(大学语文外国文学)31二战后美国小说
美国二战后的女性文学
Mary Flannery O'Connor 弗兰纳里·奥 康纳 (1925 –1964) was an American novelist, short-story writer and essayist. An important voice in American literature, O'Connor wrote two novels and 32 short stories, as well as a number of reviews and commentaries. She was a Southern writer who often wrote in a Southern Gothic style and relied heavily on regional settings and grotesque characters. O'Connor's writing also reflected her own Roman Catholic faith, and frequently examined questions of morality and ethics.
Literary reputation: Her first novel, The Company She Keeps, received critical acclaim, depicting(描写) the social milieu（环境） of New York intellectuals of the late 1930s with unreserved frankness. After building a reputation as a satirist and critic, McCarthy enjoyed popular success when her 1963 novel The Group remained on the New York Times Best Seller list for almost two years. McCarthy was a member of the National Institute of Arts and Letters（全国文学艺术协会 ）. In 1973, she delivered the prestigious Huizinga Lecture in Leiden, the Netherlands, under the title Can There Be a Gothic Literature? She won the National Medal for Literature and the Edward MacDowell Medal in 1984 .
二战后的美国文学
怯懦的十年
• “怯懦的十年” ：50年代，右翼保守势力向30年 代激进主义传统进攻，许多人由关心社会进步转 而关心个人的私利。这10年被称为“怯懦的十年” 或“沉寂的十年”。这期间，出现了一些作品， 将资产阶级描绘成正面人物，鼓吹服从权威，如 《穿灰法兰绒衣服的人》（1955）。这类作品企 图维护既定价值标准和现存社会秩序，很快就失 去了影响。另一方面，阿瑟· 米勒(1915～2005） 等作家抵制麦卡锡主义，继续用作品抨击社会的 不正义。
代表作：All My Sons《我的儿子们》 Death of a Salesman 《推销员之死》
阿瑟· 米勒一生获奖无数，包括1949年普 利策奖，两次纽约戏剧批评家奖，奥利维 尔最佳剧作奖。
J.D.Salinger
代表作：The Catcher in the Rye
《麦田的守望者》
The Catcher in the rye , The Great Gatsby，The Adventure of Huckleberry Finn并称为最完 美的英文小说。
Background
第二次世界大战规模空前。战争中发生的事，约600 万犹太人被屠杀，原子弹在广岛爆炸，使美国知识 分子感到震惊。他们怀疑人性是否还有善良的一面， 也感到人难以控制自己制造出来的巨大物质力量。 他们对文明与进步的信念发生了极大动摇。50年代 在“冷战”、麦卡锡主义和朝鲜战争的背景下，文 坛趋于沉寂；60、70年代，经过越南战争、民权运 动、学生运动、女权运动、水门案件，文坛活跃起 来，出现了一批爱思索的作家。在他们眼里，美国 的社会变得十分复杂，价值观念混乱。他们普遍感 到不知怎样解释这样的现实，于是便通过怪诞、幻 想、夸张的方式，再现生活中的混乱、恐怖和疯狂。
《麦田里的守望者》是以二战后的美国为背景的。二战后
《麦田里的守望者》是以二战后的美国为背景的。
二战后的美国经济繁荣,科学技术高度发展,人们贪婪地享受着繁荣的经济带来的浮华物质生活。
因此对金钱的崇拜与享乐的狂热追逐成为人们生活的唯一目标,左右了人们的生活和思维方式,这无形中逐渐地吞噬着人们的价值观，循规蹈矩的趋同心态成为这一时代的鲜明特征。
但是在贪图物质享受的同时，人们的精神生活却单调沉闷，俨然呈现出现代荒原的面貌。
50年代又有“怯懦的50年代”或“寂寞的50年代”之称，势力庸俗的市侩习气充斥着社会生活的每个角落，空虚无聊的物质享受似乎蚀空了理想的价值内涵。
《麦田里的守望者》的主人公霍尔顿生活在这样一种物欲横流而精神价值稀薄的背景环境中，他感到无所适从，与这个令人作呕的商业社会格格不入。
人们对金钱的追求压过成为当时生活的主流。
小说一开始，霍尔顿的哥哥D·B·是个极具写作天赋，作品颇受大众欢迎的优秀作家，但为了追求物质成功不惜牺牲自己的兴趣爱好，将自己卖给好莱坞，滥用才华写低级粗俗的电影剧本。
另外，在学校里面，每个角落也都散发着金钱的铜臭味。
以其名命名的霍尔顿所住的那顿新公寓楼的奥森伯格是狂热追求物质利益的典型代表，他是从霍尔顿所在的潘西中学毕业的所谓的成功人士，他是一个殡葬业主，靠做埋死人的生意发了横财，给学校捐了一大笔钱，学校就把霍尔顿的那栋新公寓楼以他的名字命名。
他告诉学生“每逢他有什么困难，他从来不怕跪下来向上帝祷告。
他教我们经常向上帝祷告——跟上帝无话不谈——不管我们是在什么地方。
他自己就时时刻刻在跟耶稣谈话，甚至在他开车的时候。
“这一切在霍尔顿的眼中都是装腔作势的、虚假的，于是“假模假式“成为能够吐露霍尔顿心声的代名词。
”假模假式“一词在文中出现多次，被霍尔顿用来鞭策那些只为金钱而活的伪君子式的人物；霍尔顿就读的盘溪中学是虚伪的，在数家杂志上做广告标榜潘西是一个培养优秀的、思维敏捷的年轻人的地方（事实并非如此）；潘西的校长哈斯是假模假式的，他只是巴结有钱人的家长，见了富裕阔卓之人便与之握手笑脸相迎、阿谀奉承，而对那些看上去衣着寒酸的家长们不屑一顾，只是虚伪地一笑简单应付了之；欧尼夜总会演奏钢琴曲的欧尼也是虚伪的，他哗众取宠的卖弄，灵霍尔顿厌恶不已，”他卖弄本领，傻里傻气地把那些高音符弹得像流水一样，还有其他许多油腔滑调的鬼把戏……“。
(大学语文外国文学)31二战后美国小说
第二部《兔子归来》(1971)十年后兔子(推销 员哈里)36岁，60年代末动荡社会浪漫怪异事 件。越战、种族冲突、毒品、嬉皮士现象等。 登月广播，中产阶级价值观动摇。
第三部《兔子富了》(1981)又十年成丰田汽车 代理商，与妻和好买新房希望儿子不重复昔 日他做的蠢事。心满意足，保守、维持现状。
《兔子安息》（1990）系列句号。
第五节 二战后美国小说
1.战争：诺曼·梅勒(1923-) 库尔特·冯内古特(1922-) 约瑟夫·海勒(1923-) 2.少数民族： 黑人： 拉尔夫·埃利森(1914-) 托妮·莫瑞森（1931-）93 犹太：索尔·贝娄（1915-）76 3.青年和地域： 杰克·凯鲁亚克(1922-1969) 杰罗姆·大卫·塞林格(1919-) 4.实验和元小说: 纳博科夫(1899-1977) 约翰·巴 思(1930-) 托马斯·品钦(1937-)
编辑、出版糅合在一起。自称“模仿小说形
式的小说，由一个模仿作家角色的作家所 写。”
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托马斯·品钦(1937-)故事缺乏可赖以判断虚构
世界真伪成分的参照点，细节涉及多条头绪，
形成多种解释的可能，造成历史无定论的效
果 。《V》(1963)两条偶尔相交线索，一是赫
伯特·斯坦希尔寻解V之谜。从父笔记见到神
“黑色幽默”指用轻松、喜剧的形式表达痛
苦、悲剧的内容。“黑色”与“幽默”本是
两个不相干的概念：“黑色”是沉闷、痛苦、
绝望甚至死亡的象征，往往指可怕而滑稽的
客观现实，“幽默”指用自由的意志、积极
的个性，以及怪诞的形式对这个现实采取的
嘲讽态度。两者加在一起，如同将哭与笑混
合在一块，形成了阴森凄凉、悲观绝望的幽
美国不同时期几部二战题材小说的比较
作者： 杜(京力)妹
作者机构： 内蒙古民族高等专科学校
出版物刊名： 语文学刊：高等教育版
页码： 47-49页
主题词： 小说;《第二十二条军规》;诺曼·梅勒;约瑟夫·海勒;沃克;作品;战争题材;年代;第二次世界大战后;时代
摘要：这里所要比较的是第二次世界大战后，美国反映战争题材的几部小说——1948年出版的诺曼·梅勒的《裸者与死者》、1961年的约瑟夫·海勒的《第二十二条军规》以及20世纪70年代出版的赫尔曼·沃克的两部姊妹篇《战争风云》和《战争与回忆》。
几部作品产生于不同的年代，受它们各自时代社会现实的影响，从作品揭示的主题内容、对战争意义的探索以及表现手法等方面都存在着诸多不同．都烙有各自时代的印迹。
本文力求加以比较。
二战后的美国文学
第二次世界大战规模空前。战争中发生的事，约600 万犹太人被屠杀，原子弹在广岛爆炸，使美国知识 分子感到震惊。他们怀疑人性是否还有善良的一面， 也感到人难以控制自己制造出来的巨大物质力量。 他们对文明与进步的信念发生了极大动摇。50年代 在“冷战”、麦卡锡主义和朝鲜战争的背景下，文 坛趋于沉寂；60、70年代，经过越南战争、民权运 动、学生运动、女权运动、水门案件，文坛活跃起 来，出现了一批爱思索的作家。在他们眼里，美国 的社会变得十分复杂，价值观念混乱。他们普遍感 到不知怎样解释这样的现实，于是便通过怪诞、幻 想、夸张的方式，再现生活中的混乱、恐怖和疯狂。
怯懦的十年
• “怯懦的十年” ：50年代，右翼保守势力向30年 代激进主义传统进攻，许多人由关心社会进步转 而关心个人的私利。这10年被称为“怯懦的十年” 或“沉寂的十年”。这期间，出现了一些作品， 将资产阶级描绘成正面人物，鼓吹服从权威，如 《穿灰法兰绒衣服的人》（1955）。这类作品企 图维护既定价值标准和现存社会秩序，很快就失 去了影响。另一方面，阿瑟· 米勒(1915～2005） 等作家抵制麦卡锡主义，继续用作品抨击社会的 不正义。
Sylvia Plath
代表作：The Colossus and Other Poems 《巨人及其他诗歌》 The Bell Jar 《钟形罩》
普拉斯的诗歌穿梭于“自白、自我、自 杀”之间，并将罗伯特· 洛威尔所开创的 一代诗风推到了顶点，实现了W· B· 叶芝 所谓的20世纪诗歌将是“心灵发出的叫 喊”的夙愿。她是一个“内心狂暴的诗 人”，她在用生命写诗，也在用死亡锻 造黑色艺术。某种意义上说，她要通过 诗的形式控告男性作为整体，在婚姻、 家庭、社会上给女性造成的伤害。按照 普拉斯的理解，女性因男性的压迫心理 逐渐扭曲，原本完整的人格变得支离破
(大学语文外国文学)1本学期讲述内容
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法国哲学家柏格森（1859——1914）的直觉 主义哲学反对泰纳的“种族，环境，时代” 决定论，强调人的主观认识作用，认为唯一 的现实是藏在粗糙的物质外衣下的永恒的生 命洪流，人们只有通过直觉，本能和感情进 入生命洪流中，才能认识一切事物的实质。 世界本质是神秘的“生命冲动”，只有“心 理时间”才能体现“意识绵延”的现实。真 正的现实是自我在记忆中的持续存在。促进 文学“向内转”。启发意识流。
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第三部分 二战后文学
第一节 概述 第二节 法国文学 第三节 英国文学 第四节 德国文学 第五节 美国文学 第六节 拉美文学 第七节 苏联文学 补充 捷克文学
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第一部分 十九世纪末至二十世纪初期文学 （1870——1914） 第一节 概述
