最近想出的这一个系列是关于文学的，之后的也会是这一个系列，因为在考研之初，我算是跨专业，没有上过文学课，所以当时搜集了很多课件准备学习，因为时间比较紧，所以也没有看完，现在正好每天白天实习，晚上有一段时间可以整理之前上过的课件。

第一个系列的是，耶鲁大学公开课，讲的美国现代主义，应该在B站或者人人视频上都可以看到，课程将从世界及美国历史，现代主义形式风格创新以及作品汇总的情感与心理描写这三个层面分析、介绍并讲解海明威（Hemingway）、菲兹杰拉德（Fitzgerald）和福克纳（Faulkner）的文学作品。

一集45分钟左右，我会适当根据长短来调节文章长度。

我个人当时是特别喜欢这个系列的。所以想拿出来这个自己观看时的笔记，口语体可能会有些语法错误，忽略就好。

之所以想开这个系列这重要的原因是，课程所探讨都是书本之外的东西，很有启发也很有趣，会从中学习到一种文学思考的方式，对于文学小白的我来说，是很爱的了。

Lecture 1-1 Introduction

I am going to start right the way. And I know that Hemingway, Fitzgerald and Faulkner are very much iconic figures of American literature, and probably you guys are here because you know something about those authors already. So I am not going to be going over a lot of material that you guys know already. Instead, what I’d like to do is to come up with a little bit of material that might be somewhat surprising to you. And I’m going to be talking about three analytic scales. This is kind of a critical paradigm that we’ll be using throughout the semester with the use of the three analytic scales to talk about the authors.

我们现在开始上课，相信大家都知道，海明威，菲兹杰拉德和福克纳都是美国文学的标志性人物。 各位很可能对这些作家已经有所了解，因此，我就不多赘述各位已经耳熟能详的材料，而是打算向各位提供些听了之后会眼前会眼前一亮的资料。 接着会讲到三层分析标准，我们整个学期都会用到这三层标准作为评判依据来分析这三位作家。

So, first of all, the micro history (here refers to the Spanish civil war) of the United States in the world, and two text come to mind, both Hemingway’s For Whom The Bell Tolls and To Have and Have Not. So that’s the largest possible level. And then we’ll go down a little bit to the next level which is still large, but it has to do with narrative experiments of Modernism. And the texts that we are reading can all be called modernist texts in one way or another.

那么首先，谈到美国某一阶段的历史，（西班牙内战），脑海中就会浮现两部作品，都是海明威创作的，一部《丧钟为谁而鸣》，另一部《有钱人和没钱人》。 这是第一个层面，也是最宽泛的层面，然后，我们要稍作深入进入另一个层面，尽管也是比较宽泛，但是会联系现代主义文学作品的叙事创作手法。我们选读的文本都可被称之为现代主义文本。

So we ‘ll be looking at The Sound and the Fury, specifically for that analytic register of experimentation. And finally, we’ll be looking at the smallest possible scale, micro level. And it has to do with sensory details, and three of them are wonderful on sensory details, but today we will just talking about one text, The Great Gatsby. And one particular moment when the registering of the sensory world is very important.

我们会读《喧哗与骚动》，尤其会分析创作方面的表现手法，最后，我们会从最小最微观的角度分析，即研究感官上的细节描写，这三位作家都非常擅长描写感官细节。但今天我们只会讲到一部作品，《了不起的盖茨比》，其中有一处表达感官世界的文章非常重要。

So let me go to Hemingway and talk a little bit about him in many ways as a kind of gateway or a guide to a global vision of America literature. Hemingway was very much a world traveler. Basically, you can get a map of the world by just looking at his writings. 

But he had s special love of the Spanish language. So For Whom The Bell Tolls, we’ll reading this in class, is about the Spanish Civil War. And Hemingway was there as a war correspondent, but we can see that he actually got into combat situations right here. It’s really interesting to think about Hemingway as both a journalist and also a novelist. So the global dimension of Hemingway but also the global dimension of the Spanish Civil war itself.

那么先来讲些海明威的情况，从很多角度来看，海明威可谓是整个美国文学的风向标。海明威游历过各国，你基本可以光靠阅读他的作品就能体会这一点。不过他对西班牙语有着非同一般的热情，我们选读的《丧钟为谁而鸣》描述的就是西班牙内战。

海明威当时是一名战地记者，但从这张图中我们可以看出，当时海明威其实已经亲身去过战场。想想海明威既是记者又是小说家真是颇有玩味。因此海明威的作品本身不仅代表他的全球视野，同时也反映了西班牙内战一场国际战役。

It was a civil war, it was between two sides fighting in Spain, but it was also very much an international war in the sense that Russia was a part of it, Germany was part of it, Italy was a part of it. So it very much a gathering of a lot of nations converging on the soil of Spain and fighting a war that in name was the Spanish Civil War but actually in action in terms of its cast of players, was very much an international war.

