第一篇：论海明威《一天的等待》的冰山原则写作风格
英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示）
最新英语专业全英原创毕业论文，都是近期写作
试析《远大前程》中匹普性格发展与社会环境的关系 输出理论在大学英语教学中的应用 You-attitude 在商务信函中的运用
Culture Teaching in College English Listening Classrooms 论《荆棘鸟》中的女性形象
论《傲慢与偏见》中的性别语言差异
论《黄墙纸》中女主人公女性主义思想的局限性（开题报告+论）对公共演讲课堂中大学生课堂表现的心理分析 论《丽塔海华丝和肖申克救赎》中的反讽
浅析《宠儿》中人物塞丝的畸形母爱产生的根源 浅析英语委婉语
《本杰明•富兰克林自传》和《嘉莉妹妹》美国梦的对比研究 论《等待戈多》中的等待 《魔戒》中的女性人物
愤怒的尊严——浅析《愤怒的葡萄》中失土农民的抗争历程 中西方节日文化差异研究
A Comparison between Tess and Hester’s Tragic Destiny
A Comparison of Chinese and Western Taboos of Social Communication 对《嘉莉妹妹》中摇椅意象的解读 动物习语中文化意象的比较与翻译 英汉动物习语的隐喻认知分析
Domestication and Foreignization in Idioms Translation 《鲁滨逊漂流记》中的个人主义
功能对等视角下记者招待会古诗词翻译策略研究 性格差异对中学英语教学的影响
On cultural differences between China and America from the film The Treatment(Gua Sha)从目的论角度讨论英语电影片名的翻译 纳博科夫小说《洛丽塔》的爱情讽刺 中文菜名英译的失误与分析
从“狗”和“龙”的谚语看中西方文化差异
弗吉尼亚•伍尔夫《达洛维夫人》中印象主义创作手法探讨 《弗兰肯斯坦》中怪物身份的矛盾性 体态语在中美交际中的差异及原因 从功能对等的理论看英语歌词的翻译 浅析《最蓝的眼睛》中的叙事艺术 浅谈非语言交际中的手势语 微笑着流泪——欧亨利小说赏析
关联理论视角下的文化负载词翻译研究——以《丰乳肥臀》英译本个案为例 刺激学生学习英语的情感因素的手段的研究 论海明威《死在午后》的悲观主义色彩 二战后美国摇滚乐的发展及影响 论外国文化在英语学习中的重要性 英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示）
例 73 74 75 76 77 78 79 80 81 82 83 84 85 形名组合Deep+Noun之认知研究
原版英语电影在大学英语教学中的使用研究 论个人主义对美国英雄电影的影响
Differences of Time Orientation in Chinese and American Cultural Background English Teaching and Learning in China's Middle School 英语委婉语的内涵
中美商务谈判中恭维语的分析 黑人英语克里奥起源论
从文化角度分析《论语》中特殊词语的翻译——以“仁”为个例 浅谈我国服装行业的网络营销
论汉语成语中数字英译的语用等效性
A Study of Beauty in Sound, Form and Meaning Displayed in Zhang Peiji’s Prose Translation 《紫色》中黑人女性意识的觉醒和成长 浅析英语习语的翻译原则和方法
《麦田里的守望者》霍尔顿•考尔菲德精神世界的分析 《红楼梦》汉译英对话翻译过程中人物个性的保留 英语专业本科毕业论文摘要的体裁分析 浅谈来自《圣经》的英语习语 论加里·斯奈德诗歌的生态意识 澳大利亚英语词汇和澳大利亚文化 论疯女人形象对小说简爱所作贡献
爱情至上——浅析海明威笔下的女性形象 Cultural Differences and Translation Strategies 迷惘一代的英雄：厄内斯特海明威与弗雷德里克亨利
显现的被动•隐现的自我——《看不见的人》中被动语态的身份建构功能研究 国际贸易中商务英语的翻译策略 李安电影中的文化融合现象 英汉人称指示语的对比研究
解读罗伯特•彭斯的爱情观——以《一朵红红的玫瑰》和《约翰•安德生，我的爱人》为隐转喻名名复合词的语义分析
命运与性格－－浅论《哈姆雷特》的悲剧因素 中美恐怖电影中折射出的文化差异 On Loss of Fidelity in Translation 浅析任务型教学的理论基础
小说《白鲸》中亚哈布船长的人物悲剧解读 中英寒暄语的对比与研究 英文电影中俚语的翻译策略 中西方饮料的跨文化差异 论英语典故的起源和翻译
Jane Austen’s Views on Marriage Reflected in Pride and Prejudice
从“礼貌原则”看中国学习者在跨文化交际中的语用失误——以“please”为例 《了不起的盖茨比》中盖茨比的美国梦的破灭 英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示）
从《认真的重要性》中的布雷克耐尔夫人看维多利亚时代贵族女性特点 87 环境、性格、命运－－评《远大前程》主人公皮普 88 边缘人的挣扎——浅析《断背山》之恩尼斯 89 浅析中西方家庭教育的异同
简析文化意识在高中英语学习中的重要性 91 从校园流行语看中美学生思维方式的差异 92 《榆树下的欲望》埃本悲剧命运探析 93 目的论在公司宣传广告英译中的应用 94 面部表情和目视行为的跨文化研究
从功能对等理论的角度看英语新闻标题中修辞的翻译 96 论王尔德在《道林格雷的画像》中的美学思想 97 中国茶文化和西方咖啡文化对比研究 98 从加菲猫看美国新个人主义价值观
二语习得理论及其对小学英语教学的影响 100 A Study on Error Correction in JEFC Classroom 101 试分析《牡丹亭》与《罗密欧与朱丽叶》的爱情模式 102 “红”的中英对比及其翻译
从《绝望主妇》各主角看美国家庭问题
透过《德伯家的苔丝》看哈代托马斯的宗教观 105 从迷茫的玛尔特的悲剧看女性存在的社会价值
The Glossology and Translation of Rhetorical Devices of Harry Potter 107 从目的论视角研究中文菜名的英译 108 论《德伯家的苔丝》中的女性主义意识 109 网络资源在听力自主学习中的作用研究
Chinese Translations of English Film Titles：A Perspective of Functional Equivalence 111 中英文新闻标题的差异
从目的论角度看英语广告中双关语的翻译 113 从生态女性主义视角解读《永别了,武器》
差异、对立与和谐——浅析伍尔夫的双性同体观 115 浅析美国高等教育的创新 116 论电影片名翻译的“忠实性”
汉译英语足球新闻中修辞手法的策略 118 霍桑及其矛盾思想在《红字》中的体现
How to Arouse the Students’Interests in English Learning 120 科技英语语篇中被动语态语篇功能的分析 121 《乞力马扎罗山上的雪》中的生与死 122 《红字》的人文主义色彩 123 浅析阿里巴巴的创新盈利模式 124 浅议商标品牌的翻译
论《大卫•科波菲尔》中人物个性与时代背景的关系 126 Comment on American Film-Television Culture Invasion 127 论中西饮食文化差异
从顺应理论的角度对广告翻译的分析
The Process of Anna’s Spiritual Integration in Doris Lessing’s The Golden Notebook
英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示）
商务交际中you-attitude的语用功能探讨
Cultural Difference between Chinese and American Advertisement 132 《荆棘鸟》中主要女主人公爱情观比较 133 礼貌原则在商务英语业务关系信函中的应用
汉语茶文化特色词的英译研究——以《茶经》和《续茶经》为例 135 英语影视作品字幕汉译的策略
从功能翻译理论分析化妆品商标翻译 137 从小说人物分析简•奥斯汀的情感智慧 138 网络英语对汉语词汇的影响研究 139 The Use of Body Language in Teaching 140 A Linguistic Analysis of Barack Obama’s Inauguration Speech 141 An Interpretation of Nightingale in The Nightingale and the Rose 142 新课程标准下初中英语课堂中师生互动的构建 143 论中英文习语翻译的处理技巧及文化差异 144 艾米丽•狄金森诗歌的心理分析
灵魂的真实——《达洛卫夫人》意识流剖析 146 逆成构词的分类及其认知机制和规律 147 Cooperative Principle in Business Letters 148 从作者夏洛蒂·勃朗特看《简·爱》 149 我对直译和意译的看法
从文化视角浅谈旅游英语翻译
151 由个性反映出爱—《傲慢与偏见》中的婚姻观 152 浅论广告语汉译的美学效果 153 《动物庄园》中的黑色幽默分析 154 《双城记》中的人道主义
155 礼貌原则框架下化妆品广告语篇研究
156 The Racial Stereotypes in American TV Media 157 英汉翻译中的文化空缺现象及对策 158 《呼啸山庄》的哥特式传统
159 浅谈提高高中生英语写作能力的途径
160 托马斯哈代与张爱玲作品中女性悲剧命运对比研究——以苔丝和顾曼桢为例 161 网络游戏对青少年的影响
162 On the Strategies of Translation of Political Terms with Chinese Characteristics 163 论美国梦破灭的社会因素—盖茨比和威力罗曼的比较 164 论《呼啸山庄》中希思克利夫的性格 165 《麦田守望者》成长主题解析
166 《白鲸》的象征意义和悲剧内涵分析 167 The Use of Symbols in A Farewell to Arms 168 合作学习在初中英语写作教学中应用的可行性研究 169 浅谈中外记者招待会中口译者的跨文化意识 170 苔丝的悲剧成因浅析
171 对爱德加•爱伦•坡哥特式小说中象征手法的研究 172 华兹华斯诗歌的和谐观
173 浅谈商务英语于商务信函中的运用
英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示）
174 《马太福音》对话中语气的人际意义研究 175 论《呼啸山庄》中希思克利夫的性格
176 From Dormancy to Revival—A Feminist Study on Kate Chopin’s Awakening 177 高级英语课堂中教师角色研究 178 诗歌《飞鸟集》的意象评析 179 论英文电影名翻译
180 《老人与海》中的象征主义
181 《威尼斯商人》中鲍西亚形象浅析
182 命运与社会的牺牲品—苔丝的悲剧根源探析 183 盖茨比的人物形象分析 184 对圣经文学性之赏析
185 从数字的联想意义研究中西文化的差异 186 中英身势语中的文化差异
187 从莎翁作品透视伊丽莎白时期女性社会地位 188 从功能对等理论角度看校训的汉英翻译原则 189 电影《刮痧》所体现出的文化冲突与融合 190 《红楼梦》两个译本中称呼语翻译的对比研究
191 A Psychological Analysis of Mary in The Grass is Singing 192 从弗洛伊德解读《好人难寻》 193 爱与正义：《杀死一只知更鸟》主人公阿提克斯•芬奇形象解读 194 对于英语专业的学生学习词汇策略的研究
195 当爱遇见不爱——浅析《马可百万》中的三对情爱关系
196 汉语茶文化特色词的英译研究——以《茶经》和《续茶经》为例 197 Study on the Basic Principles of Legal English Translation 198 论海明威《一天的等待》的冰山原则写作风格
199 On Nabokov’s “Lolita” and Its Adaptation into the Movie by Stanley Kubrick
第二篇：评《老人与海》中海明威写作风格和手法
评《老人与海》中海明威写作风格和手法
Abstract
