关于20世纪欧美文学20th Century American Literature(英语美文)
《二十世纪欧美文学》1
《二十世纪欧美文学》一、简答题1. 超现实主义的发展历程是怎样的?1. 起源：超现实主义一词最早出现在诗人阿波利奈尔的作品中，他在评价其戏剧《蒂蕾齐娅斯的乳房》和迪亚烈夫的芭蕾舞《游行》时使用了这一术语。
2. 诞生：1924年，法国诗人布勒东发表了《超现实主义宣言》，标志着超现实主义的正式诞生。
此后，超现实主义进入了快速发展阶段。
3. 高潮：1929年布勒东发表的《第二次超现实主义宣言》，使超现实主义的侧重转向了精神内容的方面，即重视精神世界和外部世界的辩证统一。
此后超现实主义团体接续迎来了达利、马格利特等一系列杰出艺术家，超现实主义由此开始进入高潮时期，在世界各地获得了极大的传播。
4. 衰落：布勒东到美国的第二年（1942年）发表了《要不要第三次超现实主义宣言的序》，标志着超现实主义的第二次理论转折。
1945年，布勒东返回巴黎，希望恢复并发展超现实主义运动在欧洲的力量，但是由于团体内部成员政治态度不一并且艺术风格开始分散，超现实主义不免开始走向衰落。
5. 解体：1966年布勒东去世，其后继者让·许斯特于1969年正式宣布超现实主义运动解体。
2. 简述象征主义文学的风格特点。
蒙胧美和神秘色彩。
多象征、暗示、隐喻，诗意飘忽，半明半暗，留下更多品味余地。
另外，对音乐的追求，使诗歌富于乐感，内在韵律的丰富，更增添了诗歌梦幻般的诗意和多义的魅力。
3. 新小说派反传统性体现在哪些方面?•人物塑造：新小说派反对传统小说中以写人为核心的主要任务，反对把人作为世界的中心。
他们主张把客观世界还原为纯粹的外观，用一些没有确定性格与动机的“物”来代替传统意义上的人物。
在他们的作品中，人物被认为不过是表现某种心理因素或心理状态的“临时道具”，小说大量而又细致地描写“物”，其前提是有人的眼睛在看，有人的思想在审视，又有人的欲望在改变着它。
•故事情节：新小说派作家认为传统小说杜撰出一个虚构的故事，缺乏“真实事物的丰富内容”，同时他们认为现实世界的变幻莫测，事物发展的难于预料，因此人们无法事先做出有头有尾的安排，写出一个完整的故事。
二十世纪美国文学简史(20c初期文学)
二十世纪美国文学简史二十世纪初期的文学群星灿烂的第三次文学高潮十九世纪未到二十世纪初，是美国资本主义向垄断资本主义发展的时期。
具有十九世纪优秀的浪漫主义和现实主义传统的美国小说，伴随着美国社会的这一演变踏进了二十世纪的门槛，在丰富的民族传统和社会土壤的培育下，形成了二十世纪初期绚丽多彩的创作景色，它不但产生了一大批杰出的小说家和优秀的作品，而且在形成美国民族文学独特的风格和众多的流派上起了巨大的作用。
从整个美国文学发展历程看，它是继十九世纪三十年代至五十年代的浪漫主义高潮和七十年代至九十年代的现实主义高潮之后的第三个高潮。
从本世纪初开始，以马克·吐温和弗兰克·诺里斯为代表的现实主义作家，直接培养出他们出色的继承者——西奥多·德莱塞、杰克·伦敦，随后又现出舍伍德·安德森、厄普顿·辛克莱、维拉·凯瑟、辛克莱·刘易斯、厄内斯特·海明威、司各特.菲茨杰拉德、威廉·福克纳、约翰·斯担贝克、托马斯·沃尔夫、多斯·帕索斯这样一批出类拔萃的作家，以及象珀尔·布克、玛莱丽特·米切尔等在某个时期因某个作品而具有一定影响的小说家他们当中的好几位获得过诺贝尔文学奖，使美国小说一跃成为世界文坛上的一支劲旅。
左翼小说是美国现实主义小说的一个重要组织部分，诞生于美国危机年代发展起来的左翼文学运动之中。
它与左翼戏剧、左翼诗歌、左翼报告文学和左翼文学理论一起组成规模巨大的左翼文学运动。
约翰·里德（1887—1920）曾亲自经历俄国十月社会主义革命，是美国左翼文学的先驱。
迈克尔·高尔德（1894—1967）的文学评论对左翼小说作了理论上的阐述。
阿格尼丝·史沫特莱（1890—1950）是一位与中国人民革命斗争息息相通的左翼作家，她的自传小说《大地的女儿》以同情的态度记载了青年转向革命的过程。
现代主义the 20th Century American Literature
the 20th Century American Literature(1900-1910s)Historical BackgroundThe influence of WWI ：•an economic boom• a sudden jump in technology•The breakdown of old moral values ——bobbed hair, short skirts, women drinking and smoking • a tremendous disillusionment (幻想破灭，美国梦，Benjamin Franklin)•Nothing had changed.•There was a popular contempt轻视for the law—the prohibition of alcohol, bootleggers走私者, etc.•The dream美国梦had failed and the country was building up economic troubles toward disaster.• A loss of faith began with Darwin’s theories of evolution达尔文进化论. Without faith man could no longer keep his feeling and thought whole; hence a sense of life being fragmented变成碎片and chaotic混乱的. Without faith, man no longer felt secure and happy; hence the feeling of gloom阴暗and despair绝望•Bertrand Russell伯特兰·罗素（英国哲学家）, commented评论on the spirit of the period—Man must not expect any help from a beneficent慈善的God. Man must recognize that he is of noimportance in such a world ---- Nothing can preserve保护an individual life beyond the grave.Death will doom注定all human endeavors努力and achievements to ultimate extinction化为灰烬. He advises man to believe in himself, to face life with “a despairing courage绝望的勇气”.•.Imagism☐Imagism意象主义was a movement in early 20th-century Anglo-American英裔美国人poetry that favored赞成precision精度of imagery and clear, sharp language. The Imagists意象主义诗人rejected the sentiment情感and discursiveness散漫、推论typical of much Romantic and Victorian （强调理性）poetry.What is an image?☐T. E. Hulme: The image must en able one “to dwell存在于and linger徘徊upon a point of excitement, to achieve the impossible and convert转变a point into a line”.☐Ezra Pound: An image is “that which presents an intellectual and emotional complex in an instant 瞬间of time”.☐Richard Aldington: The exact word must bring the effect of the object before the reader as it had presented itself to the poet’s mind at the time of writing.Literary Sources of Imagism☐The Imagist Movement drew from a variety of poetic traditions—Greek, Provencal, Japanese and Chinese poetry. The ideographic表意的and pictographic象形文字的nature of Chinese language, and virile男性的laconism简洁and austere pregnancy丰富，意味深长which characterize ancient Chinese poetry fascinated the Imagists.three major phases☐1908—1909An Englishman, T. E. Hulme, founded a Poets’ Club in 1908, which met in Soho every Wednesday evening to discuss poetry. He believed that the most effective means to express the momentary瞬间的impressions is through “the use of one dominant image”.☐1912—1914Ezra Pound took over the movement. In 1912, they published a collection of poems, entitled Des Imagistes, in which a manifesto宣言came into being.