glass of water. In the teaching of comparative literature, the teacher's explanation cannot be completely excluded, but it can't be explained blindly by the teacher. The author believes that the teacher's explanation plays a guiding role in the teaching process. As this is the first time for students to come into contact with this relatively new course, there will be many problems in students' understanding of some terms, which requires teachers to make more efforts in this respect, explain to students carefully and patiently, and strive to speak thoroughly. The teacher's explanation is only a small part of the teaching form of learning this course. Relatively speaking, the author prefers to set up the form of classroom discussion. College students don't memorize knowledge like middle schools. They have their own ideas, and a large part of them are about to enter the society. Therefore, their oral expression ability, thinking ability and reaction ability should be properly trained. Only in this way can the interaction of university teaching be improved and the classroom will not become boring. The problems discussed in the class can be raised by students or teachers, but mainly by teachers. Because students are relatively lack of knowledge in this field, they need teachers to guide them. Moreover, it is best for teachers not to know the topic in advance, so that students have enough time to find the information they need to refer to and make careful preparations. Otherwise, if students are not familiar with the issues to be discussed and are not prepared, there may be a "battlefield" phenomenon, which will make the discussion impossible and thus affect the teaching plan. Third, improve students' interest "Comparative Literature course is theoretical and has a large span of disciplines. It is different from the course of literary history. It can analyze the works of classic writers from the literary trend of thought and literary genre with history as the line and writers' works as the point. There are many touching stories, which are helpful to stimulate students' interest, attract students to do as the Romans do, and produce a strong sound. In a sense, comparative literature is abstract, boring and difficult to disappear. " From this point of view, it is difficult for students to learn this course, and they often have strong interests, which brings difficulties to teachers' teaching. Therefore, teachers need to fully consider how to improve students' interest in the teaching process. At this point, I want to talk about my views on improving students' interest from two aspects: First, when explaining some theoretical knowledge points, it can penetrate into the study of specific literary works and literary phenomena. For example, when explaining the difference between motif and theme, we can take the motif and theme of Aesop's fable The Farmer and the Snake as an example. The Farmer and the Snake mainly tells a story: A farmer saw a frozen snake on the road. Seeing that the snake was pitiful, he used his chest temperature to save it, but the snake woke up and bit the farmer, and the farmer died. The motif of the story is "The farmer was bitten by a snake", but its themes are varied, such as "Never pity the wicked", "The nature of the wicked cannot be changed", "It is foolish to do good blindly" and "Those who pity the wicked will get evil retribution". In this way, students will be easier to understand and will be particularly interested, avoiding the boredom caused by abstraction. Secondly, multimedia can be used in teaching to improve students' interest. For those students who are not very interested, but are representative and important, multimedia teaching can be used as much as possible to improve students' perception ability by combining sound, painting and image, thus improving their interest in learning. Remarque once said in "The Function of Comparative Literature": "Comparative literature studies literature beyond the scope of a country, and studies the relationship between literature and other fields of knowledge and belief, such as art (such as painting, sculpture, architecture, music), philosophy, history and social sciences (such as politics, economy, sociology), natural sciences, religion and so on. Therefore, we can show some paintings, sculptures, buildings and so on to students. In class, let students think with concrete images. Fourth, give students targeted homework. Because comparative literature is theoretical, it is especially easy for students to forget it after learning it. Therefore, in the teaching of this subject, students can be assigned some homework. Teachers can give some hints when assigning homework, so as not to put students in a situation where they don't know where to start. Specifically, assignment can start from the following two aspects. First of all, you can assign homework according to the content of the class. This is a process of urging students to practice. When class is over, assigning homework related to it can achieve such an effect: let students better understand and master the theoretical knowledge they have just learned in the deepening of their impressions. Secondly, you can provide students with relevant model essays or monographs, and students can comment after reading them. For example, when it comes to parallel research, students can read a passage of Mr. Qian Zhongshu's "Pipe Taper Compilation" for their comments. For myself, I prefer the latter way of assigning homework, which is determined by its more difficult to