自考英語(yǔ)本科《英美文學(xué)選讀》-美國(guó)現(xiàn)代時(shí)期一天全掌握

《自考英語(yǔ)本科《英美文學(xué)選讀》-美國(guó)現(xiàn)代時(shí)期一天全掌握》由會(huì)員分享，可在線閱讀，更多相關(guān)《自考英語(yǔ)本科《英美文學(xué)選讀》-美國(guó)現(xiàn)代時(shí)期一天全掌握（22頁(yè)珍藏版）》請(qǐng)?jiān)谘b配圖網(wǎng)上搜索。

1、The modern period 現(xiàn)代時(shí)期 the second American Renaissance, the expatriate移居海外 movement, the Lost Generation, 迷茫的一代 a transformation from order to disorder Seize the day, enjoy the present, 及時(shí)行樂(lè) spiritual wasteland, collective unconscious,psychoanalysis Imagist movement, Jazz Age 應(yīng)用

2、 名詞解釋?zhuān)?迷惘的一代"，意象派詩(shī)歌，象征主義，表現(xiàn)主義，意識(shí)流 "荒原"意識(shí)在美國(guó)20世紀(jì)文學(xué)中的反映 《地鐵站一瞥》《盟約》《河商的妻子》：主題、意象、語(yǔ)言 弗洛斯特的自然詩(shī) 《摘蘋(píng)果后》《未選擇的路》《雪夜停馬在林邊》：主題、 象征與比喻、語(yǔ)言 《毛猿》第八場(chǎng)：主題結(jié)構(gòu)、表現(xiàn)主義和象征主義手 《了不起的蓋茨比》第三章：主題結(jié)構(gòu)、人物刻畫(huà)、語(yǔ)言風(fēng)格 age: second half of the 19th century to early decades of the 20th century background: (1)the U

3、.S. has become the most powerful country (2)technological revolution (3)a decline in moral standard, a spiritual wasteland, feelings of fear, loss, disorientation and disillusionment influencing ideas: (1)the same as English Modern period: Karl Marx, Darwin, Freud (2)stream of consciousnes

4、s: modernism's features: literature: convey a vision of social breakdown and moral decay writer: develop techniques that could represent a break with the past. modernistic works are discontinuity and fragmentation The differences between Modernism America and England (1)American writ

5、ers emphasize the concrete sensory images or details as the direct conveyor of experience (2)modern fiction employ the first narration or confine the reader to the "central consciousness" or one character‘s point of view common ground: directness, compression, vividness, sparing of words The

6、 idea of “seize the day” or “enjoy the present ” was pervasive, as opposed to placing all hope in the future.“ 及時(shí)行樂(lè)”的思想十分橫行，他們不把希望寄托在將來(lái)。 The most recognizable literary movement that gave rise to the twentieth century American literature, or we may say, the second American Renaissance, is the exp

7、atriate movement. 美國(guó)20世紀(jì)的文學(xué)運(yùn)動(dòng)，也可說(shuō)是美國(guó)第二次文藝復(fù)興，就是移居國(guó)外的運(yùn)動(dòng)。 These writers were later named by an American writer, Gertrude Stein, also an expatriate, “The Lost Generation”. (why)---Disillusioned and disgusted by the frivolous greedy, and heedless way of life in America, they began to write and they w

8、rote from their own experiences in the war. 這些作家后來(lái)被美國(guó)作家斯坦恩稱(chēng)為“迷惘的一代”（原因）--由于他們已厭倦美國(guó)那種輕浮，貪婪的生活，于是開(kāi)始動(dòng)手寫(xiě)下他們的戰(zhàn)爭(zhēng)經(jīng)歷。 Ezra Pound’s role as a leading spokesman of famous Imagist Movement in the history of American literature. 龐德在美國(guó)文學(xué)史上意象派運(yùn)動(dòng)中是個(gè)重要的人物。 F.Scott Fitzgerald, Ernest Hemingway, and William F

9、aulkner are considered to be the masters in the field of American fiction. 費(fèi)茲杰拉德，海明威和?？思{被認(rèn)為是美國(guó)小說(shuō)大師。 O’Neill is remembered for his tragic view of life and most of his plays are about the root, the truth of human desires and human frustrations. 奧尼爾以對(duì)生活的悲劇性觀點(diǎn)而著稱(chēng)。他的大多數(shù)劇本都是有關(guān)人類(lèi)欲望和挫折根本原因的。 J.D.Sal

