Catch22 第二十二条军规
The Book Report catch22 《第二十二条军规》读书报告
Contemplation in Insanity——a book report of Catch-22 If God can do anything, can He make a stone so heavy that He won’t be able to life it? As long as you think for a moment, you’ll find this question unanswerable. You may consider this famous fallacy a clever trick but what if you literally believe in it? What if people fight for their belief in an insane statement? You can find the answer in Catch-22 by Joseph Heller.The Plot:During the second half of World War II, a soldier named Yossarian is stationed with his Air Force squadron on the island of Pianosa. All he wants is to survive the madness of war. He is convinced that everyone is trying to kill him, which is understandable seeing as how he’s fighting in a war, where everyone really is trying to kill another. Yossarian has to survive the dangerous combat missions he flies, while Colonel Cathcart continues to increase the number of missions hie men must complete.The novel does not flow in chronological order, but instead involve frequent flashbacks. Therefore it maybe confusing and so is war. The first part concentrates on the narrative present, the second part on the Great Big Siege of Bologna, the third part returns to the present, the fourth part centers on Milo’s actions, and finally on Yossarian’s escape from the military.Many of Yossarian’s actions are either in response to the death of a fellow soldier, or as a tactic to avoid flying dangerous missions. The Air Force administration’s action, on the contrary, are based on improving the ranks of the individual officers or making America look good in the war. What we come to hate about military bureaucracy as we read Catch-22 is its lack of logic; men are asked to risk their lives again and again for reasons that are utterly illogical and unimportant. The novel ends on an upbeat note with Yossarian learning of Orr ( his friend )’s miraculous escape to Sweden and Yossarian’s pledge to follow him there. He successfully stays sane and alive in the face of unfathomable danger and cold bureaucratic insensitivity.The Characters:Captain John Yossarian. John Yossarian, the protagonist of Catch-22, is both a member of the squadron’s community and alienated by it. Although he flies and liveswith the men, he is marked as an outsider by the fact that many of the men think he is insane. But Yossarian’s characteristics are not those of a typical hero. He does not risk his life to save others; in fact, his primary goal throughout the novel is to avoid risking his life whenever possible. Maybe it is because that the system of values around Yossarian is so skewed that this approach seems to be the only truly moral stance he can take, if only because it is so logical. In a world where life itself is so undervalued and so casually lost, it is possible to redefine heroism as simple self-preservation. In the end, when offered a choice between his own safety and the safety of the entire squadron, Yossarian is unable to choose himself over others. This concern for others complicates the simple logic of self-preservation, and creates its own Catch-22: life is not worth living without a moral concern for the well-being of others, but a moral concern for the well-being of others endangers one’s life.Milo Minderbinder.Representing an extreme version of capitalist free enterprise that has