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处处都有。
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未来主义（Futurism）文学。 发端于二十世纪初的意大利，随后波及
俄国，在法国、英国、德国等也有一定 影响。它否定一切文化遗产和传统，鼓 吹未来的艺术应具有现代感觉，表明现 代机器文明的速度，暴力，激烈的运动， 音响和四度空间，表现艺术家进行创作 时的所谓“心境并发性”。
对象征主义作如下界定：它是一种表达思想
和感情的艺术，但并不直接去描述它们，也
不通过与具体意象明显的比较去限定它们，
而是暗示这些思想和感情是什么，运用不加
解释的象征使读者在头脑里重新创造它们。”
当然，这只是象征主义的第一种面貌，即可
以称为个人方面的东西。象征主义的第二种
面貌可以称为“超验的象征主义”，它的具
不满足事物外在的表象，而追求一种内在的 真实。在一定意义上说，表现主义戏剧就是 戏剧领域里的象征主义。它的先驱者是瑞典 戏剧家奥古斯特·斯特林堡（1849－1912）， 代 表 作 有 三 部 曲 《 去 大 马 士 革 》 （ 1897 － 1904）和《鬼魂奏鸣曲》（1907）。在第一 次世界大战前后，表现主义在德国得到巨大 的发展，尤其在戏剧领域产生了一大批作家。 而卡夫卡的小说创作也往往被视为表现主义 在小说领域的代表。
隐匿的主体：二战后美国后现代主义小说透视
隐匿的主体：二战后美国后现代主义小说透视美国后现代主义小说主要指的是二战后在美国兴起的文学新潮。
论文首先分析了二战前后美国文学由现代到后现代更替的脉络，继而结合后现代主义理论对美国最具代表性的后现代主义小说家的代表作品进行了文本解读。
文章指出：尽管“不确定性”、解构“主体”和消解“大写的人”是美国后现代主义小说最基本的特征，但在诸多后现代主义小说所力图表现的“人的死亡”或“主体的终结”的话语中，其实蕴含着作家对人的一种新理解，是对人之主体性的一种新阐释，即相对性的、个体多元化的“小写的我”，这是一种离散性的、隐匿的主体。
通过以上的分析，我们可以肯定地说，美国后现代主义小说的主基调是解构。
尤其在主体性的问题上更是如此，在他们的作品中，我们确实很难看到从肯定的方面来论述主体性的问题。
但“人的死亡”并非真的是人彻底退出了历史的舞台，“人的死亡”只能理解为对人的阐释的地平线的位移，即，某种对人的理解的理论的终结，是那种把人作为绝对中心的自我膨胀的主体性的终结，简言之，是现代启蒙思想的破灭。
正如福科所表明的那样：后现代“并不对人本身提出质疑，因为人就出现的人文科学之中，而是对关于人的一般知识之所以可能的区域提出质疑”[7](P35)。
在美国后现代主义的“人的死亡”和“主体的终结”的话语中，其实蕴含的是对人的一种新理解，是对人之主体性的一种新阐释，即相对性的、个体多元化的“小写的我”，或可称之为离散性的、隐匿的主体。
譬如，巴塞尔姆的长篇小说《白雪公主》是后现代主义小说的经典之作。
巴塞尔姆大胆运用后现代小说不确定的技法，以戏仿、碎片和拼贴等方式，将一个活泼可爱的童话故事解构为一堆毫无意义的碎片。
没有中心，没有背景，没有情节，语言成了小说的主角。
我们看不到那个惹人怜爱的公主、英勇无比的王子和善良的小矮人，而是一群平庸、无聊、对生活不满，但又无能为力的小人物。
在这篇小说中，作者将戏仿、碎片、拼贴和不确定性等带有后现代特征的技法发挥到了极致。
(大学语文外国文学)31二战后美国小说
参军要投奔的团队遭歼灭，被俘押到“美丽
的城市”德累斯顿，与一百多美国俘虏住在
第五号屠场——为安放将杀的猪建的窝棚。
1945年2月13日晚德累斯顿被炸时幸免于难。
两天后被带到废墟挖尸体，发现数以百计死
人坑。一美军俘虏因拿只茶壶被枪毙。一天
早晨发现战争结束了。毕利在外星球通过
“时间经”（在一瞬间可跨越太空的装置）
《奥吉·玛琪历险记》(1953)流浪汉经历实际 上是从幼年到壮年的成长探索过程的写照。
《雨王汉德森》（1959）富翁到非洲寻找精 神出路生活意义“优秀品质的荒谬探索者”。
《赫索格》（1964）犹太人知识分子的自救。 《赛姆勒先生的行星》（1970）人生意义。 《洪堡的礼物》（1975）两代犹太作家生活
《最蓝的眼睛》（1971）30年代黑人迁居中
西部，白人家黑人女佣佩克拉几乎精神分裂。
《苏拉》（《秀拉》）（1974）种族性别阶
级压迫下苏拉走向极端绝对自我中心。《所
罗门之歌》（1978）绰号奶娃的黑人寻根，
重新认识语言功能，可命名解释说明，又可
掩盖扭曲隐藏。《沥青娃娃》（1981）黑人
青年如何对待传统和前途。女模特扎丹男友
同仇敌忾和自我牺牲的英雄形象和气质不再 是主旋律。热衷表现事物的悖谬、个人的挫 折和无奈。
延续三四十年代时写自由主义个人与极权机 构对抗的主题。技巧上缺乏20年代战争小说 的活力和创新精神。知识分子出身的作者塑 造的主人公自由主义倾向明显，心理活动复 杂，触及哲理问题多，荒谬感无奈心态突出。
诺曼·梅勒(1923-)《裸者与死者》(1948)。一 美军侦察小队的故事，基调是自然主义，即 个人与无法理解、无法战胜的力量在对垒。
10 2021/1/13
二次世界大战后的美国文学
第⼆次世界⼤战规模空前。
战争中发⽣的事，如600万犹太⼈被屠杀，原⼦弹在⼴岛爆炸，使美国知识分⼦感到震惊。
他们怀疑⼈性是否还有善良的⼀⾯，也感到⼈难以控制⾃⼰制造出来的巨⼤物质⼒量。
他们对⽂明与进步的信念发⽣了极⼤动摇。
50年代在“冷战”、麦卡锡主义和朝鲜战争的背景下，⽂坛趋于沉寂；印、70年代，经过越南战争、民权运动、学⽣运动、⼥权运动、⽔门案件，⽂坛活跃起来，出现了⼀批爱思索的作家。
在他们眼⾥，美国的社会变得⼗分复杂，价值观念混乱。
他们普遍感到不知怎样解释这样的现实，于是便通过怪诞、幻想、夸张的⽅式，再现⽣活中的混乱、恐怖和疯狂。
他们表现的是没有⽬标与⽅向的梦境世界他们讲的是⽀离破碎的故事，写的是“反英雄”、甚⾄是不完整的形象。
这个时期，⽂学作品中对性爱（包括同性爱）的描写也更为；露⾻。
战争⽂学战后出现的第⼀股⽂学浪潮是战争⼩说。
其中较好的是梅勒的《*者和死者》（1948）和詹姆斯·琼斯的《从这⾥到永恒》（1951）。
两部书的共同点是通过战争，写⼩兵、下级军官与军事机构的⽭盾，即⼈的个性与扼杀个性的权⼒机构之间的冲突。
这些⼩说已经触及战后整个⼀代⽂学最突出的⼀个主题。
“怯懦的⼗年” 50年代，右翼保守势⼒向30年代激进主义传统进攻，许多⼈由关⼼社会进步转⽽关⼼个⼈的私利。
这10年被称为“怯懦的⼗年”或“沉寂的⼗年”。
这期间，出现了⼀些作品，将资产阶级描绘成正⾯⼈物，⿎吹服从权威，如《穿灰法兰绒⾐服的⼈》（1955）。
这类作品企图维护既定价值标准和现存社会秩序，很快就失去了影响。
另⼀⽅⾯，阿瑟·⽶勒等作家抵制麦卡锡主义，继续⽤作品抨击社会的不正义。
“垮掉的⼀代” 50年代沉闷的政治空⽓使许多青年感到窒息，他们吸毒、群居，以颓唐、放纵的⽣活⽅式来表⽰⾃⼰的*。
其中有些⼈把这种⽣活与情绪写⼊⽂学作品，这便是“垮掉的⼀代”⽂学。
这种⽂学发展到60年代后，在国内民主运动⾼涨的背景下，增加了⼀些政治⾊彩。
(大学语文外国文学)32二战后拉丁美洲外国文学
认真汲取现代派作家的精华，特别是多层面， 多角度揭示人物的内心活动。
有的把其他艺术形式(如电影、音乐、绘画)和 社会科学(如哲学、医学、美学、心理学等)熔 于一炉，立意深刻、艺术形式奇特，大大胜 于前辈作家。
“黄种人能够拯救他们的军队。”已掌握英
大炮指向的目标，叫“阿尔贝”的驻扎德军
的法国小村庄。如何告诉?找同名人杀，报纸
刊消息，德情报头子就明白。开始行动时，
发现一英国侦探理查·马登上尉已盯上自己，
在电话本找到住郊区的史蒂芬·阿尔贝博士，
坐火车前往那里，但马登的身影也晃动在车
外。
6
2020/10/23
来到阿尔贝住处，余琛发现这位博士正在研 究一个迷宫，就是“交叉小径的花园”。
我恢复了，或者说我认为我恢复了它原来的
面貌，我全部翻译好了这部作品。我清清楚
楚
明
明
白
白
地
知
道
，他
没
有
一
次
使
用
过
‘
时8 2020/10/23
这个字。这解释很明显：《交叉小径的花园》 是崔朋所设想的一幅宇宙的图画，它没有完 成，然而并非虚假。您的祖先跟牛顿和叔本 华不同，他不相信时间的一致，时间的绝对。 他相信时间的无限连续，相信正在扩展着， 正在变化着的分散、集中、平行的时间的网。 这张时间的网，它的网线互相接近、交叉隔 断，或者几个世纪各不相干，包含了一切的 可能性。我们并不存在于这种时间的大多数 里；在某一些里，您存在，而我不存在；在 另一些里，我存在而您不存在；在再一些里， 您我都存在。在这一个时间里，我得到了一 个好机缘，所以您来到了我的这所房子；在 另一个时间里，您走过花园，会发现我死了； 在再一个时间里，我说了同样这些话，然而 我却是个错误，是个幽魂。”
(大学语文外国文学)29二战后英国小说
金斯利·艾米斯(1922-） 《幸运的吉姆》(1954)
喜剧式，挖苦讽刺教育界学院派环境。 出身寒微历史教师吉姆·迪克森忍受低下 地位，在资深人士威尔奇教授面前低三 下四忍气吞声。后同他及儿子伯特兰抗 争，把伯女友克里丝汀争取过来。最后 与威一家决裂，彻底脱离大学，带克投 她富商叔父门下。涉及阶级对立、精英/ 大众、文化界/工商界，意蕴丰富。虽反 学院反文化反精英，但手法细腻结构严 谨，心理刻画景物描写及气氛营造精彩。
仅来自“实干”资产阶级，而且来自“专业
化的蛮横统治”，因为职业化科技阶层有许
多人来自绅士阶级,削弱绅士队伍，使其重要
性下降。
17
2021/8/3
主线与时代虚伪
主线是“法国中尉的女人”萨拉·伍德拉芙对 查尔斯的引诱及后果——查尔斯与“实干” 商业大亨弗里曼女儿厄尼斯蒂娜婚约解除。
查尔斯遭遇具时代典型性。当时社会似乎太 多宗教虔诚，太富道德心，婚姻与性双重标 准。一面19世纪建教堂比英以往历史修建总 和还多，另一面伦敦每六十幢房屋就有一幢 妓院。公开场合欲望否弃压制，私下场合欲 望前所未有放纵，标准强烈反差——虚伪， 或说矛盾只有靠虚伪加以克服。现代人看维 多利亚时代虚伪极严重，难以理喻。重要侧 面是用现代人视角观照和批判这种虚伪。
7 2021/8/3
“寓言编撰家”
20世纪50年代末60年代初，面临战后日 益激化的社会矛盾，加上科技发展的冲 击和存在主义影响，一些英国作家开始 对人的处境的探讨发生兴趣。他们在创 作中把对现代社会问题的思考同寓言的 形式结合起来，被称为“寓言编撰家” 或“哲学派”。这一派有 威廉·戈尔丁 (1911-)艾丽丝·默多克(1919-1999) 多莉 丝·莱辛(1919-）和约翰·福尔斯(1926-)。
(大学语文外国文学)26二战后法国外国文学
提高了法国文学的世界影响力
二战后法国外国文学的广泛传播和认可，提高了 法国文学的世界影响力，使其成为世界文学的重 要一极。
对跨文化交流的启示
尊重文化差异
二战后法国外国文学提醒我们在 跨文化交流中要尊重不同文化的 差异，避免文化冲突和误解。
跨文化视角
二战后的法国外国文学开始关注不同文化背景下的主题和 人物，通过跨文化视角的呈现，揭示了人类共同面临的问 题和挑战。
语言风格独特
作家们运用独特的语言风格，如简洁明快、细腻入微、幽 默诙谐等，使得作品具有鲜明的个性和魅力。
比较文学研究
将不同文化背景下的文学作品进行比较研究，挖掘其共同 点和差异，有助于深入理解文学的本质和价值。
拓展研究领域与主题
加强实证研究
进一步拓展研究领域，关注更多元化的主 题，如环境文学、科技与文学的交融等。
鼓励更多的实证研究，通过数据和案例分 析来丰富和验证理论观点。
THANKS
感谢观看
二战后法国外国文学
• 引言 • 二战后法国外国文学概况 • 文学主题与思想 • 文学风格与技巧 • 对后世的影响与启示 • 结论01 Nhomakorabea引言
背景与意义
二战后国际格局的转变
二战后，世界格局发生了重大变化，欧洲国家受到战争的重创，美国逐渐成为世界超级大国。这一时 期，文化交流变得尤为重要，法国作为欧洲的文化中心，对外国文学的引进和传播具有重要意义。
法国文学的多元性需求
随着全球化进程的加速，法国文学界对外国文学作品的需求增加，以丰富本国文化的内涵，并促进与 其他国家的文化交流。
研究目的与问题
美国文学史概论之六：战后美国文学
• Novels: The Natural (52); The Assistant (57); A New Life (61); The Fixer (66); Dubin’s Life (79); God’s Grace (82).
• Collection: The Magic Barrel (58); Idiots First (63); Rembrandt’s Hat(73)
