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建立人际资源圈ANALYSIS OF PARODY IN MIDNIGHT’S CHILDREN ---Essay代写范文
2016-08-15 来源: 51Due教员组 类别: Essay范文
Essay代写范文： ANALYSIS OF PARODY IN MIDNIGHT’S CHILDREN 这篇Essay论文探讨了萨尔曼·鲁西迪的杰作午夜的孩子，这部小说反映了印度人民在他们从英国殖民地过渡到现代民主国家的艰难过程中所遇到的困难。本文从语言、人物、医学学科、宗教信仰、感知的滑稽模仿这五个基本视角探讨了午夜的孩子。从而讽刺甘地政权压迫的政治多样性的垄断历史的尝试，使得这部小说的一个显著的后现代作品。
1. INTRODUCTION
Midnight’s Children is Salman Rushdie’s masterpiece and establishes him as an international literary icon. By depicting the vicissitudes of the protagonist’s life， the novel mirrors the hardship encountered by Indian people during their transition from a British colony to a modern state of democracy.
Most critics approach this novel from the perspective of post colonialism and magic realiam， which focus on themes such as history， nation， or narrative techniques. Fewer people have approached this novel from Parody. Therefore， this thesis is guided by Linda Hutcheon’s theory of parody. Intensive textual analysis of the first chapter is done to reveal that by adopting such a technique parody from five perspectives： parody of the language； parody of the figures； parody of the discipline of medicine； parody of history； parody of religious belief & common truth， the novel paradoxically installs and subverts history， disclosing the subjectivity， constructiveness， irrationality and non-linearity of history writing， and therefore deconstructing the grand narrative of history writing.
2. A TEXTUAL ANALYSIS OF PARODY IN MIDNIGHT’S CHILDREN
This thesis probes into the parody in the first chapter of Midnight’s Children from five basic perspectives.
（1） Parody of the Language
In this English novel Midnight’s Children， it’s not purely written in English. There is a mixture of English language and Indian words， which is a parody against western Logocentrism， especially against the English Language， and makes this novel a hybridity in terms of language.
Tai， the old ferryman， uses different addressing ways to call Doctor Aziz. Sahib and nakkoo both are typical Indian ways to address a person. Sahib is a typical Indian way to address a person with higher status. Nakkoo is used to call a boy， or a young man. These dictions involve a great deal of Indian words. Tai’s shikara， shikara is a typical Indian ferry.
（2）Parody of the Figures
According to Linda Hutcheon， parody is a technique used to mock， comment on， or poke fun at an original work， its subject， author， or some other targets. It is usually conducted by means of humorous， satiric or ironic imitation. In this novel， Saleem Sinai， Scheherazade， Christ Isa， Emperor， and an officer are parodied from different aspects.
Parody of Saleem Sinai： There is a parody of Saleem Sinai’s name. He owns the nicknames as Snotnose， Stainface， Baldy， Sniffer， Buddha and even Piece-of-the-Moon. These nicknames make the protagonist’s life absurd， which shows a kind of playfulness.
Parody of Christ， Isa： The old Tai portrayed the saint， Christ Isa as a bald， gluttonous Christ. In the ferry man’s portray of the Christ， vulgar words and absurd description are everywhere. “His balls， bald as an egg on his head” and “I swear he could eat a whole kid in one go.” greatly deconstructs the decency of this saint. The Christ treats him in a particularly polite way， which shows a sense of absurdity.
Parody of the Emperor： In Tai’s description of the emperor， as a person from a lower class， he claims he knows that the emperor’s last word “Kashmir”， and also his body secret， like bad breath， precise weight， which greatly deconstructs the supposed majesty， dignity， solemnity， and mysteriousness of an emperor and shows a kind of playfulness.
Parody of the officer： In the old ferryman’s depiction， the office turns out to be a fool， “he fell in love with some local floozy， and pushed his sword into his stomach.” which deconstructs the dignity and solemnity. Parody of these classic figures greatly deconstructs the supposed majesty， dignity， solemnity， and mysteriousness， and shows a kind of playfulness， makes them absurd.
（3） Parody of the Discipline of Medicine
“The Heidelberg bag quakes under the torrent of abuse. ‘Sistersleeping pigskin bag from Abroad full of foreigners’ tricks. Big-shot bag. I swear： it is a too-bad thing. That bag should fry in Hell with the testicles of the ungodly.’” （Rushdie 14） The Indian ordinary people， represented by the ferryman Tai， hold a discontent attitude towards not only the foreign medical machines， but also the method of curing disease in western medicine. Western medicine in their eyes is a damn thing， and learning it turns to be a bad business. Even the foreign medicine is an evil. Therefore， the supposed majesty， and mysteriousness of western science and progress are deconstructed.
