乔伊斯小说精读一
名著精读《小妇人》第一章朝圣第10节
名著精读《小妇人》第一章:朝圣第10节"Give them all of my dear love and a kiss. Tell them I think of them by day, pray for them by night, and find my best comfort in their affection at all times. A year seems very long to wait before I see them, but remind them that while we wait we may all work, so that these hard days need not be wasted. I know they will remember all I said to them, that they will be loving children to you, will do their duty faithfully, fight their bosom enemies bravely, and conquer themselves so beautifully that when I come back to them I may be fonder and prouder than ever of my little women." Everybody sniffed when they came to that part. Jo wasn't ashamed of the great tear that dropped off the end of her nose, and Amy never minded the rumpling of her curls as she hid her face on her mother's shoulder and sobbed out, "I am a selfish girl! But I'll truly try to be better, so he mayn't be disappointed in me by-and-by."“给她们献上我所有的爱和吻。
乔伊斯《尤利西斯》经典语录与好句摘抄
乔伊斯《尤利西斯》经典语录与好句摘抄（最新版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。
文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如诗歌散文、原文赏析、读书笔记、经典名著、古典文学、网络文学、经典语录、童话故事、心得体会、其他范文等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as poetry and prose, original text appreciation, reading notes, classic works, classical literature, online literature, classic quotations, fairy tales, experience, other sample essays, etc. if you want to know the difference Please pay attention to the format and writing of the sample essay!乔伊斯《尤利西斯》经典语录与好句摘抄【导语】：《尤利西斯》是一部很经典的世界名著小说，其中有很多非常经典的句子，本店铺来给大家介绍《尤利西斯》经典语录与好句摘抄，来了解一下吧。
《都柏林人》：乔伊斯堕落之城中的众生相，失望愤怒只因刻骨深爱
《都柏林人》：乔伊斯堕落之城中的众生相，失望愤怒只因刻骨深爱在全世界的作家里，詹姆斯·乔伊斯是个特殊的存在，他的笔下没有温情、善意与爱，却获得了千万人的喜欢和推崇，文学成就获得了至高的赞誉。
这位生于十九世纪末期的现代主义文学奠基者，在爱尔兰家喻户晓，他最广为人知的作品便是大部头的《尤利西斯》。
作为意识流小说的代表作，乔伊斯通过描述一天内发生的单一事件向人们展示了一幅人类社会缩影，该小说以时间为顺序，描述了三位都柏林人在1904年6月16日，从早上8点到晚上2点钟，一天之内在都柏林的种种经历，14个小时用了100多万字，许多人表示“难懂”。
爱尔兰作家、诗人詹姆斯·乔伊斯《都柏林人》和《尤利西斯》相似，也是通过个体“人”来表现社会现实的力作。
不过，《都柏林人》的视野更广阔，其中的人物形象更加多面性，涉及社会各个层次，各年龄段。
初读《都柏林人》，第一印象也有些“难懂”，但是如果结合当时爱尔兰的历史、乔伊斯的处境、整个社会背景，他的写作意图和作品内涵就不难理解。
一、“失望、愤怒”主题文学《都柏林人》是一本短篇小说集，书中通过15个故事，表现了不同场景中，形形色色的人在面对生活不同事件的反应。
由点及面，以地域“都柏林”为线索，巧妙把各个场景组合罗列，织造出一副“都柏林世相百态图”。
詹姆斯·乔伊斯短篇小说集《都柏林人》15个故事，涉及多个人物角色，但每个人物无一例外表达的都是“失望、愤怒”的情绪。
在《姐妹们》中，乔伊斯写出小男孩面对神父之死的自我感受：“这次他是没救了：已经是第三次中风了。
每天晚上，我凝视着那扇窗，总会轻声念叨一个词——瘫痪。
”然后，他听到姑姑姑父对“神父之死”的议论，又从乔伊莎和南妮姐妹俩口中得知，神父生前“买卖圣职，自个儿单干”，因失手打碎圣餐杯而发疯，精神失常，说“走的很安详”，看到的却是“躺在棺木中，带着死亡的庄严和狰狞”。
看似前后矛盾的细节，给人强烈的“碎裂、坍塌”之感。