Being distinguished from many greatest American writers, Hemingway is noted for his writing style.Among all his works, The Old Man and the Sea is a typical one to his unique writing style and technique.The language is simple and natural on the surface, but actually deliberate and artificial.Sometimes the simple style is made a little different.The dialogue is combined with the realistic and the artificial.The simplicity is highly suggestive, and often reflects the strong undercurrent of emotion.Occasionally, the author uses some figures of speech.Hemingway‟s style is related to his experience as a journalist, his learning from many famous writers, and most importantly, his conscientious effort in looking for a style of his own.The influence of his style is great all over the world.The Old Man and the Sea is full of facts, most of which comes from Hemingway‟s own experience.So the way to use facts is a very important writing technique in this novel.The facts in the novel are selected and used as a device to make the fictional world accepted.In the forepart of the novel, they are used to show the quality of Santiago‟s life, and are narrated simply and naturally;while in the latter part of the novel, they are used from inside Santiago‟s own consciousness and form part of a whole scheme of the novel.Keywords: Facts;Simplicity;Artificial;Iceberg Theory 中文摘要
在众伟大的美国作家中，海明威以独特的写作风格而著称。在他所有的作品中，《老人与海》最能体现他独特的写作风格和手法。这部小说语言看似简洁，其实包含了作者的精心揣摩和润色加工。有时为了突出某一部分，作者会采用长句代替短句。文中的对话内容真实、贴近生活，而表达形式则经过了加工。小说简洁自然的语言背后隐藏了深刻的意义和感情。文中还运用了比喻、拟人等修辞手法.还名位的这种独特风格与他当过新闻记者的经历有关,同时他兼菜各家之长,自成一体,形成了自己独特的创作方法和艺术风格。这种风格对整个世界文坛产生了重要的影响。
《老人与海》这部小说中运用了大量的事实,他们大多来自于作者亲身经历。海明威对这些事实精心选择,从而吸引读者的兴趣并使读者有一种身临其境的感觉。小说一开始用大量事实描写了主人公生活的环境,叙述风格简洁自然,未加任何感情色彩。随着情节的,大量的事实主要被运用于主人公的心理活动之中,而不是主要由作者来叙述。同时,这些事实构成了整个小说体系中不可缺少的一部分。
关键词：
事实；简洁；加工；冰山理论
Hemingway‟s Writing Style and Techniques in The Old Man and the Sea
Introduction
The Old Man and the Sea(1952)comes round at the finish of Hemingway‟s writing career.With its vivid characterization, its simple language, and the profound implicating it carries, it stands out as one of the excellent books Hemingway‟s former stature as the word‟s preeminent novelist after Hemingway‟s unsuccessful novel Across the River and into the trees(1950).The Old Man and the Sea earned its author the Pulitzer Prize in fiction for 1952, and was instrumental in winning him the Nobel Prize for Literature two years later.It is a short novel about Santiago, an old Cuban fisherman who has gone for 84 days without catch.Therefore the boy, Mandolin, who used to sail with him, is forced to leave him and catch in another ship.The old man insists on fishing alone and at last, he hooks an eighteen-foot, giant marlin, the largest he has ever known.But the fish is very powerful and disobedient.It tows the old man and his boat out to sea for 48 hours, with the old man bearing the whole weight of the fish through the line on his back.The old man, with little food and sleep, has to endure much pain and fights against his treacherous hand cramp.To his great excitement, on his third day at sea, he succeeds in drawing the weakened marlin to the surface and harpoons it.On his way home, he lashes marlin alongside his boat because it is too big to be pulled into the boat.But, unfortunately, the come across sharks in different numbers for four times.The old man fights to kill the sharks with as much might and many weapons as he can summon, but only to find a giant skeleton of his marlin left after his desperate defense.At last, Santiago, having lost what he fought for, reaches the shore and struggles to his shack.He falls into sound sleep, dreaming of Africa, and the lions again.His struggle wins him much respect.Among many great American writers, Hemingway is famous for his objective and terse prose style.As the last novel Hemingway published in his life, The Old Man and the Sea typically reflects his unique writing style.This paper aims to discuss the writing style and techniques in The Old Man and the Sea.Of course, Hemingway has used many techniques in this novel, such as realism, the creation of suspense, monologue, etc.And this paper focuses especially on the language style and one of the important techniques-the way to use facts in this novel.Hemingway is famous for his language.With much care and effort, he created a very influential and immediately recognizable style.“The style he created in his early work, such as In Our Time and The Sun also Rises, was almost too good.Like the style of certain painters, it tended to become a manner, rather than a flexible way of responding to experience and conveying fresh insights through words.”1 Among all his works, The Old Man and the Sea is the most typical one to his unique language style.Its language is simple and natural, and has the effect of directness, clarity and freshness.This is because Hemingway always manages to choose words “`concrete, specific, more commonly found, more Anglo-Saxon, casual and conversational.” 2 He seldom uses adjectives and abstract nouns, and avoids complicated syntax.Hemingway‟s strength lies in his short sentences and very specific details.His short sentences are powerfully loaded with the tension, which he sees in life.Where he does not use a simple and short sentence, he connects the various parts of the sentence in a straightforward and sequential way, often linked by “and”.In his task of creating real people, Hemingway uses dialogue as an effective device.It is presented in a form “as close to the dramatic as possible, with a minimum of explanatory comment.”3 Here is an example chosen from The Old Man and the Sea: „What do you have to eat?‟ the boy asked.„No, I will eat at home.Do you want me to make the fire?‟ „No, I will make it later on.Or I may eat the rice cold.‟
