Pearl-S.Buck赛珍珠个人介绍英文

合集下载

赛珍珠：直译的践行者,女性主义翻译的倡导者——论赛珍珠的翻译风格

赛珍珠：直译的践行者，女性主义翻译的倡导者——论赛珍珠的翻译风格摘要：赛珍珠作为一位精通中文的美国作家，她在翻译《水浒传》时多次提到她要做到“逼似原著”。

而她在翻译的过程中也体现了她女性主义的精神和翻译技巧。

赛珍珠从未声称过她是女性主义者或者女性主义翻译者，在她的翻译中体现的这种女性主义精神来自她的潜意识，与她的生活经历不可分割，同时与她直译的翻译初衷并存。

关键词：赛珍珠；直译；女性主义翻译赛珍珠是一位经历丰富的作家。

幼年在中国长大，很好地掌握了中文写作。

随后跟随母亲学习英文。

赛珍珠是一位以中文为母语之一的著名美国作家。

赛珍珠翻译《水浒传》，并把《水浒传》介绍到美国。

赛珍珠在译作All Men Are Brothers的序言中一直提到要保持原作的风格。

但在翻译实践中，她使用了一些女性主义特有的翻译方法。

一赛珍珠其人赛珍珠（Pearl S. Buck,June26 1892-March6, 1973）出生在美国弗吉尼亚州，父母都是传教士。

父亲赛兆祥和带着妻子卡洛琳来到中国，在美国的休假过程中生下赛珍珠。

赛珍珠的名字的有两说，一是父母先前的孩子夭折，她的生存使得她成为父母的掌上明珠。

另有一说是赛珍珠模仿清末名妓“赛金花”给自己取的名字。

父母对赛珍珠的教育十分重视。

她先精通中文，随后母亲才教授她英语。

赛珍珠不仅在中国的私塾上学，还学习了拉丁文等其他课程。

父母的婚姻对她有着深远的影响。

父亲和母亲的婚姻很仓促，以至于她认为父亲主要以他的事业-传教为重。

和她母亲的婚姻只是为了能在传教的时候有人照顾。

17岁在父母的建议下回美国学习，毕业后又来中国。

1917年与传教士约翰?布克结婚，开始了她的传教生活。

她与丈夫到安徽北部的宿县生活，在宿县她目睹了许多女子困苦的生活。

这段生活经历她完成了长篇小说《大地》，这部作品也于1938年获得诺贝尔文学奖。

她也是将《水浒传》介绍到西方的第一人。

1934年由于中国条件较差以及为了亲近她的女儿以及Richard Walsh，赛珍珠告别了中国，回国定居。

赛珍珠英文版介绍课件

Cultural Differences
Her narratives often juxtapose Chinese and Western cultural perspectives, highlighting differences in values, beliefs, and ways of life. This examination促进了跨文化理解。
Rhetorical Devices
She frequently employs rhetorical devices such as metaphor, simile, and personification to enhance the descriptive power of her prose. These literary techniques add depth and vibrancy to her narratives.
03 Evaluation of Pearl S. Buck's English Works
The artistic value of a work
要点一
Plot Structure
The plot structures of Pearl S. Buck's works are often intricate and layered, with well-developed characters and conflicts that draw the reader into the story.
Cultural Connotations
Traditional Chinese Values
Buck's works reflect traditional Chinese values such as filial piety, community, and respect for elders. She explores how these values shape characters and influence their actions and interactions.

赛珍珠的美丽与哀愁

赛珍珠的
美丽与哀愁
赛珍珠(Pearl S. Buck或Pearl Buck)(1892年6月26日－1973年3月6 日)，直译珀尔·巴克，美国作家。1932 年借其小说《大地》（The Good Earth），获得普利策小说奖；1938年获诺贝尔文学奖。她也是唯一同时获得
普利策奖和诺贝尔奖的女作家，作品流传语种最多的美国作家。

老人不断地咳嗽，一直等到水开了才停下来。王龙把一些开
水舀到碗里，然后，过了一会儿，他打开放在灶台边上一个发亮
的小罐子，从里面拿出十来片拳曲了的干叶子，撒在开水上面。
老人贪婪地睁大眼睛，但立刻便开始抱怨起来。

“你为什么这样浪费呢？喝茶叶好比吃银子呀。”

他绕锅台走过去，从厨房的墙角拣了一把放在那里的干草和
树叶，细心地放到灶口里面，不让一片树叶露在外边。然后，他
用一个旧火镰打着火种，塞进干草，火苗便窜了上来。

这是他必须烧火的最后一个早晨。自从六年前他母亲死后，
每天早晨他都要烧火。他烧火，煮开水，把水倒进碗里端到他父
亲的房间；他父亲坐在床边，一边咳嗽一边在地上摸着穿他的鞋
硬又黑。在这个灶的上面，放着一口又深又圆的铁锅。

王龙用瓢从旁边的瓦罐里往锅里添了半锅水；水是珍贵的，他舀水时非常小心。然后，他犹豫了一下，突然把瓦罐提起，一下子把水全倒在锅里。这天他要把整个身子都洗洗。从他还是个在母亲膝上的小孩时起，谁都没有看见过他的整个身子。今天有人要看见，他要把身子洗得干干净净的。
龙生养很多的孩子。王龙停下来，呆呆地想着孩子们在三间屋里
跑进跑出。自从他母亲死后，三间屋子对他们总显得太多，有一
半空荡荡的。他们一直不得不抵制人口多的亲戚他的叔父，因为

