Katherine_Anne_Porter_(1890-1980)
Katherine anne_porter
Basic information
Born: May 15th, 1890
Birthplace: Indian Creek, Texas
Died: September 18th, 1980 Original Name: Callie Russell Porter
Works and Awards
• • • • • • • • • • Long Stories/Short Novels Old Mortality (1937) Noon Wine (1937) Pale Horse, Pale Rider (1939) Novel Ship of fools (1962) Essays The Necessary Enemy (1948) The Days Before (1952) The Never-Ending Wrong (1977)
Marriage
• Katherine was first married in 1906 to John Henry Koontz of Inez, Texas and divorced in 1915. • She married and divorced four times. She had passionate love affairs, sometimes with men significantly younger than herself, and she enjoyed the fullness of those experiences, sometimes writing quite comfortably and frankly about her sexuality.
Katherine_Anne_Porter
In "The Jilting of Granny Weatherall," there are two themes. The first is self-pity. The second theme is the acceptance of her death. selfBoth deal with the way people perceive their deaths and mortality in general. Granny Weatherall's behavior is Porter's tool for making these themes visible to the reader. The theme of self-pity is obvious selfand thoroughly explored early on. As a young lady, Granny Weatherall was left at the altar on her wedding day. As a result, the pathetic woman feels sorry for herself for the rest of her life. She becomes a bitter old woman who is suspicious of everyone around her. This point is shown early in the story when the do Granny Weatherall, the main character in Katherine Anne Porter's The Jilting of Granny Weatherall, is an 80-year-old elderly woman who is at the 80-yeardoorstep of death. There is a sense of disillusionment with Granny that leads readers to develop their own interpretation of her relationship with Cornelia, her daughter As the narrator, Granny unknowingly would paint the picture of Cornelia as nuisance and bothersome. In fact, the reader can rationalize that it is just Cornelia's concern for an ailing mother that creates the situation of her seemingly being there all the time.
katherine Anne Porter
Symbolism Name: Weatherall: stand all, endure all Jilted: she was jilted by her lover, her husband, her child and finally God. Her husband died at young age, her child Hapsy left her and her daughter Cornelia treated her like a child, she could not understand her. Light: life
Three nominations for the Nobel Prize in Literature National Book Award
a postage stamp issued by U.S. Postal Service
Style
a. Feminist author. The main characters in her novel are always women. They are as strong and great as men. b.She focuses on the darker side of reality but uses her own sort of humor to lighten her writings. c. imagery and symbolism are major devices in her works d.ironic, objective and sensitive
