英语Parody和汉语仿拟修辞格对比研究

英语的parody和汉语的仿拟修辞格,在英汉文学作品及仿拟成语、谚语、名言、警句等的表达中,都是一种巧妙、机智而有趣的修辞格。本文通过列举中英语言名句名段的仿拟、夸大原作某些特征的仿拟、善意幽默的仿拟诸方面,对比分析了仿拟的呈现方式和修辞功能;通过对中英作品中篇章层次、语句层次、词组层次和单词层次不同的仿拟特点,对比给出了中英语言在仿拟修辞应用上的差异和各自在不同层次上的优势与局限。

试论英语Parody和汉语仿拟的异同

本文论述了英语Parody和汉语仿拟在定义和形式上的一致性和操作机制的不同性以及它们的修辞作用

On Chinese Parody Translation

Chinese parody,as a traditional figure of speech,has captured more and more attention from scholars.The researches conducted up to date are inadequate in theorizing and exploring its translation.This paper,based on the comparative data analysis of Chinese parody translation examples in different types of texts,attempts to probe into the means about how to achieve the closest function equivalence in rendering Chinese parody under the guidance of Sociosemiotic Approach.It is found that the nature of Chinese parody translation is to achieve the closest natural equivalence or similarity in expressive function,informative function,vocative function and aesthetic function in its equivalents in English.And it is suggested that borrowing,imitating,paraphrasing and adapting are effective strategies in translating Chinese parody.

The Parody of Existentialism in the End of the Road

The End of the Road is John Barth's least discussed novel but it foreshadows his later themes and styles,both great achievements in American literature.By studying the parody of Existentialism embodied in the novel and exploring Sartre's slogan:"existence precedes essence",It is obvious that human being's existence has become a key issue for people to reflect on.

Imitation for Creation＇s Sake：Parody as a Technique in Learning Advanced English

This paper describes parody as an effective teaching and learning practice in Advanced English course offered to English major juniors and seniors. The objective of this course is to help heighten students towards a more advanced level of English proficiency, and its main preoccupation is doing intensive analyses of carefully selected texts which amount to well-established classics and are characterized with linguistic complexity. To enhance students＇ learning, we embed in the course a practice of parody, which here refers to the creation of an imitative work of an original written work, usually with an attendant comic effect. Upon the completion of each module, students are assigned the task of parodying part of the text, which involves recasting its overall content while retaining formal framework, thus offering students a means of re-paying homage to the excellence of the text. Writing a parody demands great artistry in shaping a creatively simulative work, in fitting exotic content into a local form, and in transplanting new experiential logic into old textual order. The parodies are then peer-reviewed as well as instructor-reviewed. Close observation and survey show that the students have displayed heightened motivation in engaging themselves in the practice and they have benefited greatly from it. Parody proves a particularly fruitful technique in teaching and learning Advanced English, and may also be useful in teaching English writing, since it entitles students to a very unique mode of savoring and wielding the artistic power of the English language.

On the Motivation and Reasons of Popularity of Parody in Network Language From the Perspective of Conceptual Integration Theory

The Conceptual Integration Theory was first formally put forward in 1997 by Fauconnier and Turner. According to it, there is a conceptual blending network comprised of four mental spaces： Input space Ⅰ, Input space Ⅱ, generic space, and blended space. In the process of blending, common information or structures from input spaces are projected to the ＂generic space＂. Meanwhile, through partially cross-space mapping, those structures are selectively projected to the ＂blended space＂. By means of composition, completion, and elaboration, consequently ＂emergent structure＂ comes into being from the development of blending. This theory instantly became a fresh power in cognitive research field. With the rapid development of network technology and the popularization of the internet, network language makes tremendous progresses and spreads quickly, which reflects the social and cultural development. The uniqueness and effectiveness of network language creation, to a great extent, relies on various rhetorical devices, among which parody is frequently used and plays an important role. In recent years, studies about network language somehow concentrate a lot on the construction, word transformation, and features of network vocabulary, and cognitive analysis on the mechanism of parody in network language is rather limited and requires further exploration. This paper tends to probe into the motivation and the reasons ofparody＇s popularity in network language through some examples in light of Conceptual Integration Theory in hope of a better comprehension, appreciation, and application of parody in network language

