解读《神谕女士》对哥特传统的戏仿_英语论文

An Analysis of Parody of Gothic Traditions in Lady Oracle

摘要

玛格丽特·阿特伍德是当今加拿大最具才华和思想的女作家，被誉为“加拿大文学女王”。她的作品充分体现出互文性的特点，并且作者十分善于运用戏仿的写作手法。戏仿指作家在创作时，通过对源文本的带有讽刺意图的模仿来生成新的作品，以达到致敬、戏弄、攻击源文本或者批判社会等目的的写作手法。在前人的研究基础上，本文拟从对哥特元素的戏仿角度入手，结合文本中的人物塑造、情节以及结局，深入分析《神谕女士》的写作手法。

本论文共有四章。第一章是导论。首先介绍作者及其主要作品和《神谕女士》的主要内容及主题和文献综述。第二章着重解释戏仿理论及其特点和发展。第三章通过文本分析元素所体现出的戏仿以及作者是如何进行对哥特小说的戏仿。第四章是结论，主要对前面的论点进行总结。

关键词：阿特伍德；《神谕女士》；戏仿；哥特元素

Abstract

Known as “Queen of Canadian Literature”, Margaret Atwood is one of the most talented female writers in Canada. Her works are featured with intertextuality. Moreover, she is good at applying parody to her works. Parody is a writing skill. During the time of writing, a writer creates a new work by way of the ironic imitation of the source text to show respect, tease or to attack the source text or criticize the society. On the basis of previous researches, the thesis is going to make a detailed analysis of parody used in Lady Oracle exploring how the author makes a parody of traditional Gothic elements to highlight the theme of the novel.

This thesis is made up of four chapters. Chapter one is an introduction to Margaret Atwood, Lady Oracle and literature review. Chapter two focuses on the definition, development and features of parody. Chapter three analyses the Gothic elements in Lady Oracle, and how does the author parody the elements deftly. Chapter four makes a conclusion of this thesis.

Key words: Margaret Atwood  Lady Oracle  Parody  Gothic elements 

Contents

Acknowledgements I

Abstract II

摘要 III

Chapter One Introduction 1

1.1 Introduction to Margaret Atwood 1

1.2 Introduction to Lady Oracle 1

1.3 Literature Review 2

Chapter Two Theory of Parody 4

2.1 Definition of Parody 4

2.2 Development of Parody 4

2.3 Features of Parody 5

Chapter Three Parody of Gothic Elements in Lady Oracle 7

3.1 Inheritance of Gothic Elements 7

3.1.1 Gothic Plot 7

3.1.2 Threat of Male Violence 8

3.1.3 Loss of Identity 8

3.1.4 Supernatural Events 9

3.2 Subversion of Gothic Elements 10

3.2.1 Subversion of the Traditional Ending 10

3.3.2 Subversion of Binary Stereotypes of Gothic Characterization 11

Chapter Four Conclusion 13

References 14