西奥多·德莱塞
《嘉莉妹妹》作品介绍和人物形象分析分解
作品评价
• 否定：斯图尔特·舍曼：指责德莱塞没有 真实地描写美国社会和人，而是将人视为 动物，“有意忽略小说家的崇高职责—— 理解和表现人物的发展”。
作品评价
• 小说描写了农村姑娘嘉莉来到大城市芝加 哥寻找幸福，为摆脱贫困，出卖自己的贞 操，后又凭美貌与歌喉成为歌星的故事。 作家娴熟地运用自然主义的创作手法，使 作品具有极强的社会表现力。
• 嘉莉和许许多多出身贫寒的女孩一样，渴 望进入上流社会、过上更好的生活，这并 不是一种错误。然而生活迫使她一步步沉 沦，又一步步自赎。最终她成功了，没有 喜悦，只有迷茫与寂寞。 在获得成功的同时，有些东西也一去不复 返了……
我的想法
• 看了这本书，有很特别的感觉，在本书中 没有一个人可以用简单的好坏善恶标准去 评价。嘉莉的做法是否应该受到谴责，杜 洛埃是否应该值得同情，至于赫斯渥又是 否应该反思，都不得所知。 也许这就是生活，生活中很多事、很多选 择都无法言说对与错。看似复杂、曲折， 仔细想来，却又在情理之中……
人物形象
• 嘉莉：嘉莉原本只是一个渴望见世面，心 地非常单纯的姑娘。可是残酷的现实开始 让她学会了虚伪与做作。嘉莉向往更高层 次的生活，所以一步步的抓住机会，努力 向上爬。 -----“北漂” & “小三”
大城市里年轻、不成熟的寻梦者
人物形象
• 杜洛埃：一个普通的推销员，凭借着手段， 将嘉莉诱骗。但是最终爱上了嘉莉，可是 嘉莉已经和赫斯渥私奔了。他只是一个花 花公子而已，但许多单纯的姑娘就是在这 种诱惑当中迷失了自己。 ---- “高富帅”
中产阶级的花花公子
人物形象
• 赫斯渥：纨绔子弟，虽然事业成功，但是 家庭并不美满。他厌倦了一成不变的生活， 渴望新的刺激，嘉莉的出现激发了他的情 欲。逃到纽约后，他感到后悔，终日沉沦， 并且丧失了对生活的信心。嘉莉离开后， 他最终自杀。 ------“男人的反面教材”
小说《珍妮姑娘》内容简介
小说《珍妮姑娘》内容简介《珍妮姑娘》是美国作家西奥多·德莱赛的主要作品。
下面，yjbys 小编为大家简单介绍一下这部小说的主要内容，希望大家喜欢!内容简介：《珍妮姑娘》是德莱塞的第二部长篇小说。
小说叙述了一位年轻女性沉浮不定的命运。
珍妮出生在一个贫穷但家教严格的德国移民家庭，她单纯美丽，温柔善良。
参议员白兰德对珍妮一家给予了经济上的帮助，尤其当珍妮哥哥因偷煤入狱后，他尽力相助，为惊慌失措的珍妮分担了忧愁。
白兰德赢得了姑娘的信任甚至是好感，并对珍妮产生了爱慕之情，还应允一定会赴娶珍妮。
可是，他的猝死却打破了珍妮的希望，更不幸的是，他还让珍妮屈辱地生下了一个遗腹私生女。
后来，珍妮又与富家子弟雷斯脱相识。
尽管雷斯脱也对珍妮倾心不已，但他对婚姻的承诺最终迫于社会、经济和家庭的压力而成为镜花水月。
不断勇敢追求幸福的珍妮，在当时的很多人眼里，是离经叛道的，环境不能接纳她，她最终也没有得到传统意义上的美满人生。
不过，来自家人和孩子的亲情与雷斯脱临终前的忏悔，却真正地抚慰了珍妮的心灵，让她从懵懂无知，走向了情感的成熟，在感伤中理解和思索着人生与爱情。
作者简介：西奥多·德莱塞(Theodore Dreiser，1871～1945)，美国小说家。
生于印第安纳州特雷霍特镇。
父亲是贫苦的德国移民。
他在公立学校接受了早期教育，以后进印第安纳大学学习。
一生的大部分时间从事新闻工作。
走遍芝加哥、匹兹堡、纽约等大城市，广泛深入地观察了解社会，为日后的文学创作积累了丰富的素材。
1944年，德莱塞被美国文学艺术学会授予荣誉奖。
《堡垒》(1946)和《斯多噶》(1947)两部长篇小说是在作家死后出版的。
这两本书都反映了德莱塞晚年对宗教哲学的兴趣。
1945年，他加入美国共产党。
同年12月28日逝世。
创作背景：时代背景《珍妮姑娘》的背景设于19世纪晚期，那时美国在经济和生产等方面发展速度很快，美国开始由生产为中心的社会转向消费为中心的社会。
经典课件Theodore_Dreiser
Main Literary Works
Sister Carrie 1900 《嘉莉妹妹》 嘉莉妹妹》 Jennie Gerhardt 1911 《珍妮姑娘》 珍妮姑娘》 Financial 1912 《金融家》 金融家》 The Titan 1914 《巨人》 巨人》 The “Genius” 1915 《天才 》 An American Tragedy 1925 《美国悲剧》 美国悲剧》 The Stoic 1947 《斯多葛》 斯多葛》
Born Died Occupation Wife Parents
Hale Waihona Puke 1871-08-27,Indiana 1945-12-28,Hollywood Novelist Sara White Sarah and John Paul Dreiser
Dreiser was born in Terre Haute, Indiana, to Sarah and John Paul Dreiser, a strict Catholic family. John Paul Dreiser was a German immigrant from Mayen in the Eifel region, and Sarah was from the Mennonite farming near Dayton, Ohio; she was disowned for marrying John and converting to Roman Catholicism. Theodore was the twelfth of thirteen children (the ninth of the ten surviving). The popular songwriter Paul Dresser (1857–1906) was his older brother.
