短篇偵探故事精選(九篇)

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第1篇：短篇偵探故事范文

4月21日，日本推理作家協會公布了本年度協會獎的各部門獲獎名單。

>> 最最最前沿 小恩要報 小才要用 最最遙遠的路 最最遙遠的路程 最最奇妙的雞蛋 小Y站報：夢斷WCC 誰的老師最最美 最最親愛的大姑 抗戰時期的《小消息》報 臺灣無籽小西瓜引種試驗初報 一份小“班報” 帶來大收獲 《廣州日報》社區報：“小市場”的大布局 我那最最溫柔的老師 我最最心愛的人 最最難懂女人心 酸甜苦辣最最榜 傾情救助遭遇“白眼狼”，無良小夫妻恩將“偷”報陷囹圄 子午嶺林區東華池林場建莊油松梢小蠹防治技術初報 柑桔小實蠅雄蟲種群消長規律研究初報 利用麗蚜小蜂控制煙田煙粉虱效果研究初報 常見問題解答 當前所在位置：中國 > 經濟法律 > 小最最IN報 小最最IN報 雜志之家、寫作服務和雜志訂閱支持對公帳戶付款！安全又可靠！ document.write("作者： 本刊編輯部")

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4月21日，日本推理作家協會公布了本年度協會獎的各部門獲獎名單。最佳長篇獎頒給了月村了衛的《土漠之花》和早見和真的《無罪之日》。喜國雅彥的《書架偵探的最后問候》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論獎。本屆最佳推理短篇獎從缺。各位獲獎者將分別獲得50萬日元的獎金。頒獎儀式預定5月20日晚在東京新橋的東京第一酒店舉行。

月村了衛是日本著名的動漫編?。ā短斓責o用》等），2010年以科幻懸疑作品《機龍警察》系列出道，該系列為其贏得了科幻小說大獎、吉川英治新人獎等諸多榮譽。此前兩個月里，月村已經先后拿下了本年度第17回大藪春彥獎及第12屆本屋大獎第5位。本作《土漠之花》講述精銳部隊在索馬里開展救援行動的故事。37歲的早見和真2008年出版首部作品，本作是其第一部推理小說，即獲得了本次大獎。 埃德加?愛倫?坡獎

本年度4月29日，美國偵探作家協會（MWA）在紐約凱越大酒店舉行了本年度埃德加?愛倫?坡獎的頒獎儀式。其中最重要的最佳小說獎（Best Novel）被斯蒂芬?金的《梅賽德斯先生》奪得?！睹焚惖滤瓜壬肥且徊糠堑湫偷摹熬熳ベ\”小說，主角是喜歡開著奔馳車的精神病病人，在駕車沖入招聘會現場瘋狂造成8死15傷后逃逸，開始策劃更瘋狂的屠殺計劃。收到匿名信后，退休刑警為了阻止這一瘋狂計劃重出江湖。該作于去年6月出版，目前已經確定會被改編成電影。斯蒂芬?金是全球最為知名的懸疑恐怖小說大師，其作品全球銷量高達3億5千萬冊，20多部作品被引進至中國，風格包含恐怖、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年拿下埃德加愛倫坡終身成就獎。

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

埃德加?愛倫?坡獎是目前全球最為權威的懸疑推理小說獎項，由美國偵探作家協會（MWA）創立于1946年。獲獎作品由美國偵探作家協會指定成員組成的委員會裁定。該獎項也被譽為是偵探推理界的奧斯卡獎。 第15屆本格推理小說大獎

2015年5月12日，日本本格推理作家俱樂部公布了本年度本格推理小說大獎得主，麻耶雄嵩憑借去年8月出版的《再見，神啊》拿下最高的19票奪得大獎，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》拿下了最佳評論作品獎。

麻耶雄嵩此次已經是第2次拿下該獎項（上一次為2011年《獨眼少女》），同時也是第2位兩奪該大獎的作家。本作作為一部短篇作品集去年已經拿下本格推理排行榜年度第1，在另外三個最為權威的榜單中也全部擠入前3位，是去年當之無愧最為出色的推理作品。麻耶雄嵩是近5年來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，或是結構創意十分出色，亦或是爭議極大的顛覆傳統寫法，可謂篇篇經典。國內近期也陸續出版了其多部作品，好評如潮，去年麻耶還曾經出現在上海書展上。 英國犯罪作家協會鉆石匕首獎

