乔伊斯小说精读一
名著精读《小妇人》第一章朝圣第10节
名著精读《小妇人》第一章:朝圣第10节"Give them all of my dear love and a kiss. Tell them I think of them by day, pray for them by night, and find my best comfort in their affection at all times. A year seems very long to wait before I see them, but remind them that while we wait we may all work, so that these hard days need not be wasted. I know they will remember all I said to them, that they will be loving children to you, will do their duty faithfully, fight their bosom enemies bravely, and conquer themselves so beautifully that when I come back to them I may be fonder and prouder than ever of my little women." Everybody sniffed when they came to that part. Jo wasn't ashamed of the great tear that dropped off the end of her nose, and Amy never minded the rumpling of her curls as she hid her face on her mother's shoulder and sobbed out, "I am a selfish girl! But I'll truly try to be better, so he mayn't be disappointed in me by-and-by."“给她们献上我所有的爱和吻。
乔伊斯《尤利西斯》经典语录与好句摘抄
乔伊斯《尤利西斯》经典语录与好句摘抄（最新版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。
文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如诗歌散文、原文赏析、读书笔记、经典名著、古典文学、网络文学、经典语录、童话故事、心得体会、其他范文等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as poetry and prose, original text appreciation, reading notes, classic works, classical literature, online literature, classic quotations, fairy tales, experience, other sample essays, etc. if you want to know the difference Please pay attention to the format and writing of the sample essay!乔伊斯《尤利西斯》经典语录与好句摘抄【导语】：《尤利西斯》是一部很经典的世界名著小说，其中有很多非常经典的句子，本店铺来给大家介绍《尤利西斯》经典语录与好句摘抄，来了解一下吧。
《都柏林人》：乔伊斯堕落之城中的众生相，失望愤怒只因刻骨深爱
《都柏林人》：乔伊斯堕落之城中的众生相，失望愤怒只因刻骨深爱在全世界的作家里，詹姆斯·乔伊斯是个特殊的存在，他的笔下没有温情、善意与爱，却获得了千万人的喜欢和推崇，文学成就获得了至高的赞誉。
这位生于十九世纪末期的现代主义文学奠基者，在爱尔兰家喻户晓，他最广为人知的作品便是大部头的《尤利西斯》。
作为意识流小说的代表作，乔伊斯通过描述一天内发生的单一事件向人们展示了一幅人类社会缩影，该小说以时间为顺序，描述了三位都柏林人在1904年6月16日，从早上8点到晚上2点钟，一天之内在都柏林的种种经历，14个小时用了100多万字，许多人表示“难懂”。
爱尔兰作家、诗人詹姆斯·乔伊斯《都柏林人》和《尤利西斯》相似，也是通过个体“人”来表现社会现实的力作。
不过，《都柏林人》的视野更广阔，其中的人物形象更加多面性，涉及社会各个层次，各年龄段。
初读《都柏林人》，第一印象也有些“难懂”，但是如果结合当时爱尔兰的历史、乔伊斯的处境、整个社会背景，他的写作意图和作品内涵就不难理解。
一、“失望、愤怒”主题文学《都柏林人》是一本短篇小说集，书中通过15个故事，表现了不同场景中，形形色色的人在面对生活不同事件的反应。
由点及面，以地域“都柏林”为线索，巧妙把各个场景组合罗列，织造出一副“都柏林世相百态图”。
詹姆斯·乔伊斯短篇小说集《都柏林人》15个故事，涉及多个人物角色，但每个人物无一例外表达的都是“失望、愤怒”的情绪。
在《姐妹们》中，乔伊斯写出小男孩面对神父之死的自我感受：“这次他是没救了：已经是第三次中风了。
每天晚上，我凝视着那扇窗，总会轻声念叨一个词——瘫痪。
”然后，他听到姑姑姑父对“神父之死”的议论，又从乔伊莎和南妮姐妹俩口中得知，神父生前“买卖圣职，自个儿单干”，因失手打碎圣餐杯而发疯，精神失常，说“走的很安详”，看到的却是“躺在棺木中，带着死亡的庄严和狰狞”。
看似前后矛盾的细节，给人强烈的“碎裂、坍塌”之感。
英美文学名篇阅读与欣赏之一：詹姆斯.乔伊斯之《阿拉比》（原文）
英美⽂学名篇阅读与欣赏之⼀：詹姆斯.乔伊斯之《阿拉⽐》（原⽂）ArabyJames JoyceNorth Richmond Street , being blind, was a quiet street except at the hour when the Christmas Brother’s School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.The former tenant of our house, a priest, had died in the back drawing –room . air , musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: The Abbot, by Walter Scott, The Devout Communicant and The Memoirs of Vidocq. I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant’s rusty bicycle-pump. He had been a very charitable priest; in his will hw had left all his money to institutions and the furniture of his house to his sister.When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown somber. The space of sky above us was the color of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street, light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan’s sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan’s steps resignedly. She was waiting for us, her figure deceased by the light from the half –opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope her hair tossed from side to side.Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so that I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye and, when we came hear the point at which our ways diverged, I quickened my pace and passed her. This happened morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood.Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs’cheeks, the nasal chanting of street-singers, who sang a come-all-you about O’Donovan Rossa, or a ballad about sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears ( I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires.One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about t slip from them, I pressed the palms of my hands together until they trembled, murmuring:“ O love! O Love!” many times.At last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to answer. She asked me whether I was going to Araby. I forgot whether I answered yes or no. it would be a splendid bazaar, she said she would love to go.