冰山理论与《老人与海》The Iceberg Theory in The Old Man and t.docx

冰山理论与《老人与海》The Iceberg Theory in The Old Man and t.docx

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冰山理论与《老人与海》TheIcebergTheoryinTheOldManandt

冰山理论与《老人与海》

摘要

作为20世纪最有影响力的作家，海明威开创了新一代的写作风格，他以其独特的创作风格而誉满全球。

因此，冰山理论吸引了许多读者和评论家的眼球。

言及《老人与海》，纵人皆知老人是个硬汉子，但人们有时忽略作者是如何表达他的特点的。

在本文中,我将首先介绍《老人与与海》作者海明威和小说的情节和简单的背景介绍，然后探讨冰山理论的定义，再者从四个观点论述其隐藏的深刻思想和丰富的人物感情及其部分情节的隐含意义,包括精妙的叙事技巧，简洁含蓄的语言，电报式的对话和象征手法。

海明威行文看似相当简单，但是，另一方面,海明威的作品的主题是象征性的意义,并且提供充足的余地赋予他的作品与象征意义,基督教象征意义在他的作品中应用比较明显。

通过讨论,读者可以更加从细节上了解冰山理论和作品《老人与海》。

关键词:

冰山理论；老人；隐含意义；直接；象征主义

TheIcebergTheoryinTheOldManandtheSea

Abstract

AsoneofthemostinfluentialAmericanwritersinthe20thcentury,Hemingwaypioneeredagenerationofwritingstyle.Heisfamousforhisuniquewritingstyle---icebergtheorywhichinterests many readers and critics in the world.

TalkedaboutTheOldManandtheSeamanypeopleknowtheoldmanisatoughguy,buttheysometimesneglecthowthewriterdescribeitInthispaper,theauthorfirstlyintroducesthewriterandbackgroundandtheplotofthefamousnovelTheOldManandtheSeaandthenthedefinitionofHemingway’sicebergtheory.Later,Iwilldiscussthetheoryfromtheimplicitthemeandcharacter’sdeeppassion;itisobviousthatHemingway’sstyleisseeminglyrathersimpleanddirectfromfourpoints:

narrativetechnique,conciselanguagestyle,telegraphicdialogueandsymbolism.Ontheotherhand,thethemeofHemingway’sworksissymbolicandprovidesmuchroomforthinking．Hemingwayendowedhisworkswithsymbolicmeaningsbyusingthemetaphors．Also,meaningsofChristiansymbolismareobviousinhisworks．Throughdiscussion,readercanunderstandtheoldmanindetailfromdeepertowardsicebergtheoryandthenovel．

Keywords：

Icebergtheory,Oldman,Implicitmeaning,Direct,Symbolism

Contents

Chapter1Introduction

1.1AbouttheWriter

ErnestHemingway（l899～1961）,oneofoutstandingAmericannovelist,isamodernlegendwriter.HewasbornonJuly21st,1899atOakPark,Illinois,nearChicagoinAmerican.Inhischildhood,influencedbyhisfatherhewasfondofhunting,fishing,outdoorsandsoon.

Hisvarietyofinterestsespeciallythelovefishingalmostfollowedallhislifeandhadimportantinfluencesonhiswritinginspirationandhelpstodevelophisspecialpersonality.Helovedtotakeadventures.DuringWorldWarIhejoinedavolunteerambulanceunitinFrancesufferedseriousinjuriesbuthadsurvived.HewasalsoaffectedbytheSecondWorldWar,whoreplacedformeridealsandvaluesonlybydespairoracynicalhedonism,formedthebackgroundofhisfirstmajornovel—TheSunAlsoRisespublishedin1926,whenhewasonly26yearsold.Thebookdealswiththelivingattitudeofthepostwargenerationespeciallythosewhothoughtthatlifewasnothingandmeaninglessandasoneoftherepresentativeofthe“LostGeneration”,Hemingway’swritingcareerbeganinhighschoolandcontinueduntilhisdeathin1961andbeyond,withseveralofhisworkspublishedposthumouslywhenTheOldManandtheSeaappearedin1952,hehadbeenaninternationalliterarycelebrityformorethanaquarterofacentury.Hiswritingexperienceprovedsoshatteringandhorriblethathiswholelifeandhiswritingswerepermanentlyaffected.Asaresult,throughouthislifehelivedwithitemotionallyandcontinuedtorelieveandforgetaboutit.