英美文学名篇阅读与欣赏之一：詹姆斯.乔伊斯之《阿拉比》（原文）
英美⽂学名篇阅读与欣赏之⼀：詹姆斯.乔伊斯之《阿拉⽐》（原⽂）ArabyJames JoyceNorth Richmond Street , being blind, was a quiet street except at the hour when the Christmas Brother’s School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.The former tenant of our house, a priest, had died in the back drawing –room . air , musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: The Abbot, by Walter Scott, The Devout Communicant and The Memoirs of Vidocq. I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant’s rusty bicycle-pump. He had been a very charitable priest; in his will hw had left all his money to institutions and the furniture of his house to his sister.When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown somber. The space of sky above us was the color of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street, light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan’s sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan’s steps resignedly. She was waiting for us, her figure deceased by the light from the half –opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope her hair tossed from side to side.Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so that I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye and, when we came hear the point at which our ways diverged, I quickened my pace and passed her. This happened morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood.Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs’cheeks, the nasal chanting of street-singers, who sang a come-all-you about O’Donovan Rossa, or a ballad about sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears ( I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires.One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about t slip from them, I pressed the palms of my hands together until they trembled, murmuring:“ O love! O Love!” many times.At last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to answer. She asked me whether I was going to Araby. I forgot whether I answered yes or no. it would be a splendid bazaar, she said she would love to go.“And why can’t you?” I asked.While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps and I was alone at therailings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease.“It’s well for you,”she said.“If I go,”I said ,“I will bring you something.”What innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day in the classroom her image came between me and the page I strove to read. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised and hoped it was not some Freemason affair. I answered few questions in class. I watched my master’s face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child’s play, ugly monotonous child’s play.On Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly:“Yes, boy, I know.”As he was in the hall I could not go into the front parlour and lie at the window. I left the house in bad humour and walked slowly toward the school. The air was pitilessly raw and already my heart misgave me.When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and, when its ticking began to irritate me, I left the room. I mounted the staircase and gained the upper part of the house. The high cold empty gloomy rooms liberated me and I went from room to room singing. From the front window I saw my companions playing below in the street. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived. I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress.When I came downstairs again I found Mrs. Mercer sitting at the fire. She was an old garrulous woman, a pawnbroker’s widow, who collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour and still my uncle did not come. Mrs. Mercer stood up to go: she was sorry she couldn’t wait any longer, but it was after eight o’clock and she did not like to be out late, as the night air was bad for her. When she had gone I began to walk up and down the room, cleaning my fists. My aunt said:“I’m afraid you may put off your bazaar for this night of Our Lord.”At nine o’clock I heard my uncle’s latchkey in the halldoor. I heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me the money to go the bazaar. He had forgotten.“The people are in bed and after their first sleep now,”he said.I did not smile. My aunt said to him energetically:“Can’t you give him the money and let him go? You’ve kept him late enough as it is.”My uncle said he was very sorry he had forgotten. He said he believed in the old saying:“All work and no play makes Jack a dull boy.” He asked me where I was going and, when I had told him a second time he asked me did I know The Arab’s Farewell to His Steed. When I left the kitchen he was about to recite the opening lines of the piece to my aunt.I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the trees thronged with buyers and glaring with gas recalled to me the purpose