第一篇：Love Is An Open Door-獻(xiàn)給艾米麗的玫瑰A Rose for Emily讀后感英文版

Clouds Are Beautiful Only When They’re Floating Free

——79k臨床藥學(xué)二班 郭崇真125010202 “Love is like quicksilver in the hand.Leave the fingers open and it stays.Clutch it, and it darts away.”

After reading the novel A Rose for Emily, there are many thoughts wandering in my head.I believe that love needs freedom.If you keep the door of your heart open when you put someone in it, he or she will be able to choose whether be with you to love you back or not.However, once you make it closed, your love will be like a cage that makes the one you love imprisoned.Emily’s father loves Emily too much to let her have normal life as others.He separated her from the men with which she may fall in love.Therefore, she had no one but her father to communicate with, which is a pretty strange thing for a young lady in her age.In this condition, Emily was extremely difficult to form a healthy personality.It’s obvious that Emily’s father failed in teaching her how to love in a proper way.Emily was just fettered.Then she did the same thing as her father.She refused to accept the fact that her father had already died.What’s more terrible, she made Barrow, the man she loves, be with her together forever in a creepy way.Did Barrow love Emily? Perhaps he did.I don’t know whether he had a crush on Emily for a time or not.But I’m sure he was not willing to die especially when he was young and capable.Being loved by such a crazy lady can’t be more tragic, can it?

Did Emily’s servant become dumb by accident? Perhaps he did.I guess his dumbness had something to do with Miss Emily.She may be afraid of being revealed by the servant and make him dumb.However, she lost the only person she can talk with.Emily was shackled by chains of her father’s love.Barrow was shackled by chains of Emily’s love.They are all victims.Does God punish or reward us with love?

Love is supposed to be the fire that will warm your house and brighten your

room.Unfortunately, Emily’s love is a kind of fire that can burn your house down and leave no room for you to sleep in.From my perspective, love is a thing that belongs to two persons.To love is not to let him or her do the things you want him or her to do, but to do the things you two both like to make you feel happy to be with each other.To love is not to limit his or her movements or life, but to let him or her live free.Love is not only a will to possess but a will to present with all respect.“The fastest way to lose love is to hold it too tightly.And the best way to keep love is to give it wings to fly free.”

Clouds are beautiful only when they are floating free.So is love.If Miss Emily had learned that, she would leave a sweet love story about a romantic rose to us.

第二篇：英美經(jīng)典文學(xué) 獻(xiàn)給艾米麗的玫瑰悲劇分析 論文 名著5000字讀后感 讀書筆記

《獻(xiàn)給艾米麗的玫瑰》悲劇分析

上個學(xué)期我選修了英美經(jīng)典文學(xué)之一門選修課，其中老師給我們推薦了許多的閱讀書目。暑假期間，趁著閑來無事，于是便上網(wǎng)查找了相關(guān)的書籍來閱讀，其中一篇給我的影響尤其深刻，那便是《獻(xiàn)給艾米麗的玫瑰》。

《獻(xiàn)給艾米麗的玫瑰》是美國南部小說的代表人物，威廉·?？思{發(fā)表的被譽為最富盛名的短篇小說代表作，也是世界短篇小說史上的一朵奇葩，絢麗無比。

它特殊之處就在于它能夠讓人全神灌注地把整篇看完，之后仍然意猶未盡，又多么希望把整個故事說給別人聽；雖然結(jié)局令人痛苦不堪，可是發(fā)人深省。《獻(xiàn)給艾米麗的玫瑰》是一篇以愛為主軸的小說,也許它不浪漫也沒有激情，但在某些小地方總不經(jīng)意的透出一絲感人的氣息。

文章所描述的是美國南北戰(zhàn)爭以后的一個南方小鎮(zhèn)杰弗遜小鎮(zhèn)上格里爾生家族的命運。文中的主人公——艾米麗·格里爾生小姐直到三十歲還未出嫁。因為她的父親，作為家族族長的父權(quán)傾向嚴(yán)重的父親，為了維護(hù)所謂的等級和尊嚴(yán)，趕走了所有向艾米麗求愛的男子，剝奪了她幸福的權(quán)利。在父親過世后，行政當(dāng)局要鋪設(shè)人行道，建筑公司的工頭是個北方佬，名叫荷默·伯隆，個子高大，皮膚黝黑，精明強干，聲音洪亮的荷默很快便俘獲了艾米麗小姐的芳心。不久，人們便看到他和艾米麗小姐一起駕著馬車出游。鎮(zhèn)上的人們議論紛紛，他們都不相信他倆能成為終身伴侶，人們憐憫艾米麗，作為一個沒落的南方貴族中的高貴的淑女居然看中了一個拿日工資的黑皮膚的北方佬。父親的死于艾米麗而言并不是一種解脫，艾米麗仍活在父親的陰影之中，艾米麗仍然沒有擺脫家族尊嚴(yán)的束縛——當(dāng)她發(fā)現(xiàn)荷默無意與她結(jié)婚的時，艾米麗毫不留情地選擇了用砒霜毒死了荷默。從此，艾米麗便在破舊封閉的宅院里過著與世隔絕的生活，并與荷默的尸體同床共枕40年，直到艾米麗小姐去世，小鎮(zhèn)上的居民才發(fā)現(xiàn)了這個驚人的秘密。

艾米麗小姐最后孤獨地死去無疑是為這一悲劇畫下了句點。然而所有的悲劇的結(jié)尾，總是會有眾多的成因，在我看來，原因有四點。

一、父權(quán)制與戀父情結(jié)

