小说“阿拉比”英文赏析
Araby文章浅析
• This article mainly tells about a boy who secretly loves a neighboring girl, Mangan’s sister. This simple and pure love can be revealed through his action, his self-narration and his mentality, which can be best revealed in some sentences in the work.
enthusiasm
useless papers, yellow leaves, wild garden, rusty bicycle-pump Our narrator , although he lives in a lifeless and stagnant environment, he doesn’t realize the harsh side of the society, still having an idealistic notion of life. e.g. I like the last best because its leaves were yellow.” (romantic and sentimental )
Para1:
1.blind
This word sets the basic tone for the whole environment in which the boy lives,as seen in other other words like "uninhabited," "detached," "brown," "imperturbable" ---quickly presents a world that is solemn, indifferent, desolate, cold and dull.
阿拉比(araby)读后感
阿拉比(araby)读后感
《阿拉比》让我领略了当时伊斯兰文明的繁荣及开放的一面，它的民族特色更显得十分鲜明突出。
这部小说描写了一个男孩贵尼敏在一个异国文明中的旅程，以及他学会接受异文明的新旧之间的冲突。
我被贵尼敏在这种新生活中慢慢找到晰路而自学成才的感叹所折服。
故事也通过他发现这样一个统治者背后的复杂而伟大的章句，让我更加赞叹这一民族创造出来的政治、神学、文明辉煌。
本故事身处几经波折最终历险成功，使我懂得“不怕路长回头短”的道理。
最重要的是，这本小说的作者用美妙的文字隐喻他们的文明，使我的眼睛为之一亮，使我的心灵为之触动。
可以说，这本小说中的主题给了我很大的启发，即坚守正义和不断探索新东西，并拥抱不同文明。
我也因此而深深爱上了这本书和它所包含的文化与历史。
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.。
孤独的追寻与精神的顿悟詹姆士乔伊斯短篇小说《阿拉比》解析
总的来说，霍尔顿的孤独是他对现实世界的反抗和对真实人性的追求的结果。 他的孤独并非全然的消极，而是他对社会假象的揭露和对真实人性的坚守。他 的孤独是一种力量，是对成人世界虚伪和刻板教育的反抗，是对孩子们纯真和 善良的保护。《麦田里的守望者》通过霍尔顿这一形象，揭示了现实世界的虚 伪和假象，也呼唤人们对真实人性和纯真善良的保护和追求。
参考内容
基本内容
《百年孤独》是哥伦比亚作家加西亚·马尔克斯的代表作，也是拉丁美洲魔幻 现实主义文学的代表作。这部小说以布恩地亚家族的兴衰变迁为主线，通过独 特的象征手法，描绘了马贡多小镇和布恩地亚家族的传奇故事。
首先，马尔克斯通过家族中人物名字的重复，象征着布恩地亚家族命运的轮回。 家族中的六代人都有相同的名字：霍塞·阿卡迪奥和奥雷良诺。这种命名方式 不仅体现了家族的连续性和传统，更隐喻着家族成员命运的相似和相互关联。 每个人都仿佛是在历史的大潮中无力自主的孤独个体，他们的命运在重复中呈 现出宿命的轮回。
其次，马尔克斯以布恩地亚家族成员性格和命运的相似性来象征人类面对命运 时的无力和孤独。例如，阿卡迪奥们总是充满热情，追求科学和知识的进步， 但却无法逃脱命运的诅咒；而奥雷良诺们则致力于探索世界的本质，但却无法 抵挡战争、爱情和死亡的来临。这种命运的无力和孤独，既是对布恩地亚家族 的命运写照，也是对人类历史和命运的象征。
在故事的结尾，小男孩虽然未能实现他的梦想，但他却找到了内心的平静。他 的这种平静并不是对生活的消极接受，而是对生活的深刻理解和对自我价值的 重新定义。他的这种平静来自于他对生活的深刻洞察和对自我内心的深刻认识。
在分析这部作品时，我们不能忽视乔伊斯独特的叙事技巧。他运用了大量的象 征手法和隐喻，使故事具有了更深的含义。例如，“阿拉比”这个地方，它既 是一个异国情调的场所，又是一个象征着梦想和追求的地方。小男孩在“阿拉 比”的经历，实际上是他对生活和梦想罗姆·大卫·塞林格的代表作，也是20世纪美国文学 的重要篇章。该小说以主人公霍尔顿·考菲尔德的视角，深刻揭示了美国社会 的混乱和青少年成长中的困惑与痛苦。本次演示将着重探讨霍尔顿的精神世界， 以此解析其孤独的守望者的身份。
从《阿拉比》赏析乔伊斯笔下的＂精神顿悟＂
４ ＂
从 《 阿拉比》赏析乔伊斯笔下的 “ 精神顿悟’ ’
章 君 上海 电机学院外 国语学院
