西方文化論文-評(píng)《老人與海》中海明寫作風(fēng)格和手法.doc

西方文化論文-評(píng)老人與海中海明寫作風(fēng)格和手法ContentsAbstractAbstract(Chinese).OutlineTopic:ThroughTheOldManandtheSeadisplayHemingwayuniquewritingstyleandtechnique.IntroductionLanguageStyle1.AnalysesofthelanguageStyle2.TheformingoftheLanguageStyle3.TheinfluenceoftheLanguageStyleTheWaytoUseFactsConclusionNoteBibliographyAbstractBeingdistinguishedfrommanygreatestAmericanwriters,Hemingwayisnotedforhiswritingstyle.Amongallhisworks,TheOldManandtheSeaisatypicalonetohisuniquewritingstyleandtechnique.Thelanguageissimpleandnaturalonthesurface,butactuallydeliberateandartificial.Sometimesthesimplestyleismadealittledifferent.Thedialogueiscombinedwiththerealisticandtheartificial.Thesimplicityishighlysuggestive,andoftenreflectsthestrongundercurrentofemotion.Occasionally,theauthorusessomefiguresofspeech.Hemingwaysstyleisrelatedtohisexperienceasajournalist,hislearningfrommanyfamouswriters,andmostimportantly,hisconscientiouseffortinlookingforastyleofhisown.Theinfluenceofhisstyleisgreatallovertheworld.TheOldManandtheSeaisfulloffacts,mostofwhichcomesfromHemingwaysownexperience.Sothewaytousefactsisaveryimportantwritingtechniqueinthisnovel.Thefactsinthenovelareselectedandusedasadevicetomakethefictionalworldaccepted.Intheforepartofthenovel,theyareusedtoshowthequalityofSantiagoslife,andarenarratedsimplyandnaturally；whileinthelatterpartofthenovel,theyareusedfrominsideSantiagosownconsciousnessandformpartofawholeschemeofthenovel.Keywords:Facts；Simplicity；Artificial；IcebergTheory中文摘要在眾偉大的美國(guó)作家中，海明威以獨(dú)特的寫作風(fēng)格而著稱。在他所有的作品中，老人與海最能體現(xiàn)他獨(dú)特的寫作風(fēng)格和手法。這部小說(shuō)語(yǔ)言看似簡(jiǎn)潔自然，其實(shí)包含了作者的精心揣摩和潤(rùn)色加工。有時(shí)為了突出某一部分，作者會(huì)采用長(zhǎng)句代替短句。文中的對(duì)話內(nèi)容真實(shí)、貼近生活，而表達(dá)形式則經(jīng)過(guò)了藝術(shù)加工。小說(shuō)簡(jiǎn)潔自然的語(yǔ)言背后隱藏了深刻的意義和感情。文中還運(yùn)用了比喻、擬人等修辭手法.還名位的這種獨(dú)特風(fēng)格與他當(dāng)過(guò)新聞?dòng)浾叩慕?jīng)歷有關(guān),同時(shí)他兼菜各家之長(zhǎng),自成一體,形成了自己獨(dú)特的創(chuàng)作方法和藝術(shù)風(fēng)格。這種風(fēng)格對(duì)整個(gè)世界文壇產(chǎn)生了重要的影響。老人與海這部小說(shuō)中運(yùn)用了大量的事實(shí),他們大多來(lái)自于作者親身經(jīng)歷。海明威對(duì)這些事實(shí)精心選擇,從而吸引讀者的興趣并使讀者有一種身臨其境的感覺。小說(shuō)一開始用大量事實(shí)描寫了主人公生活的環(huán)境,敘述風(fēng)格簡(jiǎn)潔自然,未加任何感情色彩。隨著情節(jié)的發(fā)展,大量的事實(shí)主要被運(yùn)用于主人公的心理活動(dòng)之中,而不是主要由作者來(lái)敘述。同時(shí),這些事實(shí)構(gòu)成了整個(gè)小說(shuō)體系中不可缺少的一部分。關(guān)鍵詞：事實(shí)；簡(jiǎn)潔；加工；冰山理論HemingwaysWritingStyleandTechniquesinTheOldManandtheSeaIntroductionTheOldManandtheSea(1952)comesroundatthefinishofHemingwayswritingcareer.Withitsvividcharacterization,itssimplelanguage,andtheprofoundimplicatingitcarries,itstandsoutasoneoftheexcellentbooksHemingwaysformerstatureasthewordspreeminentnovelistafterHemingwaysunsuccessfulnovelAcrosstheRiverandintothetrees(1950).TheOldManandtheSeaearneditsauthorthePulitzerPrizeinfictionfor1952,andwasinstrumentalinwinninghimtheNobelPrizeforLiteraturetwoyearslater.ItisashortnovelaboutSantiago,anoldCubanfishermanwhohasgonefor84dayswithoutcatch.Thereforetheboy,Mandolin,whousedtosailwithhim,isforcedtoleavehimandcatchinanothership.Theoldmaninsistsonfishingaloneandatlast,hehooksaneighteen-foot,giantmarlin,thelargesthehaseverknown.Butthefishisverypowerfulanddisobedient.Ittowstheoldmanandhisboatouttoseafor48hours,withtheoldmanbearingthewholeweightofthefishthroughthelineonhisback.Theoldman,withlittlefoodandsleep,hastoenduremuchpainandfightsagainsthistreacheroushandcramp.Tohisgreatexcitement,onhisthirddayatsea,hesucceedsindrawingtheweakenedmarlintothesurfaceandharpoonsit.Onhiswayhome,helashesmarlinalongsidehisboatbecauseitistoobigtobepulledintotheboat.But,unfortunately,thecomeacrosssharksindifferentnumbersforfourtimes.Theoldmanfightstokillthesharkswithasmuchmightandmanyweaponsashecansummon,butonlytofindagiantskeletonofhismarlinleftafterhisdesperatedefense.Atlast,Santiago,havinglostwhathefoughtfor,reachestheshoreandstrugglestohisshack.Hefallsintosoundsleep,dreamingofAfrica,andthelionsagain.Hisstrugglewinshimmuchrespect.AmongmanygreatAmericanwriters,Hemingwayisfamousforhisobjectiveandterseprosestyle.AsthelastnovelHemingwaypublishedinhislife,TheOldManandtheSeatypicallyreflectshisuniquewritingstyle.ThispaperaimstodiscussthewritingstyleandtechniquesinTheOldManandtheSea.Ofcourse,Hemingwayhasusedmanytechniquesinthisnovel,suchasrealism,thecreationofsuspense,monologue,etc.Andthispaperfocusesespeciallyonthelanguagestyleandoneoftheimportanttechniques-thewaytousefactsinthisnovel.Hemingwayisfamousforhislanguage.Withmuchcareandeffort,hecreatedaveryinfluentialandimmediatelyrecognizablestyle.