20世紀美國文學英文版課件

AmericanLiterature

AmericanLiterature1PartVTwentieth-CenturyLiteraturePartVTwentieth-CenturyLite2Section1The1920sI.IntroductionThe1920sisafloweringperiodofAmericanliterature.Itisconsidered“thesecondrenaissance”ofAmericanliterature.Thenicknamesforthisperiod:(1)Roaring20s–comfort(2)DollarDecade–rich(3)JazzAge–JazzmusicSection1The1920sI.Introdu3II.Background1.FirstWorldWar–“awartoendallwars”(1)Economically:becamerichfromWWI.Economicboom:newinventions.Highly-consumingsociety.(2)Spiritually:dislocation,fragmentation.2.wide-spreadcontemptforlaw(lookingdownuponlaw)3.Freud’stheoryII.Background4III.FeaturesoftheliteratureWriters:threegroups(1)Participants(2)Expatriates(3)Bohemian(unconventionalwayoflife)–on-lookersIII.Featuresoftheliteratur5Twoareas:(1)FailureofcommunicationofAmericans(2)FailureoftheAmericansocietyTwoareas:6ImagismI.Background ImagismwasinfluencedbyFrenchsymbolism,ancientChinesepoetryandJapaneseliterature“haiku”ImagismI.Background7II.Development:threestages1.1908~1909:London,Hulme2.1912~1914:England->America,Pound3.1914~1917:AmyLowellII.Development:threestages18III.Whatisan“image”? AnimageisdefinedbyPoundasthatwhichpresentsanintellectualandemotionalcomplexinaninstantoftime,“avortexorclusteroffusedideas”“endowedwithenergy”.Theexactwordmustbringtheeffectoftheobjectbeforethereaderasithadpresenteditselftothepoet’smindatthetimeofwriting.III.Whatisan“image”? Ani9IV.Principles1.Directtreatmentofthe“thing”,whethersubjectiveorobjective;2.Touseabsolutelynowordthatdoesnotcontributetothepresentation;3.Asregardingrhythm,tocomposeinthesequenceofthemusicalphrase,notinthesequenceofametronome.IV.Principles1.Directtreatm10V.Significance1.Itwasarebellionagainstthetraditionalpoeticswhichfailedtoreflectthenewlifeofthenewcentury.2.ItofferedanewwayofwritingwhichwasvalidnotonlyfortheImagistpoetsbutformodernpoetryasawhole.3.Themovementwasatrainingschoolinwhichmanygreatpoetslearnedtheirfirstlessonsinthepoeticart.4.ItisthismovementthathelpedtoopenthefirstpagesofmodernEnglishandAmericanpoetry.V.Significance1.Itwasareb11VI.EzraPound1.life2.literarycareer3.works(1)Cathay(2)Cantos(3)HughSelwynMauberley

VI.EzraPound1.life124.pointofview(1)ConfidentinPound’sbeliefthattheartistwasmorallyandculturallythearbiterandthe“saviour”oftherace,hetookituponhimselftopurifytheartsandbecametheprimemoverofafewexperimentalmovements,theaimofwhichwastodumptheoldintothedustbinandbringforthsomethingnew.(2)Tohimlifewassordidpersonalcrushingoppression,andcultureproducednothingbut“intangiblebondage”.(3)PoundseesinChinesehistoryandthedoctrineofConfuciusasourceofstrengthandwisdomwithwhichtocounterpointWesterngloomandconfusion.(4)Hesawachaoticworldthatwantedsettingtorights,andahumanity,sufferingfromspiritualdeathandcosmicinjustice,thatneededsaving.HewasforthemostpartofhislifetryingtoofferConfucianphilosophyastheonefaithwhichcouldhelptosavetheWest.4.pointofview135.style:verydifficulttoread Pound’searlypoemsarefreshandlyrical.TheCantoscanbenotoriouslydifficultinsomesections,butdelightfullybeautifulinothers.Fewhavemadeseriousstudyofthelongpoem;fewer,ifanyoneatall,havehadthecouragetodeclarethattheyhaveconqueredPound;andmanyseemtoagreethattheCantosisamonumentalfailure5.style:verydifficulttore146.Contribution Hehashelped,throughtheoryandpractice,tochartoutthecourseofmodernpoetry.6.Contribution157.TheCantos–“theintellectualdiarysince1915” Features:(1)Language:intricateandobscure(2)Theme:complexsubjectmatters(3)Form:nofixedframework,nocentraltheme,noattentiontopoeticrules7.TheCantos–“theintellect16Ⅶ.ThomasStearnsEliotHislife(18881965)Ⅶ.ThomasStearnsEliotHislif17Hisworks:PoemsTheLoveSongofJ.AlfredPrufrock《普魯弗洛克的情歌》