本年度6月30日，英國犯罪作家協會將舉行晚宴及頒獎儀式。本次大獎只公布短篇獎、非小說類獎、國際獎、歷史小說獎以及鉆石匕首獎（終身成就獎）。協會中最為著名的金匕首獎自2013年后尚未出現大獎得主。而本次頒獎儀式中最為矚目的則是凱瑟琳?艾爾德獲得鉆石匕首獎。該獎項自1986年開始頒授，歷來的鉆石匕首得主都是著作甚豐，經年累月深耕推理田地，風格獨特明顯的老輩作家。也因此獲頒鉆石匕首獎，對于英國推理作者而言不啻是一種終身成就的肯定?？ǖ貋嗐@石匕首價值3萬英鎊，每年只在授獎儀式上露一次面，獲獎作家無權保存鉆石匕首，但會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《神探夏洛克》的粉絲們來說，這可能是最不可思議又奇妙無比的消息――據報道，一座真正的《神探夏洛克》主題公園正在建設中，大偵探的粉絲們將可以沿著這個公園一路破解各種謎題，體會破案的激情。

主題公園將要花費數額巨大的資金，這座即將在樸茨茅斯開放的公園大約要花費2500萬英鎊，作者亞瑟?柯南?道爾曾在樸茨茅斯生活過。

這個趣味主題公園的官方開放日期暫未公布，它將重現劇中的真實情節，大偵探的好伙伴華生醫生和死敵莫里亞蒂等人物都將出現，這一主題公園被形容為“世界級多媒體體驗”。

公園里將不僅擁有供游客乘騎的游樂設施，還會有主演陣容的全息照片。粉絲將有機會對故事里最出名的一些場所一探究竟，其中當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，這位主角首次進入人們視線，從那以后，夏洛克?福爾摩斯就成為英國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[續集], scheduled[預定的] for release Dec. 16th.

Even with Mark Strong taking the bad guy role as the serial killer[連環殺手] 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[常規的]

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

Conventional, Harris isn’t. Recently seen as the British nerd[書呆子] in Mad Men注, Harris “brings a depth, a realism[真實性], 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] 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] 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[進程] of history.

莫里亞蒂回來了。

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，這次他在續集（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――連環殺手布萊克伍德爵士，以及2.09億美元的票房收入，導演蓋?里奇總覺得第一部缺少了一些東西。雖然不太情愿拍續集，但他很快就回到了《大偵探福爾摩斯：影子游戲》的隊伍中。

“我控制不住自己，”里奇說。“他們希望這成為一個電影系列，而我認為一個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。”

《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）的協助下，福爾摩斯和華生一步一步地追查莫里亞蒂的殺人線索。該片采用了阿瑟?柯南?道爾爵士寫于1893年的短篇作品――《最后一案》的元素。該作品首次在《海濱雜志》刊登時也是莫里亞蒂的初次出場。

曾執導《兩桿大煙槍》和《偷拐搶騙》的里奇說，他對第一部福爾摩斯電影的成功感到很意外，不知道如何再創佳績。

而一個大壞蛋總是無傷大雅。

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

哈里斯絕對不普通。作為最近出現在《廣告狂人》的英國書呆子，哈里斯“（給角色）帶來一種深度、一種真實感，讓大家興奮不已，”里奇如是說。

福爾摩斯為何有如此魅力，這對于里奇來說也是一個謎。

“我也搞不懂這些年來他為何如此受歡迎，”

里奇說?！耙苍S因為他是一個先驅者，是一個性格上有缺點的著名偵探。

“但他還是那個常勝將軍。你怎能不愛他呢？”

《影子游戲》故事情節

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的聰明才智，而且本性邪惡，加上毫無道德心，這些也許會讓他比

