f. scott fitzgerald 美国文学菲斯杰拉德英文课件

F.ScottFitzgeraldLifeandCareerMajorWorksFitzgeraldandtheJazzAgeTheAmericanDreamCaseStudyOutline

BorninSt.Paul,MinnesotaonSeptember24,1896HadanexpensiveeducationinprivateschoolsatPrinceton.Duetoillnessandneglectofacademicstudy,helefttheuniversityin1917withoutgraduation.Lifeandcareer

MarriedZeldaSayre,whoexertedastronginfluenceonhisliterarycareerandhispersonallife.Shewastheprototypeofaseriesofrich,beautifulwomenwhofigureprominentlyinhisfiction.Theyoungcouplefrequentlywentabroadandlived

extravagantlyaluxuriouslife.Tokeepearningenoughmoney,Fitzgeraldwroteshortstoriesandnovelsatarapidspeed.

The1930sbroughtrelentlessdeclineforFitzgeraldwithaseriesofmisfortunes:hisreputationdeclined,hiswealthfell,hishealthfailed.Zeldahadsufferedfromsomeseriousmentalbreakdownswhichconfinedherinasanitarium(疗养院)fortherestofherlife.Alcoholism,lonelinessanddespaircombinedtoruinFitzgerald.Hediedin1940ofaheartattack.Majorworks

novelThisSideofParadise《天堂的另一面》:Hisfirstnovel.Itwonforhimwealthandfame.TheBeautifulandDamned《漂亮冤家》又名《美丽与毁灭》TheGreatGatsby《了不起的盖茨比/长岛春梦》:Hismasterpiece.ItmadehimoneofthegreatestAmericannovelists.TenderistheNight《夜色温柔》.TheLastTycoon《最后的大亨》:Hislastnovel.Itremainsunfinished.Majorworks

shortstories:FlappersandPhilosophers(1921)《时髦女和哲学家》TalesoftheJazzAge(1922)《爵士乐时代的故事》AlltheSadYoungMan(1926)《一代悲哀的年轻人》TapsatReveille(1935)《早晨的起床号》BabylonRevisited（1931）《重访巴比伦》FitzgeraldandtheJazzAgeTheJazzAge:

Itreferstothe1920s,atimemarkedbyfrivolity(轻松快活),carelessness,hedonism(享乐主义)andexcitementinthelifeoftheflamingyouth.Fitzgeraldislargelyresponsibleforthetermandmanyofhisliteraryworksportrayit.TheJazzAgeisbroughtvividlytolifeinTheGreatGatsby.FitzgeraldandtheJazzAgeMostcriticshaveagreedthatFitzgeraldisbothaninsiderandanoutsideroftheJazzAge.Fitzgerald'sfictionalworld

isthebestembodimentofthespiritoftheJazzAge,inwhichheshowsaparticularinterestintheupper-classsociety,especiallytheupper-classyoungpeople.FitzgeraldandtheAmericanDreamtheAmericanDreamisapopularbeliefthatpeoplecanachievesuccess,whetheritiswealth,fameorlovethroughhonesthardworkinginanewworldofliberty,equality,chancesandpromises.Fitzgerald'sfictionsoftendealwiththebankruptcyoftheAmericanDream,whichishighlightedbythedisillusionmentoftheprotagonists'personal

dreams

duetotheclashesbetweentheirromanticvisionoflifeandthesordidreality.Fitzgerald‘sownlifewasamirrorofthe1920s.Hewasthevictim

of

his“American

Dream.”Hewasfascinatedwithmaterialwealthononehandbywritinghardtoaccumulatewealthtoliveanextravagant(铺张的)life,yetwasbewildered(使迷惑)withthewealthontheother,fullyawareoftheunderlyingspiritual

disorientation

andmoral

decay.Finallyinhislife,alcoholism,

lonelinessanddespaircombinedtoruinhim.FitzgeraldandtheAmericanDreamCasestudy(1)Therewasmusicfrommyneighbor’shousethroughthesummernights.Inhisbluegardensmenandgirlscameandwentlikemothsamongthewhisperingsandthechampagneandthestars.AthightideintheafternoonIwatchedhisguestsdivingfromthetowerofhisraft,ortakingthesunonthehotsandofhisbeachwhilehistwomotor-boatsslitthewatersoftheSound,drawingaquaplanesovercataractsoffoam.Onweek-endshisRolls-Roycebecameanomnibus,bearingpartiestoandfromthecitybetweennineinthemorningandlongpastmidnight,whilehisstationwagonscamperedlikeabriskyellowbugtomeetalltrains.AndonMondayseightservants,includinganextragardener,toiledalldaywithmopsandscrubbing-brushesandhammersandgarden-shears,repairingtheravagesofthenightbefore.整个夏天的夜晚都有音乐声从我邻居家传过来。在他蔚蓝的花园里，男男女女像飞蛾一般在笑语、香摈和繁垦中间来来往往。下午涨潮的时候，我看着他的客人从他的木筏的跳台上跳水，或是躺在他私人海滩的热沙上晒太阳，同时他的两艘小汽艇破浪前进，拖着滑水板驶过翻腾的浪花。每逢周末，他的罗尔斯一罗伊斯轿车就成了公共汽车，从早晨九点到深更半夜往来城里接送客人，同时他的旅行车也像一只轻捷的黄硬壳虫那样去火车站接所有的班车。每星期一，八个仆人，包括一个临时园丁，整整苦于一天，用许多拖把、板刷、榔头、修技剪来收拾前一晚的残局。