“And why can’t you?” I asked.While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps and I was alone at therailings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease.“It’s well for you,”she said.“If I go,”I said ,“I will bring you something.”What innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day in the classroom her image came between me and the page I strove to read. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised and hoped it was not some Freemason affair. I answered few questions in class. I watched my master’s face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child’s play, ugly monotonous child’s play.On Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly:“Yes, boy, I know.”As he was in the hall I could not go into the front parlour and lie at the window. I left the house in bad humour and walked slowly toward the school. The air was pitilessly raw and already my heart misgave me.When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and, when its ticking began to irritate me, I left the room. I mounted the staircase and gained the upper part of the house. The high cold empty gloomy rooms liberated me and I went from room to room singing. From the front window I saw my companions playing below in the street. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived. I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress.When I came downstairs again I found Mrs. Mercer sitting at the fire. She was an old garrulous woman, a pawnbroker’s widow, who collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour and still my uncle did not come. Mrs. Mercer stood up to go: she was sorry she couldn’t wait any longer, but it was after eight o’clock and she did not like to be out late, as the night air was bad for her. When she had gone I began to walk up and down the room, cleaning my fists. My aunt said:“I’m afraid you may put off your bazaar for this night of Our Lord.”At nine o’clock I heard my uncle’s latchkey in the halldoor. I heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me the money to go the bazaar. He had forgotten.“The people are in bed and after their first sleep now,”he said.I did not smile. My aunt said to him energetically:“Can’t you give him the money and let him go? You’ve kept him late enough as it is.”My uncle said he was very sorry he had forgotten. He said he believed in the old saying:“All work and no play makes Jack a dull boy.” He asked me where I was going and, when I had told him a second time he asked me did I know The Arab’s Farewell to His Steed. When I left the kitchen he was about to recite the opening lines of the piece to my aunt.I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the trees thronged with buyers and glaring with gas recalled to me the purpose of my journey. I took my seat I a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous houses and the twinkling river. At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few minutes the train drew up beside an improvised wooden platform. I passed out on to the road and saw by the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which displayed the magical name.I could not find any sixpenny entrance and , fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-looking man. I found myself in a big hall girdled at half its height by gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognized a silence like that which pervades achurch after a service. I walked into the center of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words Café Chantant were written in colored lamps, two men were counting money on a salver. I listened to the fall of the coins.Remembering with difficulty why I had come I went over to one of the stalls and examined porcelain vases and flowered tea-sets. At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely to their conversation.“O, I never said such a thing!”“O, but you did!”“O, but I didn’t!”“Didn’t she say that?”“Yes. I heard her.”“O, there’s a …fib!”Observing me the young lady came over and asked me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured:“No, thank you.”The young lady changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder.I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part of the hall was now completely dark.Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.。
