3. 现实主义美国文学

nullAmerican RealismAmerican RealismNote：The two-stage development of realismNote：The two-stage development of realismTime span: 1865-1918 I：Before the 1890s William Dean HowellsHenry JamesMark TwainThe forerunner of realism who moulds the public taste and spreads the credo of realism through writing ; genteel realism; middle-class orientedForerunner of psychological realism; middle- and high-class orientedRepresentative of local colorism; distinctive for his frontier humor and brilliant adoption of colloquial style; low-class orientedNote：The two-stage development of realismTime span: 1865-1918 II：After the 1890sAmerican NaturalismNote：The two-stage development of realismnull After the Civil War (1861-1865), capitalist America witnesses the looming of a gilded age rather than a golden age Heading for industrialization: the deterioration in public morality; public lust for wealth and power Extremes of wealth and poverty: the concentration of wealth in the hands of the few Life: a veritable struggle for survival Basic tone: widely felt disillusionment and frustrationSocial background of American in its 70s and 80sThe Age of Realismnullverisimilitude of detail derived from observation The effort to approach the norm of experience– a reliance on the representative in plot, setting and character The effort to offer an objective rather than an idealized view of human nature and experience The features of realistic writing stylenullWilliam Dean HowellsThe forerunner of realism who moulds the public taste and spreads the credo of realism through writing ; genteel realism; middle-class orientedAmerican realistic tradition: non-Dickens, more psychological analysis Ethics concerned: the greatest happiness of the greatest number Criticism and Fiction The Rise of Silas LaphamnullHenry JamesForerunner of psychological realism; middle- and high-class orientedInternational theme: American innocence in contact and contrast with European decadence Psychological realism: the adoption of the technique of “point of view”(有限视角) to explore characters’ psychological reality with little authorial intervention The first stage(1865-1882): The third stage(1895-1900): The American Daisy Miller The Portrait of a LadyThe Wings of the Dove (1902) The Ambassadors (1903) The Golden Bowl (1904)nullMark TwainRepresentative of local colorism; distinctive for his frontier humor and brilliant adoption of colloquial style; low-class orientedA humorist and social critic: “The source of laughter is not humor, but sorrow.” (from an optimist to a determinist) Mississippi and the West: “Mark Twain was his own biographer.” The frontier tall-tale tradition and American local colorismColloquial style: “It is a book from which All American literature comes.”Note: American local colorismNote: American local colorismTime span: roughly from late 1860s to 1900s Definition: 1. Having such quality of texture and background that it could not have been written in any other place or by anyone else than a native. 2. The ultimate aim of the local colorists: the create the illusion of an indigenous little world with qualities that tell it apart from the world outside.Texture: elements which characterize a local culture, such as speech, customs, and mores peculiar to one particular place Background: physical setting and those distinctive qualities of landscape which condition human thought and behaviorNote: American tall tale from which Colorism derivesOrigin: a fundamental element of American folk literature; Originating in the 1820s, seen in the bragging contests that often occurred when the rough men of the American frontier gathered; essentially an oral form of entertainment; remaining popular now. Note: American tall tale from which Colorism derivesMajor themes: exaggeration of actual events, related as if it were true and factual; humorously exaggerated fictional stories of the backwoods exploits of an American frontiersman; the origins of lakes, mountains, and canyons; the superhuman exploits of western cowboyFeatures distinguished from myths: Contemporarily relevant with a sense of reality; Humorous for entertainment; Exaggeration and imagination looming large; Colloquial speech Analysis Analysis of The Celebrated Jumping Frog of Calaveras County by Mark TwainExtract from The Celebrated Jumping Frog of Calaveras County by Mark TwainExtract from The Celebrated Jumping Frog of Calaveras County by Mark Twain西蒙•威勒把我逼到墙角，拿自己的椅子封住我的去路，然后讲了一通下面段落里那些枯燥无味的事情。