论文双城记
《双城记》简介: 这是一个以两百多年前的两个伟大的城市浓雾弥漫, 车灯摇曳不定的伦敦, 绝望、 颓废的巴黎的最底层为背景的故事。。 对于当时那场发生在巴黎的大革命,太多人花了太多的笔墨去描述它。这对法国 来说是一场具有重大意义的转变,甚至对于欧洲,对于整个世界来说也是如此。 作者狄更斯,是英国最杰出的现实主义批判作家之一。虽然他没有亲眼目睹,却 依靠自己丰富的想象力看到的当时的景象。 《双城记》被誉为描写法国大革命的最杰出的代表作,我想最大的原因可能是因 为它的与众不同。和其他的作品,比如卡莱尔的《法国大革命》不同,狄更斯更 注重的是底层人民的喜怒哀乐。尽管在那个时代,这些小人物本身并不能引起世 界的关注。但是作者敏锐的捕捉到这些小人物和大革命有着千丝万缕的联系,可 以说法国大革命本身就是有小人物们的力量所引发的。 This is a two hundred years ago in the two great city as the background. Foggy, lamps flickering London, despair, the bottom of the Paris decadent. For when that happened in Paris astounding revolution, too many people spent too much ink to describe it. It is a game of France is of great significance for the transformation, and even in Europe, so it is for the whole world. British author Charles Dickens, is the most outstanding writers of the critical realism. Although he had witnessed, but depend on their own rich imagination to see the picture. 《A tale of two cities 》is described as the most eminent French revolution, the masterpiece, I think the biggest reason perhaps because it's different. And other work, such as the French revolution of lawyers at once .then he has been a writter.at last he became a novelist. He had been writen a lot of novels.one of the most famous is “tale of two cities”the novel was comleted in 1859.
《经济学人》:文坛巨匠查尔斯·狄更斯的一生
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Two welcome new biographies of Charles Dickens whose birth 200 years ago will be celebrated next February 两本查尔斯狄更斯新传记,喜迎明年二月狄更斯诞辰 200 周年。
Becoming Dickens: The Invention of a Novelist. By Robert Douglas-Fairhurst. 《成为狄更斯:一个小说家的创造力》作者 罗伯特道格拉斯菲赫斯特 Charles Dickens: A Life. By Claire Tomalin 《查尔斯狄更斯:一生》克莱尔托玛琳
THERE is an immediacy about Charles Dickens’s life, just as there is about his novels, a kind of bursting physicality. “If I couldn’t walk fast and far”, he once said, “I think I should explode andperish.” He exhilarated and exhausted himself. Both these biographies, timed for the bicentenary of Dickens’s birth next February, bring out the mad energy of the man. 回顾查尔斯狄更斯的一生跟阅读他小说一样,有一种实实在在的冲劲扑面而来。他曾经说, “如果步伐不再轻盈脚力不再充沛,我想我宁愿自爆死去。”他忘情宣泄,直到耗尽自我。在 狄更斯 200 周年祭这个节点,这两本传记展示了这作家疯狂的精力。
Robert Douglas-Fairhurst sets out to counter what he sees as
the literary man-of-destiny version of Dickens, to recover the uncertainty, muddle and loose ends. He concentrates therefore on the early unsettled years, up to 1838 when, at 26, Dickens decided to sign himself “Charles Dickens”. Until then he had just been “Boz”, a sketch writer and the hugely popularauthor of “The Pickwick Papers”. 有人认为狄更斯命中注定成为作家,罗伯特道格拉斯菲赫斯特提出了异议,并还原了狄更 斯摇摆不定、 浑浑噩噩和信马由缰的一面。 为此, 他把目光放在狄更斯早年不安稳的日子上, 1838 年之前。那一年狄更斯 26 岁,最终选定以“查尔斯狄更斯”作为笔名。此前,他还只 是一个叫“博兹”的札记作家和写过一部热销小说《匹克威克外传》。 But writing was hardly a proper job. Since the age of 15, he had been racing through moreplausible alternatives: from legal clerk, to courtroom and parliamentary shorthand reporter, then on to journalism and ambitions in the theatre. Mr Douglas-Fairhurst’s early cut-off date enables him to slow these years down, to listen for the echoes between the life and the writings and to draw
