什么是Narrative Essay

Narrative Essay，就是所谓的个人记叙性论文，是一种最具个性化的Essay类型，也是国外大学常见的作业形式。Narrative Essay和其他论文作业最大的不同，就是它写作的时候常常用第一人称，所以写作起来非常不习惯。下面就给大家讲解一下Narrative Essay.
Narrative Essay，根据来自Google的定义：“A narrative essay is a story written about a personal experience. Writing a narrative essay provides an opportunity to get to know and understand yourself better. One of the best ways to reveal who you are is to write about how you became aware of something, gained a new way of seeing the world, a new insight.”
Narrative Essay写作基于一定的个人经验，和读者分享某些经历、某些事情，通常从作者的角度，提供读者参与故事的各种细节和元素，开展叙述。在这个过程中通过思考，写作者获得更好的观察视野和洞察力。Narrative Essay通常在文章的开篇或者第一段的最后一句中提出这篇essay写作的目的（或观点）。
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由于Narrative Essay依赖于个人的经验，所以一般按照story的形式写作，按照通常的格式包含：情节、人物、背景、高潮和结束。并且通常情况下，Narrative Essay需要包含大量的细节来使故事丰满，这些细节也是为了支持作者的主要观点。
Narrative Essay一般包含：
1、包含组成完整故事的所有要素；
2、从特定的视角或角度开展叙述；
3、有明确的写作目的或者观点；
4、细节！细节！细节！
5、使用生动的动词和形容词；
6、呈现吸引人的冲突、对比、变化等情节；
7、可以包含对话；
8、一般使用第一人称（但第三人称也可以使用）。
选择怎样的主题？
在任何时间，任何地点，在你的身上可能都有着不同寻常的故事，而你自己却可能没有注意到。你需要认真回想你自己的过往经历，你的每次经历可能都是一个潜在的好故事：
1、你有没有某些信念因为某个事情或者某些事情破裂？你能回忆到随着这一系列事情导致信念变化的过程吗？
2、有没有某次你观察到的，或者你经历的某种经历对你的生活产生了深刻的影响？
3、有没有某个人对你有很大的影响？
4、有没有某次你不得不做出某个决定的经历，或是你面对过某个巨大障碍和考验？
5、在你的人生中，有没有过决定做出改变面对全新未来的经历？
6、你每次的尝试经历是如何的？（成功？失败？可笑？痛苦？）
写作过程
在写作过程中，你需要注意：
1、选择一件值得写的事件或者经历；
2、发现事件中的相关性内容；
3、挖掘细节信息，以便打动读者；
4、包含完整的故事情节。
以上就是关于Narrative Essay的写作讲解，不会写Narrative Essay的同学可以按照上面的方法去写，希望能给大家带来帮助。
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什么是Annotated Bibliography

Annotated Bibliography，就是附说明的资料目录，一种对一批文献进行归纳整理的方法，考究的是学生们的阅读和归纳文献的能力。Annotated Bibliography具体要求不同的话，那么它的侧重点也会显得不同，下面就给大家讲解一下。
Annotated Bibliography是在英文写作中经常会被要求写的一种文体。它在Google中的解释是“An annotated bibliography is a list of citations to books, articles, and documents. Each citation is followed by a brief (usually about 150 words) descriptive and evaluative paragraph, the annotation. The purpose of the annotation is to inform the reader of the relevance, accuracy, and quality of the sources cited.” 即：Annotated Bibliography是包含书籍、文章或其他资料的参考文献（引用）列表。每个引用后会用一段话（150字左右）对此资源进行简单的描述、总结和评价，用来告诉读者该引用的相关性、准确性和质量。
它在中文中貌似没有对应的特别贴切的名称，可以叫做“附说明的资料目录”（貌似有些别扭）。而在本文中我们仍然称它为Annotated Bibliography.
