超越理性的直觉——析舍伍德·安德森的小说《手》
浅析《手》中比德尔鲍姆畸化的原因
方社会的传统 习俗 中， 同性 之间表达彼此之间的关 爱时是不应该 有肢体接触的 ， 否则会被认 为有 同性 恋倾 向。比德尔鲍姆总是通
过抚摸孩子们来表达他的关爱 ， 这在西方社会是不恰 当的。所 以 比德尔鲍姆 最终被赶出 了小镇 。他没 有严格遵 守社会传 统和 习 俗， 因此他的失败是注定 的， 梦想也不可能实现。
们都变成 了情感上不健全 的人 。安德 森作 品中反复 出现 的一个 主题就是这些人物试 图打破禁锢 自己使 自己被隔离 的围墙 ， 而 然 最后 都是无功而返。 在《 小城畸人》 ， 中 安德森不断表现语 言失灵 、 交流 困难 以及 由此带来 的孤 独和障碍 。畸人们 身上所 表现 出的中心 问题 是 当
地 陷人悲伤和痛苦之 中， 没有任何 开始崭 新生活 的想法 和行动 。
他 把 自己关 在 自己的小圈子里 ， 在外人看来是一种 既冷漠又带有 防御 色彩的状态。他 的消沉和 自我封闭是走 向畸化的第一步。 （ ）交 流和表达障碍 ２ 比德尔鲍姆 畸化 的另外一 个原 因就是他 拒绝 与他 人交 流 ， 并 且无法表达 出 自己的情感 。他 渴望关爱 和友谊 ， 想要 敞开心扉 ，
取代 了传统 的农业 和手工 业社会 。当轰 鸣的机器 取代 了 田园牧
歌般 的景色 ， 当人们 不惜 一切代 价追逐 金钱和利 益 ， 人们之 间和 谐、 美好 的关 系就被 破坏 了 。人 们之 间 的温 暖和关 爱也 不复 存
在 。人际关系变得疏远和冷漠。工业 化 的生 产和 分配 破坏 了古
Hale Waihona Puke 《 小城畸人》 中畸人们 的故 事是关 于孤 独 和疏远 、 情和 纯 激 洁、 富有和贫困 、 节俭 和挥霍 、 粗心和遗弃 的。畸人们被迫需要 解 决 的这些 问题所有 的人都会遇 到。畸人 们经历的误解 、 孤独 和表 达障碍 ， 在安德森看来 ， 是根本性 的问题 ， 是深深扎根 于人性之 中 的东西 。因此 ， 瓦恩斯堡可 以看 作是社会 的缩 影 ， 而畸人们 的经 历代表着人类 的缺陷和挣扎 。
扭曲的现实真实的人生_论舍伍德_安德森的_鸡蛋的胜利_的叙事特色_罗璐.caj
第13卷第2期安徽理工大学学报（社会科学版）Vol．13No．22011年6月Journal of Anhui University of Science and Technology （Social Science ）Jun．2011扭曲的现实真实的人生———论舍伍德·安德森的《鸡蛋的胜利》的叙事特色罗璐1，2（1．华中师范大学外国语学院，武汉430079；2．淮南职业技术学院基础部，安徽淮南232001）摘要：舍伍德·安德森是美国现代文学史上具有引导意义的大师级人物。
其作品鲜明的特色和深刻的主题给后世的美国作家们以深远的影响。
《鸡蛋的胜利》即为其非常重要的代表作之一。
小说中叙事特色尤其值得后人研究。
从叙事结构，叙事者及叙事话语三个方面对这篇小说的写作特点加以分析与评论。
关键词：舍伍德·安德森；叙事结构；叙事者；叙事话语中图分类号：I106．4文献标识码：A文章编号：1672-1101（2011）02-0081-03收稿日期：2011-04-07作者简介：罗璐（1983－），女，安徽淮南人，助教，在读硕士，研究方向：英语语言文学。
True life in distorted reality———on the narrative features in Sherwood Anderson ’s The Triumph of the EggLUO Lu 1，2（1．School of Foreign Languages ，Central China Normal University ，Wuhan 430079，China ；2．The Basis of Ministry ，Huainan Voca-tional and Technical College ，Huainan ，Anhui 232001，China ）Abstract ：As a master of guiding significance in the history of modern American literature ，Sherwood Anderson is characterized by the distinct features of his works and the profundity of their themes ，which exerts a far －reac-hing influence on subsequent American writers．The Triumph of the Egg is one of his crucial masterpieces ，the narrative features of which are especially worth exploring by the successors．This paper analyzes and comments on the writing features of this short story from three aspects of narrative structure ，the narrator and narrative dis-course．Key words ：Sherwood Anderson ；narrative structure ；narrator ；narrative discourse在美国现代文学的历史上，舍伍德·安德森（Sherwood Anderson ）无疑起到了现代小说的导师和先驱者的作用，他鲜明的文风和对美国社会现实的深刻描写及讽刺深深的影响了一代又一代美国作家。
探析舍伍德·安德森小说《手》中“手”的召唤
内容摘要：《手》是《小城畸人》中讲述的第一个“畸人”的故事，是整部小说中具有代表性的文章之一。
本文拟从沃尔夫冈·伊瑟尔的“召唤结构”理论来探析文章中的不确定性如何召唤读者进入进行解读进而完成审美体验。
关键词：召唤不确定性手象征王亦萌探析舍伍德·安德森小说《手》中“手”的召唤舍伍德·安德森作为上一世纪伟大的文学家之一，他的小说开创了美国小说史上全新的局面，从小说主题到小说形式都提供了一种新的样式。
对他的小说也从各个方面展开了分析评论。
本文拟从沃尔夫冈·伊瑟尔的“召唤结构”理论来探析小说《手》中的不确定性如何召唤读者进入进行解读进而完成审美体验。
文学区别于其他体裁写作形式的一大特点在于它具有召唤性，文学本文中充斥着大量“不确定性”和“空白”从而激发读者的想象力调动读者的积极性对其进行解读重构。
这种诱导机制便称为“召唤结构”《手》作为《小城畸人》中的开篇同其它故事一样，在结构方面看似松散，没有小说传统意义上的开端、发展、高潮、结局，没有时间逻辑性，而是选取了人生的“片断”，将它们组合在了一起完成了叙事。
这种打破传统的叙事结构非但没有使读者阅读起来索然寡味，反而在小说中不断留下空白，牢牢抓住了读者的眼光，激励读者不断解读，不断验证。