(79) • Flannery O’Cannor (1925-64) • Novels: Wise Blood (52);The Violent Bear It Away (1960)
Collections: A Good Man is Hard to Find (55); Everything That Rises Must Converge (55)
•
War and Remembrance (79)
• Norman Mailer (1923-): The Naked and the Death (48)
• Joseph Heller (1923-): Catch-22 (61); Closing Time (1994, a sequel)
• Kurt Vonnegut, Jr. (1922-): Slaughterhouse Five (1969)
• Thomas Pynchon (1937- ): The Gravity’s Rainbow ( American Literature A. Novels since 1945
• 2. Jewish American Novelists
• Saul Bellow (1915-2005) -- 1976 Nobel Prize Winner
14. 二战后美国小说
Norman Miller
Innovator of nonfiction novel: the encasement of actual events in a novelistic framework
Kurt Vonnegut Joseph Heller:
Fictionalize the author’s actual war experience; a blending of features of absurd novel and metafiction: a form of writing about fiction in the form of fiction, self-referential and selfreflexive Metafiction strategies: text within text, authorial personae, undesirability with no real story
Writers of Jewish origin
Writers, male or female, of diversified origins, diversified experimentalist techniques and diversified highlypersonalized themes
Idea of art changed Novel forms multiplied
Realistic literary tradition being declared exhausted or even dead Highly experimentation: New artistic techniques are exploded and created to record modern man’s new experience of life and further development of epistemology (1940s-1950s) Fantasy, surrealism, nonfiction, science fiction, black or absurd humor, parody and pop (1960s-1970s) Novel of the absurd, metafiction, avant-gardism
二战后的美国文学
研究型美国文学学习资料二战后的美国文学American Poetry Since 1945: The Anti-TraditionA shift away from an assumption that traditional forms, ideas, and history can provide meaning and continuity to human life has occurred in the contemporary literary imagination throughout many parts of the world, including the United States. Events since World War II have produced a sense of history as discontinuous: Each act, emotion, and moment is seen as unique. Style and form now seem provisional, makeshift, reflexive of the process of composition and the writer's self-awareness. Familiar categories of expression are suspect; originality is becoming a new tradition.It is not hard to find historical causes for this disassociated sensibility in the United States. World War II itself, the rise of anonymity and consumerism in a mass urban society, the protest movements of the 1960s, the decade-long Vietnam conflict, the Cold War, environmental threats -- the catalog of shocks to American culture is long and varied. The change that has most transformed American society, however, has been the rise of the mass media and mass culture. First radio, then movies, and now an all-powerful, ubiquitous television presence have changed American life at its roots. From a private, literate, elite culture based on the book, the eye, and reading, the United States has become a media culture attuned to the voice on the radio, the music of compact discs and cassettes, film, and the images on the television screen.American poetry has been directly influenced by mass media and electronic technology. Films, videotapes, and tape recordings of poetry readings and interviews with poets have become available, and new inexpensive photographic methods of printing have encouraged young poets to self-publish and young editors to begin literary magazines -- of which there are now well over 2,000. From the late 1950s to the present, Americans have been increasingly aware that technology, so useful in itself, presents dangers through the wrong kinds of striking images. To Americans seeking alternatives, poetry seems more relevant than before: It offers people a way to express subjective life and articulate the impact of technology and mass society on the individual.A host of styles, some regional, some associated with famous schools or poets, vie for attention; contemporary American poetry is decentralized, richly varied, and impossible to summarize. For the sake of discussion, however, it can be arranged along a spectrum, producing three overlapping camps -- the traditional on one end, the idiosyncratic in the middle, and the experimental on the other end. Traditional poets have maintained or revitalized poetic traditions. Idiosyncratic poets have used bothtraditional and innovative techniques in creating unique voices. Experimental poets have courted new cultural styles.TRADITIONALISMT raditional writers include acknowledged masters of traditional forms and diction who write with a readily recognizable craft, often using rhyme or a set metrical pattern. Often they are from the U.S. Eastern seaboard or from the southern part of the country, and teach in colleges and universities. Richard Eberhart and Richard Wilbur; the older Fugitive poets John Crowe Ransom, Allen Tate, and Robert Penn Warren; such accomplished younger poets as John Hollander and Richard Howard; and the early Robert Lowell are examples. They are established and frequently anthologized.The previous chapter discussed the refinement, respect for nature, and profoundly conservative values of the Fugitives. These qualities grace much poetry oriented to traditional modes. Traditionalist poets are generally precise, realistic, and witty; like Richard Wilbur (1921- ), they are often influenced in these directions by 15th- and 