yeting1976
数学书也需要读。读是一种学习方式、学习方法、学习过程,是新理念中与文本的对话过程,是认知的基础,是创造的根本。读可以感受数学,有益于吸纳知识,交流成长,倡导自主的一种有效学习。关键词:读文本 新理念 对话过程 创造根本 感受感知数学 感悟理解 沟通交流 有益成长 自主学习 有效学习。今天在新教学理念的实施过程中,学习方法多种多样,但都是殊途同归,都是以获取知识为目的。正所谓“教学有法、学无定法、贵在得法”。其实“读”本身就是一种很好地学习方法。谈到读书,好像是只重视了文科类知识的读、写、念、看、想………,特别是语文教材中的每一课,学生会左一遍右一遍地读呀读。当然,这也是语文学科的突出特点所至。可是,数学课本中的内容,又有谁能达到一遍又一遍地读呢?所以笔者认为“数学书也需要读”。“读书”不只是文科学习的专利,应该是任何学科都需要的过程。一、读书不仅是一种学习方法,而且也是一种学习过程。常言道“读书百遍,其意自见”。任何书本上的知识经验都需要读。当学生做每一道应用题时,我们常常是强调了先读题,读题就是意味着审题,只有先审清题意后,才能够去进一步分析解答,所以说:读,不仅仅是一种学习方法,而且也是一种学习过程,也是一种分析、认知、理解的过程。二、读为创造的根本,是感悟理解的基础。新教学理念中提出:“读书是一种与文本的对话过程。”这种对话过程也是一种互动的活动过程。通过这种对话互动,来收集信息,感知信息,接纳信息,整理信息。对数学来讲就是接受数感,感知数学,感受生活中的数学,体会和感悟、理解数学知识。如读出“自然数”也是在认识自然数。读出某种法则、意义,也就在理解和认识某种法则意义。《新课标》还指出:课程本身是一种活动,课程是人的各种自主性活动的总和。学习者通过与活动对象的相互作用而实现自身方面的发展。其实,读书的过程就是人的自主性的发挥,人的自主性的活动总和。学习者通过读书这一活动过程,才能使知识内化,理解;才能进一步去体验、感悟、反思和探究学习。通过读才能与书与编者与生活中的数学沟通;才能与内容交流;才能与同学研讨;才能知因果,断正误,辨关系;才能迁移类推;才能有变式理解。再通过实践体验,才能有再造有创意,或异想天开的假设、推论等可能。所以说读为创造之根本,读为理解之基础。三、读书可以感受生活,感受身边数学的存在。学生学习什么?新理念中指出:“学生活的知识,学生存在的本领,学生命的意义”。开放的数学课堂预设引导学生让他们去发现、去观察、去思考、去探究,那就必须先读。书要自己去读,果要自己去摘,圆要自己去画,理要先自己去悟,心要自己用。以读促讲,以读促思,以读带学,以读悟情。让他们自己感受到数学的存在,感受到数学的意义、价值,感受到数学生活和生活中的数学。这样才能体现“把时间还给孩子”;把“能力还给孩子”;“将一切落实到学生的学”。为让他们读出快乐,对中差生哪怕是读一句话,读一个算式,读一点要求,或读一道题也好,表示教师对他们的尊重,赏识或信任,贴近感情。不仅如此,新理念在学法指导中着重关注有效学习,我认为数学书也需要读。这也不乏是有效学习中的一部分。四、读书能知是什么、为什么、怎么样,使自己变聪明,体现自学培养习惯。新教学理念要“教师转变教的行为”。即教师不要太“聪明”。不要直接教他们“列式子”。要让他们自己去读;自己去想;自己去加、自己去减、自己去数、自己去拼、画、改……。早在1500多年前就有“35只头和94只脚”的问题答案,况且今天抓素质教育;就必须在“自主”上作文章,所以必须让他们自己去读,并且多读、读懂、读明白。读书不仅仅是读文字,读题,读概念,意义,法则,公式,解释;更重要地是读图,读画面,读关系,读空白……。既要求读原因,又要求读方法、过程和结果,还要读直观,读抽象,读整体和部分,读量与率,读出逻辑与思维……,读出成功感受、体验、快乐,读出收获,价值意义,读出兴趣与拓展。再是要及时将读到的知识、能力与方法过程加以整理强化,并及时转化为经验,转化为欲望、动力与兴趣。“文本”中大部分是前人总结的经验,不通过读怎么能知道,怎么能感受理解?不只是语文学科课文要读,故事书要读,其实任何学科的书都需要读。“读才能知内容,读才能理解内涵,读才能明白科学的价值应用,读才能使自己更充实”。“书中自有黄金屋”、“书中自有颜如玉”。当你时进感觉到快乐时,就越发想读,愿意读,习惯读。所以读可以磨炼意志,也可以形成习惯。如人教版《第十一册》P122页“纳税”一节课中,不读就不知道什么是纳税,纳税的意义及特点作用、存在、内涵要求。不读就不会知道数学中的小数、分数、百分数………等好多知识及联系运用。五、读书有益于自己和他人沟通交流,并在交流中发展成长。读数学书,仍然也是读者。“有一千个读者,就有一千个哈姆雷特。”正是如此,学生通过读书,对语感、数感、形感的结合,揣摩,推敲,咀嚼,切已体察,展开想象,结合画面,结合数与形的关系,可能会创造出新情境和意境。不同人的读,可能有不同的理解和认识。可能会突发奇想,可能会引发新的创造。所以读书应是最有益的,不仅使自己成长也可能在交流中促进或带动他人的共同成长。读书作为学生与文本教材之间的一种精神上的相遇,通过两者之间的对话式的相互沟通,达到学生自主和自由发展的目的。读后若能有准备地讲说、探讨、交流,如我是这样想的……, 我这样认为……,我的理解是……, 我的看法……,我的感受……,所以结果从这方面看读,不乏是积极倡导自主学习方式的一种形式,更是一种有效的途径,何不充分利用。总之,书是要读的,数学书更是要读的。数学是科学的一个分支,也是其它学科的基础。数学源于生活,用于生活,又在身边。语文能一遍又一遍地读,甚至到背诵。而数学的读的确也应该引起大家的重视。读数学虽然不是什么“精神大餐”,但一旦产生了兴趣,那怕是肤浅的发现和猜想,也可能使人生充满挑战,激起希望,也可能会产生创意或奇迹,所以笔者认为数学更需要读。