⏹ a. Direct treatment of the “thing”, whether subjective or objective;⏹ b. To use absolutely no word that does not contribute to the presentation;⏹ c. As regarding rhythm, to compose in the sequence of the musical phrase, not in thesequence of a metronome.☐1914—1917Amy Lowell took over the movement and developed it into “Amygism”. In 1915, 1916, 1917, three volumes of Some Imagist Poets came out, containing six principles based on the original three. After 1917, Imagism ceased to be a movement.Features of Imagism1.To use the language of common speech, but to employ采用the exact word, not the nearly-exact,nor the merely decorative装饰性的word.2.We believe that the individuality of a poet may often be better expressed in free verse自由诗体than in conventional传统的forms. In poetry, a new cadence韵律、节奏means a new idea.3.Absolute freedom in the choice of subject.4. To present an image. We are not a school学派of painters, but we believe that poetry should render particulars exactly and not deal in vague generalities模糊的概论, however magnificent华丽的and sonorous响亮的. It is for this reason that we oppose the cosmic广大无边的poet诗人, who seems to us to shirk逃避the real difficulties of his art.5. To produce a poetry that is hard and clear, never blurred玷污nor indefinite.6. Finally, most of us believe that concentration is of the very essence本质of poetry.In a Station of the Metro☐ a classic specimen of Imagist poetry☐the use of one dominant image to represent what he was experiencing☐apparition: appearance, something which shows up; something which is not real and which cannot be clearly observed☐influence from ancient Chinese poetry (《长恨歌》: “玉容寂寞泪阑干，梨花一枝春带雨.”)⏹The apparition of these faces in the crowd;⏹Petals on a wet, black bough.☐人群中那些亡魂的脸花瓣，在潮湿的黑色枝头荒木田守武——俳句落花飞回枝蝴蝶Ezra Pound (译文)A fallen blossom is coming back to the branchLook, a butterfly题都城南庄去年今日此门中,人面桃花相映红。
!!B4 20世纪欧美文学
二、20世纪文学注重人们的内心和意识深层开拓。在弗洛伊德精神分析学帕格森非理性主义哲学和萨特存在主义哲学等理论影响下，许多作家把注意的焦点集中于个人的内心世界，与19世纪相比，文学的观照和思维方式发生了由整体向个体、由社会向个人、由外部向内心、由浅部的、戏剧化的感情向深部的、非逻辑化的感情的转变。作家们由追求酷似生活的真实，转向探求人的内心世界的“最高真实”，现代派文学尤其如此。文学观照方式的变化，导致了审美价值观念的更新和文艺批评、文学理论的新发展，20世纪文学由此实现了对19世纪文学的全面突破和超越。
三、20世纪文学受哲学和其他社会科学影响更为明显。几乎每个文学流派都学或其他社会科学观点的主张者，许多文学作品就是某种观念的直接产物。
四、20世纪文学中人道主义较之19世纪有了进一步深化。它继承了19世纪文学的人道主义传统，揭露资产阶级对劳动者的压迫、剥削，鞭挞资产者的冷酷无情，批判贫富悬殊的现象，控诉帝国主义战争的罪恶。同时还探及一个更深层的主题—现代资本主义生活如何造成人的“异化”，使人变为非人。异化主题是20世纪文学中人道主义的新的深化和发展。
20世纪拉丁美洲人民在独特的历史文化背景下反抗帝国主义经济侵略和控制的斗争中，产生了具有浓郁传奇色彩和独特民族心理特色的魔幻现实主义文学。
总的说来。20世纪文学具有以下五个特点：
一、其首要特色，是流派纷呈，瞬息万变。从宏观上讲，20世纪欧美及东方各国文坛，主要有两种文学思潮：一种是传统的现实主义文学，一种是反传统的现代派文学。它们并行发展，相互渗透。现实主义文学以苏联和各国进步作家的创作为主流，基本上沿袭了传统的现实主义手法，又力图创新，吸收了许多现代派的表现手段，风格各异，带有20世纪文学的时代特色。现代派文学中包含诸多文学流派，其创作力求新、奇、特，在某种程度上，具有反传统反理性的倾向；各流派以十年或不到十年就被取代、更新的速度，纷呈叠起，名噪一时。20世纪文学因而呈现的丰富绚丽的局面，是以往任何一个时代所不能比拟的。
American literature in the 20th. century
Between the wars was the automobile, which resulted in a mobility unimaginable to the previous generations. Despite its booming industry and material prosperity, there was a sense of unease and restlessness underneath. Strikes took place in several big cities because of industrial depression and uneven distribution of wealth;
the division of society into antagonistic classes based on a relation to the means of production. Freud propounded an idea of human beings themselves as grounded in the “unconscious”that controlled a great deal of over(公开的，明显的)behavior, and made the practice of the psychoanalysis which emphasizes the importance of the unconscous or the
Apart from Darwinism, which was still a big influence over the writers of this period, the two thinkers whose ideas had the greatest impact on the period were the German Karl Marx and the Austrian Sigmund Freud. Marx was a sociologist who believed that the root cause of all behavior was economic, and that the leading feature of the economic life wase human psyche. Worthy os mention are William James, an American psychologist famous for his theory of “stream of conscious,” and Carl Jung, a Swiss psychiatrist, noted for his “collective unconscious” and “archetypal symbol” as part of modern mythology.
美国文学ppt课件
histories, travel accounts, diaries,
biographies, letters, autobiographies, sermons,
and poems.
Wor
5
Major writers:
Captain John Smith （约翰·史密斯）
? the first American
? The “newness” of Americans as a nation is in connection with American Romanticism.
? As a logical result of the foreign and native factors at work, American romanticism was both imitative and independent
Politics dominated the revolutionary phase of American writing.
The crisis in American life carried by the Revolution made
artists self-conscious about American subjects.