Here we can see that such interpolations as “he said” have frequently been omitted and the words are very colloquial.Thus the speech comes to the reader as if he were ing.Hemingway has captured the immediacy of dialogue skillfully and has made the economical speech connotative.But it is good to note that Hemingway‟s style is deliberate and artificial, and is never as natural as it seems to be.The reasons are as follows.Firstly, in some specific moments, in order to stand out by contrast and to describe an important turning point or climax, the style is made a little different:
He took all his pain and what was left of his long gone pride and he put it against the fish‟s agony and the fish came over on to his side and swam gently on his side, his bill almost touching the planking of the skiff, and started to pass the boat, long, deep, wide, silver and barred with purple and interminable in the water.5
The language in this one-sentence paragraph is different from other parts of the novel.Kenneth Graham has commented that the sentence builds up its parts in a carefully laborious sequence-“all his pain and what was left of his strength and his long gone pride”.It emulates the movement of the exhausted marlin and the physical strain of the old man.And it mounts to a heavy crescendo in the very un-prosaic inversion of adjectives-“long, deep, wide”-ending in the virtually poetic cadence, “interminable in the water.”6
The dialogue, too, is combined with the realistic and the artificial.Usually the content contains and the expression contains the artificial.In The Old Man and the Sea, the language style is very peculiar from Hemingway‟s other writings.This is because the novel is an English version of the Spanish that Santiago and Mandolin would speak in real life.“Since we are meant to realize that Santiago and Mandolin could not possibly speak like this, since English is not his tongue anyway, we are more likely to accept other artificialities of the dialogue.Using the device of a pretended „translation‟, which would be bound to stilt in any case, Hemingway can „poetize‟ the dialogue as he wishes.”7 The speakers are distanced from readers to a certain degree.And while their language taking on a kind of epic dignity, it does not lose its convincingness.Even slightly strange exchanges like the following become fairly acceptable.For example:
„You‟re my alarm clock‟, the boy said.„Age is my alarm clock‟, the old man said.„Why do old man wake so early? Is it to have one longer day?‟
„I don‟t know‟, the boy said.„All I know is that young boys sleep late and hard‟.„I can remember it‟, the old man said.„ I‟ll waken you in time.‟8
The simple sentences and the repeated rhythms hit at the profundities that the surface of the language tries to ignore.Its simplicity is highly suggestive and connotative, and often reflects the strong undercurrent of emotion.Indeed, the more closely the reader watches, the less rough and simple the characters appear.In Death in the Afternoon, Hemingway uses an effective metaphor to describe his writing style:
If a writer of the prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them.The dignity of movement of an iceberg is due to only one-eighth of it being above water.9
Among all the works of Hemingway, the saga of Santiago is thought as the most typical one to this Iceberg Theory.The author seldom expresses his own feelings directly, nor does he make any comments or explanations.On the contrary, he tries to narrate and describe things objectively and blend his own feelings harmoniously to the natural narration and description this gives readers a pictures compression, from which-the 1/8 of the iceberg above water, they can learn the implying meaning and feelings of the author-7/8 of the iceberg under water.When Hemingway said of this story, “I tried to make a real old man, a real sea and real sharks”, he then went on to say, “But if I made them good and true enough they would mean many things.”10 So this novel has a great and significance conveyed by a compressed action.The core of the novel‟s action is fishing.To the hero, fishing is not simply of contest in life.It contains profound philosophic meaning.In addition, two details-the baseball match and the hand wresting with the Negro, like fishing, symbolize the contention in life.They compensate and enrich the inner meaning of the main plot of fishing.So the simplicity of the novel is highly suggestive.Occasionally, the author uses such figures of speech as metaphor, personification, etc to describe details.Hemingway likes to us natural things to make metaphors.For example, he describes Santiago‟s eyes as “the same color as the sea and were cheerful and undefeated.”11The metaphor reveals that the old man is closely linked with nature.At the beginning of the novel, a simile is used: “the sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.”12 Here Santiago‟s eyes are contrasted with the patched sail, which symbolize defeat, as reveals Santiago‟s unyielding character.So Hemingway has formed of narrative and dialogue, though natural and simple on the surface, is actually deliberated and artificial.It combines elements that are realistic with elements that are stylized and heightened.How Hemingway has formed such a writing style? The reason is related to his own experiences.“His use of short sentences and paragraphs and vigorous and positive language, and the deliberate avoidance of gorgeous adjectives are some of the traces of his early journalistic practices.”13 After leaving school at 17, he went to the Kansas City Star, which was one of the best newspapers in America at that time.He served as its eager and energetic reporter.As a journalist, Hemingway trained himself in the economy of expression.He once said that, during his working in Star, he had to learn to use simple sentences, which is very useful to him;and that the experience of working as a journalist would not do harm to a young writer, instead it is very helpful if he could cast it off timely.He laid stress on “speaking” with facts and objected groundless concoction in writing.His descriptions of details are full of factuality, and are as precise as news reports.The influence of Hemingway‟s language style is great.In the latter part of his life, Hemingway was known as “Papa Hemingway.”14 It refers mainly to his contribution to the development of a new writing style in America-the colloquial style.His simple word, short sentences and vividly colloquial language purity American novel.In England, which Miss Storm Jameson discussing “The Craft of the Novelist” in the January 1934 issue of The English Review, she advanced an explanation of Hemingway‟s popularity:
