James Joyce (1882-1941)

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詹姆斯乔伊斯

品特色
• 以爱尔兮为背景和主题。他所创作的小说大多根植亍他早年在都柏林的生活，包括他的家庨、朊友、敌人、中学和大学的岁月。乔伊斯是用英文写作的现代主义作家中将国际化因素和乡土化情节结合最好的人。
• 早年生活
• 乔伊斯出生亍都柏林近郊拉斯加地区的一个富裕的天主教家庨。他的父系祖上曾是科可市富庶的商贾。 • 1891年，乔伊斯为缅怀查尔斯· 斯图亚特· 帕内尔的死，创作了他的第一首诗。由亍他的父亲对亍罗马天主教对待帕内尔的态度非常恼火，亍是将儿子的返首诗印刷出版，甚至给梵蒂冈图乢馆也寄了一本。 • 同年11月，约翰· 乔伊斯就职亍登记企业破产的官斱机构《斯塔布斯公报》。1893年，他拿着一份养老金离职。返一年也是乔伊斯家庨开始由富裕变贫穷的转折点，造成返一状况的主要原因是乔伊斯父亲的酗酒问题以及对家庨财产的管理丌善。反复出现在乔伊斯的小说《一位青年艺术家的肖像》、《尤利西斯》以及《都柏林人》中的人物西蒙· 德拉鲁斯就以他的父亲为原型。
戏剧和诗歌创作
• 早期的乔伊斯非常热衷亍创作戏剧，然而他一生即只公开发表了一个剧本，题为《流亜者》。返个剧本诞生亍一战刚刚爆发的 1914年，在1918年公开发表。返个剧本起到了承接《都柏林人》和《尤利西斯》的重要作用。在构思《流亜者》期间，乔伊斯也开始劢笔写《尤利西斯》。 • 乔伊斯也出版了相当数量的诗集。他的第一部成熟的诗作是具有讽刺风格的《神圣的办公室》，出版亍1904年。在返部作品中乔伊斯声称自己比爱尔兮文艺复兴运劢中的很多大师都要高明。乔伊斯的第一部大型诗集则是《室内乐》，里面收录了36首抒情诗。乔伊斯因返部诗集的出版而被庞德列入意象派诗人乊列。而庞德本人在随乊而来的十几年里也成了乔伊斯最忠诚的支持者乊一。 1936年出版的《诗歌选集》收录了乔伊斯晚年的一些诗作。

乔伊斯

广泛运用了“意识流”的创作手法，形成一种崭新的风格，成为现代派小说的先驱。

Joyceꞌs writing style
【乔伊斯写作特点】
细致刻画
比如《尤利西斯》对人物内心的细致刻画。乔伊斯以他惊人的文学功底，用一百万字讲述了三个人物在十八个小时内的活动，把布鲁姆一天18小时在都柏林的游荡比作希腊史诗英雄尤利西斯10年的海上漂泊。虽篇幅巨大，但毫无赘言，三位主人公的每个细微的思想变化，都清晰真切地呈现在读者面前。

意识流
意识流图片
精神顿悟

谢谢观赏！

Joyceꞌs major works乔伊斯的主要作品
这15篇故事被奉为写作典范，那种描摹世态的高超技法，隐而不露的嘲讽以及瞬间顿悟的力量，尤为引人注目。其中的短篇小说《阿拉比》（Araby）尤为经典之作，展现出了作者文笔的魅力及其意识流作风小说的美感。乔伊斯对都柏林的情感是复杂的。在他写作都柏林的过程中，他曾经表示，自己试图通过这一系列故事来揭示城市的精神瘫痪状态。
月16日被命名为 “布鲁姆日”，仅亚于国庆节。近年来，对“布鲁姆日”的庆祝也逐渐的超越了都柏林一城的范围，扩展到越来越多的城市。

Summary
对乔伊斯的评价
詹姆斯乔伊斯是20世纪最伟大的作家之一，后现代文学的奠基者之一，其作品及意识流思想对世界文坛影响巨大。在乔伊斯的一生中，民族主义思想是贯彻其始终，他在作品中所表现出来的对民族和国家的热爱，深深感动着爱尔兰人民，甚至把《ulyssess》中描写主人公利奥波德〃布鲁姆一天活动的六月十六日命名为 “布鲁姆日”，该节日后来成为了仅次于国庆节的节日。鲁迅与乔伊斯有着许多相似之处，无论其背景、经历还是精神品格，以至于创作方法，但鲁迅似乎从未谈论到过乔伊斯，这不禁使人略感遗憾。

James_Joyce

James Joyce
James Joyce
Lifetime
James Joyce(1882-1941) 詹姆斯· 乔伊斯 Irish novelist and poet.爱尔兰作家，诗人。
James Joyce was born and educated in Ireland and spent most of his adult life in Europe, ቤተ መጻሕፍቲ ባይዱainly in France ,Italy and Switzerland.
Major work
• Chamber Music室内乐 (poems, 1907) • Dubliners都柏林人 (short-story collection, 1914) • A Portrait of the Artist as a Young Man一个年轻艺术家的画像 (novel, 1916) • Exiles流亡者 (play, 1918) • Ulysses尤里西斯 (novel, 1922) • Pomes Penyeach penyeach 诗集 (poems, 1927) • Collected Poems诗集 (poems, 1936) • Finnegans Wake芬尼根的苏醒 (novel, 1939) • The Cat and the Devil猫和魔鬼(a children's book, 1936
《 Ulysses 》
•长篇小说《尤利西斯》是一个平凡的小人物一生中平凡一天的记录，即主人公广告经纪人利奥波德· 卢布姆在1904年6月16日一天的活动。乔伊斯在本书中将象征主义与自然主义铸于一炉，借用古希腊史诗《奥德修纪》的框架，把布卢姆一天18小时在都柏林的游荡比作希腊史诗英雄尤利西斯10年的海上漂泊，使《尤利西斯》具有了现代史诗的概括性。《尤利西斯》以三个人物为主，除代表庸人主义的布卢姆外，还有他的妻子、代表肉欲主义的莫莉以及代表虚无主义的青年斯蒂芬· 迪达勒斯。小说通过这三个人一天的生活，把他们的全部历史、全部精神生活和内心世界表现得淋漓尽致。