• Stream of consciousness and interior monologue are distinguished from dramatic monologue, where the speaker is addressing an audience or a third person, and is used chiefly in poetry or drama. In stream of consciousness, the speaker's thought processes are more often depicted as addressed to oneself and is primarily a fictional device.
从《玛丽亚·孔塞浦西翁》看凯瑟琳·安·波特的婚恋观
2019年第!!期(总第843期)夂教%’科从《玛丽亚-孔塞浦西翁》看凯瑟琳-安-波特的婚恋观潘泽宇(南通师范高等专科学校学前教育一院，江苏南通226006)摘要：凯瑟琳•安•波特是二十世国作家，其短篇小说《玛丽亚•孔塞浦西翁》的女主角玛丽亚，她的婚姻经历了一场巨变，由父权制社会的一名“屋内天使”蜕变成了杀人“恶魔”。
她作为小说的女主角表现出的独立意识及其在婚恋问题上的所作所为，是作家凯瑟琳•安•波特的婚恋观的艺术再现。
关键词：凯瑟琳•安•波特《玛丽亚•孔塞浦西翁》玛丽亚婚恋观凯瑟琳•安•波特(Katherine Anne Porter1890—1980)是美国南方一名杰出的女作家，是“二十世纪美国最出色的文体学家之一”，被誉为“作家中的作家”(2),她与美国老一辈作家如威廉•福克纳、艾伦•泰特等人齐名+波特自幼立志将来要当一个作家，她的艺术创作富于独特的激情，尤其擅长短篇小说的写作。
波特的创作态度特别严谨,结果“她保存下来的手稿与她毁掉的相比，可谓江河之小流'[3]+波特的处女之作《玛丽亚•孔塞浦西翁》(Maria Concepcion)于1922年世。
小说女的婚恋风波，描绘她在亲眼看的出之后，的，最手刃情自己家庭的+小说于二十世纪二十波特在的，中的女出的独立意识，她婚出的精神，作家波特的婚恋+波特的艺术创作，“十、”(4)，最为作家的女作世。
―、婚姻与忠诚《•》的女，美的婚 要男女双方的+婚，一一名“”的色，她体，人意，人的赞。
胡安都十八岁，他们生活在印第安人村落上+他们从恋爱结婚一切显得那么自然，可谓水到渠+对当下的婚状况“感到十分足”(8)(248)+作为人妻,玛丽亚时刻提醒自己：一切的一切都要为尊，言计从。
小说开篇描绘了女人勤俭操持、辛勤忙碌的家庭生活细节+在日常生活的各种开销中，“讨价还价总是坚持底”即244)，她是勤俭持家的好手，维持着家济的正常运转。
对于，极其恭顺。
由于妻子百依百顺，胡安非常得意，曾经发誓说他决不会伤害自己的妻子。
从《玛丽亚·孔塞浦西翁》看凯瑟琳·安·波特的婚恋观
从《玛丽亚·孔塞浦西翁》看凯瑟琳·安·波特的婚恋观作者：潘泽宇来源：《文教资料》2019年第33期摘 ; ;要：凯瑟琳·安·波特是二十世纪美国作家，其短篇小说《玛丽亚·孔塞浦西翁》的女主角玛丽亚，她的婚姻经历了一场巨变，由父权制社会的一名“屋内天使”蜕变成了杀人“恶魔”。
她作为小说的女主角表现出的独立意识及其在婚恋问题上的所作所为，是作家凯瑟琳·安·波特的婚恋观的艺术再现。
关键词：凯瑟琳·安·波特 ; ;《玛丽亚·孔塞浦西翁》 ; ;玛丽亚 ; ;婚戀观凯瑟琳·安·波特（Katherine Anne Porter 1890—1980）是美国南方一名杰出的女作家，是“二十世纪美国最出色的文体学家之一”[1]，被誉为“作家中的作家”[2]，她与美国老一辈作家如威廉·福克纳、艾伦·泰特等人齐名。
波特自幼立志将来要当一个作家，她的艺术创作富于独特的激情，尤其擅长短篇小说的写作。
波特的创作态度特别严谨，结果“她保存下来的手稿与她毁掉的相比，可谓江河之小流”[3]。
波特的处女之作《玛丽亚·孔塞浦西翁》（Maria Concepcion）于1922年问世。
小说紧紧围绕女主角玛丽亚的婚恋风波，描绘她在亲眼看见丈夫的出轨之后，始终难以压抑内心的愤怒，最终手刃情敌捍卫自己家庭的故事。
小说取材于二十世纪二十年代初波特在墨西哥聆听到的真实事件，故事中的女主角表现出的独立意识，以及她面临婚姻挑战表现出的坚强反抗精神，契合了作家波特的婚恋观。
这则墨西哥事件经过波特的艺术创作，前后修改多达“十五、六遍”[4]，最终成为作家的处女作问世。
一、婚姻与忠诚《玛丽亚·孔塞浦西翁》的女主角玛丽亚清楚知道，美满的婚姻需要男女双方的宽容和谦让。
婚姻初始阶段，玛丽亚一直扮演着一名室内“天使”的角色，她体贴温柔，善解人意，得到村里人的交口称赞。
Flowering Judas——信仰的失落,灵魂的虚无
Flowering Judas——信仰的失落，灵魂的虚无作者：来源：《新东方英语》2014年第11期凯瑟琳·安妮·波特（Katherine Anne Porter， 1890～1980）是美国20世纪最为优秀的短篇小说家之一。
她出生于美国得克萨斯州的小镇印第安克里克，两岁时丧母，由祖母抚养至11岁，祖母去世后，寄宿于天主教会学校读书。
16岁时，波特辍学，同约翰·亨利·孔茨结婚，但婚姻生活持续时间并不长，1915年两人离婚。
1914年，波特来到芝加哥追求演艺生涯，不久后开始在当地报社供职。
1922年她发表了第一篇短篇小说。
1930年，波特出版了第一部短篇小说集《开花的犹大树》（Flowering Judas and Other Stories），其后又出版了中篇小说《中午酒》（Noon Wine）、中短篇小说集《灰色马，灰色的骑手》（Pale Horse， Pale Rider），以及长篇小说《愚人船》（Ship of Fools）等。
在波特的小说中，她通常选取自己所熟悉的得克萨斯州、墨西哥等地区的人物为描摹对象，文笔细腻而富含诗意，象征意义丰富，尤其擅长对女性人物的心理刻画。
Excerpts1）Braggioni sits heaped upon the edge of a straight-backed chair much too small for him， and sings to Laura in a furry2）， mournful voice. Laura has begun to find reasons for avoiding her own house until the latest possible moment， for Braggioni is there almost every night. No matter how late she is， he will be sitting there with a surly， waiting expression， pulling at his kinky3） yellow hair， thumbing the strings of his guitar， snarling4） a tune under his breath. Lupe the Indian maid meets Laura at the