故事开篇场景：“一块种了苜蓿却只生出浓密的黄色芥草来的田地”边便是主人公———“一个胖胖的小老头”———的家，他在自己的木屋半朽走廊上“往来蹀躞”，田边公路上一辆满载采完浆果的少男少女的马车驶过，他们“骚然大笑大叫”，称呼主人公为“飞翼比德尔鲍姆”。
读到此处，读者不可避免会在脑海中勾勒比德尔鲍姆所谓“飞翼”的形象：他是插着翅膀，还是行动飞快？读者对主人公的期待视野初步建立，渴望在下文中得到验证。
然而，作者似乎没有要立刻解密此诨名由来的打算。
而是转而叙述他同乔治·威拉德（贯穿《小城畸人》的中心人物）的关系。
在温士堡，只有这名报社记者是同他接近的，只要乔治·威拉德在身边，他就如鱼得水，“原来低沉而颤抖的声音，变得尖锐而响亮了；弯曲的身体也挺直了。
《手》文体特征
《手》的文体特征探析摘要本文拟从词汇、句法、语音3方面来分析小说《手》的文体特征，粗略地探讨一下美国作家舍伍德·安德森（sherwood anderson）的语言风格和写作技巧，以期对我们理解国外作品和提升本土写作发挥一点作用。
关键词：手词汇句法语音文体学圆周句中图分类号：h03 文献标识码：a《手》（hands）是美国作家舍伍德·安德森（sherwood anderson）《小城畸人》（winesburg,ohio）中具有代表性的一篇小说。
《小城畸人》发表于1919年，是美国小说中的一篇经典之作，它奠定了舍伍德·安德森在美国小说史上的坚实基础。
小说里的主人公大都性格怪异、沉默寡言、冷漠无情，而且惧怕与世人交往。
舍伍德·安德森是美国著名的作家之一，他对小说艺术的贡献之大，非数言可以论之。
他的文风可以用两句话概括：简朴精炼、通俗易懂。
这使得他的写作技法为众多文人所效仿，曾被称为“a writer’s writer”。
《手》集中体现了舍伍德·安德森的写作特色。
采用倒叙手法，以通俗的口语描写主人公wing在黄昏时分焦急等待george willard来消磨晚上无聊的时间开始，引出耐人寻味的“双手”的故事，从而引导读者一步一步地探究心里残缺的人的内心世界。
整篇故事弥漫着美国中西部的乡土气息。
一词汇舍伍德·安德森是继马克·吐温（mark twain）之后又一位运用口头语言进行创作的小说家，其语言的幽默诙谐、朴素自然、简洁有力在《手》中体现得淋漓尽致。
1 同一个词或词组的反复使用故事的题目是《手》，作者抓住“hands”这个关键词展开故事，用“hands”引起读者的悬念，用“hands”讲述主人公的悲惨遭遇。
该词的运用高达30次，增强了文章的感染力，使读者对于wing产生了更深的同情。
wing作为一名教师，热爱生活，热爱学生，热爱事业，但就是因为那双手——传递感情的桥梁，遭到了学生家长的误解而被逐出学校，开始自己一生的悲剧，再也无法从沉痛的打击中恢复过来。
《手》中文翻译__舍伍德_安德森
手舍伍德安德森一栋小木屋，座落在离俄亥俄州温士堡小城不远的、一个幽谷的边缘附近。
一个胖胖的小老头儿，在这木屋的半朽走廊上，神经质地往来蹀躞。
越过一长块种了苜蓿却只生出浓密的黄色芥草来的田地，他可以看见公路，看见路上行着一辆满载从田野里回来的采浆果者的运货马车。
采浆果的少男和少女，骚骚然大笑大叫。
一个穿蓝衬衫的少男从车上跳下来，要把其中一个少女拉下车来，少女锐声叫喊抗议。
少男的脚在路上踢起一团烟尘，烟尘飘浮过落日的脸。
越过那一长块田地，传来一串轻微的女孩子气的声音。
“喂，飞翼比德尔鲍姆呀，梳梳你的头发吧，头发要落到你的眼睛里去了。
”这声音命令着这个秃顶的人，他的神经质的小手摸索着光秃秃的雪白前额，仿佛正理着一绺乱发似的。
飞翼比德尔鲍姆永远诚惶诚恐，被种种狐疑所困扰；他在城里住了二十年了，却认为自己无论如何不是这小城生活的一部分。
在温士堡所有的人中间，只有一个人跟他是接近的。
他对乔治·威拉德（他是威拉德新旅社的业主汤姆·威拉德的儿子）产生了类似友谊的感情。
乔治·威拉德是《温士堡鹰报》的记者，有时他在晚上沿着公路散步，走到飞翼比德尔鲍姆的家里来。
现在，老人在走廊往来蹀躞，双手神经质地挪动，他正盼望着乔治·威拉德会来和他一同消磨黄昏。
载着采浆果者的运货马车过去之后，他在高高的芥草中间穿过田畴，攀上铁路的栅栏，沿着通向城市的公路急切地凝望。
他这样站了一会儿，搓着双手，朝大路上望来望去；接着，他为恐惧所压倒，又跑回家去，在自己的门廊上徘徊了。
二十年来，飞翼比德尔鲍姆一直是小城里的一个谜。
面前有个乔治·威拉德，比德尔威姆的懦弱便减少几分，而他那朦胧的个性，原来沉没在狐疑的海中的，也冒出来见识世界了。
有年轻的记者在他身边，他敢于在大天白日走上大街，或是在他自己家的歪歪斜斜的门廊里大步徜徉，激动地说着话儿。
原来低沉而颤抖的声音，变得尖锐而响亮了；弯曲的身体也挺直了。
陌生之美——舍伍德·安德森《手》的原型偏离解读
陌生之美——舍伍德·安德森《手》的原型偏离解读陌生之美——舍伍德·安德森《手》的原型偏离解读话题：休闲阅读情感交流安德森摘要：舍伍德·安德森是美国现代系列小说的鼻祖，《小镇畸人》则是他的代表作，其开篇便是《手》。
本文运用认知诗学的原型偏离理论对《手》进行解读，可得知安德森在体裁、人物、情节和语言这四个方面有一定程度的偏离。
关键词：舍伍德·安德森《手》畸人原型偏离一、引言作为美国现代小说的先驱，安德森勇敢地为小说探索新的题材，他把笔触深入到了人物的精神层面，在《小镇畸人》中勾勒出一群“畸人”的心理。
开篇小说《手》讲述了一个关于人类情感交流障碍的故事，主人公飞翼·比德尔鲍姆（以下简称为飞翼）在温斯堡镇生活二十多年却始终无法融入小镇生活，无法摆脱身在异乡为异客的孤独感，只能孤独地生寂寞地死。
本文运用认知诗学的原型偏离理论对其进行解读，探讨安德森在刻画人物和揭示主题的独特性。
二、原型偏离理论概述原型范畴理论（Prototype Theory）是认知语言学家在经典范畴理论的基础上发展起来的。
它指出所有具有某一相同特征的事物形成一个范畴，所有成员均地位平等，没有核心和边缘之分，各范畴有自己界定清晰的边线。
但经典范畴理论逐渐受到后来学者的挑战。
维根斯坦（1953）通过对游戏范畴的研究，提出了“家族相似性”这一概念，即没有一个或几个特征是所有“游戏”范畴共有的，但成员背后是一个复杂的各种相似点重叠交织的网络系统，或整体上、或细节上的相似，正如家族成员间在体形、相貌、性情等方面会相似。
Berlin 与Kay（1969）提出了另一个著名概念“焦点色”，指出人类对颜色的划分和颜色词的运用与客观外界环境和人类基本认知密切相关，并以焦点色为参照点来对颜色连续体进行切分和范畴化。
随后Rosch （1975）用“原型”代替了“焦点”，且对十组范畴进行实验研究，证明“原型”是范畴中最典型的成员，可作为其他成员的“认知参照点”，进而提出了原型范畴理论。
舍伍德安德森短篇小说《手》的写作风格理解
