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音乐剧猫赏析
音乐剧《猫》赏析与启发《猫》是英国四大经典音乐剧之一，在伦敦歌剧院首演成为受人瞩目的音乐剧。
如今它是世界上上演时间最长、演出场次最多的剧目，它以高质量的音乐,优美的舞蹈吸引着人们。
它由安德鲁·洛伊·韦伯谱曲，结合了故事的情节以及戏剧的情节，将猫的世界呈现给观众，成为了世界音乐剧之王。
其中的经典曲目《Memory》更是体现了音乐的多元化。
《猫》的故事很简单：在一个月圆之夜，杰里科猫族每年都要举行一次聚会，众猫们会在这一年一度的盛大聚会上挑选一只猫升天，升天以后可以再次获得新生。
于是，形形色色的猫纷纷登场，尽情表现，希望能够被选中。
最后，当年曾经光彩照人今日却无比邋遢的“魅力猫”以一曲《回忆》打动了所有在场的猫，成为可以升入天堂的猫。
Old Deuteronomy——领袖猫：他是猫族的首领，他的年纪很大，而且饱读诗书，充满智慧和经验。
在整个部落里，他德高望重，最受尊敬和爱戴。
平时他很少出现在猫族中，日常事务都由年轻的“英雄猫”来处理。
但是在一年一度的舞会上，领袖猫是一定会来的，因为只有他才有资格挑选获得重生的猫儿。
Victoria——纯白猫：她的纯白毛色反映了她的天真和单纯，她的纯朴本能促使她乐于帮助弱者。
她羞怯地向欲回归猫族的"魅力猫"伸手，却遭到其它猫儿的阻止。
Rum tum ——“摇滚猫”：他是猫中的摇滚歌星和花花公子。
他的歌也是傲气十足的摇滚乐，"摇滚猫"的个子很高，动作矫健而有爆发力，是只很有男性魅力的成年公猫。
他在聚光灯的照耀下狂舞，尽情享受母猫们疯狂的迷恋。
小猫杰米玛：是猫族中最年幼的小猫，她心地善良，富有同情心，当魅力猫唱出了《回忆》以后，首先唤起了她的同情，用自己清甜明亮的嗓音也唱出了魅力猫的旋律，使众猫们都流露出感动的表情。
另外还有保姆猫”、“剧院猫”、“富贵猫”、“犯罪猫”、“迷人猫”、“英雄猫”、“超人猫”、“魔术猫”等。
音乐剧《猫》赏析
音乐剧《猫》赏析《猫》的剧本取材于英国诗人托马斯·斯特尔斯·艾略特1939年创作的诗集《擅长装扮的老猫经》。
而从小就对这首诗产生了浓厚兴趣的安德鲁·劳伊德·韦伯，1977年开始着手为《擅长打扮的老猫经》编配音乐。
由于起初这首诗没有戏剧情节，没有戏剧张力，不具备创作为音乐剧的条件，韦伯只打算写一些在舞台上演出的散曲。
在1980年的爱德蒙顿音乐节上，韦伯公演了他写好的几个片段。
艾略特的遗孀瓦莱里·艾略特也参加了音乐节，并且带给韦伯许多艾略特没有发表的诗和故事。
其中就包括后来成为世界名曲的《回忆》的原型《魅力猫——格里泽贝拉》。
后来韦伯与特雷沃尔·努恩等人经过共同努力，《猫》剧诞生了。
《猫》所讲述的是一个富有童话般意味的现代浮世绘——在杰里科猫族一年一度的舞会上，众猫们聚集在一起，纷纷展开各自本领，以歌舞来展现自己的故事——争取成为唯一被选中得以重生的猫。
在这群外表各异、*格更是迥异的猫中，既有作为长老般统领大局的“领袖猫”老杜特洛内米，又有过着安逸无忧生活的“保姆猫”詹妮安点点；既有反叛热情的“摇滚猫”若腾塔格，也有踏实稳重的“铁路猫”史金波旋克斯；既有青春美丽的“迷人猫”邦巴露娜，还有邋遢苍老的“魅力猫”格里泽贝拉??各式各样的猫的角*不但在视觉和听觉上给我们以丰富且多样的感受，还在不知不觉中将我们带进了一个好似人类世界但又绝然不同的猫的国度。
就在众猫都在为重生的名额争相比拼的时候，曾经光*照人而现在却邋遢肮脏衰弱不堪的格里泽贝拉出现在猫们的面前。
对于格里泽贝拉这样一只流浪在下等街区，身份卑微受到唾弃的猫而言，得到这一珍贵的重生机会几乎是不可能的。
然而，在一曲感人至深的“回忆”过后，她奇迹般的得到了众猫的推选，成为了那得以升上天堂的猫。
就是这样一个传奇般的故事，在作曲大师安德鲁·韦伯与导演特雷沃尔努恩的创作下，成功的以歌舞剧的形式焕发出了熠熠的光*。
左拉《猫的天堂》赏析
左拉《猫的天堂》赏析短篇小说《猫的天堂》是法国著名小说家左拉的作品，描写了一只被溺爱惯了的“懒猫”，在看到屋顶上的同伴自由地享受阳光后，便随它们一起奔向外面自由自在的世界。
然而获得了自由，就必须为自由付出代价。
寻找食物的日子是艰难的，作为一只养尊处优惯了的猫，它实在不习惯这种因寻找食物而疲于奔命的生存状态。
于是它打算结束这短暂的自由而漂泊的生活，回到主人的家，宁愿被关在屋内，挨主人的打，受主人的骂，只为自己以后能寝食无忧。
这其实是一只退化了的猫，丧失了原有的野性和独立的生存本能。
猫的思想曾经有过重大转折，一度对自由产生了强烈的向往；在获得自由之后，它又怀念起以前的优越生活。
左拉对于猫在两种生活模式之间的徘徊，给予了深刻的寓意。
他通过对一只猫的心理描写，探讨了人生价值观的话题。
自由的生活总是以艰苦的努力为代价的，许多人不也是宁愿放弃所谓的自由而被动地接受各种各样的安排，以获得安逸与稳定吗？对于卓有成就的意大利女画家瓦伦蒂尼斯来说，《猫的天堂》也许让她找到了更为宽阔的艺术想像的空间。
她没有留白的画面使得层层堆叠的背景更为抢眼，每一幅图都张扬着一份色彩的喷薄力，每一幅图都超出了页面边线，极力向外延伸。
画作特别加强了几何构图的背景，除了三角形、四方形、圆形等简单的形状外，还特意设计了一些花纹，趣味横生。
象征式的图案排列，也带给人以虚幻不实的情绪，对于故事中那只向往屋外世界的宠物猫而言，凸显了现实与妄想之间的那种既诱惑又不切实际的矛盾。
▲ 作家简介左拉（Emile Zola，1840~1902），法国小说家，系自然主义的奠基人及代言人。
其作品重视研究与观察，强调描写的客观性。
他认为，作家应该精确安排好故事的时间与空间，才能产生角色并刻画其生理、心理的行为与特征。
左拉的作品不仅具有强烈的结构性及客观性，还关心着人的生命及情感。
出生于巴黎的左拉一生都在法国动荡不安的年代中度过，他思想敏锐，更多地关注社会的黑暗面。
猫的摇篮原文英文版阅读
猫的摇篮原文英文版阅读In a Caribbean island community, the lineage of a man named Eugene Leonard is distinguished by an innate peculiarity—the ability to spin intricate string figures known as "cat's cradles." This enigmatic skill, passed down through generations, becomes an object of fascination and wonder for the inhabitants of their isolated world.Eugene, a solitary and introspective individual, spends countless hours immersed in the art of cat's cradle, weaving intricate patterns with a dexterity that borders on the mystical. As he manipulates the strings, his fingers dance with an almost hypnotic fluidity, creating ephemeral sculptures in mid-air. The figures, ranging from simple geometric shapes to elaborate and symbolic forms, seem to possess a life of their own, enchanting all who behold them.The villagers, awestruck by Eugene's extraordinary abilities, whisper tales of his magical touch. They believe that he holds a power beyond their comprehension, a powerto manipulate the very fabric of reality through the intricate dance of his strings. Legends abound about how he can weave destinies, heal wounds, and even summon spirits.One day, a young boy named Felix, drawn by the allure of Eugene's artistry, approaches the enigmatic virtuoso. With wide-eyed wonder, he watches as Eugene's nimblefingers weave a delicate web of strings, transforming into an exquisite representation of a hummingbird in flight. Captivated by the sight, Felix becomes Eugene's apprentice, eagerly seeking to unravel the secrets of this ancient art.As Felix delves deeper into the world of cat's cradles, he discovers not only the intricate techniques but also the profound wisdom embedded within each figure. He learns that the simplest of patterns can convey complex emotions, while the most elaborate designs hold hidden meanings that speak to the very essence of life and the interconnectedness of all things.Through the guidance of his mentor, Felix embarks on a journey of self-discovery and spiritual awakening. Thecat's cradles become a lens through which he examines the fragility of human existence, the resilience of the human spirit, and the enduring power of love and compassion.As time passes, Felix's reputation as a master of cat's cradle spreads throughout the island and beyond. He travels to distant lands, sharing his knowledge and inspiring countless others with his intricate creations. The art ofcat's cradle, once a solitary pursuit, becomes a universal language, connecting people across cultures and generations.In the end, Eugene and Felix's legacy lives on through the enduring power of their creations. The cat's cradles they wove with such care and precision become timeless symbols of human ingenuity, creativity, and the enduring human spirit. And so, the intricate web of stringscontinues to weave its magic, enchanting and inspiring all who behold it.。
音乐剧猫的故事简介
音乐剧猫的故事简介音乐剧《猫》是由安德鲁·劳埃德·韦伯作曲，特雷维尔安德鲁·劳埃德·韦伯作词的一部音乐剧，于1981年首次在伦敦上演，之后在百老汇上演，成为了一部非常成功的音乐剧作品。
这部音乐剧改编自T.S.艾略特的《老无所依猫》诗集，通过歌舞剧的形式展现了猫的生活和情感。
故事发生在一个废弃的伦敦仓库，一群猫在这里聚集，他们每年都会举行一次盛大的聚会，称为“酿酒会”。
在这次聚会上，各种各样的猫会表演自己的故事，最终决定哪只猫可以得到新生的机会。
整个故事通过不同猫咪的表演，展现了它们的生活、情感和内心世界。
音乐剧《猫》中有许多经典的角色和歌曲。
其中，格里兹贝拉是一只老猫，她回忆起自己年轻时的美好时光；鲍姆巴拉娜是一只破碎的老猫，她唱起自己的悲伤和遗憾；鲁梅塔伊格尔是一只年轻的猫，她热爱舞蹈，表现出了年轻人的活力和激情。
这些角色通过歌舞和表演，将观众带入了一个充满奇幻和魔幻的世界。
整个音乐剧以音乐和舞蹈为主要表现形式，通过精彩的歌曲和优美的舞蹈，展现了猫的生活和情感。
音乐剧《猫》不仅在音乐和舞蹈上有着出色的表现，其背后的故事情节也深受观众喜爱。
故事中的每一只猫都有自己的特点和故事，通过他们的表演，观众可以深入了解猫的生活和情感，感受到它们的内心世界。
音乐剧《猫》在全球范围内都获得了巨大的成功，成为了音乐剧史上的经典之作。
它不仅在舞台上取得了巨大的成功，还被改编成了电影和录影带，让更多的观众能够欣赏到这部优秀的音乐剧作品。
总的来说，音乐剧《猫》以其精彩的音乐、优美的舞蹈和感人的故事情节，深受观众的喜爱。
它通过猫的视角，展现了生活的美好和情感的丰富，让观众在音乐和舞蹈的魅力中感受到猫的世界。
这部音乐剧的成功不仅在于其精彩的表现形式，更在于其深刻的内涵和感人的情感，成为了音乐剧史上的经典之作。
音乐剧《猫》
《猫》
“保姆猫—— 珍妮安点点” 是猫族中的保姆。白天她 一般都比较懶散，但一到 晚上，她便非常繁忙
《猫》
"摇滚猫—— 若腾塔格" 若腾塔格性格反覆无常 而且反叛，只喜欢得不 到的东西。他是猫中的 摇滚歌星,他的歌也是 傲气十足的摇滚乐，最 受母猫的欢迎
《猫》
“纯洁猫——维多利亚” 纯白的毛色反 映了她的天真和单纯，她的纯朴本 能促使她乐于帮助弱者。她羞怯地 向欲回归猫族的"魅力猫"伸手，却 遭到"保姆猫"阻止。
《猫》
第一段“夜深......”主题寂静、优美、流畅、感人，充分表现出猫至高无上的形象， 但也表现出孤独、惆怅的性情。 第二段：“每一盏灯......”情绪转向忧伤似乎尚未摆脱宿命论的阴影，但到这段的 第二句，随着连续向上五度的商调，表现出随着东方微明，心情也变得开朗起来。
第三段：“我要迎接旭日的东升......”虽然是第一段的完全重复，但音乐变得更加明 朗，表现了“绝不屈服命运安排”和“安排崭新生活”的坚定决心。
音乐剧《猫》
艺术系 梁晓雯
安德鲁· 洛依德· 韦伯
1948年生于英国伦敦的索斯堪辛顿的 一个音乐世家。他的父亲是皇家音乐 学院钢琴教授，母亲是小提琴家，祖 父是男高音歌唱家，弟弟是当今颇有 声望的大提琴家。韦伯16岁获得牛津 大学奖学金，19岁进入皇家音乐学院 学习管弦乐编曲。能够熟练的演奏钢 琴、小提琴、圆号等乐器。 他具有扎实的古典音乐根基，擅长于钢 琴、小提琴等乐器演奏，对新潮流行音 乐和音乐剧情有独钟。
《猫》
