《岂力马扎罗的雪》中真实性的分量毕业作品文档格式.docx

《岂力马扎罗的雪》中真实性的分量毕业作品文档格式.docx

《《岂力马扎罗的雪》中真实性的分量毕业作品文档格式.docx》由会员分享，可在线阅读，更多相关《《岂力马扎罗的雪》中真实性的分量毕业作品文档格式.docx（9页珍藏版）》请在冰豆网上搜索。

它主要讲述了一个作家在临死时回忆一生中未写作的片段和经历这一故事。

由于故事结构的复杂性，现有文献中对主角的分析不一，以致产生了对主人公哈里多种不同甚至相反的评价。

因此，本文尝试使用一种统一的视角检视主人公的个性特征。

通过哈里作为观察者和作者这两种身份时的真实性来分别进行阐述。

通过这一分析，本文厘清了现存的各种相反或相对的观点，并且得出结论，即作为观察者的哈里一直保持着他的真实性，而作为作家的哈里在死前完成了向真实性的转变。

关键词：

岂力马扎罗的雪；

真实性；

拖延

Abstract

TheSnowsofKilimanjaroisoneofHemingway'

smostfamousshortstories.Itisastoryaboutadyingwriterlookingbackonalifetimeofunwrittenstories.Duetothecomplexityinthestructureofthestory,analysesofitsmaincharacterHarryvaryinexistingliterature,whichleadstodifferent,evensharplycontrastingwaysofevaluation.Therefore,thisarticleventurestoexaminetheprotagonistinaunifiedpointofview.Thisisachievedthroughlookingatthecharacterinthelightofhisauthenticitybothasanobserverandasawriter.Throughthisexamination,itclarifiesvariousconflictingpointsofviewthatcurrentlyexists,andarrivesattheconclusionthatHarryisanauthenticobserverwhohasbeentransformedtoanauthenticwriterbeforehisdeath.

Keywords:

TheSnowsofKilimanjaro;

authenticity;

procrastination

Contents

AbstractII

1.Introduction:

1

2.ThePsychologicalWeightofAuthenticity2

2.1HarryasanAuthenticObserver2

2.1.1ToFacetheUnfamiliar3

2.1.2ToFacetheIncongruous4

2.1.3ToFacetheFutilityofTheorizing5

2.2HarryinhisStruggletobeanAuthenticWriter6

2.2.1ResistancefromthePublic6

2.2.2ResistancefromLovedOnes7

2.3TheTransitionbeforeDeath8

3.Conclusion8

Bibliography10

Acknowledgments10

1.Introduction:

TheSnowsofKilimanjaroisoneofHemingway’smostfamousshortstories.TheframeofthestoryisaboutawriternamedHarrywhowasdyingofgangreneonaremoteplainofAfrica.（Logsdon,29）Whileonasafariwithhisgirlfriend,Harryreceivedaslightwoundwhichresultedgangreneinhisleg,andwiththeirtruckbrokendowntheywerestranded,withlittleprospectofimmediatehelp.Dyingaslowbutpainlessdeath,Harrycalledbacktomemoryalifetimeofstoriesthathehadpostponedtowrite（Logsdon,30）andrealizedthathewouldneverhaveachancetowriteagain.

Throughthereminiscenceoftheprotagonist,Hemingwaypresentsamontageofimagesrecollectedfromhisownpast（Bonds,132）,includinghiswartimeexperience,pastloveaffairs,andlifeofmenandwomeninthepoorquartersofParis.Theseaccountsalsoformaconcretepartofthestory.Thistypeofstory-telling,whichresemblestheancientstyleof“frametale”,allowstheauthortointegrateavastamountofdiversified“sub-stories”andscatteredaccountsintoafluentwhole,followingtheflowofconsciousnessofHarry.Butduetotheset-upofthestory,aconfusionwascreatedastowheretodrawthelinebetweenthewriterandtheprotagonist.AnditisalsonotimmediatelycleartowhatextentcanHarry'

scharacteristicsbeattributedtohiscreator.

Thetwodifferentpointsofview,whichseparateandconvergeatdifferentpointswiththedevelopmentofthestory,haslentavaguenesstotherelationshipbetweenthecharacterandtheauthor.Differentunderstandingsofthisparticularrelationship,orlackofconcernofit,hasledtodifferencesoftheoverallinterpretationinthephilosophyofthewholestory,whichspansboththenegativeandpositiveextremesofthesamespectrum,andleadstodisparityofinterpretationinthesmallestdetails.

Forinstance,Mü

llerdescribedHarryasan“inauthenticself”thatHemingwayissymbolicallykillingoff.（Mü

ller,38）StoltzfusregardsHarryasadecliningwriter,andHemingway,asHarry'

screator,“understandstheflawsinboththeirlives.”（Stoltzfus,218）AccordingtoIbañ

ez,Harryisaself-destructivewriterwhofeedsonhisownrottenandinventedlies.（Ibañ

ez,105）InLiYananandOuLin'

spointofview,however,Harryis“neitheraheronoracoward”（Li,94）butanormalpersonatthemercyofhispainfulmemoriesimposedbyhistime.

Thediscrepancyhasledtodisparityininterpretationsonvariouslevels.Forexample,StoltzfusreasonsthatTheSnowsofKilimanjaroisabout“failure,badfaithandHemingway'

srecuperationoffailure”.（Stoltzfus,217-218）Andtheframenarrativeisthusveiledwithanegativeatmosphere-“Heisangry,hequarrelswithhiswife,hehallucinates,andhedies.”（Stoltzfus,217）Mü

llerdescribedthecentralthemeofHarry'

sflashbacksas“theproblematicidealofdoingtherightthing”（Mü

ller,35）.