10、inger’s The Catcher in the Rye is regarded as a students’ classic .塞林杰的《麥田里的守望者》被認(rèn)為是學(xué)生的經(jīng)典作品。 In general terms, much serious literature written from 1912 onwards attempted to convey a vision of social breakdown and moral decay and the writer’s task was to develop techniques that could represent a

11、 break with the past. Thus, the defining formal characteristics of the modernistic works are discontinuity and fragmentation. 總之，1912年以后許多嚴(yán)肅文學(xué)都力圖表達(dá)社會(huì)崩潰，道德淪喪的觀點(diǎn)，作家也使用新技巧，告別老傳統(tǒng)。 A typical modern work will seem to begin arbitrarily, to advance without explanation, and to end without resolution. 現(xiàn)

12、代文學(xué)的典型特征是開(kāi)端任意，發(fā)展不做解釋以及沒(méi)有結(jié)果的收?qǐng)觥? There are shifts in perspective, voice, and tone, but the biggest shift is from the external to internal, from the public to the private, from the chronological to the psychic, from the objective description to the subjective projection.作品在現(xiàn)實(shí)，語(yǔ)氣上較前有變化，其中最大的變化是從描寫(xiě)外部世界

13、轉(zhuǎn)到內(nèi)部世界，從公眾生活轉(zhuǎn)到私生活描寫(xiě)，從時(shí)間線索轉(zhuǎn)到以心理感覺(jué)為線索，從客觀描述轉(zhuǎn)到主觀渲染。 Traditional fiction featured an authoritative narrator in telling a story, while modern fiction tended to employ the first person narration or limit the reader to the “central consciousness” or one character’s point of view.傳統(tǒng)小說(shuō)強(qiáng)調(diào)敘述的人物的權(quán)威性和可信性，而現(xiàn)代小說(shuō)

14、敘述的總是用第一人稱(chēng)，或者把讀者限制到“中心的意識(shí)”上或以一個(gè)人物的視線進(jìn)行敘述。 有關(guān)的習(xí)題： Analyze the background of the Modern Period. (1) The U.S. participated in The First World War marked a crucial stage in the nation’s evolution/development to a world power. (2) The technology has brought about great changes in the life of

15、the American people. (P544) The ideology analyses about the people and especially the authors. (The ideology analysis of "The Lost Generation) (1) People became less certain about what might arise in this changing world and more cynical about accepted standards of honesty and morality. The

16、 idea of "seize the day" or "enjoy the present" was pervasive. (2) There was a decline in moral standard and the first few decades of the twentieth century was described as a spiritual wasteland. The censor/standard of a great civilization being destroyed or destroying itself, social breakdown, an

17、d individual powerlessness and hopelessness became part of the American experience as a result of the First World War, with resulting feelings of fear, loss, disorientation and disillusionment. (3) Disillusioned and disgusted by the frivolous, greedy, and heedless way of life in America, they bega

18、n to write and they wrote from their own experience in the war. (4) The sense of loss and despair prevails among the post-war generation who are physically and psychologically scarred; Faulkner creates his own mythical kingdom that mirrors not only the decline of the Southern society but also the

19、spiritual wasteland of the whole American society. (5) The world is even more disintegrating and fragmentary and people are even more estranged and despondent. (6) These writers shared almost the same belief that human beings are trapped in a meaningless world and that neither God nor man can ma

20、ke sense of the human condition. (7) In general terms, much serious literature written from 1912 onwards attempted to convey a vision of social breakdown and moral decay and the writer’s task was to develop techniques that could represent a break with the past. (P545-552) List some characteris

21、tic writers you know in the Modernism. (1) The spirit of frivolity and carelessness is brought vividly to life in "The Great Gatsby" (1925). (2) Faulkner’s footsteps in portraying the decadence and evil in the Southern society in a Gothic manner. (3) Salinger is considered to be a spokesman

22、for the alienated youth in the post-war era and his The Catcher in the Rye is regarded as a students’ classic. (4) O’Neill is remembered for his tragic view of life and most of his plays are about the root, the truth of human desires and human frustration. (P548---549) What are the styles of t

23、he modernists in writing? (1) The defining formal characteristics of the modernistic works discontinuity and fragmentation. (2) The biggest shift is from the external to the internal, from the public to the private, from the chronological to the psychic, from the objective description to the s

