西方文化論文-評《老人與?！分泻Ｃ鲗懽黠L(fēng)格和手法.doc

西方文化論文-評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作家中，海明威以獨特的寫作風(fēng)格而著稱。在他所有的作品中，老人與海最能體現(xiàn)他獨特的寫作風(fēng)格和手法。這部小說語言看似簡潔自然，其實包含了作者的精心揣摩和潤色加工。有時為了突出某一部分，作者會采用長句代替短句。文中的對話內(nèi)容真實、貼近生活，而表達形式則經(jīng)過了藝術(shù)加工。小說簡潔自然的語言背后隱藏了深刻的意義和感情。文中還運用了比喻、擬人等修辭手法.還名位的這種獨特風(fēng)格與他當過新聞記者的經(jīng)歷有關(guān),同時他兼菜各家之長,自成一體,形成了自己獨特的創(chuàng)作方法和藝術(shù)風(fēng)格。這種風(fēng)格對整個世界文壇產(chǎn)生了重要的影響。老人與海這部小說中運用了大量的事實,他們大多來自于作者親身經(jīng)歷。海明威對這些事實精心選擇,從而吸引讀者的興趣并使讀者有一種身臨其境的感覺。小說一開始用大量事實描寫了主人公生活的環(huán)境,敘述風(fēng)格簡潔自然,未加任何感情色彩。隨著情節(jié)的發(fā)展,大量的事實主要被運用于主人公的心理活動之中,而不是主要由作者來敘述。同時,這些事實構(gòu)成了整個小說體系中不可缺少的一部分。關(guān)鍵詞：事實；簡潔；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