第一篇：雷蒙德卡佛短篇小說主題和藝術初探論文

1引言

雷蒙德·卡佛(Raymond Carver 1938一1988)是美國當代著名的短篇小說家、詩人。他以簡潔平實的敘述語言，客觀冷靜的敘述方式，被稱為“極簡主義之父”，曾為美國七八十年代短篇小說的復興做出了巨大貢獻。一直以來，學術界關于雷蒙德·卡佛的研究重點大多放在其寫作風格的相關研究上，少有較為系統的小說主題研究和藝術特征研究。本論文以他的短篇小說為研究對象，結合他的傳記、采訪等相關文獻，通過文本細讀的方式、運用相關小說理論，將文本研究與理論探索相結合，展示出卡佛短篇小說所具有的獨特文學特質及意義。

出生并常年生活在底層社會的卡佛，敢于直面現實的艱辛與無奈，他通過小說向讀者展示出了真實的美國底層社會的生存現實。在他的筆下，物質的匱乏、經濟的困頓使人們處于艱難的生存條件中，而兩性關系的失衡則加劇了他們生存的困境;由此直接或間接導致人們感到精神的苦痛，使他們感受到威脅的同時，產生了焦慮的情緒，從而陷入了精神的困境當中。

另一方面，當代社會中人類處于被“物化”的危機之中，人與人之間缺乏必要的交流，也難以建立長久而有效的正常溝通。無論是愛人間、家人間或是在其他人際關系中，人們都逐漸喪失自我表達和彼此交流的能力，使得人際關系逐漸惡化，由此走入了交流的困境。但卡佛的小說不僅僅是直面和指出現實的殘酷及無奈，也不只是深刻展現人際交流間的異化狀況，他還對這種絕望而疏離的現實生活進行了深入思考，給當下生活以積極的啟示作用。卡佛短篇小說創作的風格以“極簡主義”而聞名，然而他所運用的種種“極簡”手法，表現出來的卻是更加豐富充實的藝術內涵。

空缺和省略，以及重復敘述的使用，使小說呈現出多義性，留給讀者更多的思考空間;限制型敘事視角的使用，尤其是卡佛小說中常用的攝影機式視角和第三人稱人物有限視角，使得小說形成了一個可供閱讀者自行解讀和闡釋的空間，為文本帶來更為深刻的真實感的同時，還能深入作品揭示作品的主題;卡佛小說的對話，對故事的發展和人物的塑造都有很大作用，那些看似簡潔直白或日常平淡的對話，實際都蘊含著豐富而深刻的意義。

2卡佛短篇小說的主題

一部文學作品的主題是它的中心觀念或支配性觀念，它既是作家謀篇布局的根本依據，也是作品的靈魂所在。對于卡佛的作品來說，“極簡”并不意味著要消泯意義，盡管卡佛的創作風格極其簡約，但其小說主題卻深具現實性，盡顯當代美國社會中的人生百態。20世紀六七十年代，“后現代主義”盛行于美國文壇，但這類小說通常脫離現實生活，注重表現技巧，創作風格趨于繁復和怪誕。在這樣的背景下，以貼近現實生活的“極簡主義”為創作風格的新一代作家逐漸展露鋒芒，他們常描繪一些生活在中下層階級的，時常陷入某種困境當中的人物。如出生于偏遠小鎮的女作家鮑比·安·梅森，就時常描寫生活在鄉村或小鎮中的人物;來自中層階級的女作家安·貝蒂，則擅長表現城郊人民和中層階級美國人的現實生活。被稱為“極簡主義之父”的卡佛，通讀他的作品后，我們會發現他用文字向人們展示了一幅生動的美國底層社會生存現實的畫卷。

在他的筆下，權貴、商人和上流社會都難覓蹤影，而經歷著失業、酗酒、離婚等麻煩狀況的貧窮藍領一族才是主人公。卡佛之所以會將關注點聚焦在這類人身上，與他的個人經歷有著密不可分的關系。自幼出生在貧窮的藍領之家，幾十年的底層生活經歷，讓作家對藍領工人們的生存狀態有著最深的了解和最真的感受。“工人階級，或說是中低下產階級。

