JamesJoyce生平及其作品

JamesJoyce生平及其作品第1頁/共75頁JamesJoyceisoneofthemostinnovativenovelistsofthe20thcenturyandoneofthegreatmastersof“thestreamofconsciousness”JamesJoyce:Introduction第2頁/共75頁aleadingmodernist,andoneofthegreatestinnovatorsintheEnglishlanguage.experimentedwithstream-of-consciousness,theunderlyingpsychologicalaswellasemotionalmotivesofcharacters,andthevariouspossibilitiesoffracturednarrativeandchronology.hisliteraryachievementsandcreativityareinfluentialeventoday.第3頁/共75頁JamesJoyce:Biography

Irishnovelistandpoetbornin1882inDublin,thesonofapoverty-strickencivilservant.In1898,studiedinDublin’sUniversityCollegeandgraduatedin1902RaisedintheRomanCatholicfaith,hebrokewiththechurchwhilehewasincollege

第4頁/共75頁Heavy

drinker/numerouspatrons/eyeproblemanti-Philistine3greatinfluencesonJoyce’swriting:music(popularlyricsofIreland)+RomanCatholicism+politicalandliteraryexile第5頁/共75頁In1904heleftDublinwithNoraBarnacle,achambermaidwhomheeventuallymarried.TheyandtheirtwochildrenlivedinTrieste,Italy,inParis,andinZürich,Switzerland,meagerlysupportedbyJoyce'sjobsasalanguageinstructorandbygiftsfrompatrons.After20yearsinParis,earlyinWorldWarII,whentheGermansinvadedFrance,JoycemovedtoZürich,wherehediedonJanuary13,1941第6頁/共75頁JamesJoyce’swork---DublinersJamesJoyce’sfirstmajorworkwasDubliners,acollectionoffifteenshortstoriesdealingsuccessivelywitheventsofchildhood,youthandadulthood.Asthetitleindicated,JoycemadeIrelandthefocusofhisstories.第7頁/共75頁AlthoughallsetinDublinandfocuseduponthethemesofdeath,diseaseandparalysisthroughout,Dublinersisacollectionofshortstoriesonlyinterconnectedbysymbolsandmoods.Theyarenotasbleakastheirthemessuggest,atleastnotinallcases,andareoftenhearteningintheirsubtleevocationsof

experiencecommontoall.

第8頁/共75頁JoyceonDubliners

Dubliners:“abookabouthumanfateaswellasaseriesofsketchesofDublin”“MyintentionwastowriteachapterofthemoralhistoryofmycountryandIchoseDublinforthescenebecausethatcityseemedtomethecenterofparalysis.”“hehadtocomedirectlytotermswiththelifehehasrejected,toseeitforwhatitwasandforwhatitmeant”第9頁/共75頁“IalwayswriteaboutDublin,becauseifIcangettotheheartofDublin,Icangettotheheartofallthecitiesoftheworld.Intheparticulariscontainedtheuniversal.”“Ihavetriedtopresentittotheindifferentpublicunderfourofitsaspects:childhood,adolescence,maturityandpubliclife.Thestoriesarearrangedinthisorder.”

“What’sthematterwithyouisthatyou’reafraidtolive.Youandpeoplelikeyou.Thiscityissufferingfromhemiplegia[paralysis]ofthewill.”第10頁/共75頁Dublinersisaboutpeople’sspiritualgrowth.Allthecharactersinthestoriesstruggle,inonewayoranotherwithoppressivemorality,personalfrustrations,orrestlessdesires.Theyareordinarypeopleinvolvedinvariousminoryetmeaningfuleventsineverydaylife.Often,thesecharactersareonthebrinkofdiscoveringsomething,suchasloss,shame,failure,ordeath.第11頁/共75頁

Thesestoriescontainnomelodramaticconflict;instead,theypresentthosequietmomentsinthecharacters’liveswhentheycometoasuddenrealizationofthemeaningoftheirexistence(an

epiphany).