TheWasteLand(epic)《荒原》

HollowMan《空心人》AshyWednesday《圣灰星期三》

FourQuarters《四個四重奏》Hisworks:PoemsTheLoveSon18艾略特的詩歌創(chuàng)作以《荒原》和伴以英國天主教為標志可以分為早、中、晚三個時期。早期：主要包括《普魯弗洛克及其他》和ThePoems（1920）《詩集》兩個本子。中期：TheWaste《荒原》TheHollowMan《空心人》后期：Gerontion《小老頭》、AshyWednesday《圣灰星期三》SweeneyAmongtheNightingales《夜鶯中的斯威尼》TheHippopotamus《河馬》FourQuarters《四個四重奏》Mr.Eliot’sSundayMorningService《艾略特先生的星期日早禮拜》艾略特的詩歌創(chuàng)作以《荒原》和伴以英國天主教為標志可以分為早、19FourQuarters《四個四重奏》它是詩人登峰造極之作，在詩中詩人對詩歌語言進行了嚴肅的思考，思考的結果從該詩本身的語言特色就可以看出來：普通正規(guī)而又十分精確。此時艾略特擔心語言會因使用不當而退化，進而影響到我們思想情感的品質。它最初是四首獨立的詩：BurntNorton,1935《燒毀的諾頓》、EastCoker,1940《東庫克》、TheDrySalvages,1941《干燥的塞爾維吉斯》LittleGidding,1943《小吉丁》FourQuarters《四個四重奏》它是詩人登峰造極之20Hisworks:PlaysMurderintheCathedral《大教堂謀殺案》