后來變成己經不再是‘中低下’級，而成了美國生活里最絕望也最龐大的下層土壤。這些人無法完成他們經濟與道德上的義務和職責。就在他們中間，我生活了很長一段時間。”如同當時美國藍領一族的“代言人”般，卡佛用他簡約而有張力的文字，客觀而持有冷靜的態度，描繪出了這些迷失生活方向，喪失自我與信念，空虛而平庸，麻木而冷酷的人們真實的生存現狀。但也正是因為卡佛將關注點放在底層民眾的現實生活，不少人物及故事在現實生活中都能找到原型，因此，當時不少評論家將他的小說視為“現實主義”，甚至有的還認為他的小說過于反應社會陰暗面，包含了某些政治因素，有丑化美國的嫌疑，這種將藝術表現形式與政治因素相聯系的說法，遭到了卡佛的強烈否認，他曾多次表示他的小說描寫的是一種“生存狀態”，沒有任何既定的其他意圖。

3結論

1981年卡佛的“極簡主義”代表作《當我們談論愛情時我們在談論什么》出版后，迅速引起了文壇的關注，也引發了評論家和讀者們的紛紛議論。一些評論都認為這種文風過于“貧乏”和“吝音”，甚至批評卡佛的“極簡主義”空洞刻板，千篇一律，沒有個性。他們賦予“極簡”以貶義，認為這類作品形式簡單而缺乏內涵。但事實并非如此。卡佛的“極簡主義”手法極富個性，而他的作品在“極簡”的表面下也蘊含著深刻的主題和豐富的內涵。受契訶夫創作理念的影響，卡佛擅長觀察日常生活中的瑣碎事物，并對其作出準確的描述，因此他被稱為“尋常事物的鑒賞家”。卡佛從平民的日常生活出發，最大限度地還原了生活的本貌。他塑造出一個個貧窮困頓，迷茫麻木的小人物，并通過對這些人物形象揭示出平民生活的真實樣態，挖掘出蘊含在日常生活中的生存本質。

這些小人物，在殘酷的現實生活面前，因為失業、酗酒、外遇、離婚等狀況，陷入了生存和精神的雙重困境當中，想要努力做出改變卻無能為力，只能焦慮而絕望地掙扎。他們渴望與人真心交流以改變現狀，卻悲哀地發現，在現實社會中人們無論關系親疏都難以建立長久而有效的正常溝通。人們逐漸喪失了自我表達和彼此交流的能力，只能自我封閉，更加孤獨。但作家并沒有只停留在反映社會的消極陰暗面上。他筆下的小人物們雖然經歷著現實的殘酷與社會的冷漠，但仍然積極地尋找出路，嘗試真誠的交流。作家和他筆下的人物都有直面生活的勇氣，并堅信活著就有希望。可以說，他的小說滲透著作家對人性的關懷和對生存意義的探討。

在《論寫作》中卡佛曾說:“作家不需要靠耍花招和賣弄技巧……作家要有面對簡單的事物，驚訝的張口結舌的資質。” “極簡”的寫作風格和不喜歡在寫作中“耍花招”的創作想法，不但沒有使卡佛的短篇小說黯淡失色，反而使他的作品呈現出豐富的內涵和獨特的藝術特質。

第二篇：英文文學評論,雷蒙德卡佛《大教堂》

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Jing C*** Professor Stephanie Denny English 1102 26 September 2015

Isolation and Reunion The novel “Cathedral” was written by American Minimalistwriter and poet Raymond Carver in 1982.After a thorough analysis of “Cathedral”, one can understand the fictional construction of its charactersandcomprehend the purpose of the theme presentedin this novel.Throughout the conflict between the narrator “I”, his wife and the blind man, Carver shows the significance of “Cathedral”, which symbolizes love, hope and redemption.In the opening of the story, Carver highlights the main characters common bond of solitude.Although they share that similarity, they are all very different.Initially, Narrator “I” hadan active relationship with his wife, but as time passed he became more and more isolated, apatheticand lonesome.Carver usesunreliable first person characterthe “I” totalkabout his wife’s past in regards toher mental activity.Itmeans they had always maintained a great line of communication with each other;his wifealways opened up to him about herself.Carver never explains how the couple began to separate and become indifferent with one another.It may have been the stress of his job, or the dullness of his life altogether, butthe “I” began to isolate himself from his wife and everyone else.He was did not have a social life or friends for that matter;something that was discovered during a conversation between he and his wife.Instead, the“I” would comfort himself by indulging in alcohol, cigarettes, marijuana and TV shows.The culture of television is also an important part of Carver’s works “Simmons argues that television's presence in Carver's stories signals two things:

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a moral vacuity and historical superficiality in the lives of characters attributable in part to television's evisceration of historical “depth” in their lives”(Mullen 52).It was during this time thata poor blind man chosethe “perfect” time to visit an old friend, the “I’s” wife.During the blind man’s visit, the narrator andhost“I” become defensive and display resentment against the friendship between his wife and the blind man because the blind touched his wife 10 years ago, “She told me he touched his fingers to every part of her face, her nose---even her neck!She never forgot it”(104).Although the blind man has never occupy her, the “I” still feels very mind of this old friend of her because “the sense of touch is more intrinsic than vision”(Armour 145), furthermore, they kept touch in the past ten years.So when the blind man arrives at his house, all readers can smells narrator’s antipathy, “This blind man, feature this, he was wearing a full beard!A beard on a blind man!Too much, I say”(106).Start from here, the conflict is set at the beginning of the story.The second character in this story is the narrator’s wife.She considered suicide in her first marriage and now she’s suffering another lonely marriage due to lack communications with her husband.Carver showcases her current badmarriage through contrast it with her friendship with blind man.“Over the years, she put all kinds of stuff on tapes and sent the tapes off lickety-split…She and I began going out, and of course she told her blind man about it.She told him everything”(105).Carver doesn’t give any clear and direct reasoningto explain why this couple’s relationship is crumbling, buthe writes, “Once she asked me if I’d like to hear the latest tape from the blind man…I said okay… We were interrupted, a knock at the door, and we didn’t ever get back to the tape.I’d heard all I wanted to”(105).From here, readers should know the answer, the “I” doesn’t care about her and her tapes and he doesn’t care for the blind man as well.Therefore, the blind’s visit sharpens the conflictsof the story.Chuai 3

The third character, as well as the key character of “Cathedral” is the blind man.He isalso isolated, but dissimilar from the narrator who is self-isolating and his wife who is isolated by her husband.The Blind man is isolated by the social discrimination and biases.“He was no one I knew…My idea of blind man came from the movies.In the movies, the blind moved slowly and never laughed…A blind man in my house was not something I looked forward to”(104);“…Beulah and the blind man had themselves a church wedding…just the two of them, plus the minister and the minister’s wife”(106).Unfortunately, this blind man visits this inhospitable host, and without a doubt, the narrator is very impolite to him.In response to the “I’s” hostility, theblindman demonstrates his tolerance as well as intelligence.When the “I” sneers at him with the sites of the Hudson River sight viewing boat, he changes the topic tactfully to his “distinguishedbeard(107)”.When the “I” talks about the changing the TV channel, the blind replies, “Whatever you want to watch is okay…Learning never ends… I got ears”(110).The blind man also doesn’t refusemarijuana when offered a smoke from the “I”.He simply replies, “There’s a first time for everything”(109).Thus it can be understood that all responses from the blind man are very friendly and open-minded.No matter how cruel his life, and no matter how poorly people have treated him, the blind man always remains positive and optimistic.Carver gives blind man a character that is completely accepting of reality, which is the opposite ofthe “I”.The conflict is sharpened by the contrast between the two different characters---the insightful blind man and isolated normal vision the “I”.Finally, when the story reachesthe climax, Carver shows the readers his finalredemption---Cathedral.What is the cathedral symbolize in this story?First it represents the life, “If somebody says cathedral to you, do you have any notion what they’re talking about”, “I know they took hundreds of workers fifty to hundred years to build…they never lived to see the completion of