16th-century British metaphysical poets brought to favor by T.S. Eliot. Wilbur's most famous poem, "A World Without Objects Is a Sensible Emptiness" (1950), takes its title from Thomas Traherne, a metaphysical poet. Its vivid opening illustrates the clarity some poets have found within rhyme and formal regularity:The tall camels of the spiritSteer for their deserts, passing the last groves loudWith the sawmill shrill of the locust, to the whole honeyof the aridSun. They are slow, proud...Traditional poets, unlike many experimentalists who distrust "too poetic" diction, welcome resounding poetic lines. Robert Penn Warren (1905-1989) ended one poem with the words "To love so well the world that we may believe, in the end, in God." Allen Tate (1899-1979) ended a poem, "Sentinel of the grave who counts us all!" Traditional poets also at times use a somewhat rhetorical diction of obsolete or odd words, using many adjectives (for example, "sepulchral owl") and inversions, in which the natural, spoken word order of English is altered unnaturally. Sometimes the effect is noble, as in the line by Warren; other times, the poetry seems stilted and out of touch with real emotions, as in Tate's line: "Fatuously touched the hems of the hierophants."Occasionally, as in Hollander, Howard, and James Merrill (1926- ), self-conscious diction combines with wit, puns, and literary allusions. Merrill, who is innovative in his urban themes, unrhymed lines, personal subjects, and light conversational tone, shares a witty habit with the traditionalists in "The Broken Heart" (1966), writing about a marriage as if it were a cocktail:Always that same old story -Father Time and Mother Earth,A marriage on the rocks.Obvious fluency and verbal pyrotechnics by some poets, like Merrill and John Ashbery, make them successful in traditional terms, although their poetry redefines poetry in radically innovative ways. Stylistic gracefulness makes some poets seem more traditional than they are, as in the case of Randall Jarrell (1914-1965) and A.R. Ammons (1926- ). Ammons creates intense dialogues between humanity and nature; Jarrell steps into the trapped consciousness of the dispossessed -- women, children, doomed soldiers, as in "The Death of the Ball Turret Gunner" (1945):From my mother's sleep I fell into the State,And I hunched in its belly till my wet fur froze.Six miles from earth, loosed from its dream of life,I woke to black flak and the nightmare fighters.When I died they washed me out of the turret with a hose.Although many traditional poets use rhyme, not all rhymed poetry is traditional in subject or tone. Poet Gwendolyn Brooks (1917- ) writes of the difficulties of living -- let alone writing -- in urban slums. Her "Kitchenette Building" (1945) asks how: Could a dream send up through onion fumesIts white and violet, fight with fried potatoesAnd yesterday's garbage ripening in the hall...Many poets, including Brooks, Adrienne Rich, Richard Wilbur, Robert Lowell, and Robert Penn Warren began writing traditionally, using rhyme and meters, but abandoned these in the 1960s under the pressure of public events and a gradual trend toward open forms.Robert Lowell (1917-1977)The most influential recent poet, Robert Lowell, began traditionally but was influenced by experimental currents. Because his life and work spans the period between the older modernist masters like Ezra Pound and the contemporary writers, his career places the later experimentalists in a larger context.Lowell fits the mold of the academic writer: white, male, Protestant by birth, well-educated, and linked with the political and social establishment. He was a descendant of the respected Boston Brahmin family that included the famous 19th-century poet James Russell Lowell and a recent president of Harvard University. Robert Lowell found an identity outside his elite background, however. He went not to Harvard but to Kenyon College in Ohio, where he rejected his Puritan ancestry and converted to Catholicism. Jailed for a year as a conscientious objector in World War II, he later publicly protested the Vietnam conflict.Lowell's early books, Land of Unlikeness(1944) and Lord Weary's Castle(1946), which won a Pulitzer Prize, revealed great control of traditional forms and styles, strong feeling, and an intensely personal yet historical vision. The violence and specificity of the early work is overpowering in poems like "Children of Light" (1946), a harsh condemnation of the Puritans who killed Indians and whose descendants burned surplus grain instead of shipping it to hungry people. Lowell writes: "Our fathers wrung their bread from stocks and stones / And fenced their gardens with the Redman's bones."Lowell's next book, The Mills of the Kavanaughs(1951), contains moving dramatic monologues in which members of his family reveal their tenderness and failings. As always, his style mixes the human with the majestic. Often he uses traditional rhyme, but his colloquialism disguises it until it seems like background melody. It was experimental poetry, however, that gave Lowell his breakthrough into a creative individual idiom.On a reading tour in the mid-1950s, Lowell heard some of the new experimental poetry for the first time. Allen Ginsberg's Howl and Gary Snyder's Myths and Texts, still unpublished, were being read and chanted, sometimes to jazz accompaniment, in coffee houses in