现代主义文学时期.doc

现代主义(Modernism)文学时期(1918-1945) 历史背景：英国现代主义文学起源于1918年，这一年应该说是英国人民苦苦期盼的一年。旷日持久的第一次世界大战终于以同盟国的战败而收场。经济趋近于崩溃，战争中牺牲了大量的有才华的年轻人，使得英国在一战中的文学创作跌入低谷。随着战争的结束，英国开始战后重建，人民开始反思现实生活。面对废墟，只能在精神世界中才能创造出自己的理想国。首先开创新纪元的是诗人托马斯艾略特（T.S.Eliot），他拉开了英国现代主义文学的帷幕。艾略特的代表作荒原(The Waste Land)是现代英美诗歌的里程碑，表达了西方一代人精神上的幻灭，传达出第一次世界大战后西方人对世界、对现实的厌恶、普遍的失望情绪和幻灭感，表现了一代人的精神病态和精神危机，从而否定了现代西方文明。虽然想法过于极端，但是确实引起了当时社会的普遍认可，从而获得了1948年的诺贝尔文学奖。艾略特所代表的象征主义文学成为了英国现代主义文学的开端。随着战后重建的慢慢推进，英国人民慢慢发现了心理对于现实的重要引导作用，“意识流”这一个生僻的字眼开始进入文学的行列。 Modernism: (1) A reaction against realism; (2) Modernism takes the irrational philosophy and the theory of psycho-analysis as its theoretical base; (3) The major themes of the modernist literature are the distorted, alienated and ill relationships between man and nature, man and society, man and man, and man and himself; (4) The modernist writers concentrate more on the private than on the public, more on the subjective than on the objective. They are mainly concerned with the inner being of an individual. In their writings, the past, the present and the future are mingled together and exist at the same time in the consciousness of an individual. 意识流the stream-of-consciousness: 意识流的概念最早由美国心理学家威廉詹姆斯所提出。他认为人的意识活动不是以各部分互不相关的零散方法进行的，而是一种流，是以思想流、主观生活之流、意识流的方法进行的。“意识流”是西方现代文学艺术中，特别是小说和电影中广为应用的写作技巧。是现代派小说的一个重要类型。The narrator conveys a subjects thoughts, impressions, and perceptions exactly as they occur, often in disjointed (不连贯的) way and without the logic and grammar of typical speech and writing. Stream-of-consciousness narration usually is written in the first person. 这种小说常常是以一件当时正在进行的事件为中心，通过触发物的引发，人的意识活动不断地向四面八方发散又收回，经过不断循环往复，形成一种枝蔓式的立体结构。 现代主义代表作家：1. T.S.Eliot 代表作：The waste Land，1922荒原; Four Quartets,1935-1942四个四重奏2. D.H.Lawrence 代表作： Sons and lovers，1931儿子和情人; The Rainbow,1915虹; Women In Love,1921恋爱中的女人3. James Joyce 意识流主要表人物代表作：Ulysses,1922尤里西斯; Dubliners,1914都柏林人; A Portrait of the Artist As A Young Man,1916一个青年艺术家的肖像4. Virginia Woolf 意识流另一代表人物To The lighthouse,1927到灯塔去; Jacobs Room,1922雅各布的房间; The Waves,1931浪; Mrs. Dalloway,1925达罗卫夫人4. William Bulter Yeats 叶芝： 爱尔兰诗人代表作：The Tower，1928塔 The Second coming，1920第二来临 The Wind among the Reeds苇间风 赏析1：William Bulter Yeats威廉巴特勒叶芝（1865-1939）：生平: 1865年, 出生在一个画家家庭。 1889年，即出版其第一部诗集。 1891年，组织“诗人俱乐部”、“爱尔兰文学会”，宣传爱尔兰文学。 1896年，他和友人一道筹建爱尔兰民族剧院，拉开了爱尔兰文艺复兴的序幕。 1902年爱尔兰民族戏剧协会成立，诗人任会长。1923年，叶芝由于“由于他那永远充满着灵感的诗，它们透过高度的艺术形式展现了整个民族的精神”而获得诺贝尔文学奖。 1932年，诗人创立爱尔兰文学院。 1938年，诗人移居法国，一年后病逝。叶芝对毛特岗的爱情：叶芝对于毛特岗爱情无望的痛苦和不幸，促使叶芝写下很多针对于毛特岗的诗歌来，在数十年的时光里，从各种各样的角度，毛特岗不断激发叶芝的创作灵感；有时是激情的爱恋，有时是绝望的怨恨，更多的时候是爱和恨之间复杂的张力。当你老了、他希望得到天堂中的锦绣、白鸟、和解、反对无价值的称赞都是叶芝为毛特岗写下的名篇。1) WHEN YOU ARE OLD -William Butler YeatsWhen you are old and gray and full of sleep And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true;But one man loved the pilgrim soul in you, And loved the sorrows of your changing face. And bending down beside the glowing bars, Murmur, a little sadly, how love fled And paced upon the mountains overhead, And hid his face amid a crowd of stars 2) The Lake Isle of Innisfree 4 by William Butler Yeats I will arise and go now, and go to Innisfree, And a small cabin build there, of clay and wattles made: Nine bean-rows will I have there, a hive for the honey-bee;And live alone in the bee-loud glade. And I shall have some peace there, for peace comes dropping slow, Dropping from the veils of the morning to where the cricket sings; There midnights all a glimmer, and noon a purple glow, And evening full of the linnets wings.I will arise and go now, for always night and day I hear the lake water lapping with low sounds by the shore; While I stand on the roadway, or on the pavements gray, I hear it in the deep hearts core. 3) 白鸟亲爱的，但愿我们是浪尖上一双白鸟!