阿拉比_课件
南开大学 外国语学院 美国文学课件 阿拉比plot
Plot has two basic types:
It revolves around conflict(以冲突为 主旋律展开故事）-- conflict plot -It moves toward epiphany (展现人物 的顿悟）-- epiphany plot
Araby by James joyce
While reading a fiction, the intelligent reader picks up new clues and relates them to the ones he has read previously constantly rearranging /reconsidering the new chains of cause & effect.
Hale Waihona Puke How to grasp the plot?
While reading a fiction, the intelligent reader picks up new clues and relates them to the ones he has read previously constantly rearranging /reconsidering the new chains of cause & effect.
How to grasp the plot?
Forster suggests:” Part of the mind must be left behind, brooding, while the other part goes marching on. on.”
How to grasp the plot?
•
Fictional human responses are brought out to their highest degree in the development of a conflict. In its most elemental form (最初级的模式), a conflict (最初级的模式 最初级的模式), is the opposition of two people. They may fight, argue, enlist help (向外界寻求 向外界寻求 帮助)against each other, and otherwise 帮助 carry on their opposition.
ablaPeriódicaPPT课件
2020/10/13
5
Elementos y Símbolos
Algunos provienen del latín o griego.
Símbolos Químicos Abreviatura de una o dos letras que se le
asigna a cada elemento.
2020/10/13
7
Elementos esenciales a la salud
Elementos y la Tabla Periódica
Prof. Ivette Torres Vera CF 117 Agosto 2003
2020/10/13
1
Química
Química
Es la ciencia que estudia la materia y todos los cambios que ocurren en ella.
que lleva el oxígeno en la sangre. Existen 112 elementos, 88 ocurren naturalmente,
los demás se producen artificialmente
2020/10/13
6
Símbolos Químicos
Muchos nombres de elementos surgen de planetas, mitología, minerales, colores, geografía y personas famosas.
阿拉比
栏望她。 每天早晨，我躺在前客厅的地板上，望着她家的门。 我听到雨密密麻麻泻在土地上，针尖似的细雨在湿透了
的花坛上不断跳跃。
众多的问题——为什么这样写？
她不断转动着手腕上的银镯子说，她不能去， 生活中的正经事叫我厌烦，它们使我的愿望不能尽快实现，
都柏林
：北理奇蒙德街
学校 五光十色的大街 火车沿线
街上的房屋
白金汉大街 阿拉比集市
都柏林人：我们
野孩子
姑姑姑父 众生相
看门人
二人组
已故的教士
曼根 曼根的姐姐 老师 莫塞太太 三人组
失衡的“环境”
都柏林 ：冷漠疏离
阴冷衰败
都柏林人： 空虚
麻木 虚伪 乏味
少年们： ？
主题探讨
短篇小说集《都柏林人》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。
老师的问题
作者用了近一半的篇幅，或详或简地描写都柏 林的街市和生活在这里的人们，这些成分如果 仅用来当做“背景”或“环境”来处理，那这 篇小说“主要情节”就会被“次要”的材料压 垮。
把这些“背景”聚合在一起，归纳总结，化繁 为简，看看作者究竟想让你对都柏林和都柏林 人留下怎样的印象？
失衡的“环境”
独与悲观。 毕诗悦：表现了成长之中微妙的感情和心理变化。
众多的问题——为什么这样写？
1、一、二段的描写有什么用？感觉没联系。 2、作者用一定篇幅写了已故教士的一些事情，但小说后面情
节跟教士毫无关系，写他有什么用意呢？ 3、最后部分写那三个人的对话有什么作用？理解不能。 4、从阿拉比空手而回就是结局了？故事就这么结束了？ 5、“感到自己是一个被虚荣心驱使和播（拨）弄的的可怜
阿拉比 Araby James Joyce 精美ppt制作加清晰讲解
North Richmond Street, being blind
metaphor : a apathetic(冷漠的 ）and lifeless society
• The beginning of this novel:
James Joyce (1882- 1941)
• Irish novelist and poet
• born in 1882 in Dublin, the son of a povertystricken civil servant. • In 1898, studied in Dublin’s University College and graduated in 1902 • Raised in the Roman Catholic faith, he broke with the church while he was in college
• Protagonist, a teenage boy fell in love with his friend Mangan’s sister secretly, and one day in the casual conversation, the girl mentioned that she wished to go to Araby, a splendid bazaar. The boy promised to go there to buy something for her. But when he arrived at the bazaar after experiencing much difficulty, he disappointedly found that the fair was not ideal as he had thought. His dream was disillusioned.
araby课件ppt
完成特定课程或达到一定学习水平的学生，可以获得ARABY课件 颁发的证书，证明其学习成果和能力。
分享与展示
学生可以将自己的成绩单和证书分享给其他人或展示在个人简历中 ，作为自己努力学习并取得成果的证明。
05
ARABY教师培训和支持
教师资格认证和培训
教师资格认证
ARABY课件的教师需要具备相关的 教育背景和教学经验，并经过严格的 资格认证过程，以确保他们具备足够 的专业知识和教学能力。
03
ARABY教学方法
互动式教学
01
02
03
互动式学习环境
ARABY课件提供互动式学 习环境，使学生能够积极 参与学习过程，提高学习 效果。
实时反馈
通过实时反馈机制，学生 可以及时了解自己的学习 进度和掌握情况，调整学 习策略。
小组协作
鼓励学生进行小组协作， 共同完成任务，培养团队 合作和沟通能力。
阅读和写作技巧
第一季度
第二季度
第三季度
总结词
掌握阅读技巧
详细描述
ARABY课件提供了各 种阅读材料，如文章、 新闻、广告等，通过阅 读练习和阅读理解题， 帮助学生掌握阅读技巧 ，提高阅读速度和理解
能力。
总结词
培养写作技巧
第四季度
详细描述
通过写作练习、范文分 析和写作任务，学生可 以学习不同类型的写作 技巧，如记叙文、议论 文、说明文等。同时提 供写作指导和反馈，帮 助学生改进写作水平。
经过多年的发展和改进，ARABY课件已经成为全球范围内广 泛使用的教育资源，涵盖了多个学科领域，包括科学、历史 、地理等。
ARABY的目标和愿景
01
ARABY的目标是为学生提供一种 生动、有趣的学习体验，激发他 们的学习兴趣和主动性，提高学 习效果。
成长之艰辛_阿拉比_成长主题分析
一、引言詹姆斯·乔伊斯(James Joyce1882-1941)是举世公认的二十世纪英国文坛巨匠。
他的早期作品《都柏林人》是一部由十五个故事组成的现实主义短篇小说集。
该小说集以作者的家乡都柏林为背景，生动地描绘了二十世纪初该城市的社会现实和人生百态，深刻地反映出当时社会麻木不仁的瘫痪状态，成功地展示了不同身份的人物同僵死和瘫痪的社会之间的激烈冲突以及他们失败之后痛苦不堪的感受。
作者从童年期、青年期、成年期和社会生活四个方面对这部小说集进行布局，揭示了当时社会政治、经济和道德的瘫痪。
《阿拉比》是该小说集中“童年期”的第三篇，描述的是一个少年对朦胧爱情的浪漫追求以及幻想破灭后的失望和痛苦。
众所周知，青少年是一个时代和一个社会的一面镜子，他们的生存状况和精神面貌反映了一个时代的文化特征和社会环境特征，他们的精神追求和价值观念更是一个时代精神的折射，看到他们就看到了整个社会。
因此，在《阿拉比》中，作者正是通过对一个少年成长经历的描写揭示出当时社会的瘫痪和压抑。
故事中的少年在成长过程中感觉到的是生活的压抑和乏味，体会到的是理想破灭后的绝望和痛苦；这无疑揭示出一个残酷的事实：在死气沉沉的都柏林社会中，连天真的孩子都无法逃脱瘫痪和麻木的阴影。
此篇小说的篇幅不长却寓意深刻，很多专家和学者都对此从小说的主题、作者的叙述手法和象征艺术等方面进行了研究。
但通过阅读资料可以发现，这些研究很少触及该小说的成长主题。
因此，本文试图从成长小说的角度分析该小说的成长主题，并通过分析少年成长过程中的各种缺失得出这样的论证：在精神麻木、道德瘫痪的社会里，青少年的成长注定是孤独而痛苦的。
二、阿拉比之行：一个少年追求理想、认识自我的成长之旅“成长小说展示的是年轻主人公经历了某种切肤之痛的事件之后，或改变了原有的世界观，或改变了自己的性格，或两者兼有；这种改变使他摆脱了童年的天真，并最终把他引向了一个真实而复杂的成人世界。
在成长小说中，仪式本身可有可有、但必须有证据显示这种变化对主人公会产生永久的影响。
阿拉比文章详细解析
"Araby" and the Writings of James JoyceCritic: Harry StoneSource: "`Araby' and the Writings of James Joyce," in The Antioch Review, Vol. XXV, no. 3, Fall, 1965, pp. 375-445.Criticism about: "Araby"Author Covered: James JoyceTable of Contents:Essay | Source Citation[Stone is an educator, editor, and Charles Dickens scholar. In the following excerpted essay, he discusses some of the autobiographical elements of "Araby," which include Joyce's childhood in Dublin, Ireland, and how the exoticism of the real-life Araby festival, with its Far Eastern overtones, impacted the young Joyce. Stone also discusses the poet James Mangan's influence on the story. ]For "Araby" preserves a central episode in Joyce's life, an episode he will endlessly recapitulate. The boy in "Araby" like the youthful Joyce himself, must begin to free himself from the nets and trammels of society. That beginning involves painful farewells and disturbing dislocations. The boy must dream "no more of enchanted days." He must forego the shimmering mirage of childhood, begin to see things as they really are. But to see things as they really are is only a prelude. Far in the distance lies his appointed (but as yet unimagined) task: to encounter the reality of experience and forge the uncreated conscience of his race. The whole of that struggle, of course, is set forth in A Portrait of the Artist as a Young Man. "Araby" is the identical struggle at an earlier stage; "Araby" is a portrait of the artist as a young boy.The autobiographical nexus of "Araby" is not confined to the struggle raging in the boy's mind, though that conflict--an epitome of Joyce's first painful effort to see--is central and controls all else. Many of the details of the story are also rooted in Joyce's life. The narrator of "Araby"--the narrator is the boy of the story now grown up--lived, like Joyce, on North Richmond Street. North Richmond Street is blind, with a detached two-story house at the blind end, and down the street, as the opening paragraph informs us, the Christian Brothers' school. Like Joyce, the boy attended this