关于《永别了武器》中女性特点的研究.docx

关于《永别了武器》中女性特点的研究.docx

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关于《永别了武器》中女性特点的研究

Abstract

ErnestHemingway（1899-1961）isoneofthemostfamouswritersofthetwentieth-century;heisthe6thAmericanwriterwhogetsNobelPrizeforLiterature （1954）.Hemingwaynotonlyforgedastartlingoriginalliterarystyle,healsocreated“theHemingwayhero.”Hecenterssuccessfullyhisnovelsonpersonalspecificexperiencesandaffectiontomakemanycharming “codeheroes”whostruggleinthetragicfaults.

ThroughreadingthewomanimageinAFarewelltoArms,theauthorofthisthesisaimstopointoutthatHemingwayisnotamisogynist,noramalechauvinist,butasupporterofharmoniousco-existencebetweenmaleandfemale.ChapteroneofthisthesisdiscussesthecharacteristicsandbackgroundofthetraditionalwomanimageandHemingway’swomanimage,andalsothecriticcommentsabouthiswomanimage.ChaptertwoanalyzesthecharacteristicsoftheCatherineBarkleyinAFarewelltoArms,throughthefollowing2respects:

Catherine’sattitudetowardsloveandmarriage,anddeath.ChapterthreediscussesthefactorsforHemingway’sshapingofwomanimagefromthreeaspects:

thebackgroundofthattime,familyupbringingandinfluenceofwomen.

Tosumup,asagreatwriter,Hemingwayownsstrongsenseofmasculinity,butheisnotshortofconcernofwomen.Thewomenimagesinhisworksshowtherealcharacteristicsofthatsociety.

Keywords:

Hemingway;AFarewelltoArms;femalecharacters

摘要

海明威被誉为二十世纪最伟大的作家之一,并在1954年获得诺贝尔文学奖。

他不仅开创了典型的海明威式的文风，也创造了海明威式的英雄。

他成功地把个人的传奇生涯与创作的辉煌结合起来，塑造了许多脍炙人口的、在迷惘中顽强拼搏的“准则英雄”。

本文的主旨是通过仔细研读海明威的小说《永别了，武器》，分析原作品中的女性形象，从而发掘海明威始终不渝的追求男性与女性的和谐共处的主题。

本文第一章讲述传统的女性形象和海明威笔下女性形象的特征和形成的历史背景，以及文学评论对于海明威笔下女性形象的一些误读。

第二章从凯瑟琳对爱情与婚姻，死亡二个方面的态度,分析《永别了，武器》里凯瑟琳的人物形象。

第三章则从海明威当时所处的社会环境、家庭成长以及他所受的女性影响讲述他塑造典型女性形象的原因。

海明威作为一名伟大的作家，他不仅有强烈的男性主体意识，而且也不缺少女性意识，他作品中的女性形象真实地反映了当时社会女性的特征与面貌。

关键词：

海明威；《永别了，武器》；女性特点

Introduction

EarnestHemingway（1899-1961）,aNobelPrizewinnerforliterature,wasanovelistandshortstorywriterwhobecameoneofthebest-knownAmericanauthorsofthecentury.Hislean,economicalstylehasbeenwidelycopiedbyotherwriters,andhisstoriesofcourageinthefaceoftragedyarere-readbyeachnewgeneration.Hisstyle,theparticulartypeofheroinhisnovels,andhislifeattitudeshavebeenwidelyrecognizedandimitated,notonlyinEnglish-speakingcountriesbutallovertheworld.

AFarewelltoArmsisarecordofHemingway’swarexperiencesandareflectionofhismentalconditioninthe1920s.AfterWorldWarI，Hemingwaywasatlossatfirst，thenhebegantothinksoberly.Hedecidedtotakeupwritingasaprofession，usinghispentowritethementalityoftheirgeneration.HissecondbestworkAFarewelltoArmsexpatiatesuponthewardirectlyandupontheformationofthelostones.Hemingwayhadalotofwarexperiencesthatweresetinhisminddeeplyandfirmlythusprovidedhimwithsubstantialwritingmaterialsforhisworks.HemingwayservedintheItalianArmyandwasbadlywoundedinthelegs.SodidhisheroHenry.ThevividdescriptionofHemingway’sbeingwoundedandthegreatretreatingscenebothcamefromwhathadhappenedtotheauthorandwhathehadseeninthewar.

Hecenterssuccessfullyhisnovelsonpersonalspecificexperiencesandaffectiontomakemanycharming “codeheroes”whostruggleinthetragicfaults.Theattractionof “codehero”revealsHemingway’saestheticpointofview;humanbeingskeeptheirdignitywhenfacingfailureandshowtheirundefeatedgraceintheadversity.Asweknow,Hemingwayisfamousformakingmalecharacterandgivinghisattentiontomale’sworld.SomanycriticsbelievethatHemingwayisjustadeptindescribingcodeheroesandmaleworldwithoutwomen.Mostofhisprotagonists ——matadors,hunters,soldiers,andfishermenbelongtothiscategory.Criticshaveneverceasedtopourdowntheircommentsonwomeninhisworkssincehisfirstnovelpublished.ButtheyhavelongbeentroubledbyHemingway’sattitudetowardwomen.

I.GeneralIntroductionofWomanImage

AstherepresentativeofLostGeneration,ErnestHemingwayhasdonealottoshapethe20thcenturyAmericanliterature.Hisworksremainpopularwiththepublicandexertaprofoundinfluenceonwriters.LiteraturecriticismthatfocusessharplyonHemingway’sworkshasproliferatedandchangedstrikingly,especiallyduringthelastfifteenyearsofthe20thcentury.ThevaluableinsightsofearlyHemingwaycriticsandbiographersremainunquestionablysignificant,butthedevelopmentsofrecentliterarytheoryhavechangedthecourseofHemingwaycriticismandalteredthewaywereadhim.Futuregenerationwillneverviewhimagaininquitethesameway.