德莱塞《嘉莉妹妹》的自然主义解读
基本内容
自然主义主张将人视为社会和自然环境中的一部分，强调社会和自然环境对 个体行为和命运的影响。在《嘉莉妹妹》中，这种影响无处不在。嘉莉，一个农 村姑娘，来到大城市芝加哥寻找幸福，却因贫困而出卖了自己的贞操。她的命运 在这个过程中被社会环境所左右，而她所做出的选择也无不受到社会环境的制约。
基本内容
参考内容二
基本内容
基本内容
《嘉莉妹妹》是西奥多·德莱塞的处女作，也是美国文学史上一部具有里程 碑意义的作品。这部小说以一个普通女孩嘉莉的生活和心路历程为线索，揭示了 社会转型时期新旧两种不同意识形态的较量，同时也展示了主人公嘉莉的悲剧命 运。本次演示将主要探讨《嘉莉妹妹》中的社会悲剧。
一、社会转型与意识形态的冲突
德莱塞的社会悲剧《嘉莉妹妹》
在结论中，《嘉莉妹妹》是一部真实而深刻地反映了当时美国社会现象的小 说。通过主人公嘉莉妹妹的经历，作者德莱塞揭示了工业化、城市化进程中所带 来的社会问题和人性的复杂性。这部小说展现了社会的悲剧性，使读者深刻认识 到社会不公所带来的影响。通过对人性的真实描绘，使读者思考道德和社会问题 背后的原因和解决方法。
嘉莉的经历是德莱赛笔下的自然主义杰作。她在大城市中为了生存而挣扎， 从贫困到成为演员的成功转变，都深刻地揭示了社会环境对个体命运的决定性影 响。同时，她的命运也反映了人类在自然法则面前的无力和无奈。尽管她努力追 求幸福，但最终还是被命运所左右，无法摆脱社会环境的制约。
基本内容
从自然主义的角度看，《嘉莉妹妹》所揭示的不仅是社会环境对个体命运的 决定性影响，更是人类在自然法则面前的无力和无奈。这部作品让我们深刻认识 到，个体的命运往往受到社会和自然环境的制约，而人类在面对这些无法抗拒的 因素时，往往会显得无能为力。
西奥多·德莱塞《嘉莉妹妹》中的消费文化
西奥多·德莱塞《嘉莉妹妹》中的消费文化摘要：美国小说家西奥多·德莱塞(Theodore Dreiser，1871-1945)是美国巨大工业变革的见证人。
在德莱塞的一部小说《嘉莉妹妹》中，他客观地描绘了一个贫困女孩的通过自己的奋斗找到了通往上流社会的道路。
故事的主人公嘉莉生活在一个工业和商业化的社会，人们试图在消费商品中找到自己的身份。
这篇文章将结合鲍德里亚的消费主义理论和从消费观的视角下，分析和探讨小说中的消费文化来展开的。
关键词：嘉莉；德莱塞；商业社会；鲍德里亚；消费主义一、简介从19世纪90年代至今，美国的现实主义和自然主义小说都在描写人们以文明、成长和成功的名义所付出的代价。
西奥多·德莱塞是美国现实主义小说传统中的关键人物之一，他关注的问题包括消费主义、性别、阶级和权力。
德莱塞对这些问题的客观呈现使他的小说经久不衰，也与我们的时代相关。
消费主义使德莱塞小说所表达的主要问题之一，对其探索是本研究的目的。
从1850年代开始，消费主义正在加速发展，鲍德里亚（1998）将他的几本书都倾注于其中。
他将消费视为一种话语或语言，它是一种编码方式。
当消费被看作是一个由无穷无尽的符号组成的系统时，现代消费社会的某些特征就可以被系统地理解和分析。
二、鲍德里亚的消费理论2.1消费与缺乏消费社会不断地生产出与之相对应的物品，使个人感觉自己总是缺少一些东西，这个过程解释了消费永无止境的过程。
鲍德里亚认为，日益增长的工业化和城市化带来了不断增长的物品生产和需求。
我们的成长型社会是富裕社会的对立面，因为需求比与之对应的对象发展得更快。
2.2、消费与身份消费社会中的个体试图通过物品来定义自己的个性和社会地位，但这样做只是顺应了已有的模式，不会给他们带来单一性；因此，他们的这种愿望成为他们不断逃避的梦想。
客体的特殊性是因为人们通过客体认识自己，并“以客体为目的，客体爱”客体。
又因为被爱，所以“个性化”，觉得自己存在。
德莱塞
3，《嘉莉妹妹》
德来塞出版的第一部长 篇小说。讲述农村姑 娘嘉莉来到大城市芝 加哥寻找幸福，为摆 脱贫困，出卖自己的 贞操，先后与推销员 和酒店经理同居，后 又凭美貌与歌喉成为 歌星的故事。
主要人物
嘉莉（女主人公，来自底层，渴望幸福却走 投无路，两次做人情妇，辗转成为名演员， 却并不幸福） 赫斯渥（酒店经理，生活富裕，有妻儿，抛 妻弃子与嘉莉在一起，后渐渐潦倒，最后 自杀）
主要情节：
火车上遇杜洛埃 芝加哥梦想破灭 再遇杜洛埃 认识赫斯渥 与赫斯渥结婚 逐渐成为名演员 赫斯渥潦倒 自杀 嘉莉并不幸福
主旨
巴尔扎克式的现实主义手法；
以嘉莉为代表深刻揭露了美国资本主义制度 对贫苦人民压榨的残酷性和资产阶级生活 方式对小资产阶级分子的腐蚀性。
《美国的悲剧》
德来塞文学成就的巅峰之作
已晚。一次黛茜在心绪烦乱的状态下开车，偏偏轧死了丈夫的情妇。
盖茨比为保护黛茜，承担了开车责任，但黛茜已打定主意抛弃盖茨比。
了不起的盖茨比
在汤姆的挑拨下，致使其情妇的丈夫开枪打死了盖茨比。 盖茨比最终彻底成为了牺牲品。盖茨比至死都没有发现黛 茜脸上嘲弄的微笑。盖茨比的悲剧在于他把一切都献给了 自己编织的美丽梦想，而黛茜作为他理想的化身，却只徒 有美丽的躯壳。尽管黛西早已移情别恋，尽管他清楚地听 出“她的声音充满了金钱”，却仍不改初衷，固执地追求 重温旧梦。人们在为盖茨比举行葬礼，黛茜和她丈夫此时 却早已在欧洲旅行的路上。不了情终于有了了结。尼克目 睹了人类现实的虚情寡义，深感厌恶，于是怀着一种悲剧 的心情，远离喧嚣、冷漠、空洞、虚假的大都市，黯然回 到故乡。
克莱德
• “欲望强烈，但资质可怜”，根本不是一 个英雄人物。（贾瑞，现实生活中很多） • 他从小就反对父母的宗教狂热，当上侍应 生，大饭店的富有和豪华使他眼花缭乱。 在他比大多数人敏感而极易受外界影响的 头脑里，似乎觉得人生在世就是追求金钱 和美女。无奈他个人所作所为，却表现得 极其软弱无力，称为“思想上和道德上的 懦夫”。他陷入了究竟是忠于罗伯塔、还 是追求桑德拉的极大矛盾之中。
西奥多
西奥多·德莱塞（1871—1945），美国现代小说的先驱、现实主义作家之一，他还是一个自然主义者，他的作品贴近广大人民的生活，诚实、大胆、充满了生活的激情。
德莱塞出生在印第安纳州一个破产的小业主家庭。
童年是在苦难中度过的，中学没毕业就去芝加哥独自谋生。
1889年，进入印第安纳大学学习，一年后再次辍学。
1892年，开始了记者生涯。
[1]他的代表作《嘉莉妹妹》真实再现了当时美国社会，而《美国悲剧》则是德莱赛成就最高的作品，是人们清晰地看到了美国社会的真实情况，“至今依然具有巨大的现实意义。
”[2]中文名西奥多·德莱塞外文名Theodore Dreiser国籍美国出生地印第安纳州特雷霍特镇出生日期1871年6月27日逝世日期1945年12月28日职业小说家毕业院校印第安纳大学信仰天主教主要成就被美国文学艺术学会授予荣誉奖代表作品《嘉莉妹妹》;《珍尼姑娘》;《金融家》政党美国共产党目录1人生生平2个人作品3成就荣誉4作品风格5人物评价1人生生平编辑西奥多·德莱赛于1871年8月27生在印第安纳州的特雷乌特。
父亲是个编织工，信奉天主教，为了逃避兵役，南北战争前从德国移居美国，住在俄亥俄，与当地一位孟诺教派的没文化的农家女成亲，生下了13个子女，德莱赛排行倒数第二。
其父约翰勤奋而严厉，他办的毛纺厂不慎起火，自己受伤，经济陷入困境，情绪不好，对子女粗暴。
其母则待人亲切，疼爱子女，德莱赛从母亲的身上学到了对别人的同情心，其父顽强的精神则使他在困境和失败面前鼓起勇气奋然前行。
[3]德莱赛的童年生活很穷苦，家里人多，经济拮据。
他的兄弟姐妹有的酗酒有的遇到不幸的婚姻，唯有一位哥哥保尔独创江湖卖艺，成为了流行歌曲作家，为他树立了榜样，家中的种种苦难后来都被他写进小说。
德莱赛15岁便自己谋生，[4] 他初次独自来到了芝加哥，先后在餐馆和五金公司干粗活，尽管如此，他是被这个充满兴奋和刺激的大城市生活所吸引。
Theodore Dreiser
Summary of Chapter one
Carrie is a pretty young girl at the age of eighteen. She leaves home by train for Chicago where her sister lives to look for work. On the train, she encounters Drouet, a traveling salesman, who is attracted by Carrie’s prettiness. Carrie longs for wealth and affection, for the glitter of the big city, Chicago. Drouet’s fashionable clothes, rings, gold watch chain, knowledgeable talk and affectionate attention to Carrie made her hardly know how to repulse. He succeeds in getting her sister’s address before the train arrives at the station. Carrie’s sister comes to meet her at the station, but at the sight of her lean-faced, commonplace sister, Carrie’s heart sinks for she feels the cold reality with no promise of light, warmth, wealth and merriment.
