尼尔·盖曼的《鬼妈妈》中的魔幻现实主义

S. Hosseinpour, Nahid Shahbazi Department of English Language and Literature, Sem
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引用次数: 4

摘要

魔幻现实主义作为成人文学的一种叙事方式或类型,自1967年马尔克斯的《百年孤独》问世后重新流行起来。然而,在儿童文学和青少年文学中,体裁描写是一种新的趋势;在最近的儿童小说中,如大卫·阿尔蒙德(David Almond)的《斯克林》(Skelling, 1998),其元素的存在已被追踪并证明是可行的。在这方面,本文主要关注的是通过运用Wendy B. Faris的流派理论框架以及Tzvetan Todorov对奇幻的定义,筛选尼尔·盖曼的《卡洛琳》(2002)中魔幻现实主义的特征,以介绍这部小说作为儿童文学领域魔幻现实主义的典范。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Magical Realism in Neil Gaiman’s Coraline
Abstract Magical realism, as a narrative mode or genre in adults’ literature, has been in vogue since its revivifying with the publication of Gabriel Garcia Marquez’s One Hundred Years of Solitude (1967). However, the depiction of the genre in children’s and juvenile literature is a new trend; the presence of its elements have been traced and proved feasibly applicable in the interpretation of recent children’s fiction such as David Almond’s Skelling (1998). In this regard, the main concern of the present article is to sift the characteristic features of magical realism within Neil Gaiman’s Coraline (2002) through the application of Wendy B. Faris’s theoretical framework of the genre therewith Tzvetan Todorov’s definition of the fantastic in order to introduce the novel as an exemplar of magical realism in the domain of children’s literature.
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