on a broad range of contemporary references. 但是对狄更斯来说,作家几乎不算是正式工作。15 岁起,他在其他更靠谱的职业中频频跳 槽:从法务学徒到法院及议院速写记录员,后来又当过记者还跃跃欲试戏剧表演。道格拉 斯菲赫斯特截取狄更斯的早年时期,使得他能够从容分析,细听当时社会和狄更斯作品之 间的回响,广泛参阅了当时的文献。 As he shows, the question of alternatives, of the road taken or not taken, fascinated Dickens. “See how near I may have been to another sort of life,” he wrote of himself at 20 when he had been on the point of auditioning as an actor. Or, more fearfully, he wrote of his 12-year-old self: “I might easily have been…a little robber or a little vagabond.” He came that close, he believed, when his father (the model for Mr Micawber in “David Copperfield”) was imprisoned for debt and, as wascustomary, the family joined him—except for young Charles who took lodgings and was set to work in a blacking factory. 他指出,狄更斯曾乐此不疲地从事待选行业,追问自己该走哪条路不该走哪条路。他在 20 岁作为演员在试镜前曾写道:“看,我极有可能就要过上另一种生活了”。又比如,他心有余 悸地回忆 12 岁时, “我极有可能成为小流氓或者小游民。 ”他确信无疑, 尤其在他父亲 《大 ( 卫科帕菲尔》 中米考伯的原型) 负债入狱, 举家依惯例连坐时, 这种可能性极即将成为现实。 幸好当时政府把少年狄更斯遣送到鞋油厂寄宿,责为学徒。 It was the defining trauma of his life. It opened the crack in his imagination through which hesaw, a hair’s breadth away, a whole world of other sorts of life: from the man next to him in the library, in his Boz sketch “Shabby-genteel People”, who blacked his clothes to hide the frays, to the terrified criminal in
the condemned cell in “A Visit to Newgate”, just feet away from a whistling passer-by. 这一创伤对他的人生起了决定性影响, 狄更斯创作思路被它敲开了裂缝, 从中看到了一线之 外全然不同的人生百态:那其中有图书馆中坐他旁边的斯文人,把身上的衣服染成黑色,由 此遮掩上面的屡屡破绽(《博兹札记》中《穷摆架子的高雅人》);也有关在死牢中惶恐的 死囚,与一名吹着口哨的路人仅咫尺之隔。(《参观纽盖特监狱》)。 Mr Douglas-Fairhurst covers much ground, but one of his central ideas is Dickens’s pervasivesense of what might have been. He sees it in the false trails and shadow plots (take “Great Expectations”, where Pip imagines himself in one story though is really in another), in his doublings among characters and in his jostling possibilities and competing outcomes (for instance in “A Christmas Carol”). 道格拉斯菲赫斯特用了不少篇幅讨论这一点,
但是书中另一个主要观点是狄更斯时时刻刻 感觉到事物本应如此却奈何那样。 这一点可以在以下方面体现: 一些错误的线索以及缥缈的 剧情(以《远大前程》为例,皮普觉得自己知晓一段往事,岂料往事中还有故事,真相出人 意表);人物双面性格以及冲突的可能性和矛盾的大结局(例如《圣诞颂歌》)。 “Becoming Dickens” is an ingenious, playful and often brilliant analysis as much as it is anarrative. In a sense, Claire Tomalin’s enormous task is more straightforward. She tells a story. Clear-eyed, sympathetic and scholarly, she spreads the whole canvas, alive with incidentand detail, with places and people. She writes of publishers, illustrators, collaborators and all Dickens’s intersecting circles of friends and family. It is wonderfully done. 《成为狄更斯》是原创性作品,作为一本传记依然不乏幽默与深刻的议论。在这个意义上, 克莱尔托玛琳的大作可谓更直接。她讲述狄更斯一生的故事。作为一个传记作家,她思维 敏锐,富有同情心而且治学严谨。她利用鲜活的事件和细节,地方和人物,展示狄更斯的生 活全景。她谈及了狄更斯的出版商、插图者,合作者以及所有与狄更斯有关的朋友和家族。 故事讲得十分出色。 Mr Douglas-Fairhurst observes that almost nothing can be said of Dickens of which the opposite is not also true. Ms Tomalin richly bears that out. Here is the loyal friend and philanthropist, thechampion of the poor—and also the bully. Here too is the man who could light up a room, the clown, the mimic and dancer of hornpipes—but also the obsessive who prowled the streets unable to “get rid of my spectres unless I can lose them in crowds”. 道格拉斯•菲赫斯特发现,几乎所有对狄更斯的评论,反过来说也同样成立。托玛琳的书充 分地证实了这一点。狄更斯是忠实的朋友、慈善家、穷人的救星,但同样是名霸道者。他能