托尼小吃货
哈姆雷特是原本是一位养尊处优的王子,他的性格弱点又是什么呢》下面是我带来的关于aaa的内容,欢迎阅读参考!哈姆雷特的性格弱点之一:软弱战士 哈姆雷特是一位养尊处优的王子,面对父亲被毒杀,母亲被占有,王位被窃取,国家被觊觎的家仇国恨,哈姆雷特有强烈的复仇愿望。哈姆雷特就是用这种坚毅坚决的方式表达自己复仇的坚定信念。哈姆雷特对杀死仇人这一看似简单而且有足够的能力完成的举动却表现出了常人无法理解的忧郁、疑虑情绪。他本来有绝好的机会动手了结克劳狄斯,但由于这种情绪使得复仇计划功亏一篑。当他遇到克劳狄斯在为自己的罪孽祈祷时,这是个复仇的绝佳机会,然而他复仇的想法只是一闪而过,接着他就转入了关于时机的思考。于是,哈姆雷特的复仇变成了一场思想斗争,一方面是不共戴天的杀父之仇及父亲亡魂的声声追讨,另一方面是对生命价值的严肃思考,使得哈姆雷特在这二者之间苦苦徘徊。 哈姆雷特的复仇计划就演绎成了一次痛苦的思想突围,在这个突围的过程中,哈姆雷特不断地看到社会的黑暗,力图融入黑暗的社会中,用敌人同样的手段对付敌人。但是,道德与正义做着本能的抵抗,在这种针锋相对的思想冲突中,哈姆雷特进行着艰难的蜕变与抉择。对于哈姆雷特的犹豫,并不难理解,哈姆雷特之所以身负重任又踌躇不前,是因为他本身软弱的关系,他可以忧郁,延宕,但完全是在事情未清楚之前,真相昭告天下之后,他还是无所作为,只是选择用语言复仇。哈姆雷特被复仇的意念苦苦煎熬,却迟迟不行动。他陷在自己的思考中无法自拔,想复仇,要复仇,却一再犹豫,这不得不归于他的软弱,无法实施行动,所以受着思想的苦苦煎熬。 哈姆雷特的性格弱点之二:逞强战士 哈姆雷特是青年王子,他对生活充满了热爱,他也爱朋友,爱下级。他对一般人民都十分亲切,和臣民的谈话并不高高在上。在他接受了父亲亡魂交给他的复仇任务后,哈姆雷特明白自己所处的时代是一个封建势力很强大的时代,他的敌人又是一个无比奸诈、善于笼络臣下的国王,就算消灭了克劳狄斯,也是不算报了仇的,人民还是会处于水深火热之中,只有联合人民群众,奋起反抗,才能战胜敌人。但是,把人民发动起来反抗,会牺牲许多无辜的生命。 哈姆雷特天生热爱和谐、幸福、美丽,一般人民也是如此,这次不能和平建设,和平生活,必须进行流血斗争,在善良的人民看来是不得已的,哈姆雷特在两方面的急剧转换里,一时脱口而出,说了一声“真糟”或“倒霉”,他一下子感觉到天翻地覆了,自己碰上了扭转乾坤的责任,他也意识到责任重大。他不希望臣民流血牺牲,所以在得知事情的真相后,他觉得自己作为王子,有责任也有义务保护臣民,更有能力把他们拯救出来。他虽然为人民所爱戴,而且从人民所受的那些苦难的体会里感染了一种斗争力量,却始终没有像莱阿替斯一样要人民跟他一致行动,可以说,他没有找到达到理想的道路。 哈姆雷特的性格弱点之三:宿命战士 哈姆雷特因其一再踌躇和延宕为父报仇而备受争议。作为人文主义者,他面临着理想破灭的严酷事实不是要“挺身反抗人世的无涯的苦难”,而是裹足不前,错失良机,反而被克劳狄斯抓住他误杀波洛涅斯的机会,把他遣往英格兰。在对现实的彷徨无计中,哈姆雷特的思想中渐渐产生宿命成分。在种种场合之中,“命运”的作用似乎越来越重要。从哈姆雷特的话中,观众与读者可以感觉到哈姆雷特的变化:从当初雄心勃勃要奋力抗击人世间的丑恶,到静等命运的安排。因为他认为无论人类怎样辛苦图谋,其结果是早已有一种冥冥中的力量把它布置好了。这样的消极态度一直延续到最后,以致最后他与以克劳狄斯为首的敌对势力同归于尽。 哈姆雷特的性格是复杂的。他的性格中既有积极的一面,又有消极的一面。首先,哈姆雷特只是一个小说人物,所以他是一个矛盾的综合体,一个时代的缩影。哈姆雷特作为一个王公子弟,虽然接受了一些新的思想,但封建落后的思想仍如影随形,哈姆雷特性格中的弱点,其实是这两种思想的碰撞。其次,作为一朵皇族的花朵,哈姆雷特的确足够优秀,然而他还是上演了一出“青年人的悲剧”,年轻气盛,封建势力太过强大,单靠他一个人孤军奋战,是战胜不了的。再次,他性格上还存在一个极大的弱点:他潜在的宿命观在最关键的时候暴露出来,他完全把生死托付给了上帝,导致最后悲剧的发生。 哈姆雷特的性格论文: 《浅析哈姆雷特的性格》 摘要 本文对哈姆雷特的性格作了分析探讨。哈姆雷特本身是个热情乐观的青年,对生活、人类满怀热爱和信心,但是世事多变,父王的意外死亡,母亲的改嫁,王位的丢失使他忧郁,多疑,优柔寡断,嫉恶如仇,性格上出现了矛盾,从而造成了他的悲剧人生。 关键词 哈姆雷特;性格;忧郁; 矛盾 《哈姆雷特》是莎士比亚的经典之作也是世界戏剧的典范。它取材于十二世纪末丹麦王子为父复仇的 故事 。戏剧情节跌宕起伏,人物形象生动鲜明、独白精彩绝伦。哈姆雷特富有理想,热情勇敢,敏锐机智,胸襟开阔,嫉恶如仇,他忧郁,优柔寡断,多疑,性格上出现了勇敢与软弱,谨慎与急躁,善良与残忍,爱情忠贞与怀疑的矛盾。莎士比亚说"一千个观众眼中有一千个哈姆雷特"。哈姆雷特这一形象性格的复杂性,一直是评论界争论的中心。笔者认为哈姆雷特的复杂性格是由他所面临的内外冲突造成,既有软弱性又有坚强性。 1 忧郁与多疑 哈姆雷特,崇尚自由平等,亲近人民,对人类抱有美好的希望。他"对生活感到满足和幸福,因为现实还没有和他的理想背道而驰。"他肯定人世生活、赞美世界、渴望真挚的友谊、追求时尚的爱情。正是他前期的这种美好的理想般的生活,使他在突然面对不幸时显出异常的困惑、抑郁、思想混乱。 崇拜的父王的突然死去,贞洁的母亲匆匆改嫁篡夺王位的叔父,使他对世界产生怀疑。对逝去父王的缅怀,对母亲下嫁的愤恨,对叔叔粗鄙庸俗的蔑视,对自己前途未卜的忧虑,这一切使他愁容满面,郁郁寡欢。