James Joyce

“Eveline”By James JoycePlease read the part of Point of View on page 32 in the section of Basic Elements of Fiction in the text book. Pay attention to the third person limited point of view.♦The patterns of speech presentation♦Direct speech: I said, "He has come."♦Indirect speech: I said that he had come.♦Free direct speech: He has come, I said.♦Free Indirect Speech: He had come.♦Narrative report of speech act (言语行为的叙述报道): She told of his coming.♦The patterns of thought presentation:♦Direct thought: She thought, "He is a nice guy."♦Indirect thought: She thought that he was a nice guy.♦Free direct thought (没有引号或没有直接叙述的动词）: He is a nice guy, (she thought).♦Free indirect thought: He was a nice guy.♦Narrative report of a thought act (思维的叙述报道): She considered him a nice guy.♦E.g.,♦* Direct thought: He wondered, "Does she still love me?"♦* Indirect thought: He wondered if she still loved him♦* Free direct thought: Does she still love me? (as in interior monologue)♦* Free indirect thought: Did she still love him? (as in quoted monologue)♦* The Narrative Report of a thought : He wondered about her love for him.Terms concerning gender:Simone de Beauvoir says in The Second Sex: "One is not born, but rather becomes a woman. No biological, psychological, or economic fate determines the figure that the human female presents in society; it is civilization as a whole that produces this creature."Gender: is both an effect of biology and a social construction. In patriarchal societies, that construction will tend to favour men over women.Gender role: refers to the behavioural role or quality socially and culturally sanctioned for males and females.Gender identity: refers to the self-awareness of one’s biological, social and cultural characteristics. It is the conformation and approval of one’s sexual identity. Gender identity is the internalisation of gender role, while gender role is the externalised form of gender identity; both are based on biological elements.Femininity: submissive, passive, mindless, emotional, sensual, fragile, nurturing, caring, relational, domestic and etc.Masculinity: aggressive, competitive, smart, strong-hearted, tough, rational, social, independent and etc.Feminist consciousness: awareness of the elements that prevent women from developing in the socialinstitutional structure; the conscious pursuit for political and economical subjectivity in society.Female consciousness: natural female consciousness including the pursuit for beauty and freedom, and the awareness of self-attractiveness, self-worthiness, self-existence, self-esteem, self-enjoyment and etc, and also the desire for intellectual, emotional and sexual fulfilment.Feminism: Feminism aims to destroy the dominance of phallocentrism, and exams the symbolic, psychological and ethical connections of domination of women and male monopolization of resources and controlling power.Feminist criticism: examines the ways in which literature (and other cultural productions) reinforce or undermine the economical, political, social, and psychological oppression of women.Three interdependent elements:sexuality, as a wife; maternity, as a mother; and individuality, as a human being in universe. Only a woman with combination of these three elements in her identity might be said to have become a fully realized woman.♦Figures of speech in the story♦oxymoron (矛盾修辞法): juxtaposition of incongruous, contradictory words or meanings for emphasis such as, She always felt pleasantly confused. (p. 144, paragraph 10)♦E.g.,♦(1) She dressed with careful carelessnesss.♦(2) I mean he is a clever fool.♦(3) He talked with her with studied ease.♦(4) They were puzzled at her cruel kindness.♦anti-climax(突降法): arrangement of words or phrases in a descending order of importance. E.g., Her eyes gave him no sign of love or farewell or recognition. (p.145, paragraph 25)♦E.g.,♦(1) Where shall I find hope, happiness, friends, cigar?♦(2) We often joked about his passionate love for his little daughter, his cat and his ash-tray.♦hyperbole（夸张）:exaggeration. E.g., All the seas of the world tumble about her heart.(p. 145, paragraph 21)Language points:♦folk adage (俗语) e.g.,♦go for(p 143 paragraph 9): attack;♦chap(p 144, Paragraph 11): boy / man;♦fall on one's feet(p 144, paragraph 10): settle down / have good luck♦have an edge on somebody (p143, paragraph 5. 压某人一头; 对某人怀恨在心): have an advantage over somebody / cherish a hatred or resentment against somebody.♦As she mused the pitiful vision ... in final craziness(144-145, paragraph 16): As she thought deeply she saw in her mind's eye the pitiful life of her mother and it cast its influence on her deepest feelings / deep down she felt so sorry for her mother——a life sacrificed in mediocrity and ending finally in mental disorder. 母亲生活的凄苦情景给她留下难以磨灭的痛楚——一种在平庸中消耗，最终在精神失常中结束的生活。

"Araby"Backgrounds IntroductionIreland's major religion, Roman Catholicism, dominated Irish culture, as it continues to do today although to a lesser extent. Many families sent their children to schools run by Jesuit priests (like the one the narrator in attends) and convent schools run by nuns (like the one Mangan's sister attends). Catholicism is often seen as a source of the frequent conflict in Irish culture between sensuality and asceticism, a conflict that figures prominently in Joyce's autobiographical novel A Portrait of the Artist as a Young Man . In many ways, Catholicism, particularly as practiced at the turn of the century, was an extremely sensuous religion, emphasizing intense personal spiritual experience and surrounding itself with such rich trappings as beautiful churches, elegant paintings and statues, otherworldly music, and sumptuous vestments and altar decorations. On the other hand, the Church's official attitude toward enjoyment of the senses and particularly toward sexuality was severe and restrictive. The ideal woman was the Virgin Mary, who miraculously combined virginal purity with maternity. Motherhood was exalted, but any enjoyment of sexuality, even in marriage, was considered a sin, as were the practice of birth control and abortion. The inability to reconcile the spiritual and sensual aspects of human nature can be seen in the boy's feelings toward Mangan's sister in He imagines his feelings for her as a "chalice"--a sacred religious object--and so worshipful is his attitude that he hesitates even to speak to her. Yet his memories of her focus almost exclusively on her body--her figure silhouetted by the light, the "soft rope of her hair," "the white curve of her neck," the border of her petticoat. Even the image of the chalice is ambivalent, since its cup-like shape and function suggests a sexual connotation. The boy never resolves this conflict between spirituality and sensuality. Instead, when confronted with the tawdriness of a shopgirl's flirtation at the bazaar, he abruptly dismisses all his feelings as mere "vanity."Introduction of the story and the author"Araby" is one of fifteen short stories that