1、RomanticismImaginationfictionalRealismReality truev. s第1頁/共38頁2Realism In literature, faithful representation of life. Realism carries the conviction of true reports of phenomena observable by others. It may be contrasted with ROMANTICISM, IMPRESSIONISM, and EXPRESSIONISM, which are less true to ext

2、ernal phenomena, although each carries its own kind of truth. Realism is a slippery (difficult to understand) term, sometimes used too loosely to be of value except as an indicator of a readers reaction.第2頁/共38頁3 The term realism refers, sometimes, confusingly, both to a literary method based on det

3、ailed accuracy of description and to a more general attitude that rejects idealization, escapism, and other extravagant qualities of romance in favor of recognizing soberly the actual problems of life. 第3頁/共38頁4 I t i s a n t i - r o m a n t i c , a n d a n t i -sentimental. To put it another way, r

4、ealism is applied by literary critics in two diverse ways: (1) to designate a recurrent mode of, in various eras and literary forms, of representing human life and experience in literature, and (2) to identify a movement in the writing of novels during the nineteenth century. 第4頁/共38頁5 As a mode of

5、writing, it gives the impression of recording or reflecting faithfully an actual way of life, of representing life as it really is. Realistic fiction is written to give the effect that it represents life and the social world as it seems to the common reader, evoking the sense that its characters mig

6、ht in fact exist, and such things might well happen. It is characterized by verisimilitude (逼真) of details derived from observation. 第5頁/共38頁6 They offer an objective rather than an idealistic view of human nature and human experience, an objective account o f r e a l l i f e . T h e y a r e d e t a

7、 c h e d observers of life. The narrators in their work stand back to report what they have observed. The realistic writers are usually ethical writers and their language is largely ironic. 第6頁/共38頁7 Modern criticism frequently insists that realism is not a direct or simple reproduction of reality (

8、a “slice of life”) but a system of conventions producing a lifelike illusion of some “real” world outside the text, by processes of selection, exclusion, description, and manners of addressing the reader. 第7頁/共38頁8 In its methods and attitudes, realism may be found as an element in many kinds of wri

9、ting prior to the 19th century; but as a dominant literary trend it is associated chiefly with the 19th century novel of middle-or-lower-class life, in which the problems of ordinary people in u n r e m a r k a b l e c i r c u m s t a n c e s a r e rendered with close attention to the details of phy

10、sical setting and to the complexities of social life. 第8頁/共38頁I. The Rise of Realism: Historical Background“The industrial North had triumphed over the agrarian South, and from that victory came a society based on mass labor and mass consumption.”“an age of extremes”-“of decline and progress, of pov

11、erty and dazzling wealth, of gloom and buoyant hope”第9頁/共38頁第10頁/共38頁第11頁/共38頁C. Immigrant BoomingC. Immigrant BoomingThe new intercontinental rail system, inaugurated in 1869, and the transcontinental telegraph, which began operating in 1861, gave industry access to materials, markets, and communic

12、ations. The constant influx of immigrants provided a seemingly endless supply of inexpensive labor as well.D. Social ProblemsD. Social ProblemsProblems of urbanization and industrialization appeared: poor and overcrowded housing, unsanitary conditions, low pay (called wage slavery), difficult workin

13、g conditions, and inadequate restraints on business.第12頁/共38頁第13頁/共38頁 American Realism 1. American Realism The American Civil War brought the Romantic Period in American literature to its end, and realism, as a literary movement, came in the latter half of the nineteenth century and became a major

14、trend in the 1870s and 1880s.第14頁/共38頁15The three major realistic writers Mark TwainWilliam Dean HowellsHenry James第15頁/共38頁II. American Realism (1860-1914)Broadly defined as the faithful representation of reality or verisimilitude, realism is a literary technique practiced by many schools of writin

15、g. Although strictly speaking, realism is a technique, it also denotes a particular kind of subject matter, especially the representation of middle-class life.A. A. RealismRealismB. American RealismB. American RealismIn American literature, the term realism encompasses the period of time from the Ci

16、vil War to the turn of the century during which William Dean Howells, Rebecca Harding Davis, Henry James, Mark Twain, and others wrote fiction devoted to accurate representation and an exploration of American lives in various contexts. 第16頁/共38頁C. The Characteristics of American RealismC. The Charac

17、teristics of American Realisma. American realists renders reality closely and in comprehensive detail. b. American realists selectively present the reality with an emphasis on verisimilitude, even at the expense of a well-made plot.c. Character is more important than action and plot; his/her complex

18、 ethical choices are often the subject. Characters appear in their real complexity of temperament and motive. They are in explicable relation to nature, to each other, to their social class, and to their own past. 第17頁/共38頁d. Class is important. The novel has traditionally served the interests and a

19、spirations of middle class. (characters from all social levels are examined in depth).e. Events are usually plausible. Realistic novels avoid the sensational, dramatic elements of naturalistic novels and romances. f. Diction is natural vernacular, not heightened or poetic; tone being comic, satiric,