他脸上不露一丝笑意，眉头一皱不皱，从第一句起，他用的就是四平八稳的腔调，没有变过。他绝不是生性就爱唠叨；因为他收不住的话头里透着认认真真、诚心诚意的感人情绪，这是明明白白地告诉我，按他的想法，别管这 故事 滥竽充数故事班主任管理故事5分钟二年级语文看图讲故事传统美德小故事50字120个国学经典故事ppt 本身是不是荒唐可笑，他可是把讲故事当成一件要紧事来办，而且对故事里的两位主人公推崇备至，认为他们智谋超群。我听凭他按照自己的路子讲下去，一直没有打断。 Simon Wheeler backed me into a corner and blockaded me there with his chair, and then sat me down and reeled off the monotonous narrative which follows this paragraph. He never smiled, he never frowned, he never changed his voice from the gentle-flowing key to which he tuned the initial sentence, he never betrayed the slightest suspicion of enthusiasm; but all through the interminable narrative there ran a vein of impressive earnestness and sincerity, which showed me plainly that, so far from his imagining that there was any thing ridiculous or funny about his story, he regarded it as a really important matter, and admired its two heroes as men of transcendent genius in finesse. To me, the spectacle of a man drifting serenely along through such a queer yarn without ever smiling, was exquisitely absurd. As I said before, I asked him to tell me what he knew of Rev. Leonidas W. Smiley, and he replied as follows. I let him go on in his own way, and never interrupted him once: Extract from The Celebrated Jumping Frog of Calaveras County by Mark TwainExtract from The Celebrated Jumping Frog of Calaveras County by Mark Twain这里从前倒是有过一个叫吉姆•斯迈雷的，那是四九年冬天——也许是五○年春天——不知道怎么闹的，我记不太清楚了，总归不是四九年就是五○年，因为他刚来到屯子的时候，那大渡槽还没造好呢；别的不说，要比谁最古怪，他算得上天下第一。只要能找到一个人愿打赌，他就赔，碰上什么就赌什么。别人要是不愿赌黑，他就赔黑；别人不愿赌白，他就赌白。不管怎么样，别人想怎么赌，他都陪着——不管怎么样，只要能赌得起来，他就舒服了。虽说这样，他照样有好运气，那可不是一般的好，十有八九总是他赢。他老惦记找机会打赌；无论大事小事，只要有人提出来，不管你的注往哪一边下，他都照赌不误，这些我刚才都告诉过你啦。赛的要是马，收场的时候他不是赢得满满当当，就是输得一干二净；如果斗的是狗，他赌；斗的是猫，他赌；斗的是鸡，他还赌；嘿，就算有两只鸟落在篱笆上，他也要跟你赌哪一只先飞；屯子里聚会他必到，到了就拿沃尔克牧师打赌，他打赌说，沃尔克牧师布道在这一带是头一份；那还用说，他本来就是个好人么。要是他看见一只屎克螂朝哪里开步走，他就跟你赌它几天才能到——不论到哪儿都行；只要你接茬，哪怕是去墨西哥，他也会跟着那只屎克螂，看看它到底去不去那儿，路上得花几天的时间。这儿的小伙子好多都见过斯迈雷，都能给你讲讲这个人。嘿，讲起他的事来可是绝对重不了样——他不论什么都赌——那家伙特有意思。有一回，沃尔克牧师的太太病得不轻，有好几天的工夫，眼看着她就没救了；可一天早晨牧师进来了，斯迈雷站起来问他太太怎么样，他说，她好多了——全凭主的大恩大德——看这势头，有主保佑，她能缓过来；还没等他讲完，斯迈雷来了一句：“这样吧，我押两块五，赌她缓不过来。” There was a feller here once by the name of Jim Smiley, in the winter of '49 or may be it was the spring of '50 I don't recollect exactly, somehow, though what makes me think it was one or the other is because I remember the big flume wasn't finished when he first came to the camp; but any way, he was the curiosest man about always betting on any thing that turned up you ever see, if he could get any body to bet on the other side; and if he couldn't, he'd change sides. Any way that suited the other man would suit him any way just so's he got a bet, he was satisfied. But still he was lucky, uncommon lucky; he most always come out winner. He was always ready and laying for a chance; there couldn't be no solit’ry thing mentioned but that feller'd offer to bet on it, and -take any side you please, as I was just telling you. If there was a horse-race, you'd find him flush, or you'd find him busted at the end of it; if there was a dog-fight, he'd bet on it; if there was a cat-fight, he'd bet on it; if there was a chicken-fight, he'd bet on it; why, if there was two birds setting on a fence, he would bet you which one would fly first; or if there was a camp-meeting, he would be there reg'lar, to bet on Parson Walker, which he judged to be the best exhorter about here, and so he