Pearl S Buck

未着陆的尴尬——从赛珍珠作品《大地》评论看中西文化交流引言：赛珍珠，1892年6月26日出生于美国，4个月时即跟随传教士父母来中国淮安，在中国长大。

曾长期在镇江生活，视镇江为自己的家乡。

期间在镇江、庐山牯岭和上海，生活和学习过。

一直到1909年才回到美国读大学。

毕业后因母亲生病，马上回到中国教书。

1917年与美国青年农学家布克在镇江结婚后，随夫来到安徽宿县工作、生活，后来到金陵大学教授英语和神学。

1923年开始写作。

1930年出版第一部小说《东风·西风》，1931年出版《大地》，1936年《放逐》、《战斗的天使》。

1938年因《大地》三部曲获诺贝尔文学奖。

1927年至1932年，耗时5年，翻译《水浒传》。

1935年离开南京，回到美国。

但一直笔耕不辍。

致力于慈善事业，1973年在美国逝世。

尼克松总统这样评价赛珍珠：“一座沟通东西方文明的人桥……一位伟大的艺术家，一位敏感而富于同情心的人”。

（耿伟，2009）赛珍珠的一生辗转于中国和美国两个世界，但是两个世界长久以来都未对她和她的作品作出公正的评价。

本文拟就赛珍珠作品《大地》在中西方的评论来一窥端倪，并期待对当下的中西文化交流有所启示。

一．《大地》简介赛珍珠《大地》三部曲分别为：《大地》、《儿子们》、《分家》。

1931年或美国普利策奖，1938年获得诺贝尔文学奖。

《大地》是最有名的一部。

据联合国教科文组织统计，这部作品是被翻译得最多的文学作品之一，已经有60多个国家翻译出版。

（王逢振，1986：153）.诺贝尔文学奖的颁奖词是这样的：“因其对中国农民生活的丰富而真实的史诗般的描写，因其杰出的传记作品”。

《大地》这部小说主要描绘了农民王龙由贫困起家到发家隆盛的历史。

贫农王龙娶了富人家的灶下丫头阿兰。

因为他俩的勤劳，家境一天天好起来。

但是，一场大旱逼迫他们一家逃到城市，在那里，王龙拉车，阿兰带着孩子行乞。

一家过着狗一样的日子。

不料有一天，王龙意外地抢到一包“金洋”，于是，他们重新回到家乡，买下土地，开始过上富裕的生活。

赛珍珠简介

赛珍珠（Pearl S. Buck或Pearl Buck）（1892年6月26日－1973年3月6日），直译珀尔·巴克，美国作家。

1932年借其小说《大地》（The Good Earth），成为第一位获得普利策小说奖的女性；1938年获诺贝尔文学奖。

她也是唯一同时获得普利策奖和诺贝尔奖的女作家，作品流传语种最多的美国作家。

赛珍珠出生于弗吉尼亚州西部，4个月后，随传教士父母赛兆祥和卡洛琳来到中国。

先后在清江浦、镇江、宿州、南京、庐山等地生活和工作了近40年，其中在镇江生活了18年，她在镇江经历了她人生的早期岁月，因此她称镇江是她的“中国故乡”。

她童年的大部分时光都在那里度过，首先学会了汉语和习惯了中国风俗，然后她母亲才教她英语。

值得一提的是，从幼年起，她就在鼓励声中开始写作。

17岁回美国进弗吉尼亚州伦道夫·梅康女子学院(Randolph-Macon Woman's College)攻读心理学，毕业后又来中国。

1917年与传教士约翰·洛辛·布克结婚，从事传教工作。

婚后随丈夫迁居安徽北部的宿县（今安徽省宿州市），在此期间的生活经历成为日后闻名世界的《大地》的素材。

1921年秋她的母亲去世后，全家迁至南京。

1927年北伐军进入南京，她离开中国。

自1921年至1935年，她与布克(J. L. Buck) 长期居住在所执教的金陵大学分配给他们的两层楼房里。

在这里她写出了于1938年荣获诺贝尔文学奖的长篇小说《大地(Gread Earth) 三部曲》等小说，并最早将《水浒传》翻译成英文在西方出版。

1934年与布克离婚；1935年与约翰·戴公司总经理、《亚细亚》杂志主编理查·沃尔什结婚，因而进入约翰·戴公司任编辑。

以后在宾夕法尼亚州的农庄里从事写作。

1934年由于中国条件较差以及为了亲近她的女儿以及Richard Walsh，赛珍珠告别了中国，回国定居。

赛珍珠诺贝尔文学奖演讲辞(英语)