舍伍德安德森短篇小说《手》的写作风格理解巩艳秋【摘要】Sherwood Anderson＇s short story ＂hands＂ is one of the best stories in the book Winesburg, Ohio. This paper wants to analyze the writing styles in the story and try to explain how Anderson expresses the theme of the story through these techniques.%舍伍德安德森的《手》是其小说集《俄亥俄州的温斯堡镇》中的一篇很有代表性的短篇小说．在这篇小说中作者深入人物的精神层面．塑造了一位孤独远离人群的怪诞人——飞翼比德鲍尔。
本文试图通过分析这篇小说中的写作风格，来阐释作者如何运用这些技巧来反应文章的主题。
【期刊名称】《和田师范专科学校学报》【年(卷),期】2011(000)006【总页数】3页(P65-67)【关键词】舍伍德安德森;手;怪诞人;疏离【作者】巩艳秋【作者单位】南安阳工学院外国语学院,河南南阳473061【正文语种】中文【中图分类】I247.77In American literary history, Sherwood Anderson, author of Winesburg, Ohio, is known for “his very great influence in liberating the Americanshort story from a petrifying technique” and acknowledged as a major influence on later generations of writers, including William Faulkner and Ernest Hemingway. Winesburg, Ohio is Anderson’s masterpiece, also called “the Bible of American consciousness”. The book gave him a foremost position in contemporary American literature.Winesburg, Ohio is an artistic representation of the difficult situations human beings are caused in and a parable of alienation and loss of love of the modern men. In this novel,each individual story is a poetic prose with slow pace and melodic tone.Anderson does not only intend to present us an objective picture of life at that period of time, but also makes a record of an important historic period of America with his fertile imagination and deep love toward his compatriot. With the tone peculiarly of a story teller, Anderson tells the listener the group of weird and unaccountable tales of the grotesques and plays a melody full of nostalgia and despair. The novel seems loose in structure, but it’s a coherent whole. Anderson makes full use of imageries and lyrical words to impress the reader; of simple but meaningful symbols to reveal the dull and gray theme of loss of love; and of the moments of epiphany to expose the inner world of the grotesques and embody the eternity in one moment.When Sherwood Anderson wrote fiction in the early 1900s,he was consciously experimenting with new short-story forms and with a new kind of written language to fit the new forms.He abandoned traditional ideas of plot and story-telling in order,but simply to expose the characters thatwere repressed and frustrated by intolerable social and industrial system.In Sherwood Anderson: A Study of the Short Fiction, Robert Allen Papinchak describes Anderson’s style as “less cluttered with lengthy sentences and multisyllabic words than that of Irving,Hawthorne, Poe, and other American writers to that time.Instead, Anderson used short, direct sentences, frequent modifications of nouns, series of prepositional phrases, and the repetition of phrases and ideas, which often depend on a structural ci rcularity.” In fact, we can find all of Anderson’s stylistic qualities in “Hands”.First is about Anderson repeated use of words and phrases to express the theme of the story. The most obvious example is the word “hand”. It occurs in the singular and the plural all together thirty times in the story that just runs over 2,350 words.The image of Wing Biddlebaum’s