乔伊斯《死者》主要内容概要及赏析
乔伊斯《死者》主要内容概要及赏析（最新版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。
文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如诗歌散文、原文赏析、读书笔记、经典名著、古典文学、网络文学、经典语录、童话故事、心得体会、其他范文等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as poetry and prose, original text appreciation, reading notes, classic works, classical literature, online literature, classic quotations, fairy tales, experience, other sample essays, etc. if you want to know the difference Please pay attention to the format and writing of the sample essay!乔伊斯《死者》主要内容概要及赏析【导语】：《死者》外国文学作品简析英国小说家乔伊斯(18821941)的短篇小说。
孤独的追寻与精神的顿悟詹姆士乔伊斯短篇小说《阿拉比》解析
总的来说，霍尔顿的孤独是他对现实世界的反抗和对真实人性的追求的结果。 他的孤独并非全然的消极，而是他对社会假象的揭露和对真实人性的坚守。他 的孤独是一种力量，是对成人世界虚伪和刻板教育的反抗，是对孩子们纯真和 善良的保护。《麦田里的守望者》通过霍尔顿这一形象，揭示了现实世界的虚 伪和假象，也呼唤人们对真实人性和纯真善良的保护和追求。
参考内容
基本内容
《百年孤独》是哥伦比亚作家加西亚·马尔克斯的代表作，也是拉丁美洲魔幻 现实主义文学的代表作。这部小说以布恩地亚家族的兴衰变迁为主线，通过独 特的象征手法，描绘了马贡多小镇和布恩地亚家族的传奇故事。
首先，马尔克斯通过家族中人物名字的重复，象征着布恩地亚家族命运的轮回。 家族中的六代人都有相同的名字：霍塞·阿卡迪奥和奥雷良诺。这种命名方式 不仅体现了家族的连续性和传统，更隐喻着家族成员命运的相似和相互关联。 每个人都仿佛是在历史的大潮中无力自主的孤独个体，他们的命运在重复中呈 现出宿命的轮回。
其次，马尔克斯以布恩地亚家族成员性格和命运的相似性来象征人类面对命运 时的无力和孤独。例如，阿卡迪奥们总是充满热情，追求科学和知识的进步， 但却无法逃脱命运的诅咒；而奥雷良诺们则致力于探索世界的本质，但却无法 抵挡战争、爱情和死亡的来临。这种命运的无力和孤独，既是对布恩地亚家族 的命运写照，也是对人类历史和命运的象征。
在故事的结尾，小男孩虽然未能实现他的梦想，但他却找到了内心的平静。他 的这种平静并不是对生活的消极接受，而是对生活的深刻理解和对自我价值的 重新定义。他的这种平静来自于他对生活的深刻洞察和对自我内心的深刻认识。
在分析这部作品时，我们不能忽视乔伊斯独特的叙事技巧。他运用了大量的象 征手法和隐喻，使故事具有了更深的含义。例如，“阿拉比”这个地方，它既 是一个异国情调的场所，又是一个象征着梦想和追求的地方。小男孩在“阿拉 比”的经历，实际上是他对生活和梦想罗姆·大卫·塞林格的代表作，也是20世纪美国文学 的重要篇章。该小说以主人公霍尔顿·考菲尔德的视角，深刻揭示了美国社会 的混乱和青少年成长中的困惑与痛苦。本次演示将着重探讨霍尔顿的精神世界， 以此解析其孤独的守望者的身份。
经典的5本短篇小说集
经典的5本短篇小说集短篇小说虽不似中长篇小说般宏大，但却精悍有力。
以其简短的情节，集中的人物，极具代表性的生活片段，极力刻画出人物的性格特征，反映出社会的生活侧面和生活内容，做到以小见大，以管窥豹。
不妨看看。
以下仅供参考！今天推荐的这几本短篇小说集，在国内外文学界都享誉盛名，不仅讲述了不同国度，不同时代，人们的生活侧面与浮生百态，也记录了时代印记下的社会浮世像，是我们了解人性，透视生活的枕边佳作。
1.《都柏林人》作者：詹姆斯·乔伊斯詹姆斯·乔伊斯是意识流文学的开山鼻祖，其长篇小说《尤利西斯》是意识流文学的代表作，二十世纪最伟大的小说之一。
《都柏林人》是詹姆斯·乔伊斯久负盛名的短篇小说集，称得上20世纪整个西方最著名的短篇小说集。
如果说《十一种孤独》是属于美国人的孤独，那么，《都柏林人》则是属于爱尔兰人的孤独。
《都柏林人》于1914年出版，置景于二三十年代的都柏林，截取中下层人民生活的横断面，一个片刻一群人，十五个故事汇集起来，宛若一幅印象主义的绘画，尽显世态的苍凉。
乔伊斯说：“我的初衷就是书写我的祖国精神史的一个章节，我选择都柏林作为场景，乃是因为在我看来这里是瘫痪的中心。
”在精神瘫痪之下，书里的人物要么浑浑噩噩，要么对生活敏感，短小平常的人物和简单略显无聊的情节，讲述着平淡如水的生活之不如意。
【经典语录】我几乎没有耐心来严肃的生活，既然这正儿八经的生活挡在我和我的愿望中间，那在我看来就好像是儿戏，丑陋单调的儿戏。
2.《最初的爱情，最后的仪式》作者：伊恩·麦克尤恩《最初的爱情，最后的仪式》是麦克尤恩的处女作与成名作，是阅读和了解这位天才作家的最佳切入点。
伊恩·麦克尤恩尤其擅长以冷静细腻的笔触打磨幽暗题材，赋予其精妙无双的质感。
本书由八个短篇组成，分别从八个处于童年、青春期和青年等不同阶段的男性视角出发，以意识和潜意识交接地带的经验为揭示对象，让读者看到，男孩对于长大，是有一些恐惧的。
尤利西斯詹姆斯乔伊斯的现代主义杰作
尤利西斯詹姆斯乔伊斯的现代主义杰作尤利西斯 - 詹姆斯·乔伊斯的现代主义杰作在20世纪的文学史上，詹姆斯·乔伊斯的小说《尤利西斯》被公认为现代主义文学的杰作之一。
这部小说以其独特的叙事方式和深入探讨人类意识与心理的主题而闻名。
本文将深入探讨《尤利西斯》的现代主义特征，包括复杂的叙事结构、多元的视角和无限的意义可能性。
第一部分：复杂的叙事结构《尤利西斯》以一天的时间为背景，讲述了主人公们在都柏林的经历。
乔伊斯采用了内心独白、倒叙、意象联结等多种叙事手法，构建起复杂的叙事结构。
这种非线性叙事方式挑战了传统小说的叙事规范，使读者需要通过不同的时间和空间跳跃来理解故事的真正含义。
这种独特的叙事结构不仅反映了现代生活的碎片化和混乱性，也呈现了人类思维的复杂与多样性。
第二部分：多元的视角《尤利西斯》采用了多个视角来叙述故事，展现了不同角色的思想、情感和感官体验。
通过主人公布鲁姆、斯蒂芬以及其他次要角色的视角转换，乔伊斯向读者展示了他们的内心世界和对现实的不同观察。
这种多元视角的运用使小说更加丰富和立体，同时也引发了对主观真实性和个人意识的思考。
第三部分：无限的意义可能性《尤利西斯》具有开放式的结局和模糊的意义，读者可以给予自己的解读。
作品中存在着丰富的象征和隐喻，赋予了文本多重解读的可能性。
乔伊斯将各种文化、历史、宗教和文学引用巧妙地融入到小说中，使之成为一部意义无限的文学作品。
这种开放性和多义性是现代主义文学的重要特征，也为读者提供了与作品互动和探索的空间。
结论《尤利西斯》作为詹姆斯·乔伊斯的现代主义杰作，通过复杂的叙事结构、多元的视角和无限的意义可能性，展现了现代生活的多样性和混沌性。
乔伊斯以独特的方式挑战了传统文学的规范，并为读者提供了一次前所未有的文学体验。
无论是对于现代主义文学的研究者，还是对于对文学作品充满好奇的读者来说，了解和探索《尤利西斯》都是一次丰富而充实的旅程。
尤利西斯詹姆斯乔伊斯的现代主义文学杰作
尤利西斯詹姆斯乔伊斯的现代主义文学杰作尤利西斯是爱尔兰作家詹姆斯·乔伊斯的代表作，也是20世纪最杰出的现代主义文学之一。
它以精雕细琢的叙事技巧和深刻的思想内涵吸引着无数读者，并对当代文学产生了深远的影响。
第一章：尤利西斯的结构与风格尤利西斯是一部以“凡尔纳公园一日”的故事为蓝本，采用内心独白、意识流和夸张夸张的形象化手法来展现主人公的思绪与情感。
乔伊斯巧妙地用不同的叙述方式和语言风格，模拟了不同人物的思维过程，给读者呈现了一个多重视角的世界，同时也展示了人类思维的复杂性和多样性。
第二章：尤利西斯的主题与意义尤利西斯的主题涉及到时间、回忆、欲望、身份认同等众多议题。
通过主人公布鲁姆与斯蒂芬的内心独白，乔伊斯探索了人类对过去的眷恋与追忆，在现实与理想之间的挣扎。
乔伊斯向读者揭示了个体与集体、民族与殖民统治之间的紧张关系，探讨了爱尔兰人民的身份认同与国家命运的问题。
第三章：尤利西斯的艺术手法与创新尤利西斯在文体上具有极高的创新性，乔伊斯以折衷主义的态度，将古典、浪漫和象征主义的元素融入到小说中。
他运用音乐、戏剧、诗歌等多种艺术形式，在细节和形象的描绘上进行了卓越的创造。
此外，乔伊斯还巧妙地运用了层层叠加的象征与暗示，为读者构建了一个深度而复杂的文学世界。
第四章：尤利西斯在文学史上的地位与影响尤利西斯以其独特的创新性和复杂性成为现代主义文学的巅峰之作，它不仅改变了文学表达的方式，也对后来的作家产生了深远的影响。
笛福、哈代、普鲁斯特等作家都受到尤利西斯的启发，他们推动了现代主义文学的发展，开创了文学史上的新纪元。
结语：尤利西斯以其卓越的艺术品质和思想内涵，成为世界文学宝库中的瑰宝。
它不仅向读者展示了一个被细腻描绘的都市世界，更为我们提供了一个审视自我与现实的镜头。
尽管其阅读难度较高，但只有通过静心阅读，并深入挖掘其中的内涵与价值，我们才能真正体味到尤利西斯带给我们的深邃之感。
让我们一同走进詹姆斯·乔伊斯独特的现代主义文学世界，领略那创新与探索的美妙旅程。
乔伊斯短篇小说Clay双语版