浅析《珍妮姑娘》中人物悲剧命运的隐性成因
浅析《珍妮姑娘》中人物悲剧命运的隐性成因西奥多·德莱塞是美国20世纪著名小说家，他被评为是美国历史上最杰出的商业小说家。
德莱塞来自底层社会，正是他过去和周围人的经历，促成他完成了一部又一部揭露美国繁盛浮华下的虚伪现实之作。
1911年，德莱塞发表了长篇小说《珍妮姑娘》，小说讲述了农村女孩珍妮，具备了世人能够想象到的所有优秀品质，她美丽、热情、善良、勤劳，她渴望热烈而真挚的感情并付诸真心，但最终却被无情抛弃。
小说中的珍妮只是一个被上流阶级包养的情妇，但她身上诸如忠贞笃定、不世故的优秀品质，与刻板印象中的情妇形象大相径庭，反而凸显出上流阶层物欲横流、为现实所累的阴暗面。
然而，整个故事中并不是只有女性人物是社会的牺牲品，男性同样没有逃脱他们的悲剧命运。
笔者运用福科的权力话语理论解读在宗教当道、金钱至上的社会里，所有陷入其中的人们不可防止的悲剧命运的隐性成因。
一、权力话语理论不同于其他哲学家对于权力的看法，在《规训与惩罚》中，福科提出了“全景敞视理论”，每个个体的行为都可以被随时监控，但个体本身并没有方法知道是谁、什么方位或者此时此刻是否有他人正在监视他们。
久而久之，个体从他律逐渐转变为自律，也就是自我规训。
在这种机制中，每个人都是被监视者，每个人也都是监视者，他们在无意识中行使权力，同时又受到权力的控制。
这种自律使权力以一种更为便捷、自由的方式得到运作。
相较于他律的被动，人们按照规那么设定好的方式进行自律那么更有利于对个人的控制。
二、男权社会下女性悲剧命运的必然性“在这个现实世界里，珍妮身上就具有这样一种精神。
从她的孩提时期开始，她的一言一行都以仁慈为怀。
”女主人公珍妮虽然出身贫寒，但她并没有穷苦人身上愤世嫉俗、刻薄世故的性格特征，反而对这个世界仍然充满善意和希望，她对任何人都不设防。
她的这种秉性在当下唯利是图、纸醉金迷的社会中显得尤为“格格不入”，因此更加珍贵。
同时，她还具备社会对于女性完美外表的所有标准，这也是为什么她在身份地位悬殊如此大的情况下，仍能俘获上层男性的心。
西奥多.德莱赛作家简介
作家简介：Writer, born in Terre Haute, Indiana, USA. Raised in poverty and in a German-speaking environment, he was a Catholic[ˈkæθəlik] (天主教徒),he left home for Chicago at age 16. After a period of odd jobs and a year at the University of Indiana, he became a Midwesternnewspaper reporter and, in New York after 1894, a magazine featurewriter. In 1892, married Sara. White , but their married life wasn’t happy, even They have been separated since 1909, they never officially divorced婚后生活并不快乐。
尽管从1909年起两人一直分居，他们从未正式离婚。
In 1910, he quit job and became a professional writer. In 1945, joined in the United States Communist party , and on December passed away .Sister Carrie (1900), his first and still highly regarded novel, was withheld from general distribution because of its supposed amorality, and its commercial failure plunged him into financial distress and mental breakdown (1904). He later re-established himself as a magazine editor and self-published a second, successful edition of Sister Carrie (1907). The success of the novel Jennie Gerhardt (1911) allowed him to write full time, and The Financier (1912) and The Titan (1914) followed. These novels were ungainly in style but ground-breaking in their naturalism and critique of American capitalist society. The withdrawal from distribution, on moral grounds, of his autobiographical novel, The Genius (1915), ignited a national anti-censorship campaign supported by most of the leading literary figures of the day. His next decade, marked by an energetic output of plays, stories, memoirs, and travel books, culminated in An American Tragedy (1925), a major popular success despite its bleak view of American values. He publicly supported left-wing causes through the 1930s and 1940s, and propounded Socialist ideas in his late works, joining the Communist Party shortly before his death. He had also returned to writing novels, two of which, The Bulwark (1946) and The Stoic (1947), were among his various works published posthumously. As insensitive in his treatment of the English language as he was of many women in his life, he seems destined to survive as a majorAmerican writer.《嘉莉妹妹》是美国文学中的重要作品，是美国自然主义运动第一篇代表作，也是德莱塞发表的第一部长篇小说。
德莱塞《嘉莉妹妹》——德莱塞笔下的“消费英雄”
摘要摘要西奥多·德莱塞是20世纪美国文学史上一位杰出的自然主义作家，他的第一部小说作品《嘉莉妹妹》自1900年出版后就受到很多争议。
德莱塞生活在美国从生产主导型社会向消费主导型社会转型的时期。
在这个过程中，以生产为主的意识形态让位于消费意识形态，人们的行为和心理越来越受到消费的影响和控制，从而生活方式和价值观念也发生了变化。
德莱塞亲身感受到变革带来的深刻影响。
在他犀利的笔下，一种在消费浪潮中沉浮的新型人物形象——―消费英雄‖得以形成，消费主义笼罩下的社会特征和人际关系也得以呈现。
虽然德莱塞塑造的人物大多都违背了传统的伦理道德标准，但在他看来，他们都是当时消费主义文化的产物。
本文分五部分。
第一章介绍作者和小说概况，前人的研究评论并阐述了本研究的意义，介绍了消费文化理论。
第二章主要从消费文化角度分析小说中的几位主角。
第三章论述了小说中的人物——―消费英雄‖的主要特征。
第四章讲述了德莱塞的人物塑造，他对―消费英雄‖这一新型人物的态度以及该类人物在文学史上的影响。
最后为论文的结论部分。
本文立足于德莱塞的成名作《嘉莉妹妹》，从19世纪末20世纪初美国新兴的―消费文化‖这一特定社会历史背景出发，分析这部作品中出现的新型的人物形象——―消费英雄‖，努力挖掘这类新型人物形象在文学史中的地位和影响。
关键字：西奥多·德莱塞；《嘉莉妹妹》；消费文化；消费英雄AbstractAbstractTheodore Dreiser is an outstanding naturalism writer in the 20th century American literary history. Since his first novel Sister Carrie was published, it had been involved in much controversy. Dreiser lived in an age transforming from production to consumption leading society. During this process, the production predominated ideology had been replaced by the consumption one. Besides, people’s behavior s and mentality were getting more and more influenced by consumption, so were their life styles and concepts of value. Dreiser himself realized the profound effects of the change. Therefore, in his meticulous writing, a kind of new character type ―Consumer Hero‖formed in the consumption wave. New social characteristics and people’s relationships also appeared. Although Dreiser’s characters are mostly contrary to the traditional ethical standards, in his view, they are all products of consumer culture at that time. This paper is divided into five parts. The 1st part will introduce the writer’s life, his works, and previous studies on it and illustrate the significance of this study and the theory of consumer culture. The 2nd part will mainly analyze the characters from the perspective of consumer culture. The 3rd part will clarify main characteristics of characters. The 4th part will describe Dreiser’s characterization, his attitude to ―Consumer Hero‖ and its influence. At last, it will give a conclusion. The paper focuses on a particular historical background, and tries to analyze the new emerging character type ―Consumer Hero‖ in Dreiser’s masterpiece Sister Carrie, and aims to explore the influences of such a character type on the literary history.Key words: Theodore Dreiser; Sister Carrie; consumer culture; consumer heroContentsChapter 1 Introduction (1)1.1 A Brief Introduction to Dreiser and Sister Carrie (1)1.2 Previous Studies and Comments on Sister Carrie (2)1.3 The Significance of This Research (3)1.4 Theory of Consumer Culture (4)Chapter 2 Analysis of Characters from the Perspective of Consumer Culture (7)2.1 Sister Carrie—A “New Woman” Image (7)2.2 Drouet—A Messenger of Material (8)2.3 Hurstwood—A Tragic Character in the Materialized World (10)Chapter 3 Main Characteristics of Characters—“Consumer Heroes” (13)3.1 Greed—Everlasting Desire (13)3.1.1 Miss Desire—Sister Carrie (13)3.1.2 Mr. Desire—Drouet and Hurstwood (15)3.2 Vanity—Attempting to Construct Self-Identity with MaterialConsumption (16)3.3 Pursuit—Self-Realization in the System of Object (18)Chapter 4 Dreiser’s Characterization, His Attitude to Consumer Heroes and Its Influence (19)Chapter 5 Conclusion (23)References (25)Acknowledgements (25)The Consumer Heroes in Dreiser’s Sister CarrieChapter 1 Introduction1.1 A Brief Introduction to Dreiser and Sister CarrieTheodore Dreiser was an American naturalism writer in the 20th century, and he took an important role in the world literary history. Dreiser was born in Terre Haute, Indiana in 1871. His father was a German textile worker, who became an American immigrant in order to avoid serving in the army, while, his mother was a peasant’s daughter. Dreiser was born in a large but poor family, so he lived a hard life and did not receive a good education. At the age of 15, he went out to earn his living. When he was 18, a female high school teacher sponsored him to go to the university for one year. In 1892, he worked as a journalist in Chicago Global Newspaper. In 1894, he moved to New York. His first novel Sister Carrie came out in 1900. In 1911, he finished Jennie Gerhardt. Since then, his creation came into a strong period, and he began to write the famous work Trilogy of Desire, The Genius and American Tragedy, and so on. At the year of 1941, he was elected to be the chairman of American Writer Association. He then joined Communist Party USA at 1945 and passed away at the same year. Lawson, the American progressive writer praised him as ―Our own Gorky, and Romain Rolland of American version.