?“Poet of the American
Revolution”
?“Father of American
Poetry”
?“Pioneer of the New
Romanticism”
?“A gifted and versatile lyric
Wor
poet”
? “The Rising Glory of America” (1772)
《20世纪欧美文学》的绪论要点
《20世纪欧美文学》的绪论要点
20世纪是人类历史上一个重要的时期,20世纪欧美文学的发展演变与世界历史的演变息息相关，在这复杂多变的历史条件下，它也呈现出发展空前迅速、状态极其复杂的态势。
这一百年，世界历史经历了三个阶段:即20世纪上半期（1900-1945)、20世纪的下半期（1946-1991)和20世纪末期( 1991-2000）。
20 世纪上半期爆发了两次世界大战，而后又爆发经济危机，俄国又爆发十月革命，革命胜利后的苏联使人民看到了希望。
二战后，历史进入了冷战时期。
二十世纪末，世界局势发生了巨大的变化，二战之后，“冷战"结束，'世界趋于多极化的态势，开始进入多元共存的时代。
20世纪世界文学的格局也发生了根本的变化。
由欧美文学为主导的格局发展为三大文学板块:传统的资本主义国家文学、新兴的社会主义国家文学和发展中国家文学。
就欧美文学的范围来讲也各有特点，共同构成了20世纪欧美文学的面貌。
20世纪欧美各国工业化、现代化及科技的发展非常迅速，同时也促使人们对现实、未来及生命意义的思考，所以20世纪的西方思想及其活跃，形形色色的社会哲学思潮不断涌来，它们是这个时期的复杂多变的现实的产物。
从十九世纪末就已经开始的马克思主义，叔本华的唯意志论、尼采的超人哲学等等，这些都影响了文学的发展。
其中对文学影响比较
大的出马克思主义外，还有柏格森的生命哲学、弗洛伊德的精神分析哲学、存在主义哲学、以及结构主义哲学、后结构主义、女性主义、后殖民主义等。
另外，心理学、语言学和美学的新进展，也对文学有不可低估的影响。
马克思、恩格斯的学说为无产阶级和全人类争取解放提出了一整套科学的理论。
美国文学(American literature
美国文学（American literature美国文学的雏形早期的美国文学是从欧洲文学的样式和风格中衍生出来的。
例如，维兰德和查尔斯·布罗克登·布朗的小说创作就是对英格兰哥特小说的模仿。
就连华盛顿·欧文Washington Irving的杰作《李伯大梦》和《睡谷传奇》The Legend of Sleeping Hollow也是十足的欧洲风格，只是故事发生的场景改为美国而已。
美国文学的诞生美国第一位在小说和诗歌创作领域取得显著成就的作家是艾德加·爱伦·坡Edgar Allen Poe （1809－1849），他于1835年开始短篇小说的创作，其作品包括《红死病》The Red Death、《陷坑与钟摆》、《颓败之屋》和《莫尔格街凶杀案》The Murder of the Rue Morgue。
他的创作触及了前人很少涉及的心理学领域，并且将神秘、幻想等元素融入小说创作之中。
1837年，年轻的作家纳撒尼尔·霍桑Nathanial Howthorne（1804－1864）将他的一些短篇小说集结成册出版，名为《重讲一遍的故事》Twice Told Tales。
这是一部包含了丰富的象征主义及神秘主义元素的作品。
后来，霍桑又开始写作长篇的传奇小说、类寓言小说，他的本土小说《新英格兰》New England以人类的内疚、荣耀和情感上的压抑为主题。
霍桑的代表作是《红字》The Scarlet Letter，讲述一个因通奸adultary行为而被驱逐出社区的女人的故事。
[hide] 霍桑的小说创作对他的朋友，作家赫尔曼·麦尔维尔（1819－1891）产生了深远的影响。
麦尔维尔以自己早期的水手经历为蓝本创作了许多富有异国情调的小说。
在霍桑的影响下，麦尔维尔的小说中也融入了很多哲学上的思索。
在其代表作《白鲸》中，作家通过对一场惊心动魄的捕鲸历程的描述，表达了对人类痴迷状态、人性中罪恶成分以及人类如何战胜这些天性的思索。
关于20世纪欧美文学20th Century American Literature_英语作文_1
关于20世纪欧美文学20th Century American Literature这些脸”的幽灵在人群中:/片片花瓣在潮湿黝黑的枝子上。
“我的第一反应在1916年庞德的阅读理解诗歌的地铁车站的暴行。
这是一首诗无论如何定义?如果它是一首诗,它是如何被理解吗?最后,有什麽样的含意,这首诗产生了为20 -世纪美国文学吗?我最初的困惑,我意识到了,在平息,必须在地下的d 'etre背后的这个显然奇异的文学现象。
我所要做的是把这首诗到上下文的美国文学的演进和文学的历史。
至少,这首诗就引发了一个重要的挑战。
它要求我明白有些很关键的变化,这些变化必须发生在20世纪末。
我后来的研究表明这首诗表现了更大的一部分被称为象征主义文学运动,其中包括这样的理论家和开业者休谟,Hilda Doolittle t >,艾美洛厄尔·庞德等。
这个动作是一种直接反应了维多利亚时代晚期诗歌,成为极人工、emptily“修辞”和“装饰”。
解决这类问题,因此必然要松开韵律模式和把它带回来接近的节奏普通的演说。
因此,“意象派”运动有极大关系与促进自由诗,倡导实验在许多宗教信条需要“允许绝对自由的题材的选择”和“生产诗歌,又硬又清晰,从不模糊不定。
“当Archibald也说,在他的抗逆转录病毒药物PoeticaMacLeish(1926年),“诗不应该意味着/但是”的,他有类似的事情在他的脑海里。
象征主义、小,因为它是作为一种文学运动,引起了重大变化,引入文学批评的概念所体现的内部学习新批评代替传统的关键做法。
上述事件只不过是一个那个例子发生在我研究的文学作品。
中国学生喜欢我,它至少有两个重要的影响。
首先,一部作品,一定不能被隔离治疗。
相互作用是什么之前或之后写历史的角度来看,这是一个以何种方式,我们将增加我们的解释。
第二,这是很重要的,熟悉相关的文学理论,对于一个给定的作品。
一个学生主修英语(以及国际贸易)的XX大学英语系,我变得越来越有兴趣文学后半段在本科毕业。
美国梦与二十世纪美国黑人文学
美国梦与二十世纪美国黑人文学The American Dream and 20th Century African American LiteratureAbstract: As the essential part of American literature, American dream is one of the important subjectsin 20th century Afro-American literature. In the earlier stage, Afro-American literature expresses the praise for black nationalities and the longing for equality and freedom.“Fictions of protest”by middle stage writers focus on the exposure of racism and the poverty of Afro-Americans, and reveal the writers’anxiety about the American dream. In the later stage, female writers represented by Walker and Morrison reflect on the parochialism of the black community, and call for love and reconciliation between black male and female, between blacks and whites.Key words: American dream；Afro-American literature；reconciliation摘要：作为美国文学不可或缺的部分，二十世纪黑人文学一直以美国梦为一个重要主题。
20th Century American Literature20世纪美国文学
II. Literature in the 50s.
A new generation of American authors appeared writing in the skeptical, ironic tradition of the earlier realists and naturalists. The writers used a prose style modeled on the works of Ernest Hemingway, and F. S. Fitzgerald, narrative techniques of William Faulkner, psychological insights of Sigmund Freud. In the 1950s, the “Beat” writers, in expression of disaffection with “official” American life, were brutally and directly dominant. The so-called “Beat Generation,” though not expatriate like the Lost Generation, were alienated— feeling like foreigners in their own country.
Lost Generation
refers to those writers who were devoid of faith, values and ideals and who were alienated from the civilization the capitalist society advocated. It includes the writers such as (Hemingway, F.S. Fitzgerald, Thomas Wolfe, and Louis Bromfield) and poets (like Malcolm Cowley, E. E. Cummings, Archibald Macleish, and Ezra Pound), who rebelled against former values and ideas, but replaced them only by despair or a cynical hedonism. They were totally frustrated by the WWI and returned from that “Great War” to their own country only to find the grim reality that the social values and civilization were hollow and affected if compared to the cruel realities of the battleground. They felt alienated from American civilization, which
Part V 20th century American literature
• Imagism is characterized by the 3 principles: • i. Direct treatment of “ the thing”, whether subjective or objective • ii. To use absolutely no word that does not contribute to the presentation • iii. As regards rhythm , to composed in the sequence of the musical phrase, not in the sequence of a metronome
• • • • •
This Side of Paradise (1920) Tales of the Jazz Age (1922) The beautiful and Damned (1922) The Great Gatsby (1925) Tender is the Night (1925)
• • • • • • • • • •
A Pact I make a pact with you, Walt Whitman— I have detested you long enough. I come to you as a grown child Who has had a pig-headed father; I am old enough now to make friends. It was you that broke the new wood, Now is a time for carving. We have one sap and one root— Let there be commerce between us.
20世纪美国小说ppt课件
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Addie Bundren has died and her
family is carting her coffin to Jefferson
to be buried with her people. The
macabre funeral journey faces natural
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About the Title: The Naked and the Dead
“Those who had fought such a war were either stripped naked, having lost all hope, or dead, having lost even life itself.” the waste of war and madness of war mentality
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A Good Man is Hard To Find (short story collection) - 1955
O'Connor once referred to the collection as 'nine stories about original sin'. Combining a deft comic sensibility with the grotesque and tragic, they are stories in which characters lead lives of brutal poverty and fierce cruelty; where ordinary events can tip over into misfortune, violence and despair.
