海明威寫作特色英語

❶ 從《老人與海》看海明威作品的寫作風格 怎麼翻譯成英文

Study the writing style of Hemingway's works from " old man and sea "

我個人認為，用study，有學習、研究的意思，題目的「看」也就是要找出或者學回習他的協作風格，僅供答參考！

❷ 海明威的寫作特點

在眾偉大的復美國作家中，海明威以獨特製的寫作風格而著稱。在他所有的作品中，《老人與海》最能體現他獨特的寫作風格和手法。這部小說語言看似簡潔自然，其實包含了作者的精心揣摩和潤色加工。有時為了突出某一部分，作者會採用長句代替短句。文中的對話內容真實、貼近生活，而表達形式則經過了藝術加工。小說簡潔自然的語言背後隱藏了深刻的意義和感情。文中還運用了比喻、擬人等修辭手法.還名位的這種獨特風格與他當過新聞記者的經歷有關,同時他兼菜各家之長,自成一體,形成了自己獨特的創作方法和藝術風格。這種風格對整個世界文壇產生了重要的影響。
《老人與海》這部小說中運用了大量的事實,他們大多來自於作者親身經歷。海明威對這些事實精心選擇,從而吸引讀者的興趣並使讀者有一種身臨其境的感覺。小說一開始用大量事實描寫了主人公生活的環境,敘述風格簡潔自然,未加任何感情色彩。隨著情節的發展,大量的事實主要被運用於主人公的心理活動之中,而不是主要由作者來敘述。同時,這些事實構成了整個小說體系中不可缺少的一部分。