摘 要 ：詹姆斯 ． 乔伊 斯 的短 篇小 说集 《 都柏林 人》 描绘 不 同人物精 神麻 木、 生活 消沉 ，虽抱有 幻想但 最终在 现 实 面前 幡然 醒悟 ，幻想破 灭 的 自我成长 历程 ，充分 反 映 了爱尔兰社 会 腐朽 、道德 沦丧 的瘫痪 状 态。“ 精神 顿悟 ”是乔 伊 斯 在 作 品中所运用 的新颖 独特 的创作 技巧 。本文通过 小说 集 中Байду номын сангаас《 阿拉 比》 一文 赏析 乔伊斯 “ 精神 顿悟 的创 作特 色。 关键 词 ：乔 伊斯 ；阿拉 比；精神顿 悟
一
在 去阿 拉 比之 前 ，少 年 经历 了一 系 列 的考 验 。 漫 长 的等 待 ，恶 劣 的天气 ，火 车的延 误 ，心情 的忐忑 。当最 终 赶到 阿拉 比集 市时 ，少 年感 受到 的是 “ 做 完礼 拜之 后弥漫 在教 里 的那 种 静寂 。 ”“ 差不 多所有 的 货摊都 已关 闭 大 厅
喊声，大厅上面 的部分完全黑了来下。 ”黑暗中的少年脑 海 中却 立 马变 得清 醒 ，“ 看 见 自 己成 了一个 被虚 荣 心驱 使 和 嘲 弄 的动 物 ，于 是双 眼燃 烧 起痛 苦 和愤 怒 。 ”他 在那 一 刻 看清 楚 了现 实和幻 想之 间 的差距 ，心 中圣洁 的爱情 ，其 实 和这 个黑 暗嘈杂 的集 市一样 市侩虚 伪 。阿拉 比集市 和少 年 长年 生活 的街道 一样 ，由无 数底层 的俗 不可耐 的平 民组 成 ，追 求梦幻 般 的爱情在 这样 沉闷 的社会 环境 中只是 可望 而 不可及 的海 市蜃楼 。 “ 精 神 顿 悟 ” 是乔 伊 斯 作 品 中最 为 鲜 明的创 作 技 巧 ，
简析《阿拉比》的创作手法
简析《阿拉比》的创作手法作者：李秀艳来源：《青年文学家》2013年第21期摘要：詹姆士·乔伊斯（James Joyce ）爱尔兰作家，诗人，是20世纪西方现代派文学最重要的作家之一。
乔伊斯的文学生涯始于他1904年开始创作的短篇小说集《都伯林人》。
在写给出版商理查兹的一封信中，他明确地表述了这本书的创作原则：“我的宗旨是要为我国的道德和精神史写下自己的一章。
”这实际上也成了他一生文学追求的目标，作家因此而获得了祖国人民的衷心爱戴。
在乔伊斯笔下，在英国殖民主义和天主教会双重压迫和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”，在这个城市里充斥着麻木、苦闷、沦落的精神荒漠。
《阿拉比》（Araby）是短篇小说集《都伯林人》中的第三篇。
小说讲述了一个都柏林少年的故事这篇小说语言细腻，创作手法丰富多彩，字里行间透视着人类空洞荒芜的精神世界。
本文将通过细致的文本分析，深入探讨小说中的客观性，淡化的情节，丰富的意象，等现代主义创作手法，从而更好的领略《阿拉比》的现代性艺术魅力。
关键词：创作手法；艺术魅力作者简介：李秀艳，吉林省农安县人。
吉林省延边大学外国语学院英语专业教师，副教授。
担任综合英语课和英语短篇小说课教学工作，研究方向为美国文学。
[中图分类号]：I106.4 [文献标识码]：A[文章编号]：1002-2139（2013）-21-00-02詹姆士·乔伊斯（James Joyce ），著名作家，诗人，1882年生于爱尔兰都柏林一个信奉天主教的家庭，乔伊斯的文学生涯始于他1904年开始创作的短篇小说集《都伯林人》。
在写给出版商理查兹的一封信中，他明确地表述了这本书的创作原则：“我的宗旨是要为我国的道德和精神史写下自己的一章。
”这实际上也成了他一生文学追求的目标，作家因此而获得了祖国人民的衷心爱戴。
在乔伊斯笔下，在英国殖民主义和天主教会双重压迫和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”，在这个城市里充斥着麻木、苦闷、沦落的精神荒漠。
Araby_james_joyce_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 </servlet/SRC>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.。
小说Araby两个译本之评析_以翻译的标准为视角
Vol 25 No 4 July 2010
小说 Araby 两个译本之评析
以翻译的标准为视角 朱光冰
( 广西政法管理干部学院 , 广西 南宁 [ 摘 要 ] 本文从语 言 、 风格等 方面对小 说 Ar aby 两 个 译本进行比较分析 , 从而进一步阐明翻译应遵 循的 信 、 达、 雅! 这一原则标准 。 [ 关键词 ] 忠实 ; 通顺 ; 得体 [ 中图分类号 ] H315. 9 [ 文献标识码 ] A [ 文章编号 ] 1008- 8628( 2010) 04- 0127- 03 530023)
