美国文学选读下册重点内容总结

The1920s(1)Modernismageneraltermappliedretrospectivelytothewiderangeofexperimentalandavant-gardetrendsintheliterature(andotherarts)oftheearly20thcentury,includingSymbolism,Futurism,Expressionism,Imagism,Vorticism,Dada,andSurrealism,alongwiththeinnovationsofunaffiliatedwriters.Modernistliteratureischaracterizedchieflybyarejectionof19th-centurytraditions.Modernistwritersdisturbedtheirreadersbyadoptingcomplexanddifficultnewformsandstyles.Infiction,JamesJoyceandVirginiaWoolfattemptednewwaysoftracingtheflowofcharacters’thoughtsintheirstream-of–consciousnessstyle.Inpoetry,EzraPoundandT.S.Eliotreplacedthelogicalexpositionofthoughtswithcollagesoffragmentaryimagesandcomplexallusions.Modernistwritingispredominantlycosmopolitan,andoftenexpressesasenseofurbanculturaldislocation,alongwithanawarenessofnewanthropologicalandpsychologicaltheories.Itsfavoredtechniquesofjuxtapositionandmultiplepointofviewchallengethereadertoreestablishacoherenceofmeaningfromfragmentaryforms.InEnglish,itsmajorlandmarksareJoyce’sUlyssesandEliot’sTheWasteLand(both1922).The1920s(2)ImagismImagism:thedoctrineandpoeticpracticeofasmallbutinfluentialgroupofAmericanandBritishpoetscallingthemselvesimagistsbetween1912and1917.ImagistMovementisarevoltagainstthesentimentalandmanneristic（格式化的）poetryattheturnofthecentury.LedatfirstbyEzraPound,andthebyAmyLowell,thegrouprejectedmost19th-centurypoetryascloudy（含糊的）verbiage（啰嗦）,andaimedinsteadatanewclarityandexactnessintheshortlyricpoem.Theimagistscultivatedconcisionanddirectness,buildingtheirshortpoemsaroundsingleimages;theyalsopreferredloosercadences（节奏）totraditionalregularrhythms.ApartfromPoundandLowell,thegroupalsoincludesH.D.,F.S.Flint,D.H.LawrenceandWilliamCarlosWilliams.Thethreephrases1908–1909.T.E.HulmefoundedaclubinLondonBasicprinciples;morediscussion,lesswriting1912–1914.EzraPound1912,thethreeimagistpoeticprinciplescameout1914,thefirstanthologyofImagistpoems----DesImagistes诗选1914–1917.AmyLowellNogreatachievementsThethreeImagistpoeticprinciplesDirecttreatmentofthe“thing”,whethersubjectiveorobjective.要求诗歌直接呈现描写对象（以雕塑和绘画的手法，只展现而不加评论所用的语言尽可能相似于描写对象。2.Touseabsolutelynowordthatdoesnotcontributetothepresentation---Economyofexpression.(Theremustbenoexplanations,nodrawingofconclusions.)不用没有意义的形容词、修饰语，意象具有跳跃性(fragmented)3.Rhythm---Itconcernsabreakingawayfromconventionalprosody,theuseoffreeverseandinterrelationshipbetweenmusicandverse.摒弃传统格律，注重诗歌形式的自由。主张按照语言的音乐性写诗，反对按固定音步写诗。Modernistwriters1.EzraPound(1885–1972)----fatherofmodernAmericanpoetry,aleadingspokesmanoftheImagistmovementWorks:imagistpoem:InaStationoftheMetroCathay华夏（中国古诗译集）1915HomagetoSextusPropertius向普罗波蒂斯致敬1917HughSelwynMauberley休塞尔温莫伯利1920Cantos诗章(masterpiece)(containingatotalof117poems)theinfluenceofConfuciusoverPound(embodiedintheideasofCantos):PoundseesinChinesehistoryandthedoctrineofConfuciusasourceofstrengthandwisdomwithwhichtocounterpointwesterngloomandconfusion.Tohim,thewisdomofConfucianismboilsdowntoonenotion:Orderandtranquility,fromwhichlightshinesforth.Orderandtranquilitycomefromenlightenedrule,andasalientfeatureofConfucianenlightenedruleisevendistributionofwealthandlighttaxation.HissurveyofChinesehistoryishighlysimplisticandidealistic.HeseestheriseandfallofdynastiespurelyastheresultoftheirfollowingorviolatingtheConfucianprinciple…ThecharacterforthecardinalConfucianvirtue,“compassion”,opensandinformsthewholecanto.2.T.S.Eliot(1888-1965)NobelPrizewinner（1948）T·S·艾略特的著名长诗《荒原》的副题就是：“献给埃兹拉·庞德，最卓越的匠人”，该诗曾得利于庞德的亲自修改。HebecameaBritishnaturalizedcitizenin1927.hisfamousprincipleofobjectivecorrelative客观相关物poems:TheLoveSongofJ.AlfredPrufrock普鲁弗洛克的情歌1911Gerontion小老头1920Hollowman空心人1925AshWednesday圣灰节1930FourQuartets四个四重奏1943TheWasteLand荒原1925---themanifestoof“lostGeneration”,establishedEliot’spositionastheleaderof“WasteLandPainters”.“Wasteland”itselfbecomesasymbolofthedecliningwesterncivilization.Itisamilestoneofthemodernwesternpoetry.drama:SweeneyAgonistes力士斯威尼TheCocktailParty鸡尾酒会TheConfidentialclerk机要秘书MurderintheCathedral大教堂谋杀案Asaliterarycritic,hehasfamousdoctrineonpoetsandpoetry:the“impersonaltheory”非个性化理论AllthesewouldnecessarilyleadtotheemergenceoftheNewCriticism.Collectionofcriticalessays:EssaysonStyleandOrder风格及秩序论文集TheSacredWood神木TheUseofPoetryandtheUseofCriticismElizabethanEssaysEssaysAncientandModernAfterStrangeGods拜异教之神WallaceStevens(1879-1955)AnunusualpoetinmodernAmericanliteraryhistory.Hewasaverysuccessfulbusinessman.Tohim,apoetlivesintwoworlds---oneofimaginationandtheotherofreality---andbuildsbridgesbetweenthem.Allhispoemsrecordedtheunendingdialogueofimagination&reality.famouspoem:AnecdoteoftheJar坛子的故事TheEmperorofIce-Cream冰淇淋大帝TheIdeaofOrderatkeyWest在基韦斯特的秩序的思考prosewriting:TheNecessaryAngel必不可少的安琪儿volumeofpoetry:IdeasofOrder关于秩序的思考TheManwiththeBlueGuitarPartsofaWorldTransporttoSummer转入夏季TheAurorasofAutumn秋天的晨曦CollectedPoems诗集WilliamCarlosWilliams(1883-1963)Williamsworkedallhislifeasaphysician.Hewrotepoemsabouteverydaysubjectsandthelivesofordinarypeople,usingclear,concretelanguage.AnAmericanpoetcloselyassociatedwithmodernismandImagism.Hewrotepoetrynotbecausehehadtobutbecausehewantedto.William’sattitudetowardEliotandPound:HeisafriendofPound’sbutresentedhisbrokenmulti-culturalstyle.Asamatteroffact,hewasanti-Eliotallhislife.HisantagonismtoT.S.EliotdatedfromthepublicationofTheWasteLand,which,hebelieved,gavethepoembacktotheacademics.HestronglydisapprovesofthePound-Eliotbookish,andintellectualbrandofpoetry,forhebelievesthat“localismalonecanleadtoculture.Hispoetics:1.Thesourceofinformation--AmericanpoetrymustberootedinAmericaasitsfountofinspiration（灵感）anditssourceofinformationandsubjectmatter.Hebelievesthat“localismalonecanleadtoculture.”(民族化同样能产生好的文学)Whathewantedtoachieveistoreachtheuniversalplaneofmeaningthroughtherepresentationofthelocal.