朱松青雷蒙德卡佛.docx
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朱松青雷蒙德卡佛.docx
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朱松青雷蒙德卡佛
毕业论文
(2015届)
题目
雷蒙德·卡佛的边缘化
人物研究
学院
外国语学院
专业
英语
年级
2011级
学生学号
12011243772
学生姓名
朱松青
指导教师
张燕萍
2015年5月
AnAnalysisofRaymondCarver’s
MarginalizedCharacters
AThesisSubmittedto
SchoolofForeignLanguagesandCultures
NingxiaUniversity
InPartialFulfillmentoftheRequirements
FortheDegreeof
BachelorofArts
by
ZhuSongqing
SchoolofForeignLanguagesandCultures
NingxiaUniversity
May20,2015
Acknowledgments
Itisthejointeffortsfrommanypeoplethatgivebirthtothefruitionofmythesis.Therefore,I’meagertoextendmyheartfeltgratitudetomymentors.
Firstandforemost,hightributeshouldbepaidtomysupervisor,ZhangYanpingwhohasguidedmethroughallthestagesofthewritingofthisthesis.Thankstoherconsistentencouragementandilluminatinginstructions,thisthesishasreacheditspresentform.
Secondly,mygratitudegoestomybelovedparentsfortheirsteadfastsupportandconsideratecarewhichhaveelevatedmefromthedifficultyanddisappointmentoffutiledata-searchingandarduousthesis-polishing.
Lastbutnotleast,Iamdeeplyindebtedtomyfriendswhoconstantlygivemenumerouspiecesofinstrumentaladviceonthecreationofmythesis.
Abstract
AsoneofthemostsignificantAmericannovelistsofthelate20thcentury,RaymondCarverisrenownedasaminimalistanddirtyrealist.NumerousscholarsdwellonCarver’swriting-minimalismwhilefewofthemstudyCarver’smarginalizedcharacters.Asamanofletters,whorisesfromgrassroots,Carverelaboratelyshowcasesthedarksocietyofthelate20thcentury.JustlikeCarver,thepopulaceexperiencecalamity,betrayal,callosity,frenzyandsolidarity.Andlossanddepressionarethetenoroftheirlife.
Thisthesiswillacquaintthereaderswithmarginalizedcharactersinthelate20thcenturythroughadetailedanalysisofsixcharacters—Mrs.Weiss,Holly,Dummy,Stuart,Ed,amanwithouthands.RaymondCarver’sworksaretheminiatureofobscurepeoplewhotoilforbasicmaintenanceandsufferfrommentalagonywiththebubblesofAmericandreamandbehindhisseeminglyordinarywordsarehisstringentstrictureforboastfulAmericandreamandhisearnestempathywithnegligiblepeople.
Keywords:
RaymondCarver,marginalizedcharacters,dirtyrealism,realAmerica,20thcentury
摘要
作为美国二十世纪下半叶最重要的小说家之一,雷蒙德·卡佛被誉为极简主义、肮脏现实主义大师。
一直以来,卡佛“极简主义”的写作风格被学术界津津乐道,但却鲜有学者研究卡佛笔下的边缘化人物。
作为一个草根作家,卡佛集中展现了二十世纪美国底层人群的真实生活状态和人性的阴暗面。
这些小说中的人物同卡佛一样,经历着天灾、人祸、背叛、冷漠、疯狂和抛弃,伤感和迷惘是他们生活的基调。
本文通过对卡佛笔下维斯太太、霍莉、哑巴、斯图亚特、艾德、没有手的男人这六个人物的分析,还原二十世纪美国边缘化人物的真实生活。
卡佛的作品是美国梦的泡沫下小人物的艰难生存和精神苦痛的真实写照,也正是在这平静的文字背后潜藏着一个人道主义作家对浮夸的美国梦的批判和对劳动人民的同情。
关键词:
雷蒙德·卡佛,边缘化人物,肮脏现实主义,真实的美国,二十世纪
Contents
Acknowledgments…………………….………...…………………..….i
Abstract……………………….………………...……………………...ii
摘要……………………….………………...……………….……......…iii
1Introduction………….………………...……………......…......….......1
2LiteratureReview………….………………...………………...…......7
2.1StudiesAbroad................................................................................7
2.2StudiesinChina............................................................................10
3AnAnalysisofRaymondCarver’sMarginalizedCharacters….....12
3.1Mrs.WeissinBath………….………………...….................…...13
3.2HollyinGazebo………….………………...…….........................14
3.3DummyinTheThirdThingthatKilledMyFatheroff………...16
3.4StuartinSoMuchWaterSoClosetoHome……………...........18
3.5EdinWhatWeTalkaboutWhenWeTalkaboutLove…………20
3.6AmanwithouthandsinViewfinder.............................................23
4Conclusion………….………………...…………….…….........….....26
WorksCited………….………………...……………….……......…......31
AnAnalysisofRaymondCarver’sMarginalizedCharacters
1Introduction
Asoneoftheprecursorsofavant-gardeAmericanshortstoriesduring1970s,RaymondCarver(1938-1988)wasreputedasanartfulmasteroftheminimalismandacompassionatechronicleroftheplebeianworld.Hisshort-livedlifeendowedoffspringwithaliterarylegacyofsixty-fiveshortstorieswhicharecompiledintofivefictions(WhereI’mCallingFrom,WillYouPleaseBeQuiet,Please,FuriousSeasons,WhatWeTalkAboutWhenWeTalkAboutLove,Cathedral),fivecollectionsofpoems(ANewPathTotheWaterfall,WinterInsomnia,AtNighttheSalmonMove,WhereWaterComesTogetherwithOtherWater,Ultramarine)andtwoproses(NoHeroics,Please,Fires),whichearnedhimseveraltop-rankingnominationsandnumerousawardssuchasNationalBookAward,PulitzerPrize,theNationalEndowmentfortheArtsawardinfiction(1980)andGuggenheimfellowship(1979-80).Andin1983,hewastherecipientofthe“MildredandHaroldStraussLivings”,anhonorconferredbyAmericanAcademyandInstituteofArtsandLetters.However,unlikeotherliterarygiants,RaymondCarverusedsuccinctplotsandcolloquiallanguagetoshowcasethelifesegmentsofthesubmergedAmericanpopulace—theunderprivilegedlowincomeearnersstrugglingwithmeansoflivingandlackinginspiritualjoy.Inhisscrupulousdepiction,thesepitifulcharacters,suchashelplessmother—Mrs.WeissinBath,desperatewife—HollyinGazebo,thepoorDummyinTheThreeThingsthatKilledMyFatheroff,thecalloushusband—StuartinSoMuchWater,SoClosetoHome,thehystericalex-boyfriend—EdinWhatWeTalkAboutWhenWeTalkAboutLove,amanwithouthandsinViewfinder,asifraveledbydoomofmishap,experiencednaturaldisastersandman-madecalamitiesdespitetheirpainstakingeffortsandseldomsucceededinescapingtheviciouscycleofbeingmarginalizedbythesociety.