20th C. American Literatrue5( Poets)
• The distinctive feature of literary modernism was its strong and conscious break with traditional forms, perceptions, and techniques of expressions, and its great concern with language and all aspects of its medium. It was persistently experimental. Stream of consciousness, the use of myth as a structural principle, and the primary status given to the poetic image, all challenged traditional representation. Generally speaking, this new desire in craftsmanship and skill was one of the hallmarks of the early decades of the 20th century.
analysis of In A Station of the Metro
• 拥挤的人群中幽灵般的面庞; 湿黑枝条上的片片花 瓣. • juxtaposed images: faces/ petals形成一个暗喻. • 幽灵般的面庞与湿黑枝条上的花瓣两个意象之间 没有解说，而是突兀的并置，那么它们之间的逻 辑联系，就需要借用读者的想象力。 • 一方面，地铁站熙熙攘攘的人群涌动，地铁站黑 暗潮湿，故而，人的面庞如幽灵般，模糊不清； 这于读者而言，并不难于理解，尤其是对于西方 读者而言。
20世纪美国文学英文版.ppt
Elizabethan Essays The Use of Poetry and The Use of
Criticisms After Strange Gods
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The Love Song of J. Alfred Prufrock
It depicts a timid middle-aged man going to propose marriage to a lady but hesitating all the way there. It takes the form of soliloquy, like interior monologue like that of Browning’s.
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IV. Principles
1. Direct treatment of the “thing”, whether subjective or objective;
2. To use absolutely no word that does not contribute to the presentation;
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艾略特的诗歌创作以《荒原》和伴以英国天主教为标志可以分为早、中、 晚三个时期。
早期：主要包括《普鲁弗洛克及其他》和The Poems（1920）《诗集》 两个本子。
中期：The Waste《荒原》
The Hollow Man《空心人》
后期：Gerontion《小老头》、 Ashy Wednesday 《圣灰星期三》
它是诗人登峰造极之作，在诗中诗人对诗歌 语言进行了严肃的思考，思考的结果从该 诗本身的语言特色就可以看出来：普通正 规而又十分精确。此时艾略特担心语言会 因使用不当而退化，进而影响到我们思想 情感的品质。它最初是四首独立的诗： Burnt Norton, 1935 《烧毁的诺顿》、 East Coker, 1940 《东库克》、The Dry Salvages, 1941 《干燥的塞尔维吉斯》 Little Gidding, 1943 《小吉丁》
notes for 20th century American__ literature 美国文学要点
Towards a definition of modernism:Modernism is generally defined as the new artistic and literary styles that emerged in the decades before 1914 as artists rebelled against the late 19th century norms of depiction and literary form, in an attempt to present what they regarded as a more emotionally true picture of how people really feel and think.Shorthand version of definition: Modernism is the attempt to create something new in the space of modern crisis and change.A more complicated version of definition given by Oxford Concise Dictionary of Literary Terms: (Modernism is) a general term applied retrospectively to the wide range of experimental and avant-garde trends in literature (and other arts) of the early 20th century, including Symbolism, Futurism, Expressionism, Imagism, Vorticism, Data, and Surrealism, along with the innovations of the unaffiliated writers. Modernist literature is characterized chiefly by a rejection of the 19th century traditions and of their consensus between author and reader: the conventions of realism, for instance, were abandoned by Franz Kaflka and other novelists, and by expressionist drama, while several poets rejected traditional meters in favor of free verse. Modernist writers tended to see themselves and avant-garde disengaged from bourgeois values, and disturbed their readers by adopting complex and difficult new forms and styles. In fiction, the accepted continuity of chronological development was upset by Joseph Conrad, Marcel Proust, and William Faulkner, while Jame s Joyce and Virginia Woolf attempted new ways of tracing the flow of characters’ thoughts in their stream-of- consciousness styles. In poetry, Ezra Pound and T. S. Eliot replaced the logical exposition of thoughts with collages of fragmentary images and complex allusions. Luigi Pirandello and Bertolt Brecht opened up the theatre to new forms of abstraction in place of realist and naturalist representation. Modernist writing is predominantly cosmopolitan, and often expresses sense of urban cultural dislocation, along with an awareness of new anthropological and psychological theories. Its favored techniques of juxtapostion and multiple points of view challenge the reader to reestablish a coherence of meaning from fragmentary forms.Cultural Background of Modernism:Modernism in literature is the result of many forces acting upon literature. As Alan Friedman points out in his pioneering analysis of modern fiction, The Turn of Novel, published in 1966, ―The roots of the change in the novel lie tangled deep in the modern experience. Causes in fields other than literature there doubtless were --- a confluence of psychological, philosophical, scientific, social, economic, and political causes, analogues, and explanations.New Science and Technology:Theories of Relativity: EinsteinInterpretation: No law or observation can be universally reliable, but depends, among other factors, on the position of the individual observers.Uncertainty Principle: HeisenbergInterpretation: It stresses the incapacity of science to establish anything about the physical universe with absolute rigor, logic or certainty.Comment: The new science not only exploded the world, but exploded the novel by proving that the old certainties have faded and nothing is absolute in the universe.The rapid development of modern technology suddenly made people find themselves among the Gallery of machines, the world dominated by new powers. It drives both the modern world and the modern mind into chaos.The result is the modernist writings are heavily tainted with despair, loss of identity and dehumanization of world of materialism.Philosophical Background:Nietzsche:Nietzsche shook the whole world by his famous statement that God is dead, which is proclaimed through a madman in his book Parable of the Madman.Interpretation: The death of God means that the center that used to guide the thinking of the Western world – the―Father‖ in Heaven who supposedly rewards the good and punished evil – is finally gone. In another word, life is not governed by rational principles and there are no absolute standards of good and evil. Human beings are left alone in this godless and absurd world.Comment: This should not be understood as pessimistic view of modern world. To Nietzsche, the death of God is not necessarily a bad news since it opens up a new era in which life is viewed from plural perspectives, not just by the single perspective of the God.The result is it freed the modern minds of the bondage of moral traditions, but it also left them at a loss when there are no new moral codes coming up.Psychological Background:Oedipus ComplexA Freudian term to designate attraction on the part of the child toward the parent of the opposite sex and rivalry and hostility toward the parent of its own. Freud introduced the concept in his Interpretation of Dreams (1899). The term derives from the Theban hero Oedipus of Greek legend, who unknowingly slew his father and married his mother.According to Freud, Oedipus complex occurs during the phallic stage of the psycho-sexual development of the personality, approximately years three to five. Resolution of the Oedipus complex is believed to occur by identification with the parent of the same sex and by the renunciation of sexual interest in the parent of the opposite sex. Freud considered this complex the cornerstone of the superego and the nucleus of all human relationship. Many psychiatrists, while acknowledging the significance of the Oedipal relationships to personality development in the culture, ascribe love and attraction toward one parent and hatred and antagonism toward the other not necessarily to sexual rivalry but to resentment of parental authoritarian power.The Linguistic TurnSaussure: leading people to think more about the nature of language and its reliability and validity as a tool.Since Saussure: the synchronic and structural dimension has been emphasized.Saussure viewed language as a system of signs, which are combinations of signifier and signified, and are the product of ―system of difference.His famous statement —―there are only differences‖ — suggests that the meaning of language is arbitrary. Wittgenstein: putting forward his theory of ―language-game‖.His