Alice Munro’s Run away-paper代写

留学生paper代写精选范文：“Alice Munro’s Run away”，这篇论文讨论了艾丽丝·门罗的中篇小说《逃离》。《逃离》采用了比较特殊的手法，描述了主人公卡拉两次逃离的经历。第一次是卡拉不顾父母的反对，可能是由于少女的无知和无畏，而选择和克拉克私奔。但之后的生活却没有卡拉想象中那么幸福，而是充满了痛苦。所以卡拉选择了再次逃离，但即将在成功的时候卡拉却放弃了。

Ailisi·menluo is a contemporary short story writer, the escape is one of her. Monroe's tales take place in a small town, with humble character as the protagonist, plot is dull is impermanent, but behind the calm narrative, she often discussed serious topics such as love, sex, death, puts the reader into deep thought. The escape composed of eight stories was a collection of short stories, these eight stories about different characters on the "escape" experience. Short stories focused first novel tells the story of the heroine of the fleeing Carla escape parental discipline, resolutely Clark together with her husband, met Jamison later wife, of her talking to Jamison wife life is not smooth, ready to flee again. Based on the narrative analysis of the escape from the narrative skills and strategies to learn more about Monroe's narrative of modernity art and modern life.

Aidewen·miuer the plot is divided into "biographical novel" and "theatrical novel." He believes that "biographical novel" is the main character "space" and "theatrical novel" is the main character of "time". "Theatrical novel" through action of the characters described in time axis line tends to be perfect, "biographical novel" rendering of the characters in a stationary State, constantly being repeated, the distribution in the space set up. "Biographical novel" focuses on the story in the space, its narrative space. Although Muir spatial narrative as "biographical novel", but this narrative is widely used in the modern novel. Modern fiction often breaks the traditional novel in the time of the order, highlighting the role of space, space to assign meaning to different novels, played in the logical order of text structure.

Ailisi·menluo's novel, escape, showing a strong sense of "space" character. In her novels, the logic of the time were replaced by spaces, spaces not only existed as a background explanation, it is an important element of the story and established the structure of the novel. Ailisi·menluo said: "the novel not as a road, it's more like a House. You step inside, stay for a while, this way, go over there to observe associations between rooms and corridors, and then looks out the window and see if from this point of view, what changes have taken place in the outside world. ”

Long Diyong-related space and narrative can be divided into four types: space, space, space, and space. Novel fled of "debris of" has story space and form space of double property, as the room of Yu building, novel of content and form building into a organic of overall, novel narrative of debris of both refers to story scene of debris of, also refers to novel structure of debris of, it no rendering intuitive specific of time clues, but it in space Shang formed has has sharp features of story framework.

Story spaces, also called physical space refers to the space depicted in the narrative. Covered multiple stories of the escape space is fragmented, weak linkage: space and space, with no clear instructions on the geographic location or through the narrative of the text constitute a complete image, depicting the space inside and outside environment is broken loose. Main site-the story happened in a small town in Canada, there is a daily bus to Toronto. This is only mentioned in the novel the town and the rest of the. Readers don't know this little town somewhere in Canada, even it is position with Toronto was also speaking out.

Heroine karaoke home and Racecourse, botanist Sylvia House, coffee shops, pharmacies, stations do not compose a complete urban scene, and Kara's and Sylvia's home is also the reader cannot know. Those bits and pieces of carpet, Windows and paint description felt these spaces and other spaces not similar and can be any space. Fragmented story brings familiar and strange effect and make the reader involved and distance itself from the story, showing narrative tension. Novel narrative impetus from anxieties about space. Novels describing a total of three times of anxiety. First to Mrs Sylvia is Jamison's anxiety. Carla in Jamison's Jamison, dying home helper. On her deathbed, Jamison made obscene gestures to Kara attempts to harass her. Because of economic constraints, her husband Clark, Carla took it to Mrs Jamison asked for compensation. Kara to shame, the anxiety of the Jamison home, Clark began to hate push yourself. Second home anxiety.

