迷惘的一代文學(xué)課件

1、The lost generation literature第1頁(yè)，共22頁(yè)。Outline 1. a general intro 2. key words to reveal the main artistic features3.spokesmen and outstanding works4.the ending第2頁(yè)，共22頁(yè)。The lost generationOrigin of the term: The phrase is attributed to Gertrude stein , then popularized by Ernest Hemingway in the epi

2、graph to his novel “the sun also rises” and his memoir “a moveable feastVariously, the term is used for the period from the end of World War I to the beginning of the Great Depression , though in the United States it is used for the generation of young people who came of age during and shortly after

3、 World War I, alternatively known as the World War I Generation. Broadly it is often used to refer to the younger literary modernist.第3頁(yè)，共22頁(yè)。Why they are “l(fā)ost”Gertrude Stein was an avant-garde US poet living in Paris after WW1. she named the generation that came of age during the WW1 the “l(fā)ost gen

4、eration”, which was quickly adopted by the world as the most accurate description of the generation that passed through the threshold of adulthood:Working, fighting or dying in the war.第4頁(yè)，共22頁(yè)。Trauma: physical and mentalWW1 had a HORRIFIC impact on the generation. It had greatly shattered this gene

5、rations faith in traditional values such as love,bravery,manhood and womanhoodWithout these long-held notions to rely on, they suffered great moral and psychological aimlessness. The futile search for the meaning of life in the wake of WW1 shaped this generation. In their works,they rarely mentioned

6、 the war directly, but its effects haunt everything they do and say.第5頁(yè)，共22頁(yè)。Artistic featuresTone : pessimistic escapist disillusioned cynical They went to Europe to fight in the name of “glory, freedom and democracy”, but what they witnessed and experienced was blood, death, dismembered human part

7、s. The brutality and absurdity of war, the dirty trick played by the involved countries and the evil essence of war made them believe that they are relentlessly fooled. Their faith and value system collapsed. 第6頁(yè)，共22頁(yè)。Language style : largely represented by Hemingway, the language is smooth, spare,

8、precise and seemingly direct, and always leaves a tremendous amount unsaid-understated tend to use spoken language This has a great influence on the 20th century American literature第7頁(yè)，共22頁(yè)。Language “迷惘的一代”在戰(zhàn)爭(zhēng)期間深受戰(zhàn)爭(zhēng)宣傳的欺騙之苦，對(duì)所有崇高的字眼都棄之如敝屣：“什么神圣、光榮、犧牲這些空泛的字眼兒，我一聽(tīng)就害臊我可沒(méi)見(jiàn)到什么神圣的東西，光榮的東西也沒(méi)有什么光榮，至于犧牲，那就像芝加

9、哥的屠宰場(chǎng)，不同的是肉拿來(lái)埋掉罷了?！彼运麄?cè)谖膶W(xué)創(chuàng)作時(shí)推崇文字上的簡(jiǎn)約主義。第8頁(yè)，共22頁(yè)。海明威更是把這種簡(jiǎn)約風(fēng)格推到了極致。他采用電報(bào)式的語(yǔ)言，通過(guò)簡(jiǎn)約的對(duì)話(huà)和細(xì)節(jié)，用含蓄的、間接的手法暗示人物內(nèi)心的戲劇性變化，而不是像傳統(tǒng)的作法那樣通過(guò)描述來(lái)鋪陳人物內(nèi)心。結(jié)尾也常常是戛然而止，絕不拖泥帶水，也不煽情作秀，即所謂的“零度結(jié)尾”，反而賦予了作品更為震撼人心的力量。第9頁(yè)，共22頁(yè)。他的“冰山原則”就是他現(xiàn)代敘事藝術(shù)的集中體現(xiàn)，作家只寫(xiě)露在水面上的八分之一，其余的八分之七僅通過(guò)暗示留給讀者去補(bǔ)白。這種創(chuàng)作原則極大地影響了他同時(shí)代及后輩作家的創(chuàng)作傾向?？谡Z(yǔ)化成為一代人散文風(fēng)格的普遍特色。第