ClayJames Joyce (1882-1941)THE matron had given her leave to go out as soon as the women's tea was over and Maria looked forward to her evening out. The kitchen was spick and span: the cook said you could see yourself in the big copper boilers. The fire was nice and bright and on one of the side-tables were four very big barmbracks. These barmbracks seemed uncut; but if you went closer you would see that they had been cut into long thick even slices and were ready to be handed round at tea. Maria had cut them herself.Maria was a very, very small person indeed but she had a very long nose and a very long chin. She talked a little through her nose, always soothingly: "Yes, my dear," and "No, my dear." She was always sent for when the women quarrelled Over their tubs and always succeeded in making peace. One day the matron had said to her:"Maria, you are a veritable peace-maker!"And the sub-matron and two of the Board ladies had heard the compliment. And Ginger Mooney was always saying what she wouldn't do to the dummy who had charge of the irons if it wasn't for Maria. Everyone was so fond of Maria.The women would have their tea at six o'clock and she would be able to get away before seven. From Ballsbridge to the Pillar, twenty minutes; from the Pillar to Drumcondra, twenty minutes; and twenty minutes to buy the things. She would be there before eight. She took out her purse with the silver clasps and read again the words A Present from Belfast. She wasvery fond of that purse because Joe had brought it to her five years before when he and Alphy had gone to Belfast on a Whit-Monday trip. In the purse were two half-crowns and some coppers. She would have five shillings clear after paying tram fare. What a nice evening they would have, all the children singing! Only she hoped that Joe wouldn't come in drunk. He was so different when he took any drink.Often he had wanted her to go and live with them;-but she would have felt herself in the way (though Joe's wife was ever so nice with her) and she had become accustomed to the life of the laundry. Joe was a good fellow. She had nursed him and Alphy too; and Joe used often say:"Mamma is mamma but Maria is my proper mother."After the break-up at home the boys had got her that position in the Dublin by Lamplight laundry, and she liked it. She used to have such a bad opinion of Protestants but now she thought they were very nice people, a little quiet and serious, but still very nice people to live with. Then she had her plants in the conservatory and she liked looking after them. She had lovely ferns and wax-plants and, whenever anyone came to visit her, she always gave the visitor one or two slips from her conservatory. There was one thing she didn't like and that was the tracts on the walks; but the matron was such a nice person to deal with, so genteel.When the cook told her everything was ready she went into the women's room and began to pull the big bell. In a few minutes the women began to come in by twos and threes, wiping their steaming hands in their petticoats and pulling down the sleeves of their blouses over their red steaming arms. They settled down before their huge mugs which the cook and the dummy filled up with hot tea, already mixed with milk and sugar in huge tin cans. Maria superintended the distribution of the barmbrack and saw that every woman got her four slices.There was a great deal of laughing and joking during the meal. Lizzie Fleming said Maria was sure to get the ring and, though Fleming had said that for so many Hallow Eves, Maria had to laugh and say she didn't want any ring or man either; and when she laughed her grey-green eyes sparkled with disappointed shyness and the tip of her nose nearly met the tip of her chin. Then Ginger Mooney lifted her mug of tea and proposed Maria's health while all the other women clattered with their mugs on the table, and said she was sorry she hadn't a sup of porter to drink it in. And Maria laughed again till the tip of her nose nearly met the tip of her chin and till her minute body nearly shook itself asunder because she knew that Mooney meant well though, of course, she had the notions of a common woman.But wasn't Maria glad when the women had finished their tea and the cook and the dummy had begun to clear away the tea- things! She went into her little bedroom and, remembering that the next morning was a mass morning, changed the hand of the alarm from seven to six. Then she took off her working skirt and her house-boots and laid her best