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1、Local Colorism (Regionalism)As a literary trend, local colorism first appeared in the late 1860s and early 70s. Pret Hartes The Luck of Roaring Camp in 1868 drew the attention of the nation to a new genre of writing. In 1880s it reached its climax; not until the turn of the century did it cease to b

2、e a dominant fashion, as its limited resources were exhausted.Harlem Garland defined it as: “having such quality of texture and background that it could not have been written in any other place or by anyone else than a native.”第1頁(yè)/共38頁(yè)The style of writing derived from the presentation of the feature

3、s and peculiarities of a particular locality and its inhabitants. Simply it means the use of regional detail in a literary or artistic work. Local Colorists concerned with presenting and interpreting the local characteristic of their regions, they tended to idealize and glorify, but they never forgo

4、t to keep an eye on the truthful color of local life.Fiction writers like Sarah Orne Jewett, Bret Harte, and Mark Twain have been identified within this tradition. 第2頁(yè)/共38頁(yè) Influence of Local Colorism: 1. For over 3 decades, it formed an important part of the realistic movement. The truthful depicti

5、on of the common people added strength to the Realism which Howells championed with James and Mark Twain. 2. The local spirit continues to inspire and fertilize the imagination of authors such as Willa Cather, John Steinbeck and William Faulkner, who ultimately managed, by rooting their works in the

6、ir places, to the planes of universal meaning.第3頁(yè)/共38頁(yè)Mark Twain (1835-1910) “The true father of our national literature” H. L. Mencken “In my opinion, Mark Twain was the first truly American writer, and all of us since are his heirs, who descended from him.” William Faulkner第4頁(yè)/共38頁(yè)Major Works thre

7、e periods A. 1860s : earlier works are light, humorous, optimistic. The Celebrated Jumping Frog of Calaveras County (a frontier humor which made Twain become famous)1865 Innocents Abroad 1869 A Connecticut Yankee in King Arthurs Court 1889第5頁(yè)/共38頁(yè) B. 1870s-90s: later works become darker and more obs

8、cure, showing his discontent and disappointment toward the social reality. The Gilded Age 1873 Life on Mississippi 1883 The Adventures of Tom Sawyer 1876 The Adventures of Huckleberry Finn 1886第6頁(yè)/共38頁(yè) C. 1890s-20th century：His last works shows his acute pessimism, despair, skepticism determinism. T

9、he Man That Corrupted Hadleyburg 1900 The mysterious stranger 1916 Roughing It 1872 艱苦歲月是一部回憶錄，寫作者到內(nèi)華達(dá)找礦經(jīng)過(guò)，其中有不少虛構(gòu)成分，把艱苦的淘金生活寫得生氣勃勃，熱氣騰騰，其間一些夸張 、滑稽的故事表現(xiàn)出馬克吐溫的喜劇才能 The Prince and the Pauper 1881 Puddnhead Wilson 1893. 第7頁(yè)/共38頁(yè)The Adventures of Tom Sawyer A story of his seeking for freedom, fame, fort

10、une, love, manhood. The novel reveals the American values: one is hero complex, the other is American dream. His adventures is the realization of American dream. On the other hand, the book record the rising Age of American Bourgeois system. It also bears the irony and satire toward the religion and

11、 by-then popular rigid, didactic children education, which curbed the imagination of children and their innate nature for freedom and adventures and molded them into a stereotype of lifeless man.第8頁(yè)/共38頁(yè)The Adventures of Huckleberry Finn Plot summary Major themes Artistic features第9頁(yè)/共38頁(yè)the story t

12、akes place along the Mississippi river. Along this river floats a small raft, with two people on it: one is an ignorant, uneducated Black slave named Jim and the other is a little uneducated outcast white boy about the age of 13, call Huckleberry Finn. The book relates the story of the escape of Jim

13、 from slavery and, more important, how Huck, floating along with Jim and helping him as best he could, changed his mind, his prejudice against black people, and came to accept Jim as a man and a close friend as well. Plot Summary第10頁(yè)/共38頁(yè) 哈克貝利費(fèi)恩歷險(xiǎn)記是美國(guó)文學(xué)史上具有劃時(shí)代意義的現(xiàn)實(shí)主義著作。小說(shuō)以南北戰(zhàn)爭(zhēng)前的美國(guó)為背景，敘述白人孩子哈克和黑奴吉姆同乘