福爾摩斯更有優勢。

奧地利皇儲的尸體被發現，證據都指向自殺。但福爾摩斯認為王子是被人謀殺的。莫里亞蒂教授設下了一個更大、更麻煩的謎團，而這宗謀殺只不過是其中的一小部分。

第4篇：短篇偵探故事范文

作品中懸疑氣氛的營造        

學    院：    外 國 語 學 院          

專業班級：    英語理工042班           

姓    名：    王   華   丹            

學    號：    204092041               

指導教師：    孟         冬           

答辯時間：    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》分析愛倫▪坡作品中懸疑氣氛的營造

摘  要：埃德加▪愛倫▪坡在小說，詩歌，評論，出版，隨筆等領域都卓有成就，他的短篇故事尤為人稱道。他是偵探小說的鼻祖并設立了西方偵探小說的模版。他作品的有鮮明特征，對超自然的驚恐，神秘，殘忍，以及宿命論。他寫的故事情節充滿戲劇性并注重細節描述，氣氛營造以及故事效果。當談及他的偵探故事時，他是當之無愧的懸疑氣氛制造大師。本論文以他的《毛格街血案》為例，解構懸疑氣氛營造的手法，分析得出反常和對比兩大手法在文章中的運用，通過其在語言，情節，人物性格上的體現加深懸疑氣氛。本文旨在闡釋如何營造懸疑氣氛并希望對能更好感受愛倫.坡文章的出彩之處和精妙布局有所裨益。

關鍵詞： 愛倫.坡；偵探小說；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

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

[4] 愛倫•坡著,陳良廷,徐汝椿,馬愛農譯.愛倫•坡短篇小說集[M].北京:人民文學出版社,1988。

[5] 愛倫•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.淺論愛倫.坡偵探小說的敘事模式[J]，《魯行經院學報》2003（2）。

[7] 辜鴻銘•中國人的精神[M]•北京:外語教學與研究出版社, 2000。

[8] 寧倩.美國文學名家[M].哈爾濱:黑龍江人民出版社,1983。

[9] 于薇. 愛倫•坡小說中的懸念和象征[J]. 黑龍江教育學院學報. 2006（12）。

[10] 辜鴻銘.中國人的精神[M]•北京:外語教學與研究出版社, 2000。

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第5篇：短篇偵探故事范文

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(一)填空題。( 25分)

1、肖曉當升旗手時，他的事跡是由___________介紹的。

2、《魯濱遜漂流記》的作者是英國作家___________。

魯濱遜在一座無人荒島上生活多年后，收得一土人為奴，取名________”。

3、“三英戰呂布”里的“三英”指的是___________、___________、___________

。

4、《湯姆索亞歷險記》中，湯姆索亞住在_______________姨媽家里，他還有一個異母兄弟_________

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5、《西游記》中有許多膾炙人口的故事，如《三打

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6、《窗邊的小豆豆》中，小豆豆的新學校用_________________當教室，新學校的名字叫_________________。

7、水

，是哺育一切生靈的 乳 汁，它好像有德行。水沒有一定的形狀，或方或 長，流必 向下，和順溫柔，它好像有情義。水穿穿 山巖，鑿鑿石壁，從無懼色，它好像有志向。萬物入水，必能必能 垢，它好像 ……由此看來，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，_____________

____ ______。 ——《將進酒》

(二)選擇題。( 8 分)

1、“破釜沉舟”“

烏江自刎”這兩個詞語都是講關于( )的故事。

A、項梁 B、宋義 C、項羽

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、三國名將趙云

5、下面哪個故事不是三國故事(

)。

A、赤壁大戰 B、草船借箭 C、三顧茅廬 D、負荊請罪

6、《夏洛的網》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、《愛的教育》中，弗蘭蒂被開除的原因是(

)。

A、品行太壞 B、成績太差 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、一個月 C、半年

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

1、莫泊桑是“短篇小說之王”;

季羨林被譽為“學界泰斗”。( )

2、小說有著歷史真實的影子，《西游記》講的是宋貞觀年間玄奘遠去西域取經的事件。

( )

3、《水滸傳》的作者是施耐庵，“智取生辰綱”的組織領導者是宋江。

( )

4、《王子與貧兒》是美國作家馬克?吐溫的作品。

( )

5、《海底兩萬里》小說從海面上“怪獸”出沒，頻頻襲擊各國海輪，使市民人心惶惶開始，到鸚鵡螺號被大西洋旋渦吞沒為止，整部小說懸念迭出，環環相扣。

()

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

( )

7、《少女的紅發卡》是一部長篇少女心理小說，描寫了三個少女美麗動人的心路歷程。

( )

8、福爾摩斯是生活在“霧都”倫敦一座簡陋公寓里的一位極具偵探天才的人物。

他目光敏銳，思維嚴密而獨特，是跨時代的名偵探。 ( )

9、《中國未解之謎》是德國作家雷納.科特編寫的一部科普著作。

( )

10、項羽忍受“胯下之辱”而成就一代霸業。

( )

(四)閱讀短文，完成練習。( 32 分)

短文一( 10分 )：

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

1、用“——”給加點字畫出正確的讀音。

(2分)

2、文中依次寫了玉蘭花的

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

3、這段話在結構上，采用的寫法是___________。

(2分)

A總-分 B 分-總 C總-分-總 D 時間先后

4、你喜歡什么形態的玉蘭花?為什么?