fluttering, fiddling, nervous hands is repeated so many times that it becomes a symbol of his alienation and loneliness. Something is more important is the repetition of “beating hands”. He seems unable to talk without something to beat on. If he and George Willard are out walking, and he feels the urge to speak, he would find “a stump or the top boardof a fence and with his hands pounding”. He even got the name “Wing”, because his hands “like unto the beating of the wings of an imprisoned bird”. When he talked to George Willard, Wing Biddlebaum “closed his fists and beat them upon a table or on the walls of his house” “and beating like a giant woodpe cker upon the top board had shouted at George.” Then we may have the feeling that the beating makes Wing feelcomfortable to talk with George, even that he can not talk without beating something.Naturally, we, the reader, would think where this beating comes from. Why the narrator repeatedly describing his beating hands and “the story of Wing Biddlebaum is a story of hands”?Why Wing has the peculiar even grotesque behavior? As we go further to the story, we know that when Wing talks with George and beating his hands, he is urging George to dream. Then we would find that the ideas of dreams and dreaming form anther cluster of repeated phrases in the story. As he beat his hands, he cried to George, “you have the inclination to be alone and to dream and you ar e afraid of dreams.” And then he settles down and his voice became soft, forgetting his hands, “speaking as one lost in a dream.” “You must try to forget all you have learned,” he tells George. “You must begin to dream.” In fact, it is “dream” that connect ed the present Wing Biddlebaum to the past of him as Adolph Myers, a schoolteacher in Pennsylvania.In those days, his voice was always soft, and his hands did not beat the fence tops but only gently touched the boys’ shoulders or hair. The gentle voice and the gentle touch were “part of the schoolmaster’s effort to carry a dream into the young minds.”Under his touch, the boys lost their “doubt and disbelief” and“they also began to dream.” However, the dream is corrupted just because of his hands and the tra nsition of dreams. One of the schoolboy’s father misunderstood his care and came to the school yard to “beat him with his fists”; “his hard knuckles beat down into the frightened face”. And finally, Wing hadto flee from Pennsylvania and changed his name. Therefore, the beating gestures are tied up in Wing’s mind with the dreams and the horrible mistake and the father’s wrath. Because he never understood the reason of the beating, he can not separate them from all the rest of his life.The third set of repe ated phrases is about “doubts and shiver”. At the beginning of the story, Anderson mentioned that Wing is “forever frightened and beset by a ghostly band of doubts” and “his shadowy personality, submerged in a sea of doubts”. However, before his tragedy, i t was Wing who cast“doubt and disbelief” from the minds of his