短篇偵探故事精選(九篇)

前言：一篇好文章的誕生，需要你不斷地搜集資料、整理思路，本站小編為你收集了豐富的短篇偵探故事主題范文，僅供參考，歡迎閱讀并收藏。

第1篇：短篇偵探故事范文

4月21日，日本推理作家協(xié)會(huì)公布了本年度協(xié)會(huì)獎(jiǎng)的各部門(mén)獲獎(jiǎng)名單。

>> 最最最前沿 小恩要報(bào) 小才要用 最最遙遠(yuǎn)的路 最最遙遠(yuǎn)的路程 最最奇妙的雞蛋 小Y站報(bào)：夢(mèng)斷WCC 誰(shuí)的老師最最美 最最親愛(ài)的大姑 抗戰(zhàn)時(shí)期的《小消息》報(bào) 臺(tái)灣無(wú)籽小西瓜引種試驗(yàn)初報(bào) 一份小“班報(bào)” 帶來(lái)大收獲 《廣州日?qǐng)?bào)》社區(qū)報(bào)：“小市場(chǎng)”的大布局 我那最最溫柔的老師 我最最心愛(ài)的人 最最難懂女人心 酸甜苦辣最最榜 傾情救助遭遇“白眼狼”，無(wú)良小夫妻恩將“偷”報(bào)陷囹圄 子午嶺林區(qū)東華池林場(chǎng)建莊油松梢小蠹防治技術(shù)初報(bào) 柑桔小實(shí)蠅雄蟲(chóng)種群消長(zhǎng)規(guī)律研究初報(bào) 利用麗蚜小蜂控制煙田煙粉虱效果研究初報(bào) 常見(jiàn)問(wèn)題解答 當(dāng)前所在位置：中國(guó) > 經(jīng)濟(jì)法律 > 小最最I(lǐng)N報(bào) 小最最I(lǐng)N報(bào) 雜志之家、寫(xiě)作服務(wù)和雜志訂閱支持對(duì)公帳戶(hù)付款！安全又可靠！ document.write("作者： 本刊編輯部")

申明:本網(wǎng)站內(nèi)容僅用于學(xué)術(shù)交流，如有侵犯您的權(quán)益，請(qǐng)及時(shí)告知我們，本站將立即刪除有關(guān)內(nèi)容。 第68屆日本推理作家協(xié)會(huì)獎(jiǎng)

4月21日，日本推理作家協(xié)會(huì)公布了本年度協(xié)會(huì)獎(jiǎng)的各部門(mén)獲獎(jiǎng)名單。最佳長(zhǎng)篇獎(jiǎng)?lì)C給了月村了衛(wèi)的《土漠之花》和早見(jiàn)和真的《無(wú)罪之日》。喜國(guó)雅彥的《書(shū)架偵探的最后問(wèn)候》和霜月蒼的《阿加莎?克里斯蒂完全攻略》獲得本次最佳推理評(píng)論獎(jiǎng)。本屆最佳推理短篇獎(jiǎng)從缺。各位獲獎(jiǎng)?wù)邔⒎謩e獲得50萬(wàn)日元的獎(jiǎng)金。頒獎(jiǎng)儀式預(yù)定5月20日晚在東京新橋的東京第一酒店舉行。

月村了衛(wèi)是日本著名的動(dòng)漫編?。ā短斓?zé)o用》等），2010年以科幻懸疑作品《機(jī)龍警察》系列出道，該系列為其贏得了科幻小說(shuō)大獎(jiǎng)、吉川英治新人獎(jiǎng)等諸多榮譽(yù)。此前兩個(gè)月里，月村已經(jīng)先后拿下了本年度第17回大藪春彥獎(jiǎng)及第12屆本屋大獎(jiǎng)第5位。本作《土漠之花》講述精銳部隊(duì)在索馬里開(kāi)展救援行動(dòng)的故事。37歲的早見(jiàn)和真2008年出版首部作品，本作是其第一部推理小說(shuō)，即獲得了本次大獎(jiǎng)。 埃德加?愛(ài)倫?坡獎(jiǎng)

本年度4月29日，美國(guó)偵探作家協(xié)會(huì)（MWA）在紐約凱越大酒店舉行了本年度埃德加?愛(ài)倫?坡獎(jiǎng)的頒獎(jiǎng)儀式。其中最重要的最佳小說(shuō)獎(jiǎng)（Best Novel）被斯蒂芬?金的《梅賽德斯先生》奪得。《梅賽德斯先生》是一部非典型的“警察抓賊”小說(shuō)，主角是喜歡開(kāi)著奔馳車(chē)的精神病病人，在駕車(chē)沖入招聘會(huì)現(xiàn)場(chǎng)瘋狂造成8死15傷后逃逸，開(kāi)始策劃更瘋狂的屠殺計(jì)劃。收到匿名信后，退休刑警為了阻止這一瘋狂計(jì)劃重出江湖。該作于去年6月出版，目前已經(jīng)確定會(huì)被改編成電影。斯蒂芬?金是全球最為知名的懸疑恐怖小說(shuō)大師，其作品全球銷(xiāo)量高達(dá)3億5千萬(wàn)冊(cè)，20多部作品被引進(jìn)至中國(guó)，風(fēng)格包含恐怖、科幻、懸疑、奇幻等，其名作包括《肖申克的救贖》、《閃靈》、《黑暗塔》等。作者曾于2007年拿下埃德加愛(ài)倫坡終身成就獎(jiǎng)。

其余獎(jiǎng)項(xiàng)中，湯姆?波曼的《山谷中的枯骨》拿下最佳處女作獎(jiǎng)；去年另一本根據(jù)剛解密FBI資料改編的暢銷(xiāo)書(shū)《好萊塢黎明的謀殺、嗎啡和瘋狂》拿下了最佳犯罪實(shí)錄獎(jiǎng)；J.W.奧克的《埃德加?愛(ài)倫?坡的神圣之處》拿下最佳評(píng)論獎(jiǎng)；《幸福谷》拿下了最佳懸疑電視劇獎(jiǎng)。洛伊絲?鄧肯和詹姆斯?艾羅瑞共同獲得了終身大師獎(jiǎng)。

埃德加?愛(ài)倫?坡獎(jiǎng)是目前全球最為權(quán)威的懸疑推理小說(shuō)獎(jiǎng)項(xiàng)，由美國(guó)偵探作家協(xié)會(huì)（MWA）創(chuàng)立于1946年。獲獎(jiǎng)作品由美國(guó)偵探作家協(xié)會(huì)指定成員組成的委員會(huì)裁定。該獎(jiǎng)項(xiàng)也被譽(yù)為是偵探推理界的奧斯卡獎(jiǎng)。 第15屆本格推理小說(shuō)大獎(jiǎng)

2015年5月12日，日本本格推理作家俱樂(lè)部公布了本年度本格推理小說(shuō)大獎(jiǎng)得主，麻耶雄嵩憑借去年8月出版的《再見(jiàn)，神啊》拿下最高的19票奪得大獎(jiǎng)，山本弘的《我的光輝世界》以3票之差落選。霜月蒼的《阿加莎?克里斯蒂完全攻略》拿下了最佳評(píng)論作品獎(jiǎng)。

麻耶雄嵩此次已經(jīng)是第2次拿下該獎(jiǎng)項(xiàng)（上一次為2011年《獨(dú)眼少女》），同時(shí)也是第2位兩奪該大獎(jiǎng)的作家。本作作為一部短篇作品集去年已經(jīng)拿下本格推理排行榜年度第1，在另外三個(gè)最為權(quán)威的榜單中也全部擠入前3位，是去年當(dāng)之無(wú)愧最為出色的推理作品。麻耶雄嵩是近5年來(lái)日本最為出色的新本格推理作家，出版了5部作品幾乎全是當(dāng)年本格推理排行榜的冠亞軍之作。其作品以短篇居多，作品大部分有著非常出色的詭計(jì)，或是結(jié)構(gòu)創(chuàng)意十分出色，亦或是爭(zhēng)議極大的顛覆傳統(tǒng)寫(xiě)法，可謂篇篇經(jīng)典。國(guó)內(nèi)近期也陸續(xù)出版了其多部作品，好評(píng)如潮，去年麻耶還曾經(jīng)出現(xiàn)在上海書(shū)展上。 英國(guó)犯罪作家協(xié)會(huì)鉆石匕首獎(jiǎng)

本年度6月30日，英國(guó)犯罪作家協(xié)會(huì)將舉行晚宴及頒獎(jiǎng)儀式。本次大獎(jiǎng)只公布短篇獎(jiǎng)、非小說(shuō)類(lèi)獎(jiǎng)、國(guó)際獎(jiǎng)、歷史小說(shuō)獎(jiǎng)以及鉆石匕首獎(jiǎng)（終身成就獎(jiǎng)）。協(xié)會(huì)中最為著名的金匕首獎(jiǎng)自2013年后尚未出現(xiàn)大獎(jiǎng)得主。而本次頒獎(jiǎng)儀式中最為矚目的則是凱瑟琳?艾爾德獲得鉆石匕首獎(jiǎng)。該獎(jiǎng)項(xiàng)自1986年開(kāi)始頒授，歷來(lái)的鉆石匕首得主都是著作甚豐，經(jīng)年累月深耕推理田地，風(fēng)格獨(dú)特明顯的老輩作家。也因此獲頒鉆石匕首獎(jiǎng)，對(duì)于英國(guó)推理作者而言不啻是一種終身成就的肯定?？ǖ貋嗐@石匕首價(jià)值3萬(wàn)英鎊，每年只在授獎(jiǎng)儀式上露一次面，獲獎(jiǎng)作家無(wú)權(quán)保存鉆石匕首，但會(huì)得到一枚鉆石匕首胸針或者袖口別針。

第2篇：短篇偵探故事范文

But it’s going to cost some mega bucks and by mega bucks we mean like ?25 million for the park which will open in Portsmouth， where author Sir Arthur Conan Doyle used to live.

While no official dates have been announced for the fun fair， described as a “world class multimedia experience” will revolve around actual plots with characters including the super sleuth’s trusted side-kick Dr. Watson and arch enemy Moriaty.

The park won’t just include rides but also holograms of it’s leading cast as fans will get the chance to explore dome of the stories’ most famous locations including， of course， Holmes’ very own Baker Street.

Sherlock Holmes has become one of the most iconic characters in British history since Conan Doyle’s hero first came to prominence in a series of short stories way back when in 1887.

Since then he has gone to be portrayed on screen by Basil Rathbone in the 1939 film series and of course by Robert Downy Jr. and Benedict Cumberbatch.

Steve Pitt of the Portsmouth Cultural Partnership―the man behind the madness explained， “It would be very interactive and high quality. There are so many tie-ins around the legacy of Sherlock Holmes being ‘born’ in Portsmouth.”

Well， Steve will be the first in line if this all goes ahead！ Fingers crossed guys！

對(duì)《神探夏洛克》的粉絲們來(lái)說(shuō)，這可能是最不可思議又奇妙無(wú)比的消息――據(jù)報(bào)道，一座真正的《神探夏洛克》主題公園正在建設(shè)中，大偵探的粉絲們將可以沿著這個(gè)公園一路破解各種謎題，體會(huì)破案的激情。

主題公園將要花費(fèi)數(shù)額巨大的資金，這座即將在樸茨茅斯開(kāi)放的公園大約要花費(fèi)2500萬(wàn)英鎊，作者亞瑟?柯南?道爾曾在樸茨茅斯生活過(guò)。

這個(gè)趣味主題公園的官方開(kāi)放日期暫未公布，它將重現(xiàn)劇中的真實(shí)情節(jié)，大偵探的好伙伴華生醫(yī)生和死敵莫里亞蒂等人物都將出現(xiàn)，這一主題公園被形容為“世界級(jí)多媒體體驗(yàn)”。

公園里將不僅擁有供游客乘騎的游樂(lè)設(shè)施，還會(huì)有主演陣容的全息照片。粉絲將有機(jī)會(huì)對(duì)故事里最出名的一些場(chǎng)所一探究竟，其中當(dāng)然包括福爾摩斯住的貝克街。

1887年，柯南?道爾的系列短篇故事里，這位主角首次進(jìn)入人們視線(xiàn)，從那以后，夏洛克?福爾摩斯就成為英國(guó)歷史上最具代表性的人物之一。

自此，從貝錫?羅斯本1939年的電影系列，到由小羅伯特?唐尼出演的電影、本尼迪克特?康伯巴奇出演的英劇，夏洛克持續(xù)被搬上熒屏。

第3篇：短篇偵探故事范文

After a short cameo[片段] in the 2009 hit film Sherlock

Holmes, the detective’s most notorious[聲名狼籍的] enemy becomes the focus of the sequel[續(xù)集], scheduled[預(yù)定的] for release Dec. 16th.

Even with Mark Strong taking the bad guy role as the serial killer[連環(huán)殺手] Lord Blackwood―and an impressive

$209 million at the box office―director Guy Ritchie felt something was missing the first time. Although he’s reluctant[勉強(qiáng)的] to do sequels, he was quick to reteam for Sherlock Holmes: A Game of Shadows.

“I can’t help myself,” Ritchie says. “They wanted this to be a

franchise[電影系列], which, in my mind, needs at least two movies. But I really

liked working with the team on the first movie, so this was an easy choice.”

So was the primary villain[壞人] for A Game of Shadows. The cast[演員陣容]

will reunite Robert Downey Jr. as Holmes, Jude Law as Dr. Watson and Jared Harris as the mysterious James Moriarty.

The movie follows Holmes as he and Watson trace Moriarty’s murderous[殺人的]

trail with the help of Holmes’ older brother, Mycroft (Stephen Fry), and a Gypsy, Sim (Noomi Rapace). The film shares elements

from Sir Arthur Conan Doyle’s 1893 short story The Final Problem, which first

appeared in Strand Magazine and introduced Moriarty.

Ritchie, director of Lock, Stock & Two Smoking Barrels and Snatch, says he was taken aback[使大吃一驚] by the success of the first Holmes film and wasn’t sure how to

repeat it.

But a good baddie[惡人] never hurts.

“Moriarty is one of the most famous

villains of all time,” he says. “But we didn’t want to make him a conventional[常規(guī)的]

character. The challenge was to still make him modern, believable.”