understand than literature courses and my narrow grasp of knowledge. Learning under the guidance of teachers will be more purposeful. Due to my lack of understanding of comparative literature, I can only put forward the above four views on teaching methods according to my own difficulties in learning this course, hoping to provide some help to the teaching of this new subject. References: 1, Cao Shunqing Comparative Literature Course Higher Education Press 2010 March 2, Jiang Fang's clear orientation: the urgent task of undergraduate comparative literature teaching, China Comparative Literature, No.4, 2005, page 28 3, Zhang Cuiping's Comparative Literature Teaching Reform and Practice, page 142 4, Wu Chaoping's. Higher Education Press, August 20 10, Volume 7, No.81page; On the two images in Banquet and Hamlet: Hamlet at the Banquet, Zhang Yanan, Chinese Class 3, 2009; 200900 165438+. The film is set in the Five Dynasties and Ten Countries. At that time, wars were frequent and court struggles were cruel. Emperors, Empresses, Generals, Princes and Princesses all have ulterior motives. The empress dowager secretly joined hands with the princess and court officials to plot to usurp the throne in the name of seeking a position for the prince, and the prince also wanted to seize the imperial power through the power of the empress dowager. At a dinner party, they all tried to destroy their opponents at the party. The climax of the film is that the power of mother's unity boldly destroys the king, and the prince finally takes revenge on everyone. The banquet finally ended the endless fighting, but the prince could not escape the bondage of fate. They all fell victim to this cruel human struggle, and no one was spared. Then, judging from the surface structure of such a plot arrangement, The Banquet seems to completely copy Hamlet: the sudden death of the king, the return of the prince to the palace, the remarriage of the mother, the temptation of both sides, the murder and anti-murder, the disguise of self, the trap of poison, the action of revenge, and the blood splashing on the palace. In terms of the setting of characters, the two works also echo each other: with Claudius, with Hamlet, with Queen Wan and Qiaochude, with Olivia and Qing Dynasty, with Leontes, with Yin Taichang and Polonius. The ten thousand queens in the banquet have the same status as Gertrude in Hamlet, and they are both queens of one waitress and two husbands. However, if the queen in Shakespeare's plays is just a foil, then Wan Rong in Feng's plays is a decisive figure. Almost all the female images in Ha are the foil of Prince Hamlet, the central figure. Gertrude's mind is simple to a little silly, while Ophelia is naive and infatuated to a little silly. Hamlet has a famous saying: "Fragile! "Your name is woman." This seems to be a real photo of Queen Chowdhury. After the death of the king, she has been living in Hamlet's scolding. In the prince's humiliation and sarcasm, the queen's dignity was completely destroyed and her heart was torn to blood. In this way, Hamlet threw a shame, shame and death at the audience. At this point, Hamlet also successfully completed the revenge mission of "hurting his heart without hurting his body" taught by his father. At the end of the play, the queen died after drinking poisoned wine. Many people think it is to save Hamlet, but if you read the original carefully, you will find that it was an accident or a deliberate arrangement by Shakespeare. The only way to get rid of such a sinful woman is sudden death. Although this image is thin, it conveys Shakespeare's strong religious consciousness and male chauvinism, and also reflects his cognitive confusion about women during his tragic creation. In The Night Banquet, Empress Wan is completely different from Gertrude. She became Wu Luan's lover, not his mother, but also the queen mother in the ethical sense. At the beginning of the film, the relationship between the characters is illustrated by narration, that is, the emotional relationship between Wan Hou and Wu Luan; Second, Empress Wan married her father; Third, Li killed the first emperor and occupied the Empress Wan. In the face of the cruel court coup, Queen Wan has unprecedented calmness and ruthlessness, and she also has a passion for power. Xiaogang Feng said that The Banquet was not a story about the Queen, but a tragedy about a woman who was destroyed by desire. Everyone in the play represents a color: the wanton and luxurious red of the Empress Dowager, the lonely and unknown white of the Prince, the transparent and pure green of the young woman, and the cruel and oppressive black of Emperor Li. As an actor, Zhang Ziyi is lucky. On her body, all three colors have a strong performance. But neither fragile white nor evil and cruel black has the profound interpretation of human nature conveyed by gorgeous burning red. In this case, it is better to say that the banquet is Kazakhstan's material and refinement, the most obvious is Kazakhstan's "desire" and "choice of life", and the most expressive desire is the red makeup of the Empress Wan, the red boudoir in the first bed, bathing and scarlet. "You gave me what my late emperor didn't." Queen Wan is the best spokesperson for Alizarin Red. The scene of Wan Queen's appearance is very interesting. White clothes, pale face, white lamp, white wax, white cloth. On the black floor and under the background of black cloth, looking back, Wan Hou's inner struggle is not as calm as the surface. This is the beginning of the story, the