| 东方社会在二十世纪六十年月历经了“喧哗与躁动”。对一切的反水，疑惑和迷惑催生了后古代主义思潮。小说界天然也绝不破例地质疑已经巨大的文学著作。现今最有作用力的作家之一，约翰·福尔斯，在这些传统的起义者、这些竭尽全力地摸索小说新的能够性的试验小说家中，法语论文，是一颗闪亮的星斗。本文试图对其最精彩的著作一法国中尉的女人，停止互文性浏览。借用热奈特运用传统手段理清互文手段的办法，提醒法国中尉的女人以援用、暗示、仿作和戏拟的手段对十九世纪数部小说和其他经典文本的接洽，展示其多元并包的后古代艺术特色，并借此论证作者面临文学传统既想“借用”又意欲“摈弃”的抵触心态。论文分为五章。第一章是引言，法语论文网站，包含对二十世纪六十年月时期配景、作家及研究著作的引见。艾略特曾讲过，“稚嫩的诗人依样画葫芦，巨大的诗人移花接木”，二十世纪六十年月在法国鼓起的互文实际质疑了作者的首创性，视文本乃先前文本的聚集体；第二章将对相干互文实际停止扼要引见。第3、四章依据实际将停止文本细读。第三章运用表现共存关系的互文手段—援用和暗示来剖析法国中尉的女人(今后简称为法)和十九世纪的汗青文本、圣经经典和古希腊神话的互文关系。第四章则运用表现派生关系的互文手段—仿作和戏拟展现法与几个十九世纪经典文本及十九世纪经常使用体裁和论述手段的互文关系。第五章是结论部门，对整篇文章停止总结，并接洽作者不雅点指出其对传统既想“借用”又欲“摈弃”的抵触立场。 Abstract: The Oriental society in twentieth Century sixty years after the calendar "sound and the fury". Of all the doubts and confusion led to the defection, postmodernism thoughts. The novel is not an exception has been questioned natural great literary works. One of today's most influential writers, John Fowles, these traditional insurgents, these make every effort to explore novel new experimental novelist, is a shining stars. This paper attempts to the most wonderful work of a "French Lieutenant's Woman", to stop the. Borrow Genette using traditional means clear intertextuality approach remind the French Lieutenant's woman to invoke, hinting, pastiche and parody of means of 19th - century novels and other classical texts approached, showing its diverse and ancient art characteristics, and by this argument, the author facing traditional literature not only want to "borrow" and intended to abandon the conflicted attitudes. This paper is divided into five chapters. The first chapter is the introduction, which includes the introduction of the background, the writer and the research work in the period of sixty years in twentieth Century. Eliot once said, "immature poets gander, the great poet deceitful, 60 years of the 20th century in France muster the intertextual practical questions the initiative, depending on the text but the previous text aggregates; the second chapter will pair coherent intertextual actual stop choke to introduce. Third, the four chapter on the basis of the actual text will stop. In the third chapter, application performance coexistence relationship of intertextuality - invoked and hints to analyze the intertextual relationship between the French Lieutenant's Woman (hereafter referred to as "the law") and the nineteenth - century history text, Classic Bible and the ancient Greek mythology. In the fourth chapter, the performance of the application derived relations of intertextuality, pastiche and drama intends to show the law and several 19th century classic texts and the 19th century often use the intertextual relationship between genre and discusses the means. The fifth chapter is the conclusion, which summarizes the whole article, and contact the author's point of view that it is not only want to "borrow" and "abandon" the conflict. 目录: Chapter I Introduction 10-20 1.1 Situating John Fowles in the western literary world of the 1960s 10-14 1.2 John Fowles: an overview 14-16 1.3 The French Lieutenant‘s Woman: a critical review 16-18 1.4 Research questions and thesis statement 18-19 1.5 The structure of the thesis 19-20 Chapter II Theoretical Framework 20-27 2.1 Bakhtin and Kristeva: from dialogism to intertextuality 20-22 2.2 The Unbounded text: Barthes, Foucault and Derrida 22-24 2.3 Genette: a workable intertextuality 24-27 Chapter III Quotation and Allusion 27-35 3.1 Quotation 27-29 3.2. Allusion 29-35 3.2.1 The story of Adam and Eve: a new woman image 30-32 3.2.2 The riddle of the Sphinx: the woman of mystery 32-35 Chapter IV Pastiche and Parody 35-66 4.1 Pastiche of the 19th century canonical texts 35-56 4.1.1 Tess d’Urbervilles as an intertext 36-47 4.1.1.1 Parallel plot construction and character moulds 37-43 4.1.1.2 Similar scenes between FLW and Tess of d’Urbervilles 43-47 4.1.2 Vanity Fair as an intertext 47-50 4.1.3 Jane Eyre as an intertext 50-56 4.2 Parodying the omniscient narrator 56-66 4.2.1 The realist convention: the omniscient narrator 58-59 4.2.2 Imitation of the omniscient narrator 59-62 4.2.3 Parodic subversion of the omniscient narrator 62-66 Chapter V Conclusion 66-69 Works Cited 69-72 |