together make up James Joyce's collection, Dubliners.Although Joyce wrote the stories between 1904 and 1906, they were not published until 1914.Dubliners paints a portrait of life in Dublin, Ireland, at the turn of the 20th century. Its stories are arranged in an order reflecting the development of a child into a grown man. The first three stories are told from the point of view of a young boy, the next three from the point of view of an adolescent, and so on."Araby" is the last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.Joyce is one of the most famous writers of the Modernist period of literature, which runs roughly from 1900 to the end of World War II. Modernist works often include characters who are spiritually lost and themes that reflect a cynicism toward institutions the writer had been taught to respect, such as government and religion. Much of the literature of this period is experimental; Joyce's writing reflects this in the use of dashes instead of quotation marks to indicate that a character is speaking.Joyce had a very difficult time getting Dubliners published. It took him over ten years to find a publisher who was willing to risk publishing the stories because of their unconventional style and themes. Once he found a publisher, he fought very hard with the editors to keep the stories the way he had written them. Years later, these stories are heralded not only for their portrayal of life in Dublin at the turn of the century, but also as the beginning of the career of one of the most brilliant English-language writers of the twentieth century.Plot"Araby" opens on North Richmond street in Dublin, where "an uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground." The narrator, who remains unnamed throughout the story, lives with his aunt and uncle. He describes his block, then discusses the former tenant who lived in his house: a priest who recently died in the back room. This priest has a library that attracts the young narrator, and he is particularly interested in three titles: a Sir Walter Scott romance, a religious tract, and a police agent's memoirs.The narrator talks about being a part of the group of boys who play in the street. He then introduces Mangan's sister, a girl who captivates his imagination even though he rarely, if ever, speaks with her. He does stare at her from his window and follow her on the street, however, often thinking of her "even in places the most hostile to romance." While in the marketplace on Saturday nights, for example, he uses her image to guide him through the thronging crowd who yell their sales pitches and sing patriotic Irish ballads. He becomes misty-eyed just at the thought of her and retreats to the priest's dark room in order to deprive himself of other senses and think only of her.Finally, Mangan's sister speaks to him. She asks if he will be attending a church-sponsored fair that is coming soon to Dublin--a bazaar called "Araby." He is tongue-tied and cannot answer, but when she tells him that she cannot go because of a retreat that week in her convent, he promises to go and bring her a gift from the bazaar. From then on he can only think of the time when he will be at the fair; he is haunted by "the syllables of the word Araby." On the night he is supposed to attend the fair, his uncle is late returning home and he must wait to get money from him. He gets very anxious, and his aunt tells him that he may have to miss the bazaar, but his uncle does come home, apologetic that he had forgotten. After asking the boy if he knows a poem entitled "The Arab's Farewell to His Steed," the uncle bids the boy farewell.The boy takes a coin from his uncle and catches a train to the fair. Araby is closing down as he arrives and he timidly walks through the center of the bazaar. As he looks at the few stalls that are still open, he overhears a conversation between an English shop-girl and two young men. Their talk is nothing but idle gossip. The shop-girl pauses reluctantly to ask the boy if he wishes to buy anything, but he declines. As he walks slowly out of the hall amid the darkening of the lights, he thinks that he is a "creature driven and derided by vanity" and his "eyes burned with anguish and anger."CharactersNarrator: The narrator of this story is a young, sensitive boy who confuses a romantic crush and religious enthusiasm. All of the conflict in this story happens inside his mind. It is unlikely that the object of his crush, Mangan's sister, is aware of his feelings for her, nor is anybody else in this boy's small world. Because the boy's thoughts only reveal a part of the story, a careful reader must put together clues that the author gives. For example, the narrator mentions that the former tenant of the house he shares with his aunt and uncle was a priest, a representative of the Catholic church, who left behind three books which became important to the narrator. One is a romantic adventure by Sir Walter Scott; one is a religious pamphlet written by a Protestant; and the third is the exciting memoirs of a French policeman and master of disguise. These three books are not what a person would expect a Catholic priest to have in his library. So if this priest has non-religious literature in his library, then how devout can an average church-goer be expected to be? This turns out to be the case for the narrator, who confuses religious idealism with romance.The boy confuses the religious and secular worlds when he describes himself at the market with his aunt. He bears the chalice--the Communion cup--through a "throng of foes." He also describes Mangan's sister in terms often associated with the Virgin Mary. For the narrator, then, an ordinary grocery-shopping trip becomes a religious crusade, and a pretty girl down the street becomes a substitute for the Mother of God. The boy fuses together religious devotion for the Virgin Mary with his own romantic longing.Joyce is famous for creating characters who undergo an epiphany--a sudden moment of insight--and the narrator of "Araby" is one of his best examples. At the end of the story, the boy overhears a trite conversation between an English girl working at the bazaar and two young men, and he suddenly realizes that he has been confusing things. It dawns on him that the bazaar, which he thought would be so exotic and exciting, is really only a commercialized place to buy things. Furthermore, he now realizes that Mangan's sister is just a girl who will not care whether he fulfills his promise to buy her something at the bazaar.His conversation with Mangan's sister, during which he promised he would buy her something, was really only small talk--as meaningless as the one between the English girl and her companions. He leaves Araby feeling ashamed and upset. This epiphany signals a change in the narrator--from an innocent, idealistic boy to an adolescent dealing with harsh realities.Mangan's Sister: Mangan is one of the narrator's chums who lives down the street. His older