Bonjour, pouvez vous me traduire ces textes SVP: THE PURSUED PROTAGONIST: Refers to the idea of a pursuing force that relentlessly acts in a severely negative m
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Bonjour, pouvez vous me traduire ces textes SVP:
THE PURSUED PROTAGONIST: Refers to the idea of a pursuing force that relentlessly acts in a severely negative manner on a character. This persecution often implies the notion of some sort of a curse or other form of terminal and utterly unavoidable damnation, a notion that usually suggests a return to ,or "hangover" of, traditional religious ideology to chastise the character for some real or imagined wrong against the moral order.
THE OUTSIDER: The one theme that cuts through virtually all Gothic is that of the "outsider," embodied in wanderers like Frankenstein's creature. The outsider, like Cain, moves along the edges of society, in caves, on lonely seacoasts, or in monasteries and convents. While the society at large always appears bourgeois in its culture and morality, the Gothic outsider is a counterforce driven by strange longings and destructive needs. While everyone else appears sane, he is insane; while everyone else appears bound by legalities, he is trying to snap the pitiless constrictions of the law; while everyone else seems to lack any peculiarities of taste or behaviour, he feels only estrangement, sick longings, terrible surges of power and devastation. He is truly countercultural, an alternate force, almost mythical in his embodiment of the burdens and sins of society.
Gothic fiction, as we have observed, is concerned with the outsider, whether the stationary figure who represses his difference, or the wandering figure who seeks for some kind of salvation, or else the individual who for whatever reason- moves entirely outside the norm. In any event, he is beyond the moderating impulses in society, and he must be punished for his transgression.
Frankenstein's monster obviously straddles these categories. He wanders through mountain areas of the far North, lurks in caves and caverns, in places no one else dare go. He seeks a mate, a complement to his own loneliness. He is gloomy and melancholy, full of self-pity and self-hatred. Like Cain, he is the perpetual outsider, marked by his appearance, doomed to wander the four corners of the earth, alone and reviled.
It may be argued that Frankenstein himself becomes an outsider as he grows more and more like his creation.
This of course is a selection of only a few elements of a novel, and no text is this predictable. It is worth considering aspects of Frankenstein in light of these ideas, though.
Some further ideas on what the Gothic is or is trying to achieve are:
A set of analysable displacements about what it means to be a human being and gendered.
A journey into the 'darker' side of life; a world of pain and destruction, fear and anxiety which shadows the daylight world of love and ethereality.
A case history of one of many types of insanity.
An exploration of (and perhaps therefore a delineation of) the limits of mortality/immortality; morality/immorality; reason/emotion; order/disorder; mind/body; masculine/feminine.
Revisiting of the 'landscapes of childhood': narcissism, incest, violence, vampirism, androgyny, sexual anarchy, the oedipal triangulation, the family romance. Projective identification (I am the Other) and splitting are the two dominant psychological defences.
A view of interruptions in the maturation process; they are tales of recuperation or reparation; resistance to loss.
An assertion of the values of silence, rectitude, balance (mind of a man and heart of a woman), restrained emotions, strength of character: the century's idealisation of the Virgin Mary.
THE PURSUED PROTAGONIST: Refers to the idea of a pursuing force that relentlessly acts in a severely negative manner on a character. This persecution often implies the notion of some sort of a curse or other form of terminal and utterly unavoidable damnation, a notion that usually suggests a return to ,or "hangover" of, traditional religious ideology to chastise the character for some real or imagined wrong against the moral order.
THE OUTSIDER: The one theme that cuts through virtually all Gothic is that of the "outsider," embodied in wanderers like Frankenstein's creature. The outsider, like Cain, moves along the edges of society, in caves, on lonely seacoasts, or in monasteries and convents. While the society at large always appears bourgeois in its culture and morality, the Gothic outsider is a counterforce driven by strange longings and destructive needs. While everyone else appears sane, he is insane; while everyone else appears bound by legalities, he is trying to snap the pitiless constrictions of the law; while everyone else seems to lack any peculiarities of taste or behaviour, he feels only estrangement, sick longings, terrible surges of power and devastation. He is truly countercultural, an alternate force, almost mythical in his embodiment of the burdens and sins of society.
Gothic fiction, as we have observed, is concerned with the outsider, whether the stationary figure who represses his difference, or the wandering figure who seeks for some kind of salvation, or else the individual who for whatever reason- moves entirely outside the norm. In any event, he is beyond the moderating impulses in society, and he must be punished for his transgression.
Frankenstein's monster obviously straddles these categories. He wanders through mountain areas of the far North, lurks in caves and caverns, in places no one else dare go. He seeks a mate, a complement to his own loneliness. He is gloomy and melancholy, full of self-pity and self-hatred. Like Cain, he is the perpetual outsider, marked by his appearance, doomed to wander the four corners of the earth, alone and reviled.
It may be argued that Frankenstein himself becomes an outsider as he grows more and more like his creation.