It is this simplicity, this appeal to our crudest interests, which explains Hemingway‟s success…In English at least his success has been largely with the intellectuals.Thy have praised his simplicity, his directness…15
When Hemingway‟s death was reported on 3 July 1961, the obituary in The Tines pronounced pontifically:
No history of the literature of our time will be able to ignore his achievement or his far-reaching influence…his last masterpiece, The Old Man and The Sea, he remained a solitary both in achievement and style…16
And Hemingway‟s influence as a stylist was “neatly expressed in the praise of the Noble Prize Committee about „his powerful style-forming mastery of the art‟ of writing modern fiction.”17 Apart from the language style, which The Old Man and the Sea is famous for, the writing techniques in this novel are also worth paying close attention to.A very important one of them is the way to use facts.The main events of the story seem to be based on a real incident, which is described by Hemingway in an article about fishing in the Gulf Stream in Esquire for April 1936.So the novel of full facts, such as the habit of fish, the technique of catching marlin, the weather, the sea, and so on.But the power of the novel lies in the way to use these facts.Firstly the facts are selected.“Hemingway‟s old man, boy, sea, fish, and sharks are not so much built up in our minds, detail by detail, facts by facts, as drive into our mind by the force and the sympathy with which the author himself shares in their imaginary existence.”18 Like any realist, he relies on selection.When the giant marlin finally surfaces, his tail “was higher than a big scythe blade and a very pale lavender above the dark blue water.”19 Sargasso weed is bleached and yellow by day;Tuna are silver when they jump out if the water, but blue-backed and gold-sides when swimming.Hemingway never described them with excessively, but choose some effective ones.He uses them with a sense of how colors shift and change in their relationship.Without selection, there can be no intensity, and compression.Secondly, the facts are used as a device to make the fictional word accepted.The novel is not simply a manual for us to study the technique to catch a fish or how to survive in a boat.The author tries to implicate people‟s imagination in what is happening by appealing to our love of practical knowledge.This shows “the facts are fundamentally a device, a technique of reassuring our sense of everyday values.”20 So they can help to make us accept more readily what the author has invented and made more dramatic than in everyday life.Still take the use of color as example: The clouds over the land now rose like mountains and the coast was only a long green line with the gray-blue hills behind it.The water was a dark blue now, so dark that it was almost purple.As he looked down into it he saw the red sifting of the plankton in the dark water and the strange light the sun made now.21
These facts show readers the process of fishing, which mostly comes from the author‟s own experience.From these facts, which are vivid, precise and terse, readers can learn a lot about how to catch a fish and can also feel as if they themselves were catching a fish.Then they will have the sense that what the author describes is real and believable.Therefore, as Kenneth Graham has said, many facts in the novel about fishing and about the sea have a double function: they satisfy people‟s sense of the real word.And this is what underlies Hemingway‟s famous statement that his intention was always to convey to the reader “the way it was.”22
All in all, Hemingway‟s language in The Old Man and the Sea is simple and natural on the surface, but actually deliberate and artificial.“The language is rarely emotional.Rather, it controls emotions: it holds them in.”23 The forming of this distinct style is related to Hemingway‟s own experience.And the influence of this style is not only within America but also all over the world.The facts in the novel are selected and used as a device to make the fictional world accepted.Unlike other novelists who add allegorical meanings to their facts, Hemingway uses the facts simply and naturally, without any emotion.In the latter part of the novel, instead of being narrated by the author, the facts are used from inside Santiago‟s own consciousness, and form part of a whole scheme of the novel.Besides what have been mentioned above, other techniques in The Old Man and the Sea, such as realism, monologue, the creation of suspense and so on, are also very successful.All these show Hemingway‟s superb artistic attainments as a Nobel Prize winner.Notes:
1.Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea,(Beijing: world Publishing Corporation, 1991), p41
2.Chang Yaoxin, “Chapter 14” in A Survey of American Literature,(TianJin: Nankai University Press, 1987), p304
3.Mary A.Campbell, “Study Guide” in The Old Man and the Sea,(Beijing: world Publishing Corporation, 1998), p126