14、木筏沿密西西比河逃亡的歷險(xiǎn)故事。在小說(shuō)中作者以其精湛的藝術(shù)技巧，民主主義的思想內(nèi)容，風(fēng)趣幽默的筆觸，栩栩如生的形象，為我們認(rèn)識(shí)上個(gè)世紀(jì)中葉的美國(guó)社會(huì)提供了豐富的生活圖畫，反映了人們追求自由，反對(duì)腐朽的黑奴制度的主題。美國(guó)著名作家海明威說(shuō)，“一切現(xiàn)代美國(guó)文學(xué)來(lái)自一本書，即馬克吐溫的哈克貝利費(fèi)恩歷險(xiǎn)記這是我們所有書中最好的。一切美國(guó)文學(xué)都來(lái)自這本書，在它之前，或在它之后，都不曾有過(guò)能與之媲美的作品。”第11頁(yè)/共38頁(yè)Major Themes slavery and racism. in the novel, by exposing the hypocrisy of slavery, Twain

15、demonstrates how racism distorts the oppressors as much as it does those who are oppressed. The result is a world of moral confusion, in which “seemingly good” white people such as Miss Watson and Sally Phelps express no concern about the injustice of slavery or the cruelty of separating Jim from hi

16、s family. 第12頁(yè)/共38頁(yè) It is easy to see that the novel provides an allegory to explain how and why slavery is wrong. Twain uses Jim, a main character and a slave, to demonstrate the humanity of slaves. Jim expresses the complicated human emotions and struggles with the path of his life. To prevent bei

17、ng sold and forced to separate from his family, Jim runs away from his owner, Miss Watson, and works towards obtaining freedom so he can buy his familys freedom. All along their journey downriver, Jim cares for and protects of Huck, not as a servant, but as a friend. Thus, Twains encourages the read

18、er to feel sympathy and empathy for Jim and outrage at the society that has enslaved him and threatened his life. 第13頁(yè)/共38頁(yè) However, although Twain attacks slavery through is portrayal of Jim, he never directly addresses the issue. Huck and Jim never debate slavery, and all the other slaves in the n

19、ovel are very minor characters. Only in the final section of the novel does Twain develop the central conflict concerning slavery: should Huck free Jim and then be condemned to hell? This decision is life-altering for Huck, as it forces him to reject everything civilization has taught him. Huck choo

20、ses to free Jim, based on his personal experiences rather than social norms, thus choosing the morality of the “natural life” over that of civilization.第14頁(yè)/共38頁(yè) hypocrisy of “civilized” society. When Huck plans to head west at the end of the novel in order to escape further “civilizing”, he is tryi

21、ng to avoid more than regular baths and mandatory school attendance. Throughout the novel, Twain depicts the society around Huck as little more than a collection of degraded rules and percepts that defy logic.第15頁(yè)/共38頁(yè) 在小說(shuō)開(kāi)頭哈克與道格拉斯寡婦生活在河邊小鎮(zhèn)圣彼得堡，寡婦一直試圖“教化”他，但哈克對(duì)傳統(tǒng)的文明教化和宗教意識(shí)非常厭惡，向往無(wú)拘無(wú)束的生活，難以忍受與這位受人尊敬的

22、老婦人生活在一起:“:“可是只要想想這寡婦為人處世有多古板，多正經(jīng)，就能明白一天到晚呆在屋里真是活受罪；所以到了我再也受不了的時(shí)候，我就溜啦。我穿上我原來(lái)的破衣?tīng)€衫，重新躲到我那只大木桶里，好不自在逍遙?！?在最后一章，當(dāng)薩莉姨媽打算收養(yǎng)哈克時(shí)，他意識(shí)到他再也不想要所謂的文明生活了:“:“不過(guò)我尋思: :到領(lǐng)地去，我得比他們兩個(gè)先走一步，因?yàn)樗_莉姨媽要認(rèn)我作干兒子，要教我做人的規(guī)矩，我可受不了這個(gè)。我已經(jīng)受過(guò)一回啦?！边@部小說(shuō)以道格拉斯寡婦試圖“教化”哈克開(kāi)始，以哈克決定不再讓此再在薩莉姨媽手中發(fā)生結(jié)束，首尾呼應(yīng)，使哈克逃離文明社會(huì)的束縛，渴望自由這一主題得到充分展示。第16頁(yè)/共38頁(yè) co