《墙上的斑点》

《墙上的斑点》是伍尔芙于1919年发表的第一篇意识流小说。
自学问题相互展示
• 1.小说的叙事人称是什么？“我”是谁？
第一人称。从小说的叙述来看，“我”应该是一个受过良好教育的知识女性，她很敏感，喜欢幻想、冥思，想像力非常丰富。
2、这篇小说，“我”叙述了什么内容？
讨论： 1、这篇小说没什么内容，根本没有情节，没有故事。 2、整篇小说就像一个百无聊赖的女人坐在椅子上傻傻地瞎想，思绪飘到东飘到西，她的思绪是没有规律的，她的思绪就是小说的内容。 3、也不能说完全没有规律，她是对墙上的斑点进行猜测。由猜测引发的思绪就是小说的内容。
墙上的斑点
（1882－1941），英国现代著名的小说家、评论家和散文作者，也是世界三大意识流作家之一，被誉为“20世纪最佳女作家”。
主要作品：《墙上的斑点》《海浪》《到灯塔去》《雅格布的房间》弗吉尼亚·伍尔夫《达罗卫夫人》，散文集《普通读者》两部。
弗吉尼亚·伍尔夫，1882年出生在伦敦一个文学世家，父亲莱斯利·斯蒂芬爵士是著名的批评家、传记家和出版家,家族成员大都受过良好的教育，当时许多学者名流是她家的常客。在这种“谈笑有鸿儒，往来无白丁”的家庭环境中成长，受浓厚的文化氛围的熏陶，自然形成她高贵的气质。快乐过后，接踵而至的是一连串的打击，从1895年起她最亲近的人相继死亡，这使她经历了多次不同的程度精神崩溃。精神病症折磨了她一生。
讨论总结主题
作者要写的不是有关“墙上的斑点”的故事，而是借“墙上的斑点”说明一个道理：客观存在并不重要，重要的是人的意识的活动与反映；客观的显现是短暂的, 只有人的意识流动，存在于记忆中的生命体验才是永恒的。
探究拓展:
2. 伍尔夫在《墙上的斑点》中写道：“生命是多么神秘；思想是多么不准确；人类是多么无知…… 和我们的文明相比，人的生活带有多少偶然性啊……”

《_都柏林人》中爱尔兰民族文化的汉译

｜中外互鉴《都柏林人》中爱尔兰民族文化的汉译□张立恒/文詹姆斯·乔伊斯（James Joyce, 1882-1941）的早期作品《都柏林人》（Dubliners, 1914）以20世纪初的爱尔兰都柏林为背景。

当时的都柏林仍处于英国的统治之下，自由邦和新教徒的战争仍在持续，社会动荡不安。

同时，大饥荒的影响还未完全散去，1903年颁布的《温德姆法》的效果仍不太明显[1]。

在乔伊斯眼中，处于英国和天主教双重压迫下的爱尔兰是一个不可救药的国家，而都柏林则是它“瘫痪的中心”。

《都柏林人》这一部短篇小说集正是以瘫痪和死亡为主题，简短的15个故事却涵盖了20世纪初都柏林中下层人民从童年到成年再到中年的全部生活，涉及学习、宗教、职场、婚姻等多个生活主题。

本文分析爱尔兰民族文化的翻译，也旨在强调乔伊斯的爱尔兰民族意识应在译本中得以保留。

曹波教授曾提出，挖掘作家及作品中的“英国性”或“爱尔兰性”成为判定作家是爱尔兰作家还是英爱作家的重要依据[2]。

通过挖掘，显而易见，乔伊斯的民族意识是完全属于爱尔兰的。

因此，这种民族意识应在译本中保留。

1 爱尔兰民族文化在汉译本中的体现民族文化根植于各民族生活的丰厚土壤之中，具有不同的传统和鲜明的民族特色，但是由于人这个共同的因素在其中的主体作用，文化绝不是完全孤立的，而是可以互相交流的，即民族文化具有可译性。

《都柏林人》共15个故事，均聚焦于都柏林市民的日常生活，小到日常语言，大到宗教信仰。

本文选取《都柏林人》中体现爱尔兰民族文化最集中、最具代表性的三个方面：语言文化、酒文化、宗教文化进行对比分析。

1.1 语言文化德国语言学家亚历山大·冯·洪堡曾提到，语言是一个民族生存所必需的“呼吸”，是它的灵魂之所在。

爱尔兰民族的语言为盖尔语，是爱尔兰民族的象征。

随着英国殖民者的入侵和本土爱尔兰人的被迫迁移，到1860年左右，英语开始代替爱尔兰语成为日常用语，爱尔兰语从此没落到不足以成为通用语。

詹姆斯乔伊斯是谁

詹姆斯乔伊斯是谁詹姆斯·奥古斯汀·艾洛依休斯·乔伊斯James Augustine Aloysius Joyce，1882年2月2日——1941年1月13日，爱尔兰作家和诗人，20世纪最重要的作家之一。

代表作包括短篇小说集《都柏林人》1914、长篇小说《一个青年艺术家的画像》1916、《尤利西斯》1922以及《芬尼根的苏醒》1939。

尽管乔伊斯一生大部分时光都远离故土爱尔兰，但早年在祖国的生活经历却对他的创作产生了深远的影响。

他的大部分作品都以爱尔兰为背景和主题。

他所创作的小说大多根植于他早年在都柏林的生活，包括他的家庭、朋友、敌人、中学和大学的岁月。

乔伊斯是用英文写作的现代主义作家国际化因素和乡土化情节结合最好的人。

詹姆斯乔伊斯出生于爱尔兰的都柏林，父亲是一个坚定的民族主义者，而母亲则是一个虔诚的天主教徒，他是这个家庭的长子，身后还有一群弟弟妹妹，因为长期殖民统治的原因，当时爱尔兰岛内物质贫乏，但是詹姆斯·乔伊斯年少聪颖，父亲对这个长子充满厚望，经省节省开支给长子买书阅读。

詹姆斯·乔伊斯从小就到天主教会学校接受教育，还进入了都柏林大学学习哲学和语言，也是在进入大学的次年1899年时，詹姆斯·乔伊斯正式走上了文学的道路，他在英国文学杂志上发表了关于易卜生戏剧的评论，得到了易卜生的赞许。

1904年开始，詹姆斯·乔伊斯开始创作短篇小说集《都柏林人》，在爱尔兰文坛暂露头角，也开始形成了自己的写作风格，“意识流”技巧已经运用到了这部小说集里。

詹姆斯·乔伊斯生平，以1922年创作的《尤利西斯》为最顶峰，这部小说后来影响了众多现代作家。

1940年后，詹姆斯·乔伊斯搬到了苏黎世，晚年遭受病痛的折磨，于1941年因十二指肠溃疡穿孔而亡。

第二次世界大战爆发后，乔伊斯被迫离开巴黎，重新回到苏黎世，并最终在那里去世。

去世后，乔伊斯被葬在苏黎世内的“弗伦特恩公墓”。

Joyce

悲伤的情绪是一张向两面观望着的脸，而这两者都不过是它的两个不
同的阶段。
众荷喧哗而我是挨你最近最静最温柔的一朵你向池心轻轻扔过去一
粒石子我的脸便哗然红了起来
今天心情上了点雾
LOGO
Writing Style
1.Meticulous:pay much more attention on characters's thoughts from their deep heart.view alternates between first person and third person use indirect quotation in a free way monologue from the inner heart eg:Ulysses uses 1 million words to describe three characters' action within 18 hours. 2.Obscure:somes writers and comments thought that readers would ask themselves a qustion that it is the meaning he really wants to convey.His wife also condemned him "Can not you write something for readers to easily understand"?
At that time---England controled Ireland---1898 entered into university college Dublin---learned modern languages---1902,6 graduated---left Ireland---continental Europe---lived in Trieste(10)(teached English) -1920 settled down in Paris