4.Ernest Hemingway, The Old Man and the Sea,(Beijing: world Publishing Corporation, 1998), p8 5.Ibid, p83
6.Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea,(Beijing: world Publishing Corporation, 1991), p42 7.Ibid, p45
8.Ernest Hemingway, The Old Man and the Sea,(Beijing: world Publishing Corporation, 1998), p20
9.Ernest Hemingway, Death in the Afternoon,(New York, 1932), p138
10.Times, 13 December 1954.11.Ernest Hemingway, The Old Man and the Sea,(Beijing: world Publishing Corporation, 1998), p2 12.Ibid, p1
13.Chang Yaoxin, “Chapter 14” in A Survey of American Literature,(TianJin: Nankai University Press, 1987), p295
14.A.E.Hotchner, Papa Hemingway,(New York: Random House, 1966), p1
15.Roger Asselineau, ed, “Hemingway‟s English Reputation” in The Literary Reputation of Hemingway in Europe,(New York: New York University Press, 1965), p15
16.Ibid, p10
17.Chang Yaoxin, “Chapter 14” in A Survey of American Literature,(TianJin: Nankai University Press, 1987), p305
18.Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea,(Beijing: world Publishing Corporation, 1991), p25
19.Ernest Hemingway, The Old Man and the Sea,(Beijing: world Publishing Corporation, 1998), p79
20.Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea,(Beijing: world Publishing Corporation, 1991), p29
21.Ernest Hemingway, The Old Man and the Sea,(Beijing: world Publishing Corporation, 1998), p26
22.Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea,(Beijing: world Publishing Corporation, 1991), p29
23.Peter B.High, “Chapter 11” in An Outline of American Literature,(New York: Long man Inc., 1986), p147
Bibliography:
1.Chang Yaoxin, “Chapter 14” in A Survey of American Literature.TianJin: Nankai University Press, 1987
2.Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea.Beijing: world Publishing Corporation, 1991
3.Ernest Hemingway, The Old Man and the Sea.Beijing: world Publishing Corporation, 1998 4.崔道怡等编.《“冰山”理论：对话与潜对话》工人出版社，1987.5.刁绍华.《海明威》.辽宁人民出版社, 1980.6.傅景川.《二十世纪美国小说史》.吉林出版社, 1996
第三篇：论三毛的写作风格
论三毛的写作风格
写作风格,按照常理来说应该是某个作家一定时期独有的特别的,令人容易分辨的一种文章气质.也许写作风格可以分为写作初期,酝酿期和成熟期,在每个特定的时间长度内还有那么一点点的差距.但是长远来看,这个风格一旦形成,与那个人的气质啊,特点啊,性格啊定是八九不离十了.最近看的几本书,有林语堂的<人生不过如此>,但是林先生的文字很是扎实,内容深厚,还有很多与我人生历练上还未经历的事情,所以就不妄加评价了.倒是很有兴趣想要说说我暑假一直看过的一个作者的写作风格-----三毛.哎呀,三毛的写作风格,估计也是和她的真性情一样,捉摸不透的.读了好些她的书,什么<雨季不再来><撒哈拉的故事><温柔的夜><梦里花落知多少><寂静的夜><稻草人手记>对于三毛的印象是愈加深入了也是愈加的令人模糊了.为什么深入?因为她那些为了生之可爱而流露的真性情,为了她那么丰富的生活,那么偶尔任性的思维,那么那么真切爱人的表现,我觉得这个女人在我的生活中活了起来了.为什么模糊,因为如此倔强的感情,在这个世界竟是不再遇见过的,周围的人都是敦厚的安于现实的,或是忙忙碌碌的追求的不知所云的,让我觉得这个女子是如此的不真实仿佛是构在梦想的花篮上专门为这文艺而生成的女性.我知道如此说三毛是不对的,但是又不知该如何表达,其实我是爱着她的.好吧,言归正传.我要来谈谈三毛的写作风格.第一本看的是三毛的<梦里花落知多少>记忆还是快乐而痛苦的.整本书是有着青春的色彩的,我不知道这么说对不对,因为也许那时候的三毛早已就过了青春的年纪.但是确实是,三毛的生活是丰富的,带有抗争性的.这本书是将三毛与荷西的爱情的,真实而动人,两个惺惺相惜的人,无论从灵魂上还是生活上都处在了一起,开始幸福的构建起他们关于生活的种种,让我们来看看里面的文字吧” 三毛：如果我死了，你一定要答应我，重新娶个女人。荷西：你神经，不和你说话！三毛：神经也要说，你不娶，我死了也不会安心的。荷西：要是你死了我一把火把家烧掉，然后上船漂到老死。三毛：放火烧房子也好，只要你肯再娶。”
荷西：快许十二个愿望，心里跟着钟声说。三毛：但愿人长久，但愿人长久，但愿人长久，但愿人长久——
三毛：荷西，我回来了，几个月前一袭黑衣离去，而今穿着彩衣回来，你看了欢喜吗？ 向你告别的时候，阳光正烈，寂寂的墓园里，只有蝉鸣的声音。我坐在地上，在你永眠的身边，双手环住我们的十字架。我的手指，一遍一又一遍轻轻划过你的名字——荷西·马利安·葛罗。我一次又一次的爱抚着你，就似每一次轻轻摸着你的头发一般的依恋和温柔。我在心里对你说——荷西，我爱你，我爱你，我爱你——这一句 ”
不知道你有什么感觉,我觉得这种文字给我的感觉就是恬淡的,真性情的,也许这就是三毛的写作风格,她与荷西之间对白式的文字正式生活的赐予,正式三毛独有的感情孕育出来的写作风格,深沉隽永,甚至是带着孩童般生气后歇斯底里的叫喊的温柔的.三毛爱重复,重复文字,重复对于她重要的文字,工作,话语,所以她的爱也就化在了文字中,读起来别样的温柔,我感觉这是现在的言情小说所不能做到的,平凡中的感动.还有在<撒哈拉的故事>中,我见到了一个调皮的乐观的三毛.如何来说她的写作风格呢?还是从他的内容来说起来吧.撒哈拉故事以她和荷西在撒哈拉生活为来源写的,有给邻居家上课的有趣事情,有介绍她在沙漠中淘宝的事情,有写在沙漠中照顾别人给喝牛奶的的事情,期间中中,真情无限,不得不承认我性格中极大一部分关于人性的脆弱怜悯跟看三毛的文字有关.刺激,惊险,栩栩如生,这是他的生活:哲思,快乐,这是她的文字.总结而言,在撒哈拉沙漠的时候,印证她前世之说的信仰,她的写作风格也是极为充满灵气的.说了一大通,似乎得给她的写作风格做个完整的定义才对得起整篇文章那么大的一个标
题,可是思考半天,我仍旧无法像个经验丰富的总结者一样完整的来定义一下三毛的写作风格.仿佛她的一切都来源于生活,来源于她那颗丰富的性情和女人同有的捉摸不透的心绪.我至今仍旧记得三毛在小岛上与一个男子极为投缘,他们也是仿佛是前生见过似的,本以为是可以有缘在一起的,可是三毛躲开了,她遏制住了自己狂热的心,远远地躲开了,不,是执着,仍旧是执着于她内心的属于自己的爱情,与荷西的爱情.那么可不可以这样说,在三毛的文字当中,执着是一个很重要的属于她的写作风格.她执着于自己的生活方式,自己爱人的方式,自己的孩童般的任性,自己对于爱情的独一无二的理解,一如她自己为荷西做的那个墓碑一样.豪爽的对事,认真的对人,对爱,所以我可以在她的文章中读出很多爱的味道,不管是爱的恨,爱的感激,还是爱的永恒与无私.
第四篇：从《老人与海》看海明威作品的写作风格（定稿）
[摘 要]本文从文学文体学的角度对《老人与海》独特的文体特色进行较为系统的分析, 运用统计法和描写法揭示其风格要素即小说的语言材料、表达方式和叙事方式的具体特征, 进而指出《老人与海》是海明威客观、简洁、朴实的美学思想的完美体现。[关键词]海明威 语言特色 现代叙事手法 老人与海 简介
美国着名小说家海明威是一位不平凡的语言大师, 他以“精通现代叙事艺术”和“在当代风格所发挥的影响”而荣获1954 年诺贝尔文学奖。文学语言可分为两种: 一种是叙事语言, 另一种是人物话语。海明威正是通过这种创新的语言艺术, 创造出一种独特的文学散文风格。本文从《老人与海》入手, 对其语言特色和叙事手法简单的分析。粗略的探析了其独特写作风格及形成原因和影响。
一、语言特色——电报风格
以《老人与海》为例, 从中可以看出海明威对词汇、句式、语气、对话模式和语法等运用了他个人的偏好, 显示了他的电报风格语言特色。海明威倾向用英语中最核心、最普通的词汇。从《老人与海》的用词和句子结构不难看出, 文章的用词很简单, 很少用表示抽象意义的大词。如: Aware that he will need to keep his strength, the old man makes himself eat the tuna he caught the day before,which he had expected to use as bait.While he cuts and eats the fish with a claw under the strain of taking all the fish‘s resistance.Stantiago is angered and frustrated by the weakness of his own body, but the tuna, he hopes,will reinvigo2rate the hand.As he eats, he feels abrotherly desire to feed the
marlin too.(老人清楚, 他必须得保持体力, 所以就强迫自己吃前一天捕获到的、原打算做诱饵用的金枪鱼。在右手切鱼、吃鱼的时候, 他那只被勒伤的左手开始抽筋, 而且, 由于那条大马林鱼在抵抗, 他必须拼尽全力拉住鱼线, 所以那只手搐得像一只爪子。桑提亚哥对自己的身体状况既感到气馁, 又忿恨不已, 他希望金枪鱼能使他的伤手恢复劲力。他吃鱼的时候, 产生一种强烈的愿望, 想喂一喂那条马林鱼, 像对兄弟那样。)
这段描写的是老人在与鱼僵持的几个简单的动作。就其用词而言, 喜欢用动词和名词写作, 少用形容词以增强动感。而且几乎所有的动词和名词都是简明、易懂。动词如: need, make, cut, eat, use, take。将形容词变成动词和名词的形式, 如: an2gered, weakness。从句子结构频繁使用He does something.简单的句式。主语是he, 谓语以使役动词为主。由于使役动词的基本意义是指一个动作发生并完成, 因此这类句型就成了动作的执
行者做一件事, 并使其行为产生预期的结果。在《老人与海》中, 这类句型和描写具体行为的短小动词占据主导地位, 所以从整体上传达出一个基本意义: 老人是个行动者, 他的行动都达到了预期目的。这完全符合海明威塑造“硬汉”形象的一贯追求。
在《老人与海》中, 作者充分使用贯穿小说的人物桑提亚哥和他忠实的助手兼朋友小诺曼林之间的对话或对话加上非常简练的描写与叙述来推动故事的发展。其中他们谈论最多的是棒球赛的最新战况, 探讨老人的偶像—狄马吉奥在球场的表现。如:“Tell me about the baseball, ”the boy asked h im.“In the Am erican League it is the Yankees as I said, ”the old man said happily.“T hey lot today, ”the boy told him.“T hat means nothing.T he great D im aggio is him self again.”