❸ 急！急！急！英語的海明威 寫作風格，手法，和文學重要性

Writing style(寫作風格)
The New York Times wrote in 1926 of Hemingway's first novel, "No amount of analysis can convey the quality of The Sun Also Rises. It is a truly gripping story, told in a lean, hard, athletic narrative prose that puts more literary English to shame." The Sun Also Rises is written in spare, tightly written prose, for which Hemingway became famous; a style that has influenced countless crime and pulp fiction novels. In 1954, when Hemingway was awarded the Nobel Prize for Literature, it was for "his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style."Because he began as a writer of short stories, Baker believes Hemingway learned to "get the most from the least, how to prune language, how to multiply intensities and how to tell nothing but the truth in a way that allowed for telling more than the truth." Hemingway called his style the iceberg theory: the facts float above water; the supporting structure and symbolism operate out of sight. The concept of the iceberg theory is sometimes referred to as the "theory of omission." Hemingway believed the writer could describe one thing (such as Nick Adams fishing in "The Big Two-Hearted River") though an entirely different thing occurs below the surface (Nick Adams concentrating on fishing to the extent that he does not have to think about anything else).
Themes（手法）
The recurring themes of American literature are clearly evident in Hemingway's work. Critic Leslie Fiedler sees the theme he defines as "The Sacred Land"—the American West—extended in Hemingway's work to include mountains in Spain, Switzerland and Africa, and to the streams of Michigan. The American West is given a symbolic nod with the naming of the "Hotel Montana" in The Sun Also Rises and For Whom the Bell Tolls. Although Hemingway writes about sports, Carlos Baker believes the emphasis is more on the athlete than the sport. According to Stoltzfus and Fiedler, Hemingway's nature is a place for rebirth, for therapy, and the hunter or fisherman has a moment of transcendence when the prey is killed. Nature is where men are without women: men fish; men hunt; men find redemption in nature.
Fiedler believes Hemingway inverts the American literary theme of the evil "Dark Woman" versus the good "Light Woman". The dark woman—Brett Ashley of The Sun Also Rises—is a goddess; the light woman—Margot Macomber of "The Short Happy Life of Francis Macomber"—is a murderess. Robert Scholes admits that early Hemingway stories, such as "A Very Short Story", present "a male character favorably and a female unfavorably."According to Rena Sanderson, early Hemingway critics lauded his male-centric world of masculine pursuits, and the fiction divided women into "castrators or love-slaves." Feminist critics attacked Hemingway as "public enemy number one", although more recent re-evaluations of his work "have given new visibility to Hemingway's female characters (and their strengths) and have revealed his own sensitivity to gender issues, thus casting doubts on the old assumption that his writings were one-sidedly masculine." Nina Baym believes that Brett Ashley and Margot Macomber "are the two outstanding examples of Hemingway's 'bitch women.'"
The theme of women and death is evident in stories as early as "Indian Camp". The theme of death permeates Hemingway's work. Young believes the emphasis in "Indian Camp" was not so much on the woman who gives birth or the father who commits suicide, but on Nick Adams who witnesses these events as a child, and becomes a "badly scarred and nervous young man." Hemingway sets the events in "Indian Camp" that shape the Adams persona. Young believes "Indian Camp" holds the "master key" to "what its author was up to for some thirty-five years of his writing career." Stoltzfus considers Hemingway's work to be more complex with a representation of the truth inherent in existentialism: if "nothingness" is embraced, then redemption is achieved at the moment of death. Those who face death with dignity and courage live an authentic life. Francis Macomber dies happy because the last hours of his life are authentic; the bullfighter in the corrida represents the pinnacle of a life lived with authenticity. In his paper The Uses of Authenticity: Hemingway and the Literary Field, Timo Mü writes that Hemingway's fiction is successful because the characters live an "authentic life", and the "soldiers, fishers, boxers and backwoodsmen are among the archetypes of authenticity in modern literature".
The theme of emasculation is prevalent in Hemingway's work, most notably in The Sun Also Rises. Emasculation, according to Fiedler, is a result of a generation of wounded soldiers; and of a generation in which women such as Brett gained emancipation. This also applies to the minor character, Frances Clyne, Cohn's girlfriend in the beginning in the book. Her character supports the theme not only because the idea was presented early on in the novel but also the impact she had on Cohn in the start of the book while only appearing a small number of times. Baker believes Hemingway's work emphasizes the "natural" versus the "unnatural". In "Alpine Idyll" the "unnaturalness" of skiing in the high country late spring snow is juxtaposed against the "unnaturalness" of the peasant who allowed his wife's dead body to linger too long in the shed ring the winter. The skiers and peasant retreat to the valley to the "natural" spring for redemption.
Some critics have characterized Hemingway's work as misogynistic and homophobic. Susan Beegel analyzed four decades of Hemingway criticism, published in her essay "Critical Reception". She found, particularly in the 1980s, "critics interested in multiculturalism" simply ignored Hemingway; although some "apologetics" have been written. Typical is this analysis of The Sun Also Rises: "Hemingway never lets the reader forget that Cohn is a Jew, not an unattractive character who happens to be a Jew but a character who is unattractive because he is a Jew." During the same decade, according to Beegel, criticism was published that investigated the "horror of homosexuality", and racism in Hemingway's fiction.