was, too, and a good man. If he even seen a straddle-bug start to go anywheres, he would bet you how long it would take him to get wherever he was going to, and if you took him up, he would foller that straddle-bug to Mexico but what he would find out where he was bound for and how long he was on the road. Lots of the boys here has seen that Smiley, and can tell you about him. Why, it never made no difference to him he would bet on any thing the dangdest feller. Parson Walker's wife laid very sick once, for a good while, and it seemed as if they warn's going to save her; but one morning he come in, and Smiley asked how she was, and he said she was consid’rable better thank the Lord for his inf’nit mercy and coming on so smart that, with the blessing of Providence, she'd get well yet; and Smiley, before he thought, says, "Well, I'll risk two- and-a-half that she don't, any way." Extract from The Celebrated Jumping Frog of Calaveras County by Mark TwainExtract from The Celebrated Jumping Frog of Calaveras County by Mark Twain这个斯迈雷有一匹母马——小伙子们都管它叫“一刻钟老太太”，这话损了点儿，它跑得当然比这快一点儿——他还经常靠这匹马赢钱呢。因为它慢慢吞吞的，不是得气喘，生瘟热，就是有痨病，以及这一类乱七八糟的病。他们总是让它先跑两三百码，可等到了终点跟前，它就抖起精神，拼了老命，撒欢尥蹶子；四只蹄子到处乱甩，甩空了的也有，甩偏了踢到篱笆上的也有，弄得尘土飞扬，再加上咳嗽、打喷嚏、攥鼻涕，闹闹哄哄——赶到裁判席前头的时候，它总是比别的马早一个头，早得刚好让人能看明白。 Thish-yer Smiley had a mare the boys called her the fifteen- minute nag, but that was only in fun, you know, because, of course, she was faster than that and he used to win money on that horse, for all she was so slow and always had the asthma, or the distemper, or the consumption, or something of that kind. They used to give her two or three hundred yards start, and then pass her under way; but always at the fag-end of the race she'd get excited and desperate- like, and come cavorting and straddling up, and scattering her legs around limber, sometimes in the air, and sometimes out to one side amongst the fences, and kicking up m-o-r-e dust, and raising m-o-r-e racket with her coughing and sneezing and blowing her nose and always fetch up at the stand just about a neck ahead, as near as you could cipher it down. Extract from The Celebrated Jumping Frog of Calaveras County by Mark TwainExtract from The Celebrated Jumping Frog of Calaveras County by Mark Twain他还有一只小斗狗，光看外表你准以为它一钱不值，就配在那儿拴着，一副贼溜溜的样子，老想偷点什么。可是，一旦在它身上下了注，它转眼就变了一条狗；它的下巴颏往前伸着，就像火轮船的前甲板，下槽牙都露了出来，像煤火一样放光。别的狗抓它、耍弄它、咬它，接二连三地给它来背口袋，可安得鲁•杰克逊——这是那条狗的名字——安得鲁•杰克逊老是装着没什么不自在的，好像它原本就没有别的盼头——押在另一边的赌注翻了倍再翻倍，一直到再没钱往上押了；这时候，它就一口咬住另一条狗的后腿，咬得死死的——不啃，你明白吗，光咬，叼着不动，直到那狗服软，哪怕等上一年也不要紧。斯迈雷老是靠这条狗赢钱，直到在一条没后腿的狗身上碰了钉子，因为那狗的后腿让锯片给锯掉了。那一次，两条狗斗了好一阵子，两边的钱都押完了，安得鲁•杰克逊上去照着咬惯了的地方下嘴的时候，当时就看出自个儿上当了，看出它怎么让别的狗给涮了。怎么说呢，他当时好像是吃了一惊，跟着就有点儿没精打采，再也没有试着把那一场赢下来；他让人骗惨了。它朝斯迈雷瞧了一眼，好像是说它伤透了心，这都是斯迈雷的错，怎么弄了一条没有后腿的狗来让它咬呢，它斗狗本来靠的就是咬后腿嘛；后来，他一瘸一拐地溜达到旁边，倒在地上就死了。那可是条好狗，那个安得鲁•杰克逊要是活着，准出了名了，胚子好，又聪明——我敢担保安得鲁•杰克逊有真本事；他什么场面没经过啊、一想起它最后斗的那一场，一想起它的下场来，我鼻子就发酸。 And he had a little small bull pup, that to look at him you'd think he wan's worth a cent, but to set around and look ornery, and lay for a chance to steal something. But as soon as money was up on him, he was a different dog; his underjaw'd begin to stick out like the fo'castle of a steamboat, and his teeth would uncover, and shine savage like the furnaces. And a dog might tackle him, and bully- rag him, and bite him, and throw him over his shoulder two or three times, and Andrew Jackson which was the name of the pup Andrew Jackson would never let on but what he was satisfied, and hadn't expected nothing else and the bets being doubled and doubled on the other side all the time, till the money was all up; and then all of a sudden he would grab that other dog jest by the j'int of his hind leg and freeze on it not chew, you understand, but only jest grip and hang on till they thronged up the sponge, if it was a year. Smiley always come out winner on that pup, till he harnessed a dog once that didn't have no hind legs, because they'd been sawed off by a circular