小主人公跟婶婶去市场买东西 , 现实世界的平 庸、 市侩, 与小主人公初恋时圣洁、 理想的心态极不 融洽, 因此小主人公产生一种单纯的感受 : 自己正 捧着圣 餐酒杯, 通过 一大群敌人的 包围。译文对 in a single sensat ion of life for me! 的理解差异较 大, sing le! 一词意思是! 单个 , 简单! ; sensat ion! 是 感觉、 感动、 激动。因此, 我认为译为 一种单纯的 人生感受! 比较贴切。 7. It w as a dark rainy evening and there w as no sound in t he house. T hrough one of t he broken pans I heard t he rain impinge upon t he earth, t he fine in cessant needles of w at er playing in the sodden beds. 黄本 : 这是一个阴雨绵绵、 漆黑的夜晚, 整幢房 子一片寂静 , 透过一块破碎的窗玻璃, 传来了雨水 着地的声响。连绵的细雨犹如行行绣针 , 洒向湿透 了的花圃、 钱本 : 那是一个漆黑的雨夜, 房子里静悄悄的 , 透过一扇破窗, 我听见雨点打在地上, 连绵的针尖 细雨泻在湿透的花坛里。 这里可以看出钱本比较注意忠实于原文 , 做到 翻译的准确性, 但从语言的运用上来说略显拘谨 , 不如黄本译得那么自然 , 细腻 , 文学性强。在翻译 中应该重原文形式还是原文内容是译者面临的最 大的障碍 , 虽说作者的文体特征是由语言形式来反 映, 但过于强调形 式的译法往往使 译文缺乏可读 性。 通过对以上两个译本的粗略对比, 我们可以看 出黄本文笔 流畅、 灵活 , 充分发挥了汉语的优势。 文学气息浓厚、 可读性强 , 但个别地方与原文出入 较大。钱本对原文的理解把握较准确, 更忠实于原 ( 上接第 123 页 )
从《阿拉比》赏析乔伊斯笔下的“精神顿悟”-精品文档
从《阿拉比》赏析乔伊斯笔下的“精神顿悟”詹姆斯.乔伊斯（James Joyce）是20世纪最重要的作家之一，他于1904年开始创作的短篇小说集《都柏林人》（Dubliners）是其最为引人注目的代表作之一。
在乔伊斯眼中，当时处于大英帝国和天主教会双重压制下的爱尔兰是一个社会腐朽、道德沦丧、不可救药的国家，而都柏林则是它“瘫痪的中心”。
《都柏林人》一书通过十五个故事描绘了不同人物由于受到都柏林社会的制约和影响，缺乏对生活乐观的展望，缺乏自由的精神意志，终日浑浑噩噩，只能靠“白日梦”来聊以自慰，抒解心中的怅然。
而某个特定的事件触动了他们麻痹的意志，激发了对自我的重新认识，实现瞬间的“精神顿悟”。
其中《阿拉比》一文就是充分展现作者新颖独特的“精神顿悟”创作特色的佳作之一。
《阿拉比》是《都柏林人》作品集中的第三篇小说，故事短小，情节简单。
小说开始就描绘了一派萎靡黯淡的景象，故事所发生的“北里奇蒙街的一头是死的……，街的尽头有一座无人居住的两层楼房，”“街上的其他房屋，以棕色庄严的面孔相互凝视。
”“我们在街上碰头时，房子都变得黑乎乎的。
”小说开头几段的环境描写中，无处不在地充斥这这样一种沉寂黑暗，无聊难耐的气息。
作者使用了大量表达这样一种生活氛围的词汇如“霉味”、“光线微弱”、“荒芜”、“昏暗潮湿”、“阴暗难闻”、“寂静”等，充分渲染了主人公出场的社会背景，也暗示着主人公不成熟思想和情感的客观必然性。
主人公“我”，一个单纯无聊、麻木不仁的少年就生活在这样一个死气沉沉的压抑环境中。
这也为后来少年情窦初开，短暂地陷入一场无果的暗恋埋下了伏笔。
曼根姐姐的出现无疑成了“我”对美好爱情憧憬的精神寄托，而羞于表达自己的情感的少年饱受相思之苦。
每天的生活开始围绕女孩，“她出门走到台阶上时，我的心便急促地跳动。
”就算不能大胆当面表白，“她的名字总使愚蠢的我热血沸腾。
”“天天早晨都是如此”的少年一贯平静的心里开始频起涟漪。
阿拉比选段赏析
阿拉比选段赏析阿拉比（Araby）是爱尔兰作家詹姆斯·乔伊斯的短篇小说之一，收录于《都柏林人》（Dubliners）中。
这部小说以第一人称叙述，讲述了一个少年经历的故事。
故事中的“阿拉比”是一个集市，少年为了心仪的女孩，决定去阿拉比买礼物。
这个故事以其简洁的叙述和深刻的内涵而著称，下面我们将对其中的几个选段进行赏析。
首先，我们来看一下故事的开头。
故事一开始，作者通过对家庭、邻居和教堂的描写，为读者勾勒出了一个平凡而又贫穷的环境。
这种环境的描绘，为后面的故事情节埋下了伏笔。
在这一部分中，作者通过对环境的描写，让读者对主人公的生活有了一个初步的了解，也为后面的情节做好了铺垫。
接着，我们来看一下主人公对邻居女孩的情感描写。
在故事中，主人公对邻居女孩有着深厚的感情，他把她看作是自己生活中的一束光，是他心中的神圣存在。
作者通过对主人公内心的描写，展现了主人公对邻居女孩的痴迷和迷恋。
这种情感的描写，让读者对主人公的内心世界有了更深入的了解，也为后面的情节发展埋下了伏笔。
最后，我们来看一下主人公对阿拉比的向往和失望。
在故事的高潮部分，主人公决定去阿拉比买礼物，以取悦邻居女孩。
然而，在到达阿拉比后，他发现这里并不如自己想象的那样神秘和美丽，而是一片普通的市场。
这种对阿拉比的失望，也成为了整个故事的转折点。
作者通过对主人公的情感描写，展现了他对阿拉比的向往和失望，也让读者对故事的情节发展有了更深入的了解。
通过对这几个选段的赏析，我们不难发现，作者通过对环境、情感和情节的描写，展现了主人公的内心世界和成长历程。
这种描写不仅让读者对故事的情节有了更深入的了解，也让读者对主人公的内心世界有了更深刻的体会。
因此，可以说《阿拉比》是一部值得深入阅读和品味的经典之作。
《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.。
英美文学作品的语境解读
英美文学作品的语境解读作者：汪敏来源：《青年文学家》2012年第12期摘要：英美文学作为一门语言艺术，在阅读过程中涉及到各方面问题。