North Beach, a section of San Francisco. Lowell felt that next to these, his own accomplished poems were too stilted, rhetorical, and encased in convention; when reading them aloud, he made spontaneous revisions toward a more colloquial diction. "My own poems seemed like prehistoric monsters dragged down into a bog and death by their ponderous armor," he wrote later. "I was reciting what I no longer felt."At this point Lowell, like many poets after him, accepted the challenge of learning from the rival tradition in America -- the school of William Carlos Williams. "It's as if no poet except Williams had really seen America or heard its language," he wrote in 1962. Henceforth, Lowell changed his writing drastically, using the "quick changes of tone, atmosphere and speed" that Lowell most appreciated in Williams.Lowell dropped many of his obscure allusions; his rhymes became integral to the experience within the poem instead of superimposed on it. The stanzaic structure, too, collapsed; new improvisational forms arose. In Life Studies(1959), he initiated confessional poetry, a new mode in which he bared his most tormenting personal problems with great honesty and intensity. In essence, he not only discovered his individuality but celebrated it in its most difficult and private manifestations. He transformed himself into a contemporary, at home with the self, the fragmentary, and the form as process.Lowell's transformation, a watershed for poetry after the war, opened the way for many younger writers. In For the Union Dead (1964), Notebook 1967-69 (1970), and later books, he continued his autobiographical explorations and technical innovations, drawing upon his experience of psychoanalysis. Lowell's confessional poetry has beenparticularly influential. Works by John Berryman, Anne Sexton, and Sylvia Plath (the last two his students), to mention only a few, are impossible to imagine without Lowell.IDIOSYNCRATIC POETSP oets who have developed unique styles drawing on tradition but extending it into new realms with a distinctively contemporary flavor, in addition to Plath and Sexton, include John Berryman, Theodore Roethke, Richard Hugo, Philip Levine, James Dickey, Elizabeth Bishop, and Adrienne Rich.Sylvia Plath (1932-1963)Sylvia Plath lived an outwardly exemplary life, attending Smith College on scholarship, graduating first in her class, and winning a Fulbright grant to Cambridge University in England. There she met her charismatic husband-to-be, poet Ted Hughes, with whom she had two children and settled in a country house in England. Beneath the fairy-tale success festered unresolved psychological problems evoked in her highly readable novel The Bell Jar (1963). Some of these problems were personal, while others arose from repressive 1950s attitudes toward women. Among these were the beliefs -- shared by most women themselves -- that women should not show anger or ambitiously pursue a career, and instead find fulfillment in tending their husbands and children. Successful women like Plath lived a contradiction.Plath's storybook life crumbled when she and Hughes separated and she cared for the young children in a London apartment during a winter of extreme cold. Ill, isolated, and in despair, Plath worked against the clock to produce a series of stunning poems before she committed suicide by gassing herself in her kitchen. These poems were collected in the volume Ariel (1965), two years after her death. Robert Lowell, who wrote the introduction, noted her poetry's rapid development from the time she and Anne Sexton had attended his poetry classes in 1958. Plath's early poetry is well-crafted and traditional, but her late poems exhibit a desperate bravura and proto-feminist cry of anguish. In "The Applicant" (1966), Plath exposes the emptiness in the current role of wife (who is reduced to an inanimate "it"):A living doll, everywhere you look.It can sew, it can cook.It can talk, talk, talk.It works, there is nothing wrong with it.You have a hole, it's a poultice.You have an eye, it's an image.My boy, it's your last resort.Will you marry it, marry it, marry it.Plath dares to use a nursery rhyme language, a brutal directness. She has a knack for using bold images from popular culture. Of a baby she writes, "Love set you going like a fat gold watch." In "Daddy," she imagines her father as the Dracula of cinema: "There's a stake in your fat black heart / And the villagers never liked you."Anne Sexton (1928-1974)Like Plath, Anne Sexton was a passionate woman who attempted to be wife, mother, and poet on the eve of the women's movement in the United States. Like Plath, she suffered from mental illness, and ultimately committed suicide. Sexton's confessional poetry is more autobiographical than Plath's and lacks the craftedness Plath's earlier poems exhibit. Sexton's poems appeal powerfully to the emotions, however. They thrust taboo subjects such as sex, guilt, and suicide into close focus. Often they daringly introduce female topics such as childbearing, the female body, or marriage seen from a female point of view. In poems like "Her Kind" (1960), Sexton identifies with a witch burned at the stake:I have ridden in your cart, driver,waved my nude arms at villages going by,learning the last bright routes, survivorwhere your flames still bite my thighand my ribs crack where your wheels wind.A woman like that is not ashamed to