澳大利亚迪肯代写:传记
Keywords:澳大利亚迪肯代写:传记
传记作为一种文学体裁和赋的诗歌形式，既有历史的界定，又有传统的解读。这指的是ode的传统定义，它的功能是“以特定主题的地址的形式”被读取，[1]表示要对特定的个人执行一个目的。巴勃罗·聂鲁达(Pablo Neruda)的《爱犬颂》(Ode to the Dog)提出了一个人与狗的统一的论点，他的重点放在了以家畜为目标的事物上。他对动物的关注并没有改变颂歌的传统定义。另一方面，芭芭拉·斯穆茨以一种不同的形式探索了传记的目的，她对另一个主题是野生动物的讨论。在《反思》中，她对狒狒自然栖息地生活的描述改变了这样一种自然的假设，即传记是对人类生活的描述。尽管聂鲁达和斯木茨的方法不同，但他们对动物的关注改变了人们对文本的接受方式，因为非人类主体视角独特。这种变化的重要性反映了由于采用非人类的重点而出现的困难。两位作者都使用了文学手段和文体上的决定来理解《颂歌》和《传记》的声音和意图。我的论点是所给出的例子文本的探索和分析并不改变颂歌或传记，而是提供了不同的文学风格。
澳大利亚迪肯代写:传记
The biography as a literary genre and poetic form of an ode both hold historical definitions and readers adopt a traditional interpretation to the style of writing. This refers to an ode’s traditional definition regarding its function to be read ‘in the form of an address to a particular subject,’[1] suggesting a purpose to be performed to a certain individual. Pablo Neruda’s ‘Ode to the Dog’ presents an argument for unity between man and dog, with his focus on the mater aimed towards to the domestic animal. His focus on animals does not change the tradition definition of an ode. Barbara Smuts on the other hand, explores the purpose of biography in a different form, her discussion of another subject being wild animals. In ‘Reflections’ her account of the life of baboons in their natural habitat changes the natural assumption that biographies are description of a human’s life. Although, Neruda and Smuts differ in their approach, as authors their focus on animals generates a change in how the text is received because of a unique perspective from a non-human subject. The importance of such change reflects the difficulties which arise as a result of adopting non-human focus. Both authors use literary devices and stylistic decisions to enable the understanding of voice and intention of the ode and biography. My argument is the given examples of text explored and analysed does not change the ode or biography, however provide a different style of literature.