Pearl BuckThe Nobel Prize in Literature 1938When I came to consider what I should say today it seemed that it would be wrong not to speak of China. And this is none the less true because I am an American by birth and by ancestry and though I live now in my own country and shall live there, since there I belong. But it is the Chinese and not the American novel which has shaped my own efforts in writing. My earliest knowledge of story, of how to tell and write stories, came to me in China. It would be ingratitude on my part not to recognize this today. And yet it would be presumptuous to speak before you on the subject of the Chinese novel for a reason wholly personal. There is another reason why I feel that I may properly do so. It is that I believe the Chinese novel has an illumination for the Western novel and for the Western novelist.When I say Chinese novel, I mean the indigenous Chinese novel, and not that hybrid product, the novels of modern Chinese writers who have been too strongly under foreign influence while they were yet ignorant of the riches of their own country.The novel in China was never an art and was never so considered, nor did any Chinese novelist think of himself as an artist. The Chinese novel its history, its scope, its place in the life of the people, so vital a place, must be viewed in the strong light of this one fact. It is a fact no doubt strange to you, a company of modern Western scholars who today so generously recognize the novel.But in China art and the novel have always been widely separated. There, literature as an art was the exclusive property of the scholars, an art they made and made for each other according to their own rules, and they found no place in it for the novel. And they held a powerful place, those Chinese scholars. Philosophy and religion and letters and literature, by arbitrary classical rules, they possessed them all, for they alone possessed the means of learning, since they alone knew how to read and write. They were powerful enough to be feared even by emperors, so that emperors devised a way of keeping them enslaved by their own learning, and made the official examinations the only means to political advancement, those incredibly difficult examinations which ate up a man's whole life and thought in preparing for them, and kept him too busy with memorizing and copying the dead and classical past to see the present and its wrongs. In that past the scholars found their rules of art. But the novel was not there, and they did not see it being created before their eyes, for the people created the novel, and what living people were doing did not interest those who thought of literature as an art. If scholars ignored the people, however, the people, in turn, laughed at the scholars. They made innumerable jokes about them, of which this is a fair sample: One day a company of wild beasts met on a hillside for a hunt. They bargained with each other to go out and hunt all day and meet again at the end of the day to share what they had killed. At the end of the day, only the tiger returned with nothing. When he was asked how this happened he replied very disconsolately, “At dawn I met a schoolboy, but he was, I feared, too callow for your tastes. I met no more until noon, when I found a priest. But I let him go, knowing him to be full of nothing but wind. The day went on and I grew desperate, for I passed no one. Then as dark came on I found a scholar. But I knew there was no use in bringing him back since he would be so dry and hard that he would break our teeth if we tried them on him.”The scholar as a class has long been a figure of fun for the Chinese people. He is frequently to be found in their novels, and always he is the same, as indeed he is in life, for a long study of the same dead classics and their formal composition has really made all Chinese scholars lookalike, as well as think alike. We have no class to parallel him in the West - individuals, perhaps, only. But in China he was a class. Here he is, composite, as the people see him: a small shrunken figure with a bulging forehead, a pursed mouth, a nose at once snub and pointed, small inconspicuous eyes behind spectacles, a high pedantic voice, always announcing rules that do not matter to anyone but himself, a boundless self-conceit, a complete scorn not only of the common people but of all other scholars, a figure in long shabby robes, moving with a swaying haughty walk, when he moved at all. He was not to be seen except at literary gatherings, for most of the time he spent reading dead literature and trying to write more like it. He hated anything fresh or original, for he could not catalogue it into any of the styles he knew. If he could not catalogue it, he was sure it was not great, and he was confident that only he was right. If he said, “Here is art”, he was convinced it was not to be found anywhere else, for what he did not recognize did not exist. And as he could never catalogue the novel into what he called literature, so for him it did not exist as literature.Yao Hai, one of the greatest of Chinese literary critics, in 1776 enumerated the kinds of writing which comprise the whole of literature. They are essays, government commentaries, biographies, epitaphs, epigrams, poetry, funeral eulogies, and histories. No novels, you perceive, although by that date the Chinese novel had already reached its glorious height, after centuries of development among the common Chinese people. Nor does that vast compilation of Chinese literature, Ssu Ku Chuen Shu, made in 1772 by the order of the great Emperor Ch'ien Lung, contain the novel in the encyclopedia of its literature proper.No, happily for the Chinese novel, it was not considered by the scholars as literature. Happily, too, for the novelist! Man and book, they were free from the criticisms of those scholars and their requirements of art, their techniques of expression and their talk of literary significances and all that discussion of what is and is not art, as if art were an absolute and not the changing thing it is, fluctuating even within decades! The Chinese novel was free. It grew as it liked out of its own soil, the common people, nurtured by that heartiest of sunshine, popular approval, and untouched by the cold and frosty winds of the scholar's art. Emily Dickinson, an American poet, once wrote, “Nature is a haunted house, but art is a house that tries to be haunted”. Nature, she said, Is what we see,Nature is what we knowBut have no art to say -So impatient our wisdom is,To her simplicity.No, if the Chinese scholars ever knew of the growth of the novel, it was only to ignore it the more ostentatiously. Sometimes, unfortunately, they found themselves driven to take notice, because youthful emperors found novels pleasant to read. Then these poor scholars were hard put to it. But they discovered the phrase «social significance», and they wrote long literary treatises to prove that a novel was not a novel but a document of social significance. Social significance is a term recently discovered by the most modern of literary young men and women in the United States, but the old scholars of China knew it a thousand years ago, when they, too, demanded that the novel should have social significance, if it were to be recognized as an art.But for the most part the old Chinese scholar reasoned thus about the novel:Literature is art.All art has social significance.This book has no social significance.Therefore it is not literature.And so the novel in China was not literature.In such a school was I trained, I grew up believing that the novel has nothing to do with pure literature. So I was taught by scholars. The art of literature, so I was taught, is something devised by men of learning. Out of the brains of scholars came rules to control the rush of genius, that wild fountain which has its source in deepest life. Genius, great or less, is the spring, and art is the sculptured shape, classical or modern, into which the waters must be forced, if scholars and critics were to be served. But the people of China did not so serve. The waters of the genius of story gushed out as they would, however the natural rocks allowed and the trees persuaded, and only common people came and drank and found rest and pleasure.For the novel in China was the peculiar product of the common people. And it was solely their property. The very language of the novel was their own language, and not the classical Wen-li, which was the language of literature and the scholars. Wen-li bore somewhat the same resemblance to the language of the people as the ancient English of Chaucer does to the English of today, although ironically enough, at one time Wen-li, too, was a vernacular. But the scholars never kept pace with the living, changing speech of the people. They clung to an old vernacular until they had made it classic, while the running language of the people went on and left them far behind. Chinese novels, then, are in the «Pei Hua», or simple talk, of the people, and this in itself was offensive to the old scholars because it resulted in a style so full of easy flow and readability that it had no technique of expression in it, the scholars said.I should pause to make an exception of certain scholars who came to China from India, bearing as their gift a new religion, Buddhism. In the West, Puritanism was for a long time the enemy of the novel. But in the Orient the Buddhists were wiser. When they came into China, they found literature already remote from the people and dying under the formalism of that period known in history as the Six Dynasties. The professional men of literature were even then absorbed not so much in what they had to say as in pairing into couplets the characters of their essays and their poems, and already they scorned all writing which did not conform to their own rules. Into this confined literary atmosphere came the Buddhist translators with their great treasures of the freed spirit. Some of them were Indian, but some were Chinese. They said frankly that their aim was not to conform to the ideas of style of the literary men, but to make clear and simple to common people what they had to teach. They put their religious teachings into the common language, the language which the novel used, and because the people loved story, they took story and made it a means of teaching. The preface of Fah Shu Ching, one of the most famous of Buddhist books, says, «When giving the words of gods, these words should be given forth simply.» This might be taken as the sole literary creed of the Chinese novelist, to whom, indeed, gods were men and men were gods.For the Chinese novel was written primarily to amuse the common people. And when I say amuse I do not mean only to make them laugh, though laughter is also one of the aims of the Chinese novel. I mean amusement in the sense of absorbing and occupying the whole attention of the mind. I mean enlightening that mind by pictures of life and what that life means. I mean encouraging the spirit not by rule-of-thumb talk about art, but by stories about the people in every age, and thus presenting to people simply themselves. Even the Buddhists who came to tell about gods found that people understood gods better if they saw them working through ordinary folklike themselves.But the real reason why the Chinese novel was written in the vernacular was because the common people could not read and write and the novel had to be written so that when it was read aloud it could be understood by persons who could communicate only through spoken words. In a village of two hundred souls perhaps only one man could read. And on holidays or in the evening when the work was done he read aloud to the people from some story. The rise of the Chinese novel began in just this simple fashion. After a while people took up a collection of pennies in somebody's cap or in a farm wife's bowl because the reader needed tea to wet his throat, or perhaps to pay him for time he would otherwise have spent at his silk loom or his rush weaving. If the collections grew big enough he gave up some of his regular work and became a professional storyteller. And the stories he read were the beginnings of novels. There were not many such stories written down, not nearly enough to last year in and year out for people who had by nature, as the Chinese have, a strong love for dramatic story. So the storyteller began to increase his stock. He searched the dry annals of the history which the scholars had written, and with his fertile imagination, enriched by long acquaintance with common people, he clothed long-dead figures with new flesh and made them live again; he found stories of court life and intrigue and names of imperial favorites who had brought dynasties to ruin; he found, as he traveled from village to village, strange tales from his own times which he wrote down when he heard them. People told him of experiences they had had and he wrote these down, too, for other people. And he embellished them, but not with literary turns and phrases, for the people cared nothing for these. No, he kept his audiences always in mind and he found that the style which they loved best was one which flowed easily along, clearly and simply, in the short words which they themselves used every day, with no other technique than occasional bits of description, only enough to give vividness to a place or a person, and never enough to delay the story. Nothing must delay the story. Story was what they wanted.And when I say story, I do not mean mere pointless activity, not crude action alone. The Chinese are too mature for that. They have always demanded of their novel character above all else. Shui Hu Chuan they have considered one of their three greatest novels, not primarily because it is full of the flash and fire of action, but because it portrays so distinctly one hundred and eight characters that each is to be seen separate from the others. Often I have heard it said of that novel in tones of delight, «When anyone of the hundred and eight begins to speak, we do not need to be told his name. By the way the words come from his mouth we know who he is.»Vividness of character portrayal, then, is the first quality which the Chinese people have demanded of their novels, and after it, that such portrayal shall be by the character's own action and words rather than by the author's explanation.Curiously enough, while the novel was beginning thus humbly in teahouses, in villages and lowly city streets out of stories told to the common people by a common and unlearned man among them, in imperial palaces it was beginning, too, and in much the same unlearned fashion. It was an old custom of emperors, particularly if the dynasty were a foreign one, to employ persons called «imperial ears», whose only duty was to come and go among the people in the streets of cities and villages and to sit among them in teahouses, disguised in common clothes and listen to what was talked about there. The original purpose of this was, of course, to hear of any discontent among the emperor's subjects, and more especially to find out if discontents were rising to the shape of those rebellions which preceded the fall of every dynasty.But emperors were very human and they were not often learned scholars. More often, indeed, they were only spoiled and willful men. The «imperial ears. had opportunity to hear all sorts of strange and interesting stories, and they found that their royal masters were more frequently