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论文作者:留学生论文论文属性:硕士毕业论文 thesis登出时间:2023-11-11编辑:vicky点击率:641
论文字数:48566论文编号:org202311071516263756语种:英语 English地区:中国价格:$ 66
摘要:本文是一篇英语论文格式,本文将选取卡佛的近四十篇短篇小说,以元小说理论及其艺术特征为基础,通过细读和文本分析的方式,对卡佛短篇小说中普遍存在的元虚构元素和策略,如文本虚构性、互文性、碎片化叙事和结局的揭示等进行分析。
Chapter 3 Intertextuality .......................... 32
3.1 The Intertextuality of Anton Chekhov ................................. 33
3.2 The Intertextuality of Ernest Hemingway .............................. 39
3.3 The Intertextuality Between Carver's Short Stories and Poetry ...................... 42
Chapter 4 Fragmented Narratives ..................... 49
4.1 Fragmentation of Narrative Time......................... 49
4.1.1 Anachronism ............................ 50
4.1.2 Disrupted Stream of Consciousness ...................... 53
Chapter 5 Endings ..................... 67
5.1 The Circular Ending ................................ 68
5.2 Multiple Endings .............................. 71
Chapter 5 Endings
5.1 The Circular Ending
The circular ending, differs from the traditional sense of following the integrity and unity of the beginning, the climax, and the end, which usually means that the beginning and the end of a novel are misplaced or missing which can cause uncertainty of meaning and delayed variation. It consists of two types: one is no beginning and no end, and the other is an ending and beginning that appear to be in a circular structure. “Popular Mechanics”, “What’s in Alaska?”, “Neighbors”, and other short stories illustrate the first type of endings. This type of stories has no opening scene, no introduction of characters, and directly shows what is happening in front of us, as if a certain fragment is intercepted in a complete story. For example, in “Popular Mechanics”, Carver opens the text with two people snatching a child. This opening subverts the traditional description of the background of the story and its characters at the beginning of the novel, as we do not know who “they” are, how they relate to each other, and why they are fighting for the child, so Carver leaves us with a gap in the opening scene. In addition, the ending of the story is also very intriguing- “In this manner, the issue was decided” (Carver, 2009: 303), which ends abruptly at the most tense point of the struggle between the two persons, and we, the readers, do not have the feeling that it is going to end. The author does not explain whether the child actually fell to the ground during the struggle, and who finally got the child between them. This incoherent, ambiguous ending reveals a certain mood and some hints. Just as Carver learned from Gardner that instead of telling the readers the necessary information, one hopes to conquer them in the end through an unexpected plot, this ineffable thing precisely speaks to the multiplicity and uncertainty of this meaning. The same is true of “What’s in Alaska?” which begins with a direct dialogue without any description of the characters or the scene. From the dialogue we learn that this is a本论文由英语论文网提供整理,提供论文代写,英语论文代写,代写论文,代写英语论文,代写留学生论文,代写英文论文,留学生论文代写相关核心关键词搜索。