老人與海The-Old-Man-and-the-Sea課件

歐內(nèi)斯特·米勒爾·海明威

Contents1、Briefintroductionoftheauthora.Experienceoflifeb.Writingstylec.Themes2、Mainworks3、IntroductionofTheOldManandtheSea

4、Recitingaclassicalparagraph1、Briefintroductionoftheauthor

a.ExperienceoflifeErnestMillerHemingway(July21,1899–July2,1961)wasanAmericanauthorandjournalistwhowasbornandraisedinOak橡樹

Park,Illinois.AfterleavinghighschoolheworkedforafewmonthsasareporterforTheKansasCityStar,beforeleavingfortheItalianfronttobecomeanambulancedriverduringWorldWarI,whichbecamethebasisforhisnovelAFarewelltoArms.Hewasseriouslywoundedandreturnedhomewithintheyear.In1922HemingwaymarriedHadleyRichardson,thefirstofhisfourwives,andthecouplemovedtoParis,whereheworkedasaforeigncorrespondent.AfterdivorcingHadleyRichardsonin1927HemingwaymarriedPaulinePfeiffer;theydivorcedfollowingHemingway'sreturnfromcoveringtheSpanishCivilWar,afterwhichhewroteForWhomtheBellTolls.MarthaGellhornbecamehisthirdwifein1940,butheleftherforMaryWelshafterWorldWarII,duringwhichhewaspresentatD-DayandtheliberationofParis.ShortlyafterthepublicationofTheOldManandtheSeain1952HemingwaywentontriptoAfrica,wherehewasalmostkilledinaplanecrashthatlefthiminpainorill-healthformuchoftherestofhislife.HemingwayhadpermanentresidencesinKeyWest,Florida,andCubaduringthe1930sand'40s,butin1959hemovedfromCubatoKetchum,Idaho,(豈徹姆,愛達(dá)荷)wherehecommittedsuicideinthesummer.Manisnotmadefordefeat.Mancanbedestroyedbutcan'tbedefeated."-Hemingwayb.Writingstyle

TheNewYorkTimeswrotein1926ofHemingway'sfirstnovel:"NoamountofanalysiscanconveythequalityofTheSunAlsoRises.Itisatrulygrippingstory,toldinalean,hard,athleticnarrativeprosethatputsmoreliteraryEnglishtoshame."TheSunAlsoRisesiswritteninthespare,tightlywrittenprose,forwhichHemingwayisfamous;astylethathasinfluencedcountlesscrimeandpulpfictionnovels.In1954,whenHemingwaywasawardedtheNobelPrizeforLiterature,itwasfor"hismasteryoftheartofnarrative敘述,mostrecentlydemonstratedinTheOldManandtheSea,andfortheinfluencethathehasexertedoncontemporarystyle."HenryLouisGatesbelievesHemingway'sstylewasfundamentallyshaped"inreactiontohisexperienceofworldwar".

AfterWorldWarI,heandothermodernists"lostfaithinthecentralinstitutionsofWesterncivilization,"byreactingagainstthe"elaboratestyle"of19thcenturywriters;andbycreatingastyle"inwhichmeaningisestablishedthroughdialogue,throughaction,andsilences—afictioninwhichnothingcrucial—oratleastverylittle—isstatedexplicitly.明確地

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Becausehebeganasawriterofshortstories,BakerbelievesHemingwaylearnedto"getthemostfromtheleast,howtoprunelanguage,howtomultiplyintensitiesandhowtotellnothingbutthetruthinawaythatallowedfortellingmorethanthetruth."Hemingwayreferredtohisstyleastheicebergtheory:inhiswritingthefactsfloatabovewater;thesupportingstructureandsymbolismoperateout-of-sight.Writingin"TheArtoftheShortStory,"

heexplains:"AfewthingsIhavefoundtobetrue.Ifyouleaveoutimportantthingsoreventsthatyouknowabout,thestoryisstrengthened.Ifyouleaveorskipsomethingbecauseyoudonotknowit,thestorywillbeworthless.Thetestofanystoryishowverygoodthestuffthatyou,notyoureditors,omit.“c.Themes

Thethemeofwomenanddeathisevidentinstoriesasearlyas"IndianCamp".ThethemeofdeathpermeatesHemingway'swork.Youngbelievestheemphasisin"IndianCamp"wasnotsomuchonthewomanwhogivesbirthorthefatherwhocommitssuicide,butonNickAdamswhowitnessestheseeventsasachild,andbecomesa"badlyscarredandnervousyoungman."Hemingwaysetstheeventsin"IndianCamp"thatshapetheAdamspersona.Youngbelieves"IndianCamp"holdsthe"masterkey"to"whatitsauthorwasuptoforsomethirty-fiveyearsofhiswritingcareer.“StoltzfusconsidersHemingway'sworktobemorecomplexwitharepresentationofthetruthinherentinexistentialism:if"nothingness"isembraced,thenredemptionisachievedatthemomentofdeath.Thosewhofacedeathwithdignityandcourageliveanauthenticlife.RecurringthemesinAmericanliteratureexistwithclarityinHemingway'swork.LeslieFiedlerseesthethemehedefinesas"TheSacredLand"—theAmericanWest—extendedinHemingway'swork,toincludemountainsinSpain,SwitzerlandandAfrica,andtothestreamsofMichigan.TheAmericanWestisgivenasymbolicnodwiththenamingofthe"HotelMontana"蒙大納（美國州名）

