Eugene Glastone O'Neill 美国文学史尤金·奥尼尔课件
奥尼尔 作家作品 整合 课件
• Specifically, he successfully introduced the European theatrical trends of realism, naturalism, and expressionism(表现主义) to the American stage as devices to express his interest in life and humanity. His success in realistic and expressionistic drama has turned the American drama from the traditions of romantic comedy to a modern mode.
themes
• How is the stokehole like in scene 3? How is the deck like in scene 2? What does the contrast suggest to you? • What does Yank mean by “belong?” Is the stokehole an ideal place to “belong?” what is to blame for Yank’s failure to find belonging? • How is Yank’s language characterized? How does his language portray his alienation?
• Belonging 归属感 Basic psychological need—usefulness, functionality, power; Yank’s sense of belonging to the stokehole; Stokehole degenerates, rather than contributes to human growth; Critical of capitalism (industrialization, capitalist social system) in general.
美国文学尤金奥尼尔presentation
Edmund Tyrone
younger son, shares his mom’s nervousness a fledging journalist, also a poet being ill with tuberculosis more of an intellectual than his brother with a morbid view of life that his father finds deeply distressing a special bond with Jamie
James Tyrone
the father, a financially successful and handsome actor snobbish, obsessed with money ,owning property, always looking for bargains, even at the expense of his family’s health. His wife’s morphine addiction and his sons’ wasteful lives have made him both resentful and angry. unable to escape the accusation of his sons, who hold him partly responsible for their mother’sor Works
Last and Best Phase The Iceman Cometh (1946)《卖冰的人 《
来了》 来了》
Long Day’s Journey into Night (1956) A Moon for the Misbegotten (1957) A Touch of the Poet (1958)
美国文学PPT整理版
Benjamin Franklin the Autobiography 自传•Poor Richard's Almanac 作品A Collection of maxims, or proverbs, on the value of work and savings for success.•Y ou may be happier than princes if you will be more virtuous.•If you would live long, live well; for folly and wickedness shorten life.•Lost time is never found again.•A penny saved is a penny earned.•God help those who help themselves.•Early to bed, and early to rise, makes a man healthy, wealthy, and wise.American Romanticism 看英文•The Romantic Period stretches from the end of the 18th century to the outbreak of the Civil War. It is a period of the great flowering of American literature. 特征：浪漫主义The social and cultural background of Romanticism•The young Republic was flourishing into a politically, economically and culturally independent country.•The nation felt an urge to have its own literary expression, to make known its new experience that other nations did not have: the early Puritan settlement, the confrontation with the Indians, the frontiersmen’s life, and the wild west.•Born of one common cultural heritage, the American writers shared some common features with the English Romanticists.There was a new emphasis upon the imaginative and emotional qualities of literature. 特征•The Romantic writings revealed unique characteristics of their own in their works and they grew on the native lands.The desire for an escape from society and a return to nature became a permanent convention of American literature.The American Puritanism as a cultural heritage exerted great influences over American moral values.•Foreign influences added incentive to the growth of romanticism in America.Walter Scott; Coleridge; Wordsworth; Byron; Robert Burns and other masters of poetry from other European countries•Washington Irving 华盛顿·欧文•James Fenimore Cooper詹姆斯·费尼莫尔·库柏•William Cullen Bryant威廉·柯伦·布赖恩特•Ralph Waldo Emerson 拉尔夫·沃尔多·爱默生•Henry David Thoreau亨利·戴维·梭罗•Nathaniel Hawthorne 纳撒尼尔·霍桑•Herman Melville赫尔曼·梅尔维尔•Walt Whitman 沃尔特·惠特曼•Edgar Allan Poe埃德加·爱伦·坡•Emily Dickinson艾米莉·狄金森•Romantics frequently shared certain general characteristics: moral enthusiasm, faith in value of individualism and intuitive perception, and a presumption that the natural world was a source of goodness and man’s societies as a source of corruption.特征W ashington Irving华盛顿·欧文Father of American literatu re.Irving’s life•He was one of the first American writers to earn an international reputation, and regarded as an early Romantic writer in the American literary history andThe Sketch Book《见闻札记》Rip V an Winkle 《瑞普·凡·温克尔》The Legend of Sleepy Hollow《睡谷的传说》Edgar Allan Poe 埃德加·爱伦·坡Poet, short story writer and literary critic (48 poems, 70 short stories)•The Raven 《乌鸦》•Annabel Lee《安娜贝尔·李》•T o Helen《致海伦》•The Fall of the House of Usher•Ligeia•The Cask of AmontilladoThe Poetic Principle•The poem, should be short, readable at one sitting•beauty (the rhythmical creation of beauty)•melancholy (especially the death of a beautiful woman)•He greatly influenced the devotees of “Art for art’s sake‖.•He was father of psychoanalytic criticism, and the detective story.Gothic Building/// Gothic NovelRalph Waldo Emerson 艾默生The chief spokesman of New England T ranscendentalism 新英格兰超验主义新英格兰是位于美国大陆东北角、濒临大西洋、毗邻加拿大的区域。