skirt out on the bed and her tiny dress-boots beside the foot of the bed. She changed her blouse too and, as she stood before the mirror, she thought of how she used to dress for mass on Sunday morning when she was a young girl; and she looked with quaint affection at the diminutive body which she had so often adorned, In spite of its years she found it a nice tidy little body.When she got outside the streets were shining with rain and she was glad of her old brown waterproof. The tram was full and she had to sit on the little stool at the end of the car, facing all the people, with her toes barely touching the floor. She arranged in her mind all she was going to do and thought how much better it was to be independent and to have your own money in your pocket. She hoped they would have a nice evening. She was sure they would but she could not help thinking what a pity it was Alphy and Joe were not speaking. Theywere always falling out now but when they were boys together they used to be the best of friends: but such was life.She got out of her tram at the Pillar and ferreted her way quickly among the crowds. She went into Downes's cake-shop but the shop was so full of people that it was a long time before she could get herself attended to. She bought a dozen of mixed penny cakes, and at last came out of the shop laden with a big bag. Then she thought what else would she buy: she wanted to buy something really nice. They would be sure to have plenty of apples and nuts. It was hard to know what to buy and all she could think of was cake. She decided to buy some plumcake but Downes's plumcake had not enough almond icing on top of it so she went over to a shop in Henry Street. Here she was a long time in suiting herself and the stylish young lady behind the counter, who was evidently a little annoyed by her, asked her was it wedding-cake she wanted to buy. That made Maria blush and smile at the young lady; but the young lady took it all very seriously and finally cut a thick slice of plumcake, parcelled it up and said:"Two-and-four, please."She thought she would have to stand in the Drumcondra tram because none of the young men seemed to notice her but an elderly gentleman made room for her. He was a stout gentleman and he wore a brown hard hat; he had a square red face and a grayish moustache. Maria thought he was a colonel-looking gentleman andshe reflected how much more polite he was than the young men who simply stared straight before them. The gentleman began to chat with her about Hallow Eve and the rainy weather. He supposed the bag was full of good things for the little ones and said it was only right that the youngsters should enjoy themselves while they were young. Maria agreed with him andfavoured him with demure nods and hems. He was very nice with her, and when she was getting out at the Canal Bridge she thanked him and bowed, and he bowed to her and raised his hat and smiled agreeably, and while she was going up along the terrace, bending her tiny head under the rain, she thought how easy it was to know a gentleman even when he has a drop taken.Everybody said: "0, here's Maria!" when she came to Joe's house. Joe was there, having come home from business, and all the children had their Sunday dresses on. There were two big girls in from next door and games were going on. Maria gave the bag of cakes to the eldest boy, Alphy, to divide and Mrs. Donnelly said it was too good of her to bring such a big bag of cakes and made all the children say:"Thanks, Maria."But Maria said she had brought something special for papa and mamma, something they would be sure to like, and she began to look for her plumcake. She tried in Downes's bag and then in the pockets of her waterproof and then on the hallstand but nowhere could she find it. Then she asked all the children had any of them eaten it--by mistake, of course--but the children all said no and looked as if they did not like to eat cakes if they were to be accused of stealing. Everybody had a solution for the mystery and Mrs. Donnelly said it was plain that Maria had left it behind her in the tram. Maria, remembering how confused the gentleman with the greyish moustache had made her, coloured with shame and vexation and disappointment. At the thought of the failure of her little surprise and of the two and fourpence she had thrown away for nothing she nearly cried