魅力猫——葛丽泽贝拉”她年轻时是 猫族里最美丽的母猫，可是后来她离 开了猫族去看外面的世界。当她再次 回到猫族的时候，已经变成了一只蓬 头垢面，苍老丑陋的老猫了。
音乐剧猫的故事简介
音乐剧猫的故事简介音乐剧《猫》是由安德鲁·劳埃德·韦伯作曲，提姆·赖斯编剧，根据T·S·艾略特的诗集《老无所依》改编而成。
该音乐剧首次在伦敦西区上演，后来在百老汇上演，成为了一部备受欢迎的经典音乐剧。
音乐剧《猫》以舞蹈、音乐和戏剧的形式，讲述了一群猫的故事，引人入胜，令人陶醉。
《猫》的故事发生在一个废弃的伦敦仓库中，一群猫们在那里举行了一次盛大的聚会，庆祝每年一度的“月光宴”。
在这个夜晚，一只叫做格里朵布利（Grizabella）的猫出现在聚会现场，她曾经是一位美丽的猫妇，但如今却沦落为流浪猫，备受其他猫们的排斥和嘲笑。
她渴望重返猫族，重新获得尊严和尊重。
在这次聚会中，一只名叫老德特里隆米（Old Deuteronomy）的猫被选为“最佳老猫”，他将决定哪只猫能够重获新生，重新投胎。
在这个过程中，其他猫们纷纷展示自己的特长和个性，希望能够得到老德特里隆米的青睐。
其中，有猫咪们的歌舞表演，有猫咪们的自我介绍，也有猫咪们的争斗和斗争。
在故事中，观众们可以看到不同的猫咪角色，每一只猫都有自己的故事和个性。
有的猫咪温柔可爱，有的猫咪狡猾奸诈，有的猫咪活泼可爱，有的猫咪孤独忧伤。
他们通过歌舞和表演，展现出了丰富多彩的猫族世界，让观众们感受到了猫咪们的生活和情感。
在音乐剧的高潮部分，格里朵布利的故事被揭露，观众们得以了解她曾经的辉煌和如今的落寞。
最终，老德特里隆米选择了格里朵布利，她得到了重生的机会，重新获得了其他猫咪们的尊重和关爱。
整个音乐剧以一首悠扬动人的歌曲《记忆》作为结尾，让观众们感受到了格里朵布利的内心世界和情感。
音乐剧《猫》以其精美的舞美和动人的音乐，吸引了无数观众的目光，成为了一部不朽的经典。
它不仅展现了猫族的生活和情感，也让人们思考了人类的生活和情感。
它让人们感受到了爱与尊重的力量，让人们感受到了生命的意义和价值。
这部音乐剧将永远留在观众们的心中，成为了一段永恒的记忆。
简单侦探类小说英语作文
In the heart of the bustling city,a mysterious case unfolded,captivating the attention of its citizens and the local police force.The story revolves around a renowned art gallery owner,Mr.Pierre Dupont,who was found murdered in his own gallery one fateful evening.The crime scene was meticulously arranged,with no signs of struggle or forced entry,leading the investigators to believe that the murderer was someone close to Mr. Dupont.The protagonist of our story is Detective Jean Leclair,a seasoned investigator with a keen eye for detail and an uncanny ability to unravel the most complex of mysteries.Upon arriving at the crime scene,Detective Leclair immediately noticed the peculiar arrangement of the art pieces,which seemed to be a clue in itself.The painting of a solitary figure standing on a bridge was slightly askew,and a small,seemingly insignificant,note was found tucked beneath the frame.The note read,The truth lies beneath the eyes of the beholder.Intrigued,Detective Leclair began to scrutinize the gallerys visitors and employees,each with their own motives and alibis.Among them were:1.Madeleine Rousseau,the gallerys curator,who had a tumultuous relationship with Mr. Dupont due to disagreements over the curation of the art collection.2.Lucien Moreau,a struggling artist whose work had been rejected by Mr.Dupont multiple times,harboring a deep resentment towards the gallery owner.3.Henrietta Dubois,a wealthy patron of the arts who had a secret affair with Mr.Dupont, and was rumored to have been involved in some shady dealings with him.4.Gaston Lefèvre,the gallerys security guard,who had access to the premises and was known to have gambling debts that he could not repay.As the investigation progressed,Detective Leclair discovered that the painting with the note was not an original piece but a forgery.This revelation led him to the underground world of art forgery,where he found a connection between Mr.Dupont and a notorious forgery ring.The ringleader,known only as The Master,had a reputation for ruthlessly eliminating anyone who threatened to expose their operation.Through a series of clever deductions and a bit of luck,Detective Leclair managed to piece together the puzzle.The truth was that Mr.Dupont had discovered the forgery ring and was planning to expose it to the authorities.In a desperate attempt to protect their operation,The Master had orchestrated Mr.Duponts murder,using one of the gallery employees as an unwitting accomplice.The climax of the story occurs when Detective Leclair confronts The Master during ahighstakes art auction,where a rare and valuable painting is being sold.With the help of his trusted partner,Detective Leclair manages to apprehend the elusive criminal,bringing an end to the forgery ring and avenging Mr.Duponts death.The story concludes with a sense of justice served,as the truth behind the murder is revealed,and the guilty parties are brought to justice.Detective Leclairs reputation as a brilliant investigator is further solidified,and he is celebrated for his unwavering commitment to uncovering the truth,no matter how deeply it is buried.。
《猫》歌剧赏析.doc
《猫》歌剧赏析.doc
《猫》是著名的歌剧作品，由安德烈·史特拉斯基和安德烈萨科夫夫妇修改剧本，约翰·韦斯利和安德烈·史特拉斯基撰写音乐。
它是根据保罗·巴斯托尔的作品《你猫》改编而成，是改编过来的传统歌剧和现代歌剧的完美结合，能够完美地演绎出关于人类、动物、社会关系和其他许多领域的超越时间和空间的独特概念。
《猫》歌剧以动人的旋律和优美的歌词表现出情绪浓厚的情念。
史特拉斯基的典型乐曲如《Macavity：The Mystery Cat》、《Mr. Mistoffelees》和《Memory》，把音乐的表达活力和基调浓缩在一起，给人一种新奇的感受，凭借这些音乐，这部歌剧宏大而复杂地叙述了一个充满娱乐性与社会性的故事。
《猫》歌剧的贯穿全剧的主题是女性角色芭芭拉在双重日常和超越日常之间的精神成长与痛苦的抉择。
《Memory》这一段毕竟给她的角色定下了完美的标志。
芭芭拉多次重温和谈论过去的痛苦，同时也充满希望，她也重新抓住生活的希望和机会。
总的来说，《猫》歌剧是一部引人入胜的重要作品，既有深刻的思想含义，又拥有精彩的音乐表现。
这部歌剧活跃在各种舞台上多年，演员们精湛表演出了这一令人惊叹的作品，带给了观众们美妙而鲜活的音乐精品，令每个人都收获大量的感官震撼，尽情地提升精神与心灵的滋润。
音乐剧《猫》中文版
世界四大音乐剧之首音乐剧《猫》中文版《猫》，是世界四大音乐剧之首！《猫》的故事取材于托马斯·斯蒂恩·艾略特(Thomas Stems Eliot)的诗集《老负鼠讲述的世上的猫》及其他诗歌。
午夜，月色下的一个垃圾场里，一群叫做“杰里科猫”的猫们出动了。
今夜是一年一度的杰里科舞会，猫族的领袖老杜特洛诺米将选出一只猫登上猫族的天堂—九重天，并且获得重生！决定将在黎明来临之前做出，在舞会上等待的猫们随着音乐歌唱舞蹈，讲述猫族里那些“风云人物”的过去和今天。
黎明降临，老杜特洛诺米将杰里科猫们召集到一起，他将发布他的决定。
谁将会是那只获得新生的猫呢？舞台经典，风靡全球《猫》是音乐剧历史上最成功的剧目，曾一度成为音乐剧的代名词。
该剧创作于1981年，是在伦敦上演时间最长、美国戏剧史上持续巡回演出时间最长的音乐剧。
该剧创作精良，表演水平精湛，出场演员各有各的绝活，英国音乐剧“第一夫人”伊莲?佩吉曾在其中扮演“魅力猫”，一曲《Memory（回忆）》打动无数观众。
演出时间：2012.12.21-2013.01.06演出剧场：世纪剧院演出价位：880、680、650、550、480、450、380、280、180、80网上订票：/p/20120726_3094.htm音乐剧《猫》主题曲《猫》是一部舞蹈元素很多的音乐剧。
由作曲家安德鲁?劳伊德?韦伯根据诺贝尔文学奖得主Ｔ?Ｓ?艾略特的长诗《擅长装扮的老猫精》改编谱曲。
该剧说的是：杰里科猫族每年都要举行一次舞会，众猫们会在着一年一度的盛大聚会上挑选一只猫升天获得新生。
于是，形形色色的猫纷纷登场，尽情表现。
“领袖猫”是猫族中的首领，充满智慧和经验；“迷人猫”是剧中成熟女性的代表，全剧舞会高潮时的领舞者；“魅力猫”年轻时是猫族中最美丽的一个，厌倦了猫族的生活到外面闯荡，但尝尽了世态炎凉，再回到猫族时已丑陋无比，受到其猫儿们的排斥，但一曲《回忆》平息了所有猫儿对她的敌意，唤起了对她的深深同情和怜悯。
弗洛伊德理论在黑猫中的体现英语作文
弗洛伊德理论在黑猫中的体现英语作文Born in Boston, Massachusetts, in January 1809, and died in Baltimore, Maryland, in October1849, Edgar Allan Poe lived only forty years in this world, but his name brings to mind images ofmurderers and madmen, premature burials, and mysterious women who return from the dead. Hisworks have been in print since 1827 and include such literary classics as “The Tell-Tale Heart” ,“The Raven”, and “The Fall of the House of Usher”. This versatile writer’s oeuvre includes shortstories, poetry, a novel, a textbook, a book of scientific theory, and hundreds of essays and bookreviews. He is widely acknowledged as the inventor of the modern detective story and an innovatorin the science fiction genre, and he made his living as America’s first great literary critic andtheoretician. Poe’s reputation today rests primarily on his tales of terror as well as on his hauntinglyric poetry.Poe’s short stories are abounded with bloody violence, murder and even supernatural events.And the places where the stories occur are usually dreary and gloomy castles, bleak cellars orchurches, and thrilling grave yards. All these are the recurrent and indispensable elements inestablishing Poe’s prevalent terror,which is strong enough to shake readers’interior feelings.Among these stories, Poe can not stop interpreting his “death wish”. “Death” has become one of hisconstant themes, especially