logic: different ways of using language have different rules, yet meaning can arise within all of them.The conclusion: the use of language determines the meaning of language.The effect of the linguistic turn:The effect of linguistic turn is enormous. Since its function as a reliable tool is doubtful, language becomes ―a real problem‖ for them. In the work of these modernist writers, language is a ―prism‖. Reading such work, the reader has to examine the prism. So language in modernist writings has undergone a sort of revolution: it is made strange or unfamiliar.The Impact of the WarsThe war made men lost, the world a waste land.Bitter disillusionment: During WWI, many idealistic young Americans volunteered to take part in ―the war to end wars‖. But they discovered that modern warfare was not glorious or heroic. They saw the best youth being slaughtered and their ideals for a better world being bargained away for power and profits in the Treaty of Versailles.Frantic pursuit of individual success and personal enjoyment:The rapid economic growth resulted from WWI filled postwar-America with pleasure seeking and materialism. Mass production and modern technologies helped to turn America into a greedily consuming society.The result is the loss of faith, the loss of self, the groundlessness of value and morality, the violence of war, alienation and a nameless, faceless anxiety came under the pens of modernist writers.。
美国文学资料总结(20世纪以后文学)
PartⅤTwentieth-Century Literature二十世纪文学Modernism:began in the late 19th century and the theory of psycho-analysis as its theoretical base. Ezra Pound and T.S.Eliot replaced the logical exposition of thoughts with fragmentary images and complex allusionsModernist writing is cosmopolitan, and often expresses a sense of urban cultural dislocation混乱, along with an awareness of new psychological theories. Its favored techniques of juxtaposition并置and multiple point of view challenge the reader to reestablish a coherence of meaning from fragmentary forms.4、现代主义的标志：T. S. Eliot’s “The Waste Land”, the most significant Americanpoem of the twentieth century, helped to establish a modern tradition ofliterature rich with learning and allusive引用典故的thought.8. In general terms, much serious literature written from 1912 onwards attempted to convey a vision of social breakdown and moral decay and the writer’s task was to develop techniques that could represent a break with the past. Thus, the defining formal characteristics of the modernistic works are discontinuity and fragmentation.总之，1912年以后许多严肃文学都力图表达社会崩溃，道德沦丧的观点，作家也使用新技巧，告别老传统。
The 20th-century Literature
The 20th-century LiteratureI. Modern Poetry1. In the 20th century, two characteristic strains in American poetry areintrospection and social criticism. These two themes are frequentlycombined into introspective social criticism, in which the poet explores thedepths of his own feelings with regard to what appears to him to be theinjustices of the society that forms his environment.2. ModernismDuring the first decades of the 20th century, modernism became an international tendency against positivism and representational art in art and literature. The essence of modernism was a break with the past, and it also fostered a belief in art and literature as an avenue to self-fulfillment.Modernism took shape in a convergence of tendencies in modern culture, accidental circumstances, and concerted efforts on the part of influential writers, some politically conservative and some radical. It included a wide range of artistic expressions such as symbolism, impressionism, post-impressionism, futurism, constructivism, imagism, expressionism, dada, and surrealism.There are some features of modernism:1) Modernism dramatized discontinuity (a sense of disjunction) and imminentseverance from the past while making determined efforts to use the past,its values and artistic forms by incorporating them in new literaryproduction. Much of the modern temper was critical of received beliefs,usually from a position of disillusionment after World War I. Affected bythe postwar disillusionment and loss of faith and disgusted at governmentslogans with the cheap commercial values and sham business ethics of thetime, modernists thought of life as diminished. They had a strong feelingof alienation, of loss, and of despair. They tried to get back to thefoundations of previous art and to use them in a new way. Representativemodernist poets are T. S. Eliot and Ezra Pound. They were well versed inancient literature, in medieval literature, in Greek and Roman classicalliterature.2) Modernists had a sense of fragmentation in social communities and thefragmentation within the individual himself. Hence fragmentation becamea common theme in modernist writing. Often in presenting their theme,these writers used an anti-hero. An anti-hero is the person who is the mainfocus of the work as a hero should be. However, he is weak, ineffective,inapt, not like the romantic hero who is strong, brave, courageous, and canrescue the fair maiden from the tower before the black knight kills her.Theanti-hero achieves success through bungling, through not being aseffective as he would think that he could be.3) The distinctive feature of literary modernism was its strong and consciousbreak with traditional forms, perceptions, and techniques of expression, and its great concern with language and all aspects of its medium. It was persistently experimental. The modernists made great efforts to remake the language of literature, and they were interested in technique and craftsmanship. And the conflict between dismantling narrative and plot continuity, and that between fracture and flow produced some distinctive literary forms in prose. Streams of consciousness, the use of myth as a structural principle, and the primary status given to the poetic image, all challenged traditional representation. Generally speaking, this new desire in craftsmanship and skill was one of the hallmarks of the early decades of the 20th century.3. Imagism1) Emergence: Modernism displayed its momentum first in the movement ofImagism as a reaction to Victorian and Edwardian poetry. It began withThomas Ernest Hulme(1883-1917), an English philosopher and writerwho funded the Poet’s Club in London in 1908. He called on poets toexpress their momentary impressions through the use of one dominantimage. In America, it started tin Chicago in 1912 when a new magazinewas launched under the title of Poetry: A Magazine of Verse, published byHarriet Monroe (1860-1936), who was interested in improving the stateof poetry. This event marked a poetic renaissance in the United States andthe beginning of modern American poetry in rebellion against Victorianpoetry and against the conventional technique of the time. One thing thatcharacterized the modern period for poetic writing was the great numberof small magazines that were published in Chicago and New Yorkprimarily, carrying the writing of such avant-garde literature. The artistswere in communication with each other. They wrote obscure things thatwere not easily understandable. The artists wrote for each other and triedto improve their skill and craftsmanship and make it even more difficultfor the average person to understand. Imagists were a group of poetsprominent between 1908 and 1917. They ushered in a whole new era ofpoetic experimentation.2) Major featuresImagism was only one of the new techniques of writing poetry that waspart of the modernist period and it was one of the most essentialtechniques. There were others with names such as surrealism, cubism,and combinations of words like these. Not all modernists were imagists.It was only one technique that tried to be revolutionary, tried to dosomething new with language. Here are some major characteristics ofimagism.