Eugene Glastone ONeill
Eugene Glastone O’Neill（尤金·奥尼尔，1888-1953）作品选读..............................................................................Desire Under the ElmsCharacters: Ephraim Cabot; Simeon, Peter, Eben (Cabot‟s sons); Abbie Putnam (Cabot‟s young wife); A Sheriff.SCENE IV1[About an hour later. Same as Scene III. Shows the kitchen and Cabot’s bedroom. It is after dawn. The sky is brilliant with the sunrise. In the kitchen, Abbie sits at the table, her body limp and exhausted, her head bowed down over her arms, her face hidden. Upstairs, Cabot is still asleep but awakens with a start2. He looks toward the window and gives a snort3of surprise and irritation--throws back the covers and begins hurriedly pulling on his clothes. Without looking behind him, he begins talking to Abbie, whom he supposes beside him.]CABOT: Thunder …n‟ lightnin‟4, Abbie! I hain‟t slept this late in fifty year! Looks‟s if the sun was full riz a‟most. Must‟ve been the dancin‟ an‟ likker. Must be gittin‟ old. I hope Eben‟s t‟ wuk.Ye might‟ve tuk the trouble t‟ rouse me, Abbie. (He turns—sees no one there—surprised) Waal—whar air she? Gittin‟vittles, I calc‟late. (He tiptoes to the cradle and peers down—prou dly) Mornin‟, sonny. Putty‟s a picter! Sleepin‟ sound. He don‟t beller all night like most o‟ ‟em. (He goes quietly out the door in rear—a few moments later enters kitchen—sees Abbie—with satisfaction) So thar ye be. Ye got any vittles5cooked?ABBIE: (without moving) No.CABOT: (coming to her, almost sympathetically) Ye feelin‟ sick?ABBIE: No.CABOT: (pats her on shoulder. She shudders.) Ye‟d best lie down a spell6. (half jocularly) Yer son‟ll be needin‟ ye soon. He‟d ought t‟ wake up with a gnashin‟7appetite, the sound way he‟s sleepin‟.ABBIE: (shudders—then in a dead voice) He hain‟t never goin‟ t‟ wake up.CABOT: (jokingly) Takes after me this mornin‟. I hain‟t slept so late in. . . .ABBIE: He‟s dead.CABOT: (stares at her—bewilderedly8) What. . . .ABBIE: I killed him.CABOT: (stepping back from her—aghast) Air ye drunk—‟r crazy—‟r . . . !ABBIE: (suddenly lifts her head and turns on him—wildly) I killed him, I tell ye! I smothered him.Go up an‟ see if ye don‟t b‟lieve me! (Cabot stares at her a second, then bolts out the rear1scene n.场面；情景；一幕2with a start 吓一跳地；突然一下子3snort vi. 轻蔑或愤怒地发出哼声；喷出4t hunder ‘n’ lightnin’：thunder and lightning 电闪雷鸣5vittles n.食物6spell n. 一段时间7gnash v.（因情绪激动）咬或磨（牙）8bewildered adj. 困惑的；不知所措的；弄糊涂的door, can be heard bounding up the stairs, and rushes into the bedroom and over to the cradle.Abbie has sunk back lifelessly into her former position. Cabot puts his hand down on the body in the crib. An expression of fear and horror comes over his face.)CABOT: (shrinking away—tremblingly) God A‟mighty! God A‟mighty. (He stumbles out the door —in a short while returns to the kitchen—comes to Abbie, the stunned expression still on his face—hoarsely) Why did ye do it? Why? (A s she doesn‟t answer, he grabs her violently by the shoulder and shakes her.) I ax ye why ye done it! Ye‟d better tell me ‟r . . . 9!ABBIE: (gives him a furious push which sends him staggering10back and springs to her feet—with wild rage and hatred) Don‟t ye dare tech me! What right hev ye t‟ question me ‟bout him?He wa‟n‟t yewr son! Think I‟d have a son by yew? I‟d die fust! I hate the sight o‟ ye an‟ allus did! It‟s yew I should‟ve murdered11, if I‟d had good sense! I hate ye! I love Eben. I did from the fust12. An‟ he was Eben‟s son—mine an‟ Eben's—not your‟n!CABOT: (stands looking at her dazedly—a pause—finding his words with an effort—dully) That was it—what I felt—pokin‟ ‟round the corners—while ye lied—holdin‟ yerself from me—sayin‟ ye‟d a‟ready conc eived—(He lapses into13crushed silence—then with a strange emotion) He‟s dead, sart‟n. I felt his heart. Pore little critter14! (He blinks back one tear, wiping his sleeve across his nose.)ABBIE: (hysterically) Don‟t ye! Don‟t ye! (She sobs unrestrainedly.)CABOT: (with a concentrated effort that stiffens his body into a rigid line and hardens his face into a stony mask—through his teeth to himself) I got t‟ be—like a stone—a rock o‟ jedgment!