of my journey. I took my seat I a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous houses and the twinkling river. At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few minutes the train drew up beside an improvised wooden platform. I passed out on to the road and saw by the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which displayed the magical name.I could not find any sixpenny entrance and , fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-looking man. I found myself in a big hall girdled at half its height by gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognized a silence like that which pervades achurch after a service. I walked into the center of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words Café Chantant were written in colored lamps, two men were counting money on a salver. I listened to the fall of the coins.Remembering with difficulty why I had come I went over to one of the stalls and examined porcelain vases and flowered tea-sets. At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely to their conversation.“O, I never said such a thing!”“O, but you did!”“O, but I didn’t!”“Didn’t she say that?”“Yes. I heard her.”“O, there’s a …fib!”Observing me the young lady came over and asked me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured:“No, thank you.”The young lady changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder.I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part of the hall was now completely dark.Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.。
乔伊斯《死者》主要内容概要及赏析
乔伊斯《死者》主要内容概要及赏析（最新版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。
文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如诗歌散文、原文赏析、读书笔记、经典名著、古典文学、网络文学、经典语录、童话故事、心得体会、其他范文等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as poetry and prose, original text appreciation, reading notes, classic works, classical literature, online literature, classic quotations, fairy tales, experience, other sample essays, etc. if you want to know the difference Please pay attention to the format and writing of the sample essay!乔伊斯《死者》主要内容概要及赏析【导语】：《死者》外国文学作品简析英国小说家乔伊斯(18821941)的短篇小说。
孤独的追寻与精神的顿悟詹姆士乔伊斯短篇小说《阿拉比》解析
总的来说，霍尔顿的孤独是他对现实世界的反抗和对真实人性的追求的结果。 他的孤独并非全然的消极，而是他对社会假象的揭露和对真实人性的坚守。他 的孤独是一种力量，是对成人世界虚伪和刻板教育的反抗，是对孩子们纯真和 善良的保护。《麦田里的守望者》通过霍尔顿这一形象，揭示了现实世界的虚 伪和假象，也呼唤人们对真实人性和纯真善良的保护和追求。
参考内容
基本内容
《百年孤独》是哥伦比亚作家加西亚·马尔克斯的代表作，也是拉丁美洲魔幻 现实主义文学的代表作。这部小说以布恩地亚家族的兴衰变迁为主线，通过独 特的象征手法，描绘了马贡多小镇和布恩地亚家族的传奇故事。
