英國(guó)文學(xué)James-Joyce電子教案

英國(guó)文學(xué)James-JoyceBritishLiteratureJamesJoyce2JamesJoyce(1882-1941)BiographyBorninadecliningIrishmiddleclassfamilyReceivedgoodeducation,buttherigidityofthereligionanditsrepresentativeeffectturnedhimawayfromthechurchtoliteratureBritishLiteratureJamesJoyce3HisliterarypassionsincludedsuchworldmastersasDante,Flaubert,Ibsen,andTolstoy,andhisfirstessayonIbsen,publishedwhenhewasastudentattheUniversityofDublin,wontheadmirationoftheagingNorwegianplaywrighthimself.BritishLiteratureJamesJoyce4Aftercollege,wenttoEuropeandstayedtherefortherestofhislife(1902-1941)Hislongestsojourn(atemporarystay)occurredduring1903-1904whenhewentbacktoseehisdyingmotherandmethisfuturewifeWasneverfinanciallycomfortableallhislifeTriedtomakeendsmeetbydoingoddjobssuchasteachingEnglishandlecturingonliteratureBritishLiteratureJamesJoyce5Neverlostsightofhispriority—theambitiontowritethegreatestliteratureofhistimeSpentyearsonthewritingofonebookThePortraitoftheArtistasaYoungMan(1916)took10yearsand3thoroughrevisionstofinish,Ulysses(1922)10yearsforconceptionand8yearsforexecution,andFinnegansWake(1939)awholeof16years

BritishLiteratureJamesJoyce6Inthematicterms,heneverforgottopromotethespiritualfreedomofhisnativecountrywithhiswritings.Irishnationalismfeaturesprominentlyinhisworks.ThethemeofIrishdiscontentmentandstruggleforfreedomalwaysappearsasaclearnarrativethread.BritishLiteratureJamesJoyce7Joycelovesthecommonpeople.Hefindsgreatvalueinloveandcompassion.Heloveslifeitselfandbelievesthatlovemakeslifeworthlivingandmakeshumaninvincible.Thereishispreoccupationwithartanditsmissioninlife.Itisconspicuousthatonethingalwaysstandsoutinboldreliefonhisfictionalcanvas,thatis,artanditsrelationtolife.AcirculartheoryofhistoryHebelievesthatallsocietiespassthroughfourstages.Thefirstisareligiousstage,whensocietiesaregovernedbythepeople’saweofgodsandsupernaturalevents.Secondcomesafeudal,aristocraticstage,whennoblemenandkingsarealsoheroicfigures.Thisisfollowedbyademocraticstage,duringwhichindividualismgrowseverstrongerandbringsaboutthefourthstage.Inthelaststage,societybreaksdown,chaosandanarchyfollows,andtheconfusiondrivespeoplebacktoabeliefinthesupernaturalgods.Thenthecyclebeginsagain.(lyricform,narrativeform,dramaticform)BritishLiteratureJamesJoyce10FeaturesofhisworksBritishLiteratureJamesJoyce11Joyceisnotedforhisfrankrepresentationofreality.Heembracesrealismagainstromanticism.Heisoutspokenonimportantsocialissues,andinsistsonportrayingalltheaspectsofman—thegoodaswellastheevilside.Forhimcharacterizationmattersmorethandoesplot.BritishLiteratureJamesJoyce12Hisdescriptionsofthesexencounters,thedetailsofthehumanbody,andtheimpurethoughtsthatflitthroughthemindsofhischaractersprovedtoberepulsiveandinfuriatingtotheconservativetasteatthetime,buthedidnotcaremuchaboutfollowingthetyrannyofopinion.BritishLiteratureJamesJoyce13Joyceisalsowellrenownedforhisadroit(skillful)useofthestream-of-consciousnesstechniqueandhiscontributiontoitssubsequentpopularityasaneffectivestylisticmedium.Inaddition,Joyceanlanguagehasalwaysbeenatopicofimmenseinteresttopeople.BritishLiteratureJamesJoyce14DublinersJoyce’sfirstpublishedbook,Dubliners,isacollectionof15stories,themostfamousofwhichare“TheDead”and“Araby”.Althoughthenarratorsofthestoriesaredifferent,theyareallinessencethefictionalexternalizationsoftheauthor’sinnerworldandtheprocessofhisemotionalandpsychicgrowth.Thesettingismoreorlessthesameforthesestories:dismal,drearyanddull,andthemajorcharactersarebasicallyoutofthesamemold—theyaspireforsomethinginfinitelybetterthantheirlot(fate)hasofferedthem.JoyceonDubliners:“abookabouthumanfateaswellasaseriesofsketchesofDublin”“MyintentionwastowriteachapterofthemoralhistoryofmycountryandIchoseDublinforthescenebecausethatcityseemedtomethecenterofparalysis.”BritishLiteratureJamesJoyce16ArabyArabiawasoneoftheshortstoriesfromJamesJoyce’sshortstorycollectioncalledDublinersfirstpublishedin1907.AsJamesJoycewasborninDublin,hechosetowritestoriesabouttheeverydaylivesofmen,womenandchildrenofthisplaceduringthelateVictorianperiod.Theschools,streets,businesses,hotels,andpublicfiguresgenerallyappearundertheirrealnamesanditaccountstotherealisticstyleofthestory.