students, but now he himself is filled with doubts. Then the “doubts” closely links him to the past misery “Hidden, shadowy doubts that had been in men’s minds concerning Adolph Myers were galv anized into beliefs”. The doubts then turn into “shiver”, shiver both of the people of the community: “Through the Pennsylvania town went a shiver” and even George, when Wing touched his shoulder, he went home “with a shiver of dread”.All of the repeated words and phrases actually add a subtle bit of shading to the major theme of Winesburg, Ohio,alienation and loneliness. When Wing Biddlebaum is the school teacher, he is a normal man with love and care to the students.He is very like the fathers of his students, helping them get out of doubts and disbelief and dream of the future with his careful touching on their hair. However, just because of the alienation he was changed into a grotesque, who is isolated, lonely and even afraid of talking his true feeling to his (only) friend—George. In fact, WingBiddlebaum’s world would not be so isolated if we treat people as we want to be treated.Second, Sherwood Anderson’s Winesburg, Ohio is an important literary document in the history of the American short story, for the collection marked a definite shift from the ironically patterned and linearly plotted stories of Edgar Allan Poe and O. Henry to a form that focuses on lyrical moments of realization structured around feelings and impressions Although Henry James and Stephen Crane made use of these impressionistic techniques long before Anderson, it is in Winesburg, Ohio that they become the primary characteristics of the modern short story. A series of thematically and symbolically related images rather than temporal plot holds Anderson’s stories together and gives them their sense of reality.“Hands” is one of the most clearly impressionistic stories in the collection and thus a central example of Anderson’s development of what critics have called the modern lyrical story. Instead of being dependent on a straightforward plot line,the story revolves around the central image of hands in such a way that the main character is revealed by various reactions to them. As the Anderson said, it is “a story of hands”. As the narrator says throughout the story that revealing the secret of Biddlebaum’s hands is a job for a poet, the ordinary tools of story—event and explanation can not fully communicate the subtle and delicate story of his hands. It is only the poetic language can work. This inadequacy of language is why the central metaphor of this story is Biddlebaum’s“talking hands”. Biddlebaum wants to express his feeling and genuinely communicate with others, but the only way he can express his feeling is through touching someone with his hands. His hands, in fact, are the imagery to represent Wing’s inner being. The different images of his hands reflect his different feelings towards people and the change of the hands is also his progress toward his grotesque condition. In his youth, his care and love