RaymondCarverstated,“Youarenotyourcharacters,butyourcharactersareyou”(Koehne8).Beinga“carver”ofblue-collarAmericans,Carverhimselfwasactuallyamemberofcommonpeople.Asasonofanindulgentalcoholicandalienatedwaitress,Raywaspushedintothewhirlpoolofadultworldathis12.Itwaspitilessmockeryandoppressivesolidarityinthistangledworldthatobliteratedhisnaivetyandevendistortedhispersonality.Trappedinthequagmireofdepression,Raymet14-year-oldMaryann,wholaterbecamehisbelovedwifeandfinancialsupportinhisearlylife.Theausterityofrealityandtheidentityofbreadwinnershouldhavedraggedthis18-year-oldmanwhohoppedfromvariousmenialjobssuchassawmillworker,gasstationattendantandhospitalcustodianintothefastlaneofmaturitybutthisprematuremarriage,whichwasexpectedtobethecatalystofRay’sgrowth,gaverisetohisegoisminstead.IndulgingintheconsideratecareofMaryann,Ray,tooirresponsibletoshoulderhisobligationsasafather,ahusbandandason,drownedhissorrowinalcoholtomitigatethegloombroughtupbyelusivedreamasanauthor.Alcoholism,poverty,unemploymentandobscuritywereincessantlyboundupwithCarver’sfatherandRaymondCarverappeareddestinedtofollowsuit.AlongtimeafterRaymondCarver’sbiddingfarewelltohistortuousandarduousearlylife,Rayrecalledhisearlylifeinhopelessandhelplesstone,“Followingyearsofdead-endjobsandstayingastepaheadofcreditors,thepayoffwasathand”(Scott3).Entangledinafinancialfix,Carverstillpainstakinglystroveforhisambitionregardlessofthepoignantcensureofcriticsandviciousneglectofeditors.ThesetoughcommentatorsheldtheviewthatRay’sworks,discreteinplots,coarseinlanguageandnegativeinthemesweresalutationstothehegemonicideologicalpublicityofcapitalism.Wallowinginthecursesofdoomandstrugglingforthemaintenanceoflife,Carverelevatedhimselffromobscurityintothespotlightthroughhisdiligenceandintelligenceintheend.Asaspokesmanoflower-classAmericans,RaymondCarver’sownlifeexperiencesservedasnutrientsthatenrichedhiswriting.Rayhimselfwasthe“fattestBlockBoy”(Sklenicka,Carol111)inHarry’sSwan,the18-year-oldmaninDistanceandtheselfishfatherinPassion.Essentially,notonlyhimself,butalsohisfamily,hisfriendsandevenstrangershemetturnedintovividcharacterswhichenlivenedhisstories—hisdisablecousinwasthewretchedDummyofTheThreeThingsThatKilledMyFatheroff,hissonwasthedespicablerioterinAnOldPictureofSonandtheunfamiliarboyshemetwhilesaunteringalongNortheasternPacificsea(thesettingofmanyCarver’sworks)weretheprofligatehusbandsinTelltheWomanWe’reGoing…ThesemarginalizedcharacterswrittenbyRaymondCarver,thoughincorporatedintothesocialrelationsofproduction,wereneveracceptedbythemainstreamethnicsorsocialvalues.Carver’sautobiographicrelationoftheplightofmarginalizedcharactersinastraightforwardandbluntlanguage,totallydifferentfromotherliterati’spropagandaofthebrightnessofsocietyanddivergingfromwidely-acceptedAmericandream,instead,struckachordwithAmericanreaders.“I’mnutsaboutRaymondCarver’snewstories.They’rerealasdiscountstores,timeclocks,thefranchisesinsmalltowns,badmarriage.Hisrumpledmenandraggedwomenwillbreakyourheart”(Stanley22).Criticsgraduallycametoappreciatehisminimalismwritingstyle—tersenarration,indifferentintonation,anticlimacticstoriesandcontemporariesrecognizedhisdirtyrealismthatrevealedtheebbsandflowsfromthestandpointofalow-profileloser.Alcoholaddict,laid-offworker,disloyalspouseandirresponsiblebread-winner,thesearenotonlythebrandsofCarver’smarginalizedcharacters,butthestigmasof“BadRay”(Sklenicka,Carol3).
AfterCarver’stoilingformanyyears,hisendeavorseventuallypaidoff.In1971,theadoptionof“Neighbor”byEsquire,oneofwell-knownmagazinesinAmerica,unnervedRaymondCarver,whowasst
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