乔治·艾略特是19世纪的英国著名的女作家,她不仅集哲学思辨与艺术鉴赏力于一身,且对女性问题颇为关注,她塑造的很多女性形象,都极富代表性,透露出强烈的女性观念。其中最具代表性的当属《米德尔马契》,透过《米德尔马契》来解读乔治.艾略所持的英国19世纪的女性观。

George Eliot ,a British female writer in the 19th century ,was endowed with philosophic thoughts and artistic appreciation .She paid much attention to the female society and created many representative fe-male images ,which showed her female thoughts .The paper makes an analysis of her masterpiece Mid-dlemarch to examine British female ethics in the 19th century held by George Eliot .

在托马斯·沃尔夫的作品中,"寻找父亲"是一个常见的主题。在他的初期作品中,随着作品主人公尤金的不断成长,他心中的"父亲"也相应地变化成各种不同的精神力量。文章结合西方文学中"父亲"形象的演变历史,重点探讨沃尔夫作品中的"寻父主题",分析主人公心目中"父亲"形象的六种原型,探寻其精神追求的实质与内涵。"寻父"主题的扌契入深化了小说的主题,丰富了故事的内涵,使小说的外在形式与内部思想更趋于完美、统一。

In the works of Thomas Wolfe ,“seeking father”is a common theme .In his early works ,with the hero Eugene’s grow th ,the“father”in his mind has accordingly changed into a variety of spiritual strength .Based on the evolution of the image of the“father”in Western literature ,the paper focuses on the theme of“seeking father”in Wolfe’s works ,analyzing the six prototypes of the image of father in the hero’s mind ,intending to explore the essence and meaning of his spiritual pursuit .The adoption of the theme of“seeking father”deepens the novel’s inner meaning ,enriching the story connotation ,thus perfec-ting and unifying the novel’s external form and internal thinking .

凯瑟琳·曼斯菲尔德是20世纪新西兰伟大的小说家，与契科夫一样以短篇小说见长。其短篇小说在题材选择上脱离了传统小说的题材形式，在细节描写上注重涵义深度上的刻画，小说结尾的处理也是曼斯菲尔德作品的一大特色。在女作家一些作品中，死亡往往是矛盾冲突的解决途径，而《幸福》这篇作品则以人物的幻灭感、甚至其他幻想成分的介入而告终，特别是在对幻想的巧妙处理堪称别具一格。通过对女主人柏莎公时而幸福溢溢而时而空虚失落的冲突描写，侧面表现柏莎过于完美幸福的危机感，最终结局证明那幸福感不过是像海市蜃楼一样不堪一击，从而进一步隐射出当时社会中女性命运的思考，无奈她们挣脱不开现实生活枷锁。

Katherine Mansfield is a great New Zealand writer in 20 century, who excels at writing short stories as Chekhov. The sto?ries she wrote are different from those traditional novels on subject forms. The profound detail descriptions and the unexpected end?ings are another two characteristics of her works. In some female writers’works, death often is the final solution to the conflicts. On the contrary, Bliss ends with the collapse of heroine’s blissful feeling, intervened by some fantasy components, which are particu?larly handled by writers. On the detailed descriptions of heroine’s brimming cup of bliss sometimes, her void and loses sometimes, Bliss reflects a sense of crisis of Bertha’s perfect bliss. The ending of the story proves the outcome of the feeling of bliss is just as a Mirage, collapsing at the first blow and further consideration on female’s destiny at that time, their struggle to free themselves in so?cial reality.

从1949—2010年,我国共翻译出版了4661部外国戏剧作品,其中数量位列前10位的国家分别为:英国(1318)、俄国(996)、法国(460)、美国(329)、日本(294)、希腊(217)、德国(211)、意大利(154)、挪威(101)、西班牙(72)。期间共出版了270册外国人研究戏剧的著作,数量位列前5位的国家分别为:俄国(96)、美国(56)、英国(37)、法国(14)、德国(13);出版了300册中国人研究外国戏剧的著作,数量位列前5位的国家为:英国(102)、美国(25)、挪威(9)、希腊(9)、德国(8)。除莎士比亚戏剧以外的最流行的10个剧本为:《伪君子》(19版),《吝啬鬼》(18版),《玩偶之家》(17版),《浮士德》(16版),《阴谋和爱情》(15版),《樱桃园》(14版),《在底层》(14版),《钦差大臣》(14版),《大雷雨》(12版),《美狄亚》(12版)。最有市场的10位剧作家为:莎士比亚(1110版)、莫里哀(196版)、易卜生(93版)、奥尼尔(86版)、高尔基(77版)、欧里庇得斯(69版)、契诃夫(57版)、阿里斯托芬(44版)、埃斯库罗斯(41版)、萧伯纳(41版)。

4661 foreign plays have been published from 1949 to 2010 in China, with the following as the 10 most popular countries:UK (1318), Russia (996), France (460), US (329), Japan(294), Greece (217), Germany (211), Italy (154), Norway (101), Spain (72); while 270 volumes of translated works on drama have been published, with the following as the top five coun-tries:Russia (96), US (56), UK (37), France (14), Germany (13); and 300 volumes on foreign drama by Chinese scholars are published, with the following as the top 5 countries: UK (102), US (25), Norway (9), Greece (9), Germany (8). The most popular works except Shakespeare’s plays are:Tartuffe (19), The Miser (18), A Doll House (17), Faust (16), Ca-bal and Love (15), The Cherry Orchard (14), The Lower Depths (14), The Government Inspector (14), The Thunderstorm (12), Medea (12); the top 10 foreign playwrights are: Shakespeare (1110), Molière (196), Ibsen (93), O’Neill (86), Gorky (77), Euripides (69), Chekhov (57), Aristopha