本文以《阿拉比》为例，说明教师必须引领学生们全面深入地了解可见可听语言符号内，还要斟酌语言符号外的显性和隐性的因素，从而使其领略其中的美感，以此，教学才能相得益彰。
关键词：《阿拉比》；语境论；英美教学作者简介：汪敏(1983-)，女，浙江绍兴人，硕士研究生，主要从事多元文化话语研究。
现为杭州师范大学英语教师。
[中图分类号]：H31 [文献标识码]：A[文章编号]：1002-2139(2012)-12-0164-011、文学作品的特殊性文学作品不同于其他文体，不是通过逻辑推理去表达一个现象，而是以丰富的艺术感染力和生动的语言，塑造不同的人物形象和情景，是以作家的感受、体验和理解反映社会生活的。
阅读英文原作既要阅读其内容，而且还要着力体会原作的感情和意境，所以，了解语境、做好语境分析是文学作品课堂中的一个重要环节，也是最具难度的问题之一。
《阿拉比》是短篇小说集《都柏林人》的第三篇，属于乔伊斯的早期作品。
笔者发现在教授这篇文章时，发现学生初略阅读之后，对其作为名篇质疑声一片。
但在教师借助语境分析后，学生再次上交的短评有了很多令人意想不到的惊喜。
2、语境补充的重要性对语境的理解，不同语言学家观点各异。
Lewis（1981）认为语境就是说话人与听话人共同拥有的背景知识，这种背景知识对听话人理解说话人说出的具体一句话能起到推波助澜的作用。
Dijk把语境理解为语言环境，即上下文，发生言语行为时的实际情况，文化，社会和政治。
(白解红，2000)。
意义受语境的制约，同一个词语，同一个句子用在不同的语境中会体现不同的意义。
语境理论有助于我们有效地赏析复杂的文学作品。
钱冠连（1997）指出语境是指言语行为赖以表现的物质和社会环境。
他进一步指出，这个环境有语言上下文和非语言性环境两个大部分组成。
浅谈《阿拉比》中顿悟与象征手法的应用
浅谈《阿拉比》中顿悟与象征手法的应用1. 引言詹姆斯·乔伊斯(James Joyce)，爱尔兰著名小说家，意识流小说的杰出大师，现代主义文学的开拓者和代表作家。
其最著名的著作有短篇小说集《都柏林人》（Dubliners,1914），长篇自传体小说《青年艺术家的肖像》(A Portrait of the Artist as a Young Man,1916)，代表作《尤利西斯》(Ulysess,1922) 及长篇小说小说《芬尼根的觉醒》(Finnegan’s Wake,1939)。
《阿拉比》是短篇小说集《都柏林人》中的一篇。
作为乔伊斯的第一部短篇小说集也是其第一部作品，《都柏林人》通过描绘形形色色的都柏林中下层市民日常生活的平凡琐屑的事物，揭示了社会环境给人们的理想、希望和追求所带来的幻灭和悲哀。
对爱尔兰的社会风尚进行了无情的嘲讽与讽刺。
表现出作者的轻蔑与反感。
《阿拉比》便描写了一个男孩由于爱情的激情和理想被社会现实无情地击碎而慢慢自我意识觉醒的过程。
2.顿悟顿悟一词带有宗教色彩，原指神的显灵或显圣。
乔伊斯借用这个术语并赋予它文学批评上新的意义，使之广为流传。
按照乔伊斯的解释，顿悟是指某个事物的本质突然被领悟到。
正如乔伊斯所说的“从他显现的外衣中，其灵魂和实质猛然向我们跳过来。
”这种突然的洞察是对日常生活中看似简单而又平凡的事物的真正意义上的顿悟。
例如在《阿拉比》中结尾的那一段：“我抬头向黑暗中凝视，反倒自己正是一个被虚荣心所驱使、所嘲弄的可怜虫。
”要说起小说《阿拉比》中的顿悟，则不得不先从其叙事视角谈起。
《阿拉比》的叙事视角十分独特。
整篇故事是用第一人称“我”来写的，描写的是一个男孩的初恋。
但叙事者和故事中的小男孩又是同一个人。
故事其实是通过叙事者把自己年幼时的经历的回忆展现在读者眼前的。
因此，叙事者的视角和故事中人物的视角由于时间差而形成了视角的重叠。
读者可以一方面从叙事者的角度，以成年人的敏锐的观察力、理解力和成熟的语言来追述自己过去发生的事情。
从《阿拉比》赏析乔伊斯笔下的“精神顿悟”-精品文档
从《阿拉比》赏析乔伊斯笔下的“精神顿悟”詹姆斯.乔伊斯（James Joyce）是20世纪最重要的作家之一，他于1904年开始创作的短篇小说集《都柏林人》（Dubliners）是其最为引人注目的代表作之一。
在乔伊斯眼中，当时处于大英帝国和天主教会双重压制下的爱尔兰是一个社会腐朽、道德沦丧、不可救药的国家，而都柏林则是它“瘫痪的中心”。
《都柏林人》一书通过十五个故事描绘了不同人物由于受到都柏林社会的制约和影响，缺乏对生活乐观的展望，缺乏自由的精神意志，终日浑浑噩噩，只能靠“白日梦”来聊以自慰，抒解心中的怅然。
而某个特定的事件触动了他们麻痹的意志，激发了对自我的重新认识，实现瞬间的“精神顿悟”。
其中《阿拉比》一文就是充分展现作者新颖独特的“精神顿悟”创作特色的佳作之一。
《阿拉比》是《都柏林人》作品集中的第三篇小说，故事短小，情节简单。
小说开始就描绘了一派萎靡黯淡的景象，故事所发生的“北里奇蒙街的一头是死的……，街的尽头有一座无人居住的两层楼房，”“街上的其他房屋，以棕色庄严的面孔相互凝视。
”“我们在街上碰头时，房子都变得黑乎乎的。
”小说开头几段的环境描写中，无处不在地充斥这这样一种沉寂黑暗，无聊难耐的气息。
作者使用了大量表达这样一种生活氛围的词汇如“霉味”、“光线微弱”、“荒芜”、“昏暗潮湿”、“阴暗难闻”、“寂静”等，充分渲染了主人公出场的社会背景，也暗示着主人公不成熟思想和情感的客观必然性。
主人公“我”，一个单纯无聊、麻木不仁的少年就生活在这样一个死气沉沉的压抑环境中。
这也为后来少年情窦初开，短暂地陷入一场无果的暗恋埋下了伏笔。