(A pause. He gets complete control over himself—h arshly) If he was Eben‟s, I be glad he airgone! An‟ mebbe I suspicioned it all along. I felt they was somethin‟ onnateral—somewhars —the house got so lonesome—an‟ cold—drivin‟ me down t‟ the barn—t‟ the beasts o‟ the field. . . . Ay-eh. I must‟ve suspicion ed—somethin‟. Ye didn‟t fool me—not altogether, leastways—I'm too old a bird—growin‟ ripe on the bough. . . . (He becomes aware he is wandering, straightens again, looks at Abbie with a cruel grin.) So ye‟d liked t‟ hev murdered me ‟stead o‟ him, would ye?Waal, I‟ll live to a hundred! I‟ll live t‟ see ye hung! I'll deliver ye up t‟ the jedgment o‟ God an‟ the law! I‟ll git the Sheriff now. (starts for the door)ABBIE: (dully) Ye needn‟t. Eben‟s gone fur him.CABOT: (amazed) Eben—gone fur the Sheriff?ABBIE: Ay-eh.CABOT: T‟ inform agen ye?ABBIE: Ay-eh.CABOT: (considers this—a pause—then in a hard voice) Waal, I‟m thankful fur him savin‟ me the trouble. I‟ll git t‟ wuk. (He goes to the door—then turns—in a voice full of strange emotion) He‟d ought t' been my son, Abbie. Ye‟d ought t‟ loved me. I‟m a man. If ye‟d loved me, I‟d never told no Sheriff on ye no matter what ye did, if they was t‟ brile me alive!ABBIE: (defensively) They‟s more to it nor yew know, makes him tell.CABOT: (dryly) Fur yewr sake, I hope they be. (He goes out—comes around to the gate—stares up at the sky. His control relaxes. For a moment he is old and weary. He murmurs9ax: ask; ye: you; ‟r: or10stagger vt. 蹒跚；使交错；使犹豫11murder vt.谋杀，凶杀12fust: first; from the fust: from the first13lapse into陷入14critter n. 人；家畜；马；牛despairingly15) God A‟mighty, I be lonesomer16‟n ever! (He hears running footsteps from the left, immediately is himself again. Eben runs in, panting exhaustedly, wild-eyed and mad looking. He lurches17through the gate. Cabot grabs him by the shoulder. Eben stares at him dumbly.) Did ye tell the Sheriff?EBEN: (nodding stupidly) Ay-eh.CABOT: (gives him a push away that sends him sprawling18—laughing with withering contempt) Good fur ye! A prime chip o‟ yer Maw ye be! (He goes toward the barn, laughing harshly.Eben scrambles19to his feet. Suddenly Cabot turns—grimly threatening) Git off this farm when the Sheriff takes her—or, by God, he‟ll have t‟ come back an‟ git me fur murder, too!(He stalks off. Eben does not appear to have heard him. He runs to the door and comes into the kitchen. Abbie looks up with a cry of anguished joy. Eben stumbles over and throws himself on his knees beside her—sobbing brokenly)EBEN: Fergive20me!ABBIE: (happily) Eben! (She kisses him and pulls his head over against her breast.)EBEN: I love ye! Fergive me!ABBIE: (ecstatically) I‟d fergive ye all the sins in hell fur sayin‟ that! (She kisses h is head, pressing it to her with a fierce passion of possession.)EBEN: (brokenly) But I told the Sheriff. He‟s comin‟ fur ye!ABBIE: I kin b‟ar what happens t‟ me—now!EBEN: I woke him up. I told him. He says, wait till I git dressed. I was waiting. I got to thinkin‟ o‟ yew. I got to thinkin‟ how I‟d loved ye. It hurt like somethin‟ was bustin‟ in my chest an‟ head.I got t‟ cryin‟. I knowed sudden I loved ye yet, an‟ allus would love ye!ABBIE: (caressing21his hair—tenderly) My boy, hain‟t ye?EBEN: I beg un t‟ run back. I cut across the fields an‟ through the woods. I thought ye might have time t‟ run away—with me—an‟. . . .ABBIE: (shaking her head) I got t‟ take my punishment—t‟ pay fur my sin.EBEN: Then I want t‟ share it with ye.ABBIE: Ye didn‟t do nothin‟.EBEN: I put it in yer head. I wisht he was dead! I as much as urged ye t‟ do it!ABBIE: No. It was me alone!EBEN: I‟m as guilty as yew be! He was the child o‟ our sin.ABBIE: (lifting her head as if defying22God) I don‟t repent that sin! I hain‟t askin‟ God t‟ fergive that!EBEN: Nor me—but it led up t‟ the other—an‟ the murder ye did, ye did ‟count o‟ me—an‟ it‟s my murder, too, I‟ll tell the Sheriff—an‟ if ye deny it, I'll say we planned it t‟gether—an‟ they‟ll all b‟lieve me, fur they suspicion everythin‟ we‟ve done, an‟ it‟ll seem likely an‟ true to 'em.An‟ it is true—way down. I did help ye—somehow.ABBIE: (laying her head on his—sobbing) No! I don't want yew t‟ suffer!15despairingly adv. 绝望地；自暴自弃地16lonesomer: lonesome adj. 寂寞的；人迹稀少的17lurch n. 突然倾斜；蹒跚；18sprawl v. 蔓延；伸开手足躺19scramble vt.攀登；爬行20Fergive: forgive vt. 原谅；21caress vt.爱抚，抚抱22defy vt. 藐视；公然反抗EBEN: I got t‟ pay fur my part o‟ the sin! An‟ I'd suffer wuss leavin‟ ye, goin‟ West, thinkin‟ o‟ ye day an‟ night, bein‟ out when yew was in—(lowering his voice) ‟R bein‟ alive when yew was dead. (a pause) I want t‟ share with ye, Abbie—prison ‟r death …r hell ‟r anythin‟! (He looks into her eyes and forces a trembling sm ile.) If I‟m sharin‟ with ye, I won‟t feel lonesome, leastways.ABBIE: (weakly) Eben! I won‟t let ye! I can‟t let ye!EBEN: (kissing her—tenderly) Ye can‟t he‟p yerself. I got ye beat fur once!ABBIE: (forcing a smile—adoringly) I hain‟t beat—s‟long‟s I got ye!EBEN: (hears the sound of feet outside) Ssshh! Listen! They‟ve come t‟ take us!ABBIE: No, it‟s him. Don‟t give him no chance to fight ye, Eben. Don‟t say nothin‟—no matter what he says. An‟ I won‟t, neither. (It is Cabot. He comes up from the b arn in a great state of excitement and strides into the house and then into the kitchen. Eben is kneeling beside Abbie, his arm around her, hers around him. They stare straight ahead.)CABOT: (stares at them, his face hard. A long pause—vindictively23) Ye m ake a slick pair o‟ murderin‟ turtle doves! Ye‟d ought t‟ be both hung on the same limb an‟ left thar t‟ swing in the breeze an' rot—a warnin‟ t‟ old fools like me t‟ b‟ar their