20、 or matter-of-fact. g. Objectivity in presentation becomes increasingly important: overt authorial comments or intrusions diminish as the century progresses. 第18頁/共38頁D.D. Regional and Local Color Writings: Regional and Local Color Writings: the Early Stage of Literary Realismthe Early Stage of Lite

21、rary RealismA. They are instances of realism insofar as they depict contemporary life, use the speech of the common people, and avoid, in general, fantastic plotlines.B. There are also often a romantic flavor in regional and local color writings as they receive influences from Washington Irving and

22、the frontier tradition of tall tales.第19頁/共38頁A. A regional work relies on the cultural, social and historical settings. If the setting is removed, the work is destroyed. B. Local color writings are just as dependent upon a specific geographical location, but they give more emphasis to the local det

23、ails by tapping into its folklore, history, customs, beliefs and speech. Dialect peculiarities are the defining characteristic of local color writing. 第20頁/共38頁E.E. Representative WritersRepresentative Writersa. Henry James (18431916), Daisy Miller (1878), The Ambassadors (1903), The Wings of the Do

24、ve (1902) and The Art of Fictionb. William Dean Howells (18371920), The Rise of Silas Lapham (1885) and Criticism and Fictionc. Mark Twain (18351910), The Adventures of Tom Sawyer (1876), The Adventures of Huckleberry Finn (1884), Life on the Mississippi (1883)第21頁/共38頁III. Mark Twain (1835-1910)第22

25、頁/共38頁 A. Mark Twains Life- born in Hannibal, Missouri- apprenticed to a printer- a steamboat pilot on the Mississippi- fought in the Civil War -went to the silver fields of Nevada- joined the staff of Territorial Enterprise- began his career as a frontier humorist第23頁/共38頁B. Mark Twains Main WorksI

26、nnocents Abroad (1869);Roughing it (1872);The Gilded Age (1873);The Adventures of Tom Sawyer (1876);The Adventures of Huckleberry Finn (1884);Life on the Mississippi (1883) .第24頁/共38頁C. Characteristics of Mark Twaina. His works sum up the tradition of Western humor and frontier realism. b. He writes

27、 about his people and his own life. c. His greatest achievement on literature is his use of the dialect and his portrayal of the locale. 第25頁/共38頁D. The differences between Howells, James and Mark Twain In thematic terms, James wrote mostly of the upper reaches of American society, and Howells conce

28、rned himself chiefly with middle class life, whereas Mark Twain dealt largely with the lower strata of society.Technically, Howells wrote in the vein of genteel realism, James pursued an “imaginative” treatment of reality or psychological realism, but Mark Twains contribution to the development of r

29、ealism and to American literature as a whole was partly through his theories of localism in American fiction, and partly through his colloquial style.第26頁/共38頁IV. The Adventures of Huckleberry Finn (1884)A. Plot SummaryMark Twains classic novel, The Adventures of Huckleberry Finn, tells the story of

30、 a teenaged misfit who finds himself floating on a raft down the Mississippi River with an escaping slave, Jim. In the course of their perilous journey, Huck and Jim meet adventure, danger, and a cast of characters who are sometimes menacing and often hilarious. 第27頁/共38頁B. Main Charactersa. Huckleb

31、erry Finn: Main character of the book. He is an illegitimate child who runs away from his adopted family to be free of society and civilization. b. Jim: Miss Watsons slave. He runs away and journeys down the Mississippi River with Huck. Together, they have many adventures, and Jim becomes a father f

32、igure for Huck. 第28頁/共38頁d. Widow Douglas: Adopts Huck to try and civilize him. e. Miss Watson: Sister of the Widow Douglas. She tries to teach Huck religion and how to spell. f. Pap: Hucks drunkard father. He kidnaps Huck because he wants his money, but Huck escapes. c. Tom Sawyer: Hucks best frien

33、d who freely spins lies and loves adventure. 第29頁/共38頁The Widow Douglas she took me for her son, and allowed she would sivilize me; but it was rough living in the house all the time, considering how dismal regular and decent the widow was in all her ways; and so when I couldnt stand it no longer I l

34、it out. I got into my old rags and my sugar-hogshead again, and was free and satisfied. But Tom Sawyer he hunted me up and said he was going to start a band of robbers, and I might join if I would go back to the widow and be respectable. So I went back. (Chapter I) Paragraph Analyses道格拉斯寡婦認我做干兒子，說要教

35、我做人的規矩；可是只要想想這寡婦道格拉斯寡婦認我做干兒子，說要教我做人的規矩；可是只要想想這寡婦為人處世多古板、多正經，就能明白一天到晚呆在她屋里真是活受罪；所為人處世多古板、多正經，就能明白一天到晚呆在她屋里真是活受罪；所以到了我再也受不了的時候，我就溜啦。我又穿上原來的破衣爛衫，重新以到了我再也受不了的時候，我就溜啦。我又穿上原來的破衣爛衫，重新躲到我那只大木桶里，真是自在逍遙，可湯姆躲到我那只大木桶里，真是自在逍遙，可湯姆索亞找到我，說他要成立一索亞找到我，說他要成立一個強盜幫，如果我肯回到寡婦那兒做一個受人尊敬的人，我可以加入這個個強盜幫，如果我肯回到寡婦那兒做一個受人尊敬的人，我可以