(2分)

短文二( 22 分)：

什么最廣闊

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

瞧，雯君的手絹真漂亮，雪白的手絹上疊印著點點紅梅。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。忽然，“啊”的一聲尖叫，秦敏摔倒了，胖乎乎的胳膊上滲出血來。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……

嚴冬的早晨，一個小女孩正跺著腳，眼睛在行人中焦急地搜尋。她的小手、小臉凍得通紅，手中拿著錢包。原來她在找失主。時間一秒秒過去了，而她依然等著，當失主拿到錢包，要和她合影時，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天，比藍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”寫一句話_____ _______。(4分)

2、最后一自然段用____________的手法，著重強調的是_____

______。(2分)

3、讀一讀下面的句子，分別寫出句中人物的心理活動。

(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)當失主拿到錢包，要和她合影時，她卻像棵含羞草，把頭深深埋在胸前。

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

5、“老師說最廣闊的東西就在你的生活中，需要你自己去發現。

”這句話給我們的啟示是________________________________________________________________

__________________________________________________________ _

(3分)

6、文中兩處寫“我明白了……”，我究竟明白了什么?(3分)

_____________________________________________________________________________________________________________________________________________

二、習作表達。( 25 分)

生活像一個萬花筒，五彩繽紛;又像一幕幕精彩的電影，時時呈現在我們的眼前。請你用不少于250字將生活中的一個小鏡頭描寫出來。題目自定。

溫馨提示：1、書寫工整，卷面整潔。

2、習作中不要出現真實的校名和人名。

天津小升初語文試卷真題答案一、閱讀積累。

(一)填空題。

1、林茜茜

2、笛福

星期五

3、劉備、關羽、張飛

4、波莉

錫德

5、白骨精

芭蕉扇

6、廢舊電車

巴學園

7、奔流不息

乳汁 或方或長 流必向下 和順溫柔

山巖 石壁 從無懼色 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、千金散盡還復來

(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。

短文一

1、ruǐ

shì

2、含羞待放

剛剛綻放 盛開著的 花瓣凋謝

3、C

短文二

1、一點也不猶豫很果斷

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：真是個好孩子啊!天這么冷卻一定要等我來!

小女孩：拾金不昧是我該做的，既然失主來了，那我也該走了。

4、雯君用心愛的手帕幫秦敏止血

小女孩不畏嚴寒找失主并不求回報

告訴我們：廣闊的是同學之間的互相幫助，是可貴的誠實，人們去幫助別人的心靈是最廣闊的。

5、在生活中我們要留心觀察，勇于實踐。

第6篇：短篇偵探故事范文

木心在歷經文化劫難的后來到美國，是因為“目前的中國，這流傳兩三千年的精神命脈是斷了，文學的潛流枯涸而消失?！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，倉皇脫越而來到西方的，西方文化也在衰頹，然而總要尊嚴些，舒徐有致些?！盵3]但這并不是說木心拋棄了中國傳統文化，正相反，木心認為自己是帶根的流浪者，在木心那里，藝術文化原是沒有民族界限的。木心以詩和畫最有盛名，其次是他的散文和小說。本文主要從小說集《溫莎墓園日記》中來分析木心融合中西兩方面的寫作手法和文化意蘊。

二

Diaspora在我國譯為“流散”、“離散”，是我國在海外華文文學研究中的一個術語，“離散”的中文翻譯帶有離開家園的鄉愁，在不同文化環境中身份認同的障礙，漂泊異地的悲彩，這也與這個詞含有猶太人流離失所的本意相符合。離散文學的代表作家有嚴歌苓和白先勇，這些作家的特點是深受中西兩種文化熏陶，擁有跨文化，跨民族的世界視野。隨后美國加州大學童明教授提出了飛散的新譯法，對Diaspora不同譯法的變化也體現了這個詞本身意義的變化。從翻譯“離散”轉變為“流散”也體現了原詞在時代變化下意義的變化。

親身經歷過抗戰、內戰，甚至經歷過迫害的木心在作品中鮮少提及這段歷史，他的文字沒有抱怨和含沙射影，木心的文筆始終透著淡然，一份貴族的悠閑自得。作品中雖有鄉愁但這鄉愁總是淡淡的，絕不是悲觀的。就木心的小說集《溫莎墓園日記》來說，整個風格是恬淡閑適的。