第12頁/共75頁InDubliners,JamesJoycemadeuseofepiphanytoshowthecomplexemotion.Attheendofthestories,theheroessuddenlyunderstoodtheirpredicament,andthenrealizedtheessenceoflife.第13頁/共75頁APortraitoftheArtistasaYoungMan(1916)Highlyautobiographicalsecondphrase—“tocometotermswiththemeaningofhisowndevelopmentasamandedicatedtowriting”firstdraftStephenHero(1944)—almostburnedit1911presentingtherelationbetweentheartistandsocietyinthemodernworldHighlymodernist:stream-of-consciousness,confluenceofnaturalismandsymbolism第14頁/共75頁“Itis‘a(chǎn)’portrait,oneofmanythatcouldhavebeenpainted:thenovelfocusesuponthegrowthoftheprotagonist’smind,pursuinginalabyrinthinebutprogressivemannerhisquestfortheliberatedconditionoftheincipientartist.Also,sinceStephenistobecomean‘a(chǎn)rtist’itismandatorythathistalebetoldpictorially,thatthereaderperceivethewholenessofJoyce’svision.”第15頁/共75頁ImportanceofAPortraitTheModernistbildungsroman(novelofeducation)andkunstlerroman(novelofthemakingofanartist)LiberatingstyleandthemesTheanguishandexhilarationofgainingpoweroverlanguageDevelopsthroughstyleasmuchasthroughplot第16頁/共75頁Ulysses(1922)ThegreatmodernistepicMythicmethod:thepastandthepresentExtendsJoyce’sexperimentswithstyletotheextreme:stylebecomestheplot“Withme,thethoughtisalwayssimple”“IhavediscoveredthatIcandoanythingwithlanguageIwant”第17頁/共75頁第18頁/共75頁第19頁/共75頁

Ittakesplaceinasingleday,16June1904(Bloomsday).Joycefirstthoughtoftheideain1906asastoryforDubliners.—became

thesequeltoStephenHero

Joyceincludedhundredsofpuzzlesthatcanonlybeunderstoodbyverycarefulreconstructionofexactlywhateachcharacteristhinkinganddoing.

Bannedafteritspublication--1933/12/6JudgeWoolseyliftedthebanintheUS第20頁/共75頁Maincharacters:LeopoldandMollyBloom,andStephenDedalus--correspondtoHomer'sOdysseus(akaUlysses),Penelope,andTelemachusEachofthe18chapterscorrespondstooneofOdysseus's(orTelemachus's)adventures.Eachchapteriswritteninadifferentstyle,withsymbolismappropriatetothecorrespondingadventure.

第21頁/共75頁1.LeopoldBloom(modernUlysses),middle-agedIrishJew,abusinessman,heisan“Everyman”,symbolicofuniversalhumanexperience.2.MollyBloom,Leopold’sunfaithfulwife,representstheearthyforcesoflifeandreproduction.3.StephenDedalus,adedicatedwriterlikeJoyce.

第22頁/共75頁FinnegansWake(1939)Composedfrom1922to1939“WorkinProgress”(onlyNoraknewthetitle)Anunclassifiablework:Dream?Scripture?Joke?Philosophyoflanguage?Myth?TheDreamofEverymanandEverywoman,inEverylanguage第23頁/共75頁Composedfrom1922to1939“WorkinProgress”(onlyNoraknewthetitle)Anunclassifiablework:Dream?Scripture?Joke?Philosophyoflanguage?Myth?TheDreamofEverymanandEverywoman,inEverylanguage第24頁/共75頁JoyceandtheCreation第25頁/共75頁Araby第26頁/共75頁第27頁/共75頁

"Araby''isoneoffifteenshortstoriesthattogethermakeupJamesJoyce'scollection,Dubliners.Itisthelaststoryofthefirstset,andistoldfromtheperspectiveofaboyjustonthevergeofadolescence.ThestorytakesitstitlefromarealfestivalwhichcametoDublinin1894whenJoycewastwelveyearsold.

