Though a bit strange to Chinese readers, Margaret Drabble is well known in Britain literature field. Her novels mainly reflect the life of middle class woman intellectual. And The Waterfall （1967） is in the book lis...Though a bit strange to Chinese readers, Margaret Drabble is well known in Britain literature field. Her novels mainly reflect the life of middle class woman intellectual. And The Waterfall （1967） is in the book list that must be read by English majors. This paper mainly analyzes the narrative characteristics of Margaret Drabble＇s famous novel The Waterfall from three aspects ofnarratology, narrative temporality, focalization, and narrating voice. The Waterfall is unique in writing style： It has no chapters, and each part is divided by asterisk, what is more, ＂I＂ and ＂she＂ appear alternatively. It consists of two alternatively appeared plotlines, one is the line of story, the other is the line of psychology. In the line of story, traditional narrative techniques are usually used, whereas in the line of psychology, new narrative techniques are often found. All these show that the author is trying to adopt new writing form, while at the same time she cannot completely give up the old ones. Therefore, this novel appears half-old and half-new characteristics in narrative characteristics.展开更多
This paper attempts to trace the influence of Jorge Luis Borges on Ge Fei. It shows that Ge Fei＇s stories share Borges＇s narrative form though they do not have the same philosophical premises as Borges＇s to support...This paper attempts to trace the influence of Jorge Luis Borges on Ge Fei. It shows that Ge Fei＇s stories share Borges＇s narrative form though they do not have the same philosophical premises as Borges＇s to support them. What underlies Borges＇s narrative complexity is his notion of the inaccessibility of reality or divinity and his understanding of the human intellectual history as epistemological metaphors. While Borges＇s creation of narrative gap coincides with his intention of demonstrating the impossibility of the pursuit of knowledge and order, Ge Fei borrows this narrative technique from Borges to facilitate the inclusion of multiple motives and subject matters in one single story, which denotes various possible directions in which history, as well as story, may go. Borges prefers the Jungian concept of archetypal human actions and deeds, whereas Ge Fei tends to use the Freudian psychoanalysis to explore the laws governing human behaviors. But there is a perceivable connection between Ge Fei＇s rejection of linear history and traditional storyline with Borges＇ explication of epistemological uncertainty, hence the former＇s tremendous debt to the latter. Both writers have found the conventional narrative mode, which emphasizes the telling of a coherent story having a beginning, a middle, and an end, inadequate to convey their respective ideational intents.展开更多
文摘Though a bit strange to Chinese readers, Margaret Drabble is well known in Britain literature field. Her novels mainly reflect the life of middle class woman intellectual. And The Waterfall （1967） is in the book list that must be read by English majors. This paper mainly analyzes the narrative characteristics of Margaret Drabble＇s famous novel The Waterfall from three aspects ofnarratology, narrative temporality, focalization, and narrating voice. The Waterfall is unique in writing style： It has no chapters, and each part is divided by asterisk, what is more, ＂I＂ and ＂she＂ appear alternatively. It consists of two alternatively appeared plotlines, one is the line of story, the other is the line of psychology. In the line of story, traditional narrative techniques are usually used, whereas in the line of psychology, new narrative techniques are often found. All these show that the author is trying to adopt new writing form, while at the same time she cannot completely give up the old ones. Therefore, this novel appears half-old and half-new characteristics in narrative characteristics.
文摘This paper attempts to trace the influence of Jorge Luis Borges on Ge Fei. It shows that Ge Fei＇s stories share Borges＇s narrative form though they do not have the same philosophical premises as Borges＇s to support them. What underlies Borges＇s narrative complexity is his notion of the inaccessibility of reality or divinity and his understanding of the human intellectual history as epistemological metaphors. While Borges＇s creation of narrative gap coincides with his intention of demonstrating the impossibility of the pursuit of knowledge and order, Ge Fei borrows this narrative technique from Borges to facilitate the inclusion of multiple motives and subject matters in one single story, which denotes various possible directions in which history, as well as story, may go. Borges prefers the Jungian concept of archetypal human actions and deeds, whereas Ge Fei tends to use the Freudian psychoanalysis to explore the laws governing human behaviors. But there is a perceivable connection between Ge Fei＇s rejection of linear history and traditional storyline with Borges＇ explication of epistemological uncertainty, hence the former＇s tremendous debt to the latter. Both writers have found the conventional narrative mode, which emphasizes the telling of a coherent story having a beginning, a middle, and an end, inadequate to convey their respective ideational intents.