Conventional, Harris isn’t. Recently seen as the British nerd[書(shū)呆子] in Mad Men注, Harris “brings a depth, a realism[真實(shí)性], that everyone

was really excited about,” Ritchie says.

Even if Holmes’ appeal[吸引力] remains something of a puzzle to Ritchie.

“I don’t know why he’s been so popular all these years,” Ritchie says. “Maybe it’s because he was such a pioneer. The famous investigator with flaws[缺點(diǎn)] in his character.

“Yet he’s still this constant[不變的] winner. How could you not like that?”

Storyline of A Game of Shadows

Sherlock Holmes has always been the smartest man in the room...until now. There is a new criminal mastermind[策劃者]

at large[未被捕]―Professor Moriarty―and not only is he Holmes’

intellectual equal, but the combination[結(jié)合] of his evil and lack of

conscience[道德心] may actually give him an advantage over Holmes.

When the Crown Prince[皇儲(chǔ)] of Austria is found dead, the

evidence points to suicide[自殺]. But Sherlock Holmes believes that the prince has been the victim[受害人] of murder―a murder that is only one piece of a larger and much more troubling puzzle,

designed by Professor Moriarty.

Mixing business with pleasure, Holmes tracks the clues to an underground gentlemen’s club, where he and his brother, Mycroft Holmes are toasting[敬酒] Dr. Watson on his last night of bachelorhood[獨(dú)身]. It is there that Holmes encounters[遇到] Sim, a Gypsy fortune teller, who sees more than she is telling and whose unwitting[不知情的] involvement[卷入] in the prince’s murder makes her the killer’s next target. Holmes barely manages to save her life and, in return, she reluctantly agrees to help him.

The investigation becomes ever more dangerous as it leads Holmes, Watson and Sim across the continent, from England to France to Germany and finally to Switzerland. But Moriarty is always one step ahead as he spins[紡織] a web of death and destruction―all part of a greater plan that, if he succeeds, will change the course[進(jìn)程] of history.

莫里亞蒂回來(lái)了。

大偵探最臭名昭著的敵人――莫里亞蒂在2009年的大熱電影《大偵探福爾摩斯》中一閃而過(guò)，這次他在續(xù)集（定于12月

16日上映）中成為主角。

盡管有馬克?斯特朗飾演壞人――連環(huán)殺手布萊克伍德爵士，以及2.09億美元的票房收入，導(dǎo)演蓋?里奇總覺(jué)得第一部缺少了一些東西。雖然不太情愿拍續(xù)集，但他很快就回到了《大偵探福爾摩斯：影子游戲》的隊(duì)伍中。

“我控制不住自己，”里奇說(shuō)?！八麄兿Ｍ@成為一個(gè)電影系列，而我認(rèn)為一個(gè)系列至少需要兩部電影。但我真的很喜歡和第一部電影的劇組工作，所以這還挺輕松的?！?/p>

《影子游戲》的大反派選角也同樣輕松。

小羅伯特?唐尼和裘德?洛將再次分別飾演福爾摩斯和華生醫(yī)生，賈里德?哈里斯則飾演神秘的詹姆斯?莫里亞蒂。

電影跟隨著福爾摩斯的腳步――在福爾摩斯的哥哥邁克羅夫特（斯蒂芬?弗雷飾）和吉普賽人西姆（勞米?拉佩斯飾）的協(xié)助下，福爾摩斯和華生一步一步地追查莫里亞蒂的殺人線(xiàn)索。該片采用了阿瑟?柯南?道爾爵士寫(xiě)于1893年的短篇作品――《最后一案》的元素。該作品首次在《海濱雜志》刊登時(shí)也是莫里亞蒂的初次出場(chǎng)。

曾執(zhí)導(dǎo)《兩桿大煙槍》和《偷拐搶騙》的里奇說(shuō)，他對(duì)第一部福爾摩斯電影的成功感到很意外，不知道如何再創(chuàng)佳績(jī)。

而一個(gè)大壞蛋總是無(wú)傷大雅。

“莫里亞蒂是史上最出名的反派之一，”他說(shuō)?！暗覀儾幌胱屗兂梢粋€(gè)普通的壞人。挑戰(zhàn)在于令他符合現(xiàn)代標(biāo)準(zhǔn)，而且可信?！?/p>

哈里斯絕對(duì)不普通。作為最近出現(xiàn)在《廣告狂人》的英國(guó)書(shū)呆子，哈里斯“（給角色）帶來(lái)一種深度、一種真實(shí)感，讓大家興奮不已，”里奇如是說(shuō)。

福爾摩斯為何有如此魅力，這對(duì)于里奇來(lái)說(shuō)也是一個(gè)謎。

“我也搞不懂這些年來(lái)他為何如此受歡迎，”

里奇說(shuō)。“也許因?yàn)樗且粋€(gè)先驅(qū)者，是一個(gè)性格上有缺點(diǎn)的著名偵探。

“但他還是那個(gè)常勝將軍。你怎能不愛(ài)他呢？”

《影子游戲》故事情節(jié)

歇洛克?福爾摩斯一直是所有人中最聰明的……到目前為止是這樣。如今，一名新的犯罪主謀――莫里亞蒂教授逍遙法外。他不單有著和福爾摩斯相當(dāng)?shù)穆斆鞑胖?，而且本性邪惡，加上毫無(wú)道德心，這些也許會(huì)讓他比

福爾摩斯更有優(yōu)勢(shì)。

奧地利皇儲(chǔ)的尸體被發(fā)現(xiàn)，證據(jù)都指向自殺。但福爾摩斯認(rèn)為王子是被人謀殺的。莫里亞蒂教授設(shè)下了一個(gè)更大、更麻煩的謎團(tuán)，而這宗謀殺只不過(guò)是其中的一小部分。

第4篇：短篇偵探故事范文

作品中懸疑氣氛的營(yíng)造        

學(xué)    院：    外 國(guó) 語(yǔ) 學(xué) 院          

專(zhuān)業(yè)班級(jí)：    英語(yǔ)理工042班           

姓    名：    王   華   丹            

學(xué)    號(hào)：    204092041               

指導(dǎo)教師：    孟         冬           

答辯時(shí)間：    2008年 6 月             

THE CREATION OF SUSPENSE ATMOSPHERE IN THE MURDERS IN THE RUE MORGUE

BY

 WANG   HUADAN

REGISTERED NO. 204092041

SCHOOL OF FOREIGN LANGUAGES

ZHEJIANG UNIVERSITY OF

SCIENCE AND TECHNOLOGY

JUNE, 2008

The Creation of Suspense Atmosphere in The Murders in the Rue Morgue

Abstract: Edgar Allan Poe, American short story writer, poet, critic, editor, novelist, and essayist，has achieved great success in literature. Especially in the field of short stories, he is father of the detective story and sets the pattern of western detective stories. One feature of his works is the description of supernatural terror, mystery, cruelty and fatalism. The story’s plot is full of dramatic natures. He lays stress on the description of details and the atmosphere and the effect of the story. When it comes to his detective stories, he is an artist of creating the suspense atmosphere. This paper based on The Murders in the Rue Morgue which is considered as the world first detective story, summarized two main points, regulation and contrast. The paper attempts to analyze the story from the aspects of plot, language and identifies how they were used by Poe to structure the story in the hope that it might conductive to the reading and understanding of Poe’s detective stories for it provides the clue for the readers. Through the analysis, the paper reveals that Poe sets the suspense atmosphere through three points, irregular plot，irregularity of language and the contrast of the main characters. The conclusion part brings the whole thesis to an end and points out how the suspense atmosphere is set and explores that all the elements serve for the creation of suspense atmosphere.

Key Words: Allan Poe; detective story; suspense atmosphere; Dupin

從《毛格街血案》分析愛(ài)倫▪坡作品中懸疑氣氛的營(yíng)造

摘  要：埃德加▪愛(ài)倫▪坡在小說(shuō)，詩(shī)歌，評(píng)論，出版，隨筆等領(lǐng)域都卓有成就，他的短篇故事尤為人稱(chēng)道。他是偵探小說(shuō)的鼻祖并設(shè)立了西方偵探小說(shuō)的模版。他作品的有鮮明特征，對(duì)超自然的驚恐，神秘，殘忍，以及宿命論。他寫(xiě)的故事情節(jié)充滿(mǎn)戲劇性并注重細(xì)節(jié)描述，氣氛營(yíng)造以及故事效果。當(dāng)談及他的偵探故事時(shí)，他是當(dāng)之無(wú)愧的懸疑氣氛制造大師。本論文以他的《毛格街血案》為例，解構(gòu)懸疑氣氛營(yíng)造的手法，分析得出反常和對(duì)比兩大手法在文章中的運(yùn)用，通過(guò)其在語(yǔ)言，情節(jié)，人物性格上的體現(xiàn)加深懸疑氣氛。本文旨在闡釋如何營(yíng)造懸疑氣氛并希望對(duì)能更好感受愛(ài)倫.坡文章的出彩之處和精妙布局有所裨益。

關(guān)鍵詞： 愛(ài)倫.坡；偵探小說(shuō)；懸疑氣氛；杜賓

CONTENTS

Introduction 1

1. Background and Literature Review of Edgar Allan Poe…………...1

1.1 Edger Allan Poe's detective stories……………………….………….….……….1

  1.2 The Literature Review of Edgar Allan Poe…………….………...…...…………1

2. Irregular Points………………………………………………………..3

2.1 Irregular Introduction………….………………...…………………………...…..3

2.2 Grotesque Case…………………..……..…………………………………….….6

2.3 Irregularity of Language ……….……………………………………………..…7

     2.3.1 The Gothic Writing Style………………….………………………………………….…7

     2.3.2 The Logical Technique………………………………………………………………….8

3. The Contrast of the Main Characters ………………..……..…..….10

3.1 Dupin vs Narrator……………………………………………..………...……10 3.2 Dupin vs the Police……………………………………………..……………..11

4.Conclusion….....………………& hellip;…………………………………....11

Bibliography..…………………………………………………..…...…..18

Introduction 

Edgar Allan Poe (1809-1849), literature giant, wrote about fifty poems and seventy-five short stories in his short lifetime. He had achieved great success in literature. But taking close look into his personal life, perhaps, Poe could be considered as one of the most controversial and most tragic figures in the history of American literature. The basic note of this miserable man was insecurity, which started practically in the cradle. His real father deserted his mother and him when he was still an infant. After two years, his mother passed away. Poe was adopted by John Allan, a rich but ill-tempered businessman who never legally adopted Poe, which made their relationship rather capricious, and sour at last. Fortunately, Poe responded to the unfavorable situation by exercising his poetic gift, which turned out a little success. However, no wealth came to him out of all this at all--poverty remains his typical condition towards his last years. All his life he has been continually struggling against both his own demons and the apparent recalcitrance and rejection of the outside world, operating under continual financial, medical and addictive pressure. His tragic life gives him the source of writing and helps to shape his unique writing style. His distinctive and even grotesque works are valued and appreciated in European countries, but ironically failed to be appreciated or interpreted by his fellowmen. Being a literary talent born, Poe has high sensitivity, “with an intuitive faculty of imagination and a subtle sixth sense impossible to define”. Apart from his other accomplishments, Poe’s rational-analyze ability may be covered by the other talent. With the full boom of the field of the detective story, Allan Poe, pioneer of this field, gets more and more attention. Poe created five models of reasoning stories namely “murder in a closed room”, “the armchair pure reasoning detective” , “psychological case solving or blind spot of human beings”, “decoding the trick of code” and “the detective himself is the murder” with respect to the three Dupin series reasoning stories The Murders In The Rue Morgue，The Mystery Of Marie Roget， A Sequel To The Murders In The Rue Morgue' The Purloined Letter, and the other two The Gold-Bug and Thou Art The Man respectively。

The study would concentrate on the murders in the rue morgue which was Poe’s first detective story. Based on the suspense creation, it will give detailed look into the story and try to explain how the suspense atmosphere created in The Murders in the Rue Morgue.

▪1. Background and Literature Review of Edgar Allan Poe

▪1.1 Edgar Allan Poe’s Detective Stories

As Poe created seventy-five short stories in all his life among which over twenty are greatly famous in the world. The short stories of Poe can roughly be classified into two categories: horror tales and detective stories. The researchers mainly concentrate on his horror tales. When it comes to his detectives, the research becomes comparatively rare though some scholars home and abroad have made some conclusions, e.g.  Arthur Voss (1983) asserted: “Poe is the father of modern detective stories.” Jiang Jilin said; “Poe initiated the narrative pattern of western detective stories “case, spying, reasoning, solving”, “the triangle character relationship” “detective-narrator-vulgar-police” concerning the three Dupin series reasoning stories. It is universally acknowledged that there are altogether five detectives created by Poe namely, Thou Art The Man and The Gold-Bug and the three Dupin series; The Murders In The Rue Morgue，The Mystery Of Marie Roget--A Sequel  to  The Murder In  The Rue Morgue,  and  The Purloined Letter. Nevertheless, there are some differences between the two categories because the former two pay more attention to the case and spying while the later three ones to the course of reasoning. The three Dupin series are all reasoning stories and they are also the targeted texts of the present study. The studies which focus on Poe’s contributions to modern detectives are similar in one way or another. However, they did not make clear how Poe arranged his plot and how Poe created the suspense atmosphere. So it is a question open to further investigation, and hence necessitate the present in deep research..

1.2 The Literature Review of Edgar Allan Poe

Edgar Allan Poe is probably one of the most controversial figures in the history of American literature. His distinctive and even grotesque works are valued and appreciated in European countries, especially in France, but ironically failed to be appreciated or interpreted by his fellowmen. Poe’s reputation in America was relatively slight until the French-influenced writers like Ambroce Bierce, Robert W. Chambers, and representatives of the Lovecraft school created interest in his work. In contrast, it took about one century for Poe to establish his artistic reputation in America. Among Poe's contemporary writers in the nineteenth century, only Hawthorne recognized his talent and praised the “force and originality” in his works. It is a pity that most of Poe’s fellowmen, especially those who were in his time, failed to realize his value or appreciate his genius. Emerson looked down upon him as a jingle man .Mark Twain condemned his work unreadable, and even Henry James claimed that “an enthusiasm for Poe was the mark of decidedly primitive stage of reflection.” While it is awfully strange that in European countries and among a small portion of Americans, Poe has won the respect and admiration no less tough in degree than the misunderstanding or inveigh he has been opposed at home. For Baudelaire, he was a “fallen angel who remembered heaven,” a “Byron gone astray in a bad world.” Yeats sang high praise for him, regarding him as so certainly the greatest of American poets, and always, for all lands, a great lyric poet. George Bernard Shaw found him exquisitely refined and William Carlos Williams, one of the few Americans who spoke for Poe, proclaimed that it is Poe that had given sense for the first time in America that literature was serious, not a matter of courtesy but of truth.