the death of a beautiful woman, and he made assertions in his famousarticle “The Philosophy of Composition” that this is “the most poetical topic in theworld”. Suchstories as “Ligeia”“Morella” and “Berenice” are good examples. And personal tragedy was anotherrecurring theme throughout Poe’s life.In his early childhood, his father deserted the family andlater his beloved mother died. He was adopted by a wealthy tobacco family but seldom had a goodtime with them. It is his miserable life experience and his pessimistic temperament that led Poe tobe obsessed with his “death fantasia” and dark romanticism. It is not difficult to find that Poe has anastonishingly strong and meanwhile twisted and weird power of imagination which is quitebewildering, and this is one of the reasons that he isdrawn much attention.Allan Poe himself is also one of the most controversial figures in the American literaryhistory. Although his contributions to the literature have been widely acknowledged at present, hewas misunderstood at his time because of his wired character. For example, his literary executor- - 1 -Rufus Griswold spared no pains, after Allan Poe’s death, to sully his reputation—he painted Poe asa Bohemian, depraved, and demonic, a villain with no virtue at all. Professor Chang also mentionedthat Poe’s own work did at times seem to corroborate the view of Griswold’s and many others thathis was an evil genius and thus the legend steadily building up about Poe placed the man in a veryunfavorable light; therefore Emerson dismissed him in three words “the jingle man”and MarkTwain declared his prose to be unreadable. Henry James madethe ruthless statement that “anenthusiasm for Poe is the mark of a decidedly primitive stage of reflection”. And Whitman, whowas the only famous literary figure presented at Poe Memorial Ceremony in Baltimore in 1875,hada mixed feeling about Poe: he did admit Poe’s genius, but it was“its narrow range and unhealthylurid quality”that most impressed him.However, needless to say, the majority of critics today, in America as well as in the world,have recognized the real, unique importance of Poe as a great writer of fiction, a poet of the firstrank, and a critic of acumen and insight. His works are read the world over with appreciation andunderstanding.thEdgar Allan Poe’s works didn’t bring him fame and fortunate before he died. Since the 20century, with the irrationalism philosophy and Fraud’s psychoanalysis rising and developing, AllanPoe and his works have been wildly accepted.Freud proposed that the human psyche could be divided intothree parts: Id, ego, andsuper-ego. Id represents human being’s basic desire, impulse and vitality for living. It is thesubconsciousness part of human being’s spiritual activities. The super-ego is the moral component of the psyche, which takes into account no special circumstances in which the morally right thingmay not be right for a given situation.The rational ego attempts to exact a balance between theimpractical hedonism of the id and the equally impractical moralism of the super-ego; it is the partof the psyche that is usually reflected most directly in a person's actions. When overburdened orthreatened by its tasks, it may employ defense mechanisms including denial, repression, anddisplacement.There are always conflicts between Id and super-ego. If a person keeps balance between bothof them, he will be a mental healthy man. If not, he will become anoia. Apparently, the hero in theBlack Cat was a twisted-mind person after experiencing a series of spirit change including impulse,crime, guilt and fear. In this thesis, the author analyzes the hero’s personalities in The Black Cataccording to Freud’s psychoanalysis, which will help us understand Poe’s other works and his- - 2 -artistic thoughts easily.Chapter 2 PsychoanalysisThis chapter consists of two parts, mainly dealing with the theories of psychoanalysis. Thefirst part is a brief introduction to Freudian psychological theories, aimed to present a panoramic view of the school. The second part gives an account of one major theory of psychoanalysis—thestructural model of personalities. Serving as an interpreting vehicle for the criticism to be conducted, the theroy will be adopted and applied later to the analysis of the unreliable narrator in The BlackCat.2.1 OverviewThe theory of psychoanalysis initiated by Sigmund Freud, the famous Austrian neurologist, isa set of creative ideas and was originally employed for thetreatment of mentally-disordered patients.thComing at the turn of the 20century, this theory provided a radically new approach to the analysisof human behaviors in the medical field. Resting on the convincing evidence obtained throughmany carefully recorded case studies, Freud claimed that most of our actions are motivated bypsychological forces over which we have very limited control. Based on years of fruitful researchwork, Freud finally established his own theoretic realm of psychoanalysis, resulting in a vehementrevolution in the field of Psychology. The foundation of the theory mainly consists of the followingthree premises Freud has ever proposed:1)most of the individual’s mental processes areunconscious;2)all human behavior is motivated ultimately by sexuality;3)many of our desires andmemories are repressed because of the powerful social taboos attached to certain sexual impulses.In the two epoch-making works, The Interpretation of Dreamsand A General Introduction toPsychoanalysis, Freud’s original ideas and pioneering explorations aremostly embodied, eachgiven a detailed explanation exhaustively. In the first work mentioned, Freud elucidates theory ofthe unconscious, the formation of dreams and 9 ways of interpreting them; in the second one, heimproves theory of the libido, proposes stages of psychosexuality and explicates the specializedterminology such as Oedipus complex, Repression, Anxiety etc. Another significant work thatdeserves mention is The Ego and the Id, in which Freud gives an elaboration on the threecomponents of personality—the id, the ego and the superego as well as the interactive relationshipamong them.The innovative and daring work Freud has made offers a brand-new view to the- - 3 -understanding of human mind, which contributes to the establishment of a general belief that humanbehaviors of any kind, as a matter of fact, are not meaningless or random but meaningful andgoal-oriented. In this sense, the psychoanalytic theory can be employed as an effective vehicle tounderstand human behaviors which are really informative and explainable.Apart from Freud, efforts are also made by such psychoanalysts as Anna Freud, Carl Jungand Marie Bonaparte, whose endeavor not only enriches the theory with new concepts and values,but also impels the development of the school of psychoanalysis. Because of its