24、ubjective projection. (3) Modern American writers in general emphasize the concrete sensory images or details as the direct conveyer of experience. (4) Their language is direct, compressive, vivid and sparing of words. (5) Modern fiction tended to employ the first person narration or limit the

25、 reader to the "central consciousness" or one character’s point of view. This limitation accorded with the modernistic vision that truth does not exist objectively but is the product of a personal interaction with reality. (P552---553) Some theories and ideologies influenced the Modernists, what

26、 are they? (1) Darwinism; (2) Karl Marx’s scientific socialism; (3) Freud’s "unconsciousness" and psychoanalysis; (4) William James’ "stream of consciousness"; (5) Carl June’s "collective unconscious", "archetypal symble". (P546) Ezra Pound埃茲拉.龐德 Before graduating from universit

27、y, he had mastered nine language. 大學(xué)畢業(yè)前已掌握了九門(mén)語(yǔ)言。 Pound’s poetic works include twelve volumes of verse which were later collected and published in Collected Early Poems of Ezra Pound, and Personae.龐德的詩(shī)作包括十二卷詩(shī)集，后以《埃茲拉.龐德早期詩(shī)集》，《人物》的書(shū)名出版。 “The point of Imagism” , Pound wrote in 1914, “is that it d

28、oes not use images as ornaments. The image itself is the speech. The image is the word beyond formulated language”.龐德曾于1914年寫(xiě)道：“意象主義的實(shí)質(zhì)是意象不是裝飾，意象本身就是語(yǔ)言。意象是超語(yǔ)言形式的詞匯”。 The poet, he argued, cannot relate a delightful psychic experience by speaking out directly in the first person: he must “screen him

29、self” and speak indirectly through an impersonal and objective story, which is usually a myth or a piece of the earlier literature, or a “mask”, that is, a persona.他認(rèn)為，詩(shī)人不能直接用第一人稱(chēng)敘述心理感受，必須“把自己籠罩起來(lái)”，通過(guò)客觀的非人格化的故事間接說(shuō)話，那就是神話或文學(xué)典故。 Ezra Pound's contribution to American literature: Pound was one of th

30、e most important poets and critics of his time and he was regarded as the father of modern American poetry. He is a leading spokesman of the "Imagist Movement", which though short-lived, had a tremendous influence on modern poetry. Pound endorsed the group’s three main principles： 龐德提出詩(shī)歌改革的三個(gè)原

31、則： 1.direct treatment of poetic subjects, 直接處理詩(shī)歌主題； 2.elimination of merely ornamental or superfluous words, 舍去裝飾浮華的詞藻； 3.and rhythmical composition in the sequence of the musical phrase rather than in the sequence of a metronome.詩(shī)歌應(yīng)有有機(jī)節(jié)奏，不要單詞重復(fù)。 Ezra Pound's poetic subjects or themes:

32、 Pound’s earlier poetry is saturated with the familiar poetic subjects that characterize the 19th century Romanticism: songs in praise of a lady, songs concerning the poet’s craft, love and friendship, death, the transience of beauty and the permanence of art. 龐德的早期詩(shī)歌充滿(mǎn)表現(xiàn)19世紀(jì)浪漫主義特色的為人熟知的詩(shī)題：歌頌女性，

33、有關(guān)詩(shī)人自己的詩(shī)，愛(ài)情與友誼，死亡，美麗的易逝和藝術(shù)的常青。 Later he is more concerned about the problems of the modern culture: the contemporary cultural decay and the possible sources of cultural renewal as well. Take his epic poem, The Cantos, for example. Pound traces the rise and fall of eastern and western empires, th

34、e moral and social chaos of the modern world, especially the corruption of America after the heroic time of Jefferson. 后來(lái)，他更關(guān)注現(xiàn)代文化問(wèn)題：當(dāng)代文化的墮落以及文化更新的可能途徑。以《詩(shī)章》為例，龐德追溯東西方帝國(guó)的興亡，現(xiàn)代世界道德和社會(huì)的混亂，尤其是美國(guó)自杰斐遜后的腐敗。 選讀作品： In a Station of The Metro在地鐵站 One-image poem; a modern adoption of the Japanese

35、 haiku This poem is an observation of the poet of the human faces seen in a Paris subway station.Pound attempts to produce the emotion he felt when he walked down into a Paris subway station and suddenly saw a number of faces in the dim light. To capture the emotions, Pound uses the image of petal