首先，马尔克斯通过家族中人物名字的重复，象征着布恩地亚家族命运的轮回。 家族中的六代人都有相同的名字：霍塞·阿卡迪奥和奥雷良诺。这种命名方式 不仅体现了家族的连续性和传统，更隐喻着家族成员命运的相似和相互关联。 每个人都仿佛是在历史的大潮中无力自主的孤独个体，他们的命运在重复中呈 现出宿命的轮回。
其次，马尔克斯以布恩地亚家族成员性格和命运的相似性来象征人类面对命运 时的无力和孤独。例如，阿卡迪奥们总是充满热情，追求科学和知识的进步， 但却无法逃脱命运的诅咒；而奥雷良诺们则致力于探索世界的本质，但却无法 抵挡战争、爱情和死亡的来临。这种命运的无力和孤独，既是对布恩地亚家族 的命运写照，也是对人类历史和命运的象征。
在故事的结尾，小男孩虽然未能实现他的梦想，但他却找到了内心的平静。他 的这种平静并不是对生活的消极接受，而是对生活的深刻理解和对自我价值的 重新定义。他的这种平静来自于他对生活的深刻洞察和对自我内心的深刻认识。
在分析这部作品时，我们不能忽视乔伊斯独特的叙事技巧。他运用了大量的象 征手法和隐喻，使故事具有了更深的含义。例如，“阿拉比”这个地方，它既 是一个异国情调的场所，又是一个象征着梦想和追求的地方。小男孩在“阿拉 比”的经历，实际上是他对生活和梦想罗姆·大卫·塞林格的代表作，也是20世纪美国文学 的重要篇章。该小说以主人公霍尔顿·考菲尔德的视角，深刻揭示了美国社会 的混乱和青少年成长中的困惑与痛苦。本次演示将着重探讨霍尔顿的精神世界， 以此解析其孤独的守望者的身份。
经典的5本短篇小说集
经典的5本短篇小说集短篇小说虽不似中长篇小说般宏大，但却精悍有力。
以其简短的情节，集中的人物，极具代表性的生活片段，极力刻画出人物的性格特征，反映出社会的生活侧面和生活内容，做到以小见大，以管窥豹。
不妨看看。
以下仅供参考！今天推荐的这几本短篇小说集，在国内外文学界都享誉盛名，不仅讲述了不同国度，不同时代，人们的生活侧面与浮生百态，也记录了时代印记下的社会浮世像，是我们了解人性，透视生活的枕边佳作。
1.《都柏林人》作者：詹姆斯·乔伊斯詹姆斯·乔伊斯是意识流文学的开山鼻祖，其长篇小说《尤利西斯》是意识流文学的代表作，二十世纪最伟大的小说之一。
《都柏林人》是詹姆斯·乔伊斯久负盛名的短篇小说集，称得上20世纪整个西方最著名的短篇小说集。
如果说《十一种孤独》是属于美国人的孤独，那么，《都柏林人》则是属于爱尔兰人的孤独。
《都柏林人》于1914年出版，置景于二三十年代的都柏林，截取中下层人民生活的横断面，一个片刻一群人，十五个故事汇集起来，宛若一幅印象主义的绘画，尽显世态的苍凉。
乔伊斯说：“我的初衷就是书写我的祖国精神史的一个章节，我选择都柏林作为场景，乃是因为在我看来这里是瘫痪的中心。
”在精神瘫痪之下，书里的人物要么浑浑噩噩，要么对生活敏感，短小平常的人物和简单略显无聊的情节，讲述着平淡如水的生活之不如意。
【经典语录】我几乎没有耐心来严肃的生活，既然这正儿八经的生活挡在我和我的愿望中间，那在我看来就好像是儿戏，丑陋单调的儿戏。
2.《最初的爱情，最后的仪式》作者：伊恩·麦克尤恩《最初的爱情，最后的仪式》是麦克尤恩的处女作与成名作，是阅读和了解这位天才作家的最佳切入点。
伊恩·麦克尤恩尤其擅长以冷静细腻的笔触打磨幽暗题材，赋予其精妙无双的质感。
本书由八个短篇组成，分别从八个处于童年、青春期和青年等不同阶段的男性视角出发，以意识和潜意识交接地带的经验为揭示对象，让读者看到，男孩对于长大，是有一些恐惧的。
尤利西斯詹姆斯乔伊斯的现代主义杰作
尤利西斯詹姆斯乔伊斯的现代主义杰作尤利西斯 - 詹姆斯·乔伊斯的现代主义杰作在20世纪的文学史上，詹姆斯·乔伊斯的小说《尤利西斯》被公认为现代主义文学的杰作之一。
这部小说以其独特的叙事方式和深入探讨人类意识与心理的主题而闻名。
本文将深入探讨《尤利西斯》的现代主义特征，包括复杂的叙事结构、多元的视角和无限的意义可能性。
第一部分：复杂的叙事结构《尤利西斯》以一天的时间为背景，讲述了主人公们在都柏林的经历。
乔伊斯采用了内心独白、倒叙、意象联结等多种叙事手法，构建起复杂的叙事结构。
这种非线性叙事方式挑战了传统小说的叙事规范，使读者需要通过不同的时间和空间跳跃来理解故事的真正含义。
这种独特的叙事结构不仅反映了现代生活的碎片化和混乱性，也呈现了人类思维的复杂与多样性。
第二部分：多元的视角《尤利西斯》采用了多个视角来叙述故事，展现了不同角色的思想、情感和感官体验。
通过主人公布鲁姆、斯蒂芬以及其他次要角色的视角转换，乔伊斯向读者展示了他们的内心世界和对现实的不同观察。
这种多元视角的运用使小说更加丰富和立体，同时也引发了对主观真实性和个人意识的思考。
第三部分：无限的意义可能性《尤利西斯》具有开放式的结局和模糊的意义，读者可以给予自己的解读。
作品中存在着丰富的象征和隐喻，赋予了文本多重解读的可能性。
乔伊斯将各种文化、历史、宗教和文学引用巧妙地融入到小说中，使之成为一部意义无限的文学作品。
这种开放性和多义性是现代主义文学的重要特征，也为读者提供了与作品互动和探索的空间。
结论《尤利西斯》作为詹姆斯·乔伊斯的现代主义杰作，通过复杂的叙事结构、多元的视角和无限的意义可能性，展现了现代生活的多样性和混沌性。
乔伊斯以独特的方式挑战了传统文学的规范，并为读者提供了一次前所未有的文学体验。
无论是对于现代主义文学的研究者，还是对于对文学作品充满好奇的读者来说，了解和探索《尤利西斯》都是一次丰富而充实的旅程。
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乔伊斯小说精读
乔伊斯的主要作品
诗歌：诗集《室内乐》（Chamber Music, 1907）和《每首一便士的诗》（Poem Penyeach , 1927）
