查詢結果分析
來源資料
相關文獻
- From Reading to Hear-Say: Hemingway's Literature Marketing Strategy in Allying the Readers Against the Critics
- E-mail的使用對組織溝通民主化的衝擊
- The Relationship between Publicity of Corporate Information Communicatiors and Investors' Beliefs
- 「論述聚凝理論」--文化間接受理論芻議:以六朝小說為例
- 促銷品牌知名度與促銷活動類型對消費者購買意圖影響之研究
- 側說西方文論:從現象學到接受理論
- 週休二日何處去--探討社教機構之市場競爭力
- 從「廖承志傳」看中共統戰宣傳手法
- 我在對這群人說話嗎?--電視正文與接受理論的思辯
- 接受理論與翻譯中文化差異的處理
頁籤選單縮合
題名 | From Reading to Hear-Say: Hemingway's Literature Marketing Strategy in Allying the Readers Against the Critics=從閱讀到聽聞--剖析海明威與讀者聯手對抗評論家的文學行銷策略 |
---|---|
作者姓名(中文) | 陳順龍; |
作者姓名(外文) | |
書刊名 | 東海大學文學院學報 |
卷期 | 44 2003.07[民92.07] |
頁次 | 頁309-337 |
分類號 | 810.7 |
語文 | eng |
關鍵詞 | 海明威的聲名; 接受理論; 接受焦慮; 書寫是一種存在的方式; 知名度; 宣傳手法; Hemingway's reputation; Reception theory; Reception anxiety; Writing as the means of being; Publicity; Propaganda; |
中文摘要 | 在書市通常有兩極的現象,就是暢銷排行榜上的常勝作家,往往評論家對其興趣缺缺;而獲得論家青睞與好評的,作品卻又賣得很差。明威就是要自己的作品既叫好又叫座。但是既然評論家有不喜他的可能,所以他就索性藉著自的高知名度,公然藐視他們。如此一來便不啻是在對讀說:你們只要讀我的作品就好了,吸管評論家怎麼說我。籍此,海明威得以與其讀者邁立親密、直托的關係。至於那些平論家,雖然仍有擋路的可能,其影響力已被海明威「主權在我」的態勢大大削弱。由於海明威舒燌藐視評論家眾人皆知,這讓海明威看起來比自己實際的身影要大上很多。像是在牆上的巨大影子,藉著對比的效果,就把原本是兇猛的看門狗(評論家),變成了喵喵叫的小貓。 這篇論文一開始先討海聲名的本質,繼而分析海明威擔心不被讀皷接受的焦慮以及他的對應之道,最後闡述寫作對海明威而言其實已變成了一種生存的依據。作者希望透過本文的探討來解釋作家為什麼會受迎-或是透過自我吹捧及宣傳手法讓自己受歡迎-的原因。 |
英文摘要 | At eh two extremes of the book market, there have been writers of two kinds—the ones who have been able to hit the best seller list from time to time and, yet in whom the critics find very little interest. The other kinds is those who, though being able to invite favorable critical reception, cluld sell only a few copies. Hemingway wants his works to be literary masterpieces and he also wants them to sell. Sicne there is always uncertainty that the critics might find him unfavorable, Hemingway decides to take the advantage of his stardom—by holding the critics in open contempt. By so doing, he is also sending an implied message to his readers: read me for whatever I am, and not what others/critics say I am. An intimacy between Hemingway and his readers is thus built up in Hemingway’s literary reception, in which the critics, though still unavoidable, arte much weakened by Hemingway’s self-professed sovereignty. The impression that Hemingway imposed on the public, with his open contempt for the critics, made Hemingway bigger than his size. By a contrast effect, the giant shadow of Hemingway on the wall was thus able to turn the critics as a fierce watchdog into a tiny mewing cat. This paper starts by discussing the nature of Hemingway’s reputation, followed by an analysis of Hemingway’s reception anxiety as well as how he counteracted it, and ends by viewing how writing has meant for Hemingway as the means of being. Through this critical trial, the author expects to elucidate how a popular writer is made-or self-made, by the sustenance of self-driven publicity and propaganda. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。