第28頁/共75頁Arabyisastoryaboutaboywhowantstobuysomethingfortheangelinhisheart.Helooksforwardtothecomingofthebazaar.Unfortunatelyhemissesthetimeforlackofmoney.Hestandsinthehallfacingthebrilliantly-lightwhenhesuddenlyrealizeshehimselfisonlyapitifulcreature.第29頁/共75頁

NorthRichmondStreet,beingblind,wasaquietstreetexceptatthehourwhentheChristianBrother’sSchoolsettheboysfree.

ARABY第30頁/共75頁

Anuninhabitedhouseoftwostoriesstoodattheblindend,detachedfromitsneighborsinasquaregroundTheuninhabitedhouse第31頁/共75頁

Theotherhousesofthestreet,consciousofdecentliveswithinthem,gazedatoneanotherwithbrownimperturbablefaces.第32頁/共75頁

Theformertenantofourhouse,apriest,haddiedinthebackdrawing-room.第33頁/共75頁Air,mustyfromhavingbeenlongenclosed,hunginalltherooms,andthewasteroombehindthekitchenwaslitteredwitholduselesspapers.house第34頁/共75頁AmongtheseIfoundafewpaper-coveredbooks:TheAbbot,byWalterScott,TheDevoutCommunicantandTheMemoirsofVidocq.Ilikethelastbestbecauseitsleaveswereyellow.第35頁/共75頁Thewildgardenbehindthehousecontainedacentralapple—treeandafewstragglingbushes.THEGARDEN第36頁/共75頁

Hehadbeenaverycharitablepriest;inhiswillhehadleftallhismoneytoinstitutionsandthefurnitureofhishousetohissister.第37頁/共75頁Whentheshortdaysofwintercameduskfellbeforewehadwelleatenourdinner.Whenwemetinthestreetthehouseshadgrownsombre.Thespaceofskyaboveuswasthecolorofeverchangingviolet.第38頁/共75頁Thecoldairstungusandweplayedtillourbodiesglowed.Ourshoutsechoedinthesilentstreet.Thecareerofourplaybroughtusthroughthedarkmuddylanesbehindthehouseswhereweranthegantletoftheroughtribesfromthecottages.第39頁/共75頁Tothebackdoorsofthedarkdrippinggardenswhereodorsarosefromtheashpits,tothedarkodorousstableswhereacoachmansmoothedandcombedthehorseorshookmusicfromthebuckledharness第40頁/共75頁Whenwereturnedtothestreetlightfromthekitchenwindowshadfilledtheareas.Ifmyunclewasseenturningthecornerwehidintheshadowuntilwehadseenhimsafelyhoused.第41頁/共75頁OrifMangan’ssistercameoutonthedoorsteptocallherbrotherintohisteawewatchherfromourshadowpeerupanddownthestreet.第42頁/共75頁Shewaswaitingforus,herfiguredefinedbythelightfromthehalf-openeddoor.Istoodbytherailingslookingather.Herdressswungasshemovedherbodyandthesoftropeofherhairtossedfromsidetoside第43頁/共75頁

1.

Thesetting&thelanguage

Question:Whatkindofenvironmenttheboyisin?第44頁/共75頁

2.Thecharacters

&thelanguage

Inthenextthreeparagraphs,wegettoseethattheboysecretlylovesanoldergirlwhoisMangan'ssister.

Howdoeshedescribehisfeelingsforher?

PaycloseattentiontohowMangan'ssisterispresentedinthethirdandthetenthparagraphs.

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JoyceusednodescriptivelanguagetoexpresshisadorationtoMangan’ssisterOnlynarratedsomeactionsoftheboyFromthesesimplewords,wenotonlycanunderstandtheboy’smentalandtrue-life,butalsocanrealizethewriter’ssympathytothispoorboy.第47頁/共75頁

3.Theplot

Whendoesthemainactionofthestorystart?