TheCocktailParty《雞尾酒會》

TheConfidentialClerk《自信的書記員》Hisworks:PlaysMurderinthe21Hisworks:Criticalessays

TheSacredWood

EssaysonStyleandOrder

ElizabethanEssays

TheUseofPoetryandTheUseofCriticisms

AfterStrangeGodsHisworks:CriticalessaysThe22TheLoveSongofJ.AlfredPrufrockItdepictsatimidmiddle-agedmangoingtoproposemarriagetoaladybuthesitatingallthewaythere.Ittakestheformofsoliloquy,likeinteriormonologuelikethatofBrowning’s.Prufrockistheimageofaineffectual,sorrowful,tragictwentieth-centuryWesternman,possiblythemodernintellectualwhoisdividedbetweenpassionandtimidity,betweendesireandimpotence.Heistragicflawistimidity;his“curse”ishisidealism.Knowingeverything,butabletodonothing,helivesinanareaoflifeanddeath;andcaughtbetweenthetwoworlds,hebelongstoneither.Hecraveslovebuthasnocouragetodeclarehimself.Hedespairsoflife.Hediscoversitsemptinessandyethasfoundnothingtoreplaceit.TheLoveSongofJ.AlfredPru23TheLoveSongofJ.AlfredPrufrockThusthepoemdevelopsathemeafrustrationandemotionalconflict.Thetitleofthepoemisironicinthatthe“LoveSong”isinfactabouttheabsenceoflove.Prufrock:thenameisofafurnituredealerinSt.Louis.Hisinitial“J”soundstonyandclassy,givingoneasenseoftheupperclasstowhichhebelongs.TheLoveSongofJ.AlfredPru24TheWasteLandItisthemasterpieceofEliot.Thewastelanditselfisadesolateandsterilecountryruledbyanimpotentking.ItisbroadlyacknowledgedasoneofthemostrecognizablelandmarksofModernism.TheWasteLandItisthemaster25TheWasteLand《荒原》Itincludesfiveparts:(1)TheBurialoftheDead,representingthestirringlifeinthelandafterthebarrenwinter.(2)AGameofChess,contrastingthesplendorsofthepastrepresentedbyCleopatrawithuneasinessanddespairofmodernlife.(3)TheFireSermon,makinganimaginativesilhouettesketchoftheuglinessofcitiesandthemechanizationofmodernlifeandemotion.TheWasteLand《荒原》Itincludes26TheWasteLand(4)DeathbyWater,presumptivelyprovingbythevisionofadrownedphoeniciansailorthatwaterisnotonlytheconstructivesourceoflife,butalsothedestructivesourceofdeathbecauseofdrowninganditsabsenceaswell,whichcausesdrought.(5)WhattheThunderSaid,presentingapicture,throughsymbolsoftheGraillegend,ofthedrought,thedecayandemptinessofmodernlife.TheWasteLand(4)DeathbyWat27TheWasteLandThethemeofthepoemismodernspiritualbarrenness,thedespairanddepressionthatfollowedtheFirstWorldWar,thesterilityandturbulenceofthemodernworld,andthedeclineandbreak-downofWesternculture.Thepoem’snoticeablecharacteristicsarevariedlengthandrhythmtoharmonizewiththechangingsubjectmatter,theunrhymedlines,lotsofborrowingfromsome35differentwriters,theemploymentofmaterialssuchasthelegendsoftheHolyGrail,Frazer’santhropologicalworkTheGoldenBough,severalpopularsongs,andpassagesinsixforeignlanguage,includingSanskrit.TheWasteLandThethemeofthe28SomeliterarytermsAllusion(典故):Areference,generallybrief,toaperson,place,thingoreventwithwhichthereaderispresumablyfamiliar.Itisadevicethatallowsawritertocompressgreatdealofmeaningintoaveryfewwords.It“work”totheextenttheyarerecognizedandunderstood;whentheyarenot,theytendtoconfuse.SomeliterarytermsAllusion(29Soliloquy：indrama,anextendedspeechdeliveredbyacharacteralongonstage.Thecharacterrevealshisorherinnermostthoughtsandfeelingsdirectlytotheaudience,asifthinkingaloud.Soliloquy：indrama,anextende30Dramaticmonologue:akindofnarrativepoeminwhichonecharacterspeakstooneormorelistenerswhoserepliesarenotgiveninthepoem.Itrevealsthespeaker’spersonalityaswellastheincidentthatisthesubjectofthepoem.Anexampleofadramaticmonologueis“MyLastDuchess”byRobertBrowning.Dramaticmonologue:akindof31pointofview(1)Themodernsocietyisfutileandchaotic.