lonesomeness alone—an‟ fur young fools like ye t‟ hobble their lust. (A pause. The excitement returns to his face, his eyes snap, he looks a bit crazy.) I couldn‟t work today. I couldn‟t take no interest. T‟ hell with the farm. I‟m leavin‟ it! I‟ve turned the cows an‟ other stock loose. I‟ve druv ‟em into the woods whar they kin be free! By freein‟‟em, I‟m freein‟ myself! I‟m quittin‟ here today! I‟ll set fire t‟ house an‟ barn an‟ watch ‟em burn, an‟ I‟ll leave yer Maw t‟ haunt the ashes, an‟ I'll will the fields back t‟ God, so that nothin‟ human kin never touch ‟em! I‟ll be a-goi n‟ to California—t‟ jine Simeon an‟ Peter—true sons o‟ mine if they be dumb fools—an‟ the Cabots‟ll find Solomon‟s Mines t‟gether! (He suddenly cuts a mad caper.) Whoop! What was the song they sung? “Oh, California! That‟s the land fur me.” (He sings this—then gets on his knees by the floorboard under which the money was hid.) An‟ I‟ll sail thar on one o‟ the finest clippers I kin find! I‟ve got the money! Pity ye didn‟t know whar this was hidden so‟s ye could steal. . . . (He has pulled up the board. He stares—feels—stares again. A pause of dead silence. He slowly turns, slumping into a sitting position on the floor, his eyes like those of a dead fish, his face the sickly green of an attack of nausea. He swallows painfully several times—forces a weak smile at last.) So—ye did steal it!EBEN: (emotionlessly) I swapped it t‟ Sim an‟ Peter fur their share o' the farm—t‟ pay their passage t‟ California.CABOT: (with one sardonic24) Ha! (He begins to recover. Gets slowly to his feet—strangely) I calc‟late God give it to ‟em—not yew! God's hard, not easy! Mebbe they‟s easy gold in the West, but it hain‟t God's gold. It hain‟t fur me. I kin hear His voice warnin‟ me agen t‟ be hard an' stay on my farm. I kin see his hand usin‟ Eben t‟ steal t‟ keep me from weakness. I kin feelI be in the palm o‟ His hand, His fingers guidin‟ me. (A pause—then he mutters sadly) It‟sa-goin‟ t‟ be lonesomer now than ever it war afore—an' I'm gittin‟ old, Lord—ripe on the bough. . . . (then stiffening25) Waal—what d‟ye want? God's lonesome, hain‟t He? God's hard an‟ lonesome! (A pause. The sheriff with two men comes up the road from the left. They move cautiously to the door. The sheriff knocks on it with the butt of his pistol.)23vindictively adv. 恶毒地；报复地24sardonic adj.讽刺的；嘲笑的，冷笑的25stiffen v.变硬；变猛烈SHERIFF: Open in the name o‟ the law! (They start.)CABOT: They‟ve come fur ye. (He goes to the rear door.) Come in, Jim! (The three men enter.Cabot meets them in doorway.) Jest a minit, Jim. I got ‟em safe here. (The sheriff nods. He and his companions remain in the doorway.)EBEN: (suddenly calls) I lied this m ornin‟, Jim. I helped her do it. Ye kin take me, too.ABBIE: (brokenly) No!CABOT: Take 'em both. (He comes forward—stares at Eben with a trace of grudging admiration.) Putty good—fur yew! Waal, I got t' round up the stock. Good-by.EBEN: Good-by.ABBIE: Good-by. (Cabot turns and strides past the men—comes out and around the corner of the house, his shoulders squared, his face stony, and stalks grimly toward the barn. In the meantime the sheriff and men have come into the room.)SHERIFF: (embarrassedly) Waal—we‟d best start.ABBIE: Wait, (turns to Eben) I love ye, Eben.EBEN: I love ye, Abbie. (They kiss. The three men grin and shuffle embarrassedly. Eben takes Abbie‟s hand. They go out the door in rear, the men following, and come from the house, walking h and in hand to the gate. Eben stops there and points to the sunrise sky.) Sun‟s a-rizin‟. Purty26, hain‟t it?ABBIE: Ay-eh. (They both stand for a moment looking up raptly in attitudes strangely aloof and devout.)SHERIFF: (looking around at the farm enviously—to his companion) It‟s a jim-dandy27farm, no denyin‟. Wished I owned it!(The Curtain Falls)参考译文..............................................................................第四场人物：以法莲·凯勃特；西蒙,彼得,埃本(凯勃特的儿子)；爱碧·普特南(凯勃特的年轻妻子)；治安官。
Eugene_O’Neill
1.Lifetime
Eugene O'Neill • Birth:October 16, 1888 – November 27, 1953 • Birth place:New York • Family：He came from an actor family in New York city, his father is Irish.His father, James O'Neill, was a successful touring actor in the last quarter of the 19th century • Education:He attended Princeton University for one year (1906–07), after which he left school to begin what he later regarded as his real education in “life experience.” • Working experiences: sailor; prospector: gold digger
Cover of The Hairy Ape
1.主人公扬克是一艘远洋轮船上的司炉，以身强力壮得 到同伴的敬畏而自豪，但遭到旅客中一个有钱的女人 的侮辱,便到去寻找他的生活地位,最后只好与动物园的 一只大猩猩结交朋友，结果却死在它的大力拥抱之中。 2.剧本表明在冷酷无情的资本主义社会， 象扬克这样的工人只能忍受非人的待遇。 要想改变这种状况，只会遭到更加悲惨结局
The Iceman Cometh
• the most complex and perhaps the finest of the O'Neill tragedies, followed in 1939, although it did not appear on Broadway until 1946. • Laced with subtle religious symbolism, the play is a study of man's need to cling to his hope for a better life, even if he must delude himself to do so.