saw, and when the thing had gone along far enough, and the money was all up, and he come to make a snatch for his pet bolt, he saw in a minute how he'd been imposed on, and how the other dog had him in the door, so to speak, and he 'peered sur- prised, and then he looked sorter discouraged-like, and didn't try no more to win the fight, and so he got shucked out bad. He give Smiley a look, as much as to say his heart was broke, and it was his fault, for putting up a dog that hadn't no hind legs for him to take bolt of, which was his main dependence in a fight, and then he limped off a piece and laid down and died. It was a good pup, was that Andrew Jackson, and would have made a name for hisself if he'd lived, for the stuff was in him, and he had genius I know it, because he hadn't had no opportunities to speak of, and it don't stand to reason that a dog could make such a fight as he could under them circumstances, if he hadn't no talent. It always makes me feel sorry when I think of that last fight of his'n, and the way it turned out. nullCharacterization: Three persons portrayed: “I” (the first-person narrator) Simon Wheeler (tall-tale narrator) Jim Smiley Class identity well-educated gentleman low class low class Language genteel, graceful and formal speech* crude, vernacular and colloquial speech*State of mind a head full of worldly business and concerns, restless and impatient relaxed, leisurely and enthusiastic in the on-going Character civilized, self-preserved, a utilitarian mindset simple, good-natured, polite, passionate for life and every living beings, responsive to the surroundings An opportunist and gamble always ready and laying for a chance (his character gets embodied in the pets he has ever kept for gambling) *null2. Major themes Technique of telling a story: Mark twain’s theories of humor A refection on the distinctions between different social classes Satire in humor on those opportunists Tricks at different levels Jim Smiley vs his gambling fellows Jim Smiley bull-pup vs certain gambler Jim Smiley vs the stranger ?? The “I” and his friend ?? Simon Wheeler and the “I” 3. Technique in writing Exaggeration Frontier humor Colloquial style TASK: please read the short story and give answer to the questions enclosed by yourselves.NaturalismNaturalismTime span Social circumstance Basic tune Subject of realistic representation Technique of writing Authorial motive 1870s-1880s1890sPost-civil-war; fully development of industrialization and mechanization; extremes of wealth and poverty; deterioration of moral values; public admiration for driving desire for money and power; life being a struggle for survivalFurther development of industrialization producing financial giants and industrial proletariats; slum life being violent, insecure and suffering; development of science and Darwinian concept of life—the survival for the fittest and human beasts and world being amoral and apathetic and Godless Disillusionment and frustrationGloom and despair Penetrating the face of gentility to expose the helplessness and man’s insignificance in a cold world and man’s lack of dignity in face of the crushing environment and heredityThe representation of the world experience, the commonplace people in their habitual mood, their feelings, speech and soul: verisimilitude of detail derived from observation: ethics, international theme, frontier humor A passion for scientific accuracy in their objective and truthful reporting; overwhelming accumulation of factual detail Genteel and graceful prose; vernacular diction and ready and rough frontier humorArt being a way to assert man’s identity and definition confronting the natural and social forces Art being a mirror to externals and being a way to order and pattern the confused and inclusive life Realism VSCommon features: reality-oriented in writing; humanistic in viewnullA Man Said to the Universe BY STEPHEN CRANE A