论《小镇畸人》中的时空模式

论《小镇畸人》中的时空模式 南京航空航天大学硕士学位论文 摘要 舍伍德?安德森(1876-1941)在美国现代文学史上享有非常特殊的 地位。在美国文学史上属于大器晚成者。威廉?福克纳将他奉为“我 们这一代作家的父亲”,而马尔科姆?考利也称他为“作家的作家， 是他那一代讲故事者中对后一代的风格和视野都造成影响的唯一一 位”。安德森极大地影响了福克纳、海明威、托马斯?沃尔夫以及索 尔?贝娄、约翰?厄普代克等一大批美国现当代重要作家。 小说集《小镇畸人》包括二十五篇故事，塑造了一群渴盼爱与自 由却又疏于交流、为自我所隔离的“畸人”形象。首篇《畸人志》为 解释性序言，其余各篇分别讲述温斯堡镇居民的异乎寻常的生活，这 些都是作为《畸人志》中的故事，即“戏中戏”而展开的。单篇具有 完全的独立性，合在一起又汇成温斯堡的民俗风貌，有机而统一地反 映了十九世纪末二十世纪初工业革命冲击人类心灵的现实，被誉为是 安德森最有名的一部小说集。 时间和空间形式在文学中是极其重要的概念，根据伯格森的绵延 论，把时间分为物理时间和心理时间，瞬间顿悟和意识流都属于心理 时间的 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 现形式，同时也属于现代主义文学的特点。而空间形式包括 小说中事件发生和人物活动的地理空间，还指现代主义文学中流行的 通过各种叙述技巧而形成的文本空间。 本文通过 分析 定性数据统计分析pdf销售业绩分析模板建筑结构震害分析销售进度分析表京东商城竞争战略分析 这本小说集中体现的时间和空间模式，以此来阐释 《小镇畸人》是现实主义文学和现代主义文学的结合， 内容 财务内部控制制度的内容财务内部控制制度的内容人员招聘与配置的内容项目成本控制的内容消防安全演练内容 上表现了 由农业向工业化转型时期的美国乡镇生活，人们的孤独和异化的精神 世界。在写作手法上体现出现代主义文学的源头和特征，如意识流小 说的技巧，瞬间顿悟，意象重复，空间并置和时间凝固等。 文章四个部分组成。第一部分为引言，主要介绍了舍伍德? 安德 森的成就和国内外对他及其作品的评价，并简略介绍了本论文的研究 方法 快递客服问题件处理详细方法山木方法pdf计算方法pdf华与华方法下载八字理论方法下载 和目的。 i 论《小镇畸人》中的时空模式 第二部分从两方面来阐释小说中体现的时间模式，一个是物理 时间，主要通过瓦斯堡镇在工业化冲击下的变化和小说主人公乔治? 威拉德的成熟和成长来分析;另一个是通过分析小镇畸人们过去对真 理的追求和现在生活状态的停滞，以及他们的潜意识的表现――语言 表达障碍来透视畸人们的心理时间。 第三部分也从两方面来探讨小说中体现的空间模式，一个是通 过大城市和瓦斯堡镇的相互关照来指明小镇的地理位置;另一个是考 察文本的空间形式及构建空间形式的技巧，其中包括文本的桔瓣状结 构特点，场景并置，意象重复和时间凝固。 第四部分为结语，指出舍伍德?安德森的小说反映了当时的文学思 潮，又反映对后来的现代作家和美国小说发展的影响。 关键词:时间形式; 空间形式; 物理时间，心理时间，地理空间，文 本空间 ii 南京航空航天大学硕士学位论文 Abstract Sherwood Anderson was one of the early modern novelists in the American literature. He had greatly influenced his students and friends Earnest Hemingway and William Faulkner. He was acknowledged as the father of the modern American fiction and mostly known for the modern consciousness he developed in the writing of modern fiction. Winesburg, Ohio, consisting of 25 short stories, creates a group of townspeople who long for love and freedom, but lack communication with each other, and so they are confined by themselves. The first episode named “the book of grotesques” is an explanatory prelude and the other 24 stories from versatile aspects delineate the unusual life experience of the inhabitants in Winesburg. Each episode, with its own beginning and ending, is a complete story, and if combined together, the whole cycle of stories explores systematically the damages by industrialization to the townspeople during the transitional age. Winesburg, Ohio is considered a masterpiece of the twentieth-century American fiction. The forms of time and space are acknowledged as two important concepts in literary theory. According to Bergson?s theory of “duration”, the form of time contains physical time or clock time and psychological time or we call consciousness time. Moment of insight and stream of consciousness belong to the latter, meanwhile, they are the features of modernism literature. The form of space includes the geographical space, i.e. the continuum in which the literary heroes appear and where the action or conflict takes place, as well as the textual space realized by different narrative skills. This thesis analyses the time and space form in Winesburg, Ohio to advocate that this short fiction collection is a perfect combination of realism and modernism, in that it vividly records the American small-town life at the pre-industrial times and reveals the spiritual world and demonstrates the loneliness, dissimilation and even morbidity of characters. At the same time, with regard to writing strategies and iii 论《小镇畸人》中的时空模式 techniques, it contains the characteristics of modernism: the stream of consciousness, moment of insight, juxtaposition and imagery and so on. This thesis falls into four parts: the first is introduction. It makes a brief introduction of Anderson?s achievements and comments at home and abroad. At the same time, it mentions, in brief, the research methods and purpose in this thesis. The second examines the time form from the aspects of physical and psychological time Anderson constructs in the novel. The transformation of the small town and the process of George Willard?s maturity indicate the change of physical time in Winesburg, Ohio. The second part analyzes the grotesques? permanent pursuit of the truth in the past and the static life at present, as well as the manifestation of their stream of consciousness—inarticulateness. The first part of the third chapter examines the geographical space of Winesburg by comparison with the big and modern cities surrounding around. The second part in this chapter is devoted to the analysis of textual space form and the ways to achieve it from the perspective of the structure of the fiction, happenings juxtaposition, image repetition and time freezing. The last part is conclusion. It is hoped that the study of the time and space world in Winesburg, Ohio may shed fresh light upon our understanding of his craft and his contribution to the development of modernism literature. Key words: the form of time, the form of space, physical time, psychological time, geographical space, textual space. iv 承诺 书 关于书的成语关于读书的排比句社区图书漂流公约怎么写关于读书的小报汉书pdf 本人郑重声明:所呈交的学位论文，是本人在导师指导下，独立 进行研究工作所取得的成果。尽我所知，除文中已经注明引用的内容 外，本学位论文的研究成果不包含任何他人享有著作权的内容。对本 论文所涉及的研究工作做出贡献的其他个人和集体，均已在文中以明 确方式标明。 本人授权南京航空航天大学可以有权保留送交论文的复印件，允 许论文被查阅和借阅,可以将学位论文的全部或部分内容编入有关数 据库进行检索，可以采用影印、缩印或其他复制手段保存论文。 (保密的学位论文在解密后适用本承诺书) 作者签名: 日 期: iv 南京航空航天大学硕士学位论文 Chapter One Introduction 1.1 Sherwood Anderson and Winesburg, Ohio Sherwood Anderson (1876-1941) was one of the few writers who began their writing career from their middle age. In 1914, at thirty-eight, he published his first short story in Harper's Magazine in July of that year. By 1919, with the publication of Winesburg, Ohio, Anderson had become a major contemporary literary figure. In 1921，after the publication of Poor White, he won the first Dial Prize, and in that year he was enshrined in the Eastern critics' favorite interpretation of the literature that was coming out of the Midwestern heartland. Anderson's other main works are Mid-American Chants printed in 1918; The Triumph of the Egg(1921); Horses and Men(1923); A Story Teller's Story (1924); Dark Daughter(1925). Anderson was famous for his short stories: “Death in the Woods” , “I Want to Know Why”, “The Man Who Become a Woman”, “I’m a Fool” and “The Egg”. Anderson likes to write about the small town life, the small town people in the mid-west of America. Winesburg, Ohio is Sherwood Anderson?s most important work and is considered a masterpiece of the twentieth-century American fiction. It made Anderson assure himself of a distinctive position in the history of American literature. “Nothing quite like it has ever been done in America,” said H. L. Mencken of the book that broke all conventions as it laid bare the lives of inhabitants of a small Midwestern town. (Mencken, 1986: 33) The book, consisting of twenty-five stories and sketches, is regarded as a whole and complete novel in form. It is usually called a cycle of stories dealing with the spiritual crisis experienced by the people living in extreme isolation in a Midwest town of Winesburg. There is little development of a story line in the Winesburg tales in terms of cause and effect. Typically, a story begins with a physical description of 1 论《小镇畸人》中的时空模式 the central character, emphasizing some grotesque feature or trait. Then usually in relation to George Willard as a listener, something of the character?s past history is revealed (a desertion, a death in the family, an unwanted pregnancy). The story usually ends with the character committing a desperate act (getting drunk, shouting in the streets, striking at the newspaper reporter), then fleeing temporarily from the town. By the use of distortion and repetition, rather than plot, Anderson is able to reveal the nature of society. 1.2 Literature Review Sherwood Anderson has attracted more diversified critical attention than most writers of his generation. The literature on Anderson is rich and often contradictory. But no matter how rich and how contradictory the critics on Anderson are, they concern no more than with 1 .Anderson's position and influence in American literature; 2. the themes of his writings; 3. the techniques he used in his writings; 4. the literature trend he belonged to. As the main argument in this thesis is to discuss which literature trend Winesburg, Ohio belongs to in the perspective of Anderson?s dealing with time and space, I will only focus on the literature review of the fourth aspect “the literature trend he belonged to”. No one can firmly determine which literature trend Anderson belongs to, “Regionalist, realist, naturalist, prose stylist, primitivist, fictional Freudian, the American D. H. Lawrence, the phallic Chekhov - such are some of the labels that have been attached to Sherwood Anderson, with none quite fitting”. (Kummings, 1994) At the peak of Anderson?s career in the mid-twenties, critics hailed Sherwood Anderson as the “American Freudian”(Ferres,1996:309). And Charles Child Walcutt in his American Literary Naturalism: A Divided Stream (Walcutt, 1956) examined the writer's naturalistic and impressionistic techniques as they work successfully in the 2 南京航空航天大学硕士学位论文 Winesburg stories. It is claimed that Anderson's naturalism may be considered on three planes: his exploration of character without reference to the orthodox moral yardsticks; his questionings, and his quiet, suppressed conclusions as to what orders our cosmos and what is man's place in it; and his social attitudes, which are left-wing and increasingly critical, as the years pass, of American business enterprise. (Walcutt, 1956: 224) As far as realism is concerned, Anderson?s own experience in life was rich, and he drew heavily upon it in his writing, bringing, in both style and subject matter, a distinctive new realism to early twentieth century fiction. “His (Anderson?s) own experience, unusually rich and varied, gave him his grip on the actual world in which he was to live so abundantly. He has borne testimony to this in his numerous autobiographical writings, but as an artist his aim was constantly to emerge from the chrysalis stage of realism into the winged career of imagination. (Cowley, 1965: 78)So critics emphasize Anderson?s life experience and his nostalgia sensation of the past in the transitional age. The need for a heightened sensitivity to life was central to his whole approach to writing. The modernity of Winesburg, Ohio represented is reflected mainly on its themes and techniques. T. Flanagan, in his article The Permanence of Sherwood Anderson, believes that the characters and themes Anderson consistently selected suggest that his interest in frustration, inhibition, and neurosis is almost professional. The technique is Sherwood Anderson?s “moment”. This significant “moment” is similar to James Joyce?s “epiphany” in his novels. “Anderson?s ability to get close to ordinary life and to convert it into art became stunningly realized with the publication in 1919 of his Winesburg, Ohio stories, which are justly recognized today as a landmark in modern American fiction”.