sister becomes the object of the narrator's schoolboy crush. Mangan's sister has no idea how the narrator feels about her, however, so when they discuss "Araby," the bazaar coming to town, she is only being polite and friendly. She says she would like to go to the bazaar but cannot because she has to attend a school retreat that weekend. The narrator promises to buy her something at the bazaar if he goes, but it is unlikely that she takes this promise seriously. While on the one hand the narrator describes her romantically, he also describes her in reverential terms which call to mind the Virgin Mary. This dual image description of Mangan's sister represents the religious and romantic confusion of the narrator.Mangan: Mangan is the same age and in the same class at the Christian Brothers school as the narrator, and so he and the narrator often play together after school. His older sister is the object of the narrator's confused feelings.Narrator's Aunt: The narrator's aunt, who is a mother figure in the story, takes the narrator with her to do the marketing. When it seems as though the uncle has forgotten his promise to the narrator that he could go tothe bazaar, she warns the boy that he may have to "put off" the bazaar "for this night of Our Lord." While this statement makes her seem strict in a religious sense, she also exhibits empathy for the boy's plight. She pleads his case when the uncle forgets about the boy's plans to go to Araby.Narrator's Uncle: The narrator's uncle seems self-centered and very unreliable. When the narrator reminds him that he wants to go to the bazaar, he replies, "Yes, boy, I know." But on the Saturday evening of the bazaar, he has forgotten, which causes the narrator to arrive at the bazaar very late. When the uncle finally shows up, he has been drinking, and as the boy leaves for the bazaar he begins reciting the opening lines of the poem, "The Arab's Farewell to his Steed." Joyce's characterization of the uncle bears resemblance to his own father, who liked to drink and was often in debt. Joyce's inclusion of Mrs. Mercer, the pawnbroker's widow who waits for the uncle to return, suggests tha t the uncle owes money.ThemesThe narrator recalls a boyhood crush he had on the sister of a friend. He went to "Araby," a bazaar with an exotic Oriental theme, in order to buy a souvenir for the object of his crush. He arrived late, however, and when he overheard a shallow conversation between a female clerk and her male friends and saw the bazaar closing down, he was overcome with a sense of futility.Alienation and LonelinessThe theme of isolation is introduced early in the story by the image of a deserted, isolated house and the narrator's recollection of a priest who lived and died in their back room. The young protagonist seems isolated within his family. There is no mention of his parents; he lives with his aunt and uncle, and the uncle, in particular, appears insensitive to the boy's feelings, coming home late even though he knows the boy wants to go to the bazaar. The boy's crush on his friend Mangan's sister seems to isolate him even further. He is too tongue-tied to initiate a relationship with her, worshipping her from afar instead. Moreover, his crush appears to isolate him from his friends. Whereas early in the story he is depicted as part of a group of friends playing in the street, after his crush develops his separation from the others is emphasized: he stands by the railings to be close to the girl while the other boys engage in horseplay, and as he waits in the house for his uncle to return so he can go to the bazaar the noises from his friends playing in the street sound "weakened and indistinct." The story ends with him confronting his disillusionment alone in the nearly deserted bazaar.Change and TransformationThe narrator experiences an emotional transformation--changing from an innocent young boy to a disillusioned adolescent--in the flash of an instant, although the reader can look back through the story and trace the forces that lead to the transformation. This change occurs through what Joyce called an "epiphany," a moment of sudden and intense insight. Although the narrator suddenly understands that his romantic fantasies are hopelessly at odds with the reality of his life, this understanding leaves him neither happy nor satisfied; instead, he feels "anguish and anger." It is not clear what impact the narrator's epiphany will have on his future development, only that that development has begun.Fantasy and RealityThe story draws connections between the romantic idealism of the young protagonist's attitude toward Mangan's sister and romantic fantasies in the surrounding culture. Much of this romanticism seems to stem from religion, the pervasive presence of which is emphasized by mentions of the youngsters' parochial schools, repeated references to the dead priest, and the aunt 's fear that the bazaar might be a "Freemason" affair and her reference to "[T]his night of our Lord." The boy carries his thoughts of Mangan's sister like a "chalice through a throng of foes," and his crush inspires in him "strange prayers and praises." The way the girl herself is described--as an alluring but untouchable figure dramatically lit--and the boy's worshipful attitude give her something of the character of a religious statue. Popular culture is also suggested as a source of the boy's romanticism, in the references to Sir Walter Scott's The Abbot and the poem "The Arab's Farewell to His Steed." The contrast between fantasy and reality draws to a head at the Araby bazaar, whose exotic name is merely packaging for a crassly commercial venture. In the nearly deserted hall and the insipid flirtation he overhears between two men and a shopgirl, the protagonist is confronted with huge gap between his romantic fantasies of love and the mundane and materialistic realities of his life.ConstructionThrough the use of a first person narrative, an older narrator recalls the confused thoughts and dreams of his adolescent self. Joyce uses this familiarity with the narrator 's feelings to evoke in readers a response similar to the boy's "epiphany"--a sudden moment of insight and understanding--at the turning point of the story.Point of Viewis told from the first person point of view, but its perspective is complicated by the gap in age and perception between the older narrator and the younger self he remembers. The story takes the form of a reminiscence about an apparent turning point in the narrator 's growth, a partial explanation of how the young protagonist became the older self who is the narrator. The reader is given no direct information about the narrator, however, his relentless contrasting of his boyhood self's idealism with the tawdry details of his life, and the story 's closing line, create a somewhat bitter and disillusioned tone. It is left to the reader to decide how far the narrator has travelled toward a "true" understanding of reality.SymbolismJoyce's use