‖[1]Dreiser is quite different from any other American novelists. He has his own particular writing style. Indeed, his writing style is simple and easy. He can describe different characters with the use of plain language. He always uses stron g contrast to set off characters’ life and fate. Besides, he is good at creating huge social life scene. The stories he creates are not quite complicated, but they can deeply reveal social problems. He always pays attention to the whole structure to make the story complete. His stories often involve a seeker or quester – sometimes driven by desire, sometimes by other motives –who finds at the end of the novel that he has returned to where he started. It is possible to visualize Dreiser’s novels as a graphic irony – the characters believe they are pushing forward but they are really moving in a circle. [2] So, in this way, his works can give readers some unexpected effectivenesses.In a word, Dreiser is a great naturalist writer—the one who dares to fight against American tradition, while, Sister Carrie becomes a morning star in his writing career.Sister Carrie – a famous work knocking at the door of the 20th century in 1900 is a realism masterpiece. The story mainly focused on three characters –Carrie, Hurstwood, and Drouet. Carrie was born in a country of West America. Though she lived in a poor family, she still had a strong vanity, and always looked forward to rich city life. Then she decided to go to Chicago forher dream. In Chicago, she lived in her s ister Minnie’s home. The life was not as good as she ever thought, so Carrie had to look for a job to make a living. But she was often left out in the cold when living in such an inanimate family. What’s worse, once Carrie lost her job, she was forced to go back to the country. However, she didn’t want to do so, and went to Drouet for help—a salesman whom she came across in the train. Then, she became Drouet’s mistress, and lived with him together. After Drouet introduced Hurstwood –a hotel manager to Carrie, Hurstwood soon fell in love with Carrie and tried to seduce her with all kinds of methods. They finally eloped to New York together. However, experiencing a series of failure, Hurstwood used up money and collapsed finally. At last, he committed suicide when getting on the beach. As a result of chance, Carrie became a famous star and got the upper reaches of society. But she still felt empty and couldn’t find the true meaning of life. With loneliness and desolation, the only thing Carrie could do was just sitting in the rocking chair, dreaming happiness that she would never have.1.2 Previous Studies and Comments on Sister CarrieDreiser was the 1st outstanding writer in American literature of the 20th century, and he was the pioneer of modern American fiction. Many critics thought that Dreiser dared to make innovations and had broken those traditional thoughts in American literary. Elliot, the chief editor of Columbia Literary History of the United States, thought that Dreiser had created a new style. His works were for ―another readers, another group focusing on the consumer culture, rather than aristocratic culture.‖[3]Actually, Dreiser advocated a new ideology. Sister Carrie obviously showed the influences of consumerism on Dreiser himself, and it just indicated his dissatisfaction with the Puritan moral ethics that had suppressed people’s desire, which precisely the new consumer ideology advocated. From this point of view, Dreiser was in favor of those consumers’ behavior with the effects of consumer ideology. He could not completely break with the old ideology which represented the relations of production. Therefore, he also gave criticism and suppression on the unethical behavior of those kinds of characters like Carrie. So, we can find that Dreiser held a complex and contradictory attitude to the new ideology. [4] Dreiser’s fictions like mirrors reflected the evils and conflicts of the social life at that age. However, it seemed that no other writers like Dreiser revealed the darkness of bourgeois society, but also shaped some characters that always swam with stream and did things with strong desire, just as characters in Sister Carrie. Just because Dreiser could expose the hypocritical veil of the upper class and criticized the weakness of capitalism through the description of the working class, much dispute aroused among some critics. The early evaluation of Dreiser could be divided into two categories. A critic who was most in recognition of Dreiser was H. L. Mencken,The Consumer Heroes in Dreiser’s Sister Carriepointing out that Dreiser was not the follower of Norris or Zola, and he could ―take profound sense of wonder into literature.‖[5]The other group was represented by Stewart Sherman. He accused Dreiser of not describing the real American society and people, but viewing them as animals. Some early critics mostly belonged to the biographical criticism of the traditional history. Later, some new ways of comments on it turned up, such as Freud’s psychoanalysis, the criticism of feminism and post-structuralism. In recent years, many scholars have tried to analyze Sister Carrie from more different perspectives. Professor Zhang Fangde and Zhang Xiangting both made comments on the transition from goods consumption to symbolic consumption. Professor Yu Guofei, Zhang Ailing, Tianjing and Chen Zhenhua have done some studies and comments from the perspective of consumer culture. Besides, there has been a new critical perspective in Professor Wang Rong’s study—focusing on the aspect of ―New Woman‖. The domestic and foreign research situation not only lies in its achievement increasing rapidly, but the expansion of its depth and width. So, we can better understand the profound significance of this work.During these years, many researchers viewed Dreiser as a master of naturalism or realism. In their opinions, Dreiser was the revelator of the darkness of American capitalism. However, they overlooked the interdependent relationship between Dreiser and the mainstream society at that time. In addition, researchers viewed Dreiser’s works in the same way, which was not quite accurate. Because society, politics and culture were changing all the time, Dreiser’s writing ideas were basically in a dynamic state. Novels in the early time mainly showed his hedonism, while, in his middle age, especially in his later years, his pursuit transformed from material to spirit. Therefore, Dreiser’s works are full of varieties. With all these mentioned above, when we do research on this work, we should put it more into the cultural environment of the 20th century of the United States. At the same time, we should dig out its writing ideas and methods, so that we can excavate the interrelationship between the main ideology and Dreiser himself in the cultural environment at that moment.1.3 The Significance of This ResearchThe creation of Sister Carrie came out at the occasion of the reform of the United States. The production primarily ideology was gradually being replaced by consumer ideology. As the economy developed rapidly, industrialization and urbanization had reached an unexpected level. At the end of 19th century, there were varieties of commodity in the US Department Store, which attracted many writers’and consumers’attentions. Ideologically, Darwin’s theory of evolution and the survival of the fittest were in vogue, and people’s thoughts were changing obviously. Their desires for material became stronger and stronger, and the thrift of Puritan ethics was castoff. Besides, the bohemian consumption trend became a mainstream. People’s opinions were gradually influenced by consumer culture, so was Dreiser himself. He always showed his ideas through his works, and with his pen, he described people’s different fates in the materialistic society when consumer culture rose.The characters in Sister Carrie are mainly consumers. They are keen to find their own way in the city, and always long for gorgeous clothes to show off their status. Besides, they look forward to live in luxurious accommodations. All in all, they are all addicted into endless lust, which is the great influence of consumer culture. Therefore, characters in this novel are all products of consumer culture. So it is feasible to study these characters from the perspective of consumer culture. These characters’ behaviors