而更令他气愤的是父亲的鬼魂向他昭示的真相:叔父谋杀父王。国王是专制王朝的代表,报仇不仅是个人问题,还是关系到整个国家,整个社会的问题。他希望用人文主义思想改造社会,但面对残酷黑暗的现实,他只凭自己孤军奋战,因此患上时代的忧郁症。忧郁是哈姆雷特的主要特征,也是他性格的关键。现实环境、生活变故在他身上留下深深的烙印和伤痕,使他敏感多思的心灵不能负荷,忧郁彰显了他高贵的心灵和高尚的品格。 理想和现实的强烈反差,让他开始怀疑到"人",怀疑到"女人",怀疑到社会,怀疑到人生。他用怀疑的眼光去审视周围的一切:人性的虚伪、世态的炎凉、天道的不公。他先是怀疑鬼魂不是父王显灵,而是一个要引诱他犯罪的魔鬼,待到通过演戏证实鬼魂所说一切属实,叔父正是谋害父王的真凶之后,他又错过了一个大好时机。"生存还是毁灭,这是一个值得考虑的问题"是默默忍受命运的暴虐的毒箭、官吏的横暴和费尽辛勤所换来的小人的鄙视,还是挺身而起,反抗人世的苦难,通过斗争把它扫清·父死母嫁,奸邪当道,国内一片黑暗。好朋友罗森克兰背叛了友谊成为奸王的走狗,自己的爱人奥菲丽亚也成了落后势力的俘虏和工具,使得他性格多疑。到处是不公正,官吏横行,这又使得他愤恨。 2 优柔寡断与嫉恶如仇 哈姆雷特的父亲的鬼魂交付给他复仇的责任,他深爱他的父亲,并发誓报仇。但是,他却一再拖延,是在经过了很长一段时间以后才完成复仇的事业。哈姆雷特为什么拖延· 哈姆雷特敏于思索却拙于行动,他在没有切实可行的办法之前,只会冥思苦想。从思考到行动他需要一个比常人更为复杂的过程。踌躇难决之下,因一时找不到复仇的时机,而使得他苦闷彷徨,拖延迟疑,但当时机到来时,他的优柔寡断使得复仇计划一次次功亏一篑。 哈姆雷特用宣誓表达着自己复仇的坚定信念,同时他对报仇举动却表现出了犹豫。他本来有好几次杀死仇人的绝佳机会,但在疑虑重重下,一次次耽搁了报仇的有利时机。叔父因良心受到煎熬而跪地祈祷,哈姆雷特此时本可以拔剑将其刺死,但他却顾虑重重,复仇的想法只是一闪而过,接着他就转入了时机价值的思考。于是,哈姆雷特复仇变成了一场思想斗争。他在报杀父之仇和对生命价值思考这二者之间苦苦的徘徊,过多的思虑反而使他失去了采取行动的勇气。 哈姆雷特在报仇中不断的看到社会的黑暗,力图让自己融入这种灰暗的世界中去,用敌人同样的手段来对付敌人。他气愤于母亲的朝三暮四,对叔父的奢侈以及国家的陋习,他都表现得痛心疾首,他向往光明,痛恨邪恶,将所有的国仇家恨都绑在自己一个人身上,忍受所有苦难,不断挣扎前进。"啊,从今以后,我的头脑里只许有流血的念头!" 残忍在血液里沸腾、卤莽支配着理智。强烈的悲伤和复仇的愿望对哈姆雷特的性格起了推波助澜的作用。 3 坚贞与怀疑 思想单纯的奥菲利亚是哈姆雷特深爱的姑娘,他曾经给她写过 情书 ,送过礼物,有过许多热辣辣的爱情表白,正大光明地向这位纯洁美丽的少女求过爱。他决定报仇以后,觉得爱情和他的责任格格不入,他故意对姑娘冷酷无情,可是他有时仍情不自禁地思念起可爱的欧菲莉亚,好心的姑娘认为王子的冷漠绝非他的本意。在责任和爱情中间,哈姆雷特放弃了对奥菲利亚的爱。 母亲的改嫁让哈姆雷特震惊难过,对坚贞的爱情产生怀疑。他不禁感叹"脆弱啊,你的名字就是女人!"他深爱自己的母亲,他认为母亲的改嫁是对爱情背叛,母亲的解释,是为了掩藏丑陋和恐惧的灵魂;但他宁愿"用利剑一般的词语刺伤她的心",也"不愿伤了她的一根发毛"。 正是由于母亲改嫁,他才无法再相信女人、相信爱情。 性格决定命运。哈姆雷特的悲剧性格决定了他的悲剧命运。在矛盾的性格之下,他被复仇的意念苦苦煎熬,复仇成了他生命的全部。而这一切,导致他对懦弱的母亲冷语相向,对心爱女子视而不见,导致他最终落入仇人的圈套。最后,复仇的愿望终于实现了,可是一切都无法挽回。 笔者眼中的哈姆雷特忧郁,优柔寡断,多疑,嫉恶如仇,怯懦与勇敢,自私与高尚,对爱情忠贞与怀疑多种性格并存,但如此多的矛盾统一于他身上,却出奇地完美与和谐。也正因这矛盾,才使哈姆雷特的形象如此丰满。 猜你喜欢: 1. 《哈姆雷特》读书笔记 2. 哈姆雷特读书心得体会 3. 哈姆雷特读书笔记摘抄 4. 哈姆雷特读书笔记 5. 世界名著哈姆雷特读书心得体会
dreamy8594
搜狐博客 > 爱猴的慧 > 日志 > 文海拾贝 �0�0 上一篇 | 下一篇 �0�32007-08-19 | 哈姆雷特悲剧分析 刀尖上的露珠——哈姆雷特的悲剧命运与本性生存还是毁灭,这是一个值得考虑的问题;默然忍受命运的暴虐的毒箭,或是挺身反抗人世的无涯的苦难,通过斗争把它们扫清,这两种行为,哪一种更高贵?这是一个永恒而经典的问题,出自一个不朽的艺术形象。哈姆雷特,他究竟何以这样屹立不倒?何以这样永垂不朽?我想就他悲剧性的命运和他的本性做一些分析。哈姆雷特形象的悲剧意义在于:从积极方面来看,他的斗争反映了文艺复兴时期人文主义思想家同封建没落势力进行豪不妥协斗争的历史进步性,是历史发展必然要求的产物。从总结经验教训的角度看,他的悲剧源于两个方面,一是他生活的时代封建力量还很强大,加之以哈姆雷特作为一个资产阶级人文主义者,他不相信人民群众,只能孤军奋战。二是他固守着文艺复兴早期关于“人”的理想,不能适应新的历史环境中人的变化的现实。哈姆雷特的悲剧,是后期人文主义者的悲剧,也是文艺复兴晚期特定时代的悲剧。——摘自《世界文学简史》李明滨 北京大学出版社2005年版(有删节)首先要说的一点是,我今天要讨论的话题是围绕着哈姆雷特本性而展开的,而并非仅仅将他看作是思想的先驱或代表者,我们可以说,哈姆雷特的形象体现了那个大的时代框架的人文主义精神,但是我们不可以由此就确信哈姆雷特是为了宣传先进的思想而存在的,这样妄然的决断是荒谬的。因为在莎士比亚创作出这个忧郁的王子的时候,只是想让他的悲剧能够打动剧场里每一个观众,而并非是要向后人鼓吹什么先进的人文主义以对抗封建势力,而和“资产阶级”“人民群众”更是无关的。我们难以摆脱现在的价值观,转而附加到原作上,甚至还将他的人性清晰地划分为资产阶级,将其悲剧的必然性归结到“不相信人民大众”的荒唐原因上,这种行为,本身就是深受意识形态的干涉,实质上是极为滑稽的。我认为有违于正确认识历史和文学的原则。
