At the heart of the Western literary “canon”, as it is often called, are the dramatic works of William Shakespeare, which have gained a global appeal and have found new homes in the theatres, the studies, and the film industry of many countries. As analyzed by the leading critic Harold Bloom, in his major works Shakespeare “teaches us how and what to perceive, and he also instructs us how and what to sense and then to experience as sensation”. Accordingly, nobody before or after Shakespeare has “made so many separate selves”: as the 18th century already knew, Shakespeare “taught us to understand human nature” – perhaps he has even “invented the human”.

Especially prominent in the esteem which Shakespeare’s works enjoy are the tragedies. This lecture introduces them, not necessarily expecting any previous knowledge, and goes on to offer pathways of critical exploration to understand the qualities of the major tragic dramas. For a glimpse at the context, we will briefly talk about “who was Shakespeare?” and about “what is tragedy?” From there, we will devote attention to Romeo and Juliet, Hamlet, Othello, King Lear, and Macbeth. Each of these works is quite different from the others, so that there is no simple formula that applies to all. Each of them unfolds a radical appraisal of what it means to be human – with surprises.

In discussing these major works, an important element is the responses which students themselves may offer. How do students understand the dramatic characters and actions? Their critical echoes can be quite individually varied, and they are very welcome. Hence students are strongly encouraged to take part and to share their thoughts!

中国特色话语外译的国家翻译和学者翻译在术语翻译层面存在明显的差异，两种翻译侧重点各有不同，并且缺乏必要的借鉴与沟通，二者各有千秋，在译文的准确性和规范性应该各取所长，在确定各自译者角色的基础上，找到术语外译的科学原则与方法，产出更多准确而又具有强大传播力的术语译文，本次讲座围绕着这一背景展开讨论。

中日两国留存的古代文献，无论是时间长度还是文献体量上都堪称世之瑰宝，同时也是横亘在研究者面前的一座难以攀登的大山。佐藤喜代治 1971 年就曾因此感叹汉字词体系研究“非一私人之力所能及”。时至今日，研究的环境仍未发生根本改观。日本国立国语研究所建设的“日语历史语料库”（CHJ）着眼日本固有语言“和语”的历时变化，已明确表明即便是日本的“汉文”文献也不再收录之列，在语料选择上未将汉字词的历时研究纳入视野。在此背景下，依托中国国家社科基金项目“日本汉字词语料库建设与研究”（19AYY020）的支持，经过将近5年的建设，以日本汉字词历时研究为目的的“大地语料库”完成了中日古代文献1700余卷，逾1000万字的语料整理工作，并将借本次讲座机会向学界公开。

本次讲座，将介绍“大地语料库”所收录的中日两国历史、地理、法律、宗教、医学、天文、农学、艺术等各领域的文献资料，演示语料库软件的使用方法，并结合Python编程探讨如何通过大数据分析的方法进行汉字词、汉字词汇的历史研究。语言承载文化、记录文化、也是传播文化的重要载体。正如日本《大汉和辞典》序言所言：“东亚的文化，其大半由汉字、汉字词汇表达。不论是文艺还是思想，乃至道德宗教皆是如此”。我们衷心期望“大地语料库”能够有幸为广大研究者所用，在服务汉字词汇研究的同时，为中日诗文比较研究、人工智能下的思想演算与中华传统文化对外传播等研究提供数据平台。

报名问卷链接

https://www.wjx.cn/vm/Yrv0iBZ.aspx

This research looks at Russia’s policy following Hamas’ terrorist attack on Israel on October 7th, 2023, and the subsequent Israeli retaliation. For years, Russia pursued a policy in the Middle East that sought to transform it into a pragmatic or “equidistant” actor that dealt with all relevant stakeholders without aligning closely with any. However, in the months since the Hamas attacks, Russia has taken a visibly pro-Palestinian side and sacrificed good relations with Israel. This research assesses these developments in the context of Russia’s post-Ukraine War diplomatic isolation.

Jan van Eyck (ca. 1390–1441), heralded as the founder of early Netherlandish painting, is renowned for his miraculous depictions of the natural world in oil paint that changed the course of western European painting. The Crucifixion and Last Judgment by van Eyck entered the Metropolitan Museum in 1933, and they have been the focus of constant study ever since. Admittedly, they are unusual in many ways for the oeuvre of Jan van Eyck and a significant number of mysteries have remained unsolved. For example, what was their original appearance and function? Were they always joined as a diptych (as we see them today), the wings of a triptych, or perhaps the doors of a tabernacle or reliquary shrine? Are the biblical texts in pastiglia that embellish the inner coves of the original frames Van Eyck’s concept or later additions? The reconsideration of these questions is the result of new technical examinations of the paintings and their frames. Our aim is to discover Van Eyck’s art—its facture, meaning, and function—within the context of its own time, and with particular regard to the circumstances of the commission. The challenging question to keep in mind is to what extent Jan van Eyck would necessarily engage different pictorial strategies – including varied spatial concepts, compositional modes, and figural expression – in order to serve the narrative and even the iconic essence of the image. Unravelling these mysteries enables a deeper understanding and appreciation of the paintings for modern viewers.