通过描写本土的状貌来反映普遍意义Lifeasitislivedisthebeginningandtheendofthepoet’sendeavor.Lifeisinitselfpoetrysimpleandpure.Poetryinheresinthelifearoundus.2.Thelanguageandrhythm--Hefeelsstronglythatpoetrymustbegroundedineverydayexperienceandinthespeechofthecommonman.Itmustusethecommonmetersoflivingspeech.3.Theuseofimage---Heisanexcellentimagistpoet.Tohim,Philosophicalandmetaphysicalspeculationhasabsolutelynoplaceinpoetry.InPatersonhewrites,“Sayit!Noideasbutinthings”,(思想仅寓于事物之中)whichmeansthatdon’tphilosophizeandsayitintermsofsomekindofconcretization.(不要说教，要借助于意象使观点具体化)poem:TheRedWheelbarrow红色手推车SpringandAll春天及一切longpoem:Paterson佩特森Prosework:IntheAmericanGrain美国性格TheRedWheelbarrowThepicturepresentscommonsightsinthecolorful,livelylife.Thewheelbarrowisverycommonincountrylife,andrainwatermeanshope,virilitytothecrops.Themovingchickenareverylivelyandmakeonelight-hearted.Thepicture,withredandwhite,isverycolorful.Thislively,colorfulscenemakesonelight-heartedandcheerful.Thepictureconveysaverylivelycommonlife.Itmakesthereadersrealizethatbeautyinheresinthelively,commonlife.Orlifeitselfispoempureandpoeminheresinthelifearoundus.Onthesurfacelevel,“somuchdependson”emphasizesthenecessityandimportanceofthesethingstofarmlife.Whatisthemetaphoricalmeaning?Themetaphoricalmeaningmaybethatcommonlifeisveryimportanttopeople.Lifeispoetic;itcanofferenoughmaterialforpoetrywriting.?1.Howtounderstandthe“object”andthe“image”inthepoem“TheRedWheelbarrow”?Inordertounderstandthepoem,it’snecessaryforustostatethewriter’spoeticideas.WilliamCarlosWilliamsbelievesthatlifeitselfcanprovideenoughmaterialeforpoetrywriting,andpoetryinheresinthelifearoundus.Theconsensusseemstobethathestateshispoeticideainthispoem.Thenthepoemcanbeunderstoodasthefollowing:The“image’isaquicksuccessionofrelatedimages---“theredwheelbarrowglazedwithrainwaterbesidethewhitechickens”.(thelively,commonlife;synecdoche提喻)Thepoetdoesn’tstatethe“object”directlyinthepoem.The“object”issubjective.Itreferstothepoet’spoeticideaconcerning“materialforpoetrywriting”.Throughthisimage,thepoetpointsoutthatthelivelycommonlifecanprovidematerialenoughforpoetrywriting;poetryinheresinlifearoundus.Poetsshouldmaketheirpoetryaslivelyaslife.2.Appreciatethepoem“TheRedWheelbarrow”onthebasisofthethreeImagistpoeticprinciple1)Thepoetdirectlypresentstheimageinthepoem---“theredwheelbarrowglazedwithrainwaterbesidethewhitechickens”,andthissuggeststhelively,commonlife.AccordingtothepoetWilliamCarlosWilliams’spoeticideas,thepoemmaybeillustrateshispoeticideaconcerning“materialforpoetrywriting”.Heisperhapscomparing“materialforpoetrywriting”tothelively,commonlife.