A Study of Parody in The Adventures of Augie March

The Adventures of Augie March （2006） has been approached from various perspectives by critics since its publication. It has been studied from the point of view of culture, religion, history, modernism, postmodemism, and various schools of literary theories, while the use of parody in this novel was comparatively ignored. Through close reading of the novel, the present study finds that in one of his important novels, The Adventures of Augie March, by the use of parody of Augie＇s opposition to various influences with Jacob＇s fight with God, Saul Bellow successfully presents Augie as an image sticking stubbornly to ＂truth, love, peace, bounty, usefulness, harmony＂ and saying perpetually ＂no＂ to persuaders of all kinds of immoral influences, thus providing a more comprehensive reading of the novel.

An Analysis of the Cognitive Constraints of Parody in the Context of Network Media

The language used in the context of network media features variation, flexibility, and comprehensiveness, in which parody is one of the most employed devices. Modern cognitive science prefers to take parody as a cognitive act rather than a sheer linguistic modification act, which has provided a new prospective for further research about parody in the context of network media. This paper aims to probe into the cognitive constraints in the mechanism of parody in the context of network media, in hope to make a detailed explanation of the cognitive process of it and to strengthen the comprehension and appreciation of it.

有趣的英语辞格Parody

我们都很熟悉英语中一句著名的谚语即:A friend inneed is a friend indeed.(患难见真情)。但是当我们读到下面这个句子时,一定会发出会心的笑。A friend in need is a friend to be avoided.显而易见,这句话是模仿那句谚语而来的。作者巧妙地用这个模仿的句子道出了世态的炎凉。以上就是英语中的一种修辞方法,称之为:Parody(仿化、仿拟)。这种修辞方法是故意模仿某一名言、警句、著名诗歌、现成的文章、成语。

Joycing Parody and Its Usage in“Ithaca”

Focusing on parody,this paper tries to explore“Joycing”parody and mainly investigates its usage in Ulysses’s seventeenth chapter,‘Ithaca’.Linda Hutcheon indicates that parody is one of the techniques for writers to“trans-contextualize”the past and then go off with their own ideological ends.[8]Joyce writes beyond the past and creates his own model of writing in the literature by employing the technique of parody tactfully.

A Study of Post Modernist Parody in Guoman Films---Take One Hundred Thousand Cold Jokes as An Example

Parody is the expression of postmodernism,which makes use of the similarity between texts to ridicule and parody the original classic texts.The creation method of parody makes the works have a brand-new character image and space-time experience,subverts and reconstructs the characters in the source text,makes the new characters abandon the constraints,and endows the characters with the independent spirit and comic effect.“100000 cold jokes”is a typical parody and collage animation.Even any picture and lens are created by the innovation of other classic text elements.This paper mainly takes“100000 cold jokes”as the main case of parody,focusing on the analysis of the performance of Parody in“100000 cold jokes”,and explores the artistic characteristics of Parody in animation.Dialectically treat parody animation creation,praise positive and beneficial content,and identify vulgar parody animation.Finally,the conclusion is that parody animation works have artistic and cultural value,which can effectively enhance the vitality of the domestic animation industry and promote mass entertainment.

The Parody of Plots in John Barth's Chimera

John Barth uses a lot of parody in Chimera,such as plots,characters,etc.This article will compare the plot between Chimera and the originals,to interpret the imitation and mockery of parody.

The Parody of Characters in John Barth’s Chimera

John Barth uses a lot of parody in Chimera,such as characters,story background,etc.From the analysis of character parody,we can feel the timeliness and reality of that period.