流星尚未陨逝，我们已厌倦了它的闪耀；天边低悬，晨光里那颗蓝星的幽光唤醒了你我心中，一缕不死的忧伤。露湿的百合、玫瑰梦里逸出一丝困倦；呵，亲爱的，可别梦那流星的闪耀，也别梦那蓝星的幽光在滴露中低徊：但愿我们化作浪尖上的白鸟：我和你!我心头萦绕着无数岛屿和丹南湖滨，在那里岁月会遗忘我们，悲哀不再来临；转瞬就会远离玫瑰、百合和星光的侵蚀，只要我们是双白鸟，亲爱的，出没在浪花里! 赏析2：Virginia Woolf弗吉妮娅伍尔芙（1882-1941）：出生伦敦，父亲是著名学者、传记作家，伍尔芙自幼体弱多病，未受正规学校教育，她常在家阅读父亲的藏书，浸染书香，蕴就深厚的传统文学修养。意识流小说构成伍尔芙最引人注目的文学成就，她对女性存在的历史与现状独具慧眼的反思和洞察，使其成为女性主义批评史上先驱人物。伍尔芙晚年周期性的精神崩溃使她的生活苦不堪言。1941年3月28日，伍尔芙将她的帽子和手杖留在一条小河边，投水自尽。伍尔夫小说不注重表现事件、人物之间的关系，而把创作重心放在对人物思想感情流程的再现上，讲究环境和景物描写的印象效果。她的文笔富于音乐性，并运用音乐上的“曲式学”结构作品，给读者以美感。英国女作家，被誉为二十世纪现代主义与女性主义的先锋。 The Mark on the Wall(小说结构特点: 这种以斑点为中心的纷繁的意识活动形成了一种立体的辐射结构，好似一朵由若干片花瓣围绕着花蕊的盛开的鲜花。整个叙述貌似散漫无羁，实则结构严谨。)Perhaps it was the middle of January in the present the middle of January in the present：今年元月中旬。 that I first looked up and saw the mark on the wall. In order to fix a date it is necessary to remember what one saw. So now I think of the fire; the steady film of yellow light upon the page of my book the steady film of yellow light upon the page of my book：一片黄色的火光一动不动地照射在我的书页上。; the three chrysanthemums in the round glass bowl on the mantelpiece. Yes, it must have been the winter time, and we had just finished our tea, for I remember that I was smoking a cigarette when I looked up and saw the mark on the wall for the first time. I looked up through the smoke of my cigarette and my eye lodged for a moment upon the burning coals, and that old fancy of the crimson flag flapping from the castle tower came into my mind, and I thought of the cavalcade of red knights riding up the side of the black rock. Rather to my relief the sight of the mark interrupted the fancy, for it is an old fancy, an automatic fancy, made as a child perhaps for it is an old fancy, an automatic fancy, made as a child perhaps：因为这是过去的幻觉，是一种无意识的幻觉，可能是在孩童时期产生的. The mark was a small round mark, black upon the white wall, about six or seven inches above the mantelpiece. How readily our thoughts swarm upon a new object, lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it. . . If that mark was made by a nail, it cant have been for a picture, it must have been for a miniaturethe miniature of a lady with white powdered curls, powder-dusted cheeks, and lips like red carnations. A fraud of course a fraud of course：当然是一件赝品。, for the people who had this house before us would have chosen pictures in that wayan old picture for an old room. That is the sort of people they werevery interesting people, and I think of them so often, in such queer places, because one will never see them again, never know what happened next. They wanted to leave this house because they wanted to change their style of furniture, so he said, and he was in process of saying that in his opinion art should have ideas behind it when we were torn asunder torn asunder：被分开。, as one is torn from the old lady about to pour out tea and the young