這部小說里，對艾米麗影響之大之深的當(dāng)屬她的專制的父親。弗洛伊德創(chuàng)立了“戀母情結(jié)”，意指男孩對母親產(chǎn)生的特殊性依賴，同樣，他又提出了“戀父情結(jié)”，來意指女孩對父親產(chǎn)生的特殊性依賴。艾米麗自幼喪母，隨父親長大，并且如同父親所期望的那樣，成為了一個有教養(yǎng)、有內(nèi)涵的南方淑女。艾米麗的父親在世時，小鎮(zhèn)上的人們“把這家人看作一幅畫：身段苗條，穿著白衣的艾米麗小姐立在背后，她父親岔開雙腿，背對艾米麗，手執(zhí)一根長鞭，一扇向后開的門恰好嵌住了他們倆的身影?！倍碇戏绞缗尿湴僚c尊嚴(yán)的艾米麗小姐孤芳自賞，與世隔絕，她“什么樣的青年男子都看不上眼?！笔澜缟铣烁赣H和與她朝夕相處的黑人奴仆外再也沒有其他人能夠接近她，了解她。而那個黑人奴仆亦離群索居，撲朔迷離。而艾米麗小姐的父親則“趕走了所有的青年男子?！笨梢钥闯?，高大威猛的父親對于艾米麗而言就像是一個保護(hù)神，是她感情的支柱，生命的另一半。正如弗洛伊德所言，女孩對父親已經(jīng)形成了一種穩(wěn)定的依賴關(guān)系，父親在女孩的眼中就像是一把巨大的保護(hù)傘，為自己遮風(fēng)擋雨，而一旦這種穩(wěn)定的關(guān)系被破壞以后，女孩就會便會強烈地感受到被人剝奪，遭人遺棄的感覺。在艾米麗的父親死后，她仍然相信她的父親并沒有死——“一連三天她都這樣，不論是教會牧師訪問她也好，還是醫(yī)生想要勸說她讓他們把尸體處理掉也好?！薄爱?dāng)時我們還沒有說她發(fā)瘋。我們相信她這樣做是控制不住自己。我們還記得她父親趕走了所有的青年男子，我們也知道她現(xiàn)在一無所有，只好像人們常常所做的一樣，死死拖住搶走了她一切的那個人?！?/p>

對艾米麗而言，父親的死亡預(yù)示著支撐她的強大保護(hù)傘倒下了，她無法正視父親的死留給她的空白。迷惘無助的艾米麗又將如何來面對將來的生活。她愛著父親，因為父親是她的保護(hù)傘，她的感情支柱，而她又也憎恨著父親，因為父親是那個搶走她一切的人。這種對父親又愛又恨的復(fù)雜情感影響了她與情人荷默之間的關(guān)系。父親所代表的是南部文明，而作為建筑公司工頭的北方佬荷默則代表著銳不可當(dāng)?shù)南冗M(jìn)的北方工業(yè)文明，和荷默的相戀無疑意味著對父親所代表的南部文明的背叛。在她身上上演了一場感情與理智的斗爭。最終，在這場斗爭中，這位南部文明的忠實捍衛(wèi)者艾米麗小姐毅然選擇犧牲了情感的欲求，毒死了荷默，捍衛(wèi)了南部文明的尊嚴(yán)。戀父情結(jié)導(dǎo)致的對父親的依戀以及父權(quán)體質(zhì)下父親對艾米麗的戕害促使艾米麗最終悲劇的釀成。

二、南部文明的根深蒂固

福克納筆下的美國南部是清教思想占統(tǒng)治地位的地方，它甚至“比清教徒的新英格蘭更為清教化?！蹦媳睉?zhàn)爭前后的美國南方，以騎士精神和淑女風(fēng)范傲然于世。在它的光輝時代，不失為一種嚴(yán)肅的道德和行為的規(guī)范。但歷史的合理性消亡之后，種植園主昔日的威嚴(yán)和榮耀如流水落花一般一去不復(fù)返，但其殘存的舊日理想的余暉誘惑著處于歷史交替的南方人，造成他們精神世界與客觀世界，人與時代的嚴(yán)重錯位，心靈始終處于內(nèi)在的混亂狀態(tài)。艾米麗表是這樣的人物，她始終脫離不了舊日的影子，南部文明早已在她的心中根深蒂固。而歷史的車輪不會停下前進(jìn)的腳步，在兩種不同的社會力量相較量相抗衡時，落后的南部文明逐步被先進(jìn)的北方工業(yè)文明所取代是毋庸置疑的。?？思{出生于沒落的地主家里，作為南部文學(xué)的領(lǐng)軍人物，同時也作為美國南部文明衰落過程的體驗者與見證人，福克納親眼目睹了面對銳不可當(dāng)?shù)谋狈焦I(yè)文明南侵的大潮下南部文明的衰敗。而作為福克納本人的代言人，他筆下的艾米麗和他一樣懷有對南部文明太多的不舍與依戀，執(zhí)著與挽留。南部文明在艾米麗心中的根深蒂固造就他最后的悲劇。

三、艾米麗的性格因素

艾米麗的悲劇在很大程度上是她性格的悲劇。愛默生曾經(jīng)說過，人們之所以寂寞，是因為他們不去修橋，反而筑墻將自己圍堵起來。艾米麗自己在自己的心上豎起一座高墻，促使悲劇的發(fā)生。倔強、暴戾的艾米麗骨子里流著和父親一樣的血液，她想留住曾經(jīng)有過的東西。不顧一切地去留住一切東西。那種想控制他人狂暴而無情的態(tài)度和意志終于戰(zhàn)勝了理智。在外界壓力和情人的背叛下，促使艾米麗做出了慘烈、決絕的選擇。以自己極端的方式永遠(yuǎn)地留住了情人，以這種表面的成全圓了自己的玫瑰夢。從此她封閉自己，守護(hù)著幻想的永恒國度。她活在自己的世界里，以自己的方式對待他人世界。她抵制時代進(jìn)步、目無政府、無視法律的存在，她拒絕納稅。拒絕郵政服務(wù)，拒釘門牌號。在艾米麗的生命中，她不怕譏笑、也不接受憐憫，更拒絕做任何的妥協(xié)。她以冷硬、頑固、偏執(zhí)而又不痛苦的形象維持自己最基本的尊嚴(yán)。守護(hù)著那玫瑰色的世界，雖然那最終只剩下“敗了色的玫瑰色窗簾，玫瑰色的燈罩”。艾米麗打破了傳統(tǒng)的謙恭、隱忍、溫柔、忘我的女性模式。她孤傲、桀驁不遜、自負(fù)執(zhí)拗、我行我素。她蔑視社會等級和道德觀念，在戀愛和婚姻上表現(xiàn)出強烈的自我和自主。她的種種性格因素很大程度上造成了她最后的悲劇。