Worn carpeting, yellow curtains, as well as outstanding renovated karaoke gradually to the home for a long time was disappointed, and Clark's excessive demands made Kara more pain and uncertainty, leading to her desire to leave home in search of a new life. Is the anxiety of Toronto for the third time. Carla sent help to the Sylvia, Sylvia recommended her to a friend's House to stay in Toronto, before settling in Toronto, in order to start a new life. Friend's consent is Silvia, Carla had booked tickets, Toronto, put her on the car. In the car, Carla in Toronto found her helpless, unable to stand, and has despite family objections married Clark, only and only by her and Clark's life, went to Toronto doesn't even matter, also lost her marriage you can give up everything she did makes no sense. These three anxieties of space prompted Carla a series of actions to form, and eventually form a complete text.

Space is an expression of the overall structure of narrative works. Of the escape in the form of space, "fragmented" characterized the plot mainly on the account of the various spaces, is the novel's story changes frequently, rather than in a linear time axis. The novel Kara's home, Sylvia, town, went to Toronto cars four spaces, the space story staggered, disrupts the order of time, in the same space by piece tells the story of. Text always has two clues at the same time, a process that is Kara to escape, flora lost one is found. Karaoke and karaoke in the escape from the clue was with Clark's love story, Mr Jamison's death, Jamison wife helps her to go to Toronto and other circumstances of different time periods. Kara and Clark's love story is interspersed with Carla described on the way to Toronto, Jamison was seriously ill was telling Kara to help what happened when she and Clark leads when the current life full of contradictions.

In addition, in the traditional narrative novel, third person tend to be all-knowing Narrator, know the overall Outlook of the story including background, causes and people's mentality, but the narrator of the escape from the limited third-person narrative, the Narrator does not tell the story of the whole picture, readers seem to never be able to see an entire scene in the story. In the process of reading, reader's impression of a plot can become fragmented. Narrator tells Carla taking care of dying, Jamison was the latter's harassment of the plot, only writes in bed suffering from a drug wrapped in sheets made obscene gestures to the patient suggesting that Carla.

Other detailed information regarding the harassment are not mentioned, readers can only vaguely felt stories, and even doubt the authenticity of the harassment. Although the limited third-person narrative and fragmented "spatiality" narrative structure seem scattered, but there is a logical chain. The Narrator at the beginning of the novel recalled Carla, in Jamison's help when harassment and Carla couple heard Mr Jamison has been awarded, and later through Clark, they use harassment for compensation to Mrs Jamison. Back and form a narrative premise trap heroine surrounded by Kara, causing a flight condition, causing her to shake off the shackles and select run. The trap while limiting the possibility of escape from the results, it forces Kara to think about sex and living faith, finally reflected on adherence to the original choice, back to the family.

Since Henry James Lubbock, modern fiction and narrative theory more traditional novels focused on the characters of description and exploration. Traditional fiction continued Aristotle's view, focuses on actions, characters are characters in action, but the action the carrier and a factor in the plot. But modern novels began to abandon this tradition, focusing on transfer from outside to inside. Modern novel concerns of human existence, they can't avoid the inner world of the characters portrayed, action retreat to a secondary position, plot or character actions subject to psychological characteristics. Muir believes that modern conflict of the novel comes from the characters ' inner conflicts rather than plot structure. The consequences of this change in turn brought a series of novels, embodied in the characters in the characters become more complex and varied. Human psychological nature decided the novel describe the world in a delicate style in the character's inner projection on the flow and caused the ripples.

The story of the escape occurred in just a few days time, no ups and downs of the exciting plots, but psychological depiction of the character of Carla made throughout the novel to become full. Carla decides to leave home, almost the entire process is dominated by the activities completed, two more character and Sylvia Clark just fuse and auxiliary functions. Kara, a female figure, its vision and the heart is delicate and sensitive, readers can see from Carla's mental image of Clark before and after difference, Silvia image changes, bring her delicate feel firm and fled shaken, presented from the perspective of the world in Kara.