(Modlin,1992: vii) The commentary on Anderson by Horace Gregory in Talks with Authors 3 论《小镇畸人》中的时空模式 (Carbondale, Ill., 1968) describes Anderson as “an antirealist” who “often succeeded in breaking through to a reality that is beyond mere factual realism.” Lewis Leary is more insistent on the limitations of Anderson?s achievement in “Sherwood Anderson: The Man Who Became a Boy Again”, an essay in Literatur und Sprache der Vereinigten Staaten, edited by Hans Helmcke et al. (Heidelberg, 1969); yet Leary too finds Anderson concerned, not with surface “life”, but with the “spirit” which underlies it, and on these terms he relates Anderson to the Transcendentalist strain in American literature. (Malcolm, 1970:166). Another one discussed most is Anderson?s influence on his students and friends Earnest Hemingway and William Faulkner. He was acknowledged by William Faulkner as “the father of my generation of American writers and the tradition of American writing which our successors will carry on”. (McMichael,1980:1042) And he became a writer?s writer, the only storyteller of his generation who left his mark on the style and vision of the generation that followed. (Malcolm,1970:166). Earnest Hemingway, William Faulkner, Thomas Wolfe, John Steinbeck, Erskine Caldwell, William Saroyan, Henry Miller . . . each of these drew inspirations from him and owed an unmistakable debt to Anderson, and their names might stand for dozens of others. In China, Anderson is best known as a short story writer. And the criticism and research just follow the four divisions abroad mentioned above, therefore, I will not bother to list them. But fortunately, in recent years, some new types of editions of his works appeared on the book market. In fact, the interpretations to this book are without exhaustion. The different opinions on Sherwood Anderson and his work encourages the present thesis to further study Winesburg, Ohio in the aspects of time and space forms in order to get a better understanding of Anderson and his status in American literary history. In essays and letters, Anderson stated repeatedly that the goal of his writing was to 4 南京航空航天大学硕士学位论文 bring to the surface the hidden depths of thought and feeling in the characters he created, characters representing ordinary humanity in the America of his time. In a particularly vivid statement of these intentions, he wrote to his publisher, Ben Huebsch, that “There is within every human being a deep well of thinking over which a heavy iron lid is kept clamped.” The artist?s task was to tear that lid away so that “a kind of release takes place” that “cuts sharply across all the machinery of the life about him” (Anderson, 1984: 32) He said in the “Writer’s Book” that a “short story is the result of a sudden passionate interest,” (Curry, 1975: 85) and to Huebsch he wrote that it often would come “all at one sitting, a distillation, an outbreak” (Anderson, 1976: 94) Anderson began to experiment with new literary forms to take his literary credo into effect and to reflect the changing society at that time. Therefore, in Winesburg, Ohio, his masterpiece, readers can find the elements of the modernism literary trend as well as the realism literary popularity. In my analysis of time and space form in Winesburg, Ohio, my main concern will be on the vivid picture of people?s life and the change undergone by the American small town at that industrializing age, the manifestation of people?s stream of consciousness: inarticulateness and monologue, the orange structure of this fiction collection and the techniques used to create textual space in readers? mind. The following are the new efforts made by the author of the paper in the study of Anderson and his Winesburg, Ohio. Anderson, like most modern novelists who lay their emphasis on individual psychological time instead of on the increasing standardization and mechanization of time in the public sphere, juxtaposes the memories and perceptions of several different characters in their stories, and through these juxtapositions, the novel generates a temporality that transcends the individual one. Anderson?s Winesburg, Ohio provides us with a field to examine psychological time (time as human beings 5 论《小镇畸人》中的时空模式 experience it) and physical time (time as a clock measures it), and more importantly, to study how the two interrelate. The grotesques in the fiction linger in their psychological time, that is, in their past and imagination, and refuse to move forward with the processing of physical time, which will be analyzed in one part of chapter two: Pursuit in the Past and Stabilization at the Present One critic Glen Love had written an article titled Winesburg, Ohio and the Rhetoric of Silence, giving the causes and presentation of grotesques? silence in Winesburg, Ohio. In my opinion, it needs further and deeper analysis in the sense of stream of consciousness. The grotesques never speak out their thoughts and consideration in proper and effective ways. Some of them sputter and no one can understand them, some should speak with themselves or certain inanimate objects, or some use physical hit or attack to issue their hatred or affection. They are conscious of something but they fail to find the right access to express themselves. In this sense, I think all these expression ways are the manifestation and outlet of their stream of consciousness. Referring to the arrangement of the 24 episodes, Winesburg, Ohio as one of the modern examples of the short story sequence, is not just casual collections of stories. Michael E. Goldberg in his The Synchronic Series as the Origin of the Modernist Short Story says: “We read the individual stories in relation to each other. Sometimes continuing characters or recurring settings work toward this relationship. A good deal of the complexity and innovation of modernist short fiction derives from this interconnectedness”. (Goldberg, 1996: 515) The narrative form in the body of the fiction proper lends itself to the exploration of community in unique ways. It is always named short story cluster, however, in this thesis, the arrangement will be analyzed as orange structure: core and segments according to their relevant thematic depiction. My point in this part is to tell readers how the spatialization of all these episodes is achieved. 6 南京航空航天大学硕士学位论文 Approaching Winesburg, Ohio in the light of time and space form, especially psychological time and textual space, I believe that this research can enhance the appreciation of authorial skills and provide a means of obtaining insights into the literary works themselves. This thesis falls into four parts: the first is introduction. The second examines the time form from the aspects of physical and psychological time Anderson constructs. The third is devoted to the analysis of space form from the perspective of geographical and textual space. The last part is conclusion. The following literary concepts or theories will be drawn upon in this thesis: Henry Bergson?s concept of “duration” and his division of physical time or clock time as he names and psychological time or consciousness in Bergson?s term, the stream of consciousness, moment of insight, and Joseph Frank?s spatial form and the techniques to realize textual space: orange structure, image repetition, juxtaposition and time-freezing, and so on. It is hoped that the study of the time and space world in Winesburg, Ohio may shed fresh light upon our understanding of his craft and his contributions to the development of modernist literature. 7 论《小镇畸人》中的时空模式 Chapter Two The Form of Time It is necessary to have a consensual understanding of what is meant by the concept of time. Time as it flows, distinguished from the view of time as particular moments, is characterized by Michael Shallis in his study On Time: An Investigation in Scientific Knowledge and Human Experience in this way: Time is experienced in two fundamental ways. It seems to flow—the passing of seconds, days and years—very much like an endless stream or river,…time is also perceived as a succession of moments with a clear distinction between past, present, and future. (Shallis, 1983: 14) And in discussing time in modern fictions, we cannot fail to mention Henri Bergson, an important French philosopher, whose anti-materialisms exerted a tremendous influence on many writers, such as Proust, Gide, Joyce and Woolf. “Bergson, in his logical attempt to break up a mechanistic world, complemented the work of the early psychologists, and his emphasis on the merging of time is significant in any discussion of the modern novel”.(Frederick & Marvin, 1961: 30) According to Bergson, there are two senses of time, clock time and consciousness time. Clock time, which is pictured as a linear time divided into past, present and future, is a false conception. For him, clock time is both mechanical and artificial, while consciousness time or the real time is the psychological experience of time and nothing else. Therefore, in Bergson?s world, time is always in motion, fluid, even shifting and enables us to make an insight into the consciousness of a variety of people in a stable time. In the past 150 years, literary realism in western literature has given us many examples of everyday reality embedded in chronometric time and history so that space and time become inseparable. The artists like Henry Fielding, George Eliot and Charles Dickens, gravitate organically toward an evolving sequence. They are good at 8 南京航空航天大学硕士学位论文 designing various stages of the unified development of contradictions; in dealing with the present they have a trace of the past and have a glimpse of its peak and the future tendency. Their “great tradition” novels have time at the center of both its inner process and outer form. It is not the same case with the modern fictions. Bergson draws a sharp distinction between the concept of time and the experience of time. He contends that real time is not the static (abstract) time of being but the dynamic time of becoming as given in experience, such experiential time can only be apprehended by intuition as duration. This chapter employs Bergson?s distinction of time to discuss the time form presented in Winesburg, Ohio, therefore, this section can be divided into two parts: physical time and psychological one. 2.1 Physical Time Physical time, or in Bergson?s term, clock time, is pictured as a linear time divided into past, present and future. In spite of the lack of plots in the Winesburg tales, Sherwood Anderson?s casual treatment of facts does not prevent the possibility to find out a general timeline in Winesburg, Ohio with reliable evidence. The episodes of the first half of the book are set in summer. In opposition, the latter half of the book is dominated mainly in late autumn and winter until the book comes to its end in the last episode when George departs on an early spring day. In fact, the physical time change in Winesburg, Ohio can be sensed not only in term of season?s change but in the transformation of the small town and George Willard?s growth. Winesburg is in the transitional period during which agriculture is giving way to industry. In fact, many traces in Winesburg have suggested the disintegrative influence of industrialization on the town?s economy and people?s life. What?s more, though this short fiction collect is loose and every short story has its own hero or heroine, among all the Winesburg 9 论《小镇畸人》中的时空模式 grotesques there stands out the hero George Willard, who is on his way to be an artist and a man. Anderson tells us the development and maturity of him and at the same time George serving as a medium associates all the grotesques and indicates the time change through the whole fiction. 