四、過分強調(diào)價值觀一致的小鎮(zhèn)居民

艾米麗所在的杰克遜鎮(zhèn)是當(dāng)時美國南方社會的一個縮影。美國內(nèi)戰(zhàn)前，美國南方人心中普遍有一種優(yōu)越感。自獨立以來，美國南方一直處于大種植園主階級的統(tǒng)治下，封建殘余保留較多。傳統(tǒng)的南方過分強調(diào)價值觀念的統(tǒng)一，進(jìn)而對他人任意“關(guān)心”干涉。艾米麗是傳統(tǒng)的受害者，而文中的“我們”就是蕓蕓眾生、冷眼的旁觀者。文中的“我們”表面上是關(guān)心艾米麗，依戀傳統(tǒng)的懷舊感情和崇奉貴族，而實際上是為維護(hù)南方傳統(tǒng)思想，對艾米麗進(jìn)行無端的干涉：“起初我們都高興地看到艾米麗小姐多少有了一點寄托，因為婦女們都說：?格里爾生家的人絕對不會真的看中一個北方佬，一個拿日工資的人?！北M管貴族門第此時已經(jīng)衰落，但還是有人愿意拿淑女風(fēng)范來評判他人的行為，對他人品頭論足，交頭接耳，以此來衡量其人是否高貴。而艾米麗對此也做出了回應(yīng)，“她把頭抬得高高——甚至當(dāng)我們深信她已經(jīng)墮落了的時候也是如此?！备？思{雖然借“我們”之口敘述故事，卻也對“我們”有著嘲諷之意：一方是死守淑女風(fēng)范的老處女，另一方是刻薄的世俗，艾米麗注定是受害者，“我們”以多勝少，用風(fēng)言風(fēng)語的利刀把已是滿身枷鎖的艾米麗進(jìn)一步推向了孤獨和絕望。文中的“我們”非但不伸出援手，反而因為她的不同而豎起一座高墻將她層層圍住，最終把她推向悲劇的深淵。

結(jié)語：

有評論說這篇小說描繪的是一個舊時代的落寞，通過艾米麗這個人物形象表現(xiàn)了出來。這樣理解也行，就像人們讀《紅樓夢》，也是怎么理解的都有。還有人說這是部懸疑恐怖小說，也算是，但它可遠(yuǎn)遠(yuǎn)超出了恐怖小說的高度。我覺得這還是部愛情小說，透過愛情深深的挖掘了人性。對艾米麗小姐的性格分析也許將是人類心理學(xué)永久的課題：如果伯隆不愛艾米麗，按女人的說法他已經(jīng)占了她的便宜，工程又收工了，他還有必要去而復(fù)返嗎？艾米麗小姐如果不愛他，會讓他死在自己床上嗎？正是這種保守和死亡的本能在她身上完美的結(jié)合，才成就了她的大獲全勝，也成就了這篇永恒的愛情故事。

艾米麗是父權(quán)制度的受害者，也是南部清教文明的捍衛(wèi)者，她的冷酷、頑固、偏執(zhí)的性格因素將她逼向絕望的懸崖，而小鎮(zhèn)上的“我們”最終用我們的冷眼和風(fēng)言風(fēng)語將艾米麗推下了悲劇的深淵。獻(xiàn)給艾米麗的那一朵玫瑰，或是對她的憐憫，或是對她的敬佩，或是對她的悼念，而如今的我們對這一切卻終將不得而知。

專業(yè)：2013級環(huán)境工程 姓名：熊夢琪

學(xué)號：20***018

第三篇：從《獻(xiàn)給艾米麗的一朵玫瑰》看?？思{作品中貴族的沒落

英語專業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫作，公布的題目可以用于免費參考《魯濱遜漂流記》中魯濱遜的性格分析功能對等理論在法律英語翻譯中的應(yīng)用淺析華茲華斯詩歌中的美——人性、語言、意象英漢顏色詞的文化對比及其翻譯策略對杰克倫敦作品《海狼》男主角海狼拉森的人物分析《格列佛游記》和《鏡花緣》中的理想國比較不屈的反抗，悲劇的結(jié)局——蓓基和嘉莉妹妹的命運對比淺析電影《當(dāng)幸福來敲門》中“美國夢”的圓夢模式論《嘉莉妹妹》中的女性主義[畢業(yè)論文](英語系經(jīng)貿(mào)英語)企業(yè)家個人品牌在企業(yè)營銷中的作用薇拉?凱瑟《我的安東妮亞》中的成長主題黑人女性身份的建構(gòu) —《寵兒》的后殖民主義解讀羅伯特弗羅斯特詩歌的人生哲學(xué)研究從祥林嫂和苔絲比較中西悲劇女性形象論凱特?肖邦《覺醒》中艾德娜的覺醒過程哈代小說中的宗教觀——以《苔絲》為研究中心艾米莉迪金森對宗教的矛盾態(tài)度闡釋廣告翻譯的目的性原則—以汽車廣告為例艾米莉狄金森詩歌中的死亡和永生馬丁路德金《我有一個夢想》的語言學(xué)特征從跨文化交際的角度關(guān)于中英酒文化的解析體態(tài)語在中學(xué)英語教學(xué)中的應(yīng)用奧斯卡最佳英語電影片名漢譯的價值取向研究夏洛特?柏金斯?吉爾曼《黃色墻紙》中的象征手法《喜福會》中女性地位與形象的解讀“立足文化兼顧考試導(dǎo)向”的詞匯教學(xué)模式英漢空間隱喻對比分析——以英語“up-down”和漢語的“上-下”為例語境在英語聽力理解中的作用與分析論《嘉莉妹妹》中美國夢的追尋與迷失《推銷員之死》中主人公威利洛曼之死的研究

《呼嘯山莊》中希斯克利夫雙重性格分析

影視字幕英漢翻譯分析

《呼嘯山莊》人物形象解讀

淺析約翰斯坦貝克《菊花》的象征藝術(shù)