So this is one level at which we can understand Hemingway, is that he was a player in a very large scale of the world. And because he was such a player on a large scale map, we shouldn’t be surprised that would be going to other countries as well. And his love of the Spanish language would take him to Cuba. So we’ll be reading To Have and Have Not, which is about Cuba. And this is a very unforgettable image of Hemingway and Castro. We might not know that they were actually good friends, so this is just something that we should keep in mind as we read Hemingway.

表面上看，这是场西班牙左右两派的内战，但实际上可以称之为国际战役。因为俄国、德国、意大利都参与了这场战争，所以很大程度上，好几个国家都聚集在西班牙这片土地上大量一场号称是西班牙内战的仗。

而实际上是多国参战，这场战争更像是一场国际战役。我们可以通过这个层面来了解海明威，因为他游历各国，亲历了这场战役。也正是因为此，谈到他前去拜访别国就不足为奇了。他对西班牙语的喜爱驱使他去了古巴。

接着我们会读到《有钱人和没钱人》，这部作品就是写古巴的，这张海明威和卡斯特罗的合照令人难忘。大家可能不太了解他们其实是很好的朋友，在我们阅读海明威的作品时， 我们应该牢记这一点。

And Hemingway, actually, the Spanish war ended in 1939, and from 1939 to 1969, he actually lived in Cuba. He wrote a lot of his important novels there. The Old Man and Sea was written when he was living in Cuba, so again a very important fact to beat in mind,

And this is the interior of his house in Cuba, this is a cigar box that was given to Hemingway, and on the cigar box it says, Gran amigo de Cuba, great friend of Cuba. So Hemingway right now is not just an American author, but very much a Cuba author in Cuba. So we won’t actually be talking about Castro’s Cuba, To Have and Have Not actually took place earlier, but this is just kind of a continuing relation that Hemingway has to that country.

事实上，西班牙内战终于1939年，1939年至1969年间，海明威一直居住在古巴，他在古创作了许多重要小说作品，其中《老人与海》便是在古巴时创作的。嗯，所以这件事也请大家牢记，这是他在古巴居所的室内图，这是别人送给海明威的香烟盒，上面写着，古巴的好朋友（西班牙语），

所以这时的海明威并不仅是一位美国作品，而更像地地道道的古巴作家。但课上不会多讲卡斯特罗眼中的古巴，创作《有钱人和没钱人》也是之前的事了。但这部作品算是海明威与古巴间从未间断的纽带。

So we’ll move on now to the next scale of analysis, and this is the narrative experiment. The very striking narrative styles we see in this body of writing and no more so than in The Sound and the Fury.  I think that we’ve read that novel, we know that it’s impossible just to read it once and understand all of it. This is the kind of novel that really compels us to go back to read several times. Because the novel of experimentation in that novel, so this is the opening of The Sound and the Fury.

下面要讲第二层分析标准，即叙事手法上的创新，通过阅读《喧哗与骚动》这部作品，就会深切体会到这种叙事风格无人能及。我估计要是大家度过这部小说，就会发现要想一次读懂根本不可能。这种小说就需要我们反复阅读才能理解，因为小说进行了许多尝试，以下的内容摘自《喧哗与骚动》的开头，

And you guys probably know that there are four sections to The Sound and The Fury. And the first section was told by Benjy, who is clinically retarded. So all the action is unfolding in the mind of someone who’s not really registering the world most of us do. So let’s just see how Benjy understands the world, how he takes in the world.

你们可能知道《喧哗与骚动》分为4个部分。第一部分是班吉的自白，他患有先天性痴呆，所以整个第一部分通过班吉的独白展开，班吉对外界表达情感的方式又与常人相异，那么我们就来看看班吉是如何理解外界，他是怎么领会外界的，

Narrative Experiment:

The Sound and the Fury

“ Did you come to meet Caddy”, she said, rubbing my hands. “What is it, What are you trying to tell Caddy.” Caddy smells like trees and like when she says we were asleep.

What are you moaning about, Luster said. You can watch again when we get to the branch. Here, here’s you a jimson weed. He gave me the flower.

