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首页> 外文学位 >A tale of Nobody for everybody: The reemergence of the Gothic fairy tale in Neil Gaiman's 'The Graveyard Book'.
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A tale of Nobody for everybody: The reemergence of the Gothic fairy tale in Neil Gaiman's 'The Graveyard Book'.

机译：每个人都没有的故事：尼尔·盖曼（Neil Gaiman）的《墓地之书》中哥特式童话的再现。

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摘要

In 2008, the literary world saw the reemergence of the Gothic fairy tale in popular children's literature with Neil Gaiman's The Graveyard Book. Traditional, Gothic twinged fairy tales are of vital importance to the psychological growth and development of children. Classically, these tales contain all aspects of the human condition. Without being exposed to the positive and negative sides of life, to love and hate, to victory and defeat, etc..., children are robbed of the ability to properly mature into well-rounded adults. This is due to a societal shift, over the past 20 to 30 years, towards children's stories that have neutered traditional fairy tales in order to provide simple entertainment for the child readers. Gothic motifs are necessary in traditional fairy tales, and the crossing of the fairy tale and Gothic literature help the reader not only to see the positive aspects of life, but the darker side as well. Ghosts and ghouls, graveyards, ancient houses, and other such spooky elements allow the reader to transpose their fears into the fairy tale. This allows a disconnect from the narrative's fearful elements, and ultimately gives the child reader the agency to overcome them, just as the protagonist does. Gaiman adheres to this classic Gothic fairy tale style, and creating a narrative which enables the proper growth of the child readers imagination, emotions, and intellect. Following the main character, Nobody (Bod) Owens, through the mono-mythic hero-journey, it is possible to examine the ways in which it bolsters the Gothic fairy tale. The addition of the hero's journey arch allows for the further education and growth of Bod through continuously placing difficult challenges in front of him that must be overcome. Only through this series of challenges, his subsequent victories over them, and the dead (and undead) who help him along the way, that Bod is able to synthesize the whole experience of living in the graveyard into his true identity. When he does this, Bod is able to leave the graveyard and reinstate himself into "real life" amongst the people in the surrounding world.
机译：2008年，文学界看到了尼尔·盖曼（Neil Gaiman）的《墓地书》（The Graveyard Book），在流行的儿童文学中重新出现了哥特式童话故事。传统的哥特式缠绕童话对儿童的心理成长和发展至关重要。传统上，这些故事包含人类状况的所有方面。在没有暴露于生活的积极和消极方面，爱与恨，胜利与失败等情况下，儿童被剥夺了向成熟的成年人正确成长的能力。这是由于在过去的20到30年中，社会转向了那些已经淡化了传统童话故事的儿童故事，以便为儿童读者提供简单的娱乐。哥特式图案在传统童话中是必不可少的，童话与哥特式文学的交叉不仅帮助读者看到生活的积极方面，而且也帮助读者了解黑暗的一面。鬼魂和食尸鬼，墓地，古老的房屋以及其他类似的怪异元素使读者可以将恐惧转化为童话。这可以使叙述脱离可怕的内容，并最终给儿童阅读者提供克服这些内容的动力，就像主人公一样。盖曼（Gaiman）秉承这种经典的哥特式童话风格，并创造了一种叙事方式，使儿童读者的想象力，情感和才智得到适当的发展。跟随主角诺曼·鲍德·欧文斯（Nobody（Bod）Owens），通过单人神话般的英雄之旅，有可能研究其支持哥特式童话的方式。英雄旅程拱门的加入，通过不断向他摆出必须克服的困难挑战，使Bod得以进一步教育和成长。只有通过这一系列的挑战，他随后的挑战胜利以及一生中帮助他的死人（和亡灵），博德才能将生活在墓地中的全部经历综合到他的真实身份中。当他这样做时，Bod能够离开墓地，并在周围世界的人们中恢复“现实生活”。

著录项

  • 作者

    Abbruscato, Joseph M.;

  • 作者单位

    Arizona State University.;

  • 授予单位 Arizona State University.;
  • 学科 Folklore.;Psychology Developmental.;Literature English.
  • 学位 M.A.
  • 年度 2010
  • 页码 61 p.
  • 总页数 61
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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