《簡?愛》中哥特寫作手法的闡釋

鄉(xiāng)鎮(zhèn)初中英語課堂教學(xué)有效性探究

中式英語研究

中英文動物習(xí)語的情感差異研究——以“狗”為例

從前景化欣賞《傲慢與偏見》

漂泊的靈魂——從馬斯洛層次需要理論剖析瑪格麗特·勞倫斯《潛水鳥》中邊緣文化人的抗?fàn)幣c迷失

霍華德·雅各布森《芬克勒問題》的節(jié)奏研究

對聯(lián)翻譯策略-以《紅樓夢》對聯(lián)翻譯為例

《綠野仙蹤》和《愛麗絲漫游仙境》的比較

隱忍 反抗 順從 自立：《出獄》中女主人公的救贖之路 對《永別了，武器》的分析 淺析《純真年代》中服飾的象征意義 《飄》中女主人公的女性意識分析 中美電影中的跨文化現(xiàn)象分析 英漢政治演講語篇中人稱指稱對比分析 任務(wù)型教學(xué)法在初中英語閱讀教學(xué)中的運用 漢語中的間接言語行為研究 淺析商務(wù)談判中的語用失誤及策略 從倫理學(xué)角度分析狄更斯作品中的女性形象 淺析托妮?莫里森《最藍(lán)的眼睛》中的生態(tài)女性主義 從電影《饑餓游戲》看美國人的競爭與合作意識 簡奧斯汀作品中的女性主義分析 從美國節(jié)日文化對中國青年的影響看全球化下中國青年對中國傳統(tǒng)節(jié)日文化的缺失 十二生肖的翻譯及相關(guān)動物成語 商標(biāo)翻譯的重要性中西方葬禮文化的對比 酒神與日神的對話－－哈姆雷特性格分析 話語理論在林紓《黑奴吁天錄》中的運用 《麥田里的守望者》霍爾頓的轉(zhuǎn)變分析 從需求層次理論解析《嘉莉妹妹》中嘉莉的人生觀 淺析《了不起的蓋茨比》中的美國夢的破滅及原因 《麥田里的守望者》的成長主題分析 西方吸血鬼文化與中國僵尸文化的異同比較 從語用學(xué)的角度分析美國情景喜劇《老友記》中的言語幽默 論商務(wù)談判中的語言溝通技巧 “三美”理論視角下楊譯《紅樓夢》中金陵判詞的翻譯研究 中英餐桌禮儀的比較 《呼嘯山莊》中的哥特式惡棍形象分析 社會的諷刺－－從奧斯卡?王爾德《認(rèn)真的重要性》中阿爾杰農(nóng)?芒克瑞福的眼看 詩歌翻譯中不可譯現(xiàn)象研究 《等待戈多》和《禁閉》的比較研究 《名利場》中語言偏離現(xiàn)象的語用分析 奧斯卡?王爾德《道連?格雷的畫像》中人物間的相互影響 政治與商業(yè)演講中概念隱喻語言特色的比較分析 從美國醫(yī)保改革淺析美國政治博弈 淺析《飄》中斯嘉麗愛情觀的形成和發(fā)展 馬丁伊登的理想與現(xiàn)實的矛盾 論商標(biāo)翻譯中的翻譯原則 電影字幕翻譯研究 英語廣告的語言特色分析及其翻譯 文化因素對商標(biāo)翻譯的影響 英文電影片名的翻譯原則和策略

朱生豪與梁實秋莎劇譯本的對比分析

口譯過程中信息缺失分析及應(yīng)對策略研究

《霧都孤兒》的寫作風(fēng)格

從《獻(xiàn)給艾米麗的一朵玫瑰》看?？思{作品中貴族的沒落

從全球本土化理論的視角比較《美國偶像》與《超級女聲》

中學(xué)英語教學(xué)中的文化教學(xué)

凱瑟琳?安?波特的女性意識

交互閱讀模式在中學(xué)英語中的應(yīng)用

雅思考試與大學(xué)英語等級考試的比較研究

論《弗蘭肯斯坦》的社會意義

英語in介詞短語的功能和意義

論《好人難尋》中的暴力與死亡

從美國主流媒體話語看中國企業(yè)的國際形象－－以批判性話語分析為視角

第四篇：《獻(xiàn)給艾米麗的玫瑰花》及《一桶白葡萄酒》文學(xué)評論

Review of a Rose for Emily

A Rose for Emily is a very popular short story because of its style, climax, and plot.The author, William Faulkner, was a Southern writer from Oxford, Mississippi.Faulkner bases this story on the tale of Oxford's aristocracy Miss Mary Neilson.She married Captain Jack Hume, the charming Yankee foreman of a street-paving crew, over her family's shocked protests.The style of this story is false romance.Miss Emily's father, before his death, would run off every man that tried to court her.Because of this, she felt any man she loved would leave her.After falling in love with Homer Baron, she feared he would run off like the others.To keep this from happening, she poisoned him and kept his body upstairs in the bedroom.The climax focuses on the room where the corpse was found.After Miss Emily's death, the town people were cleaning up the house and found a room that was locked.They had to break down the door.To their surprise, they found Homer Baron's corpse lying in the bed dressed in a night shirt.As the story progresses there is no indication that he had died.When they found the toilet things sitting on the dresser with initials H.B., it was well known that the corpse was Homer Baron.I first thought it was her father in the bed, but I realized that her father was