10、10頁(yè)，共22頁(yè)。埃德蒙威爾遜甚至在他的文學(xué)評(píng)論中也摒棄學(xué)究字眼，選用口語(yǔ)詞匯。亨利米勒在北回歸線(xiàn)(一九三四)中把這種傾向推到極端，成為用粗鄙的語(yǔ)言來(lái)表現(xiàn)道德冷漠和感覺(jué)精微的迷惘特征，結(jié)果被蕭伯納罵作是“為下流而下流”(dirt for dirts sake)，難登大雅之堂。 第11頁(yè)，共22頁(yè)。Themes: many commonness can be found in the themes of their works.1. the disillusionment of “American Dream” the Great Gatsby by Fitzgerald2. aimlessne

11、ss and the loss of self-identity the sun also rises 3. disgustingness of war (or trauma) A farewell to arms 4. a sense of disillusionment and emptiness 荒原意識(shí) 第12頁(yè)，共22頁(yè)。Brand ： originality and diversityThe literature was marked as a combination of naturalism, realism and early-modernism.Pioneer and ex

12、perimental: many devices were borrowed from other artistic formsE.g from filming: Montage(蒙太奇）the Camera Eye照相機(jī)眼 Newsreel 新聞短片 代表為帕索斯The trend of modernism ：stream-of consciousness inner soliloquy 內(nèi)心獨(dú)白 multi-angle narrative 多視角敘述Parallelism of stories and myths 代表為?？思{Impressionism &expressionism 在巴黎

13、，受各種藝術(shù)形式的影響第13頁(yè)，共22頁(yè)。Spokesmen and their masterpiecesErnest Hemingway Cigar第14頁(yè)，共22頁(yè)。masterpiecesThe sun also rises 太陽(yáng)照常升起 1926A farewell to arms 永別了，武器 1929The old man and the sea 老人與海 1952For whom the bell tolls 喪鐘為誰(shuí)而鳴 1940第15頁(yè)，共22頁(yè)。Key words of his life1899 -7-21 a conservative upper-class family

14、 ChicagoJournalist since graduation from high-schoolIn WW1 served as a ambulance driver in Italy frontHurt and hospitalized, romance with a nurseA farewell to arms inspired from this experience1919,back home, suffering psychological trauma, conflicts between his first-hand feeling (cruelty of war) a

15、nd his family and friends romanticized ideals of war1921,journalist,first marriage, European correspondent in Paris, enter into the expatriate artists circle. Reputation grewThe sun also rises was inspired by this experience the most typical description of the lost generation第16頁(yè)，共22頁(yè)。1927 first div

16、orce , then remarriage, more than 10 years spent in Florida, suffering from his fathers suicide, engaging in an affair which led his second divorce.1937 Spain to cover the Spanish Civil War1940 to Havana,Cuba. Published to whom the bell tolls1953 the old man and the sea won Pulitzer Prize and Nobel

17、Prize1960 plagued by health problem , severe depression ,and wild mood swing1961-7-2,woke up early ,committed suicide by plugging a gun into his mouth and triggeredBullfighting, alcohol ,cigar, hunting , fishing第17頁(yè)，共22頁(yè)。The sun also risesServed as a chronicle of the life of “the lost generation”Set

18、ting: Paris of France, Pamploma & Madrid of SpainTitle: “the sun also rises” originated from the Bible, “Allisvanity.Onegenerationpassethaway,andanoth-ergenerationcometh:buttheearthabidethforever.Thesunalsoariseth,andthesungoethdown,andhastethtohisplacewh-erehearose” Themes :futile seeking for the meaning of life , lost of masculinity ,castrated manhood(被閹割的男性特質(zhì)）failure of communication destructiveness of sex false friendship第18頁(yè)，共22頁(yè)。Quo