Influence and legacy（文學重要性）
Hemingway's legacy to American literature is his style: writers who came after him emulated it or avoided it.After his reputation was established with the publication of The Sun Also Rises, he became the spokesperson for the post–World War I generation, having established a style to follow. His books were burned in Berlin in 1933, "as being a monument of modern decadence", and disavowed by his parents as "filth". Reynolds asserts the legacy is that "he left stories and novels so starkly moving that some have become part of our cultural heritage." In a 2004 speech at the John F. Kennedy Library, Russell Banks declared that he, like many male writers of his generation, was influenced by Hemingway's writing philosophy, style, and public image. Müller reports that Hemingway "has the highest recognition value of all writers worldwide".
Benson believes the details of Hemingway's life have become a "prime vehicle for exploitation", resulting in a Hemingway instry. Hemingway scholar Hallengren believes the "hard boiled style" and the machismo must be separated from the author himself.Benson agrees, describing him as introverted and private as J. D. Salinger, although Hemingway masked his nature with braggadocio. In fact, ring World War II, Salinger met and corresponded with Hemingway, whom he acknowledged as an influence. In a letter to Hemingway, Salinger claimed their talks "had given him his only hopeful minutes of the entire war" and jokingly "named himself national chairman of the Hemingway Fan Clubs."
The extent of Hemingway's influence is seen in the tributes and echoes of his fiction in popular culture. A minor planet, discovered in 1978 by Soviet astronomer Nikolai Stepanovich Chernykh, was named for him (3656 Hemingway); Ray Bradbury wrote The Kilimanjaro Device, with Hemingway transported to the top of Mount Kilimanjaro; the 1993 motion picture Wrestling Ernest Hemingway, about the friendship of two retired men, Irish and Cuban, in a seaside town in Florida, starred Robert Duvall, Richard Harris, Shirley MacLaine, Sandra Bullock, and Piper Laurie. The influence is evident with the many restaurants named "Hemingway"; and the proliferation of bars called "Harry's" (a nod to the bar in Across the River and Into the Trees). A line of Hemingway furniture, promoted by Hemingway's son Jack (Bumby), has pieces such as the "Kilimanjaro" bedside table, and a "Catherine" slip-covered sofa. Montblanc offers a Hemingway fountain pen, and a line of Hemingway safari clothes has been created. The International Imitation Hemingway Competition was created in 1977 to publicly acknowledge his influence and the comically misplaced efforts of lesser authors to imitate his style. Entrants are encouraged to submit one "really good page of really bad Hemingway" and winners are flown to Italy to Harry's Bar.
In 1965 Mary Hemingway established the Hemingway Foundation and in the 1970s she donated her husband's papers to the John F. Kennedy Library. In 1980 a group of Hemingway scholars gathered to assess the donated papers, subsequently forming the Hemingway Society, "committed to supporting and fostering Hemingway scholarship."
Almost exactly 35 years after Hemingway's death, on July 1, 1996, his granddaughter Margaux Hemingway died in Santa Monica, California. Margaux was a supermodel and actress, co-starring with her sister Mariel in the 1976 movie Lipstick. Her death was later ruled a suicide, making her "the fifth person in four generations of her family to commit suicide."

❹ 海明威寫作風格

1、朴實

海明威有著出色的語言駕馭能力，他常以最簡單的詞彙表達最復雜的內容，專用基本詞屬匯、簡短句式等表達具體含義，用名詞、動詞來揭示事物的本來面目，絲毫無矯揉造作之感。

2、直觀

文學藝術要表現情感，但情感卻是依靠事物的外觀透視出來的，越是對事物外觀的直接描摹，越能產生強烈的視覺真實性，越能拉近讀者與作家的距離。

3、含蓄情感

海明威有自己特殊的藝術風格，他強調寫作的客觀性與主題思想的隱晦含蓄，反對作者直接出場對人物進行評說與暗示，他常用含蓄的語言表達復雜的情感，用有限的形式表達無盡的內涵，因而，他的小說在外觀不動聲色，但內在情感卻是豐厚熾熱。

(4)海明威寫作特色英語擴展閱讀：

人物影響

海明威被譽為美利堅民族的精神豐碑，並且是「新聞體」小說的創始人，他的筆鋒一向以「文壇硬漢」著稱。

海明威的生平和文學生涯從一開始就爭議不斷。無論海明威是作為一位傳奇式人物，還是作為一位作家，他以其獨特的藝術風格和高超的寫作技巧創造了一種簡潔流暢、清新洗練的文體，凈化了一代的傳統文風，在歐美文學界產生了巨大的影響。

❺ 海明威的寫作風格是什麼

20世紀傳奇作家歐內斯特·海明威的寫作風格是什麼?

海明威自己稱之為「冰山理論」。

盡管在過去幾十年裡，海明威在現代讀者眼中的知名度可能有所下降，但在上個世紀的大部分時間里，他即使不是他那個時代最偉大的作家，也被認為是世界上受人尊敬的作家中的巨人。