outright.But Joe said it didn't matter and made her sit down by the fire. He was very nice with her. He told her all that went on in his office, repeating for her a smart answer which he had madeto the manager. Maria did not understand why Joe laughed so much over the answer he had made but she said that the manager must have been a very overbearing person to deal with. Joe said he wasn't so bad when you knew how to take him, that he was a decent sort so long as you didn't rub him the wrong way. Mrs. Donnelly played the piano for the children and they danced and sang. Then the two next-door girls handed round the nuts. Nobody could find the nutcrackers and Joe was nearly getting cross over it and asked how did they expect Maria to crack nuts without a nutcracker. But Maria said she didn't like nuts and that they weren't to bother about her. Then Joe asked would she take a bottle of stout and Mrs. Donnelly said there was port wine too in the house if she would prefer that. Maria said she would rather they didn't ask her to take anything: but Joe insisted.So Maria let him have his way and they sat by the fire talking over old times and Maria thought she would put in a good word for Alphy. But Joe cried that God might strike him stone dead if ever he spoke a word to his brother again and Maria said she was sorry she had mentioned the matter. Mrs. Donnelly told her husband itwas a great shame for him to speak that way of his own flesh and blood but Joe said that Alphy was no brother of his and there was nearly being a row on the head of it. But Joe said he would not lose his temper on account of the night it was and asked his wife to open some more stout. The two next-door girls had arranged some Hallow Eve games and soon everything was merry again. Maria was delighted to see the children so merry and Joe and his wife in such good spirits. The next-door girls put some saucers on the table and then led the children up to the table, blindfold. One got the prayer-book and the other three got the water; and when one of the next-door girls got the ring Mrs. Donnelly shook her finger at the blushing girl as much as to say: 0, I know all about it! They insisted then on blindfoldingMaria and leading her up to the table to see what she would get; and, while they were putting on the bandage, Maria laughed and laughed again till the tip of her nose nearly met the tip of her chin.They led her up to the table amid laughing and joking and she put her hand out in the air as she was told to do. She moved her hand about here and there in the air and descended on one of the saucers. She felt a soft wet substance with her fingers and was surprised that nobody spoke or took off her bandage. There was a pause for a few seconds; and then a great deal of scuffling and whispering. Somebody said something about the garden, and at last Mrs. Donnelly said something very cross to one of the next-door girls and told her to throw it out at once: that was no play. Maria understood that it was wrong that time and so she had to do it over again: and this time she got the prayer-book.After that Mrs. Donnelly played Miss McCloud's Reel for the children and Joe made Maria take a glass of wine. Soon they were all quite merry again and Mrs. Donnelly said Maria would enter a convent before the year was out because she had got the prayer-book. Maria had never seen Joe so nice to her as he was that night, so full of pleasant talk and reminiscences. She said they were all very good to her.At last the children grew tired and sleepy and Joe asked Maria would she not sing some little song before she went, one of the old songs. Mrs. Donnelly said "Do, please, Maria!" and so Maria had to get up and stand beside the piano. Mrs. Donnelly bade the children be quiet and listen to Maria's song. Then she played theprelude and said "Now, Maria!" and Maria, blushing very much began to sing in a tiny quavering voice. She sang I Dreamt that I Dwelt, and when she came to the second verse she sang again:I dreamt that I dwelt in marble hallsWith vassals and serfs at my side,And of all who assembled within those wallsThat I was the hope and the pride.I had riches too great to count; could boastOf a high ancestral name,But I also dreamt, which pleased me most,That you loved me still the same.But no one tried to show her her mistake; and when she had ended her song Joe was very much moved. He said that there was no time like the long ago and no music for him like poor old Balfe, whatever other people might say; and his eyes filled up so much with tears that he could not find what he was looking for and in the end he had to ask his wife to tell him where the corkscrew was.Clay |泥土[爱尔兰]詹姆斯·乔伊斯著by James Joyce柯茗译二里头扫校女总管已经应允，等女工们用完茶点，玛丽亚就可以走了，她期待着黄昏离去的这一时刻，厨房里窗明几净，纤尘不染。