of symbolism enriches the story 's meaning. The former tenant of the narrator's house, the Catholic priest, could be said to represent the entire Catholic church. By extension, the books left in hisroom--which include non-religious and non-Catholic reading--suggest a feeling of ambiguity toward religion in general and Catholicism in particular. The bazaar "Araby" represents the "East"--a part of the world that is exotic and mysterious to the Irish boy. It could also represent commercialism, since despite the boy's romantic imaginings its purpose is in fact to make money. Mrs. Mercer, the pawnbroker's widow, is another representative of materialism. To the narrator, Mangan's sister is a symbol of purity and feminine perfection. These qualities are often associated with the Virgin Mary, who also symbolizes the Catholic church. While the boy is at Araby, the various, and often contrasting, meanings of these symbols converge to produce his epiphany.ModernismJoyce is known as one of the leading authors of Modernism, a movement in art and literature in the first half of the twentieth century that emphasized experimentation and a break with traditional forms. In this early work Joyce's narrative technique is still fairly traditional and straightforward. However, several features of the story can be identified as experimental and modernist, particularly in the extent to which the reader is left to sort out the story 's meaning with little overt help from the author. The story concerns a relatively ordinary occurrence in the life of an ordinary person; we are never told directly how or why it might be important. We are given no direct information about the narrator, but must glean what we can about his character from the story he tells and the way in which he tells it; we are not even told what the age difference is between the narrator and his younger self. The story ends, as it begins, abruptly, with again no direct indication of thesignificance of the protagonist's "epiphany," his older self's attitude toward it, or what it meant for his further development. Much of the early criticism of -that the stories were "sordid" and lacked structure and a "point"--reflect the unfamiliarity and uneasiness of Joyce's contemporary readers with these innovations in storytelling.。

叙事学研究“灵显”与图像詹姆斯•乔伊斯小说的跨媒介叙事龙迪勇(东南大学艺术学院，江苏南京211189)摘要：就文学与媒介的关系而言，詹姆斯•乔伊斯成功地把现代“新型的图像式技术”有机地 融入到了自己的文学创作活动之中，即把和“图像”有关的技术手段或美学特征融入到了以语词 为媒介的文学文本之中。

乔伊斯的创作活动体现出了美学上的“出位之思”，其小说叙事是一种 典型的跨媒介叙事，具有某种特殊的图像特征或空间效果。

乔伊斯小说的跨媒介叙事与其特有 的“灵显”理论息息相关；与此相关，乔伊斯还把原本属于图像艺术的“整体艺术论”和“静态艺 术论”运用到了小说艺术之中。

关键词：“灵显”；图像；跨媒介叙事；出位之思“Epiphany”and Image: IntermediaNarratives of James Joyce’s FictionsLONG DiyongAbstract ：In terms of the relations between literature and media, Janies Joyce has succeeded in integrating modern ** new graphic techniqueM into his own literary creation, that is, incorporating technical means or aesthetic features related to image into literary texts with words as the medium. Joyce's creation reflects “ andersstreben”，and his fiction narrative is a typical intermedia narrative, with some special graphic features or spatial effects. The intermedia narratives of Joyce's fictions are closely related to his peculiar “epiphany’’theory. In relation to this, Joyce also applied holistic art theory and static art theory, which originally belonged to graphic art, to the art of fiction.Key words：epiphany；image；intermedia narrative；andersstreben基金项目：本文系教育部人文社会科学基金项目“文学与艺术中的非线性叙事研究”（19\\^75丨029)的阶段 性成果-作者简介：龙迪勇，男，东南大学艺术学院教授，博士，博导，主要从事叙事学、图像学研究。

"Araby" and the Writings of James JoyceCritic: Harry StoneSource: "`Araby' and the Writings of James Joyce," in The Antioch Review, Vol. XXV, no. 3, Fall, 1965, pp. 375-445.Criticism about: "Araby"Author Covered: James JoyceTable of Contents:Essay | Source Citation[Stone is an educator, editor, and Charles Dickens scholar. In the following excerpted essay, he discusses some of the autobiographical elements of "Araby," which include Joyce's childhood in Dublin, Ireland, and how the exoticism of the real-life Araby festival, with its Far Eastern overtones, impacted the young Joyce. Stone also discusses the poet James Mangan's influence on the story. ]For "Araby" preserves a central episode in Joyce's life, an episode he will endlessly recapitulate. The boy in "Araby" like the youthful Joyce himself, must begin to free himself from the nets and trammels of society. That beginning involves painful farewells and disturbing dislocations. The boy must dream "no more of enchanted days." He must forego the shimmering mirage of childhood, begin to see things as they really are. But to see things as they really are is only a prelude. Far in the distance lies his appointed (but as yet unimagined) task: to encounter the reality of experience and forge the uncreated conscience of his race. The whole of that struggle, of course, is set forth in A Portrait of the Artist as a Young Man. "Araby" is the identical struggle at an earlier stage; "Araby" is a portrait of the artist as a young boy.The autobiographical nexus of "Araby" is not confined to the struggle raging in the boy's mind, though that conflict--an epitome of Joyce's first painful effort to see--is central and controls all else. Many of the details of the story are also rooted in Joyce's life. The narrator of "Araby"--the narrator is the boy of the story now grown up--lived, like Joyce, on North Richmond Street. North Richmond Street is blind, with a detached two-story house at the blind end, and down the street, as the opening paragraph informs us, the Christian Brothers' school. Like Joyce, the boy attended this school, and again like Joyce he found it dull and stultifying. Furthermore, the boy's surrogate parents, his aunt and uncle, are a version of Joyce's parents: the aunt, with her forbearance and her unexamined piety, is like his mother; the uncle, with his irregular hours, his irresponsibility, his love of recitation, and his drunkenness, is like his father.Source Citation: Stone, Harry, "`Araby' and the Writings of James Joyce," in The Antioch Review, Vol. XXV, no. 3, Fall, 1965, pp. 375-445. EXPLORING Short Stories. Online Edition. Gale, 2003. Student Resource Center. Thomson Gale. 04 June 2007</servlet/SRC>Historical Context: "Araby"Table of Contents:Source CitationWhile Dublin, Ireland, has seen much change since the turn of the twentieth century, when Joyce wrote many of the conditions present then remain today. In 1904, all of Ireland was under British control, which the Irish resented bitterly. The nationalist group Sinn Fein (part of which later became the Irish Republican Army--the IRA) had not yet formed, but Irish politics were nonetheless vibrant and controversial. The question of Irish independence from Britain was one of primary importance to every citizen.There were no televisions or radios for entertainment at the turn of the century. Children in working-class families were expected to help with running the household, as the boy in