(2)Onlypoetscancreatesomeorderoutofchaos.(3)Themethodtouseistocomparethepastandthepresent.pointofview32Style(1)Freshvisualimagery,flexibletoneandhighlyexpressiverhythm(2)Difficultanddisconnectedimagesandsymbols,quotationsandallusions(3)Ellipticalstructures,strangejuxtapositions,anabsenceofbridgesStyle33Ⅷ.RobertFrost(1874-1963)Hislifestoryisonthe168Ⅷ.RobertFrost(1874-1963)His3420世紀美國文學英文版課件35PointofView(1)Allhislife,Frostwasconcernedwithconstructionsthroughpoetry.“amomentarystayagainstconfusion”.(2)Heunderstandstheterrorandtragedyinnature,butalsoitsbeauty.(3)UnliketheEnglishromanticpoetsof19thcentury,hedidn’tbelievethatmancouldfindharmonywithnature.Hebelievedthatserenitycamefromworking,usuallyamidnaturalforces,whichcouldn’tbeunderstood.Heregardedworkas“significanttoil”.PointofView(1)Allhislife,3620世紀美國文學英文版課件37HisWorksthefirst:ABoy’sWill(1913)collections:NorthofBoston(1914)MountainInterval(mature)NewHampshireFourPulitzerPrizesWinnerHisWorksthefirst:ABoy’sWi38TheInterpretationofhispoemsTheRoadNotTaken(p.170)StoppingbywoodsonaSnowyEveningTheInterpretationofhispoem39TheroadnottakenTworoadsdivergedinayellowwood,AndsorryIcouldnottravelbothAndbeonetraveler,longIstoodAndlookeddownoneasfarasIcouldTowhereitbentintheundergrowth;Thentooktheother,asjustasfair,Andhavingperhapsthebetterclaim,Becauseitwasgrassyandwantedwear;ThoughasforthatthepassingthereHadwornthemreallyaboutthesame,AndboththatmorningequallylayInleavesnostephadtroddenblack.Oh,Ikeptthefirstforanotherday!Yetknowinghowwayleadsontoway,IdoubtedifIshouldevercomeback.IshallbetellingthiswithasighSomewhereagesandageshence:Tworoadsdivergedinawood,andI-Itooktheonelesstraveledby,Andthathasmadeallthedifference.(1916)TheroadnottakenTworoadsdi4020世紀美國文學英文版課件41黃色的樹林里分出兩條路，可惜我不能同時去涉足，我在那路口久久佇立，我向著一條路極目望去，直到它消失在叢林深處。但我卻選了另外一條路，它荒草萋萋，十分幽寂，顯得更誘人、更美麗，雖然在這兩條小路上，都很少留下旅人的足跡，黃色的樹林里分出兩條路，42雖然那天清晨落葉滿地，兩條路都未經(jīng)腳印污染。呵，留下一條路等改日再見！但我知道路徑延綿無盡頭，恐怕我難以再回返。也許多少年后在某個地方，我將輕聲嘆息把往事回顧，一片樹林里分出兩條路，而我選了人跡更少的一條，從此決定了我一生的道路。雖然那天清晨落葉滿地，43未選之路林中兩路分，可惜難兼行。游子久佇立，極目望一徑。蜿蜒復曲折，隱于叢林中。我選另一途，合理亦公正。草密人跡罕，正待人通行。足跡踏過處，兩路皆相同。兩路林中伸，落葉無人蹤。我選一路走，深知路無窮。我疑從今后，能否轉回程。數(shù)十年之后，談起常嘆息。林中兩路分，一路人跡稀。我獨進此路，境遇乃相異。未選之路44StoppingbyWoodsonaSnowyEvening(1923)--byRobertWhosewoodstheseareIthinkIknow.Hishouseisinthevillagethough;HewillnotseemestoppinghereTowatchhiswoodsfillupwithsnow.MylittlehorsemustthinkitqueerTostopwithoutafarhousenearBetweenthewoodsandfrozenlakeThedarkesteveningoftheyear.StoppingbyWoodsonaSnowyE45HegiveshisharnessbellsashakeToaskifthereissomemistake.Theonlyothersound’sthesweepOfeasywindanddownyflake.Thewoodsarelovely,dark,anddeep,ButIhavepromisestokeep,AndmilestogobeforeIsleep,AndmilestogobeforeIsleepHegiveshisharnessbellsas4620世紀美國文學英文版課件4720世紀美國文學英文版課件4820世紀美國文學英文版課件49這首《雪夜林前小駐》所描寫的情景不用解釋，但它后面的情趣、哲理、魅力，需要細細品位。我獨自站在樹林邊沿，里面有一種東西在吸引我，但不能光聽內心世界的召喚，我還要許多世間的約會、責任，“路迢途遠豈敢酣眠”，這里的“眠”既是陶醉，又是安靜，或是心靈的平靜。一個情景，引起人無限遐想，每個人會根據(jù)自己的經(jīng)歷體會無數(shù)個生活背后的韻味。詩人在雪夜里騎馬路經(jīng)一片樹林，樹林的主人是熟識的，他的家就住在村中。詩人在白雪覆蓋的林邊佇立觀賞雪景使坐騎感到奇怪，以為他迷失了路。雪中的森林景色誘人，使人流連忘返，但是詩人卻不能停留下來，他還要繼續(xù)走一段路程才能安眠。繼續(xù)走另有含義，指詩人要完成的工作，安眠指人生的盡頭。詩人說他一定要把要做的事情做完才能最終安息。