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除了写作课程中，老师会要求我们练习写作Annotated Bibliography。而在实际的研究工作中或者实际生活中，一般Annotated Bibliography并不会单独存在，它存在于开展研究工作或者撰写研究论文（Research Paper）的开始和准备阶段，目的在于帮助你更好的准备你的研究，在查找阅览相关资料时，对有益或者可能对你的研究有帮助的资料进行记录，以便于你在之后的工作中将这些资料用于你的研究中。
顾名思义，Annotated Bibliography里的每个条目由两部分组成：Bibliography和Annotation。
Bibliography包含文献信息。即：作者、书名（文章名）、出版商（杂志名）、出版日期、（线上资源网址）等信息。
Annotation包含对该文献的简单总结和评价。通常是一段大约100-150words的一段话。
总结和描述：简要说明该文献的主要论点、重点内容、主题是什么。
评价：阐述该文献对你的研究可能有什么作用。内容是否可靠、是否客观，它可能用于你的研究的哪个方面。
Annotated Bibliography的具体格式可能存在差别，在开始前你应该有一个明确的Guidelines.
以上就是关于Annotated Bibliography写作的讲解，不熟悉Annotated Bibliography的同学们可以参考一下。
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Paper代写：The relationship between literature and morality

下面为大家整理一篇优秀的paper代写范文- The relationship between literature and morality，供大家参考学习，这篇论文讨论了文艺与道德的关系。文艺与道德的关系是对立统一的，二者相互影响，不可分割。文艺是人类社会所特有的精神现象，是人们的一种有目的、有意识的活动，是一种创造活动。而道德则是由一定的社会经济关系所决定的，以善恶评价为标准，依靠社会舆论、传统习惯所维系的行为规范的总和。
Historically, the controversy over the relationship between literature and ethics lasted for more than 2000 years, and many great thinkers and artists were involved in the controversy. Until now, the relationship between literature and morality has not been solved completely, it seems to be an unsolved problem. There are two kinds of viewpoints that occupy the mainstream of controversy, one is "the moral of literature and art", that is, art and morality are closely related; most scholars choose one of these ideas first, and then use various theories and arguments to prove the correctness of their doctrines. The two viewpoints of the relationship between literature and art and morality gradually become irreconcilable conflicts. The purpose of this paper is to try to find a more reasonable moral view of literature and art through simple analysis.
On the literary and moral views of Mr. Zhu Guangqian, there are generally two viewpoints in the academic circle: one is to recognize Zhu Guangqian's literary and moral view, and the relationship between literature and art is "moral influence without moral purpose"; There is also a kind of literary morality which does not support Zhu Guangqian, and thinks that Zhu Guangqian's viewpoints are vague, has not given a more clear relationship between literature and morality.
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Scholars Schowen that in Zhu Guangqian's early aesthetic thought, there was no direct relationship between literature and morality. A large part of these views comes from the Croce view of the aesthetic. By the 50's, Zhu Guangqian's aesthetic thought had a great turn, which also wavered in the relationship between literature and morality. In the 11th chapter of literary psychology, Zhu Guangqian directly criticized Croce's aesthetic thoughts, when Zhu Guangqian's view of literature and art had shifted from the previous literary and artistic independence to the existence of some relationship between literature and art and morality, Zhu Guangqian began to attach importance to the relationship between literature and morality. Why? Schowen thinks Zhu Guangqian is essentially a person who is enthusiastic about social reform. His transformation of society, the first to transform the people, and the way to transform the people's hearts is precisely the function of the arts. But Zhu Guangqian hides a little deep.
In addition, Schowen also believes that although Zhu Guangqian's literary and moral view is an important theoretical contribution, and is not uncommon, but there is still a flaw in the argument. In her opinion, Zhu Guangqian's argument lacks intrinsic logic, and in the middle course of the problem, he tries to synthesize them, and the result can only conceal the contradictions.
Scholars Chaningsun that Zhu Guangqian is not a "negation of art and society, art and political relations of the people." Zhu Guangqian's aesthetic thought took place a major change in the 50 's. In the early period, Zhu Guangqian learned to accept the influence of Kant and Croce's idealism, and thought that aesthetic and literary activities were "surreal, super utilitarian", and that literary activities and all utilitarian activities were relatively upright. In the later period, Zhu Guangqian began to criticize the defects of formal aesthetics consciously, and had a change in the relationship between literature and morality, and criticized the slogan of "Art for Art".
