历史是一本重写本

C. Nelson, Anne Morey
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引用次数: 0

摘要

本章进一步探讨了一组改写文本,E.内斯比特的奇幻小说《魔法城堡》(1907)和五部历史小说:卡罗琳·戴尔·斯内德克的《塞拉斯和他的小镇》(1924)、《被遗忘的女儿》(1933)和《怀特岛》(1940);伊丽莎白·乔治·皮尔斯的《青铜弓》(1961);罗斯玛丽·萨特克利夫的《第九鹰》(1954)。有人认为,这些文本强调家庭作为一种机制,既代表父母和孩子之间不同的经历,又代表随着时间的推移的连续性,与重写本人物的拓扑资源保持一致。改写文本基本上是关于孩子尚未经历的成熟或衰老,这种成熟有时被表现为对地方和人的一种不可避免的伤害或损失。事实上,这组重写文本的一个主要方面是对人物所居住的景观的损害和对人体的损害之间的类比。在方法上,这些作品在评论家的帮助下进行了研究,他们考虑了小说中移情的表现和培养。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
History is a Palimpsest 2
This chapter explores a further set of palimpsestic texts, E. Nesbit’s fantasy The Enchanted Castle (1907) and five historical novels: Caroline Dale Snedeker’s Theras and His Town (1924), The Forgotten Daughter (1933), and The White Isle (1940); Elizabeth George Speare’s The Bronze Bow (1961); and Rosemary Sutcliff’s The Eagle of the Ninth (1954). It is argued that these texts emphasize family as a mechanism for representing both disparate experiences between parents and children and continuity over time, in keeping with the topological resources of the palimpsest figure. Palimpsestic texts are fundamentally about a maturing or an aging that the child has not yet experienced, and that maturation is sometimes represented as a kind of inevitable damage or loss to both place and person. Indeed, a dominant facet of this set of palimpsestic texts is an analogy between damage to the landscape that the characters inhabit and damage to the human body. Methodologically, these works are examined with the aid of critics who consider the representation and cultivation of empathy in fiction.
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