With the growing study and research in Poe’s works and his personality, the modern tendency witnesses an increasing popularity and appreciation that justify his significance and contribution. It is progressively convinced by the modern critics that Poe is one of the greatest literary figures in the U.S. who has fathered many things, one of which is the detective stories. Besides, Poe’s own wretched life tragedy provides him the gothic mind and his significance is partly due to his exploration and contribution to the literature.

2. Irregular Points

▪2.1  Irregular Introduction

The story took Dupin as a protagonist but it didn’t take Dupin as the narrator but “I”, “I” connect Dupin and the reader, the reader gets the information about Dupin.  Through “my’” eye, Dupin’s character is shown to the reader, his rational talent, his recluse life. When introduces Dupin, Poe has played a trick to stimulate the interesting of the reader.

“I” gave several description of Dupin.

1 “...I there became acquainted with a Monsieur C. Auguste Dupin. This young gentleman was of an excellent, indeed of an illustrious family, but by a variety of untoward events...., or to care for the retrieval of his fortune.”

2  “...Indeed the locality of our retirement had been…，and it had been many years since Dupin had ceased to know or to be known in Paris….”

3  “...It was a freak of fancy in my friend (for what else shall I call it?) to be enamored of the night for her own sake..., giving myself up to ...abandon.”

4  “...He seemed, too, to take an eager delight in its exercise-if...-and did not hesitate to confess the pleasure thus derived.”

Then what's the communicating propose of such an order since they are not randomly ordered by Poe. In the five naming devices, Poe first uses the full name “ Monsieur C. Auguste Dupin” and the using of “Monsieur”(Sir) here represents a kind of respect but also distance from the narrator “I” and the reader because at first the reader are not familiar with the person; then “I”-the narrator- call the detective “young gentleman” to state further what kind of person he is; next “I” call the protagonist “Dupin” instead of the full name “Monsieur C. Auguste Dupin” to suggest that there is an increasing familiarity between “I” and “Dupin”; further, the naming device of the detective goes on to be changed into “my friend” and the adding of “my” suggest “I” am still closer to Dupin than before; finally comes the naming device “he” which is a third personal pronoun and the using of it indicates that the reader can infer who “he” is based on the former introduction. It is a process to let the reader accept Dupin and set the atmosphere that Dupin is reliable. It is designed to bring the reader to join into the story, experience what happened in the story and has a feeling of joining into the investigation. When the reader acknowledged the details in the story, he would sink into rational thought and until he worked it out, the suspense atmosphere is created. The reader will sink into the plot without doubt.

    In order to deepen the suspense atmosphere of the case, Poe didn’t introduce the case directly at first, but let reader know how Dupin and I met and their daily life. The most important, presenting Dupin’s super rational talent in the case of The Murders in the Rue Morgue, Poe uses the little talk when they taking a walk to reveal Dupin’s talent of reasoning. Just as Dupin boasts, “most men, in respect to him, wore windows in their bosoms”, he could fathom what people are thinking of, Dupin deduces “I” was thinking of Chantilly-an actor one night when they were strolling down a long dirty street and all at once broke forth with these words;

   “He is a very little fellow, that's true, and would do better for the Theatre des Yari a tes.”

Here the using of the naming device “he” presupposes some person. To the reader, without reading the following text, he does not know who “he” presupposes, his name, personality etc. The reader is at a loss for that because they don't have the common knowledge with the writer and Dupin and can not fathom the narrator’s thought as Dupin does. The naming device “he” is not clear to the reader, so it creates a kind of suspense which inspires the reader to continue reading to find the referent of “he”. The use of “he” also reveals Dupin’s remarkable reasoning talent even “I” was astonished and said:

    “How was it possible you should know I was thinking of—here I paused to ascertain beyond a doubt whether he really knew of whom I thought . ”

And Dupin asserted without a pause; “of Chantilly” said he, “why do you pause? You were remarking to yourself that his diminutive figure unfitted him for that tragedy.”

Up to now, the reader begins to realize that “he” is called “Chantilly” but no more. Next, the narrator gives the reader some explanation about what kind of person Chantilly is;

“This was precisely what had formed the subject of my reflections. Chantilly was a quondam cobbler of the Rue St. Dennis who had attempted the role of Xerxes ...”

So far, the reader has a clear comprehension about “he”, and the sequential naming devices should be ordered as this;

He--Chantilly-- cobbler actor (Xerxes)

The reverse syllogism can create the suspense because the first dubious naming device can intensify the attention attracting effect. Only after finishing reading the following text, can the reader knows the corresponding relationship of the naming devices from “he” to the “actor” who acts the role of “Xerxes”. And in such process, it reveals the abundant observing and reasoning ability which is proved by his retrace of the course of meditations of the narrator. However, if we converse the order mentioned above and suppose Dupin refers to “Xerxes” first, there will be no such suspense to the reader or narrator in that “Xerxes” is not strange to most people if not to everyone. Compared to “Xerxes”, “he”, as the singular form of third personal pronoun, indicates no definite referent it presupposes without the context and thus its first place position stimulates the reader’s further reading. This show of Dupin is like appetizer, arousing the reader’s appetite for the case.

2.2 Grotesque Case

For the reader the most important thing in the detective story is the case, what attracts them most is any unexpected plot and challenging conventional pattern. As the first detective story in the literature world The Murders in the Rue Morgue which is still the incomparable and perfect model of the literature genre of today. In the other world, this story set the pattern for the following detective stories. Since Poe created the detective story many storywriters followed his footsteps and gradually brought the genre to its Golden Age between the Second World War At that time, it was popular for detective story writers to set up rules to define the genre and to regulate the written forms of the story. S.S.Van Dine formulated his influential “Twenty Rules for Writing Detective Stories” in 1928,and a comparative study of Poe's detective stories reveals that Poe violated some of Van Dine's principles, some of which argue for a scientific method of detection. Although S.S.Van Dine did not set down his rules of fairness to the reader until almost a century after Poe, when detective fiction had already flowered into its golden age, several interesting and important questions inevitably come to mind. Taking The Murder in The Rue Morgue for example, despite many interesting coincidences in which Poe complies so well with some of the rules Van Dine laid down almost a ce ntury later, a detailed comparison of Poe’s Dupin stories with Van Dine’s “Twenty Rules” impresses most is the obvious conflict between Poe’s poetic way of investigation, employing primarily imagination, and Van Dine’s strictly logical method of searching for the truth. The Murder in The Rue Morgue disobey Rule 5, “The culprit must be determined by logical deductions, not by accident or coincidence or unmotivated confession”; Rule 18, “A crime in a detective story must never turn out to be an accident or a suicide”; The comparative study of these rules in connection with Poe’s stories casts doubt on Van Dine’s strictly logical method of detection.

The story is considered as the world’s first detective story and is about a “murder in a closed room”. The story opens with the discovery of the violent murder of an old woman and her daughter; no grisly detail is spared in the description of the crime scene as it is discovered by neighbor’s responding to the women’s screams. Poe’s story unfolds the mystery of two women victims, Madame L’Espanaye and her daughter Camilly, who were brutally murdered in their locked room with the entire windows closed. In location, the crime scene is “closed”; in logical, no motive for the crime was found (The old lady and her daughter seemed on good terms-very affectionate towards each other. They were excellent pay. Could not speak in regard to their mode or means of living. Believed that Madame L. told fortunes for a living. ) and a “foreigner’s” voice, “quick and unequal” was heard by witnesses coming from inside the locked room. The Murders in the Rue Morgue is the first one that lists the orangutan as the perpetrator of the murder of the two women. Poe might be playing a hoax on the reader, for it is hardly believable that all of Dupin’s superb detection eventually leads to an animal as his antagonist. The reader prejudices the killer as a merciless person and focus on revealing who he is. Being an elusive writer himself, Poe expect us to penetrate this veil of duplicity and take more seriously the enslavement of the orangutan by his master, the sailor, who captured the “animal” on an overseas voyage, then kept it secluded in his house as his personal property with the ultimate purpose of selling it for a fortune. The Murders in the Rue Morgue initiates the model of modem detectives and marks the introduction of the mystery and the private investigator. The dedicate situation combine a grotesque case, when reading this, readers can’t help asking questions, everything seams unreasonable but one step close related to the other step. The reader and the narrator seams to fall into a puzzle and relies on Dupin to guide them and walks out of the suspense.

2.3 Irregularity of Language

2.3.1 The Gothic Writing Style

The word “Gothic” in literary criticism is unfortunately a synonym of the pejorative term—terror. The writing style has even been scorned as a formula, bristled with violence, murder, revenge, rape, incest, or even with presence of ghost, monster or some other preternatural phenomena; the prevailing atmosphere of such fictions is somber, mysterious, horrible and always filled with a sense of suspense. Although his gothic novels present that thoroughly, Poe’s Gothicism writing style shadows over many later works in fantasy, science, and detective fiction. In the murders in the rue morgue street, the description of the crime scene is a case in point.

“But an unusual quantity of soot being observed in the fire-place, a search was made in the chimney, and (horrible to relate!) the corpse of the daughter, head downward, was dragged there from ,it having been thus forced up the narrow aperture for a considerable distance. The body was quite warm. Upon examining it, many excoriations were perceived, no doubt occasioned by the violence with which it had been thrust up and disengaged. Upon the face were many severe many severe scratches, and upon the throat, dark bruises, and deep indentations for finger nails, as if the deceased had been throttled to death.”

“After a thorough investigation of every portion of the house, without farther discovery, the party made its way into a small paved yard in the rear of the building, where lay the corpse of the old lady, with her throat so entirely cut that, upon an attempt to raise her, the head fell off. The body, as well as the head, was fearfully mutilated - the former so much so as scarcely to retain any semblance of humanity.”

Poe created a bloody battle field of crime scene by using excellent narration skill. Such scene and events that produced the atmosphere of terror did greatly contribute to the Gothic feature of this tale. Poe leads the reader into a filmic Gothic scene, in which brews the story of suspense. The inhumanity killing of a widow Madame L’Espanaye and her daughter sends the reader into thinking? Why the killer has such strong desire for revenge? Does anyone have deep hatred to them? Who is that merciless cold-blood killer? The gothic description deepens the suspense atmosphere, broadening the reader’s fancy space. 

2.3.2 The Logical Technique

The violent murder in The Murders in the Rue Morgue happens in a closed room and leaves no other clues but some hair, the indentations of finger nails and the thrill voice which no two persons could be found to identify, and in whose utterance no syllabification could be detected. The following are the quoted passages about the testimonies of the witnesses to the “shrill voice”.

 (1) “Isidore Muset, gendarme, deposes that.... The shrill voice was that of a foreigner. Could not be sure whether it was the voice of a man or of a woman. could not make out what was said, but believed the language to be Spanish…”

(2) “Henry Duval.....…The shrill voice, this witness thinks, was that of an. Italian. Was certain it was not French...was not acquainted with the Italian language. Could not that the speaker was an Italian…was sure that the shrill voice was not that either of the deceased”

 (3) “Odenheimer, restaurateur....  Not speaking French was examined through an interpreter. Is a native of Amsterdam…Was sure that the shrill voice was that of a man-a Frenchman…”

(4) “William Bird,…Is an Englishman.…Is sure that it was not the voice of an Englishman. Appeared to be that of a German ..…Does not understand German.”

(5) “Alfonzo Gario.... Is a native of Spain…The shrill voice was that of an Englishman-is sure of this. Does not understand English language, but judges by the intonation”.

(6) “Alberto Montani... Could not make out the words of the shrill voice....Think it the voice of a Russian.... Is an Italian. Never conversed with a native of Russia”.

To make it clear, the testimony should be restructured in the following table;

Order Nationality of Witnesses Language    of    the murder

1 Frenchman Spanish

2 Frenchman Italian, neither French nor the language spoken by  the two deceased

3 Dutchman French

4 Englishman German (not understand

German, was sure not the

voice of an Englishman)

5 Spaniard English (has no

knowledge of English,

judged by intonation)

6 Italian Russian (never conversed

with a native of Russia)

(XiaoQingzhi 2006)

In order to make clear who the real murderer is, Dupin first judges the shrill voice through six witnesses from five countries. At last, Dupin made two inferences.

    a  The shrill voice was not like the voice of man.

    b  The man in question knew the voice of man. And the murderer was probably not man.

It is like cross word, there is only one right answer, how to eliminate? However, Poe's order and logic lies in the way of his text arranging and process and method of reasoning in case solving. The rational analysis is like a dedicate net, only need to resolve it one step by step. From the context, we appreciate the remarkable ability of Dupin in analyzing the cases through precise and meticulous inference. That’s to say, from a series of cancellation of reasoning, he deduces that the murderer was not belong to human being. Chronicling a search for explanation and solution, the detective story typically unfolds as a kind of puzzle or game. If the reader failed to follow Dupin’s guide in the rational labyrinth, the reader may get lost on the way to the finally truth. Nothing is more fascinating than an unsolved puzzle, the analysis of the unknown language is the highlight of the story, when the reader rack their brains to solve the problem, the grotesque case begins to show it’s enchantment of suspense.