扮小丑、口技者和角笛舞者,让观众开怀大乐,却也是偏执狂,逡巡于街道之间,“只有在 人群中,我才能摆脱心中的恶灵”。 After his death, Dickens’s daughter Katey (shown above, with her sister Mamie, being read to by their father) said that she had loved him immeasurably, but that he was “a wicked man”. She was thinking of her mother Catherine, so passive, so overlooked and so constantly pregnant (they had ten children). Having decided she was the wrong wife for him, Dickens literally partitioned off her bed, then forced her into a separation while mocking her to their friends. Ms Tomalin takes care to notice Catherine and the other women in Dickens’s life. Power was vital to him, the power to make his public laugh and cry and love him for it—better still, to see them do it at his famous public readings. But a brutal streak went with it. 狄更斯死
后, 他的女儿凯特 (上图, 狄更斯给她和她姐妹梅蜜念书) 说她虽然无比热爱父亲, 但他却是“一个坏蛋”。 她念及母亲卡洛琳, 如此消极被动, 如此备受冷落还饱遭生育之苦 (她 为狄更斯生了十个孩子)。狄更斯认为卡洛琳不适合做他妻子,居然马上在床上用隔板隔开 她,逼她分居还不忘在共同朋友面前揶揄她。托玛琳特别为卡洛琳和另一个女人着墨。狄更 斯醉心影响力, 那种使大众发笑和哭泣并迷恋他的影响力, 他更希望这种情况出现在他著名 的公开朗诵中现场。但是这种影响力也让他多少有点冷酷无情。 Ms Tomalin ends with an exhausted Dickens splashing his head in a bucket of water, and writing on. After all, it is the writer she is interested in, his range, invention and universality. Everyone read him in his lifetime, high and low. Speaking of Pickwick, she remarks that Dickens seemed to feed his story “directly into the bloodstream of the nation…making his readers feel he was a personal friend to each of them.” When he died, among the flowers at his graveside in Westminster Abbey were small bunches tied with rags. 在托玛琳一书结尾,劳累的狄更斯将一桶水浇在自己身上,继续写作。毕竟她关心的是作为 作家的狄更斯,他作品的范围、他创造人物的能力而且其雅俗共赏。在狄更斯的时代,有井 水的地方就有他的作品。谈到匹克威克,托玛琳指出,狄更斯似乎将这个故事“融入大众血 肉……让读者感到狄更斯是他们每个人的朋友”。当其逝世,一束束用旧布扎起的鲜花献在 他西斯特敏斯特教堂墓地前。
Charles John Huffam Dickens (pronounced /?t?ɑrlz ?d?k?nz/; 7 February 1812 – 9 June 1870) was the most popular British novelist of the Victorian era, and he remains popular, responsible for some of English literature's most iconic characters. Many of his novels, with their recurrent concern for social reform, first appeared in magazines in serialised form, a popular format at the time. Unlike other authors who completed entire novels before serialisation, Dickens often created the episodes as they were being serialized. The practice lent his stories a particular rhythm, punctuated by cliffhangers to keep the public looking forward to the next instalment. The continuing popularity of his novels and short stories is such that they have never gone out of print. His work has been praised for its mastery of prose and unique personalities by writers such as George Gissing and G. K. Chesterton, though others, such as Henry James and Virginia Woolf, criticised him for sentimentality and implausibility.