universalapplicability, the theory goes beyond the medical field and is introduced into the literary world,exerting great influence on both the creations and interpretations of literary works.2.2The Structural Model of PersonalityOne of Freud’s most influential findings is thethree-layered structure of personality. FromFreudian point of view, personality is composed of three elements which are known as id, ego andsuperego. These three parts, interacting with one another, work together and result in many complexhuman behaviors.The id, as the primary component of personality, is entirely unconscious, including thebehaviors that are instinctive and primitive. Characterized by vitality and untamedness, the only aim of the id is to strive for instant satisfaction and gratification by following the Pleasure Principle, with the least regard for social conventions, legal ethics, or moral restraints. The ego, quite differentfrom the id, operates on the basis of the Reality Principle, attempting to satisfy the id’s desires inrealistic and socially appropriate ways. Developing out of the id’s interaction with theexternalworld, the ego ensures the impulse of the id can be expressed in an acceptable manner. The lastcomponent of personality is the superego, which is supposed to hold all the internalized moralstandards and ideals that we acquire from society. The major function of the superego is to perfectand civilize human behaviors, suppressing all unacceptable urges of the id and struggling to makethe latter act upon idealistic standards instead of realistic principles. In other words, it is responsiblefor“transmitting the constraints that culture exercises over the individual, and for imposing thenecessary and ultimately excessive sacrifices of instinct demanded by civilization”.According toFreud, these aspects of personality often work together in bringing out a certain kind of humanbehavior. How one behaves is actually the result of the wrestling of the three. Therefore, a healthypersonality entails a balance among the three—the id, the ego, and the superego.- - 4 -Chapter 3 A Psychoanalytic Interpretation of The Black Cat This chapter mainly gives an interpretation of the narrator in the Black Catfrom Freudianpsychoanalytic perspective. The Black Cat is one of Allen Poe’s finest horror tales. Poe’s horrortales, featured by the psychiatric traits and psychological significance, serve as a good source for the psychoanalysts to understand both Poe and his works.Traditionally, The Black Cat is taken as a classic horror story permeated with gothic elementssuch as superstition and murder, yet from Freudianperspective, it can be treated as a case study of a patient who is troubled with psychological problems. And this horror tale can be more vividlycompared as a mind-disordered patient’s confession to a psychology doctor.3.1 Ego of the NarratorAt the beginning of the narrator’s retrospect, he described what he was like at his young age.“From my infancy I was noted for the docility and humanity of my disposition. Mytenderness of heart was even so conspicuous as to make me the jest of my companions. I wasespecially fond of animals, and was indulged by my parents with a great variety of pets. With theseI spent most of my time, and never was so happy as when feeding and caressing them. This peculiarof character grew with my growth, and in my manhood, I derived from it one of my principalsources of pleasure. ” (Poe, Tales 161)From above we can see the narrator was very kind and humane when he was young. This isego of the narrator. The ego, according to Freud, operateson the basis of the Reality Principle,attempting to satisfy the id’s desires in realistic and socially appropriate ways. During this period,the narrator liked animals and he gained pleasure by feeding and caressing them.What’s more, when the narrator got married early, he felt very happy because his wife alsoliked animals and had same nice characteristics like him. They raised animals together and thenarrator formed firm friendship with a black cat—Pluto, his favorite pet. “I married early, and washappy to find my wife a disposition not uncongenial with my own. Observing my partiality fordomestic pets, she lost no opportunity of procuring those of the most agreeable kind. We had birds,gold-fish, a fine dog, a small monkey, and a cat.”(Poe, Tales 161) The narrator’s ego enables himwent on a happy and normal life in realistic and socially appropriate ways.3.2 Id of the Narrator- - 5 -However, after he became addicted to alcohol, “a disease”what the narrator called, hisdisposition gradually changed and turned to a villain. He began to ill - treat his once loving pets andwife."I grew, day by day, more moody, more irritable, more regardless of the feelings of others. Isuffered myself to use intemperate language to my wife. At length, I even offered her personalviolence. My pets, of course, were made to feel the change in my disposition."(Poe, Tales 162)He even harmed his favorite cat."One night, returning home, much intoxicated, from one of my haunts about town, I fanciedthat the cat avoided my presence. I seized him; when, in his fright at my violence, he inflicted aslight wound upon my hand with his teeth. The fury of a demon instantly possessed me. I knewmyself no longer. My original soul seemed, at once, to take its flight from my body and a more thanfiendish malevolence, gin-nurtured, thrilled every fibre of my frame. I took from mywaistcoat-pocket a pen-knife, opened it, grasped the poorbeast by the throat, and deliberately cutone of its eyes from the socket! I blush, I burn, I shudder, while I pen the damnable atrocity." (Poe,Tales 162)At last, he killed his wife with an axe out of rage."One day she accompanied me, upon some household errand, into the cellar of the oldbuilding which our poverty compelled us to inhabit. The cat followed me down the steep stairs, and,nearly throwing me headlong, exasperated me to madness. Uplifting an axe, and forgetting, in mywrath, the childish dread which had hitherto stayed my hand, I aimed a blow at the animal which, ofcourse, would have proved instantly fatal had it descended as I wished. But this blow was arrestedby the hand of my wife. Goaded, by the interference, into a rage more than demoniacal, I withdrewmy arm from her grasp and buried the axe in her brain. She fell dead upon the spot, without agroan." (Poe, Tales 168)All his behaviors showed signs of mental distortion. The narrator was not born a bad person.He himself sensed his changing disposition. He did fell remorse about cutting an eye of his first cat.However, he couldn’t restrain himself from his inner evil. Again hesubmitted the cat to hisviolence--hanging it. He attributes his maltreating and killing of his first cat to the “FiendIntemperance”and “the spirit of perverseness”. He