Katherine Mansfield was a predominant modernist writer who had written the well-known short story The Garden Party, which explicitly interprets the idea of social class difference between the upper class and the worki...Katherine Mansfield was a predominant modernist writer who had written the well-known short story The Garden Party, which explicitly interprets the idea of social class difference between the upper class and the working class. This paper discusses its presentation of social class difference from two aspects, including the narrative style and the settings.展开更多
Amitav Ghosh is one the most remarkable writers of the postmodernism era. He excelled in this era with his trend of magic realism. The Shadow Lines is a story told by a nameless narrator in recollection. It＇s a non l...Amitav Ghosh is one the most remarkable writers of the postmodernism era. He excelled in this era with his trend of magic realism. The Shadow Lines is a story told by a nameless narrator in recollection. It＇s a non linear tale told as if putting together the pieces of a jigsaw puzzle in the memory of the narrator. This style of writing is both unique and captivating; unfolding ideas together as time and space coalesce and helping the narrator understand his past better. Revolving around the theme of nationalism in an increasingly globalized world, Ghosh questions the real meaning of political freedom and the borders which virtually seem to both establish and separate. The novel traverses through almost seventy years through the memories of people, which the narrator recollects and narrates, giving their viewpoint along with his own. Though the novel is based largely in Kolkata, Dhaka, and London, it seems to echo the sentiments of whole Southeast Asia, with lucid overtones of Independence and the pangs of Partition.展开更多
This paper takes as its main point of departure a body of empirical research on reading and text processing,and makes particular reference to the type of experiments conducted in Egidi and Gerrig(2006)and Rapp and Ger...This paper takes as its main point of departure a body of empirical research on reading and text processing,and makes particular reference to the type of experiments conducted in Egidi and Gerrig(2006)and Rapp and Gerrig(2006).Broadly put,these experiments(i)explore the psychology of readers’preferences for narrative outcomes,(ii)examine the way readers react to characters’goals and actions,and(iii)investigate how readers tend to identify with characters’goals the more‘urgently’those goals are narrated.The present paper signals how stylistics can productively enrich such experimental work.Stylistics,it is argued,is well equipped to deal with subtle and nuanced variations in textual patterns without losing sight of the broader cognitive and discoursal positioning of readers in relation to these patterns.Making particular reference to what might constitute narrative‘urgency’,the article develops a model which amalgamates different strands of contemporary research in narrative stylistics.This model advances and elaborates three key components:a Stylistic Profi le,a Burlesque Block and a Kuleshov Monitor.Developing analyses of,and informal informant tests on,examples of both fiction and film,the paper calls for a more rounded and sophisticated understanding of style in empirical research on subjects’responses to patterns in narrative.展开更多
文摘Katherine Mansfield was a predominant modernist writer who had written the well-known short story The Garden Party, which explicitly interprets the idea of social class difference between the upper class and the working class. This paper discusses its presentation of social class difference from two aspects, including the narrative style and the settings.
文摘Amitav Ghosh is one the most remarkable writers of the postmodernism era. He excelled in this era with his trend of magic realism. The Shadow Lines is a story told by a nameless narrator in recollection. It＇s a non linear tale told as if putting together the pieces of a jigsaw puzzle in the memory of the narrator. This style of writing is both unique and captivating; unfolding ideas together as time and space coalesce and helping the narrator understand his past better. Revolving around the theme of nationalism in an increasingly globalized world, Ghosh questions the real meaning of political freedom and the borders which virtually seem to both establish and separate. The novel traverses through almost seventy years through the memories of people, which the narrator recollects and narrates, giving their viewpoint along with his own. Though the novel is based largely in Kolkata, Dhaka, and London, it seems to echo the sentiments of whole Southeast Asia, with lucid overtones of Independence and the pangs of Partition.
文摘This paper takes as its main point of departure a body of empirical research on reading and text processing,and makes particular reference to the type of experiments conducted in Egidi and Gerrig(2006)and Rapp and Gerrig(2006).Broadly put,these experiments(i)explore the psychology of readers’preferences for narrative outcomes,(ii)examine the way readers react to characters’goals and actions,and(iii)investigate how readers tend to identify with characters’goals the more‘urgently’those goals are narrated.The present paper signals how stylistics can productively enrich such experimental work.Stylistics,it is argued,is well equipped to deal with subtle and nuanced variations in textual patterns without losing sight of the broader cognitive and discoursal positioning of readers in relation to these patterns.Making particular reference to what might constitute narrative‘urgency’,the article develops a model which amalgamates different strands of contemporary research in narrative stylistics.This model advances and elaborates three key components:a Stylistic Profi le,a Burlesque Block and a Kuleshov Monitor.Developing analyses of,and informal informant tests on,examples of both fiction and film,the paper calls for a more rounded and sophisticated understanding of style in empirical research on subjects’responses to patterns in narrative.