其他回答 共 2 条 2009-12-25 12:22 颖米迷 | 五级
(1812~1870)Charles.Dickens Charles Dickens [1] (Charles Dickens ,1812 - 1870) is the second, after Shakespeare's a significant impact on the world literature novelis
t. Representative of the avid Copperfield 《写给孩子看的英国历史》A Child's History of England 《荒凉山庄》Bleak House 《艰难时世》Hard Times 《小杜丽》Little Dorrit 《双城记》A Tale of Two Cities 《远大前程》Great Expectations 《我们共同的朋友》Our Mutual Friend 《艾德温·德鲁德之谜》The Mystery of Edwin Drood
《大卫科波菲尔》 小说以第一人称的叙述方式,讲述了主人公大卫自幼年至中年的生活历程,以“一个星 期五夜间十二点”“我”的出生为源,将朋友的真诚与阴暗、爱情的幼稚与冲动、婚姻的甜美 与琐碎、家人的矛盾与和谐汇聚成一条溪流,在生活与命运的河床上缓缓流淌,最终融入宽 容、壮美的大海。其间夹杂的各色人物,各类机缘,如同河流中的顽石,又似岸边的花草, 在惊险的同时美丽着。小说语言诙谐风趣、妙语连珠,其间朴实、简短的语句将人物性格及 复杂心理刻画得入木三分。同时,小说也展示了 19 世纪中叶英国的广阔画面,更多的反映 了狄更斯希望人间充满善良、正义、人道、博爱的生活理想。
《双城记》 早在创作《双城记》之前很久,狄更斯就对法国大革命极为关注,反复研读英国历史学 家卡莱尔的《法国革命史》和其他学者的有关著作。他对法国大革命的浓厚兴趣发端于对当 时英国潜伏着的严重的社会危机的担忧。1854 年底,他说:“我相信,不满情绪像这样冒 烟比火烧起来还要坏得多,这特别像法国在第一次革命爆发前的公众心理,这就有危险,由 于千百种原因——如收成不好、 贵族阶级的专横与无能把已经紧张的局面最后一次加紧、 海 外战争的失利、国内偶发事件等等——变成那次从未见过的一场可怕的大火。”可见, 《双城 记》这部历史小说的创作动机在于借古讽今,以法国大革命的历史经验为借鉴,给英国统治 阶级敲响警钟;同时,通过对革命恐怖的极端描写,也对心怀愤懑、希图以暴力对抗暴政的 人民群众提出警告,幻想为社会矛盾日益加深的英国现状寻找一条出路。 从这个目的出发, 小说深刻地揭露了法国大革命前深深激化了的社会矛盾, 强烈地抨击 贵族阶级的荒淫残暴,并深切地同情下层人民的苦难。作品尖锐地指出,人民群众的忍耐是 有限度的,在贵族阶级的残暴统治下,人民群众迫于生计,必然奋起反抗。这种反抗是正义 的。小说还描绘了起义人民攻击巴士底狱等壮观场景,表现了人民群众的伟大力量。然而, 作者站在资产阶级人道主义的立场上, 即反对残酷压迫人民的暴政, 也反对革命人民反抗暴 政的暴力。在狄更斯笔下,整个革命被描写成一场毁灭一切的巨大灾难,它无情地惩罚罪恶 的贵族阶级,
也盲目地杀害无辜的人们。
《雾都孤儿》 是狄更斯的第一部伟大的社会批判小说, 在世界文学史上占有重要位置。 小说主要反映刚刚 通过了济贫法的英国社会最底层现实生活。富人的弃婴奥立佛在孤儿院挣扎了 9 年,又被 送到棺材店老板那儿学徒。难以忍受的饥饿、贫困和侮辱,迫使奥立佛逃到伦敦,又被迫无 奈当了扒手。他曾被富有的布朗劳先生收留,不幸让小扒手发现又入贼窝。善良的女扒手南 茜为了营救奥立佛,不顾贼头的监视和威胁,向布朗劳报信,说奥立佛就是他找寻已久的外 孙儿。南茜被贼窝头杀害,警察随即围剿了贼窝。奥立佛终于得以与亲人团聚。作者在创作 上爱憎分明,充分地体现了其形象生动的故事特点。他笔下的人物富有鲜明的个性,整个作 品有着强烈的感染力。
Not many people know that Charles Dickens was an actor as well as a writer. A workaholic who was haunted by memories of his impoverished childhood, when he worked in a blacking factory, Dickens was never the most emotionally stable of men at the best of times, never mind at the worst. In 1857 his friend Wilkie Collins wrote a play about a failed Arctic expedition. Dickens became obsessed with it and, like a rapper who's tired of the recording studio, volunteered to play the role of the villain. Then he fell in love with his 18-year-old co-star and left his wife. You couldn't exactly say