英語各種文學(xué)課件chapter

II.Modernism?/cathen/10415a.htmModernismisaculturalmovementthatgenerallyincludestheprogressiveartandarchitecture,design,literature,music,dance,paintingandothervisualartswhichemergedinthebeginningofthe20thcentury,particularlyintheyearsfollowingWorldWarI.Itwasamovementofartistsanddesignerswhorebelledagainstlate19thcenturyacademicandhistoricisttradition,andembracedtheneweconomic,socialandpoliticalaspectsoftheemergingmodernworld.Theavant-gardemovementsthatfollowed-includingImpressionism,Post-Impressionism,Cubism,Futurism,Expressionism,Constructivism,DeStijl,andAbstractExpressionism-aregenerallydefinedasModernist.Modernisminliteratureisnoteasilysummarized,butthekeyelementsareexperimentation,anti-realism,individualismandastressonthecerebralratherthanemotiveaspects.TheworkofModernistwritersischaracterizedbyshowingthedisenchantment,dislocation,andalienationofmenintheworld,andbytheemphasisonexperimentationandformalismandobjectivismwhichare,inmostcases,areactiontothecataclysmknownastheModernAge.AmongAmericanwriters,thebest-knownModernistsareT.S.Eliot,EzraPound,F.ScottFitzgerald,ErnestHemingway,WilliamFaulknerandsoon.III.TheSchoolsofAmericanModernism:Modernpoetry:experimentsinform(Imagism)ProseWriting:modernrealism(theLostGeneration)NovelsofSocialAwarenessTheHarlemRenaissanceTheFugitivesandNewCriticismThe20thCenturyAmericanDramaPartTwo:Modernpoetry:experimentsinform(Imagism)I.Imagism:ItisaMovementinU.S.andEnglishpoetrycharacterizedbytheuseofconcretelanguageandfiguresofspeech,modernsubjectmatter,metricalfreedom,andavoidanceofromanticormysticalthemes,aimingatclarityofexpressionthroughtheuseofprecisevisualimages.ItgrewoutoftheSymbolistMovementin1912andwasinitiallyledbyEzraPound,AmyLowell,andothers.TheImagistmanifestocameoutin1912showedthreeImagistpoeticprinciples:directtreatmentofthe“thing”（nofuss,frill,orornament）,exclusionofsuperfluouswords（precisionandeconomyofexpression）,therhythmofthemusicalphraseratherthanthesequenceofametronome（freeverseformandmusic）.

Pounddefinedanimageasthatwhichpresentsanintellectualandemotionalcomplexinaninstantoftime,andlaterheextendedthisdefinitionwhenhestatedthatanimagewas“avortexorclusteroffusedideas,endowedwithenergy.”

ThereexistedgreatinfluenceofChinesepoetryontheImagistmovement.ImagistsfoundvalueinChinesepoetrywasbecauseChinesepoetryis,byvirtueoftheideographicandpictographicnatureoftheChineselanguage,essentiallyimagisticpoetry.II.TheMajorRepresentativesoftheModernPoetry:EzraPound(1885-1972)T.S.Eliot(1888-1965)WallaceStevens(1879-1955)WilliamCarlosWilliams(1883-1963)RobertFrost(1874-1963)E.E.Cummings(1894-1963)一.EzraPound(1885-1972)2.Hisworks:Poundwrote70booksandover1500articlesinhislife.HismajorworkofpoetryisTheCantos,alongpoemwhichhewroteinsectionsbetween1915and1945.3.Hismasterpiece:TheCantosInthispoem,hetracestheriseandfallofeasternandwesternempires,thedestructioncausedbygreedandmaterialism.HedeploresthecorruptionofAmericaaftertheheroictimeofJefferson,Thelastpart,producedfromhisownsuffering,isthemostmoving.InaStationoftheMetro

Theapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.人群中幽然浮現(xiàn)的一張張臉龐，黝黑的濕樹枝上的一片片花瓣。Thispoemispublishedin1913.ItisthemostrepresentativeworkoftheimagistpoetryinbothEnglandandAmerica.有一次，龐德從巴黎的一處地鐵站走出，突然看到黑壓壓的人群中有幾個(gè)美麗的面孔忽明忽暗，若隱若現(xiàn)。這一瞬間的美感給他留下了深刻的印象。最后，終于成就了這篇意象派詩歌的經(jīng)典之作。Itconveystheexpressionofshockandaweoncehestepsintothemetrostation.Hemayhavenotseenthefacesclearlyandsawonlyablurthatheinterpretedasavisionofattractiveness.theMetro:referringtotheParissubwayapparition:ithasdoublemeanings:appearanceandghost.指人群中美麗的面孔若隱若現(xiàn)，給人一種虛無的感覺Itshowstheperfectcombinationoftheobjectiveandthesubjective,andtheconcreteandtheabstract.Yetwith‘a(chǎn)wet,blackbough’tosymbolizethestationand‘petals’tosymbolizethebeautifulfacesofthecrowdinthestation,thepoembringsusunlimitedimaginationsandmeanings.Ifweareshockedbyitsconcentrationinthefirstsight,wearealsobyitsbeautyafterdeepreading.Whenhesawmysteriousfacesinthecrowdwithvariouscolorsandshape,itwasagood-lookingsightinhiseyes.Whatevercolor,size,orshapeapersonis,heorshestillhassomecharacteristicsofbeauty----regardlessoftheirouterappearance.

RobertFrostTheRoadNotTakenStanza1Thepoembeginsasifwhenthepoetwaswalkinginawoodinlateautumnataforkintheroad.Hewaschoosingwhichroadheshouldfollow.Actually,itisconcernedwiththeimportantdecisionswhichonemustmakeinlife;onemustgiveuponedesirablethinginordertopossesstheother.Stanza2Afterthejudgmentandhesitation,thetravelermakesuphismindtotaketheroadwhichlooksgrassyandwantswear.Thisisoftenbelovedtobethesymbolofthepoet’schoiceofasolitarylife---takingpoetrywritingashislifeprofessionStanza3Thetworoadsareequallypretty,soassoonashemadethechoiceoftheone,thepoetfeltpainfulforabandoningtheother.Heisquiteawarethathisintentionof“nextchoice”willbenothingthananemptypromise.Stanza4Thepoetwasimaginingmanyyearslaterwhenherecallingthechoicehemadetoday,hewouldrespondwithnothingelsebutasigh,foritwouldbetoohardforanyone,aftermanymoreexperiencesinlife,tomakeanycommentonthechoicemadeearlyinlife.AnalysisItispossibletoreadthispoemasastatementofsomeself-pityonthepoet'spart,afeeling,perhaps,thathehasbeencheatedandmisunderstoodbecausehetookanunpopularpath.Tosupportthisreadingonemightpointtothelaststanza:Thespeakerwillsomeday,sighing,tellothersthathetooktheunknownroadwhenfacedwithachoice.Thereading,however,missesmuchofthesignificanceofthesecondandthirdstanzas.Attheendofthesecondthespeakerstatesthattherewasreallynotmuchdifferenceinthetworoads;neitherhadreallybeenwornbytraffic,thoughonehadbeengivenmorewearthantheother.Inthethirdhesaysthatbothroadslayinleavesthatnoonehadtrampleddown.Inotherwords,bothroadswereinaboutthesamecondition;itiswhatthemandoeswithhischoicethatmakesthedifference.Thetoneofthelaststanza,then,issimplymatter-of-factratherthanself-pitying.Onecannotknow,whenhemakesachoice,whattheresultsofhisdecisionwillbe.Ratherthanbeingsorrythathetooktheuntravelledroad,thepoetseemstobesayingthathewouldprobablydothesamethingagain.Therhymescheme:abaab.Thisrhymeschemereflectsthespeaker’seffortstoshapehislifeintoapleasingandcoherentform.FrancisScottFitzgerald1896–1940

TheJazzAgeSpecificallythe1920s,whenyoungmenandwomenindulgeinawhirloffreneticsocialexcitementordissipationfosteredbythecollapseofmoralstandardsduringandfollowingWorldWarI.ThetermwasestablishedbyFitzgeraldinhisTalesoftheJazzAge(1922)TheLostGenerationItisatermappliedtoGroupofU.S.disillusionedintellectualsandartistsoftheyearsfollowingtheFirstWorldWar,whorebelledagainstformeridealsandvalues,andestablishedtheirreputationsinthe1920sMorebroadlyspeaking,itmayrefertotheentirepost-WorldWarIAmericangeneration.ThetermwascoinedbyGertrudeSteininaremarktoE.Hemingway‘Youareallalostgeneration,’andwasusedasaprefacetothelatter’snovel,TheSunAlsoRises,whichbrilliantlydescribesanexpatriategrouptypicalofthe‘lostgeneration’,whichisatermoriginallyusedbyFitzgeraldintheprefaceofoneofhisworks.TheGreatGatsby(1925)