《阿拉比》象征手法的运用例析

《阿拉比》象征手法的运用例析《阿拉比》是《都柏林人》中“童年”的最后一篇，可以认为是乔伊斯本人童年情感的写照。

自小说创作以来，小说受到社会各界人士的广泛关注。

很多读者认为该小说是单纯的对小男孩情窦初开的解读，还有部分读者认为小说内容与宗教有着很大的联系，将这种联系过分夸大。

实际上，乔伊斯想通过描述一个孩子对朦胧爱情的追求，以及在追求的过程中对现实所产生的失望，进而表明对当时黑暗、腐朽的柏林的批判，最终凸显宗教虚妄这一主题思想。

运用多种意象对比以及象征手法，对主题思想进一步深化。

一、《阿拉比》的相关简介詹姆斯·乔伊斯（James Joyce）出生于1882年，逝世于1941年，是爱尔兰作家以及诗人，从小生长于柏林的信奉天主教的家庭中，深受天主教文化的影响。

他的父亲对民族主义有着较为坚定的信念，母亲也是比较虔诚的天主教徒。

乔伊斯出生时的爱尔兰，还是英国的殖民地，并且战乱不断，民不聊生，同时他有着一大群的弟弟妹妹，使得家庭条件并不富裕。

但是在众多兄弟姐妹当中，父亲似乎对乔伊斯比较偏爱，当他全家都没有足够吃的东西时，他的父亲还坚决给乔伊斯购买外国书籍，这也使得乔伊斯在小时候就打下了良好的文学基础。

然而，他的一生颠沛流离，辗转于各大城市，但对文学却矢志不渝，勤奋写作，为世人留下了宝贵的精神财富。

《阿拉比》是《都柏林人》中的一篇，乔伊斯在1904年才开始创作《都柏林人》，这是他久负盛名的短篇小说集，可以称得上是20世纪整个西方最为著名的短片小说集。

该小说集主要是取材于二三十年代的都柏林，深刻揭示了中下层人民的生活，通过将十五个故事汇集起来，就像一幅印象主义的绘画，以简练的笔触，浮现出苍凉世态。

其中《阿拉比》中主要描写的是住在北理齐的男孩希望获得他朋友姐姐的芳心，围绕这个线索展开小说描写。

他承诺要给他朋友的姐姐在阿拉比集市买一些礼物，当他姑父答应给他钱后的几天，一直想着给那女孩买什么礼物。

然而，在去集市的那天，姑父回家比较晚，当把钱给这个男孩时，集市很多店都关门了，仅剩的几家店里东西又太贵，已经超过了他的购买能力，在阿拉比集市他得到的只是失望。

都柏林人(译文经典)

都柏林人（译文经典）
读书笔记模板
01 思维导图
03 读书笔记 05 目录分析
目录
02 内容摘要 04 精彩摘录 06 作者介绍
思维导图
本书关键字分析思维导图
文学
詹姆斯乔伊斯
意识流
公寓
常青节
办公室
赛车
译文
都柏林
小说阴云
母亲
经典
泥土
委员会
阿拉比伊芙琳
圣恩
事件
遭遇
内容摘要
詹姆斯·乔伊斯(JamesJoyce，1882-1941)，爱尔兰作家、诗人。1882年2月2日出生于都柏林，1941年1月 13日卒于瑞士苏黎世。他是意识流文学的开山鼻祖，其长篇小说《尤利西斯》成为意识流文学的代表作，是二十世纪最伟大的小说之一。他一生颠沛流离，辗转于的里雅斯特、罗马、巴黎等地，多以教授英语和为报刊撰稿糊口，又饱受眼疾折磨，到晚年几乎完全失明。但他对文学矢志不渝，勤奋写作，终成一代巨匠。《都柏林人》是詹姆斯·乔伊斯久负盛名的短篇小说集，称得上20世纪整个西方最著名的短篇小说集了。
她迫不得已地向他抬起苍白的面孔，像是一只孤独无助的动物。她双眼望着他，没有显示出爱意，也没有显示出惜别之情，仿佛是路人似的。
整个爱尔兰都在下雪。雪落在阴晦的中部平原的每一片土地上，落在没有树木的山丘上，轻轻地落在艾伦沼地上，再往西，轻轻地落进山农河面汹涌澎湃的黑浪之中。
目录分析
姊妹们一次遭遇
阿拉比伊芙琳
赛车以后两个浪汉
公寓一小片阴云
何其相似泥土
痛苦的母亲
圣恩
死者
作者介绍
詹姆斯·乔伊斯（James Joyce,1882-1941），爱尔兰作家、诗人，二十世纪最伟大的作家之一，后现代文学的奠基者之一。 1920年起定居巴黎。其一生颠沛流离，辗转于欧洲各地，靠教授英语和写作糊口，晚年饱受眼疾之痛，几近失明。其作品及“意识流”思想对世界文坛影响巨大。作品结构复杂、用语奇特、极富独创性。主要作品是短篇小说集《都柏林人》（1914）：描写下层市民的日常生活，显示社会环境对人的理想和希望的毁灭；自传体小说《青年艺术家的自画像》（1916）以大量内心独白描述人物心理及其周围世界；代表作长篇小说《尤利西斯》（1922）表现现代社会中人的孤独与悲观；后期作品长篇小说《芬尼根的守灵夜》（1939）借用梦境表达对人类的存在和命运的终极思考，语言极为晦涩难懂。

英国文学 James Joyce

James Joyce (1882-1941), Irish novelist, noted for his experimental use of language in such works as Ulysses (1922) and Finnegans Wake (1939). Joyce's technical innovations in the art of the novel include an extensive use of interior monologue; he used a complex network of symbolic parallels drawn from the mythology, history, and literature, and created a unique language of invented words, puns, and allusions.詹姆斯·奥古斯汀·艾洛依休斯·乔伊斯（James Augustine Aloysius Joyce），（1882年2月2曰——1941年1月13曰），爱尔兰作家和诗人，20世纪最重要的作家之一。