1.2AboutthePlotoftheStory

TheOldManandtheSea,forwhichHemingwaywasawardedtheNovelPrizesforliterature,isoneofthemostinfluentialnovelsoftheliterarytreasureoftheworld.Itissowidelyreadthatpeopleconsiderthatwhereverthereisanintellectual,peopleknowHemingwaywithoutknowinghisworkTheOldManandtheSea.ThisverysimplewrittennovelhasdescribedasoneofErnestHemingway’sbestclassicalbook.Befamousforhistautandshortsentences,Hemingwaycreatedaninterestinganduniquestyleofwritingthatstillfascinatesreaderstoday.Thisnovelisveryshort,aboutanoldCubanfishermanSantiago’sbattlewithagiantmarlin.Evenhasn’tcatchfishfor84days.ClosedfriendyoungMandolinstilltriestohelphimonhissmallboatcalledaskiff.Althoughparentsdon’tallowtofishtogetherwiththeoldman,Mandolindidn’tloseheart.Hethoughttheoldmanwillsucceedatlast,sohecontinuestohelptheman.Eventhoughlacksoffoodandmoney,MandolinmakessurethatSantiagohasfoodandblanketstosleepon.Thisnovelexploresmanversusnature,internalconflictand,asisevidentinotherofHemingway’sliteraturewars,thethemeofbeingcourageous.WithstruggleSantiagomanagestocatchthemarlinandreturnhome,leavingonlyaskeleton.Itcanbeseenthatfacingobstacles,Santiagonevergiveupandeventhoughhefeelshehasbeenveryunlucky,thereishopeinstilledwithinhimtokeepgoingon.Heisdestroyedbutnotdefeated.Thispaperaimstodiscusstheimplicitmeaningofthearticlewhichisknownasicebergtheory;writingstyleandtechniquesinTheOldManandtheSea.Ofcourse,Hemingwayhasusedmanytechniquesinthisnovel,suchasrealism,thecreationofsuspense,monologue,etc.Andthispaperfocusesespeciallyonthelanguagestyleandoneoftheimportanttechniques-thewaytousefactsinthisnovel.AllweknowisthatHemingwayisfamousforhislanguage.Withmuchcareandeffort,hecreatedaveryinfluentialandimmediatelyrecognizablestyle.“Thestylehecreatedinhisearlywork,suchasInOurTimeandtheSunalsoRiseswasalmosttoogood.Likethestyleofcertainpainters,ittendedtobecomeamanner,ratherthanaflexiblewayofrespondingtoexperienceandconveyingfreshinsightsthroughwords.”Andicebergtheoryisstillappliedinmanyareas,forexample,intheadministrativeandeconomicalareas.

Chapter2Definition

TheicebergprincipleisawritingtheorystatedbyafamousAmericanwriter,ErnestHemingway,asfollows:

Ifawriterofproseknowsenoughaboutwhatheiswritingabouthemayomitthingsthatwillhaveafeelingofthosethingsasstronglyasthoughthewriterhadstatedthem.Thedignityofmovementofanicebergmeansonlyone-eighthofitbeingabovewater.In1932,inDeathintheafternoon,Hemingwayusedaneffectivemetaphortodescribehiswritingstyleforthefirsttime:

“agoodwriterdoesnotneedtorevealeverydetailofacharacteroraction.Ifitisofanyusetoknowit,Ialwaystrytowriteontheprincipleoftheiceberg.Thereisseven-eighthsofitunderwaterforeverypartthatshows.Anythingyouknowyoucaneliminateanditonlystrengthensyouriceberg.Itisthepartthatdoesn'tshow.Ifawriteromitssomethingbecausehedoesnotknowitthenthereisaholeinthestory1.Itmeansinthisstyleofwriting,thewriteromitssomethingthatthereaderscanfindoutbyreadingtheworkcarefully.Asaproductivewriter,inhislifetime,hefinishedsixlongpiecesoffictionsandmorethanfiftymediumandshortstories．Amongthem,Afarewelltoarms,therepresentativeworkoftheLostGeneration,isthesymboloftheformationoficebergtheory．AndTheOldmanandtheSeaisconsideredtobetheclimaxofhisspecialwritingstyleThiswritingstyleisalsocommonlyadoptedbymanywriterstoday.

Nowthisprinciplehasbeenappliedinvariousfields.Wecouldregardthesmallpartwhichcanbeeasilynoticedasthe1/8ofaniceberg,andthepartcan’tbeeasilynoticedasthepartunderthesurface.Whatcan’tbeseenisthemostimportant,becauseit’sthebaseofaniceberg,whatittothepartabovewateriswhattherootofatreetothetrunk.Wemayadmireafamouspersonverymuchbecauseofhiswealthandfame,buthowmanypeopleknowthestruggleandsufferingsbehindit?

Aretheydispensable?

Wecanusethemodelof“icebergprinciple”.Hiswealthandfameisthesmallpartwecansee,andhissufferingsandstruggleisthepartunderwater,withoutit,thepersonwouldn’thaveacquiredthefameandwealthheownstoday.

Thisprinciplealsocouldbeusedinteaching.Theamountofmaterialthatteacherscouldpresenttotheirstudentsisasmallportionofthesumtotalofknowledgeandskillsthattheypossess.Likeaniceberg,thelevelofexpertisethatisvisibletothepublicisdependentuponalargerbodyofknowledgethatissubmergedoutofsight.So,itisparticularlyimportantforinstructorstocontinuallyincreasetheirknowledgeandskilllevelbecauseonlyaportionofthetotalbodyofknowledgewillappeartobeavailable;thesamegoestolearning.Whattheteachercouldteachusisverylimited,soifwewantenrichourknowledge;wehavetolearntousewhatwehavelearnedtoexploretheunknownthings.Whileinthewholestory,theauthoronlyadoptsthenarrativewayoftellingthestory.Andheonlyusesverysimplewords.Stillitconveyshisideaeffectively,evenmoreeffectivelythanthoseflashyandfloweryones.ItisatypicalexampleoftheapplianceoftheIcebergTheory.．Somecriticizehimforbeingexcessivelysuccinct,becausetherearejusttwomaincharactersinTheoldmanandtheseaandboththelanguageandstructurelookverysimple．

Theauthorcompletelydoesnotagreewiththeviewpointsabove．Obviously,Hemingwayherestressedonomission,claimingthatthe“7/8”underthesurfaceshouldbeleftforthereadersthemselves．Accordingtohisexplanation,aroughoutlineofthe“icebergtheory”canbemade：

theso-calledicebergtheory,ismoldingadistinctimagewiththesuccinctanddirectwriting,thefeelingandthoughtofthewriterhimselfarehiddenintheimagetothelargestextent．Thus,theemotionisplentiful,thoughincludedbutnotexposed；thethoughtisprofound,thoughdeeplyconcealedbutnotobscure．Onaccountofthis,thesensibilityandperceptibilityofliteraturearecombinedskillfully,leavingthereaderstoexploretheemotionandthoughtoftheworkthroughthefeelingofthesedi