“wheelbarrow,chicken,rainwater”areverycommonobjectsinfarmlife.Thesethingsareimportanttobothfarmlifeandpoets’poeticendeavorforlifecanprovideenoughwritingmaterial.Poetsshouldmaketheirpoetryaslivelyaslifeitself.2)Altogether16words.Nowordsthatdoesnotcontributetothepresentation.Noexplanation.3)Itiswritteninfreeverse.What’smore,thereisspecialsoundeffectinit:thewholepoemconsistsofonesentencewhichisdividedinto8linesand4stanzas.Pausefallsbetweentheunitsofthesentence,forexample:somuchdepends(P)upon(P)…suchunnaturalpausesgivesthepoemaspasmodic(不连续的）soundeffect,whichrepresentstheactualmovementoftheredwheelbarrow.theinfluenceofImagism1)theimagisttheoriescallforbrieflanguage,describingtheprecisepictureinasfewwordsaspossible.Thisnewwayofpoetrycompositionhasalastinginfluenceinthe20thcenturypoetry.2)thesecondlastinginfluenceofImagismistheformoffreeverse.Therearenometricalrules.Thereareapparentindiscriminate（杂乱的）linebreaks,whichreflectsthediscontinuityoflifeitself.Thatisartofthepoem.(Thepoetusesthelengthofthelinesandthestrangegroupingsofwordstoshowhowlifeitselfcanbebrokenupintosomehowmeaninglessclusters.)5.RobertFrost(1874-1963)“新英格兰诗人”诗多以田园生活为题材HewonthePulitzerPrizefourtimes.Hewasconsideredasthe“unofficialpoetlaureateofthenation”.In1961,hewasinvitedtoreadhispoemsintheinaugurationceremonyofPresidentKennedy.Hewastheonlypoetwhooncehadsuchanhonor.PoetryCollections：hisfirstvolume—ABoy’sWill(1913)少年的意志NorthofBoston（1914)波士顿以北“MendingWall”修墙TheWoodPile柴堆MountainInterval(1916)山间“TheRoadNotTaken”一条未走的路NewHampshire(1923)新罕布什尔“StoppingbyWoodsonaSnowyEvening”雪夜林边驻West-RunningBrook(1928)西去的溪流AFurtherRange(1936)又一片牧场AWitnessTree(1942)见证树writingfeature：HeisoneofthemostpopularAmericanmodernistpoets.Thecharmofhispoetryisthatitseemstobenatural,directandsimpleandthefactisthatitisdeceptivelysimple.貌似简单的复杂性Frost’spoemsareNewEnglandintheirsetting.Thesubjectscomefromcountrylifeofordinarypeople.Heusedplainlanguage,traditionalpoeticsandcommonsymbolstoexpressprofoundideas.Hisinnovationistocombinetraditionalpoeticforms（传统英诗形式）withAmericanspeechrhythmsandvocabulary.Heshowedlittleinterestinexperimentationinform.Butforhim,formofpoetryisasimportantassense.Theorderingofsoundandsense(诗歌的语调与内容的统一)isonemajorconcernofhiscareer.Hispoetryemphasizesmodernthematicconcern.Bywritingpoem,hemanagedtoconstructa“momentarystayagainstconfusion”.（暂时逃避现实的混乱）StoppingByWoodsonaSnowyEveningsomesounddevicesalliteration:（头韵）诗句中相邻的词以相同的字母或声韵开头Thesunsankslowly.assonance（元音韵）相同或相似的元音在诗行中反复出现TheraininSpainstaysmainlyintheplainconsonance（辅音韵）诗行中两个或两个以上的词的词尾辅音相同IliketoseeitlaptheMilesAndlicktheValleysupthesounddevicesemployedtherhymepatterninthispoem(Vowelsanddiphthongs)WinterSolstice冬至---thelongestanddarkesteveningalone,dark,quiet,coldRobertFrostwasgreatlyinfluencedbytheTranscendentalistideaswhichholdthatnaturecanexerciseahealthyandrestorativeinfluenceuponpeople’smind.MajorfeaturesofNewEnglandTranscendentalism:3)TheTranscendentalistsregardednatureassymbolicoftheSpiritorGodNatureisthegarmentoftheOversoul.Thereforeitcouldexerciseahealthyandrestorativeinfluenceonthehumanmind.Thingsinnaturetendedtobecomesymbolic.SymbolismThewoods(beyondthebordersofthevillage