This of course is a selection of only a few elements of a novel, and no text is this predictable. It is worth considering aspects of Frankenstein in light of these ideas, though.
Some further ideas on what the Gothic is or is trying to achieve are:
A set of analysable displacements about what it means to be a human being and gendered.
A journey into the 'darker' side of life; a world of pain and destruction, fear and anxiety which shadows the daylight world of love and ethereality.
A case history of one of many types of insanity.
An exploration of (and perhaps therefore a delineation of) the limits of mortality/immortality; morality/immorality; reason/emotion; order/disorder; mind/body; masculine/feminine.
Revisiting of the 'landscapes of childhood': narcissism, incest, violence, vampirism, androgyny, sexual anarchy, the oedipal triangulation, the family romance. Projective identification (I am the Other) and splitting are the two dominant psychological defences.
A view of interruptions in the maturation process; they are tales of recuperation or reparation; resistance to loss.
An assertion of the values of silence, rectitude, balance (mind of a man and heart of a woman), restrained emotions, strength of character: the century's idealisation of the Virgin Mary.
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1. Réponse marinaltf
Bonjour,
Voila la traduction:
Le protagoniste POURSUIVI: renvoie à l'idée d'une force qui agit sans relâche poursuivre d'une manière fortement négative sur un personnage. Cette persécution implique souvent la notion d'une sorte de malédiction ou une autre forme de la damnation terminal et tout à fait inévitable, une notion qui suggère habituellement un retour à, ou «gueule de bois» de l'idéologie religieuse traditionnelle pour châtier le caractère pour certains réels ou imaginaires de mal contre l'ordre moral.
The Outsider: L'un thème qui traverse pratiquement tous gothique est celle de la «outsider», incarnée dans errants comme la créature de Frankenstein. L'outsider, comme Caïn, se déplace le long des bords de la société, dans des grottes, sur les côtes solitaires de la mer ou dans les monastères et les couvents. Alors que la société dans son ensemble apparaît toujours bourgeoise dans sa culture et de la moralité, l'outsider gothique est une contre-force conduit par aspirations étranges et les besoins destructrices. Alors que tout le monde semble sain d'esprit, il est fou; tandis que tout le monde semble lié par légalités, il essaie de casser les constrictions impitoyables de la loi; tandis que tout le monde semble manquer des particularités de goût ou de comportement, il ne sent que l'éloignement, désirs malades, terribles surtension de l'alimentation et de la dévastation. Il est vraiment contre-culture, un autre la force, presque mythique dans son mode de réalisation de la charge et les péchés de la société.
Roman gothique, comme nous l'avons observé, est préoccupé par l'outsider, si le chiffre stationnaire qui réprime sa différence, ou la figure errant qui cherche une sorte de salut, ou bien la personne qui se déplace pour quelque raisonnables entièrement en dehors de la norme. En tout état de cause, il est au-delà des impulsions de modération dans la société, et il doit être puni pour son crime.
Le monstre de Frankenstein chevauche évidemment ces catégories. Il erre dans les zones de montagne du Grand Nord, se cache dans les grottes et les cavernes, dans des endroits que personne d'autre osé aller. Il cherche un compagnon, un complément à sa propre solitude. Il est sombre et mélancolique, plein de pitié de soi et la haine de soi. Comme Caïn, il est l'outsider perpétuelle, marquée par son apparence, condamné à errer dans les quatre coins de la terre, seul et vilipendé.
On peut faire valoir que Frankenstein devient lui-même un outsider comme il devient de plus en plus comme sa création.
Cela est bien sûr une sélection de seulement quelques éléments d'un roman, et aucun texte est-ce prévisible. Il est utile d'examiner les aspects de Frankenstein à la lumière de ces idées, si.
Quelques autres idées sur ce que le gothique est ou cherche à atteindre sont les suivants:
Un ensemble de déplacements analysables sur ce que cela signifie d'être un être humain et genre.
Un voyage dans le côté «sombre» de la vie; un monde de douleur et de destruction, peur et l'anxiété qui ombres dans le monde la lumière du jour de l'amour et ethereality.
Une histoire de cas de l'un des nombreux types de démence.
Une exploration de (et peut-être donc une délimitation des) les limites de la mortalité / immortalité; la morale / l'immoralité; raison / émotion; ordre / désordre; corps / esprit; masculin / féminin.
Revisiter des «paysages de l'enfance»: le narcissisme, l'inceste, la violence, le vampirisme, l'androgynie, l'anarchie sexuelle, la triangulation œdipienne, le roman familial. L'identification projective (je suis l'Autre) et la division sont les deux défenses psychologiques dominantes.
Une vue d'interruptions dans le processus de maturation; ils sont les contes de récupération ou de réparation; résistance à la perte.
Une assertion des valeurs de silence, la rectitude, l'équilibre (l'esprit d'un homme et le cœur d'une femme), les émotions sobres, la force de caractère: l'idéalisation du siècle de la Vierge Marie