《紫色》与《灰姑娘》中互文性的认知诗学研究开题报告

 2023-07-04 09:04:21

1. 研究目的与意义（文献综述包含参考文献）

1. IntroductionIntertexuality, as an important critical concept, made its first appearance in the 1960s. The term was originally coined by Julia Kristeva in her seminal work Word, dialogue and novel, in which intertextuality is defined as any text is constructed as a mosaic of quotations; any text is the absorption and transformation of another(Kristeva 1969: 37). It emphasizes that literature itself has a referential relationship, and any work has inheritance of traditional culture and imitation of previous works. In literature creation, authors often borrow other texts intentionally or unintentionally for different purposes. Morgan (1990) divides intertexuality into three categories: positive intertextuality, negative intertextuality and internal intertextuality. More specifically, positive intertextuality affirms the inheritance of traditional culture by the work, while negative intertextuality is to achieve the purpose of satire and rewriting through the imitation of other texts.Alice Walker is an outstanding black female writer in America. After her representative work The Color Purple was published, she attracted great attention from critics and won the Pulitzer Prize for Literature and the National Book Award. The novel focuses on the psychological growth process of the heroine Celie. In order to realize her true self and to completely get rid of the physical and mental shackles that the patriarchal society put on her, she broke out of the prison of unequal marriage and resolutely moved towards a bright future under the encouragement of the black female singer Shug. This novel best reflects the intertextual characteristics of the text. This thesis attempts to demonstrate the relationship between positive intertextuality and negative intertextuality between The Color Purple and the fairy tale classics Cinderella from the perspective of cognitive poetics. It consists of five chapters. Chapter one is the introduction part, which presents the research background, research purpose and the overall structure. Chapter two focuses on the review of literature, containing the definition of intertextuality and cognitive poetics, and relevant previous studies on The Color Purple. Chapter Three introduces the theoretical framework. The specific analysis of relevant text is presented in Chapter Four. The last chapter is the concluding section, which summarizes the major findings, points out the limitations and put forward suggestions for further study.2.Literature Review2.1 Theoretical framework：Cognitive poetics and Intertextuality2.1.1 Introducing Cognitive poeticsCognitive poetics began with the cognitive turn in literary research in the 1970s. In 1983, Reuven first used the term cognitive poetics to explain the theory and methodology of poetry research. He believes that cognitive poetics is a theory of literary criticism, which uses the tools provided by cognitive science to explore how human information processing affects and restricts the language form of poetry, and to make a systematic explanation for the relationship between the perceived effects of literary text structure. Stockwell claims that cognitive poetics is reading about literature, that is, applying cognitive linguistics and psychology to literary text analysis, and that it is a way of thinking about literature(2007:137-138). In short, cognitive poetics is a new subject which applies theories of cognitive linguistics to the appreciation of literary works.Many scholars have explored cognitive poetics theories in combination with literary works, and have produced new interpretations of the themes and meanings of literary texts. Some people analyze Western literary works from the perspective of cognitive poetics, such as: investigating the narrative strategy of the viewpoint arrangement in Lolita; using the possible world theory to analyze the multiple narrative layers and narrative perspectives of the text of Mercy to explore the multiple themes, meanings and aesthetic values. Some people analyze Chinese literary works from the perspective of cognitive poetics, for example: using the role/background theory and script theory to analyze Chinese Tang and Song Poetry, and propose Chinese classical love scripts; using synthetic space to analyze the images of Chinese classical poetry.2.1.2 Basics of IntertextualityJulia Kristeva firstly proposed the term Intertextuality in her early worksThe Bounded Text and Word, Dialogue, Novel. In her view, a literary text is equivalent to a signifier and a word, which is the expression of a reference and an object. The concept of words is not a fixed point and does not have the same meaning, but the intersection of text space. It is a dialogue of several words, that is, the dialogue of many texts in the writers, the narrated or related characters and the present or previous cultural context. In other words, the text is absorbed and established from the past text, and then the text responds, re-emphasizes and processes, and creates a new text.There are two foundations for the development of intertextuality theory: Saussures perspective on language and Bakhtins theory of dialogism. The former regards language as a system composed of mutually different signs. If all linguistic signs are different from each other to some extent, then they can be regarded as non-referential in nature, with countless and possible relationships