作為一個腳注，《永別了，武器》是一部對戰爭、愛情以及雙方戰線上深切影響的損失進行的深刻而美麗的、內省的探索。

❻ 海明威的作品風格是什麼

1、作品風格
簡潔
海明威有著出色的語言駕馭能力，他常以最簡單的詞彙表達最復雜的內容，用基本詞彙、簡短句式等表達具體含義，用名詞、動詞來揭示事物的本來面目，絲毫無矯揉造作之感。從句式上看，海明威常用簡短的陳述句進行語言表述，他認為沒有必要用文字修飾雕琢來嘩眾取寵，只要將事物描述清楚就行，其他的則由讀者來決定。
2、人物簡介
歐內斯特·米勒爾·海明威（Ernest Miller Hemingway，1899年7月21日－1961年7月2日），美國作家和記者，被認為是20世紀最著名的小說家之一。出生於美國伊利諾伊州芝加哥市郊區的奧克帕克，晚年在愛達荷州凱徹姆的家中自殺身亡。海明威一生中的感情錯綜復雜，先後結過四次婚，[是美國「迷惘的一代」（Lost Generation）作家中的代表人物，作品中對人生、世界、社會都表現出了迷茫和彷徨。
在海明威一生之中曾榮獲不少獎項。他在第一次世界大戰期間被授予銀制勇敢勛章；1953年，他以《老人與海》一書獲得普利策獎；1954年，《老人與海》又為海明威奪得諾貝爾文學獎。2001年，海明威的《太陽照樣升起》（The Sun Also Rises）與《永別了，武器》兩部作品被美國現代圖書館列入「20世紀中的100部最佳英文小說」中。
海明威一向以文壇硬漢著稱，他是美利堅民族的精神豐碑。海明威的作品標志著他獨特創作風格的形成，在美國文學史乃至世界文學史上都佔有重要地位。
3、人物影響
海明威被譽為美利堅民族的精神豐碑，並且是「新聞體」小說的創始人，他的筆鋒一向以「文壇硬漢」著稱。 海明威的生平和文學生涯從一開始就爭議不斷。無論海明威是作為一位傳奇式人物，還是作為一位作家，他以其獨特的藝術風格和高超的寫作技巧創造了一種簡潔流暢、清新洗練的文體，凈化了一代的傳統文風，在歐美文學界產生了巨大的影響。
二十世紀的最後一位文化英雄海明威是蜚聲世界文壇的美國現代小說家，他在62年的生涯中，寫下了《太陽照常升起》、《永別了，武器》、《喪鍾為誰而鳴》、《老人與海》等作品，曾以「迷惘的一代」的代表著稱。海明威的《老人與海》是一部融信念、意志、頑強、勇氣和力量於一體的書，它讓人徹底懂得了打不垮的堅不可摧的精神力量究竟是個什麼樣。它、它圍繞一位老年古巴漁夫，與一條巨大的馬林魚在離岸很遠的灣流中搏鬥而展開故事的講述。 完美地體現了作者所說的「你盡可把他消滅掉，可就是打不敗他」的思想。
4、人物評價
海明威處處惹事，人人受氣，給人留下了如此印象：喜歡冒險，四任妻子，拚命喝酒，任意爭吵等，這么多病一直纏著他，最後用心愛的獵槍結束了自己的生命。對於海明威自殺的評價，正如約翰·肯尼迪總統的唁電所說：「幾乎沒有哪個美國人比歐內斯特·海明威對美國人民的感情和態度產生過更大的影響。」
諾貝爾文學獎獲獎者的哥倫比亞作家馬爾克斯為紀念海明威逝世二十周年而寫一篇名為《與海明威相見》紀念文章：「海明威的所有作品都洋溢著他那閃閃發光、但卻瞬間即逝的精神。這是人們可以理解的。像他那樣的內在緊張狀態是嚴格掌握技巧而造成的，但技巧卻不可能在一部長篇小說的宏大而又冒險的篇幅中經受這種緊張狀態的折磨。這是他的性格特徵，而他的錯誤則在於試圖超越自己的極大限度。這就說明，為什麼一切多餘的東西在他身上比在別的作家身上更引人注目。如同那質量高低不一的短篇小說，他的長篇也包羅萬象。與此相比，他的短篇小說的精華在於使人得出這樣的印象，即作品中省去了一些東西，確切地說來，這正是使作品富於神秘優雅之感的東西。」
美國著名文學評論家威拉德·索普在他的《二十世紀美國文學》中對海明威給予了崇高的評價：「海明威是當代最偉大的自然主義作家之一。他敢於突破傳統，刨造新的風格和手法未泊應題材的需要。」
《紐約時報》評論說：「海明威本人及其筆下的人物影響了整整一代甚至幾代美國人，人們爭相仿效他和他作品中的人物，他就是美國精神的化身。」
「孤高自許，目無下塵。」美國作家索爾·貝婁指出海明威的性格：「海明威有著一種強烈的願望，他試圖把自己對事物的看法強加於我們，以便塑造出一種硬漢的形象……當他在夢幻中嚮往勝利時，那就必定會出現完全的勝利、偉大的戰斗和圓滿的結局。」