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their work.In that wise, bub, they’re no different from the rest of us, right?”(111).Secondly, the cathedral represents faith, which was once heldby people but is now lost.“In those olden days, when they built cathedrals, men wanted to be close to God…God was an important part of life…I don’t believe in it, in any thing”(111).Lastly, the cathedral also represents the hope and love in blind man’s faith.Church is mentioned twice in this story, once at blind man’s wedding, and again during the TV show.Although the blind man can’t see the building of cathedral, he already knows the meaning of it.The cathedralrepresents the most essential regression of human interaction.The blind man wants to enticethe narrator with it, showing the“I” how amazing the cathedral looks like in his mind: as happiness, love and hope.At the close of the story, “I” finds his perfect cathedral in his mind with his eyes closed.“His concerns are the relationship between sight and insight, the mind’s eye and the theme of blindness, the disjunction between the eye of the artist and the production of the artist’s hand.The works, all of which appear in the text, are of several varieties: depiction of blindness, relation of blindindividuals to their environment, blindness cured, blindness that brings insight, the self-portrait and self-portrait series and its diachronic relationship to landscape portraiture.”(Forman)Carver’s story represents a minimalistic-style novel.Carver hopes this story can help every confused and isolated personfind hope, love and begin to reestablish healthy forms of communication.He realizesmany peopleisolate themselves from crowds, such as the narrator.Carver gives the solution of how to return each isolated individualback to the world: hope,while finding the homeland of the soul, which is the cathedral.Works Cited

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Raymond, Carver.“Cathedral.” Literature: An Introduction to Fiction, Poetry, Drama and Writing.Ed.X.J Kennedy and Dana Gioia.8th Compact Ed.New York: Pearson, 2016.415-16.Print.Mullen, Bill.“A Subtle Spectacle: Televisual Culture inthe Short Stories of Raymond Carver.” Critique 39.2(1998): 99.Academic Search Complete.Web.21 Sept.2015.Armour, Leslie.“Paper Machine/On Touching--Jean-Luc Nancy.” Library Journal 130.14(2005): 145-146.Literary Reference Center.Web.21 Sept.2015.Forman, Robert J.“Memoirs ofthe Blind.” Magill’S Literary Annual 1995(1995): 1-3.Literary Reference Center.Web.21 Sept.2015.

第三篇：雷蒙德卡佛短篇小說研究論文

1引言

雷蒙德·卡佛是美國二十世紀八十年代短篇小說復興的主將，他擅以簡約文風描繪后工業時代美國中下層階級的凡庸生活，被譽為“美國中產階級的契訶夫”。卡佛擅于從小人物的日常瑣事中透視人性的悖謬、命運的無常和“存在”的冷峻。他是一位以“他者鏡像”寫自我迷失，以失敗人生對比美好理想，以沉默和含混暗示情感之綿延及“存在”之無限的作家。

本文在探索雷蒙德.卡佛短篇小說人物精神特質的基礎上，辨析其短篇小說的獨特藝術魅力。卡佛筆下“自我迷失者”的形象，分析卡佛短篇小說中主體與他者之間的鏡像關系，并揭示其文本內部的欲望機制;第二章側重分析卡佛筆下的“夢想失落者”的精神質地，解讀卡佛筆下小人物們面對生存困境時的自我救贖之道;

透視美國后現代社會的人際冷漠和交流障礙的內在原因，并在此基礎上解析卡佛小說中的作者-讀者的合作關系。本文注重在文本細讀的基礎上使卡佛與其他短篇大師的藝術特質構成比較關系，將其小說藝術的美學辨析建立在美國文學傳統和世界短篇小說傳統的基礎上;在探索小說主題的同時貫穿敘事技巧的分析，避免形式與內容的二元割裂;立足于現實語境談論卡佛短篇研究的意義。