that Dickens is hot right now, but something is going on with him. Not just with his work, but with Dickens the person. So far this year he's turned up as a character in Dan Simmons' Drood and Matthew Pearl's The Last Dickens, both of which deal with his final, unfinished novel, The Mystery of Edwin Drood. Writers love to prey on their own kind anyway, but what's so intriguing about Dickens is the disconnect between his life and his art. His novels are full of last-minute redemptions and neat resolutions, but his life was a mess worthy of reality TV. This year's third (!) and most ambitious novel about Dickens is Wanting, by the Australian--or if you like, Tasmanian--writer Richard Flanagan. Wanting begins when Dickens is mourning the death of his ninth child, Dora, and feeling increasingly alienated from his wife and from himself. Franklin's ships were fitted with the bleeding edge of English naval technology, but the Arctic swallowed them and their crews with hardly a trace. Later explorers found evidence that Franklin's men had resorted to cannibalism before they finally died of hunger, disease and exposure. What the stories of Franklin and Dickens have in common is the issue of wanting. Under what circumstances do men and women give in to forbidden desires--Dickens, a man starving for love, and Franklin, a man just plain starving? 自澳大利亚的(或者说来自塔斯马尼亚岛的)理查德弗兰纳根献上了本年度第三部(同 时也是最具野心的)狄更斯系列小说: 《欠缺》 。小说开篇,狄更斯的第九个孩子朵拉去世, 悲伤之余,他感到与妻子越来越疏远,甚至对自己也越来越陌生。弗兰纳根开玩笑说:“克 里斯(基督?)是个好男人,可是他真的和女人生活过吗?”弗兰根纳笔下的狄更斯只是活 在自己作品的情感起伏中。狄更斯出演的这部克林斯剧作名叫《极度深寒》 ,在剧中狄更斯 一贯压抑的情感获得了释放,而那位靓丽的搭档艾伦特南则被卷到这场情感漩涡的中心。 剧作 《极度深寒》 取材于弗兰克林探险队遇难的故事, 这也是小说 《欠缺》 的第二条主线 (全 书共有三条主线) 。探险队由约翰弗兰克林爵士指挥,1845 年出发,前往北极寻找传说中 的西北航道。 弗兰克林顿船队具备当时英国最为先进的航海技术, 但整个船队最终被北极吞 噬得无影无踪。 其后的探险者发现, 有证据表明弗兰克林的队员甚至不得不靠食人肉来求存 活,但由于饥馑、疾病的双重围困,加之暴露于严寒之下,最终无一生还。 弗兰克林和狄更斯的故事有个共同点,就是欠缺。狄更斯缺乏的是爱,弗兰克林急需的是食 物,究竟在什么情况下男男女女会向自己压抑的欲望投降呢?狄更斯说:“我们都有欲望和 需求,但是只有野蛮人才会充分去寻求满足。”古板的维多利亚人同样有着种种欲望而且会
付诸行动,这也不算什么惊人的发现(即使一个真正的维多利亚人也不会感到吃惊) ,不过 弗兰纳根摆出了一个无路可走的两难之境: 欲望, 是该屈从还是压抑?哪个更危险?这使得 一切更耐人寻味。剧中弗兰克林的遗孀问道:“如果远离了爱情,你的生命是否还有意义?” 无论作何选择,可能都是灾难。 为求平衡, 弗兰纳根还在剧中加入了一个真正的野蛮人角色, 即年轻的塔斯马尼亚原住民玛 蒂娜,弗兰克林夫妇很早就收养了玛蒂娜,想把这个孤儿调教成一个标准的维多利亚淑女。 然而就像她宠爱的小白鼠一样,无以为家的玛蒂娜沦为有钱白人的玩物,被他们玩来玩去, 最后弃如敝屣。 玛蒂娜是弗兰纳根创造的最为成功也最为伤感的形象, 正是英国文化中的欲 望毁灭了这个野蛮人——剧中人物似未察觉,但读者岂会无视这一反讽?
