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11.
Christopher Ringrose 《Children‘s Literature in Education》2007,38(3):207-218
A & C Black’s Flashbacks series invites its readers to “Read a Flashback...take a journey backwards in time”. There are several ways in which children’s fiction has encouraged its readers to engage
with and care about history: through the presence of ghosts, through frame stories, time travel, or simply setting the narrative
in the past. However, modern critical theory has questioned the validity of traditional modes of the genre. This paper defends
historical fiction for children by arguing that, whatever narrative strategy is used, such writing stands or falls through
its evocation of a historical sensibility—or what Raymond Williams calls a ‘structure of feeling’. This is achieved through
elements of style, both in the representation of dialogue and thought. Pastiche, sometimes thought of as an unsatisfactory
feature of contemporary culture, can often perform a similar evocative function. The paper is based on close readings of Alan
Garner’s The Stone Book from 1976, and 21st century fiction by Kevin Crossley-Holland, Kate Pennington and Paul Bajoria. If these books do not overtly
use the techniques of “historiographic metafiction”, it may be because awareness of historiography is implicit in the very
texture of their writing.
Christopher Ringrose is Principal Lecturer in English at the University of Northampton, and Head of Learning and Teaching
in the Arts. He is an Editor of The Journal of Postcolonial Writing, and has published on Canadian literature, literary theory, eighteenth-century literature, and autobiography, as well as
writing a study of the novelist Ben Okri, published in 2006. For CLE, he wrote on Lying in Children’s Fiction in Volume 21 No.3 (July 2006). 相似文献
12.
王敬慧 《周口师范学院学报》2007,24(4):26-28
尽管易卜生与库切所处年代不同,所属区域不同,但是这两位作家对孤独的理解与分析却有着惊人的相似。他们用作品颠覆人类对世界的一种普遍认识——有关从众的必要性。笔者在分析两位作者如何在作品中对从众的必要性进行质疑以及对孤独进行昭扬的过程中,也注意到这种现象出现的原因。笔者认为,这两位作家的颠覆力度来自他们所选择的自我流散经历,正是这种流散的生活历程,导致他们在文学创作中表现出强烈共鸣。 相似文献
13.
孙银娣 《太原教育学院学报》2004,22(2):17-19
美国后现代小说家罗伯特·库弗的《保姆》打破传统的叙事方式,采用一系列碎片式的段落结构、打破常规的时空观等手法,把小说艺术创作的痕迹有意暴露在读者面前,自我点穿叙事世界的虚构性和伪造性,展示其在叙事艺术上的元小说特征。 相似文献
14.
李明英 《安庆师范学院学报(社会科学版)》2006,25(4):86-90
后现代主义小说家卡尔维诺终身致力于小说写作新道路的探索。在元小说《寒冬夜行人》中,他认真思考了小说写作中的诸多问题,充分意识到小说写作的艰难。这正是卡尔维诺的“作家”身份发生危机的重要标识。 相似文献
15.
后现代主义文学大师纳博科夫在文学创作中明显地折射出叙述虚构、自我意识以及文字游戏等后现代主义元小说的文体策略和写作范式。其英文小说《洛丽塔》和《微暗的火》便是具有元小说写作策略的经典文本。两部小说分别暴露出后现代文本的互文性策略和虚构的文本策略等文学创作机制,诠释着后现代主义元小说的写作范式及其文学创作意义的不确定性。 相似文献
16.
李震宇 《黄石理工学院学报(人文社科版)》2010,(5):38-41
对《眺望时间消逝》的追忆是《请女人猜谜》的所指,对所指的追寻是小说叙述的动力。两个文本的互相交织、侵占、消解,又使这种叙述的愿望无法实现,陷入无法满足的、无限循环的叙述欲望中。文本在追忆小说的内容时,也回忆了小说《眺望时间消逝》的构思,体现了元小说的写法。两个文本的互相交织、侵占、消解,体现了互文性的特点。 相似文献
17.
琳达·哈琴后现代诗学初探 总被引：1，自引：1，他引：1
林元富 《福建师范大学学报(哲学社会科学版)》2005,(6):60-67
本文对琳达·哈琴的后现代"悖谬"诗学的主要特征和理论缘由进行简要的梳理.哈琴对后现代小说理论的重大贡献在于:其一,她提出了编史元小说的概念,对纯粹"自恋式"的元小说和以一种悖谬的方式关注历史和社会的后现代小说进行了区分;其二,她对戏仿和互文的"双重赋码的政治性"提出了独到的见解.尽管人们对哈琴诗学本身尚有不少争议,但此两者纠正了不少论者对后现代小说纯属"文字游戏"、"没有意义"和"价值中立"等片面看法,对于全面认识后现代艺术,特别是后现代小说,仍有重大的价值. 相似文献
18.
SUN Shu-juan 《海外英语》2013,(9)
Beloved is a masterpiece which helps African American writer Toni Morrison to win the Nobel Prize. In the novel, Morrison uses the postmodernist mefafictional devices to strongly indict the cruelty and... 相似文献
19.
赵晓晓 《商丘职业技术学院学报》2013,(6):73-74
《尾数》中福尔斯借助后现代主义技巧,如不确定性、开放性、互文性、元小说性等对小说构思、创作及理解进行鞭辟入里的分析,深入探讨了作家、人物、读者之间的关系,以及男性与女性的关系等一系列困扰作家的核心问题. 相似文献
20.
Kristin Cashore 《Children‘s Literature in Education》2003,34(2):147-181
In his twenty-year tenure as a picture book artist, Jon Agee has produced a number of books that greatly vary in appearance. However, while his artistic style changes from book to book, some things remain the same. Readers who pick up any Agee book can expect that it will contain interesting artwork, well worth a close inspection. They can also safely bet that it will be inventive, experimental, and funny. An examination of Agee's picture books Ellsworth, Ludlow Laughs, The Incredible Painting of Felix Clousseau, Dmitri the Astronaut, and Milo's Hat Trick illuminates Agee's evolution as an artist while demonstrating his metafictive experimentation with artistic conventions, his play with concepts of reality and impossibility, and his abundant talent for simplicity, funniness, and beauty. 相似文献