2.1.1 The Transformation of the Small Town It is necessary to have a brief study of the nineteen twenties, at beginning of which Winesburg, Ohio was published. The twenties in America remains a paradoxical decade. This period poses fascinating problems caused by the social changes and transformations so vast and so rapid as to reshape the mores and patterns of human behavior. Anderson deals with this period of America successfully, though in an appropriately bleak spirit, in all his best works from Winesburg on. That whole traditional agrarian way of life is based upon free land and upon agriculture; it dies with the disappearance of free land and the triumph of the machine. The United States enters into a new phase of its history, and Anderson and his coevals find themselves precipitated into an alien time. Just as he himself remarks: As a people we have given ourselves to industrialism, and industrialism is not lovely. If any man can find beauty in an American factory town I wish he would show me the way. For myself, I cannot find it. To me, and I am living in industrial life, the whole thing is as ugly as modern war. (Rideout, 1974: 66) The Winesburg tales Anderson conceives of for the most part occurs in a pre-industrial setting, recalling nostalgically a town already lost before he has left it, giving this vanished era the permanence of the pastoral. Berry picker teams and various shops on the main street suggest that agriculture and handicraft industry still play an important role in its economy. Wagons and oil lamp still keep people living in an idle way. However, the tranquility of the village is on the edge of being broken down. Industrialism is impending. Beneath the surface of busy berry picking, 10 南京航空航天大学硕士学位论文 agriculture is indeed declining. In the town, they have all a paltry, mean ugliness, as one walks down Main Street past the livery stable, the drugstore, the hardware store, the frame hotel, to the red frame railroad station. The large lovely landscapes, the apple orchards, and farm fields disappear to make room for factories and crowded shoddy houses. With the change in landscape comes also the disintegration of the old way of life of rural America. The transition of the small town from a rural economy to a factory-based economy can be felt in the short story “Godliness”: In the last fifty years a vast change has taken place in the lives of our people. A revolution has in fact taken place. The coming of industrialism, attended by all the roar and rattle of affairs, the shrill cries of millions of new voices that have come among us from overseas, the going and coming of trains, the growth of cities, the building of the interurban car lines that weave in and out of towns and past farm-houses, and now in these later days the coming of the automobiles has worked a tremendous change in the lives and in the habits of thought of our people of Mid- America. (WO, 70-1) In another story “Drink”, Tom Foster came to Winesburg from Cincinnati when he was still young. All through the night as the train rattled along, the grandmother told Tom tales of Winesburg and of how he would enjoy his life working in the fields and shooting wild things in the woods there. After getting off the train, she could not believe that the tiny village of fifty years before had grown into a thriving town in her absence.(WO, 211) Furthermore, money, the symbol of wealth and power in industrial times, begins to manifest its dominant power in Winesburg life. Banker Hardy?s and Banker White?s “huge brick” houses become the “show place” of the town. With a banker as husband, Mrs. White thinks that she has some say in the affairs of the town and demands the 11 论《小镇畸人》中的时空模式 telegraph company to fire Wash Williams. Helen White?s significance as an icon for the young men of the town comes as much from the privilege of being a banker?s daughter as it does from any virginal appeal. Luxuries bought by money, not hand-made products, such as stylish houses, plush chairs, can bring people much “respectability” which is ironically destroyed by Wash William?s wrath. As money has the say in the rival for presidency between McKinley and Bryan, money works in the rival for mother love between Dr. Parcival and his brother, who earns money and flaunts it by piling them on the desk: “Strange, eh? My mother loved my brother much more than she did me, although he never said a kind word to either of us and always raved up and down threatening us if we dared so much as touch the money that sometimes lay on the table three days.”(WO, 53) But Dr. Parcival?s brother in the end is killed by the locomotive, the product of the developing technological industry. And in “The Untold Lie,” there is also a seemingly extraneous lengthy tale about Windpeter Winters, who drives his wagon directly into the onrushing locomotive and dies a violent death. The digression to the death of Windpeter also signifies the danger brought by industrialism on people?s lives in Winesburg. Locomotive is an emblem of the coming industrialism, whereas wagon driven by horse is a symbol of the passing agrarian life. The accident in which the driver, wagon and horses are destroyed completely by the locomotive suggests the tragic end of the pastoral life under the impact of industrialism. The lengthy description of the accident in the background is in fact employed by the author to convey the information that industrialism on the horizon will endanger the foregrounded pastoral life. 2.1.2 The Growth of George Willard George Willard, the major character in Winesburg, Ohio, is a listener or spectator in most time. His different reactions to other people?s story and his own life experience arranged in chronological order comprise naturally the track of his maturation from the first story “Hands” to the last one “Departure”. George Willard has the capacity of 12 南京航空航天大学硕士学位论文 capturing a significant moment in a character?s life and expressing that moment by means of an epiphany, a moment when the character realizes the essential truth of the situation. As a result, George continuously acquires lessons from life experiences, especially from the stories of grotesques around him, and improves his character and enriches his understanding of life all the time. And also George Willard is deeply influenced by some of the women inhabitants in Winesburg. By learning from other grotesques, he gradually gets spiritually strong enough and has an escape from this morbid town. With new maturity George Willard leaves Winesburg for a new life. The first point of George?s growing up lies in his learning from other people?s stories. In the first episode of the collection, “Hands”, Wing Biddlebaum says to George that “You must try to forget all you have learned…You must begin to dream. From this time on you must shut your ears to the roaring of the voices”. (WO, 30) Wing Biddlebaum asks George not to listen to what other people?s saying, but to follow his own pursuit and dream. And in the story of “The Teacher”, on the encounter, Kate Swift tries to impress George with the difficulty of becoming a writer, raising the most important problem of being a writer. She says, “You must not become a mere peddler of words. The thing to learn is to know what people are thinking about, not what they say.” (WO, 163) Although Kate is eager to blow on the spark she found within George Willard, at that time he hasn?t got sufficient understanding of art and of people and sometimes even plays the role of what Kate has said—a mere peddler of words. Although George Willard struggles to understand what her teacher said, in fact, Kate?s words with passionate earnestness on the stormy winter night make young George Willard confused. George Willard makes sense vaguely that “I have missed something, I have missed something Kate Swift was trying to tell me”. (WO, 166) Kate Swift is a torchbearer. Kate?s admonishing George to write down what people think about, instead of what they say, is the first direct instruction George has received on writing. “Anderson?s artist-writers particularly need a woman to feed on, to give 13 论《小镇畸人》中的时空模式 them the constant, selfless love that helps sustain their art” (Rex, 1964: 88). The second point impressing George?s maturation lies in his contact with the female characters in the fiction. Just as Edwin Fusel comments that George learns from women and accepts the fact of human isolation and lives with it. (Edwin, 1960: 6) This learning indicates both his maturity and his incipient artistic ability. Generally speaking, it?s during the relationship with these women in Winesburg that George?s role as a man and a writer is formed and consolidated. The most significant woman for George?s growth is his mother Elizabeth Willard who gives much more support for George?s becoming a writer. On hearing George?s father--Tom Willard?s criticism to George?s dream of being a writer, Elizabeth “clenched her fists and glared about” and regards her husband as a man of evil. She encourages his son to continue his quest of target and puts aside $800 in secret for his son. The mother?s death is the turning point in George?s life. The death awakens George Willard to the mortal view of existence and raises the difficult question of life?s meaning, purpose and uncertainty. When George Willard sits beside the dead woman in the dimly lighted room, he comes to the consciousness that his mother has ever been a young vigorous woman, which transforms George from being immersed in the sorrow of the loss of mother to more universal sorrow of the loss of beauty. Due to his mother?s death, George has learned to view life retrospectively and come to taste the uncertainty of life and death. In this sense, his mother?s death incites his breaking from the small town life to the psychological independence and isolation. These new feeling makes him, for the first time, feel extremely isolated, and he longs to come close to some other human beings. Cowley asserts “George is released from Winesburg by the death of his mother” (Cowley, 1984: 245). Bunge maintains that Elizabeth?s “death finally pushes him out of selfish isolation” (Atlas,1981: 264). Moreover, George?s involvement with three different women in Winesburg, Ohio indicates his experience of growth in attaining manhood. It?s a process to maturity and 14 南京航空航天大学硕士学位论文 also a necessary condition to be a writer. Louise Trunnion, Bell Carpenter and Helen White appear respectively in “Nobody Knows”, “An Awakening” and “Sophistication”. In the course of the book, George?s character changes from a self-centered, indifferent, and rather selfish adolescent into a concerned, sensitive young man. The transformation is especially palpable when we examine his relationship with the three female characters in the book. In “Nobody Knows”, he only uses Louise as a sexual object to outlet his sexuality. The sexual exploitation exposes the flaws of his character: selfish and irresponsible. His contact with another woman Belle Carpenter indicates that he is hardly better for he approaches her as a means of expanding his sense of masculine power and regards her as a witness of his maturity. His attitude towards women is still chauvinistic. But when he at last enters manhood, George becomes aware that maleness does not mean aggressiveness or boldness, rather tenderness and tolerance. Thus, in his association with Helen White in “Sophistication”, he does not consider her an object to be conquered, nor does he pay too much attention to her sexuality, but takes her as an equal human being who can share his loneliness and sense of growth. His different attitude towards women at different stages displays the gradual improvement of his character. Accordingly, the consummation of his character reflects his capacity for growth. Through the process of all this listening and contacts with the grotesques and love experiences and