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The Freedom of Writing: Xi Xi as an Urban Writer.

机译:写作自由:西溪作为城市作家。

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摘要

In this dissertation, "freedom" can be understood as "passages" in their literal, abstract and figurative senses. I consider the concept of "passages" as inspired initially by urban experience, and as the theme and aesthetic ideal of Xi Xi's fiction. Using Walter Benjamin's The Arcades Project (Das Passagen-Werk) and Michel de Certeau's notion of "street walkers" as a starting point, the most important characteristic of "passages" can be seen as their fluid, transient nature in terms of people, commercial goods, currency, information, etc.; and from the perspective of Paul Virilio's dromology, they can be spaces of "disappearance" in their most extreme form.;I use the term"passages", not only to refer to urban space and its practitioners in Xi Xi's novels (through the poetic and meticulous descriptions of ordinary people's daily lives, which demonstrates how Xi Xi's work represents the most concrete and liveliest parts of urban culture---in spite of theorists' notion of the city as an increasingly abstract space), but also to reflect the aesthetic features, ideals, and values developed over the years in Xi Xi's writing. Using the techniques of different points of view, dialogue, collage, intertextuality, mixed media, etc., Xi Xi's fiction enables formal fluidity and openness. But the obvious "postmodern" characteristics of these formal experiments do not aim at the elimination of meaning. Rather, the playful gestures in these works are full of affectionate attention toward the world. Xi Xi's work, therefore, adapts the fluidity of "passages" in a capitalist city, but at the same time, resists its ruthless nature. "Passages" in her work do not imply disappearance, but communication and dialogue. They also exhibit a vision of life: all things in the fluid universe can transform into each other.
机译:在本文中,“自由”在字面,抽象和象征意义上都可以理解为“通道”。我认为“通道”的概念最初是受城市经验的启发,是西溪小说的主题和美学理想。以沃尔特·本杰明(Walter Benjamin)的“街机项目”(Das Passagen-Werk)和米歇尔·德·塞多(Michel de Certeau)的“街头步行者”概念为出发点,“通道”的最重要特征可以看作是它们在人,商业方面的流动性,短暂性。货物,货币,信息等;从保罗·维里里奥(Paul Virilio)的语言学角度来看,它们可以是最极端形式的“消失”空间。我用“通道”一词,不仅指熙熙小说中的城市空间及其实践者(通过诗意)以及对平民日常生活的细致描述,这表明习近平的作品如何代表城市文化中最具体,最生动的部分(尽管理论家将城市视为越来越抽象的空间),但也体现了审美观特征,理想和价值观是习希在多年的写作中发展起来的。习希的小说运用不同观点,对话,拼贴,互文性,混合媒体等技术,使形式上的流动性和开放性成为可能。但是这些形式实验的明显的“后现代”特征并非旨在消除意义。相反,这些作品中俏皮的手势充满了对世界的深切关注。因此,习近平的工作适应了资本主义城市中“通道”的流动性,但同时也抵制了其残酷的性质。她的作品中的“段落”并不意味着消失,而意味着交流和对话。它们还展现了生命的愿景:流体宇宙中的所有事物都可以相互转化。

著录项

  • 作者

    Tse, Hiu Hung Dorothy.;

  • 作者单位

    The Chinese University of Hong Kong (Hong Kong).;

  • 授予单位 The Chinese University of Hong Kong (Hong Kong).;
  • 学科 Literature Asian.;History Asia Australia and Oceania.;Literature Modern.
  • 学位 Ph.D.
  • 年度 2013
  • 页码 82 p.
  • 总页数 82
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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