does when he carries packages for his aunt at the market, and to entertain themselves by reading or playing alone or with others. It was rare for children to have money of their own to spend. An event like the bazaar in would cause great excitement.Ireland's major religion, Roman Catholicism, dominated Irish culture, as it continues to do today although to a lesser extent. Many families sent their children to schools run by Jesuit priests (like the one the narrator in attends) and convent schools run by nuns (like the one Mangan's sister attends). Catholicism is often seen as a source of the frequent conflict in Irish culture between sensuality and asceticism, a conflict that figures prominently in Joyce's autobiographical novel A Portrait of the Artist as a Young Man . In many ways, Catholicism, particularly as practiced at the turn of the century, was an extremely sensuous religion, emphasizing intense personal spiritual experience and surrounding itself with such rich trappings as beautiful churches, elegant paintings and statues, otherworldly music, and sumptuous vestments and altar decorations. On the other hand, the Church's official attitude toward enjoyment of the senses and particularly toward sexuality was severe and restrictive. The ideal woman was the Virgin Mary, who miraculously combined virginal purity with maternity. Motherhood was exalted, but any enjoyment of sexuality, even in marriage, was considered a sin, as were the practice of birth control and abortion. The inability to reconcile the spiritual and sensual aspects of human nature can be seen in the boy's feelings toward Mangan's sister in He imagines his feelings for her as a "chalice"--a sacred religiousobject--and so worshipful is his attitude that he hesitates even to speak to her. Yet his memories of her focus almost exclusively on her body--her figure silhouetted by the light, the "soft rope of her hair," "the white curve of her neck," the border of her petticoat. Even the image of the chalice is ambivalent, since its cup-like shape and function suggests a sexual connotation. The boy never resolves this conflict between spirituality and sensuality. Instead, when confronted with the tawdriness of a shopgirl's flirtation at the bazaar, he abruptly dismisses all his feelings as mere "vanity."The Structure of "Araby"Critic: Jerome MandelSource: "The Structure of `Araby'," in Modern Language Studies, Vol. XV, no. 4, Fall, 1985, pp. 48-54.Criticism about: "Araby"Author Covered: James JoyceTable of Contents:Essay | Source Citation[In the following excerpt, Mandel compares the imagery of Joyce's "Araby" to that of medieval romance, particular with regard to the protagonist's love for Mangan's sister. ][In "Araby" the two paragraphs] beginning "Her image accompanied me even in places the most hostile to romance" and ending with his "murmuring: O love! O love! many times"--have long been examined for images from medieval romance and need not be recapitulated in detail here. My concern is not that [the boy's] world is hostile to romance (both literary tradition and personal feeling) and that her image accompanies him, but that the paradigm of courtly romance is strictly maintained and the attitudes of courtly love constantly suggested. As the boy continues to perform his public duties in the world (to win worship: "I had... to carry some of the parcels"), he retains the attitude and response of the courtly lover. As a lover totally possessed by love, he moves out of time, and all worldly, public, and temporal considerations pass from him: "I thought little of the future." He is swept by strange emotions: "My eyes were often full of tears (I could not tell why)" and rendered inarticulate. When all his "senses seem to desire to veil themselves" and he trembles in adoration, he exhibits the proper response of one committed to love. The conflicting demands of world, duty, and love developed in these two paragraphs exhibit in action what, in the medieval romance, is the love debate--the soliloquy that usually begins when the lover first sees the knight or lady and ends when the lover places himself (or herself) totally in the service of love....In the next passage, the passage that establishes and defines the quest (and which ends with the lover's commitment: "I will bring you something"), the lady is first to speak in her double role as the object of the lover's adoration and she for whose sake the adventure is to be undertaken. "At last she spoke to me"--the lady at last recognizes the miserable, worshipful knight who has adored her from a distance without hope of success but with unrelenting devotion. He responds as do all courtly lovers when they first come to the attention of the beloved: he is "so confused that I did not know what to answer." When she asks if he is going to Araby, "I forget whether I answered yes or no." Her wish, "she would love to go," is his command: he must take upon himself the fulfillment of an adventure to which he has been called by love--one she herself is prevented from accomplishing. The multiple religious symbolism of the two "alone at the railings" which suggests both marriage and communion, is enriched by the further suggestion from medieval romance that he dedicates his lance to her ("she held one of the spikes") and she accepts his consecration to her service ("bowing her head toward me"). If he does not actually receive a favor from her to carry on quest, there is promise of reward for knightly service in the "silver bracelet" which she turns "round and round her wrist." Whatever else it means, her curious final line, "It's well for you," is tantamount to anadmission of love, for in the context of medieval love revelations the line means, "it is well for you--that is, you are better off than I am--since you are not smitten by love for me as I am smitten by painful love for you." I do not mean to imply that Mangan's sister actually loves the boy nor that he thinks she does, but only that her response in this context has particular connotations in medieval romance."Araby" by James (Augustine Aloysius) Joyce[Plot Summary]Author: James (Augustine Aloysius) Joyce, also known as: James Augustine Aloysius Joyce, James Augustus Aloysius Joyce, and James (Augustine Aloysius) JoyceGenre: short storiesDate: 1914Table of Contents:Essay | Source CitationIntroduction"Araby" is one of fifteen short stories that together make up James Joyce's collection, Dubliners. Although Joyce wrote the stories between 1904 and 1906, they were not published until 1914.Dubliners paints a portrait of life in Dublin, Ireland, at the turn of the 20th century. Its stories are arranged in an order reflecting the development of a child into a grown man. The first three stories are told from the point of view of a young boy, the next three from the point of view of an adolescent, and so on. "Araby" is the last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.Joyce is one of the most famous writers of the Modernist period