3 The Contrast of the Main Characters

3.1 Dupin vs. Narrator

Readers may not clear how Poe arrange his plot and the methods Dupin used to in the process of reasoning since it is convinced that Dupin is skillful  in logical reasoning and with the help of “I”, “I” explore how to solve a crime through a rigorous process of rational thought and detection. At the beginning, “I” play a role as an introducer, introduce Dupin to all readers. Without “I”, Dupin’s excellent reasoning won’t be shown to reader, and the reader may be unable to appreciate the beauty of solving the suspense. Because of a lack of common knowledge between the writer and the reader, the reader may not clearly understand the thoughts, before the case of the murder in the Rue Morgue, the talk between ‘I’ and Dupin reveals Dupin’s talent of reasoning. It enriches the whole story and gives a sense that Dupin’s ideal is relievable. Broking the rule that one story only can describe one case, before the investigat ion, the reader’s brain are already for it---the big suspense. “I”--the narrator--function as a questioner and Dupin--the amateur investigator--an interpreter for questioning and interpreting clues and solutions to the crimes. “My” ignorance highlights Dupin’s talented ability. The reason that I fail to infer the truth of the crime is that I lack the common background knowledge with Dupin which makes Dupin explain all the details in case solving. However, if “I” had the equal intelligence with Dupin, “I” would infer the truth and it will be unnecessary to explain the process of case solving and the reader will be puzzled at the result of the case. So “I” also serve the function of contacting the reader.

However, this is only one of the interpretations. The lives of the two characters seem so close and singular that Poe might very well be writing about two parts of the same person. Like Poe himself, this is an extremely divided and contradictory self. The “Dupin” part appears so collected, confident, and cocky that the “narrator” part seems inquisitive, inferior and slow in comparison. For example, being the admirer of Dupin’s ratiocinative capability, he narrator would rather give himself up to Dupin’s wild whims with a perfect abandon. On the other hand, Dupin talks to the narrator in a critical and condescending manner as he remarks, “I know not what impression I may have made, so far, upon your understanding”. In addition, during their visit to the Rue Morgue, Dupin asks the narrator several times if he has seen anything “peculiar” and the repeated “no” answers make the narrator appear rather stupid and short sight to give prominence to Dupin’s super talent.

3.2 Dupin vs. the Police

In The Murders in the Rue Morgue, the brutal murder of the two women stirs up the city of Paris completely, as we can see from the report of the local evening paper, “A murder so mysterious, and so perplexing in all its particulars, was never before committed in Paris, if indeed a murder has been committed at all”. What is worse, before Dupin involves himself in this murder case no one knows how to discover the truth and restore order, as the narrator observes, “I could merely agree with all Paris in considering them an insoluble mystery? I saw no means by which it would be possible to trace the murderer”. In the story, the investigative abilities of the police are handicapped because their thinking is restricted by the details and facts supplied by the evidence. The police were baffled by the murder case and regarded it as an insoluble mystery. The genteel but impoverished Dupin and “I” offer their services to the police and, through a brilliant interpretation of the clues at the scene, in the end it is Dupin’s superb detective power that uncovers the truth and restores order in Paris: the animal perpetrator, the orangutan, is recaptured by the sailor and sold to a Botanical Garden, and the innocent Le Bon is instantly released by the Prefect of Police. Compare to the Dupin, the police are mediocre and incompetent.

After defeating the Prefect of Police “in his own castle” by rising above trivial dualities, Dupin ascribes the Prefect’s failure to his being “all head and no body”. The story ends with a very interesting quote from Rousseau's La Nouvelle Héloise: “To deny what is, and explain what is not”—which Poe uses to comment on the way the Prefect conducts his duty. This quotation echoes Hamlet’s “to be or not to be” by combining presence and absence: “To deny (absence) what is(presence),and explain(the presence of explanation in the positive sense)what is not(absence). The intertwining of presence and absence leaves us plenty of philosophical room to review the story, especially the role the Prefect plays in solving the mystery.

4. Conclusion

As the father of detective fiction, Poe invented the detective story whose primary interest lies in the methodical discovery, by rational means, of the exact circumstances of a mysterious event or series of events. Poe not only initiates the detective fiction but also the narrative pattern; case-spying-reasoning-solving and the triangle     relationship: detective-narrator-vulgar police which have inspired countless imitators who have followed his footsteps. The creation of suspense atmosphere is vital for detective stories. As a case study, this thesis has focused on the suspense atmosphere of the murders in the rue morgue.

From the context, we appreciate the remarkable ability of Dupin in analyzing the cases through precise and meticulous inference. That’s to say, from a series of reasoning, he deduces that the murderer was not belong to human being. Chronicling a search for explanation and solution, the detective fiction typically unfolds as a kind of puzzle or game. The story reveals Poe’s technique in suspense atmosphere creation. However, this paper is just an initial job for the study of detectives but an applicable one and it expects a better and complete research in this aspect.

Acknowledgements

I would like to express my gratitude to all those who helped me during the writing of this thesis. First of all, I would like to take this opportunity to present my sincere thanks to all my teachers in the Zhejiang University of Science and Technology from whose excellent, instructive lectures I have benefited a great deal in the writing of this thesis.

  My heart-felt gratitude should be especially given to my supervisor, Professor MengDong, who spent much energy and time and patiently gave me suggestions in every draft of the thesis. Her insightful suggestions, luminous directions and constant encouragement lead to the accomplishment of the thesis.

    The last but not the least, my thanks should also go to the library of Zhejiang University and the Data Room of Zhejiang University of Science and Technology where I obtained valuable books and journals which are much useful to my present thesis.

Bibliography

 [1] Haycraft.Cited in Murder for Pleasure:The Life and Times of the Detective Story[M],Howard.Biblo-Moser,1968.

. New York: Gordian Press，1966.

[3] Meyers,Jeffrey. Edgar Allan Poe:His Life and Legacy[M].New York:Charles Scribner’s Sons,1992.

[4] 愛(ài)倫•坡著,陳良廷,徐汝椿,馬愛(ài)農(nóng)譯.愛(ài)倫•坡短篇小說(shuō)集[M].北京:人民文學(xué)出版社,1988。

[5] 愛(ài)倫•坡著,曹明倫譯.怪異故事集[M].北京:北京燕山出版社, 2000。

[6] 姜吉林.淺論愛(ài)倫.坡偵探小說(shuō)的敘事模式[J]，《魯行經(jīng)院學(xué)報(bào)》2003（2）。

[7] 辜鴻銘•中國(guó)人的精神[M]•北京:外語(yǔ)教學(xué)與研究出版社, 2000。

[8] 寧倩.美國(guó)文學(xué)名家[M].哈爾濱:黑龍江人民出版社,1983。

[9] 于薇. 愛(ài)倫•坡小說(shuō)中的懸念和象征[J]. 黑龍江教育學(xué)院學(xué)報(bào). 2006（12）。

[10] 辜鴻銘.中國(guó)人的精神[M]•北京:外語(yǔ)教學(xué)與研究出版社, 2000。

[11] 沈行華.試論“毛格街血案”的心理分析主題[J].南昌職業(yè)技術(shù)師范學(xué)院學(xué)報(bào)，1996 (4)

[12] 肖青芝.語(yǔ)用預(yù)設(shè)和愛(ài)倫•坡的推理小說(shuō)[A].  西南交通大學(xué)，2006。

[13] 于新志. 愛(ài)倫•坡文學(xué)創(chuàng)作的超前意識(shí)[J]零陵師范高等專(zhuān)科學(xué)校學(xué)報(bào)，2002（1）。

[14] 張艷.論愛(ài)倫•坡恐怖小說(shuō)的重復(fù)模式[J].理論和創(chuàng)新, 2000（6）。

第5篇：短篇偵探故事范文

有些小朋友的理解能力不行，那這就更應(yīng)該用試卷來(lái)練習(xí)一下，孰能生巧的道理我們都懂，關(guān)鍵就是要去做呀。小學(xué)生畢業(yè)要升初中了，這一階段我們簡(jiǎn)稱(chēng)小升初，下面是小編為大家整理的關(guān)于天津小升初語(yǔ)文試卷真題及答案，希望對(duì)你有所幫助，如果喜歡可以分享給身邊的朋友喔!

天津小升初語(yǔ)文試卷真題一、閱讀積累。( 75 分)

(一)填空題。( 25分)

1、肖曉當(dāng)升旗手時(shí)，他的事跡是由___________介紹的。

2、《魯濱遜漂流記》的作者是英國(guó)作家___________。

魯濱遜在一座無(wú)人荒島上生活多年后，收得一土人為奴，取名________”。

3、“三英戰(zhàn)呂布”里的“三英”指的是___________、___________、___________

。

4、《湯姆索亞歷險(xiǎn)記》中，湯姆索亞住在_______________姨媽家里，他還有一個(gè)異母兄弟_________

_____。

5、《西游記》中有許多膾炙人口的故事，如《三打

》《三借 》等。

6、《窗邊的小豆豆》中，小豆豆的新學(xué)校用_________________當(dāng)教室，新學(xué)校的名字叫_________________。

7、水

，是哺育一切生靈的 乳 汁，它好像有德行。水沒(méi)有一定的形狀，或方或 長(zhǎng)，流必 向下，和順溫柔，它好像有情義。水穿穿 山巖，鑿鑿石壁，從無(wú)懼色，它好像有志向。萬(wàn)物入水，必能必能 垢，它好像 ……由此看來(lái)，水是真君子啊!

——《孔子游春》

8、良藥苦口利于病，______________________。

——《古今賢文》

9、粉骨碎身全不怕，______________________。

——《石灰吟》

10、天生我材必有用，_____________

____ ______。 ——《將進(jìn)酒》

(二)選擇題。( 8 分)

1、“破釜沉舟”“

烏江自刎”這兩個(gè)詞語(yǔ)都是講關(guān)于( )的故事。

A、項(xiàng)梁 B、宋義 C、項(xiàng)羽

2、下列作品哪一部不是莫泊桑的作品(

)。

A、《羊脂球》 B、《巴黎圣母院》 C、《我的叔叔于勒》

3、《青銅葵花》中葵花的親生爸爸一生最為成功的作品是(

)。

A、用青銅制作成的葵花 B、繪畫(huà)作品葵花 C、種植了一大塊葵花地

4、“但使龍城飛將在，不教胡馬度陰山”中的“龍城飛將”指的是(

)。

A、漢朝名將霍去病 B、漢朝名將李廣 　C、三國(guó)名將趙云

5、下面哪個(gè)故事不是三國(guó)故事(

)。

A、赤壁大戰(zhàn) B、草船借箭 C、三顧茅廬 D、負(fù)荊請(qǐng)罪

6、《夏洛的網(wǎng)》中，那只落腳的小豬名字叫(

)。

A 弗恩 B、威爾伯 C、夏洛 D、戈博

7、《愛(ài)的教育》中，弗蘭蒂被開(kāi)除的原因是(

)。

A、品行太壞 B、成績(jī)太差 C、不尊敬父母

8、《小王子》中的小王子在地球上呆了多久?(

)

A、一年 B、一個(gè)月 C、半年

(三)判斷題。(正確的在后面括號(hào)里打“ √ ”，錯(cuò)誤的打“ ×” 10 分 )

1、莫泊桑是“短篇小說(shuō)之王”;

季羨林被譽(yù)為“學(xué)界泰斗”。( )

2、小說(shuō)有著歷史真實(shí)的影子，《西游記》講的是宋貞觀年間玄奘遠(yuǎn)去西域取經(jīng)的事件。

( )

3、《水滸傳》的作者是施耐庵，“智取生辰綱”的組織領(lǐng)導(dǎo)者是宋江。

( )

4、《王子與貧兒》是美國(guó)作家馬克?吐溫的作品。

( )

5、《海底兩萬(wàn)里》小說(shuō)從海面上“怪獸”出沒(méi)，頻頻襲擊各國(guó)海輪，使市民人心惶惶開(kāi)始，到鸚鵡螺號(hào)被大西洋旋渦吞沒(méi)為止，整部小說(shuō)懸念迭出，環(huán)環(huán)相扣。

()

6、《假如給我三天光明》以一個(gè)身殘志堅(jiān)的柔弱女子的視角，告誡身體健全的人們應(yīng)珍惜生命，珍惜造物主賜予的一切。

( )

7、《少女的紅發(fā)卡》是一部長(zhǎng)篇少女心理小說(shuō)，描寫(xiě)了三個(gè)少女美麗動(dòng)人的心路歷程。

( )

8、福爾摩斯是生活在“霧都”倫敦一座簡(jiǎn)陋公寓里的一位極具偵探天才的人物。

他目光敏銳，思維嚴(yán)密而獨(dú)特，是跨時(shí)代的名偵探。 ( )

9、《中國(guó)未解之謎》是德國(guó)作家雷納.科特編寫(xiě)的一部科普著作。

( )

10、項(xiàng)羽忍受“胯下之辱”而成就一代霸業(yè)。

( )

(四)閱讀短文，完成練習(xí)。( 32 分)

短文一( 10分 )：

廣玉蘭開(kāi)花有早有遲，在同一棵樹(shù)上，能看到花開(kāi)的各種形態(tài)。有的含羞待放，碧綠的花苞鮮嫩可愛(ài)。有的剛剛綻放，幾只小蜜蜂就迫不及待地鉆了進(jìn)去，那里面橢圓形的花蕊(ruǐxīn)約有一寸長(zhǎng)。盛開(kāi)著的廣玉蘭花，潔白柔嫩得像嬰兒的笑臉，甜美、純潔，惹人喜愛(ài)。先前熱熱鬧鬧開(kāi)過(guò)的廣玉蘭花呢，花瓣雖然凋謝了，花蕊卻依然挺立枝頭，已長(zhǎng)成近兩寸長(zhǎng)的圓莖。圓莖上面綴滿(mǎn)了像細(xì)珠似(sìshì)的紫紅色的小顆粒，這就是孕育著新生命的種子。遠(yuǎn)遠(yuǎn)看上去，一株廣玉蘭就像是一個(gè)數(shù)世同堂、生生不息的大家族。

1、用“——”給加點(diǎn)字畫(huà)出正確的讀音。

(2分)

2、文中依次寫(xiě)了玉蘭花的

___________、___________、___________ 和___________這幾種形態(tài)。(4分)

3、這段話(huà)在結(jié)構(gòu)上，采用的寫(xiě)法是___________。

(2分)

A總-分 B 分-總 C總-分-總 D 時(shí)間先后

4、你喜歡什么形態(tài)的玉蘭花?為什么?

