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In Freudianism: A Marxist Critique, a new concept of ―official conscious‖ and ―unofficial conscious‖ has been proposed. Bakhtin thinks that official conscious is like consciousness. It is open, closed, authoritative and finished, and its ideology can be shared with other people. On the contrary, unofficial conscious is equivalent to subconscious, which represents the individual pent-up domain. What‘s more, unofficial conscious is also called behavioral ideology. ―This behavioral ideology is in certain respects more sensitive, more responsive, more excitable and livelier than an ideology that has undergone formulation and become ‗official‘.‖ (V. N.Vološinov, 1976:88) When official conscious and unofficial conscious clash, more and more conflicts are accumulated, which sets up a dialogue between them. They interact with one another, and produce a strained relationship. However, if the breach between the official conscious and the unofficial conscious becomes deeper and wider, the inner speech will be more subdued. ―Motives under these conditions begin to fail, to lose their verbal countenance, and little by little really do turn into a ―foreign body‖ in the psyche. (V. N. Vološinov,1976:89) That‘s to say, the more intense contradiction the official conscious and unofficial conscious trigger, the more likely alienation is to happen. All these explain very well the odd behaviors of the main characters. In love, there are various degrees of alienation. Different characters have different symptoms, for example, May‘s kleptomania, Heed‘s autism, Junior‘s eroticism and paranoia. Since the outward speech causes conflicts with the inner speech, the characters are at great risk of being silenced. When these two kinds of speech engage in a confrontation, dialogues then start.

1.2 Self-Talk

Bakhtin thinks that the characters in the polyphonic novel are not only objects of authorial discourse but also subjects of their own directly signifying discourse. (Bakhtin,1984:7) They have a sense of independence, and love thinking and exploring. Compared with the writer‘s consciousness, the characters‘ consciousnesses are also equally valuable. For characters, it is important to figure out how the world appears to them, and how the characters appear to themselves. What Bakhtin emphasizes are the characters‘ thoughts and criticisms about the reality. ―And this is so because what must be discovered and characterized here is not the specific existence of the hero, not his fixed image, but the sum total of his consciousness and self-consciousness, ultimately the hero's final word on himself and on his world.‖ (Bakhtin, 1984:48) In order to plumb the characters‘ inner emotions, the analysis of the internal dialogue is necessary. According to Bakhtin, it is noticeable that when other awareness has access to self- awareness, but fails to assimilate into it. Others‘ discourse and self- discourse are created. Then the internal dialogue begins. Moreover, the character‘s internal monologue which is caused by his inner conflicts is actually equal to the internal dialogue. In Love, the main characters talk to themselves in the ways of the inner monologue, the fantasy and daydream. ―Out of every contradiction withi本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。