of literature, which runs roughly from 1900 to the end of World War II. Modernist works often include characters who are spiritually lost and themes that reflect a cynicism toward institutions the writer had been taught to respect, such as government and religion. Much of the literature of this period is experimental; Joyce's writing reflects this in the use of dashes instead of quotation marks to indicate that a character is speaking.Joyce had a very difficult time getting Dubliners published. It took him over ten years to find a publisher who was willing to risk publishing the stories because of their unconventional style and themes. Once he found a publisher, he fought very hard with the editors to keep the stories the way he had written them. Years later, these stories are heralded not only for their portrayal of life in Dublin at the turn of the century, but also as the beginning of the career of one of the most brilliant English-language writers of the twentieth century.Plot"Araby" opens on North Richmond street in Dublin, where "an uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground." The narrator, who remains unnamed throughout the story, lives with his aunt and uncle. He describes his block, then discusses the former tenant who lived in his house: a priest who recently died in the back room. This priest has a library that attracts the young narrator, and he is particularly interested in three titles: a Sir Walter Scott romance, a religious tract, and a police agent's memoirs.The narrator talks about being a part of the group of boys who play in the street. He then introduces Mangan's sister, a girl who captivates his imagination even though he rarely, if ever, speaks with her. He does stare at her from his window and follow her on the street, however, often thinking of her "even in places the most hostile to romance." While in the marketplace on Saturday nights, for example, he uses her image to guide him through the thronging crowd who yell their sales pitches and sing patriotic Irish ballads. He becomes misty-eyed just at the thought of her and retreats to the priest's dark room in order to deprive himself of other senses and think only of her.Finally, Mangan's sister speaks to him. She asks if he will be attending a church-sponsored fair that is coming soon to Dublin--a bazaar called "Araby." He is tongue-tied and cannot answer, but when she tells him that she cannot go because of a retreat that week in her convent, he promises to go and bring her a gift from the bazaar. From then on he can only think of the time when he will be at the fair; he is haunted by "the syllables of the word Araby." On the night he is supposed to attend the fair, his uncle is late returning home and he must wait to get money from him. He gets very anxious, and his aunt tells him that he may have to miss the bazaar, but his uncle does come home, apologetic that he had forgotten. After asking the boy if he knows a poem entitled "The Arab's Farewell to His Steed," the uncle bids the boy farewell.The boy takes a coin from his uncle and catches a train to the fair. Araby is closing down as he arrives and he timidly walks through the center of the bazaar. As he looks at the few stalls that are still open, he overhears a conversation between an English shop-girl and two young men. Their talk is nothing but idle gossip. The shop-girl pauses reluctantly to ask the boy if he wishes to buy anything, but he declines. As he walks slowly out of the hall amid the darkening of the lights, he thinks that he is a "creature driven and derided by vanity" and his "eyes burned with anguish and anger."CharactersNarrator: The narrator of this story is a young, sensitive boy who confuses a romantic crush and religious enthusiasm. All of the conflict in this story happens inside his mind. It is unlikely that the object of his crush, Mangan's sister, is aware of his feelings for her, nor is anybody else in this boy's small world. Because the boy's thoughts only reveal a part of the story, acareful reader must put together clues that the author gives. For example, the narrator mentions that the former tenant of the house he shares with his aunt and uncle was a priest, a representative of the Catholic church, who left behind three books which became important to the narrator. One is a romantic adventure by Sir Walter Scott; one is a religious pamphlet written by a Protestant; and the third is the exciting memoirs of a French policeman and master of disguise. These three books are not what a person would expect a Catholic priest to have in his library. So if this priest has non-religious literature in his library, then how devout can an average church-goer be expected to be? This turns out to be the case for the narrator, who confuses religious idealism with romance.The boy confuses the religious and secular worlds when he describes himself at the market with his aunt. He bears the chalice--the Communion cup--through a "throng of foes." He also describes Mangan's sister in terms often associated with the Virgin Mary. For the narrator, then, an ordinary grocery-shopping trip becomes a religious crusade, and a pretty girl down the street becomes a substitute for the Mother of God. The boy fuses together religious devotion for the Virgin Mary with his own romantic longing.Joyce is famous for creating characters who undergo an epiphany--a sudden moment of insight--and the narrator of "Araby" is one of his best examples. At the end of the story, the boy overhears a trite conversation between an English girl working at the bazaar and two young men, and he suddenly realizes that he has been confusing things. It dawns on him that the bazaar, which he thought would be so exotic and exciting, is really only a commercialized place to buy things. Furthermore, he now realizes that Mangan's sister is just a girl who will not care whether he fulfills his promise to buy her something at the bazaar. His conversation with Mangan's sister, during which he promised he would buy her something, was really only small talk--as meaningless as the one between the English girl and her companions. He leaves Araby feeling ashamed and upset. This epiphany signals a change in the narrator--from an innocent, idealistic boy to an adolescent dealing with harsh realities.Mangan's Sister: Mangan is one of the narrator's chums who lives down the street. His older sister becomes the object of the narrator's schoolboy crush. Mangan's sister has no idea how the narrator feels about her, however, so when they discuss "Araby," the bazaar coming to town, she is only being polite and friendly. She says she would like to go to the bazaar but cannot because she has to attend a school retreat that weekend. The narrator promises to buy her something at the bazaar if he goes, but it is unlikely that she takes this promise seriously. While on the one hand the narrator describes her romantically, he also describes her in reverential terms which call to mind the Virgin