美国文学资料总结20世纪以后文学.docx
《美国文学资料总结20世纪以后文学.docx》由会员分享,可在线阅读,更多相关《美国文学资料总结20世纪以后文学.docx(16页珍藏版)》请在冰点文库上搜索。
美国文学资料总结20世纪以后文学
PartⅤTwentieth-CenturyLiterature二十世纪文学
Modernism:
beganinthelate19thcenturyandthetheoryofpsycho-analysisasitstheoreticalbase.
EzraPoundandT.S.Eliotreplacedthelogicalexpositionofthoughtswithfragmentaryimagesandcomplexallusions
Modernistwritingiscosmopolitan,andoftenexpressesasenseofurbanculturaldislocation混乱,alongwithanawarenessofnewpsychologicaltheories.Itsfavoredtechniquesofjuxtaposition并置andmultiplepointofviewchallengethereadertoreestablishacoherenceofmeaningfromfragmentaryforms.
4、现代主义的标志:
T.S.Eliot’s“TheWasteLand”,themostsignificantAmericanpoemofthetwentiethcentury,helpedtoestablishamoderntraditionofliteraturerichwithlearningandallusive引用典故的thought.
8. Ingeneralterms,muchseriousliteraturewrittenfrom1912onwardsattemptedtoconveyavisionofsocialbreakdownandmoraldecayandthewriter’staskwastodeveloptechniquesthatcouldrepresentabreakwiththepast.Thus,thedefiningformalcharacteristicsofthemodernisticworksarediscontinuityandfragmentation.总之,1912年以后许多严肃文学都力图表达社会崩溃,道德沦丧的观点,作家也使用新技巧,告别老传统。
9.Atypicalmodernworkwillseemtobeginarbitrarily,toadvancewithoutexplanation,andtoendwithoutresolution.现代文学的典型特征是开端任意,发展不做解释以及没有结果的收场。
10. Thereareshiftsinperspective,voice,andtone,butthebiggestshiftisfromtheexternaltointernal,fromthepublictotheprivate,fromthechronological时间顺序tothepsychic精神的,fromtheobjectivedescriptiontothesubjectiveprojection.作品在现实,语气上较前有变化,其中最大的变化是从描写外部世界转到内部世界,从公众生活转到私生活描写,从时间线索转到以心理感觉为线索,从客观描述转到主观渲染。
11. Traditionalfictionfeaturedanauthoritativenarratorintellingastory,whilemodernfictiontendedtoemploythefirstpersonnarrationorlimitthereadertothe“centralconsciousness”oronecharacter’spointofview.传统小说强调叙述的人物的权威性和可信性,而现代小说叙述的总是用第一人称,或者把读者限制到“中心的意识”上或以一个人物的视线进行叙述。
Imagism:
1909and1917
theimagisttheoriescallforbrieflanguage,describingtheprecisepictureinasfewwordsaspossible.
Theimagistscultivatedconcision简洁anddirectness,buildingtheirshortpoemsaroundsingleimages;
presentanintellectualandemotionalcomplexinaninstantoftime
useofthelanguageofcommonspeech,projectmatter,theevocation唤起ofimagesinhard,clearpoetry,andconcentration.
theypreferredlooserrhythms.theformoffreeverse.Therearenometrical韵律的rules.Indiscriminate任意的linebreaks,whichreflectsthediscontinuityoflifeitself.Thepoetusesthelengthofthelinesandthestrangegroupingsofwordstoshowhowlifeitselfcanbebrokenupintosomehowmeaninglessclusters.
LostGeneration:
NameappliedtothedisillusionedintellectualsandaesthetesoftheyearsfollowingWWI,whorebelledagainstformeridealsandvaluesbutcouldreplacethemonlybydespairoracynicalhedonism.TheremarkofGertrudeStein.“youareallalostgeneration,”addressedtoHemingway,wasusedasaprefacetothelatter’snovelThesunAlsoRise,whichbrilliantlydescribesanexpatriategrouptypicalofthe“lostgeneration.”OtherexpatriateAmericanauthorsoftheperiodtowhomthetermisgenerallyappliedincludeE.E.Cummings,F.Scott.FitzgeraldandEzraPoundetc.
“TheLostGeneration,”
•agroupofyoungAmericanswholefttheirnativelandandfoughtinthewarandlaterengagedthemselvesinwritinginanewwayabouttheirownexperiences,通过“迷惘的一代”人的形象塑造,表现了一战后整个一代人的精神面貌以及一战给人们带来的影响。
(迷惘的一代:
一群离开祖国,参加战争的美国青年,战后开始动手写下他们的战争经历)
•
•LostGenerationisaliteratureschooloriginalinAmericaninthetwentiethcentury.LostGenerationalsoreferstothegenerationaftertheWorldWarI.Meanwhile,italsoreferstotheyoungwriterswholivedasexpatriatesinWesternEuropeforashorttime.