TheGreatGatsby

(1)Setting:1920s;NewYorkCity(signifyingthematerializedAmericansociety)(2)Plot:narratedbyNickCarrawayandbeganinthespringof1922(Readitbyyourselves)(3)CharactersNickCarraway:thenarrator,rational,mild,understanding,reservedJayGatsby:innocent(romanticimaginationoflove,believingmoney’spower)DaisyBuchanan:shallow,selfish,strongdesireforextravagantlife(comparethecharacterwithCatherineEarnshawinWutheringHeights)TomBuchanan:selfish,proud,false,novirtueatallMyrtleWilson:fromthelowerclass,energetic,crudeTheGreatGatsbySymbolismGatsby:thecountry’shistoryDaisy:seeminglybeautifulAmericanDreamTom:commercializationwhichbroughtthecountryonlymoraldepravityNick:hopeofthecountryMore:ThegreenlightonDaisy’sdock,theeyesofDoctorT.J.Ekleburg,thevalleyofashes,Gatsby’sparties,EastEgg,WestEgg.whytheheroineinthenovelcalledDaisy?Whyshealwaysappearedwiththecolorofwhite?Daisy在英語中是雛菊的意思，是一種在北美很常見的花。這種花花瓣是白色，花心是黃色，象征著Daisy這個(gè)人物形象表面純潔高貴，但實(shí)際內(nèi)心卻只有對(duì)金錢和享受的追求。)（Daisy在小說中出現(xiàn)常常與白色聯(lián)系在一起，白色可以說象征著純潔，高貴，但白色又可以理解為沒有顏色，蒼白，虛弱，空洞，也象征這個(gè)人物意志虛弱，內(nèi)心空虛的實(shí)質(zhì)。TheGreatGatsbyTheme:disillusionmentofAmericanDreaminthematerializedAmerica

ThedeclineoftheAmericandream,thespiritofthe1920s,thedifferencebetweensocialclasses,theroleofsymbolsinthehumanconceptionofmeaning,theroleofthepastinthedreamsofthefuture.TheGreatGatsbyPointofview:first-personpointview;usingthe“dramaticnarrator”(meansthenarratorisalsoacharacterinthenovel)

NickCarrawayisadelicatedesignedcharacter.Heisrelatedwithallthethreegroupsofcharactersinthenovel.Heisareliablepersonandmakesnoquickjudgments.EmployingNickasthenarratormakesthenovelhaveaclearclueandcreatestheeffectsofsuspenseinthemostpartsofthenovel.TheGreatGatsbyStyle:excellentcraftsmanship;usingmetaphors,irony,allusionsandotherrhetoricaldevices;smooth,simplebutrefinedandgracefullanguage

ErnestHemingway(1899-1961)novel:

TheSunAlsoRises(1922)

AFarewelltoArms(1928)

ForwhomtheBellTolls(1940s)

TheOldManandtheSea(1952)Shortstories:InOurTime

WinnerTakeNothing

MenwithoutWomen

ToHaveandHaveNot

TheFifthColumnThemesWar,death(physical,emotionalandpsychicdeath),courage(man’sgraceunderpressure,facedwiththethreatofone’svalues.),lifevalues.Hemingway’sviewonlife:lifeisoneofperpetualannihilation.Theauraofmortalityhadbeenanoticeablefeatureofhiswork.CodeheroHeissensitive,intelligent.Heisamanofactionandoffewwords.Heisaloneevenwhenwithotherpeople.Heissomewhatanoutsider,keepingemotionundercontrol,stoicandself-disciplinedinadreadfulplacewhenonecannotgethappiness.Inaworldwhichisessentiallychaoticandmeaningless,aHemingwayherofightsasolitarystruggleagainstaforcehedoesnotevenunderstand.Theawarenessthatitmustendindefeat,nomatterhowhardhestrives,engendersasenseofdespair,butHemingwayheropossessesakindofdespairingcourage.Itisthiscouragethatenablesamantobehavelikeaman,toasserthisdignityinfaceofadversity.ThisistheessenceofacodeofhonorinwhichallofHemingway’sheroesbelieve.