BritishLiteratureJamesJoyce17AnbriefsummaryofArabyThenarrator“I”intheoft-anthologizedstory“Araby”isprobablyareplicaofthechildhoodJoyce.Imaginative,sensitive,andromanticbynature,theboyfeelsdissatisfiedwithhisgloomyandhumdrum(monotonous)environmentandwishestospirithimselfawaytoaplacewherethelifeofhismindcouldenjoyamorecongenialkindofatmosphere.BritishLiteratureJamesJoyce18Verysoon,sureenough,hespotstheobjectforhisimaginationtoweavearomanticwebabout—Mangan’soldersister,andhismindbeginstorunwildaroundher.Hefallsinlove,feelsentrance(enchanted)withher,andplanstobuyapresentforherfromthemarket-place,“Araby”.BritishLiteratureJamesJoyce19Therehegoes,seestheleastromanticplace(mostincompatiblewiththeromanticconnotationofitsname),andmeetsayoungsaleswoman,probablysimilarinageandsilhouettetoMangan’ssister.BritishLiteratureJamesJoyce20Asshetakeslittleornointerestinhimandhurriesawaytoresumeherflirtingwithsomeyoungmenthere,theboyfeelsdisgustedandsuddenlymakestotherealizationthatMangan’ssistermaynothavetakenanynoticeofhimatall,either.Heendsupwithstrongself-censure,aheightenedawarenessofhimself,andastepclosertomanhood.

4.MajorwritingtechniquesBritishLiteratureJamesJoyce22SettingIn“Araby”,JamesJoycecreatesthelargerpartofthesettingofalate1800’sorearly1900’slowerincomeneighborhoodofanurbancity.Byestablishingthissetting,hesetsabasisinwhichtherestofthestoryistotakeplace.Tooutlinethecharactersandtheplotofthestory,Joyceusesthesettingtomoldhischaracter’sniche,showtheboy’slifestyle,andcreateanescapefromreality.BritishLiteratureJamesJoyce23Darknessisusedthroughoutthestoryastheprevailingtheme.JamesJoyce'sstorybeginsatduskandcontinuesthroughtheeveningduringthewinterinAraby,Ireland.Hechoosesthisgloomysettingtobethehomeofayoungboywhoisinfatuatedwithhisneighbor’ssister.Theboyisyoungandnaiveandheleadsadullandboringlife.Joyceusesdarknesstomaketheboy'srealitymorebelievablethroughmorevivid,precisedescriptions.CharactersNarrator:Thenarratorofthisstoryisayoung,sensitiveboywhoconfusesaromanticcrush(迷戀)andreligiousenthusiasm.Alloftheconflictinthisstoryhappensinsidehismind.Itisunlikelythattheobjectofhiscrush,Mangan'ssister,isnotawareofhisfeelingsforher,norisanybodyelseinthisboy'ssmallworld.Mangan'sSisterMangan‘sSister：She

wasthegirltowhom“I”hadpaidlotsofattention;“I”watchedhersecretly;“Ikeptherbrownfigurealwaysinmyeye”;andwhen“I”wasdoingstrangeprayersthat“I”didn’tunderstand,hernamesprangtomylips.

ThesearealltellingthatMangan’ssisteristheboy’sdream,butinthewholenovel,thegirl’snamehasn’tappeared.Why?Becausewhat“I”knowaboutmydreamisonlysomethingsuperficial.Hisdreamisjustlikethetempleintheair,formingintheboy’smindwithoutanydeepthinkingoranydeepunderstanding.“I”likedMangan’ssisterjustasIlikedThe

MemoirsofVidocq,abookIfoundinthepriest’sremains---“Ilikedthelastbestbecauseitsleaveswereyellow.”Mangan:ManganisthesameageandinthesameclassattheChristianBrothersschoolasthenarrator,andsoheandthenarratoroftenplaytogetherafterschool.Hisoldersisteristheobjectofthenarrator'sconfusedfeelings.JamesJoy31

OtherCharactersBesidestheboyandthegirl,therearetwoothercharacters,theboy’suncleandaunt,inthestory.Thoughtheyarenotthemaincharactersinthestory,theircharactersexemplifiesthetypicalDubliners.AsmanyDublinersdid,hisunclewasaheavydrinker.Hewassooftendrunkthatthechildrenhadtokeepaneyeonhimtomakesurehecouldarrivehomesafely.Inthestory,certaincharacterscontributetotheboy’sdevelopingsenseofmaturity,andeventually,leadhimintoadulthood.Mangan’ssister,theboy’suncle,thepriest,andthegirlatthebazaarallservethepurposeofmoldingtheboyintoamatureperson.AlienationandLonelinessChangeandTransformation