finally his mother?s death, he achieves his awakening and sophistication. He realizes that everyone, including himself, must bear the burden of modern alienation in the transitional age. Thus, he made the decision to leave to paint “the dreams of his manhood”(WO, 238). The last story “Departure” leaves Anderson?s uncertainty about his protagonist?s future, which implies the relative and limited maturity George has got in his life in Winesburg, and for future it is still far from enough. “It was April and the young tree leaves were just coming out of their buds.” (WO, 244) 15 论《小镇畸人》中的时空模式 2.2 Psychological Time Henry Bergson?s intuitionism distinguishes mathematical time from psychological time. According to him, the real life is composed of a series of defined moments perceived by intuition. And his concept of “duration” indicates that it is “not merely the experience of one instant replacing another.” “Duration is the continuous progress of the past which gnaws into the future and which swells as it advances.” (Bergson, 1944: 7) The past on this account is something that follows us at every moment. “Our past, then, as a whole, is made manifest to us in its impulse; it is felt in the form of tendency, although a small part of it only is known in the form of idea.” (Bergson, 1944: 8) Anderson?s grotesques are more or less shaped by a personal past. As T. K. Whipple remarked, “Anderson, I suspect, is more strongly oriented to the inner than to the outer life--not, of course, that he is detached from or indifferent to his surroundings, but that he cares more for the subjective than for the objective element in experience.” (Rideout, 1974: 96) So Anderson is rarely content with simple realism, instead, his frame of reference is almost always the psychic center of personal experience. His interest is in the human soul, in dramatic or poetic human values, and in the relations and interactions of men and women with one another In this part, the psychological time is dealt with in the following three aspects: the dreamy and stubborn pursuit in the past and stabilization at present, the expression of stream of consciousness and the moment of insight. 2.2.1 Pursuit in the Past and Stabilization at the Present Henry Bergson claimed that “Duration is intuited or experienced immediately as something active, new and creative, connecting us with our past and extending us into the future.” (Long, 2000, 361) Reading through Winesburg, we have the impression that as soon as the grotesque comes to an epiphany, he is frozen forever on the pages. The images of these grotesques are still and unchangeable. One result of the conflict 16 南京航空航天大学硕士学位论文 between the inner world and the outside world is the refusal of participating in the outside world and clinging to the old world of imagination on the part of a character. In other words, some people refuse to grow up. Grotesques belong to this group. When they are yet to become more mature, they stop. Less than complete, they become dwarves among man. However, in the past, they have their own pursuit and ambition and hold on to their truth. After disappointed by the reality or laughed at by other people or failing to achieve the goal, they are immersed in the stabilization. They refuse to communicate with other people any more, and confine themselves to the isolated room. We can analyze it from the perspective of time deixis, especially the different tense used by Anderson to manifest the grotesques? pursuit in the past and the static state at present, because “Time deixis is commonly grammaticalized in deictic adverbs of time (like English now and then, yesterday and this year), but above all in tense”?.(Moira, 1998: 62) In “Paper Pills”, “He (Doctor Reefy), after his wife’s death, sat all day in his empty office close by a window that was covered with cobwebs. He never opened the window. Once on a hot day in August he tried but found it stuck fast and after that he forgot all about it”…. “The girl and Doctor Reefy then and already he began their courtship on a summer afternoon. He was forty-five had begun the practice of filing his pockets with the scraps of paper that became hard balls and were thrown away. The habit had been formed as he sat in his buggy behind the jaded white horse and went slowly along country roads”. (WO, 35-7) It is obvious that this story is narrated in the past tense, and before the doctor met and married with the girl, he has formed the habit of writing his thoughts ? In English and a number of other languages using tense and aspect, subtle instances of time deixis can occur. Time deixis may be shown by the tense alone, as in the present-tense verbs in the telephone conversation. This use of the present tense means that everything being discussed is happening “now.” 17 论《小镇畸人》中的时空模式 on a paper and never opens his heart to others. However, during their marriage life, “he read to her all the bits of paper”. (WO, 38) and after his wife?s death, Doctor Reefy returns to the former one and again confines himself in his office. After he finds the attempt to open the window fail, he leaves it alone and never bothers himself to make another attempt or take any action to break it. Just as David D. Anderson once remarked about this isolation in Sherwood?s Winesburg, Ohio: “His most important discovery, however, was his realization that human isolation stems primarily from entirely human shortcomings, those inherent in sex, in articulateness, in …the old brutal ignorance that had in it also a kind of beautiful childlike innocence?”(David, 1981: 169). On the surface they live a peaceful life, but underneath or in the past, they are burning with passion and beautiful dreams. “Adventure” is an example in which long descriptions of past events pave the way for the dramatic event at the end of the story. Because the past events don?t develop directly into the dramatic event happening at present in the story, it seems that they are told in a random and “digressive” manner. However, the past events have traumatic effects on the character?s psychology, without which the present event will be beyond any comprehension. In “Adventure,” Alice Hindman?s epiphany that “many people must live and die alone, even in Winesburg” comes immediately after her adventure, the main event in which Alice runs naked into a rainstorm and encounters an old deaf man. In fact, all the events of Alice Hindman?s past are of a piece with the climactic adventure, for obviously her youthful affair, her long years of waiting, and her mother?s remarriage, all contribute to her running naked in the rain. Likewise, in “Mother,” after he etches the protagonist at the beginning through the contrast between her odd relationships with other two characters, Tom and George Willard, Anderson devotes much narrative to delineating past events that happened when Elizabeth was young in the middle of the text. These past events disclose the roots of Elizabeth?s attitudes towards her husband and her son which are showing in 18 南京航空航天大学硕士学位论文 two dramatic events at present, in one of which Elizabeth intends to kill Tom, in the other, she prays in the dark room that her son could secure a good future. Considered “stage-struck” and bearing a somewhat shaky reputation in Winesburg, Elizabeth in her youth expresses her “restlessness” and desire for “release” in two ways: in “an uneasy desire for change” and in sexual relationships. But after being harnessed by marriage and becoming a mother, Elizabeth shifts the desire for change to her son, planning to leave George the eight hundred dollars that meant freedom to travel. While on the other hand, she represses her sexual desire due to her hatred for her husband. This paves the way for her relationship with Dr. Reefy in another story. In the story of “Hands”, under the repression of the overwhelming power of homophobia and being deprived of his own dream and the right to love, Adolph Myer loses his original identity completely and is changed into Wing Bilddlebaum. the name he gets from “a box of goods seen at a freight station” (WO, “Bilddlebaum,” 33) on his escaping way to Winesburg, suggests that Myers the man has been transformed into one part of the commodities. “Wing” is the nickname given by “some obscure poet” of the town because the restless activity of his hands reminds him of “the beating of the wings of an imprisoned bird.” This shows that his individuality is fast locked in the cage of industrialism. Additionally, the metaphor that “The slender expressive fingers….came forth and became piston rods of his machinery of expression” seems to tell us that, having lost their function to express love and dream, the hands are mechanical and have become a tool in production like a machine. In fact, the hands have been reduced to an efficient tool in the simple and mechanical labor like berry picking. “With them Wing Biddlebaum had picked as high as a hundred and forty quarts of strawberries in a day. They became his distinguishing feature, the source of his fame…Winesburg was proud of the hands of Wing Biddlebaum in the same spirit in which it was proud of Banker White new stone house….”(WO, 29) In this sense, Wing Biddlebaum has been deprived of his 19 论《小镇畸人》中的时空模式 discourse by the violence that nearly murdered him and been reformed into a prepared worker and a silent grotesque, spiritually deformed. The examples above show that Anderson characterizes his protagonist by the long description of minor characters or past events rather than the linear development of a plot. “Plot development in terms of a sequence of events interested him far less than the revelation of character in terms of a relationship with another individual or in terms of a single illuminating situation that finds their roots in past events.” (Barker, 1942: 436). 2.2.2 The Manifestation of Stream of Consciousness: Inarticulateness Inarticulateness means the disability to express one?s words, ideas or feelings clearly. And stream of consciousness is to describe the unbroken flow of thought and awareness in the waking mind. Long passages of introspection, describing in some detail what passes through a character?s mind, the continuous flow of a character?s mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations. In this thesis, the author regards inarticulateness as the grotesques? manifestation of their steam of consciousness. If their stream of consciousness can be spoken out, people can communicate with each other freely and fully, to let others know what they want, and so it is a relaxing and peaceful atmosphere. Just as Anderson recalled his own boyhood in Clyde, Ohio, he in a letter remarked: “I can remember old fellows in my home town speaking feelingly of an evening spent on the big, empty plains.” (Jones & Rideout, 1953: 23). However, these free chatting and talking in pre-industrial age are soon substituted for stream of consciousness due to the inarticulateness among the protagonists of Winesburg tales in the following four specific groups. And throughout the whole book, verbs which express the normal give and take to discourse, such as “answered”, “replied”, and “responded,” are almost totally absent in Winesburg.” (Love, 1968: 38-57) 20 南京航空航天大学硕士学位论文 The first group we can call them “aphasiac”: they long for communication and comprehension but when facing the listener, they fail to speak out their passionate dream and sensation, so Anderson employs a lot of monologue in this kind of people. The most characteristic and important verb in the book is “whispered,” which appears twenty-one times in the whole fiction. Elizabeth Willard has many things to talk with her son George and feels strongly the link between herself and her son, but she represses her feelings and never tells her son what she believes. When finding George?s habit of talking aloud to himself, she is pleasant but she only whispers to herself a thousand times “He is not a dull clod, all words and smartness. Within him there is a secret something that is striving to grow.” As for Seth Richmond, he thinks that in town people?s mind, he is queer and funny on account of his silence, so never expresses himself to other, even to his beloved Helen White. Against his own will, he tells Helen that George wants to date with her and he feels regretful, however, he only whispers to himself: “When it comes to loving someone, it won?t never be me. It?ll be someone else—some fool—someone who talks a lot.” (WO, 142) The second group is the kind of people who can express themselves only when they are left alone or meeting with inanimate objects. “The soliloquy-like characteristic of oral discourse in Winesburg is further strengthened by the high number of reflexive pronouns following verbs of speech (said aloud to himself, muttered to himself, etc).” (Love, 1968: 38-57) The typical example of this group is Dr. Reefy in “Paper Pills”. He doesn?t speak out what he really thinks. He just writes them down on scraps of paper and rolls them into pills. “Alone in his musty office…he worked ceaselessly, building up something that he himself destroyed.” (WO, 35) On one hand, he knows his thoughts will be regarded as heresy by most of the people in the town. On the other hand, if the thought “arose gigantic” and “clouded the world,” (WO, 37) it will similarly become tyrannical and turns into meaningless noise. So he continues to erect his own little 21 论《小镇畸人》中的时空模式 pyramids of truth and knock them down and erect again, but never walks out his office and chats with people. Unlike with Reefy, Mook in “Queer” always holds “long conversations with the cows, the pigs, and even with the chickens that ran about the barnyard.” (WO, 195) The third is that they express themselves, but their words fail them or what they say is not the same things that they intent to convey. As Enoch Robinson in “Loneliness”, he asks his friends to appreciate and comment on his newly paintings, but they let him down for they cannot catch the spirit and essence what he has distilled in the paintings. He “wanted to talk too but he didn?t know how…When he tried he sputtered and stammered and his voice sounded strange and squeaky to him….He knew what he wanted to say, but he knew also that he could never by any possibility say it.” (WO, 169) Elmer Cowley in “Queer”, at eight o?clock in the evening, he comes to the newspaper office to talk with George on purpose, but, at last, he cried: “Oh, you go on back. Don?t stay out here with me. I ain?t got anything to tell you. I don?t want to see you at all.” (WO, 199) When he departs with George, he wants to express himself to George again, but when “he begun, he lost control of his tongue”, and so what he speaks out are beyond understanding: “I?ll be washed and ironed. I?ll be washed and ironed and starched.” (WO, 200) The last group of inarticulateness of the grotesques is that they sputter and what they said is regarded as noise and full of the irrelevant contents. No one can have the clue of what they want to present. In “An Awakening”, to George, “The desire to say words overcome him and he said words without meaning, rolling them over on his tongue and saying them because they were brave words, full of meaning. „death,? he muttered, „night, the sea, fear, loveliness?”. Later, his mind again “ran off into words…and he whispered the words into the still night. „Lust,? he whispered, „lust and night and women.?” (WO, 187) Joe Welling in “A Man of Ideas” confronts with the same condition, when “he was beset by ideas and in the throes of one of his ideas was 22 南京航空航天大学硕士学位论文 uncontrollable. Words rolled and tumbled from his mouth.” (WO, 103) What he talks is so different from the popular words that they sound odd and queer. Under the rule of “noise,” his wish to be a reporter to broadcast these words is only an unrealizable fantasy. In both cases, words have lost their meanings and functions as a tool of communication of love and sympathy. 23 论《小镇畸人》中的时空模式 Chapter Three The Form of Space In discussing space in modern fictions, we should be aware of Joseph Frank?s idea of space in Spatial Form in Modern Literature, in which, Frank presents for the first time his general conception of spatial form. According to Frank, spatial form is a form in which the events are arranged, not in linear and causal sequence, but in a succession of moments which are imagined to be synchronic. Jeffrey R. Smitten in his Spatial Form in Narrative also points out that “spatial form designates the technique by which novelist subvert the chronological sequence inherent in narrative.” (Smitten & Daghistany, 1981:13) It consists in breaking up an element of information into several smaller units which are distributed in an apparently random way throughout the text, but in fact functions as a coherent series which must be put together in order to become meaningful. The novelist often cuts back and forth between different actions occurring at the same time through such devices as repetition, juxtaposition and slowing down the development of the plot and so on. Spatial form is simply the general label for all these different narrative techniques. The turn of 19th to 20th century, as many historians and sociologists have pointed out, brings about a wave of scientific and technological innovations and a revolution in the awareness of space and time. The growth of industrial society, the progress of science and the crisis of religious beliefs result in a widespread breakdown of established moral codes, “the simultaneous advent of the telegraph, radio, cinema and gramophone had created an uneasy sense that traditional literary forms, predominantly linear and sequential in design, were no longer adequate.” (Roston, 2000: 212) Ivo Vidan makes a key distinction between earlier works and more modern ones and finds that “the former provide the connections between events and time periods, while the latter often rely on „collocation and juxtaposition?.” (Vidan, 1988: 441)This “collocation and juxtaposition” suggests a tendency of spatialization. Therefore, 24 南京航空航天大学硕士学位论文 Anderson begins to experiment with new literary forms to reflect the changed society and ideas. In Winesburg, Ohio, readers can sense the traces of spatial form, which is considered as a manifestation of modern fictions. In the fiction with a spatial structure, the time-flow of the narrative is distorted, attention is no longer fixed on time and sequence, cause and effect, but instead, it creates the elements of action with its focus on the event itself. With our general understanding of spatial form, we will find that a study of spatially-structured fiction is unusually revealing. For in choosing how to represent the event, thought, consciousness of his characters, a novelist simultaneously reveals something of his attitudes to the story told, something of his own values and commitments, and something of his outlook on life. The way a novelist constructs his story is like the way a film director takes in placing his camera and choosing his angle. It situates the reader in a particular way, not just with regard to technical perspective, but also with regard to moral and human viewpoint. The choice a novelist makes concerns what the reader knows and how he knows it. It inevitably has a bearing on a range of issues: the relationship between writer and work, and that between writer and the world which inspires and receives his creative work. All these prove that it is a significant task to deal with the topic of spatial form. In this chapter, we will describe the geographical space of the small mid-west American town, Winesburg, to reveal the transition of the century?s effect on the small town, which is a realistic description. And then the textual spatial form in the novel will be analyzed from the perspectives of juxtaposition, repetition and time freezing in order to sense the traces of modernism. 3.1 Geographical Space: the Small Town and the Big Cities According to the Moscow-Tartu semiotics school, space in works of literature is “in the first place literary space, i.e. the continuum in which the literary heroes appear 25 论《小镇畸人》中的时空模式 and where the action or conflict takes place.” (Hansen-Love, 1994: 30) Winesburg, as the setting for the 25 interrelated short stories, is a small American Midwestern country town in the late 1890s. Information about this fictional town scatters through the book. One is in the episode “The Untold Lie”, which tells us its location: “People from the part of Northern Ohio in which Winesburg lies...” (WO, 199) Another from “The Teacher” informs us of its population: “By ten o?clock all but four of the eighteen hundred citizens of the town were in bed”.(WO, 161) The country is rich and fertile, and highly cultivated; it is a succession of cornfields, cabbage fields, berry fields, and always cornfields again, with here and there a bit of woodland. Many of its details are pleasant—a pool in a brook near a bridge, a cluster of wild flowers in spring beside an old log, the sound of wind in the growing corn, the smell of freshly turned earth. Actually, Anderson lived in the changing environment, and was caught in this moment of transition. When he commented on the American novelists in the nineteen twenties, Malcolm Bradbury said: In the American novelists of the nineteen twenties, in Anderson, Hemingway, Fitzgerald, Faulkner, we can sense the desperate novelty of a generation feeling the distinctiveness of its own conditions and searching out the emotional and moral terms of a new life. These writers shared the experimental sense of life that belongs to the times: they also shared something as important in this map of feeling—a sense of lost bearings, what Lawrence Levine calls its „nostalgia?”(Bradbury & Parmer, 1971: 17). So it is apparent about the tensions and disharmonies of the town and the city in the fiction. In “Queer,” the Cowley family abandons their farm and with great hopes enters the business which otherwise turns the father and son into “queer men.” The more ironical thing is that their farm is handed over to a half-witted man, which 26 南京航空航天大学硕士学位论文 suggests that agriculture has reached its dead end. It seems that most people in the town are attracted by the charm of big cities not far away like Chicago and Cleveland. Young people, like George Willard, Seth Richmond, Elmer Cowley, Ned Currie, all crave for the city life. Even the Reverend Curtis Hartman tantalizes the idea that he will “go to some city and get into business” when he cannot resist the temptation of Kate?s naked body. On the other hand, some people, such as Dr. Parcival, Wash Williams, Enoch Robinson, etc., are changed into “grotesques” and then turned back by these cities. Even when they are in the big cities, they never regard themselves as one of the citizens. This remoteness from the city life can be traced in the deixis word choice used in the text, because the choice between a proximal form and a distal form in English is influenced by the speaker?s emotional preference toward an object, namely “psychological distance” (Imai, 2003). In “Loneliness”, whenever New York is mentioned, Anderson used the distal form “there” instead of proximal one “here” ?. “In New York City, when he first went there to live and before he became confused and disconcerted by the facts of life…And so these people gathered and smoked cigarettes and talked and Enoch Robinson, the boy from the farm near Winesburg, was there”.