In addition, Chaningsun analyzes the contradictions between Zhu Guangqian and the left-wing literary movement in the 1930s, and the left-wing thinks that Zhu Guangqian's many literary propositions are attacks on revolutionary literature and art. He also discusses how literature and art can exert moral influence with their own unique character, this paper focuses on the influence of Zhu Guangqian's "immoral and moral influence" on Kant's "aimless and purposeful" viewpoint, and points out that Zhu Guangqian insists on the independence of literature and art, and affirms the sociality of literature and art on the other hand.
The relationship between literature and morality has always been debated, and the two viewpoints of "artistic and artistic" and "art for Art" are at loggerheads. From Zhou Qin to the input of modern Western literary trend of thought, literature and art are regarded as the vassal of morality in China. This kind of thought is the expression of Chinese national nature, because the Chinese nation always attaches importance to practicality. From Confucius ' defending poems to later truth, people can clearly see the viewpoint of "art and Morality". In the West, the issue of the relationship between literature and morality is equally fierce. Plato was to drive the poet out of the Utopia, and Aristotle tried to defend the poem as the ancestor of artistic independence, and Tolstoy objected to "Art for Art", arguing that the purpose of art was to propagate morality and religion and not to create beauty.
In the author's opinion, the relationship between literature and morality is the unity of opposites, which influences each other and is inseparable. Literature and art is a special spiritual phenomenon of human society, a purposeful and conscious activity of people, and a creative activity. Morality is determined by a certain social and economic relationship, with the evaluation of good and evil as the standard, relying on the social public opinion, the traditional habit of maintaining the sum of the norms of conduct.
Both art and morality are important components of human civilization, and they are interdependent and inseparable. Art exists in social life, has sociality, can not be free from moral or contrary to the development of morality. Morality can guide and influence the development of art, but it must not make art become the vassal of morality and lose the independence of art.
Art is not a tool of morality, nor is morality a servant of art. They complement each other and develop harmoniously. Through artistic activities, human beings transmit culture, thought and morals, so that the social members can be liberated in the artistic activities, the soul is communicated, and the whole society develops harmoniously. At the same time, art itself is social, can not deviate from the moral and arbitrary development, art and ethics to develop together, mutual promotion.
As two different forms of social consciousness, literature and art have their own characteristics and differences, but this does not affect the interaction and interaction between them.
On the one hand, art affects morality. Any art works are done in a certain era and social background, so the art works must include social values and moral concepts. Although some works of art do not directly reflect the moral concept, but the art works are created by the artist, the artist lives in the society, and its value concept is bound to be influenced by the social moral concept at that time. Croce used the concepts of art and artists when discussing the relationship between literature and morality. Croce does not negate the fact that the artist is common in society as an ordinary person. First of all, there are moral concepts in literature and art.
The moral concept is embodied in every field of social life, whether it is political life, economic life or cultural life, it contains more or less moral value. Literature and art reflects social life, so literature and art can not involve certain social moral concepts. The moral value in human society is precisely the vitality and source of literary creation. Secondly, literature and art can give people a kind of invisible moral force. Literature and art are always compatible with certain moral values, and actively disseminate this moral concept, and teach people to accept. Many artists permeate and propagate some kind of moral concept in their own literary and artistic works, and the artistic recipients will be influenced by the artist's moral emotion imperceptibly in the art appreciation. Third, the unique charm of art attracts people, and makes the masses consciously become recipients. The basic characteristic of literature and art is the image and emotion, and the artistic image charm of literature and art has irreplaceable function in spreading the concept of moral value.
On the other hand, morality affects art. First, all works of art are created by artists, artist is a natural person living in society, each artist has its own outlook on life, world outlook, values, and so on, they will be in the art of artistic creation in the process of revealing their own moral concepts, and to make a corresponding moral evaluation of life. Second, the car Martini said, "Art comes from life, and higher than life", art is a reflection of real life, according to Croce's point of view "art is intuition", people intuition to an image, it has been in the heart of an art work. Whether it is in the heart of the creation of works of art or works of art is a certain social life in the artist's mind of the product. Therefore, literature and art must be integrated into the artist's personal subjective moral evaluation and moral judgment. Third, every class of the times will require literature and art to reflect and publicize their own moral concepts, especially a country's ruling class, but also regard literature and art as an important tool of moral education for members of the society. In this case, literature and art can properly serve the moral and promote certain moral values, but do not become the vassal and tool of morality.