23、nflict between civilization and natural life Huck represents natural life through his freedom of spirit, uncivilized ways, and desire to escape from civilization. He was raised without any rules or discipline and has a strong resistance to anything that might civilize him. Throughout the novel, Twai

24、n seems to suggest that the uncivilized way of life is more desirable and morally superior. Drawing on the ideas of Jean-Jacques Rousseau, Twain suggests that civilization corrupts, rather than improves, human beings. 第17頁(yè)/共38頁(yè) 例如，哈克從家里逃出來(lái)的次日清晨，他躺在島上的草地上，自我例如，哈克從家里逃出來(lái)的次日清晨，他躺在島上的草地上，自我感覺(jué)是這樣的感覺(jué)是這樣的:

25、:“四下里多半是參天大樹(shù)四下里多半是參天大樹(shù)有些地方太陽(yáng)透過(guò)樹(shù)葉有些地方太陽(yáng)透過(guò)樹(shù)葉照得滿地斑斑點(diǎn)點(diǎn)，這些斑斑點(diǎn)點(diǎn)的地方還有點(diǎn)兒晃晃悠悠地動(dòng)，照得滿地斑斑點(diǎn)點(diǎn)，這些斑斑點(diǎn)點(diǎn)的地方還有點(diǎn)兒晃晃悠悠地動(dòng)，看得出樹(shù)頂上吹著微微的風(fēng)。有一對(duì)松鼠坐在樹(shù)枝上嘰嘰喳喳地沖看得出樹(shù)頂上吹著微微的風(fēng)。有一對(duì)松鼠坐在樹(shù)枝上嘰嘰喳喳地沖著我叫得挺親熱，著我叫得挺親熱，”松鼠叫感到親熱，樹(shù)頂有微風(fēng)吹，觀察如此細(xì)松鼠叫感到親熱，樹(shù)頂有微風(fēng)吹，觀察如此細(xì)微，這就把哈克享受自由時(shí)的快樂(lè)、輕松心情逼真地烘托了出來(lái)。微，這就把哈克享受自由時(shí)的快樂(lè)、輕松心情逼真地烘托了出來(lái)。 此外，作家巧妙地利用此外，作家巧妙地利用“河上河上”

26、“”“岸上岸上”的對(duì)比，諷刺批判美國(guó)資的對(duì)比，諷刺批判美國(guó)資產(chǎn)階級(jí)的所謂文明世界。產(chǎn)階級(jí)的所謂文明世界?！昂由虾由稀毕笳髯杂?，哈克坐著木筏，在河象征自由，哈克坐著木筏，在河上領(lǐng)略大自然的旖旎風(fēng)光，沐浴在與吉姆與日俱增的友誼中，就感上領(lǐng)略大自然的旖旎風(fēng)光，沐浴在與吉姆與日俱增的友誼中，就感到到“挺自由、挺痛快、挺舒服挺自由、挺痛快、挺舒服”。而。而“岸上岸上”則代表美國(guó)的文明世則代表美國(guó)的文明世界，那里充滿了丑惡與卑鄙，哈克一到岸上就感到界，那里充滿了丑惡與卑鄙，哈克一到岸上就感到“別扭、悶氣得別扭、悶氣得很很”。用大自然的美對(duì)比現(xiàn)實(shí)的丑，意境雋永，耐人尋味。用大自然的美對(duì)比現(xiàn)實(shí)的丑，意境雋永，

27、耐人尋味第18頁(yè)/共38頁(yè) Freedom: the one word best summarizing the theme. Huck wants to escape from the bond of civilization and Jim wants to escape from the yoke of slavery. Twain uses the rafts journey down the Mississippi river to express his thematic contrasts between innocence and experience, nature and

