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From Minuet de la Cour to Cri de Coeur: Movements of the Heart in Ford's The Good Soldier

机译:从Minuet de la Cour到Cri de Coeur:《福特好士兵》中的心灵运动

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In the phrase of its subtitle, The Good Soldier is “a tale of passion” featuring an extraordinary series of fantastic accidents, a chaotically digressive plot structure, several puzzling narrative omissions, and abrupt alterations in mood and tone. This essay contends that such features invite critical reflection on the novel in the language of psychoanalytic theory. Within the framework of libidinal development as described by Sigmund Freud and Melanie Klein, Dowell's narration of causally disconnected events and his deep-seated ambivalence toward his friend Captain Edward Ashburnham gain coherence when viewed as a storytelling process conducted by a fundamentally narcissistic personality. On this view, Dowell is engaged in an unconscious homosexual identification with his exalted father figure. The world ofThe Good Soldieris the narrator's attempt to create his ideal family romance and to recapture his paradise lost. Ford has written a dream-narrative that invites scrutiny of Dowell's self-admitted “dual personality” as storyteller and daydreamer. Dowell is in fact a narrative function: he is a collage of impressions operating according to the dream mechanisms of secondary revision, disguise, distortion, and displacement. This psychoanalytical approach to the novel's narratology also illuminates other significant issues, such as its national and religious motifs, whereby both the power struggles among the leading characters and Dowell's anguished outcries about his godless world may be viewed in the psychosocial, phylogenetic terms of “repressive civilization” as developed by Freud inCivilization and Its Discontentsand his other cultural investigations. View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/0013838X.2011.604579
机译:用好话说,好士兵是“一个充满激情的故事”,其中有一系列非同寻常的意外事故,混乱离题的情节结构,一些令人困惑的叙述遗漏以及情绪和语气的突然改变。本文认为,这样的特征在精神分析理论的语言中引起对小说的批判性反思。在西格蒙德·弗洛伊德(Sigmund Freud)和梅兰妮·克莱因(Melanie Klein)所描述的性欲发展的框架内,多威尔对因果关系不连贯的事件的叙述以及他对朋友爱德华·阿什伯纳姆上尉的深切矛盾,在被看作是一种基本的自恋型人的叙事过程中获得了连贯性。根据这种观点,多威尔正在与他的崇高父亲形象进行无意识的同性恋认同。 《好士兵》的世界是叙述者试图建立自己理想的家庭恋情并夺回失去的天堂的尝试。福特写了一篇梦dream以求的故事,邀请多维尔审慎地讲故事和做白日梦的人“双性人”。 Dowell实际上是一种叙事功能:他是印象的拼贴,这些印象根据次要修订,伪装,扭曲和置换的梦想机制起作用。这种对小说叙事学的心理分析方法还阐明了其他重大问题,例如其民族和宗教主题,从而可以用心理,系统发生学术语来考察主角之间的权力斗争和多维尔对他无神论世界的强烈抗议。弗洛伊德在《文明及其不满》和他的其他文化研究中发展了“压制文明”。查看全文下载全文相关变量var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布日期:“ ra-4dff56cd6bb1830b “};添加到候选列表链接永久链接http://dx.doi.org/10.1080/0013838X.2011.604579

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  • 来源
    《English Studies》 |2011年第8期|p.868-895|共28页
  • 作者

    John Roddena;

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