spiraled out of control, Milo seems simultaneously brilliant and insane. What starts out as a business in black-market eggs turns into a worldwide enterprise in which, he claims, “everyone has a share.” He lies, cheats and steals his way through the war. The Germans pay him to bomb his own base and the Americans pay him to bomb Germans. He uses military planes to fly his goods from place to place, and lives in palaces. Milo tells the men in his squadron that they all have a share of his profits, but he bombs his own squadron as part of a deal he has made with the Germans. His willingness to allow his own camp to be bombed shows his complete disregard for the sides drawn by the war, and the men’ s acceptance of payment for being bombed shows that Milo is not alone in placing a high value on making money.The Themes and Ideas:Catch-22.There’s only one catch to Yossarian’s plan to save himself, and that’s Catch-22. This passage from Chapter 5 marks the novel’s first mention of the paradoxical law called “Catch-22.”There was only one catch and that was Catch-22, which specified that a concern for one’s own safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn’t, but if he wassane he would have to fly them. If he flew them he was crazy and didn’t have to; but if he didn't want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.“That’s some catch, that Catch-22,” he observed.“It’s the best there is,” Doc Daneeka agreed.The more Yossarian learns about Catch-22, though, the bigger it grows, each new clause as infuriating and paradoxical as the last. Catch-22, we learn, is the Bible of bureaucracy — every pointless and petty regulation made by someone who has never seen a battlefield to make themselves look good with no sleep lost for the people like Yossarian who get killed in the process.There’s no reasoning or arguing with Catch-22. It’s not personal. It’s just the rules, and if the rules say that Yossarian has to die, then that’s what Yossarian has to do.Over the course of the novel, Catch-22 is described in a number of different ways that can be applied to a number of different aspects of wartime life; here, however, Catch-22 affects Yossarian most specifically. Catch-22 is alarmingly persuasive; even Yossarian accepts what seems to be its logical infallibility. But Catch-22 is an abstract thing; we find out later that Yossarian believes that Catch-22 does not really exist. It is a trap made up of words, and words are faulty things, often misrepresenting reality. What is so upsetting about the way Catch-22 is applied throughout the novel is that real men are sent into real peril based on a few unreal and unreliable words. The the pointlessness of the fact makes Yossarian crazy.Personality in the insane world.Unlike other anti-romantic war novels, Catch-22relies heavily on humor to convey the insanity of war, presenting the horrible meaninglessness of armed conflict through a kind of desperate absurdity rather than through graphic depictions of suffering and violence. Catch-22also distinguishes itself from other anti-romantic war novels through its core values: the story of Yossarian, the protagonist, is ultimately not one of despair but one of hope. He believes that the positive urge to live and to be free can redeem the individual from the dehumanizing machinery of war. The novel is told as a series of loosely