are the real reflections of American society at that moment. Their different consequences can make people think a lot—should consumerism be promoted or suppressed in the world? So, it’s necessary to study Dreiser’s novel to reveal the writer’s creative ideas and shape new images from the perspective of consumer culture. Moreover, it has certain academic values.Dreiser’s Sister Carrie not only reflects American social conditions at that moment, but also shows us some universal phenomena and problems at the period of the development of human society. In such a rapid development of commodity economy today, China is in the transition period to the consumer society. There are many people like characters in this novel, full of endless desire and pursuit of money, living for the satisfaction of material, status and wealth. This is just the embodiment of the consumption of ideology acting on human beings. Besides, there have been many characters like ―Consumer Hero‖ appearing in today’s literature work. So this work has great influences on the literature writing.1.4 Theory of Consumer CultureThis section will mainly describe Jean Baudrillard’s theory of sign consumption(符号消费理论). In Baudrillard’s opinion, in capitalist society, material is organized basically on the following four principles: first, the functional logic of the use value; second, the economic logic of exchange value; third, the logic of symbolic exchange; fourth, the logic of symbolic value. Then, he proposes his concept of symbolic value. ―Material‖accordingly becomes the tools, goods, symbols and signs in these four logics. Sign is a mark of material, a mark of social status and identity during people’s consumption. It is also an expression of the potential desires. The so-called symbolic value of goods is that goods, as symbols, are able to provide prestige and perform consumers’personality, characteristics, social status and power.The logic of consumption, as we have seen, can be defined as a manipulation of signs. The object loses its objective finality and its function; it becomes a term in a much greater combinatory, in sets ofThe Consumer Heroes in Dreiser’s Sister Carrieobjects in which it has a merely relational value. [6]In American society, affected greatly by the consumer culture, some people live in a life which has been under the control of ―consumption‖. ―Material‖ is no longer consumed for its use, but it’s consumed for its differences with other ―materials‖. Therefore, in the consume relations, it is not just any old goods which are produced or consumed: they must have some meaning with regard to a system of values. [7]From Baudrillard’s point of view, ―you never consume the object in itself (in its use-value); you are always manipulating objects (in the broadest sense) as signs which distinguish you either by affiliating you to your own group taken as an ideal reference or by marking you off from your group by reference to a group of higher status.‖[8] That is to say, what people consume is not materials, but the symbolic significance which they represent. In such a prosperous and rich society, due to the constant production and manufacture of desires and needs, consumption has become endless. It becomes the master of human activity, and forms an object system to satisfy all kinds of desires, where people can get material and spiritual satisfaction. Besides, it is even the happiness and meaning of life and it becomes the whole process of self-realization.Chapter 2 Analysis of Characters from the Perspective of ConsumerCulture2.1 Sister Carrie—A New Woman ImageIn the late 19th and early 20th century, the consumer ideology gradually took the place of production ideology. The consumer ideology mainly ―emphasized the possession of cost and material, and it weakened the thrift, savings, self-control and other traditional moral standards.‖[9] So, such a kind of consumer culture promoted the rise of ―New Women‖. With the influence of consumer culture, women didn’t consume for daily need but their vanity. Their appetite and lust for material even became a fashion. ―New Women‖ most had their own self-consciousness and always had dependent characteristics. Their opinions on sex were very open. They were not bounded by their family and usually appeared in public areas that belonged to men. What’s more, ―New Women‖ dared to challenge traditional moral standards. In their opinions, women should dress themselves well and enjoy life happily. While, Carrie—a character shaped by Dreiser, was the prominent representative of ―New Women‖.At the beginning of the story, the writer wrote, ―Self-interest with her was high, but not strong. It was, nevertheless, her guiding characteristic… And yet she was interested in her charm, quick to understand the keener pleasures of life, ambitious to gain in material things.‖[20]P2~3 In Carrie’s heart, something called desire was coming around the corner. In the train for Chicago, she came across Drouet—a canvasser with bright dress, whose attracting appearance left deep impressions on Carrie: ―The fat purse, the shiny tan shoes, the smart new suit, and the air with which he did things, built up for her a dim world of fortune, of which he was the center. It disposed her pleasantly toward all he might do. ‖[20] P8In Chicago, Carrie lived in his sister Minnie’s. However, Mr. and Mrs. Hanson’s house was just a flat, most inhabited by families of laborers and clerks. ―The walls of the rooms were discordantly papered. The floors were covered with matting and the hall laid with a thin rag carpet,‖[20] P13 which made Carrie feel the drag of a lean and narrow life. So she had to look for a job to make a living. On the way of looking for a job, she was much affected by the remarkable displays of dress goods and jewelry. ―She could not help feeling the claim of each trinket and valuable upon her personally, and yet she did not stop. There was nothing there which she could not have used—nothing which she did not long to own. The dainty slippers and stockings, the delicately frilled skirts and petticoats, the laces, ribbons, haircombs, purses, all touched her with individual desire, and she felt keenly the fact that not any of these things were in the range of her purchase.‖[20]P26 When Carrie saw thingsthat could make her pretty, her desire soon surged on. Once she saw the shopgirl s’ nature and appearance, a flame of envy lighted in her heart. ―She realized in a dim way how much the city held—wealth, fashion, ease—every adornment for women.‖[20]P26In Carrie’s heart, at this moment, she just longed for dress and beauty. In such a prosperous and lively city, Carrie was gradually touched by those beautiful things. In contrary to Minnie, whose thoughts were staid and solemnly adapted to a condition, Carrie had her own consciousness. She didn’t want to save money, but she would like to buy dress and jewelry, or go to the theatre to enjoy life.While, life was not always as perfect, the job in the shoe factory was not as easy as Carrie thought. She thought that people there were quite dirty and vulgar. Every week, she should pay her board—four dollars, so that she had no money to buy clothes. Then she lost her job due to her illness. Fortunately, she met Drouet again, which became her turning point. Then he even gave twenty dollars to Carrie. Though Carrie contradicted whether she should accept it or not, there was no wonder that the feeling with taking the money was so fantastic: ―Her need was so dire. Now she would buy a nice pair of pretty button shoes. She would get stockings, too, and a skirt, and, and…She had got beyond, in her desires, twice the purchasing power of her bills.