(1) With a spirit of revolt against convention, imagism was anti-romanticand anti-Victorian. Victorian poetry was characteristic of moralizingtendencies, overpadding of extra-poetic matter, and traditionaliambic pentameter. But imagism stressed free choice of subjectmatters (often dealing with single, concentrated moments of experience), concreteness of imagery, musical phrases, economy of expression, and the use of a dominant image, or a quick succession of related images. It aimed at instantaneous effect, visual and concise. Pound defined an image as an intellectual and emotional complex in an instant of time, as a vortex or cluster of fused ideas endowed with energy. Anyhow, an imagist’s image represented a moment of revealed truth. Imagists used the language of common speech and employed exact words instead of the flowery language of poetry. They avoided all cliché expressions, the ornate diction, and complex verse forms of traditional poetry.(2) Imagism produced free verse without imposing a rhythmical pattern.The rhythm was composed as if the poet were making a musical phrase. This was a doing-away with conventions of meter so that the poet needed not make his ideas fit into an established meter as in a sonnet or a ballad. The poet crated new rhythms in the sequence of the musical phrase as the expressions of a new mood.(3) In a sense, imagism was equivalent to naturalism in fiction. Imagismin poetry came from the same basis as naturalism in fiction.Naturalism was based on scientific observation, a feeling of determinism that the reader should look only at the outside objects with no attempt to get inside of them. The imagist writers also had the same feeling of determinism that the reader should look only at the image. If the reader looks at the image, it will evoke an emotion immediately. Describe this image and the reaction occurs automatically. It is very biological, very scientific. It seems that they were creating a poem in the laboratory. They never stated the emotion in the poem. They just presented an image: concrete, firm, definite in picture, yet harsh in outline. Any significance to be derived from the image had to appear inherent in its spare, clean presentation.(4) Imagism tried to record objective observations of an object or asituation without interpretation or comment by the poet.It used suggestion rather than complete statement and saw concentration as the very essence of poetry. It presented the object directly and worked in nonsyntactical fragments. The imagists remained totally objective. They merely wanted to give the reader an image. That wasa picture, or a sound, or a smell, or a taste, or a touch. All of thosewere concrete images that appealed to the senses. In this way, the poet presented the central picture. Imagism required a poet to present just the picture, not his insight. This was a radical change from the way poetry had been written in the 19th century. These modernist poets tried to keep their ideas to themselves, merely giving the reader the description of the outward surface. What thesepeople hoped to accomplish with their technical skill was to give thereader a stimulus that would have an emotional response in thereader’s mind. Therefore, an imagist poem consists of clear visualimages, often juxtaposed with other images, prompting the reader toan imaginative response that completes its meaning.3) The most outstanding figures of the movement were Ezra Pound, AmyLowell (1874-1925), and Hilda Doolittle (1886-1961).4. Some Famous Poets1) Ezra Loomis Pound (1885-1972)(1) Often identified as the father of modern American poetry, he led theexperiment in revolutionizing poetry. Pound was America’s firstself-conscious innovator in poetry and one of the most importantimagist poets and critics of his time. He wrote 70 books of his own,and contributed as editor to 70 books of other writers. He also wrotemore than 1500 articles. His major work of poetry is the Cantos（《诗章》）, a long poem which he wrote from 1915 to 1949. He hadenormous influence on the modernist writers in Britain and Americaafter World War I.(2) Literary CareerPound’s early work was extraordinarily varied. It included someunusual translation of Chinese poems though he knew no Chinese.In 1915 he finished Cathay（《华夏》）, a volume of Chinesetranslations. In 1915, in London, he began working on Cantos, amodern epic, which he continued for over fifty years. His criticalessays are collected in Make It New(1934)（《要革新》）, The ABC ofReading(1934)（《阅读入门》）, Guide to Kulchur(1938)（《文化指南》）, and Literary Essays(1954)（《文学论文集》）.2) Thomas Stearns Eliot (1888-1965)(1) Eliot was a poet, playwright, and literary critic. His literary reputationis generally deemed greater than his teacher Ezra Pound. He becamethe acknowledged leader of the new poetry and criticism by 1925 andalmost dominated poetry and criticism in the period between twoworld wars and shaped the tastes and the critical vocabulary of ageneration.(2) Literary CareerWith the encouragement from Pound and other famous writers, Eliot began to pursue literary career. After further postgraduateresearch in Oxford University, he wrote poetry and critical essays.Eliot’s poetry is difficult to understand. He felt the separation fromthe 19th century romantic poetry as represented by Wordsworth, butlooked beyond it, back to the classics, back to the writing of poetswho had preceded Milton (1608-1674), poets at the time ofShakespeare (1564-1616), poets early in the English tradition. Helooked to these people to find the foundations of art in the past andthen to use these foundations in the poetry and criticism that he was writing. In 1915 he published The Love Song of J. Alfred Prufrock（《J.阿尔弗雷德普鲁弗洛克的情歌》）in Poetry and Preludes in Blast.His poems showed his disappointment in modern society. In 1922, with Pound’s help, he published his great work, The Waste Land（《荒原》）, which catches precisely the state of culture and society after World War I and graphically illustrates the spiritual poverty of the West of the time. It won $2000 Dial Award. It has been regarded as a central text of modernism.The Waste Land shows the search for regeneration by people who live in a chaotic world. It consists of five segments, each of which contains many fragments incorporating in a variety of voices and characters not only literary and historical allusions but bits and pieces of contemporary life, of the historical pat, and of myth and legend. The organizing principle of the poem is the myth of death and rebirth. The poem is not affirmative as the quest for regeneration remains unfulfilled. This poem reads like the manifesto of the “Lost Generation”. It has evoked a great deal of comment on its originality and on its severe attack on postwar Europe.In 1925 he published The Hollow Men（《空心人》）which continues the same theme.He was so fascinated by the theater that he wrote several verse plays, all religious in theme. But his best work is a group of four long poems entitled Four Quartets（《四个四重奏》）. This work, above all, led to his receipt of the Nobel Prize in 1948. In the same year he received the Order of Merit. That is an indication of his international reputation. His brilliant and bewildering original poetry, with its fresh visual imagery, its flexible tone, its highly expressive rhythm, its nostalgic pessimism and bitter condemnation of the postwar world, was the most important influence on all the modernists.