（4）Parody of History
Tai’s account of history： “‘I have watched the mountains being born； I have seen Emperors die. Listen. Listen， nakkoo... I saw that Isa， that Christ， when he came to Kashmir. Smile， smile， it is your history I am keeping in my head. Once it was set down in old lost books.” （Rushdie 12）
Tai’s depiction of history questions our conventional knowledge about history. The use of parody elicits differentiation between history as empirical existence and history as textual representation. The distinction between the two illuminates history’s status as an artifact and underscores its fictiveness， which undermines the majesty and credibility of history. The exposure of the constructiveness of history heightens the awareness that both history-making and historical perception own a sense of subjectivity. Therefore， the history should be in plural form， rather than in singular form.
（5）Parody of Religious Belief & Common Truth
Parody unsettles accepted beliefs and ideologies. It questions all claims to truth and articulates postmodernism’s resistance to totalizing solutions to society’s contradictions. Next is the parody of the religious belief， which shows skepticism towards rituals and creeds.
“Ingrid， her face scorning him for this Mecca-turned parroting； here， their friends Oskar and Ilse Lubin the anarchists， mocking his prayer with their anti-ideologies ‘……The Compassionate， the Merciful， King of the Last Judgment！’” （Rushdie 4） Besides， after three drops of blood falling from his nose during the pray， Doctor Aziz makes a resolution that he is unable to worship a God in whose existence he could not wholly disbelieve. Therefore， for the Muslim religious belief， other people show contempt， and Doctor Aziz holds a kind of skeptical attitude.
Parody of the perceived truth
“Fear， because of his claim to an antiquity so immense it defied numbering……He was the living antithesis of Oskar-Ilse-Ingrid's belief in the inevitability of change……a quirky， enduring familiar spirit of the valley.” （Rushdie 7）
The common sense or the supposed truth is that human being is mortal， and everyone experiences inevitable changes. However， the old ferryman Tai is just an antithesis of the perceived truth. It seems that he is immortal， which is the reason why Doctor Aziz and other people are curious about his age， yet he keeps it as a secret. Hence， the majesty of religious belief and also the authoritativeness of the perceived truth are totally deconstructed.
3. CONCLUSION
After a brief review of previous study， the thesis makes an overall study of parody guided by Linda Hutcheon’s theory of parody. By means of Parody， Rushdie inquires into the nature of history， examines the process history is made and perceived， and discloses the ideological underpinning of official history， and thereby satirizing the attempt of Gandhi’s regime to oppress political diversity by monopolizing history. By using the postmodern writing technique parody， the author shows the subjectivity and constructiveness of history writing； skepticism of the constructed reality & truth； deconstruction of the logocentrism， which makes this novel a notable postmodern work.
51Due原创版权郑重声明：原创范文源自编辑创作，未经官方许可，网站谢绝转载。对于侵权行为，未经同意的情况下，51Due有权追究法律责任。
51due为留学生提供最好的作业代写服务，想获取更多Essay代写范文，亲们可以进入主页 www.51due.com 为留学生提供essay辅导服务，了解详情可以咨询我们的客服QQ:800020041哟。-lc
1. INTRODUCTION
Midnight’s Children is Salman Rushdie’s masterpiece and establishes him as an international literary icon. By depicting the vicissitudes of the protagonist’s life， the novel mirrors the hardship encountered by Indian people during their transition from a British colony to a modern state of democracy.
Most critics approach this novel from the perspective of post colonialism and magic realiam， which focus on themes such as history， nation， or narrative techniques. Fewer people have approached this novel from Parody. Therefore， this thesis is guided by Linda Hutcheon’s theory of parody. Intensive textual analysis of the first chapter is done to reveal that by adopting such a technique parody from five perspectives： parody of the language； parody of the figures； parody of the discipline of medicine； parody of history； parody of religious belief & common truth， the novel paradoxically installs and subverts history， disclosing the subjectivity， constructiveness， irrationality and non-linearity of history writing， and therefore deconstructing the grand narrative of history writing.
2. A TEXTUAL ANALYSIS OF PARODY IN MIDNIGHT’S CHILDREN
This thesis probes into the parody in the first chapter of Midnight’s Children from five basic perspectives.
（1） Parody of the Language
In this English novel Midnight’s Children， it’s not purely written in English. There is a mixture of English language and Indian words， which is a parody against western Logocentrism， especially against the English Language， and makes this novel a hybridity in terms of language.
Tai， the old ferryman， uses different addressing ways to call Doctor Aziz. Sahib and nakkoo both are typical Indian ways to address a person. Sahib is a typical Indian way to address a person with higher status. Nakkoo is used to call a boy， or a young man. These dictions involve a great deal of Indian words. Tai’s shikara， shikara is a typical Indian ferry.
（2）Parody of the Figures
According to Linda Hutcheon， parody is a technique used to mock， comment on， or poke fun at an original work， its subject， author， or some other targets. It is usually conducted by means of humorous， satiric or ironic imitation. In this novel， Saleem Sinai， Scheherazade， Christ Isa， Emperor， and an officer are parodied from different aspects.