Chapter 8 Literature
I. Colonial Period (1607-1765)
Background: Puritanism
Features of Puritanism
Predestination: God decided everything before things occurred.
Original sin: Human beings were born to be evil, and this original sin can be passed down from generation to generation.
Nathaniel Hawthorne 纳撒尼尔·霍桑 The Scarlet Letter 《红字》
Herman Melville 麦尔维尔 Moby Dick《白鲸》
Harriet Beecher Stowe 斯多夫人 Uncle Tom's Cabin 《汤姆叔叔的小屋》
IV. Realistic Period (1865- 1918)
critic.
Poetry: The Raven《乌鸦》 Horror Fiction: The Fall of the
House of Usher《厄舍大厦的倒塌》 Whodunit: Murders in the Rue
Morgue《莫格街谋杀案》
Ralph Waldo Emersion 拉尔夫·沃尔多·爱默生 (1803-1882)
stylist of American romanticism.
Sketch Book《见闻札记》-- the first modern short stories
开创了美国短篇小说的传统
James Fenimore Cooper 詹姆斯•费尼 莫尔•库珀 (1789--1851) -- launched two kinds of popular stories → the sea adventure tale and the frontier saga.
陶洁《美国文学选读》（第3版）笔记和课后习题详解（第18单元尤金
陶洁《美国⽂学选读》（第3版）笔记和课后习题详解（第18单元尤⾦第18单元尤⾦?格拉斯通?奥尼尔18.1复习笔记I.Introduction to author（作者简介）1.Life（⽣平）Eugene Glastone O’Neill(1888-1953)was the greatest playwright of US.He was born in New York.His father was a famous actor and O’Neill traveled around with his father’s group and took a year in Princeton,from which he was expelled because of misbehavior.Then he began his experience of wandering and loafing about which stand him in good stead.In the winterof1912-13he developed tuberculosis and was sent to a sanitarium.In this period he read widely in the world’s dramatic literature.In1916his one-act play Bound East for Cardiff was staged.The event marked the beginning of O’Neill’s long and successful dramatic career and ushered in the modern era of the American Theater.O’Neill was a prize-winning playwright.He received the Pulitzer Prize for his Beyond the Horizon and Anna Christie between1920and1922,and the Nobel Prize in1936.尤⾦·格拉斯通·奥尼尔(1888—1953)是美国最伟⼤的剧作家。
《尤金·奥尼尔》课件
职业生涯
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1912年，尤金·奥尼 尔进入普林斯顿大 学学习
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1917年，奥尼尔开 始创作戏剧，并加 入普林斯顿剧团
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1920年，奥尼尔的 戏剧《天边外》获 得普利策奖
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1936年，奥尼尔获 得诺贝尔文学奖
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1943年，奥尼尔担 任美国戏剧家协会 主席
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1953年，奥尼尔获 得美国国家艺术奖 章
有人认为他的作品缺乏深度和 内涵
奥尼尔的戏剧风格被批评为过 于传统和保守
有人认为他的作品缺乏创新和 突破
争议的影响和后果
争议对奥尼尔的 创作产生了影响， 使他的作品更加 深刻和具有批判 性。
争议也使得奥尼 尔的作品更加受 到关注，提高了 他的知名度和影 响力。
争议引发了人们 对奥尼尔作品的 重新审视和评价， 对他的作品进行 了更深入的研究 和探讨。
揭示文学创作的规律和特点 提高文学批评的水平和深度 促进文学创作的发展和创新 丰富文学批评的理论和方法
争议的焦点问题
奥尼尔的作品是否过于悲观和消极 奥尼尔对女性角色的塑造是否过于刻板和片面 奥尼尔的作品是否过于注重个人主义和自我表达 奥尼尔对美国社会的批判是否过于激烈和极端
批判的声音和观点
奥尼尔的作品被批评为过于悲 观和消极
培养了一批优秀 的美国戏剧家和 演员
对世界戏剧的影响
尤金·奥尼尔被誉为“美国戏剧之父”，对美国戏剧产生了深远影响 他的作品具有强烈的现实主义色彩，揭示了社会问题，对世界戏剧产生了重要影响 尤金·奥尼尔的作品被翻译成多种语言，在世界范围内广泛传播 他的创作风格和技巧对后世的戏剧创作产生了重要影响，被誉为“现代戏剧的奠基人”
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尤金·奥尼尔版
1.尤金·奥尼尔简介
(2)婚姻生活：奥尼尔一生结过三次婚。1909年他跟已 怀上孕的凯思琳·詹金斯勉强结婚,生子小尤金, 1912年 离婚。1918年同小说家格妮丝·博尔顿结合,生子沙恩和 女乌娜(乌娜长大后嫁给年长的影星卓别林,奥尼尔对她 深感不满,从此断绝来往)。1926年,奥尼尔结识女演员 卡洛塔.蒙特雷, 1928年同赴法国,又到新加坡、西贡和 上海旅游。次年,艾格妮丝同意离婚,他便与卡洛塔正式 结为夫妇。1944年,奥尼尔身患帕金症,双手颤抖,不能 继续写作,售出他在加里福尼亚州丹威尔市建造的“道 舍”寓所,迁往旧金山,后又移居马萨诸塞一个海港小城 大理石岬,其间与卡洛塔感情不和,一度决裂,后因身体衰 弱不堪,需要她的照顾,又言归于好。
• His power lies in his never ceasing attempt to improve his art in step with time
3.1表现主义 （Expressionismus）
• 起源：表现主义（Expressionismus）一 词来源于拉丁文expressus，有“抛掷 出来”、“挤压出来”之意。德国作家 卡斯米尔·埃德四米特在《创作中的表现 主义》（亦被称为表现主义宣言）中指 出：“只有当艺术家的手透过事实抓取 事实背后的东西，事实才有意义。”
奥尼尔表现主义的代表
• 美国表现主义戏剧的代表人物是尤金•奥尼尔（1888 －1953）。他于1920年发表的<琼斯皇>被认为是美国 第一部表现主义戏剧。全剧剧情十分简单，却大量运 用幻景、内心独白等表现主义技巧。该剧通过表现人 类的恐惧心理和罪孽感以及由此引起的回忆及妄念， 表达“人必须剥去种种自觉的或不自觉的假想，赤裸 裸的面对自己”的哲学理念。
lecture13：美国戏剧,尤金·奥尼尔及其他