Kara went to Toronto's inner thoughts on the bus is a typical description. "This is her second time to throw everything behind. …… She now come to see the approaching future the oddities and horrors of the world, is that she does not fit in the meantime. She had to walk around in it, mouth, talk, do this, do that, but not really into it. But the strange thing is, she was doing all this kind of thing, riding the bus, hoping to find you. As Mrs Jamison will say – as she might say – hopefully destiny is in their hands. No more snap and glared at her, no one in their own bad mood affecting her, make her day by day even when you are sad. That she can care for it? How will she know if I'm still alive? ... ... "This description made up of memories and contemplation, using free indirect discourse, the double voice of narrator and characters appear in the text. "On the one hand, free indirect discourse representation of the character's words, their language color characterization and physico-chemical color, at least in the traditional narrative novel, can be clearly identified.

But on the other hand, from the perspective of overall narrative framework, is also the narrator in narrative, but for some purposes, or stress, or to enhance the credibility, or satirical imitation, to deliberately close to the speech. "At this point, the recipients of mental activity is not only Kara also includes readers, including Carla would like to say, also contains the Narrator wants to say to readers. Therefore, the text also has a story and deep meaning of double meaning. A character's past will not have much impact on the reader, but it consists of free indirect discourse when present in front of the reader, narrowing the distance between the reader and the characters. Carla reminds her now is because despite family objections without combined with Clark, and now she was going to abandon everything to lose once again to rely on, she twice the negative consequences of the past is lost in their doubt and confusion. Everyone has his moments, and makes the reader think of had experience, began to reflect on what to get. Milan Kundera believes that modern novels explore is one of man's existence, the possibility of writing. The fleeing through Carla's inner world shows a possibility of modern life, and try to answer people how they should live.

The main characters are three of the fleeing, Kara, Clark, Sylvia. Two of them are women, more than the number of male characters. In this there is a modernization of the relationship between the three characters. Kara regardless of clan elders had opposed, determined and Clarke married, become almost cut off links with the family. When married life tends to dull constraints, Carla felt the passion began to dislike Helen Clark. Sylvia was Carla's neighbor, at a time when her husband was seriously ill, Cara offers to help, she thought she liked Kara at contact, like favorite dynamic of female students, and she also helps Carla to leave their families. Clark cares for wife, Carla, but also money, increasingly short of money in case he asks Carla to use compensation to Sylvia Jamison harassment. The relationship between the three characters is beyond the traditional relationship between the novel's characters, love, hate, and same-sex love interests intertwined, although the small number of characters, but modern social relationships and women's position succinctly expressed. Karaoke at the center of this network, she was exhausted, she was ready to flee.

Throughout the process, in addition to the direct description of the event, the Narrator also uses the metaphor. In the story, Kara flora lost a lamb, they suspect the Lamb may never come back, or just out to play for a few days, then lamb appeared in Kara out and back, that day. Lost lamb is a symbol of Kara I. Female writers often used metaphor is the narrative means, escape from the metaphor of the feminist lies in two aspects. Is sheep metaphor women seem trite, but here is to subvert the traditional image of docile lambs in the works, though flora in the Racecourse's life seemed at ease, she can still choose to leave, to go where you want to go where she is subject only to one's own heart. Second time flora returned that night was the Lamb, it appears from the mist, white hair as if the distribution of the Halo, and Sylvia Clark suddenly think that like to see Jesus. In the Christian tradition, the image of Jesus is the Shepherd of the sheep, is the son of God with the authority in the novel is a young Ewe was mistaken for Jesus, whose identity and gender are upside down. This scene is like the men's authority has been treating women as weak wash, add sacred to female identity factor.

In addition, the text also implied a radical feminist rebuttal. Sylvia double identity of the image contain the intellectuals and homosexuals, is the embodiment of radical feminists. After her talk hostess Gong Kala, immediately run for Kara to provide conditions, do not ask her heart really needs, resulting in Kara away after the discovery she could not leave the Clark live in Toronto. Her image can be said to be a satire of radical feminism. Escaping-the return of the novels narrative metaphor women should rethink their relationship with men, families and society, and feminists should consider historical and social context, rather than simply advocating women away from family life. Of the inner needs of women take the initiative to make a choice, whether in the family is feminist.

Novel uses of "escaping" narrative mode is a great model of women's consciousness. Many writers choose "escape" mode to write stories of women, minorities or vulnerable groups, such as Vladimir Nabokov's Lolita, Watanabe, paradise, etc. Here, "escape"

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