beginning of the tense atmosphere, and the oppressive feeling from top to bottom in the painting implies that the Queen Wan will eventually emerge from the cocoon in gorgeous red. When the big fire destroyed her mourning figure, I expected and enjoyed the Empress Wan more than I was anxious and confused. Plain mourning can't hide the redness between her eyebrows and eyes, nor can it hide her depression, which is why she finally chose to feed poison to Li Di's mouth. By depicting the image of Empress Wan, the theme of revenge in Hamlet is actually successfully deconstructed and replaced by a brand-new theme centered on desire. The screenwriter of the banquet has publicly declared that the theme of the banquet is "desire". Xiaogang Feng said more specifically: This is a movie about desire, and everyone is involved in it because of desire. Desire does not mean that he will do it at the beginning, but that he is constantly expanding and changing, and is driven by this desire to go to the abyss step by step. In order to express that "desire can destroy everything and create everything at the same time", Xiaogang Feng boldly reshuffled the characters and plot elements in the world's classic dramas, turning the beautiful queen born in Qiaotrude into a trump card and the real protagonist of the banquet, while Prince Wu Luan born in Hamlet became a supporting role. The collision of red, white and black is the contradiction and conflict of the film. Comparative Literature The final paper of China Ji Liang University this semester is unconscious, and he can't create it without explanation. Student name Cheng Shihai China Language Institute Student ID 090 120 2 125 Foreign Language Class 09 Foreign Language Class 1 Instructor Liang Jing China Ji Liang University Foreign Language College 201year 65438+February 17 Comparative Literature. Title of final paper: Creation is unconscious, and it cannot be explained without explanation 1 Abstract: Creation is unconscious, and it is not its own behavior. This work is not the result of the author's ingenious conception. All works are created without any warning, reasonable speculation and budget. This is the inspiration of genius. The combination of inspiration and genius makes the work appear. However, a genius can't give a reasonable or better explanation for his works, and people can't understand what he says and refers to. Anyone else can express his content, his thoughts and his reference better, so he needs the help of others besides genius to explain it. Therefore, hermeneutics and hermeneutics and interpreters can and must appear. Without explanation, all works will not be understood by others, and all classic works will not be known by future generations. So I said, "Creation is unconscious and cannot be without explanation". Keywords: creation, unconsciousness, interpretation, unconsciousness, understanding, hermeneutics, genius, inspiration. Text: Since ancient times, creation has prevailed, including poems created by poets, novels created by novelists, essays created by essayists, plays created by drama masters, fables created by fable theorists and so on. Such as China's numerous ancient poems in Tang Dynasty, Lu Xun's famous prose, and China's and Europe's operas. In the impression of ordinary people, creation needs hard thinking and complete conception. In fact, what is more needed is inspiration, that is, all creations come from the sudden inspiration of the creator, and it is not by hard work that excellent works can be created. And our worship of everyone is usually that they are geniuses, and they are beyond our reach. The inspiration and genius mentioned here illustrate the unconsciousness of creation, that is, creation is the unconscious behavior of genius! So, what does genius consciously create? As Plato said, Socrates once showed his contemporaries their best works and asked what they meant. It turns out that any bystander can explain these poems better than the actual author. Socrates used this to prove his argument at that time: no one can really be called smart in his understanding of himself. How to understand this argument? In fact, when you know yourself, everyone seems stupid, that is, you can't fully understand yourself, and there are always many shortcomings in your understanding of yourself. In Berdyaev's Self-knowledge, self-knowledge is defined as "self-knowledge is the cognitive component of self-consciousness. It is the primary component of self-awareness and the psychological basis of self-regulation, including self-feeling, self-concept, self-observation, self-analysis and self-evaluation. Self-analysis is a reflection on one's own situation based on self-observation. Self-evaluation is an evaluation of a person's social value in terms of ability, morality and behavior, which can best represent a person's self-knowledge level. " Of course, 1 here is written for rhyme, which means that creation is unconscious, unconscious, and creation is only the inspiration of a genius, but a genius can't explain his work well, so he needs someone else to explain it. This statement cannot be explained without explanation. This passage is taken from Zhang Longxi's The Unconscious Creation of Tao and Logos. Self-knowledge in the final thesis of comparative literature includes all aspects of self-knowledge. That is to say, when they know themselves, when they know their own works, they are not as good as others, they are stupid rather than smart! There is a saying about poets and inspiration in ancient Greek thought: "