《看得见风景房间》对话理论解读英语语言文学专业论文.docxVIP

PAGE PAGE iii with Italian culture and the Emersons. Italian culture is characterized by “carnivalesque” that happens to be a precondition of dialogue. While having dialogue with Italian culture, Lucy is affected by the liberal and passionate Italians, longing to have dialogue with the people of different classes. The murder at Piazza Signoria triggers Lucy’s reflection on life. As a result, she feels an urge to grow up so as to cope with the twists and turns in her life. During a joyous expedition, touched by a couple who show their intimacy in public, Lucy desires for ardent love deep in her heart. In the meantime, the Emersons who happen to be the tenants of the Pension Bertolini bring Lucy an unprecedented feeling of refreshment. Unlike most tenants in the Pension Bertolini, the Emersons belong to the working class. Endowed with a dialogic mode of thinking, they are open to new ideas. Their “outsideness” and “surplus of vision” compensate for the limitation of Lucy’s vision. Through the dialogue with the Emersons, Lucy manages to reflect on the values and the views of life and love that are typical of English middle class. Mr. Emerson inspires Lucy to form the following new ideas—“delicacy” is not the only criterion for beauty; blind faith in religion keeps people in the dark about the power of human beings; love should be a kind of spontaneous and ardent feeling which is based on equality. The young George Emerson encourages Lucy to live her life with a more positive attitude. He also arouses her desire for true love. Lucy’s dialogue with Italian culture and the Emersons is classified as external dialogue. It paves the way for her internal dialogue. Finally, Lucy manages to break away from her spiritual predicament through internal dialogue (the dialogue with herself). Lucy’s self system is multi-voiced. It consists of internal positions and external positions. According to dialogical self theory, the process of Lucy’s spiritual emancipation can be roughly d