36、s on wet, black boughs. The River-Merchant’s Wife: A Letter船商的妻子：一封信 an adaption from the Chinese of Li Po named Rihaku in Japaness This is a verse "letter" in which the speaker communicates indirectly, by means of vivid images and shifting tones, the history of her feelings for her absent

37、 husband to whom she writes. A pact(free verse)合同 Some agreement between "Whitmanesque" free verse In this poem,Pound started to find some agreement between "Whitemanesque" free verse, which he had attacked for its carelessness in composition, and the "verse libre" of the Imagists who show

38、ed more concern for formal values. the Imagist Movement意向主義運(yùn)動(dòng) Led by the American poet Ezra Pound, Imagist Movement is a poetic movement that flourished in the U.S. and England between 1909-1917. 以美國(guó)詩(shī)人龐德領(lǐng)導(dǎo)，意向主義運(yùn)動(dòng)在1909-1917年間在美國(guó)和英國(guó)展開(kāi)。It advances modernism in arts which concentrated on refor

39、ming the medium of poetry as opposed to Romanticism, especially Tennyson's wordiness and high-flown language in poetry.這一運(yùn)動(dòng)推動(dòng)了現(xiàn)代派藝術(shù)的發(fā)展。在詩(shī)歌中，反對(duì)浪漫主義尤其是丁尼生的精工細(xì)琢夸夸其談的語(yǔ)言，主張改革詩(shī)歌的媒體。Pound endorsed three main principles as guidelines for Imagism, including direct treatment of poetic subjects, elimination of

40、 merely ornamental or superfluous words, and rhythmical composition in the sequence of the musical phrase rather than in the sequence of a metronome. 龐德提出詩(shī)歌改革的三個(gè)原則，直接處理詩(shī)歌主題，舍去裝飾浮華的詞藻，詩(shī)歌應(yīng)有有機(jī)節(jié)奏，不要單詞重復(fù)。The primary Imagist objective is to avoid rhetoric and moralizing, to stick closely to the object or

41、experience being described, and to move from explicit generalization. The leading poets are Ezra Pound, Wallace Stevens, D.H.Lawrence, etc. Pound's famous one-image poem "In a Station of the Metro" would serve as a typical example of the Imagist ideas. Robert Lee Frost 羅伯特.李.弗羅斯特 Frost is a

42、n important poet in the 20th century .He won the Pulitzer Prize four times and read poetry at the inauguration就職典禮of President John F. Kennedy in 1961. His pomes contains “Mending the Wall”, “The Road Not Taken”, “Stopping by Woods on a Snowy Evening”(speaker’s choice between safety and the unkn

43、own)，and “After Apple-Picking”.他的詩(shī)包括《補(bǔ)墻》，《未選擇的路》，《雪夜林邊?！罚ㄗ髡咴诎踩臀粗辛粝铝穗鼥V的詩(shī)味）和《摘蘋(píng)果后》。 特色： The Pulitzer Prize winner on four occasions; a serious poet idea: a momentary瞬間的 stay against confusion, like Wordsworth profound ideas are delivered under the disguise偽裝 of the plain language and th

44、e simple form; combined traditional verse forms with a clear American local speech rhythm; semi-free or semi-conventional 選讀作品： After Apple-Picking摘了蘋(píng)果之后 a man's best efforts ever satisfy God This poem is so vivid a memory of experience on the farm in which the end of labor leaves the sp

45、eaker with a sense of completion and fulfillment yet finds him blocked from success by winter's approach and physical weariness. The Road Not Taken沒(méi)有走的路 uncertainty of the speaker‘s choice between safety and unknown(meditative) took the one less travelled by and that has made all the differe

46、nceIn this meditative poem, the speaker tells us how the course of his life was determined when he came upon two roads that diverged in a wood. Forced to choose, he " took the one less traveled by, And that has made all the difference." Stopping by Woods on a Snowy Evening雪夜林邊逗留 This is a dece

47、ptively simple poem in which the speaker literally stops his horse in the winter twilight to observe the beauty of the forest scene, and then is moved to continue his journey. pastoral life and scene Though he is generally considered a regional poet whose subject matters mainly focus on the la

48、ndscape and people in New England, he wrote many poems that investigate the basic themes of man’s life in his long poetic career: the individual’s relationships to himself, to his fellow-man, to his world, and to his God.雖然他總的來(lái)說(shuō)是一位地方詩(shī)人，他的詩(shī)主要寫(xiě)的是新英格蘭的風(fēng)光和人物，但他在長(zhǎng)期的做詩(shī)生涯中對(duì)人類(lèi)生活的基本主題有所探索，探討了個(gè)人對(duì)自己，對(duì)別人，對(duì)世界以及對(duì)