already buried.I then knew it had to be her lover.I cringed on the thought of what she did while she was lying next to the corpse.Finally, the end of this story surrounds a woman's life from her mid twenties until her death at the age of seventy-four.It describes a prominent lady of a town who led a private life.I learned, while reading this story that this woman is crazy and had the mind of a child.She seemed to lose everything she loved.But I still have a question.The question is “Where is the rose in the A Rose for Emily?” Emily was never given a rose, even when she died there was no mention of a rose.In the story the only time a scented thing was mentioned was lime to cover a smell.Emily like the insinuated rose is never present in the story.Even when Emily has a line of dialog it is spoken thought the filter of the narrator’s perspective.The narrator or the town is concerned with what role Emily is playing, although since Emily is not present in the story, but through hearsay, the reader has to decipher between the roll assigned to her by the narrator and actuality of the role Emily fulfills.Everyone went to Emily’s funeral.No one went to the funeral out of respect for the dead.Emily became a person known only though hearsay between town folk.No one knew Emily.“Women went out of curiosity to see the inside of her house.” The women went to the funeral to fill a gap.In a time where entertainment wasn’t prevalent, Emily became the late night drama and sole topic of conversation for the town.The town did not morn, the person, Emily they mourned the personified topic of conversation.The town paid respect to the topic that took up time in their conversations.The town saw Emily as inseparable from what she was.The town saw Emily as, “…a small, fat woman in black…” as opposed to a woman with a small skeleton.The town could not separate the Emily they knew from the Emily that was present.The juxtaposition was fused into the town’s notion of Emily.The druggist must have seen a hint of Emily’s shift in personality.The druggist either did not care about Emily or wanted her dead.The druggist gave her the poison thinking the probability that she was going to kill herself was likely.The druggist didn’t even consider another possibility before spreading the rumor to the town.The druggist would not have given up the poison to Emily before her father died, but now Emily was the same one the town sighed, “…Poor Emily…” for.Emily was a lady when her father was alive.Emily is only a lady, because of who her father was.She is a lady out of only legacy.The narrator knows what Emily did, yet the narrator sympathies with Emily up till the end trick the reader into sympathizing along with the story.In the end the reader and the narrator know Emily is a lady no longer, not

only because she is now dead but because she killed and kept a corpse for cuddling.Ladies don’t cuddle with corpses, but up until the discovery of the corpse Emily remained a lady in the eyes of the town.“They waited until Miss Emily was decently in the ground before…” the town opened the door to the room Emily was keeping her corpse.The town waited because they knew they were going to find something off kilter in that room.Something which could and eventually force change on their opinion of Emily, the town did not wanted to keep what they knew about Emily while she was alive separate from what they knew about her when she was dead.Upon the discovery of the body the fused juxtaposition the town carried with them was removed from their notion of Emily.Neither, the reader or the narrator can relate the Emily at the end of the story to the Emily that existed to hinted ideas of who Emily was before events of the story.There is no reconciliation between the two Emily’s.They share different traits.The first, being the lady, the father’s daughter.The second Emily being an off kilter person struggling with craziness the only way she knows how.But because the story is not written from Emily’s perspective the reader cannot see the shift into craziness directly until the end and is left wondering with the narrator what caused Emily to defy my notion of what a lady is supposed to be?

In the end the “Rose” for Emily is just as absent from the story as Emily herself.Emily is portrayed in flickers between the town folk’s skewed options about her, about her house, about her life style and about her choice in bed room arrangements.The lady Emily reveals two things about herself though out the story, she doesn’t like to pay taxes, and she is willing to kill and keep a corpse around.Creating an option based upon what Emily reveals about herself, it’s safe to say Emily was never a lady, and never thought of herself as a lady.Reference Brooks, Cleanth and Roert Penn Warren.Understanding Fiction, 2nd ed.New York: Appleton-Century-Crofts, Inc, 1959:351 Roberts, Diane.Faulkner and Southern womanhood, Athens and London: The University of Georgia Press, 1994:158 Olga W.Vicky.The Novels of William Faulkner: A Critical Appraisal [M].Baton Rouge: Louisiana State University Press, 1964

Review of the Cask of Amontillado

The Cask of Amontillado is a daring story by the ever-famous Edgar Allen Poe that shows the pain of hate and desire for revenge.Remember always though to not forget the Golden Rule and that prideful reaping will only bring about to you a large and painful fall.Many people have wanted to gain revenge but for a man to say that he is to conduct his action of revenge with full intention of making justice in one’s own mind is an accusation of pure madness.But what could one possibly do to receive such hate from another? The question is a mystery but you can’t tell me you aren’t interested about Poe’s story so please sit back and let me tell you about why it is so good.Poe makes his point clear in the Cask of Amontillado by his amazing use of literary elements such as plot, setting, and foreshadowing.Poe uses one the very planning parts of a story to tell his tail in an amazing way through the literary element of plot.Stories can have very strong, light, and any combination of types of plots.The Cask of Amontillado has a strong plot.The Story lines up in the plot perfectly.There is an explanation of why the character is wanting to get revenge fills strongly to act upon the other character.Montresor the narrator is seeking revenge after Fortunato who is the other large character in the story.His introduction starts saying，“The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge.” The intention of your main character is clearly stated although reason is not;you have no doubt from the vocabulary that he is greatly offended.Then actions that follow bring about ability to carry out, but can he struggle past himself in morality, and can he struggle against his adversary to achieve his objectives? Poe uses the knowledge he possesses to carry his idea to the max and then fall into the next part of the story giving succession and strong plot to follow.He doesn’t introduce you with a setting but in the actions and the climax he uses foreshadowing and setting to assist the conducting of his plot properly.With the use of his plot he also teaches you the theme of the story, that you ultimately reap what you sow.For a story to really teach a life lesson in the theme of the story the author has to stay focused on his message and the idea while he is carrying out the actual actions of the story.It takes the entire story working together for it to be a success, and to me a successful story cannot be written unless you have to pay attention to every aspect to fully understand it.The characters are realistic and there is a proven sense of seriousness throughout the story and Poe’s extensive understanding of plot and use of it proves all of this.If you are to see the revenge in a story you have to have a serious

mood, that of hate, at the beginning and on into the conflict.Then you see the madness created and the climax will show if the revenge is truly a success or a failure that all results of over flooded hatred.“Nemo me impune lacessit”, or in English no one attacks me with impunity could be a statement of assurance or a statement of ignorant pride.When you read The Cask of Amontillado remember to first look at the plot that is used Edgar Allen Poe.You can’t very well carry out a nursery rhythm in a dark mansion or a horror story in the sunny beautiful place that one would enjoy frolicking because setting is another vital part of an author’s success in his/her story.Poe is an author that fully understood this element and used it also wisely.If you think of revenge you think of dark sinister thoughts.A story of revenge has a setting of scary eeriness and one that would cause fear because revenge is not a warm cuddly area and in composing a short story Poe knew that where the story took place was a vital piece of the puzzle and you can see that from these quotes I would like to pull out of the story: ·

“..., bowed him through several suites of rooms to the archway that led into the vaults.I passed down a long and winding staircase, requesting him to be cautious as he followed.We came at length to the foot of the descent, and stood together upon the damp ground of the catacombs of the Montresors.”