for the schoolboy is shown through“the caressing the shoulders of the boys, playing about the tousled heads”. When he was in the Winesburg, the pounding of his fists on tables, walls, or fence posts mirrors his earnestness and enthusiasm during conversation with George;his anxiety is expressed through rubbing his hands together, his affection for George through a caress. However, he always tries to keep them hidden away and the hands have changed more into the expressing of his grotesque, although they can still reflect his emotion. The different images of the hands are passing throughout the story, which control the story in a whole,just like a lyric poem. The images appear and reappear and all come together in one climactic scene. They create echoes between characters and between situations, and they provide structure for the story, which nearly has the same function as refrains in a poem.Third, Wing’s hands are a manifestation of his being grotesque. According to Anderson’s the ories, a grotesque was one who grasped a truth of the world too independently and too completely and thus failed. Anderson’s grotesque is one who is ineffectual in communication, one who fails at expression.Wing’s hands can express Wing’s feelings, buthe just does not allow them to. Wing’s hands had once been his medium of expression like a pen or typewriter is writer’s medium of expression. We are told that Wing’s hands are quick, skillful and talented, but his skill is tainted and feared. The reader understands Wing as a harmless, sensitive man who is frightened by his own passions. We are endeared to Wing especially after learning about the circumstances which brought him to Winesburg. He urges George to dream and follow his own heart without giving into the influence of the townspeople.This parallels the life he had led as a school teacher before the scandal. The similarity of circumstances leads to his fear arising and his need to flee from George. But, we are soothed by the fact that the passion, the young woman inside of Wing,is still alive even though it has been chased out of one town and lives in fear in another.Still, Wing has failed. He had lived a content life as a school teacher until his dreams had been broken by the town’s people. However, he was unable to fight back and turned into a grotesque. Wing comes close to finding that life within himself again only when he is with George. With George, Wing can act openly. George is the link between reader and grotesque figure,allowing us to see inside of the protagonist glaring instant and to view the living passion which had once driven them. When Adolph Myers flees to Winesburg and becomes Wing Biddlebaum, he is afraid to express himself through his hands and gestures as he once had with the boys he taught. This all changes when Wing is around George. In George’s presence,Wing feels free to be himself. George makes wholethe ineffectual attempts at communication with which Wing struggles. Through all of the special writing styles in the