die.I have been her kind.The titles of her works indicate their concern with madness and death. They include To Bedlam and Part Way Back (1960), Live or Die (1966), and the posthumous book The Awful Rowing Toward God (1975).John Berryman (1914-1972)John Berryman's life parallels Robert Lowell's in some respects. Born in Oklahoma, he was educated in the Northeast -- at prep school and at Columbia University, and later was a fellow at Princeton University. Specializing in traditional forms and meters, he was inspired by early American history and wrote self- critical, confessional poems in his Dream Songs(1969), which feature a grotesque autobiographical character named Henry and reflections on his own teaching routine, chronic alcoholism, and ambition.Like his contemporary, Theodore Roethke, Berryman developed a supple, playful, but profound style enlivened by phrases from folklore, children's rhymes, clichés, and slang. Berryman writes, of Henry, "He stared at ruin. Ruin stared straight back." Elsewhere, he wittily writes, "Oho alas alas / When will indifference come, I moan and rave."Theodore Roethke (1908-1963)The son of a greenhouse owner, Theodore Roethke evolved a special languageevoking the "greenhouse world" of tiny insects and unseen roots: "Worm, be with me. / This is my hard time." His love poems in Words for the Wind(1958) celebrate beauty and desire with innocent passion: One poem begins "I knew a woman, lovely in her bones, / When small birds sighed, she would sigh back at them." Sometimes his poems seem like nature's shorthand or ancient riddles: "Who stunned the dirt into noise? / Ask the mole, he knows."Richard Hugo (1923-1982)Richard Hugo, a native of Seattle, Washington, studied under Theodore Roethke. He grew up poor in dismal urban environments and excelled at communicating the hopes, fears, and frustrations of working people against the backdrop of the northwestern United States. Hugo wrote nostalgic, confessional poems in bold iambics about shabby, forgotten small towns in his part of the United States; he wrote of shame, failure, and rare moments of acceptance through human relationships. He focused the reader's attention on minute, seemingly inconsequential details in order to make more significant points. "What Thou Lovest Well, Remains American" (1975) ends with a person carrying memories of his old hometown as if they were food:in case you're stranded in some oddempty townand need hungry lovers for friends,and need feelyou are welcome in the street clubthey have formed.Philip Levine (1928- )Philip Levine, born in Detroit, Michigan, deals directly with the economic sufferings of workers through keen observation, rage, and painful irony. Like Hugo, his background is urban and poor. He has been the voice for the lonely individual caught up in industrial America. Much of his poetry is somber and reflects an anarchic tendency amid the realization that systems of government will endure.In one poem, Levine likens himself to a fox who survives in a dangerous world of hunters through his courage and cunning. In terms of his rhythmic pattern, he has traveled a path from traditional meters in his early works to a freer, more open line in his later poetry as he expresses his lonely protest against the evils of the contemporary world.James Dickey (1923- )James Dickey, a novelist and essayist as well as poet, is a native of Georgia. By his own reflection, he believes that the major theme in his work is the continuity that exists -- or must exist -- between the self and the world. Much of his writing is rooted in nature -- rivers and mountains, weather patterns, and the perils lurking within.In the late 1960s, Dickey began working on a novel, Deliverance, about the dark side of male bonding, which, when published and later filmed, increased his renown. His recent collections of verse deal with such varied themes as the landscape of the South (Jericho: The South Beheld, 1974) and the influence of the Bible on his life (God's Images, 1977). Dickey is often concerned with effort: "Outdoing, desperately / Outdoing what is required."Elizabeth Bishop (1911-1979) and Adrienne Rich (1929- )Among women poets of the idiosyncratic group, Elizabeth Bishop and Adrienne Rich have garnered the most respect in recent years. Bishop's crystalline intelligence and interest in remote landscapes and metaphors of travel appeal to readers for their exactitude and subtlety. Like her mentor Marianne Moore, Bishop, who never married, wrote highly crafted poems in a cool, descriptive style that contains hidden philosophical depths. The description of the ice-cold North Atlantic in "At the Fishhouses" could apply to Bishop's own poetry: "It is like what we imagine knowledge to be: / dark, salt, clear, moving, utterly free."With Moore, Bishop may be placed in a "cool" female poetic tradition harking back to Emily Dickinson, in comparison with the "hot" poems of Plath, Sexton, and Adrienne Rich. Though Rich began by writing poems in traditional form and meter, her works, particularly those written after she became an ardent feminist in the 1960s, embody strong emotions. Her special genius is the metaphor, as in her extraordinary work "Diving Into the Wreck" (1973), evoking a woman's search for identity in terms of diving down to a wrecked ship. The wreck is like the wreckage of women s selfhood, the speaker suggests; women must