interested in these stories than they were in politics. So when they came back to make their reports, they flattered the emperor and sought to gain favor by telling him what he liked to hear, shut up as he was in the Forbidden City, away from life. They told him the strange and interesting things which common people did, who were free, and after a while they took to writing down what they heard in order to save memory. And I do not doubt that if messengers between the emperor and the people carried stories in one direction, they carried them in the other, too, and to the people they told stories about the emperor and what he said and did, and how he quarreled with the empress who bore him no sons, and how she intrigued with the chief eunuch to poison the favorite concubine, all of which delighted the Chinese because it proved to them, the most democratic of peoples, that their emperor was after all only a common fellow like themselves and that he, too, had his troubles, though he was the Son of Heaven. Thus there began another important source for the novel that was to develop with such form and force, though still always denied its right to exist by the professional man of letters.From such humble and scattered beginnings, then, came the Chinese novel, written always in the vernacular, and dealing with all which interested the people, with legend and with myth, with love and intrigue, with brigands and wars, with everything, indeed, which went to make up the life of the people, high and low.Nor was the novel in China shaped, as it was in the West, by a few great persons. In China the novel has always been more important than the novelist. There has been no Chinese Defoe, no Chinese Fielding or Smollett, no Austin or Brontë or Dickens or Thackeray, or Meredith or Hardy, any more than Balzac or Flaubert. But there were and are novels as great as the novels in any other country in the world, as great as any could have written, had he been born in China. Who then wrote these novels of China?That is what the modern literary men of China now, centuries too late, are trying to discover. Within the last twenty-five years literary critics, trained in the universities of the West, have begun to discover their own neglected novels. But the novelists who wrote them they cannot discover. Did one man write Shui Hu Chuan, or did it grow to its present shape, added to, rearranged, deepened and developed by many minds and many a hand, in different centuries? Who can now tell? They are dead. They lived in their day and wrote what in their day they saw and heard, but of themselves they have told nothing. The author of The Dream of the Red Chamber in a far later century says in the preface to his book, «It is not necessary to know the times of Han and T'ang - it is necessary to tell only of my own times.»They told of their own times and they lived in a blessed obscurity. They read no reviews of their novels, no treatises as to whether or not what they did was well done according to the rules of scholarship. It did not occur to them that they must reach the high thin air which scholars breathed nor - did they consider the stuff of which greatness is made, according to the scholars. They wrote as it pleased them to write and as they were able. Sometimes they wrote unwittingly well and sometimes unwittingly they wrote not so well. They died in the same happy obscurity and now they are lost in it and not all the scholars of China, gathered too late to do them honor, can raise them up again. They are long past the possibility of literary post-mortems. But what they did remains after them because it is the common people of China who keep alive the great novels,illiterate people who have passed the novel, not so often from hand to hand as from mouth to mouth.In the preface to one of the later editions of Shui Hu Chuan, Shih Nai An, an author who had much to do with the making of that novel, writes, «What I speak of I wish people to understand easily. Whether the reader is good or evil, learned or unlearned, anyone can read this book. Whether or not the book is well done is not important enough to cause anyone to worry. Alas, I am born to die. How can I know what those who come after me who read my book will think of it? I cannot even know what I myself, born into another incarnation, will think of it. I do not know if I myself then can even read. Why therefore should I care?»Strangely enough, there were certain scholars who envied the freedom of obscurity, and who, burdened with certain private sorrows which they dared not tell anyone, or who perhaps wanting only a holiday from the weariness of the sort of art they had themselves created, wrote novels, too under assumed and humble names. And when they did so they put aside pedantry and wrote as simply and naturally as any common novelist.For the novelist believed that he should not be conscious of techniques. He should write as his material demanded. If a novelist became known for a particular style or technique, to that extent he ceased to be a good novelist and became a literary technician.A good novelist, or so I have been taught in China, should be above all else tseran, that is, natural, unaffected, and so flexible and variable as to be wholly at the command of the material that flows through him. His whole duty is only to sort life as it flows through him, and in the vast fragmentariness of time and space and event to discover essential and inherent order and rhythm and shape. We should never be able, merely by reading pages, to know who wrote them, for when the style of a novelist becomes fixed, that style becomes his prison. The Chinese novelists varied their writing to accompany like music their chosen themes.These Chinese novels are not perfect according to Western standards. They are not always planned from beginning to end, nor are they compact, any more than life is planned or compact. They are often too long, too full of incident, too crowded with character, a medley of fact and fiction as to material, and a medley of romance and realism as to method, so that an impossible event of magic or dream may be described with such exact semblance of detail that one is compelled to belief against all reason. The earliest novels are full of folklore, for the people of those times thought and dreamed in the ways of folklore. But no one can understand the mind of China today who has not read these novels, for the novels have shaped the present mind, too, and the folklore persists in spite of all that Chinese diplomats and Western-trained scholars would have us believe to the contrary. The essential mind of China is still that mind of which George Russell wrote when he said of the Irish mind, so strangely akin to the Chinese,« that mind which in its folk imagination believes anything. It creates ships of gold with masts of silver and white cities by the sea and rewards and faeries, and when that vast folk mind turns to politics it is ready to believe anything.»Out of this folk mind, turned into stories and crowded with thousands of years of life, grew, literally, the Chinese novel. For these novels changed as they grew. If, as I have said, there are no single names attached beyond question to the great novels of China, it is because no one hand wrote them. From beginning as a mere tale, a story grew through succeeding versions, into a structure built by many hands. I might mention as an example the well-known story, The White Snake, or Pei She Chuan, first written in the T'ang dynasty by an unknown author. It was then atale of the simple supernatural whose hero was a great white snake. In the next version in the following century, the snake has become a vampire woman who is an evil force. But the third version contains a more gentle and human touch. The vampire becomes a faithful wife who aids her husband and gives him a son. The story thus adds not only new character but new quality, and ends not as the supernatural tale it began but as a novel of human beings.So in early periods of Chinese history, many books must be called not so much novels as source books for novels, the sort of books into which Shakespeare, had they been open to him, might have dipped with both hands to bring up pebbles to make into jewels. Many of these books have been lost, since they were not considered valuable. But not all - early stories of Han, written so vigorously that to this day it is said they run like galloping horses, and tales of the troubled dynasties following - not all were lost. Some have persisted. In the Ming dynasty, in one way or another, many of them were represented in the great collection known as T'ai P'ing Kuan Shi, wherein are tales of superstition and religion, of mercy and goodness and reward for evil and well doing, tales of dreams and miracles, of dragons and gods and goddesses and priests, of tigers and foxes and transmigration and resurrection from the dead. Most of these early stories had to do with supernatural events, of gods born of virgins, of men walking as gods, as the Buddhist influence grew strong. There are miracles and allegories, such as the pens of poor scholars bursting into flower, dreams leading men and women into strange and fantastic lands of Gulliver, or the magic wand that floated an altar made of iron. But stories mirrored each age. The stories of Han were vigorous and dealt often with the affairs of the nation, and centered on some great man or hero. Humor was strong in this golden age, a racy, earthy, lusty humor, such as was to be found, for instance, in a book of tales entitled Siao Ling, presumed to have been collected, if not partly written, by Han Tang Suan. And then the scenes changed, as that golden age faded, though it was never to be forgotten, so that to this day the Chinese like to call themselves sons of Han. With the succeeding weak and corrupt centuries, the very way the stories were written became honeyed and weak, and their subjects slight, or as the Chinese say, «In the days of the Six Dynasties, they wrote of small things, of a woman, a waterfall, or a bird.»If the Han dynasty was golden, then the T'ang dynasty was silver, and silver were the love stories for which it was famous. It was an age of love, when a thousand stories clustered about the beautiful Yang Kuei Fei and her scarcely less beautiful predecessor in the emperor's favor, Mei Fei. These love stories of T'ang come very near sometimes to fulfilling in their unity and complexity the standards of the Western novel. There are rising action and crisis and denouement, implicit if not expressed. The Chinese say, «We must read the stories of Tang, because though they deal with small matters, yet they are written in so moving a manner that the tears come.It is not surprising that most of these love stories deal not with love that ends in marriage or is contained in marriage, but with love outside the marriage relationship. Indeed, it is significant that when marriage is the theme the story nearly always ends in tragedy. Two famous stories, Pei Li Shi and Chiao Fang Chi, deal entirely with extramarital love, and are written apparently to show the superiority of the courtesans, who could read and write and sing and were clever and beautiful besides, beyond the ordinary wife who was, as the Chinese say even today, «a yellow-faced woman », and usually illiterate.So strong did this tendency become that officialdom grew alarmed at the popularity of such stories among the common people, and they were denounced as revolutionary and dangerous because it was thought they attacked that foundation of Chinese civilization, the family system. Areactionary tendency was not lacking, such as is to be seen in Hui Chen Chi, one of the earlier forms of a famous later work, the story of the young scholar who loved the beautiful Ying Ying and who renounced her, saying prudently as he went away, «All extraordinary women are dangerous. They destroy themselves and others. They have ruined even emperors. I am not an emperor and I had better give her up » - which he did, to the admiration of all wise men. And to him the modest Ying Ying replied, «If you possess me and leave me, it is your right. I do not reproach you.» But five hundred years later the sentimentality of the Chinese popular heart comes forth and sets the thwarted romance right again. In this last version of the story the author makes Chang and Ying Ying husband and wife and says in closing, «This is in the hope that all the lovers of the world may be united in happy marriage.» And as time goes in China, five hundred years is not long to wait for a happy ending.This story, by the way, is one of China's most famous. It was repeated in the Sung dynasty in a poetic form by Chao Teh Liang, under the title The Reluctant Butterfly, and again in the Yuan dynasty by Tung Chai-yuen as a drama to be sung, entitled Suh Hsi Hsiang. In the Ming dynasty, with two versions intervening, it appears as Li Reh Hua's Nan Hsi Hsiang Chi, written in the southern metrical form called «ts'e», and so to the last and most famous Hsi Hsiang Chi. Even children in China know the name of Chang Sen.If I seem to emphasize the romances of the T'ang period, it is because romance between man and woman is the chief gift of T'ang to the novel, and not because there were no other stories. There were many novels of a humorous and satirical nature and one curious type of story which concerned itself with cockfighting, an important pastime of that age and particularly in favor at court. One of the best of these tales is Tung Chen Lao Fu Chuan, by Ch'en Hung, which tells how Chia Chang, a famous cockfighter, became so famous that he was loved by emperor and people alike.But time and the stream pass on. The novel form really begins to be clear in the Sung dynasty, and in the Yuan dynasty it flowers into that height which was never again surpassed and only equalled, indeed, by the single novel Hung Lou Meng, or The Dream of the Red Chamber, in the Ts'ing dynasty. It is as though for centuries the novel had been developing unnoticed and from deep roots among the people, spreading into trunk and branch and twig and leaf to burst into this flowering in the Yuan dynasty, when the young Mongols brought into the old country they had conquered their vigorous, hungry, untutored minds and demanded to be fed. Such minds could not be fed with the husks of the old classical literature, and they turned therefore the more eagerly to the drama and the novel, and in this new life, in the sunshine of imperial favor, though still not with literary favor, there came two of China's three great novels, Shui Hu Chuan and San Kuo-Hung Lou Meng being the third.I wish I could convey to you what these three novels mean and have meant to the Chinese people. But I can think of nothing comparable to them in Western literature. We have not in the history of our novel so clear a moment to which we can point and say, «There the novel is at its height.» These three are the vindication of that literature of the common people, the Chinese novel. They stand as completed monuments of that popular literature, if not of letters. They, too, were ignored by men of letters and banned by censors and damned in succeeding dynasties as dangerous, revolutionary, decadent. But they lived on, because people read them and told them as stories and sang them as songs and ballads and acted them as dramas, until at last grudgingly even the scholars were compelled to notice them and to begin to say they were not novels at all but。

