澳洲麦考瑞代写作业:愤怒的葡萄

2019-02-15 21:24

也许斯坦贝克小说中最具争议的部分无疑是他对女性的描写。书中唯一真正出现的女性角色是柯利的妻子，她似乎一时兴起就嫁给了柯利，对她想成为电影明星的荒唐抱负感到失望，显然她已经在寻找更好的前景。她与男性调情，显然被斯利姆吸引，并虐待骗子，强调她这样做时的种族紧张局势。其他提到女人的词还有妓女和伦尼已故的姑妈，奇怪的是，她们和当地妓院的“老鸨”同名。斯坦贝克在这里将自己置于性别歧视的指责之下，尤其是在他1952年创作的《伊甸园之东》(East of Eden)等其他作品中，女性同样被描绘成男性的诱骗，这或许暗示了他个人生活中的困难。然而，总而言之，斯坦贝克这部强有力的小说的持久吸引力本质上仍然是对乔治和伦尼之间核心关系的感人实现，以及他们相当巧合地走到一起如何成为他们生活中决定性的情感。正如乔治所说，正是因为其中有两个人“很讨厌”，斯坦贝克才能够突出那些漂泊不定的流浪者的孤独，他还在1939年的《愤怒的葡萄》(the Grapes of Wrath)中动情地描写了他们。在某种意义上，与绝望的糖果分享他们的梦想是结束的开始，因为当它几乎成为现实时，它同时被以他为象征的可能性的闯入打破。在《人鼠之间》中，斯坦贝克创造了一个全国性的人类问题，在这个过程中，他创造了不断移动和干扰的角色。
澳洲麦考瑞代写作业:愤怒的葡萄
Perhaps the most controversial aspect of Steinbeck’s novel is undoubtedly his portrayal of women. The only female character to have a real presence in the book is Curley’s wife, who appears to have married Curley on a whim, having been disappointed in her ludicrous ambition to become a film star, and is already clearly on the lookout for a better prospect. She flirts with the men, is clearly attracted to Slim, and abuses Crooks, emphasising as she does this the racial tensions of the time. The other references to women are to prostitutes and Lennie’s late aunt, rather oddly sharing a name with the local ‘madam’ of the brothel. Steinbeck here lays himself open to the charge of sexism, especially since in other works such as East of Eden, which he wrote in 1952, women are similarly portrayed as an entrapment to men, perhaps indicating a connective with difficulties in his personal life.In conclusion, however, it must be said that the enduring appeal of Steinbeck’s powerful novel remains intrinsically the moving realisation of the central relationship between George and Lennie and how their rather coincidental coming together becomes for both the defining emotion of their lives. Precisely because there are two of them, that someone, as George says, ‘gives a damn’, Steinbeck is able to highlight the loneliness of the itinerant drifters of whom he also writes movingly in The Grapes of Wrath (1939). The sharing of their dream with the desperate Candy is in a sense the beginning of the end because as it becomes almost a reality it is simultaneously broken by the intrusion of possibility symbolised by him. In Of Mice and Men, Steinbeck made a nationwide problem human and in doing so, he created characters who continue to both move and disturb.

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