“T hey have o ther m en on the team.”
“Naturally.But he makes the difference.In the other league, between Brook lyn and Philadelphia I must take Brooklyn.But then I thnk of Dick Sisler and those great drives in the old park.”
省去不写, 这只会增强你的冰山重要的是那没有显露出来的部分。”这是海明威在《老人与海》出版后回答《巴黎评论》记者采访时的谈话。我们来看另一段摘自《老人与海》的片段: Just then “Therewasnothingeverlike them.Hehitsthe longestball I have ever seen.”
从表面来看, 只是老人的兴趣爱好, 实则表现桑提亚哥老人坚信伴随84 天一无所获的背运马上就会结束, 由此而引出故事的开端, 老人去更远的水域捕鱼。《老人与海》通过使用第三人称, 不流露个人感情, 超然叙述事情发生的经过。作者通过老人内心的意识来反映事件, 进而流露出作者本人的价值观和世界观。
二、现代叙事手法—冰山理论
想知道的话, 我一直用冰山理论指导我的写作。冰山有八分之七在水下, 只有八分之一是显露出来的。任何你知道的, 你都可以电报风格主要是用于说明他谴词造句的简洁、朴实, 但这并不代表海明威小说的语言艺术, 因为海明威小说在简单的表层之下蕴藏着许多内涵。借用他自己的观点叫“冰山理论”:“如果
the stern line came taut under his foot,where he had kept the loopof the line,andhedroppedhisoarsandfelt the weight of the sm all tuna’sshiveringpullasheheldthelinefirm andcom 2menced to haul it in.The shivering increased as he pulled in and he could see the blue back of the fish in thewater and the gold of his sides before he swung him over the side and into the boat.He lay in the stern in the sun, compact and bullet shaped, his big, unintelligent eyes staring as he thumped his life out a2gainsttheplankingoftheboatwith thequick shiveringstrokes ofhisneat,fast-movingtail,Theoldmanhithimonthehead for kindness and kicked him , his body still shuddering, under the shade of the stern.(就在这个时候, 船尾的鱼线在他脚下突然绷紧, 因为他在那打了一个环。于是他放下船桨, 抓牢鱼线, 开始往回拉, 他感觉到金枪鱼把鱼线拉得沉甸甸地抖动。他越往回拉, 鱼线抖动得就越厉害, 接着他看见了水中浮动的蓝色鱼脊和金灿灿的两侧, 之后他把鱼从船帮处拉了上来, 扔到船里。鱼躺在船尾, 阳光照射着, 它身体密实, 形如子弹, 它把身体一次次重重地摔到船板上, 匀称、动作迅速的鱼尾快速颤抖着, 反复扫动着, 两只大而无神的眼睛一直瞪着, 最后一点力气也没有了。老人友好地打它的头, 又踢它, 鱼的身体在船尾的背阴处仍在抖动着。)
这段描写桑提亚哥在第二天捕获金枪鱼经过, 这段文字是海明威简洁煽情的典范, 传神且优美。作者也正是通过使用最简单、最普遍的字眼来表达具体但又有诗歌意象的内容。上面场景的描写, 即使是对那些根本没有捕鱼经验的人, 也会让他们有身临其境之感。除此之外, 作者在此段最后用“for kindness”,“友好”两个字, 以及在上一段文字的最后作者用“brotherly”,“兄弟般的”字眼来传达作者与金枪鱼的关系, 看似自相矛盾, 实则将作者的心境体现得淋漓尽致。这几个字虽少, 却能使读者全面地了解到老人的个性。海明威在表现桑提亚哥与他所处的那个世界的关系, 他对世界的尊重时, 并未提及老人内心最深处到底想些什么, 而是刻意选择了这两个字, 从感情深处刻画出桑提亚哥是一个什么样的人。海明威把这种通过简单语言表达深刻意义的“冰山原则”运用得巧妙, 正如冰山顶端能够揭示出隐藏于水下的巨大冰块的品质一样, 潜移默化地揭示出人类最伟大的真理。
三、象征主义
象征主义是海明威小说语言艺术的又一大特色。甚至有人称海明威是象征主义作家。他善于依据作品内容运用象征手法来展现主体。在《老人与海》中, 基督教象征主义手法, 特别是基督受难的形象在这一着作中, 自始自终得到充分的体现。老人在和马林鱼搏斗的过程中, 手掌被鱼线勒割得血肉模糊, 虽然这说明了桑提亚哥的艰辛, 说明了他甘愿献身的精神, 但伤口却寓指基督身上的圣伤痕, 海明威一心要把桑提亚哥塑造成一个像基督一样的殉难者。鲨鱼袭来时, 老人立即发出一声“像是一个人的手被钉子钉穿在木板上时”所发出的惨叫。再有, 老人肩上扛着船桅, 艰难地攀爬小山, 向村里走去的情形会使人联想到基督朝着卡尔加里艰难行进的场面。甚至桑提亚哥精疲力竭地扑倒在床上的动作, 他脸朝下、双臂直伸、手心朝下的姿势, 都会让人联想到基督在十字架上的惨景。此外, 在故事悲剧性的结尾时, 最后的画面寓意极其深刻: 他拖着沉重的步子走进小屋睡下了, 梦中他见了非洲的雄狮—勇敢无畏的象征。
四、海明威独特写作风格的形成原因及影响
海明威的简洁、朴素的散文文体风格, 其所以形成是有其原因的。首先, 继承。海明威十分推崇的前辈作家是美国现实主义作家马克·吐温, 他认为,“一切现代文学来自马克·吐温的一本书《哈克贝利》, 这是我们最好的一本书”。舍伍德·安德森采用了一种随随便便、信手拈来的风格。这些都对海明威的创作产生了十分重要的影响。第二, 生活经历。一个作家的文体风格往往是作家本人, 即“文如其人”。而这个“人”不是孤立存在的, 而是其文化背景、社会环境和生活经历等因素的综合体。他从小受父亲影响, 喜欢打斗、第一次世界大战爆发时踊跃报名参加, 大大地丰富了他的阅历。贯穿一生的记者身份和崇尚毅力的硬汉性格, 使他的作品中的“电报风格”语言特色尤为明显。第三, 独创精神。为了适应快节奏的社会生活, 也为塑造行动型的人物性格, 开创了他“冰山理论”指导的叙事风格。
