本文介绍的是翁达杰的回忆录《家族》，(Running in The Family)中有一章名为《我们如何看待婚姻生活》(What we think of married life)，主要讲述了他父母之间的争吵。这是他们住在一起时的经历，他得出的结论是，每当他的父亲喝醉时，他的母亲就会以类似报复的方式过度反应(Ondaatje, 2011)。翁达杰在这本回忆录中的第一个目的是强调家庭的重要性和家庭的期望。本篇英国市场营销论文代写文章由英国论文人EducationRen教育网整理，供大家参考阅读。
The chapter namely ‘What we think of married life’ in the Ondaatje’s memoir Running in the Family focuses on the arguments between his parents. This was experienced when they were residing together and the implications were drawn by him that whenever his father got drunk, his mother used to over react in a revenge like manner (Ondaatje, 2011). The first purpose of Ondaatje in this memoir was to emphasize on the essentiality of the family and expectations of the family.
Therefore, it can be considered that the memoir was written for the purpose of highlighting the role played by the expectations of society and the family. The second purpose of writing the memoir was to reflect the real incidents with the touch of fiction in order to portray a realistic image to the audience (Ondaatje, 2011). This purpose can be considered as various accounts of differences were presented by the author of the memoir under the title of what we think of married life and indicates the strong bond of wit and humor. The focus of the chapter remained on revealing the differences in the two characters of mother and father. Hence, the mix of reality and assumptions are portrayed in such a manner that various intimate details through the assumptions.
It is evident from the different chapters that a very diverse range of voice styles were used by Ondaatje. The narrative style used in the Tea Country was first person. However, this remains in contrast with the third person perspective adopted within What we think of married life. While, the powerful illustration of beauty is attempted from the first person voice in order to give a real impression, the third person voice allows the arguments presented within the chapter from a comical standpoint (Ondaatje, 2011).
The comical parts were integrated by the author even in the more serious sections where the dissolution of the parent’s marriage was discussed. The postmodern uncertainty is present in the chronological series of the varied stories presented in the Dialogues chapter. The chapter namely The Bone is highly distinct since it initiated in the first person narration but eventually addresses his own father directly by indicting that he is the son that has been made hazardous but remains to love the father (Ondaatje, 2011). The later chapter of Blind Faith indicated that the reflections was presented by Ondaatje was focused on his own feelings and direct addressing of his father wherein an attempt of save him precedes.