Volume 20

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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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