结语
海明威的作品以其独特的文体风格而着称。他的小说言近而指远,平白而蕴籍。他善于用白描的手法写景, 他的叙事艺术则以藏而不露的感情变化支撑人物的行动, 他的对话简洁, 素有“电报风格”之称, 叙事则充分体现其“冰山理论”。他的写作开创了一代文风, 其影响将是永恒的。
参考文献
[1]Donaldson,Scott.ErnestHemingway.[M ].上海: 上海外语教育出版社.戴金喜.论海明威独特的文体风格.[J ].南平: 南平师专报2006(1), 63-66.董衡巽.海明威研究[M ].北京: 中国社会科学出版社, 1980.刘瑛.从《白象似的群山》看海明威作品的语言特点.[J] 乌鲁木齐: 乌鲁木齐职业大学报.2005(12), 116-118.欧内斯特·海明威.《老人与海》[M ].南京: 译林出版社, 1999.张国敬译, 欧内斯特·海明威.《老人与海》[M ].天津: 天津科技翻译出版社,
第五篇：《 论海明威独特的文体风格——以老人与海为例》.docx
从词源学来看, style 一词最初源自希腊语和拉丁语的stile, stilus等, 指的是物体, 即一根一端削尖的棍子, 人们可用它在蜡版上涂涂画画或写字。此后, style 的语意又有扩展, 如写字和说话的表达方式, 具有特色的用词风格, 以至由民族、时期、文学形式、个人特性等因素导致的、通过词语选择或搭配来表达思想的特定方式。这就有了我们今天常说的风格一词。
风格通常指艺术的三个方面: 形式要素或主旨;形式关系;性质或表达方式。形式要素是指构成某些作品特征的技术, 题材和特征。但在更多情况下,形式要素的特征缺乏时代的独特性, 因为变化的发生是不共时的。因此, 形式要素或主旨还不足以刻划一种风格的特征。为了区别不同的风格, 我们必须从形式关系去寻找特征, 那就是将这些特征结合起来的不同方法。性质指确定艺术品的日期和属性的标准, 通常是物质或外部的标准。性质的内容是那些表示征兆的细节, 其特征可由结构或表达的词语界定。对风格的研究就是要探索形式和表达之间的关系。组成风格的特征具有一个共同的性质, 那就是有一个调节各要素的主要特征。
文学作品是语言的艺术, 文学文体学关注于文学语言的研究。运用语言学的一些方法有助于研究文学语言, 有助于更加深入地探讨文学。文学语言的研究可以是多层次和多角度的, 包括句法结构、词汇选择、修辞方式、语言节奏、语气、语言的表现形式、小说的叙事角度与叙事方式等。在方法的运用上, 本文采用统计法和描写法。文学作品的风格通常由读者或研究者在阅读作品后感受到的。但语言风格的研究不能停止在感悟体验上, 还要用具体的语言材料来描写感悟体验到的东西以证明风格的存在, 使风格看得见摸得着。作者在创作中常常自觉不自觉的形成一定的语言习惯, 运用惯用的模式(Norm)来取得风格的一致(consistency)。统计法通过对语言材料的统计, 可以找到作家所遵循的一定的规律, 然而由于文学的复杂性、丰富性、加之语言本身的一些特性(如模糊性), 统计法并非在所有的情况下都能奏效。描写法现代语言学研究中普遍运用的方法, 可弥补统计法不足, 将语言风格的描绘更加完整、全面细致。
老人与海突出地表现了海明威的文体风格,这种风格表现为: 孤独的主人公及其内心独白, 缘情写景, 感情的表露极为含蓄, 非常简练的对话, 清新洗练的文字和反复锤炼的日常用语等。表达方式: 从感觉、视觉、触觉着手刻画形象, 将作者和读者间的距离缩短到最低限度, 由读者去体味凝聚在形象里的思绪。
冰山原则在老人与海中发展到登峰造极的程度。这不是纯粹的象征主义作品, 而是现实主义和象征主义相结合, 象征意义又很浓的一部作品。
这个故事的价值不在于它的表面意义, 而在于它的象征意义。海明威只写了八分之一真实的东西就把其它八分之七的东西及其意义含蓄地、象征地表现出来了。这就是他的现实主义和象征主义融合在一起的独特的冰山原则。
海明威所擅长的摄影机式的描写艺术。这在老人与海中达到了高峰。这主要表现在:
(一)客观冷静的画面, 尽力使读者感觉到好像是亲身经历一样。(二)鲜明, 生动的动作描写。老人打鱼过程中一系列的动作让读者清晰地了解详细过程。
(三)结构上的摄影的单纯性。人物少得不能再少, 情节不枝不蔓, 主人公性格单一而鲜明。这种单纯性是海明威小说艺术结构的重要特征。海明威在老人与海中成功运用了意识流手法。桑提亚哥老人在海上漂泊了两天两夜。这段时间里作者大量运用意识流来表达老人的心态。他不停地让自己的意识无边无际地流动, 海阔天空。作者不仅颠倒了事物的自然顺序, 而且还频繁地变换叙述和描写的角度。依靠人物的联想, 不仅深刻地揭示了主人公内心的自豪、坚毅及寻求支援的孤独感, 而且闪烁着深邃丰富的哲理光彩。这构成了小说的重要特色。
冰冻三尺, 非一日之寒。海明威的风格形成也经历了长时间的探索, 在这个过程中, 各种因素, 譬如他的人生经历, 他的性格, 他在文学创作上受益于几位文学大师的指导, 以及他的创作主题范围等等都促成了他创作风格的形成及走向成熟。早在海明威的中学时代他就显示出喜欢写作的兴趣, 经常积极投稿并被采用。这极大地鼓舞了他的写作兴趣。中学毕业之后他开始了他的写作生涯, 先是当上了肯萨斯星报的记者。新闻报道要求具有简洁、明快、朴实的文风。海明威在新闻界受到的严格的训练对他来说可谓是受益终身。持续一生的新闻写作极大地影响他了的文风的形成。
然而几年的新闻写作之后, 海明威逐渐意识到新闻语言与文学语言各有不同的要求。新闻语言重在写实, 侧重语言的准确性与语言所承载的有限的事实信息;而文学语言更倾向情感化和表现化, 文学语言所呈现的是意蕴无穷的丰富世