door， and says with a flicker of a glance towards the upper room，“He waits.”Laura wishes to lie down. She is tired of her hairpins and the feel of her long tight sleeves， but she says to him，“Have you a new song for me this eveni ng？” If he says yes， she asks him to sing it. If he says no， she remembers his favorite one， and asks him to sing it again. Lupe brings her a cup of chocolate and a plate of rice， and Laura eats at the small table under the lamp， first inviting Braggioni， whose answer is always the same：“I have eaten， and besides， chocolate thickens the voice.”Laura says，“Sing， then，” and Braggioni heaves himself into song. He scratches the guitar familiarly as though it were a pet animal， and sings passionately off key， taking the high notes in a prolonged painful squeal5）. Laura， who haunts the markets listening to the ballad singers， and stops every day to hear the blind boy playing his reed-flute in Sixteenth of September Street， listens to Braggioni with pitiless courtesy， because she dares not smile at his miserable performance. Nobody dares to smile at him. Braggioni is cruel to everyone， with a kind of specializedinsolence6）， but he is so vain of his talents， and so sensitive to slights7）， it would require a cruelty and vanity greater than his own to lay a finger on the vast cureless wound of his self-esteem. It would require courage， too， for it is dangerous to offend him， and nobody has this courage.Braggioni loves himself with such tenderness and amplitude and eternal charity that his followers—for he is a leader of men， a skilled revolutionist， and his skin has been punctured in honorable warfare—warm themselves in the reflected glow， and say to each other：“He has a real nobility， a love of hum anity raised above mere personal affections.” The excess of this self-love has flowed out， inconveniently for her， over Laura， who， with so many others， owes her comfortable situation and her salary to him. When he is in a very good humor， he tells her，“I am tempted to forgive you for being a gringa8）. Gringita！” and Laura， burning， imagines herself leaning forward suddenly， and with a sound back-handed slap wiping the suety smile from his face. If he notices her eyes at these moments he gives no sign.She knows what Braggioni would offer her， and she must resist tenaciously9） without appearing to resist， and if she could avoid it she would not admit even to herself the slow drift of his intention. During these long evenings which have spoiled a long month for her， she sits in her deep chair with an open book on her knees， resting her eyes on the consoling rigidity of the printed page when the sight and sound of Braggioni singing threaten to identify themselves with all her remembered afflictions and to add their weight to her uneasy premonitions10） of the future. The gluttonous bulk of Braggioni has become a symbol of her many disillusions， for a revolutionist