pearl S. Buck

赛珍珠(1892－1973)女。

出生于美国弗吉尼亚州，3个月时即被身为传教士的双亲带到中国。

在双语环境中长大，是以中文为母语之一的著名美国作家。

曾回美四年接受高等教育。

自1919年至1935年，她与丈夫卜凯(J. L. Buck) 长期居住在所执教的金陵大学分配给他们的两层楼房里。

在这里她写出了于1938年荣获诺贝尔文学奖的长篇小说《大地(Great Earth) 三部曲》等小说，并最早将《水浒传》翻译成英文在西方出版。

一生著译作品70余部。

她病逝后，按其遗愿，墓碑上只镌刻“赛珍珠”三个汉字。

反对传教的教师1919年下半年，赛珍珠随丈夫卜凯来到南京，受聘于美国教会所办的金陵大学，并住进了校内一幢单门独院的小楼。

在赛珍珠和卜凯三、四十年代先后离开中国之前，一直居住在这里(即今平仓巷5号)。

卜凯(J.L.Buck)是一位农学家，教授农业技术和农场管理的课程，创办了金大农业经济系并任系主任，因出版《中国农家经济》等书而被视为美国的中国问题专家。

赛珍珠则在金陵大学外语系任教，并先后在东南大学、中央大学等校兼职教授教育学、英文等课。

她既要备课、批改作用，又要参与社会工作，会见中外各界人士，还要修剪家中花园的大片花草，忙得不亦乐乎。

在举行孙中山奉安大典期间，赛珍珠即在家中腾出地方，让中国驻美大使施肇基博士和为孙中山遗体作防腐处理的泰勒博士住了进来。

徐志摩、梅兰芳、胡适、林语堂、老舍等人都曾是她家的座上客。

赛珍珠最喜欢教的课是英文，因为这门课有着极大的发挥空间，可以充分“表现”她的渊博学识和过人的口才。

当然也曾有学生认为她上英文课是“海阔天空，离题万里”而告到了校长室去。

她自认为“上得较为逊色”的是宗教课。

在给纽约传教董事会的工作汇报中，赛珍珠直言不讳地说：“对在课堂上传授宗教知识的整套方法，我深表不满。

”她认为“和正规的宗教课相比，在教育学课上传授宗教知识则更胜一筹”。

这引起了董事会的不满，董事会很不客气地告诫赛珍珠：“只有正规地传授神学才算正道。

Pearl.S.buck

1944年 52岁 7月7日，抗战七周年，“东西方协会”将九个州州长等美国名人支持中国抗战的信函送往重庆。 1967年 75岁赛珍珠将自己的大部分收入约700万美元移交给赛珍珠基金会，以促进、推动基金会开展工作。 1972年 80岁尼克松总统宣布访华后，赛珍珠不顾年迈，同意主持美国国家广播公司（NB C）专题节目“重新看中国”，积极准备重新访华，但未能获淮成行。 1973年 81岁 3月6日，逝世于佛蒙特州丹比城，骨灰安葬在宾夕法尼亚州费城郊区绿丘农庄[1]
在举行孙中山奉安大典期间，赛珍珠即在家中腾出地方，让中国驻美大使施肇基博士和为孙中山遗体作防腐处理的泰勒博士住了进来。徐志摩、梅兰芳、胡适、林语堂、老舍等人都曾是她家的座上客。

描写的是19世纪一个中国农夫挣扎求生存
的故事，绝对是大手笔.
其中赛珍珠用力最多、写得最精彩的是第
一部，有34章，第二部次之，有29章，第三部又等而下之，才4章。
能是把黑暗的一面深化，把光明的一面西化（我自己的评价，可能偏颇）让外国人比较容易接受——这也是必然的，正常的，生活所需的行为哪个地方的人类都能接受，但是信仰和风俗类的东西就很容易被异化进而妖魔化。
当然，这是外国人的评价，在我们自己看来，可
小说《大地》的故事梗概
一个名叫王龙的贫苦农民从地主黄家娶回一个丫
想让别人伤心有很多种方法。小说里满是被爱情
There
is an alchemy in sorrow. It can be transmuted into wisdom, which, if it does not bring joy, can yet bring happiness. 带来快乐，却同样能带来幸福。

赛珍珠英文简介（introducitonofpearlsbuck）

赛珍珠英文简介（introducitonofpearlsbuck）第一篇：赛珍珠英文简介(introduciton of pearl s buck) Pearl S.Buck(1892-1973)The novel wasfollowed by two sequels, SONS(1932), which focused on the youngest son, Wang the Tiger, and A HOUSE DIVIDED(1935), which was Yuan's story.The three novels were published in 1935 in one volume as THE HOUSE OF EARTH.At her death Buck was working on 'The Red Earth', a further sequel to The Good Earth, presenting the modern-day descendants of that novel's characters.After Walsh's death, Buck formed a relationship with Ted Harris, a dance instructor 40 years her junior, who took charge of the Pearl S.Buck Foundation.Buck died at the age of eighty in Danby, Vermont, on March 6, 1973.Her manuscripts and papers are at the Pearl S.Buck Birthplace Foundation, Hillsboro, West Virginia and the Lipscomb Library of Randolph-Macon Women's College, Lynchburg, Virginia.“I fe el no need for any other faith than my faith in human beings, Buck said in 1939.”Like Confucius of old, I am so absorbed in the wonder of earth and the life upon it thatI cannot think of heaven and the angels...If there is no other life, then this one has been enough to make it worth being born, myself a human being." During her career as an author, spanning forty years, Buck published eighty works, including novels, plays, short story collections, poems, children's books, and biographies.She also wrote five novels under the name John Sedges and translated Lo Guangzhong's(1330-1400)The Water Margin / Men of the Marshes, which appeared in 1933 under the title All Men Are Brothers.The book depicts adventures of outlaws and was banned by Sung MAND THEMORNING(1959)concerned the efforts of the Manhattan Project to develop the atomic bomb and the ethics of dropping it on Japan.THE CHINESE NOVEL(1939)was largely an explanation of her own writing style.For further reading: Pearl S.Buck by Kang Liao(1997);Pearl S.Buck:A Cultural Biography by Peter Conn(1996);World Authors 1900-1950, ed.by M.Seymour-Smith and A.C.Kimmens(1996);The Several Worlds of Pearl S.Buck, ed.by Elizabeth J.Lipscomb(1994);Pearl S.Buck: Good Earth Mother by W.Sherk(1992);Pearl Buck.A Woman in Conflict by N.B.Stirling(1989);Pearl S.Buck: The Final Chapter by Beverly E.Rizzon(1988);The Lives of Pearl Buck by I.Block(1973);Pearl S.Buck by P.Doyle(1980;Pearl S.Buck: A Biography by T.Harris(1971);Pearl S.Buck by T.F.Harris(1969);Pearl S.Buck by P.A.Doyle(1965);The Image of the Chinese Family in Pearl Buck's Novels by C.Doan(1964)-Other film adaptations: China Sky, 1945, dir.by Ray Enright, starring Randolph Scott, Ellen Drew第二篇：赛珍珠读后感《文化人桥——赛珍珠》这本书带给我心灵的的触动，赛珍珠读后感。

PearlSBuck赛珍珠个人介绍英文

Pearl Buck died in March, 1973, just two months before her
eighty-first birthday. By the time of her death in 1973, Pearl would publish over seventy books: novels, collections of stories, biography and autobiography, poetry, drama, children's literature, and translations from the Chinese. She is buried at Green Hills Farm.
The Good Earth
The Good Earth is a novel by Pearl S. Buck published in 1931
and awarded the Pulitzer Prize for the Novel in 1932. The best selling novel in the United States in both 1931 and 1932, it was an influential factor in Buck winning the Nobel Prize for Literature in 1938. It is the first book in a trilogy that includes Sons (1932) and A House Divided (1935).
Her novel The Good Earth（大地） was the best-selling fiction book in the U.S. in 1931 and 1932, and won the Pulitzer Prize（普利策奖1932） in 1932. In 1938, she became the first American woman to be awarded the Nobel Prize（1938） in Literature, "for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces."

Pearl S Buck (中文名赛珍珠)

Milking for once was not mation
Pearl Buck died in March, 1973, just two months before her eighty-first birthday. By the time of her death in 1973, Pearl would publish over seventy books: novels, collections of stories, biography and autobiography, poetry, drama, children's literature, and translations from the Chinese. She is buried at Green Hills Farm.
Text Discussion
A Glimpse & General Understanding of the Text
“Christmas Day in the Morning” is intended to inspire people to high ideals and noble sentiments. The story is written to convey the idea of universal love as advocated（倡导） by Christianity. Because the characters and the plot are simple and down-to-earth, the story would appeal to a mass audience. They might see themselves as the same type of persons, and they might imagine themselves as giving a loved one a similar type of special gift. For these reason, “Christmas Day …” is a story that would be found in certain kinds of popular magazines in North America such as Reader’s Digest, which has an extremely large circulation. The central idea of this story is expressed in the statement that love alone can waken love. It means that love is always mutual and always begins with giving.

