威廉福克纳概述.ppt

William Faulkner,The literature status,One of the most influential writers in the history of American literature The representative figure of stream of consciousness literature in the United States One of the greatest American writers of Southern literature,Awards,Nobel Prize Because he made powerful and artistically unique contribution in contemporary American fiction,1897年9月25日1962年7月6日，美国小说家、诗人和剧作家，为美国文学历史上最具影响力的作家之一，意识流文学(stream of consciousness)在美国的代表人物。在其40多年的创作生涯中，他写作了19部长篇小说、125篇短篇小说、20部电影剧本、一部戏剧，约克纳帕塔法系列小说是其中的代表。1949年，他因为“对当代美国小说做出了强有力的和艺术上无与伦比的贡献”而获得诺贝尔文学奖。,brief introduction,學渣和啃老,他的工作换了一个又一个，却永远找不到自己的安身立命之地,在家庭的影响下福克纳逐渐远离集体活动，甚至逃学,到了五年级时，他的成绩开始滑坡，尽管在同学之中还算不错。身材矮小的福克纳与同学们不大合得来，六年级以后经常旷课，时不时往亲戚家跑。,19岁的福克纳第二次参加了十一年级的升学考试，遭到失败。祖父为他在银行谋得一份工作，但他并不专心,作为密西西比大学的特殊学员，福克纳吊儿郎当的做派引起同学们的攻击，他们送了他一个绰号“不顶事伯爵”。,1920年11月，福克纳选择离开学校。他开始酗酒，还经常出没酒吧和妓院，他仍然靠着父母和朋友接济过生活,Major Works,The Sound and the Fury 喧哗与躁动,Received favorable opinions,As I Lay Dying 我的弥留之际,Sanctuary 圣殿,Light in August 八月之光,Vision in Spring 春景,1950年11月，福克纳在与阿尔贝加缪、弗朗索瓦莫里亚克、鲍里斯帕斯捷尔纳克、约翰斯坦贝克、欧内斯特海明威的角逐中获得了当年的诺贝尔文学奖。他一开始在电话中声称不去参加典礼，并拒绝了采访。不过，后来还是被说服。他面带病容出现在颁奖礼上，以浓重的南方口音快速读完了预先写好的演讲词。这是诺贝尔文学奖历史上最著名的的演说之一，福克纳预言，“人类不但会生存下去，他们还能蓬勃发展”。他反击了评论界视他的作品为色情、怪异的指责，其声望随之达到了顶峰。随后他去了巴黎，同让-保罗萨特、西蒙娜德波伏娃和加缪会面，又短暂游历了伦敦、爱尔兰。,意,意识流文学泛指注重描绘人物意识流动状态的文学作品，既包括清醒的意识，更包括无意识、梦幻意识和语言前意识。“意识流”一词是心理学词汇，是美国机能主义心理学家先驱詹姆斯创造出意识流（stream of consciousness）这个词，用来表示意识的流动特性：个体的经验意识是一个统一的整体，但是意识的内容是不断变化的从来不会静止不动。意识流文学的概念是在1918年梅辛克莱评论英国陶罗赛瑞恰生的小说旅程时引入文学界的。,流,识,代表人物,马塞尔普鲁斯特,追忆似水年华,伍尔芙,语言风格 福克纳使用的句法往往是奇特而扭曲的， 这些句子看起来过于繁复，一个接一个的出现，同位关系很模糊，甚至没有。插句里面常常套着插句，使人困惑，这些曲折流动的句子使得读者沉浸于他所创造的世界之中。 大量抽象的词汇在其作品中往往反复出现。 这些词汇的堆砌使他写出的句子常常被批评为累赘，表示特征或抽象定义式的语言往往发展成比喻， 比如在“天刚亮，白昼来临，在那阴郁寂寞的间歇里充满了鸟儿们宁静而暂时的活跃”之后紧接上一个比喻：“吸入的空气，有如清泉”。,福克纳诺贝尔奖致辞(William Faulkner: Nobel Prize Acceptance Speech,I feel that this award was not made to me as a man, but to my work -a lifes work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand where I am standing.,我觉得，诺贝尔文学奖并不是授给我个人的，而是授给我的创作我的既不为虚名，也不为厚利，而是以人类精神为素材，为了创造出未曾有过的事物，经历了心灵的煎熬和劳苦的创作。所以，这个奖只是一时托我保管罢了。至于这笔奖金，要把它运用得与本奖设置的原旨和意义相符合，并不是难事。我也想把这份荣誉以同样方式加以使用。我要利用这个演说的机会，向一切已经献身于同样心灵的煎熬与劳苦，而且有朝一日必有可能会站在我现在站着的地方的青年男女，说几句话。,Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.,我认为，今天人类的悲剧，在环宇四处的究竟已布满了肉体的恐惧，而这种恐惧持续已久，以致使我们麻木不仁，习以为常。今天，我们所谓的心灵上的问题已不复存在，剩下只有一个疑问：我们何时会被战争毁灭？因此，当今从事文学的男女青年已把人类内心冲突的问题遗忘了。然而，惟有这颗自我挣扎和内心冲突的心，才能产生杰出的作品，因为只有这种冲突才值得我们去写，才值得为之痛苦和触动。,He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.,一个有志于文学创作的青年，应当从头学习去认识和描写人类心灵的挣扎与劳苦，他应当这样告诫自己：永远忘却恐惧。充实地致力于创作的心灵的只应是人类亘古至今一直存在的真实感情、真理、自豪、爱情和牺牲精神。没有这古老而永恒的东西，任何作品都将是昙花一现，瞬息即逝。一个文学青年，在懂得这些之前的所有创作，都将是徒劳的，他所描写的不是爱情而是肉欲，他所记述的失败里不会有人失去任何有价值的东西，他所描绘的胜利中也没有希望，更没有同情和怜悯。他的悲哀，缺乏普遍的基础，留不下丝毫伤痕。他所描述的不是人类的心灵，而是人类的内分泌物。,Until he learns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poets, the writers duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poets voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.,上述种种，除非他铭记心中，否则，一个文学青年就仿佛置身于末日之中，为等候末日来临而写作。我拒绝接受人类末日的说法，因为人是不朽的，他的延续是永远不断的即使当那末日的丧钟敲响，并从那最后的夕阳将坠的岩石上逐渐消失之时，世界上还会留下一种声音，即人类那种微弱的却永不衰竭的声音，在绵绵不绝。我不同意这种说法，我深信人类不但会苟且地生存下去，他们还能蓬勃发展。人的不朽，不只是因为他在万物中是惟一具有永不衰竭的声音，而因为是他有灵魂有使人类能够同情、能够牺牲、能够忍耐的灵魂。诗人和作家的责任，就在于写出这能同情、牺牲、忍耐的灵魂。诗人和作家的荣耀，就在于振奋人心，鼓舞人的勇气、荣誉、希望、尊严、同情、怜悯和牺牲精神，这正是人类往昔的荣耀，也是使人类永垂不朽的根源。诗人的声音不应仅仅是人为的记录，而应该成为帮助人类永垂不朽的支柱和栋梁。,Thank you !,