(2分)

短文二( 22 分)：

什么最廣闊

“世界上什么最廣闊?”我問(wèn)老師。老師說(shuō)最廣闊的東西就在你的生活中，需要你自己去發(fā)現(xiàn)。于是，我便在生活中觀察、探索，于是我發(fā)現(xiàn)……

瞧，雯君的手絹真漂亮，雪白的手絹上疊印著點(diǎn)點(diǎn)紅梅。雯君在跑，手絹在飄;秦敏追上去：“給我看看!”“追上就給!”雯君狡黠地說(shuō)。忽然，“啊”的一聲尖叫，秦敏摔倒了，胖乎乎的胳膊上滲出血來(lái)。雯君毫不猶豫地用雪白的手帕幫秦敏包扎，秦敏笑了，雯君笑了，我明白了……

嚴(yán)冬的早晨，一個(gè)小女孩正跺著腳，眼睛在行人中焦急地搜尋。她的小手、小臉凍得通紅，手中拿著錢(qián)包。原來(lái)她在找失主。時(shí)間一秒秒過(guò)去了，而她依然等著，當(dāng)失主拿到錢(qián)包，要和她合影時(shí)，她卻像棵含羞草，把頭深深埋在胸前。我明白了……

啊，我明白了，世界上最廣闊的是海洋，比海洋更廣闊的是藍(lán)天，比藍(lán)天更廣闊的是人的美好心靈。

1、“毫不猶豫”的意思是_____

____，

用 “毫不猶豫”寫(xiě)一句話(huà)_____ _______。(4分)

2、最后一自然段用____________的手法，著重強(qiáng)調(diào)的是_____

______。(2分)

3、讀一讀下面的句子，分別寫(xiě)出句中人物的心理活動(dòng)。

(6分)

(1)雯君毫不猶豫地用雪白的手帕幫秦敏包扎，秦敏笑了，雯君笑了。

______________________________________________________________________________________________________________________________________________________(2)當(dāng)失主拿到錢(qián)包，要和她合影時(shí)，她卻像棵含羞草，把頭深深埋在胸前。

______________________________________________________________________________________________________________________________________________________4、短文通過(guò)________________和_________________這兩件事，告訴人們_____________________________ __。(4分)

5、“老師說(shuō)最廣闊的東西就在你的生活中，需要你自己去發(fā)現(xiàn)。

”這句話(huà)給我們的啟示是________________________________________________________________

__________________________________________________________ _

(3分)

6、文中兩處寫(xiě)“我明白了……”，我究竟明白了什么?(3分)

_____________________________________________________________________________________________________________________________________________

二、習(xí)作表達(dá)。( 25 分)

生活像一個(gè)萬(wàn)花筒，五彩繽紛;又像一幕幕精彩的電影，時(shí)時(shí)呈現(xiàn)在我們的眼前。請(qǐng)你用不少于250字將生活中的一個(gè)小鏡頭描寫(xiě)出來(lái)。題目自定。

溫馨提示：1、書(shū)寫(xiě)工整，卷面整潔。

2、習(xí)作中不要出現(xiàn)真實(shí)的校名和人名。

天津小升初語(yǔ)文試卷真題答案一、閱讀積累。

(一)填空題。

1、林茜茜

2、笛福

星期五

3、劉備、關(guān)羽、張飛

4、波莉

錫德

5、白骨精

芭蕉扇

6、廢舊電車(chē)

巴學(xué)園

7、奔流不息

乳汁 或方或長(zhǎng) 流必向下 和順溫柔

山巖 石壁 從無(wú)懼色 蕩滌污垢 善施教化

8、忠言逆耳利于行

9、要留清白在人間

10、千金散盡還復(fù)來(lái)

(二)選擇題。

1、C

2、B 3、A 4、B

5、D

6、B 7、A 8、A

(三)判斷題。

1、√

2、× 3、× 4、√ 5、√

6、√

7、√ 8、√ 9、× 10、×

(四)閱讀短文，完成練習(xí)。

短文一

1、ruǐ

shì

2、含羞待放

剛剛綻放 盛開(kāi)著的 花瓣凋謝

3、C

短文二

1、一點(diǎn)也不猶豫很果斷

2、排比

世界上最廣闊的是人們美好的心靈

3、(1)雯君：都怪我，讓秦敏摔傷了!

秦敏：真的太感謝雯君了!要不是雯君，我的傷還不知道怎么辦呢!

(2)失主：真是個(gè)好孩子啊!天這么冷卻一定要等我來(lái)!

小女孩：拾金不昧是我該做的，既然失主來(lái)了，那我也該走了。

4、雯君用心愛(ài)的手帕幫秦敏止血

小女孩不畏嚴(yán)寒找失主并不求回報(bào)

告訴我們：廣闊的是同學(xué)之間的互相幫助，是可貴的誠(chéng)實(shí)，人們?nèi)椭鷦e人的心靈是最廣闊的。

5、在生活中我們要留心觀察，勇于實(shí)踐。

第6篇：短篇偵探故事范文

木心在歷經(jīng)文化劫難的后來(lái)到美國(guó)，是因?yàn)椤澳壳暗闹袊?guó)，這流傳兩三千年的精神命脈是斷了，文學(xué)的潛流枯涸而消失?！盵2]“我可不是理想主義者，我是從急驟墮落的東方文化的絕境中，倉(cāng)皇脫越而來(lái)到西方的，西方文化也在衰頹，然而總要尊嚴(yán)些，舒徐有致些?！盵3]但這并不是說(shuō)木心拋棄了中國(guó)傳統(tǒng)文化，正相反，木心認(rèn)為自己是帶根的流浪者，在木心那里，藝術(shù)文化原是沒(méi)有民族界限的。木心以詩(shī)和畫(huà)最有盛名，其次是他的散文和小說(shuō)。本文主要從小說(shuō)集《溫莎墓園日記》中來(lái)分析木心融合中西兩方面的寫(xiě)作手法和文化意蘊(yùn)。

二

Diaspora在我國(guó)譯為“流散”、“離散”，是我國(guó)在海外華文文學(xué)研究中的一個(gè)術(shù)語(yǔ)，“離散”的中文翻譯帶有離開(kāi)家園的鄉(xiāng)愁，在不同文化環(huán)境中身份認(rèn)同的障礙，漂泊異地的悲彩，這也與這個(gè)詞含有猶太人流離失所的本意相符合。離散文學(xué)的代表作家有嚴(yán)歌苓和白先勇，這些作家的特點(diǎn)是深受中西兩種文化熏陶，擁有跨文化，跨民族的世界視野。隨后美國(guó)加州大學(xué)童明教授提出了飛散的新譯法，對(duì)Diaspora不同譯法的變化也體現(xiàn)了這個(gè)詞本身意義的變化。從翻譯“離散”轉(zhuǎn)變?yōu)椤傲魃ⅰ币搀w現(xiàn)了原詞在時(shí)代變化下意義的變化。

親身經(jīng)歷過(guò)抗戰(zhàn)、內(nèi)戰(zhàn)，甚至經(jīng)歷過(guò)迫害的木心在作品中鮮少提及這段歷史，他的文字沒(méi)有抱怨和含沙射影，木心的文筆始終透著淡然，一份貴族的悠閑自得。作品中雖有鄉(xiāng)愁但這鄉(xiāng)愁總是淡淡的，絕不是悲觀的。就木心的小說(shuō)集《溫莎墓園日記》來(lái)說(shuō)，整個(gè)風(fēng)格是恬淡閑適的。

三

木心熟悉西方古今的思想經(jīng)典又有中國(guó)文化的底蘊(yùn)，他的作品中必然體現(xiàn)了中西文化的相通性，展示了世界性的特點(diǎn)。而木心對(duì)人類(lèi)在現(xiàn)代社會(huì)中面臨的一系列問(wèn)題的書(shū)寫(xiě)體現(xiàn)出深遠(yuǎn)的慈悲關(guān)懷。木心對(duì)自己所經(jīng)歷的時(shí)代沒(méi)有抱怨，而把它看成歷史的必然，以一種超然的姿態(tài)審視歷史卻不失慈悲。木心童年時(shí)就已經(jīng)接受西方文學(xué)洗禮，學(xué)會(huì)用中西兩只眼睛觀察世界，他在《魚(yú)麗之宴》里寫(xiě)到：“我的童年少年是在中國(guó)古文化的沉淀物中苦苦折騰過(guò)來(lái)的，而能夠用中國(guó)文化給予我的雙眼去看世界是快樂(lè)的，因?yàn)橐恢皇寝q士的眼.另一只是情郎的眼。”[4]木心的作品不是展現(xiàn)了激烈的東西方文化沖突，而是把世界看成一個(gè)整體的家園。木心認(rèn)為現(xiàn)代文化的第一要義是整體性，而不是某一個(gè)中心。木心的小說(shuō)兼具散文和詩(shī)的特質(zhì)，文筆帶著貴族的小資情結(jié)。

下面從兩方面以小說(shuō)集《溫莎墓園日記》為例分析木心在飛散視角下展示的對(duì)世界各族文化的體察以及隱含在作品中的人文關(guān)懷。

（一）以美國(guó)為背景展現(xiàn)了西方現(xiàn)代社會(huì)文化

《美國(guó)喜劇》記敘了“我”在美國(guó)的兩件小事：“我”在窗口總是看見(jiàn)一位穿著精心打扮的，天氣炎熱她卻始終在街邊等待，“我”觀察她的衣著猜想她等待的情郎，為她的癡心感動(dòng)。終于有一天“我”決定看看她等待的情夫，沒(méi)想到迎面而來(lái)的是一輛公交巴士。

她蠕動(dòng)，她舉手，招揮，多稚氣……她朝著來(lái)者的方向奔過(guò)去……長(zhǎng)而且大的巴士駛進(jìn)，這一段人行道全是車(chē)身的投影，她奔過(guò)去的地方是巴士站――上車(chē)。

上午九時(shí)以后，郊區(qū)巴士的班次減少，又不準(zhǔn)時(shí)，每次難免要久等。

?文化藝術(shù)楊希：論飛散視角下木心的創(chuàng)作 這是“我”在美國(guó)生活中的一個(gè)小笑料，反映了美國(guó)女人們對(duì)外表禮儀的重視，也反映了現(xiàn)代社會(huì)大城市生活的擁擠與不便。

第二件小事講述了美國(guó)司法的嚴(yán)謹(jǐn)，“我”在高速公路上超速被罰款和違章吸煙被罰款，由此產(chǎn)生對(duì)法律過(guò)于繁瑣細(xì)小的不滿(mǎn)，聯(lián)想到對(duì)美國(guó)宣揚(yáng)的自由的更深層次的認(rèn)識(shí)。我超速去自首是因?yàn)槊绹?guó)警察有雷達(dá)波記錄，這點(diǎn)小事卻還需要在法庭辯護(hù)，在警察審訊違章吸煙罪時(shí)有個(gè)小細(xì)節(jié)，警察打了個(gè)噴嚏，隨即說(shuō)一句文雅的歉詞。作者反映了美國(guó)文化法律的嚴(yán)謹(jǐn)，卻又認(rèn)為“文明是愚蠢的復(fù)雜化”。而在法律的復(fù)雜化下，作者又思考了自由的涵義：

“自由”就是這樣吧。如果再提一項(xiàng)“免于納稅的恐懼的自由”，羅斯福夫人會(huì)發(fā)愣，再提一項(xiàng)“免于購(gòu)物付款的恐懼的自由”，可尊敬的夫人要拿起電話(huà)喊人了。

《第一個(gè)美國(guó)朋友》講述了七歲的主人公住在美國(guó)福音醫(yī)院和院長(zhǎng)孟醫(yī)生成了忘年交的故事。孟醫(yī)生對(duì)待病人如親人般，對(duì)工作謹(jǐn)慎勤勉，對(duì)“我”更是格外照顧，怕“我”寂寞送來(lái)一堆畫(huà)報(bào)雜志，福音醫(yī)院里的護(hù)士和醫(yī)生都是基督教的信仰者，對(duì)待病人體貼，既有醫(yī)德又有醫(yī)術(shù)?！拔摇彪m然進(jìn)行了切除扁桃體的手術(shù)但是卻留下一段難忘的美好回憶，二次大戰(zhàn)沖散了他們，但這段友情銘記在心。作者在這篇文章中表達(dá)了對(duì)美國(guó)醫(yī)療工作的贊美，以及對(duì)西方基督教寬厚愛(ài)人品質(zhì)的欣賞，而木心本人對(duì)耶穌也帶有崇敬感，木心受過(guò)諸多磨難卻始終擁有平和的心態(tài)對(duì)待一切，這份慈悲之心正像為人類(lèi)贖罪上了十字架的耶穌。

《SOS》描寫(xiě)了輪船海難沉船前的一幕：臨盆的孕婦，外科醫(yī)生，即使在即將沉船面對(duì)死亡之時(shí)，醫(yī)生仍然不忘搶救生命，迎接新生命。結(jié)局在“海水墻一樣倒進(jìn)來(lái)，灌滿(mǎn)艙房”中結(jié)束，但是歌頌了西方文化中對(duì)人的尊重，人性在災(zāi)難前的光輝。木心認(rèn)為現(xiàn)代中國(guó)沒(méi)有經(jīng)歷過(guò)西方的文藝復(fù)興，啟蒙主義思潮始終是缺欠的，對(duì)個(gè)人價(jià)值的重視不夠，木心在那個(gè)時(shí)代已經(jīng)能客觀看待中西方文化了?！暗搅爽F(xiàn)代，西方人沒(méi)有接受東方文化的影響，是欠缺、遺憾，而東方人沒(méi)有接受西方文化的影響，就不只是欠缺和遺憾”[5]，東方和西方是相互對(duì)話(huà)的關(guān)系，現(xiàn)代文化不是“中心論”，而是相互吸收成為整體。

（二）中國(guó)現(xiàn)代歷史下對(duì)小人物命運(yùn)的思索

《夏明珠》講述的是“我父親”沒(méi)有名分的姨太太夏明珠在父親病故后想回到“我家”，夏明珠深受西方教育影響，說(shuō)得一口流利的英語(yǔ)，服裝打扮西化，在太平洋戰(zhàn)爭(zhēng)爆發(fā)后“我”居住的小鎮(zhèn)淪陷于日本法西斯之手，夏明珠遭日本人猜疑、逮捕，嚴(yán)木心作品集刑逼供甚至受侮辱，最終死于日本人之手，女兒也被賣(mài)掉下落不明。《芳芳No.4》講述了青春年少、下鄉(xiāng)、、嫁為人婦四個(gè)時(shí)期的芳芳，“”只當(dāng)作一個(gè)背景，故事情節(jié)看上去一點(diǎn)也不傷感，但芳芳身上的變化卻留下了那段歷史的烙?。?/p>