牛奶荡糕
Hamlet and Ophelia, by Dante Gabriel RossettiPrince Hamlet is the main character in Shakespeare's tragedy of HamletPerhaps the most straightforward view sees Hamlet as seeking truth in order to be certain that he is justified in carrying out the revenge called for by a ghost that claims to be the spirit of his father. The most standard view is that Hamlet is highly indecisive, which is the view as proposed by Coleridge, and a number of other critics. "Shakespeare wished to impress upon us the truth, that action is the chief end to existence". The 1948 movie with Laurence Olivier in the title role is introduced by a voiceover: "This is the tragedy of a man who could not make up his mind.". Eliot offers a similar view of Hamlet's character in his critical essay, "Hamlet and His Problems" (The Sacred Wood: Essays on Poetry and Criticism). He states, "We find Shakespeare's 'Hamlet' not in the action, not in any quotations that we might select, so much as in an unmistakable tone...".Others see Hamlet as a person charged with a duty that he both knows and feels is right, yet is unwilling to carry out. In this view, all of his efforts to satisfy himself of King Claudius' guilt, or his failure to act when he can, are evidence of this unwillingness, and Hamlet berates himself for his inability to carry out his task. After observing a play-actor performing a scene, he notes that the actor was moved to tears in the passion of the story and compares this passion for an ancient Greek character, Hecuba, in light of his own situation:Hamlet reclines next to Ophelia in Edwin Austin Abbey's The Play Scene in Hamlet"O, what a rogue and peasant slave am I!Is it not monstrous that this player here,But in a fiction, in a dream of passion,Could force his soul so to his own conceitThat from her working all his visage wan'd;Tears in his eyes, distraction in's aspect,A broken voice, and his whole function suitingWith forms to his conceit? And all for nothing!For Hecuba?What's Hecuba to him, or he to Hecuba,That he should weep for her?" […]Etymology of HamletHamlet’s name is one filled with meaning and controversy. The name Hamlet occurs as early as the tenth century. His name is easily derived in form from Belleforest and the lost play from Amlethus of Saxo, and remaining in this form is then derived from its Latin form of the old Jutish Amlethoe. From this point the name can be divided into sections with common meanings. In terms of etymology the root name of Hamlet is an Icelandic noun, Amlooi, meaning ‘fool.’ However this name is derived from the way that Hamlet acts in the play and is not in all actuality the true Etymology of the name since the meaning is found through the actions of Hamlet. The second way of translating the name is by analyzing the noun aml-ooi into ‘raving mad’ and the second half, amla into ‘routine’. Later these names were incorporated into Irish dialect as Amlodhe. As phonetic laws took their course the name’s spelling changed eventually leaving it as Amlaidhe. This Irish name was given to a hero in a common folk story. The route of this name is ‘furious, raging, wild.’ These are all meanings of which Shakespeare would have been aware of when deciding on the name for his longest play.[1]AsimovAnother view of Hamlet, advanced by Isaac Asimov in his Guide to Shakespeare, holds that his actions are attributable not to indecision, but to multiple motivations: his desire to avenge the wrong done to his father, coupled with his own ambition to succeed to the throne. The tragic error committed by Hamlet, in Asimov's view, is his overreaching wish to see Claudius damned, and not merely dead, which prevents him from killing Claudius at the opportune of the ReformationMarcellus, Horatio, Hamlet, and the Ghost by Henry has also been suggested that Hamlet's hesitations may also be rooted in the religious beliefs of Shakespeare's time. The Reformation had generated debate about the existence of purgatory (where King Hamlet claims he currently resides). The concept of purgatory is a Catholic one, and was frowned on in Protestant England. It is possible that Hamlet's own logic ought to be taken seriously. Hamlet says that he will not kill his uncle because death would send him straight to heaven, while his father (having died without foreknowledge of his death) is in purgatory doing penance for his. Hamlet's opportunity to kill his uncle comes just after the uncle has supposedly made his peace with God. Hamlet says that he would much rather take a stab at the murderer while he is frolicking in the incestuous sheets, or gambling and drinking, so he could be sure of his going straight to interpretationErnest