Howdoesitchangethenarrator-boy?

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4.ThetriptoAraby(thebazaar)

Howisthebazaarpresentedattheendofthestory(e.g.thedialoguebetweenthewomanandmen,theimageofdarkness)?

Whatdoesthisdescription,again,tellusabouttheboy'sworld?Examinetherolemoneyplaysinthetriptothebazaar(paragraph25and32).第49頁/共75頁IheldaflorintightlyinmyhandasIstrodedownBuckinghamStreet

towardsthestation.第50頁/共75頁

Thesightofthestreetsthrongedwithbuyersandtheglaringwithgasrecalledtomethepurposeofmyjourney.

第51頁/共75頁

Itookmyseatinathird-classcarriageofadesertedtrain.Afteranintolerabledelaythetrainmovedslowly第52頁/共75頁Itcreptonwardamongruinoushousesandoverthetwinklingrivers.第53頁/共75頁

AtWestlandRowStationacrowdofpeoplepressedtothecarriagedoors,buttheportersmovedthemback.第54頁/共75頁

Inafewminutesthetraindrewupbesideanimprovisedwoodenplatform第55頁/共75頁Ipassedoutontotheroadandsawbythelighteddialofaclockthatitwastenminutestoten

第56頁/共75頁Icouldnotfindanysixpennyentranceand,fearingthatthebazaarwouldbeclosed.第57頁/共75頁Ipassedinquicklythroughaturnstile.第58頁/共75頁

Handingashillingtoaweary-lookingman.

第59頁/共75頁Nearlyallthestallswereclosedandthegreaterpartofthehallwereindarkness.第60頁/共75頁Irecognizedasilence

第61頁/共75頁Afewpeopleweregatheredaboutthestallswhichwerestillopen第62頁/共75頁

Beforeacurtain,overwhichthewordscaféchantantwerewrittenincoloredlamps

第63頁/共75頁Twomanwerecountingmoneyonasalver,Ilistenedtothefallofthecoins.第64頁/共75頁--O,Ineversaidsuchathing!

--O,butyoudid!

--O,butIdidn’t!

--Didn’tshesaythat?

--Yes,Iheardher.

--O,there’sa…fib!Standingthere,theyoungboysawayoungladywasflirtingwithtwoyoungmen.Thisisveryimportanttothechangeoftheboy’srealization.第65頁/共75頁

Iturnedawayslowlyandwalkeddownthemiddleofthebazaar.Iallowedthetwopenniestofallagainstthesixpenceinmypocket.Iheardavoicecallfromoneendofthegallerythatthelightwasout.Theupperpartofthehallwasnowcompletelydark.第66頁/共75頁

GazingupintothedarknessIsawmyselfasacreaturedrivenandderidedbyvanity；andmyeyesburnedwithanguishandanger.Beforenow,healwayshadadreamthathewouldgototheArabyandbuyapresentforhislovedgirl,buttherealitybrokehimupagain.Hefeltsopuzzled.Atthesametime,wecanseethroughhiseyesthathewokehisspiritupandknewclearlyhisfoolishbehavior.第67頁/共75頁

5.Theme

Whatdoyoumakeoftheending?

Thestoryisaninitiationstory,meaningthattheboyexperiencedgrowth,orariteofpassage,fromonestageofhislife(e.g.childhood)toanother(youngadulthood).

Whatdoyouthinktheboyhaslearned?

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theboy'soutlookisseverelylimited.Heisignorantandthereforeinnocent.Lonely,imaginative,andisolated,helackstheunderstandingnecessaryforevaluationandperspective.Heisatfirstasblindashisworld,butJoycepreparesusforhiseventualperceptiveawakeningbytemperinghisblindnesswithanunconsciousrejectionofthespiritualstagnationofhisworld.第69頁/共75頁

Thelittlebo