The Beginning of DramaThere are many theories about the beginning of drama in ancient Greece. The one most widely accepted today is based on the assumption that drama evolved from ritual. The argument for this view goes as follows. In the beginning, human beings viewed the natural forces of the world - even the seasonal changes - as unpredictable, and they sought through various means to control these unknown and feared powers. Those measures which appeared to bring the desired results were then retained and repeated until they hardened into fixed rituals. Eventually stories arose which explained or veiled the mysteries of the rites. As time passed some rituals were abandoned, but the stories, later called myths, persisted and provided material for art and drama.Those who believe that drama evolved out of ritual also argue that those rites contained the seed of theater because music, dance, masks, and costumes were almost always used. Furthermore, a suitable site had to be provided for performances and when the entire community did not participate, a clear division was usually made between the "acting area" and the "auditorium." In addition, there were performers, and, since considerable importance was attached to avoiding mistakes in the enactment of rites, religious leaders usually assumed that task. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mimed the desired effect -- success in hunt or battle, the coming rain, the revival of the Sun -- as an actor might. Eventually such dramatic representations were separated from religious activities. Another theory traces the theater's origin from the human interest in storytelling. According to this view tales (about the hunt, war, or other feats) are gradually elaborated, at first through the use of impersonation, action, and dialogue by a narrator and then through the assumption of each of the roles by a different person. A closely related theory traces theater to those dances that are primarily rhythmical and gymnastic or that are imitations of animal movements and sounds.Eugene Gladstone O'Neill (1886 –1953) was an American playwright, and Nobel laureate in Literature. His plays are among the first to introduce into American drama the techniques of realism, associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg. Eugene O’Neil’s plays were among the first to include speeches in American vernacular. His plays involve characters who inhabit the fringes of society, engaging in depraved behavior, where they struggle to maintain their hopes and aspirations but ultimately slide into disillusionment and despair. O'Neill wrote only one comedy (Ah, Wilderness!): all his other plays involve some degree of tragedy and personal pessimism.Beyond the Horizon, 1918 - Pulitzer Prize, 1920Anna Christie, 1920 - Pulitzer Prize, 1922The Iceman Cometh, written 1939, published 1940, first performed 1946Long Day's Journey Into Night, written 1941, first performed 1956 - Pulitzer Prize 1957 The Hairy Ape, 1922Thomas Lanier Williams III (March 26, 1911 – February 25, 1983), better known as Tennessee Williams, was an American playwright who received many of the top theatrical awards. He movedto New Orleans in 1939 and changed his name to "Tennessee," the state of his father's birth. He won the Pulitzer Prize for Drama for A Streetcar Named Desire in 1948 and for Cat on a Hot Tin Roof in 1955. In addition, The Glass Menagerie (1945) and The Night of the Iguana (1961) received New York Drama Critics' Circle Awards. His 1952 play The Rose Tattoo received the Tony Award for best play.Arthur Asher Miller (October 17, 1915 – February 10, 2005) was an American playwright and essayist. He was a prominent figure in American literature and cinema for over 61 years, writing a wide variety of plays, including celebrated plays such asThe Crucible, A View from the Bridge, All My Sons, and Death of a Salesman,which are still studied[1] and performed[2] worldwide. Miller was often in the public eye, most famously for refusing to give evidence against others to the House Un-American Activities Committee, being the recipient of the Pulitzer Prize for Drama among countless other awards, and for his marriage to Marilyn Monroe. Miller is considered by audiences and scholars as one of America's greatest playwrights, and his plays are lauded throughout the world.Edward Franklin Albee III (born March 12, 1928) is a three time Pulitzer Prize winning American playwright known for works including Who's Afraid of Virginia Woolf?, The Zoo Story, The Sandbox and The American Dream. His works are considered well-crafted and often unsympathetic examinations of the modern condition. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Jean Genet, Samuel Beckett, and Eugène Ionesco. Younger American playwrights, such as Pulitzer Prize-winner Paula Vogel, credit Albee's daring mix of theatricalism and biting dialogue with helping to reinvent the post-war American theatre in the early 1960s. Albee's dedication to continuing to evolve his voice — as evidenced in later productions such as The Goat: or, Who Is Sylvia? (2000) — also routinely marks him as distinct from other American playwrights of his era.。