曼根姐姐的出现无疑成了“我”对美好爱情憧憬的精神寄托，而羞于表达自己的情感的少年饱受相思之苦。
每天的生活开始围绕女孩，“她出门走到台阶上时，我的心便急促地跳动。
”就算不能大胆当面表白，“她的名字总使愚蠢的我热血沸腾。
”“天天早晨都是如此”的少年一贯平静的心里开始频起涟漪。
（完整版）小说“阿拉比”英文赏析
（完整版）小说“阿拉比”英文赏析詹姆斯·乔伊斯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。
在故事中，乔伊斯细致而深刻地刻画了主人公复杂的内心世界，展示了主人公在认识自我，走向成熟的过程中所经历的困惑、孤独和痛苦。
故事是以第一人称叙述的，主人公是一个天真无邪、正在成熟的少年，他居住的地方名叫“北理查蒙德街”，住处的周围是一些阴森森的楼房、幽暗潮湿的花园和满是泥泞的巷子。
然而，少年对这些并没有深刻的意识，直到他对“曼根的姐姐”产生了朦胧的“爱慕”之情时才有了一种孤独和茫然之感，因为他根本不知道爱情究竟是什么样的，也不知道如何表达自己对姑娘的爱慕之情。
当有一天他朝思暮想的“曼根的姐姐”主动和他说话，并告诉他该去“阿拉比”集市时，他的思想有了变化，他渴望去集市为心爱的姑娘买一份礼物。
可见少年去“阿拉比”的渴望是出于对心中朦胧的爱情的本能追求。
“阿拉比”这个具有阿拉伯异域色彩和东方世界神秘魅力的集市给他带来了希望和诱惑，寄托着他的爱情和理想，象征着他探索与追求的目标。
于是，去“阿拉比”集市意味着他开始了追求理想，寻找自我的“成长之旅”。
然而，当他几经周折到达集市时，“几乎所有的摊棚都关门了。
半个大厅里黑沉沉的。
我有一种孤寂之感，犹如置身于做完礼拜后的教堂中。
”当他困难地想起自己来集市的目的时，他随意走到一个摆着瓷花瓶和印花茶具的摊棚前。
Araby文章浅析
• This article mainly tells about a boy who secretly loves a neighboring girl, Mangan’s sister. This simple and pure love can be revealed through his action, his self-narration and his mentality, which can be best revealed in some sentences in the work.
Para1:
1.blind
This word sets the basic tone for the whole environment in which the boy lives,as seen in other other words like "uninhabited," "detached," "brown," "imperturbable" ---quickly presents a world that is solemn, indifferent, desolate, cold and dull.
Araby
James Joyce
About the Author
• James Joyce： an Irish novelist, noted for his experimental use of language in such works as Ulysses (1922) and Finneganns 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. He is one of the most innovative novelists of the 20th century and one of the great masters of “the stream of consciousness”
关于 阿拉比 的研究论文 英语版
“关于阿拉比的研究论文恐怕我不懂詹姆斯·乔伊斯”，这是读者带着微笑所常有的报怨。
其实，凡是不能理解《尤利西斯》或不能从《室内乐》读起的人，应从他的第一部书《都柏林人》读起，因为它比其他两本书的语言更简洁、凝练和生动。
《都柏林人》是由十五个短篇小说组成的一部短篇小说集。
虽然这十五个故事是在乔伊斯２２至２５岁之间写成的，却充分显示了乔伊斯出色的写作才华。
这时的乔伊斯还是以现实主义手法写作为主，但他已经开始将他的创作视线投向了人类的精神世界。
在这部小说集中，他尚未采用意识流技巧来描绘人物飘忽不定的思绪和奔腾不息的意识，但他的一些写作技巧已经表现出了意识流的前兆。
这部小说集从头到尾表现出出众的连续性，其主旨和象征意义甚至《都柏林人》中的一些人物，都在他的其他作品中出现。
小说集以爱尔兰首都都柏林为背景，生动地描绘了本世纪初都柏林市井百姓的生活经历与种种心态，并深刻地揭示了弥漫于社会中的一种麻木不仁，死气沉沉的状态。
作者以对事物的细微观察，按四个方面来创作了这部小说集：童年期、青春期、壮年期和社会生活。
小说中几乎所有的情节都来源于作者的亲身经历。
《阿拉比》是集子中的第三篇作品。
是乔伊斯童年的经历和情绪的写照。
作品中的“我”是一个天真无邪，正在成熟的孩子，住在一条名叫“北理奇蒙得”的“死胡同”里。
出于对朦胧爱情和对理想本能的追求，他渴望在“阿拉比”市场为自己心目中的姑娘“曼根的姐姐”买件礼物。
当他左思右盼的星期六终于来到时，早先答应给他钱的姑父却迟迟不归。
