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
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.
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.