尤金奥尼尔
5 joined 47 Wokeshop at Harvard to learn to write better in 1914; 6 lived in Greenwich Village ,New York and began to write; 7 first one-act play Bound East for Cardiff performed in the summer of 1916; Beyond the Horizon in 1920; 8 stayed on Broadway for the next 14 years with a series of theatrical triumphs
Detailed Introduction of the characters
* James Tyrone: father,a popular actor playing the role of Mount Cristo,is the supporter of the family and earns menry. Anxious to become rich at the expense of his own talent. But his dream of becoming a first-rate Shakespearean actor has died.
Theme
The long day thus journeys into night when the tragedy of the family is finally enacted . No relief is felt , no light is seen , and all ends in the engulfing darkness . In a figuratives sense, Long Day's Journey into Night is a metaphor for O'Neill's lifelong endeavor to find truth and the way to acceptance . The former he founder , namely , the faithless, fragmentary nature of modern life, whereas the latter he did not : for him all passed into night . In despair O'Neill thought of the old God of the Catholic churth on which , it is ironical to note , he had turned his back long before.
Eugene_O’Neill
comment
He employed sets, lighting, and sounds to enhance emotion rather than to represent a real place. He made great contributions to establishing the modes of the modern American drama. He represented the new trend on the stage by introducing a modern and timely content. He grounded his works in personal experience. His works reflect the life of his country and his time.
IIIBiblioteka Comment
O‟Neill was no doubt the greatest American dramatist of the first half of the 20th century. He was the first playwright to explore serious themes in the theater and to carry out his continual, vigorous, courageous experiments with theatrical conventions. His plays have been translated and staged all over the world. Three Pulitzer Prizes(1920, 1922, 1928) and the Noble Prize in 1936 show his achievement and influence at home and abroad.
美国文学ppt O'neill
*Experimental-- Expressionism in
* Back to realism in writing style(19361947): The late plays
His early realistic plays utilized his own experiences,especially as a seaman. In the 1920s he rejected realism in an effort to capture on the stage the force behind human life. His expressionistic plays during this period were influenced by the ideas of some philosophers, psychologists, and playwrights. During his final period O'Neill returned to realism. His later works depend on his life experiences for their story lines and themes.
first performed 1946 Hughie, written 1941, first performed 1959 Long Day's Journey Into Night, written 1941, first performed 1956 - Pulitzer Prize 1957 A Moon for the Misbegotten, 1957 A Touch of the Poet, completed in 1942, first performed 1958 More Stately Mansions, second draft found in O'Neill's papers, first performed 1967
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伊本：我和你一样有罪！他是咱们的罪恶所生 的孩子。 爱碧：我不忏悔这个罪恶！我不要上帝饶恕我 这个！
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伊莉克特拉是希腊联军统帅阿伽门农和王后克 拉得耐斯特拉的女儿。特洛伊战争结束之后， 阿伽门农回国，但被王后和她的姘夫伊吉斯修 斯杀害。伊莉克特拉鼓舞她的弟弟欧莱斯提兹 入宫，杀死她的母亲和姘夫。精神医学家就把 这段女儿为了报父仇杀害母亲的故事，比喻为 女孩在心性发展上的恋父情结。 ELECTRA COMPLEX
Pulitzer Prize & Nobel Prize
Features of O’Neill’s Plays
Thematic
Features (naturalism):
depicting people who have no hope of controlling their destinies dealing with the basic issues of human existence and predicament: life and death, illusion and disillusion, communication and alienation, dream and reality, self and society, etc.