school, and again like Joyce he found it dull and stultifying. Furthermore, the boy's surrogate parents, his aunt and uncle, are a version of Joyce's parents: the aunt, with her forbearance and her unexamined piety, is like his mother; the uncle, with his irregular hours, his irresponsibility, his love of recitation, and his drunkenness, is like his father.Source Citation: Stone, Harry, "`Araby' and the Writings of James Joyce," in The Antioch Review, Vol. XXV, no. 3, Fall, 1965, pp. 375-445. EXPLORING Short Stories. Online Edition. Gale, 2003. Student Resource Center. Thomson Gale. 04 June 2007 <>Historical Context: "Araby"Table of Contents:Source CitationWhile Dublin, Ireland, has seen much change since the turn of the twentieth century, when Joyce wrote many of the conditions present then remain today. In 1904, all of Ireland was under British control, which the Irish resented bitterly. The nationalist group Sinn Fein (part of which later became the Irish Republican Army--the IRA) had not yet formed, but Irish politics were nonetheless vibrant and controversial. The question of Irish independence from Britain was one of primary importance to every citizen.There were no televisions or radios for entertainment at the turn of the century. Children in working-class families were expected to help with running the household, as the boy in does when he carries packages for his aunt at the market, and to entertain themselves by reading or playing alone or with others. It was rare for children to have money of their own to spend. An event like the bazaar in would cause great excitement.Ireland's major religion, Roman Catholicism, dominated Irish culture, as it continues to do today although to a lesser extent. Many families sent their children to schools run by Jesuit priests (like the one the narrator in attends) and convent schools run by nuns (like the one Mangan's sister attends). Catholicism is often seen as a source of the frequent conflict in Irish culture between sensuality and asceticism, a conflict that figures prominently in Joyce's autobiographical novel A Portrait of the Artist as a Young Man . In many ways, Catholicism, particularly as practiced at the turn of the century, was an extremely sensuous religion, emphasizing intense personal spiritual experience and surrounding itself with such rich trappings as beautiful churches, elegant paintings and statues, otherworldly music, and sumptuous vestments and altar decorations. On the other hand, the Church's official attitude toward enjoyment of the senses and particularly toward sexuality was severe and restrictive. The ideal woman was the Virgin Mary, who miraculously combined virginal purity with maternity. Motherhood was exalted, but any enjoyment of sexuality, even in marriage, was considered a sin, as were the practice of birth control and abortion. The inability to reconcile the spiritual and sensual aspects of human nature can be seen in the boy's feelings toward Mangan's sister in He imagines his feelings for her as a "chalice"--a sacred religious object--and so worshipful is his attitude that he hesitates even to speak to her. Yet his memories of her focus almost exclusively on her body--her figure silhouetted by the light, the "soft rope of her hair," "the white curve of her neck," the border of her petticoat. Even the image of the chalice is ambivalent, since its cup-like shape and function suggests a sexual connotation. The boy never resolves this conflict between spirituality and sensuality. Instead, when confronted with the tawdriness of a shopgirl's flirtation at the bazaar, he abruptly dismisses all his feelings as mere "vanity."The Structure of "Araby"Critic: Jerome MandelSource: "The Structure of `Araby'," in Modern Language Studies, Vol. XV, no. 4, Fall, 1985, pp. 48-54. Criticism about: "Araby"Author Covered: James JoyceTable of Contents:Essay | Source Citation[In the following excerpt, Mandel compares the imagery of Joyce's "Araby" to that of medieval romance,particular with regard to the protagonist's love for Mangan's sister. ][In "Araby" the two paragraphs] beginning "Her image accompanied me even in places the most hostile to romance" and ending with his "murmuring: O love! O love! many times"--have long been examined for images from medieval romance and need not be recapitulated in detail here. My concern is not that [the boy's] world is hostile to romance (both literary tradition and personal feeling) and that her image accompanies him, but that the paradigm of courtly romance is strictly maintained and the attitudes of courtly love constantly suggested. As the boy continues to perform his public duties in the world (to win worship: "I had... to carry some of the parcels"), he retains the attitude and response of the courtly lover. As a lover totally possessed by love, he moves out of time, and all worldly, public, and temporal considerations pass from him: "I thought little of the future." He is swept by strange emotions: "My eyes were often full of tears (I could not tell why)" and rendered inarticulate. When all his "senses seem to desire to veil themselves" and he trembles in adoration, he exhibits the proper response of one committed to love. The conflicting demands of world, duty, and love developed in these two paragraphs exhibit in action what, in the medieval romance, is the love debate--the soliloquy that usually begins when the lover first sees the knight or lady and ends when the lover places himself (or herself) totally in the service of love....In the next passage, the passage that establishes and defines the quest (and which ends with the lover's commitment: "I will bring you something"), the lady is first to speak in her double role as the object of the lover's adoration and she for whose sake the adventure is to be undertaken. "At last she spoke to me"--the lady at last recognizes the miserable, worshipful knight who has adored her from a distance without hope of success but with unrelenting devotion. He responds as do all courtly lovers when they first come to the attention of the beloved: he is "so confused that I did not know what to answer." When she asks if he is going to Araby, "I forget whether I answered yes or no." Her wish, "she would love to go," is his command: he must take upon himself the fulfillment of an adventure to which he has been called by love--one she herself is prevented from accomplishing. The multiple religious symbolism of the two "alone at the railings" which suggests both marriage and communion, is enriched by the further suggestion from medieval romance that he dedicates his lance to her ("she held one of the spikes") and she accepts his consecration to her service ("bowing her head toward me"). If he does not actually receive a favor from her to carry on quest, there is promise of reward for knightly service in the "silver bracelet" which she turns "round and round her wrist." Whatever else it means, her curious final