In the process of the development of art and morals, they complement each other and develop harmoniously. Art cannot transcend or even develop against morality. The fact has proved that the development direction of "art for Art" is not normal, and the art of violating morality is not acceptable. The pursuit of blood, cruelty and violence of art has undoubtedly deviated from morality. Similarly, morality cannot regard art as its own vassal, the development of exploitation and oppression of art. In the postmodern society, everyone has a certain aesthetic ability, are the artists in life, have their own judgment standards and values. It is impossible for morality to kidnap art again, the aim of art education is to shape people's emotion, make people's feelings liberated, they only promote each other, harmonize with each other, and there will be a bright prospect of literature and morality.
The beauty of art and the goodness of morality are fused together, and beauty and goodness are inseparable and mutually promoted in the works of art. Art without moral value will appear feeble, become a useless thing, even to decadent, like the literature of "aestheticism." If the artistic work loses the moral implication, the work loses the spiritual prop and the thought strength, will not play the positive function to purifies the human mind, the guiding person's thought. Art without aesthetic value makes people feel boring, too much attention to their utilitarian value easily leads to art as a tool of morality. If the artistic work loses its esthetic value, the esthetic sense, then its own existence value also to be few.
In a word, in the relationship between literature and morality, the author opposes both literature and art as a vassal of morality, and does not agree with the idea of artistic independence "for art", and holds that both literature and art should be interdependent and harmonious. It is necessary to include moral value in art, such works can give people the shock of spirit and thought, the inheritance of generation, and the moral value should guide the development of art properly, so that the artistic value and aesthetic value of art works are higher, and the works of art are more attractive.
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Paper代写：The trap of race and memory

下面为大家整理一篇优秀的paper代写范文- The trap of race and memory，供大家参考学习，这篇论文讨论了《种族与记忆的陷阱》。在《种族与记忆的陷阱》中，作者从种族的二元对立角度出发，关注种族冲突、族群统治以及种族抗争的问题。作者也讨论了西班牙语族裔与英语族裔在20世纪早期同为新墨西哥州早期移民的情况下，相互之间的冲突、调和等关系问题，通过聚焦新墨西哥州的西语族裔的兴起，研究了20世纪美国的族群差异特征及其文化社会背景。
In the context of the trap of race and memory, Montgomery C. Focuses on ethnic conflicts, ethnic domination and racial strife, from the point of view of ethnic two-dollar opposition. In this paper, the author analyses The Montgomery's argumentation, and focuses on the conflict and harmony between the Hispanic and English ethnic groups in the early 20th century with New Mexico State immigrants; by focusing on the rise of New Mexico State Hispanic, this paper explores the characteristics of American ethnic differences and their cultural and social backgrounds in the 20th century. In order to provide reference for the current national culture and American Studies.
The populace's understanding of race is usually associated with color, and the meaning and meaning of race are usually far beyond the skin color itself, and its extension can have a broad scope. For example, the concept of race is often closely linked to a particular ethnic culture, including behavior, attitudes and personalities in daily life. In general, ethnicity means a union of ethnic groups with the same background. The background of this Union is based on a common history, national and geographical distribution. Throughout history, ethnicity has profoundly influenced every aspect of individual life, even social structure and cultural content. Therefore, the concept of race has always been a hot topic in academia, and it is also one of the core themes of national studies and even American cultural studies.
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In the context of the trap of race and memory, Montgomery C. Focuses on ethnic conflicts, ethnic domination and racial strife, from the point of view of ethnic two-dollar opposition. For example, the author discussed the relationship between Spanish and English-speaking communities in the early 20th century with the New Mexico State of early settlers, and, by focusing on the rise of New Mexico State Hispanics, studied the characteristics of American ethnic differences and their cultural and social backgrounds in the 20th century. The authors point out at the outset that the rise of Hispanics suggests that racial adaptation substantially strengthens the dominant racial barriers and further enumerates a number of examples to prove their point.