Pearl-S.Buck赛珍珠个人介绍英文

赛珍珠
Pearl Buck was born on June 26, 1892, in West Virginia. Pearl was
the fourth of seven children (and one of only three who would survive to adulthood). When she was three months old, she was taken to China, where she spent most of the first forty years of her life. From childhood, Pearl spoke both English and Chinese. She was taught principally by her mother and by a Chinese tutor.
The film starred Paul Muni as Wang Lung. For her role as his wife O-Lan, Luise Rainer won an Academy Award for Best Actress. The film also won the Academy Award for Best Cinematography for Karl Freund. It was nominated for Best Director, Best Film Editing and Best Picture.
Jessie Ralph as Cuckoo
Former Residence(故居）
南京大学
镇江
Comments on Pearl S. Buck
•Kang Liao: Buck played a "pioneering role in demythologizing China and the Chinese people in the American )》(The Good Earth)

赛珍珠双语

第三章第2节赛珍珠一作者简介Pearl Sydenstricker Buck (June 26, 1892 —March 6, 1973) also known as Sai Zhen Zhu (Simplified Chinese: 赛珍珠), was a prolific American sinologist and Pulitzer Prize-winning American writer. In 1938, she became the first American woman to be awarded the Nobel Prize in Literature, "for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces." With no irony, she has been described in China as a Chinese writer.赛珍珠（Pearl S. Buck或Pearl Buck）（1892年6月26日－1973年3月6日），直译珀尔·巴克，美国作家。

1932年借其小说《大地》（The Good Earth），成为第一位获得普利策小说奖的女性；1938年获诺贝尔文学奖。

她也是唯一同时获得普利策奖和诺贝尔奖的女作家，作品流传语种最多的美国作家。

二生平LIFEPearl Buck was born in Hillsboro, West Virginia to Caroline Stulting (1857–1921) and Absalom Sydenstricker. Her parents, Southern Presbyterian missionaries, traveled to China soon after their marriage on July 8, 1880, but returned to the United States for Pearl's birth. When Pearl was three months old, the family returned to China to be stationed first in Zhenjiang (then often known as Jingjiang or, in the Postal Romanization, Tsingkiang).[2] Pearl was raised in a bilingual environment, tutored in English by her mother and in classical Chinese by a Mr. Kung.[3]The Boxer Uprising greatly affected Pearl and family; their Chinese friends deserted them, and Western visitors decreased.In 1911, Pearl left China to attend Randolph-Macon Woman's College in Virginia, US,[4] graduating Phi Beta Kappa in 1914. From 1914 to 1933, she served as a Presbyterian missionary, but her views later became highly controversial in the Fundamentalist–Modernist Controversy, leading to her resignation.[5]In 1914, Pearl returned to China. She married an agricultural economist missionary, John Lossing Buck (hereafter in this article Pearl Buck is referred to simply as 'Buck'), on May 13, 1917, and they moved to Suzhou, Anhui Province, a small town on the Huai River (not be confused with the better-known Suzhou in Jiangsu Province). It is this region she described later in The Good Earth and Sons.From 1920 to 1933, the Bucks made their home in Nanking (Nanjing), onthe campus of Nanjing University, where both had teaching positions. Buck taught English literature at the University of Nanjing and the Chinese National University. In 1920, the Bucks had a daughter, Carol, afflicted with phenylketonuria. In 1921, Buck's mother died and shortly afterward her father moved in. In 1924, they left China for John Buck's year of sabbatical and returned to the United States for a short time, during which (Pearl) Buck earned her Masters degree from Cornell University. In 1925, the Bucks adopted Janice (later surnamed Walsh). That autumn, they returned to China.[5]The tragedies and dislocations that Buck suffered in the 1920s reached a climax in March 1927, during the "Nanking Incident". In a confused battle involving elements of Chiang Kai-shek's Nationalist troops, Communist forces, and assorted warlords, several Westerners were murdered. Since her father Absalom was a missionary, the family decided to stay in Nanjing until the battle reached the city. When violence broke out, a poor Chinese family allowed them to hide in their hut while the family house was looted. The family spent a day terrified and in hiding, after which they were rescued by American gunboats. They traveled to Shanghai and then sailed to Japan, where they stayed for a year.[6] They later moved back to Nanjing, though conditions remained dangerously unsettled. In 1934, they left China permanently.In 1935 the Bucks were divorced. Richard Walsh, president of the John Day Company and her publisher, became Pearl Buck's second husband. Walsh offered her advice and affection which, her biographer concludes, "helped make Pearl's prodigious activity possible." The couple lived in Pennsylvania until his death in 1960.[7]During the Cultural Revolution Buck, as a preeminent American writer of Chinese peasant life, was denounced as an "American cultural imperialist." Buck was "heartbroken" when Madame Mao and high-level Chinese officials prevented her from visiting China with Richard Nixon in 1972.[8]Pearl S. Buck died of lung cancer on March 6, 1973 in Danby, Vermont and was interred in Green Hills Farm in Perkasie, Pennsylvania. She designed her own tombstone. The grave marker is inscribed with Chinese characters representing the name Pearl Sydenstricker.1892年6月26日，赛珍珠出生在美国西弗吉尼亚州，父親是美南长老会的传教士赛兆祥（Absalom Sydenstricker，1852年—1931年），父母親在她出生4个月时一同来到中国江苏清江浦，后来搬到镇江，住在润州山长老会润州中学的平房里（此处故居已经拆除）；在那里长大成人，她是先学会汉语和习惯中国风俗（特别受益于其老师“孔先生”）後，她母亲才教她英语。

赛珍珠的中国情结_贾文娟

赛珍珠在江苏镇江度过了自己的童年和青年时代。她从小就先学会说汉语，然后才开始会说英语。四岁的时候，她就会用英汉两种语言说话和写字。她受的中西方双重文化教育主要来自她母亲和一位姓孔的私塾先生。她跟着孔先生学习“ 四书 ”、“ 五经 ”等启蒙知识，说中国话，写中国字，和中国孩子一起玩耍。母亲则教授她英文、音乐、美术和宗教方面的知识。１５岁那年，她进了上海的一家寄宿学校（１９０７－１９０９），并在此接受了正规教育。１９１０年，在母亲的要求下，赛珍珠去了美国弗吉尼亚州伦道夫．梅康女子学院（Ｒａｎ－ｄｏｌｐｈ－ＭａｃｏｎＷｏｍｅｎ＇ｓＣｏｌｌｅｇｅ）学习，由于长年生活在中国，她的言谈举止和打扮装束（头扎两条辫子），引起了她的美国同学极大的好奇。１９１４年获得学位后她随即又回到中国。
１９１７年赛珍珠搬到安徽“南徐州 ”（今宿县）生活，当时这里是一个贫瘠的乡村，住着几千名潦倒的农民。在那里她每天密切接触到中国最底层、最贫穷的老百姓的生活。赛珍珠说：“ 我最渴望和最感兴趣的就是与人交流。生活在中国，我就渴望和中国百姓交流。你若问我他们都是什么样的人，我无法回答你。他们不是这样的，也不是那样的，他们就是人。如同我无法定义我的亲属和同胞一样，对于他们我也无法确切定义。但是我非常了解他们，因为我太贴近他们的生活了。 ”这段农村的生活经历在十年后为她创作《大地》以及其他关于中国的小说提供了极好的背景和素材。１９２５年，赛珍珠回到美国康奈尔大学继续深造，取得硕士学位。她主修的是英文，论文却是《中国与西洋》。看得出，此时赛珍珠的中国情结已经是根深蒂固了，是中国文化的丰富深厚的精神内涵滋养了赛珍珠的精神世界，使她与中国、中国人和中国文化结下了不解之缘。在以后的年代里，她立志要把中国人写得与以往外国作家笔下的中国人完全不同，她曾说：“我不喜欢那些把中国人写得奇异而荒诞的著作，而我的最大愿望就是要使这个民族在我的书中，如同他们自己一样真实正确地出现，倘若我能够做到的话。”（《勃克夫人自传略》）在这样的主观意向驱使之下，她写出了以《大地》（ＴｈｅＧｏｏｄＥａｒｔｈ，１９３１）、《儿子们》（Ｓｏｎｓ，１９３２）和《分家》（ＡＨｏｕｓｅＤｉｖｉｄｅｄ，１９３５）三部曲为代表的一系列优秀小说作品。她还将中国的古典名著《水浒传》译成英文，向西方宣传中国文化。她的这些贡献，被中国和世界所肯定，她本人也被视为沟通中西文化的桥梁。她的努力和尝试，从客观上讲为中国社会的进步赢得了国际上广泛的同情与支持。她在文学创作方面所取得的成绩，使她于１９３８年获得诺贝尔

Pearl-S.Buck赛珍珠个人介绍英文演示教学

赛珍珠
Pearl Buck was born on June 26, 1892, in West Virginia. Pearl was
the fourth of seven children (and one of only three who would survive to adulthood). When she was three months old, she was taken to China, where she spent most of the first forty years of her life. From childhood, Pearl spoke both English and Chinese. She was taught principally by her mother and by a Chinese tutor.
The novel of family life in a Chinese village before the 1949 Revolution was a best-seller in both 1931 and 1932 and has been a steady favorite ever since. In 2004, the book was returned to the best seller list when chosen by the television host Oprah Winfrey for Oprah's Book Club. The novel helped prepare Americans of the 1930s to consider Chinese as allies in the coming war with Japan. A Broadway stage adaptation was produced by the Theatre Guild in 1932, written by the father and son playwriting team of Owen and Donald Davis, but it was poorly received by the critics, and ran only 56 performances. However, the 1937 film, The Good Earth, which was based on the stage version, was more successful.