Disillusionedanddisgustedbythefrivolous,轻浮的greedy,andheedlesswayoflifeinAmerica,
theybegantowriteandtheywrotefromtheirownexperiencesinthewar.由于他们已厌倦美国那种轻浮,贪婪的生活,于是开始动手写下他们的战争经历。
writingstyle
ationwritersfeltthatAmericawasnotsuchasuccessstorybecausethecountrywasdevoidofacosmopolitan(兼容并包的)culture.TheirsolutiontothisissuewastopackuptheirbagsandtraveltoEurope.Heretheyexpectedtofindliteraryfreedomandacosmopolitanwayoflife
典型的迷惘一代:
F.ScottFitzgerald,
ErnestHemingway
WilliamFaulkner
(((迷惘的一代”指的是第一次世界大战后成长起来的年轻人(包括海明威在内),他们之所以对生活失去信念是由于战争的创伤,但他们并未因此而失去对人性的渴望。
“垮掉的一代”则不同,他们中的许多人已经丧失了对人性的最基本的理解,用“垮掉的一代”作为称谓也表达了公众对他们的失望和不满。
TheJazzAge(享乐时代):
worldwarⅠ(1918)totheGreatDepression(1929).
Americaenteredatemporaryandunprecedented空前的prosperousage.Itwasaflashyage,anagefullofspree狂欢.ItwasalsoanagethatyoungAmericansfeltperplexed困惑andlost.
asenseofpurposelessness,decadenceandculturalemptiness,andcapturedbothanexcitementaboutthenewthingsandananxietyaboutthehistoricalloss
drowningintheirpleasures.onlypursuematerialwealthbutneglectthewealthofspirit
JazzAgeisafertilesoilthatbreedsAmericandream
Americandream:
AmericandreammeansthatinAmericaonemighthopetosatisfyeverymaterialdesireandtherebyachievehappiness.Itisdeceptivebecauseitproposesthesatisfactionofalldesireasanattainablegoalandidentifiesdesirewithmaterial.
RobertFrost罗伯特·弗洛斯特1874-1963
1.①诗歌特点和内容:
Frost’spoemsareNewEnglandintheirsetting.Thesubjectscomefromcountrylifeofordinarypeople.Heusedplainlanguage,traditionalpoeticsandsymbolsfromeverydaylifetoexpressprofoundideas.HecombinedtraditionalpoeticformswithAmericanvocabularyandspeechrhythms.----Thisishisinnovation.
2.弗洛斯特反对当时的许多诗歌改革原则,相反奉行“旧瓶装新酒”的原则,采用旧形式来表达新内容,他采用新英格兰乡村的朴实用语,特别偏好传统的抒情类和叙事类,短小精悍的格式,作为一个自然主义诗人,很明显,他的作品中体现了浪漫主义作家的一些风格,在他看来,大自然是比喻和象征的无穷宝藏,作品中没有宗都的说教和冥想的玄思,他的诗歌都浅显明了,经常探讨黑暗中的神秘,宇宙万物中的各种不同的荒凉和嘈杂的风景,其实这就是人类自身居住的世界的另外一种表现,这个世界复杂、无助、孤寂Frosthadrejectedtherevolutionarypoeticprinciplesofhiscontemporanes,choosinginstead“theold-fashionedwaytobenew”.HeemployedtheplainspeechofruralNewEnglandersandpreferredtheshort,traditionalformsoflyricandnarrative,Asapoetofnaturehehadobviousaffinitieswithromanticwriters.Hesawnatureasastorehouseofanalogyandsymbol,buthehadlittlefaithinreligiousdogmaorspeculativethought.Hispoetry,forallitsapparentsimplicity,oftenprobesmysteriesofdarknessandirrationalityinthebleakandchaoticlandscapesofanindifferentuniversewheremenstandalone,unaidedandperplexed.
