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首页> 外文期刊>Palaver >Mapping narrative space and character psychology in Literature and Film: the cases of Arnold Bennett's The Old Wives' Tale and Vittorio De Sica's Ladri di Biciclette and Umberto D.
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Mapping narrative space and character psychology in Literature and Film: the cases of Arnold Bennett's The Old Wives' Tale and Vittorio De Sica's Ladri di Biciclette and Umberto D.

机译：映射文学和电影中的叙事空间和人物心理：以阿诺德·贝内特（Arnold Bennett）的《老妇人的故事》和维托里奥·德·西卡（Vittorio De Sica）的拉德里·迪·比克塞特（Ladri di Biciclette）和翁贝托·D（Umberto D）为例。

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Narrative space has been discussed and conceived by theory in diverse and fascinating ways. Michel Foucault's suggestion that ours may be the epoch of space (1998) constitutes a passing reference to the importance of "space" in continental narrative theory. In a more recent overview of notions on space in cultural studies, Phelan and Peter J. Rabinowitz note that "despite some earlier notable efforts by A.J. Greimas and Gabriel Zoran," narrative theory has only rather recently ("as a result of the work by David Herman and Susan Stanford Friedman, and others") "begun to take up more sophisticated questions about space and setting and to give them the attention they deserve" (Herman et al. 2012: 84). In particular, "narrative space" has been closely tied with character, environment, "psychology" and description. And it is exactly such "conflations" that I will be taking up in the present study. The focus of this article is to dwell on the dynamics of space and how such dynamics are likened to particular forms of narrativity and characterization, set in two very well-defined cultural frameworks: literature and film. The choice is motivated by the transcreative quality that defines these two realms of cultural inquiry. Because of the extremely broad and intricate canvass that such a study entails, I will investigate the intertwining complex correlation of spatial dynamics and character psychology within two case studies: Arnold Bennett's The Old Wives' Tale and Italian Neorealism, in particular Vittorio De Sica's Ladri di Biciclette and Umberto D. The methodology adopted in the article will encompass both a cultural studies approach and the visual strategies of textual analysis from the perspective of film studies. This will spur a close examination of the two films under consideration, paying attention to particular cinematic sequences, set in the context of technical possibilities and offset against the matrix of creative options presented by Italian Neorealism.
机译：叙事空间已被理论以多种有趣的方式进行了讨论和构想。米歇尔·福柯（Michel Foucault）关于我们可能成为太空时代的建议（1998年）构成了对大陆叙事理论中“空间”重要性的短暂引用。在最近对文化研究中的空间概念的概述中，Phelan和Peter J. Rabinowitz指出，“尽管AJ Greimas和Gabriel Zoran进行了较早的显着努力，”叙事理论才刚刚起步（“大卫·赫尔曼（David Herman）和苏珊·斯坦福·弗里德曼（Susan Stanford Friedman）等”）“开始处理有关空间和环境的更复杂的问题，并给予他们应有的关注”（Herman等人，2012：84）。特别是，“叙事空间”与人物，环境，“心理”和描述紧密相关。我将在本研究中讨论的正是这种“混合”。本文的重点是探讨空间的动力学，以及如何将这种动力学与叙述性和表征的特定形式相提并论，它们设置在两个非常明确定义的文化框架中：文学和电影。选择是由定义这两个文化探究领域的创新性品质所驱动。由于这项研究涉及的画布极为广泛且错综复杂，因此我将在两个案例研究中探讨空间动力学与角色心理学之间相互交织的复杂关系：阿诺德·贝内特的《老妇人的故事》和意大利新现实主义，尤其是维托里奥·德·西卡的拉德里·迪Biciclette和UmbertoD。本文采用的方法将同时包括文化研究方法和从电影研究角度进行文本分析的视觉策略。这将促使对正在考虑的两部电影进行仔细检查，注意特定的电影序列，这些序列是在技术可能性的背景下设定的，与意大利新现实主义提出的创造性选择矩阵相抵消。

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    《Palaver》 |2018年第1期|共34页
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    Kendall James;

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  • 入库时间 2022-08-18 13:57:53

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