膚色微黑泛紅，三分粗氣正好沖去了她的纖弱，舉止也沒(méi)有原來(lái)的僵澀，尤其是身段，有了鄉(xiāng)土味的婀娜……本是生得姣好的眉目，幾乎是顧盼嘩然……

她的眉眼口鼻還能辨識(shí)，都萎縮了，那高高的起皺的額角，是從前所沒(méi)有的……江南三月，她卻像滿(mǎn)臉灰沙，枯瘦得，連那衣褲也是枯瘦的。

年青時(shí)的婀娜風(fēng)韻被風(fēng)霜粗俗取代，這段前后對(duì)比的外貌描寫(xiě)讓人想起魯迅筆下的少年閏土與成年閏土的差別。夏明珠和芳芳的遭遇都讓人唏噓不已。

《此岸的克利斯朵夫》是木心為了悼念亡友席德進(jìn)而寫(xiě)。席德進(jìn)是木心在杭州藝專(zhuān)的好友，木心用羅曼羅蘭筆下的克利斯朵夫來(lái)相比席德進(jìn)，是因?yàn)橄逻M(jìn)喜愛(ài)唯美主義，是個(gè)浪漫主義者，是接受五四后西方思潮的進(jìn)步青年，而他也是個(gè)勤奮努力又有天分的人。但是中國(guó)的現(xiàn)實(shí)讓他只能是個(gè)“浪漫主義在中國(guó)的遺腹子”。正如作者的感悟：

中國(guó)沒(méi)有順序的人的覺(jué)醒、啟蒙運(yùn)動(dòng)，缺了前提的浪漫主義必然是浮面的騷亂，歷時(shí)半個(gè)世紀(jì)的浩大實(shí)驗(yàn)，人，還是有待覺(jué)醒，蒙，亦不知怎樣才啟。

《約翰?克利斯朵夫》被藝專(zhuān)學(xué)生奉為經(jīng)典，但是這遲到的西方思潮與歐洲的時(shí)間差距是一百年四百年。

這種本是裨人清醒的“英雄的氣息”，反而弄得我們喝醉了酒似的，將藝術(shù)的人物傾在生活中，而把現(xiàn)實(shí)所遇者納入藝術(shù)里。我們的青春年華是這樣結(jié)結(jié)巴巴耗完的。

席德進(jìn)后來(lái)去臺(tái)灣當(dāng)了老師，后來(lái)成為臺(tái)灣著名的畫(huà)家，“我”剛得到好消息卻又被告知他患上癌癥，“我”從前寫(xiě)給他的信始終無(wú)法交到他手里。

羅曼羅蘭在其小說(shuō)的終局，克利斯朵夫渡過(guò)了河……席德進(jìn)是有望渡河，突然折倒在岸邊……

（三）中西結(jié)合的寫(xiě)作技巧和思想內(nèi)涵

木心的短篇小說(shuō)中有的背景是中國(guó)，人物是中國(guó)人但是卻采用了西方短篇小說(shuō)的寫(xiě)作技巧；另一種是小說(shuō)背景是國(guó)外但寫(xiě)作上沒(méi)有側(cè)重故事情節(jié)反而注重氛圍的描寫(xiě)，營(yíng)造了朦朧唯美的中國(guó)美學(xué)意境。正如童明評(píng)價(jià)木心的寫(xiě)作具有世界性美學(xué)思維，集中體現(xiàn)在他散文和詩(shī)的寫(xiě)作中，在他的短篇小說(shuō)寫(xiě)作中也體現(xiàn)了這點(diǎn)。

《一車(chē)十八人》講的是“我”研究所里的司機(jī)李山和十七個(gè)男子開(kāi)車(chē)去參加討論會(huì)，李山婚姻不和睦性格變得沉默寡言，除了“我”公司沒(méi)有人關(guān)心他的生活。因?yàn)槔钌降倪t到一車(chē)人對(duì)他冷嘲熱諷，在他們眼里李山近年不肯動(dòng)用公車(chē)來(lái)便利他們的生活，他就沒(méi)有可利用的價(jià)值了，只有“我”為他說(shuō)話(huà)。開(kāi)車(chē)中途李山怒斥讓“我”下車(chē)，車(chē)朝著懸崖開(kāi)去……出人意料細(xì)想又合理的結(jié)尾方式很有西方短篇小說(shuō)的特點(diǎn)，還有點(diǎn)偵探小說(shuō)的懸疑味，展示了人性的自私自利。值得一提的是，雖然沒(méi)有說(shuō)明是這篇小說(shuō)的改編，但是故事情節(jié)完全類(lèi)似的一部電影《車(chē)四十四》，女大巴司機(jī)開(kāi)著滿(mǎn)載乘客的車(chē)在公路上遇到兩名在公路上遇到兩名劫匪，女司機(jī)被劫匪，全車(chē)只有一個(gè)男乘客反抗幫助她，最后女司機(jī)強(qiáng)迫讓這位男乘客下車(chē)，自己開(kāi)著車(chē)駛向懸崖。這部2001年的電影短片獲得58屆威尼斯電影節(jié)評(píng)委會(huì)大獎(jiǎng)，電影改編的比木心的小說(shuō)更合情合理，矛盾沖突更劇烈，更加突出了人性中虛偽冷漠的一面，也充分說(shuō)明這部電影的原型木心的小說(shuō)深得西方文化精髓。

中國(guó)古代背景的《七日之糧》出自《公羊傳》中《宋人及楚人平》，春秋時(shí)期楚莊王圍攻宋國(guó)，楚軍只剩下七日的糧食，楚國(guó)大夫司馬子反和宋國(guó)大夫華元相互刺探情報(bào)得知宋國(guó)已是“易子而食”的地步， 司馬子反說(shuō)服楚莊王退兵的故事。原故事在中國(guó)古代的評(píng)價(jià)褒貶不一，君子贊揚(yáng)兩位大夫?yàn)榘傩罩耄械娜苏J(rèn)為大夫私下講和有違國(guó)君的權(quán)威。在木心的筆下這篇小說(shuō)以第三人稱(chēng)司馬子反的視角描寫(xiě)，側(cè)重司馬子反的心理刻畫(huà)，心理刻畫(huà)正是西方小說(shuō)的長(zhǎng)處。故事以月亮開(kāi)頭以月亮結(jié)尾，全文籠罩在月色下，增添了東方神秘的韻味。木心在原故事的基礎(chǔ)上虛構(gòu)了司馬子反把一半糧食留給宋城的情節(jié)，這體現(xiàn)了西方的人道主義精神和人文關(guān)懷，同時(shí)這也是中國(guó)傳統(tǒng)儒家思想中“仁愛(ài)”的思想，正如這個(gè)故事中所說(shuō)的“君子見(jiàn)人之厄則矜之，小人見(jiàn)人之厄則幸之”的仁者愛(ài)人、兼愛(ài)非攻思想，中國(guó)文化和西方文化的交匯就在對(duì)人的尊重、關(guān)愛(ài)上。而木心的這篇小說(shuō)就把西方的人道與東方的仁愛(ài)思想通過(guò)運(yùn)用西方小說(shuō)技巧表達(dá)出來(lái)，中西文化是相通的。

同樣是中國(guó)古代背景的《五更轉(zhuǎn)曲》寫(xiě)的是明末清初清軍南下江陰，在南京已經(jīng)不戰(zhàn)而降的情況下，江陰駐守官兵和百姓毅然決定赴死一戰(zhàn)，結(jié)局是壯烈悲壯的，清兵損失慘重。作者在結(jié)尾特意說(shuō)明“尸體滿(mǎn)街巷，無(wú)一投降者”。寫(xiě)的是中國(guó)故事，卻贊頌了人的生命力的頑強(qiáng)，在決戰(zhàn)前官兵醉中唱起了《五更轉(zhuǎn)曲》，全城百姓引吭高歌。雖然完全是中國(guó)的故事，但在木心筆下卻有了荷馬史詩(shī)的韻味，以悲劇來(lái)贊頌人的偉大。

而《月亮出來(lái)了》則是發(fā)生在西方都市的一個(gè)雨夜，公爵和公爵夫人在大雨中乘坐馬車(chē)回家，途中馬車(chē)陷進(jìn)泥坑里，兩人和車(chē)夫一起推車(chē)，雨停了月亮出來(lái)了。月光、夜色下伴隨著馬鳴，這里的景物描寫(xiě)別有一番情趣：

皓月中天，蒼穹澄澈，幾片杏黃的薄云徐徐飄過(guò)曠野……

月色分外清幽，馬嘶，劃破夜的靜空，遠(yuǎn)處的林叢氳著霧意，月光下的曠野有古戰(zhàn)場(chǎng)的幻覺(jué)。

區(qū)別于西方的以人為本，中國(guó)傳統(tǒng)思想一直很強(qiáng)調(diào)人與自然的和諧，以莊子思想為代表的道家思想強(qiáng)調(diào)“天人合一”，而中國(guó)傳統(tǒng)美學(xué)的概念“意境”就是對(duì)自然景物審美的升華，由景及人，情景交融。在木心的一系列散文中都體現(xiàn)了中國(guó)美學(xué)含蓄雋永的美學(xué)思想，這在小說(shuō)中也有體現(xiàn)。自然本位的文化下自然都是有著人類(lèi)情感的，帶上了人的主觀性，而實(shí)際上自然又是無(wú)知無(wú)情的存在。這與西方文化中人本位的觀念完全不同，在西方文化中歌頌人自身的生命創(chuàng)造力，人生的價(jià)值在于生命意志，西方美學(xué)中悲劇的美就在于人在反抗宿命時(shí)顯得偉大而有尊嚴(yán)。

結(jié)語(yǔ)

木心對(duì)中西兩種文化的理解是：“所謂東方，中國(guó)才是代表，補(bǔ)給西方，正是對(duì)的，因?yàn)槲鞣阶钊钡木褪侵袊?guó)的東西：含蓄， 以弱制勝。東方西方要是真的相通，文明才開(kāi)始?？墒且獑拘褨|方，中國(guó)，非得西方來(lái)理解”[6]木心熟悉西方經(jīng)典又有中國(guó)文化的底蘊(yùn)，他的作品體現(xiàn)了中西文化的相通性，展示了現(xiàn)代文化的整體性特點(diǎn)。東方和西方是相互對(duì)話(huà)的關(guān)系，現(xiàn)代文化不是“中心論”，不是以一方為尊貴一方卑微，而是相互吸收他人的優(yōu)點(diǎn)成為世界文化家園。而木心對(duì)人類(lèi)在現(xiàn)代社會(huì)中面臨的一系列問(wèn)題的書(shū)寫(xiě)體現(xiàn)出深遠(yuǎn)的慈悲關(guān)懷和人文精神。

參考文獻(xiàn)：

[1]木心.答臺(tái)灣《聯(lián)合文學(xué)》編者問(wèn)[M]//魚(yú)麗之宴.桂林：廣西師范大學(xué)出版社，2007：27.

[2][3]木心. 1983―1998年航程紀(jì)要[M]//魚(yú)麗之宴.桂林：廣西師范大學(xué)出版社，2007：109，117.

第7篇：短篇偵探故事范文

關(guān)鍵詞: 西班牙語(yǔ)專(zhuān)業(yè) 低年級(jí) 泛讀教材 選擇和使用

西班牙語(yǔ)在全球是僅次于英語(yǔ)和漢語(yǔ)的第三大語(yǔ)言,但長(zhǎng)久以來(lái)在我國(guó)一直都定位為小語(yǔ)種,一般只在大學(xué)專(zhuān)業(yè)課或者二外課程中設(shè)置,開(kāi)辦的學(xué)校也非常有限。進(jìn)入二十一世紀(jì),隨著對(duì)外聯(lián)系和貿(mào)易活動(dòng)的擴(kuò)大和頻繁,我國(guó)對(duì)西班牙語(yǔ)的專(zhuān)業(yè)人才的需求呈現(xiàn)急劇增加。許多高校都新開(kāi)設(shè)了西班牙語(yǔ)專(zhuān)業(yè)。

西班牙語(yǔ)教學(xué)在全國(guó)與同類(lèi)其他語(yǔ)種相比是起步比較晚的,發(fā)展也比較緩慢。大多沿襲在國(guó)內(nèi)最權(quán)威的北京外國(guó)語(yǔ)大學(xué)的教學(xué)體系。其中,基礎(chǔ)課程中除了貫穿前后的精讀課程外,就數(shù)泛讀課程最重要了。在泛讀的教學(xué)中,教材的選擇和使用又至關(guān)重要。

國(guó)內(nèi)西班牙語(yǔ)教學(xué)使用的教材主要有國(guó)內(nèi)出版教材和國(guó)外原版教材兩種。

一、國(guó)內(nèi)出版教材

(一)《新編西班牙語(yǔ)課本》

在二十世紀(jì)八十年代末外研社出版的《西班牙語(yǔ)閱讀課本》基礎(chǔ)上更新出版的2000年《新編西班牙語(yǔ)閱讀課本》,主要由北京外國(guó)語(yǔ)大學(xué)的老師選編,是市場(chǎng)上很長(zhǎng)一段時(shí)間內(nèi)唯一的一套泛讀教材。這套教材因?yàn)楹途x課程的教材《現(xiàn)代西班牙語(yǔ)》進(jìn)度貼合,深受教師歡迎。

《新編西班牙語(yǔ)閱讀課本》一共是四冊(cè)。所有選編的文章都從國(guó)外原版教材或者書(shū)籍中摘取,保證了文章的原汁原味,而且每一冊(cè)的難度設(shè)計(jì)都是梯度上升的,是配合精讀教材的補(bǔ)充讀物,能拓寬學(xué)生的知識(shí)面,提高閱讀能力,擴(kuò)充詞匯量。課本的編寫(xiě)人還給每篇文章附上了生詞的中文解釋,降低了閱讀的難度,減少了查閱字典的時(shí)間。