story,Anderson has shown a vivid image of the protagonist,especially his hands, which is a symbol of his life. Through the change of his hands action, Anderson shows his theme of the story, the loneliness of Biddlebaum and his fear to express his love. Although the story was structured so well in the form of lyric story, the reader can not have the enjoyment of reading a lyric poem. The picture unfolded before us is in an isolated backward town living a lonely old man. Though he is emotionally crippled, he longs for love and understanding.After reading the story, we know the grotesques are not bad people. They are just like the twisted apples that are left unpicked in the orchard, still possessing sweetness and even can save the hungry boy’s life.And the story reveals that the loneliness of the grotesques result from their ineffectual communication, their lack of ability in expressing what isin their mind, their habitual silence.They are alienated by the machine age, lost and confused by the unseen walls—social relations, economic conditions and religion and so on. But they are not totally surrendered, they are still struggling. So Biddlebaum tells George “you must try to forget all you have learned” and “you must begin to dream”.Though unintentionally, it is an attempt to break down the walls that divide one person from another and even to seek back the lost good will and innocence in the society. As the reader of 21st century, we would get the alarm that we all need to be loved and understood; otherwise, maybe wewould turn to a kind of grotesque.Bibliography:[1]Bily, Cynthia. Critical Essay on “Hands” Short Stories for Students,Vol.11. The Gale Group, 2001.[2]Howe, Irving. Sherwood Anderson. Stanford: Stanford University Press, 1951.[3]Papinchak, Robert Allen. Sherwood Anderson: A Study of the Short Fiction, 1969.[4]穆杨.安德森《手》的符号界解读[J].外国文学，2007（2）.[5]张强.舍伍德•安德森研究综论[J].外国文学，2003（1）.。
超越理性的直觉——析舍伍德·安德森的小说《手》
超越理性的直觉——析舍伍德·安德森的小说《手》舍伍德·安德森(Sherwo od A nder son)是美国现代小说的先驱，《小城畸人》是奠定他在美国文学史地位的一部经典作品。
在这部小说的创作中，他重视对人物内心世界深层次的揭露，能以其特有的直觉去感受现代人的孤独和异化。
文章从艺术直觉的角度分析作者在小说中所表现出的超越理性的直觉。
一、引言舍伍德·安德森是美国享有盛誉、承前启后的现代小说先驱。
他出身贫困，14岁开始谋生，青少年时代饱尝生活的艰辛；1916年开始发表小说，之后成为一名职业作家。
舍伍德·安德森于1919年发表了一部由25个短篇小说组成的作品——《小城畸人》，正是这部小说成就了他在美国文学史上的杰出地位。
《小城畸人》是一部极为经典的美国小说。
小说中这一组心理畸人的故事由新闻记者乔治·威拉德(G eorgew i 11 ard)逐一讲述，在故事情节上貌似没有什么直接联系的25个短篇的主题都是着眼于小说主人公生活的某一方面，通过刻画他们在生活中的异常表现来揭示挫折和失败对人i l l,L,理的影响。
本文探讨的《手》便是这部小说中的一篇：主人公A dolphM yers原本是一个对孩子充满爱心、对生活有着美好憧憬的年轻教师，却因为拥有一双善于表达的双手而最终沦为一个令人怜悯的“心理畸人”。
二、亨利·柏格森关于艺术中直觉问题的描述法国哲学家亨利·柏格森在探讨有关艺术中的直觉问题的著作，如《形而上学导论》等中，区分了两种认知世界的方式：理性分析和直觉。
一般来说。
理性分析适宜人们对世界进行外部观察，并且在很大程度上取决于观察者的角度，所以其结果只能是从个人的角度来感知世界；而直觉却“不再取决于主体的认知立场，能引导人追随对象的内在生命，与对象独一无二、故而也是难以言传的特质心心相印”。
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超越理性的直觉——析舍伍德·安德森的小说《手》
舍伍德·安德森(Sherwood A nder son)是美国现代小说的先驱，《小城畸人》是奠定他在美国文学史地位的一部经典作品。
在这部小说的创作中，他重视对人物内心世界深层次的揭露，能以其特有的直觉去感受现代人的孤独和异化。
文章从艺术直觉的角度分析作者在小说中所表现出的超越理性的直觉。
一、引言
舍伍德·安德森是美国享有盛誉、承前启后的现代小说先驱。
他出身贫困，14岁开始谋生，青少年时代饱尝生活的艰辛；1916年开始发表小说，之后成为一名职业作家。