這首《雪夜林前小駐》所描寫的情景不用解釋，但它后面的情趣、哲50Featuresofhispoems(1)Heisapoetofnature.MostofhispoemstookNewEnglandassetting,andthesubjectswerechosenfromdailylifeofordinarypeople,suchas“mendingwall”,“pickingapples”.

Featuresofhispoems(1)Heis51(2)Hewritesmostoftenaboutlandscapeandpeople–thelonelinessandpovertyofisolatedfarmers,beauty,terrorandtragedyinnature.Healsodescribessomeabnormalpeople,e.g.“deceptivelysimple”,“philosophicalpoet”.(2)Hewritesmostoftenabout52(3)Althoughhewaspopularduring1920s,hedidn’texperimentlikeothermodernpoets.Heusedconventionalforms,plainlanguage,traditionalmetre,andwroteinapasturedtradition.(3)Althoughhewaspopulardu53IX.E.E.Cummings“ajugglerwithsyntax,grammaranddiction”–individualism,“painterpoet”IX.E.E.Cummings“ajuggler54Novelsinthe1920sI.F.ScottFitzgerald1.life–participantin1920s2.works (1)ThisSideofParadise (2)FlappersandPhilosophers (3)TheBeautifulandtheDamned (4)TheGreatGatsby (5)TenderistheNight (6)AlltheSadYoungMan (7)TheLastTycoon