28、culture, wilderness and civilization.第19頁(yè)/共38頁(yè) 全書主題是對(duì)自由的追求。哈克要逃離全書主題是對(duì)自由的追求。哈克要逃離“文明文明”社會(huì)的虛偽與腐敗，獲得精神上的社會(huì)的虛偽與腐敗，獲得精神上的自由；作品的強(qiáng)大藝術(shù)魅力正是由于寫的是哈克對(duì)家里老的一套古板的文明規(guī)矩與自由；作品的強(qiáng)大藝術(shù)魅力正是由于寫的是哈克對(duì)家里老的一套古板的文明規(guī)矩與教會(huì)辦的主日學(xué)校桎梏心靈的那一套行為規(guī)范的厭惡與反抗。教會(huì)辦的主日學(xué)校桎梏心靈的那一套行為規(guī)范的厭惡與反抗。 吉姆要逃離蓄奴州，奔向自由州，獲得身體與精神的自由。吉姆要逃離蓄奴州，奔向自由州，獲得身體與精神的自由。第20頁(yè)

29、/共38頁(yè)1.Maturity: Huck is forced to take care of himself because he has no parents. Although he is a young boy, he faces many problems that adults struggle with, and is forced to deal with them maturely. 2.Friendship: Huck never really had any true friend before Jim, but the time spent with him allow

30、ed the two to become very close.Other Major Themes第21頁(yè)/共38頁(yè)3.Legality vs. Morality: Huck faces the question of whether he should obey the law and turn in Jim, or if he should risk a bad reputation and keep his friend happy. Much of the book is concerned with Hucks inner struggle between this sense o

31、f guilt in helping Jim to escape and his profound conviction that Jim is a human being.4.Love: Jim loves Huck and he has been a true friend and been through many tough situations. Huck learns to love through his friendship with Jim, who is devoted and willing to do anything for Huck.第22頁(yè)/共38頁(yè)5. Mock

32、ery of Religion: A theme Twain focuses on quite heavily on in this novel is the mockery of religion. Throughout his life, Twain was known for his attacks on organized religion. Huck Finns sarcastic character perfectly situates him to deride religion, representing Twains personal views. In the first

33、chapter, Huck indicates that hell sounds far more fun than heaven. Later on, in a very prominent scene, the King, a liar and cheat, convinces a religious community to give him money so he can convert his pirate friends. The religious people are easily led astray, which mocks their beliefs and devoti

34、on to God. 第23頁(yè)/共38頁(yè) 小說(shuō)中小說(shuō)中寫哈克對(duì)禱告的看法也極富幽默感寫哈克對(duì)禱告的看法也極富幽默感:“:“我心里想，我心里想，要是一個(gè)人禱告什么就能得到什么，那為什么狄肯要是一個(gè)人禱告什么就能得到什么，那為什么狄肯韋恩韋恩賣豬肉虧的錢賺不回來(lái)呢賣豬肉虧的錢賺不回來(lái)呢? ?為什么寡婦讓人偷掉的銀鼻煙為什么寡婦讓人偷掉的銀鼻煙盒兒找不回來(lái)呢盒兒找不回來(lái)呢? ?為什么華森小姐不能胖起來(lái)呢為什么華森小姐不能胖起來(lái)呢?”?”第24頁(yè)/共38頁(yè)The symbolic meaning of the Mississippi River: The majority of the plot ta

35、kes place on the river or its banks. For Huck and Jim, the river represents freedom. On the raft, they are completely independent and determine their own courses of action. Jim looks forward to reaching the free states, and Huck is eager to escape his abusive, drunkard of a father and the “civilizat

36、ion” of Miss Watson. However, the towns along the river bank begin to exert influence upon them, and eventually Huck and Jim meet criminals, shipwrecks, dishonesty, and great danger. Finally, a fog forces them to miss the town of Cairo, at which point there were planning to head up the Ohio River, t

37、owards the free states, in a steamboat. 第25頁(yè)/共38頁(yè) Originally, the river is a safe place for the two travelers, but it becomes increasingly dangerous as the realities of their runaway lives set in on Huck and Jim. Once reflective of absolute freedom, the river soon becomes only a short-term escape, a

38、nd the novel concludes on the safety of dry land, where, ironically, Huck and Jim find their true freedom.第26頁(yè)/共38頁(yè)Significance of the novel The novel marked the climax of Twains literary creativity. The book is significant in many ways: 1. Local Colorism: Twain preferred to represent social life th

39、rough portrait of local places which he knew best. He drew heavily from his own rich fund of knowledge of the people and places. The novel is a record of a vanished way of life in the pre-civil war Mississippi valley.第27頁(yè)/共38頁(yè) 2. the dialects in colloquial style are used to portray the actual daily