"Decadent"Aesthetics,Irony and Parody:Eileen Chang and Qian Zhongshu's Fiction in Occupied Shanghai(1937-1945)

This article provides the readers with vivid examples and detailed analysis of how "decadent"aesthetics find expressions in fiction written by Eileen Chang and Qian Zhongshu in occupied Shanghai during the War of Resistance against Japan(1937-1945).The main purpose of this article is to dig into the works of fiction by these two writers to examine the representations and variations of the aesthetics of"decadence".Through detailed textual and intertextual analysis,the aesthetical characteristic of"decadence"can be found in fiction written during the War of Resistance against Japan,which proves that the style of"decadence"was not just confined to the European continent,but was also an international literary movement that had already been spread to China's Mainland.Shrouded in the sinister shadow of the war,which annihilated thousands of lives and resulted in the collapse of the existing social values of that time,fiction writing demonstrated a style of "decadence",effusing ennui and desperation,in which the depiction of the mundane urban life was tinged with an annoying atmosphere of the doomsday.Meanwhile,fiction writing had become a means of escape for writers to assuage the anxieties of living and to dispel the melancholies deep down in their hearts.The deficiency of material life as well as spiritual life together constituted a grotesque atmosphere in which the style of"decadence"could thrive through literary works.Eileen Chang and Qian Zhongshu in occupied Shanghai during the War of Resistance against Japan embraced the advocacy of"art for art's sake"proclaimed by the decadent aesthetes,attaching more subtleties and complexities to their works of fiction with a belief that the literature could correlate to the social atmosphere to which they belonged.Modernism and Realism were miraculously combined together;idealism had been questioned and even discarded,while nihilism and hedonism reared up their ugly heads.

Remapping, Subversion, and Witnessing: On the Postmodernist Parody and Discourse Deconstruction in Marina Warner's Indigo

Among the many postmodern revisions of The Tempest, Warner's Indigo remains second to none. It rewrites and parodies The Tempest with its postmodern subversion and construction, aiming to bombard European logocentric hegemony under the context of the Western grand narrative and the suppression of colored women with its Christian patriarchal system. Based on the Shakespearean canon, Indigo pivots on the marginalized and neglected figures in the original play and gives them a spotlight on the stage by empowering them with voices so as to reverse, subvert, and reconstruct Western History, challenging the Western hegemonic discourses of its patriarchal and colonial systems. Its success lies not only in the scrutiny of the past history under the perspective of postcolonial and postfeminist theories, but also in its author's identity as a white British woman and descendant of early settlers in the Caribbean, which leaves her with a peculiar stance to form a dialogue with Shakespeare and scrutinize history. Through depicting the anxiety of personal identity within the family, Indigo showcases the diversity and hybridity of the postcolonial legacy in the Caribbean. It bears witness to the cruelty of colonization and carries on its legacy through nonlinear narratives spanning more than three centuries, through which we can get a glimpse of Warner's ambition in healing the scars of past colonization and critically disclosing the darkness of it. This paper aims to better our understanding of the essence of this postmodern novel through the lenses of parody and deconstruction.

Is the Shanzhai Style of Parodying Popular Culture Innovation or Piracy?

What started off as a term to describe copies of electronic brand products has now moved along the evolutionary road of duplication.

“偷梁换柱”的Parody

试读下例: 鸿渐道:“因为我不能干,所以要你这一位贤内助呀！”柔嘉瞟他道:“内助没有朋友好。”鸿渐道:“啊哟,你又来了！朋友只好绝交。你既然不肯结婚,连内助也没有,真是‘赔了夫人又折朋’。”(钱钟书:《围城》) 上段“赔了夫人又折朋”句式是“套用”了《三国演义》

Postmodern Features in Donald Barthelme's The Glass Mountain

This paper aims to analyze some postmodern features shown in The Glass Mountain by Donald Barthelme,which could be roughly categorized into two types:1) Parody and collage in terms of the writing techniques;2) Absurdity,ugliness,and uncertainty in terms of the content.

仿拟在英汉两种语言中的运用

仿拟是一种在英汉两种语言中都广泛使用的富于创造性的修辞手法。英语parody和汉语仿拟基本对应。本文就英汉两种语言中共有的仿拟现象及其运用进行了粗浅的探讨。