‖[20]P75Afterwards, seduced by Drouet, Carrie became his mistress and lived together with him in a rent room. Drouet often took Carrie out to see many new people and things, so Carrie’s vision gradually opened up. She had seen many elegant mansions. When time grew, she began to be dissatisfied with the current situation. After she knew Hurstwood—a bar manager, she threw herself at his feet for his handsome appearance. And then they developed into lovers. In fact, Carrie chose Hurstwood just because she took a fancy to a more prosperous and decent life that he represented. She believed that marrying him would be happy forever, which made Carrie elope with Hurstwood to New York together after she knew his true features. In essence, it was her strong desire for material that made Carrie so easily ―love‖one man from another. Later, Hurstwood came down in the world, and Carrie abandoned him. After she became a famous Broadway star, her life became more and more creditable, and her consumption capacity grew stronger and stronger. However, she seemed not to be quite satisfactory with her possessions, and she still dreamed of happiness that she would never get. From this, it could be seen that Carrie became a new woman image in such a materialistic society. She was a consumer, even a product of consumer culture. She precisely represented people’s consciousness or concept in that era. [10]2.2 Drouet—A Messenger of MaterialWith the help of consumption, people can show their taste through different luxuries. The essence of modern consumption is to make differences. People consume for their own targets,that is to say, people want to make differences with others through consumption to obtain a kind of identity. [6] At the beginning of the story, Drouet’s appearance showed that men deliberately dressed themselves well and always behaved elegantly to attract women’s attentions in that era with consumer culture rampant. To Carrie, Drouet played such an indispensable role that he helped her open the door to the colorful world.When Carrie and Drouet came across on the train for the 1st time, Drouet left a deep impression on Carrie. His charm was completely appealing to inexperienced Carrie: ―His suit was of a striped and crossed pattern of brown wool, new at that time…The low crotch of the vest revealed a stiff shirt bosom of white and pink stripes. From his coat sleeves protruded a pair of linen cuffs of the same pattern, fastened with large, gold-plate buttons…The whole suit was rather tight-fitting, and was finished off with heavy-soled tan shoes, highly-polished, and the gray fedora hat.‖[20]P4Just as the writer wrote, Drouet got such an attractive dress through consumption. In this way, he could make himself more impressed, and have more opportunities to get women’s hearts. The manner of his behavior built up a world of fortune in Carrie’s mind. In Carrie’s heart, he was the messenger of material, who could take her to live a rich life. Although Carrie’s clothes were shabby, she had slim figure and pretty face, which made Drouet strike up a conversation with her at the first sight. When meeting her again and knowing her plight, Drouet felt sorry for her and gave 20 dollars to Carrie generously. Besides, he took her to go shopping and buy many beautiful clothes. In fact, imperceptibly, in such a society with the flood of consumption, men’s perspectives of women had greatly changed. They no longer thought that gentleness and virtuousness were the nature of women. If one had an absorbing woman by side, he could show his identity when they both appeared in public places. So men could make differences with others, while, the envy and jealousy from others’ eyes could meet their own vanity and satisfaction. Just because of getting such a fantastic beauty, Drouet couldn’t wait to introduce her to Hurstwood. From another level to see, it was men’s such kind of view that made women more keen on consumption. So did Carrie. With Drouet’s leading, she had got many gorgeous clothes, and known more upper-class people. Besides, her experience increased much more with her open horizon.Actually, Drouet’s attitudes to Carrie had no difference with Hurstwood’s. When he knew the relationship between Carrie and Hurstwood, he felt indignant and upset. He thought, ―You oughtn’t to have had anything to do with him after all I’ve done for you.‖[20]P260The reason was that he provided Carrie with comfortable living environment, and often took her out to enjoy. So he had the right to possess Carrie. However, she betrayed him. ―His feelings were a mixture of anger at deception, sorrow at losing Carrie, misery at being defeated.‖[20]P265 He tried to get his rights back, including making Carrie stay. But at last, he failed. He lost Carrie and lost her forever. At the same time, he lost his vanity and the proud self-esteem.At the end of the story, Drouet found Carrie again, who had become a star. He tried hard to invite her for dinner and dreamed of getting her back. ―Ah, what a prize! How beautiful, how elegant, how famous! In her theatrical and Waldorf setting, Carrie was to him the all-desirable.‖[20]P553 It could be seen that Drouet tried to get Carrie back to show off his own identity. If he could possess her, he would be much brighter than before. However, today’s Carrie was too rich and noble for him, and he finally could only end up with disappointment.The higher value of a commodity, the more can reveal its owner and user’s social status and prestige. [6] While, to men, women are a kind of senior commodity. The prettier women are, the more honorable men can be. Therefore, Drouet’s fantasy and desire on Carrie was exactly the true portrayal of men to women at that age, and it was also the great influences that consume culture brought to human.2.3 Hurstwood—A Tragic Character in the Materialized WorldHurstwood was a bar manager in Chicago, where he had been a well-known and successful man. He did well in his job and had a considerable income. ―Hurstwood looked the part, for, besides being slightly under forty, he had a good, stout constitution, an active manner, and a solid, substantial air, which was composed in part of his fine clothes, his clean linen, his jewels, and ,above all, his own sense of his important.‖[20]P51 In people’s eyes, he had a successful career, and always enjoyed his life. However, he did not own a happy family. Among his family members, two things were lack—tolerance and respect. His wife was a selfish and indifferent person, who always liked to show herself off. His daughter acted on her own way all the time, and his son was full of vanity. What’s more important was that Hurstwood felt that his status in this family was gradually getting down, and he had no rights any more. What’s worse, he made a mistake of putting his property all under his wife’s name, which made him not be cared by his wife and respected by his children. He used to be respected outside, while, at home, the only thing he could feel was the depressing atmosphere. So, he could only rely on the beautiful clothes and diamond ornaments to comfort his heart. In his opinion, these things could keep his social status and his self-esteem. In that society, only having certain consumption level could make him realize his target. That is to say, he could try to compensate for his spirit with material consumption. Therefore, after he met Carrie, he couldn’t wait to obtain her heart. Compared with those jewelries, Carrie seemed to be a more sophisticated commodity. If Hurstwood could be together with her, not only would he take back his status, but also meet his satisfactions. In Hurstwood’s eyes, Carrie had her own youth and beauty. ―In the mild light of Carrie’s eye was nothing of the calculation of the mistress. In the diffident manner was nothing of the art of the courtesan.‖[20]P144The most charming thing was Carrie’s obedience to him. Her manner didn’t。
西奥多德莱塞
Themes
• American Dream • Change and Transformation • Choices and Consequences • Wealth and Poverty
American Dream
• Each of Dreiser's characters in Sister Carrie search for their own "American Dreams" —Carrie, a poor country girl, arrives in Chicago, filled with the expectations of acquiring the finer things in life. — Drouet seeks his own version of the American Dream. He has achieved a certain station in life and wears the clothes to prove it.