随后又因火车耽误了时间…… 最后，他好不容易进了集市，此刻，大厅里已是黑灯瞎火，一片昏暗丑陋，和他想象的完全不同，他的美好理想受到了无情的嘲弄，他感到了深深的痛苦。
这篇小说是乔伊斯早期现实主义小说中的一篇，但却充分显示出乔伊斯对其他写作手法的大胆尝试以及他在写作技巧方面的非凡才华。
下面就这篇小说中的一些写作手法加以简单的论述：一：作品的客观性：传统小说的作者对所描写的人物和叙述事件的态度鲜明，爱憎之情溢于言表。
Of the Symbolic Meanings in Araby 赏析阿拉比 象征意义 阿拉比读后感
Of the Symbolic Meanings in ArabyJames Joyce is a world-renowned writer who is skilled in employing symbolic meanings to the surroundings and backgrounds which seem quite simple and plain but actually bear rich information. The short novel Araby is a typical example.First of all, the symbolic technique begins with the title Araby. The word "Araby" shares a similar spelling with "Arab". Definitely, it is neither a coincidence nor a spelling mistake. In other words, the author names it on purpose. Arab is an ideal destination full of oriental mystery and magic from the Westerners’ points of view. In the hero’s opinion, his beloved girl is as perfect as the bazaar Araby.Then what is the reality? On one hand, the boy finds himself in a big hall girdled at half its height by a gallery. Nearly all the stalls are closed and the greater part of the hall is in darkness. Obviously, here Araby in reality has a totally different symbolic meaning from the previous imagination. To be specific, here Araby symbolizes the dull society of Ireland. On the other hand, he is shocked by the flirting of a young lady in the bazaar. So much to his surprise, Araby is not that wonderful and what’s worse, those good-looking girls are not that pure. Both points shatter his illusion of pureness.Besides, it is easy to find the symbolism in the whole passage, which implies the sharp contrast between the imagination and reality, and foretells the boy’s inevitable frustration. "North Richmond Street, being blind, was a quiet street…”, here the author tends to tell us that surrounded by such an experienced society, it is impossible for the boy to find way out of the shackles of "blind street".Such kind of techniques can be found almost every paragraph, I have named just a few.There is an old saying “Less is more", to this point, I can not agree more and James Joyce sets a pretty good example for us. Without tedious and dull descriptions, he is expert in using sublime words with deep meaning by employing symbolic meanings to the surroundings and backgrounds.。
对话中的冲突与和谐--小说《阿拉比》的巴赫金式解读