代表作包括短篇小说集《都柏林人》（1914）、长篇小说《一个青年艺术家的画像》（1916）、《尤利西斯》（1922）以及《芬尼根的苏醒》（1939）。

尽管乔伊斯一生大部分时光都远离故土爱尔兰，但早年在祖国的生活经历却对他的创作产生了深远的影响。

他的大部分作品都以爱尔兰为背景和主题。

他所创作的小说大多根植于他早年在都柏林的生活，包括他的家庭、朋友、敌人、中学和大学的岁月。

乔伊斯是用英文写作的现代主义作家中将国际化因素和乡土化情节结合最好的人。

James Joyce was born in Dublin, on February 2, 1882, as the son of John Stanislaus Joyce, an impoverished gentleman, who had failed in a distillery business and tried all kinds of professions, including politics and tax collecting. Joyce's mother, Mary Jane Murray, was ten years younger than her husband. She was an accomplished pianist, whose life was dominated by the Roman Catholic Church. In spite of their poverty, the family struggled to maintain a solid middle-class facade.乔伊斯出生于都柏林近郊拉斯加地区的一个富裕的天主教家庭。

James Joyce

Emotionally，she is passionate to her brothers and nostalgic for the past and also eager for love. But at last she becomes apathetic, revealing the paralytic nature of Dubliners because of religious anaesthesia (麻醉) and her mental confusion and timidity.
In what way does the story reveal the confinement of gender role?
The story “Eveline” through the representation of Eveline’s and her mother’s life shows that women at that time should be domestic, sacrificial and votive to the family, but they don’t have the right to determine or control things independently, even their own life, marriage and fate; they have to accept their unbearable life passively and endure miseries silently and obediently.
This technique helps the author illustrate how Eveline is in two minds in deciding to go or not. In reading the story, we have to do some imaginative work to recreate the events, but we can gain the illusion of being present to the private thoughts of Eveline.

英国文学JamesJoyce

The setting is more or less the same for these stories: dismal, dreary and dull, and the major characters are basically out of the same mold—they aspire for something infinitely better than their lot (fate) has offered them.
British Literature
James Joyce
6
In thematic terms, he never forgot to promote the spiritual freedom of his native country with his writings. Irish nationalism features prominently in his works.
This is followed by a democratic stage, during which individualism grows ever stronger and brings about the fourth stage. In the last stage, society breaks down, chaos and anarchy follows, and the confusion drives people back to a belief in the supernatural gods. Then the cycle begins again. (lyric form, narrative form, dramatic form)
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JamesJoyce生平及其作品

▪a leading modernist, and one of the greatest innovators in the English language. ▪experimented with stream-of-consciousness, the underlying psychological as well as emotional motives of characters, and the various possibilities of fractured narrative and chronology. ▪his literary achievements and creativity are influential even today.
• “It is ‘a’ portrait, one of many that could have been painted: the novel focuses upon the growth of the protagonist’s mind, pursuing in a labyrinthine but progressive manner his quest for the liberated condition of the incipient artist. Also, since Stephen is to become an ‘artist’ it is mandatory that his tale be told pictorially, that the reader perceive the wholeness of Joyce’s vision.”
• “I have tried to present it to the indifferent public under four of its aspects: childhood, adolescence, maturity and public life. The stories are arranged in this order.”

《都柏林人》读书报告

LOGO
主题——悔罪
《姐妹们》中，弗林神父心智上神秘的混乱以及他与“我”一个孩童之间，有些暧昧的关系，都在 “我”奇异的梦境中得到了说明：那神父分明想要忏悔什么，而“我”被动的成为了别人悔罪的寄托。《遭遇》虽然写的是孩童逃学，但那种渴望自由的情绪和之后的幻灭，与人生其他时候的感受别无二致，而“我”与那位神秘年长绅士的遭遇，也是有着明显的忏悔和倾听忏悔的性质，到最后，那年长者悔罪的诉说也影响了“我”，以致“我”在想到自己的同伴时，也有了悔罪的口气：“我是真的很懊悔，因为在我心里，我曾经一直有点瞧不起他。” 《伊芙琳》里，少女初次掌握自己命运的努力，没有被父亲的权威压抑，却在最后一刻向上帝祈求指引的时候，遭到了因悔罪而导致的挫折。
Page 2
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写作背景
乔伊斯《都柏林人》问世于19 世纪末,当时的爱尔兰政治仍处于英国政府的专制下,爱尔兰民族自治运动虽高潮迭起,但囿于英政府的高压并没有发展起来。此时的爱尔兰经济也很不景气。在政治经济形势混乱低迷的环境，整个爱尔兰社会都弥漫着麻木不仁、死气沉沉的精神状态。这种精神状态被乔伊斯定义为“瘫痪”（Paralysis），精神瘫痪这一主题在乔伊斯的作品中集中表现在宗教瘫痪、政治瘫痪、情感瘫痪、心理瘫痪4个方面。
LOGO
片段节选——《伊芙琳》
她突然感到有一阵冲动的恐惧，就站了起来。逃吧！她一定要逃！弗兰克会救她。他会给她生活，也许还有爱。可是她想活。她为什么就该没有幸福？她有权获得幸福。弗兰克会用双臂接住她，用双臂抱住她。他会救她。她觉得自己两颊冰凉，在迷乱的痛苦中，她祈祷上帝来指引她，指出什么才是她的责任。如果她去了，明天她就会和弗兰克一起航行在海上，朝着布宜诺斯艾利斯航行。他们已经预定了行程，他为她做了这么多，她还能后撤吗？她很忧伤，她一直翕动着嘴唇，默默做着热诚的祷告。

英国文学 james joyce

1900 Published, at age 18, a review of Ibsen's When We Dead Awaken in the London Fortnightly Review, which led to correspondence with Ibsen.
1907 Published his first book, Chamber Music, a collection of 36 poems.
James Joyce: 1882\1941
Araby
JAMES JOICE (1882—1941)
Irish novelist and poet Known for Pioneering new
narrative techniques, especially stream-ofconsciousness, and experimenting with the uses of language
This explicit mention of darkness allows for a greater impression to be made when Mangans sister (the object of the boys affection) first makes an appearance.
getting her something from the bazaar.
with eastern enchantment. In 1894, this bazzar was held in Dublin 6 days.
character: What is the boy like?
How old is he? What do you know about his