Choices and Consequences
• Hurstwood makes one choice that dramatically affects the rest of his life. While all choices result in consequences, those consequences can be positive or negative. Hurstwood’s decision to take the money from his employer's safe starts his way to the eventual suicide.
嘉莉妹妹
《嘉莉妹妹》描写了农 村姑娘嘉莉来到大城市芝 加哥寻找幸福，为摆脱贫 困，出卖自己的贞操，先 后与推销员和酒店经理同 居，后又凭美貌与歌喉成 为演员的故事。作家以嘉 莉为代表深刻揭露了美国 资本主义制度对贫苦人民 压榨的残酷性和资产阶级 生活方式对小资产阶级分 子的腐蚀性。
嘉莉原本只是一个渴望见 世面，心地非常单纯的姑娘。 在开往芝加哥的火车上，在 她的心中还幻想着以后可以 回到故乡。可是残酷的现实 开始让她学会了虚伪与做作。 但是我们不能够说嘉莉无耻， 在被杜洛埃骗上床之后，嘉 莉还渴望杜洛埃能够与她结 婚。嘉莉无疑是向往更高的 生活层次，所以一步步的抓 住机会，努力向上爬。最终 嘉莉的成功，可以视为原则 不得不向社会现实妥协的表 现。
印第安纳大 学
代表作 品
《嘉莉妹 妹》
《珍妮姑娘》 《美国悲剧》 《金融家》 《天才》
创作《嘉莉妹妹》的时代背景
自由资本主义蓬勃发展并进入兴盛时期，美 国从一个以农业为主的社会变成了一个以城 市为中心的社会。机械化的生产提高了效率。 农村多余的劳动力也进入了城市；科技经济 发展使人类对自然的依赖性降低，人们有更 多的自由选择自己想要的生活方式。都市无 疑是现代生活的中心，也成为了年轻人追求 的场所。嘉莉妹妹就是其中的一员。
嘉莉妹妹 作者：德莱塞
美国现代小说的三巨头
德莱塞
海明威
福克纳
作
英文名 eiser 美国 1871年6月 27日
简
中文名 出生地 逝世日 期 信仰
介
西奥多· 德莱 塞 印第安纳州 特雷霍特镇 1945年12月 28日 天主教
职业 主要成 就
现实主义小 说家，自然 主义作家 被美国文学 艺术学会授 予荣誉奖
美国文学 西奥多德莱赛
WRITING STYLE
ARTISTIC FEATURES
Without good construction Deficient characterization Lack in imagination（realism） Simple words Techniques in painting (word-picture, sharp contrast, truth in color, movement in outline) Broad social background Rich plot Detailed psychological description specific and personal lanism: man as merely an animal driven by greed and sexual desire in a struggle for existence in which only the “fittest” survive Pessimistic view of human helplessness in the face of instinct and social forces. Determinism: No one is ethically free. Everything is determined by a complex of internal chemisms and by the forces of social pressure.
Consumerism：Pursuing the decent consumption, being aspired to
immoderate enjoyment and relaxation, and take it as the purpose of life and the values of life.
德莱塞
《嘉莉妹妹》插图
《珍妮姑娘》 <Jennie Gerhardt> 珍妮姑娘是一个纯 真善良、富于奉献精神 的劳动妇女。其柔顺依 人的性格既是美德，也 是弱点。珍妮最终成为 弃妇的结局，正是劳动 妇女的普遍遭遇。
珍妮是西方传统价值观念中的典 范女性，珍妮的女性美兼备一切成为 灰姑娘所必需的条件。她无私、宽宏 大量，默默地忍受一切不公平，付出 爱，付出青春，换来的却是一次次被 遗弃的厄运。 “我们所有的人或多或少都是被人 利用的，我们就像棋子一样被我们所 不能控制的环境制约。” ——《珍妮姑娘》
西奥多· 德莱塞 （Theodore Dreiser,1871—1945）
以资本主义社会的彻 底批判者的姿态登上 美国文坛，成为美国 现实主义传统文学的 一种标识。
德莱塞本身就是一位“天 才” ——杰罗姆〃拉维伊 （JEROME LOVING) 他的天才像太白金星似 的放射着无穷的光彩，始 终不是美国式的市侩手段 所淹没得了的。 ——瞿秋白
德莱塞的人生道路 生于印地安纳州的德国移民家庭，生活拮据。 16岁便自谋生路，后当记者10年，业余时间自 学哲学和科学理论。1900年，发表《嘉莉妹 妹》，1910年其姊妹篇《珍妮姑娘》问世，从 此，创作激情一发不可收，直至1925年，《美 国的悲剧》更是在国内外引起强烈反响。他的 一生虽历经磨难，但一直勤奋写作，共出版8部 长篇小说、4部短篇小说和诸多的游记、诗歌、 论文等。
《美国的悲剧》 <American Tragedy> 标志着德莱塞的现实主 义创作取得新的成就，也 是使他获得世界性声誉的 作品。 作品描写了对“美国梦” 的追求以及“美国梦”的 幻灭。
《美国的悲剧》是批判“美国梦”虚妄 的一部力作。克莱德便是受“美国梦” 毒害的一个典型牺牲品。 “这样的事，每一个在美国小镇上成长 的孩子都会遇到。在美国，这类事发生 之频繁，已到了惊人的程度。” ——德莱塞
西奥多德莱赛
Sister Carrie
Sister Carrie tells the story of two characters: Carrie Meeber, an ordinary girl who rises from a lowpaid wage earner to a high-paid actress, and George Hurstwood, a member of the upper middle class who falls from his comfortable lifestyle to a life on the streets.
