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A Fire in My Head: Poems for the Dawn

為了解決Policeman的問題，作者Okri, Ben 這樣論述：

From the renowned Booker Prize-winning author, a powerful collection of poems covering topics of the day, such as the refugee crisis, Black Lives Matter protests, and COVID-19. In our times of crisis The mind has its powersThis book brings together many of Ben Okri’s most acclaimed and politically

charged poems. ＂Grenfell Tower, June 2017,＂ published in the Financial Times less than ten days after the fire, was played more than 6 million times on Facebook, and was retweeted by thousands on Twitter. ＂Notre-Dame Is Telling Us Something＂ was first read on BBC Radio 4, in the aftermath of the cat

hedral’s near destruction. It spoke eloquently of the despair that was felt around the world. In ＂shaved head poem,＂ Okri wrote of the confusion and anxiety felt as the world grappled with a health crisis unprecedented in our times. ＂Breathing the Light＂ was his response to the events of summer 2020

, when a Black man died beneath the knee of a white policeman, a tragedy sparking a movement for change. These poems, and others including poems for Ken Saro-Wiwa, Barack Obama, Amnesty, and more, make this a uniquely powerful collection that blends anger and tenderness with Okri’s inimitable vision

. Ben Okri is a poet, novelist, essayist, short-story writer, anthologist, aphorist, and playwright. He has also written screenplays. His works have won numerous national and international prizes, including the Booker Prize for Fiction.

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京極夏彥研究—以推理小説中的警察角色為中心—

為了解決Policeman的問題，作者朱慧杰 這樣論述：

京極夏彥（1963—）在1995年以《姑獲鳥之夏》作爲推理小説家出道，以日本新本格派推理小説代表作家為世人所熟知。其作品跳脫一貫以推理過程爲重的本格派推理小説和注重體現社會現象與問題的社會派推理小説，將自己擅長的妖怪文化與推理小説相結合，創作出屬於自己的妖怪世界。其細膩的寫作手法、詳盡的人物描寫使其得獎作品接連不斷。例如獲得了第49屆日本推理作家協會獎的《魍魎之匣》（1995），獲得直木三十五賞的得獎作品《后巷說百物語》（2003）等等，創作出不少轟動一時的熱門作品。 本論文將就京極夏彥的作品中警察形象描寫爲例，旨在探討京極的作品特徵與其在推理小説界的地位。 首先第一章將

在討論作品内容前先對推理小説進行定義，并且會對京極夏彥的作品特徵進行分析。其次在第二章將會以第一本文本《魍魎之匣》爲中心進行討論。在簡單介紹劇情梗概與人物基本形象后，將以木場修太郎作爲對象進行分析。通過分析影響著他的女性恐懼症與社交恐懼症，以及其單相思的戀愛觀，旨在推測京極夏彥創作這名角色的理由。最後的第三章將會以第二本文本《狂骨之夢》為基礎分析另一位警察角色—石井寬爾的人物形象。通過分析他的官僚主義、利己主義、膽小以及回避風險的特點，著眼他的心理變化與成長，思考他的存在意義以及被創作出來的理由。通過以上分析，得出其作品是融合本格派與社會派、兼顧娛樂性與文學性這樣的推測。

Flann O’Brien: Acting Out

為了解決Policeman的問題，作者 這樣論述：

Flann O’Brien: Acting out is the first full-length study to comprehensively address the themes of performance, masking and illusion in the author’s fiction, columns, correspondence and scripts. These essays reveal, for the first time, the fullness of O’Brien’s literary engagements with diverse th

eatrical movements (melodrama, revivalism, tableaux vivant, Grand Guignol, modernist anti-theatre) and playwrights (Shakespeare, Goethe, Boucicault, Synge, Yeats, Gregory, Pirandello, Brecht, Beckett, Čapek). Often considered a lonely pioneer of the Irish novel, the author is here resituated both am

ong a troupe of mid-century playwrights, producers and performers (mac Liammoír, Edwards, Saroyan, Montgomery, Sheridan, MacNamara, O’Dea) and in front of discrete local audiences (at The Irish Times, the Abbey, the Gate, Radio Éireann, Telefís Éireann). A new picture of O’Brien emerges as a perform

ative and collaborative writer, firmly imbedded in the cultural networks and institutions of his time and place. Flann O’Brien: Acting out draws unprecedented attention to the author’s critically neglected writing for stage and screen (Thirst, Faustus Kelly, Rhapsody in Stephen’s Green, An Sgian, Th

e Handsome Carvers, Mairéad Gillan, The Dead Spit of Kelly). These scripts are here reevaluated against their historical contexts and through their thematics of war, nationalism, gender, nonhuman bodies and posthuman identity. At the same time, innovative readings of the role of masking and mimicry

in the fiction and columns (At Swim-Two-Birds, The Third Policeman, ’John Duffy’s Brother’, ’The Martyr’s Crown’, Cruiskeen Lawn) shed new critical light on O’Brien’s pseudonyms, his theories of literary performance, his modulation of comic and tragic tone, and his shifting place in Irish modernism.

「勞工神聖」之前——晚清華工小說探析

為了解決Policeman的問題，作者倪舒妍 這樣論述：

本文聚焦晚清華工小說，其出現、空間地理書寫、苦難書寫。這波集中出現於20世紀初的創作熱潮，基於鴉片戰爭後大量華工半迫於生計半由外國誘招而出洋的事實，同時離不開晚清小說界革命、1905年反美華工禁約運動的直接推動。運動中近代報刊發揮關鍵作用，華工小說也多在此面世，通過報刊脈絡的梳理，可以發現不同報刊有不同宗旨和行動，有的闡發自己的教育理念、有的追逐商業利益、有的背後是黨派鬥爭，潛移默化影響小說的呈現。小說作者主要是職業作家、報人，尤多懷有桑梓之情的粵籍作家。華工小說密切關照現實又帶出了不一樣的歷史和詮釋。小說的空間設計有其特別之處，作家極力通過對壓榨、禁錮、排斥的形象化書寫，表現華工受擠壓的生

存空間，使得原本有著大幅度空間位移的作品呈現出緊張的空間感受。異域書寫方面，本文引入晚清地理著述和文人士大夫的域外遊記進行對照，當整個知識系統把文明的野蠻性去掉，只讚頌文明先進性之時，華工小說提供了一個底層的受壓迫的視角觀看資本主義世界，留意到了西方現代性的黑暗面，展現和書寫的異域顛覆了以往上層知識分子的刻畫。連帶著在晚清由「天下」變為「世界」的地理觀也在小說中有了再突破，打破以國為界限的認識，看到了全球種族主義的問題。最後從種族、階級、性別三個維度觀察華工小說的苦難書寫，呼應到現實中華工進入資本主義世界遭受的多重壓迫，還關注到小說中複雜的黑人形象及其背後晚清時人對種族優劣論的接受、華人族群內

部對工人權益的忽視以及晚清文人爭取各階層平等的呼聲、作家有異於當代華美文學的刻畫華工時女性化的書寫方式及其激發民族主義情感對抗殖民主義的意圖。