JamesJoyce乔伊斯简介

James Joyce乔伊斯简介1882-1941 短篇小说：Dubiners都柏林人长篇小说：A Portrait of the Artist as a Young Man青年艺术家的画像;Ulysess尤利西斯;Finnegans Wake芬尼根的觉醒Introductionin full James Augustine Aloysius Joyceborn Feb. 2, 1882, Dublin, Ire.died Jan. 13, 1941, Zürich, Switz.•James Joyce, oil on canvas by Jacques-Émile Blanche, 1935.Irish novelist noted for his experimental use of language and exploration of new literary methods in such large works of fiction as Ulysses(1922) and Finnegans Wake (1939).Early lifeJoyce, the eldest of 10 children in his family to survive infancy, was sent at age six to Clongowes Wood College, a Jesuit boarding school that has been described as “the Eton of Ireland.” But his father was not the man to stay affluent for long; he drank, neglected his affairs, andborrowed money from his office, and his family sank deeper and deeper into poverty, the children becoming accustomed to conditions of increasing sordidness. Joyce did not return to Clongowes in 1891; instead he stayed at home for the next two years and tried to educate himself, asking his mother to check his work. In April 1893 he and his brother Stanislaus were admitted, without fees, toBelvedere College, a Jesuit grammar school in Dublin. Joyce did well there academically and was twice elected president of the Marian Society, a position virtually that of head boy. He left, however, under a cloud, as it was thought (correctly) that he had lost his Roman Catholic faith.He entered University College, Dublin, which was then staffed by Jesuit priests. There he studied languages and reserved his energies for extracurricular activities, reading widely—particularly in books not recommended by the Jesuits—and taking an active part in the college's Literary and Historical Society. Greatly admiring Henrik Ibsen, he learned Dano-Norwegian to read the original and had an article, Ibsen's New Drama—a review of the play When We Dead Awaken—published in the London Fortnightly Review in 1900 just after his 18th birthday. This early success confirmed Joyce in his resolution to become a writer and persuaded his family, friends, and teachers that the resolution was justified. In October 1901 he published an essay, "The Day of the Rabblement," attacking the Irish Literary Theatre (later the Dublin Abbey Theatre) for catering to popular taste.Joyce was leading a dissolute life at this time but worked sufficiently hard to pass his final examinations, matriculating with “second-class honours in Latin” and obtaining the degree of B.A. on Oct. 31, 1902. Never did he relax his efforts to master the art of writing. He wrote verses and experimented with short prose passages that he called “epiphanies,”a word that Joyce used to describe his accounts of moments when the real truth about some person or object was revealed. To support himself while writing, he decided to become a doctor, but, after attending a few lectures in Dublin, he borrowed what money he could and went to Paris, where he abandoned the idea of medical studies, wrote some book reviews, and studied in the Sainte-Geneviève Library.Recalled home in April 1903 because his mother was dying, he tried various occupations, including teaching, and lived at various addresses, including the Martello Tower at Sandycove, now Ireland's Joyce Museum. He had begun writing a lengthy naturalistic novel, Stephen Hero, based on the events of his own life, when in 1904 George Russell offered £1 each for some simple short stories with an Irish background to appear in a farmers' magazine,The Irish Homestead. In response Joyce began writing the stories published as Dubliners(1914). Three stories, "The Sisters," "Eveline," and "After the Race," had appeared under the pseudonym Stephen Dedalus before the editor decided that Joyce's work was not suitable for his readers. Meanwhile Joyce had met a girl named Nora Barnacle, with whom he fell in love on June 16, the day that he chose as what is known as “Bloomsday” (the day of his novel Ulysses). Eventually he persuaded her to leave Ireland with him, although he refused, on principle, to go through a ceremony of marriage.Early travels and worksJoyce and Nora left Dublin together in October 1904. Joyce obtained a position in the Berlitz School, Pola, Austria-Hungary, working in his spare time at his novel and short stories. In 1905 they moved to Trieste, where James's brother Stanislaus joined them and where their children, George and Lucia, were born. In 1906–07, for eight months, he worked at a bank in Rome, disliking almost everything he saw. Ireland seemed pleasant by contrast; he wrote to Stanislaus that he had not given credit in his stories to the Irish virtue of hospitality and began to plan a new story, "The Dead." The early stories were meant, he said, to show the stultifying inertia and social conformity from which Dublin suffered, but they are written with a vividness that arises from his success in making every word and every detail significant. His studies in European literature had interested him in both the Symbolists and the Realists; his work began to show a synthesis of these two rival movements. He decided that Stephen Hero lacked artistic control and form and rewrote it as “a work in five chapters” under a title—A Portrait of the Artist as a Young Man—intended to direct attention to its focus upon the central figure.In 1909 he visited Ireland twice to try to publish Dubliners and set up a chain of Irish cinemas. Neither effort succeeded, and he was distressed when a former friend told him that he had shared Nora's affections in the summer of 1904. Another old friend proved this to be a lie. Joyce always felt that he had been betrayed, however, and the theme of betrayal runs through much of his later writings.When Italy declared war in 1915 Stanislaus was interned, but James and his family were allowed to go to Zürich. At first, while he gave private lessons in English and worked on the early chapters of Ulysses—which he had first thought of as another short story about a “Mr. Hunter”—his financial difficulties were great. He was helped by a large grant from Edith Rockefeller McCormick and finally by a series of grants from Harriet Shaw Weaver, editor of the Egoist magazine, which by 1930 had amounted to more than £23,000. Her generosity resulted partly from her admiration for his work and partly from her sympathy with his difficulties, for, as well as poverty, he had to contend with eye diseases that never really left him. From February 1917 until 1930 he endured a series of 25 operations for iritis, glaucoma, and cataracts, sometimes being for short intervals totally blind. Despite this he kept up his spirits and continued working, some of his most joyful passages being composed when his health was at its worst.Unable to find an English printer willing to set up A Portrait of the Artist as a Young Man for book publication, Weaver published it herself, having the sheets printed in the United States, where it was also published, on Dec. 29, 1916, by B.W. Huebsch, in advance of the English Egoist Press edition. Encouraged by the acclaim given to this, in March 1918, the American Little Review began to publish episodes from Ulysses, continuing until the work was banned in December 1920. An autobiographical novel, A Portrait of the Artist traces the intellectual and emotional development of a young man named Stephen Dedalus and ends with his decision to leave Dublin for Paris to devote his life to art. The last words of Stephen prior to his departure are thought to express the author's feelings upon the same occasion in his own life: “Welcome, O life! I go to encounter for the millionth time the reality of my experience and to forge in the smithy of my soul the uncreated conscience of my race.”UlyssesAfter World War I Joyce returned for a few months to Trieste, and then—at the invitation of Ezra Pound—in July 1920 he went to Paris. His novel Ulysses was published there on Feb. 2, 1922, by Sylvia Beach, proprietor of a bookshop called “Shakespeare and Company” Ulysses is constructed as a modern parallel to Homer's Odyssey. All of the action of the novel takes place in Dublin on a single day (June 16, 1904). The three central characters—Stephen