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首页> 外文学位 >Pursuing authentic performance: Animals, actors, and audience in the works of Ernest Hemingway.
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Pursuing authentic performance: Animals, actors, and audience in the works of Ernest Hemingway.

机译：追求真实的表演：欧内斯特·海明威的作品中的动物，演员和观众。

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摘要

An examination of Ernest Hemingway's animal pursuit literature (texts in which animal encounters such as bullfighting, hunting or fishing are predominant) reveals ways in which human performances are authentic or "inauthentic." Authentic performances often occur in conjunction with animal encounters and are performances for the self, not predicated on the expectations of a viewing audience. Typically, authentic performances are private, tragic and instinctual. Inauthentic performances are public, comic and socially constructed, performed for an external audience. Ritual is a way of publicly performing private authentic acts whereby the prescribed rules for the ritual obviates audience-based behavior.; Animals are usually ideal witnesses because they are incapable of behaving inauthentically and because they elicit correspondingly authentic performances from humans. However, Hemingway often inappropriately anthropomorphizes, attributing human virtues (especially the ability to choose to behave authentically) to animals. While the existential virtue of choosing to live authentically is highly valued in Hemingway, animals often unconsciously behave authentically. Often Hemingway confuses and conflates instinctual animalX authentic performances. The reverse is also true. That animals are more consistent authentic performers in Hemingway reflects his uncertainty as to whether humans can consistently choose to perform authentically.; In Green Hills of Africa Hemingway's public performances as protagonist reveal the ultimately self-defeating nature of engaging in inauthentic (public) performances. In Death in the Afternoon and The Sun Also Rises, the primacy of the bullfight permits authentic performances for matador and bull which are tragic, private and instinctual in nature. Santiago's solitary struggle with the marlin in The Old Man and the Sea, points to the authenticity of isolate experience while his reintegration into society via Manolin shows the value of ritual. In "The Short Happy Life of Francis Macomber" the lion embodies the virtues of the code hero and sets up an ideal that Macomber learns from and ultimately emulates in his tragic transcendence. Nick Adams' ritualistic, private and instinctual behaviors in "The Big Two-Hearted River" reveal the ways in which authentic solitary experience can be ritualized and therapeutically integrated into the self.
机译：审查欧内斯特·海明威（Ernest Hemingway）的动物追求文学（其中斗牛，打猎或钓鱼等动物遭遇为主要文字），揭示了人类表演是真实的或“不真实的”。真实的表演通常与动物相遇而发生，并且是针对自我的表演，并非基于观众的期望。通常，真实的表演是私人的，悲剧的和本能的。不真实的表演是公开的，喜剧的和社交的，是为外部观众表演的。礼节是公开进行私人真实行为的一种方式，该仪式的规定规则消除了基于听众的行为。动物通常是理想的见证人，因为它们不能虚假地表现，并且可以从人类那里获得相应的真实表演。但是，海明威经常不恰当地拟人化，将人类的美德（尤其是选择表现出真实行为的能力）归于动物。尽管在海明威（Hemingway）高度重视选择真实生活的存在性优点，但动物通常会在不知不觉中表现出真实的行为。海明威经常混淆并夸大本能的AnimalX真实表演。反之亦然。动物在海明威是更一致的真实表演者，这反映出他对于人类是否可以一贯选择真实表演的不确定性。在非洲格林希尔斯，海明威作为主角的公开表演揭示了从事不真实（公开）表演的最终自我败坏的本质。在《午后的死亡》和《太阳照常升起》中，斗牛的至高无上性使斗牛士和公牛表现出真实的悲剧性，私密性和本能。圣地亚哥在《老人与海》中与马林鱼的孤零零斗争指出了孤立经历的真实性，而他通过马诺林重新融入社会则显示出仪式的价值。在《弗朗西斯·马康伯的短暂幸福生活》中，狮子体现了代码英雄的美德，树立了马康伯从他的悲剧超越中学习并最终效仿的理想。尼克·亚当斯（Nick Adams）在“大两心河”中的仪式性，私人性和本能性行为揭示了可以对真实的孤独经历进行仪式化并将其治疗性地整合到自我中的方式。

著录项

  • 作者

    Brenk, Mary Alice Sherwood.;

  • 作者单位

    University of Minnesota.;

  • 授予单位 University of Minnesota.;
  • 学科 Literature American.; Literature Modern.
  • 学位 Ph.D.
  • 年度 1996
  • 页码 210 p.
  • 总页数 210
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界文学;
  • 关键词

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