49、上帝的關(guān)系。 Eugene O’Neill尤金.奧尼爾 O’Neill’s first full-length play, HBeyond the orizon made a great hit and won him the first Pulitzer Prize. 奧尼爾第一部全劇〈天外邊〉上演，這部作品轟動(dòng)一時(shí)并為他贏得了普利萊獎(jiǎng)。 Between 1920 and 1924 came his prominent achievements in symbolic expressionism: eg .The Hairy Ape. These plays a

50、re daring forays into race relations, class conflicts, sexual bondage, social critiques, and American tragedies on the Greek model.1920至1924年期間他的象征表現(xiàn)主義獲得了空前的成就:如《毛猿》，這些作品中大膽涉獵了種族關(guān)系，階級(jí)沖突，性的束縛，社會(huì)批評(píng)及希臘模式的美國(guó)悲劇。 Such as The Great God Brown, which fuses symbolism, poetry, and the affirmation of a pagan

51、idealism to show how materialistic civilization denies the life-giving impulses and destroys the genuine artist.如《偉大的布朗》，它將象征主義，詩(shī)歌和異教徒理想主義的證實(shí)融合到一起來(lái)表現(xiàn)物質(zhì)文明是如何否認(rèn)給予生命的沖動(dòng)和摧毀天才藝術(shù)家的。 The Iceman Cometh proves to be a masterpiece in the way it is a complex, ironic, deeply moving exploration of human existe

52、nce, written out of a profound insight into human nature and constructed with tremendous skill and logic.《冰人來(lái)了》以其復(fù)雜，諷刺，對(duì)人類(lèi)生存的深刻感人的探討，以及用深邃的洞察力對(duì)人性的探討，并應(yīng)用了大量的技巧和邏輯證實(shí)了這部作品是部杰作。 特色和影響： Is unquestionably American's greatest playwright; won the Pulitzer Prize four times; the only dramatist eve

53、r to win a Nobel Prize; founder of the American drama美國(guó)戲劇之父 Characters seek meaning and purpose in their lives through love or religion or revenge. The result is disappointment or despair. Use expressionism表現(xiàn)主義; dialect方言, spell words indicate a particular accent or manner of speech 他作品的主題

54、： Of all the plays O’Neill wrote most of them are tragedies, dealing with the basic issues of human existence and predicament: life and death, illusion and disillusion, alienation and communication, dream and reality, self and society.在奧尼爾所有的作品中，多數(shù)是悲劇，處理的是人類(lèi)生存和困境這些基本論點(diǎn)：生與死，幻覺(jué)和幻滅，疏遠(yuǎn)和交流，夢(mèng)想和現(xiàn)實(shí)，自我和社會(huì)，

55、欲望和挫折。 選讀：毛猿The Hairy Ape concerns the problem of modern man‘s position. 這部劇本涉及到現(xiàn)代人的歸屬問(wèn)題 Yank‘s sense of belonging nowhere is a typical of the mood of isolation and alienation in the early twentieth century in the US and the whole world as well. “The Hairy Ape”----Yank-brutal, stupid

56、, and profane is the recognized leader of the stokers, who are the ultimate products of a society subservient to machines. “毛猿”----揚(yáng)克，殘忍，愚蠢并且猥褻，被認(rèn)為是采礦工人的頭,他是社會(huì)屈從于機(jī)器后的最終產(chǎn)物。 F.Scott Fitzgerald菲茨杰拉德 His masterpiece The Great Gatsby, which made him one of the greatest American novelists.他的巨

57、著《了不起的蓋茨比》是他成為杰出的美國(guó)小說(shuō)家。 he is often acclaimed literary spokesman of the Jazz Age， Dollar Decade, 1920s 他被認(rèn)為是早期爵士樂(lè)時(shí)代的文學(xué)代言人 a great stylist; using the scenic舞臺(tái)的 method; accurate detail A double vision of the Jazz Age, both an insider and an outsiderAmerican Dream 了不起的蓋茨比The Great Gatsb

58、y narrator陳述者: Nick Carraway symbolic of an obscenely污穢的 futile無(wú)用的 world “The Great Gatsby”----At the end of the story, Nick broods over Gatsby’s dream and decides to go back home to the West. Gatsby is a mythical figure whose intensity of dream partakes of a state of mind that embodies Americ