FantasyandReality

Theme

AlienationandLoneliness

Thethemeoflonelinessisintroducedearlyinthestorybytheimageofadeserted,isolatedhouseandthenarrator'srecollectionofapriestwholivedanddiedintheirbackroom.Theyoungprotagonistseemsisolatedfromhisfamily.Thereisnomentionofhisparents;

Heliveswithhisauntanduncle,andtheuncle,inparticular,appearsinsensitivetotheboy'sfeelings,cominghomelateeventhoughheknowstheboywantstogotothebazaar.Theboy'scrushonhisfriendMangan'ssisterseemstoisolatehimevenfurtherHeistootongue-tiedtoinitiatearelationshipwithher,worshippingherfromafarinsteadHiscrushappearstoisolatehimfromhisfriends.

Althoughearlyinthestoryheisdepictedaspartofagroupoffriendsplayinginthestreet,afterhiscrushdevelopshisseparationfromtheothersisemphasized:

Hestandsbytherailingstobeclosetothegirlwhiletheotherboysengageinhorseplay.Ashewaitsinthehouseforhisuncletoreturnsohecangotothebazaarthenoisesfromhisfriendsplayinginthestreetsoundweakenedandindistinct.ChangeandTransformation

changingfromaninnocentyoungboytoadisillusionedadolescent.Althoughthenarratorsuddenlyunderstandsthathisromanticfantasiesarehopelesslydifferentwiththerealityofhislife,thisunderstandingleaveshimneitherhappynorsatisfied;instead,hefeels“anguishandanger”.Itisnotclearwhatimpactthenarrator'sepiphanywillhaveonhisfuturedevelopment,onlythatthatdevelopmenthasbegun.

FantasyandRealityThenarratorhasawrongrecognitionofhissituation,sotheonlythinghewantistopersuadetheromanticism.Butwhenhestandsinthedesertedhallandtheinsipidflirtationheoverhearsbetweentwomenandashopgirl,heisconfrontedwithhugegapbetweenhisromanticfantasiesofloveandthemundaneandmaterialisticrealitiesofhislife.Thereisnosuchromancewhichhehopesandthisplaceisthesameinsensitiveanddolefulashisinhabitant.BritishLiteratureJamesJoyce39

Majorwritingtechniques1.Literaryillusions(對(duì)其他文學(xué)作品的影射）

the“wildgarden(荒蕪的花園）)behindthehouse"contains"acentralapple-tree,"clearlysuggestingthetreeofknowledgeintheGardenofEden.‘settheboysfree’suggests‘release’,meaningthatTheCatholicchurchisaprisoninwhichpeoplelivedaprisoners’life.2.SymbolismInliterature,asymbolisathingthatstandsfororsuggestssomethingelsebyreasonofrelationship,association,conventionoraccidentalresemblance,especiallyavisiblesignofsomethinginvisible.

<1>.Thesymbolicmeaningsof“Araby”(1)Itisthenameofthebazaarormarket-placeinthestory.(2)Itremindspeopleoftheexotic“Arab”,themiddle-eastcountryandthebeautiful,romantic,andsplendidplace.(3)Itrepresentstheidealized,illusion-edromanticloveintheboy’smind.(4)Itsymbolizespeople’spursuitofabetterlifeandanimaginaryworldBritishLiteratureJamesJoyce42

<2>.Thesymbolicmeaningsof“blind”(1)Thestreetisadead-endstreet.(2)Theshuttersblurtheboy’ssight.(3)Itsymbolizesthattheboy’sloveisonlyafantasyandhasnohappyending.<3>.thesymbolicmeaningofTheNorthRichmondStreet:thestreetwasasymbolforthewholeIreland3.Epiphany（頓悟）Amomentofilluminationusuallyoccursatorneartheendofawork.Inthisstory,theepiphanyoccurswhenthenarratorrealizes,withsuddenclarity,thathisdreamofvisitingthesplendidbazaarhasresultedonlyinfrustrationanddisillusion.WhentheboyoverhearsatriteconversationbetweenanEnglishgirlworkingatthebazaarandtwoyoungmen,andhesuddenlyrealizesthathehasbeenconfusingthings.Itdawnsonhimthatthebazaar,whichhethoughtwouldbesoexoticandexciting,isreallyonlyacommercializedplacetobuythings.Furthermore,henowrealizesthatMangan'ssisterisjustagirlwhowillnotcarewhetherhefulfillshispromisetobuyhersomethingatthebazaar.HisconversationwithMangan'ssister,duringwhich