這套教材雖然是早前《西班牙語(yǔ)閱讀課本》的更新,但十年的使用周期,還是讓一代新過(guò)一代的學(xué)生覺(jué)得其中的文章稍微乏味或者古舊了一點(diǎn)。所以這套教材現(xiàn)在更適合作為學(xué)生課外的讀物,定期布置、定期抽查,然后在課堂上花少量的時(shí)間給學(xué)生解答其中的語(yǔ)言難點(diǎn)。

(二)《西班牙語(yǔ)閱讀教程》

《西班牙語(yǔ)閱讀教程》作為普通高等教育“十一五”國(guó)家級(jí)規(guī)劃教材,由上海外國(guó)語(yǔ)大學(xué)牽頭,聯(lián)合幾所知名高校的老師一同編寫(xiě),經(jīng)上海外語(yǔ)教育出版社出版。計(jì)劃出版四冊(cè),截止到2010年8月已出版前三冊(cè)。

這套教材在很多方面都作了改善和擴(kuò)充。首先,每本教材的體例都非常的清晰,每?jī)?cè)十八個(gè)單元,剛好用于一個(gè)學(xué)期。每個(gè)單元都設(shè)三篇文章,三篇文章對(duì)閱讀要求都作了不同的要求,在《編寫(xiě)說(shuō)明》中對(duì)如何使用作了詳細(xì)的說(shuō)明。其次,這套教材不再是簡(jiǎn)單的文章和材料的選取,增加了主題的設(shè)計(jì)和課后練習(xí)的內(nèi)容。最后,對(duì)于文章中出現(xiàn)的疑難句型進(jìn)行了解釋,文章中的生詞也采用了西語(yǔ)解釋,更有利于學(xué)生準(zhǔn)確掌握生詞的意思。

通過(guò)這樣的編寫(xiě)和設(shè)計(jì),泛讀課本從簡(jiǎn)單的閱讀材料的集合變成完整的有教學(xué)主題、教學(xué)內(nèi)容和教學(xué)檢測(cè)的系統(tǒng)體系。而且,本套書(shū)籍沒(méi)有提供答案,雖然對(duì)于老師的備課提出了更高的要求,但也確實(shí)杜絕了學(xué)生不勞而獲的僥幸心理。另外,課后習(xí)題的設(shè)計(jì)緊貼全國(guó)西班牙語(yǔ)專(zhuān)業(yè)四級(jí)考試的題型,也可以在資源極度匱乏的大環(huán)境下,提供給學(xué)生一些練習(xí),可以更好地提高相應(yīng)的應(yīng)試技巧。

二、國(guó)外原版教材

(一)ANAYA出版的閱讀讀本

一般使用比較多的是ANAYA出版的一套經(jīng)典作品縮寫(xiě)改編的系列圖書(shū)。這套書(shū)籍一共分為初級(jí)、中極和高級(jí),分別以黃、紅、綠三色區(qū)分。主要以篇幅長(zhǎng)短、詞量多少來(lái)分等級(jí)。一本書(shū)即是一個(gè)完整的故事,每個(gè)故事后面有一些問(wèn)題。書(shū)后還附有詞匯表和問(wèn)題答案。這套書(shū)籍主要選取西班牙的經(jīng)典文學(xué)作品,如《小賴(lài)子》、《熙德之歌》、《堂?吉訶德》、《三腳帽》、《玻璃碩士》等之類(lèi)的名著改編,而且書(shū)前都有作品作者的一些簡(jiǎn)單介紹。這可以讓學(xué)生對(duì)這些作品和作家有初步的了解,為將來(lái)他們閱讀原作打好基礎(chǔ)。這些書(shū)籍在近幾年的新版中都附帶朗讀的CD,即是有聲書(shū)的形式。所以,閱讀之余,還可以讓學(xué)生做聽(tīng)力練習(xí)。

(二)SGEL出版的閱讀課本

SGEL出版的閱讀課本種類(lèi)繁多,可以滿(mǎn)足各種不同需要。

《新西班牙語(yǔ)故事》(Nuevas narraciones espa?olas)是一套讓閱讀變得很輕松的一套叢書(shū),一共是四本,也分初、中、高、特級(jí)。叢書(shū)全都圍繞一個(gè)叫托維斯(Tobías)主人公展開(kāi),每本包含五十個(gè)小故事,短小精悍,趣味無(wú)窮,有很典型的西班牙式的幽默。這套叢書(shū)出版較新,其中有一些非常實(shí)用地道的西班牙表達(dá)方式。每篇文章后也有一些詞組句型的西語(yǔ)解釋,還有一些設(shè)計(jì)的問(wèn)題,但最有意義的是從文章延伸出的可供學(xué)生討論的話(huà)題。

這套叢書(shū),或者讓學(xué)生課外閱讀,課堂上用自己的語(yǔ)言復(fù)述;或者老師在課堂上朗讀這些文章并提問(wèn),以聽(tīng)力理解的方式來(lái)檢查學(xué)生理解的情況。最后,還可以讓學(xué)生分組討論書(shū)后的話(huà)題。這樣的使用,可以讓學(xué)生在聽(tīng)、說(shuō)、讀、寫(xiě)方面同步得到訓(xùn)練和發(fā)展。

《短篇閱讀故事》(Historias breves para leer),這套書(shū)有初級(jí)、中級(jí)和高級(jí)三本,故事比《新西班牙語(yǔ)故事》中的略長(zhǎng),每篇大概有1500個(gè)詞,但都比較簡(jiǎn)單。適合在大一下和大二上使用,而且因?yàn)槠笥泻芏嚓P(guān)于語(yǔ)法、詞法的練習(xí),這套書(shū)籍適合做課堂上的快速閱讀練習(xí)。

除了以上的兩套叢書(shū)外,SGEL還有許多專(zhuān)為學(xué)習(xí)西班牙語(yǔ)的外國(guó)人設(shè)計(jì)的消遣類(lèi)的閱讀書(shū)籍,都是一些偵探類(lèi)的小故事,也可以推薦給學(xué)生在課外使用。

以上主要羅列分析了國(guó)內(nèi)外現(xiàn)有的可以利用的泛讀課教材,但這些大多僅適合在課堂上使用。泛讀課的教學(xué)目的,主要在于提高學(xué)生的閱讀能力,擴(kuò)充學(xué)生的知識(shí)量和詞匯量,而這樣僅僅通過(guò)每周兩三頁(yè)的閱讀量是達(dá)不到目的的。所以,課外的大閱讀量是必需的。隨著網(wǎng)絡(luò)的普及,閱讀資源的收集雖然簡(jiǎn)單很多,但是資料的篩選尤其重要,這其中教師需要承擔(dān)主要的責(zé)任。

三、低年級(jí)學(xué)生的閱讀資料的選擇和使用

低年級(jí)的學(xué)生,因詞匯量有限,語(yǔ)法結(jié)構(gòu)還不健全,所以適合的原文讀物并不是那么多。一般來(lái)說(shuō),有以下幾種選擇。

(一)國(guó)外的兒童讀物

從語(yǔ)言本身來(lái)說(shuō),這是最適合低年級(jí)學(xué)生的泛讀讀物。但是從內(nèi)容上來(lái)說(shuō),有的時(shí)候會(huì)稍顯幼稚。需要選擇一些語(yǔ)言簡(jiǎn)單,但思想性豐富的作品?？偨Y(jié)使用過(guò)的一些材料,有這些推薦:關(guān)于一個(gè)戴眼鏡男生小馬諾林(Manolito Gafotas)的系列故事,女作家埃爾維拉(Elvira Lindo)為這個(gè)人物一共創(chuàng)作了七本小說(shuō),這個(gè)系列都適合低年級(jí)的學(xué)生閱讀,語(yǔ)言幽默,而且口語(yǔ)化。曾經(jīng)獲得過(guò)西班牙行星獎(jiǎng)(Premio Planeta)和納達(dá)爾獎(jiǎng)(Premio Nadal)的女作家安娜?瑪利亞(Ana María Matute)的兒童文學(xué)作品也比較適合二年級(jí)的學(xué)生閱讀,雖然是講述以?xún)和癁橹魅斯男≌f(shuō),但其中刻畫(huà)的卻是孩子的殘忍和無(wú)知,具有深刻的思想性。其中如長(zhǎng)篇《尤利西斯號(hào)的偷渡客》(El polizón del Ulises),短篇如《干枯的樹(shù)枝》(La rama seca)等都是很好的淺易讀物。

(二)從英文翻譯的西語(yǔ)作品

因?yàn)槭欠g作品,所以一般使用的詞語(yǔ)也比較簡(jiǎn)單。從英文到西班牙語(yǔ)的翻譯比從英文到中文的翻譯保存了更多原文的風(fēng)格,也可以在一定的程度上拓寬學(xué)生的閱讀面,初步體會(huì)一下翻譯的奧妙。其中最具代表性的就是哈利?波特系列。有中文譯文和電影的鋪墊,可以讓學(xué)生很快地融入到書(shū)籍中。

泛讀課程在西班牙語(yǔ)的基礎(chǔ)教學(xué)中是非常重要的課程。借用另外一種語(yǔ)言,打開(kāi)另外一扇更大的門(mén),直接了解更多的國(guó)外社會(huì)文化動(dòng)態(tài)。不是單純學(xué)習(xí)語(yǔ)言本身,而是以文化文學(xué)為載體來(lái)學(xué)習(xí)并提高外語(yǔ)水平。相信無(wú)論是學(xué)生還是老師,都會(huì)從這樣的閱讀中受益匪淺。

參考文獻(xiàn):

[1]岑楚蘭,蔡紹龍.新編西班牙語(yǔ)閱讀課本[M].北京:外語(yǔ)教學(xué)與研究出版社,2000.

[2]陸經(jīng)生.西班牙語(yǔ)閱讀教程[M].上海外語(yǔ)教育出版社,2009.

第8篇：短篇偵探故事范文

關(guān)鍵詞： 動(dòng)態(tài)對(duì)等翻譯理論 《狄公案》 歸化

一、動(dòng)態(tài)對(duì)立理論

奈達(dá)是當(dāng)代杰出的美國(guó)語(yǔ)言學(xué)家和翻譯學(xué)家。在二十世紀(jì)六十年代，他提出了翻譯的動(dòng)態(tài)對(duì)等理論。奈達(dá)把這一理論定義為：Translating consists in reproducing in the receptor language the closest natural equivalent of the source——language message，first in terms of meaning and secondly in terms of style.“翻譯是用最恰當(dāng)、自然和對(duì)等的語(yǔ)言從語(yǔ)義到文體再現(xiàn)源語(yǔ)的信息”（郭建中，2000，P65）。在《翻譯理論和實(shí)踐》（奈達(dá)和塔伯，1969）中，他進(jìn)一步定義動(dòng)態(tài)對(duì)等為：譯語(yǔ)中的信息接受者對(duì)譯文信息的反映應(yīng)該與源語(yǔ)接受者對(duì)原文的反應(yīng)程度相同，也就是說(shuō)，翻譯始終是為讀者服務(wù)的。奈達(dá)提出了翻譯的四個(gè)標(biāo)準(zhǔn)：（1）傳達(dá)信息；（2）傳達(dá)原作的精神風(fēng)貌；（3）語(yǔ)言順暢自然，完全符合譯語(yǔ)規(guī)范和慣例；（4）讀者反映類(lèi)似。然而要達(dá)到這四個(gè)標(biāo)準(zhǔn)，內(nèi)容和形式之間就會(huì)發(fā)生矛盾。奈達(dá)認(rèn)為信息對(duì)等優(yōu)于形式對(duì)應(yīng)。他主張從譯文接受者角度，而不是從譯文形式角度看待翻譯，所以判斷譯文質(zhì)量的標(biāo)準(zhǔn)最終基于三個(gè)方面：能使接受者正確理解原文信息;易于理解;形式適當(dāng)，吸引接受者。翻譯時(shí)不應(yīng)求文字表面的死板對(duì)應(yīng)，而要在兩種語(yǔ)言間達(dá)成功能上的對(duì)等。奈達(dá)可以說(shuō)是歸化的代表人物，動(dòng)態(tài)對(duì)等理論對(duì)中西翻譯界產(chǎn)生了深遠(yuǎn)的影響。

二、《狄公案》的創(chuàng)作和翻譯

當(dāng)歐美等國(guó)興起“福爾摩斯熱”時(shí)，1949年在中國(guó)的荷蘭外交家、漢學(xué)家和偵探小說(shuō)家高羅佩（Robert Van Gulik）根據(jù)清初公案小說(shuō)《武則天四大奇案》中的一些原型用英語(yǔ)創(chuàng)作了《銅鐘案》。出版后大獲成功。隨后高羅佩又寫(xiě)了《迷宮案》、《黃金案》、《鐵釘案》等，與《銅鐘案》合成一組，即為初期的《狄公案》，非常受廣大西方讀者歡迎。1952年，高羅佩以《狄仁杰奇案》為書(shū)名，用中文把《中國(guó)迷宮命案》改寫(xiě)成章回體小說(shuō)。這本小說(shuō)共有52回。從1954年至1967年，他又用英文撰寫(xiě)了《中國(guó)潮中案》、《漆屏風(fēng)》等十幾個(gè)中短篇小說(shuō)，這些小說(shuō)組成了130萬(wàn)字的鴻篇巨制——《狄公案》。《狄公案》的英文名字是Judge Dee，出版后立即征服了西方讀者，在歐洲風(fēng)行一時(shí)。“Judge Dee”（狄公）從此成為歐洲家喻戶(hù)曉的傳奇人物，成了西方人心目中的“中國(guó)的福爾摩斯”，最后，中國(guó)譯者陳來(lái)元、胡明自八十年代起模仿宋元白話(huà)風(fēng)格，將高羅佩的《狄公案》譯成中文，引入國(guó)內(nèi)，頗受歡迎。由于譯者改寫(xiě)得惟妙惟肖，以至于很多人都以為《狄公案》原本就是中國(guó)古典小說(shuō)，而非荷蘭人高羅佩的作品。陳來(lái)元、胡明的中文版《狄公案》能夠吸引大批中國(guó)讀者的原因在于他們?cè)诜g的過(guò)程中并沒(méi)有刻板地遵循字字對(duì)應(yīng)的形式一致，而是非常靈活地對(duì)譯文進(jìn)行了相應(yīng)的調(diào)整，滿(mǎn)足了中國(guó)讀者的要求，造成了文本信息傳遞的順暢，實(shí)現(xiàn)了動(dòng)態(tài)對(duì)等，使讀者產(chǎn)生了相似的反應(yīng)效果。