related, tangential stories in no particular chronological order. The narrative that emerges from this structural tangle upholds the value of the individual in the face of the impersonal, collective military mass; at every stage it mocks insincerity and hypocrisy, even when such values appear triumphant.Despite its World War II setting, Catch-22is often thought of as a signaturenovel of the 1960s and 1970s. It was during those decades that American youth truly began to question authority. Hippies, university protests, and the civil rights movement all marked the 1960s as a decade of revolution, and Heller’s novel fit in perfectly with the spirit of the times. In fact, Heller once said, “I wasn’t interested in the war in Catch-22. I was interested in the personal relationships in bureaucratic authority.” Whether Heller was using the war to comment on authority or using bureaucracy as a statement about the war, it is clear that Catch-22 is more than just a war novel. It is also a novel about the moral choices that every person must make when faced with a system of authority whose rules are both immoral and illogical. This reminds me the dark ten years of the Great Proletarian Cultural Revolution. Millions of people were persecuted and suffered a wide range of abuses and millions of people became insane illogical, which makes the perseverance of personal principles more valuable and remarkable.Reference:[1]约瑟夫·海勒.第二十二条军规[M].南京: 译林出版社.[2]常文革.黑色幽默的典范[N].长春师范学院学报，2005-9。
An Existential Analysis of Catch-22 第二十二条军规赏析
An Existential Analysis of Catch-22ContentsAcknowledgements (i)Abstract(English) (ii)Abstract(Chinese) (iii)1. Introduction (1)1.1 Catch-22 (1)1.2 Writing Background (1)2. The Existentialism (2)2.1 “I think, so I a m” and “e x istence before essence” (2)2.2 The initiative of the soldiers (3)3. Free Choice (4)3.1 Orr (5)3.2 Yossarian (6)4. The Absurdity of the World (7)4.1 The Absolute power of the Bureaucracy (7)4.2 The Moral Insanity (8)4.3 The Inevitability of Death (9)5. Conclusion (10)Work Cited (12)AbstractThis paper is going to talk about the existentialism in Joseph Heller’s masterpiece Catch-22. As regards to the influence of existentialism on literature, Jean Paul Sartre’s theories are the one of the great significance, which is the main concern in this thesis.Joseph Heller (1923-1999) is one of the most representative writers of Black Humor, which forecasts the dominating of American post-modernism literature. The heart of Black Humor is the description of the absurdity of the world, which is also a doctrine of existentialism. So it is said that existentialism is one of the origins of Black Humor.In Catch-22, there are bounds of freedom and the struggles to get off from them, which is a main theme of the book. And as regard to Sartre’s existentialism, the central thought is the freedom to choose what one wants to be or to do, which agrees with the theme of Catch-22 above I have mentioned. So in this paper I just choose Sartre’s existentialist thoughts to analyze it, despite other existentialists. Existentialism is a different point of view to look at the traditional war-novel, from which I think a deeper and more theoretical criticism of the war as well as that of the world can be obtained.For the value of this paper, first of all, it will prove Catch-22 an existential novel. Both centered on the theme of freedom, this