(3) Comparison between T.S. Eliot and Walt Whitman:Walt Whitman was a great poet of American romanticism. He was optimistic and wrote a kind of poetry that was designed to praise American dreams; he had a wide audience of the common people reading what he wrote. So Whitman wrote within the accepted tradition of American life, trying to express the common aspirations of Americans. Eliot was different from Whitman. He was a great poet of American modernism. He did not accept the validity of the American dream, and he was not optimistic like Whitman. So his audience was small, only elitists who took a view of society different from mass culture. Eliot did not accept those commercial values. He criticized the trend in society, so he withdrew from mass culture to an elite culture.II. Modern Fiction1. Lost GenerationThe term “Lost Generation” was first used by Gertrude Stein (1874-1946), one of the leaders of this group. It included the young English and American expatriates as well as men and women caught in the war and cut off from the old values and yet unable to come to terms with the new era when civilization had gone mad. It means this generation had lost the beautiful sense of the calm idyllic past.Stein’s comment suggests the ambiguous and pointless lives of expatriates as they aimlessly wandered about the Continent, drinking, making love, and traveling from place to place and from party to party. These activities seem to justify their search for new meanings to replace the old ones. Yet in fact, being cut off from their past, disillusioned in reality, and without a meaningful future to fall on, they were lost in disillusionment and existential voids. They indulged in hedonism in order to make their life less unbearable.For American expatriates, they had cut themselves from their past in America in order to search for the meaning of their American experience. They lost their sense of being a part of American society.Since none of the best writers was closer to combat, it was not the war itself, but long exposure to European culture which intensified their criticism of American life. Now although they lived in Europe, they still thought about what it meant to be in America. They had not given up on American civilization. They criticized it, satirized it, laughed at it, but they still considered themselves Americans. They eventually went back to America by the end of the decade. So Europe was a means to an end, a way that they could support themselves while they were still young, not famous, not wealthy, a way they could be with each other to discuss writing and create new types of writing that had never been tried before. By experiencing European culture and European values, they came to have a perspective on what was going on in America. So the lost generation stayed away from America to understand it better.3. Modern FictionEver since the first American novel, The Power of Sympathy (1789) by William Brown (1765-1793), the early American fiction was usually didactic in purpose, sentimental in tone, sensational in material, but that did not guarantee the appearance of any real talented genius. The modern fiction before 1945 served as an assessment of possibilities in life and in literature.Naturalism had shown that social and biological forces limited individual freedom.Writers now either agreed or disagreed with it. They depicted the situation of the poor, the immigrants, the Jews, the blacks, the leftists, the women, and the “average”people in a rich paradigm of possibilities.Therefore, fiction emerged as the testing ground for new ideas and new techniques. For instance, the commonest techniques for expressing linguistic blight are fragmentation, literary montage, and the frenetic inter-penetration of passages to suggest a disordered simultaneity as shown in Hemingway’s InOur Time (1925). In the process of this change, American fiction grew mature and became a leading force in world literature. The years after the war were productive ones for the American fictionist. His prose medium was admirably adapted to what the writer had to say. His principal theme ---- that of secession from society ---- was one that had long engaged the American writer. The excellent writers of the period include Sherwood Anderson (1876-1941), Henry Louis Mencken (1880-1956), Upton Sinclair (1878-1968), Sinclair Lewis (1885-1951), Ernest Hemingway (1899-1961), Scott Fitzgerald (1896-1940), John Dos Passos (1896-1970), John Steinbeck (1902-1968), Willa Cather (1873-1947), Thomas Wolfe (1900-1938), Nathaniel West(1903-1940), and John O’Hara 91905-1970).They set out to create forms commensurate with the force of modern life. Malcolm Bradbury makes a concise statement about these modern fiction writers. “The achievement of these writers was remarkable; they had explored the essential passages of the earlier part of the century ---- from country to city, mythic pastoral to modern irony, national self-preoccupation to a larger awareness of international processes. They had drawn the potential of naturalism onward toward a modernism that seemed comfortable appropriate to twentieth-century American experience, and had constructed a modern, experimental tradition of American fiction.”4. Some Famous Writers1) Earnest Hemingway (1899-1961)(1) LifeHemingway was generally regarded as spokesman for the Lost Generation. He was famous for his novels and short stories written inhis spare, laconic, yet intense prose with short sentences and veryspecific details. Almost all his stories deal with the theme of courage inface of tragedy. They reveal man’s impotence and despairing courage toassert himself against overwhelming odds.Hemingway was born in Oak Park, Illinois, one of six children in the family. His father was a highly respected doctor who was fond ofhunting, cooking, and fishing. His mother was a singer and musicteacher. Both parents expected their son to excel and he complied. Hewas an excellent student at high school and wrote short stories for theschool paper and literary magazines. He ran away form home twiceduring his high school years. After graduation form Oak Park HighSchool in 1917, he chose not to go to college. Instead he left home andworked briefly for the Star as a reporter in Kansas City. The shortsimple sentences characteristic of his prose style might have come fromsuch experience.When America entered World War I in 1917, he wanted to take part in it. But the American Army rejected him because of his poor vision inone eye. So he volunteered first to serve as an ambulance driver inFrance, and then as a soldier in the Italian infantry in 1918. Shortly afterhe arrived at the front, about three weeks, he was wounded on both legs and sent to an Italian hospital. During his six-month stay in the hospital, he fell in love with an English nurse.In 1919 Hemingway returned home to complete his recovery. He met Hadley Richardson and married her in 1921. As soon as he was fully recovered, they left for Paris where he worked as a correspondent covering wars and fighting the Toronto Star, a Canadian newspaper and as an assistant for an American literary magazine. But his real purpose was to write his own stories.(2) Literary CareerHemingway met Gertrude Stein, Ezra Pound, and Sherwood Anderson in Paris who encouraged him to pursue literary career. With their help he published his first collection of fifteen short stories, In Our Time, in 1925, portraying the world of adulthood as an arena of danger and violence. In 1926 he published his first novel, The Torrents of Spring, but The Sun Also Rises (1926) about the disillusionment of the lost generation was an immediate success, partly because it was so sharply attacked by many conservative critics and shocked most other readers. This novel contrasts the empty search for sensation by American expatriates in Paris with the rich Spanish tradition as epitomized in bullfighting. With the success of A Farewell to Arms (1929), he firmly established his reputation as a great American writer.This novel shows that not only war threatens people, but the very texture of life itself involves violence and death.By then he had surpassed Fitzgerald, even one of his mentors, Gertrude Stein. In Paris he divorced his first wife in 1927 and married the second one, Pauline Pfeiffer.During the 1930s he wrote less because he had a strong desire for adventure. This desire took him to watch bull-fights. He saw in the bull-fight a brutal physical force, a symbol of what life is all about. Man versus Nature. He also loved deep-sea fishing near Cuba, big games hunting in the far east of Africa and other such exotic physical masculine athletic pursuits, always an emphasis on athletic power. He created for himself a sensational public image: big game hunter, deep sea fisherman, bull fight aficionado, and roistering drinker.In 1936 he took part in the Spanish Civil War as a journalist, firmly on the Republican side against Fascist Franco (1892-1975). He predicted that the Spanish Civil War would be a prelude to the Second World War. While in Spain he divorced his second wife in 1940 and married the third one, Martha Gellhorn. His experience there provided