Withthisconfusionitisrelativelyhardtopindownthephilosophythatthestory-tellerholds.Therefore,theaimofthispaper,istotrytoclarifythetangleinthemixedpointsofview,bystickingwithasinglecharacteristic,authenticity,whichshinesthroughtherecollectedscenesaswellastheframenarrative.Throughthissinglepointofview,itseekstoclarifytheconfusioncreatedbytheframestructureofthestoryandreachanewunderstandingaboutitsprotagonist.

2.ThePsychologicalWeightofAuthenticity

WaitingforhisdeathtocomeontheAfricanplain,Harryrecollectsalifetimeofstorieswhichhehadneverwritten.Theyincludehismemoriesaboutwar,hisloveaffairsandthelifeofmenandwomenashewitnessedinthepoorquartersofPariswhichheusedtolive.Diversifiedastheyare,theyareusuallyboundtogetherinseparate“bundles”byasharedelement.Thefirstbatchoftheseaccounts,forexample,isboundbyasharedimageofsnow,fromthesnowthatkilledpeopletothatwhichheskiedon.Thereareevenaframestorywithintheexistingnarrativeframe–aquarrelwithhiswomaninParis–forhimtoputinotheraccountsofexperienceincludingtheoneabout“poppyfieldhorror”,whichistobediscussedlater.Andtherestareintroducedwithreferencetothemainframe.Forinstance,whenHarrywascontemplatinghisownpainlessdeath,herememberedtheofficerWilliamsonwhodiedaunbearablypainfuldeath.Butwhathelpstoachieveasenseofunityamongthediversifiedthemes,isthevalueofauthenticity（Mü

ller,36）,whichmeanstoseethingsastheyare,andrejectthetemptationoftheorizingwherethingsareincomprehensible,ortheinclinationofbestowingmeaningonthingsthatarebynatureabsurd.

2.1HarryasanAuthenticObserver

Withinthenarrativeframe,amontageofimagesrecollectedfromHemingway'

sownpastwerepresented（Bonds,132）.Theseaccounts,writtenwithextremeskillfulness,alsoformaconcretepartofthestory.TheyincludeHarry'

smemoriesaboutwar,hisloveaffairsandthelifeofmenandwomenashewitnessedinthepoorquartersofParis.Whathelpstoachieveasenseofunityamongtheextremelydiversifiedrecollections,isthevalueofauthenticity（Mü

ller,36）,whichmeansthecapabilityorwillingnesstoseethingsastheyare,andtorejectthetemptationoftheorizingwherethingsareincomprehensible,ortoforcemeaningonthingsthatarebynatureabsurd.

Inthissense,Harrycouldbecountedasanauthenticobserverofhistime,asacloseexaminationoftheaccountswouldshow.WhentheGreatWarbrokeoutinthe1910s,itdisruptedthenormalorderoflifeandbroughtdeathandhorrorintonormalpeople'

slives,evenwheretheyweretheleastexpected.Asthefollowingexaminationofthedetailedaccountswillshow,tobeauthenticmeanstofacetheunfamiliar,theincongruousandthefailureofreasonandtheinsecuritiesthattheyincur.

2.1.1ToFacetheUnfamiliar

Theout-brokenofWorldWarIdisruptedthenormalorderoflifeandbroughtdeathandhorrorintonormalpeople'

slives,evenwhereitistheleastexpected.Peoplebegantoseedeath,whichusedtobeamysterioussubject,nowjuxtaposedwiththeirdearfriends,families,orwhateverdailyobjectsthatgaveoneasenseofcommonplaceness.AndthecontrastwasshockingasitwasdisplayedinHemingway’saccountofpoppyfieldhorrorwhichHarryexperiencedonenightwhileleavingforAnatolia:

Thatwasthedayhe'

dfirstseendeadmenwearingwhiteballetskirtsandupturnedshoeswithpomponsonthem...Laterhehadseenthethingsthathecouldneverthinkofandlaterstillhehadseenmuchworse.（Hemingway,21）

Theimageof“whiteballetskirts”and“upturnedshoeswithpomponsonthem”conjuresupdifferentimaginationsfordifferentindividuals,butonlyinrarecaseswillitbeassociatedwiththeharshimageofadeadman.Avoidofexpectationwasthuscreatedandwhentheimageregisteredthevision,theimpactwasimmediate.

Itiscommonexperiencethatwhenoneissurprisedorshocked,hewillbeunabletothinkorspeakforatleastatransientmoment.Thatisoftenmetaphoricallydescribedas“losingorientation”asifpeoplehadforsomereasonsteppedofftherealmoffamiliarityandintothestrangeness.Mostwillrecoverby“makingsenseof”whathappened,butinthiscase,evenrealizingthestrangenessofthepicturedoesnothelptoputitintoanyexistingmentalcategory.

Familiaritymaybedullandcontempt-breeding,butitalsoprovidesasenseofsecurityandcomfort.Theunfamiliarqualityofhisexperience,andthedifficultyofre-orientationorintegratingitintotheoldsystemofthinkingiswhatmakesitmentallydisturbing,andthereforeextremelyhardtoface.Asaresult,whenHarrywasbackinParisagainhe“couldnottalkaboutitorstandtohaveitmentioned”.Theheavinessoftruthhadweighedhimdown.Hencetheprocrastinationinwritingthemdown,despitethattheycouldhavebeenextremelyvaluableandrarewritingmaterialsforawriter.

2.1.2ToFacetheIncongruous

Anothercharacteristicoftheaccountsistheincongruityofreasoningtheydisplayedintheplaceofthemuchmorefamiliarapriorireasons.I