Pearl S. Buck, 1892-1973: writer was most famous for “The Good Earth”
[ 2010-11-16 13:58 ]
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FAITH LAPIDUS: I'm Faith Lapidus. JIM TEDDER: And I'm Jim Tedder with PEOPLE IN AMERICA in VOA Special English. Today we tell about the award-winning writer Pearl S. Buck. (MUSIC) FAITH LAPIDUS
: The year was 1931. Americans were suffering through the Great Depression. The famous criminal Al Capone was sent to prison for not paying his taxes. arned that the Chinese were far different from the way they had been shown in Hollywood movies. (MUSIC) JIM TEDDER: After almost 40 years in China, the writer moved back to the United States. She bought Green Hills Farm in eastern Pennsylvania. She began to write articles for newspapers and magazines. She expressed her opinion on war, politics, religion, equal rights for all people and many other subjects. PEARL BUCK: Earth is a novel by Pearl S. Buck published in 1931 and awarded the
Pulitzer Prize for the Novel in
1932 and the Nobel Prize for Literature in 1938. It is the first book in a
trilogy that includes Sons (1932) and A House Divided
(1935). The novel of family life in a Chinese village
became a best-seller upon publication and has been a steady favorite ever since.
In 2004, the book was returned to the best seller list when chosen by the
television host Oprah Winfrey for Oprah's Book
Club.
The novel described Chinese village culture in detail and helped prepare
Americans of the 1930s to consider Chinese as allies in the coming war with
Japan. The 1937 film, The Good
Earth, was based on this novel.
Plot summary
The story begins on Wang Lung's wedding day and
follows the rise and fall of his fortunes. The House of Hwang, a family of
wealthy landowners, lives in the nearby town. As the House of Hwang slowly
declines due to opium use,
frequent spending, and uncontrolled borrowing, Wang Lung, through his own hard
work and the skill of his wife, O-Lan, slowly earns enough to buy land from the
Hwang family. O-lan
delivers two sons and a girl baby, who becomes mentally handicapped as a result
of severe malnutrition brought on by famine. Her father greatly pities her and
calls her son's wedding. Wang Lung and his family move
into town and rent the old House of Hwang. Wang Lung, now an old man, wants
peace, but there are always disputes, especially between his first and second
sons. Wang Lung's third son runs away to become a soldier. At the end of the
novel, Wang Lung overhears his sons planning to sell the land and tries to
dissuade them. They say that they will do as he wishes, but smile knowingly at
each other.
Characters
•
Wang Lung
– poor farmer and later very successful man.
•
O-lan –
first wife, used to be a slave in the house of Hwang. A woman of few words, she
is thoughtful, persuasive and wise. She is hardworking and self-sacrificing.
•
Wang
Lung's Father – desires grandchildren to comfort him in his old age, becomes
exceedingly needy and childish as the novel progresses.
•
The Poor
Fool – first daughter and third child of O-lan and Wang Lung, she starts to grow
more mentally retarded as the years go by. Wang Lung grows very fond of her.
•
Nung En
(Eldest Son) – becomes a scholar, is most like the sons of Hwang.
•
Nung Wen
(Middle Son) – becomes a merchant, is practical and sly. He is frugal and
despises his elder brother for giving in to his wife's nagging for riches.
•
Eldest
Son's Wife – Daughter of a grain merchant and a city woman who hates the middle
son's wife. She is brought to the house before O-lan's death and is deemed
proper and fit by the dying woman. Her first child is a boy.
•
Middle
Son's Wife – A gentle woman. Hates the first son's wife. Her first child is a
girl.
•
Youngest
Son – Runs away to become a soldier.
•
Youngest
Daughter – Twin sister of the youngest son, betrothed to a merchant's son.