Dedalus (the hero of Joyce's earlierPortrait of the Artist), Leopold Bloom, a Jewish advertising canvasser, and his wife, Molly Bloom—are intended to be modern counterparts of Telemachus, Ulysses, and Penelope. By the use of interior monologue Joyce reveals the innermost thoughts and feelings of these characters as they live hour by hour, passing from a public bath to a funeral, library, maternity hospital, and brothel.The main strength of Ulysses lies in its depth of character portrayal and its breadth of humour. Yet the book is most famous for its use of a variant of the interior monologue known as the “stream-of-consciousness” technique. Joyce claimed to have taken this technique from a forgotten French writer, Édouard Dujardin (1861–1949), who had used interior monologues in his novel Les Lauriers sont coupés(1888; We'll to the Woods No More), but many critics have pointed out that it is at least as old as the novel, though no one before Joyce had used it so continuously. Joyce's major innovation was to carry the interior monologue one step further by rendering, for the first time in literature, the myriad flow of impressions, half thoughts, associations, lapses and hesitations, incidental worries, and sudden impulses that form part of the individual's conscious awareness along with the trend of his rational thoughts. This stream-of-consciousness technique proved widely influential in much20th-century fiction.Sometimes the abundant technical and stylistic devices in Ulysses become too prominent, particularly in the much-praised “Oxen of the Sun” chapter (Episode 14), in which the language goes through every stage in the development of English prose from Anglo-Saxon to the present day to symbolize the growth of a fetus in the womb. The execution is brilliant, but the process itself seems ill-advised. More often the effect is to add intensity and depth, as, for example, in the “Aeolus” chapter (Episode 7) set in a newspaper office, with rhetoric as the theme. Joyce inserted into it hundreds of rhetorical figures and many references to winds—something “blows up” instead of happening, people “raise the wind” when they are getting money—and the reader becomes aware of an unusual liveliness in the very texture of the prose. The famous last chapter of the novel, in which we follow the stream of consciousness of Molly Bloom as she lies in bed, gains much of its effect from being written in eight huge unpunctuated paragraphs.Ulysses, which was already well known because of the censorship troubles, became immediately famous upon publication. Joyce had prepared for its critical reception by having a lecture given by Valery Larbaud, who pointed out the Homeric correspondences in it and that “each episode deals with a particular art or science, contains a particular symbol, represents a special organ of the human body, has its particular colour . . .proper technique, and takes place at a particular time.” Joyce never published this scheme; indeed, he even deleted the chapter titles in the book as printed. It may be that this scheme was more useful to Joyce when he was writing than it is to the reader.Finnegans Wake•James Joyce, photograph by Gisèle Freund, 1939.In Paris Joyce worked on Finnegans Wake, the title of which was kept secret, the novel being known simply as “Work in Progress” until it was published in its entirety in May 1939. In addition to his chronic eye troubles, Joyce suffered great and prolonged anxiety over his daughter's mental health. What had seemed her slight eccentricity grew into unmistakable and sometimes violent mental disorder that Joyce tried by every possible means to cure, but it became necessary finally to place her in a mental hospital near Paris. In 1931 he and Nora visited London, where they were married, his scruples on this point having yielded to his daughter's complaints.Meanwhile he wrote and rewrote sections of Finnegans Wake; often a passage was revised more than a dozen times before he was satisfied. Basically the book is, in one sense, the story of a publican in Chapelizod, near Dublin, his wife, and their three children; but Mr. Humphrey Chimpden Earwicker (often designated by variations on his initials, HCE, one form of which is “Here Comes Everybody”), Mrs. Anna Livia Plurabelle, Kevin, Jerry, and Isabel are every family of mankind, the archetypal family about whom all humanity is dreaming. The 18th-century Italian Giambattista Vico provides the basic theory that history is cyclic; to demonstrate this the book begins with the end of a sentence left unfinished on the last page. It is thousands of dreams in one. Languages merge: Anna Livia has “vlossyhair”—włosy being Polish for “hair”; “a bad of wind” blows, bâd being Turkish for “wind.” Charac ters from literature and history appear and merge and disappear as “the intermisunderstanding minds of the anticollaborators” dream on. On another level, the protagonists are the city of Dublin and the River Liffey—which flows enchantingly through the page s, “leaning with the sloothering slide of her, giddygaddy, grannyma, gossipaceous Anna Livia”—standing as representatives of the history of Ireland and, by extension, of all human history. And throughout the book Joyce himself is present, joking, mocking his critics, defending his theories, remembering his father, enjoying himself.After the fall of France in World War II (1940), Joyce took his family back to Zürich, where he died, still disappointed with the reception given to his last book.AssessmentJames Joyce's subtle yet frank portrayal of human nature, coupled with his mastery of language and brilliant development of new literary forms, made him one of the most commanding influences on novelists of the 20th century. Ulysses has come to be accepted as a major masterpiece, two of its characters, Leopold Bloom and his wife, Molly, being portrayed with a fullness and warmth of humanity unsurpassed in fiction. Joyce's A Portrait of the Artist as a Young Man is also remarkable for the intimacy of the reader's contact with the central figure and contains some astonishingly vivid passages. The 15 short stories collected in Dubliners mainly focused upon Dublin life's sordidness, but "The Dead" is one of the world's great short stories. Critical opinion remains divided over Joyce's last work, Finnegans Wake, a universal dream about an Irish family, composed in a multilingual style on many levels and aiming at a multiplicity of meanings; but, although seemingly unintelligible at first reading, the book is full of poetry and wit, containing passages of great beauty. Joyce's other works—some verse (Chamber Music, 1907; Pomes Penyeach, 1927; Collected Poems, 1936) and a play, Exiles(1918)—though competently written, added little to his international stature.James Stephen Atherton Ed.Additional ReadingA standard biography, Richard Ellmann, James Joyce, new and rev. ed. (1982), is reliable and exhaustive, while his The Consciousness of Joyce (1977, reissued 1981) examines Joyce's thought, especially his political views. Chester G. Anderson, James Joyce and His World (1967, reissued 1978), is a sympathetic study of his life and works. Harry Blamires, The Bloomsday Book(1966, reprinted 1974), is an excellent guide to Ulysses. Frank Budgen, James Joyce and the Making of Ulysses, new ed. (1960, reprinted 1972), gives an intimate account of Joyce at work. Hugh Kenner, Joyce's Voices (1978), is a provocative study of Ulysses. C.H. Peake, James Joyce, the Citizen and the Artist (1977), employs traditional literary values in criticizing Joyce's works. For the earlier works, both Marvin Magalaner, Time of Apprenticeship: The Fiction of Young James Joyce (1959, reissued 1970); and a collection of critical essays ed. by Clive Hart, James Joyce's Dubliners (1969), are useful. Emer Nolan, Joyce and Nationalism (1995), examines Joyce's connections to Ireland. Derek Attridge and Marjorie Howes (eds.), Semicolonial Joyce (2000), offers political perspectives on the author. Zack Bowen and James F. Carens (eds.), A Companion to Joyce Studies (1984), is a good handbook. Thomas Jackson Rice, James Joyce: A Guide to Research (1982), is indispensable for the serious student of Joyce.欢迎您的下载，资料仅供参考！。