40、speech of uneducated people. The book are noted for its unpretentious, colloquial yet poetic style. One of Twains significant contribution to American Literature lies in the fact that he made colloquial speech an accepted, respectable literary medium in the history of the country.第28頁(yè)/共38頁(yè) 在在一一章的大霧片

41、斷當(dāng)中，當(dāng)吉姆意識(shí)到哈克不顧他的牽掛章的大霧片斷當(dāng)中，當(dāng)吉姆意識(shí)到哈克不顧他的牽掛與擔(dān)心而在戲弄他時(shí)，受到了深深的傷害與擔(dān)心而在戲弄他時(shí)，受到了深深的傷害:“:“它們代表什它們代表什摸摸( (么么)?)?我來(lái)講給你聽(tīng)。我一邊照管木坯我來(lái)講給你聽(tīng)。我一邊照管木坯( (排排) )，一邊叫你，一邊叫你，乏得布乏得布( (不不) )行，我睡著了，當(dāng)時(shí)我的醒行，我睡著了，當(dāng)時(shí)我的醒( (心心) )都碎啦，云都碎啦，云( (因因) )為你走散為你走散( (失失) )啦。我自己，還有這木坯，會(huì)布會(huì)出啦。我自己，還有這木坯，會(huì)布會(huì)出事，我都布圓益事，我都布圓益( (不愿意不愿意) )去想啦。我醒來(lái)一看，你并并

42、去想啦。我醒來(lái)一看，你并并( (平平平平) )安安回來(lái)啦，布由得直蕩安安回來(lái)啦，布由得直蕩( (淌淌) )眼淚，我滿醒感謝，眼淚，我滿醒感謝，恨布得跪下來(lái)親親你的腳?？墒前?，你心里想的只是怎樣恨布得跪下來(lái)親親你的腳。可是啊，你心里想的只是怎樣編一個(gè)荒（謊）來(lái)糊弄老杰姆。那邊一堆殘枝敗葉是骯臟編一個(gè)荒（謊）來(lái)糊弄老杰姆。那邊一堆殘枝敗葉是骯臟的東西。骯臟的東西也就是人家把臟東西往朋友的腦袋上的東西。骯臟的東西也就是人家把臟東西往朋友的腦袋上道（倒），叫人家為他害少（臊）的人嘛。道（倒），叫人家為他害少（臊）的人嘛?！钡?9頁(yè)/共38頁(yè) 3. Characterization: the profo

43、und portrait of Huckleberry Finn is another great contribution of the book to the legacy of American literature. Special point of view: serious social problems discussed through the narration of a little illiterate boy. Hucks kindness and innocence form striking contrasts with the hypocrisy, dishone

44、sty and cruelty of the society. 第30頁(yè)/共38頁(yè) 作品寫一個(gè)十三四歲的窮孩子仿佛調(diào)皮搗蛋，連進(jìn)出都不作品寫一個(gè)十三四歲的窮孩子仿佛調(diào)皮搗蛋，連進(jìn)出都不走大門，而是從樓上窗口里爬進(jìn)爬出，抱著避雷針上上下走大門，而是從樓上窗口里爬進(jìn)爬出，抱著避雷針上上下下；實(shí)則寫他勇于反抗（假死），勇于開(kāi)拓，勇于冒險(xiǎn)。下；實(shí)則寫他勇于反抗（假死），勇于開(kāi)拓，勇于冒險(xiǎn)。只身一人，敢于逃上小島，搭窩棚，生篝火，釣魚為生。只身一人，敢于逃上小島，搭窩棚，生篝火，釣魚為生。小小年紀(jì)，成了小島的主人；小小年紀(jì)，在大河之上，出小小年紀(jì)，成了小島的主人；小小年紀(jì)，在大河之上，出生入死，沒(méi)有叫過(guò)

