This paper discusses about the significance of space in the expression of the main themes in Kafka＇s novel The Metamorphosis. By applying Bal＇s basic narratology concepts on space, 2 spatial elements are analyzed in...This paper discusses about the significance of space in the expression of the main themes in Kafka＇s novel The Metamorphosis. By applying Bal＇s basic narratology concepts on space, 2 spatial elements are analyzed in the paper： the contrast of inside and outside, as well as the ＂filling in＂ of space, both of which serve to express human beings＇ isolation and desertion in an indifferent society.展开更多
Lily Bart is the heroine of The house of mirth, the novel by American writer Edith Wharton, while Carrie Meeber is the protagonist of Theodore Dreiser＇s Sister Carrie. Both novels are set at the beginning of 20th cen...Lily Bart is the heroine of The house of mirth, the novel by American writer Edith Wharton, while Carrie Meeber is the protagonist of Theodore Dreiser＇s Sister Carrie. Both novels are set at the beginning of 20th century and criticize a changing American society in which people were forced to recognize the influence of money and struggled to realize their ＂American Dream＂. On the one hand, Lily and Carrie greatly resemble each other in marriage motivation, living environment, standard of values, and moral awareness. On the other hand, their different levels of upholding moral values lead to their different fates.展开更多
For Deleuze, the time of thinking in terms of＂I＂ or ＂sell＂ has already ended. Novelists, according to Deleuze, have already recognized this. What these new novelists have realized is simply the way to elude contro...For Deleuze, the time of thinking in terms of＂I＂ or ＂sell＂ has already ended. Novelists, according to Deleuze, have already recognized this. What these new novelists have realized is simply the way to elude control, a new intuition to develop unidentifiable means of resistance. Who are these novelists？ What struggles have been made in their work for liberation？ In what sense these fictions are revolutionary？ And what does it mean to think as impersonal individuations？ I argue, in this piece of work, that Italo Calvino is one of those novelists, in fictions of whom one might find truthful answers to most of the questions above and trace revolutionary insights of the kind Deleuze implicitly fosters. The ordinary characters or non-characters of Calvino function in a sense as a minor language operating through pages of the fiction. The fact that they are not in focus or not habitually actualized gives them power to resist representation. The elusive force running through the fiction might clearly be read as Deleuze-Guattarian body-without-organs. Accomplishing a reading of this kind requires a machinic thinking. What I attempt in this work is to try to perform such an experimental reading.展开更多
The paper examines how the British woman writer Angela Carter rewrites Charles Perrault＇s household fairy tale--＂Little Red Riding Hood＂ in her short story--＂The Company of Wolves.＂ This paper attempts to analyze...The paper examines how the British woman writer Angela Carter rewrites Charles Perrault＇s household fairy tale--＂Little Red Riding Hood＂ in her short story--＂The Company of Wolves.＂ This paper attempts to analyze the two distinctive narrative strategies--re-characterization and second-person narration, skillfully deployed by Carter in order to rewrite Perrault＇ s classic tale into a feminist story. In Carter＇s version, Little Red Riding Hood is represented as a witty new woman who embraces her own sexuality and regards herself as a subject rather than an object. Through the transposition between reader and character, Carter＇s tale produces a new subject position for readers, particularly for young female readers.展开更多
文摘This paper discusses about the significance of space in the expression of the main themes in Kafka＇s novel The Metamorphosis. By applying Bal＇s basic narratology concepts on space, 2 spatial elements are analyzed in the paper： the contrast of inside and outside, as well as the ＂filling in＂ of space, both of which serve to express human beings＇ isolation and desertion in an indifferent society.
文摘Lily Bart is the heroine of The house of mirth, the novel by American writer Edith Wharton, while Carrie Meeber is the protagonist of Theodore Dreiser＇s Sister Carrie. Both novels are set at the beginning of 20th century and criticize a changing American society in which people were forced to recognize the influence of money and struggled to realize their ＂American Dream＂. On the one hand, Lily and Carrie greatly resemble each other in marriage motivation, living environment, standard of values, and moral awareness. On the other hand, their different levels of upholding moral values lead to their different fates.
文摘For Deleuze, the time of thinking in terms of＂I＂ or ＂sell＂ has already ended. Novelists, according to Deleuze, have already recognized this. What these new novelists have realized is simply the way to elude control, a new intuition to develop unidentifiable means of resistance. Who are these novelists？ What struggles have been made in their work for liberation？ In what sense these fictions are revolutionary？ And what does it mean to think as impersonal individuations？ I argue, in this piece of work, that Italo Calvino is one of those novelists, in fictions of whom one might find truthful answers to most of the questions above and trace revolutionary insights of the kind Deleuze implicitly fosters. The ordinary characters or non-characters of Calvino function in a sense as a minor language operating through pages of the fiction. The fact that they are not in focus or not habitually actualized gives them power to resist representation. The elusive force running through the fiction might clearly be read as Deleuze-Guattarian body-without-organs. Accomplishing a reading of this kind requires a machinic thinking. What I attempt in this work is to try to perform such an experimental reading.
文摘The paper examines how the British woman writer Angela Carter rewrites Charles Perrault＇s household fairy tale--＂Little Red Riding Hood＂ in her short story--＂The Company of Wolves.＂ This paper attempts to analyze the two distinctive narrative strategies--re-characterization and second-person narration, skillfully deployed by Carter in order to rewrite Perrault＇ s classic tale into a feminist story. In Carter＇s version, Little Red Riding Hood is represented as a witty new woman who embraces her own sexuality and regards herself as a subject rather than an object. Through the transposition between reader and character, Carter＇s tale produces a new subject position for readers, particularly for young female readers.