WritingStyleFitzgeraldisconsideredasagreatstylistinAmericanliterature.Hisstyle,closelyrelatedtohisthemes,isexplicitandchilly.Hisaccuratedialogues,hiscarefulobservationofmannerism,styles,modelsandattitudesprovidethereaderwithavividsenseofreality.Heusedthescenicmethodinhischapters,eachoneofwhichconsistsofoneormoredramaticscenes,sometimeswithinterveningpassagesofnarration,leavingthetediousprocessoftransitiontothereaders‘imagination.Fitzgerald‘sproseissmooth,sensitive,andcompletelyoriginalinitsdictionandmetaphors.Atthebeginningofthischapter,Gatsby’spartiesbring1920swealthandglamourintofullfocus,showingtheupperclassatitsmostlavishlyopulent.However,whatliebehindthoseluxuriouspartiesaremeaninglessnessandemptiness.HereFitzgeraldgivesgreatattentiontothedetailsofcontemporarysociety:Gatsby'spartyisbothadescriptionandparodyofJazzAgedecadence.Analysis(2)“Whatdoyouthink?”hedemandedimpetuously.“Aboutwhat?”Hewavedhishandtowardthebook-shelves.“Aboutthat.Asamatteroffactyouneedn’tbothertoascertain.Iascertained.They’rereal.”“Thebooks?”Henodded.“Absolutelyreal—havepagesandeverything.Ithoughtthey’dbeanicedurablecardboard.Matteroffact,they’reabsolutelyreal.Pagesand—Here!Lemmeshowyou.”Takingourscepticismforgranted,herushedtothebookcasesandreturnedwithVolumeOneofthe“StoddardLectures.”“See!”hecriedtriumphantly.“It’sabona-fidepieceofprintedmatter.Itfooledme.Thisfella’saregularBelasco.It’satriumph.Whatthoroughness!Whatrealism!Knewwhentostop,too—didn’tcutthepages.Butwhatdoyouwant?Whatdoyouexpect?”Hesnatchedthebookfrommeandreplacedithastilyonitsshelf,mutteringthatifonebrickwasremovedthewholelibrarywasliabletocollapse.“你觉得怎么样？”他冒冒失失地问道。“关于什么？”他把手向书架一扬。“关于那个。其实你也不必仔细看了，我已经仔细看过。它们都是真的。”“这些书吗？”他点点头。“绝对是真的——一页一页的，什么都有。我起先还以为大概是好看的空书壳子。事实上，它们绝对是真的。一页一页的什么——等等！我拿给你们瞧。”

他想当然地认为我们不相信，急忙跑到书橱前面，拿回来一本《斯托达德演说集》卷一①——①约翰-斯托达德（JohnStoddard，1850-1931），美国演说家，著有《演说集》十卷。“瞧！”他得意洋洋地嚷道，“这是一本地地道道的印刷品。它真把我蒙住了。这家伙简直是个贝拉斯科①。真是巧夺天工。多么一丝不苟！多么逼真！而且知道见好就收——并没裁开纸页。你还要怎样？你还指望什么？”——①大卫-贝拉斯科（DavidBelasco，1850－－1931），美国舞台监督，以布景逼真闻名。他从我手里把那本书一把夺走，急急忙忙把它放回书架的原处，一面叽咕着说什么假使一块砖头被挪开，整个图书室就有可能塌掉。TheLibraryOneofhisguestsissurprisedtofindthathisbooksarerealandnotjustemptycoversdesignedtocreatetheappearanceofagreatlibrary,whichsuggeststhatmanyoftheinhabitantsofthewestandeastegguseanoutwardshowofwealthtocoveruptheirinnercorruptionandmoraldecay,butGatsbyseemstousehisrichnesstomasksomethingentirelydifferentandperhapsmoreprofound.Analysis(3)Hesmiledunderstandingly—muchmorethanunderstandingly.Itwasoneofthoseraresmileswithaqualityofeternalreassuranceinit,thatyoumaycomeacrossfourorfivetimesinlife.Itfaced—orseemedtoface—thewholeexternalworldforaninstant,andthenconcentratedonyouwithanirresistibleprejudiceinyourfavor.Itunderstoodyoujustsofarasyouwantedtobeunderstood,believedinyouasyouwouldliketobelieveinyourself,andassuredyouthatithadpreciselytheimpressionofyouthat,atyourbest,youhopedtoconvey.Preciselyatthatpointitvanished—andIwaslookingatanelegan