45、一聲苦；永遠(yuǎn)前進(jìn)，沒(méi)有后退過(guò)一步。生入死，沒(méi)有叫過(guò)一聲苦；永遠(yuǎn)前進(jìn)，沒(méi)有后退過(guò)一步。叫美國(guó)和世界的讀者入迷的正是當(dāng)年西部拓殖者、淘金者叫美國(guó)和世界的讀者入迷的正是當(dāng)年西部拓殖者、淘金者與密西西比河上水手的孩子們這樣對(duì)自由的追求，對(duì)新的與密西西比河上水手的孩子們這樣對(duì)自由的追求，對(duì)新的文化的追求！這種開(kāi)拓的精神，這種創(chuàng)業(yè)精神，這種美國(guó)文化的追求！這種開(kāi)拓的精神，這種創(chuàng)業(yè)精神，這種美國(guó)人非常珍惜的個(gè)人首創(chuàng)精神，不是美國(guó)文明史上新的文化人非常珍惜的個(gè)人首創(chuàng)精神，不是美國(guó)文明史上新的文化的萌芽又是什么呢的萌芽又是什么呢？第31頁(yè)/共38頁(yè) 4. Twain wrote about the lower-

46、class people. Moreover, he successfully used local color and historical settings to illustrate and shed light on the contemporary society. His work touched upon the human situation in a general, indeed “universal” way. Humanitarianism ultimately triumphs. 5. Twains humor is remarkable. A great deal

47、of his humor is characterized by puns, straight-forward exaggeration, repetition, and anti-climax, let alone tricks of travesty and invective. But his humor is not only witty marks to laugh at the farcical elements to make people laugh, but a kind of artistic style used to criticize the social injus

48、tice and satirized the decayed romanticism. 第32頁(yè)/共38頁(yè) In Twains time, humor, though it was seen as greatly valuable, remained clearly subordinate in the value system of the 19th century. The function of humor was to entertain, but it was not expected to participate in the high seriousness that Matth

49、ew Arnold and his age asked of literature. But Twain liberated humor, raising it to high arta liberation that parallels his creation of vernacular American English. Instead of subduing his humor to seriousness, twain invaded the citadels 根據(jù)地, 大本營(yíng) of seriousness and freed the humor held captive there

50、.第33頁(yè)/共38頁(yè)Twains contributions and achievement Mark Twain is a very famous humorist. whose best work is characterized by broad, often irreverent humor or biting social satire. His writing is also known for realism of place and language, memorable characters, and hatred of hypocrisy and oppression. O

51、ne of his significant contributions to American literature lies in the fact that he made colloquial speech an accepted, respectable literary medium in the literary history of the country. 第34頁(yè)/共38頁(yè) In social criticism he loved life, people, freedom and justice, felt a pride on human dignity and advo

52、cated brotherhood of man. He hated tyranny and iniquity, despised meanness and cruelty, and took his role as a social critic in a serious and responsible manner He was not indifferent either to the Chinese immigrants persecuted in America or to a China suffering intense agonies of humiliation and di

53、smemberment by imperialist powers. 第35頁(yè)/共38頁(yè) 馬克吐溫在他晚年的雜文和政論文里，反對(duì)帝國(guó)主義列強(qiáng)對(duì)弱小民族、國(guó)家的侵略壓迫，同情和支持殖民地、半殖民地人民的反抗斗爭(zhēng)，對(duì)中國(guó)人民寄予了極大的關(guān)心和同情。他在其最優(yōu)秀的政論給在黑暗中的人、使用私刑的合眾國(guó)、托缽僧與傲慢無(wú)理的陌生人等文章中，譴責(zé)了當(dāng)時(shí)以美國(guó)為首的帝國(guó)主義列強(qiáng)對(duì)中國(guó)瓜分、榨取的罪惡行徑，表明了自己民主主義和人道主義的立場(chǎng)。特別是在使用私刑的合眾國(guó)一文中，他辛辣地嘲諷了“在華外國(guó)教會(huì)美國(guó)委員會(huì)艾明特牧師”之流，怒斥他們勒索中國(guó)賠款大搞名為“宣傳福音”實(shí)為文化侵略的無(wú)恥勾當(dāng)。他大聲疾呼：把中國(guó)人“交給自己的命運(yùn)支配吧！” 結(jié)果，文章引起強(qiáng)烈反響，報(bào)紙的評(píng)論、人們的指責(zé)使官方大為尷尬。第36頁(yè)/共38頁(yè)Assignment: 作品的主題 作品在美國(guó)文學(xué)史上的重要意義。 哈克的性格分析及作品的社會(huì)意義。第37頁(yè)/共38頁(yè)感謝您的觀看！第38頁(yè)/共38頁(yè)