首页
登录
公务员类
“A writer’s job is to tell the truth,” s
“A writer’s job is to tell the truth,” s
最全题库
2022-08-02
65
问题
“A writer’s job is to tell the truth,” said Hemingway in 1942. No other writer of our time had so fiercely asserted, so pugnaciously defended or so consistently exemplified the writer’s obligation to speak truly. His standard of truth-telling remained, moreover, so high and so rigorous that he was ordinarily unwilling to admit secondary evidence, whether literary evidence or evidence picked up from other sources than his own experience. “I only know what I have seen,” was a statement which came often to his lips and pen. What he had personally done, or what he knew unforgettably by having gone through one version of it, was what he was interested in telling about. This is not to say that he refused to invent freely. But he always made it a sacrosanct point to invent in terms of what he actually knew from having been there. The primary intent of his writing, from first to last, was to seize and project for the reader what he often called “the way it was.” This is a characteristically simple phrase for a concept of extraordinary complexity, and Hemingway’s conception of its meaning subtly changed several times in the course of his career-always in the direction of greater complexity. At the core of the concept, however, one can invariably discern the operation of three aesthetic instruments; the sense of place the sense of fact and the sense of scene. The first of these, obviously a strong passion with Hemingway, is the sense of place. “Unless you have geography, background,” he once told George Anteil, “You have nothing.” You have, that is to say, a dramatic vacuum. Few writers have been more place-conscious. Few have so carefully charted out the geographical ground work of their novels while managing to keep background so conspicuously unobtrusive. Few, accordingly, have been able to record more economically and graphically the way it is when you walk through the streets of Paris in search of breakfast at corner café… Or when, at around six O’s clock of a Spanish dawn, you watch the bulls running from the corrals at the Puerta Rochapea through the streets of Pamplona towards the bullring. “When I woke it was the sound of the rocket exploding that announced the release of the bulls from the corrals at the edge of town. Down below the narrow street was empty. All the balconies were crowded with people. Suddenly a crowd came down the street. They were all running, packed close together. They passed along and up the street toward the bullring and behind them came more men running faster, and then some stragglers who were really running. Behind them was a little bare space, and then the bulls, galloping, tossing their heads up and down. It all went out of sight around the corner. One man fell, rolled to the gutter, and lay quiet. But the bulls went right on and did not notice him. They were all running together.” This landscape is as morning-fresh as a design in India ink on clean white paper. First is the bare white street, seen from above, quiet and empty. Then one sees the first packed clot of runners. Behind these are the thinner ranks of those who move faster because they are closer to bulls. Then the almost comic stragglers, who are “really running.” brilliantly behind these shines the “little bare space,” a desperate margin for error. Then the clot of running bulls-closing the design, except of course for the man in the gutter making himself, like the designer’s initials, as inconspicuous as possible.It has been suggested that part of Hemingway’s genius lies in the way in which he removes himself from his stories in order to let readers experience the stories for themselves. Which of the following elements of the passage support this suggestion? Ⅰ. The comparison of “designer’s initials” to the man who fell and lay in the gutter (the last paragraph) during the running of bulls Ⅱ. Hemingway’s stated intent to project for the reader “he way it was” (the second paragraph) III. Hemingway’s ability to invent fascinating tales from his own experienceA.I onlyB.Ⅱ onlyC.I and Ⅱ onlyD.I and III only
选项
A.I only
B.Ⅱ only
C.I and Ⅱ only
D.I and III only
答案
C
解析
最后一段的“as inconspicuous as possible”说明“the man in the gutter”是完全不引人注目的,而作者本身就如同这个角色一样,将自己置身度外,让读者自己体会。因此Ⅰ是正确的。当作者将故事如同故事本身所发上的那样呈现在读者眼前时,作者本身也就脱离故事了,因此Ⅱ也是正确的。
转载请注明原文地址:https://tihaiku.com/gongwuyuan/2635145.html
本试题收录于:
英语言文学 军队文职题库军队文职人员招聘分类
英语言文学 军队文职
军队文职人员招聘
相关试题推荐
“Awriter’sjobistotellthetruth,”s
“Awriter’sjobistotellthetruth,”s
“Awriter’sjobistotellthetruth,”s
“Awriter’sjobistotellthetruth,”s
Ihaveknownveryfewwriters,buttho
Whichofthefollowingwritersisanove
Awriterwhowantstoconvincehisreade
Ofthefollowingwriters,()isNOTinclu
Ofthefollowingwriters,()isNOTaNob
Awriterwhowantstoconvincehisreade
随机试题
Negotiationsworkwonders.Thisisparticularlysoininternationalbusiness
PresidentRichardNixonusedtosaythatthefirstcivilrightofeveryAmer
不符合多胎妊娠特点的是A.家族中有多胎妊娠史者,多胎发生率明显上升 B.双胎发
细胞因子中生物学测定方法的最大缺点是A.检测方法灵敏度不高 B.特异性不强
在煎煮时因有效成分易破坏而应该后下的是A.薄荷 B.苦杏仁 C.砂仁 D.
根据对组织的态度的不同可以将公众分为顺意公众、逆意公众和独立公众。顺意公众指的是
信度指标通常以相关系数来表示,即用同一被试样本所得的两组资料的相关系数作为测量一
投资项目决策分析与评价的基本要求包括贯彻落实科学发展观、资料数据准确可靠和()
均质细杆AB重力为W,A端置于光滑水平面上,B端用绳悬挂如图4-56所示。当
依据《通用安装工程工程量计算规范》(GB50856—2013),机械设备安装工程
最新回复
(
0
)