英语原文共 21 页，剩余内容已隐藏，支付完成后下载完整资料
Nanjing University of Technology
毕业设计英文资料翻译
Translation of the English Documents for Graduation Design
Labyrinths and Illusions in David Lynchrsquo;s Mulholland Drive and Inland Empire
Abstract
David Lynch is known for its surrealistic and bizarre spectacles in his films in and out of America which puzzle and disturb the viewers and yet force them to ponder on the underlying mystery and meaning of them. Multilayered and disjointed narratives of his films strike most of the viewers to get lost in his magical world or Lynchland. In order to fully apprehend his convoluted cinematic narrative, this article aims at unfolding the different layers of his postmodern award-winning film, Mulholland Drive (2001) and INLAND EMPIRE (2006). To achieve this goal, Brian McHalersquo;s thoughts and notions associated with postmodern fictionrsquo;s characteristic dealing with foregrounding ontological narratives are chosen and used in this research. It is conclude that Mulholland Driversquo;s and INLAND EMPIREs embedded narratives function as a reflection of the primary narrative or diegetic leading to the construction of abysmal worlds.
Keywords: Education, Affection, On the Way to the School, Desire, State
Labyrinths and Illusions in David Lynchrsquo;s Mulholland Drive and Inland Empire
Ebrahim Barzegar
Theoretical Background: Ontological Perspective
Western philosophical tradition is divided into two major challenges. On the one hand, it questions what do we know and on the other hand, what exists which former issue is known as epistemology and the latter ontology. To followers of ontological philosophy, for solving the problem of what do we know one should first solve the problem of what exists; therefore, “they give precedence to existence over knowledge” (Jarvie, 2003, p.34).
Brian McHale in Postmodernist Fiction differentiates modernist and postmodernist fiction in relationships of two different “dominants”. He argues that “postmodernist fiction differs from modernist fiction just as a poetics dominated by ontological issues differs from one dominated by epistemological issues”. (McHale 2004, p. xii) From his standpoint, “the dominant of modernist fiction is epistemological” (ibid. p. 9). Therefore, modernist fiction is mostly concerned with epistemological questions such as “How can I interpret this world of which I am a part? [hellip;] What is there to be known?; Who knows it?; How do they know it, and with what degree of certainty?” (ibid). The propellers of this philosophy strongly believed that one can possibly know the world we are living in and elucidate our perception toward it by means of rational assessment and logical reasoning. Taking for granted that all the unanswered questions could be replied based on knowledge-centred way of thinking, epistemology, thus, depends on the assumed presence of “grand narratives” which provides sound scaffolding for turning to. In postmodernism, McHale argues, these “various stories (Enlightenment, Marxist, Hegelian) about human emancipation and progress that once served to ground and legitimate knowledge,are no longer credible” (ibid. p. 5). Hence that is where the postmodern idea of ontology generated and welcomed.
Ontological questions in postmodernism function as generators of instability and uncertainty. Being, in postmodernism, is spread across multiple worlds that often exist simultaneously, thus blurring or emphasizing the ontological boundaries between such worlds and on top of that, the reality which is the central issue of postmodern fictions. To postmodern philosophers, reality is a formation; it is a construction-based entity. Since presentation of non- entity is out of the question, postmodern texts display tendency toward reflecting the idea of fabricated reality by means of postmodern techniques like mise-en-abyme and Trompe-lrsquo;oeil.
Mise-en-abyme literally means lsquo;placed into abyss” and originally came from a heraldic term which points to an escutcheon bearing in its centre a miniature replica of itself. The term entered into literary text in 1893 by the French writer, Andre Gide and since then it was widely used to describe “self-reflexivity or self-consciousness in fiction” (Sim,2001, p. 318). In his journal
from 1893, Gide remarked that:
In a work of art, I rather like to find thus transposed, at the level of the characters, the subject of the work itself. Nothing sheds more light on the work or displays the proportions of the whole work more accurately. [hellip;] What would be more accurate, and what would explain better what Irsquo;d wanted to do in my Cahiers, in Narcisse and in La Tentative, would be a comparison with the device from heraldry that involves putting a second representation of the original shield lsquo;en abymersquo; within it. (qtd. in Dallenbach, 1989, p. 7)
Generally speaking, mise-en-abyme is a story within a story; similar to babushka dolls it resembles the larger narratives. It is one of the most effective techniques in the postmodern text for foregrounding the ontological dimension of the structures. Accor
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