詹姆斯·乔伊斯都柏林人读后感6篇
詹姆斯·乔伊斯都柏林⼈读后感6篇詹姆斯·乔伊斯都柏林⼈读后感6篇《都柏林⼈》读后感(1)：都柏林的迟疑在简洁的问题上,乔伊斯是海明威的前辈.前辈总不及后辈彻底,况且,有谁能⽐⼀个虚⽆主义者更简洁呢?乔伊斯的简洁有时被描述为"pared-to-the-bone"式的.在《尤利西斯》⾥头,这种鲜明的简洁已被另⼀种东西所代替,《都柏林⼈》却把这种简洁保存得很好.与海明威那种武夫似的简洁相⽐,乔伊斯仿佛显得更优雅----但实际上并不是更优雅,⽽是更迟疑.乔伊斯的段落间存在着这⼀迟疑,它把⽂本的节奏拉长了,造出恍惚的效果.这简直是⼥性化的,让⼈想起伍尔芙.然⽽当然不是伍尔芙----伍尔芙是回旋,⽽乔伊斯只是迟疑.他的迟疑是在每次下⼑前的⼀刻;下⼑之后,总是能成功地保证"贴⾻⽽削".这么说吧:《都柏林⼈》⾥的乔伊斯是神情恍惚、动作柔软⽽迟缓的削⽊⼈,他的⽊品光滑整洁;海明威是⿇利的削⽊⼈,噼⾥啪啦砍出⼀件光秃秃的好看玩意⼉;⽽伍尔芙⽐乔伊斯更恍惚、更柔软,并且她只爱细致地雕刻旋涡状的装饰物.《都柏林⼈》读后感(2)：⼤师的⼩书（2011年5⽉号《书城》杂志。
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）有⼈说：“打开世界地图，并不等于周游了世界。
”⽂学也⼀样，说再多的“浪漫主义”、“古典主义”、“雪莱”、“托尔斯泰”也没有⽤。
⽂学是要⼀本⼀本读着，⼀个巷⼦⼀个巷⼦⾛下来的，谁也代替不了。
退⼀步讲，嚼别⼈吐出来的⽢蔗渣有什么乐趣！那些耸⼈听闻⽽⼜不知所云的概念和名词，给予我们的只不过是榨⼲了汁汁⽔⽔的所谓“⽂学常识”。
听得越多，越围绕作品形成⼀个符咒，⼏乎变成卡夫卡的“城堡”，使⼈⽆法进⼊。
这真是⼀个有趣的悖论——评论读得越多，越是不想读原作。
“名著就是谁都知道却⼈⼈不想去看的书。
”可谓⼀语道破。
沸沸嚣嚣的评论有时还真是⼀场⽆预谋的骗局。
之前基于不知从哪⼉听来的粗浅印象，我⼀直对乔伊斯怀有深刻的偏见。
简述乔伊斯《都柏林人》
简述乔伊斯《都柏林人》
①乔伊斯的第一部小说《都柏林人》由15篇描写都柏林市民生活的短篇小说组成。
作家宣称：“我的意图是为我的国家谱写一章道德史。
”15篇小说有各自的人物和情节，但又按照一定的顺序排列，围绕着共同的主题展开，即都柏林是瘫痪的中心，从而形成一个有机的整体。
②《都柏林人》的创作方法基本上是现实主义的，同时也采用了象征主义的手法。
③在小说结构方面，乔伊斯成功地建构了“幻想——幻想破灭——顿悟”的模式。
④乔伊斯还善于在客观描写中，通过某一事物、某一典故、某一意象、某一隐喻的象征性寓意，来点明题旨，展现小说深刻的思想内涵。
乔伊斯短篇小说《姐妹们》的艺术特征
- 242 -校园英语 /乔伊斯短篇小说《姐妹们》的艺术特征宁夏大学外国语学院2013级英语语言文学专业研究生/李尚娥【摘要】作为乔伊斯小说的开篇之作，《姐妹们》在他的作品中有着重要的地位。
本文主要从语言风格和叙事风格两个方面对乔伊斯短篇小说《姐妹们》中所体现的艺术特征进行了分析。
反映了乔伊斯在小说创作初期，其写作风格已初显现代主义特征和意识流特色。
【关键词】乔伊斯 《姐妹们》 艺术特征詹姆斯•乔伊斯，现代主义文学大师，被认为是继莎士比亚后英语文学史上最伟大的作家。
他在小说领域取得的成就，代表着现代主义文学的一座高峰。
然而，确切的说，乔伊斯是个爱尔兰作家，他于1882年2月2日生于爱尔兰首府都柏林的郊区拉斯加尔。
他一生颠沛流离，历经坎坷，辗转于的里罗马、巴黎等地，多以教授英语和为报刊撰稿糊口，后又饱受眼疾折磨，到晚年几乎完全失明。
但他对文学追求执着，写出了四部经典著作：《都柏林人》、《一个青年艺术家的画像》、《尤利西斯》和《为尼芬根守灵》，终成一代巨匠。
1941年1月13日，乔伊斯在瑞士的苏黎世病逝，享年59岁。
在乔伊斯的四部巨作中，《都柏林人》是他久负盛名的短篇小说集，称得上是20世纪整个西方最著名的短篇小说集，是上上之品。
而《都柏林人》的开篇《姐妹们》几乎涵盖了《都柏林人》的所有主题，隐含了乔伊斯本人在童年时所产生的对故乡爱尔兰的局势和社会世态的深深的愤慨之情，儿时的他早已看到了爱尔兰社会黑暗的一面，看透了人们生活的糜烂，道德精神的停滞，教会的腐败以及都柏林政治的瘫痪。
而从那时开始，乔伊斯的思想里就已经产生了需要唤醒爱尔兰人民的思想意识和精神意识这种想法的萌芽。
于是，在他描述这些故事时，他用“混乱”、“厌倦”、“绝望”、“徒劳”等刻薄的词汇把都柏林人民的生活描写出来，几乎不留余地的揭示了都柏林人生活中呆滞的一面。
而他对自己国家的人民生活的这种未曾言明残酷批判并不是对祖国的憎恶，相反，正是因为他爱国情切，为了拯救整个国家、民族，唤醒新一代的崛起，他宁愿背负恶名也要把这部小说集完成、出版。
詹姆斯·乔伊斯：一次遭遇选自短篇小说集《都柏林人》
詹姆斯·乔伊斯：一次遭遇选自短篇小说集《都柏林人》作家简介詹姆斯·乔伊斯（1882-1941），爱尔兰作家、诗人，二十世纪最伟大的作家之一，后现代文学的奠基者之一，其作品及“意识流”思想对世界文坛影响巨大。
1920年起定居巴黎。
其一生颠沛流离，辗转于欧洲各地，靠教授英语和写作糊口，晚年饱受眼疾之痛，几近失明。
其作品结构复杂，用语奇特，极富独创性。
主要作品是短篇小说集《都柏林人》描写下层市民的日常生活，显示社会环境对人的理想和希望的毁灭。
自传体小说《青年艺术家的自画像》以大量内心独白描述人物心理及其周围世界。
代表作长篇小说《尤利西斯》表现现代社会中人的孤独与悲观。
后期作品长篇小说《芬尼根的守灵夜》借用梦境表达对人类的存在和命运的终极思考，语言极为晦涩难懂。
一次遭遇詹姆斯·乔伊斯真正使我们了解荒凉西部的是乔·狄龙。
他有个小小的图书馆，收藏了一些过期的旧杂志，有《英国国旗》、《勇气》和《半便士奇闻》。
每天下午放学以后，我们便聚在他家的后花园里，玩印第安人打仗的游戏。
他和他那又胖又懒的弟弟利奥把守马厩的草棚，我们猛攻尽力去占领；有时候我们也在草地上进行激烈的对搏。
可是，不论我们战得多勇，在围攻和对搏中我们从未胜过，每次较量的结果都是乔·狄龙跳起胜利的战舞。
他的父母每天上午八点都到加迪纳街去做弥撒，房子的大厅里充满狄龙太太喜欢的静谧的气氛。
然而对我们这些年龄更小、更胆怯的孩子来说，他玩得太狠了一些。
他看上去真有些像个印第安人，他在花园里跳来跳去，头上戴着一只旧茶壶套，一边用拳头击打罐头盒一边喊叫：“呀！呀咔，呀咔，呀咔！”当大家听说他要当牧师的时候，谁也不敢相信。
然而，这却是真的。
我们当中扩散着一种顽皮不驯的精神，在它的影响之下，文化和体格上的种种差别都不起作用了。
我们结成一伙，有勇敢的，有闹着玩的，也有战战兢兢的。
我属于后一种，勉强装扮成印第安人，唯恐显出书呆子气，缺少大丈夫的气概。
乔伊斯《都柏林人》主要内容简介及赏析
《都柏林人》是爱尔兰作家詹姆斯·乔伊斯创作的一部小说，被誉为20世纪最伟大的小说之一。
该小说是乔伊斯的处女作，也是20世纪文学史上的一部重要作品。
它通过15个独立的故事，展现了都柏林市民的生活、爱情、奋斗和挣扎，反映了当时爱尔兰社会的风貌。
这部小说以其丰富的人物刻画、精湛的叙事技巧和深刻的社会寓意而广受赞誉。
让我们一起来追溯一下《都柏林人》这部伟大作品的历史背景。
乔伊斯在这部小说中运用了现实主义的手法，将都柏林市民的生活细节以及社会环境刻画得栩栩如生。
他巧妙地运用了内心独白、情节交织、象征意义等多种手法，将人物心理、情感、欲望和命运展现得淋漓尽致。
通过这些生动的描绘，乔伊斯成功地展现了都柏林这座城市的多样性和繁华。
让我们来深入挖掘一下《都柏林人》中的主题和内涵。
乔伊斯在小说中通过15个独立的故事，探讨了各种人生命运、内心矛盾、对爱情的追求和对自我认知的探索。
每个故事都以一个独特的视角呈现了都柏林市民的生活，揭示了他们的困境和挣扎。
这些故事中的人物形象栩栩如生，他们的内心世界和情感变化都展现得淋漓尽致，令人感同身受。
这些故事所蕴含的深刻内涵，使得《都柏林人》成为了一部具有代表性的现实主义文学作品。
接下来，让我们来总结一下《都柏林人》这部小说给我们带来的启示和震撼。
乔伊斯在《都柏林人》中对人性、社会现实、情感挣扎等方面进行了深刻的探讨，他的作品给我们带来了许多有益的启示。
通过阅读这部小说，我们可以看到不同人生境遇下的各种生存状态和选择，从而更好地理解人性、社会和人生的多样性和复杂性。
乔伊斯对爱情、友情、家庭、事业等方面的描绘也带给我们很多思考，使我们更加深入地认识了人生的真谛。
让我们来共享一下我对《都柏林人》的个人观点和理解。
对我来说，《都柏林人》是一部充满人性关怀和社会关怀的作品，它通过真实的城市生活和多彩的人物形象，向我们展现了一个立体的世界。
乔伊斯的叙事技巧和深刻意义使得这部小说成为了一部永恒的文学经典，让人在阅读中不断感受到情感和智慧的碰撞。
简述乔伊斯《为芬尼根守灵》
简述乔伊斯《为芬尼根守灵》
①《为芬尼根守灵》用梦呓般的语言描述了一场梦幻。
作者暗示伊尔威格是全人类的代表，而伊尔威格的家庭关系——兄弟之间的争斗，儿子联合起来取代父亲，女儿造成兄弟之间、父子之间的矛盾冲突，母亲调停矛盾等等——则是人类历史的缩影。
②《为芬尼根守灵》在结构方面深受18世纪意大利哲学家、历史学家维柯的历史循环论的影响。
乔伊斯对小说各部分的构思安排大体与上述的历史循环理论相对应。