line, "It's well for you," is tantamount to an admission of love, for in the context of medieval love revelations the line means, "it is well for you--that is, you are better off than I am--since you are not smitten by love for me as I am smitten by painful love for you." I do not mean to imply that Mangan's sister actually loves the boy nor that he thinks she does, but only that her response in this context has particular connotations in medieval romance."Araby" by James (Augustine Aloysius) Joyce [Plot Summary]Author: James (Augustine Aloysius) Joyce, also known as: James Augustine Aloysius Joyce, James Augustus Aloysius Joyce, and James (Augustine Aloysius) JoyceGenre: short storiesDate: 1914Table of Contents:Essay | Source CitationIntroduction"Araby" is one of fifteen short stories that together make up James Joyce's collection, Dubliners. Although Joyce wrote the stories between 1904 and 1906, they were not published until 1914.Dubliners paints a portrait of life in Dublin, Ireland, at the turn of the 20th century. Its stories are arranged in an order reflecting the development of a child into a grown man. The first three stories are told from the point of view of a young boy, the next three from the point of view of an adolescent, and so on. "Araby" is the last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.Joyce is one of the most famous writers of the Modernist period of literature, which runs roughly from 1900 to the end of World War II. Modernist works often include characters who are spiritually lost and themes that reflect a cynicism toward institutions the writer had been taught to respect, such as government and religion. Much of the literature of this period is experimental; Joyce's writing reflects this in the use of dashes instead of quotation marks to indicate that a character is speaking.Joyce had a very difficult time getting Dubliners published. It took him over ten years to find a publisher who was willing to risk publishing the stories because of their unconventional style and themes. Once he found a publisher, he fought very hard with the editors to keep the stories the way he had written them. Years later, these stories are heralded not only for their portrayal of life in Dublin at the turn of the century, but also as the beginning of the career of one of the most brilliant English-language writers of the twentieth century.Plot"Araby" opens on North Richmond street in Dublin, where "an uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground." The narrator, who remains unnamed throughout the story, lives with his aunt and uncle. He describes his block, then discusses the former tenant who lived in his house: a priest who recently died in the back room. This priest has a library that attracts the young narrator, and he is particularly interested in three titles: a Sir Walter Scott romance, a religious tract, and a police agent's memoirs.The narrator talks about being a part of the group of boys who play in the street. He then introduces Mangan's sister, a girl who captivates his imagination even though he rarely, if ever, speaks with her. He does stare at her from his window and follow her on the street, however, often thinking of her "even in places the most hostile to romance." While in the marketplace on Saturday nights, for example, he uses her image to guide him through the thronging crowd who yell their sales pitches and sing patriotic Irish ballads. He becomes misty-eyed just at the thought of her and retreats to the priest's dark room in order to deprive himself of other senses and think only of her.Finally, Mangan's sister speaks to him. She asks if he will be attending a church-sponsored fair that is coming soon to Dublin--a bazaar called "Araby." He is tongue-tied and cannot answer, but when she tells him that she cannot go because of a retreat that week in her convent, he promises to go and bring her a gift from the bazaar. From then on he can only think of the time when he will be at the fair; he is haunted by "the syllables of the word Araby." On the night he is supposed to attend the fair, his uncle is late returning home and he must wait to get money from him. He gets very anxious, and his aunt tells him that he may have to miss the bazaar, but his uncle does come home, apologetic that he had forgotten. After asking the boy if he knows a poem entitled "The Arab's Farewell to His Steed," the uncle bids the boy farewell.The boy takes a coin from his uncle and catches a train to the fair. Araby is closing down as he arrives and he timidly walks through the center of the bazaar. As he looks at the few stalls that are still open, he overhears a conversation between an English shop-girl and two young men. Their talk is nothing but idle gossip. The shop-girl pauses reluctantly to ask the boy if he wishes to buy anything, but he declines. As he walks slowly out of the hall amid the darkening of the lights, he thinks that he is a "creature driven and derided by vanity" and his "eyes burned with anguish and anger."CharactersNarrator: The narrator of this story is a young, sensitive boy who confuses a romantic crush and religious enthusiasm. All of the conflict in this story happens inside his mind. It is unlikely that the object of his crush, Mangan's sister, is aware of his feelings for her, nor is anybody else in this boy's small world. Because the boy's thoughts only reveal a part of the story, a careful reader must put together clues that the author gives. For example, the narrator mentions that the former tenant of the house he shares with his aunt and uncle was a priest, a representative of the Catholic church, who left behind three books which became important to the narrator. One is a romantic adventure by Sir Walter Scott; one is a religious pamphlet written by a Protestant; and the third is the exciting memoirs of a French policeman and master of disguise. These three books are not what a person would expect a Catholic priest to have in his library. So if this priest has non-religious literature in his library, then how devout can an average church-goer be expected to be? This turns out to be the case for the narrator, who confuses religious idealism with romance.The boy confuses the religious and secular worlds when he describes himself at the market with his aunt. He bears the chalice--the Communion cup--through a "throng of foes." He also describes Mangan's sister in terms often associated with the Virgin Mary. For the narrator, then, an ordinary grocery-shopping trip becomes a religious crusade, and a pretty girl down the street becomes a substitute for the Mother of God. The boy fuses together religious devotion for the Virgin Mary with his own romantic longing.Joyce is famous for creating characters who undergo an epiphany--a sudden moment of insight--and the narrator of "Araby" is one of his best examples. At the end of the story, the boy overhears a trite conversation between an English girl working