novel and existentialism share the same basis, so it’s natural to connect them together. Also, there is chapter four on absurdity to illustrate this point. Thirdly, I want to stress the subjectivity and advantages of existentialism. Although many people think it as superficial and spiritual, it stresses on humanism, paying attention to initiative and subjectivity, which are still hot centers of discussion till now.Key words: Catch-22;Existentialism; Free choice; Absurdity内容摘要约瑟夫·海勒的代表作《二十二条军规》中渗透着存在主义的思想,这也是本论文讨论的主旨所在。
第二十二条军规概述
作品分析——“catch-22”
• 小说自始至终都笼罩着“第二十二条军规”的阴 影。尽管它没有实在的文本，但从尤索要的求生 过程可知，无论人们怎样挣扎总也逃不出它的钳 制。 • 作家从社会生活和切身体验中发现，无论战时战 后，美国人都处在一种不可捉摸又无所不在的异 已力量胁迫之下，岌岌惶惶而无可奈何。就虚构 了“catch-22”这一寓言形象。定名“军规”， 既使它更具令人畏惧的强制性，又使它跟世界荒 诞的极端—战争紧相关联。冠之以“第二十二 条”，则使它成为不存在的存在。而“catch”的 1/1/2019 原意就是陷阱、圈套。
内容提要
两派人物 ：军事官僚集团和普通军人
• • • •
1.特种警备司令佩克姆将军 2.飞行大队司令官卡思卡特上校 3.负责空军军官操练的谢司科普夫中尉 4.伙食管理员迈洛中尉
1/1/2019
内容提要
5.主人公尤索林是处于被主宰地位的 普通军人的代表
• 本是个热情、诚实、富于正义感的爱国青年。 • 后来对战争大失所望，认识到替卡思卡特之 流升官发财卖命是毫无意义的愚蠢行为。 • 从此变成了怕死鬼，“活下去”是他生活的 唯一目的和“最高准则”。 • 最后在几个知心朋友帮助下，他驾机逃往瑞 典去了。
1/1/2019
作品分析
• 尤索林身上绝无传统英雄所具备的崇高壮烈的 行为和出类拔萃的品格，其非同一般之处仅在于 面对疯狂世界不放弃自由选择。他成了当代世界 文学画廊一个典型的“反英雄”形象。
• 作者写在小说扉页上的一句话——“我敢打赌，它 根本就不存在。”尽管他确信无疑，可那又有什 么用呢？问题在于每个人都认为它存在。而更糟 糕的是，它没有什么实实在在的内容或条文可以 让人们嘲笑、驳斥、指责、批评、攻击、修正、 憎恨、谩骂、啐唾沫、撕成碎片、踩在脚下或者 烧成灰烬。
An Existential Analysis of Catch-22 第二十二条军规赏析
An Existential Analysis of Catch-22ContentsAcknowledgements (i)Abstract(English) (ii)Abstract(Chinese) (iii)1. Introduction (1)1.1 Catch-22 (1)1.2 Writing Background (1)2. The Existentialism (2)2.1 “I think, so I a m” and “e x istence before essence” (2)2.2 The initiative of the soldiers (3)3. Free Choice (4)3.1 Orr (5)3.2 Yossarian (6)4. The Absurdity of the World (7)4.1 The Absolute power of the Bureaucracy (7)4.2 The Moral Insanity (8)4.3 The Inevitability of Death (9)5. Conclusion (10)Work Cited (12)AbstractThis paper is going to talk about the existentialism in Joseph Heller’s masterpiece Catch-22. As regards to the influence of existentialism on literature, Jean Paul Sartre’s theories are the one of the great significance, which is the main concern in this thesis.Joseph Heller (1923-1999) is one of the most representative writers of Black Humor, which forecasts the dominating of American post-modernism literature. The heart of Black Humor is the description of the absurdity of the world, which is also a doctrine of existentialism. So it is said that existentialism is one of the origins of Black Humor.In Catch-22, there are bounds of freedom and the struggles to get off from them, which is a main theme of the book. And as regard to Sartre’s existentialism, the central thought is the freedom to choose what one wants to be or to do, which agrees with the theme of Catch-22 above I have mentioned. So in this paper I just choose Sartre’s existentialist thoughts to analyze it, despite other existentialists. Existentialism is a different point of view to look at the traditional war-novel, from which I think a deeper and more theoretical criticism of the war as well as that of the world can be obtained.For the value of this paper, first of all, it will prove Catch-22 an existential novel. Both centered on the theme of freedom, this novel and existentialism share the same basis, so it’s natural to connect them together. Also, there is chapter four on absurdity to illustrate this point. Thirdly, I want to stress the subjectivity and advantages of existentialism. Although many people think it as superficial and spiritual, it stresses on humanism, paying attention to initiative and subjectivity, which are still hot centers of discussion till now.Key words: Catch-22;Existentialism; Free choice; Absurdity内容摘要约瑟夫·海勒的代表作《二十二条军规》中渗透着存在主义的思想,这也是本论文讨论的主旨所在。