Jones, following the work of Freud, held that Hamlet suffered from the 'Oedipus complex'. He said in his essay "The Oedipus-Complex as An Explanation of Hamlet's Mystery: A Study in Motive":His moral fate is bound up with his uncle's for good or ill. The call of duty to slay his uncle cannot be obeyed because it links itself with the call of his nature to slay his mother's husband, whether this is the first or the second; the latter call is strongly "repressed," and therefore necessarily the former , Harold Bloom did a "Shakespearean Criticism" of Freud's work in a mirror of the audienceInnokenty Smoktunovsky as Hamlet in the acclaimed 1964 film by Grigori has also been suggested that Hamlet, who is described by Ophelia as "th’ expectancy and rose of the fair state, / The glass of fashion and the mould of form" (Act III, Scene i, lines 148-9), is ultimately a reflection of all of the interpretations possessed by other characters in the play—and perhaps also by the members of an audience watching him. Polonius, most obviously, has a habit of misreading his own expectations into Hamlet’s actions ("Still harping on my daughter!"), though many other characters in the play participate in analogous has a similar tendency to interpret all of her son’s activities as the result of her "o’erhasty marriage" alone. Rosencrantz and Guildenstern tend to find the stalled ambitions of a courtier in their former schoolmate’s behaviour, whereas Claudius seems to be concerned with Hamlet’s motivation only so far as it reveals the degree to which his nephew is a potential threat. Ophelia, like her father, waits in vain for Hamlet to give her signs of affection, and Horatio would have little reason to think that Hamlet was concerned with anything more pressing than the commandment of the ghost. And the First Gravedigger seems to think that Prince Hamlet, like that "whoreson mad fellow” Yorick, is simply insane without any need for explanation. Several critics, including Stephen Booth and William Empson have further investigated the analogous relationship between Hamlet, the play, and its , over the last four centuries Prince Hamlet has become an icon in the entire western consciousness: the definition of what it means to be intelligent, and perhaps, fully 's parallels with other charactersOne aspect of Hamlet's character is the way in which he reflects other characters, including the play's