should be lean， animated by heroic faith， a vessel of abstract virtues. This is nonsense. She knows it now and is ashamed of it. Revolution must have leaders， and leadership is a career for energetic men. She is， her comrades tell her， full of romantic error， for what she defines as cynicism in them is merely “a developed sense of reality.” She is almost too willing to say，“I am wrong， I suppose I don‟t really understand the principles，” and afterward she makes a secret truce11） with herself， determined not to surrender her will to such expedient logic. But she cannot help feeling that she has been betrayed irreparably by the disunion between her way of living and her feeling of what life should be， and at times she is almost contented to rest in this sense of grievance as a private store of consolation. Sometimes she wishes to run away， but she stays. Now she longs to fly out of this room， down the narrow stairs， and into the street where the houses lean together like conspirators under a single mottled lamp， and leave Braggioni singing to himself. Instead she looks at Braggioni， frankly and clearly， like a good child who understands the rules of behavior.1. 英文节选部分选自小说开篇，主要描写了每晚黄昏时分，小说主人公布拉焦尼（Braggioni）在劳拉（Laura）家弹着吉他为她唱歌的情景。
对凯瑟琳·安·波特《愚人船》寓言性的解读
对凯瑟琳·安·波特《愚人船》寓言性的解读【摘要】凯瑟琳·安·波特是一位著名的作家，她的作品《愚人船》被广泛认为具有寓言性。
本文将从凯瑟琳·安·波特的生平和作品背景入手，介绍《愚人船》的主要情节和人物，然后从两个角度解读其寓言性。
第一角度是对人性的探讨，第二角度是对社会现象的批判。
文章将探讨《愚人船》在当代社会的启示，分析凯瑟琳·安·波特的作品对当代社会的影响，并总结对《愚人船》寓言性的解读。
通过深入解读《愚人船》，读者可以更好地理解凯瑟琳·安·波特的思想，同时也能从中获得对当代社会的启示。
【关键词】凯瑟琳·安·波特, 《愚人船》, 寓言, 生平, 背景, 情节, 人物, 当代社会, 启示, 解读, 角度, 文学, 作品1. 引言1.1 凯瑟琳·安·波特凯瑟琳·安·波特（Katherine Anne Porter）是20世纪美国文学领域的重要作家之一，她以精湛的散文和小说作品闻名于世。
波特生于德克萨斯州，成长于贫困的家庭，她经历了生活的艰辛和挑战，这些经历深刻地影响了她的文学创作。
波特的作品常常描绘人性的复杂和矛盾，揭示人类内心深处的欲望、恐惧和希望。
她的文风清晰流畅，情感真挚动人，引人深思。
波特以其对人类本质的深刻洞察和对生活的敏锐观察而广受赞誉。
《愚人船》是波特的代表作之一，这部小说以一艘命名为“愚人船”的旧船为载体，讲述了一群各具特点的人在海上的冒险与挣扎。
通过船上人物之间的相互作用和情感纠葛，波特探讨了人类的欲望、道德选择和生存困境。
这部作品融入了寓言的元素，深刻反映了人类的种种弱点和错误，展现了作家对现实世界的深刻思考和观察。
1.2 《愚人船》凯瑟琳·安·波特的《愚人船》是一部充满寓言性的小说，通过讽刺和幽默的笔调，描绘了一个充满笑料和荒诞场景的世界。
(完整版)Katherine_Anne_Porter_(1890-1980)
Between 1920 and 1930, Porter traveled back and forth between Mexico and New York City and began publishing short stories and essays. Her first published story was "Maria Concepcion" in The Century Magazine. In 1930, she published her first short story collection, Flowering Judas and Other Stories.
In 1906, at age sixteen, Porter left home and married John Henry Koontz. Koontz was physically abusive, once while drunk, he threw her down the stairs, breaking her ankle. They divorced officially in 1915.
In 1962, she published her only novel, Ship of Fools, which was the best-selling novel in America for that year; its success finally gave her financial security (she reportedly sold the film rights for $400,000).
In 1915, she asked that her name be changed to Katherine Anne Porter as part of her divorce decree.
美国南方女性的精神困境——凯瑟琳183;安183;波特短篇小说女性人物分..