In general, the author's argument is based on a large number of facts, with high reliability and effectiveness. At the beginning of the article, the author points out that the aim is to study the national differences of the 20th century, in which the revival of Hispanics is the main case of support for the whole study. Firstly, the author describes the historical background of New Mexico State by comparing New Mexico State with Texas and California State, and secondly, the author gives a comprehensive description of the western and British ethnic groups in the region, and gives a clear description of the historical site. Next, the authors point out, both Anglo-Hispanic and Hispanics are trying to reconstruct the ethnic image of Hispanics, trying to shape it into a cultured white race, so that New Mexico State can become a "progressive" American region. In fact, the Anglo-American hope is not the rise of the west, but to see the rise of the West's self-interest ―― the eventual Anglo-American desire, with the rise of the west to strengthen their own ethnic dominance.
In the argument, the author uses a number of convincing examples. First of all, the author's argument and perspective based on the two-yuan conflict methodology, using detailed examples to demonstrate that the time of racial reconciliation is a failure, and this further hindered the Western ethnic group's real progress and development. The author explores in detail the details of the rise of the Hispanic community, arguing that the real key to the rise of the Hispanic community is whether the Anglo-American community can benefit. In contrast, modern Hispanics have rarely questioned the dominance of Anglo-Americans and the racial injustice that their communities have suffered, all of which have been elaborated by the authors.
The author first explained the background of the research and the relevant situation, and focused on the opposing viewpoints in the racial research. Subsequently, the author briefly describes the New Mexico State City, the Anglo-Hispanic and Hispanic attempts to reform the historical scene and how the reform attempt to promote the rise of New Mexico's Hispanic community. In essence, the rise of Hispanics did not solve the problem of racial injustice, but actually strengthened Anglo-American rule.
Next, the author further discusses the issue of racial adaptation. First, the author insists that race is the focus of the study, so in the discussion, the author highlights racial strife rather than race adaptation. Secondly, the author raises the question of whether the national adaptation "can be truly successful", and illustrate the reasons why "race adaptation" can not be really successful: the influence of adaptation and mediation will only stay within the scope of nationalists, and the improvement of the status of Hispanics, fundamentally speaking, requires the constant struggle of the people.
After an analysis of the common historical background of Anglo-Hispanic descent, the authors point out that the Anglo-American community was dominant in 19th century after consultation with the Spanish elite of California State and Texas. The reconciliation between Anglo-Hispanic and Hispanics is based on common interests, and both sides want to take full advantage of the power of the working class. However, the New Mexico State is different: Ostensibly, the influence of Hispanics in New Mexico State peaked in the early 20th century, and seems to dominate the party politics of the time, but that is not the case. For historical and practical reasons, New Mexico State has begun to emerge from the rise of the Anglo-American community, forcing Hispanics to seek common interests and compromise with the British.
In this context, the revival of the West has been vividly described. The authors first contrasted the different renaissance paths between California State and New Mexico State in western communities. New Mexico State Hispanics try to preserve their Spanish traditions, such as language habits, Catholic traditions, etc. In fact, the tradition of Spanish heritage is not a national imagination, but a real national symbol and symbol, but also the real existence of customs and activities. Therefore, it is not enough to maintain the heritage of the language alone, and the national Renaissance also includes traditional art, festivals and real religious activities. In particular, the author points out and discusses the meaning and connotation evolution of the word Mexican in the revival of national culture, and points out the essence of the revival of the West, especially the complex motives of British descent in the revival of the West. The authors point out that in fact, the western Renaissance has a common goal with the Anglo-American community, that is, to reconstruct the image of the ethnic identity of the west, and at the same time, there are very different motives, such as conflict and division of national interests, but these differences are masked by superficial phenomena, or in the same form.
Finally, the author points out the significance of the research on the revival of the West. In the final effect, the revival of the West has not shaken Anglo-American dominance or brought tangible benefits to Hispanics. However, the study of the revival movement of the West has enriched the concept of "nationality" to some extent, so that it no longer merely refers to the surface structure of the color difference, but extends outward.