find their way through male-dominated realms. Rich's poem "The Roofwalker" (1961), dedicated to poet Denise Levertov, imagines poetry writing, for women, as a dangerous craft. Like men building a roof, she feels "exposed, larger than life, / and due to break my neck."Experimental poetryT he force behind Lowell's mature achievement and much of contemporary poetry lies in the experimentation begun in the 1950s by a number of poets. They may be divided into five loose schools, identified by Donald Allen in his The New American Poetry (1960), the first anthology to present the work of poets who were previously neglected by the critical and academic communities.Inspired by jazz and abstract expressionist painting, most of the experimental writers are a generation younger than Lowell. They have tended to be bohe mian, counter-culture intellectuals who disassociated themselves from universities and outspokenly criticized "bourgeois" American society. Their poetry is daring, original, and sometimes shocking. In its search for new values, it claims affinity with the archaic world of myth, legend, and traditional societies such as those of the American Indian. The forms are looser, more spontaneous, organic; they arise from the subject matter and the feeling of the poet as the poem is written, and from the natural pausesof the spoken language. As Allen Ginsberg noted in "Improvised Poetics," "first thought best thought."The Black Mountain SchoolThe Black Mountain School centered around Black Mountain College an experimental liberal arts college in Asheville, North Carolina, where poets Charles Olson, Robert Duncan, and Robert Creeley taught in the early 1950s. Ed Dorn, Joel Oppenheimer, and Jonathan Williams studied there, and Paul Blackburn, Larry Eigner, and Denise Levertov published work in the school's magazines, Origin and the Black Mountain Review. The Black Mountain School is linked with Charles Olson's theory of "projective verse," which insisted on an open form based on the spontaneity of the breath pause in speech and the typewriter line in writing.Robert Creeley (1926- ), who writes with a terse, minimalist style, was one of the major Black Mountain poets. In "The Warning" (1955), Creeley imagines the violent, loving imagination:For love -- I wouldsplit open your head and puta candle inbehind the eyes.Love is dead in usif we forgetthe virtues of an amuletand quick surpriseThe San Francisco SchoolThe work of the San Francisco School -- which includes most West Coast poetry in general -- owes much to Eastern philosophy and religion, as well as to Japanese and Chinese poetry. This is not surprising because the influence of the Orient has always been strong in the U.S. West. The land around San Francisco -- the Sierra Nevada Mountains and the jagged seacoast -- is lovely and majestic, and poets from that area tend to have a deep feeling for nature. Many of their poems are set in the mountains or take place on backpacking trips. The poetry looks to nature instead of literary tradition as a source of inspiration.San Francisco poets include Jack Spicer, Lawrence Ferlinghetti, Robert Duncan, Phil Whalen, Lew Welch, Gary Snyder, Kenneth Rexroth, Joanne Kyger, and Diane diPrima. Many of these poets identify with working people. Their poetry is often simple, accessible, and optimistic.At its best, as seen in the work of Gary Snyder (1930- ), San Francisco poetry evokes the delicate balance of the individual and the cosmos. In Snyder's "Above PateValley" (1955), the poet describes working on a trail crew in the mountains and finding obsidian arrowhead flakes from vanished Indian tribes:On a hill snowed all but summerA land of fat summer deer,They came to camp. On theirOwn trails. I followed my ownTrail here. Picked up the cold-drill,Pick, singlejack, and sackOf dynamite.Ten thousand years.Beat PoetsThe San Franciso School blends into the next grouping -- the "Beat" poets, who emerged in the 1950s. Most of the important Beats (beatniks) migrated to San Francisco from the East Coast, gaining their initial national recognition in California. Major Beat writers have included Allen Ginsberg, Gregory Corso, Jack Kerouac, and William Burroughs. Beat poetry is oral, repetitive, and immensely effective in readings, largely because it developed out of poetry readings in underground clubs. Some might correctly see it as a great-grandparent of the rap music that became prevalent in the 1990s.Beat poetry was the most anti-establishment form of literature in the United States, but beneath its shocking words lies a love of country. The poetry is a cry of pain and rage at what the poets see as the loss of America's innocence and the tragic waste of its human and material resources.Poems like Allen Ginsberg's Howl (1956) revolutionized traditional poetry:I saw the best minds of my generation destroyed by madness,starving hysterical naked,dragging themselves through the negro streets at dawn lookingfor an angry fix,angelheaded hipsters burning for the ancient heavenly connectionto the starry dynamo in the machinery of night...The New York SchoolUnlike the Beat and San Franciso poets, the poets of the New York School are not interested in overtly moral questions, and, in general, they steer clear of political issues. They have the best formal educations of any group.The major figures of the New York School -- John Ashbery, Frank O'Hara, and