Reexamining the Three-Dimensional Meanings of Persse’s Love Scripts in Small World

IF 0.1 3区 文学 0 LITERATURE
Li-mei Li
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引用次数: 0

Abstract

Small World, the masterpiece of contemporary English writer David Lodge, is famous for its pursuing theme. Persse’s love pursuit is one of the prominent events in the novel. Readers always laugh at Persse’s pursuit, but leaves the reasons of why Persse’s pursuit is so funny untouched. This paper establishes “A continuum of Script Development” model based on Schank & Abelson (1977)’s personal script category, Gioia & Poole (1984)’s prototypical feature of script and Gibbs (2003)’s dynamic construing of script to reveal the knowledge structure of Persse’s love script. At the meantime, the paper specifies three actors (narrator, characters and readers) who construct the meanings of Persse’s love script. It is found that there are three different trails of Persse’s love pursuit under the examination of the script theory. The clashes between the three love scripts are one of the main reasons to achieving the humorous and ironic effects of the novel. Moreover, it expands the meaning of the metaphor LIFE IS A JOURNEY, and it highlights the death-rebirth theme of the novel.
重新审视《小世界》中珀尔斯爱情剧本的三维意义
《小世界》是英国当代作家大卫·洛奇的代表作,以其追求主题而闻名。珀尔斯的爱情追求是小说中的一个突出事件。读者总是嘲笑珀尔斯的追求,却没有触及珀尔斯的追求如此有趣的原因。本文以Schank & Abelson(1977)的个人剧本范畴、Gioia & Poole(1984)的剧本原型特征和Gibbs(2003)的剧本动态建构为基础,建立了“剧本发展的连续体”模型,揭示了Persse爱情剧本的知识结构。同时,本文明确了三个角色(叙述者、角色和读者),他们共同构建了珀尔斯爱情剧本的意义。在剧本理论的考察下,我们发现珀尔斯的爱情追求有三条不同的轨迹。三个爱情剧本之间的冲突是小说达到幽默反讽效果的主要原因之一。拓展了“人生是一场旅行”这一隐喻的意义,突出了小说的死亡-重生主题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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