at the bazaar and two young men, and he suddenly realizes that he has been confusing things. It dawns on him that the bazaar, which he thought would be so exotic and exciting, is really only a commercialized place to buy things. Furthermore, he now realizes that Mangan's sister is just a girl who will not care whether he fulfills his promise to buy her something at the bazaar. His conversation with Mangan's sister, during which he promised he would buy hersomething, was really only small talk--as meaningless as the one between the English girl and her companions. He leaves Araby feeling ashamed and upset. This epiphany signals a change in the narrator--from an innocent, idealistic boy to an adolescent dealing with harsh realities.Mangan's Sister: Mangan is one of the narrator's chums who lives down the street. His older sister becomes the object of the narrator's schoolboy crush. Mangan's sister has no idea how the narrator feels about her, however, so when they discuss "Araby," the bazaar coming to town, she is only being polite and friendly. She says she would like to go to the bazaar but cannot because she has to attend a school retreat that weekend. The narrator promises to buy her something at the bazaar if he goes, but it is unlikely that she takes this promise seriously. While on the one hand the narrator describes her romantically, he also describes her in reverential terms which call to mind the Virgin Mary. This dual image description of Mangan's sister represents the religious and romantic confusion of the narrator.Mangan: Mangan is the same age and in the same class at the Christian Brothers school as the narrator, and so he and the narrator often play together after school. His older sister is the object of the narrator's confused feelings.Narrator's Aunt: The narrator's aunt, who is a mother figure in the story, takes the narrator with her to do the marketing. When it seems as though the uncle has forgotten his promise to the narrator that he could go to the bazaar, she warns the boy that he may have to "put off" the bazaar "for this night of Our Lord." While this statement makes her seem strict in a religious sense, she also exhibits empathy for the boy's plight. She pleads his case when the uncle forgets about the boy's plans to go to Araby.Narrator's Uncle: The narrator's uncle seems self-centered and very unreliable. When the narrator reminds him that he wants to go to the bazaar, he replies, "Yes, boy, I know." But on the Saturday evening of the bazaar, he has forgotten, which causes the narrator to arrive at the bazaar very late. When the uncle finally shows up, he has been drinking, and as the boy leaves for the bazaar he begins reciting the opening lines of the poem, "The Arab's Farewell to his Steed." Joyce's characterization of the uncle bears resemblance to his own father, who liked to drink and was often in debt. Joyce's inclusion of Mrs. Mercer, the pawnbroker's widow who waits for the uncle to return, suggests tha t the uncle owes money.Themes and Construction: "Araby"Table of Contents:Source CitationThemesThe narrator recalls a boyhood crush he had on the sister of a friend. He went to "Araby," a bazaar with an exotic Oriental theme, in order to buy a souvenir for the object of his crush. He arrived late, however, and when he overheard a shallow conversation between a female clerk and her male friends and saw the bazaar closing down, he was overcome with a sense of futility.Alienation and LonelinessThe theme of isolation is introduced early in the story by the image of a deserted, isolated house and the narrator's recollection of a priest who lived and died in their back room. The young protagonist seems isolated within his family. There is no mention of his parents; he lives with his aunt and uncle, and the uncle, in particular, appears insensitive to the boy's feelings, coming home late even though he knows the boy wants to go to the bazaar. The boy's crush on his friend Mangan's sister seems to isolate him even further. He is too tongue-tied to initiate a relationship with her, worshipping her from afar instead. Moreover, his crush appears to isolate him from his friends. Whereas early in the story he is depicted as part of a group of friends playing in the street, after his crush develops his separation from the others is emphasized: he stands by the railings to be close to the girl while the other boys engage in horseplay, and as he waits in the house for his uncle to return so he can go to the bazaar the noises from his friends playing in the street sound "weakened and indistinct." The story ends with him confronting his disillusionment alone in the nearly deserted bazaar.Change and TransformationThe narrator experiences an emotional transformation--changing from an innocent young boy to a disillusioned adolescent--in the flash of an instant, although the reader can look back through the story and trace the forces that lead to the transformation. This change occurs through what Joyce called an "epiphany," a moment of sudden and intense insight. Although the narrator suddenly understands that his romantic fantasies are hopelessly at odds with the reality of his life, this understanding leaves him neither happy nor satisfied; instead, he feels "anguish and anger." It is not clear what impact the narrator's epiphany will have on his future development, only that that development has begun.Fantasy and RealityThe story draws connections between the romantic idealism of the young protagonist's attitude toward Mangan's sister and romantic fantasies in the surrounding culture. Much of this romanticism seems to stem from religion, the pervasive presence of which is emphasized by mentions of the youngsters' parochial schools, repeated references to the dead priest, and the aunt 's fear that the bazaar might be a "Freemason" affair and her reference to "[T]his night of our Lord." The boy carries his thoughts of Mangan's sister like a "chalice through a throng of foes," and his crush inspires in him "strange prayers and praises." The way the girl herself is described--as an alluring but untouchable figure dramaticallylit--and the boy's worshipful attitude give her something of the character of a religious statue. Popular culture is also suggested as a source of the boy's romanticism, in the references to Sir Walter Scott's The Abbot and the poem "The Arab's Farewell to His Steed." The contrast between fantasy and reality draws to a head at the Araby bazaar, whose exotic name is merely packaging for a crassly commercial venture. In the nearly deserted hall and the insipid flirtation he overhears between two men and a shopgirl, the protagonist is confronted with huge gap between his romantic fantasies of love and the mundane and materialistic realities of his life.ConstructionThrough the use of a first person narrative, an older narrator recalls the confused thoughts and dreams of his adolescent self. Joyce uses this familiarity