三、如何通過(guò)動(dòng)態(tài)理論成功改寫(xiě)

以下以《鐵釘案》的第一章為例探討譯者（陳來(lái)元、胡明）如何通過(guò)動(dòng)態(tài)對(duì)等實(shí)現(xiàn)了在不同文化中小說(shuō)文體的成功改寫(xiě)。奈達(dá)提出“用最近似的自然對(duì)等值”，這就要求譯文盡量使用譯文接受者喜聞樂(lè)見(jiàn)、符合譯語(yǔ)表達(dá)規(guī)范的言語(yǔ)形式。高羅佩的《狄公案》對(duì)原材料進(jìn)行了取舍，并按照西方人普遍接受的小說(shuō)模式和套路進(jìn)行創(chuàng)作，因此獲得了巨大成功；因?yàn)楣适卤尘霸谥袊?guó)，本身這是部商業(yè)小說(shuō)，所以當(dāng)譯者將這部小說(shuō)引進(jìn)時(shí)所進(jìn)行的歸化翻譯并沒(méi)有降低作品本身的文學(xué)價(jià)值，反而讓中國(guó)讀者產(chǎn)生相同的反應(yīng)，實(shí)現(xiàn)動(dòng)態(tài)對(duì)等。

第9篇：短篇偵探故事范文

《厄舍古屋的倒塌》誕生于1839年，描寫(xiě)的是一個(gè)古老家族的一對(duì)孿生兄妹，他們住在一座令人窒息的陰森古屋里，妹妹常年疾病纏身，哥哥因思想久被壓抑而精神失常。為擺脫精神折磨，哥哥邀請(qǐng)摯友前來(lái)做伴。后來(lái)哥哥把妹妹活埋，在一個(gè)風(fēng)雨交加的夜晚，妹妹掙脫棺材走出地窖，撲死在哥哥懷里，哥哥也被嚇?biāo)?。而朋友被嚇得魂飛魄散，倉(cāng)皇逃離古屋。古屋在風(fēng)雨中倒塌，碎石爛瓦被深深的塘水無(wú)聲地吞沒(méi)于無(wú)形。

一、哥特式風(fēng)格

“哥特式風(fēng)格”是哥特式小說(shuō)創(chuàng)作的風(fēng)格。所謂“哥特式小說(shuō)”是指18世紀(jì)后半葉率先在英國(guó)誕生的小說(shuō)文類(lèi)，是一種恐怖和鬼怪小說(shuō)。它多以中世紀(jì)的古堡、廢墟或荒野為背景，描寫(xiě)那些為滿(mǎn)足或奪取財(cái)產(chǎn)而引起謀殺、迫害等事件，故事情節(jié)恐怖刺激，籠罩著神秘的氣氛?？植篮凸终Q是哥特式小說(shuō)的基本特征，死亡是哥特式小說(shuō)永恒的主題。《厄舍古屋的倒塌》作為世界最杰出的短篇小說(shuō)之一，與其因通篇彌漫著“血色”的恐怖氣息而給人以心靈的震撼是分不開(kāi)的，這種恐怖與死亡又是緊密相關(guān)的?？梢?jiàn)，《厄舍古屋的倒塌》是一部具有哥特式風(fēng)格的作品。

首先，小說(shuō)一開(kāi)始的環(huán)境描寫(xiě)給人以身處地獄之感，使人不寒而栗，這給全文奠定了一個(gè)陰郁、死亡的基調(diào)。文中寫(xiě)道：“那年秋天，一個(gè)沉淡、陰暗、寂靜的日子里，烏云壓頂，整整一天，我孤零零地騎著馬穿過(guò)鄉(xiāng)間一大片異?；臎龅臅缫?；暮色降臨時(shí)，我終于看見(jiàn)了愁云籠罩的厄舍古屋?！比f(wàn)物凋零的秋季、一個(gè)陰暗而沉寂的午后、懸在半空中的黑壓壓的云層、一大片荒涼異常的鄉(xiāng)野，都呈現(xiàn)出死氣沉沉、寂無(wú)人聲、令人窒息的氛圍，末日之感也不過(guò)如此吧！此外，秋天、烏云、曠野、古屋，這一個(gè)個(gè)意象無(wú)一不給人以死亡將即之感，同時(shí)，這些意象與以古堡、廢墟或荒野為背景的哥特式小說(shuō)可謂“不謀而合”。

其次，愛(ài)倫?坡巧妙運(yùn)用電影蒙太奇手法，通過(guò)一幅幅畫(huà)面的迭現(xiàn)：遠(yuǎn)鏡頭――古屋外光禿禿的墻壁、眼睛般的窗戶(hù)、灰色的衰草、死樹(shù)的白樹(shù)干等，中鏡頭――古屋內(nèi)哥特式的拱門(mén)、黑暗的走廊、深色的壁布、烏黑的地板、破舊的家具等，最后突出了特寫(xiě)鏡頭――臉色蒼白、面如槁灰、心神不寧、精神失常的古屋主人羅德里克?厄舍，這種表現(xiàn)方法給人的視覺(jué)以強(qiáng)烈的藝術(shù)沖擊力?！八牢铩币灰坏F(xiàn)，“病人”緩緩露面，還有躡手躡腳的仆人、表情陰險(xiǎn)的醫(yī)生，雖然先見(jiàn)其景，后見(jiàn)其人，未聞其聲，但恐怖感已隨之倍增。

接著，小說(shuō)對(duì)羅德里克?厄舍孿生妹妹瑪?shù)铝盏拿枋鲆矠樾≌f(shuō)增添了許多恐怖氣氛：似乎受某種邪惡力量的迫害，她無(wú)時(shí)無(wú)刻不受精神病的折磨。初見(jiàn)時(shí)如幽靈般一閃而過(guò)，她像一個(gè)鬼魂，一個(gè)被病痛終日折磨、至死方休的鬼魂，無(wú)時(shí)無(wú)刻不在古屋之中游蕩。當(dāng)寫(xiě)到她“死后”被埋入地窖時(shí)，對(duì)存放尸體的地窖的描寫(xiě)“地窖就位于‘我’臥室的正下方，它又小又潮，照不進(jìn)一絲光亮”；繼而對(duì)“死者”瑪?shù)铝盏拿鑼?xiě)“死者身上留有僵硬癥的一切特征。她的臉和脖子上有一層像是涂上去的淡淡的紅暈，嘴角上掛著一絲仿佛是裝出來(lái)的淺淺的微笑”。由字入畫(huà)，浮想之際，不禁讓人毛骨悚然。

最后，在一個(gè)風(fēng)雨交加的夜晚，當(dāng)朗讀的故事情節(jié)與現(xiàn)實(shí)不謀而合：“瘋子！門(mén)沒(méi)有了，她就站在那兒！”，“馬德琳小姐掙脫棺材走出地窖，門(mén)應(yīng)聲而開(kāi)：馬德琳小姐直直地站在那兒！高高的個(gè)子，身穿殮衣，白色的袍子上淌著鮮血，瘦削的身體上，每一處都顯現(xiàn)出痛苦掙扎的痕跡?！薄八濐澪∥?，搖搖晃晃，隨著一聲一聲長(zhǎng)長(zhǎng)的，她沉重地跌向屋里，撲倒在他哥哥身上，兩人頃刻間倒地而死，她的哥哥是被那他已預(yù)見(jiàn)到的恐怖所嚇?biāo)赖?。”恐怖至此達(dá)到，讀者的恐懼感也由此達(dá)到極限。同時(shí)，這種濃濃的恐懼感又符合了哥特式小說(shuō)恐怖、怪誕的基本特征。有人說(shuō)“《厄舍古屋的倒塌》讀起來(lái)好似一場(chǎng)噩夢(mèng)，自始至終充滿(mǎn)一種令人毛骨悚然的恐怖氣氛，情節(jié)愈益陰森古怪，感情愈益熾烈可怕”，的確如此。

二、象征手法

《厄舍古屋的倒塌》是一部具有象征意義的悲劇性小說(shuō)，這主要是從它的結(jié)局――古屋的主人羅德里克?厄舍和瑪?shù)铝者B同古屋一起“倒塌”了體現(xiàn)出來(lái)。首先，“厄舍古屋的倒塌”，顧名思義，倒塌是古屋的結(jié)局，然而僅僅是古屋倒塌了嗎？其實(shí)不然，“厄舍古屋的倒塌”是具有象征意義的。厄舍古屋可視為主人公羅德里克?厄舍的軀體，幽暗、破敗、令人毛骨悚然的古屋則等同于主人公因壓抑而失常的精神狀態(tài)。通過(guò)對(duì)厄舍古屋的觀察，以及對(duì)羅德里克?厄舍活埋馬德琳前后的神態(tài)變化的描寫(xiě)，暗示古屋的坍塌與人的死亡是在悄悄地同時(shí)進(jìn)行著的?！肮盼莸牡顾彪[喻了主人公精神的崩潰直至最終的毀滅，也體現(xiàn)出愛(ài)倫?坡對(duì)人類(lèi)精神崩潰的恐懼和精神狀態(tài)悲劇性的憂(yōu)慮。

其次，小說(shuō)中描寫(xiě)主人公羅德里克?厄舍朗誦一首題為《鬼宮》狂詩(shī)：“在天使護(hù)衛(wèi)下的碧綠的翠谷之中，曾經(jīng)有一個(gè)莊嚴(yán)美麗的王宮，多么輝煌，瞧它昂首挺胸。屹立在皇家的領(lǐng)地上，魅力無(wú)窮……但是邪惡的勢(shì)力驅(qū)動(dòng)悲郁之氣，襲擊了皇家的領(lǐng)地（啊！讓我們哀悼吧！因?yàn)樗俨粫?huì)感受到明日的晨曦，多么悲戚?。┒鼑哪切┹x煌和美麗，只留下一個(gè)淡忘的故事，發(fā)生在遙遠(yuǎn)的過(guò)去……”就此詩(shī)內(nèi)容上看，可知該詩(shī)描繪的是王宮在前后不同時(shí)期的兩種狀態(tài)?！懊利悺⑤x煌、魅力無(wú)窮”，詩(shī)歌的前兩節(jié)講述了宮殿的壯麗宏偉，隱含了古屋早年的輝煌史；“王旗金光閃爍地隨風(fēng)飄揚(yáng)、天使們圍著寶座翩翩起舞”，中間兩節(jié)描繪了王宮里歌舞升平的景象，隱含了羅德里克?厄舍的幻想以及古屋早年的美好景象；“邪惡來(lái)襲、悲郁之氣彌漫、輝煌和美麗被陰沉和嘲笑取代”，最后兩節(jié)則描述了鬧鬼的宮殿輝煌難在，美好往昔已成為被淡忘的故事，暗指古屋的破敗現(xiàn)狀和主人公羅德里克?厄舍懷古傷今的失落感。可以說(shuō)，

《鬼宮》這首詩(shī)就是羅德里克?厄舍為自己作的一首挽詩(shī)。

最后，破敗的古屋上的一道裂縫可以說(shuō)是故事中的另外一個(gè)象征。愛(ài)倫?坡在小說(shuō)的開(kāi)始部分就提到了這道裂縫――“仔細(xì)觀察，也許會(huì)發(fā)現(xiàn)一道難以辨識(shí)的裂縫，從房子正面的屋頂開(kāi)始，呈鋸齒形沿墻而下，直通入池塘的死水之中?！薄熬驮谖夷H，那道裂縫迅速地越裂越大，隨之一陣狂風(fēng)呼嘯卷起，那輪血紅的月亮一下進(jìn)到我眼前，接下去是一陣長(zhǎng)長(zhǎng)的巨響，我頭昏眼花地看見(jiàn)那座高大的府邸正在崩潰坍塌?！边@道裂縫在小說(shuō)的結(jié)尾也同樣提到。愛(ài)倫?坡之所以用“裂縫”貫穿小說(shuō)首尾，原因就在于那道裂縫象征著籠罩于整個(gè)古屋的邪惡之源。裂縫的擴(kuò)大意味著邪惡的日益增大，古屋破敗了，厄舍家族沒(méi)落了，古屋歷史在日益強(qiáng)盛的邪惡力量的伴隨下蹉跎前行?？梢?jiàn)，邪惡最終傾覆了古屋，也完全毀滅了厄舍家族。

三、第一人稱(chēng)的敘述角度

《厄舍古屋的倒塌》這部小說(shuō)最巧妙之處就是用第一人稱(chēng)的敘述視角展開(kāi)故事情節(jié)，話(huà)說(shuō)“書(shū)道寫(xiě)心”，愛(ài)倫?坡采用第一人稱(chēng)的敘述視角對(duì)《厄舍古屋的倒塌》這部小說(shuō)展開(kāi)創(chuàng)作有其特定的原因和意義。

一方面，小說(shuō)采用第一人稱(chēng)的敘述視角，可以在精神上縮短敘述者“我”和讀者之間的距離，從而引起讀者的共鳴。在這部小說(shuō)中，“我”只是以一個(gè)旁觀者的身份來(lái)到厄舍古屋，為的是和古屋主人羅德里克?厄舍做伴?！拔摇睕](méi)有像古屋和古屋的主人一樣毀滅于無(wú)形，雖然在古屋生活的那一段時(shí)間里，“我”耳聞了古屋由盛轉(zhuǎn)衰的歷史，目睹了古屋主人無(wú)法抗拒地走向死亡的悲劇，以一個(gè)正常人的姿態(tài)在病態(tài)的環(huán)境中感受莫名的恐懼。當(dāng)“我”逃出古屋的一剎那，古屋隨之崩塌，我成了“唯一”的幸存者。如此驚心動(dòng)魄又巧合的情節(jié)難道不正說(shuō)明了“我”只是個(gè)有意闖入古屋外來(lái)者，只是一個(gè)敘述者，一個(gè)旁觀者嗎？由于小說(shuō)的內(nèi)容是通過(guò)“我”傳達(dá)給讀者，表示小說(shuō)中所寫(xiě)的都是敘述人的親眼所見(jiàn)、親耳所聞，使讀者得到一種更為真切的感覺(jué)，給人以身臨其境之感。