•
Wang
Lung's Uncle –highly ranked in a band of thieves and a burden to Wang Lung;
becomes addicted to opium
•
Uncle's
Wife – becomes a friend of Lotus; also becomes addicted to opium
•
Uncle's
Son - Wild and lazy, leads Nung En into trouble and leaves to become a soldier.
•
Ching –
Wang Lung's faithful friend and neighbor. Dies and is buried near the entrance
to the family graveyard.
•
Lotus –
Much-spoiled concubine and former prostitute. Eventually becomes fat. Helps
arrange the eldest son's wife's and youngest daughter's wedding.
•
Cuckoo -
Formerly a slave in the house of Hwang. Becomes Madame of the tea house,
eventually becomes servant to Lotus. Hated by O-lan because she was cruel to her
in the Hwang House.
赛珍珠
赛珍珠(Pearl 赛珍珠
S. Buck 或 Pearl Buck)(1892 年 6 月 26 日-1973 年 3 月 6 日),直译 珀尔·巴克, 美国作家。 1932 年借其小说 《大地》 (The Good Earth) , 成为第一位获得普利策小说奖的女性; 1938 年获诺贝尔文学奖。 她也是唯 一同时获得普利策奖和诺贝尔奖的女作家, 作品流传语种最多的美国 作家。
生平 1892 年 6 月 26 日,赛珍珠出生
在美国西弗吉尼亚州,父亲是
美南长老会的传教士赛兆祥 (Absalom Sydenstricker, 1852 年—1931 年),父母亲在她出生 4 个月时一同来到中国江苏清江浦,后来搬到 镇江,住在润州山长老会润州中学的平房里(此处故居已经拆除); 在那里长大成人,她是先学会汉语和习惯中国风俗(特别受益于其老 师“孔先生”)后,她母亲才教她英语。值得一提的是,从幼年起, 她就在鼓励中开始写作。 1910 年,赛珍珠离开中国,到美国弗吉尼亚州伦道夫·梅康女子学 院(Randolph-Macon Woman's College)学习。于 1914 年获得了学
位之后,她又回到中国,并且在 1917 年嫁绐了一名农业经济学家, 约翰·洛辛·卜凯(John Lossing
Buck)。随后他们举家移居到安徽北部的宿县,在此期间的生活经历 成为后来闻名世界的《大地》的素材。在 1921 年底她的母亲去世后, 全家迁到南京, 赛珍珠则在金陵大学教授英语文学, 并兼执教于南高、 东大和中大时期南京大学英语系。1921 年,他们有了女儿卡罗 (Carol) 不幸的是, ; 这个女孩患有苯丙酮尿症 (Phenylketonuria) 。 1925 年,她收养了贾尼斯(Janice,后改姓 Walsh),之后又接着收 养了 8 个孩子。1926 年,她小别中国,到美国的康乃尔大学攻读艺 术硕士学位。旋即回到中国南京。 1930 年,赛珍珠出版了她的第一部作品《东风:西风》,从而开始 了她的写作事业。1931 年,她写了她最著名的小说《大地》,这部 小说被认为是她最杰出的作品之一。 农民王龙的生活故事使她于 1932 年获得了普利策奖。她的事业从此蒸蒸日上,并于 1935 年获得了威 廉·迪·豪威尔勋章。 然而,1934 年中国政局陷入了混乱,赛珍珠被迫离开中国。她回到 了美国,这时她的丈夫向她提出了离婚,她同意了。之后又嫁给了约 翰·戴尔出版公司的总裁里查德·威尔什,并且又收养了六个孩子。 在完成了描写其父母的作品《流亡》和《搏斗的天使》之后,她于 1938 年获得了诺贝尔文学奖。曾任美国作家协会主席。 在她的一生中,赛珍珠创作了超过 100 部文学作品,其中最著名的就
是《大地》。她作品的题材包括小说,短篇故事,剧本和儿童故事。 她的作品和生活有着紧密的联系。她试图向她的读者证明:只要愿意 接受,人类是存在着广泛的共同性的。她的作品主题涵养了女性、情 感(广义的)、亚洲、移民、领养和人生际遇。 赛珍珠于 1973 年 3 月 6 日逝世于佛蒙特州的丹比(Danby, Vermont), 葬于宾西法尼亚州普凯西的绿山农场。