believes perverseness was “one of the primitive impulses of the human heart--which give direction to the character of Man”. Perverseness gives thereason of his unjustifiable acts, suck as hanging his first cat, rapping with a cane on the wall that- - 6 -concealed the body of his wife. Poe gave further arguments on the spirit of perverseness. Hebelieved man often do bad or stupid things just because we know we should not, and tend to violatelaws only because we are aware that is wrong. This exactly dovetails with id, one part of the humanpsyche Freud proposed in his late work. The id is the completely unconscious, impulsive, child-likeportion of the psyche that operates on the "PleasurePrinciple" and is the source of basic impulsesand drives; it seeks immediate pleasure and gratification, with the least regard for socialconventions, legal ethics, or moral restraints. In The Black Cat, the narrator’s unconscious evil wasawaked by the addiction of alcohol.3.3 Superego of the NarratorEvery time after the narrator’s perverse acts, his superego would appear.The first time is that after the narrator cut one of Pluto’s eyes from the socket when id wascontrolling him, he felt sorry and was frightened by what he had done to the poor cat, when hewaked up the next day. “When reason returned with the morning --when I had slept off the fumes ofthe night's debauch --I experienced a sentiment half of horror, half of remorse, for the crime ofwhich I had been guilty”. (Poe, Tales 162:163)The second time is that after the fire accident, the narrator was haunted by the terror of killingthe cat. “For months I could not rid myself of the phantasm of the cat; and, during this period, therecame back into my spirit a half-sentiment that seemed, but was not, remorse. I went so far as toregret the loss of the animal, and to look about me, among the vile haunts which I now habituallyfrequented, for another pet of the same species, and of somewhat similar appearance, with which tosupply its place.” (Poe, Tales 165)The last time appears at the beginning of the tale. The narrator was already in the prison andwas to die. He confessed his crime and said, “These events have terrified --have tortured --havedestroyed me.” (Poe, Tales 160)The narrator seemed to be a normal man in sanity and regret what he had done in this tone. Atall this times, superego dominated the narrator and let him be conscious of what he had done.According to Freud, superego holds all the internalized moral standards and ideals that we acquirefrom society. The major function of the superego is to perfect and civilize human behaviors,suppressing all unacceptable urges of the id and struggling to make the latter act upon idealisticstandards instead of realistic principles. The narrator in The Black Cat regretted every time when hefinished a crime. When the narrator recovered from alcohol or his irritation, he would act as a- - 7 -normal person. This is the result of the narrator’s superego. At this moment, the narrator realized his crime because his behaviors surely went against the society’s moral standards. Consequently, hewould feel sorry and terrified.Id, ego and superego are three parts of human psyche that Freud proposed. Normal people aredominated by ego and superego and superego can repress id. If id overweigh superego, like thenarrator in The Black Cat, the person will become spirit disordered and commit a series of abnormalthings against social conventions, legal ethics, or moral restraints. Every reader will take thenarrator in The Black Cat as a psycho, he killed his pet, ill-treated animals and murdered his wife.The narrator, indeed, is not a normal person. The beginning of this tale is the narrator’s confession,which will let others feel that he is mind-clear. As the story is scrolling, people will be frightened by the change of the narrator’s disposition and his deeds. In most parts of the tale, the narrator’sactivities are crazy and unbelievable. While his regret or horror about his doing is just in fewsentences. That means, the id of the narrator overweighs the superego in a great extend. It seemsthat the narrator is fond of cruelty and violence. And his conscience is just a piece of ice in front ofhis deep evil.The murderer is an unreliable narrator. He told the story, confessed his wrong-doing andregretted. This was just one of the short times when his superego dominated the narrator’s mind.The narrator was a mind-disordered patient rather than a murderer, because when he committed hiscrime, he didn’t think it was wrong, but took it as a normal thing. When the narrator killed his wife,he was not frightened, he did not fell upset or depressed. On the contrary, he figured out a good wayto hide the body calmly and showed out later in front ofthe police. He did all of these just as normalas his daily routine. This is a typical example ofmind-disordered patients’ behaviors.For common people, they behave themselves because of the moral standards or the law. Thatis, their superego wins over their id. People cannot do whatever they like because superego teachesthem not to go against those rules. Once the relationship between superego and id is broken, peoplewill abnormal, or worse, mad. In The Black Cat, the narrator’s id occupied his mind, thoughsometimes his superego would come out now and then, so he became crazy and cannot controlhimself. It seems that a monster was released from the deep evil of the narrator.- - 8 -Chapter 4 ConclusionWinning high praise from many critics, The Black Cat is considered one of the finest horrortales ever created by Poe. The innovative handling of the gothic elements as well as the dealing ofthe mentally disturbed protagonist, makes the taledistinct from its traditional counterparts. In the story, Poe drew upon superstitions about cats and explored into the human psyche, creating a horrornot only on a cultural scale but also on a psychological level. This thesis has analyzed the narrator’spsyche using Freudian theory.The Black Cat looks into the dark side of man, witnesses the down fall of a man, examinesthe primitive impulse of a man—perverseness. This makes it a classic gothic novel. As a master ofshort stories of horror, Poe applied different types of elements of horror, which are either from hispersonal writing technique, like the imagery and symbolisms suggesting horror, and thesynchronization of peak and emotional explosion, or from his personal psychological illusion, likethe description of dark unconsciousness and the death and resurrection of beauty. Poe’s horror talesare still very popular nowadays, because he is good at illustrating the heroes’abnormal spirit.Needless to say, the analysis of Allen Poe’s works through Freud’s psychoanalysis has greatsignificance.。
TheMusical”Cats“
音乐剧《猫》The Musical "Cats"《猫》讲述的是一个童话般的传奇故事，一群杰里科猫在一年一度的聚会上踊跃表现自己以争取唯一的资格获得重生。