P6

“你是来接凯蒂的吧，”她搓着我的手说，“什么事？你想告诉凯蒂什么呀？”卡迪有一股树的味道，当她说我们这就要睡着了的时候，身上也有这股香味。

你哼哼唧唧的干什么呀？勒斯特说，“等我们到小河沟，你还可以看他们的嘛，呐，给你一根吉姆生草。”他把花递给我。

 译文由上海译文出版社出版 李文俊译

（jimson, 吉姆生草，一种生长在牲口棚附近的带刺毒草，有恶臭）

It makes no sense right? Right now it doesn’t make any sense. But I have to tell you that this is actually a conflation of two moments in time.

The first moment takes place when Benjy was just a young boy. The second takes place when Benjy is actually 33 years old. So we don’t usually tell the story that way jumping across such a vast space of time, but that’s exactly the kind of narrative technique that Faulkner uses in The Sound and Fury, and the numerous advantages and challenges to that kind of writing. But one interesting fact that emerges from this little moment is that a young white girl Candy is Benjy’s sister. A young white girl is seen in intimate parallel with a young black boy who’s Luster, the black servant who’s taking care of Benjy.

这些话叫人摸不到头脑对吧，现在读起来还没有任何意义，没关系，因为我还没有告诉你们，这里其实是把两个时间点上的事情合写在一起，第一个时间点是在班吉还小的时候，而用斜体标注的是第二个时间点，发生在班吉三十三岁的时候。

我们一般不这样讲故事，这里的时间跨度很大，但却正是福克纳在《喧哗与骚动》中，所尝试的新叙事手法。这种手法有好处，但也存在巨大挑战。在这个小片段里有个细节很有趣这位白人小女孩凯蒂就是班吉的姐姐，在班吉看来，白人女孩跟黑人勒斯特几乎没有差别。这名小黑奴正是负责照顾班吉的黑奴。

So what could be the connection between a young white girl and black boy? It turns out it really has everything to do with smell. Benjy loves Candy, and she smells like trees to him. I don’t think Benjy actually registers Caddy as a person. She’s really just a smell to him. And I think that most of us actually register people in that way, taking on every specific aspect of other people. But I think Benjy especially does that. 

So it is Caddy’s smell that means everything in the world, really, to Benjy. And when Luster gives him the jimson weed, it is not exactly the smell of Caddy, but it’s close enough. So that Luster is actually the closest that Benjy can get to in the very sad times when he is 33. when he’s really lost everything that loves in the world. Luster and the jimson weed is the closest that he can get back to Caddy.

那么这个白人小女孩和黑人小男孩之间有着怎样的联系呢？还真的跟那味道有很大的关系，班吉爱着凯蒂，她闻起来有树的香味。她认为班吉并没有把凯蒂视为人，对班吉来说，她只是一种味道。我想大多数人也都会这么做，通过别人身上的特别之处进行确认，但班吉尤其会这样做，所以凯蒂的味道对班吉来说，就是整个世界。

当勒斯特给他吉姆草的时候，尽管闻起来和凯蒂不尽相同，但也算相差无几了。因此在班吉三十三岁失去一切心爱的人和事伤心至极的阶段，勒斯特其实是最接近凯蒂味道的人，勒斯特和吉姆生草是最能唤起班吉对凯蒂的回忆。

So this is the linkage, the way that Faulkner is telling the story is not based on the liner of chronology, it is based on the logic of association in our minds. And different people have different logics of association, and Benjy’s logic association is completely based on the sense of smell, based on sound as well, but in this moment especially.

这就是两个时间点的联系，福克纳并不按照时间的先后顺序创作，而是按照我们脑海中的联想进行创作，不同的人会有不同的联系，而班吉的联想则完全基于嗅觉，其实还有听觉，但在这里完全是嗅觉。

So we can say that in some sense, Hemingway has taken us to a foreign country, taken us to Spain and to Cuba. And Faulkner has also taken us to a foreign country, in the sense that the mind of retarded person is a sort of foreign country to those of us who are not retarded. And this is a very interesting type of foreign country to go to and to sleep ourselves in.

于是从某种意义上来说，海明威的作品引领我们前往各国，比如西班牙和古巴，而福克纳则引领我们进入另一个国度，因为先天智障的思想对于常人来说也算是异域国度了，而且若是我们能走入其中，会发现这类异域国度也颇令人玩味。

So finally, we’ll move on to the smallest possible scale, which is related to what we’ve just seen in Faulkner. But this is an early moment in The Great Gatsby, and it is about Daisy, one of the most famous characters in American literature.