2自我的迷失

“追尋自我”一直是美國文學的重要母題。從杰克·倫敦筆下的馬丁·伊登到海明威筆下的尼克，從馬克。吐溫筆下的湯姆和哈克貝利到凱魯亞克筆下的迪安和薩姆，硬漢和牛仔們延續著美國民族精神中自我意志的神話。然而，這僅僅是美國文學關于“主體性”的一種正面書寫，其反面是菲茨杰拉德、安德森.舍伍德等人有關“自我迷失”文學主題的創作。進入二十世紀后半葉，當全球化的進程逐步展開，處于動蕩不安后現代轉型期的美國資本主義社會，個體自我身份的迷失以及因此引發的焦慮成為新型的時代精神癥候，“主體與他者”的關系問題也得到了重新審視和梳理。

這一時期的主客體關系己經不再聚焦于一味高扮主體性的笛卡爾式的“我思”之上了。尼采的“上帝已死”在后現代思想家那里演變為“主體已死”的“去/無中心化”哲學，“他者”問題被提到了前所未有的重要位置:福柯以知識考古學揭露了主體和理性的虛構性，通過對瘋癲的分析為“沉默的他者”平反昭雪;拉康的鏡像理論揭示了大/小他者對主體的篡位;德里達拆毀了結構主義者的同一性幻想，在解構思維中確立他者的絕對差異性。

有關“自我迷失”的文學母題在這一時期也發生了擅變。作家筆下主體與他者的關系裹挾在上述思潮之中，呈現出新的面貌。作為美國后工業社會底層生活的見證人，卡佛的短篇小說創作也不免受到時代思潮和精神氛圍的影響。

卡佛筆下的自我迷失者不再是菲茨杰拉德筆下蓋茨比式的人物，在愛情的夢想中徹底喪失了自我;也不是舍伍德·安德森筆下的小鎮畸人，執拗地封閉著為精神創傷所扭曲的自我。卡佛筆下的小人物是一群掙扎在充滿不確定性生活中的底層大眾，他們的主體性或迷失于他者鏡像的欲望迷宮之中，或為“強勢他者”所篡奪。

失落的夢想與世俗化慰藉第一節卡佛短篇小說中的夢想失落者約翰·史密斯(Captain John Smith)在1616年出版的《新英格蘭概述》中將美國描寫成一塊物產富饒的新大陸，那里沒有歐洲日大陸的歷史重負，也沒有其復雜的階級關系:“人人，或者大部分人，在很短的時間里，都可以成為自己的勞動和土地的主人與所有者。這種對美國天然優越性的看法后來逐漸演變成有關“美國夢”的國家神話:這片“應許之地”充滿了各種可能性，每個人只要通過不懈的奮斗和經營，就可能獲得自由、平等、獨立和富足的幸福生活。

“美國夢”是一種有關民族國家烏托邦的自我想象，它根植在美國人的意識深處，也是美國文學幾百年來不變的主題之一。但是，作家們有關“美國夢”的書寫卻不純粹是正面稱頌式的。事實上，對“美國夢”的虛幻性與腐蝕性，美國式盲目樂觀主義的揭露、反思和批判一直以來也都是美國作家們的重要使命。如果說馬克·吐溫筆下的哈克貝利·費恩以及海明威筆下的桑提亞哥代表了美國精神外拓式的、征服性的陽性力量;那么菲茨杰拉德筆下爵士時代紅男綠女們浮華而空虛的人生，契佛筆下綠茵山鎮死水微瀾的中產階級家庭生活，則反映出“夢想”與“現實”之間的差距，代表了美國文學內向式的、反思性的陰性力量。20世紀，在經歷了資本主義世界經濟危機、大蕭條時代以及兩次世界大戰之后，美國傳統中樂觀自信的精神逐漸消散。

3沉默的言說

第一節卡佛短篇小說中的沉默者阿瑟M.薩爾茨曼在《理解雷蒙德·卡佛》一書中援引威廉·卡洛兒·威廉斯《裴特森》中的話語來闡釋卡佛筆下小人物們無可名狀的痛苦:“他們的言語消失在被囚禁的交流欲望之中，”確乎如此。卡佛筆下掙扎在破碎生活邊緣的小人物們均有程度不等的溝通障礙癥。當他們的內心世界受到來自生活災難性變化的沖擊時，支離破碎的情感和思緒不斷地積聚，卻無法找到恰當的出口。于是，暴力或沉默便成了他們內心狀態的外在呈現方式。在卡佛的短篇小說中，無論是“沉默”還是“暴力氣都代表了人物內在自我的異化和言說能力的缺席。從某種意義上說，“暴力”亦是另一種形態的“沉默”。它是一種扭曲、外化了的“沉默”，它以物理性的攻擊行為取代了符號性的言說行為。事實上，在卡佛的短篇小說中，直露的暴力宣泄并不多見。