三

木心熟悉西方古今的思想經典又有中國文化的底蘊，他的作品中必然體現了中西文化的相通性，展示了世界性的特點。而木心對人類在現代社會中面臨的一系列問題的書寫體現出深遠的慈悲關懷。木心對自己所經歷的時代沒有抱怨，而把它看成歷史的必然，以一種超然的姿態審視歷史卻不失慈悲。木心童年時就已經接受西方文學洗禮，學會用中西兩只眼睛觀察世界，他在《魚麗之宴》里寫到：“我的童年少年是在中國古文化的沉淀物中苦苦折騰過來的，而能夠用中國文化給予我的雙眼去看世界是快樂的，因為一只是辯士的眼.另一只是情郎的眼?！盵4]木心的作品不是展現了激烈的東西方文化沖突，而是把世界看成一個整體的家園。木心認為現代文化的第一要義是整體性，而不是某一個中心。木心的小說兼具散文和詩的特質，文筆帶著貴族的小資情結。

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

（一）以美國為背景展現了西方現代社會文化

《美國喜劇》記敘了“我”在美國的兩件小事：“我”在窗口總是看見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。終于有一天“我”決定看看她等待的情夫，沒想到迎面而來的是一輛公交巴士。

她蠕動，她舉手，招揮，多稚氣……她朝著來者的方向奔過去……長而且大的巴士駛進，這一段人行道全是車身的投影，她奔過去的地方是巴士站――上車。

上午九時以后，郊區巴士的班次減少，又不準時，每次難免要久等。

?文化藝術楊希：論飛散視角下木心的創作 這是“我”在美國生活中的一個小笑料，反映了美國女人們對外表禮儀的重視，也反映了現代社會大城市生活的擁擠與不便。

第二件小事講述了美國司法的嚴謹，“我”在高速公路上超速被罰款和違章吸煙被罰款，由此產生對法律過于繁瑣細小的不滿，聯想到對美國宣揚的自由的更深層次的認識。我超速去自首是因為美國警察有雷達波記錄，這點小事卻還需要在法庭辯護，在警察審訊違章吸煙罪時有個小細節，警察打了個噴嚏，隨即說一句文雅的歉詞。作者反映了美國文化法律的嚴謹，卻又認為“文明是愚蠢的復雜化”。而在法律的復雜化下，作者又思考了自由的涵義：

“自由”就是這樣吧。如果再提一項“免于納稅的恐懼的自由”，羅斯福夫人會發愣，再提一項“免于購物付款的恐懼的自由”，可尊敬的夫人要拿起電話喊人了。

《第一個美國朋友》講述了七歲的主人公住在美國福音醫院和院長孟醫生成了忘年交的故事。孟醫生對待病人如親人般，對工作謹慎勤勉，對“我”更是格外照顧，怕“我”寂寞送來一堆畫報雜志，福音醫院里的護士和醫生都是基督教的信仰者，對待病人體貼，既有醫德又有醫術。“我”雖然進行了切除扁桃體的手術但是卻留下一段難忘的美好回憶，二次大戰沖散了他們，但這段友情銘記在心。作者在這篇文章中表達了對美國醫療工作的贊美，以及對西方基督教寬厚愛人品質的欣賞，而木心本人對耶穌也帶有崇敬感，木心受過諸多磨難卻始終擁有平和的心態對待一切，這份慈悲之心正像為人類贖罪上了十字架的耶穌。

《SOS》描寫了輪船海難沉船前的一幕：臨盆的孕婦，外科醫生，即使在即將沉船面對死亡之時，醫生仍然不忘搶救生命，迎接新生命。結局在“海水墻一樣倒進來，灌滿艙房”中結束，但是歌頌了西方文化中對人的尊重，人性在災難前的光輝。木心認為現代中國沒有經歷過西方的文藝復興，啟蒙主義思潮始終是缺欠的，對個人價值的重視不夠，木心在那個時代已經能客觀看待中西方文化了?！暗搅爽F代，西方人沒有接受東方文化的影響，是欠缺、遺憾，而東方人沒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話的關系，現代文化不是“中心論”，而是相互吸收成為整體。