36、加入這個幫、于是我就回去了。幫、于是我就回去了。第30頁/共38頁Well, you see, it uz dis way. Ole missus-dats Miss Watson-she pecks on me all de time, en treats me pooty rough, but she awluz said she wouldn sell me down to Orleans. But I noticed dey wuz a nigger trader roun de place considable lately, en I begin to git oneasy. We

37、ll, one night I creeps to de do pooty late, en de do warnt quite shet, en I hear old missus tell de widder she gwyne to sell me down to Orleans, but she didn want to, but she could git eight hundd dollars for me, en it uz sich a big stack o money she couldn resis. (Chapter VIII)“好吧，聽我說，事情是這樣的。老小姐好吧，

38、聽我說，事情是這樣的。老小姐就是說華珍小姐就是說華珍小姐她從早到晚挑她從早到晚挑剔我剔我對我可兇啦對我可兇啦不過她老說，她不會把我賣到下游奧爾良那里去。不不過她老說，她不會把我賣到下游奧爾良那里去。不過我注意到，最近過我注意到，最近 有一個黑奴販子，老在這里走動，我就心神不定。啊，有一個黑奴販子，老在這里走動，我就心神不定。啊，一天晚上，我偷偷到了門口，那是很一天晚上，我偷偷到了門口，那是很 晚了，門沒有關緊，我聽到老小姐告晚了，門沒有關緊，我聽到老小姐告訴寡斧婦，說她要把我賣到下游奧爾良去。說她本不愿意賣，不過賣了能訴寡斧婦，說她要把我賣到下游奧爾良去。說她本不愿意賣，不過賣了能得八百塊大洋

39、，這么大的一個數目，她不能不動心。得八百塊大洋，這么大的一個數目，她不能不動心。 第31頁/共38頁And at last, when it hit me all of a sudden that here was the plain hand of Providence slapping me in the face and letting me know my wickedness was being watched all time from up there in heaven, whilst I was stealing a poor old womans nigger that h

40、adnt ever done me no harm, and now was showing me theres One thats always on the lookout, and aint a-going to allow no such miserable doings to go only just so fur and no further. I most dropped in my tracks I was so scared. 到后來，我突然之間猛然醒悟了，認識到這明明是上帝的手在打我的耳光，到后來，我突然之間猛然醒悟了，認識到這明明是上帝的手在打我的耳光，讓我明白，我的種種

41、邪惡始終逃不開在天上的眼睛。一個可憐的老婦人平生讓我明白，我的種種邪惡始終逃不開在天上的眼睛。一個可憐的老婦人平生從沒有損害過我一根毫毛，我卻把她的黑奴拐跑，為了這個，上帝正指引著從沒有損害過我一根毫毛，我卻把她的黑奴拐跑，為了這個，上帝正指引著我，讓我明白什么都逃不過我，讓我明白什么都逃不過“他他”那高懸的明鏡，那高懸的明鏡，“他他”決不允許這類不幸決不允許這類不幸的事再發展下去，只能到此為止。一想到這些，我差點就跌倒在地，委實嚇的事再發展下去，只能到此為止。一想到這些，我差點就跌倒在地，委實嚇得不得了啦。得不得了啦。第32頁/共38頁Well, I tried the best I cou

42、ld do to kinder soften it up somehow for myself by saying I was brung up wicked, and so I warnt so much to blame; but something inside of me kept saying, “There was the Sunday School, you could a gone (could have gone) to it; and if youd a done it theyd a learnt you there that people that acts as Id

43、 been acting about that nigger goes to everlasting fire.” (Chapter XXXI)于是，我就想方設法地試圖為自己開脫。我對自個兒說：我從小就在于是，我就想方設法地試圖為自己開脫。我對自個兒說：我從小就在邪惡的環境中長大，因此不能過于怪罪我啊。不過，在我的心里，還邪惡的環境中長大，因此不能過于怪罪我啊。不過，在我的心里，還有另外一個聲音在不停地說，有另外一個聲音在不停地說，“還有主日學校哩。你本該到那兒去。還有主日學校哩。你本該到那兒去。要是你早去的話，他們會在那兒教導你的嘛，教導你說，誰要像我那要是你早去的話，他們會在那兒教導你的嘛

44、，教導你說，誰要像我那樣為了黑奴所干的這一切，是要下地獄受到永恒的烈火的煎熬的。樣為了黑奴所干的這一切，是要下地獄受到永恒的烈火的煎熬的。第33頁/共38頁It was a close place. I took it up, and held it in my hand. I was a- trembling, because Id got to decide, forever, betwixt two things, and I knowed it. I studied a minute, sort of holding my breath, and then says to myself: All right, then, Ill GO to hell-and tore it up. It was awful thoughts and