③《为芬尼根守灵》还深受弗洛伊德精神分析学和荣格心理学的影响，全书建立在一场梦呓之上，着力挖掘人的混乱、隐蔽的潜意识活动。
与此相联系，乔伊斯对传统语言进行颠覆性的实验，他力图创造出有别于日常生活用语的“呓语”，以适应作品的思想内容。
乔伊斯有意使作品难于理解，因为他把小说当做生活的翻版。
他认为既然生活本身是不可能被人完全理解的，那么他的《为芬尼根守灵》不能被读者完全读懂，也就是很自然的了。
乔伊斯《一朵浮云》主要内容概要及赏析
乔伊斯《一朵浮云》主要内容概要及赏析（最新版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。
文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如诗歌散文、原文赏析、读书笔记、经典名著、古典文学、网络文学、经典语录、童话故事、心得体会、其他范文等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as poetry and prose, original text appreciation, reading notes, classic works, classical literature, online literature, classic quotations, fairy tales, experience, other sample essays, etc. if you want to know the difference Please pay attention to the format and writing of the sample essay!乔伊斯《一朵浮云》主要内容概要及赏析【导语】：《一朵浮云》外国文学作品简析【爱尔兰】乔伊斯詹姆斯乔伊斯詹姆斯乔伊斯(18821941)，爱尔兰作家，意识流文学大师。
矿产
矿产资源开发利用方案编写内容要求及审查大纲
矿产资源开发利用方案编写内容要求及《矿产资源开发利用方案》审查大纲一、概述
㈠矿区位置、隶属关系和企业性质。
如为改扩建矿山, 应说明矿山现状、
特点及存在的主要问题。
㈡编制依据
(1简述项目前期工作进展情况及与有关方面对项目的意向性协议情况。
(2 列出开发利用方案编制所依据的主要基础性资料的名称。
如经储量管理部门认定的矿区地质勘探报告、选矿试验报告、加工利用试验报告、工程地质初评资料、矿区水文资料和供水资料等。
对改、扩建矿山应有生产实际资料, 如矿山总平面现状图、矿床开拓系统图、采场现状图和主要采选设备清单等。
二、矿产品需求现状和预测
㈠该矿产在国内需求情况和市场供应情况
1、矿产品现状及加工利用趋向。
2、国内近、远期的需求量及主要销向预测。
㈡产品价格分析
1、国内矿产品价格现状。
2、矿产品价格稳定性及变化趋势。
三、矿产资源概况
㈠矿区总体概况
1、矿区总体规划情况。
2、矿区矿产资源概况。
3、该设计与矿区总体开发的关系。
㈡该设计项目的资源概况
1、矿床地质及构造特征。
2、矿床开采技术条件及水文地质条件。
矿产
矿产资源开发利用方案编写内容要求及审查大纲
矿产资源开发利用方案编写内容要求及《矿产资源开发利用方案》审查大纲一、概述
㈠矿区位置、隶属关系和企业性质。
如为改扩建矿山, 应说明矿山现状、
特点及存在的主要问题。
㈡编制依据
(1简述项目前期工作进展情况及与有关方面对项目的意向性协议情况。
(2 列出开发利用方案编制所依据的主要基础性资料的名称。
如经储量管理部门认定的矿区地质勘探报告、选矿试验报告、加工利用试验报告、工程地质初评资料、矿区水文资料和供水资料等。
对改、扩建矿山应有生产实际资料, 如矿山总平面现状图、矿床开拓系统图、采场现状图和主要采选设备清单等。
二、矿产品需求现状和预测
㈠该矿产在国内需求情况和市场供应情况
1、矿产品现状及加工利用趋向。
2、国内近、远期的需求量及主要销向预测。
㈡产品价格分析
1、国内矿产品价格现状。
2、矿产品价格稳定性及变化趋势。
三、矿产资源概况
㈠矿区总体概况
1、矿区总体规划情况。
2、矿区矿产资源概况。
3、该设计与矿区总体开发的关系。
㈡该设计项目的资源概况
1、矿床地质及构造特征。
2、矿床开采技术条件及水文地质条件。
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乔伊斯小说精读
乔伊斯的主要作品
诗歌：诗集《室内乐》（Chamber Music, 1907）和《每首一便士的诗》（Poem Penyeach , 1927）
戏剧：《流亡》（Exiles, 1918）
短篇小说集：《都柏林人》（Dubliners）
长篇小说：《青年艺术家的画像》（A Portrait of the Artist as a Young Man, 1916）, 《尤利西斯》（Ulysses, 1922）,《芬尼根的苏醒》（Finnegans Wake, 1939）意识流小说概述Stream Consciousness Fiction
一、概述
1、意识流文学20世纪初兴起于西方，在现代哲学特别是现代心理学的基础上产生。
2、意识流文学泛指注重描绘人物意识流动状态的文学作品，既包括清醒的意识，更包括无意识、梦幻意识和语言前意识。
意识本身并非是许多割裂的碎片。
乍看起来，似乎可以用“锁链”或“系列”这样的字眼来描述它，其实，这是不恰当的。
意识并不是一段一段连接起来的。
用“河”或“流”这样的比喻来描述它才恰如其分……我们就称之为思想流，意识流或主观生活之流吧。
——威廉·詹姆斯：《心理学原理》第一卷
二、作为心理学概念的意识流
1、意识流的概念最早由美国的心理学家威廉·詹姆斯在论文《论内省心理学所忽略的几个问题》中提出
2、他认为：人的意识活动不是以各部分互不相关的零散方法进行的，而是一种流，是以思想流、主观生活之流、意识流的方法进行的。
同时又认为人的意识是由理性的自觉的意识和无逻辑、非理性的潜意识所构成；还认为人的过去的意识会浮现出来与现在的意识交织在一起，这就会重新组织人的时间感，形成一种在主观感觉中具有直接现实性的时间感。
三、意识流文学的哲学与心理学的基础
1、法国哲学家柏格森强调并发展了这种时间感，提出了“心理时间”的概念。
“心理时间”与“空间时间”
①柏格森区分了“心理时间”和“空间时间”，极大的影响了现代作家对于时间的处理和结构的安排。
②“空间时间”用空间的固定概念来说明时间，把时间看成各个时刻依次延伸、表现宽度的数量概
念；
③“心理时间”则是各个时刻相互渗透的、表现强度的质量概念。
柏格森认为我们越是进入意识深处，“心理时间”的概念就越适用。
2、奥地利精神病医生弗洛伊德肯定了潜意识的存在，并把它看作生命力和意识活动的基础。
意识——前意识——潜意识（无意识）
弗洛伊德：“无意识才是精神的真正实际。
”
超我supergo——自我ego——本我id（伊德）
四、从心理学到文学领域
1、“意识流”一词最初是心理学词汇，是在1918年梅·辛克莱评论英国陶罗塞·瑞恰生的小说《旅程》是引入文学界的。
2、意识流文学是现代主义文学的重要分支，主要成就是在小说领域，在戏剧、诗歌中也有表现。
五、什么是“意识流小说”
1、“鉴别意识流小说最迅速的方法就是看它的题材。
……那些所谓上很大程度上使用了意识流技巧的小说结果是那些以一个或多个人物的意识作为基本题材的小说。
”
——（美）罗伯特·汉弗莱：《现代小说中的意识流》
2、意识流小说应该被认为是一种主要挖掘广泛的意识领域、一般是一个或几个人物的全部意识领域的小说。
……并没有什么意识流技巧。
假若有人这样说，那么在文学批评的专门术语上就犯了严重的错误。
“意识流”是小说的一种形式，正如“颂歌”或“十四行诗”是指诗的某种形式。
……在意识流的形式中，有许多可能变换的技巧。
——梅·弗里德曼：《意识流，文学手法研究》
3、在现代小说中，意识流是指小说的内容或题材（the subject matter），而不是指创作技巧或作品本身，所以不能混为一谈。
事实上意识流是文艺作品中的内容要素之一，即小说中具体描述的、反应主题思想的感性生活和心理现象。
——李维屏：《英美意识流小说》
一、强调内心真实和主观感受
“让我们考虑一下一个普通人的一天中的内心活动吧。
心灵接纳了成千上万个印象——琐屑的、奇异的、疏忽即逝的或者用锋利的钢刀深深铭刻在心头的印象。
它们来自四面八方犹如不计其数的原子在不停的簇射：当这些原子坠落下来，构成了星期一或星期二的生活，其侧重点就和往昔有所不同：重要瞬间不在于此而在于彼。
因此，如果作家是个自由人而不是奴隶，如果他随心所欲而不墨守成规，如果他能够一个人感受而不是因袭的传统作为他作品的依据，那么就不会有约定俗成的那种情结、喜剧、悲剧、爱情的欢乐或灾难，而且也许不会有一粒纽扣是用庞德街的裁缝所惯用的那种方式钉上去的。
”
——伍尔芙：《论现代小说》
二、要求作者“退出小说”
1、意识流小说家主张让人物主观感受到的“真实”客观的自发的再现于纸面上，反对传统小说出面介绍人物的身世籍贯、外界环境、间或挺身而出评头论足的写法，要求作者“退出小说”。
艺术家的人格最初是一种呼唤，一种节奏，或是一种情调（指抒情诗），一种流动的、轻轻发酵的叙述体（指史诗），最后艺术家的人格变得精细到不存在，可以说，它把自己非人格化了（指戏剧）。
戏剧体裁中的美学形象是在人类想象中净化了以后投射出来的生活。
至此，美学的神秘进程就像物质生产的神秘进程，算是完成了。
艺术家，像是创造世界的上帝一样，站在他的作品之内、之后。
之外或之上，不可见到，不复存在，他无动于衷，修剪自己的指甲去了。
——乔伊斯：《青年艺术家的肖像》《死者》的思考题
1、为什么加布里埃尔对自己即将发表的演说感到担忧？从他的担忧能看出他有怎样的性格特点？
2、在新年聚会中。
莫坎姐妹是如何倚重加布里埃尔的？后来在旅馆的房间里加布里埃尔是如何反思他和两个姨妈之间的关系的？
3、在这篇小说中，哪些方面涉及到爱尔兰主题？对于祖国爱尔兰的态度，加布里埃尔与埃佛斯小姐有什么不同？
4、舞会结束后，格里塔为什么会心绪不宁，甚至对丈夫的示爱也没什么反应？
5、为什么这部小说取名为“死者”，有什么涵义？
6、当加布里埃尔听到妻子谈起年轻时的往事，他是如何反应的？
7、小说的最后一段，当窗外纷纷扬扬的下起雪，加布里埃尔是怎么想的？你觉得他“顿悟”到了什么？
8、你认为，小说中的雪象征了什么？。