❼ 美國作家海明威的寫作風格 最好英文

美國 「迷惘一代」 的著名代表人,硬漢風格

❽ 對海明威寫作特點的評價

我在青年時期閱讀海明威作品，常常驚嘆他的文筆的簡潔明快，毫無中文寫作的拖泥帶水、虛飾渲染傾向。當時我所讀的還是譯文，後來讀了英文原作，更為嘆服。海明威的自然、隨意、易讀的作風成為二十年代寫作（特別是新聞寫作）的榜樣∶一個作家在動筆開始時，不必一心一意瞄準於所謂「文藝寫作」；裝摸作樣、形容詞助動詞堆砌連篇的華麗散文不一定是一部傑作。海明威風格一時成為大學文學課程與寫作課教導的時尚。五十、六十年代是他的著作在讀書界與學術界最吃香的時期。
今日我們在紀念海明威百年誕辰之時回顧他的一生全部著作，仍把他青年旺盛時期的作品視為達到藝術頂峰的傑作。一九二六年的「太陽照常升起」，一九二九年的「永別了，武器」，一九四○年的「喪鍾為誰而鳴」都已成為他在美國文學史中的經典作。他於一九五四年獲得諾貝爾文學獎並非沒有理由。

不過他的後期生活並不是十分如意的。自從第二次大戰開始直到他於一九六一年自盡的二十年中，他不能專心寫作，往往有困難完成整部作品。這樣心情的起因是第二次大戰。這位曾在第一次大戰戰地服務、自命男子漢大丈夫的作家，當時移居古巴，不能參與戰爭行動，但仍具有英雄式的羅曼蒂克的觀念。抑鬱情緒令他養成酗酒習慣。一九五○年的「過河入林」乃是他首次未獲評論家贊揚的平庸之作，到了一九五二年「老人與海」恢復了他的名譽，終而於一九五四年獲得諾貝爾文學獎。

但是他的抑鬱情緒未減，專家揣測他於一九六一年吞槍自盡的原因有二∶創作能力的削逝與性能力的衰落。他好像自知後期作品未能達到當年的盛期標准，不讓書局出版，把原稿鎖在保險箱中。果然，幾部在他死後出版的遺作如「一個可移動的筵席」，「危險的夏季」，「溪流島嶼」，「伊甸園」等都沒能獲得佳評。海明威吃香時期已過，他的作風受青年新作家仿效，而他自己的那些遺作也已相似那些仿效品。 為了紀念他的百年誕辰，他的兒子派屈立克在出版商同意之下，把他的遺稿「曙光示真」（TRUE AT FIRST LIEHT）整理一下，剛於最近出版。「曙光示真」的副題是「一部虛構的回憶錄」，海明威的原意顯然是借他在非洲狩獵的生活經歷加上一些虛構想像，成為一部似真非真的小說。敘事者是一位精於槍法的、無畏的打獵手，與一土人部落少女發生了關系。（海明威妻子瑪麗否認那是實事）。可是海明威本人究竟有沒有與黑女發生過性關系，已成為「美國文壇」一個大疑團（去年十月我曾在他處發表一篇「海明威娶非洲處女為妾」之文）。

海明威一向對寫作認真，尤其是寫關於非洲的東西，如果認為不如意，就把原稿擱在一旁不問世。他在生前曾說過，對一位作家而言，最糟糕的事是他人將他的著作「重寫、改寫、未獲本人允許而發表為他的作品」。「曙光示真」由海明威自己的兒子整理出版（從二十萬字原稿選出十餘萬字），而且用了「虛構的回憶錄」名義，不免令人懷疑出版商的用意，是不是要借他的大名盈利。