界。尽管此时从事新闻写作多年的海明威并没有显示出他有多少文学天赋, 但他开始走上自由探索的道路。1900-1911 年冬, 在舍伍德安德森指导之下,海明威开始大量阅读世界著名作家的作品, 从中汲取营养。1921 年秋意欲前往意大利的海明威经安德森点拨前往巴黎这个令其一生钟爱, 深深铭记在心的城市。战后的巴黎是个大师云集, 思想激进的前卫阵地。海明威在这里遇到了文坛先贤, 并受到他们的悉心指导, 让他终身受益。庞德给海明威提出很有价值的建议, 他告诉海明威过去的打作家都从不吝啬地向别人学习。庞德在创作意象派诗歌时指出: 诗要具体, 避免抽象;形式上要允许连行, 不要切成一行行;要精练, 不用废字, 不用修饰等等。庞德的这些主张尽管是针对诗歌创作提出的, 但对海明威的小说创作却有很大影响。例如, 庞德说: 艺术要寻觅出鲜明的细节, 在作品中呈现出来, 但不做任何说明。这位大诗人在各方面竭力地帮助海明威尽快走上作家之路, 甚至包括向公众和文艺界举荐这位才华初露的文学后进。此时在巴黎生活的二十世纪著名的现代作家和文艺批评家格鲁斯泰因则教会了海明威掌握文章的节奏和如何去重复。斯泰因还建议海明威到巴黎的博物馆去观摩当时印象派的绘画, 希望他能从绘画中悟到文学创作的技巧。果不其然, 海明威从法国后期印象派大师保罗塞尚那儿学到怎样把读者的目光引进某一场景, 并且牢地控制读者的目光。在某种程度上, 海明威的风景描写在透视、结构、色彩和线条的使用方面和塞尚具有同样的基本特性。
大师的指导加上个人的努力, 海明威终于形成了他自己独特的文体风格。老人与海是代表他文风的典型之作。
一、语言特色
海明威对词汇、句式、语气、对话模式、语法等的运用有他个人的偏好, 显示了他的语言特色。
(1)海明威喜用安格鲁萨格森词汇。这是英语中最核心, 最普通的词汇。它们在各个阶层, 各种场合, 各个历史阶段都被普遍使用, 因而不具备典型的文体意义。然而海明威一改过去矫揉造作, 一味追求豪华语汇的文风, 赋予这些毫无特色的词一种新的色彩和表达力。结果却创建了独特的文风。
(2)少用形容词和副词。在老人与海中, 很少出现形容词和副词。即使有的话也是一些极平常的词, 比如 big nice等。海明威就是故意地剥去浮华虚空的修
饰, 把事件的真相和本来面目不加修饰地展现给读者, 犹如新闻报道一般的客观与真实, 不掺加作家任何的个人意见。淡极始知花更浓, 海明威就这样简练含蓄地向读者讲述故事。
(3)短句为主, 穿插以长句, 以打破单调沉闷行文。大部分的研究者都认为海明威善用短句, 其句之短令人惊奇,平均每句长度为6 个单词, 而一般英语句子长度为10-15 个单词。海明威所用短句适于动作描写。在小说中, 捕鱼的过程及与鲨鱼的搏斗是瞬息变化的, 只有短句才能紧跟主题节奏的发展, 才能更好地展现惊心魄的动作, 更好地抓住读者的吸引力。海明威在行文的过程中同时又非常有技巧地穿插长句, 以打破短句并列的单调与枯燥。比如在小说开头背景介绍时, 作者就用了大量长句以至超长句来展开叙述。小说文本中简单句明显多于复合句。And But Then等连词频繁地出现。作者就是用这样的句型客观而又真实地展现主人公的行动, 不留人为雕琢的痕迹。
(4)时常出现重复。海明威刻意追求重复。不仅追求语意上, 还追求重复所产生的视觉听觉效果。并且不让人感觉是一种技巧, 似乎无意识中产生, 就
像说话人靠重复使自己的语意明确, 让听者渐次抓住话的本意。他较多地重复名词。
二、现代叙事手法
海明威在叙述故事时采用了巧妙的手法, 不断转移叙事视角, 使得叙述者在文中不露痕迹。在小说开头部分, 叙述者即为作者站在读者面前介绍必要的故事背景, 介绍故事主角老渔夫。等到主人公出场之后, 叙述者便隐藏在人物和事件的背后, 使读者几乎无法感知他的存在。此时, 作者使用两种方式展开叙事。一是由人物对话或是人物对话加上非常简练的描写与叙述来推动故事的发展, 给人以十分客观的印象。另一手法则是通过老人内心的意识来反映事件, 从而完全省略叙述者的介入和议论。
小说中大部分时间里只有一个主人公, 小说的叙述基本采用第三人称。作者巧妙大量运用了的直接引语和自由直接引语, 来增强了口述的效果, 对读者产生强烈的听觉刺激, 使读者产生对话感, 自己也被卷入到作品描绘的事件中去。通过大量的直接引语和自由直接引语, 小说运用意识流的手法展现了老人丰富、复杂、敏感的内心世界。全书26000 余字, 除部分片段客观叙述了他的身世和经历
外, 大量篇幅描写了他在海上捕到大马林鱼以及与鲨鱼搏斗的经过。其中老人心理活动(内心独白, 自由联想,潜对话)记述几乎占据全书一半以上篇幅。在作者笔下, 老人的思维活动有些是有秩序, 有条理的, 如想到捕鱼前应做的准备, 到海上去碰运气等;而有些思维活动是缺乏逻辑的, 带有很大的随意性和盲动性, 如在全力与鲨鱼搏斗时他突然想起垒球大赛, 又想起老年的孤单, 甚至想到被捕到的大马林鱼的可怜。所有心理描写都体现了老人在逆境中人的尊严, 人性的力量, 重压下优雅的风度, 以及坚持在肉体上可以被消灭, 但在精神上必须战胜敌人的信念, 有力地揭示了人生的意义, 深化了作品的主题。在老人与海中作者的叙事描述是客观的。除了对老人的心理描写外, 作者置身事外, 使用的全部是比较客观的第三人称, 作者似乎是个旁观者, 冷静矜持而又不露声色得讲述着眼前所发生的一切。他从不流露自己的个人感情, 更不对发生的一切进行评价, 超然地叙述事情发生的经过。海明威把一枚浸满人生酸甜苦辣的果子给读者去品味, 而自己却含而不露, 从不直言, 让读者去深刻地反思人生。海明威从现代绘画中悟到小说可以借鉴的方式, 在老人与海中有生动微妙的体现。过去的研究集中于小说主题意义上的宗教隐喻, 然而在形式上, 小说字里行间也创造出具有十足宗教意味的十字画面形象来传达宗教隐喻。十字形象自始至终贯穿在小说叙事中。小说开头老人肩扛桅杆便构成了十字形;故事中老人海上垂杆而钓的形象与海平面在远处看来又是一个交叉的十字。小说的结尾老人打鱼归来肩扛桅杆上坡, 及仰面而睡的睡姿，既呼应了小说的开头, 又再一次强化了它的宗教意味。
结论
海明威的作品以其独特的文体风格而著称。他的小说语言言近而旨远,平白而蕴籍。他善于用白描的手法写景, 寥寥几笔就能勾勒出一幅清爽光鲜的画面, 他的叙事艺术则以藏而不露的感情的流动支撑人物的行动。他的对话简洁至极, 素有电报风格之称。这是一位借助视觉、听觉、触觉的艺术家,他所追求的是作者和对象之间, 对象和读者之间的直接联系, 所以一切令人隔膜的形容词和比喻, 一切解释和探讨, 一切繁杂的心理活动和冗长的描写都被当作障碍物砍去, 只留下清晰简约的文字, 叫人耳目一新, 豁然开朗, 读者所见正是作者所见。从历史的、长远的观点来看, 海明威开创文体风格具有不可磨灭的影响。
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