Works
• Sister Carrie • Jennie Gerhardt • Trilogy of Desire (1900) 《嘉莉妹妹》 (1911) 《珍妮姑娘》 《欲望三部曲》
The Financier (1912) 《金融家 》 The Titan (1914) 《巨人》 The Stoic (posthumously ) (1945)《斯多葛》 (1915) 《天才》 • The ‘Genius’ • An American Tragedy (1925)《美国的悲
Carrie Meeber（嘉莉）, the protagonist , Charlie Drouet （杜洛埃）a charming, flashy salesman with a strong appetite for romance. Although he is warm-hearted, he never takes any of his romantic affairs seriously. George Hurstwood（赫斯特伍德）
Themes
Theodore Dreiser (西奥多
Sister Carrie
• 小说描写了农村姑娘嘉莉来到大城市芝加哥寻找幸福， 嘉莉是个俊俏的农村姑娘，她羡慕大都市的物质生活来 到了芝加哥谋生。严酷的现实破碎了她的美梦，迎接她 的是失业和疾病。在走投无路时，她做了推销员杜洛埃 的情妇，后来由于更大的欲望又做了酒店经理赫斯特伍 德的情妇。与赫斯特伍德私奔后，在纽约由于偶然的机 会她成了走红一时的演员，挤上了上流社会，实现了她 的梦想，最终物质却无法满足她心灵的寂寞，而赫斯特 伍德也身败名裂、穷困潦倒，以自杀终其一生。该作品 细腻地展示了嘉莉的生存景观及心路历程，以真切的现 实主义为鲜明的特征，比较真实地揭露了20世纪初人们 狂热的追求美国之梦的悲剧事实，揭示了驱驶人们享乐 却最终幻灭的本能主题，说明了在以金钱为中心的美国 资本主义社会里不可能有真正的幸福。
• • • • • •
American dream Change and transformation Choices and consequences Wealth and poverty Identity sex
• Theodore Dreiser is regarded as an outstanding representative of American naturalism.
In 1894, he moved to New York began his Publishing career.
In 1945 Dreiser was died
Background
• Dreiser lived in the stage of monopoly of American capitalism rapid development period. • The core of the American value is materialistic. • Dreiser was influenced by Charles Darwin's theory of evolution.
美国小说家西奥多德莱塞英文简介
MAIN WORKS
• Sister Carrier(1900)嘉莉妹妹
• Jennie Gerhardt(1911)珍妮姑娘
• Trilogy of Desire欲望三部曲
in color, movement in outline)
collection of short stories
AN AMERICAN TRAGEDY
An American Tragedy (1925) is the finest of Dreiser's books. It concerns a weak young man who is executed for the murder of his pregnant girl friend. Again, Dreiser did not condemn his villain, but the amoral society that produced and destroyed him. Dreiser based the book on a notorious criminal case.
LIFE
• Born in August 27, 1871 • Died in December 28, 1945 • His family moved a lot because of poverty, insecurity, and
internal division • Went to Indiana University in 1889 • In 1892, he wangled his first newspaper job with the
西奥多德莱赛
Your company slogan
小说以珍妮的悲惨遭遇为主要线索，描写了 美国大城市中日趋严重的失业和贫困现象， 着务刻画了资产阶级上流社会奢侈无度、荒 淫糜烂的生活，昭示给人贫富之间不可逾超 的鸿沟。一方面，歌颁了劳动人民勤劳、正 直和勇于自我牺牲的优秀品质；另一方面， 鞭答了物欲横流、金钱万能的社会中的种种 罪恶现实。
Two Roads Diverged Before Her
Went back?
A wealthy life Abundant money
No rent ! Dinners in hotel No worry!
Flowers
Two Roads Diverged Before Her
A Simple Choice
Plot summary
• 主人公克莱德(Clyde)生活在一个穷牧师家庭，但家 里并没有因为信仰而获得幸福，相反却过得十分糟 糕。为了追求幸福，克莱德离家独自闯荡世界。贪 慕虚荣的他虽然凭着聪明机灵在伯父的工厂里找到 了稳定的工作，还遇着了爱恋自己的美丽女孩 (Roberta Alden)，但他并不满足，为了追求富家 女(Sondra Finchley)，他竟然狠心的把自己已经怀 孕的女友害死。最终，没有实现自己的淘金梦，克 莱德受到了法律的制裁。
Urban life Earning wage A lot of opportunities…
Factory Work Money Rent
Hurting hands
Life was not as easy as expected! Indeed, it was hard! HARD!!! Carrie fell ill! ILL!!!
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Works
• Sister Carrie • Jennie Gerhardt • Trilogy of Desire (1900) 《嘉莉妹妹》 (1911) 《珍妮姑娘》 《欲望三部曲》
The Financier (1912) 《金融家 》 The Titan (1914) 《巨人》 The Stoic (posthumously ) (1945)《斯多葛》 • The ‘Genius’ (1915) 《天才》 • An American Tragedy (1925)《美国的悲剧》
THE END THANK YOU !
COMMENTS
• Sister Carrie best embodies Dreiser's naturalistic belief that while men are controlled and conditioned by heredity, instinct and chance,a few extraodinary and unsophisticated human beings refuse to accept their fate wordlessly and instead strive,unsuccessfully,to find meaning and purpose for their existence.Carrie,as one of such,senses that she is merely a cipher in an uncaring world yet seeks to grasp the mysteries of life and thereby satisfies her desires for social status and material comfort.
ห้องสมุดไป่ตู้
• In 1892, married Sara. White , but their married life wasn’t happy, even They have been separated since 1909, they never officially divorced . • In 1910, he quit job and became a professional writer. In 1945, joined in the United States Communist party , and on December passed away .
A PLACE IN THE SUN (1951) 郎心 如铁
1952年USA出品，由 Montgomery Clift， Elizabeth Taylor主演，导演是乔治· 史迪文思 .根据作家Theodore Dreiser的小说《An American Tragedy 》改编。大意 是一个聪明的有计谋的男人与两个女人之间的瓜 葛，涉及美艳，谋杀。 导演为此获当年奥斯卡最佳导演奖，本片还获得 最佳改编剧本，最佳摄影共三项 奥斯卡。
• After the elopement with Hurstwood and the difficult life ,she became a star at a theater ,got the upper reaches of society and realize her dream .But she felt that life is empty and can’t find the ture meaning of life .
西奥多·德莱塞 西奥多 德莱塞
Theodore Dreiser
商英七班 马雯雯
Brief Introduction
• Writer, born in Terre Haute, Indiana, USA. Raised in poverty and in a German-speaking environment, he was a Catholic, he left home for Chicago at age 16. • After a period of odd jobs and a year at the University of Indiana, he became a Midwestern newspaper reporter and, in New York after 1894, a magazine feature writer.
Sister Carrie
• Carrie is a beautiful rural girl .She envied material life in metropolis and came to Chicago to make a living . • Grim reality shattered her dream .In desperation ,she has done a salesman Drouet’s mistress and later became the hotel manager Hurstwood’s mistress.