乔伊斯短篇小说Clay双语版

ClayJames Joyce (1882-1941)THE matron had given her leave to go out as soon as the women's tea was over and Maria looked forward to her evening out. The kitchen was spick and span: the cook said you could see yourself in the big copper boilers. The fire was nice and bright and on one of the side-tables were four very big barmbracks. These barmbracks seemed uncut; but if you went closer you would see that they had been cut into long thick even slices and were ready to be handed round at tea. Maria had cut them herself.Maria was a very, very small person indeed but she had a very long nose and a very long chin. She talked a little through her nose, always soothingly: "Yes, my dear," and "No, my dear." She was always sent for when the women quarrelled Over their tubs and always succeeded in making peace. One day the matron had said to her:"Maria, you are a veritable peace-maker!"And the sub-matron and two of the Board ladies had heard the compliment. And Ginger Mooney was always saying what she wouldn't do to the dummy who had charge of the irons if it wasn't for Maria. Everyone was so fond of Maria.The women would have their tea at six o'clock and she would be able to get away before seven. From Ballsbridge to the Pillar, twenty minutes; from the Pillar to Drumcondra, twenty minutes; and twenty minutes to buy the things. She would be there before eight. She took out her purse with the silver clasps and read again the words A Present from Belfast. She wasvery fond of that purse because Joe had brought it to her five years before when he and Alphy had gone to Belfast on a Whit-Monday trip. In the purse were two half-crowns and some coppers. She would have five shillings clear after paying tram fare. What a nice evening they would have, all the children singing! Only she hoped that Joe wouldn't come in drunk. He was so different when he took any drink.Often he had wanted her to go and live with them;-but she would have felt herself in the way (though Joe's wife was ever so nice with her) and she had become accustomed to the life of the laundry. Joe was a good fellow. She had nursed him and Alphy too; and Joe used often say:"Mamma is mamma but Maria is my proper mother."After the break-up at home the boys had got her that position in the Dublin by Lamplight laundry, and she liked it. She used to have such a bad opinion of Protestants but now she thought they were very nice people, a little quiet and serious, but still very nice people to live with. Then she had her plants in the conservatory and she liked looking after them. She had lovely ferns and wax-plants and, whenever anyone came to visit her, she always gave the visitor one or two slips from her conservatory. There was one thing she didn't like and that was the tracts on the walks; but the matron was such a nice person to deal with, so genteel.When the cook told her everything was ready she went into the women's room and began to pull the big bell. In a few minutes the women began to come in by twos and threes, wiping their steaming hands in their petticoats and pulling down the sleeves of their blouses over their red steaming arms. They settled down before their huge mugs which the cook and the dummy filled up with hot tea, already mixed with milk and sugar in huge tin cans. Maria superintended the distribution of the barmbrack and saw that every woman got her four slices.There was a great deal of laughing and joking during the meal. Lizzie Fleming said Maria was sure to get the ring and, though Fleming had said that for so many Hallow Eves, Maria had to laugh and say she didn't want any ring or man either; and when she laughed her grey-green eyes sparkled with disappointed shyness and the tip of her nose nearly met the tip of her chin. Then Ginger Mooney lifted her mug of tea and proposed Maria's health while all the other women clattered with their mugs on the table, and said she was sorry she hadn't a sup of porter to drink it in. And Maria laughed again till the tip of her nose nearly met the tip of her chin and till her minute body nearly shook itself asunder because she knew that Mooney meant well though, of course, she had the notions of a common woman.But wasn't Maria glad when the women had finished their tea and the cook and the dummy had begun to clear away the tea- things! She went into her little bedroom and, remembering that the next morning was a mass morning, changed the hand of the alarm from seven to six. Then she took off her working skirt and her house-boots and laid her best skirt out on the bed and her tiny dress-boots beside the foot of the bed. She changed her blouse too and, as she stood before the mirror, she thought of how she used to dress for mass on Sunday morning when she was a young girl; and she looked with quaint affection at the diminutive body which she had so often adorned, In spite of its years she found it a nice tidy little body.When she got outside the streets were shining with rain and she was glad of her old brown waterproof. The tram was full and she had to sit on the little stool at the end of the car, facing all the people, with her toes barely touching the floor. She arranged in her mind all she was going to do and thought how much better it was to be independent and to have your own money in your pocket. She hoped they would have a nice evening. She was sure they would but she could not help thinking what a pity it was Alphy and Joe were not speaking. Theywere always falling out now but when they were boys together they used to be the best of friends: but such was life.She got out of her tram at the Pillar and ferreted her way quickly among the crowds. She went into Downes's cake-shop but the shop was so full of people that it was a long time before she could get herself attended to. She bought a dozen of mixed penny cakes, and at last came out of the shop laden with a big bag. Then she thought what else would she buy: she wanted to buy something really nice. They would be sure to have plenty of apples and nuts. It was hard to know what to buy and all she could think of was cake. She decided to buy some plumcake but Downes's plumcake had not enough almond icing on top of it so she went over to a shop in Henry Street. Here she was a long time in suiting herself and the stylish young lady behind the counter, who was evidently a little annoyed by her, asked her was it wedding-cake she wanted to buy. That made Maria blush and smile at the young lady; but the young lady took it all very seriously and finally cut a thick slice of plumcake, parcelled it up and said:"Two-and-four, please."She thought she would have to stand in the Drumcondra tram because none of the young men seemed to notice her but an elderly gentleman made room for her. He was a stout gentleman and he wore a brown hard hat; he had a square red face and a grayish moustache. Maria thought he was a colonel-looking gentleman andshe reflected how much more polite he was than the young men who simply stared straight before them. The gentleman began to chat with her about Hallow Eve and the rainy weather. He supposed the bag was full of good things for the little ones and said it was only right that the youngsters should enjoy themselves while they were young. Maria agreed with him andfavoured him with demure nods and hems. He was very nice with her, and when she was getting out at the Canal Bridge she thanked him and bowed, and he bowed to her and raised his hat and smiled agreeably, and while she was going up along the terrace, bending her tiny head under the rain, she thought how easy it was to know a gentleman even when he has a drop taken.Everybody said: "0, here's Maria!" when she came to Joe's house. Joe was there, having come home from business, and all the children had their Sunday dresses on. There were two big girls in from next door and games were going on. Maria gave the bag of cakes to the eldest boy, Alphy, to divide and Mrs. Donnelly said it was too good of her to bring such a big bag of cakes and made all the children say:"Thanks, Maria."But Maria said she had brought something special for papa and mamma, something they would be sure to like, and she began to look for her plumcake. She tried in Downes's bag and then in the pockets of her waterproof and then on the hallstand but nowhere could she find it. Then she asked all the children had any of them eaten it--by mistake, of course--but the children all said no and looked as if they did not like to eat cakes if they were to be accused of stealing. Everybody had a solution for the mystery and Mrs. Donnelly said it was plain that Maria had left it behind her in the tram. Maria, remembering how confused the gentleman with the greyish moustache had made her, coloured with shame and vexation and disappointment. At the thought of the failure of her little surprise and of the two and fourpence she had thrown away for nothing she nearly cried outright.But Joe said it didn't matter and made her sit down by the fire. He was very nice with her. He told her all that went on in his office, repeating for her a smart answer which he had madeto the manager. Maria did not understand why Joe laughed so much over the answer he had made but she said that the manager must have been a very overbearing person to deal with. Joe said he wasn't so bad when you knew how to take him, that he was a decent sort so long as you didn't rub him the wrong way. Mrs. Donnelly played the piano for the children and they danced and sang. Then the two next-door girls handed round the nuts. Nobody could find the nutcrackers and Joe was nearly getting cross over it and asked how did they expect Maria to crack nuts without a nutcracker. But Maria said she didn't like nuts and that they weren't to bother about her. Then Joe asked would she take a bottle of stout and Mrs. Donnelly said there was port wine too in the house if she would prefer that. Maria said she would rather they didn't ask her to take anything: but Joe insisted.So Maria let him have his way and they sat by the fire talking over old times and Maria thought she would put in a good word for Alphy. But Joe cried that God might strike him stone dead if ever he spoke a word to his brother again and Maria said she was sorry she had mentioned the matter. Mrs. Donnelly told her husband itwas a great shame for him to speak that way of his own flesh and blood but Joe said that Alphy was no brother of his and there was nearly being a row on the head of it. But Joe said he would not lose his temper on account of the night it was and asked his wife to open some more stout. The two next-door girls had arranged some Hallow Eve games and soon everything was merry again. Maria was delighted to see the children so merry and Joe and his wife in such good spirits. The next-door girls put some saucers on the table and then led the children up to the table, blindfold. One got the prayer-book and the other three got the water; and when one of the next-door girls got the ring Mrs. Donnelly shook her finger at the blushing girl as much as to say: 0, I know all about it! They insisted then on blindfoldingMaria and leading her up to the table to see what she would get; and, while they were putting on the bandage, Maria laughed and laughed again till the tip of her nose nearly met the tip of her chin.They led her up to the table amid laughing and joking and she put her hand out in the air as she was told to do. She moved her hand about here and there in the air and descended on one of the saucers. She felt a soft wet substance with her fingers and was surprised that nobody spoke or took off her bandage. There was a pause for a few seconds; and then a great deal of scuffling and whispering. Somebody said something about the garden, and at last Mrs. Donnelly said something very cross to one of the next-door girls and told her to throw it out at once: that was no play. Maria understood that it was wrong that time and so she had to do it over again: and this time she got the prayer-book.After that Mrs. Donnelly played Miss McCloud's Reel for the children and Joe made Maria take a glass of wine. Soon they were all quite merry again and Mrs. Donnelly said Maria would enter a convent before the year was out because she had got the prayer-book. Maria had never seen Joe so nice to her as he was that night, so full of pleasant talk and reminiscences. She said they were all very good to her.At last the children grew tired and sleepy and Joe asked Maria would she not sing some little song before she went, one of the old songs. Mrs. Donnelly said "Do, please, Maria!" and so Maria had to get up and stand beside the piano. Mrs. Donnelly bade the children be quiet and listen to Maria's song. Then she played theprelude and said "Now, Maria!" and Maria, blushing very much began to sing in a tiny quavering voice. She sang I Dreamt that I Dwelt, and when she came to the second verse she sang again:I dreamt that I dwelt in marble hallsWith vassals and serfs at my side,And of all who assembled within those wallsThat I was the hope and the pride.I had riches too great to count; could boastOf a high ancestral name,But I also dreamt, which pleased me most,That you loved me still the same.But no one tried to show her her mistake; and when she had ended her song Joe was very much moved. He said that there was no time like the long ago and no music for him like poor old Balfe, whatever other people might say; and his eyes filled up so much with tears that he could not find what he was looking for and in the end he had to ask his wife to tell him where the corkscrew was.Clay |泥土[爱尔兰]詹姆斯·乔伊斯著by James Joyce柯茗译二里头扫校女总管已经应允，等女工们用完茶点，玛丽亚就可以走了，她期待着黄昏离去的这一时刻，厨房里窗明几净，纤尘不染。