material for his novel, For Whom the Bell Tolls(1940) with the theme that the loss of freedom anywhere is a diminution of it everywhere.This is a love story of great appeal, and this is also a war novel containing the message that all liberals must help each other, must act collectively, ifgood is to endure. Then he and Gellhorn traveled together to China as journalists and reported on the Japanese invasion and then they returned to Cuba.At first he organized people to report on German spies in Cuba and then he went to London as a journalist. He flew on several missions with the Royal Air Force into the heart of the battle. He crossed the English Channel with the American forces to report on the invasion of France, and he was also present at the liberation of Paris. After the war he returned to Cuba and married Mary Welsh in 1946. In 1952 he published The Old Man and the Sea, a parable of inner strength and courage abouta Cuban fisherman’s struggle to bring home a great marlin he hascaught. This short novel highlights the theme that a man can be destroyed but not defeated. The Nobel Prize was awarded him in October, 1954 with the following defensive statement: “For his powerful style-forming mastery of the art of modern narration, as most recently evinced in The Old Man and the Sea…Hemingway’s earlier writing displayed brutal, cynical and callous signs which may be considered at variance with the Nobel Prize requirements for a work of ideal tendencies. But on the other hand he also possesses a heroic pathos which forms the basic element of his awareness of life, a manly love of danger and adventure, with a natural admiration of every individual who fights the good fight in a world or reality overshadowed by violence and death.”After the Cuban Revolution, Hemingway had to leave Cuba. He settled down in Ketchum, Idaho, in the Rocky Mountains. But he felt depressed and tormented by failing artistic and physical power that he had to receive electric shock treatment. That treatment, in fact, did not work. On July 2, at Ketchum, Idaho, he committed suicide by shooting himself with his hunting gun. A Moveable Feast (1962), Islands in the Stream (1970), and The Garden of Eden (1986) were his novels published posthumously. The Dangerous Summer (1985) is an account of his trip to Spain in 1959.(3) CommentCritics generally hold that Hemingway wrote best earlier in his career, and that his chief contributions are in the sense of the short story.His short stories represent him at his most experimental, telegraphic in style and presentation. They depend heavily on direct description and dialogue with little commentary or interpretation. Influenced by Mark Twain, Hemingway brought the colloquial style to near-perfection.One of the important things that makes Hemingway popular is that in a time of general despair and pessimism he wrote stories with heroes that the readers could admire. This is one of the reasons that his stories sold very well. There is a particular term, “the code hero”, for his character. The code hero with stoic courage lives by a pattern whichgives life meaning and value. Hemingway explored courage in many forms. He portrayed courage and cowardice in battle and defined courage as “an instinctive movement toward or away from the center of violence, with self-preservation and self-respect the mixed motives.” He also wrote about courage with which people face the tragedies in life. To him, man’s greatest achievement is to show “grace under pressure”, or to hold the “purity of line through the maximum of exposure”, as he once said.In his fiction the nihilistic vision of sterility, failure, and death is modified by his affirmative assertion of the possibility of living with style and courage.Therefore, he often dealt with war and its effects on people, with contests such as hunting and bullfighting which demand stamina and courage, and with the question how to live with pain.Hemingway’s iceberg theory of writing is famous.Think of an iceberg: one eighth of an iceberg is above the water. All of the rest is underneath the water. The same is true with Hemingway’s writing. His sentences only give one small bit of the meaning. The rest is implied. One must go very deep beneath the surface to understand the full meaning of his writing. Hemingway’s vocabulary is easy and his sentence patterns are easy, but they are extremely difficult to be fully understood. His lean, economical style of writing is striking: sentence short, uncomplicated, but active; words simple but filled with emotion; few modifiers, and great control of pause with action of the story continuing during the silences. There are times when the most powerful effect comes from restraint and understatement for he believed the strongest effect comes with an economy of means. His control of his medium reaches from the most profound levels of meaning to the uppermost limits of conscious style and language. In one sense he was more limited in scope than most of his contemporaries, for he had but a single theme— how man face tragedy in a world stripped of all values except that of intensity.Why did he limit his vocabulary? This is one way he tried to gain some control over his emotions. The author was at the middle of a psychological crisis. His world was falling apart, yet the tight, simple, well-controlled sentences reflect the kind of world that Hemingway would like to create if he were God.Hemingway’s writing emphasizes emotion.He wanted to recreate for the reader the emotion of being there.For this reason, Hemingway is often called a lyric writer.He was interested in conveying a deep emotional feeling. He did have some realistic techniques, but on the whole he was not like the realistic writers because he was more interested in conveying his personal emotion. And this is the goal of many modernist writers— recreate proper feelings of the situation or experience in the reader, arouse an involuntary subjective response.。
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关于20世纪欧美文学20th Century
American Literature
英语美文
这些脸”的幽灵在人群中:/片片花瓣在潮湿黝黑的枝子上。
“我的第一反应在1916年庞德的阅读理解诗歌的地铁车站的暴行。
这是一首诗无论如何定义?如果它是一首诗,它是如何被理解吗?最后,有什麽样的含意,这首诗产生了为20 -世纪美国文学吗?
我最初的困惑,我意识到了,在平息,必须在地下的d 'etre背后的这个显然奇异的文学现象。
我所要做的是把这首诗到上下文的美国文学的演进和文学的历史。
至少,这首诗就引发了一个重要的挑战。
它要求我明白有些很关键的变化,这些变化必须发生在20世纪末。
我后来的研究表明这首诗表现了更大的一部分被称为象征主义文学运动,其中包括这样的理论家和开业者休谟,Hilda Doolittle t >,艾美洛厄尔;庞德等。
这个动作是一种直接反应了维多利亚时代晚期诗歌,成为极人工、emptily“修辞”和“装饰”。
解决这类问题,因此必然要松开韵律模式和把它带回来接近的节奏普通的演说。
因此,“意象派”运动有极大关系与促进自由诗,倡导实验在许多宗教信条
需要“允许绝对自由的题材的选择”和“生产诗歌,又硬又清晰,从不模糊不定。
“当Archibald也说,在他的抗逆转录病毒药物Poetica MacLeish(1926年),“诗不应该意味着/但是”的,他有类似的事情在他的脑海里。
象征主义、小,因为它是作为一种文学运动,引起了重大变化,引入文学批评的概念所体现的内部学习新批评代替传统的关键做法。
上述事件只不过是一个那个例子发生在我研究的文学作品。
中国学生喜欢我,它至少有两个重要的影响。
首先,一部作品,一定不能被隔离治疗。
相互作用是什么之前或之后写历史的角度来看,这是一个以何种方式,我们将增加我们的解释。
第二,这是很重要的,熟悉相关的文学理论,对于一个给定的作品。
一个学生主修英语(以及国际贸易)的XX大学英语系,我变得越来越有兴趣文学后半段在本科毕业。
当然,我被培养成一名学生的英语语言在最初的地方,正因为如此,我收到了标准的学术训练典型的一位学生的英语专业。
在头两年里,我主要有密集培训的基本的英语交流能力通过参加课程,在先进的听、写、阅读和书面和口头的沟通能力。
我的杰出的学术成绩,说明了国内一流,二等奖学金连续四次被我赢了从1999年至2003年。
在2001年,我曾获二等奖的校园英语作文大赛,在2002年赢得这个奖项的第一个中英翻译大赛。
另一指标,是我的学业成绩的荣誉毕业于XX省优秀的时候,我收到了我终于完成了
我的大学部课程。
我开始阅读英语小说一旦我开始了我的大学部课程。
但是我主要用它作为一种方法来增加我的词汇量,提高我的阅读理解能力。
自从第2年在我的本科项目中,我们的课程包括5个主要的相关课程英美文学与文化:选读物在英文文献中,选读物,获美国文学介绍欧洲文化的影响,英语的历史和美国文学,选读物在英语和美国小说。
这些课程给我提供了一个文化和历史脉络,用它来理解英美文学并知道他们之间的关系。
我变得熟悉主要作者和作品在英国和美国文学的知识,并获得了试探性的关键途径。
西方这样的书介绍下特里;伊格尔顿的文学Theory-An编辑和20文学批评戴维洛奇证明对我有点深奥,但是他们让我意识到,是重要的关键途径非常不同于那些在中国文学和不同的传统的西方文学本身。
我的定义英美文学的兴趣引导我走向写关于t . s .艾略特和他的诗歌在我的论文乏味的根搅了由弹簧Rain-Meaning通过意象t . s .艾略特的“浪费”(根据客户要求提供土地)。
在这篇论文中,我检查了不同群体的意象暴龙是s .艾略特雇用如何体现他的核心思想和情感。
我也分析了理论理他几乎过度使用意象追溯它对他的理论相关的“客观”,他提议在哈姆雷特和他的问题,一个关键的文章包含在这神圣的木材(1920)。
学生在课外活动,在我们部门穿上莎士比亚戏剧《罗密欧与朱丽叶》,我是performer-director。
基于我自己的理解的发挥,我改变了其悲剧的结局,并让它通过允许一个愉快的英雄和女主人公复苏和重新团聚。
我相信爱这样的强度要应验,不然它会太悲惨了。
在上个学期我的大学部课程,我来到了我的大学教授美国文学课程的欣赏的非英语专业的学生。
运用我的计算机技能,我开发了一系列课件,涵盖不同时期的美国文学和插图,由图形和图表来让另一个门很难的课程有趣和容易理解。
不过我完全清楚我所掌握的美国文学是远离足够了。
我需要接受更多的教育先进为了一个更好的职业发展。
所以我打算申请研究生课程大学的英语在XX,专注于现代和当代美国文学。
你的程序是国家承认的(列入十大在XX根据XX)和它攻击我为它的质量、小尺寸和亲密的同事。
我很有兴趣在你精心设计的课程的当代美国文学,美国文学史上,美国文学中特殊主题,美国文学1865-1914 - 1960年纺织业城市。
在你的13个教授,我想收到指示,由XX,XX,XX。
XX,XX。
我相信,我准备就绪,且真正激你的程序,这将教我的知识和专长无处寻求,在我自己的国家。