A large area of the neural system will be activated by the information of something new, but it will be greatly lessened in the process of habituation, leaving the task to a small number of specific neurals, which can even function automatically, without much consciousness and effort. Habituation is the one of the preconditions of the dynamic core hypothesis, which supposes that only one power-consuming self-conscious mental activity, however it changes, is allowed for one moment, with a lot of automatic unconsciousness. Habituation can help to save mental power, but it can also make the neural system senseless to the objects, therefore estrangement theory is raised to renew the experience of feeling. Estrangement can be neurally explained by dynamic core hypothesis. In literary works, some important unconsciousness is often raised to the level of consciousness, and the dynamic core is changed, in order to produce the effect of estrangement. This effect can also be acquired by the contrast achieved by swiftly changing the dynamic core of one character or by putting together the dynamic cores of different characters. The estrangement effect can also be discussed from the perspective of heterosynaptic facilitation. Sensitization is the first form, which supposes that strong stimulus in one neural circuit can lead to the strengthening of the stimulus in other circuits. The shocking stimulus, esp. suspension, is often used by writers, to make readers sensitive to every detail to get the estrangement effect. Conditional function, which assumes that the strong stimulus in one neural circuit can strengthen the stimulus in another by repeating successively, is the second form of heterosynaptic facilitation. Metaphor, personification, symbolization, contrast etc. are all based upon conditional function, and scientific fantasy, utopian, fable etc. are based upon extended conditional function, which are both the results of heterosynaptic facilitation. Estrangement is often regarded as the formal art, and yet, the change of form can also lead to the differences of content observed. Even without the change of form, the new content can also produce the impression of estrangement, although the room for this kind of strangeness is limited.

笑可分为三种:快乐之笑,幽默之笑,社交之笑.快乐之笑很少出现,它的外在标志是眼轮匝肌的运动,其驱动力只能是来自内心的高兴,所以最难表演.幽默之笑是不和谐造成的笑,比较容易人为创造,其神经机制和面部肌肉运动与快乐之笑类似;幽默之笑是喜剧之笑的主体,只要演员把幽默体会到位就能自然地笑出来.社交之笑不需调动眼轮匝肌,属于交际的一个环节,与高兴无关,表演起来几乎没有难度.在现实中,说笑的人地位高,往往是男性;听者地位低,女性偏多,经常"自贬",显得木讷,是笑的靶子.在剧场中,演员虽然是说话者,却是笑的对象,所以往往"自贬",显得木讷,而观众却颇有优越感.

在过去的30年中,《批评与文化理论年鉴》已经出版30卷,累计519个栏目,可以归纳为52个关键词.本文对这部年鉴进行了全面的统计和分析,以了解各个主题在这30年的兴衰变化.可以看出,其中出现次数最多的为"殖民/后殖民""电影理论""女性主义""心理分析""视觉艺术""大众文化";走向相对趋于弱势的为"历史主义""符号学""互文性""接受理论""话语分析""人类学""阐释学";新兴的领域为"科学与医学""理论之理论""动物研究""经济批评""残疾研究""情绪理论".

概念整合是福科尼耶和特纳提出来的重要认知理论,整合将不同空间的内容投射到一个空间中,通过压缩突出重大关系,创造出多层次的新意思.如果用整合理论来分析《哈姆莱特》,每个人都是角色、演员、观众的整合,每个要素都是真实和虚假的整合.在这一剧本中,莎士比亚通过有和无的整合,使无具备一些有的属性,从而变得可以认知,有的特性则在整合中得到彰显,甚至可以向无限延伸.剧作中的时空和事件都只是非常有限的在场,这些在场可以帮我们联想无穷的不在场,而不在场的要素又是在场的补充,使在场变得完整和可以理解.这部戏剧作品的内容充满新意,但新的内容都建立在旧的内容之上,新旧相依.

Poetic justice, which advocates good and evil retribution, is criticized as poets' fantasy by many people. And yet contemporary science has discovered that poetic justice, which is based upon ethic selection, is a basic rule of human society, with its own physiological, psychological and social mechanism. Kin reciprocity, direct reciprocity, indirect reciprocity, group reciprocity and network reciprocity are the main forms of poetic justice. The extreme form of altruism, which is just like the expensive feather of the peacock, is a kind of "runaway selection", and yet it has its own reward to a certain degree. In an open conflict, the evil is difficult to defeat the good, and it usually has to assume the appearance of the good. From these perspectives, we can discover that the main conflict of both Chinese and Western tragedies is between the good and the false good, and poetic justice forms the key structure, with the 5 types of reciprocity as the important content. In a Western tragedy, the extreme altruists are generally minor figures, the central character is often an active hero with TIT FOR TAT as his main skill, who brings about a fatal defeat to his enemy and due punishment to the evil, by running into a disaster himself, with some lament in the end. It is difficult for the extreme altruists, who are often the central figures in the Chinese tragedies, to defeat the enemies, and the poetic justice is usually achieved by other fair-minded forces.