 And this is Nick Carraway, the narrator, talking about Daisy, his cousin. So Nick is not retarded, he is highly intelligent, but he take on Daisy is interesting in that it is not necessarily the take we would have to our cousins. We think about our cousins probably nothing like this.

最后，我们要讲最具象的标准，其实和之前分析福克纳的标准很接近，但这里要分析的是，《了不起的盖茨比》一开始的内容，叙述的对象是黛西，她可谓是美国文学史上最著名的一个人物了，这里选取的是，旁白尼克在谈论自己的表妹黛西。

尼克不像班吉有智障，他头脑很聪明，但他对黛西的看法颇有意思，因为尼克对表妹的看法跟一般人不太一样，我们基本上不会这样看待自己的表妹：

“Her voice compelled me forward breathlessly as I listened. Then the glow faded, each light deserting her with lingering regret like children leaving a pleasant street at dusk. “

“她的声音使我身不由己地凑上前去，屏息倾听，然后光彩逐渐消逝，每一道光都依依不舍地离开了她，迹象孩子们在黄昏时刻离开一条愉快地街道。”

此段摘自巫宁坤译本

It’s highly idiosyncratic, the idiosyncrasy of a highly intelligent person, but in many ways as unusual as Benjy’s mind. So Nick tends to conflate different senses. He’s talking about the quality of sound of Daisy, but he’s using visual images to talk about that quality of sound. So Daisy’s voice fading out is like children leaving the street of dusk. It’s very interesting visual image to talk about certain quality of sound. 

Why does Fitzgerald want to do this? Why does Fitzgerald want to write in that way? Why is it that the visual register is being invoked in order to talk about the quality of sound. That’s one of the questions that we’ll be thinking about as we move on in our class.

这种描写手法极具特点，只有像尼克这样聪明的人才会这样描写，但同班吉的思维一样非同寻常，所以尼克往往不同的感官体验结合起来，这里他虽然在描述黛西的音色，但却用视觉来比喻音色。

如黛西声音的消散就像孩子们在黄昏时刻离开街道，用视觉来描绘听觉，这样的手法非常有意思。为什么菲兹杰拉德要这样写呢？菲兹杰拉德为什么要用这种写作手法呢？为什么要调用视觉效果来表现黛西的音质呢？

在今后的课程中我们会讨论到这一问题，

So far, you’ve noticed that I’ve associated one scale of analysis with one author, So Hemingway is associated with largest possible scale, Faulkner with kind of a middle scale, and Fitzgerald with a micro level.

 We could do it in that way, but I don’t really want you to get the impression that one author is to be associated only with that one particular scale. So in the rest of lecture, what I’d like to do, is to talk one phenomenon that is a cross-scale phenomenon, that is something that invites experience on all three levels, on the largest possible scale, on the mid-level, and small scale as well.

目前为止，各位应该已经察觉到我已运用某层分析标准来赏析他们的作品，

海明威属于第一层，也就是最宽泛的层面，

福克纳稍微深入点，属第二层，

菲兹杰拉德属于第三层，

尽管我们可以这样分类，但我不想导致你们认为，每位作家仅局限与某一特定的层面，因此在今后的课程中，我会从多个层面交叉来讨论并分析文学作品，就是说，三个层面都会讲到，从最宽泛的层面，到进一步的层面，再到最细微的层面。

That all three authors talk about to some extent. Maybe they don’t talk about it in a kind of frontal way, but they engage it in some fashion. So it’s an important event for them. And it’s not surprising that war should be an important event to all three authors because the body of writings that we are looking at really all come right after World War I. So World War I is in some sense the unspoken horizon right behind all of these writings.

三位作家都不同程度地运用了这三个层面，也许他们没有直截了当地讲述，但或多或少都有所涉及。对他们来说，一战是重要事件，第一次世界大战对三位作家来说如此重要，这也不足为奇，因此我们现在读到的作品，都是写于一战之后，也就是说，第一次世界大战可以说是他们共同的写作背景。今天我们就大致了解一下一战，显而易见，人们视这场战争为写作背景，同时在政界也是大规模事件。

(关于第一次世界大战对于这些作家的影响，某种程度上说，在战争期间发生的事会使人失去自身的色彩，叙事角度问题也会随之出现，另外还有语言变形的问题，在战争条件下用词会变得更加委婉，另外，战争总体上也会对语言产生影响。会谈论由战争引起的精神现象和创伤以及退伍返乡之后的心理状态。)

下篇见

Echo

祝阅读愉快。

19-3-29