Taking New Mexico State as an example, the author explores the problem of ethnic conflict and adaptation between Anglo-Hispanic and Hispanics in the early 20th century. In the course of the argument, the author uses a wealth of illustrations to illustrate the argument, not only from the positive to the topic of the study, but also from the side of the other views on the revival of the West. For example, some scholars believe that the rise of the West is just one of many American social events, and has not had a big impact on the American mainstream ideology and the ideological conflict of the early 20th century. In response to a similar view, the authors further consolidated the main arguments to make their conclusions more credible. The main problem is that the author, although using a large number of examples to confirm its point of view, but the case is usually a single, one-sided, this "partial set" can fully confirm the argument is unknown. In addition, although the author focused on the racial issues of New Mexico State, but still cited the case of California State and Texas to carry out comparative analysis, which is to a certain extent dilute the theme, affecting the representative of New Mexico State argument. In the final analysis of the significance of the study of New Mexico's ethnic issues, the authors stress that the study of similar racial reconciliation issues has been a new inspiration and help to cultural studies and American studies, in the context of the main theoretical issues of nationalism in the 21st century.
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Essay代写："Blank" in "Se una notte d’inverno un viaggiatore"

下面为大家整理一篇优秀的essay代写范文- "Blank" in "Se una notte d’inverno un viaggiatore"，供大家参考学习，这篇论文讨论了《寒冬夜行人》中的“空白”。19世纪以来，文本中不断增加的空白成为西方文学的一个重要发展趋势，也是现代和当代文学作品中的显著特征。《寒冬夜行人》中艺术形象层的空白表现在两个方面：人物形象的空白和环境描写的空白。在人物形象的设置方面，从男读者的读书活动切入正题，对他的年龄、外貌、职业等身份和特质都采取了模糊处理；对于女读者，也只是从行为方式和家居摆设上对她的脾气秉性略窥一二。
Since 19th century, the increasing gap in the text has become an important development trend of Western literature, and also a prominent feature of modern and contemporary literature. The reader's position is becoming more and more important in modern literature research. Iser, the representative of German reception aesthetics, points out the relationship between "blank" and the meaning of the works, and the reader fills in the imagination to fill the "vacancy" that the author intends to set. His literary theory has raised the reader's position, and read the activity as a vital link in literature. Italian writer Calvino's "Se una notte d’inverno un viaggiatore" is famous for its multiple interwoven literary themes and skillful postmodern techniques. This paper will interpret Calvino's novel "Se una notte d’inverno un viaggiatore" by Iser's "blank" theory, point out the gap between the language symbol layer, the artistic image layer and the inner implication layer, and analyze the text meaning that the writer produces in the process of setting up blank and filling blank.
Terry Eagleton wrote in the Western literary theory of the 20th century: "The Development of modern literature theory is divided into three stages: focus on the author, focus on the text and turn to the reader." Among them, the reader's status has always been the lowest, but in fact, without the reader there is no literary works ―― they are only in the reading practice can be realized meaning process. For acceptance theory, reading is always a dynamic process, and only readers can release literary works from general existence. Reading is not a linear motion before a straight line, but a dynamic motion that repeats and revises before and after.
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In the west, the first to put forward the word "blank" in the theory of literary reception is one of the founders of German reception aesthetics, Wolfgang Isser, he explicitly used the word "blank" in the article "Summoning structure of the text", pointing out that it is the structure mechanism of the text calling readers to read, and deeply studies the relationship between the blank and the meaning of the works. In reading activities, he elaborated on the theory of acceptance of blank. In his opinion, literary research should give full attention to the relationship between text and readers: The literary text provides a "graphic" framework for readers, which has a lot of blanks on all levels and needs to be filled and enriched by readers in the process of reading. It is these blanks that take the reader "into the event to provide the meaning of the unspoken part." The so-called "blank" refers to the part of the text that has not been written or explicitly written, which is something that has been written in the text to the reader to imply or hint, and needs to be filled by the reader according to his imagination. In Iser's view, the whole meaning of reading is that it enables readers to have a deeper sense of self, and to make readers more critically observe their various ideas. Reading as if a magnifying glass, people read books, in fact they see themselves.
In Calvino's "Se una notte d’inverno un viaggiatore", the application of blank theory is divided into three main aspects: the blank of linguistic sign layer, the blank of art image layer and the blank of inner implication layer.