inTheSunAlsoRisesandForWhomtheBellTolls.AlthoughHemingwaywritesaboutsports,CarlosBakerbelievestheemphasisismoreontheathletethanthesport.AccordingtoStoltzfusandFiedler,Hemingway'snatureisaplaceforrebirth,fortherapy,andthehunterorfishermanhasamomentoftranscendencewhenthepreyiskilled.Natureiswheremenarewithoutwomen:menfish;menhunt;menfindredemption贖回；拯救

innature.2、Mainworks

“IndianCamp”《印第安人營地》(1926)TheSunAlsoRises《太陽依舊升起》(1926)AFarewelltoArms《永別了，武器》（(1929)"TheShortHappyLifeofFrancisMacomber"《弗朗西斯麥康伯的短暫幸福生活》(1935)ForWhomtheBellTolls《喪鐘為誰而鳴》(1940)TheOldManandtheSea(1951)AMoveableFeast《流動(dòng)的盛宴》(1964,posthumous)TrueatFirstLight《曙光示真》(1999)3、IntroductionofTheOldManandtheSea

TheOldManandtheSearecountsanepicbattlebetweenanold,experiencedfishermanandagiantmarlinsaidtobethelargestcatchofhislife.Itopensbyexplainingthatthefisherman,Santiago圣地亞哥

,hasgone84dayswithoutcatchinganyfishatall.Heisapparentlysounluckythathisyoungapprentice徒弟,Manolin,hasbeenforbiddenbyhisparentstosailwiththeoldmanandbeenorderedtofishwithmoresuccessfulfishermen.Stilldedicatedtotheoldman,however,theboyvisitsSantiago'sshackeachnight,haulingbackhisfishinggear,feedinghimanddiscussingAmericanbaseball—mostnotablySantiago'sidol,JoeDiMaggio.SantiagotellsManolinthatonthenextday,hewillventurefaroutintotheGulftofish,confidentthathisunluckystreakisnearitsend.

Thusontheeighty-fifthday,Santiagosetsoutalone,takinghisskiff小艇

farintotheGulf.Hesetshislinesand,bynoonofthefirstday,abigfishthatheissureisamarlintakeshisbait.Unabletopullinthegreatmarlin,Santiagoinsteadfindsthefishpullinghisskiff.Twodaysandtwonightspassinthismanner,duringwhichtheoldmanbearsthetensionofthelinewithhisbody.Thoughheiswoundedbythestruggleandinpain,Santiagoexpressesacompassionateappreciationforhisadversary對手，敵手,oftenreferringtohimasabrother.Healsodeterminesthatbecauseofthefish'sgreatdignity,noonewillbeworthyofeatingthemarlin.

Onthethirddayoftheordeal,thefishbeginstocircletheskiff,indicatinghistirednesstotheoldman.Santiago,nowcompletelywornoutandalmostindelirium精神錯(cuò)亂；發(fā)狂,usesallthestrengthhehasleftinhimtopullthefishontoitssideandstabthemarlinwithaharpoon,therebyendingthelongbattlebetweentheoldmanandthetenacious頑強(qiáng)的fish.Santiagostrapsthemarlintohisskiffandheadshome,thinkingaboutthehighpricethefishwillbringhimatthemarketandhowmanypeoplehewillfeed.WhileSantiagocontinueshisjourneybacktotheshore,sharksareattractedtothetrailofbloodleftbythemarlininthewater.Thefirst,agreatmakoshark（大西洋和太平洋發(fā)現(xiàn)的）條紋狀鯊魚

,Santiagokillswithhisharpoon,losingthatweaponintheprocess.

Hemakesanewharpoonbystrappinghisknifetotheendofanoartohelpwardoff避開，擋住thenextlineofsharks;intotal,fivesharksareslainandmanyothersaredrivenaway.Butbynight,thesharkshavealmostdevouredthemarlin'sentirecorpse,leavingaskeletonconsistingmostlyofitsbackbone,itstailanditshead,thelatterstillbearingthegiantspear.Theoldmanpunishshimselfforsacrificingthemarlin.Finallyreachingtheshorebeforedawnonthenextday,hestrugglesonthewaytohisshack,carryingtheheavymastonhisshoulder.Oncehome,heslumpsontohisbedandentersaverydeepsleep.Agroupoffishermengatherthenextdayaroundtheboatwherethefish'sskeletonisstillattached.Thelodmaniswelcomehighlyappraised.Fromresultsitisfailed;Buttheprocessissuccessful.Inthenovel,symbolsoftheseaandsharksrepresentthesocialandnaturalforcesagainst,andtheoldmaninthebloodybattlewiththemdemonstratedincomparablestrengthandcourage.Donotbreakofthedignityofpeople,goodtry,althoughfail.Heisnotaheadtofatehero,isanomatterhowarduousintheenvironment,hereliesonhisowncourageandperseverance,wisdom,valiantmenofstruggleisthesoulofadefend"peopleofdignity".Itcanbesaidthatthebiggestenemyfortheoldmanintheoceanisnotasharkbuthimself.Santiago,whenfacingdifficulties,heshowsnotimidity膽怯，膽小,butbeingbravetochallenge,self-confidence,self-relianceandfearlessnessforpainanddeath,neveryieldingimage.Marlinfishandshark4、Recitingaclassicalparagraph

Whentheoldmansawhimcomingheknewthatthiswasasharkthathadnofearatallandwoulddoexactlywhathewished.Hepreparedtheharpoonandmadetheropefastwhilehewatchedthesharkcomeon.Theropewasshortasitlackedwhathehadcutawaytolash鞭打thefish.Theoldman’shead