戏剧：《流亡》（Exiles, 1918）
短篇小说集：《都柏林人》（Dubliners）
长篇小说：《青年艺术家的画像》（A Portrait of the Artist as a Young Man, 1916）, 《尤利西斯》（Ulysses, 1922）,《芬尼根的苏醒》（Finnegans Wake, 1939）意识流小说概述Stream Consciousness Fiction
一、概述
1、意识流文学20世纪初兴起于西方，在现代哲学特别是现代心理学的基础上产生。
2、意识流文学泛指注重描绘人物意识流动状态的文学作品，既包括清醒的意识，更包括无意识、梦幻意识和语言前意识。
意识本身并非是许多割裂的碎片。
乍看起来，似乎可以用“锁链”或“系列”这样的字眼来描述它，其实，这是不恰当的。
意识并不是一段一段连接起来的。
用“河”或“流”这样的比喻来描述它才恰如其分……我们就称之为思想流，意识流或主观生活之流吧。
——威廉·詹姆斯：《心理学原理》第一卷
二、作为心理学概念的意识流
1、意识流的概念最早由美国的心理学家威廉·詹姆斯在论文《论内省心理学所忽略的几个问题》中提出
2、他认为：人的意识活动不是以各部分互不相关的零散方法进行的，而是一种流，是以思想流、主观生活之流、意识流的方法进行的。
同时又认为人的意识是由理性的自觉的意识和无逻辑、非理性的潜意识所构成；还认为人的过去的意识会浮现出来与现在的意识交织在一起，这就会重新组织人的时间感，形成一种在主观感觉中具有直接现实性的时间感。
三、意识流文学的哲学与心理学的基础
1、法国哲学家柏格森强调并发展了这种时间感，提出了“心理时间”的概念。
“心理时间”与“空间时间”
①柏格森区分了“心理时间”和“空间时间”，极大的影响了现代作家对于时间的处理和结构的安排。
②“空间时间”用空间的固定概念来说明时间，把时间看成各个时刻依次延伸、表现宽度的数量概
念；
③“心理时间”则是各个时刻相互渗透的、表现强度的质量概念。
柏格森认为我们越是进入意识深处，“心理时间”的概念就越适用。
2、奥地利精神病医生弗洛伊德肯定了潜意识的存在，并把它看作生命力和意识活动的基础。
意识——前意识——潜意识（无意识）
弗洛伊德：“无意识才是精神的真正实际。
”
超我supergo——自我ego——本我id（伊德）
四、从心理学到文学领域
1、“意识流”一词最初是心理学词汇，是在1918年梅·辛克莱评论英国陶罗塞·瑞恰生的小说《旅程》是引入文学界的。
2、意识流文学是现代主义文学的重要分支，主要成就是在小说领域，在戏剧、诗歌中也有表现。
五、什么是“意识流小说”
1、“鉴别意识流小说最迅速的方法就是看它的题材。
……那些所谓上很大程度上使用了意识流技巧的小说结果是那些以一个或多个人物的意识作为基本题材的小说。
”
——（美）罗伯特·汉弗莱：《现代小说中的意识流》
2、意识流小说应该被认为是一种主要挖掘广泛的意识领域、一般是一个或几个人物的全部意识领域的小说。
……并没有什么意识流技巧。
假若有人这样说，那么在文学批评的专门术语上就犯了严重的错误。
“意识流”是小说的一种形式，正如“颂歌”或“十四行诗”是指诗的某种形式。
……在意识流的形式中，有许多可能变换的技巧。
——梅·弗里德曼：《意识流，文学手法研究》
3、在现代小说中，意识流是指小说的内容或题材（the subject matter），而不是指创作技巧或作品本身，所以不能混为一谈。
事实上意识流是文艺作品中的内容要素之一，即小说中具体描述的、反应主题思想的感性生活和心理现象。
——李维屏：《英美意识流小说》
一、强调内心真实和主观感受
“让我们考虑一下一个普通人的一天中的内心活动吧。
心灵接纳了成千上万个印象——琐屑的、奇异的、疏忽即逝的或者用锋利的钢刀深深铭刻在心头的印象。
它们来自四面八方犹如不计其数的原子在不停的簇射：当这些原子坠落下来，构成了星期一或星期二的生活，其侧重点就和往昔有所不同：重要瞬间不在于此而在于彼。
因此，如果作家是个自由人而不是奴隶，如果他随心所欲而不墨守成规，如果他能够一个人感受而不是因袭的传统作为他作品的依据，那么就不会有约定俗成的那种情结、喜剧、悲剧、爱情的欢乐或灾难，而且也许不会有一粒纽扣是用庞德街的裁缝所惯用的那种方式钉上去的。
”
——伍尔芙：《论现代小说》
二、要求作者“退出小说”
1、意识流小说家主张让人物主观感受到的“真实”客观的自发的再现于纸面上，反对传统小说出面介绍人物的身世籍贯、外界环境、间或挺身而出评头论足的写法，要求作者“退出小说”。
艺术家的人格最初是一种呼唤，一种节奏，或是一种情调（指抒情诗），一种流动的、轻轻发酵的叙述体（指史诗），最后艺术家的人格变得精细到不存在，可以说，它把自己非人格化了（指戏剧）。
戏剧体裁中的美学形象是在人类想象中净化了以后投射出来的生活。
至此，美学的神秘进程就像物质生产的神秘进程，算是完成了。
艺术家，像是创造世界的上帝一样，站在他的作品之内、之后。
之外或之上，不可见到，不复存在，他无动于衷，修剪自己的指甲去了。
——乔伊斯：《青年艺术家的肖像》《死者》的思考题
1、为什么加布里埃尔对自己即将发表的演说感到担忧？从他的担忧能看出他有怎样的性格特点？
2、在新年聚会中。
莫坎姐妹是如何倚重加布里埃尔的？后来在旅馆的房间里加布里埃尔是如何反思他和两个姨妈之间的关系的？
3、在这篇小说中，哪些方面涉及到爱尔兰主题？对于祖国爱尔兰的态度，加布里埃尔与埃佛斯小姐有什么不同？
4、舞会结束后，格里塔为什么会心绪不宁，甚至对丈夫的示爱也没什么反应？
5、为什么这部小说取名为“死者”，有什么涵义？
6、当加布里埃尔听到妻子谈起年轻时的往事，他是如何反应的？
7、小说的最后一段，当窗外纷纷扬扬的下起雪，加布里埃尔是怎么想的？你觉得他“顿悟”到了什么？
8、你认为，小说中的雪象征了什么？。