(中文译名赛珍珠)重点

Detailed Discussion of the Text
Then Jesus had been born in a barn, … bringing their Christmas gifts. (Para. 18)

Bible:… And when they had come into the house, they saw the young child with Mary his mother, and fell down, and worshipped him; and when they had opened their treasures, they presented unto him gifts: gold and frankincense, and myrrh…
About the author
Birthday: June 26, 1892 Parents: Absalom & Caroline Sydenstricker (Southern Presbyterian missionaries, stationed in China ) Came to China: 3 months old Period of stay in China: 40years Residential area: Zhenjiang, Jiangsu Province
Detailed Discussion of the Text
Strange how the habits of his youth clung to him still! (Para. 1ow up to that moment he had continued doing things the way he had always done them from boyhood.

Pearl S. Buck

赛珍珠的翻译是《水浒传》最早的英语全译本，但这不是说，这一译本是原文一字不落的翻译。
在翻译的过程中，赛珍珠省略了不少内容，最明显的是，原书的七十一回到译本中只有七十回。
此外，译本中将原作那些描写人物外貌、打斗场面、山川景物以及日常用品等的诗词歌赋删去未译。
• 她的翻译是相当忠实于原文的，有时甚至过于拘泥于原文，如：To extricate yourself from a difficulty there are thirty-six ways but the best of them all is to run away.（三十六计，走为上策）。 • 至于一百零八将的诨号，赛珍珠也采取了同样的翻译方法：The Opportune Rain（及时雨）； The Leopard Headed（豹子头）；The Fire In The Thunder Clap（霹雳火）；He Whom No Obstacle Can Stay（没遮拦）；White Stripe In The Waves （浪里白条）；Flea On A Drum （鼓上蚤）。
• In 1910, Pearl left China to attend Randolph-
Macon Woman's College in Lynchburg, Virginia, US, graduating Phi Beta Kappa in 1914 and a member of Kappa Delta Sorority. 1910年，赛珍珠离开中国，到美国弗吉尼亚州伦道夫· 梅康女子学院学习。
From 1920 to 1933, the Bucks made their home in Nanking (Nanjing), on the campus of Nanjing University, where both had teaching positions. Buck taught English literature at the University of Nanking,金陵大学 and the National Central University,国立中央大学 (renamed to Nanjing University, 南京大学 in 1949).

Pearl S. Buck

Pearl Sydenstricker Buck, 1892 - 1973Pearl Comfort Sydenstricker was born on June 26, 1892, in Hillsboro, West Virginia. Her parents, Absalom and Caroline Sydenstricker, were Southern Presbyterian missionaries, stationed in China. Pearl was the fourth of seven children (and one of only three who would survive to adulthood). She was born when her parents were near the end of a furlough in the United States; when she was three months old, she was taken back to China, where she spent most of the first forty years of her life.The Sydenstrickers lived in Chinkiang (Zhenjiang), in Kiangsu (Jiangsu) province, then a small city lying at the junction of the Yangtze River and the Grand Canal. Pearl's father spent months away from home, itinerating in the Chinese countryside in search of Christian converts; Pearl's mother ministered to Chinese women in a small dispensary she established.From childhood, Pearl spoke both English and Chinese. She was taught principally by her mother and by a Chinese tutor, Mr. Kung. In 1900, during the Boxer Uprising, Caroline and the children evacuated to Shanghai, where they spent several anxious months waiting for word of Absalom's fate. Later that year, the family returned to the US for another home leave.In 1910, Pearl enrolled in Randolph-Macon Woman's College, in Lynchburg, Virginia, from which she graduated in 1914. Although she had intended to remain in the US, she returned to China shortly after graduation when she received word that her mother was gravely ill. In 1915, she met a young Cornell graduate, an agricultural economist named John Lossing Buck. They married in 1917, and immediately moved to Nanhsuchou (Nanxuzhou) in rural（农村）Anhwei (Anhui) province. In this impoverished community, Pearl Buck gathered the material that she would later use in The Good Earth and other stories of China.The Bucks' first child, Carol, was born in 1921; a victim of PKU, she proved to be profoundly retarded. Furthermore, because of a uterine tumor discovered during the delivery, Pearl underwent a hysterectomy. In 1925, she and Lossing adopted a baby girl, Janice. The Buck marriage was unhappy almost from the beginning, but would last for eighteen years.From 1920 to 1933, Pearl and Lossing made their home in Nanking (Nanjing), on the campus of Nanking University, where both had teaching positions. In 1921, Pearl's mother died and shortly afterwards her father moved in with the Bucks. The tragedies and dislocations which Pearl suffered in the 1920s reached a climax in March, 1927, in the violence known as the "Nanking Incident." In a confused battle involving elements of Chiang Kai-shek's Nationalist troops, Communist forces, and assorted warlords, several Westerners were murdered. The Bucks spent a terrified day in hiding, after which they were rescued by American gunboats. After a trip downriver to Shanghai, the Buck family sailed to Unzen（云仙，日本著名温泉池）, Japan, where they spent thefollowing year. They then moved back to Nanking, though conditions remained dangerously unsettled.Pearl had begun to publish stories and essays in the 1920s, in magazines such as Nation, The Chinese Recorder, Asia, and Atlantic Monthly. Her first novel, East Wind, West Wind, was published by the John Day Company in 1930. John Day's publisher, Richard Walsh, would eventually become Pearl's second husband, in 1935, after both received divorces.In 1931, John Day published Pearl's second novel, The Good Earth. This became the best-selling book of both 1931 and 1932, won the Pulitzer Prize and the Howells Medal in 1935, and would be adapted as a major MGM film in 1937. Other novels and books of non-fiction quickly followed. In 1938, less than a decade after her first book had appeared, Pearl won the Nobel Prize in literature, the first American woman to do so. By the time of her death in 1973, Pearl would publish over seventy books: novels, collections of stories, biography and autobiography, poetry, drama, children's literature, and translations from the Chinese.In 1934, because of conditions in China, and also to be closer to Richard Walsh and her daughter Carol, whom she had placed in an institution in New Jersey, Pearl moved permanently to the US. She bought an old farmhouse, Green Hills Farm, in Bucks County, PA. She and Richard adopted six more children over the following years. Green Hills Farm is now on the Registry of Historic Buildings; fifteen thousand people visit each year.From the day of her move to the US, Pearl was active in American civil rights and women's rights activities. She published essays in both Crisis, the journal of the NAACP, and Opportunity, the magazine of the Urban League; she was a trustee of Howard University for twenty years, beginning in the early 1940s. In 1942, Pearl and Richard founded the East and West Association, dedicated to cultural exchange and understanding between Asia and the West. In 1949, outraged that existing adoption services considered Asian and mixed-race children unadoptable, Pearl established Welcome House, the first international, inter-racial adoption agency; in the nearly five decades of its work, Welcome House has assisted in the placement of over five thousand children. In 1964, to provide support for Amerasian（美亚混血儿）children who were not eligible for adoption, Pearl also established the Pearl S. Buck Foundation, which provides sponsorship funding for thousands of children in half-a-dozen Asian countries.Pearl Buck died in March, 1973, just two months before her eighty-first birthday. She is buried at Green Hills Farm.珍珠Sydenstricker赛珍珠，1892年至1973年珍珠舒适Sydenstricker出生于1892年6月26日，在希尔斯伯勒，西弗吉尼亚州。

赛珍珠英文简介(introduciton of pearl s buck)