Mary. This dual image description of Mangan's sister represents the religious and romantic confusion of the narrator.Mangan: Mangan is the same age and in the same class at the Christian Brothers school as the narrator, and so he and the narrator often play together after school. His older sister is the object of the narrator's confused feelings.Narrator's Aunt: The narrator's aunt, who is a mother figure in the story, takes the narrator with her to do the marketing. When it seems as though the uncle has forgotten his promise tothe narrator that he could go to the bazaar, she warns the boy that he may have to "put off" the bazaar "for this night of Our Lord." While this statement makes her seem strict in a religious sense, she also exhibits empathy for the boy's plight. She pleads his case when the uncle forgets about the boy's plans to go to Araby.Narrator's Uncle: The narrator's uncle seems self-centered and very unreliable. When the narrator reminds him that he wants to go to the bazaar, he replies, "Yes, boy, I know." But on the Saturday evening of the bazaar, he has forgotten, which causes the narrator to arrive at the bazaar very late. When the uncle finally shows up, he has been drinking, and as the boy leaves for the bazaar he begins reciting the opening lines of the poem, "The Arab's Farewell to his Steed." Joyce's characterization of the uncle bears resemblance to his own father, who liked to drink and was often in debt. Joyce's inclusion of Mrs. Mercer, the pawnbroker's widow who waits for the uncle to return, suggests tha t the uncle owes money.Themes and Construction: "Araby"Table of Contents:Source CitationThemesThe narrator recalls a boyhood crush he had on the sister of a friend. He went to "Araby," a bazaar with an exotic Oriental theme, in order to buy a souvenir for the object of his crush. He arrived late, however, and when he overheard a shallow conversation between a female clerk and her male friends and saw the bazaar closing down, he was overcome with a sense of futility.Alienation and LonelinessThe theme of isolation is introduced early in the story by the image of a deserted, isolated house and the narrator's recollection of a priest who lived and died in their back room. The young protagonist seems isolated within his family. There is no mention of his parents; he lives with his aunt and uncle, and the uncle, in particular, appears insensitive to the boy's feelings, coming home late even though he knows the boy wants to go to the bazaar. The boy's crush on his friend Mangan's sister seems to isolate him even further. He is too tongue-tied to initiate a relationship with her, worshipping her from afar instead. Moreover, his crush appears to isolate him from his friends. Whereas early in the story he is depicted as part of a group of friends playing in the street, after his crush develops his separation from the others is emphasized: he stands by the railings to be close to the girl while the other boys engage in horseplay, and as he waits in the house for his uncle to return so he can go to the bazaar the noises from his friends playing in the street sound "weakened and indistinct." The story ends with him confronting his disillusionment alone in the nearly deserted bazaar.Change and TransformationThe narrator experiences an emotional transformation--changing from an innocent young boy to a disillusioned adolescent--in the flash of an instant, although the reader can look back through the story and trace the forces that lead to the transformation. This change occurs through what Joyce called an "epiphany," a moment of sudden and intense insight. Although the narrator suddenly understands that his romantic fantasies are hopelessly at odds with the reality of his life, this understanding leaves him neither happy nor satisfied; instead, he feels "anguish and anger." It is not clear what impact the narrator's epiphany will have on his future development, only that that development has begun.Fantasy and RealityThe story draws connections between the romantic idealism of the young protagonist's attitude toward Mangan's sister and romantic fantasies in the surrounding culture. Much of this romanticism seems to stem from religion, the pervasive presence of which is emphasized by mentions of the youngsters' parochial schools, repeated references to the dead priest, and the aunt 's fear that the bazaar might be a "Freemason" affair and her reference to "[T]his night of our Lord." The boy carries his thoughts of Mangan's sister like a "chalice through a throng of foes," and his crush inspires in him "strange prayers and praises." The way the girl herself is described--as an alluring but untouchable figure dramatically lit--and the boy's worshipful attitude give her something of the character of a religious statue. Popular culture is also suggested as a source of the boy's romanticism, in the references to Sir Walter Scott's The Abbot and the poem "The Arab's Farewell to His Steed." The contrast between fantasy and reality draws to a head at the Araby bazaar, whose exotic name is merely packaging for a crassly commercial venture. In the nearly deserted hall and the insipid flirtation he overhears between two men and a shopgirl, the protagonist is confronted with huge gap between his romantic fantasies of love and the mundane and materialistic realities of his life.ConstructionThrough the use of a first person narrative, an older narrator recalls the confused thoughts and dreams of his adolescent self. Joyce uses this familiarity with the narrator 's feelings to evoke in readers a response similar to the boy's "epiphany"--a sudden moment of insight and understanding--at the turning point of the story.Point of Viewis told from the first person point of view, but its perspective is complicated by the gap in age and perception between the older narrator and the younger self he remembers. The story takes the form of a reminiscence about an apparent turning point in the narrator 's growth, a partial explanation of how the young protagonist became the older self who is the narrator. The reader is given no direct information about the narrator, however, his relentless contrasting of his boyhood self's idealism with the tawdry details of his life, and the story 's closing line,create a somewhat bitter and disillusioned tone. It is left to the reader to decide how far the narrator has travelled toward a "true" understanding of reality.SymbolismJoyce's use of symbolism enriches the story 's meaning. The former tenant of the narrator's house, the Catholic priest, could be said to represent the entire Catholic church. By extension, the books left in his room--which include non-religious and non-Catholic reading--suggest a feeling of ambiguity toward religion in general and Catholicism in particular. The bazaar "Araby" represents the "East"--a part of the world that is exotic and mysterious to the Irish boy. It could also represent commercialism, since despite the boy's romantic