山东大学硕士学位论文美国南方女性的精神困境——凯瑟琳·安·波特短篇小说女性人物分析姓名：***申请学位级别：硕士专业：英语语言文学指导教师：***20040330摘要凯瑟琳·安·波特（ＫａｔｈｅｒｉｎｅＡｎｎｅＰｏｒｔｅｒ，１８９０一１９８０）是当代美国文坛上一位杰出的小说家，以其短篇小说和长篇小说《愚人船》而知名。
她一生发表的作品虽然为数不多，总共包括四个短篇小说集和一部长篇小说，但却为当代文坛做出了不朽的贡献，本人也赢得了无数奖项和荣誉。
波特曾先后获得欧·亨利奖、普利策奖和全国图书奖。
１９６５年发表的《凯瑟琳·安·波特短篇小说集》还为她赢得了美国国家文学艺术学院颁发的小说金质奖。
她的作品以优雅的文风，辛辣的讽刺和精炼的语言而著称，文体之精美被认为可以与福克纳和海明威相媲美。
美国著名作家兼评论家罗伯特·潘·华伦认为波特的短篇小说在现代作品中是无与伦比的，并且把她同乔伊斯、舍伍德·安德森和凯瑟琳·曼斯考尔德等并列为西方少数几个在短篇小说形式的创建上一贯认真并具有独创性的作家。
波特生长于德克萨斯州一个声名显赫的南方大家庭，这为她的文学创作提供了丰富的写作素材。
作为一位南方女作家，波特以独特的风格，简洁的文字和超凡的感知力向世人展示了一幅生动真实的美国南方文化的画卷。
波特自认为是一位地域性作家，她经常选取故乡熟悉的人物作为其文学作品的主要角色。
在波特创作的大量脍炙人口的短篇小说中，许多形形色色的南方女性应运而生，她们的内心世界成为作家特别关注的主题之一。
波特把她的短篇小说置于经历了重建时期的南方大环境下，生动地再现了当时美国南方女性所处的社会背景。
在不断寻求自身生活意义的同时，她们不约而同地遭遇到了这样或那样的精神层面的问题。
／一！在文着重探索了波特短篇小说中南方女性的精神困境，其中主要涉及到三个有代表性的关键人物：米兰达（《旧秩序》系列、《老人》、《灰白马，灰白骑士》）、劳拉（《盛开的犹大花》）和韦瑟罗尔奶奶（《被遗弃的韦瑟罗尔奶奶》）。
凯瑟琳·安·波特小说中的男性形象研究
外国文学凯瑟琳·安·波特小说中的男性形象研究王红玲甘肃工业职业技术学院摘要：凯瑟琳·安·波特是20 世纪美国著名的女作家。
对波特小说中不同类型的男性形象进行深入分析，可以揭露他们的冷酷和自私，体现波特对男权社会的反抗与批判，也为女性文学的发展提供重要借鉴。
关键词：凯瑟琳·安·波特；男性形象；反抗与批判一、引言凯瑟琳·安·波特(1890-1980)成功地塑造了不少男性形象。
本文尝试分析波特小说中不同类型的男性形象，透过男性形象看女性心理，运用这一角度来解读文本，深化波特对女性主题的诠释，使人们对波特及其作品有更系统的了解和认识。
二、男性形象分析(一)家族中的男性形象《老人》中，米兰达的父亲总是严厉地对待她和妹妹玛丽亚，从不给她们发表看法的机会，这使米兰达对成人世界充满了怀疑。
她们时常听父辈们谈论她们的姑妈艾米与她们表叔加布里埃的浪漫爱情故事。
然而当她们真正见到这位传奇人物时，两个小姑娘目瞪口呆，在她们眼前的是一个臃肿肥胖、言语粗鲁、穷困潦倒的酒鬼。
她们大失所望，才明白这是长辈们编造的谎言。
《坟》描写的是九岁的米兰达和哥哥保罗在家族墓地寻宝，回家路上，保罗打死并解刨了一只怀孕的野兔。
目睹了保罗残忍甚至血腥的一幕，对米兰达是一种创伤，她在20年后仍然能够回想起来，这种创伤是无法治愈的。
家族长辈的虚伪，父亲的严厉，哥哥的残忍，对于幼年丧母的波特来说，无异于雪上加霜，但也让她在家族的南方幻梦中清醒。
她开始寻求独立，反抗家庭，不惜离家出走。
(二)恋爱中的男性形象《灰色马，灰色的骑手》中米兰达与亚当非常相爱，但亚当因流行感冒而去世，留下米兰达孤独地生活在残酷的战争世界里。
这种伤痛让米兰达不敢再憧憬爱情，将自己的内心深深隐藏起来。
《被遗弃的韦瑟罗尔奶奶》中，老奶奶在20岁时，被自己的未婚夫乔治抛弃，这是她一辈子的隐痛。
60 年来她努力忘掉他，竭力不让自己的灵魂陷入地狱。
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Awards and honors
1966 — Pulitzer Prize for The Collected Stories (1965) 1966 — National Book Award for The Collected Stories (1965) 1967 — (American Academy of Arts and Letters) Three nominations for the Nobel Prize in Literature 2006 — Porter was featured on a United States postage stamp issued 15 May 2006. She was the 22nd person featured in the Literary Arts commemorative stamp series.