with the narrator 's feelings to evoke in readers a responsesimilar to the boy's "epiphany"--a sudden moment of insight and understanding--at the turning point of the story.Point of Viewis told from the first person point of view, but its perspective is complicated by the gap in age and perception between the older narrator and the younger self he remembers. The story takes the form of a reminiscence about an apparent turning point in the narrator 's growth, a partial explanation of how the young protagonist became the older self who is the narrator. The reader is given no direct information about the narrator, however, his relentless contrasting of his boyhood self's idealism with the tawdry details of his life, and the story 's closing line, create a somewhat bitter and disillusioned tone. It is left to the reader to decide how far the narrator has travelled toward a "true" understanding of reality.SymbolismJoyce's use of symbolism enriches the story 's meaning. The former tenant of the narrator's house, the Catholic priest, could be said to represent the entire Catholic church. By extension, the books left in his room--which include non-religious and non-Catholic reading--suggest a feeling of ambiguity toward religion in general and Catholicism in particular. The bazaar "Araby" represents the "East"--a part of the world that is exotic and mysterious to the Irish boy. It could also represent commercialism, since despite the boy's romantic imaginings its purpose is in fact to make money. Mrs. Mercer, the pawnbroker's widow, is another representative of materialism. To the narrator, Mangan's sister is a symbol of purity and feminine perfection. These qualities are often associated with the Virgin Mary, who also symbolizes the Catholic church. While the boy is at Araby, the various, and often contrasting, meanings of these symbols converge to produce his epiphany.ModernismJoyce is known as one of the leading authors of Modernism, a movement in art and literature in the first half of the twentieth century that emphasized experimentation and a break with traditional forms. In this early work Joyce's narrative technique is still fairly traditional and straightforward. However, several features of the story can be identified as experimental and modernist, particularly in the extent to which the reader is left to sort out the story 's meaning with little overt help from the author. The story concerns a relatively ordinary occurrence in the life of an ordinary person; we are never told directly how or why it might be important. We are given no direct information about the narrator, but must glean what we can about his character from the story he tells and the way in which he tells it; we are not even told what the age difference is between the narrator and his younger self. The story ends, as it begins, abruptly, with again no direct indication of the significance of the protagonist's "epiphany," his older self's attitude toward it, or what it meant for his further development. Much of the early criticism of -that the stories were "sordid" and lacked structure and a "point"--reflect the unfamiliarity and uneasiness of Joyce's contemporary readers with these innovations in storytelling.。
乔伊斯《都柏林人》中《阿拉比》的象征主义解析[权威资料]
![乔伊斯《都柏林人》中《阿拉比》的象征主义解析[权威资料]](https://img.taocdn.com/s3/m/7dadc83fbc64783e0912a21614791711cc797974.png)
乔伊斯《都柏林人》中《阿拉比》的象征主义解析本文档格式为WORD,感谢你的阅读。
摘要：爱尔兰小说家詹姆斯・乔伊斯在现代文学史上占据重要地位，《都柏林人》是他创作的一部短篇小说集，在这部短篇小说集的每一个故事里，作家匠心独具地运用了象征主义手法，文章无不具有象征，力图把象征或隐喻的意义紧密相连。
《阿拉比》是《都柏林人》的第三个故事。
许多人已从不同的角度对这部暗含深意的作品进行了极为丰富的解读。
本文从象征主义文学的角度，对这部作品中的象征主义特征予以解析。
关键词：乔伊斯；象征主义文学；阿拉比一、象征主义文学19世纪中叶，象征主义文学在法国兴起，20世纪初期波及到欧美各国，是现代主义文学中出现最早和影响最大的一个流派。
象征主义文学的出现具有划时代的意义，被西方主流学术界看作古典文学和现代文学的分水岭，其对当代文学仍有着不可忽视的影响力。
象征主义的先锋人物是法国诗人夏尔・波德莱尔和美国诗人爱伦・坡他们在19世纪中叶的创作中就涉及到了一些象征主义的理念。
1886年9月15号《费加罗报》上诗人莫雷阿斯首次象征主义在法国正式打出旗号，尼采、弗洛伊德和柏格森的思想被认为是象征主义的哲学基础，象征主义者主张发掘隐藏于自然界背后的理念世界，依靠个人的敏感和想象力去创造超越自然的艺术。
象征主义最基本的特征是用象征来暗示作品的思想和事物的发展。
在取材方面，象征主义者主张取材于平庸的日常生活，通过对平庸事物的描绘来侧重描写个人幻影和内心感受，对社会题材较少涉及；在艺术方法上，象征主义者反对使用空洞的修辞和生硬的说教，强调使用幻象、暗示、对比、联想等方法进行文学创作，提倡“要把人们的注意力从外部世界引向人的内部精神世界去探求内心的最该真实，赋予抽象思想以具体形式”。
[1]同时，象征主义文学与音乐有着某种密切的联系，使得读者在作品中体会到美妙的音乐性和韵律感。
二、乔伊斯与《阿拉比》詹姆斯乔・伊斯是伟大爱尔兰现代主义小说家之一，他的第一部及唯一一部短篇小说集就是《都柏林人》，以爱尔兰首都都柏林为背景，生动地描绘了二十世纪初都柏林市井百姓形形色色的真实生活，并深刻地揭示了弥漫于整个社会生活中的一种麻木不仁、死气沉沉的瘫痪状态。
《小说鉴赏》：《阿拉比》分析
《小说鉴赏》：《阿拉比》分析詹姆斯·乔伊斯（1882-1941）《阿拉比》分析布鲁克斯&沃伦|文刘文荣|译就所谓最简单的标准来说，这是一篇写少年失恋的小说。
但是，小说的大部分并没有写到那个少年的恋爱，而是写他周围的世界——对他住的那条街道的描写，关于那个已故教士以及教士遗下的财产的情况介绍，还有他跟叔叔和姑姑的关系。
这些事情都是自然而然地出现在小说里的，也就是说，按照现实主义原理，这些事情在小说里都是合情合理的。
这样的成分如果只是作为“背景”或者仅仅作为“环境”来处理的话，那么这篇小说就会被无关的材料所压垮。
然而，任何读者——除非是最奇特的怪人——都很清楚，这篇小说中的条条线索都是相互联系而起作用的。
我们一旦发现这些表面看来互不相干的线索在《阿拉比》里是以何种方式联系起来并都和那个少年的失恋有关的话，我们也就得出了小说的主题。
那么，像已故教士的财产啦、朋友们在抢帽子玩时那个少年却在和那个少女遥通音讯啦、茶会上的嚼舌啦、叔叔的迟迟不来啦之类的事情，究竟和少年的失恋有何关系呢？通过这些事情，间接地暗示出一件事情，那就是少年与日俱增的孤独感，也就是在他和朋友、老师及家庭之间缺乏同情心。
他说：“我仿佛感到自己端着圣餐杯，在一群对头中间穿过。
”举例来说，如当叔叔站在大厅里时，少年就不能走进前室躺在窗台上，或者在学校里，他的日常学习也开始显得像“单调乏味的小孩子的游戏”。
但这种孤独感也有它几乎是狂喜的时刻。
火车的列车员把人群往后挡，“说这是直达集市的专车”，不是为他们开的。
那个少年独自待在空荡荡的车厢里，但他正在去“阿拉比”的路上，正在狂喜地奔向某个充满浪漫色彩和异国情调的目的地。
圣餐杯的隐喻暗示出同样珍奇的内心喜悦。
不管怎样，围绕着他的不再是普通的日常世界，在日常世界里他无论痛苦还是欣喜时都感到孤独。
就是对那个少女，他也感到孤独。
他和她仅谈过一次话，而当时他又是那样迷乱不堪，竟不知如何对答。
《阿拉比》中的象征主义
《阿拉比》中的象征主义摘要《阿拉比》是20世纪英国杰出作家和诗人詹姆斯·乔伊斯的代表作品，也是现代主义与象征主义完美结合的典范之作。
该短篇小说通过描写都柏林男孩从追求美好的爱情与梦想直到认真现实、幻想破灭的过程，揭示了当时社会的黑暗及其对人性的压抑，也反映了当时人们的精神瘫痪与麻木不仁。
本文从《阿拉比》中丰富的意象出发，通过分析其深刻的象征意义，再现了当时的社会现实，传达了作者对社会的不满与批判。
关键词：《阿拉比》意象象征中图分类号：i106.4 文献标识码：a詹姆斯·乔伊斯（1882-1941）是爱尔兰著名作家和诗人，20世纪西方现代主义文学的开拓者和领路人，同时也是意识流文学大师。
他将象征主义与现代主义完美结合，创作出了一系列意象丰富、寓意深刻、源于现实而又高于现实的优秀作品，对20世纪西方文学的发展发挥了重要的促进作用，对后世的文学创作也产生了极其深远的影响。
《都柏林人》是乔伊斯创作艺术的集中体现，奠定了其现代主义小说鼻祖的地位。
该作品由十五篇精炼的短篇小说组成，通过丰富的意象展现出当时都柏林的社会现实和当地人们的精神状态，并反映了作者对社会的批判态度和对人生的深刻思考。
《阿拉比》是该短篇小说集中的第三篇，也是一部充满着象征意象的、带有自传意味的作品。
小说中的主人公是一名天真烂漫的都柏林男孩，他向往美好浪漫的爱情，希望到传说中具有异国情调的阿拉比集市为自己的心上人“曼根的姐姐”买一件特别的礼物以示爱意。
然而，当他费尽周折拿着钱到达仰慕已久、已经打烊的集市时，却发现那里跟自己所住的街区并无不同，所谓的美好至极、令人向往的阿拉比集市，只不过是一个外表虚幻繁华、本质则俗不可耐、了无趣味的灰暗世界。
这对于把阿拉比集市视为自己的爱情支柱、理想支撑的主人公来说，无疑是一个巨大的打击。
他开始发现自己仅仅是一个被虚荣心左右的可怜虫，也了解到单凭自己的一厢情愿想象出来的事物最终带来的只有无尽的失望。
Araby 课件
the decline of religion
Indifference and Hypocrisy
The
boy’s uncle and aunt Mercer
Mrs.
Mangan’s Sister
an
incarnation of beauty and love This beautiful and hopeful image was finally turned into the vulgar talking landlady in Araby, ironically crushing the young boy’s dreams.
Other Symbols
the
blind street: a place without hope and prospects the houses of the neighborhood: people there are indifferent and opinionated Christian Brother’s School: Christianity imprisoned people’s mind
“Araby”
a
word full of magical oriental colors the incarnation of beauty, love and romance symbolizing his desire for love, the goal and the temptation
Araby
---James Joyce
1032011304034 陈晓曦
Plot
---a young boy’s d young boy fell in love with his friend Mangan’s sister secretly. One day, he got a chance to speak to her. Through the short conversation, the boy knew that the sister hoped to go to a bazaar called Araby. So, he promised her that when he went to Araby, he would bring her something as a gift. However, when the young boy finally managed to get to Araby, “nearly all the stalls were closed and the greater part of the hall was in darkness”. Disappointed by the desolate bazaar, the young boy’s beautiful hope dashed, with his eyes burning “with anguish and anger”.