Novelsinthe1920sI.F.Scot553.pointofview(1)Heexpressedwhattheyoungpeoplebelievedinthe1920s,theso-called“AmericanDream”isfalseinnature.(2)Hehadalwaysbeencriticaloftherichandtriedtoshowtheintegratingeffectsofmoneyontheemotionalmake-upofhischaracter.Hefoundthatwealthalteredpeople’scharacters,makingthemmeananddistrusted.Hethinksmoneybroughtonlytragedyandremorse.(3)Hisnovelsfollowapattern:dream–lackofattraction–failureanddespair.3.pointofview564.Hisideasof“AmericanDream” Itisfalsetomostyoungpeople.Onlythosewhoweredishonestcouldbecomerich.4.Hisideasof“AmericanDrea575.Style FitzgeraldwasoneofthegreatstylistsinAmericanliterature.Hisproseissmooth,sensitive,andcompletelyoriginalinitsdictionandmetaphors.Itssimplicityandgracefulness,itsskillinmanipulatingtherelationbetweenthegeneralandthespecificrevealhisconsummateartistry.5.Style586.TheGreatGatsby Narrativepointofview–Nick Heisrelatedtoeveryoneinthenovelandiscalmanddetectedobserverwhoisneverquicktomakejudgments. Selectedomniscientpointofview6.TheGreatGatsby59II.ErnestHemingway1.life2.pointofview(influencedbyexperienceinwar)(1)HefeltthatWWIhadbrokenAmerica’scultureandtraditions,andseparatedfromitsroots.Hewroteaboutmenandwomenwhowereisolatedfromtradition,frightened,sometimesridiculous,tryingtofindtheirownway.(2)Hecondemnedwaraspurposelessslaughter,buttheattitudechangedwhenhetookpartinSpanishCivilWarwhenhefoundthatfascismwasacauseworthfightingfor.(3)Hewroteaboutcourageandcowardiceinbattlefield.Hedefinedcourageas“aninstinctivemovementtowardsorawayfromthecentreofviolencewithself-preservationandself-respect,themixedmotive”.Healsotalkedaboutthecouragewithwhichtofacetragediesoflifethatcanneverberemedied.(4)Hemingwayisessentiallyanegativewriter.Itisverydifficultforhimtosay“yes”.Heholdsablack,naturalisticviewoftheworldandseesitas“allanothing”and“allnada”.II.ErnestHemingway1.life603.works(1)InOurTime(2)MenWithoutWomen(3)WinnerTakeNothing(4)TheTorrentsofSpring(5)TheSunAlsoRises(6)AFarewelltoArms(7)DeathintheAfternoon(8)ToHaveandHaveNot(9)GreenHillsofAfrica(10)TheFifthColumn(11)ForWhomtheBellTolls(12)AcrosstheRiverandintotheTrees(13)TheOldManandtheSea3.works614.themes–“graceunderpressure”(1)warandinfluenceofwaronpeople,withscenesconnectedwithhunting,bullfightingwhichdemandstaminaandcourage,andwiththequestion“howtolivewithpain”,“howhumanbeinglivegracefullyunderpressure”.(2)“codehero” TheHemingwayheroisanaveragemanofdecidedlymasculinetastes,sensitiveandintelligent,amanofaction,andoneoffewwords.Thatisanindividualistkeepingemotionsundercontrol,stoicandself-disciplinedinadreadfulplace.Thesepeopleareusuallyspiritualstrong,peopleofcertainskills,andmostofthemencounterdeathmanytimes.4.themes–“graceunderpress625.style(1)simpleandnatural(2)direct,clearandfresh(3)leanandeconomical(4)simple,conversational,commonfound,fundamentalwords(5)simplesentences(6)Icebergprinciple:understatement,impliedthings(7)Symbolism5.style63III.SinclairLewis“theworstimportantwriterinAmericanliterature”1.life2.works(1)MainStreet(2)Babbitt(3)Arrowsmith(4)Dodsworth(5)ElmerGantryIII.SinclairLewis“theworst643.pointofview–satiricalcriticofAmericanmiddleclass(1)Lewisshowedthevillagerstobenarrow-minded,greedy,pretentiousandcorrupt.(2)Heattackedmiddleclassforitsigogoumptionthateconomicsuccessmadeitsuperior.3.pointofview–satiricalc654.style(1)photographic,verisimilitude(2)colloquialism(3)characterization:heoftencreatedatypeofcharacterratherthananindividual(4)oldfashionedintheme(5)lackinpsychologicalexploration4.style66IV.WillaCather1.life2.works(1)Alexander’sBridge(2)OPioneers(3)TheSongoftheLark(4)MyAntoniaIV.WillaCather1.life673.featuresofherworks(1)Shewasoneofthefew“uneasysurvivorsofthenineteenthcentury”.Hangingontothetraditionalvalues,shewasneverabletocometotermswithmodernity.(2)Oldwestbecomesinmostofhernovelsthecentreofmoralreferenceagainstwhichmodernexistenceismeasured.(3)Shewithdrawsinherlaterfictionintothehistoricalpast.(4)Sheoftenuseswomenprotagonistsinhernovels.3.featuresofherworks68SouthernLiteratureI.Heritage AmericansouthernliteraturecandatebacktoEdgarAllenPoe,andreachitssummitwiththeappearanceofthetwo“giants”–FaulknerandWolfe.Therearesouthernwomenwriters–KatherineAnnePorter,EudoraWelty,andFlanneryO’Connor.SouthernLiteratureI.Heritage69II.SouthernMyths–guilt,failure,poverty1.Chevalierheritage2.Agrarianvirtue3.Plantationaristocracy4.Lostcause5.Whitesupremacy6.PurityofwomanhoodSouthernliterature:twisted,pessimistic,violent,distortedGothicnovel:PoeII.SouthernMyths–guilt,fa70III.WilliamFaulkner1.life

literarycareer:threestages(1)1924~1929:trainingasawriter

TheMarbleFaun Soldier’sPay Mosquitoes(2)1929~1936:mostproductiveandprolificperiod

Sartoris TheSoundandtheFury AsILayDying LightinAugust Absalom,Absalom(3)1940~end:wonrecognitioninAmerica

GoDown,Moses

III.WilliamFaulkner1.life713.pointofview Hegenerallyshowsagrimpictureofhumansocietywhereviolenceandcrueltyarefrequentlyincluded,buthislaterworksshowedoptimism.Hisintentionwastoshowtheevil,harsheventsincontrasttosucheternalvirtuesaslove,honor,pity,compassion,self-sacrifice,andtherebyexposethefaultsofsociety.Hefeltthatitwa