六十年代美國社會情勢的劇變開始轉移讀者們對他作品的看法，「新興的女權主義者批評他的大男人主義口吻，黑人人權運動者攻擊他有種族偏見。「曙光示真」原稿形式是一九五三年時作者與妻子（第四任）瑪麗在非洲的狩獵日記，述說作者愛上了一個土著少女，把她稱呼為「未婚妻」或「外妻」。海明威寫作特點是他能將自己個性的內心沖突因素客觀地溶入在他的虛構小說之內。此書他用第一人稱（我）敘述故事，這種自我奚落成份就沖淡，自大氣氛就不見流露。這就成為「曙光示真」大毛病之一，在此書中，第一人稱的敘事者被描繪為受女性愛慕的大丈夫男子漢似的白人大獵手，字里行間透露了作者（我）的自負自大的氣概，而他對黑人土著的批評確含有種族偏見。

海明威初期作品的文筆，我可用「精確」（PRE CISE）與「簡明」（CONCISE）二詞來形容。可是「曙光示真」的文字雖仍保持簡潔明快，已顯出作者缺乏初期寫作的生氣，甚至染上了仿效者的嬌揉做作，兒子派屈立克在介紹文中也說，他並不將此書視為父親的「傑作」。「曙光示真」的書名則出自海明威對非洲的了解。他在文稿中有言∶

「在非洲，曙光初現的片刻，萬物皆真，到了中午則化為錯覺。」

我對青年讀者的忠告是∶你如對文學大師海明威確有興趣，請多讀他的初期傑作∶「太陽照常升起」，「永別了，武器」，「喪鍾為誰而鳴」，甚至「老人與海」，他的遺作難免令人失望。「曙光示真」雖是最新出版，並且有大量廣告宣傳，但卻不一定值每本二十六美元。

❾ 海明威的寫作特點

1、海明威有著出色的語言駕馭能力，他常以最簡單的詞彙表達最復雜的內容，用基本詞彙、簡短句式等表達具體含義，用名詞、動詞來揭示事物的本來面目，絲毫無矯揉造作之感。

2、海明威用高度清晰的視覺化語言，將視覺、嗅覺、聽覺等感官印象付諸語言，寫出了事物的形狀、顏色、味道等，以直接的物象表現宇宙與生命。

3、海明威有自己特殊的藝術風格，他強調寫作的客觀性與主題思想的隱晦含蓄，反對作者直接出場對人物進行評說與暗示，他常用含蓄的語言表達復雜的情感，用有限的形式表達無盡的內涵，因而，他的小說在外觀不動聲色，但內在情感卻是豐厚熾熱。

4、從敘事的方式來看，海明威的小說的對話是「展示」，而不是「講述」。它是屬於柏拉圖所區分的「完美模仿」的一種，而不是「純敘事」的那種，它想造成一種程度不同的「模仿錯覺」，就是「詩人竭力造成不是他本人在說話」，而是某一個人物在說話的假象。

5、從男女關系的主題去分析海明威，不難看出，盡管熱衷於描寫男人的野性與英勇，海明威卻間接表現了他對女人的恐懼與憎恨。

(9)海明威寫作特色英語擴展閱讀：

人物影響

海明威被譽為美利堅民族的精神豐碑，並且是「新聞體」小說的創始人，他的筆鋒一向以「文壇硬漢」著稱。

海明威的生平和文學生涯從一開始就爭議不斷。無論海明威是作為一位傳奇式人物，還是作為一位作家，他以其獨特的藝術風格和高超的寫作技巧創造了一種簡潔流暢、清新洗練的文體，凈化了一代的傳統文風，在歐美文學界產生了巨大的影響。

二十世紀的最後一位文化英雄海明威是蜚聲世界文壇的美國現代小說家，他在62年的生涯中，寫下了《太陽照常升起》、《永別了，武器》、《喪鍾為誰而鳴》、《老人與海》等作品，曾以「迷惘的一代」的代表著稱。