阿拉比 Araby James Joyce 精美ppt制作加清晰讲解
• 我抬头凝视着黑暗，发觉自己是受虚幻驱动和愚弄的可怜 虫；我的双眼中燃烧着痛苦和愤怒。
What does this sentence mean?
The boy suddenly realizes his foolishness, discovering
the discrepancy between the real and the ideal. (epiphany)
• Q: • What’ s the meaning of the last sentence?
• Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.
"Araby'' is one of fifteen short stories that together make up James Joyce's collection, Dubliners. It is the last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.
What is the theme of "Araby"?
• The spiritual paralysis(精神的瘫痪）
阿拉比课文PPT课件
故事引导我们思考自己的人生目标和追求，认识自己的优点和不足 ，以便更好地规划未来。
勇敢面对困难
主人公在追求梦想的过程中，克服了重重困难和挑战，这启示我们要 勇敢面对生活中的困难和挫折，坚定信念，不放弃追求。
对社会的反思ቤተ መጻሕፍቲ ባይዱ
1 2 3
社会价值观
阿拉比课文揭示了社会中普遍存在的价值观问题 ，如对物质和名利的过度追求，忽视了内心的真 正需求和人生的意义。
社会现象批判
故事中反映了社会中的一些不良现象，如贫富差 距、权力斗争等，引导我们对这些问题进行深入 思考和反思。
社会责任感
通过主人公的行动和选择，强调个人在社会中的 责任感和使命感，鼓励我们在面对社会问题时积 极行动，贡献自己的力量。
对教育的启示
培养创造力
01
阿拉比课文强调了创造力和想象力的重要性，启示教育者应注
在阿拉比的故事中，我们看到了 人性的光辉和美好，人们可以相 互关爱和支持，共同追求自由和
幸福。
人性的反思
通过阿拉比的故事，我们可以反 思自己的行为和价值观，思考如
何更好地理解和关注人性。
REPORT
CATALOG
DATE
ANALYSIS
SUMMAR Y
04
阿拉比的文学价值
阿拉比的写作技巧
01
02
追求自由的勇气
自由的意义
自由不仅仅是身体的自由，更是心灵 的自由。阿拉比的故事告诉我们，只 有勇敢地追求内心的自由，才能真正 获得自由。
阿拉比勇敢地表达自己的想法和追求 ，尽管面临现实的困难和阻碍，他仍 然坚定地追求自由。
对现实的批判
现实的束缚
阿拉比所处的现实环境充满了束 缚和限制，这些束缚限制了他的
阿拉比
阿拉比<英>詹姆斯·乔伊斯北里奇蒙德街是条死胡同。
除了基督教兄弟学校的学童们放学回家那段时间外,其余时间十分寂静。
在街的尽头有一幢无人居住的二层楼房,跟一块地方上比邻的房子隔开着。
而其他的那些房屋,好像都意识到自己的住户都很体面,各自沉下了不动声色的褐色脸孔,相互冷漠地凝视着。
这栋楼房的上一位房客,是个教士,他是死在后客厅房里。
因为长期关闭,所有的房间都散发出一股霉味。
厨房后面的废物间满地都是无用的废旧报纸。
我在他们中间找到了几本书页卷曲而且潮湿的平装书:瓦尔特·司各特的《修道院长》,《虔诚的圣餐者》和《维道克回忆录》。
我最喜欢最后这本,因为书页已经泛黄。
屋后荒芜的花园中间有一棵孤零零的苹果树,以及几株零零落落灌木。
在一棵灌木下面，我发现了一个属于死去的教士的锈蚀的自行车打气筒。
他一直是个心地仁慈的教士,在他的遗嘱中,他把自己的全部财产捐给了各种的慈善机构,还把屋里的家具都送给了他的妹妹。
在短暂的冬日来临时,我们还没有吃过晚饭,夜幕就已经降临。
当我们聚集在街上玩耍时,所有的屋子也就变得阴森可怕。
头上夜空里显出一片变幻不定的紫罗兰色,同街灯的微光遥遥相映。
寒风刺骨,我们不停的玩,直到浑身暖和。
而我们的喊叫声在寂寞的大街上回响着。
游戏的进程把我们带到屋子后面黑暗而泥泞的小巷里,在那儿,我们遭到了住在棚屋里那帮野蛮家伙的猛烈进攻,我们跑到一个个黑暗、潮湿的花园的后门口,那里的灰坑发出难闻的气味,然后跑到黑暗而满是马粪味的马厩里去,那儿有个马车夫在梳理马匹,或者敲着扣好的马具,发出铿锵的声音。
当我们回到街上,一家家厨房里透出来的灯光照亮了每个地方。
这时，假如我姑父正拐过街角，我们便藏在暗处，直到他走进家门。
或者只要曼根的姐姐出来叫她的弟弟回去吃茶点的时候,我们就会躲在暗处偷偷地看她,我们等着看她呆住不走呢，还是进屋去。
如果她一直等着不走,我们就只好一起走上前去,无可奈何地让她发落。
英美文学名篇阅读与欣赏之一：詹姆斯.乔伊斯之《阿拉比》（原文）
英美⽂学名篇阅读与欣赏之⼀：詹姆斯.乔伊斯之《阿拉⽐》（原⽂）ArabyJames JoyceNorth Richmond Street , being blind, was a quiet street except at the hour when the Christmas Brother’s School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.The former tenant of our house, a priest, had died in the back drawing –room . air , musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: The Abbot, by Walter Scott, The Devout Communicant and The Memoirs of Vidocq. I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant’s rusty bicycle-pump. He had been a very charitable priest; in his will hw had left all his money to institutions and the furniture of his house to his sister.When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown somber. The space of sky above us was the color of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street, light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan’s sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan’s steps resignedly. She was waiting for us, her figure deceased by the light from the half –opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope her hair tossed from side to side.Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so that I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye and, when we came hear the point at which our ways diverged, I quickened my pace and passed her. This happened morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood.Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs’cheeks, the nasal chanting of street-singers, who sang a come-all-you about O’Donovan Rossa, or a ballad about sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears ( I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires.One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about t slip from them, I pressed the palms of my hands together until they trembled, murmuring:“ O love! O Love!” many times.At last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to answer. She asked me whether I was going to Araby. I forgot whether I answered yes or no. it would be a splendid bazaar, she said she would love to go.“And why can’t you?” I asked.While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps and I was alone at therailings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease.“It’s well for you,”she said.“If I go,”I said ,“I will bring you something.”What innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day in the classroom her image came between me and the page I strove to read. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised and hoped it was not some Freemason affair. I answered few questions in class. I watched my master’s face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child’s play, ugly monotonous child’s play.On Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly:“Yes, boy, I know.”As he was in the hall I could not go into the front parlour and lie at the window. I left the house in bad humour and walked slowly toward the school. The air was pitilessly raw and already my heart misgave me.When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and, when its ticking began to irritate me, I left the room. I mounted the staircase and gained the upper part of the house. The high cold empty gloomy rooms liberated me and I went from room to room singing. From the front window I saw my companions playing below in the street. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived. I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress.When I came downstairs again I found Mrs. Mercer sitting at the fire. She was an old garrulous woman, a pawnbroker’s widow, who collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour and still my uncle did not come. Mrs. Mercer stood up to go: she was sorry she couldn’t wait any longer, but it was after eight o’clock and she did not like to be out late, as the night air was bad for her. When she had gone I began to walk up and down the room, cleaning my fists. My aunt said:“I’m afraid you may put off your bazaar for this night of Our Lord.”At nine o’clock I heard my uncle’s latchkey in the halldoor. I heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me the money to go the bazaar. He had forgotten.