古往今来之军规之第二十二条军规
第二十二条军规目录
军规内容
成语释义同类例句
典故出处
小说《第二十二条军规》作者简介
内容提要
赏析
书评/读后感
书摘
电影《第22条军规》简介
演员表
军规内容
成语释义 同类例句
典故出处
小说《第二十二条军规》 作者简介
内容提要
赏析
书评/读后感
书摘
电影《第22条军规》 简介
书评/读后感
主人公约翰”尤萨林上尉”﹙Captain John Yossarian﹚是美国陆军第27航空队B-25轰炸机上的一名领航员兼投弹手，他渴望保住自己的性命。根据司令部规定，完成25次战斗飞行的人就有权申请回国，但必须得到长官批准。当尤萨林完成32次任务时，联队长卡思卡特上校已经把指标提高到40次了。等他飞完44次，上校又改成50次。当他飞完51次，满以为马上就能回国了，定额又提高到60次。因为第二十二条军规规定，军人必须服从命令，即使上校违反了司令部的规定，在他飞完规定次数后还叫他飞，那他也得去，否则他就犯下违抗命令的罪行。所以无论他飞满多少次，上校总可以继续增加定额，而他却不得违抗命令。如此反复，永无休止。官兵们的精神已近乎崩溃，可谁也不可能停飞。于是他逃进医院装病，军医说他是“在白费时间”，他“当场就决定发起疯来”，因为根据条例，精神失常的人是不准上天飞行的，但只能由他本人提出申请。而一个人在面临真正的危险时却担心自身安全，就证明他神智清醒。于是就产生了如下逻辑：如果你疯了，只要你申请就允许你停飞。可你一旦提出申请，就证明你不是疯子，还得接着飞。最后，尤萨林终于明白：“这里面只有一个圈套……就是第二十二条军规。” 这也是作者写在小说扉页上的一句话。 “我敢打赌，它根本就不存在。”尽管他确信无疑，可那又有什么用呢？问题在于每个人都认为它存在。而更糟糕的是，它没有什么实实在在的内容或条文可以让人们嘲笑、驳斥、指责、批评、攻击、修正、憎恨、谩骂、啐唾沫、撕成碎片、踩在脚下或者烧成灰烬。 最后，他不得不开小差逃往中立国瑞典。 在海勒的世界里，第二十二条军规是神秘的代名词，象征了一种具有超自然的、能操纵人类命运的神秘力量。这里既有现代官僚机器的异己力量，也包含了某些神秘，即海勒自己所感到的不可捉摸、无力把握的异己力量。对于海勒来说，美国政府只是一个穷兵黩武、对外进行侵略扩张的军事官僚集团。这样的集团无论对国内百姓还是对海外士兵都实行严密的控制。谁也摆脱不了那如同魔力般军规的约束。可见，第二十二条军规所造成的意境明显带有超验的、永恒的色彩，否则，它何以从一个专有名词进入美国人的日常语言？ 具有无上权力和随意性的第二十二条军规并不存在而又无所不在，是一种有组织的混乱和制度化疯狂的象征。它既是一项具体而荒谬的法律条文，更是一种抽象的专制现实。它永远对，你永远错；它总有理，你总没理。它总是与灭绝人性的官僚体制如影随形，使你永远无法摆脱，无法逾越。 在现实生活中，我们也时常会遭遇大大小小的“第二十二条军规”，其实就是形形色色的制度陷阱，通常在资源被强势一方所垄断，当事人双方信息严重不对称或权利不平等的情况下最容易产生。它类似“霸王”条款，简直就像是为官员权力寻租或行政免责而量身度造的。比如在某些国家，你要当医生就必须先获得从业资格，而资格的认定条件却是“行医××年以上”。也就是说，要取得从业资格必须先有从业经历，可没有从业资格你却无法取得从业经历。 过去单位分房和评职称、评奖过程中产生的“第二十二条军规”最多。它们通常都采取“群众评议，领导拍板”的所谓民主集中制方式，给暗箱操作留下巨大空间。总是先成立一个带倾向性的评委会，通过不断制造针对某些人群的新规则，抬高他们的门槛，发布一轮又一轮的排行榜，等到评选程序复杂到足以把所有人都搞晕时，才有机会把不希望的人选打压出局，从而把有某种背景的人选推上去。 在一个相对封闭的环境中，规则或者说“土政策”通常是上级比着自己鞋后跟划定的，对下的刚性和对上的弹性都很大，所以执行起来既要坚持制度的原则性，又要把握政策的灵活性，结果自然会因人而异，就看解释权在谁了。(钱大川)
第二十二条军规 内容简介
• Second world war • Yossarian(USbomber Bombardier) is stationed with his Air Force squadron on the island of Pianosa
• He is full of enthusiasm to participate in the war to save the justice
desire to keep his life, determined to escape from the" world"
he pretended to be ill in the hospital in order to avoid thech -22
Their colonels(Cathcart) continually raise bombing missions that they are required to perform before being sent home
reputation
witnessed the illusory(虚妄), absurd, crazy, cruel phenomenon
rational ,actually absurd
Finally
a trap, is an insurmountable obstacle不可逾越的障碍
So- called“justice behavior” fled to Sweden
Catch --22 not exist ,A logical conundrum(逻辑难题） in which someone is essentially trapped, no matter what decision is made
第二十二条军规
35勇士米洛 36地下室
01
37沙伊斯 科普夫将军
02
38小妹妹
03
39不朽之 城
04
40第二十 二条军规
06
42约塞连
05
41斯诺登
作者介绍
同名作者介绍
约瑟夫·海勒（Joseph Heller，1923年5月1日-1999年12月12日），生于纽约市布鲁克林，毕业于哥伦比 亚大学，美国小说家。他因发表长篇小说《第二十二条军规》一举成名，这部小说被视为黑色幽默的经典名著， 对20世纪世界文坛有着巨大的影响，代表作《出了毛病》《象戈尔德一样好》等。
精彩摘录
精彩摘录
世上只有一个圈套，那便是第二十二条军规。军规明确说明，面临真实而迫在眉睫的危险时对自身安全的关 切是理性思维的过程。奥尔疯了，可以获准停飞。他必须做的，就是提出要求；而一旦他提出要求，他就再不是 疯子，因而必须执行更多飞行任务。奥尔必是疯了才会执行更多飞行任务，而如果没有飞那么多，他就是心智健 全的；然而，如果他是心智健全的，那就必须飞那些任务。如果他飞那些任务，他就是疯子，因而不必飞；但如 果他不想飞，那他就是心智健全的，因而必须飞。约塞连对第二十二条军规这一条款的绝对简洁性深为感动，发 出一声敬仰的口哨声。
谢谢观看
目录分析
1
献词
2
1得克萨斯人
3
2克莱文杰
4
3哈弗迈耶
5
4丹尼卡医生