primary antagonist, Claudius. In the play within a play, for instance, Gonzago, the king, is murdered in the garden by his nephew, Lucianus; although King Hamlet is murdered by his brother, in the Mousetrap , the regicide is a nephew, like Prince Hamlet. However, it is also worth noting that each of the characters in the play-within-a-play maps to two major characters in Hamlet, an instance of the play's many doubles:Lucianus, like Hamlet, is both a regicide and a nephew to the king; like Claudius, he is a regicide that operates by pouring poison into Player King, like Hamlet, is an erratic melancholic; like King Hamlet, he is poisoned via his ear while reclining in his Player Queen, like Ophelia, attends to a character that is "so far from cheer and from [a] former state"; like Gertrude, she remarries a is also, in some form, a reflection of most other characters in the play (or perhaps vice versa):Hamlet, Laertes, Fortinbras and Pyrrhus are all avenging sons. Hamlet and Laertes both blame Claudius for the death of their fathers. Hamlet and Pyrrhus are both seized by inaction at some point in their respective narratives and each avenges his father. Hamlet and Fortinbras both have plans that are thwarted by uncles that are also , Rosencrantz, Guildenstern, Osric and Polonius are all , his father, Bernardo, Marcellus, Francisco, Fortinbras and several other characters are all and his father share a name (as do Fortinbras and his father).Hamlet, Horatio, Rosencrantz, Guildenstern and Laertes are all , his father, Gertrude and Claudius are all members of the Royal Family. Each of them is also killed by poison -- poison that Claudius is responsible and Ophelia are each rebuked by their surviving parent in subsequent scenes; the surviving parent of each happens to be of the opposite gender. Both also enter scenes reading books and there is a contrast between the (possibly) pretend madness of Hamlet and the very real insanity of , Horatio, Polonius, Rosencrantz, Guildenstern and Claudius are each "lawful espials" at some point in the play.
你准备写跨文化交际还是翻译,还是文学,还是其他的?
XX学院本科生毕业论文(设计)开题报告姓 名 学号所在院(系) 专业指导教师 职称论文题目1.选题的依据和意义;2.国内外有关本选题研究的动态;3.论文的基本内
哈姆雷特是一个人文主义者,有着复杂的性格,崇高的理想,和人类与世界新颖的看法。目光敏锐,思考深刻,又有高度的社会责任感。但过于内向,过于审慎;加上势单力薄的处境
一部人类心灵咏唱出的伟大史诗,崇高和卑下、可怕和可笑、英雄和丑角的奇妙的混合,完成于1601年的《哈姆雷特》,是文艺复兴时期的巨人——莎士比亚戏剧创作的最高成就
首先要讲 这部文章是4大悲剧之一,与《麦克白》、《李尔王》和《奥赛罗》都是莎士比亚的得意作首先可以描述下作者,然后推及到内容你可以对主角介绍和分析,然后说出作