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首页> 外文学位 >Romance and narrative games of illusion and reality: Parody in 'El Ingenioso hidalgo Don Quijote de la Mancha' and 'Northanger Abbey'.
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Romance and narrative games of illusion and reality: Parody in 'El Ingenioso hidalgo Don Quijote de la Mancha' and 'Northanger Abbey'.

机译：幻想和现实的浪漫和叙事游戏：“ El Ingenioso hidalgo Don Quijote de la Mancha”和“ Northanger Abbey”中的模仿。

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摘要

There is a paradox inherent to literature: while literature is seen as a means of arriving at general truths as articulated in history, it is also a fiction. The blending of historical truth and imagination is particularly evident in the romance genre which purposely incorporates both elements. Miguel de Cervantes Saavedra and Jane Austen have confronted this contradictory message, which is especially evident in romance, through parody in their novels Don Quijote de la Mancha and Northanger Abbey, respectively.;To discuss parody, I incorporate L. Hutcheon's definition of parody and examine how Cervantes and Austen's parodic humour is incorporated as a means of mocking the romance through controlled distortion. At the same time, however, they are not malicious in that both authors find and emulate praiseworthy aspects of the romance. This definition of parody further emphasizes the need for a critical value-judgement, not only of the original but of the imitation as well, on the part of both the author and the reader.;Cervantes and Austen's parodies follow a similar pattern of creating comic heroes who naively believe that the romances they read are a true representation of reality. As well, because the protagonists are also readers contemporary with their audiences, Cervantes and Austen use their characters' behaviours as a means of social commentary. Finally, both authors never let the reader forget that their protagonists are only fictional characters, adding yet another layer to the illusory nature of "fictional reality." By playing with the levels of reality, the authors challenge the reader to be alert to the fallacies and absurdities inherent in romances and also to question them.;In order to examine more closely the manner and results of parodying and criticizing the romance genre, I analyze, in Chapter One, the romance genre, looking at narrative form and the nature of characterization, setting and plot. Then, in Chapter Two, I discuss Cervantes's use of the romance in the Quijote. Finally, in Chapter Three, I compare this with Austen's use of the parody of romance in Northanger Abbey.
机译：文学具有内在的悖论：尽管文学被视为达到历史所阐明的普遍真理的一种手段，但它也是一种小说。在浪漫流派中，历史真相与想象力的融合尤为明显，这种浪漫流派故意将这两种元素结合在一起。 Miguel de Cervantes Saavedra和Jane Austen分别通过他们的小说《唐吉jo德·德拉曼恰》和《诺桑杰修道院》中的模仿来面对这一矛盾的信息，这在浪漫中尤为明显。为了讨论模仿，我将L. Hutcheon的模仿定义和考察塞万提斯和奥斯丁的讽刺幽默是如何通过控制扭曲来嘲讽浪漫的。然而，与此同时，他们并不是恶意的，因为两位作者都发现并模仿了爱情的值得称赞的方面。模仿的定义进一步强调了作者和读者的批判性价值判断，不仅是原始的而且是模仿的，这是必要的；塞万提斯和奥斯丁的模仿遵循了类似的漫画创作模式。天真的相信他们读的浪漫小说的英雄是现实的真实表示。同样，由于主角也是观众的当代读者，因此塞万提斯和奥斯丁将他们角色的举止用作社会评论的手段。最后，两位作者都永远不会让读者忘记他们的主角只是虚构人物，为“虚构现实”的虚幻本质增添了另一层。通过挑战现实的水平，作者向读者发出挑战，要让他们警惕浪漫中固有的谬论和荒谬，并质疑它们。为了更仔细地研究模仿和批评浪漫体裁的方式和结果，我在第一章中，分析了浪漫体裁，着眼于叙事形式以及人物性格，场景和情节的本质。然后，在第二章中，我将讨论塞万提斯在《吉jo德》中对浪漫史的使用。最后，在第三章中，我将这与奥斯丁在《诺桑格修道院》中对浪漫戏仿的使用作了比较。

著录项

  • 作者

    Byron, Kirsten Anne.;

  • 作者单位

    University of Alberta (Canada).;

  • 授予单位 University of Alberta (Canada).;
  • 学科 Comparative literature.;English literature.;Romance literature.
  • 学位 M.A.
  • 年度 1994
  • 页码 126 p.
  • 总页数 126
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 老年病学;
  • 关键词

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