Kenneth Koch -- met while they were undergraduates at Harvard University. They are quintessentially urban, cool, nonreligious, witty with a poignant, pastel sophistication.Their poems are fast moving, full of urban detail, incongruity, and an almost palpable sense of suspended belief.New York City is the fine arts center of America and the birthplace of Abstract Expressionism, a major inspiration of this poetry. Most of the poets worked as art reviewers or museum curators, or collaborated with painters. Perhaps because of their feeling for abstract art, which distrusts figurative shapes and obvious meanings, their work is often difficult to comprehend, as in the later work of John Ashbery (1927- ), perhaps the most influential poet writing today.Ashbery's fluid poems record thoughts and emotions as they wash over the mind too swiftly for direct articulation. His profound, long poem, Self-Portrait in a Convex Mirror(1975), which won three major prizes, glides from thought to thought, often reflecting back on itself:A shipFlying unknown colors has entered the harbor.Y ou are allowing extraneous mattersTo break up your day...Surrealism and ExistentialismIn his anthology defining the new schools, Donald Allen includes a fifth group he cannot define because it has no clear geographical underpinning. This vague group includes recent movements and experiments. Chief among these are surrealism, which expresses the unconscious through vivid dreamlike imagery, and much poetry by women and ethnic minorities that has flourished in recent years. Though superficially distinct, surrealists, feminists, and minorities appear to share a sense of alienation from white, male, mainstream literature.Although T.S. Eliot, Wallace Stevens, and Ezra Pound had introduced symbolist techniques into American poetry in the 1920s, surrealism, the major force in European poetry and thought in Europe during and after World War II, did not take root in the United States. Not until the 1960s did surrealism (along with existentialism) become domesticated in America under the stress of the Vietnam conflict.During the 1960s, many American writers -- W.S. Merwin, Robert Bly, Charles Simic, Charles Wright, and Mark Strand, among others -- turned to French and especially Spanish surrealism for its pure emotion, its archetypal images, and its models of anti- rational, existential unrest.Surrealists like Merwin tend to be epigrammatic, as in lines such as: "The gods are what has failed to become of us / If you find you no longer believe enlarge the temple."。
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流派包括垮掉的一代、黑山派诗人、田野派 诗人、旧金山诗人、黑色幽默小说以及犹太 文学、亚裔文学等创作群体；
作家包括诺曼·梅勒、库尔特·冯内古特、约瑟 夫·海勒、拉尔夫·埃利森、索尔·贝娄、杰 克·凯鲁亚克、 J．D．塞林格、纳博科夫、约 翰·巴思、托马斯·品钦、托妮·莫瑞森、艾 伦·金斯伯格、阿瑟·米勒，田纳西·威廉斯等 。
共产党组织利用他的口才让他做他们的传声 筒，非洲民族主义者让他为他们宣传，还有 南方政治家、北方的自由主义者都利用他。 没有人对他的意见感兴趣，没有人考虑他的 身份人格。在偶然卷入一场黑人骚动之后， 他躲入一间地下室隐居。
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托妮·莫瑞森（1931-）1993年诺贝尔文学奖。
吸收发展后结构理论，提炼发展黑人英语。
和命运。反映美国文化危机和物质主义得势。 9 2020/7/25
3．青年题材和地域性作家作品
约翰·厄普代克(1932-) 在富裕的大众文化社会 中如何保持新教道德观和传统。兔子系列。
第一部《兔子跑吧》（1960）25岁厨刀推销 员在平稳家庭总感欠缺，总想中学当校篮球 队明星往事，终于开车离家与人同居，往来 妻子情妇间，出新情况就开车跑掉。不安现 状，通过跑动发现自我，安于现状意味窒息。
第五节 二战后美国小说
1.战争：诺曼·梅勒(1923-)
库尔特·冯内古特(1922-)
约瑟夫·海勒(1923-)
2.少数民族：
黑人： 拉尔夫·埃利森(1914-)
托妮·莫瑞森（1931-）93
犹太：索尔·贝娄（1915-）76
3.青年和地域：
杰克·凯鲁亚克(1922-1969)
杰罗姆·大卫·塞林格(1919-)
第二部《兔子归来》(1971)十年后兔子(推销 员哈里)36岁，60年代末动荡社会浪漫怪异事 件。越战、种族冲突、毒品、嬉皮士现象等。 登月广播，中产阶级价值观动摇。
第三部《兔子富了》(1981)又十年成丰田汽车 代理商，与妻和好买新房希望儿子不重复昔 日他做的蠢事。心满意足，保守、维持现状。
4.实验和元小说:
纳博科夫(1899-1977) 约翰·巴 思(1930-) 托马斯·品钦(1937-)
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概述
现代主义向后现代主义过渡，原被压抑在边 缘的女性、黑人和后殖民文学异军突起，构 成多元景观。思潮，流派，作家层出不穷。
思潮有反文化、嬉皮士、后现代主义、存在 主义、女权主义、后殖民主义等；
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2。犹太文学。描写犹太族裔的异化和疏离感， 和作为中产阶级现代人的历史感、道德观和 焦虑，战后大都市的机遇和物质主义倾向。 包括小说家贝娄（1915-）、辛格（1904-）伯 纳德·马拉默德(1914-1986) 、菲利普·罗斯 (1933-) ，剧作家阿瑟·米勒和诗人艾伦·金斯 伯格 。
辛格（1904-）作品都用意第绪语写成。《卢 布林的魔术师》（1960）通过雅夏的经历反 映犹太人的悲惨处境。《冤家，一个爱情故 事》（1972）一个曾经遭到纳粹迫害的犹太 知识分子和三个女人恋爱的故事。《萧莎》 （1978）自传体小说，写犹太作家对孩提时 代的情人忠贞不渝的爱情。
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《奥吉·玛琪历险记》(1953)流浪汉经历实际 上是从幼年到壮年的成长探索过程的写照。
《雨王汉德森》（1959）富翁到非洲寻找精 神出路生活意义“优秀品质的荒谬探索者”。
《赫索格》（1964）犹太人知识分子的自救。 《赛姆勒先生的行星》（1970）人生意义。 《洪堡的礼物》（1975）两代犹太作家生活
索尔·贝娄（1915-）将历史现实将来融为一体， 展现纷繁多变的社会生活画面；也常打破传 统空间概念，横跨几国甚至几大洲的“跳跃 式”写法。文笔清新、流畅、自然，富于 “弹跳性”，给人轻松愉悦之感，高雅的语 言 常 和 粗 俗 俚 语 相 混 杂 。 1976 年 由 于 作 品 “对当代文化赋予人性的理解和精妙分析” 获诺贝尔文学奖。
《最蓝的眼睛》（1971）30年代黑人迁居中
西部，白人家黑人女佣佩克拉几乎精神分裂。
《苏拉》（《秀拉》）（1974）种族性别阶
级压迫下苏拉走向极端绝对自我中心。《所
罗门之歌》（1978）绰号奶娃的黑人寻根，
重新认识语言功能，可命名解释说明，又可
掩盖扭曲隐藏。《沥青娃娃》（1981）黑人
青年如何对待传统和前途。女模特扎丹男友
希望她回归传统，她则希望做有能力，创造
性和建树的女性。《蒙爱的》（又译《宠儿》
《宝贝儿》1988）1873年黑女奴细斯面前出
现渴求爱抚照顾的少女，原是18年前杀死的
十个月大的女儿。《爵士乐》（1992）53岁
黑人妻子在葬礼上划破引诱又甩掉她丈夫的
女人的遗容。身受多种压迫的女性像爵士乐
一样或疯狂挑衅进攻，或冷漠自私幽闭。
四方面描述战后小说 ：
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库尔特·冯内古特(1922-)《第五号屠场》
（1969）毕利·年到蒙特利尔参加
国际配镜师会议，飞机失事只他一人幸存。
后到纽约电台参与整夜谈话节目说他挣脱时
间羁绊因1967年被飞碟绑架到另一星球，体
“时间经”（在一瞬间可跨越太空的装置）
重新经历自己的一生，将人类与外星人相比
发现许多人类的劣根性。决定重返人类予以
拯救。
5
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2．少数族裔作家和作品
1。黑人作家。黑人文化构成某些流行文化的 基本内容与形式，如爵士乐和摇滚乐，但总 有一种倾向视其为非美国文化。
拉尔夫·埃利森(1914-) 《看不见的人》（1952） 一个不谙世故、有理想主义倾向的黑人学生， 由无知到有知，由对自己身份不见到能见的 过程。而这位无名主人公心灵成长的过程却 与故事中他的形体存在，由人群之一员到蛰 居地下，恰成逆行 。人们都在利用他：白人
验过去、现在、未来。回到1944年22岁。他
参军要投奔的团队遭歼灭，被俘押到“美丽
的城市”德累斯顿，与一百多美国俘虏住在
第五号屠场——为安放将杀的猪建的窝棚。
1945年2月13日晚德累斯顿被炸时幸免于难。
两天后被带到废墟挖尸体，发现数以百计死
人坑。一美军俘虏因拿只茶壶被枪毙。一天
早晨发现战争结束了。毕利在外星球通过