對于卡佛筆下那些飽受生活磨難的底層人來說，“沉默”才是他們面對各種困境時的常態。“沉默”在卡佛短篇小說人物的對話中扮演了至關重要角色。它或者暗示了人物的自我封閉狀態，或者暗示了人物的語言表達障礙。卡佛小說對話中的“沉默”不同于海明威的“儉省”。

海明威短篇小說的人物對話過程盡管出現了大量空白，但對話雙方卻能夠互相理解，反而是讀者被置于理解的盲點中而不得不自行串聯意義的斷片。卡佛短篇小說人物的對話方式實現了對“海明威式對話”的反轉:讀者能夠根據作者的提示，理解文本中人物的處境及其無法言表的內心痛苦。但是，小說中的人物卻陷入了錯愕迷惘之中，既無法理解自身的處境也無法使自己的痛苦為他人所理解。

第四篇：Cathedral Raymond Carver(《大教堂》雷蒙德.卡佛)

Cathedral Raymond Carver

大教堂

雷蒙德．卡佛 文章中英文分析

《大教堂》是他最著名的短篇之一。主人公的妻子多年來與一位盲人朋友保持聯系。一次，盲人朋友終于要來拜訪這對夫婦，妻子興致勃勃，主人公卻非但不激動，反而竭力克制自己毫無理由的敵意和鄙夷。和其他一些故事一樣，主人公對生活這種無所謂和厭棄相混合的態度，始終是個沒有提示的謎題。除了從卡佛自己的生活經歷入手，恐怕很難找到別的解釋。《大教堂》結尾，主人公在閉著眼睛和盲人一起畫畫的過程中，繃緊的神經終于放松下來。不是四兩撥千斤，而是花大量篇幅在天平一端放了過多郁悶之后，在另一端放一茶匙淡淡的歡欣意思意思。然而，這便是雷蒙德·卡佛。

Cathedral Summary “Cathedral” opens with the narrator telling the reader in a conversational tone that a blind friend of his wife's is coming to visit them.The narrator is clearly unhappy about the upcoming visit.He then flashes back to the story of how his wife met the blind man when she worked for him as a reader.At the time, she was engaged to marry an officer in the Air Force.When she tells the blind man goodbye, he asks if he can touch her face.The touch of his fingers on her face is a pivotal moment in her life, something the narrator does not understand.Although his wife has maintained contact with the blind man for ten years, this will be the first time she has seen him since her marriage, subsequent divorce, and remarriage.Robert, the blind man, has just lost his wife and will be traveling to Connecticut to visit with her family.Along the way he will spend the night at the home of the narrator and his wife.His wife tells the narrator that Robert and his wife, Beulah, were inseparable.Themes Alienation and Loneliness Like the characters in many of Carver's works, the main characters experience, or have experienced, alienation and loneliness.The narrator is unhappy in his work, jealous of his wife, and unconnected to other human beings.In addition to not being connected to others himself, he seems to resent his wife's connections to other people as well.When he speaks of the impending visit by the blind man he states, ''I wasn' t enthusiastic about his visit...A blind man in my house was not something I looked forward to.’’ Further, once Robert arrives...The narrator is not an articulate man;consequently, the narration is filled with gaps that the reader must fill in.“Cathedral” Plot Summary The story’s narrator informs the readers that a friend of his wife’s, a man who happens to be blind, is on his way to visit.The narrator is not enthusiastic about the visit because blind people make the narrator uncomfortable, mainly because the narrator has no real experience with the blind.In addition to his uneasiness with the blind, the narrator is uncomfortable with his wife’s relationship with the blind man.The wife and Robert, the blind man, have maintained a close relationship via tape recordings mailed back and forth, and the narrator finds this unsettling.Despite the narrator’s feelings about the visit, Robert shows up, and the three of them dine together, and Robert and the narrator get to know each other.Characters Robert: Robert, the blind man, is a long-time friend of the narrator’s wife.Robert has maintained a close relationship with the narrator’s wife since she worked for him years ago.Since then, they have stayed in touch.Robert works hard to get to know that narrator, too, while he is visiting them, pushing the narrator to talk and interact with him, bringing the narrator out of his shell of closed-off ignorance.The narrator’s wife also seems to have some internal struggle, mainly due to what is divulged about her past.She was married before and suffered from loneliness.She has attempted suicide in the past, and now she is in a difficult marriage once again.Surely, had the story been told from her perspective, the depths of her internal struggle would be brought further to light.At the end of “Cathedral,” the narrator has a life-changing moment, or an epiphany, while trying to tell Robert what a cathedral looks like.The narrator, when first trying to explain what the cathedral looks like, struggles for the words.However, upon Robert’s encouragement, loosens up, and draws the cathedral with Robert, guiding his hand with a pencil onto paper.This is a close personal connection and intimate moment of communication for the narrator, and it impacts him greatly.The narrator is able to connect with Robert, and this is the moment where the narrator can put aside his insecurities and actually interact with someone else.It changes the narrator;he says, “It was like nothing else in my life up to now”(Carver 108).Throughout Cathedral, the boundaries the narrator has placed on his interaction and communication with others are eroded by Robert’s patient persistence in getting to know him.As a result, the narrator confronts his own insecurities and misconceptions, not just about Robert and the blind, but also about his own ability to interact with others.

第五篇：小說語言藝術論文

一、語言的直觀藝術

海明威在創作|過程中，非常善于通過語言文字的直觀性使讀者能夠感受到當時真實的場景。在讀者閱讀任何一篇文章的過程中，最開始映入眼簾的是文字，文字的直觀性很強，記載了作品的全部內容，因此，文字給讀者的震撼力可想而知。直觀的文字不管是心理感受還是視覺感染，表達出來的內涵會更加貼切，更加豐富。比如想要表達一個人非常傷心，不僅可以利用“sad”，而且可以采用“unhap-py”，雖然這兩個詞語的含義相同，但是“unhappy”相對于“sad”而言，不僅可以使人們感染到悲傷的情緒，而且可以使讀者的印象更加深刻，給讀者預留一定的思想空間。比如在《老人與海》中，描寫老人桑提亞哥和年輕黑人掰手腕的情境，海明威主要采用了沒有加任何標點的長句來描寫，中間沒有任何停頓，因此每一位讀者讀后都會產生一種刺激、緊張、恐懼等心理，甚至能體會到掰手腕后的疲憊。這種直觀語言可以更加引起讀者的切身體驗和思考。當然，語言的直觀化并不在于句子的長短，比如在《老人與海》中，海明威利用短句也同樣達到了很好的視覺化效果。在小說中描述到，老人和大馬林魚之間雖然進行了一天一夜的搏斗已經精疲力竭，但老人仍然一次又一次拉它回來，在整個堅持的過程中描寫的簡短精練的句子一方面呈現了老人非常疲憊的狀態，另一方面也為讀者呈現了一種堅持不懈、努力拼搏的情境，增強了讀者的心理、視覺感受。又比如在《白象似的群山》中，為了阻止男青年再說話，姑娘居然連用7個“求求你”，這種語言表達相比任何修飾都更加能夠體現姑娘此時厭煩、忐忑的心理。