·

“Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris...From the fourth side the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size...It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was back by one of their circumscribing walls of solid granite.”

Setting pulls you in the story, and make inferences, and gives you a sign of foreshadowing on the events to follow.Symbolism is a big element that lies right within the barriers of setting and gives symbolism of things to come.The settings presented in these two quotes of the story show you signs of death and evil by describing objects surrounding, colors, and even the setup of the setting itself.You can’t tell your story and have it make any sense if you don’t have the proper setting.Poe also uses foreshadowing along with his uses of plot and setting to bring across his message and to make this story one that you will read and enjoy.A well-written horror story has to have suspense or it just doesn’t give you that jumpy or that scared feeling.Poe brings to you in this story foreshadowing and that creepy suspenseful feeling.This is hard for a writer to do but Poe does it anyway with such a way that just makes his story much better.Look again at the setting quotes that I brought out of

the story and you can see the coming of death and misery but you aren’t able to see the result of the conflict because while he gives you sign of the defiant success of the main character Poe doesn’t let you know quite yet because he throws in shadows of doubt and questioning.In Poe’s use of foreshadowing he also used the plot to aid the device by letting some of the major rising action be direct foreshadowing events to use the two device as one and enlighten ideas of mystery.You read the story trying to break it apart because you want to know if Montressor will succeed in quest of receiving revenge, but you just can’t see for it to happen or to not happen.You can see how just in these three elements I mentioned that Poe molded together and let each literary device hold up the other.But why would an author feel so strongly to write a story of revenge and it was just an act of justice? Edgar Allen Poe lived a very short and tragic life that was compiled by attributes of dislike, loneliness, and death of the few people that he allowed himself to get close to and love.Poe had to experience a lot of self-conflict that defiantly pushed him to his all and all.He had a list problems compelled that consisted of gambling, drugs, alcohol, and constant depression because he could not take revenge on the thing that caused him the most pain and that was fait itself.Everyone he loved was taken by the incurable(at the time)disease of tuberculosis.I believe that this story was Poe’s way of saying he didn’t know how to

deal with the inability to take revenge on his opposing force, which was fait.He seemed to hurt himself to an unreal level by taking into his life things like gambling(which he probably might have at a time was what he compared to life), drinking(to probably forget his pain), and maybe drugs(because he would probably seek a realm that had to be better than the reality that he lived in).He begins this story, “The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge.” I don’t know the approximate time that Edgar Allen Poe wrote this story but it was probably a time that he may had thought of suicide or even before he was found dead with alcohol in his system on a street corner.It seems that Poe could obviously not take revenge on fate and had no one to blame so he took out the bubbling hurt and made himself his own source of source of pain which would be his life itself and his own identity his outlet because he felt shut out from others because everyone he had loved left him in death.Some authors seek an inspiration for their writings but I believe that Poe just expressed his life and experiences and that is why he is notorious for his horror stories, scary isn’t it.I have given and supported my opinion to you as best to my ability and I know that when you read this story you will enjoy.Remember when you read to get the message that something is trying to teach you and after you enjoy a piece break it down in your mind.Poe used his ability to

express himself in this story through the use of the literary element devices of setting, plot, and foreshadowing made it the story for me.I give The Cask of Amontillado my ballot and would venture to say that it is an example of how a short story should be written.Reference Benton, Richard P.“Poe's 'The Cask of Amontillado': Its Cultural and Historical Backgrounds.” Poe Studies 29.1(June 1996): 19-27.Bonaparte, Marie.The Life and Works of Edgar Allan Poe: A Psycho-Analytic Interpretation.London: Hogarth, 1971.Davidson, Edward Hutchins.Poe, A Critical Study.Cambridge: Harvard University Press, 1957.

第五篇：紀(jì)念艾米麗的一朵玫瑰花教案

紀(jì)念艾米麗的一朵玫瑰花 教學(xué)目標(biāo)： [知識與能力]

1、學(xué)生閱讀小說，注意小說人物活動的社會背景 了解故事發(fā)生的社會環(huán)境。

學(xué)生通過學(xué)習(xí)，結(jié)合自己的閱讀體驗，在了解文章大意的基礎(chǔ)上，把握基本的故事情節(jié)，從而體會作者行文敘事的寫作特色。

學(xué)生注意把握小說通過環(huán)境描寫塑造人物形象，營造氣氛推動情節(jié)發(fā)展的基本手法。[過程與方法] 閱讀感悟、小組探討 [情感態(tài)度與價值觀] 通過對艾米麗形象的理解，引導(dǎo)學(xué)生樹立正確的人生觀、價值觀。[教學(xué)重點與難點] 了解環(huán)境對人物思想性格的形成和發(fā)展所起的作用，了解環(huán)境與主題的關(guān)系。

預(yù)習(xí)任務(wù)：

請同學(xué)們結(jié)合相關(guān)的歷史知識了解1870年至1930年間美國南方社會的歷史圖景或向歷史老師請教。

課時安排：2課時 教學(xué)過程： 第一課時 導(dǎo)入：

祥林嫂之所以不幸地死去，是因為魯鎮(zhèn)，如果她生活在沈從文筆下的湘西，也許會有另外一種命運；而魯四老爺也必須待在魯鎮(zhèn)，如果讓他移民美國，他也許會過得很不愉快。環(huán)境會怎樣影響一個人呢，現(xiàn)在我們一起來看看《紀(jì)念艾米麗的一朵玫瑰花》，也許你會有更深刻的體會。