托妮·莫里森发表于2008年的小说《慈悲》,延续了她十年前的作品《乐园》的主题,探讨了在17世纪的北关大陆建立乌托邦式的乐园之可能性.生机勃勃的自然环境,相对平等和谐的人与人、人与自然的关系为乐园的建构提供了可能性.然而,乐园封闭的空间、复杂的人物背景以及不平等的人物关系都为其最终瓦解深深地埋下了种子.导致乐园彻底瓦解的并非是雅各布的死亡,而是人与人之间缺失的宽容和慈悲之心.《慈悲》这部关注种族问题的非裔美国文学作品,传递出了一种回顾历史的勇气和追问真相的信念.

Pollard is the father of New Bibliography, who combines textual criticism with material bibliography. By applying the new method in the study of the 19 Shakespeare's quartos published before 1623, he selects 14 as good quartos and 5 as bad quartos, which has become a generally accepted conclusion. After studying the copy, editing and printing of the First Folio, he assures the edition is of authoritative position. These quartos and the First Folio are treated by Pollard as the only "documents" of "original authority" of Shakespeare's plays, and they are the only sources of the different later editions, which should not be treated as equals. He also convincingly refutes the pessimism of Sydney Lee, and eliminates the bad influence of his undifferentiated pessimism.

Among the five English articles on foreign literature of Hu Shi, the most important two deal with Robert Browning, which have not caught the attention of the Chinese academic circles yet;after close analysis, Hu Shi tries to defend Browning's optimism, by criticizing the Moralistic Pessimism, the Intellectual Pessimism, the Hedonistic Pessimism, and by exalting the worth of man, his ability of self-perfection, and his immortal worth of personality, with some discussion of Browning's philosophy of love;he tries to use the optimistic Confucian spirit of struggling in his essays with Chinese perspectives, which are highly appraised by the American scholars.

Mirror neurons are active both when an action is performed and when one is observing another's action. They can simulate the perceived action as mirrors. Mimesis in drama, based on mirror neurons and connected with the basic instincts, provides much pleasure. Mirror neurons form the basis for understanding and learning in drama and make empathy possible, with some other neurons separating the action of one's own from the action of others. Inspiration comes when someone's action is mainly directed by mirror neurons; inner feelings and outer expressions are closely connected; drama purifies the feelings of the audience in the short-term, but strengthens them in the long-term.

美国认知文学批评家詹赛恩在《我们为什么阅读虚构作品》中指出,心灵阅读是人的基本生存技能,小说能够训练并挑战这种技能,所以受到人们喜欢;小说可以把多层次的意向性嵌入作品,制造出意向性的迷宫,丰富作品的内涵;小说也可以通过控制表象后面的元表象,使信息的源头出现错乱,考验读者的元表象能力;普通不可靠叙事往往鼓励读者相信叙述者,但读者后来又出乎意料地发现有些地方并不正确,侦探小说从一开头就提倡怀疑叙述,属于典型的元表象游戏.

意大利科学家里左拉蒂等发现,人脑中有一种神奇的镜子神经元,它不但在自己身体运动的时候处于兴奋状态,而且在观察他人行动的时候也同样处于活跃状态.由此镜子神经元就像镜子一样把他人的动作在脑中进行模仿,读者与人物之间有一种“运动对等”.这种模仿可以分为简单模仿与复杂模仿,也可以分为内容的模仿与形式的模仿,往往带有人类中心主义和自我中心主义的特点.通过镜子神经元原理可以把西方文学的模仿从作家对现实的模仿延伸到读者对人物动作的模仿.

To “Shakespearize” means to eulogize the progressive class and to criticize the degenera-ting class, with a clear idea of the historical development in the mind;to“Schillerize” means to de-scribe the decaying class as heroes of the time .But many scholars misunderstand the two concepts as vivid creation and conceptual creation , and add Engels ’ “realism”,“Falstaffian backdrop”,“vi-vacity”,“welth of action”,“characterization” to“Shakespearization”, and treat Engels ’ “the ide-al”,“intellectual profundity” and “historical content” as elements of “Schillering”, forming a sys-tem of discourse , which is irrelevant to Marx and Engels .