“The people are in bed and after their first sleep now,”he said.I did not smile. My aunt said to him energetically:“Can’t you give him the money and let him go? You’ve kept him late enough as it is.”My uncle said he was very sorry he had forgotten. He said he believed in the old saying:“All work and no play makes Jack a dull boy.” He asked me where I was going and, when I had told him a second time he asked me did I know The Arab’s Farewell to His Steed. When I left the kitchen he was about to recite the opening lines of the piece to my aunt.I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the trees thronged with buyers and glaring with gas recalled to me the purpose of my journey. I took my seat I a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous houses and the twinkling river. At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few minutes the train drew up beside an improvised wooden platform. I passed out on to the road and saw by the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which displayed the magical name.I could not find any sixpenny entrance and , fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-looking man. I found myself in a big hall girdled at half its height by gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognized a silence like that which pervades achurch after a service. I walked into the center of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words Café Chantant were written in colored lamps, two men were counting money on a salver. I listened to the fall of the coins.Remembering with difficulty why I had come I went over to one of the stalls and examined porcelain vases and flowered tea-sets. At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely to their conversation.“O, I never said such a thing!”“O, but you did!”“O, but I didn’t!”“Didn’t she say that?”“Yes. I heard her.”“O, there’s a …fib!”Observing me the young lady came over and asked me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured:“No, thank you.”The young lady changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder.I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part of the hall was now completely dark.Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.。
《阿拉比》中象征手法使用突出理想与现实的冲突
Analysis On The Conflict Between DreamsAnd Reality Though The Use Of Symbols In ArabyAbstract: This thesis aims to discusse the large discrepancy between dreams and reality by analysizing the symbols used in James Joyce’s Araby. In this novel, James Joyce created a large number of symbolic imageries such as "the North Richmond street", "the priest", "light form the kitchen windows had filled the areas", "chalice", "a central apple tree" in a "wild garden behind the house" and so on. By analysizing these symbols, we can see the sharp conflict between dreams and reality more clearly,and understand the theme of this novel more deeply.A Brief Introduction To ArabyAraby is one typical novel of the fifteen short stories of Dubliners by James Joyce which is set in dreary, dark Dublin. A lot of symbols are used in this novel.It is a story about a boy's first love. In the process of his seeking for his ideal love, the boy finally awaked the cruelty of the reality and great discrepancy between the real world and the ideal world in his mind. At last, the boy waked up from his dream and got the epiphany from the reality and was on his way towards maturity.Conflict Between Dreams And RealityReflected By The SymbolsFirst, the title "Araby" is a meaningful symbol for us to comprehend the story. In the novel, Araby is “a splendid bazaar” where Mangan’s sister recommended the boy to go. Therefore, it’s a dream place for the boy and he was eager to go there and buy something for Mangan’s sister. However, his uncle answered him curtly when the boy told him his plan to Araby and went home too late that night to let the boy go to Araby on time. These show that Dubliners do not care about their dreams. When the boy finally arrived at Araby very late, it turned out to be “darkness” and “silence”. And, the flirtation between two men and a woman also made him quite frustrated. The scenes in Araby were quite different from what was in his mind. It was “deserted”, “bare” and intolerable. The boy’s dream was smashed into pieces.The boy was totally lost in the darkness. He didn’t know where to go, what to do. These all indicate that no matter how sweet the dreams are ,they will fail because of the cruel and hash reality.Second, Mangan’s sister is a symbol of brightness which help the boy establish his ideal world differed from his current gloomy life. She is the boy’s dream.Every morning he laid on the floor in the front parlor watching her face. He always wanted to buy her a wonderful gift. Shewas his unique idol But she hardly notices him and converses with him only once. Furthermore,in the whole novel, the girl’s name hasn’t appeared.It indicates that the boy’s love towards Mangan’s sister couldn’t breed any results. And his dream is shallow and unrealistic and is doomed to failure.Third, blind-- a word appeared twice in the story. First,the North Richard Street was “blind”which suggests that the surroundings were depressive,restrictive and claustrophobie. The house was full of musty air. The houses in the street were sombre,and. all the streets were almost the same with drunken men and bargaining women, amid the curse. And the future of the Dubliners were gloomy ,therefore all dreams weren’t encouraged by the society. No beautiful and sweet ideals can breed in such an enviroment. Second, By using the blind, the boy avoided being seen by Mangan’s sister. But at the same time, the blind also prevented he from seeing her clearly. Therefore, the boy was definitely unsure of what love was and why he fell in love with the girl. So the boy’s dream was only a childish wish, shalow,vague and breakable because it’s “blind”.Another symbol is the priest, he had been very charitable and nice, leaving all his money to the institutions. Besides, he was full od imaginations But the priest had gone , deserted and forgotten by other Dubliners. And the description of the room where he died is morerevealing, "Air, musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers." The priests old room smells like a jail cell. The air is a prisoner of the room. All these indicates that any wonderful imaginations and dreams were confined by the dull and depressive society. Dreams can hardly exist and be realized because of the dark reality.After analyzing several symbols in Araby, we can find that the frustrated persuit for dream is highly symbolic in almost every image that James Joyce created. We see the incompatibility between dreams and reality. The North Richmond Street where the boy lived was silent, conservative and dusty and life was monotonous,dull and unimpassioned. Ho wever, the boy wasn’t upset in such an enviroment because he had sweet dreams and expectation for love. His life shifted between the ugly reality and the beautiful dreams. His pursuit for Mangan’s sister was in fact pursuit for his dreams which was rooted in the human nature. But the real world was so cruel and hash that he had to wake up from his dreams and face the fact. "Araby",the noble place of love and beauty in the boy’s mind turned out to be vulgar and superficial. It is just like other marketplaces, smelling of vanity ,flirtation and dirty. He suddenly realized how indifferent and paralyzed the society was,and how worthless and helpless were his dreams in such a society.conclusionJames Joyce used rich symbols to depict the sharp conflict between the boy’s inner world and the real world and it ended with the boy’s epiphany.At last the boy’s eyes were burned with anguish and anger. His dream was broken. But after all, he discovered the difference between dream and reality. The story was destined to be a tragedy, but it was still aspiring. In such a society, people could not escape from the cruel fact and live in their imaginary world. They should face the fact. I believe as the boy grew old, he would be brave enough to face all the difficulties in real world, he couldl keep a deep and long-term point of view of his future, he would finally make his dream come true.。