資料卡（多媒體展示）

1、作者

威廉·卡斯伯特·福克納是美國“南方文學(xué)”代表作家，1949年獲得諾貝爾文學(xué)獎。作品有長篇小說《喧嘩與騷動》、《圣殿》、《押沙龍，押沙龍！》等?！都o(jì)念艾米麗的一朵玫瑰花》被譽為其最負(fù)盛名的短篇小說。

2、背景（知人論世）

生存環(huán)境:生于美國密西西比州,出生于一個有名的莊園主家庭其曾祖父是南北戰(zhàn)爭中一位頗有影響的南軍將領(lǐng),富有傳奇性的經(jīng)歷,在當(dāng)?shù)貜V為流傳對他影響很大.隨后，在家庭敗落的過程中，他產(chǎn)生了無限傷懷。正是他對家鄉(xiāng)、對像他那樣的由盛而衰的家庭的熟悉與了解，使他看上南方，因為這里有他用不完的素材，有他消失了的夢，也孕育著他對未來的期待。社會環(huán)境:南北戰(zhàn)爭，這場決定雙方命運的戰(zhàn)爭，南方吃盡了敗仗，南方的小農(nóng)的自耕農(nóng)理想和種植園主的土地貴族的理想都瓦解了。特別是種植園經(jīng)濟(jì)的崩潰，蓄奴制顯貴的迅速敗落，北方資本侵入南方，南方新的資產(chǎn)階級的出現(xiàn)，這一切迫使以福克納為代表的南方作家都無法擺脫一種歷史的重負(fù)。隨著“舊南方”的崩潰，“新南方”的到來，他們情不自禁地以昔日南方蓄奴顯貴的情懷，來追思既往、冷對現(xiàn)實，以一種難言的憂傷和深沉的眷戀，唱一曲深切懷念往日的“莊園之歌”。初次通讀課文，把握基本的故事情節(jié)和主要的人物關(guān)系.思考討論以下問題：

學(xué)生個人通讀全文，理解文意

小組合作，概括故事大意，選代表發(fā)言。

3、簡要分析艾米麗的人物形象。

4、把握基本的故事情節(jié)，思考作者如此安排行文敘事有何特點。明確：

1、《紀(jì)念愛米麗的一朵玫瑰花》講述了一位沒落的南方貴族小姐親手殺死自己的愛人，然后陪伴其尸身并在古屋中隱居四十之久的具有哥特式神秘、恐怖意味的故事。南方淑女愛米麗小姐是舊貴族的象征，對于她的紀(jì)念是作為南方作家的福克納對于逝去的舊南方的無限緬懷之情。但另一方面，愛米麗的最終死亡也喻示了一座紀(jì)念碑的倒下，表明了作者對于最終湮沒的南方社會既眷念熱愛又批判其沉淪罪惡的矛盾心態(tài)。

2、愛米麗是作者筆下的典型人物 ,既是舊南方的象征 ,也是舊南方傳統(tǒng)觀念的犧牲品。怪異的舉止 ,孤傲的性格 ,近乎隱居的生活 ,歷來為傳統(tǒng)的評論家們批評的對象。他們普遍認(rèn)為 ,愛米麗拒絕接受代表現(xiàn)代化的郵箱 ,拒絕交稅 ,即是拒絕接受社會的進(jìn)步 ,接受時間的流逝 ,是她主動將自己和小鎮(zhèn)上的人們隔離 ,和社會分隔開來 ,也正是造成她悲劇的主要原因。但是 ,如果我們仔細(xì)地閱讀這篇小說 ,我們會發(fā)現(xiàn)其實不然。?？思{對他筆下這位沒落貴族家庭的小姐充滿了同情 ,愛米麗小姐的悲劇并不全是她自己的過錯。

3、在小說當(dāng)中，其最大的情節(jié)設(shè)置特色就是： A、時序顛倒的

以愛米麗之死為敘述的起點，站在杰斐遜鎮(zhèn)居民的視角上進(jìn)行敘事，作者以倒敘的手法描述了愛米麗生前的幾個主要事件。在顛倒的時間順序中，首先敘述的是愛米麗拒絕納事稅件，然后是富有神秘氣息的尸臭事件，接著作者卻把時間往過去推進(jìn)，則出現(xiàn)了父親之死，再接下來的與北方工頭荷默戀愛及他與愛米麗發(fā)生沖突后愛米麗去購買砒霜，緊接下來荷默的消失與愛米麗小姐長達(dá)四十年的隱居生活之謎在小說的最后一部分終于被揭開。而按照正常的時序則首先應(yīng)是父親之死，然后是戀愛沖突與買砒霜，再是荷默的消失，尸臭事件與納稅事件都于此后發(fā)生，最后才是愛米麗的死亡。

作者故意打亂的時序仿佛向我們呈現(xiàn)了一個個組接的電影鏡頭，而這些電影鏡頭卻不是一片混亂，其內(nèi)在的邏輯關(guān)系將他們聯(lián)系起來，造成了情節(jié)上的跳躍與結(jié)構(gòu)上的奇突之感，更為重要的是其具有深化主題思想的藝術(shù)功效。這種打破時空界限的手法，把過去和現(xiàn)在直接放在一起，在他們之間形成鮮明的對照，從而使讀者深深地感到時代的變遷和傳統(tǒng)價值觀念的淪喪。

B、循環(huán)敘事

小說文本的敘事打破了線性時間發(fā)展的直線型模式，而是呈現(xiàn)出一個封閉的循環(huán)模式。整篇小說以愛米麗的死亡為支撐視點，將敘事呈現(xiàn)出一個不斷回退的過程。不同于傳統(tǒng)小說在倒敘手法的運用時將謎底置于篇首以制造懸念氣氛，我們在一開始并不知曉愛米麗于古屋之中竟藏有如此驚人之謎，作者正是在不斷回退的敘事中將正常的時序打亂從而增添了小說情節(jié)上的崎嶇之感。如尸臭事件于愛米麗購買砒霜及荷默的消失之間的錯位創(chuàng)設(shè)了讀者對于情節(jié)的期待心理。而小說的最后一部分則敘述了愛米麗的死亡與古屋之謎，最終從過去回退到了“現(xiàn)在”的愛米麗之死。這樣的寫法體現(xiàn)了作為現(xiàn)代主義作家的?？思{對于事件的觀點。作業(yè)：以最簡潔的語言概述文章內(nèi)容，完成在隨筆本上。教學(xué)后記