Parody of Saleem Sinai： There is a parody of Saleem Sinai’s name. He owns the nicknames as Snotnose， Stainface， Baldy， Sniffer， Buddha and even Piece-of-the-Moon. These nicknames make the protagonist’s life absurd， which shows a kind of playfulness.
Parody of Christ， Isa： The old Tai portrayed the saint， Christ Isa as a bald， gluttonous Christ. In the ferry man’s portray of the Christ， vulgar words and absurd description are everywhere. “His balls， bald as an egg on his head” and “I swear he could eat a whole kid in one go.” greatly deconstructs the decency of this saint. The Christ treats him in a particularly polite way， which shows a sense of absurdity.
Parody of the Emperor： In Tai’s description of the emperor， as a person from a lower class， he claims he knows that the emperor’s last word “Kashmir”， and also his body secret， like bad breath， precise weight， which greatly deconstructs the supposed majesty， dignity， solemnity， and mysteriousness of an emperor and shows a kind of playfulness.
Parody of the officer： In the old ferryman’s depiction， the office turns out to be a fool， “he fell in love with some local floozy， and pushed his sword into his stomach.” which deconstructs the dignity and solemnity. Parody of these classic figures greatly deconstructs the supposed majesty， dignity， solemnity， and mysteriousness， and shows a kind of playfulness， makes them absurd.
（3） Parody of the Discipline of Medicine
“The Heidelberg bag quakes under the torrent of abuse. ‘Sistersleeping pigskin bag from Abroad full of foreigners’ tricks. Big-shot bag. I swear： it is a too-bad thing. That bag should fry in Hell with the testicles of the ungodly.’” （Rushdie 14） The Indian ordinary people， represented by the ferryman Tai， hold a discontent attitude towards not only the foreign medical machines， but also the method of curing disease in western medicine. Western medicine in their eyes is a damn thing， and learning it turns to be a bad business. Even the foreign medicine is an evil. Therefore， the supposed majesty， and mysteriousness of western science and progress are deconstructed.
（4）Parody of History
Tai’s account of history： “‘I have watched the mountains being born； I have seen Emperors die. Listen. Listen， nakkoo... I saw that Isa， that Christ， when he came to Kashmir. Smile， smile， it is your history I am keeping in my head. Once it was set down in old lost books.” （Rushdie 12）
Tai’s depiction of history questions our conventional knowledge about history. The use of parody elicits differentiation between history as empirical existence and history as textual representation. The distinction between the two illuminates history’s status as an artifact and underscores its fictiveness， which undermines the majesty and credibility of history. The exposure of the constructiveness of history heightens the awareness that both history-making and historical perception own a sense of subjectivity. Therefore， the history should be in plural form， rather than in singular form.
（5）Parody of Religious Belief & Common Truth
Parody unsettles accepted beliefs and ideologies. It questions all claims to truth and articulates postmodernism’s resistance to totalizing solutions to society’s contradictions. Next is the parody of the religious belief， which shows skepticism towards rituals and creeds.
“Ingrid， her face scorning him for this Mecca-turned parroting； here， their friends Oskar and Ilse Lubin the anarchists， mocking his prayer with their anti-ideologies ‘……The Compassionate， the Merciful， King of the Last Judgment！’” （Rushdie 4） Besides， after three drops of blood falling from his nose during the pray， Doctor Aziz makes a resolution that he is unable to worship a God in whose existence he could not wholly disbelieve. Therefore， for the Muslim religious belief， other people show contempt， and Doctor Aziz holds a kind of skeptical attitude.
Parody of the perceived truth
“Fear， because of his claim to an antiquity so immense it defied numbering……He was the living antithesis of Oskar-Ilse-Ingrid's belief in the inevitability of change……a quirky， enduring familiar spirit of the valley.” （Rushdie 7）
The common sense or the supposed truth is that human being is mortal， and everyone experiences inevitable changes. However， the old ferryman Tai is just an antithesis of the perceived truth. It seems that he is immortal， which is the reason why Doctor Aziz and other people are curious about his age， yet he keeps it as a secret. Hence， the majesty of religious belief and also the authoritativeness of the perceived truth are totally deconstructed.
3. CONCLUSION
After a brief review of previous study， the thesis makes an overall study of parody guided by Linda Hutcheon’s theory of parody. By means of Parody， Rushdie inquires into the nature of history， examines the process history is made and perceived， and discloses the ideological underpinning of official history， and thereby satirizing the attempt of Gandhi’s regime to oppress political diversity by monopolizing history. By using the postmodern writing technique parody， the author shows the subjectivity and constructiveness of history writing； skepticism of the constructed reality & truth； deconstruction of the logocentrism， which makes this novel a notable postmodern work.
51Due原创版权郑重声明：原创范文源自编辑创作，未经官方许可，网站谢绝转载。对于侵权行为，未经同意的情况下，51Due有权追究法律责任。
51due为留学生提供最好的作业代写服务，想获取更多Essay代写范文，亲们可以进入主页 www.51due.com 为留学生提供essay辅导服务，了解详情可以咨询我们的客服QQ:800020041哟。-lc