5一级准尉怀特·哈 尔福特
6饿鬼乔
7麦克沃特 8沙伊斯科普夫少尉
10温特格林
9梅杰·梅杰·梅 杰少校11 Nhomakorabea莱克上尉
12博洛尼亚 13德·科弗利少校
14小桑普森 15皮尔查德和雷恩
catch-22典故
"Catch-22"是一个典故来源于美国作家Joseph Heller所写的同名小说，该小说于1961年出版。
"Catch-22"（中文译为《第二十二条军规》）描述了二战期间美军轰炸机飞行员的故事，其中"catch-22"是一条虚构的规定，它阻止了士兵逃避危险任务的可能性。
根据小说中的设定，"catch-22"是一个相互矛盾的规定，士兵必须服从军方的命令，但又无法从危险任务中逃脱。
具体来说，规定是这样的：如果一个飞行员声称自己因为精神失常而不愿飞行危险任务，那么这个决定本身就证明了他具有足够的理智来避免飞行。
换句话说，只要一个人申请不飞行任务，就证明他是明智的，并且有能力继续执行任务。
因此，无论飞行员如何选择，都会被认定为理智，并且必须执行危险任务。
这个典故的含义被广泛引用，通常用来描述一个看似无法逃避的困境或矛盾的情况。
它指向了一个逻辑上的死胡同，其中人们似乎陷入一个无法解决的困境，无论他们做什么都会遇到反向的结果。
"Catch-22"这个词组已经成为英语中的常用表达，用来指代各种不可避免的困境、矛盾和无法解决的问题，不仅仅局限于军事背景。
这个典故也成为了流行文化中的经典，影响了许多后来的文学、电影和其他艺术作品。
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4. Character Analysis
Yossarian: protagonist, alienated, insane outsider, anti-hero, avoid risking life, morbid life philosophy, illogical world (life threated by missions), logical to survive, self-preservation, in conflict by friends’ death, when have to make a choice, between, formed his own Catch-22---no mortal concern about others, meaningless life; if yes, life in danger, flee, liberate
because you cannot do one thing until you do another thing, but you cannot do the second thing until you do the first thing. 相互矛盾的 困窘 • Eg. It's a Catch-22 situation here. Nobody wants to support you until you're successful, but without the support how can you ever be successful?
3. Plot Overview
Nately died in mission when falling in love with a whore who blamed Yossarian and tried to kill him. Milo claims every has a share, but false. Arrested in Rome, 2 choices---court martial or home honorable (support, agree 80 missions). Desert army , flee to Sweden, goodbye to dehumanizing cold machinery of the military, rejects the rule of Catch-22, a future in his own control.
1. Nazi’s butcher: atomic bomb, people’s panic
2. Cold war: Mccarthyism, mutural fear and hostility
3. The Korean War and Vietnam War 4. Assassination of Kennedy and Martin
Catch-22
Dalin Wang
Content
1. Catch-22 (work, paradoxical,) 2. Background 3. Plysis 5. Themes 6. Writing Techniques
Catch-22 is a satirical novel which was first
3. Plot Overview
Yossarian’s story, core of the novel, events refracted through his point of view, take the war personally, not swayed by national ideals, furious when life in danger, desire to live, so in hospital, faking illness to avoid war, troubled by his memory of Snowden, him in ridiculous, absurd, desperate, tragic circumstances---friends disappear, bombed by own men, top dogs merciless.
Luther King, Feminism, anti-war movement, Water-Gate scandal 5. American dream disillusion
3. Plot Overview
WWII, Yossarian and his squadron stationed on Pianosa. They endure a nightmarish, absurd existence defined by bureaucracy and violence. (inhuman resources, brutal combat situations, good aerial photographs, number of missions inscreasing, a war going on in Yossarian’s mind, crazy)
1. Catch-22 (paradoxical)
• insane so can be grounded • claim insane only prove sane, can not be
grounded • a Catch-22 situation: an impossible situation
published in 1961. It is set during WWII in 1943 and is frequently cited as one of the great literary works of the twentieth century. It uses a distinctive nonchronological third-person omniscient narration, describing events from different characters' points of view and out of sequence so that the time line develops along with the plot.