二、語言的口語藝術

根據語言發展層面分析，口語在書面語發展之前便已經存在，書面語相比口語而言更加具有規范性、規律性、統一性，很多讀者讀完之后，思想容易被禁錮，慢慢地也會失去閱讀興趣。但是口語的最大特點是直覺性、生動性、活躍性，能夠真實、準確地表達出人們的社會生活感受和內心思想情感，生命力較強，更加能夠刺激人們的大腦語言神經，提高讀者的興奮性。海明威在文學創作過程中非常喜歡運用一些日常用語、街頭俚語、民間俗語等，這些口語化的語言結構更加單純，句子簡短，節奏也非常鮮明，和美國中西部人民口頭語言比較接近，更加能夠引起讀者的共鳴。比如在《殘殺》中，“says，”hesaid，“whatthehell？“”Tohellwiththeclock,”thefirstmansaid，that’sabellofareason.海明威利用了很多俚語、俗語。同時，海明威也喜歡采用一些常用的粗話，在《弗朗西斯麥康伯短暫的幸福生活》中描寫了麥康伯知道妻子偷情后的一段問話，其中麥康伯脫口而出：“你干的好事，真該死。”這句口語非常準確地描述了男主人公的性格，讀者也能夠體會此時男主人公非常暴躁、憤怒的心情，感覺非常貼切。這是書面語不可比擬的獨特優勢。

三、語言的可視化藝術

海明威不是藝術家，也不是哲學家，通過拜讀海明威的作品，并不會感到藝術家們對于藝術生活的無限向往和不切實際的抽象表達，也不會體會到哲學家那樣思考生活，而是通過客觀描寫事物外觀來表達情感的一種藝術體現，不僅可以把讀者和作家的距離拉近，而且可以引起情感的共鳴，產生真實的視覺感受。海明威常常會利用一些可視化語言仔細描寫事物外形，并且提出并不能通過抽象的思辨以及理智客觀描摹事物外觀，只可以憑借自己的直覺，根據自己的感性思考和體會對事物的聲音、顏色、形狀進行描摹，然后將其呈現給讀者，讓讀者自己去探索、感悟、思考。比如《乞力馬扎羅的雪》中，作者以主人公的視角對于自己所觀察到的平原、樹木、大鳥、含羞草、影子等一些事物進行直觀描摹，讓讀者能夠感受到廣袤無垠的草原，展翅翱翔的大鳥，在陽光下投射的影子，使讀者感覺非常真切、直觀。又比如《雨中的貓》中，描寫一段下雨的場景，其中描寫了海水、雨水、棕櫚樹、紀念碑、積水等事物，雨水、海水的動靜結合，各種事物形成了一幅極為豐富、色彩鮮明、生動形象的圖畫。物象的清晰度高，語言可視化程度高，因此在簡樸的語言環境中才蘊含著豐富的物象，令人回味無窮。

四、語言的含蓄藝術

海明威在進行文學創作的過程中，常常會采用可視化、直觀、樸實的語言完整表達出描寫的內容，至于深層次的情感需要讀者自己深入思考、體會，這也是海明威語言藝術魅力獨特之處。海明威可以使有限的文字承載豐富的內涵，通過一些簡約的物象來傳達出自己深厚熾熱的情感，將一些復雜的情感通過更加含蓄婉約的語言形式表達出來。海明威在這些可視化語言中含蓄地融合了自己多年來的生活感悟，讀者在閱讀的時候不僅能體會到作者的心境，而且可以為自己預留一個思考、想象的空間，感受新的體會。比如《第十個印第安人》中，有一個場景描寫了男主人公在知道自己女友已經愛上別人的情況下的傷心情境，文中寫了夜間樹林里的風聲、湖面水聲，進而寫到早上起了更大的風，湖濱已經被漲潮的湖水無情漫過。最后主人公發現自己心碎了。這個場景的描寫后來在電影中得到廣泛應用，主要是為了表達一個失戀者傷心、支離破碎的心情。這個場景沒有正面描寫主人公的傷心、難過，而是非常含蓄地通過風聲、水聲等來描寫主人公心情的起伏跌宕，悲慟欲絕，表達了作者無盡的語言，使這種傷心欲絕的情緒達到高潮。海明威是現代新文體風格、新語言的創造者，其獨樹一幟的語言藝術風格令其他作家紛紛折服，對當時美國文學乃至整個世界的文學都造成了極其重要的影響。海明威的語言樸實無華、直觀性強、口語化、可視化較強、含蓄精練，是世界語言寶庫的一筆重要財富。我國文學家應進一步深入探究海明威小說的語言藝術，推動我國文學的進一步發展。