(WO, 168-9) In these two sentences, the narrator projects his position not ?the demonstrative pronouns are more clearly organized in a straightforward proximal-distal dimension, whereby this can mean “the object in a pragmatically given area close to the speaker?s location at CT”, and that “the object beyond the pragmatically given area close to the speaker?s location at CT”.(Lyons, 1977) near to the speaker distant from the speaker this that here there 27 论《小镇畸人》中的时空模式 as home-based, for he employs “there” rather than “here” to indicate New York though Robinson lives in the City. Therefore, in this specific context, it seems such word choice is not only reasonable, but may make the readers psychologically feel the emotional distance of Robinson?s living in the big city and his depression and inadaptability. Because compared with proximal deictics “here”, distal deictics “there” can more fully express the narrator?s psychological remoteness. As Fillmore, the outstanding researcher of deixis, puts it, “the choice of demonstrative determiner in these cases serves neither an informing nor an identifying function, but the reason for choosing that/there in one case and this/here in the other is based on the speaker?s subjective emotion of anger.” (Fillmore, 1982) Therefore, we are grounded to conclude that Anderson on purpose chooses “there” instead of “here” in this case. Moreover, city life in which workers and industrialists are in fierce conflict may turn out to be a nightmare to some people. For example, Tom?s father is killed in a strike by a police, which brings misfortunes one by one to the family. Roughly speaking, the impression we have about Winesburg is a cut-off place on the way to develop itself as an industrial town. 3.2 Textual Space According to Joseph Frank, spatial form is a form in which the narration is arranged, not in linear or causal sequence, but in a succession of moments which are assumed to be synchronic. “What the concept of spatial form does is to call attention to the (Smitten, departure from pure temporality, from pure causal/temporal sequence.” 1981, 20)The ways of accomplishing the effect of spatial form include: juxtaposition, theme repetition and so on. The spatial form in the fiction opens up a panorama of possibilities for the author to convey his particular vision of the world and at the same time creates a special effect in the reader?s mind. Anderson adopts various techniques to spatialize his novels, among which juxtaposition, repetition and time-freezing count 28 南京航空航天大学硕士学位论文 heavily. 3.2.1. Orange Structure: Core and the Segments Being aware that the old fictional forms have to be dismantled, undermined and reconstructed so as to reflect such a chaotic world, Anderson resolutely abandons the conventional idea of the fictional forms in his writing. In the Memoirs, Anderson recalls that: I have even sometimes thought that the novel form does not fit an American writer, that it is a form which had been brought in. What is wanted is a new looseness; and in Winesburg, I have made my own form. There were individual tales but all about lives in some way connected. (Anderson, 1969: 235) Based on his loose, flowing sense of life, in the Winesburg tales, a new loose structural pattern is applied instead of the dramatic structure of traditional plots. In the body of the book proper, following the introductory sketch, Anderson explores systematically the diverse origins of the isolation of his people and the respective truths they persist in, and at last ends with the characters? epiphanies. anderson?s experimental form of fiction collection in some sense accords with an orange image put forward by Gottfried Benn which aptly describes the spatialization of fiction: “The novel is …built like an orange. An orange consists of numerous segments, the individual pieces of fruit, the slices, all alike, all next to one another, of equal value…but they all tend not outward, into space, they tend toward the middle, toward the white, tough stem.”(Michelsen, 1981: 65) With the different and respective epiphany reached in the novel and truth implemented throughout the novel, the deep structure of Winesburg is just like the structure of an orange. All the epiphanies are slices and petals of oranges and the truths held by the grotesques are the core, thus a spatial structure is formed. The preface of Winesburg, Ohio is a little story about an old white-mustached man 29 论《小镇畸人》中的时空模式 who is writing what he calls “The Book of the Grotesque.” The following is the old man?s ruling idea: “That in the beginning when the world was young, there were a great many thoughts but no such thing as a truth. Man made the truths himself and each truth was a composite of a great many vague thoughts. All about in the world were truths and they were all beautiful. The old man listed hundreds of the truths in his book”. These truths are versatile and extent a large range from human personality to life experience: the truth of virginity and the truth of passion, the truth of wealth and of poverty, of thrift and of profligacy, of carelessness and abandon. “Hundreds and hundreds were the truths and they were all beautiful. And then the people came along. Each as he appeared snatched up one of the truths and some who were quite strong snatched up a dozen of them. It was the truths that made the people grotesques”. (WO, p45) The old man has quite an elaborate theory concerning the matter. It is his notion that the moment one of the people takes one of the truths to himself, called it his truth, and tries to live his life by it, he becomes a grotesque and the truth he embraced becomes a falsehood. In the other word, the “truths” people embrace make them grotesques, because they try to live their life by it, refusing to surrender to their strong will and thus becoming grotesques. Throughout the short stories, we find the grotesques attempting to live out their truths and make great sacrifice, in vain, to attain their truths, which, unfortunately, are only falsehood in disguise. They cling to their own “truths”，with no idea to change them or to accept others?. They sink into the unbreakable stubbornness and get caged in that small world just as we have analyzed in the part “Pursuit in the Past and Stabilization at Present”, then at some point or stimulated by something or challenged by someone, they come to their epiphanies, most of which are tragic illumination. Malcolm Crowley puts: “Anderson?s stories are not incidents or episodes, but moments of epiphanies (as James Joyce?s Dubliners), in which characters reveal their essential being, in which Anderson pours a lifetime into a moment of revelation.” (Cowley, 1988: 16) 30 南京航空航天大学硕士学位论文 In Winesburg, Ohio, “Anderson catches each of his grotesques at an essential moment in time that reveals a series of brief intuitive，but true glimpses of the anguish of the human heart” (Anderson,1967:38). Each face in the work reveals a moment, a mood or a secret that lies deep in Anderson?s life. Behind one face is a moment of revelation, behind another，a moment of resignation, behind a third face a moment of self-discovery, behind a fourth a moment of deliberate self-delusion.…Nothing is left in each tale but the revelation of some living soul?s thoughts and feelings for a brief time. In brief, each story is an attempt to remove the barrier of appearance and to make clear the essence of a human spirit at a particular moment in time. Characters also often interpret their life experience in this way, transforming a temporal sequence into a “spatial form” (a picture, a structure) that fixes and thus abolishes it. We will see some examples of these moments of insight, where in transforming their entire life into picture, the grotesque protagonists grasp the meaning of their lives in a moment of understanding and by the same stroke draws out of the particular experience a “general truth.” Thus the transformation of temporal, contingent experience into an aesthetic object (“picture”). Taking some moments of sight in the fiction for example, in “Godliness”，there is not much happening，yet everything in the story has contributed to a moment of revelation. At the beginning of the story, the Bentley family lives a simple life without disturbing of the truths of industrialists, and religion is still a dominant factor in their life. “They clung to the old traditions and worked like driven animals.”(WO, 46) However, Jesse is likewise transformed into a spiritually abnormal grotesque by the conflict between the God-worship spiritualism and money-worship materialism in his inner world. “There were two influences at work in Jesse Bentley and all his life his mind been a battleground for these influences.”(WO, 61) He then fanatically regards expanding his lands as overcoming the enemies of God. The crazy ideas of the God-intoxicated man finally results in his wife?s death，his daughter?s insanity and his 31 论《小镇畸人》中的时空模式 grandson?s fleeing away from the town. With his family totally destroyed the old patriarch eventually comes to the moment of insight, “It happened because I was too greedy for glory”(WO, 102). The intense moment of Jesse Bentley fully reveals his intuitive consciousness and grasp of reality in that quick flash of recognition. Another typical and significant moment of revelation can be easily noticed in the story “Adventure”. In this basically non-dramatic story，Alice Hindman lives by her love and the promise of her lover, during her futile waiting years for the return of her lover, she becomes so queer that “she became attached to inanimate objects, and because it was her own, could not bear to have anyone touch the furniture of her room.”(WO, 115). Eventually, she had an adventure: running naked in the rainy night，and crawling on her hands and knees through the grass to the house, which brings on Alice?s ultimate moment of resignation: “Many people must live and die alone，even in Winesburg”(WO，120). Her truth of love and trust is broken and such is Alice?s response to the cruel reality in the evanescent moment of her perception. Almost to every character in the book, though against their lasting and sincere truth, finally, they reach their moment of insight. Different in content, these moments of insight unify the whole fiction and correspond to the truths said by the old man with a white mustache in the sketch. Just like Lawrence Gilman, a famous American critic, in his “An American Masterwork” wrote: The parts form a unified whole, not through identity of characters or unity of place or continuity of action, but…the stories…answer to each other like the movements of a symphony, combining to give a single reading of life, a sense of its immense burden, its pain, its dreariness, its futile aspiration, its despair. (Gilman, 1992: 79). 