Inthischapter,thetraditionalwomanimageandthewomanimageinHemingway’sForWhomtheBellTollswillbeintroduced.

1.1IntroductionofTraditionalWomanImage

“Traditionalwomen”isatermthatisrelativeto“newwomen”whoaredepictedtobeboldenoughtowinovertheirownindependence,freedomandrights.Bycontrast,traditionalwomenaresupposedlytorelytoomuchuponmen.Theyaredependentonmeneconomicallyandsubmittotheirmeninspirit.Thankstotheeffortsmadebyfeministsandsympatheticsocialinstitutions,women’ssocialstatuswasraisedinanabsolutesense.In1920s,thefeminismoftheUnitedStatestotallyattainedthefightofvoteforwomeninpolitics.Inthefieldoflaw,economics,educationandetc.,womenachievedthemajorityofrights.However,eitherinsocietyorinthefamilies,womendidnotenjoytheequalrightsasmen;therelativepositionofwomenremainedvirtuallyunchanged.TheAmericansocietywasstilldominatedbymen,whilewomenwereputonthemargins.Insociety,thetraditionalthoughtsstillfirmlyboundupwomentothecircleoffamily.Intherelationshipbetweenmenandwomen,womenwerestillpassiveanddidnotgetthecompleteandtruefreedom.

1.2HemingwayandWomanImageinHisWorks

ErnestHemingway（1899-1961）,oneofthemostdistinguishedbutmostcontroversialAmericanwritersofthe20thcentury,isregardedasasensitiveanddedicatedartist,agreatliterarygiantandadventurerandastylisticgeniusAmericanhistoryhaseverproduced.HispositionandreputationinAmericanliteraryhistoryasatalentedandinfluentialwriterhasbeenwellestablishedthroughthedecadesduringwhichhismajorworks（mainlyTheSunAlsoRises,1926;AFarewelltoArms,1929;ForWhomtheBellTolls,1940;TheOldManandtheSea,1952）cameouttogetherwithalltheotherminornovelsandshortstories.HewonPulitzerPrizeinFictionin1953andtheNobelPrizeforLiteraturein1954.

Hemingwayenjoysgreatworldwidepopularitythatthenumberofcriticalessaysabouthim,hisworksandhis“heroes”farexceedsthatofhisownworks.DiscussionaboutHemingwayoftencentersonhistelegraphicstyleandhistypicalheroes---dauntless,unyieldingmenwith“graceunderpressure”.ItseemsthatwomenareignoredbyHemingway.Somecritics,especiallythoseoffeminism,faultHemingwayseverely,innoareamorestronglythaninhisportrayalofwomen.Theirmajorobjectionhasbeenthatthefemalecharacterizationsareweak,thatthewomenaretoothin,ortoodimensional,becausetheyemphasizeonlysinglefactsofhumanpersonality,theyareactuallycaricatures.Morerecently,feministcriticismhasridiculedsomeofthemore“passive”womenassexualpawnsforHemingway’sheroes,orsocialfoilsincontrastwithwhichtheHemingwaymalescanappearmoremasculine.

CriticstendtocategorizeHemingwaywomen.OverwhelminglythemostpopularcriticalmannerofcategorizingHemingwaywomenhasbeentodichotomizethem.PhilipYounggeneralizesthatthewomen“areeithervicious,destructivewiveslikeMrs.Macomber,ordaydreamerslikeCatherine,Maria,andRenata”1;JacksonBensonconcludedthatinHemingwaywefind“thegirlwhofranklyenjoyssexandwhoisgenuinelyabletogiveofherself”and“the‘all---aroundbitch’,theaggressive,unwomanlyfemale”2;JohnKillingerbelievedthat“Hemingwaydivideshiswomenintothegoodandthebad,accordingtotheextenttowhichtheycomplicateaman’slife.Thosewhoaresimple,whoparticipateinrelationshipswiththeheroesandyetleavetheheroesasfreeaspossible（liketheIndiangirls,MariaMorgan,Catherine,Maria,andRenata）,receivesympathetictreatment;thosewhoaredemanding,whoconstrictthelibertyoftheheroes,whoattempttopossessthem（likeMarjorie,MargotMacomber,andDorothyBridges）,arethewomenwhommencanlivewithout”3.Intheeyesofsomecritics,Hemingway’sfictionalwomenareeitherdemonsorangels;eithercastratorsorslavesoflove;eitherbitchesorgoodcompanion.

AndtherewerealsosomecriticstendtobelievethatHemingwayusedfictionalwomentocharacterizehismen.Byemployingthepatternsofimaginaryanddiction,whichimplylittleaboutthewomenthemselvesbutimplyverymuchaboutHemingway’smen,Hemingwaycouldanddidportrayhisprotagonistswithremarkableskillandcomplexity.ItpointsoutthatHemingwaydoeswritewomen;however,theportrayalofwomenonlyservesasameansthatbrightensthemaleprotagonists.

Infact,Hemingwaywasasinterestedinwomencharactersashewasinmen---perhapsmoreinterested.Justashesaidthathehadalwaysconsideredthatitwaseasytobeamancomparedtobeingawomanwholivesbyasrigidstandardsasmenliveby.Nooneofuslivesbyasrigidstandardsnorhasasgoodethicsasweplannedbutanattemptismade.Andhealsocontinuedsaidthatitishardesttodoaboutwomenandweshouldnotworrywhentheysaytherearenosuchwomenasthosehewroteabout.Thatonlymeansyourwomenaren’tliketheirwomen.ThedefensivetoneinHemingway’scommentsisprobablyexplainedbythenegativecriticismm