The blank in the novel is first embodied in the language symbol layer, showing as a form of artistic expression skills and techniques. In the setting of the storyline, Calvino took the form of Yuan novel, in the novel, in the novel, in the male protagonist reading 10 parts of the process, the reader also synchronized reading 10 stories and read the Hero's life experience, this two-line interwoven writing method makes the novel full of pluralism and variability, The rhythm of the novel slows down sometimes. The author interrupts the male reader's consistent reading for various reasons, through his pursuit of the following, skillfully to 10 of all kinds of unrelated novels clusters together, with the basic text of the blank to break the real reader's expectations, lead to a series of thrilling storyline, reducing the relatively insipid part of the novel, making the whole work downs, Very compact. Writers often stop pens at an interesting time, arousing readers ' interest in reading and curiosity. Thus, the reader and the text of the exchange and interaction, the reader is no longer a continuous acceptance of the text by the author of the passive role of information and ideas; they are the same as the male readers in the text, because this "Se una notte d’inverno un viaggiatore" involved in the whole long and varied reading activities.
Secondly, in the transformation of the person and the angle of view, the novel is the second person ―― male reader "You" to the beginning, continuing to the seventh chapter when turning into a female reader "you", after two people have sex and then turned to "you", and finally returned to the male reader "you" Chapter eighth the whole chapter is narrated by the writer Sila Frannairi diary in the form of first person, and several main characters are interwoven together. The advantage of the inner focus writing method is that it can show the inner activities of the characters to the maximum extent and increase the sense of authenticity and intimacy. Readers with this internal focus of the narrative way myfield, layers of progressive, and constantly found gaps and fill gaps in the process, the novel about the whole writing, translation, printing, publishing, reading process and thinking in the author's pen spread.
The blank of the art image layer in Se una notte d’inverno un viaggiatore is in two aspects: the blank of character image and the blank of environment description. In the aspect of the character's image setting, he has taken a dim approach to his age, appearance, occupation and so on from the reading activity of the male reader, and has only a glimpse of her temperament in the way of behavior and furnishings of the female reader one or two. The author clearly wrote in the text: "Female readers, what exactly are you like?" The book has been very careful to allow readers of the book to enter the role and to be equated with the reader in the novel, so he has never been given a name. Because that would automatically equate him with the third person and turn him into a character. And this book also let the male reader in the novel in the abstract state, just a pronoun, can give him to attach various attributive, make him complete each action. "The blank of the male reader's image facilitates the readers ' imagination and creation, and the interactivity between the reader and the text is strengthened."
The same is true in 10 of broken texts. They tell the story in the first person, "I", without exception. Readers can only from the narrative of the protagonist's career, identity, character of a trace of information, the story emphasized is the text of the characteristics of ―― as previously Lyudmila said ―― such as let people read clear novels, can feel the upcoming events of fiction, Just narrative novels, disturbing novels and seemingly covered novels. Impression and thought become the focus of the novel, the protagonist relegated to the second, just as a function of the role of the plot coherence is broken. The white space here allows the reader's attention to shift from typical characters to dramatic conflicts and textual significance.
In terms of environmental description, the social environment in which the male and female readers live has not been clearly accounted for, and it seems to be by default equivalent to contemporary readers, not to mention the natural environment; In the story broken, the background of each article is very vague, the time is unknown. For example, the first "Se una notte d’inverno un viaggiatore" in the narrative ―― "story happened in a railway station", but there is no specific description of the railway station, "I am the protagonist of the novel ..." In other words, the protagonist of the novel is called ' I ', and you don't know anything about this person, but you know it's called the station, and you know nothing else. "Everything is in a blur, like a cloud shrouded in a fog, until the end of the clouds to the mist scattered, knowing the protagonist has a special identity, but still do not know the whole story, this provoked the reader to continue to read the interest, as in reading a detective novel, The Pleasure." In "The body from the Shibi", the main location is the small beach, mineral-like prison towers and the installation of countless observatories, the whole story is permeated with the atmosphere of repression, the tide of decay. This kind of environmental description as a secondary role of the spy identity has been foreshadowing, indicating that the following episodes of the downturn.