man said to the universe: “Sir, I exist!" “However,” replied the universe, “The fact has not created in me “A sense of obligation.”Selected reading of The Open Boat by Stephan CraneSelected reading of The Open Boat by Stephan CraneThey sat together in the same seat, and each rowed an oar. Then the oiler took both oars; then the correspondent took both oars; then the oiler; then the correspondent. They rowed and they rowed. The very ticklish part of the business was when the time came for the reclining one in the stern to take his turn at the oars. By the very last star of truth, it is easier to steal eggs from under a hen than it was to change seats in the dingey. First the man in the stern slid his hand along the thwart and moved with care, as if he were of Sevres. Then the man in the rowing seat slid his hand along the other thwart. It was all done with the most extraordinary care. As the two sidled past each other, the whole party kept watchful eyes on the coming wave, and the captain cried: "Look out now! Steady there!" --------From The Open Boat by Stephan CraneWriting feature: accurate presentation of the factual details Selected reading of The Open Boat by Stephan CraneSelected reading of The Open Boat by Stephan CraneTheme: the helplessness, insignificance and lack of dignity in face of a apathetic world, cold, godless and indifferent "If I am going to be drowned -- if I am going to be drowned -- if I am going to be drowned, why, in the name of the seven mad gods who rule the sea, was I allowed to come thus far and contemplate sand and trees? Was I brought here merely to have my nose dragged away as I was about to nibble the sacred cheese of life? It is preposterous. If this old ninny-woman, Fate, cannot do better than this, she should be deprived of the management of men's fortunes. She is an old hen who knows not her intention. If she has decided to drown me, why did she not do it in the beginning and save me all this trouble. The whole affair is absurd. . . . But, no, she cannot mean to drown me. She dare not drown me. She cannot drown me. Not after all this work." null “During this dismal night, it may be remarked that a man would conclude that it was really the intention of the seven mad gods to drown him, despite the abominable injustice of it. For it was certainly an abominable injustice to drown a man who had worked so hard, so hard. The man felt it would be a crime most unnatural. Other people had drowned at sea since galleys swarmed with painted sails, but still – When it occurs to a man that nature does not regard him as important, and that she feels she would not maim the universe by disposing of him, he at first wishes to throw bricks at the temple, and he hates deeply the fact that there are no bricks and no temples. Any visible expression of nature would surely be pelleted with his jeers.    Then, if there be no tangible thing to hoot he feels, perhaps, the desire to confront a personification and indulge in pleas, bowed to one knee, and with hands supplicant, saying: "Yes, but I love myself."    A high cold star on a winter's night is the word he feels that she says to him. Thereafter he knows the pathos of his situation.” --------From The Open Boat by Stephan Cranenull“This tower was a giant, standing with its back to the plight of the ants. It represented in a degree, to the correspondent, the serenity of nature amid the struggles of the individual -- nature in the wind, and nature in the vision of men. She did not seem cruel to him, nor beneficent, nor treacherous, nor wise. But she was indifferent, flatly indifferent.” --------From The Open Boat by Stephan Cranenull“He thought: ‘I am going to drown? Can it be possible? Can it be possible? Can it be possible?’ Perhaps an individual must consider his own death to be the final phenomenon of nature. “ “He was naked, naked as a tree in winter, but a halo was about his head, and he