In consideration of the great influence of the Bible and the Greek culture on Hardy, and the truth that Jude the Obscure has rarely been studied by employing the archetypal theory, the writer of this thesis tries to e...In consideration of the great influence of the Bible and the Greek culture on Hardy, and the truth that Jude the Obscure has rarely been studied by employing the archetypal theory, the writer of this thesis tries to explore this novel from archetypal perspective. This thesis focuses on the archetypal themes ＂paradise lost＂ and ＂redemption＂ contained in this novel. Specifically speaking, through the comparison of the characters and the processes of losing paradise between this novel and the Bible, and the deep analysis of the physical and the mental ordeals in Jude, this thesis profoundly uncovers the inhumanity and hypocrisy of the religion and marriage in Victoria.展开更多
Throughout Jazz （2004）, Morrison revises language and stakes a generic revolution within her linguistic one. Problematising language, she interrogates its role by disrupting all metaphoric operation and normative op...Throughout Jazz （2004）, Morrison revises language and stakes a generic revolution within her linguistic one. Problematising language, she interrogates its role by disrupting all metaphoric operation and normative operations of traditional Westem narratology, challenging ontological distinction, and undermining a novelistic claim of/for reality. Morrison creates the novel as a parody of itself. As a metafictional object, she （re）visions the fiction with multiple agendas--a means to interrogate the reality of its constitution and to implicate the political consequences inherent in that constitutional process of construction. By creating a series of antagonisms, oppositions, contradictions, equivalences, and intertextualities, Morrison transforms （and transmutes） novelistic ＂hostility＂ into a generic ＂trauma＂ simultaneously rendering it as realistic experience, historic event, personal story, collective memory, narrative device, and psychological phenomena. Exposing trauma by virtue of its linguistic symptoms, Morrison draws attention to the underlying mechanisms, structures, and apparatuses of Western linguistic codes that determine, produce, and maintain the ultimate （un）knowability of the past. This paper will examine all these and how the elliptical tendency of language surfaces the psychological disfigurement of the characters within the form of linguistic codes revealing the metaphorical tendency in Jazz to manifest its own reflective construction （and self-conscious deconstruction）.展开更多
The literary adaptations of canonical novels for film provide a unique repository of both identity contents and socio-cultural observations which can be revisited through the filmic representations. These recreations ...The literary adaptations of canonical novels for film provide a unique repository of both identity contents and socio-cultural observations which can be revisited through the filmic representations. These recreations symbolize not only a privileged visual interpretation of a nation, but they also allow us to examine how a given society reflects itself through the fiction. In this sense, the objective of this paper is to reflect upon the Portuguese updated filmic adaptation of The Crime of Father Amaro （1880） by the canonical author Eta de Queiroz. On one hand, the author intends to rethink about the Portuguese identity portrayed by the film and, at the same time, the author manages to observe how the Portuguese society is revealed. On the other hand, the paper aims to analyze the particular process of the adaptation of The Crime of Father Amaro following a qualitative methodology展开更多
文摘In consideration of the great influence of the Bible and the Greek culture on Hardy, and the truth that Jude the Obscure has rarely been studied by employing the archetypal theory, the writer of this thesis tries to explore this novel from archetypal perspective. This thesis focuses on the archetypal themes ＂paradise lost＂ and ＂redemption＂ contained in this novel. Specifically speaking, through the comparison of the characters and the processes of losing paradise between this novel and the Bible, and the deep analysis of the physical and the mental ordeals in Jude, this thesis profoundly uncovers the inhumanity and hypocrisy of the religion and marriage in Victoria.
文摘Throughout Jazz （2004）, Morrison revises language and stakes a generic revolution within her linguistic one. Problematising language, she interrogates its role by disrupting all metaphoric operation and normative operations of traditional Westem narratology, challenging ontological distinction, and undermining a novelistic claim of/for reality. Morrison creates the novel as a parody of itself. As a metafictional object, she （re）visions the fiction with multiple agendas--a means to interrogate the reality of its constitution and to implicate the political consequences inherent in that constitutional process of construction. By creating a series of antagonisms, oppositions, contradictions, equivalences, and intertextualities, Morrison transforms （and transmutes） novelistic ＂hostility＂ into a generic ＂trauma＂ simultaneously rendering it as realistic experience, historic event, personal story, collective memory, narrative device, and psychological phenomena. Exposing trauma by virtue of its linguistic symptoms, Morrison draws attention to the underlying mechanisms, structures, and apparatuses of Western linguistic codes that determine, produce, and maintain the ultimate （un）knowability of the past. This paper will examine all these and how the elliptical tendency of language surfaces the psychological disfigurement of the characters within the form of linguistic codes revealing the metaphorical tendency in Jazz to manifest its own reflective construction （and self-conscious deconstruction）.
文摘The literary adaptations of canonical novels for film provide a unique repository of both identity contents and socio-cultural observations which can be revisited through the filmic representations. These recreations symbolize not only a privileged visual interpretation of a nation, but they also allow us to examine how a given society reflects itself through the fiction. In this sense, the objective of this paper is to reflect upon the Portuguese updated filmic adaptation of The Crime of Father Amaro （1880） by the canonical author Eta de Queiroz. On one hand, the author intends to rethink about the Portuguese identity portrayed by the film and, at the same time, the author manages to observe how the Portuguese society is revealed. On the other hand, the paper aims to analyze the particular process of the adaptation of The Crime of Father Amaro following a qualitative methodology
