On the Tai Chi Spatial Pattern in Ursula Le Guin’s The Left Hand of Darkness
On the basis of Gabriel Zoran’s theory of spatial pattern, particularly the 3 levels of world reconstruction, the pattern of narrative space in Ursula Le Guin’s The Left Hand of Darkness is figured out. A spatial pattern of Tai Chi diagram is established on the textual level, the chronotopic level a...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
David Publishing Company
2016
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| In: |
Cultural and religious studies
Year: 2016, Volume: 4, Issue: 10, Pages: 614-622 |
| Further subjects: | B
Narrative Space
B carrier bag B chronotype B Tai Chi spatial pattern |
| Online Access: |
Presumably Free Access Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a On the basis of Gabriel Zoran’s theory of spatial pattern, particularly the 3 levels of world reconstruction, the pattern of narrative space in Ursula Le Guin’s The Left Hand of Darkness is figured out. A spatial pattern of Tai Chi diagram is established on the textual level, the chronotopic level and the topographical level simultaneously. To demonstrate the validity of this Tai Chi spatial pattern, the stylistic feature of "shfgrethor" is analyzed in accordance with the Tai Chi spatial pattern, thereby proves the pattern’s reliability. As an effect, this Tai Chi spatial pattern functions as Le Guin’s fitting shape of carrier bag in science fiction containing both mythology and realist elements into a cyclic narrative. | ||
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