第二課時 回顧復(fù)習(xí)

選1---2名同學(xué)，將上節(jié)課布置的作業(yè)在課上和大家交流。

結(jié)合以前所學(xué)的有關(guān)小說的知識，回顧小說三要素的相關(guān)內(nèi)容。

二、導(dǎo)入新課

上節(jié)課我們了解了小說的主要人物和基本的故事情節(jié)，但是小說人物的活動需要有一定的空間，也正是在這個空間里，故事情節(jié)才能按照自有的節(jié)奏推進(jìn)發(fā)展。今天我們就來繼續(xù)探討環(huán)境這個問題。

三、品讀與探討（小組合作、討論交流）

1、小說中的環(huán)境包含著廣泛的內(nèi)容，他既是人物活動的地域空間，也是時代的縮影。請同學(xué)們通讀整篇小說，說說這篇小說中的環(huán)境具體是指哪些“空間”、“縮影”。明確：艾米麗小姐生活的大木屋、小鎮(zhèn)（正在變化的美國南方的“縮影”）、以艾米麗的父親為中心的家庭環(huán)境。

2、請從小說中找到對以上環(huán)境進(jìn)行具體描寫的文字，發(fā)現(xiàn)這些環(huán)境在作者筆下顯現(xiàn)出的特征以及作者描寫環(huán)境的一般手法。A、大木屋

第一節(jié)：婦女們······這幢房子-------神秘 第二節(jié)：房子雖已破敗······莊嚴(yán)不可侵犯的形象-------------擬人、象征、房子更是人的命運和某種腐朽了的時代氛圍的象征。第五節(jié)：（細(xì)節(jié)描寫）借參議員代表團(tuán)拜訪艾米麗的機會展現(xiàn)了大木屋內(nèi)部的情況----------沒落、寂寥、頑固、保守、沉重、壓抑

第五十一：不訂門牌號，不設(shè)郵箱------于世隔絕 第57—61節(jié)：（細(xì)節(jié)描寫）大木屋的最后一個秘密房間------陰慘、專橫、冷酷、堅守一種陳腐的生活方式和價值觀念 B、艾米麗生活的南方小鎮(zhèn) 思考：

1、文中提到的小鎮(zhèn)為什說是美國南方的呢？試著找些依據(jù) 第2節(jié)----南北戰(zhàn)爭無名軍人墓第3節(jié)-----對黑人婦女下的令 第31、32節(jié)-----北方佬

2、小說對小鎮(zhèn)客觀環(huán)境的描寫極少，但我們能感受到濃郁的 風(fēng)情，這種風(fēng)情是通過什么傳達(dá)出來的呢？

是通過描寫小鎮(zhèn)上的人傳達(dá)出來的。而在小說中對人物的描寫始終 圍繞著中心人物---艾米麗，所以小鎮(zhèn)上的人對待艾米麗小姐的態(tài)度和方式以及小鎮(zhèn)的輿論構(gòu)成了一個艾米麗生活其中的大環(huán)境。

3、小鎮(zhèn)人對待艾米麗小姐的態(tài)度有沒有隨著時間和事件的推移而變化？這種變或者不變又意味著什么呢? 主要體現(xiàn)在三件事：納稅事件、氣味事件、艾米麗的婚事 主要事件

相關(guān)人物

對待艾米麗的態(tài)度 納稅事件

沙多里斯上校

敬畏、包容、袒護(hù)

第二代領(lǐng)導(dǎo)者

尊重傳統(tǒng)和遵從法律間，選擇了后者

氣味事件

法官斯蒂芬斯

尊敬大于法律

艾米麗婚事

小鎮(zhèn)的人們

一方面，于艾米麗不顧及南方貴族的身份與傳統(tǒng)的行為，大家不甘心這座傳統(tǒng)紀(jì)念碑的倒塌。另一方面，艾米麗終于放下貴族的架子，開始戀愛，更符合人性的行為，也是人們所期待的。

C、艾米麗是在什么樣的家庭環(huán)境中成長為這樣一個“紀(jì)念碑”的。思考：

1、第26----29節(jié)，以小鎮(zhèn)人的口吻敘述了艾米麗和她父親之間發(fā)生的一些事情，從這些敘述中，你能猜測出其父親的性格特征嗎？他父親的性格和對待她的方式對艾米麗一生有什么影響？文中兩次提到艾米麗父親的炭筆畫像，有什么特殊的意義嗎？ 明確：小鎮(zhèn)人把格爾里森一家看做一幅畫中的人物：“身段苗條??嵌住了他們倆的身影”也許人們認(rèn)為：她父親的性格仿佛太惡毒、太狂暴，使她一生都平添波折。父親的專橫庇護(hù)使年輕的艾米麗失去了正常的情感生活，逐漸成長為孤傲專制的南方貴族傳統(tǒng)的標(biāo)準(zhǔn)繼承者。

2、第5節(jié)、第56節(jié)：兩次父親的畫像，讓我們感覺到，父親死之后，艾米麗依然在父親的目光下活著，以父親傳承給她的生活和思維方式活著，直至生命的盡頭。小結(jié)：（探討）

結(jié)合閱讀此篇小說的體會，分組探討并概括：小說中的環(huán)境一般有哪幾種？在描寫環(huán)境、營造氛圍的手法主要有哪些？

環(huán)境：人物活動的地點（如：居所、居所所在地）、人物周圍的人的行為方式、思考方式以及輿論所構(gòu)成的社會環(huán)境、特定的歷史階段的時代氛圍等。手法：對客觀環(huán)境直接進(jìn)行細(xì)致的描寫，通過描寫中心人物周圍的人對待中心人物的態(tài)度和方式構(gòu)成人物生存的社會環(huán)境，用一個人物、一個地點甚至一個事件濃縮整個時代的特征。