阿拉比课文PPT课件
分析贾比的人物性格 特点，包括他的优点 和缺点。
阿拉比中的其他角色
01
介绍其他角色的身份、性格特点 及在故事中的作用。
02
分析其他角色与贾比的关系及对 故事情节的影响。
人物性格特点分析
分析阿拉比中主要人物的个性特 点及形成原因。
探讨人物性格特点对故事情节发 展的影响。
通过人物性格特点分析，揭示故 事所蕴含的深层意义。
文章运用了大量的比喻、 拟人等修辞手法，使语言 具有诗意和抒情性。
细腻描绘
作者对人物和场景的描绘 非常细腻，使读者能够身 临其境。
幽默与讽刺
作者在文章中运用了幽默 和讽刺的元素，使文章更 具有趣味性和教育意义。
象征手法
人物象征
文章中的主人公代表了那些追求 梦想、渴望自由的人。
情节象征
文章的情节发展代表着人生中的 挫折与成长，使读者能够从中找 到自己的影子。
PART 05
启示与思考
REPORTING
对梦想的追求
01
追求梦想需要勇气
阿拉比在故事中追求自己的梦想，但面临着各种困难和挑战，然而他并
没有放弃，而是坚持不懈地追求，这表明了追求梦想需要有勇气和决心
。
02
梦想需要付出努力
阿拉比为了实现自己的梦想，付出了很多努力和时间，他不断地学习和
练习，最终实现了自己的目标。这告诉我们，梦想不是轻易就能实现的
勇气与坚持
总结词
阿拉比在面对困难和挫折时，展现出了勇气和坚持，这体现了追求梦想过程中 不可或缺的品质。
详细描述
阿拉比在面对困难和挫折时，并没有放弃，而是更加勇敢地向前迈进。他知道 ，只有坚持下去，才能够实现自己的梦想。最终，他成功地实现了自己的梦想 ，展现出了勇气和坚持的成果。
阿拉比
《阿拉比》中的孤独追求也许再没有哪一部20 世纪的短篇小说像乔伊斯的《阿拉比》这样引人注目。
小说中小男孩的经历具有广泛性，使该故事引起各个年龄段读者的兴趣，因为他们本能地感到这可能是他们自己的一种经历。
这是一种人的本能，即在探求一种他认为是在他的世界中所失去的一部分灵性。
在人们的各个年龄段，都有可能探求并发现一个能给人带来好运的东西。
如果能够带回这种东西，也就找回了他所失去的灵性。
《阿拉比》中主题的发展是建立在原型神话中一位英雄独自去寻找圣杯的故事。
精神病学家卡尔·容格使用过这样一个短语———“艺术创造想象模式”，即从人的内心底层获得素材。
在《阿拉比》中，乔伊斯用这种方法来进行文学创造、激发有光明与黑暗对比的超人类世界的想象。
这是一种原始的经历，一种超越人的理解的经历，并使人处在屈服于这种经历的危险之中［1］。
毫无疑问，这就描绘了乔伊斯对《阿拉比》素材的把握。
探求本身和探求的结果超越了故事中年轻的主人公的理解能力。
他只能“感到”他经历着寻找的过程，自然在故事的结局他会感到困惑。
当他发现梦想和现实的强烈对比时，他会感到“自己不过是一个被浮华世界驱使和嘲弄的可怜虫；我的眼睛里燃烧着痛苦和愤怒”。
［2］他的“光明与黑暗”对比的世界既包含着失去的灵性，也包含着恢复灵性的梦想。
因为我们自己的世界也包含着我们所“感受到”的这种强烈的对比，即使这种原始的经历也超越我们的理解能力。
正像一个作家提醒我们道，“不论什么作品，乔伊斯总是根据他的天主教的信仰，仔细观察着世界的有序和无序”［3］。
当时的爱尔兰社会动荡，人心散漫。
整个社会充满了悲观失望的气氛，天主教影响并渗透到社会生活的每一个领域，教会是影响人们各方面生活的强大势力，这就给本来已陷入瘫痪的都柏林生活又增添了瘫痪的精神生活。
然而在《阿拉比》中，另外还有一个充满东方神秘色彩的地方———阿拉比集市。
这种背景材料的多样性，加强了这种探求经历的普遍性。
我们可以返回到故事语言和意象去看看根据这些多样性的背景，小男孩的世界是怎样呈现出来的。
浅谈阿拉比
浅谈阿拉比浅谈《阿拉比》中的环境描写摘要乔伊斯在其作品《阿拉比》中,以一个正处于青春期的男孩对异性产生爱慕之情为主线,描写了都柏林人普通的日常生活.通过对环境的描写,以及对场景的渲染,生动地展示了各种人物同僵死和瘫痪的社会之间的激烈冲突以及他们理想幻灭之后痛苦不堪的精神感受.也展示了人物瞬间的意识活动和心理转变,从而带给读者感同身受的深刻认识。
关键词:阿拉比;场景描写;象征1.环境描写体现的社会背景(1)小说开头这样描写了故事发生的地方:"North Richmond Street, being blind, was a quiet street except at the hour when the Christian Brothers' School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces......The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns........When we returned to the street, light from the kitchen windows had filled the areas."寂静的死胡同，无人居住的两层楼房,封死的街道，这样一个死气沉沉,没有活力,而又闭塞孤立,冷冷清清的地方,作为当时的爱尔兰的象征,暗指了19世纪死气沉沉的爱尔兰社会. 那时的都柏林人在精神、道德、社会和政治各方面处于瘫痪状态的生活景象。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
象征主义
象征主义是一种艺术创作手法。是根据事物之间的某 种联系，借助具体的形象（象征体），来包含隐喻， 以表现某种抽象的概念、思想和情感。
它可以使文章含蓄深刻。恰当地运用象征手法，可以 将某些比较抽象的精神品质化为具体的可以感知的形 象，从而给读者留下深刻的印象，赋予文章以深意， 从而给读者留下咀嚼回味的余地。
20世纪初这一手法也被吸收到文学创作中来
未结之问
3、“感到自己是一个被虚荣心驱使和播（拨） 弄的的可怜虫”，怎么就虚荣心了?为什么“痛 苦和愤怒”？
我抬头凝视着黑暗，感到自己是一个被虚荣心 驱使和播弄的可怜虫，于是眼睛里燃烧着痛苦 和愤怒。
精神顿悟——乔伊斯
“精神顿悟”一词源自希腊语，在古希腊戏剧中，它往往指上 帝在关键时刻突然出现并主宰一切的场面。在《都柏林人》 中，乔伊斯将它作为一种特殊的技巧加以运用，旨在揭示主 人公对人生与社会现实瞬间的感悟。
在威斯兰罗车站，来了一大群乘客，往车厢门直拥。列车员说，这是直达集市的专车， 这才把他们挡回去。我独自坐在空车厢里。 大半个厅堂黑沉沉的。我有一种阒寂之感，犹如置身于做完礼拜后的教堂中。
两个男子正在一只托盘上数钱。我倾听着铜币落盘时的叮当声。
街头卖艺人用浓重的鼻音哼着赞美奥唐纳万·罗沙的《大伙儿都来》，或一支感叹祖国动 乱的歌谣。 棚摊门口有个女郎，正同两位年轻的先生说笑，我听出他们的英国口音， ……
棕色衣服的身影
女修道院 做静修
三人组对话（空虚乏味） 她和我的对话（？）
众多的问题——为什么这样写？
5、作者对曼根姐姐的形象描写的很“模 糊”，明显刻意这样写的，为什么？她到底 长得美不美？
印象主义
19世纪西方绘画领域兴起的一个画派。
印象派致力于捕捉模糊不清的转瞬即逝的感觉 印象，强调人对外界物体的光、影和色的感受 和印象，形象的表现个人精神领域中朦胧的感 性活动。
“我”的理想——对曼根姐姐的爱 初恋（迷惘、虔诚、迷乱、虚幻）
剧情讨论
从阿拉比空手而回就是结局了？故事就这 么结束了？少年的初恋会怎么样？
作者的安排与暗示
荒芜的花园，中间一株苹果树（第2层隐喻）
光照着她白嫩的脖子，照亮了披垂的头发，也照亮了搁
在栏杆上的手 ……灯光使她衣服的一边清晰可见，正好 映出衬裙的白色镶边。
独与悲观。 毕诗悦：表现
1、一、二段的描写有什么用？感觉没联系。 2、作者用一定篇幅写了已故教士的一些事情，但小说后面情
节跟教士毫无关系，写他有什么用意呢？ 3、最后部分写那三个人的对话有什么作用？理解不能。 4、从阿拉比空手而回就是结局了？故事就这么结束了？ 5、“感到自己是一个被虚荣心驱使和播（拨）弄的的可怜
所以在我看来，都像儿戏，单调而讨厌的儿戏。 我逗留在她的棚摊前，仿佛真的对那些货物恋恋不舍一般，
尽管心里明白，这样呆着毫无意思。
我抬头凝视着黑暗，感到自己是一个被虚荣心驱使和 播弄的可怜虫，于是眼睛里燃烧着痛苦和愤怒。
读书三问
（1）写了什么？ （2）怎么写的？ （3）为什么这样写？
小说的主题可以解决“为什么这样写”
老师的问题
作者用了近一半的篇幅，或详或简地描写都柏 林的街市和生活在这里的人们，这些成分如果 仅用来当做“背景”或“环境”来处理，那这 篇小说“主要情节”就会被“次要”的材料压 垮。
把这些“背景”聚合在一起，归纳总结，化繁 为简，看看作者究竟想让你对都柏林和都柏林 人留下怎样的印象？
失衡的“环境”
阿拉比
乔伊斯
读书三问
（1）写了什么？ （2）怎么写的？ （3）为什么这样写？
初读印象
情节 人物 环境 主题
情节
小说写了都柏林一个少年喜欢上了朋友曼 根的姐姐，这份感情越来越强烈。后来他听这 位姑娘说想去一个叫阿拉比的集市，却去不了， 少年决定一定要去一趟阿拉比，并给她带一份 礼物。虽然遇到了波折，但少年还是来到阿拉 比，只是最终空手而回。
读书启示
小说因情节出色，可风行一时； 因角色生动，可流传一世； 因深入灵魂，可趋向不朽！
课后思考
有人说小说表面上是以少年的视角、第一人称 来写的，实际上却是成年人的回忆。对这个论 断你怎么看？
读写训练
本课中多处描写主人公暗恋邻居女孩儿的所思 所为所见所闻，真实生动。以之为参考，结合 自己所知，每人写一段关于“初恋”的记叙或 描写类的文字，可以是真实，可以是虚构，也 可以是改编你读过的文学作品片段。在组内交 流品读，各组选出较精彩的语段，合编一处。 我们再一起来比比眼力，鉴赏一下真伪。
象征主义——抓特征，解隐喻
已故的教士 花园----苹果树 北理奇蒙德街的一头是不通的 幽暗阴冷的房屋街道 现实中的阿拉比
仿佛感到自己捧着圣餐杯，在一群仇敌中间安然穿过。 我觉得自己快要失去知觉了，于是把双手紧紧合在一起， ……
我在其中翻到几本书页卷起而潮湿的平装书：瓦尔特·司各特作的《修道院长》，还有 《虔诚的圣餐者》和《维道克回忆录》。 这个长舌妇，为了某种虔诚的目的，专爱收集用过的邮票。
都柏林
：北理奇蒙德街
学校 五光十色的大街 火车沿线
街上的房屋
白金汉大街 阿拉比集市
都柏林人：我们
野孩子
姑姑姑父 众生相
看门人
二人组
已故的教士
曼根 曼根的姐姐 老师 莫塞太太 三人组
失衡的“环境”
都柏林 ：冷漠疏离
阴冷衰败
都柏林人： 空虚
麻木 虚伪 乏味
少年们： ？
主题探讨
短篇小说集《都柏林人》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。
课后活动设计 ——课外阅读
推荐书目：《少年维特的烦恼》《红与黑》《青春的门》 《三重门》《此间的少年》《第一次亲密接触》《忽而今夏》 《我喜欢当年喜欢你的我》《梦里花落知多少》《毕业那天 我们一起失恋》
影视作品：《西西里岛的美丽传说》《死亡诗社》《放牛班 的春天》《坏孩子的天空》《夏天的尾巴》《蓝色大门》 《练习曲》《那些年我们一起追的女孩》《初恋这件小事》 《假如爱有天意》《左耳》
慢，作者对底层人民的同情） 颜佳艺：我是众人的缩影，原本拥有美好的理想和希望却被现实改变。 林贤明：文章以一个小男孩的角度反映了这个世界的黑暗。 朴丽华：大人对小孩心愿的无视，社会对儿童的轻视和冷漠。 韩潇雨：反映了社会腐败污浊的现实，使男孩感受到现实而长大成人，但也
破灭了男孩的浪漫幻想。 吴 卓：这个故事反映了社会环境对人的理想和希望的毁坏，表现了人的孤
虫”，怎么就虚荣心了?为什么“痛苦和愤怒”？ 6、作者对曼根姐姐的形象描写的很“模糊”，明显刻意这样
写的，为什么？她到底长得美不美？ 7、“人们早已上床，睡过一阵了，”他说。 我没笑。——
“我”为什么要笑或者不笑啊？ 8、为何看到叔叔拐过街角，我要躲起来？
出镜率最高的问题
作者用不少文字写了已故教士的一些事情，但 小说后面情节跟教士毫无关系，写他有什么用 意呢？
人物与环境
人物： “我” 环境：都柏林的街市
都柏林人
“缤纷”的主题
毕鉴澈：对故乡都柏林的思念和对（故乡的）人们精神空虚麻木的批判。 刘上源：作者对现实生活中的人们爱慕虚荣的讽刺。 刘 阔：在对比中突现（凸显）了亲人的关爱和外人精神的空虚冷漠，表达
了作者对故乡的思念。 王诗宇：体现了人与人之间的不信任和少年的不快、痛苦和愤怒。 王祎晨：小说体现了孩子的淳朴和对美好事物的向往。 窦鹏飞：表现了下层阶级所受到的不公和无奈。（上层市民对下层市民的轻
众多的问题——为什么这样写？
1、一、二段的描写有什么用？感觉没联系。（作者用一定篇 幅写了已故教士的一些事情，但小说后面情节跟教士毫无关系， 写他有什么用意呢？）
2、最后部分写那三个人的对话有什么作用？理解不能。 3、“感到自己是一个被虚荣心驱使和播（拨）弄的的可怜
虫”，怎么就虚荣心了?为什么“痛苦和愤怒”？ 4、从阿拉比空手而回就是结局了？故事就这么结束了？ 5、作者对曼根姐姐的形象描写的很“模糊”，明显刻意这样
乔伊斯自己的定义，“精神顿悟”是“一种突然的精神显现， 或者是发生在鄙俗的言词或行动中，或者是发生在心灵本身 一个难忘的阶段”。
乔伊斯的整部《都柏林人》就是由一连串的“精神顿悟”所 组成的。这些顿悟构成了故事人物心理发展的高潮，道出了 都柏林生活的真谛：都柏林生活的不幸在于人们只能按照日 常僵化、固定的模式去生活，缺乏勇气去摆脱常规的桎梏， 没有决心为美好理想而抗争。
写的，为什么？她到底长得美不美？ 6、“人们早已上床，睡过一阵了，”他说。 我没笑。——
“我”为什么要笑或者不笑啊？ 7、为何看到叔叔拐过街角，我要躲起来？
众多的问题——为什么这样写？
街上其他房屋仿佛自以为有像样的住户，而沉下褐色的 脸，互相凝视。
遭到棚屋里那一伙野孩子的夹道鞭打 如果曼根的姐姐在门口石阶上呼唤弟弟回家吃茶点，我
们就在暗中瞧着她对街道东张西望。 她弟弟在顺从她之前，总要先嘲弄她一番，我则靠着栅
栏望她。 每天早晨，我躺在前客厅的地板上，望着她家的门。 我听到雨密密麻麻泻在土地上，针尖似的细雨在湿透了
的花坛上不断跳跃。
众多的问题——为什么这样写？
她不断转动着手腕上的银镯子说，她不能去， 生活中的正经事叫我厌烦，它们使我的愿望不能尽快实现，