One of the most popular American authors of her day, humanitarian, crusader for women's rights, editor of Asia magazine, philanthropist, noted for her novels of life in China. Pearl S. Buck was awarded the Nobel Prize for Literature in 1938. The decision of the Swedish Academy stirred controversy, especially among critics who believed that Buck lacked the stature the Nobel Prize was intended to confirm. Nowadays Buck's books are generally considered dated although attempts have been made to rehabilitate her work."One does not live half a life in Asia without return. When it would be I did not know, nor even where it would be, or to what cause. In our changing world nothing changes more than geography. The friendly country of China, the home of my childhood and youth, is for the time being forbidden country. I refuse to call it enemy country. The people in my memory are too kind and the land too beautiful." (from A Bridge for Passing, 1963)Pearl S. Buck was born in Hillsboro, West Virginia. She spent her youth in China, in Chinkiang on the Yangtse River. She learned to speak Chinese before she could speak English. Her parents were missionaries. Buck's father, Absalom Sydenstricker, was a humorless, scholarly man who spent years translating the Bible from Greek to Chinese. Her mother, the former Caroline Stulting, had travelled widely in her youth and had a fondness for literature. Buck's life in China was not always pleasant. When she was only a child, the family was forced to flee from the rebel forces of the Boxer Rebellion.After being educated by her mother and by a Chinese tutor, who was a Confucian scholar, Buck was sent to a boarding school in Shanghai (1907-09) at the age of fifteen. She also worked for the Door of Hope, a shelter for Chinese slave girls and prostitutes. Buck continued her education in the United States at Randolph-Macon Woman's College in Virginia, where she studied psychology. After graduating in 1914, she returned to China as a teacher for the Presbyterian Board of Missions. Her mother was seriouslyill and Buck spent two years taking care of her.Buck married Dr. John Lossing Buck, an agricultural expert, devoted to his work. When her mother recovered, they settled in a village in the North China. Buck worked as a teacher and interpreter for her husband and travelled through the countryside. During this period China took steps toward liberal reform, especially through the May 4th Movement of 1917 to 1921. In the 1920s the Bucks moved to Nanking, where she taught English and American literature at the university. In 1924 she returned to the United States to seek medical care for her first daughter, who was mentally retarded. In 1926 she received her M.A. in literature from Cornell University.The Bucks went back to China in 1927. During the civil war, they were evacuated to Japan – Buck never returned to China. In 1935 Buck divorced her first husband and married her publisher and the president of John Day Company, Richard Walsh, with whom she moved to Pennsylvania.As a writer Buck started with the novel EAST WIND: WEST WIND (1930), which received critical recognition. She had earlier published autobiographical writings in magazines and a story entitled 'A Chinese Woman Speaks' in the Asia Magazine. Her breakthrough novel, THE GOOD EARTH, appeared in 1931. Its style, a combination of biblical prose and the Chinese narrative saga, increased the dignity of its characters. The book gained a wide audience, and was made into a motion picture.In 1936 Buck was made a member of the National Institute of Arts and Letters. She became in 1938 the third American to win the Nobel Prize in Literature, following Sinclair Lewis and Eugene O'Neill. In 1951 she was elected to the American Academy of Arts and Letters. During World War II she lectured and wrote on democracy and American attitudes toward Asia.It has been said, that Buck introduced the theme of women's corporality into 20th century literature. Another major theme was interracial love. Through her personal experiences, Buck had much first-hand knowledge of the relationships between men and women from differentcultures. In THE HIDDEN FLOWER (1952) a Japanese family is overset when the daughter falls in love with an American soldier. THE ANGRY WIFE (1949) was about the love of Bettina, a former slave, and Tom, a southerner who fought for the army of the North.Buck and Walsh were active in humanitarian causes through the East and West Association, which was devoted to mutual understanding between the peoples of Asia and the United States, Welcome House, and The Pearl Buck Foundation. A friend of Eleanor Roosevelt, Margaret Mead, and Paul Robeson, she also advocated the rights of women and racial equality before the civil rights movement. As a consequence of these activities, the F.B.I. kept detailed files on her for years.After the communist revolution in China, Buck became disillusioned about the chances for international cooperation. THE PATRIOT (1939) focused on the emotional development of an university student, whose idealism is crushed by the brutalities of war. Buck gradually shifted her activities to a lifelong concern for children. She coined the word ''Amerasian'' and raised millions of dollars for the adoption and fostering of Amerasian children, often abandoned by their American fathers stationed in the Far East. Buck's own family included nine adopted children as well as her biological daughters. THE CHILD WHO NEVER GREW (1950) told a personal story of her own daughter, whose mental development stopped at the age of four. The subject is also dealt with in Buck's famous novel The Good Earth. The book was filmed in 1937. Irving Thalberg had wanted to produce the novel since the 1931 publication. Thalberg employed many Chinese as extras and authentic background shots were made in China. Luise Rainer won an Academy Award for best actress. Buck did not first complain her small royalty, until years later, when MGM ignored her plea for a substantial donation to help Amerasian children.The Good Earth(1931) sold 1,800,000 copies in its first year. It has been translated into more than thirty languages and was awarded the Pulitzer Prize for fiction in 1932. The story follows the life of Wang Lung, from his beginnings as an impoverished peasant to his eventualposition as a prosperous landowner. Wang Lung collects a slave, O-lan, from the prosperous house of Hwang. O-lan's parents sold her to Hwang because they were poor and needed money. According to an old Chinese custom, Wang Lung's and O-lan's marriage is pre-arranged. The fiancée is not beautiful, she is humble but shares with him the devotion to land, to duty, and to survival. First year is happy: the crop is good and they have two sons. Then the crops fail, and O-lan gives birth to a girl. The family moves to south, and the man abandons the plan to sell the child. Revolution breaks out, houses are plundered, and Wang Lung gets in his possession a silver treasure. The family returns to their home region. Wang Lung buys land and soon owns also the house of now impoverished Hwang. The only problem is their retarded child, a girl, who don't speak. O-lan gives birth to twins, a boy and a girl. The elder boys go to school. Wang Lung buys another wife, Lotus. O-lan is not well after the birth of the twins, and she dies after the wedding of her sons. In his old days, Wang Lung gives his love to a young slave girl, who also takes care of the retarded girl. His youngest son moves from the house to become a soldier and because he also loves the young slave girl. Old Wang Lung witnesses for his sorrow that his children do not share his unyielding devotion to the land. - The novel was followed by two sequels, SONS (1932), which focused on the youngest son, Wang the Tiger, and A HOUSE DIVIDED (1935), which was Yuan's story. The three novels were published in 1935 in one volume as THE HOUSE OF EARTH. At her death Buck was working on 'The Red Earth', a further sequel to The Good Earth, presenting the modern-day descendants of that novel's characters.After Walsh's death, Buck formed a relationship with Ted Harris, a dance instructor 40 years her junior, who took charge of the Pearl S. Buck Foundation. Buck died at the age of eighty in Danby, Vermont, on March 6, 1973. Her manuscripts and papers are at the Pearl S. Buck Birthplace Foundation, Hillsboro, West Virginia and the Lipscomb Library of Randolph-Macon Women's College, Lynchburg, Virginia."I feel no need for any other faith than my faith in human beings, Buck said in 1939. "Like Confucius of old, I am so absorbed in the wonder of earth and the life upon it thatI cannot think of heaven and the angels... If there is no other life, then this one has been enough to make it worth being born, myself a human being." During her career as an author, spanning forty years, Buck published eighty works, including novels, plays, short story collections, poems, children's books, and biographies. She also wrote five novels under the name John Sedges and translated Lo Guangzhong's (1330-1400) The Water Margin / Men of the Marshes, which appeared in 1933 under the title All Men Are Brothers. The book depicts adventures of outlaws and was banned by Sung rulers. COMMAND THE MORNING (1959) concerned the efforts of the Manhattan Project to develop the atomic bomb and the ethics of dropping it on Japan. THE CHINESE NOVEL (1939) was largely an explanation of her own writing style.For further reading:Pearl S. Buck by Kang Liao (1997); Pearl S. Buck: A Cultural Biography by Peter Conn (1996); World Authors 1900-1950, ed. by M. Seymour-Smith and A.C. Kimmens (1996); The Several Worlds of Pearl S. Buck, ed. by Elizabeth J. Lipscomb (1994); Pearl S. Buck: Good Earth Mother by W. Sherk (1992); Pearl Buck. A Woman in Conflict by N.B. Stirling (1989); Pearl S. Buck: The Final Chapter by Beverly E. Rizzon (1988); The Lives of Pearl Buck by I. Block (1973); Pearl S. Buck by P. Doyle (1980; Pearl S. Buck: A Biography by T. Harris (1971); Pearl S. Buck by T.F. Harris (1969); Pearl S. Buck by P.A. Doyle (1965); The Image of the Chinese Family in Pearl Buck's Novels by C. Doan (1964) - Other film adaptations: China Sky, 1945, dir. by Ray Enright, starring Randolph Scott, Ellen Drew。