3.1913年在伦敦出版了第一本诗集《小男孩的意志》“ABoy’sWill”
4.1914年第二部诗集《波士顿以北》,“NorthofBoston”,
5.1916年《山陵》”MountainInterval”
1923年《新罕布什尔》”NewHampshire”
1928年《小河西流》”West-RunningBrook”
1936年《又一片农场》”AFurtherRange”
1942年《智慧树》”AWitnessTree”
1947年《绒毛锈线菊》“ASteepleBush”
1962年《空旷地》”IntheClearing”
EzraPound埃兹拉·庞德1885-1972
①Imagism意象派的代表人物。
PoundandEliot.庞德和爱略特都是运用意象主义作为文学表现手法的早期诗人。
14. Pound’searlierpoetryissaturatedwiththefamiliarpoeticsubjectsthatcharacterizethe19thcenturyRomanticism:
songsinpraiseofalady,songsconcerningthepoet’scraft,loveandfriendship,death,thetransienceofbeautyandthepermanenceofart.庞德的早期诗歌充满表现19世纪浪漫主义特色的为人熟知的诗题:
歌颂女性,有关诗人自己的诗,爱情与友谊,死亡,美丽的易逝和艺术的常青。
15. Laterheismoreconcernedabouttheproblemsofthemodernculture:
thecontemporaryculturaldecayandthepossiblesourcesofculturalrenewalaswell.Takehisepicpoem,TheCantos,forexample.Poundtracestheriseandfallofeasternandwesternempires,themoralandsocialchaosofthemodernworld,especiallythecorruptionofAmericaaftertheheroictimeofJefferson.后来,他更关注现代文化问题:
当代文化的堕落以及文化更新的可能途径。
以《诗章》为例,庞德追溯东西方帝国的兴亡,现代世界道德和社会的混乱,尤其是美国自杰斐逊后的腐败。
1912年美国人创办了《诗刊》标志着美国新诗运动的开始隔了数月,又在《诗刊》上发表了意象派的三点宣言:
①直接处理无论是主观的还是客观的事物;②绝对不用无助于表现的词;③至于节奏,应使用音乐性短语,而不按节拍器的节奏来写Poundendorsedthegroup’sthreemainprinciples,whichincludedirecttreatmentofpoeticsubjects,eliminationofmerelyornamentalorsuperfluouswords,andrhythmicalcompositioninthesequenceofthemusicalphraseratherthaninthesequenceofametronome.
19. “ThepointofImagism”,Poundwrotein1914,“isthatitdoesnotuseimagesasornaments.Theimageitselfisthespeech.Theimageisthewordbeyondformulatedlanguage”.庞德曾于1914年写道:
“意象主义的实质是意象不是装饰,意象本身就是语言。
意象是超语言形式的词汇”。
20. Thepoet,heargued,cannotrelateadelightfulpsychicexperiencebyspeakingoutdirectlyinthefirstperson:
hemust“screenhimself”andspeakindirectlythroughanimpersonalandobjectivestory,whichisusuallyamythorapieceoftheearlierliterature,ora“mask”,thatis,apersona.他认为,诗人不能直接用第一人称叙述心理感受,必须“把自己笼罩起来”,通过客观的非人格化的故事间接说话,那就是神话或文学典故。
impressiveandoftendaringoriginality.
1917年开始创作《诗集》,截止1959年总首数已达109首,有点象但丁的《神曲》,也是由三个部分组成,结构较为松散,作品中的主人公是喜剧性的人而不是神,他认为人类文明的毁灭主要是由于人类缺乏信用所至”TheCantos”,beganin1917,by1959,thenumbered109poems.Theprogressiveseries,exceedingtheproposedlimitofonehundredpoems,arelooselyconnectedcantos,likeDante’s“DivinaCommedia”inthreesections,butrepresentingacomedyhuman,notdivine,dealingwiththewreckofcivilizationsbyreasonoftheinfidelityofmankind
ThomasStearnsEliot托马斯·斯特恩斯·爱略特1888-1965
现代主义代言人①多重身份:
poet诗人,critic评论家,playwright剧作家
③作品特点:
(1)concernsvariousaspectsofthefrustrationandenfeeblementofindividualcharacterasseeninperspectivewiththedecayofstates,peoples,andreligiousfaith.触及人性中的软弱沮丧的弱点,正确思索了国家、人民、宗教信仰等的丧失。
(2)poemconceivedasamadeobject,anorganicthinginitself,whoseconcreteelementsaretruecorrelativesoftheartist’simaginationandexperiencewithrespecttothatpoem.诗歌是客观成型的东西,诗歌的具体元素与艺术家的想象和经历密切相关,也与诗歌相一致。
(3)Thedegreetowhichfusionandconcentrationofintellect,feeling,andexperiencewereachievedwasEliot’scriterionforjudgingthepoem.知识、情感、体验的融合与集中程度是爱略特判定诗歌好坏的标准。
在《传统和个人天才》文章中,作者第一次阐释了自己的审美观,他提出的美学原理成为了