hidden behind them, and linguistic signs have become a relative unit with unstable meaning. This understanding of linguistic signs makes people have to reconsider the discourse itself: it is no longer a product of the authors original thoughts, nor a meaningful container, but a space where potentially countless relationships are combined. As a space composed of words and sentences with multiple potential meanings behind it, the text can only be understood in a comparative way: the reader walks out of its surface structure and enters the network of relations between it and other works and language structures.As one of the most important concepts in contemporary literary theory and cultural research, intertextuality has experienced a variety of interpretation and construction, and evolved into a variety of theoretical schools in different periods. In the 1990s, Sais Morgan put forward the new idea of negative intertextuality, which is not only an inheritance of intertextuality theory, but also a new redevelopment of this theory. He divides the concept of intertextuality into three categories: positive intertextuality, negative intertextuality and internal intertextuality. Positive intertextuality affirms the inheritance of traditional culture by the work, while negative intertextuality is to achieve the purpose of satire and rewriting through the imitation of other texts.2.2 Review of Previous Studies2.2.1 Previous studies of Intertextuality at homeThe intertextuality theory originated in the 1960s. Since then, it has set off a great academic boom. Many scholars and theorists have conducted in-depth research on it.The linguistic study of intertextuality in China began at the beginning of the 21st century. Pragmatic analysis of intertextuality in Discourse by Xin Bin (2000) is one of the early pioneering works in the related research field, and then the study of intertextuality in linguistics gradually developed. Qin Haiying(2004) examines the origin of the early intertextuality theory represented by Kristeva and the characteristics of the intertextuality theory developed in the late 1970s. Xin Bin and Li Wenyan(2019) analyze and explore the expression forms and functions of the intertextuality of news discourses based on social platforms by taking the news about the South China Sea issue on Facebook as an example. Gao Lianfang (2013) carries out a comparative study of Shakespeares four great tragedies and the Holy Bible from an intertextual perspective, trying to prove that Shakespeare might be the rare and precious genius created ever who managed to incorporate consciously and unconsciously the Scriptures of the Holy Bible into his plays.2.2.2 Previous studies of Intertextuality abroadAt present, a considerable number of influential achievements have emerged in the study of intertextuality abroad, Panagiotidou and Maria-Eireini(2012) propose a multi-layered approach to intertextuality in the light of the principles of cognitive poetics. Baron(2020) studies the birth of intertextuality by focusing on the fields of natural science,philosophy, psycho analysis, linguistics, and literary theory. Tarquinio(2017) employs the burgeoning critical approach that places cognitive science in conversation with literary theory, looking towards the start of a cognitive turn in adaptation studies and hoping to find the pleasure of the intertext. 2.2.3 Previous studies of Intertextuality in The Color PurpleAlthough The Color Purple best reflect the intertextual characteristics of the text, almost no foreign scholar has discussed the intertextuality in this novel. It is fortunate that a few scholars have studied it in China. The works are not too much but also worth learning. Zhu Ronghua (2006) uses the theory of negative intertextuality to explore Walkers new view of history embodied in The Color Purple from the relationship between women and writing, body and marriage. Zhang Yi(2013) studies Hurston and Walkers outstanding works: Their Byes Were Watching God and The Color Purple by means of intertextuality theory. It aims to reveal a true fact,that is how Walker inherits and develops Hurstons literary tradition, and to present the inheritance relationship existing in the Afro-American woman literature. 2.3 Research gapThere are many scholars who study intertextuality in literary works, but unfortunately,there is little research on The Color Purple, which best reflects the intertextual characteristics of the text. Few scholars have applied cognitive linguistic theories to study intertextuality in this novel.

2. 研究的基本内容、问题解决措施及方案

MethodologyThe main purpose of this study is to demonstrate the relationship between positive intertextuality and negative intertextuality between The Color Purple and the fairy tale classics Cinderella from the perspective of cognitive poetics. There are three steps involved in this study. Firstly, I will find the intertextual content in The Color Purple and Cinderella respectively. Secondly, the intertextual content will be divided into two parts: positive intertextuality and negative intertextuality. At last, I will present the specific analysis of them from the perspective of cognitive poetics.The questions to be addressed in this thesis are as follows: (1)How does positive intertextuality relate between The Color Purple and Cinderella？ (2)How does negative intertextuality relate between The Color Purple and Cinderella？

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