)sitontheedgeofcivilization.Itisrestful,seductive,lovely,deep–-naturethevillage(or"society,""civilization,""duty,""responsibility")--humanworldthetheme——constructing“amomentarystayagainstconfusion”Thespeakerwasinhisonerouslifejourney.Thewoodsissolovely&fascinatingthathehadastrongdesiretoescapefromthechaoticsociety&findrefugeintheforest.FrostwasdeeplyinfluencedbytheTranscendentalistideawhichholdsthatnaturecanexerciseahealthyandrestorativeinfluenceuponthehumanmind.Soafterpausingalittlewhilebesidethewoods,thespeakergotenoughenergyandvirilityfromtherestorativenature.Herememberedhehadsomuchresponsibilities.Hemustcontinuehislifejourney.Hisshortstaybythewoodsprovides“amomentarystayagainstconfusion”.Someinformationconcerning“StoppingbyWoodsonaSnowyEvening”Asapoet,Froststartedverylate.(Hisfirstvolumeofpoetrywasn’tpublisheduntilhewasnearlyforty.)Thelargefamilywasaheavyburdenforhim.Atthesametime,Hewasintenselyawareofthechaosofthemodernage.Howhewantedtoescapefromtheharshreality.AmericanModernismNovelists：1.F.ScottFitzgerald(1896-1940)爵士乐时代的命名者和象征Fitzgeraldisgenerallyregardedasspokesmanofthe1920s,thepeculiardecadethatcombinedthepostwareconomicboomandthesenseofspiritualdisorientation.novels:ThisSideofParadise人间天堂(1920)TheBeautifulandDamned漂亮冤家(1922)TheGreatGatsby了不起的盖茨比(1925)TenderistheNight夜色温柔(1934)TheLastTycoon(unfinished)最后的大亨CollectionsofshortStories:FlappersandPhilosophers(1921)时髦女郎和哲学家TalesoftheJazzAge(givingitsnametothe1920s）the1920s----theJazzage爵士乐时代的故事(1921)AlltheSadYoungMan一代悲哀的年轻人(1926)(TheRichBoy—oneofhisbeststory)TapsatReveille清晨起床号ThediamondasbigastheRitz大如里兹饭店的钻石（短篇故事集中的故事）TheGreatGatsby(twoheroes)itissetinLongIsland'sNorthShoreandNewYorkCityduringthesummerof1922.hero:JayGatsbyNickCarraway(heisbothanarratorandacharacterinthenovel)heroine:DaisyBuchanan（herhusband---TomBuchanan)Themeofthenovel：ThenovelisthesinglemostprofoundcommentaryinAmericanfictiononAmericanDream.FitzgeralddealswiththebankruptcyoftheAmericandream,whichishighlightedbythedisillusionmentofthehero’spersonaldreamsduetotheclashesbetweentheromanticversionoflifeandthesordidreality.Itisastoryofanidealistwhotriestorecapturehislostlovebutinvainandisfinallydestroyedbytheinfluenceofthewealthypeoplearoundhim.GatsbyisthetrueheirtotheAmericandream.Hefailstounderstandthathecannotrecapturethepastnomatterhowmuchmoneyhemakes.Materialcan’tidentifywithhappiness.DaisyrefusestoleavethesecurityofherestablishedpositionforGatsby’sadorationandprecariouswealth.themagnitudeofTheGreatGatsbyFitzgerald’sgreatnessliesinthefactthathefoundintuitively,inhispersonalexperience,theembodimentofthatofthenationandcreatedamythoutofAmericanlife.Gatsby’slifefollowsaclearpattern:atfirst,adream,thenadisenchantment,andfinallyasenseoffailureanddespair.Gatsby’spersonalexperienceapproximatesthewholeoftheAmericanexperienceuptothefirstfewdecadesofthetwentiethcentury.Gatsby’spersonallifehasassumedamagnitudeasa“cultural-historicalallegory”forthenation.HereliesthegreatestintellectualachievementthatFitzgeraldeverachieved.Techniquesinthenovel1.first-personpointview:usingthe“dramaticnarrator”---NickCarraway(meaningthenarratorisalsoacharacterinthenovel);Nickisrelatedwithallthethreegroupsofcharactersinthenovel.Heisareliablepersonandmakesnoquickjudgments.Hislimitedomniscience(对故事所知很有限的叙述者）createsaneffectofmysteryandsuspense.2.SymbolismGatsby:thecountry’shistoryDaisy:seeminglybeautifulAmericanDreamTom:commercializationwhichbroughtthecountryonlymoraldepravityNick:hopeofthecountryThemeofhisworksFitzgerald'sfictionalworldisthebestembodimentofthespiritoftheJazzAge,inwhichheshowsaparticularinterestintheupper-classsociety.HisfictionrevealsthehollownessoftheAmericanworshipofmoneyandtheunendingAmericandreams.Hedealtmostwiththedoublethemeofloveandmoney.HebelievedthatthewealthyclasscorruptedthewholeofAmsociety.AmericanDreamisapopularbeliefthatpeoplecanachievematerialsuccessthroughhonesthardworkinginanewworldofliberty,equality,chancesandpromisesinAmerica.Inthiswaytheycanachievehappiness.AmericanDreamisdeceptivebecauseitproposesthesatisfactionofalldesireasanattainablegoalandidentifiesdesirewithmaterial.Inthe1920s,theAmericanDreamwentbankruptinthesensethatthewealthypeoplewerespirituallydisorientatedandmorallycorrupted.ThefactthattherichpeopleturnedtobemoreindifferentandcarelessbroughtforththedisillusionmentofAmericanDream.ErnestHemingway(1899–1961)Hisbookspaintawholegeneration---theLostGeneration.HewastermedasthespokesmanoftheLostGeneration.In1954,HemingwaygottheNobelPrize.Hewasapublicherobecauseheactedoutthethemeofhisownbooks.novel:TheTorrentsofspring(1926)TheSunAlsoRises(1926)太阳照常升起（forthefirsttimehepaintstheLostgeneration)AFarewelltoArms(1928)ForWhomtheBellTolls(1940s)丧钟为谁而鸣TheOldManandtheSea(1952)CollectionofShortstories:InOurTime我们的时代(1925)MenwithoutWomen(1927)WinnerTakeNothing胜者无所谓(1933)ToHaveandHaveNot富有与贫穷(1937)play:TheFifthColumn第五纵队(1938)non-fiction:非小说DeathintheAfternoon午后之死(1932)GreenHillsofAfrica非洲的青山（1935）TheOldManandtheSea1.symbolismSantiago–mankind;sea–natureandenvironment;marlin–purposeoflife;shark–theevilforcewhichcontrolhuman’sfate2.ThemeTobehavewellinthelonely,losingbattlewithlifeistoshow"graceunderpressure"andconstitutesinitselfakindofvictory,athemeclearlyestablishedinTheOldManandTheSea.Thoughlifeisbutalosingbattle,itisastrugglemancandominateinsuchawaythatlossbecomesdignity;mancanbephysicallydestroyedbutneverdefeatedspiritually.AFarewelltoArmshero:FredericHenryheroine:CatherineTheendofthenovel:(AfterCatharine'sdeath,HenrystayedintheroomwhereCatharineislying)ButafterIhadgotthemoutandturnedoffthelightitwasn'tanygood.Itwaslikesayinggood-byetoastatue.AfterawhileIwentoutandleftthehospitalandwalkedbacktothehotelintherain.Thesymbolicmeaningsof“arms”:1.arms-weapons---warfarewelltowar---heislongingforpeace,happiness2.arms—lover’sarms---lovefarewelltolove---thegreatpainThetypicalthemeofHemingwayInonesense,Hemingwaywroteallhislifeaboutonetheme,“graceunderpressure”重压下的风度,andcreatedoneherowhoactsthatthemeout.Thereisaparticularterm“thecodehero”forhischaracter.TheHemingwayheropossesses“despairingcourage”(绝望中的勇气).Itisthiscouragethatenablesamantobehavelikeaman,toasserthisdignityinfaceofadversity.Thisistheessenceofacodeofhonor（典型品质）,whichallhisheroesbelievein.Inhisfictionthenihilistic（虚无主义的）visionofsterility,failure,anddeathismodifiedbyhisaffirmativeassertionofthepossibilityoflivingwithstyleandcourage.（与他活出风格、活出勇气的肯定观点相对照）Therefore,heoftendealtwithwarandcourage,andwiththequestionofhowtolivewithpain.style---theicebergtheoryofHemingway（冰山原则）1/8ofanicebergisabovethewater.Alloftherestisunderneaththewater.ThesameistruewithHemingway’swriting.Hissentencesonlygiveonesmallbitofthemeaning.Therestisimplied.Onemustgoverydeepbeneaththesurfacetounderstandthefullmeaningofhiswriting.AccordingtoHemingway,goodliterarywritingshouldbeabletomakereadersfeeltheemotionofthecharactersdirectlyandthebestwaytoproducetheeffectistosetdownexactlyeveryparticularkindoffeelingwithoutanyauthorialcomments,withoutconventionallyemotivelanguage,andwithabareminimumofadjectivesandadverbs.charactersandthecorrespondingworksNickAdams—InOurTimeJakeBarnes---TheSunAlsoRisesFredericHenry---AFarewelltoArmsRobertJordan---ForWhomtheBellTollsSantiago---TheOldManandtheSeaHemingway’sCodeHero（硬汉形象）ItreferstosomeprotagonistsinHemingway'sworks.HemingwaydefinedtheCodeHeroas"amanwholivescorrectly,followingtheidealsofhonor,courageandenduranceinaworldthatissometimeschaotic,oftenstressful,andalwayspainful."InthegeneralsituationofHemingway'snovels,lifeisfulloftensionandbattles;theworldisinchaosandmanisalwaysfightingdesperatelyalosingbattle.Thosewhosurviveandperhapsemergevictoriouslyintheprocessofseekingtomasterthecodewithasetofprinciplessuchashonor,courage,endurance,wisdom,disciplineanddignityareknownas"theHemingwaycodehero".LostGeneration:NameappliedtothedisillusionedintellectualsandaesthetesoftheyearsfollowingWWI,whorebelledagainstformeridealsandvaluesbutcouldreplacethemonlybydespairoracynicalhedonism（享乐主义）.TheremarkofGertrudeStein“youareallalostgeneration,”addressedtoHemingway,wasusedasaprefacetothelatter’snovelThesunAlsoRises,whichbrilliantlydescribesanexpatriategroup(旅居作家)typicalofthe“lostgeneration.”OtherexpatriateAmericanauthorsoftheperiodtowhomthetermisgenerallyappliedincludeE.E.Cummings,F.Scott.FitzgeraldandEzraPoundetc.MoreinformationInsomesense,allhislife,helivedwithwaremotionallyandcontinuedtowriteaboutitinordertoreliveandforgetit.Therefore,heoftendealtwithwaranditseffectsonpeople,andwiththequestionofhowtolivewithpain.Allhisworksdramatizethisconcept:lifeisdangerousandalwaysreadytodefeatanddestroyyou,butifyoukeepcalmandstandonyoursetofprinciples,youmaywinonyourownte