全剧节奏律动紧凑，表现富有张力和感染力，给予观众视觉上的极大冲击与享受。
《猫》的作者是安德鲁·劳埃德·韦伯（Andrew Lloyd Webber），除了《猫》之外，他还创作了《日落大道》《歌剧魅影》等耐人寻味的歌剧，不断创造者英美戏剧界的奇迹。
"Cats" is about a fairy tale of legend , A group of Jericho cat in the annual party are eager to show theirselves to strive for the only chance for regeneration. This opera gives audiences the vision of shock and enjoyment whose rhythm is compact and the performance imbued with tension and appeal. The author of “Cats”is Andrew Lloyd Webber who also created “SunsetBlvd” and “The Phantom of the Opera” except for “Cats”, all of which are fantastic,constantly bringing out the miracle in British and American theatrical circles.《猫》中演员众多，且每一个都个性鲜明惟妙惟肖。
譬如最先隆重出场的Jennyanydots 詹尼安点点-----"褓姆猫”，她从一个箱子中慵懒的出现，体态臃肿但不失可爱。
猫的描述英语作文
Cats are fascinating creatures that have captured the hearts of many pet owners around the world.They are known for their agility,independence,and mysterious personalities.Here is a detailed description of these feline friends:1.Physical Characteristics:Cats come in a variety of shapes and sizes,but they all share certain common features.They have a sleek,flexible body that allows them to move with grace and agility.Their fur can range from short and sleek to long and fluffy,and it comes in a multitude of colors and patterns.Cats have sharp retractable claws that they use for climbing and hunting.2.Eyes:One of the most captivating features of a cat is its eyes.They are large and expressive,often changing shape and size depending on the light.The pupils can dilate to almost fill the entire eye,giving them excellent night vision.3.Whiskers:Cats have long,sensitive whiskers that help them navigate their environment.These whiskers are not just for show they are a crucial sensory aid that helps them judge spaces and detect changes in air currents.4.Behavior:Cats are known for their independent nature.They are not as sociable as dogs and often prefer to spend time alone.However,they can form strong bonds with their human companions and are known to be affectionate in their own unique way.Cats are also very curious and love to explore their surroundings.5.Hunting Instincts:Despite being domesticated,cats still retain their hunting instincts. They are natural predators and enjoy chasing and pouncing on small objects.Many cats also enjoy playing with toys that mimic the movements of their prey.6.Sleeping Habits:Cats are known for their ability to sleep for long periods.On average,a cat sleeps for about12to16hours a day.They are crepuscular,meaning they are most active during the dawn and dusk hours.munication:Cats communicate in various ways.They meow,purr,hiss,and growl to express their emotions.A cats purr is often associated with contentment,but it can also be a sign of stress or pain.8.Grooming:Cats are meticulous groomers.They spend a significant amount of time each day cleaning themselves.This not only keeps them clean but also helps to distribute their natural oils throughout their fur,keeping it healthy and shiny.9.Diet:Cats are obligate carnivores,meaning they require a diet that is primarilymeatbased.They have a keen sense of smell and are often attracted to fresh meat and fish.10.Adaptability:Cats are highly adaptable creatures.They can live in a variety of environments,from the wild to urban homes.They are also known for their ability to adjust to new situations and changes in their environment.In conclusion,cats are complex and intriguing animals.Their unique characteristics and behaviors make them a popular choice for pet owners.Whether its their playful antics, their quiet companionship,or their mysterious ways,cats continue to captivate and inspire those who share their lives with them.。
13.2-波德莱尔的《猫》
文本分析库波德莱尔的《猫》1，知识点：二项对立与文本分析2，知识点讲解：列维-斯特劳斯与雅各布森合作，撰写了《波德莱尔的〈猫〉》一文，乃是结构主义诗学分析的名篇。
他们从语音、句法和语义三个层面对《猫》展开分析，但语音、句法分析占据更大的比重。
雅各布森关于诗歌的一种基本看法是：“诗歌的功能把等值原则从选择轴投射到组合轴。
”而这一理论的提出是以前索绪尔对于句段关系与联想关系的区分为前提的。
雅各布森指出，语言的两轴“纵聚合轴”和“横组合轴”，与语言的两种基本修辞方式“隐喻”和“换喻”有对应关系。
因为“纵聚合轴”和“隐喻”一样都是按照相似性（包括相反）为结构原则的，“横组合轴”和“换喻”则是按照邻近性（包括语法和语义上的毗连和邻近）组织起来的。
隐喻和换喻的两极性正好代表了语言的两种基本模式——共时性模式与历时性模式，两种运作方式——组合方式与选择方式之间的对立。
3，实体内容：波德莱尔的《猫》1(俄)罗曼·雅各布森(法)克劳德·莱维一斯特劳斯滕守尧译编者按两位结构主义的元老，一个是语言学家，一个是人类学家，后者几乎从来不做文学批评，却合起来评一首诗，以试试结构主义方法的力量。
这篇文章成为结构主义批评实践中的名著，它显示了结构主义式的评论可以做得如何细腻精致。
的确，他们对这首小诗的形式分析之细，超出了以细读法著称的英美新批评派。
他们谈对称，谈平衡，谈音素重复变化所产生的效果，因为他们认为文学作1本文1962年用法文发表于人类学学刊L'Homme，中译文系根据英译文转译．英译文见Micheal Lane编Strueturalism，A Reader，伦敦Jonathan Cape版，1970年。
英译者为Katie Furness—Lane。
品的第一层次——语音——也是以一定的结构形成的。
然后，我们看到，在这两位理论大师的分析下，这首并不很出名的小诗的语义层次几乎是天衣无缝，环环紧扣，以中间两行为枢纽，呈现出一系列的对立和呼应。
波德莱尔《猫》法文leschatsdeBaudelaire
Baudelaire :Les ChatsLes amoureux fervents et les savants austèresAiment également, dans leur mûre saison,Les chats puissants et doux, orgueil de la maison,Qui comme eux sont frileux et comme eux sédentaires.Amis de la science et de la volupté,Ils cherchent le silence et l’horreur des ténèbres ;L’Erèbe les eût pris pour ses coursiers funèbres,S’ils pouvaient au servage incliner leur fierté.Ils prennent en songeant les nobles attitudesDes grands sphinx allongés au fond des solitudes,Qui semblen t s’endormir dans un rêve sans fin ;Leurs reins féconds sont pleins d’étincelles magiquesEt des parcelles d’or, ainsi qu’un sable fin,Etoilent vaguement leurs prunelles mystiques.Commentaire composé de ce sonnet extrait des Fleurs du MalCe sonnet de 1847 (et non 1857, date de parution du recueil), devenu célèbre par les études de linguistique moderne qui lui ont été appliquées, présente un animal domestique que Baudelaire rend étrange ; comment s'y prend-il ? C'est ce que nous montrerons, en suivant deux axes d'analyse.I. Le mouvement de l'extériorité vers l'intérioritéDans cette "maison", les "amoureux" et les "savants", repris avec insistance dès le premier vers du deuxième quatrain par "science" et "volupté", antithèse des niveaux intellectuel (intériorité) et sensuel (extériorité), apparaissent comme les propriétaires de chats dont ils partagent les qualités :· Casaniers, volontiers à l'abri du froid : cf. la comparaison "comme eux frileux et comme eux sédentaires";· Réciprocité du sentiment : ces humains - seulement dans leur "mûre saison" : il leur a fallu la maturité pour l'admettre - "aiment" les chats, qui eux aussi sont leurs "amis" : ambiance d'harmonie.En outre ces animaux domestiques sont· puissants, ce qui dans ce contexte renvoie à la puissance que confère la science ; le vers six nous apprend qu'ils sont des 'chercheurs'· et doux, par allusion à la douceur de l'affection et de la caresse. La suite du poème nous les montre calmement ensommeillés ("s'endormir", "rêve", "sable" dans les yeux), conformément à l'image traditionnelle.Conclusion : du décor minimal le poète a orienté vers les qualités intérieures des troisprotagonistes, avec insistance : l'austérité caractérise le scientifique selon l'opinion