pure belief, simple church service, widespread disciples, disciplined life, wrathful God
The image of Cabot as a puritan
Cabot （ disciplined life ）
你们真是一对杀人害命的好鸳鸯！你们得双双绞死在 树上，吊在风里，烂掉——这对我这样的老傻瓜倒是 个警告，应该独自去忍受孤独——对你们这些年纪轻 轻的色鬼也是个警告。我今天不能干活，我没兴趣。 这田庄见鬼去吧！我要离开它！我去把母牛和其他牲 畜都解了绳子，我去把它们都赶到树林里去，在那儿 它们可以自由了，我让它们自由，我也让自己自由！ 我今天要离开这儿！我要把屋子和饲养场都放火烧了， 还要看着它们烧！我要让你妈在这废墟上出没。我把 这片土地归还上帝，这样任何人都永远别想碰它！
Eugene O’Neill 尤金·奥尼尔(1888-1953):
“Founder of
NY (1888, hotel) Princeton (1906, expelled after one year) Wandering around (gold digger, seaman) Sanitorium (1912-1913, TB, reading widely) Baker‘s 47A Workshop at Harvard (1914-1915, 第47号戏剧 研习班) Provincetown Players (1916,普罗温斯敦剧团) Pulitzer Prize(1920, 1922, 1928, 1957), Nobel Prize (1936) Boston (1953, hotel)
Cabot （ wrathful God ）
我看钱是上帝送给他们的——不是你！上帝是严厉的， 不是那么好说话的！也许在西部很容易搞到金子，可 是那不是上帝的金子，它不是为我而存在的。我听到 了上帝的声音，又在警告我要坚强，要留在这田庄上。 我看到时他的手通过伊本偷走我的钱，使我脱离软弱。 我觉得自己就在他的手里，他的手指在给我引路。现 在我比以前任何时候都要孤独——我老了，天哪—— 熟得快从树枝上掉下来了……怎么——你还需要什么？ 上帝是孤独的，不是吗？上帝是严厉而孤独的！
在奥尼尔之前，美国只有剧院；奥尼尔以后，美国才有了戏剧。
Major Plays
Three Periods: 1916-1920: Bound East For Cardiff; Beyond the Horizon 《天边外》 1920-1934: The Emperor Jones; Anna Christie; Desire Under the Elms; The Hairy Ape; The Great God Brown; Strange Interlude; Mourning Becomes Electra; Ah, Wilderness! 《安娜· 克里斯蒂 》，《啊，荒野!》 1946-1953(the best phase of his writing): The Iceman Cometh (1946); Long Day’s Journey into Night (1956)
《希波吕托斯》
古希腊雅典著名悲剧诗人幼里披底斯（Euripides） 的悲剧作品（约作于公元前428年）。故事的情节 是这样的：雅典国王忒修斯的第二个妻子菲德拉 爱上了忒修斯与希波吕忒生的儿子希波吕托斯， 但当她向希波吕托斯表示爱慕之意时，反遭其断 然拒绝。菲德拉遂自杀身亡，并留下遗言说希波 吕托斯侮辱了她。结果希波吕托斯被不辨真相的 父亲放逐，同时，忒修斯还把海神波塞冬送给自 己的三个诅咒中的一个降到了希波吕托斯的身上， 希波吕托斯最终为惊马踩死。
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传说底比斯国王拉伊俄斯受到神谕警告:如果他让新生儿 长大，他的王位与生命就会发生危险。于是他让猎人把儿 子带走并杀死。但猎人动了恻隐之心，只将婴儿丢弃。丢 弃的婴儿被一个农民发现并送给其主人养大。多年以后， 拉伊俄斯去朝圣，路遇一个青年并发生争执，他被青年杀 死。这位青年就是俄底浦斯。俄底浦斯破解了斯芬克斯之 谜，被底比斯人民推举为王，并娶了王后伊俄卡斯特。后 来底比斯发生瘟疫和饥荒，人们请教了神谕，才知道俄底 浦斯杀父娶母的罪行。俄底浦斯挖了双眼，离开底比斯， 四处漂流。精神医学家就把这段儿子杀父娶母的故事，比 喻为男孩在心性发展上的恋母情结。
The Hairy Ape
Yank Smith, a brutish stoker on a transatlantic liner, bullies and despises everyone around him, considering himself superior. He is devastated when a millionaire’s daughter is repulsed by his simian ways, and he vows to get even with her. Ashore in New York, Yank schemes to destroy the factory owned by the woman’s father, but his plans fail. Yank wanders into a zoo. There, feeling alienated from humanity, he releases an ape (for whom he feels some kinship), and the ape kills him.
Characters
Ephraim Cabot Simeon Peter Eben Abbie
Central Conflict
True love Vs. Property ↓ Abbie & Eben Vs. Farm
Puritan elements
Do you know anything about Puritanism?
OEDIPUS COMPLEX
Myth and Archetypal Criticism 神话原型批评
弗雷泽 Frazer（文化人类学） 荣格 Jung（分析心理学） 卡西尔 Cassirer （象征哲学）
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Expressionism
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express meaning or emotional experience rather than physical reality.
Analysis
“The gorilla lets the crushed body slip to the floor; stands over it uncertainly, considering; then picks it up, throws it in the cage, shuts the door…” Theme: the helplessness and impotence of modern man trying to seek an identity
Features of O’Neill’s Plays
Stylistic features
* tragic structure: dream—doubt—defeat * naturalistic and realistic spirits mingled with symbolic expressionism * focus on people’s psychological struggles rather than plot or characterization with a frequent use of interior monologues Robert Browning (dramatic monologue) * puppet characters representing all human beings