IcebergTheoryIfawriterofproseknowsenoughaboutwhatheiswritingabouthemayomitthingsthatheknowsandthereader,ifthewriteriswritingtrulyenough,willhaveafeelingofthosethingsasstronglyasthoughthewriterhadstatedthem.thedignityofanicebergisduetoonlyone-eighthofitbeingabovewater.(DeathintheAfternoon,p192)TheemphasisonsubmerginginformationisthemostrevolutionarypartofHemingway’stheoryftheshortstory.HemingwayhadagreatdealtosayaboutAmerica.Theautobiographicalimpulsewasmajorinhim.Hiswayisexclusion.Theformcamebywhathewouldchoosetoleaveout.AFarewelltoArmsAFarewelltoArmsAFarewellToArmsThenovelshowsthefilth,meaningless,calamityofwaranddisillusionmentofpeople.Henryiscompletelydisillusioned.Hehasbeentothewar,buthasseennothingsacredandglorious.Heisdeterminedtosayfarewelltoarms.Buttheadversity,threatofdeathstillforeshadowshislife.atlastthedeathofhiswifeandbabymakeshimtasteandexperiencethedeath,thenothingnessoflife,thedisillusionmentwithfuture,hopeandlove,happiness.JohnSteinbeck

JohnSteinbeckreceivedtheNobelPrizeforLiteraturein1962.TheGrapesofWrath(1939)

MoviePosterCoverof1stEditionThemesofTheGrapesofWrathMan’sInhumanitytoMan;TheSavingPowerofFamilyandFellowship;TheDignityofWrath;TheMultiplyingEffectsofSelfishnessandAltruism.Man'sInhumanitytoManSteinbeckconsistentlyandwoefullypointstothefactthatthemigrants'greatsufferingiscausednotbybadweatherormeremisfortunebutbytheirfellowhumanbeings.Historical,social,andeconomiccircumstancesseparatepeopleintorichandpoor,landownerandtenant,andthepeopleinthedominantrolesstruggleviciouslytopreservetheirpositions.InhisbriefhistoryofCaliforniainChapterNineteen,Steinbeckportraysthestateastheproductofland-hungrysquatterswhotookthelandfromMexicansand,byworkingitandmakingitproduce,renderedittheirown.Now,generationslater,theCalifornialandownersseethishistoricalexampleasathreat,sincetheybelievethattheinfluxofmigrantfarmersmightcausehistorytorepeatitself.Inordertoprotectthemselvesfromsuchdanger,thelandownerscreateasysteminwhichthemigrantsaretreatedlikeanimals,shuffledfromonefilthyroadsidecamptothenext,deniedlivablewages,andforcedtoturnagainsttheirbrethrensimplytosurvive.Thenoveldrawsasimplelinethroughthepopulation—onethatdividestheprivilegedfromthepoor—andidentifiesthatdivisionastheprimarysourceofevilandsufferingintheworld.

TheSavingPowerofFamilyandFellowshipTheGrapesofWrathchroniclesthestoryoftwo“families”:theJoadsandthecollectivebodyofmigrantworkers.AlthoughtheJoadsarejoinedbyblood,thetextarguesthatitisnottheirgeneticsbuttheirloyaltyandcommitmenttooneanotherthatestablishestheirtruekinship.Inthemigrantlifestyleportrayedinthebook,thebiologicalfamilyunit,lackingahometodefineitsboundaries,quicklybecomesathingofthepast,aslifeontheroaddemandsthatnewconnectionsandnewkinshipsbeformed.ThereaderwitnessesthisphenomenonatworkwhentheJoadsmeettheWilsons.Inaremarkablyshorttime,thetwogroupsmergeintoone,sharingoneanother'shardshipsandcommittingtooneanother'ssurvival.Thismergingtakesplaceamongthemigrantcommunityingeneralaswell:“twentyfamiliesbecameonefamily,thechildrenwerethechildrenofall.Thelossofhomebecameoneloss,andthegol