The inner implication is the key to the meaning of the whole literary works, the blank of the linguistic sign layer and the blank of the artistic image in the work form the vast space of the inner meaning, and realize the meaning of the work under the participation of the readers. Wang in "iser" "Blank Theory" in the use of the novel art, the concept of the successful works of art, its inherent meaning is always multidimensional, uncertain, can give the reader a huge imagination and thinking space. "Se una notte d’inverno un viaggiatore" does not have a single clear theme, the novel male readers read "Se una notte d’inverno un viaggiatore" was interrupted by publishers, trying to find a novel, in search of the process and female readers encounter, and finally experienced a series of pursuit and adventure, and female readers knot. The author is not alone in the search or courtship, but through the mouth of various characters to express the reading, writing, a book of different views and thinking. For example, in the "Se una notte d’inverno un viaggiatore" reveals the writer's writing psychology; chapter fifth explores the relationship between authors and works; chapter seventh discusses the reliability of implied authors, implied readers, and narrative sounds; chapter eighth talks about zero writing, non personalized, potential works and ideal readers The 11th chapter shows seven different ways of reading with the autobiographic of seven readers. In a novel with only Graid pages, in a big story, set up 10 small stories, discusses the reader's view, author's view, reading view, translation view, the state's control of literature, the creation of books and the falsification of many topics, Calvino in the novel reflected in the postmodern writing techniques have always been the readers and scholars relish. The emptiness of the inner meaning makes the whole interpretation of the works pluralistic, and this book becomes the masterpiece of Calvino.
In many small stories, the author also uses the blank theory to point out the fictional nature of the novel. For example, in the "Se una notte d’inverno un viaggiatore", there are frequent jumps in the sentence: "The sound of the piston of the steam engine to cover up the sound of your book, a white steam partially covered the novel's first chapter,"; "The text of this novel is vague ... The mist covered the pages ";" The text in the book describes a space-time without a clear concept, and tells of an event that has no specific character and no characteristic. Be careful! This is the way to attract you, step by step to lure you to the bait you do not know, this is a trap. "In the" not afraid of the cold wind, regardless of vertigo, the situation is the same, "Perhaps this story is a bridge in the air." The story is unfolding in the process of constantly describing a variety of messages, feelings and moods, for various events to create a background and in this context to develop a path of life. The beginning of a line of interconnected lines is this: "The first feeling this book should give me is the feeling I hear when the phone rings." "This kind of sentence which points out its fictitious in the novel is abound in the whole work, the author from the simple narration step into the ontology of the novel creation, strengthen the novel's intrinsic meaning and richness."
Not only that, Calvino also in the text clearly put forward the importance of blank. "I think what is written in the book should not be everything, should not be real, should be a bit unpredictable, there should be something in between the lines, and I don't know what it is ...", "said the novel is more rich than the words and clear things, only let the words of the refraction of things, can imagine those unspoken things. These all coincide with the blank theory of Iser. At the end of the novel, the writer borrows a reader's mouth and says that the ultimate meaning of all novels includes continued life and inevitable death, but not every novel must have a beginning and an end. In the content, each novel has similar meaning, but in the external form of performance can be described as colorful. In the development of the novel can be inserted into all kinds of meaning and information, including a variety of views and thinking, do not have to be detained in the form, there is no fixed standard, calvino that such a novel is rich in flavor, worth repeating.
Calvino's "Se una notte d’inverno un viaggiatore", as a classic of postmodern novels, contains multiple literary themes and exquisite artistic techniques, which have been interpreted by researchers and readers in different perspectives. Many gaps in the novel, in the maximum capacity to show the post-modern survival context of the bizarre, but also to mobilize the reader's participation and reading interest, for the text left a broad imagination space, increased the volume of the work, rich in overtones, the successful realization of the reader and this article of interaction and Exchange. This paper interprets it with Iser's "blank" theory, in the language symbol layer, the artistic image layer and the intrinsic implication layer to excavate the deep meaning underneath the surface, the music of writing and the pleasure of reading have been vividly displayed, and the connotation of "article" has been expanded and developed continuously.
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