《墙上的斑点》与意识流表现手法

《墙上的斑点》与意识流表现手法弗吉尼亚·伍尔夫是英国现代着名小说家、批评家和文学编辑。

她终生致力于小说写作的形式与技巧的研究。

在小说创作实践中追随英国最重要、最有影响的小说家詹姆斯·乔伊斯（JamesJoyce，1882-1941)，运用“意识流”技巧来探索文学表现的新方法，取得了突出的成绩，这使她在现代西方文出，的主观感性和心灵深处的“直觉”中去寻找艺术的原动力。

柏格森还提出了“心理时间”的新说法，极大地影响了意识流小说对于时间的处理和结构的安排。

他认为，人类对时间的理解可以有两种不同的概念：一种是常人理解的传统时间概念，即“外部时间”，而另一种则是“心理时间”，即“内部时间”。

这种时间是现在、过去、将来各个时刻的相互参与和渗透。

在人的意识深处，外部时间并不适用，只有“心理时间”才有意义，因为人的意识深处从来就没有过去、现在、将来的先后次序等等明确的时间分界线。

意识流小说家们正是根据这一理论，用内省的方法来探索心灵的深处，大胆地打破传统小说的时间顺序，采用把过去、现在和未来三者凌乱颠倒、相互渗透的手法，来达到一种戏剧性的艺术效果。

总之，上述弗洛伊德、詹姆斯及柏格森的理论是意识流小说创作的三大理论支柱，这些理论将人们的注意力由外部世界引入主观意识甚至无意识地带。

关注人的精神活动过程是意识流小说的主要特征。

《墙上的斑点》（以下简称《墙》）是伍尔夫早期的一篇意识流小说，虽为早期作品，其中所体现巴等等，林林总总，不惜笔墨，犹如万花筒般的幻想、想象、联想等思绪纷至沓来。

引起主人公思绪蜂拥而至的“墙上的斑点”只是诱发人意识活动的客观事物，但这个客观事物并未构成人物意识活动的主干部分。

“斑点”一经出现，很快就被人物的自由联想、内心独白和无规则的意识活动所湮没，被万花筒一般的人物回忆和亿万个意识活动的尘埃所取代，留给读者的是五彩缤纷、点点闪烁的意识火花，这些诱发物无关紧要，只是“我”意识流动和转向的结。