“Thestylehecreatedinhisearlywork,suchasInOurTimeandTheSunalsoRises,wasalmosttoogood.Likethestyleofcertainpainters,ittendedtobecomeamanner,ratherthanaflexiblewayofrespondingtoexperienceandconveyingfreshinsightsthroughwords.”1Amongallhisworks,TheOldManandtheSeaisthemosttypicalonetohisuniquelanguagestyle.Itslanguageissimpleandnatural,andhastheeffectofdirectness,clarityandfreshness.ThisisbecauseHemingwayalwaysmanagestochoosewords“concrete,specific,morecommonlyfound,moreAnglo-Saxon,casualandconversational.”2Heseldomusesadjectivesandabstractnouns,andavoidscomplicatedsyntax.Hemingwaysstrengthliesinhisshortsentencesandveryspecificdetails.Hisshortsentencesarepowerfullyloadedwiththetension,whichheseesinlife.Wherehedoesnotuseasimpleandshortsentence,heconnectsthevariouspartsofthesentenceinastraightforwardandsequentialway,oftenlinkedby“and”.Inhistaskofcreatingrealpeople,Hemingwayusesdialogueasaneffectivedevice.Itispresentedinaform“asclosetothedramaticaspossible,withaminimumofexplanatorycomment.”3HereisanexamplechosenfromTheOldManandtheSea:Whatdoyouhavetoeat?theboyasked.No,Iwilleatathome.Doyouwantmetomakethefire?No,Iwillmakeitlateron.OrImayeatthericecold.Herewecanseethatsuchinterpolationsas“hesaid”havefrequentlybeenomittedandthewordsareverycolloquial.Thusthespeechcomestothereaderasifhewerelistening.Hemingwayhascapturedtheimmediacyofdialogueskillfullyandhasmadetheeconomicalspeechconnotative.ButitisgoodtonotethatHemingwaysstyleisdeliberateandartificial,andisneverasnaturalasitseemstobe.Thereasonsareasfollows.Firstly,insomespecificmoments,inordertostandoutbycontrastandtodescribeanimportantturningpointorclimax,thestyleismadealittledifferent:Hetookallhispainandwhatwasleftofhislonggoneprideandheputitagainstthefishsagonyandthefishcameoverontohissideandswamgentlyonhisside,hisbillalmosttouchingtheplankingoftheskiff,andstartedtopasstheboat,long,deep,wide,silverandbarredwithpurpleandinterminableinthewater.5Thelanguageinthisone-sentenceparagraphisdifferentfromotherpartsofthenovel.KennethGrahamhascommentedthatthesentencebuildsupitspartsinacarefullylaborioussequence-“allhispainandwhatwasleftofhisstrengthandhislonggonepride”.Itemulatesthemovementoftheexhaustedmarlinandthephysicalstrainoftheoldman.Anditmountstoaheavycrescendointheveryun-prosaicinversionofadjectives-“l(fā)ong,deep,wide”-endinginthevirtuallypoeticcadence,“interminableinthewater.”6Thedialogue,too,iscombinedwiththerealisticandtheartificial.Usuallythecontentcontainsandtheexpressioncontainstheartificial.InTheOldManandtheSea,thelanguagestyleisverypeculiarfromHemingwaysotherwritings.ThisisbecausethenovelisanEnglishversionoftheSpanishthatSantiagoandMandolinwouldspeakinreallife.“SincewearemeanttorealizethatSantiagoandMandolincouldnotpossiblyspeaklikethis,sinceEnglishisnothistongueanyway,wearemorelikelytoacceptotherartificialitiesofthedialogue.Usingthedeviceofapretendedtranslation,whichwouldbeboundtostiltinanycase,Hemingwaycanpoetizethedialogueashewishes.”7Thespeakersaredistancedfromreaderstoacertaindegree.Andwhiletheirlanguagetakingonakindofepicdignity,itdoesnotloseitsconvincingness.Evenslightlystrangeexchangeslikethefollowingbecomefairlyacceptable.Forexample:Youremyalarmclock,theboysaid.Ageismyalarmclock,theoldmansaid.Whydooldmanwakesoearly?Isittohaveonelongerday?Idontknow,theboysaid.AllIknowisthatyoungboyssleeplateandhard.Icanrememberit,theoldmansaid.Illwakenyouintime.8Thesimplesentencesandthere