imaginings its purpose is in fact to make money. Mrs. Mercer, the pawnbroker's widow, is another representative of materialism. To the narrator, Mangan's sister is a symbol of purity and feminine perfection. These qualities are often associated with the Virgin Mary, who also symbolizes the Catholic church. While the boy is at Araby, the various, and often contrasting, meanings of these symbols converge to produce his epiphany.ModernismJoyce is known as one of the leading authors of Modernism, a movement in art and literature in the first half of the twentieth century that emphasized experimentation and a break with traditional forms. In this early work Joyce's narrative technique is still fairly traditional and straightforward. However, several features of the story can be identified as experimental and modernist, particularly in the extent to which the reader is left to sort out the story 's meaning with little overt help from the author. The story concerns a relatively ordinary occurrence in the life of an ordinary person; we are never told directly how or why it might be important. We are given no direct information about the narrator, but must glean what we can about his character from the story he tells and the way in which he tells it; we are not even told what the age difference is between the narrator and his younger self. The story ends, as it begins, abruptly, with again no direct indication of the significance of the protagonist's "epiphany," his olderself's attitude toward it, or what it meant for his further development. Much of the early criticism of -that the stories were "sordid" and lacked structure and a "point"--reflect the unfamiliarity and uneasiness of Joyce's contemporary readers with these innovations in storytelling.。

1.乔伊斯（James Joyce）爱尔兰《尤里西斯》（Ulysses）19222.费兹杰罗（F. S. Fitzgerald）美国《大亨小传》（The Great Gatsby）19253.乔伊斯（James Joyce）爱尔兰《青年艺术家的画像》（A Portrait of the Artist as a Young Man) 19164.纳巴科夫（Vladimir Nabokov）俄裔美籍《洛莉塔》（Lolita）19555.赫胥黎（Aldous Huxley）英国《美丽新世界》（Brave New World）19326.福克纳（William Faulkner）美国《声嚣与愤怒》（The Sound and Fury）19297.海勒（Joseph Heller）美国《第22条军规》（Catch-22）19618.柯斯勒（Arthur Koestler）匈牙利《中午的黑暗》（Darkness at Noon）19419.劳伦斯（D. H. Lawrence）英国《儿子与情人》（Sons and Lover）191310.史坦贝克（John Steinbeck）美国《愤怒的葡萄》（The Grapes of Wrath）193911.劳瑞（Malcolm Lowry）英国《在火山下》（Under the V olcano）194712.巴特勒（Samuel Butler）英国《众生之路》（The Way of All Flesh）190313.欧威尔（George Orwell）英国《一九八四》（1984）194914.格雷夫斯（Robert Graves）英国《我，克劳狄》（I, Claudius）193415.吴尔芙（Virginia Woolf）英国《到灯塔去》（To the Lighthouse）192716.德莱赛（Theodore Dreiser）美国《人间悲剧》（An American Tragedy）192517.玛克勒丝（Carson McCullers）美国《同是天涯沦落人》（The Heart Is a LonglyHeart）194018.冯内果（Kurt V onnegut）美国《第五号屠宰场》（Slaughterhouse-Five）196919.埃利森（Ralph Ellison）美国《隐形人》（Invisible Man）195220.莱特（Richard Wright）美国《土生子》（NativeSon）194021.贝娄（Saul Bellow）美国《雨王韩德森》（Henderson the Rain King）195922.奥哈拉（John O"Hara）美国《在萨马拉的会合》（Appointment in Samarra）193423.多斯帕索斯（John Dos Passos）美国《美国》（U. S. A.）193624.安德生（Sherwood Anderson）美国《小城故事》（Winesburg, Ohio）191925.福斯特（E. M. Forster）英国《印度之旅》（A Passage to India）192426.詹姆斯（Henry James）美国《鸽翼》（The Wings of the Dove）190227.詹姆斯（Henry James）美国《奉使记》（The Ambassadors）190328.费兹杰罗（F. S. Fitzgerald）美国《夜未央》（Tender Is the Night）193429.法雷尔（James T. Farrell）美国《「斯塔兹．朗尼根」叁部曲》（StudsLonigan-trilogy）193530.福特（Ford Madox Ford）英国《好兵》（The Good Soldier）191531.欧威尔（George Orwell）英国《动物农庄》（Animal Farm）194532.詹姆斯（Henry James）美国《金碗》（The Golden Bowl）190433.德莱赛（Theodore Dreiser）美国《嘉莉妹妹》（Sister Carrie）190034.渥夫（Evelyn Waugh）英国《一掬尘土》（A Handful of Dust）193435.福克纳（William Faulkner）美国《出殡现形记》（As I Lay Dying）193036.华伦（Robert Penn Warren）美国《国王供奉的人们》（All the King"s Men）194637.威尔德（Thornton Wilder）美国《圣路易．莱之桥》（The Bridge of SanLuis Rey）192738.福斯特（E. M. Forster）英国《此情可问天》（Howards End）191039.包德温（James Baldwin）美国《向苍天呼吁》（Go Tell It on the Mountain）195340.葛林（Graham Greene）英国《事情的真相》（The Heart of the Matter）194841.高汀（William Golding）英国《苍蝇王》（Lord of the Flies）195442.迪基（James Dickey）美国《解救》（Deliverance）197043.鲍威尔（Anthony Powell）英国《与时代合拍的舞蹈》（A Dance to the Musicof Time）197544.赫胥黎（Aldous Huxley）英国《针锋相对》（Point Counter Point）192845.海明威（Ernest Hemingway）美国（The Sun Also Rise）192646.康拉德（Joseph Conrad）英国《特务》（The Secret Agent）190747.康拉德（Joseph Conrad）英国《诺斯特罗莫》（Nostromo）190448.劳伦斯（D. H. Lawrence）英国《彩虹》（Rainbow）191549.劳伦斯（D. H. Lawrence）英国《恋爱中的女人》（Women in Love）192050.米勒（Henry Miller）美国《北回归线》（Tropic of Cancer）193451.梅勒（Norman Mailer）美国《裸者和死者》（The Naked and Dead）194852.罗斯（Philp Roth）美国《波特诺伊的抱怨》（Portnoy"s Complaint）196953.纳巴科夫（Vladimir Nabokov）俄裔美籍《苍白的火》（Pale Fire）196254.福克纳（William Faulkner）美国《八月之光》（Light in August）193255.克洛厄（Jack Kerouac）美国《在路上》（On the Road）195756.汉密特（Dashiell Hammett）美国《马尔他之鹰》（The Maltese Falcon）193057.福特（Ford Madox Ford）英国《行进的目的》（Parade"s End）192858.华顿（Edith Wharton）美国《纯真年代》（The Age of Innocence）192059.毕尔邦（Max Beerbohm）英国《朱莱卡．多卜生》（Zuleika Dobson）191160.柏西（Walker Percy）美国《热爱电影的人》（The Moviegoer）196161.凯赛（Willa Cather）美国《总主教之死》（Death Comes to Archbishop）192762.锺斯（James Jones）美国《乱世忠魂》（From Here to Eternity）195163.奇佛（John Cheever）美国《丰普肖特纪事》（The Wapshot Chronicles）195764.沙林杰（J. D. Salinger）美国《麦田捕手》（The Catcher in the Rye）195165.柏基斯（Anthony Burgess）英国《装有发条的橘子》（A Clockwork Orange）196266.毛姆（W. Somerset Maugham）英国《人性枷锁》（Of Human Bondage）191567.康拉德（Joseph Conrad）英国《黑暗之心》（Heart of Darkness）190268.刘易士（Sinclair Lewis）美国《大街》（Main Street）192069.华顿（Edith Wharton）美国《欢乐之家》（The House of Mirth）190570.达雷尔（Lawrence Durrell）英国《亚历山大四部曲》（The Alexandraia Quartet）196071.休斯（Richard Hughes）英国《牙买加的风》（A High Wind in Jamaica）192972.耐波耳（V. S. Naipaul）千里达《毕斯瓦思先生之屋》（A House for Mr. Biswas）196173.威斯特（Nathaniel West）美国《蝗虫的日子》（The Day of the Locust）193974.海明威（Ernest Hemingway）美国《战地春梦》（A Farewell to Arms）192975.渥夫（Evelyn Waugh）英国《独家新闻》（Scoop）193876.丝帕克（Muriel Spark）英国《琼．布罗迪小姐的青春》（The Prime of Miss JeanBrodie）196177.乔伊斯（James Joyce）爱尔兰《为芬尼根守灵》（Finnegans Wake）193978.吉卜林（Rudyard Kipling）英国《金姆》（Kim）190179.福斯特（E. M. Forster）英国《窗外有蓝天》（A Room with a View）190880.渥夫（Evelyn Waugh）英国《梦断白庄》（Bride shead Revisited）194581.贝娄（Saul Bellow）美国《阿奇正传》（The Adventures of Augie March）197182.史达格纳（Wallace Stegner）美国《安眠的天使》（Angle of Repose）197183.耐波耳（V. S. Naipaul）千里达《河曲》（A Bend in the River）197984.鲍恩（Elizabeth Bowen）英国《心之死》（The Death of the Heart）193885.康拉德（Joseph Conrad）英国《吉姆爷》（Lord Jim）190086.达特罗（E. L. Doctorow）美国《爵士乐》（Ragtime）197587.贝内特（Arnold Bennett）英国《老妇人的故事》（The Old Wives" Tale）190888.伦敦（Jack London）英国《野性的呼唤》（The Call of the Wild）190389.格林（Henry Green）英国《爱》（Loving）194590.鲁西迪（Salman Rushdie）（印裔英籍）《午夜的孩子们》（Midnight"s Children）198191.考德威尔（Erskine Caldwell）美国《菸草路》（Tobacco Road）193292.甘耐第（William Kennedy）美国《紫苑草》（Ironweed）198393.佛勒斯（John Fowles）英国《占星家》（The Magus）196694.里丝（Jean Rhys）英国《辽阔的藻海》（Wide Sargasso）196695.默多克（Iris Murdoch）英国《在网下》（Under the Net）195496.斯蒂隆（William Styron）美国《苏菲亚的抉择》（Sophie"s Choice）197997.鲍尔斯（Paul Bowles）美国《遮蔽的天空》（The Sheltering Sky）194998.凯恩（James M. Cain）美国《邮差总按两次铃》（The Postman Always Rings Twice）193499.唐利维（J. P. Donleavy）美国《眼线》（The Ginger Man）1955100.塔金顿（Booth Tarkington）美国《伟大的安伯森斯》（The Magnificent Ambersons）1918。