A Sanatoria B Chicago C New York
Her experiences during treatment provided the background for which short novel?
A Pale Horse, Pale Rider B Maria Concepcion C Ship of Fools
Katherine Anne Porter (1890-1980)
I shall try to tell the truth, but the result will be fiction.
Test your memory The following part is a GAME which is related to your memorizing capacity. Please pay MUCH attention to all the details I offered to you. Now, close your book and put down your pen, no cheating! Memory ONLY.
Also in 1915, she was diagnosed with tuberculosis and spent the following two years in sanatoria, where she decided to become a writer. In 1917, she began writing for the Fort Worth Critic, critiquing dramas, and writing society gossip. In 1918, she wrote for the Rocky Mountain News in Denver. In the same year, Katherine almost died in Denver during the 1918 flu pandemic. Her experiences during treatmer short novel Pale Horse, Pale Rider.
Her first published story was
A Maria Concepcion B Hacienda C A Day's Work
Her first short story collection was?
A The Old Order: Stories of the South B The Leaning Tower and Other Stories C Flowering Judas and Other Stories
In 1906, at age sixteen, Porter left home and married John Henry Koontz. Koontz was physically abusive, once while drunk, he threw her down the stairs, breaking her ankle. They divorced officially in 1915. In 1915, she asked that her name be changed to Katherine Anne Porter as part of her divorce decree.
When did Porter get her first marriage?
A 1904 B 1905 C 1906
In which year did Porter change her name?
A 1914 B 1915 C 1916
Where did Porter decide to be a writer?
Between 1948 and 1958, Porter taught at Stanford University, the University of Michigan, Washington and Lee University, and the University of Texas, where her unconventional manner of teaching made her popular with students. In 1962, she published her only novel, Ship of Fools, which was the best-selling novel in America for that year; its success finally gave her financial security (she reportedly sold the film rights for $400,000).
Short stories
"Maria Concepcion", 1922 "The Martyr", 1923 "Virgin Violeta", 1924 "He", 1927 "Magic", 1928 "Rope", 1928 "Theft", 1929 "The Jilting of Granny Weatherall", 1930 (American film, 1980) "The Cracked Looking-Glass", 1932 "Hacienda", 1934
In 1966 she was awarded the Pulitzer Prize and the National Book Award for The Collected Stories of Katherine Anne Porter, and that year was also appointed to the American Academy of Arts and Letters. In 1977, Porter published The Never-Ending Wrong, an account of the notorious trial and execution of Sacco and Vanzetti, which she had protested fifty years earlier. Porter died in Silver Spring, Maryland on September 18, 1980, at the age of 90, and her ashes were buried next to her mother at Indian Creek Cemetery in Texas.
Between 1920 and 1930, Porter traveled back and forth between Mexico and New York City and began publishing short stories and essays. Her first published story was "Maria Concepcion" in The Century Magazine. In 1930, she published her first short story collection, Flowering Judas and Other Stories. In 1926, Porter married Ernest Stock and lived briefly in Connecticut before divorcing him in 1927. One stillbirth between 1910 and 1926, and an abortion, ended her hopes of ever having a child.
10. In 1962, her only novel was
A Noon Wine B Ship of Fools C Old Mortality
Porter’s Reputation
American essayist, short story writer, and journalist, remembered as one of America's best short-story writers. The Leaning Tower (1944), a collection of stories, and won an O. Henry Award for her 1962 story Ship of Fools in 1962, Porter won a large readership for the first time. A best-seller that became a major film in 1965 Porter’s Collected Short Stories (1965) won the National Book Award and the Pulitzer Prize for fiction