The Death of Cuchulain is W.B.Yeats' final play, which presents Yeats' philosophical consideration and profound thinkingtowards life and death. This thesis tends to interpret Yeats' play from the persectiv...The Death of Cuchulain is W.B.Yeats' final play, which presents Yeats' philosophical consideration and profound thinkingtowards life and death. This thesis tends to interpret Yeats' play from the persective of structuralism, namely, mainly adopting thetheory of Todorov and Greimas to analyse the structure of the play. More importantly, under the guidance of Greimas' binary opposi-tion, one can perceive the comprehensive understanding of the implied theme that is hidden behind surface.展开更多
First published in 1985,The Handmaid'Tale is a representative work of Margaret Atwood.It has met with great favor around the world as a brilliant future novel in western literature.From the perspective of structur...First published in 1985,The Handmaid'Tale is a representative work of Margaret Atwood.It has met with great favor around the world as a brilliant future novel in western literature.From the perspective of structuralism,this paper will adopt Todor-ov’s notion of narrative grammar and analyze different characters and narrative approaches,then explain how Margaret Atwood con-structs a narrative model of "balance-unbalance-rebalance"in the novel,so as to get rid of the traditional narrative discourse of"balance-unbalance"in feminist literary works.展开更多
We investigate the behavior of the extension dimension of subcategories of abelian categories under recollements.LetΛ',Λ,Λ"be art in algebras such that(modΛ',mod A,modΛ")is a recollement,and let...We investigate the behavior of the extension dimension of subcategories of abelian categories under recollements.LetΛ',Λ,Λ"be art in algebras such that(modΛ',mod A,modΛ")is a recollement,and let D'and D"be subcategories of modΛand modΛ"respectively.For any n,m≥0,under some conditions,we get dimΩ^(k)(D)≤dimΩ^(n)(D')+dimΩ^(m)(D")+1,where k=max{m,n}and D is the subcategory of modΛglued by D'and D";moreover,we give a sufficient condition such that the converse inequality holds true.As applications,some results for Igusa-Todorov subcategories and syzygy finite sub categories are obtained.展开更多
For the analysis in this essay, I have chosen the tale of Siavash and Sudabeh from the Book of Kings （Shahnameh） in Persian literature and Kunda-avaddna from Chinese （Khotanese） literature. These stories have full...For the analysis in this essay, I have chosen the tale of Siavash and Sudabeh from the Book of Kings （Shahnameh） in Persian literature and Kunda-avaddna from Chinese （Khotanese） literature. These stories have full structural and narrative pattern despite their apparent simplicity and they can be studied and evaluated as narratological theories. The pattern of Todorov shows that these stories have accurate narrative logic; of course, narrative similarity of two stories may originate from common collective unconscious mind of these tribes. Anyway, these stories have common main and sub propositions with titles of love, conspiracy, refusal, trial for finding truth, loyalty of the prince to father etc. In addition to common propositions, actions of violation, change and punishment which are emphasized by Todorov are found in these stories. The variable action dominates but main core of actions is disloyalty of woman to her husband and falling in love with the prince finally leading to her punishment. These two stories were analyzed according to the Todorov＇s narrative analysis model. In both stories, you can find the same major and minor premise and proposition. That is, all events occur around the three characters （King, a boy and a woman who are related to the court）, in both stories the woman loves the boy, but the boy remained loyal to the king, and rejects her love. The boy is accused with treason and finally the truth becomes evident. Propositions of these stories include： proper noun （characters）, verb （actions） and adjective （features and characteristics of persons）, which are common in both stories and are repeated identically in both stories. Also according to Todorov＇s view, the five modes in propositions （declarative mode, optative mode, subjunctive mode, conditional mode, predictive mode） have been investigated in these two stories. This will put more emphasis on the similarity of narrative structure of stories.展开更多
Whilst the theoretical study of magical realist literature is broad and wide-ranging,there is a remarkable lack of consensus among critics on how the mode should be defined,how its techniques should be described,and h...Whilst the theoretical study of magical realist literature is broad and wide-ranging,there is a remarkable lack of consensus among critics on how the mode should be defined,how its techniques should be described,and how it corresponds with both the contexts of its production and its contemporary neighboring genres.This essay maps some of the dominant avenues that have been explored in the field,illuminating where the disagreements lie and highlighting the sheer profusion of critical approaches that have been competing for attention since magical realism first began to receive academic attention with the publication of Gabriel García Márquez’s One Hundred Years of Solitude in 1967,which have inevitably contributed to the confusion about how works of magical realism should be identified and interpreted.Ultimately,it is my contention that the study of magical realism is limited by the critical convention that considers the mode to have begun in Latin America in the 1950s,and often treats García Márquez as its originator:texts emerging from outside of this context are excluded from critical discussion,even where they comply with all formal definitions of the mode.My essay interrogates this convention,which I view as producing an untenable internal contradiction that I identify as a key contributing factor in the so-called“problem of definition”with which the field has long been plagued,and proposes that historical or geographical particulars cannot feature in a working definition of magical realism.展开更多
文摘The Death of Cuchulain is W.B.Yeats' final play, which presents Yeats' philosophical consideration and profound thinkingtowards life and death. This thesis tends to interpret Yeats' play from the persective of structuralism, namely, mainly adopting thetheory of Todorov and Greimas to analyse the structure of the play. More importantly, under the guidance of Greimas' binary opposi-tion, one can perceive the comprehensive understanding of the implied theme that is hidden behind surface.