3.2.2. Juxtaposition Juxtaposition, according to Roger Shattuck, is a technique of “setting one thing beside the other without connective.” (Shattuck, 1968: 332) It isolates narrative 32 南京航空航天大学硕士学位论文 formulas of connections between one situation and another and interrupts the reader?s reading process; it forces him to connect the related scenes spatially in order to dig out the implied meaning. Anderson rejects the simple time-line as a device to construct his novels; his entire energy is bent on presenting the inner connection and true sequence not of order of events, but of order of ideas. He thinks that the literary work is not a series of loosely connected, unrelated formations but a schematic formation, consisting of parts or phrases which in various ways influence one another, determine one another more closely, and lead to an internally closed whole. Thus the reader has to unify the scattered and split events into an internally consolidated totality in order to apprehend the presentation of the story. The process of unifying impresses the reader with a strong sense of spatiality. Spatial form gives unity to Anderson?s work by a pattern of interconnected motifs, in which the past and present are almost inextricably mixed; the episode, the situation and the characters are juxtaposed together. It provides the reader with an effective way to probe into the complex unity of the fiction. The most typical juxtaposition of two scenes can be found in “The Strength of God” and “The Teacher”. The pastor of Winesburg always prays to God “give me strength and courage for thy work, O Lord!” (WO, 145) and then one night, by chance, he finds, through the broken window in his cabin, that he can see Kate Swift, the teacher, lying naked in her bed and reading a book. He thinks that it is the strength of God through the naked woman body. But one cold night, when he waits a long time for the appearance of Kate Swift and comes near dying with coldness, he thinks over his sin and gets about considering his change of career. At that time, what Kate Swift is doing? In the next episode “The Teacher”, Anderson gives us the answer “In the bell tower of the Presbyterian Church the Reverend Curtis Hartman was sitting in the darkness preparing himself for a revelation from God, and Kate Swift, the school teacher, was leaving her house for a walk in the storm.” (WO, 160) and also at that 33 论《小镇畸人》中的时空模式 time, George Willard was in the office pretending to be at work on the writing of a story. So here, Anderson creates three different spaces: one is in the bell tower of the church; one, in the office of newspaper; another, in the storm outside. Three of them are looking for their revelation, and at last, three of them get together in the office of the newspaper, in this way, three spaces converging into one. However, they three have undergone different psychological struggle and different epiphanies, which give readers three different psychological spaces. Hartman regards Kate Swift as an instrument of God bearing a messenger of truth. Kate Swift looks for being loved by one man and carelessly she reveals her strong passion before her student. And to George, he gets to a new stage on his path to maturity, for, though he is astonished by his teacher?s passionate hug, he still vaguely realizes that “I have missed something. I have missed something Kate Swift was trying to tell me.” (WO, 166) Modernism novelists intent to lay their emphasis on individual psychological time. They often juxtapose the memories and perceptions of several different characters in their stories, and through these juxtapositions, their novels generate a temporality that transcends the individual one. They foreground the uniqueness of each psychological time world, but in the process also open up a time beyond individual perception by allowing the readers to experience subjective temporalities other than their own and to perceive events as they appear in these different frameworks. (Heise, 1997: 51) Therefore, by the revelation of these three persons? psychological activities, the parallel scenes echo the theme of the fiction: isolation of people in the transition of the time and their intention to break through the isolation. The juxtaposition of these three eliminates the need for any narration to spell out the contrast in lifestyles between the pastor and the teacher, and allows the readers to muse upon the irony of their uneasy and unequal relationship. It opens up interpretive possibilities for us and manifolds 34 南京航空航天大学硕士学位论文 layers of textual self-referentiality. This juxtaposing scenes happening at the same time can be also called montage, which is an important cinematic technique referring to the physical juxtaposition of images in the editing of film. Montage is widely employed since it “provide a technique that allows a break with existing rhetorical conventions and narrative modes hat in turn allows for the problematizing of the construction of space, temporality, and perspective or voice in fiction.” (Lutkehaus & Cool, 1999: 123) Due to the technique of juxtaposition, the presentation of fiction is by no means static; the novel is always in the dynamic state, for the happenings at the same time subvert time and causation. Just as Ivo Vidan points out in his “Time Sequence in Spatial Form” that: The natural sequence of occurrences has been transmuted into the simultaneous existence of the human quandary in which chronological stages and links and continuities lose significance: time has turned into space.” (Vidan, 1988: 441) Through juxtaposing different scenes in the fiction collection, the author erases the trace of time and the progression of the events, as a result, time is projected into space. 3.2.3. Repetition of Images Anderson uses a lot of images and symbols in the fiction repeatedly, and so it makes a net of reference and cross-reference, which gives the reader sensory appeal and is helpful to reveal the theme of isolation and alienation in the fiction. William Troy writes an essay analyzing the symbols and symbolic structure in Woolf?s fiction asserting that “The symbol may be considered as something spatial…symbols are capable of being grasped, like other aspects of space, by a single and instantaneous effect of perception.” (Frank, 1981: 8) The fiction of Anderson is overflowing with symbolic images, scenes and characters and so on, which makes it spatialized. Attention should be paid to the fact that these symbols can not be figured out at the 35 论《小镇畸人》中的时空模式 first sight. They co-exist in the story and jointly illustrate the moral theme that Anderson tends to focus on, which cannot be totally or explicitly comprehended until one has finished reading the whole novel and pondered attentively. These symbolic colors and characters are dispersed and juxtaposed in the novel, establishing a deep structure of fiction. In order to disclose the causes for the grotesques, Anderson deliberately used such images as “rooms” and “walls”, and the description of natural scenes, which are highly symbolic. Considering the sense of personal isolation, it is easy for us to understand the symbolic meanings of the recurrent words “walls”, “rooms”, and the natural scenes. The word “walls” stands for anything that divides each person from another. Wall is something that separates the characters from communication and understanding. The symbol of the wall is the barrier which prevents the lonely souls from understanding others and being understood by others. Sometimes special circumstances effect as an invisible wall, sometimes the wall is erected by the grotesques themselves which bonds them to their miserable inner world. The wall exists between husbands and wives, parents and children, people in the same town or village. In “Godliness”, we find the description of the wall built for Louise: It seemed to her that between herself and all the other people in the world, a wall had been built up and that she was living just on the edge of some warm inner circle of life that must be quite open and understandable to others.(WO, 101) The lonely people are aware of the existence of the wall but find no way to break it although efforts are made. The futility of their struggles can sharply be felt. As in “A Man of Ideas”, Tom King told George: “there is a high fence built all around us. We?ll suppose that. No one can get over the fence and all the fruits of the earth are destroyed.”(WO, 110) “Rooms” appearing in Winesburg, Ohio, such as Kate?s bedroom, Elizabeth Willard?s living room, and George Willard?s office symbolize the isolation of the individual grotesque who feels chocked and walled in by life in an apartment. All the 36 南京航空航天大学硕士学位论文 grotesques live in enclosures that they or others have constructed. In the darkness or twilight, there stand various rooms or houses. The odd and cracked rooms or houses in most cases suggest the grotesqueness and half-collapsed spiritual world of the protagonists in the foreground. The first thing Anderson pictures in detail at the beginning of the first story in “Godliness” is a strange house. It was built of wood…It was in reality not one house but a cluster of houses joined together in a rather haphazard manner. Inside, the place was full of surprises. One went up steps from the living room into the dining room and there were always steps to the ascended or descended in passing from one room to another.”(WO，45) The weird and bizarre structure of the house symbolizes the patched or twisted lives of its inhabitants. The room in “Loneliness” plays such an important role that the narrator says “the story of Enoch is a story of room.”(WO，153) The farmhouse in which Enoch ever lived with his mother “was painted brown and the blinds to all of the windows facing the road were kept closed.” The closed house and its color prefigure the somberness of Enoch?s future isolated life. In New York, his room is “long and narrow like a hallway” and is peopled by creatures of Robinson?s imagination. The disproportioned house is an emblem of Enoch?s distorted soul extruded by the roaring and money-centered city life. The symbolic farmhouses and rooms in“Godliness” and “Loneliness” appear frequently and functions in the same way in other stories such as “Paper Pills,” “Hands” and “Mother.” Besides these odd houses, there are beautiful ones which are very rare in the tales and are used by Anderson to embody the fading traditional values with the development of industrialism. The house of the Richmonds is a house of such a kind. Although it is shabby in the eyes of townspeople, it has “in reality grown more beautiful with every passing year.” In the eyes of the narrator, “time had begun a little to color the stone, lending a golden richness to its surface.” Moreover, among the queer and half-collapsed houses and beautiful houses, there exist strong and imposing houses of bankers, which have become the most 37 论《小镇畸人》中的时空模式 eye-catching building and the pride of the town. This suggests that money, the trademark of commercialism strengthened by the rising industrialism, has dominated people?s life in the town. In short, various houses, collapsing, beautiful, or imposing, understated by Anderson through details and repetition, give a clue symbolically to the understanding of the protagonists in the foreground. In this sense, it is no wonder that Anderson is called “one of the few first-rate symbolists in America.” What?s more, “Anderson exploits natural scenery as an objective fact whose emotive charge or connotativeness may act as an index or correlative key to the affective or psychic situation of the characters” (San, 1980: 476). In “Drink,” for example, the stage for Tom Foster?s exuberant flights of imagination are set by the spring season evoked through a graphic delineation of setting: “the trees…were all newly clothed in soft green leaves…and in the air there was