对话中的冲突与和谐--小说《阿拉比》的巴赫金式解读陶阳【期刊名称】《海外英语(上)》【年(卷),期】2013(000)010【摘要】Araby is one of James Joyce’s brilliant works, which describes the paralysis of the Dubliners. The novel is full of differ-ent voices, found by Bakhtin’s dialogic theory. By dialogue, the protagonist is endowed with independent consciousness and be-comes a lively character in the novel. His conflict with the society and consistency with himself show the reader his cognition and understanding of the world. The survey of Joyce-Bakhtin rel ation studies mutually enhances readers ’comprehension of the fic-tion’s main purpose, which also protrudes Joyce’s different writing talents and his unique contribution to the literature.%《阿拉比》是乔伊斯众多作品中杰出的小说之一，描绘了爱尔兰人颓废的精神生活。
小说中夹杂着爱尔兰社会中各种不同的声音，可以通过前苏联哲学家巴赫金的对话理论进行解析。
对话中的冲突与和谐彰显了主人公对世界的认知与理解。
这种巴赫金式的解读充分让读者体会到小说的中心思想及作者的写作意图。
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詹姆斯·乔伊斯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。
在故事中，乔伊斯细致而深刻地刻画了主人公复杂的内心世界，展示了主人公在认识自我，走向成熟的过程中所经历的困惑、孤独和痛苦。
故事是以第一人称叙述的，主人公是一个天真无邪、正在成熟的少年，他居住的地方名叫“北理查蒙德街”，住处的周围是一些阴森森的楼房、幽暗潮湿的花园和满是泥泞的巷子。
然而，少年对这些并没有深刻的意识，直到他对“曼根的姐姐”产生了朦胧的“爱慕”之情时才有了一种孤独和茫然之感，因为他根本不知道爱情究竟是什么样的，也不知道如何表达自己对姑娘的爱慕之情。
当有一天他朝思暮想的“曼根的姐姐”主动和他说话，并告诉他该去“阿拉比”集市时，他的思想有了变化，他渴望去集市为心爱的姑娘买一份礼物。
可见少年去“阿拉比”的渴望是出于对心中朦胧的爱情的本能追求。
“阿拉比”这个具有阿拉伯异域色彩和东方世界神秘魅力的集市给他带来了希望和诱惑，寄托着他的爱情和理想，象征着他探索与追求的目标。
于是，去“阿拉比”集市意味着他开始了追求理想，寻找自我的“成长之旅”。
然而，当他几经周折到达集市时，“几乎所有的摊棚都关门了。
半个大厅里黑沉沉的。
我有一种孤寂之感，犹如置身于做完礼拜后的教堂中。
”当他困难地想起自己来集市的目的时，他随意走到一个摆着瓷花瓶和印花茶具的摊棚前。
他看见的却是一个女郎与两名英国男子调情的场面。
他们轻浮放肆的话语跟他心中神圣、纯洁而又压抑的爱情成了鲜明的对比。
这时他迷茫了，不明白现实生活中的爱情为什么跟他理想的爱情完全不一样，觉得自己心中的爱情受到了亵渎，他无法忍受。
恰好在这一刻少年产生了“精神顿悟”：他终于领悟到现实世界和他心中的理想世界之间的巨大差异，认识到现实社会的麻木和不堪。
于是，他“抬头凝视着黑暗感到自己是一个受到虚荣心驱使和拨弄的可怜虫，于是眼睛里燃烧着痛苦和愤怒”。
由此可见，少年追求理想的“阿拉比”之行实际上是他的一次认识自我、认识人生的的成长之旅。
他认识到在这个麻木、瘫痪和压抑的现实社会中，任何美好理想都会最终化为泡影。
通过这个故事，乔伊斯揭露了19世纪爱尔兰社会的黑暗和腐朽，希望爱尔兰人民能够振作起来，摆脱教会的束缚，重新恢复生机与活力。
James Joyce is widely recognized as one of the great masters in the twentieth century British literature world. "Dubliners", his early works, is a Collected Stories consists of fifteen realistic short stories. The Collected Stories uses Dublin, which is the hometown of Joyce as the background. Joyce tells us about the city's social reality in the late 19th century vividly, which was insensitive, dark and lifeless. The Collected Stories is divided into four parts, thatis childhood, adolescence, adulthood and social life, and it reveals the prevailing social and political, economic and moral paralysis. "Araby" is the third one of the "childhood", which describes a juvenile pursues romantic love and his upset and pain after the gilt is off.