59、a itself. Gatsby’s failure magnifies to a great extent the end of the American Dream. 《了不起的蓋茨比》----小說(shuō)在結(jié)束時(shí)，尼克對(duì)蓋茨比的夢(mèng)想進(jìn)行了沉思后決定回到西部老家去。蓋茨比是個(gè)神話般人物，他的強(qiáng)烈的夢(mèng)想是整個(gè)美國(guó)當(dāng)時(shí)心態(tài)的反映。蓋茨比的失敗表明了美國(guó)之夢(mèng)的破滅。 He drank and did crazy things after he got drunk, whereas staying sober enough to see the corruptive nature of the

60、 society and the vanity fair that everyone, including himself, was infatuated with.他酗酒，并且酒后做出許多出軌的事，但又能沉靜的看出包括他自己在內(nèi)的那個(gè)時(shí)代社會(huì)的本質(zhì)和虛榮。 Fitzgerald’s fictional world is the best embodiment of the spirit of the Jazz Age, in which he shows a particular interest in the upper-class society.菲茲杰拉德的小說(shuō)世界是爵士時(shí)代精神的

61、最佳體現(xiàn)。 But beneath their masks of relaxation and joviality there was only sterility, meaninglessness and futility, and amid the grandeur and extravagance a spiritual wasteland and a hint of decadence and moral decay.但在輕松享樂(lè)后留下的只是頹廢和一無(wú)所取。在物質(zhì)的奢華后是一片精神的荒原和道德淪喪。 Ernest Hamingway歐內(nèi)斯特.海明威 A Nobel

62、 Prize winner for literature No wonder Hemingway was highly praised by the Nobel Prize Committee for “his powerful style-forming mastery of the art” of creating modern fiction. 諾貝爾文學(xué)獎(jiǎng)評(píng)委會(huì)是這樣評(píng)價(jià)他的：他的簡(jiǎn)短有力的藝術(shù)風(fēng)格開(kāi)創(chuàng)了現(xiàn)代小說(shuō)。 (The Sun Also Rises-The Lost Generation)太陽(yáng)照樣升起 (A Farewell to Arms-Frederick

63、 Henry)永別了武器 (For Whom the Bell Tolls-Robert Jordan)喪鐘為誰(shuí)而鳴 (The Old Man and the Sea-Santiago)老人與海 The Sun Also Rises is Hemingway’s first true novel. It casts light on a whole generation after the First World War and the effects of the war by way of a vivid portrait of “The Lost Generation,”

64、 a group of young Americans who left their native land and fought in the war and later engaged themselves in writing in a new way about their own experiences.《太陽(yáng)照樣升起》是海明威成熟的作品，通過(guò)“迷惘的一代”人的形象塑造，表現(xiàn)了一戰(zhàn)后整個(gè)一代人的精神面貌以及一戰(zhàn)給人們帶來(lái)的影響。（迷惘的一代：一群離開(kāi)祖國(guó)，參加戰(zhàn)爭(zhēng)的美國(guó)青年，戰(zhàn)后開(kāi)始動(dòng)手寫(xiě)下他們的戰(zhàn)爭(zhēng)經(jīng)歷） Hemingway’s second big success is

65、A Farewell Arms. Frederick Henry, who is wounded in war and disillusioned with insanity and futility of the universe. In this novel, Hemingway not only emphasizes his belief that man is trapped both physically and mentally, but goes to some lengths to refute the idea of nature as an expression of ei

66、ther God’s design or his beneficence and to suggest that man is doomed to be entrapped.《永別了.武器》是海明威第二步成名作。Frederick Henry在戰(zhàn)爭(zhēng)中受了傷，對(duì)世界的非理性無(wú)法理解。在這部小說(shuō)里，作者不但強(qiáng)調(diào)了人類(lèi)在肉體和精神上都受難的觀點(diǎn)，而且駁斥了自然和上帝的善，表明人類(lèi)被命運(yùn)投入了火坑。 For Whom the Bell Tolls and The Old Man and the Sea tell more about the later Hemingway. 《喪鐘為誰(shuí)敲響》和《老人與?！肥欠从澈Ｃ魍笃谒枷氲淖髌?。 1. Hemingway hero海明威式英雄 "grace under pressure" he is with the honesty, the discipline, and the restraint. man always fights a losing battle of life,but never lose dignit