文摘First published in 1985,The Handmaid'Tale is a representative work of Margaret Atwood.It has met with great favor around the world as a brilliant future novel in western literature.From the perspective of structuralism,this paper will adopt Todor-ov’s notion of narrative grammar and analyze different characters and narrative approaches,then explain how Margaret Atwood con-structs a narrative model of "balance-unbalance-rebalance"in the novel,so as to get rid of the traditional narrative discourse of"balance-unbalance"in feminist literary works.
基金Supported by NSFC(Grant Nos.11971225,12171207,12001168)Henan University of Engineering(Grant Nos.DKJ2019010,XTYR-2021JZ001)the Key Research Project of Education Department of Henan Province(Grant No.21A110006)。
文摘We investigate the behavior of the extension dimension of subcategories of abelian categories under recollements.LetΛ',Λ,Λ"be art in algebras such that(modΛ',mod A,modΛ")is a recollement,and let D'and D"be subcategories of modΛand modΛ"respectively.For any n,m≥0,under some conditions,we get dimΩ^(k)(D)≤dimΩ^(n)(D')+dimΩ^(m)(D")+1,where k=max{m,n}and D is the subcategory of modΛglued by D'and D";moreover,we give a sufficient condition such that the converse inequality holds true.As applications,some results for Igusa-Todorov subcategories and syzygy finite sub categories are obtained.
文摘For the analysis in this essay, I have chosen the tale of Siavash and Sudabeh from the Book of Kings （Shahnameh） in Persian literature and Kunda-avaddna from Chinese （Khotanese） literature. These stories have full structural and narrative pattern despite their apparent simplicity and they can be studied and evaluated as narratological theories. The pattern of Todorov shows that these stories have accurate narrative logic; of course, narrative similarity of two stories may originate from common collective unconscious mind of these tribes. Anyway, these stories have common main and sub propositions with titles of love, conspiracy, refusal, trial for finding truth, loyalty of the prince to father etc. In addition to common propositions, actions of violation, change and punishment which are emphasized by Todorov are found in these stories. The variable action dominates but main core of actions is disloyalty of woman to her husband and falling in love with the prince finally leading to her punishment. These two stories were analyzed according to the Todorov＇s narrative analysis model. In both stories, you can find the same major and minor premise and proposition. That is, all events occur around the three characters （King, a boy and a woman who are related to the court）, in both stories the woman loves the boy, but the boy remained loyal to the king, and rejects her love. The boy is accused with treason and finally the truth becomes evident. Propositions of these stories include： proper noun （characters）, verb （actions） and adjective （features and characteristics of persons）, which are common in both stories and are repeated identically in both stories. Also according to Todorov＇s view, the five modes in propositions （declarative mode, optative mode, subjunctive mode, conditional mode, predictive mode） have been investigated in these two stories. This will put more emphasis on the similarity of narrative structure of stories.
文摘Whilst the theoretical study of magical realist literature is broad and wide-ranging,there is a remarkable lack of consensus among critics on how the mode should be defined,how its techniques should be described,and how it corresponds with both the contexts of its production and its contemporary neighboring genres.This essay maps some of the dominant avenues that have been explored in the field,illuminating where the disagreements lie and highlighting the sheer profusion of critical approaches that have been competing for attention since magical realism first began to receive academic attention with the publication of Gabriel García Márquez’s One Hundred Years of Solitude in 1967,which have inevitably contributed to the confusion about how works of magical realism should be identified and interpreted.Ultimately,it is my contention that the study of magical realism is limited by the critical convention that considers the mode to have begun in Latin America in the 1950s,and often treats García Márquez as its originator:texts emerging from outside of this context are excluded from critical discussion,even where they comply with all formal definitions of the mode.My essay interrogates this convention,which I view as producing an untenable internal contradiction that I identify as a key contributing factor in the so-called“problem of definition”with which the field has long been plagued,and proposes that historical or geographical particulars cannot feature in a working definition of magical realism.