舍伍德·安德森于1919年发表了一部由25个短篇小说组成的作品——《小城畸人》，正是这部小说成就了他在美国文学史上的杰出地位。
《小城畸人》是一部极为经典的美国小说。
小说中这一组心理畸人的故事由新闻记者乔治·威拉德(G eorge w i 11 ard)逐一讲述，在故事情节上貌似没有什么直接联系的25个短篇的主题都是着眼于小说主人公生活的某一方面，通过刻画他们在生活中的异常表现来揭示挫折和失败对人il l,L,理的影响。
本文探讨的《手》便是这部小说中的一篇：主人公A dolph M yers原本是一个对孩子充满爱心、对生活有着美好憧憬的年轻教师，却因为拥有一双善于表达的双手而最终沦为一个令人怜悯的“心理畸人”。
二、亨利·柏格森关于艺术中直觉问题的描述
法国哲学家亨利·柏格森在探讨有关艺术中的直觉问题的著作，如《形而上学导论》等中，区分了两种认知世界的方式：理性分析和直觉。
一般来说。
理性分析适宜人们对世界进行外部观察，并且在很大程度上取决于观察者的角度，所以其结果只能是从个人的角度来感知世界；而直觉却“不再取决于主体的认知立场，能引导人追随对象的内在生命，与对象独一无二、故而也是难以言传的特质心心相印”。
艺术家的高明和优越之处在于他们在创作过程中能以直觉超越理性，能在字里行间从人们喜怒哀乐的情感中捕捉更深层次的某种东西。
在《手》中，舍伍德·安德森并没有采用传统的手法从旁观者的立足点去叙述故事情节，描绘人物的动作和语言，分析人物的思想感情，而是凭借直觉直接突进人物的内心，从而使读者对那双“酷似囚禁在笼中的鸟拍打着的羽翼”的“手”赋予更多的想象空间，使小说产生了更能震动人心的力量，引起读者的共鸣。
三、对舍伍德·安德森的小说《手》的分析——超越理性的直觉
舍伍德·安德森在小说的创作过程中非常重视揭露人物深层次的内心世界，善于把描写对象定位于人物不断流动、复杂多变的心理活动，以其特有的直觉去感受现代人的孤独和异化。
首先，舍伍德·安德森站在主人公的立场，把主人公所生活的现实世界以其原初的眼光真实地呈现出来，深刻体会主人公内心深处的感受。
如在小说的开头，“……一个胖胖的小老头儿在这木屋快倒塌的长廊上神经质地来回蹀躞……”，作者在这里给读者奠定了一种迟缓、压抑、沉重和忧郁的基调，栩栩如生地表达了主人公坐立不安的紧张情绪。
紧接着，作者站在主人公的立场，以主人公的眼光感受了远处热火朝天的喧嚣场面，跟前面的气氛形成强烈的反差，暗示了主人公与外界的隔绝。
使读者不由得对与热闹的生活相距甚远的主人公产生了同情和好奇。
主人公在下文中对一个女孩儿的搭讪采取一言不发的态度，只是让他的nervous li t tl e hand fiddled about th e b are w hite foreh ead as thou gh arran gin g a
m ass of tangled locks，披露了人物的所思所想，表现了主人公内心的强烈渴望——渴望爱，渴望友谊。
其次，由于通过人物的眼光观察到的物质世界有赖于感知而“真实地”存在。
小说中涉及的有关事物因而具备了相应的象征意味。
比如小说中比较突出的一个象征是背景——暮色与黑暗。
在这块背景中，作者还点缀上了hal f decayed veranda(快倒塌的长廊)，于不露声色中细致入微地烘托了一种破败、悲戚的气氛。
这种环境正适合畸人的世界，使得畸人能够在夜晚的保护下探索有知觉的生活(In the da rk ness，he cou ld no t see the han ds and they becam e qui et．o又如，小说中让温士堡的人们感到神秘的主人公的“手”也具有其象征意味。
主人公原是镇的小学教师，他善于用他那双灵巧的充满爱心的手抚摸学生的肩膀和头发，将关爱和人生的梦想传递给学生。
对他而言，手是他与学生沟通的纽带和表达爱的最佳方式。
在被人们误解赶出小镇来到温士堡以后，主人公就成了一个在农场上干体力活的临时工(day l aborer i n the f ields)。
在这里，他的手因为能以无人能及的速度采摘草莓而受到人们的赞誉，甚至还获得了“W ing”的诨名。
主人公的一双传递情感的手就这样沦为了单纯的劳动工具，甚至后来成为用以发泄暴力和憎恨的工具(…W ing B i ddl ebaum closed his f i sts an d beat w ith the m up on a table or on the w alls of his hou se．T h e action m ade h im nlore c,om—for table…)，说明了手的创造力的丧失，揭示了现代社会的异化现象。
这与舍伍德·安德森一生向往乡土生活、厌恶机械文明的生活态度有密切关系，表达了他对人类生存状态的高度关注。
再次。
亨利·柏格森提出了空间时间和心理时间的概念，他认为空间时间以钟表衡量，按照过去、现在和将来依次延伸；而心理时间是过去、现在和将来的互相渗透。
与亨利·柏格森的主张一样，舍伍德·安德森在创作中非常注重通过直觉体验到的“心理时间”，让人物的心理活动的心路历程以意识流的形式一一再现，“大胆地摆脱了钟表时间和物理空间对文学作品的束缚，成功地组建了新的时空秩序”。
“心理时间”包括了所有的过去，现在的每一个新时刻都是依个体的经验意识对过去的积累，这样的时间是不受客观现实制约的纯主观的东西，故而，只有在人的思维当中才有存在的可能。
基于此，心理时间才是真正意义上的时间，人们过去的经历叠加在一起形成了人们现在的意志和欲望，影响了人们现在的行为，铸就了人们现在的人格。
《手》中最能体现舍伍德·安德森特有的现代时空观的是主人公的精神顿悟，这同时也是直觉的最高境界，即自认为能洞悉生命现象与宇宙本质的刹那感受。
主人公虽然总感觉自己年轻时被赶出家乡一事与自己的双手有某种关联，但始终是不明其究(Al though he di d not understand w hat had hap pen ed h e f elt t h at t h e hand s m ust b e t o blam e．o在以后的几十年里，他脑海里反复出现那些愤怒的人们以及他逃亡的那一幕，并且历久弥新。
在与少年乔治·威拉德散步时，他的双手“慢慢地溜了出来”放在了少年的肩头，当他准备“伸出手来抚摩少年”时，这种无意识的举动使他立刻面露“惊惧之色”——多年前的那一幕突然在他脑海中重现，困扰了数十年之久的疑团竞让他瞬间恍然大悟。
作者妙地运用了主人公对过去的“重视”，使感觉中的现在与过去不可分割，并将过去的事件重新定位，使现在与过去、瞬时与永恒融于一体。
四、结语
舍伍德·安德森在创作中能从故事发生的普通场所或场景以及人物的不经意的动作或简单的手势中窥见故事“绵延的全部”，其创作思想与亨利·柏格森的直觉主义不谋而合。
《手》的篇幅很短，时间却在数十年间反复跳跃，其结构看
似杂乱，但它们却因有某种内在的特质而被组合在一起，围绕共同的主题展开。
经过作者的精心构思，故事以介绍主人公当前的畸人状态开始，采用倒叙的方式，以超越理性的直觉去捕捉人物的瞬间，进而挖掘出人物隐藏于内心深处的奥秘，令人物和读者在刹那间获得感悟，真正领会生活的真谛。