一曲美国南方没落贵族的挽歌--评威廉·福克纳的《喧嚣与骚动》

《喧嚣与骚动》是美国现代著名作家威廉·福克纳的惊世之作。在小说中 ,福克纳刻画了一幅美国旧南方贵族没落的图景 ,为没落的旧南方贵族弹奏了一曲凄凉的挽歌 ,深刻地揭示了美国旧南方的衰败。本文从不同的角度来体现小说深刻的思想主题及作品鲜明的艺术特色     

生态视阈下的《怀河河畔》赏析

《怀河河畔》(The Banks of Wye)由著名的“鞋匠诗人”“农民诗人”罗伯特·布卢姆菲尔德撰写,记录了诗人1807年于怀河河畔为期十日的旅程。通过描绘诗化的美景展现出怀河附近的风土人情,以及依怀河而居的农民在圈地运动前后的日常生活变化,表达诗人对资产阶级侵占农民土地这一暴行的批判和对农民阶层的同情。从作品内容出发,结合威廉·华兹华斯的著作《丁登寺》,在生态批评角度下,寻找圈地运动对怀河河畔居民的生活环境等方面的影响。     

浪漫派诗歌关乎图征,还是象征——华兹华斯与柯尔律治的诗学思想比较

试图剖析华兹华斯与柯尔律治诗学理念格格不入的原因,提出浪漫派诗歌内部在图征和象征上的巨大差别,以及考察这两种古老的艺术手段对浪漫派诗歌在内容和形式上的创新和贡献。     

论福克纳小说《熊》的生态伦理观念

《去吧,摩西》中的短篇小说《熊》在看似简单明晰的文本背后,蕴含着丰富的生态伦理观念。尤其是带有强烈议论性质的第四部分,其叙事不仅暗示了小说审美风格的转变,而且体现了福克纳小说人学救赎观念与生态伦理思想的交汇融合。强调自然生态环境是人存在的重要组成部分,表达对自然生态环境宗教般虔诚的敬畏情怀构成了小说《熊》的生态伦理观念的第一层内涵。强烈批判人类中心主义思想和现代工业文明对荒野和自然的破坏,深化宗教人学意义上的罪恶与救赎的观念构成了《熊》生态伦理观念的第二层内涵。此外,《熊》还传达出了福克纳强烈的拯救与重建人的本质的愿望。     

Feminism and science in Masters of Sex

This article examines the fictional characterization of the real-life sex researchers and scientists William H. Masters and Virginia E. Johnson in the Showtime television program Masters of Sex (2013–2016). The historical Johnson had a complicated relationship with second-wave feminism: she disdained the movement and was interested primarily in improving heterosexual marriages and the sex lives of married couples. The Johnson character speaks in a language of postfeminism with minimal interest in collective action and broader social change. However, second-wave feminists later used her and Masters’ research in order to support their own beliefs about sexual autonomy and freedom, within and beyond marriage and heterosexuality. The television program demonstrates Johnson’s importance to both phases of her and Masters’ research—in the first phase, when they are based in a hospital and university environment, and in the second, when they establish their own research institute and raise funds directly from the clients that they serve. Johnson exemplifies postfeminist depictions of ambitious women in prestige television, her aim to have a successful career and marriage conflict, and while she is willing to compromise scientific values to serve her own goals, her male colleagues temper that ambition in service of “objective” science.     

Thinking through tragedy: critical distance and the law of genre

Abstract

This article focuses on two problems associated with tragedy. One ancient: what is it that draws us to the dramatic presentation of events of terrible suffering and loss? And one modern: namely, that while tragedies are still performed and appreciated, little new tragedy is being written. It will be argued in relation to the second problem that the vitality of tragedy as a dramatic form requires a less rigid approach to what might be considered tragic. And in relation to the first problem it will be argued that this more expansive conception of tragedy will allow an understanding of the ‘pay-off’ of tragedy in a way that draws both on the tradition that focuses on tragedy as cathartic therapeutic, and on the tradition that sees it as a thought laboratory that allows ethical dilemmas to be posed and explored from different perspectives. This argument constitutes a two-fold dialectical synthesis (emotional and intellectual approaches to tragedy on the one hand and the technical and popular use of the word ‘tragedy’ on the other) and the effect of this is to facilitate an understanding of tragedy as establishing a ‘critical distance’ that sets the scene for the possibility of thinking.     

《喧哗与骚动》中的时间妙用

《喧哗与骚动》是美国作家威廉·福克纳的代表作。书中打破了传统以钟表时间为顺序的情节构思。通过对时间的巧妙处理展示人物形象和故事情节。本文从小说的叙述时间、心理时间以及叙述者对时钟时间的情感倾向三个方面展现了福克纳对时间的非凡的驾驭能力和艺术才华。福克纳对时间的处理成为其表现内容、展示主题的主要手段。它使作品具有更深刻的内涵和强烈的艺术效果     

"罪恶"的现代诠释:作为现代悲剧叙事的核心——威廉·福克纳作品对"罪恶"的审美呈现

威廉·福克纳作品中表现的多种罪恶,已成为他创作的重要特征,也使其常常遭到误解。将悲剧理论与叙事学方法相结合,把作家对罪恶的表现视为其现代悲剧叙事的重要组成部分。他既借此与悠久的文学传统相衔接,又赋予其鲜明的现代特征。＂罪恶＂在多部作品的文本构成中被赋予多种艺术功能和复杂的意义指向,并借此为作家完成现代悲剧的创造奠定了基础。     

《蝇王》中的人性观

威廉·戈尔丁笔下的《蝇王》为读者展示了一个主人公之间如何从开始建立一个文明组织到最后变得一片混乱的故事。在小说中,作者展示人类所具有的两种不同的个性,一个是文明的、另一个是野蛮的。威廉·戈尔丁在《蝇王》中利用背景、人物个性、和象征,详细地给读者描述了这些双面人。威廉·戈尔丁用《蝇王》告诉读者最危险的敌人是藏匿在每个人心中的邪恶,人们必须正视人性中的恶,不可忽视它。     

不同的诗人，共同的追求——惠特曼与威廉斯诗作艺术形式的略同之处

惠特曼和威廉斯均是美国诗坛上的泰斗。他们的诗歌在艺术形式上有很多共同之处。二人均倡导自由诗体；主张运用美国本土语言，表现美国自己的东西；注重诗歌的节奏和音乐美感以及色彩的运用。惠特曼在多方面影响了威廉斯，威廉斯在深受其益的同时，多方面发展了惠特曼的优良传统，从而成就了自己在美国文坛上的地位。