In the story, Joyce shows the confusion, loneliness and pain that the hero experiences in the process of self-understanding and going to be mature by describing the hero’s complex inner world. The hero is an innocent and unmatured teenager and he lives on "North Richmond Street". His residence is surrounded by some of the gloomy buildings, dark and damp gardens and muddy alley. However, the hero thinks that it’s okay. It is until he is in love with "Mangan's sister" that he has a sense of loneliness and loss, for he doesn’t know what love is or how to express his love to the girl. When the girl who he misses all the day talks to him actively and tells him that he should go to the "Araby", his thinking has changed and he is eager to go to the market to buy a gift for his beloved girl. So we can say that the "Araby" brings him hope and temptation and is the symbol of the goal that the hero explores and pursues. So, the process of going to the "Araby" is a symbol of the hero’s growing-up experience. However, when he finally reaches the market hard, "Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognized a silence like that which pervades a church after a service." When he recognizes the purpose of his coming to the market difficultly, he "went over to one of the stalls and examined porcelain vases and flowered tea-sets". But what he sees is a girl flirting with two British men. Their frivolous words are opposite to the holy and pure love in his mind. Then he is lost and does n’t know the reasons. He feels the love in his mind has been violated. At that time, he finally recognizes that the social reality is dark and rotten. So he "Gazing up into the darkness, I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger." Thus, he realizes that any good ideals will eventually become vain in such society.
Through this story, Joyce reveals the darkness and rottenness of the Irish society in the late 19th century. And he hopes that the Irishman can pluck themselves up, shake off the shackles of the church and come back to alive and dynamic.。