焦菊隐的“心象”一词应当是斯坦尼斯拉夫斯基的“内心视象”的另一种翻译;狭义“心象说”是与斯坦尼斯拉夫斯基的“内心视象”相对而言的演员创造角色的方法,但所指的范围更窄,创造角色的途径和顺序不一样;广义的“心象说”还包含了表现派的技巧和中国传统艺术的成分.狭义“心象说”是“内心视象”的中国化和创造性的运用,广义“心象说”几乎不是焦菊隐本人直接提出来的,不少内容是后人的附会.“心象说”是一套戏剧演出技巧,体现了富有创见的实践智慧,但理论创新不是很大,甚至不能成为一种学说.

Richard Wright’s autobiographical novel Black Boy narrates the shift of his language consciousness due to rov-ing life experience,which,under the theoretical frame of Kiao-Iology,can best interpret the phenomenon with Wright as the subject.From the first taste of language to the perception of it as a weapon so as to form his own writing style and fi-nally the forming of his own writing view with independent thinking,Wright seeks for the truth of writing in displacement with fundamental changes in thinking.The paper puts Wright’s language consciousness under the dynamics of Kiao-Iolo-gy to explore the inseparable connection between the roving experience and the language consciousness,so as to figure out the thinking course of Wright as a writer.

楚尔指出,认知诗学的特点在于运用认知科学对特定的文学作品之所以产生某种审美效果进行科学的阐释,在形式主义批评和印象式批评之间建起一座桥梁。《走向认知诗学理论》一书,以聚合型与发散型为文体的两端,以激情和睿智作为审美的两端,从七个层面对诗歌进行研究,对崇高、荒诞等美学概念从认知科学的角度做了科学的解释。

吴兴华用历史唯物主义和阶级分析方法谈论了文艺复兴时期的欧洲社会，并仔细比较了《威尼斯商人》和作为该剧原型的意大利故事，发现莎士比亚突出的是借贷资本家夏洛克和商业资本家安东尼奥的矛盾，整个剧本以这个冲突为核心，而非以种族矛盾或者个人仇恨为核心，对金钱至上的商业精神和冷酷的法律精神进行了批评。吴兴华认为，波希雅和她所强调的仁慈是拯救资本主义的真正良药，但她的理想具有乌托邦色彩，难以付诸实践，只有在后来的悲剧中，莎士比亚才合理地把善恶双方摆到了旗鼓相当的层面上。

The Pilgrim’s Progress stands out as a landmark in the history of British literature. In spite of its considerable research, the exploration from the perspectives of the author as well as the reader’s thinking and cognition remains to be done. The theory of cognitive space put forward by Mark Turner in The Literary Mind provides a theoretical foundation for such studies.As reflected in the novel texts,the proj ection mode from the source space to the target space,the blending of multiple spaces which gives rise to rich meanings and the reader’s comprehensive cognition across spaces through imagination reveal that the thinking modes of Bunyan’s creation and the reader’s understanding are closely connected with the space,so as to interpret the creation and understanding thought from a new angle and illustrate that the cognition by means of space is people’s fundamental way of thinking.

莎士比亚的戏剧和中国戏曲都打破了三一律,有着自由的时空结构和从头到尾按顺序安排的戏剧行动;都可以把悲喜成分混合;但莎剧的自由度比较小,而戏曲几乎不受限制;莎剧的结尾悲喜分明,而戏曲的结尾基本都是大团圆的.莎剧打破了古典主义的法则,在剧坛上取得了世人瞩目的成就;戏曲则完全无视这些法则的存在,并因此显示出与西方戏剧迥异的审美特点.

奥尼尔认为悲剧与悲观主义无关,与作者的痛苦经历和社会的悲惨状态也没有直接的联系,是主人公不愿意和现实妥协,并将奋斗推到极限的结果,体现了最大价值的实现;他的悲剧注重终极关怀,但并不试图在上帝那里寻找安慰,而是回到人的潜意识,将作品变成灵魂的戏剧;表现主义和象征主义是展示人的心灵的好方法,可以超越只重事实的现实主义;人物内心世界非常复杂,大多数意识和无意识长期隐藏于深处,一旦公开揭示出来,有时显得不正常.