commune du XIXè. s., et l'expression ultérieure "reins féconds" synthétise à la fois le dynamisme de "amoureux fervents" et "volupté".D'autre part, le premier tercet s'attache à l'apparence extérieure de "prennent les attitudes" alors que le second sonde les "reins" et les "prunelles" de l'animal, qui elles aussi sont remplies (cf. "pleins de"). Cela illustre la duplicité communément admise du félin dont les poses ne trahissent pas les intentions. Ainsi l'adverbe "vaguement" laisse finalement planer une incertitude, qui concorde avec la description de chatsésotériques.Quant au jeu sur les apparences trompeuses, il concerne non seulement l'opposition entre "semblent s'endormir" et l'éveil à la vie spirituelle intense que cache ce sommeil, mais, dans les propositions hypothétiques des vers sept et huit, l'erreur commise par la puissance des ténèbres, qui "eût pris" les chats pour ses serviteurs (par leur goût pour le monde nocturne, ou par leur puissance dont on a parlé), si elle ne se rendait compte qu'ils sont indomptables.Conclusion : le mouvement de l'extériorité vers l'intériorité accroît l'ambiance de mystère qui auréole la description de ces animaux pourtant familiers. Dans les tercets on a l'impression que quelque chose d'essentiel se passe en eux, par contraste avec les quatrains où ils occupaient surtout le rôle d'objet. A la réclusion initiale succède une libération inverse.II. Du monde banal, concret, au monde merveilleux, fantastiqueL'évolution de qualités stéréotypées (que l'on peut juger comme normales, tels le côtécasanier, le goût de la chaleur et de la nuit, la duplicité, etc.) vers l'extra-ordinaire se manifeste à la fin du vers six avec "horreur des ténèbres" qui rime avec les "coursiers funèbres" du monde des Enfers, puis que l'Erèbe, fils du Chaos et de na Nuit, se situe dans cette région. Voilà esquissée une mythologie grecque dont le côté négatif est accru par les rapports de force ("incliner au servage") qui affectent les chats. Leur recherche n'apparaît plus alors dirigée vers la science mais vers une autre austéritémaléfique.Mais c'est dans les tercets - unifiés par une seule phrase - qu'a lieu le dépaysement total, lors de la comparaison des chats avec ces "grands sphinx allongés" (monstre fabuleux, félin, lié au soleil, à l'énigme et à l'art - sculpture) : les "solitudes" où ils se trouvent évoquent bien sûr celle des déserts, confirmés au second tercet par le "sable fin" ; quant à la noblesse de leur port, de leur position redressée de puissants gardiens du temple, elle s'origine dans cet "orgueil de la maison" et cette "fierté" que l'on attribue volontiers à l'animal impossible à vraiment domestiquer (il conserve son indépendance). En outre, à l'exotisme du décor africain répond la mythologieégyptienne pour qui le chat était animal sacré : Baudelaire reprend là des idées et images communément admises au XIXè s. où le voyage oriental est à la mode (oncomprend mieux le lien avec la science si l'on se réfère aux découvertes de Champollion). D'ailleurs le champ lexical de la religion se situe à des endroitsstratégiques du sonnet avec le dernier mot "mystiques" (communion des yeux du chat avec le divin) qui fait écho à la ferveur du premier vers, voire à la pose hiératique faite de "silence".Infini et absolu : voilà vers quoi tendent ces animaux métamorphosés, eux qui vivent dans un décor, comme leur "rêve, sans fin", fait de milliards de particules ; en effet le ternaire "étinc elles - parc elles - prun elles " les disperse en une myriade d'étoiles qui esquisse un mouvement de redressement jusqu'aux cieux. Si bien que par ce jaillissement "magique", la couleur "d'or" éclaire de façon cette fois heureuse les"ténèbres" mythologiques dont il était question (on peut dire que le monstrueux a subi une transmutation alchimique). Par cette vision rapprochée (zoom sur les yeux, englobant le monde sidéral qui n'est plus infernal), le poème se termine sur un "rêve" heureux.Si l'étrangeté atteint son summum dans le dernier tercet, c'est aussi parce que celui-ci est le seul à contenir des métaphores, les strophes précédentes comportant des comparaisons.En conclusion, on constate que la fécondité de l'animal, tel qu'il est ici décrit par un observateur qui se rapproche de lui et l'approfondit, est d'ordre à la fois sensuel et spirituel (notion qui regroupe la science, la mythologie et la religion). Mais aussi artistique, car le poète, pour créer, innover, doit être comme ces chats, c'est-à-dire sachant conjoindre divers domaines rationnels et irrationnels. L'identification àl'animal serait d'après cette interprétation, beaucoup plus subtile que pour l'Albatros.On peut ajouter en guise d'épilogue que science et contemplation jouent un rôlemédiateur dans le thème de l'union harmonieuse : (a) conjonction de l'amoureux avec son partenaire, (b) conjonction du savant avec l'univers, (c) conjonction du mystique avec son dieu, (d) conjonction enfin de l'animal sacré avec le sable et les astres._____________N. B. : Eléments de versification et de rhétorique :1. les rimes en ABBA CDDC EEFGFG,2. l'unité d'un alexandrin par l'allitération des nasales : Qui semblent s'endormir dans un rêve sans fin,3. l'anaphore des deux derniers vers "Et des parcelles" / "Etoilent" qui souligne la liaison de ces éléments épars.。
音乐剧猫的歌词
音乐剧《猫》的全部歌词Jellicle Songs for Jellicle Cats 杰里可歌颂杰里可猫Are you blind when you're born? Can you see in the dark? Dare you look at a king? Would you sit on his throne? Can you say of your bite that it's worse than your bark? Are you cock of the walk when you're walking alone? Because Jellicles are and Jellicles do Jellicles do and Jellicles would Jellicles would and Jellicles can Jellicles can and Jellicles do When you fall on your head, Do you land on your feet? Are you tense when you sense There's a storm in the air? Can you find your way blind When you're lost in the street? Do you know howto go to the Heaviside Layer?Because Jellicles can and Jellicles do Jellicles do and Jellicles can Jellicles can and Jellicles do Jellicles do and Jellicles can Jellicles can and Jellicles doCan you ride on a broomstick to places far distant? Familiar with candle, with book, and with bell? Were you Whittington's friend? The Pied Piper's assistant? Have you been an alumnusof heaven and hell?Are you mean like a minx? Are you lean like a lynx? Are you keen to be seen when you're smelling a rat? Were you there when the pharaohs commissioned the Sphinx? If you were and you are,you're a Jellicle Cat!Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle CatsWe can dive through the air like a flying trapeze We can turn double somersaults, bounce on a tire We can run up a wall, we can swing through the trees We can balance on bars, we can walkon a wireJellicles can and Jellicles do Jellicles can and Jellicles do Jellicles can and Jellicles do Jellicles can and Jellicles do Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs forJellicle CatsCan you sing at the same time in more than one key? Duets by Rossini and waltzes by Strauss? And can you (as cats do) begin with a 'C'? That always triumphantly brings down the house?Jellicle Cats are queen of the nights Singing at astronomical heights Handling pieces from 'The Messiah' Hallelujah,angelical choirThe mystical divinity of unashamed felinity 'Round the cathedral rang 'Vivat' Life to the everlasting cat! Feline, fearless, faithful and true To others who do what Jellicles do and Jellicles can Jellicles can and Jellicles do Jellicle Cats sing Jellicle Chants Jellicles old and Jellicles new Jellicle song and Jellicle dance Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Practical cats, dramatical cats, pragmatical cats, fanatical cats Oratorical cats, delphicoracle cats, skeptical cats, dispeptical cats Romantical cats, pedantical cats, critical parasitical cats, allegorical cats Metaphorical cats,statistical cats, and mystical cats Political cats, hypocritical cats, clerical cats, hysterical cats Cynical cats,rabbinical catsJellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle Cats Jellicle songs for Jellicle CatsThere's a man over there with a look of surprise As much as to say as to say now, well how about that? Do I actually see with my own very eyes A man who's not heard of a Jellicle Cat? What'sa Jellicle Cat? What's a Jellicle Cat?欢快的主旋律“Jellicle songs for Jellicle Cats”贯穿了这个部分，强烈的节奏使人想随着一块舞动猫的命名The Naming of CatsThe Naming of Cats is a difficult matter It isn't just one of your holiday games You may think at first I'm mad as a hatter When I tell you a cat must have three different names First of all, there's the name that the family use daily Such as Peter, Augustus, Alonzo or James Such as Victor or Jonathan, George or Bill Bailey All of them are sensible, everyday names There are fancier names if you think they sound sweeter Some for the gentlemen, some for the dames Such as Plato, Admetus, Electra, Demeter But all of them sensible, everyday namesBut I tell you, a cat needs a name that's particular A name that's peculiar and more dignified Else how can he keep up his tail perpendicular? Or spread out his whiskers or cherish hispride?Of names of this kind, I can give you a quorum Such as Munkustrap, Quaxo, or Coricopat Such as Bombalurina or else Jellylorum Names that never belong to more than one catBut above and beyond, there's still one name left over And that is the name that you never will guess The name that no human research can discover But the cat himself knows and will neverconfessWhen you notice a cat in profound meditation The reason, I tell you, is always the same His mind is engaged in a rapt contemplation Of the thought Of the thought Of the thought Of his name His ineffable Effable Effanineffable Deep and inscrutable singular Name, name, name, name, name, name, name 所有的猫聚在一起，诉说猫们的三个名字，给全剧渲染了神秘的气氛。
德里达｜我所是的动物
德里达｜我所是的动物我所是的动物德里达著，朱玲琳、夏可君译节选自《解构与思想的未来》，吉林人民出版社，2006年。
我经常问自己，为了看看我是谁——我是（/跟随）谁，当我被动物沉默的目光，比如说一只猫的眼睛所看到自己的赤身，去裸体时，我难以，是的，一个麻烦的时刻（j’ai du mal）克服我的窘迫。
为什么会有这种麻烦（/可恶：mal）？我有麻烦（mal）压制这种羞愧（/腼腆：pudeur）的运动。
麻烦在于自身保持沉默，反对猥亵。
反对失礼的担心，这种非礼来自于发现自己赤裸，自己的性暴露，完全赤裸在一只猫面前，它一动不动的看着你，只是看着。
一种动物赤裸着在另一种动物前的失礼（malséance），从这点上人们可以称之为一种动物场景：一个本源的经验，一个而且是不可比较的可恶场景，出现在赤裸的真实之中，在动物持续的注视面前，一种善意的或无情的，惊奇的或熟知的注视面前。
一个预言家、梦想家或超出－光明的盲人的注视。
因此，似乎我为在这只猫面前赤身裸体而感到羞耻（honte），并且为羞耻感到羞耻。
一种反观自照的羞耻，耻于自身的羞耻的反映，一种同时也是反射反思的、不合理的且无法明言的羞耻。
在这种反射的光学中心，会出现这种东西——在我看来是这种无与。
并且人们伦比的体验的焦点——这被称为是裸体（nudité）相信它是人所专有的，也就是对动物是陌生的，动物是赤裸的，或者被看成是赤裸的，但对此，动物们却并没有哪怕是最细微的意识。
对什么的羞耻呢？在谁面前裸体？为什么让自己克服羞耻？为什么因为感到羞耻而羞耻？特别是，我应该解释一下，如果猫发现我当面（de face）裸体，面对面的，如果我赤裸着被猫从头看到脚，就是要看见，毫不犹豫的将其视线集中到——为了看见——生殖器的方向。
为了看见（pour voir），没有打算看见，没有触摸，没有咬，尽管这种威胁仍存在于它的唇边或者舌尖。
某种不应该发生的事情在那里发生了——就像事事都最终会发生，失误、堕落、失败、过错、征兆（征兆[sympt?me]正如大家所知，也表示“堕落”：事例，不幸的事件，意外事故，堕落所应得的[échéance]，灾祸）。
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Dedica due minuti a questa
lettura, è molto bella.
Prima di leggerla, sappi che non èuna cretinata, e che soltanto le
persone
che hanno davvero un animo nobile e semplice possono
veramente apprezzarla
... adesso, se sei sicuro/a di te,
leggi!
STORIELLA INDIANA:
Il mio amico aprì il cassetto del comodino di sua moglie e ne
estrasse un
pacchetto, avvolto in carta di riso: "Questo-disse-non è un semplice
pacchetto, è biancheria intima". Gettò la carta che lo avvolgeva e
osservò
la seta squisita e il merletto.
"Lo comprò la prima volta che andammo a NewYork ,8 o 9 anni
fa". "Non lo usò
mai. Lo conservava per
'un'occasione speciale'." "Bene.
Credo che questa sia
l'occasione giusta".
Si avvicinò al letto e collocò il capo vicino alle altre cose che
avrebbe
portato alle pompe funebri.
Sua moglie era appena morta. Girandosi verso di me disse: "non
conservare
niente per un'occasione speciale, ogni giorno che vivi è
un'occasione
speciale." Sto ancora pensando a queste parole che hanno cambiato
la mia
vita.
Adesso leggo di più e pulisco di meno. Mi siedo in terrazzo e
ammiro il
paesaggio senza fare caso alle
erbacce del
giardino. Passo più tempo con la mia famiglia e gli amici e meno
tempo
lavorando. Ho capito che la vita deve essere un insieme di
esperienze da
godere, non per sopravvivere.
Ormai non conservo nulla. Uso i miei bicchieri di cristallo tutti i
giorni.
Mi metto la giacca nuova per andare al supermercato, se decido
così e ne ho
voglia. Ormai non conservo il mio miglior profumo per feste speciali, lo uso
ogni volta che voglio farlo. Le frasi 'un giorno...' e 'uno di questi
giorni' stanno scomparendo dal mio vocabolario. Se vale la pena
vederlo,
ascoltarlo o farlo adesso.
Non sono sicuro di cosa avrebbe fatto la moglie del mio amico, se
avesse
saputo che non sarebbe stata qui per il domani che tutti prendiamo
tanto
alla leggera.
Credo che avrebbe chiamato I suoi familiari e gli amici intimi.
Magari avrebbe chiamato alcuni vecchi amici per scusarsi e fare la
pace per
una possibile lite passata. Mi piace pensare che sarebbe andata
a mangiare
cibo cinese, il suo preferito.
Sono queste piccole cose non fatte che mi infastidirebbero, se
sapessi che
le
mie ore sono contate.
Infastidito perché smisi di vedere buoni amici con I quali mi sarei
messo in
contatto 'un giorno'.
Infastidito perché non scrissi certe lettere che avevo intenzione
di
scrivere 'uno di questi giorni'. Infastidito e triste perché non
dissi ai
miei fratelli e ai miei figli, con sufficiente frequenza, quanto li
amo.
Adesso cerco di non ritardare, trattenere o conservare niente che
aggiungerebbe risate ed allegria alle nostre vite. E ogni giorno
dico a me
stesso che questo è un giorno speciale. Ogni giorno, ogni ora,
ogni
minuto...è speciale.
Se hai ricevuto questo messaggio, è perché qualcuno ti vuole bene e
perché
ci sono persone alle quali probabilmente tu vuoi bene.。