摘要：Wolfgang Amadeus Mozart, one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus （2001）, depicts the mysterious life and death of this musician in a very different way. Instead of presenting an intelligent and refined artist, Shaffer, from the perspective of his rival, Antonio Salieri, gives us a ＂foul-mouthed, immature jackanapes＂ that shocks his audiences in the theatre. Lady Thatcher＇s displeased response after seeing the play tells the gap between Shaffer＇s Mozart and the Mozart image in most public＇s mind. However, the image of the vulgar Mozart, though a contrast to his music, lights up the uniqueness of his music at the age of Enlightenment. The paper, aims to analyze the difference in Mozart＇s music and the different Mozart character Shaffer presents in his play by drawing on Ren6 Girard＇s notion of collective violence and scapegoat mechanism. Also, the author intends to examine the playwright＇s intention and exegesis as he composes this mysterious musician in such a different way

摘要：In a letter to Vita Sackville-West dated 8 August 1931, eight years after Katherine Mansfield＇s death, Virginia Woolf confides that she ＂gave up＂ reading her literary rival＇s stories ＂because of their cheap sharp sentimentality＂. Woolf＇s observation invites us to question： is Mansfield a mere sentimentalist or is her characterisation technique misunderstood？ The first section of this paper demonstrates that attributing Mansfield＇ works as ＂sentimental＂ is erroneous since Mansfield＇s strategy is to change the masks of her characters within her stories, revealed in her letters and journal entries. Following the first section of this paper, I aim to explore how Mansfield extends this strategy of changing masks in daily life to her fictional characters in ＂Je ne parle pas fran^ais＂ （1918） by equipping them with different types of masks--speech and facial expressions, gender, and animality--to respond to changes in their situations and toward the characters around them. Particularly important to this exploration are Joan Riviere＇s insights into gender in her article, ＂Womanliness as Masquerade＂, Michael Goldman＇s theory of masks in acting in his The Actor＇s Freedom： Toward a Theory of Drama and Gilles Deleuze and Felix Guattari＇s concept of ＂becoming-animal＂ in KaJka.＂ Towards a Minor Literature.

摘要：In this essay, the author proposes to explore Mansfield＇s ＂special prose＂ by examining the two issues raised in her journal entries： First, the phrase ＂perhaps not in poetry. No, perhaps in Prose＂ in her journal entry of 22 January 1916 shows that Mansfield plans to experiment with a kind of poetic prose, or in her own words--＂special prose＂. The profound affinity between the ＂special prose＂ and the notion of elegy, ＂a mournful poem for the dead＂ （OED, ＂elegy＂, n. sense 1）, calls attention to her work＇s decisive but still insufficiently examined relationship to poetry and her preoccupation with mortality. Second, the words ＂scraps＂, ＂bits＂, and ＂nothing real finished＂ in her journal entry of 19 February 1918 indicate that the mortal fragility she writes about in her ＂special prose＂ is closely bound up with verbal fragility, as embodied, for example, in the form of an ellipsis mark that she uses extensively elsewhere in her short stories. Her connection to poetry and her use of ellipsis marks will be discussed by looking at the impact of John Keats＇s poems on her own work and ＂The Canary＂ （1922）, the last story she completed before her death.