a hush, a waiting kind of And sometimes the natural world occasionally silence very stirring to the blood.” provides the needed resolution and solace. Both functions are seen in “The Untold Lie,” in which Ray Pearson is saddened by the autumn beauty of the Winesburg countryside. His sordid, little cabin, a scolding wife, a crying child—all are brought into sharp relief by the lovely autumn twilight. “All the low hills were washed with color and even the little clusters of bushes in the corners by the fences were alive with beauty” (WO， 207). Overcome by the beauty of the country, he runs across a field shouting protests “against his life, against all life, against everything that makes life ugly.” Yet it is also the beauty of the autumn setting which has resulted in a rare moment of contact between Ray and a younger man with whom he is working: “there they stood in the big empty field with the quiet corn shocks standing in rows behind them and the red and yellow hills in the distance, and from being just two indifferent workmen they had become all alive to each other” (WO，205). Here, the empty, quiet fields serve to dissolve momentarily the barrier of incommunicability which surrounds the men, and a brief but genuine awareness takes place. The silent moment 38 南京航空航天大学硕士学位论文 becomes Ray Person?s “truth”, while his unspoken advice to the younger man at the story?s conclusion is dismissed as merely an untold lie. With the repeated appearance of these images in the fiction, it time and again calls for the readers? attention and deep consideration of the meaning behind them, and it also echoes the theme of the fiction, just as the juxtaposition of some happenings mentioned in the previous part. They disperse in the twenty-five episodes and readers are required to put these fragments together, which would break into the smooth process of reading, and now and then readers stop to think about the meaning of these images. 3.2.4. Time Freezing One of the effective ways for the author to freeze the text is to draw the reader?s attention to the detailed description of language instead of the progression of the story, to focus the reader?s perception in a moment of time. In this way, the reader cannot experience the passage of time, for they slip unconsciously into the fictional space. This can be called time freezing which proves to be an effective technique for Anderson to create the spatiality of his Winesburg, Ohio. In Winesburg,Ohio, linear plot development of the narrative is broken down by too much description of minor characters or past events which looks like evident digression from the subject. Lengthy description of minor characters sheds light on the understanding of the protagonist and the long narrative devoted to past events actually helps to slow down the development of the plots and “the reader loses track of [time] in the dense, slow, close-up attention to detail. In all these cases, the passage of time from one point to the next is unimportant; the relevant dimension is spatial.” (Mickelsen，1981: 69) Just as Linda W. Wagnerr says, “the extreme emotional life of each character in Winesburg, Ohio is presented graphically rather than rhetorically.” (Wagner, 1976: 82) In “Hands”, Anderson makes many efforts to describe Biddlebaum?s hands. He 39 论《小镇畸人》中的时空模式 describes the finger “slender and expressive, forever active, forever striving to conceal themselves in his pockets or behind his back” (WO. p28); the quickness of the hands: it can “pick as high as a hundred and forty quarts of strawberries in a day”. Not only presents Anderson the characteristics of Biddlebaum?s hands in great details, but also he delineates a different Biddlebaum in the presence of George Willard: a little more confident, braver and talkative. “Wing Biddlebaum, who for twenty years had been the town mystery, lost something of his timidity, and his shadowy personality, submerged in a sea of doubts, came forth to look at the world.” (WO, 28) Although previously the author tells us that “the story of Wing Biddlebaum is a story of hands”, it doesn?t reveal to us until the middle of the episode. And when Biddlebaum plucks up courage to tell his story, suddenly he “sprang to his feet and thrust his hands deep into his trousers pockets,” saying nervously “I must be getting along home. I can talk WO, 30) In this way, readers? process of learning the truth of the no more with you.”( hands is interrupted. In “Respectability”, before he tells readers the experience that made Wash Williams turn from a women lover into a hater, Anderson focuses on the vivid description of Wash Williams? appearance. He looks like an ugly monkey: “his girth was immense, his neck thin, his legs feeble. He was dirty. Everything about him was unclean. Even the whites of his eyes looked soiled.” (WO, 121) Anderson concentrates on the consequences of the betrayal of Wash?s wife, which makes Wash paralyzed and loses all the good hope for women. He prolongs the telling of Wash?s story. Furthermore, both of Biddlebaum and Wash tell George their painful experiences on purpose, in that they want to instill their lessons into George. For Biddlebaum, he wants George not to listen to others? talk but follow his own dream; while for Wash, he intents to warn George not believe woman and love. The examples above show that Anderson characterizes his protagonist by the long description of minor characters or past events rather than the linear development of a plot. “Plot development in terms of a sequence of events interested him far less than the 40 南京航空航天大学硕士学位论文 revelation of character in terms of a relationship with another individual or in terms of a single illuminating situation that finds their roots in past events.” (Barker, 1942:436) There are no carefully constructed plots，no sequences of significant incidents or patterns of rising and falling actions in Winesburg, Ohio. “He(Anderson) abandoned linear order so as to represent more accurately the intricate operations of human memory, the discontinuities typical of a „spontaneous? act of narration, or the piecemeal accumulation of evidence from different sources that finally leads to a coherent representation of past events.” (Heise, 1997: 77) Owing to this lack of plots in Winesburg tales, the reading experience of the novel does not gives readers the impression of what has happened in these stories, but an impression that the novel consists of a series of pictures on grotesques acting in twilights or darkness. By slowing down the temporal progression of the story, the reader?s attention is fixed on series of minute description of odd features and epiphanies of each grotesque instead of on the progression of the story. In this way the reader loses the trace of time and is plunged into the space of the fiction. 41 论《小镇畸人》中的时空模式 Chapter Four: Conclusion This thesis identifies and evaluates time and space forms in Winesburg, Ohio. It examines the time form from the aspects of physical and psychological time Anderson constructs in the novel. The transformation of the small town and the process of George Willard?s maturity indicate the change and progression of physical time in Winesburg, Ohio. The analysis of psychological time is carried out in the following two parts: the grotesques? permanent pursuit of the truth in the past and the static life at present, as well as the manifestation of their consciousness--inarticulateness. The other major section in this thesis, the space form, examines the geographic space of Winesburg by comparison with the big and modern cities surrounding around. And more emphasis is put on the analysis of textual space form and the ways to achieve it from the perspective of the structure of the fiction, happenings juxtaposition, image repetition and time freezing. This thesis explores the temporal elements inherent in the spatial art in Winesburg, Ohio, and vice verse. In the second part of chapter two: Psychological Time, after demonstrating the grotesques? persistent striving for truths in the past, they are caged not only in an isolated geographical space, such as in rooms or behind locked windows, but in psychological separated space, and so the stillness of psychological time turns into spatial form. What?s more, in the second part of chapter three: Textual Space, the orange core and segments structure of this fiction collection is explained in the ways of the layers of the grotesques? epiphany; as a result, the deep spatial structure is achieved. And in the part of “time freezing”, the spatial form is accomplished through slowing the narrating process of some features of the characters, or involving a large space of text in describing an instant of story time. In a word, the main concern in this thesis is that the time and space form in this collection is interrelated and affects each other. 42 南京航空航天大学硕士学位论文 From the analysis of the interrelation and influence on each other between the form of time and that of space in Winesburg, Ohio, it is advocated that this short fiction collection is a perfect combination of realism and modernism in that it vividly records the American small-town life at the pre-industrial times and reveals the spiritual world and demonstrates the loneliness, dissimilation and even morbidity of characters. At the same time, with regard to writing strategies and techniques, it contains some characteristics of modernism: the stream of consciousness, moment of insight, juxtaposition and imagery and so on. Therefore, Anderson is a transitional writer from realism to modernism. His works have those elements that can be schooled into realism and modernism: his realistic attitude toward American small town life, his description of people?s isolation and alienation, his imagination based on reality and his bold experimental novel Winesburg, Ohio. He is one of the pioneers of American modernist literature. Though compared with the mainstream modern writers such as Faulkner, Joyce and Woolf, he lacks their sense of crisis and anxiety in the modern world. In the light of contemporary fiction, in both theory and practice, there are ample evidence of the value and lasting significance of Anderson?s fictional experiments. And in his experiments with fantasy, expressionist symbolism, and the self-conscious narrative voice, he provides an important link between the modernism of the first quarter of this century and American writing today. At the end of this research, the author finds there is still much room to improve. This thesis analyzes one of time deixis usage in one episode to reveal the confined living state of the grotesques, and one of the distal space deixis word used to show the emotional distance from the big city, therefore, there is much room to carefully and systematically demonstrate the time deixis and space deixis employed by Anderson in this collection so as to enhance the revelation of the theme. Hopefully this thesis should prove enlightening for anyone who desires to have a deeper understanding of Sherwood Anderson?s works. However, this is not an 43 论《小镇畸人》中的时空模式 exhaustive study and more endeavors in the study of the time and space form of Anderson?s Winesburg, Ohio will be appreciated. 44 南京航空航天大学硕士学位论文 References Anderson, Sherwood. (1988). Winesburg, Ohio. London: Pan Books Ltd., Anderson, David. (1976). Sherwood Anderson: Dimensions of His Literary Art. East Lansing: Michigan State University Press. Anderson, David. (1981). Critical Essays on Sherwood Anderson. Boston: G. 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