（二）中國現代歷史下對小人物命運的思索

《夏明珠》講述的是“我父親”沒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，說得一口流利的英語，服裝打扮西化，在太平洋戰爭爆發后“我”居住的小鎮淪陷于日本法西斯之手，夏明珠遭日本人猜疑、逮捕，嚴木心作品集刑逼供甚至受侮辱，最終死于日本人之手，女兒也被賣掉下落不明?！斗挤糔o.4》講述了青春年少、下鄉、、嫁為人婦四個時期的芳芳，“”只當作一個背景，故事情節看上去一點也不傷感，但芳芳身上的變化卻留下了那段歷史的烙印：

膚色微黑泛紅，三分粗氣正好沖去了她的纖弱，舉止也沒有原來的僵澀，尤其是身段，有了鄉土味的婀娜……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，都萎縮了，那高高的起皺的額角，是從前所沒有的……江南三月，她卻像滿臉灰沙，枯瘦得，連那衣褲也是枯瘦的。

年青時的婀娜風韻被風霜粗俗取代，這段前后對比的外貌描寫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而寫。席德進是木心在杭州藝專的好友，木心用羅曼羅蘭筆下的克利斯朵夫來相比席德進，是因為席德進喜愛唯美主義，是個浪漫主義者，是接受五四后西方思潮的進步青年，而他也是個勤奮努力又有天分的人。但是中國的現實讓他只能是個“浪漫主義在中國的遺腹子”。正如作者的感悟：

中國沒有順序的人的覺醒、啟蒙運動，缺了前提的浪漫主義必然是浮面的騷亂，歷時半個世紀的浩大實驗，人，還是有待覺醒，蒙，亦不知怎樣才啟。

《約翰?克利斯朵夫》被藝專學生奉為經典，但是這遲到的西方思潮與歐洲的時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，將藝術的人物傾在生活中，而把現實所遇者納入藝術里。我們的青春年華是這樣結結巴巴耗完的。

席德進后來去臺灣當了老師，后來成為臺灣著名的畫家，“我”剛得到好消息卻又被告知他患上癌癥，“我”從前寫給他的信始終無法交到他手里。

羅曼羅蘭在其小說的終局，克利斯朵夫渡過了河……席德進是有望渡河，突然折倒在岸邊……

（三）中西結合的寫作技巧和思想內涵

木心的短篇小說中有的背景是中國，人物是中國人但是卻采用了西方短篇小說的寫作技巧；另一種是小說背景是國外但寫作上沒有側重故事情節反而注重氛圍的描寫，營造了朦朧唯美的中國美學意境。正如童明評價木心的寫作具有世界性美學思維，集中體現在他散文和詩的寫作中，在他的短篇小說寫作中也體現了這點。

《一車十八人》講的是“我”研究所里的司機李山和十七個男子開車去參加討論會，李山婚姻不和睦性格變得沉默寡言，除了“我”公司沒有人關心他的生活。因為李山的遲到一車人對他冷嘲熱諷，在他們眼里李山近年不肯動用公車來便利他們的生活，他就沒有可利用的價值了，只有“我”為他說話。開車中途李山怒斥讓“我”下車，車朝著懸崖開去……出人意料細想又合理的結尾方式很有西方短篇小說的特點，還有點偵探小說的懸疑味，展示了人性的自私自利。值得一提的是，雖然沒有說明是這篇小說的改編，但是故事情節完全類似的一部電影《車四十四》，女大巴司機開著滿載乘客的車在公路上遇到兩名在公路上遇到兩名劫匪，女司機被劫匪，全車只有一個男乘客反抗幫助她，最后女司機強迫讓這位男乘客下車，自己開著車駛向懸崖。這部2001年的電影短片獲得58屆威尼斯電影節評委會大獎，電影改編的比木心的小說更合情合理，矛盾沖突更劇烈，更加突出了人性中虛偽冷漠的一面，也充分說明這部電影的原型木心的小說深得西方文化精髓。

中國古代背景的《七日之糧》出自《公羊傳》中《宋人及楚人平》，春秋時期楚莊王圍攻宋國，楚軍只剩下七日的糧食，楚國大夫司馬子反和宋國大夫華元相互刺探情報得知宋國已是“易子而食”的地步， 司馬子反說服楚莊王退兵的故事。原故事在中國古代的評價褒貶不一，君子贊揚兩位大夫為百姓著想，而有的人認為大夫私下講和有違國君的權威。在木心的筆下這篇小說以第三人稱司馬子反的視角描寫，側重司馬子反的心理刻畫，心理刻畫正是西方小說的長處。故事以月亮開頭以月亮結尾，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上虛構了司馬子反把一半糧食留給宋城的情節，這體現了西方的人道主義精神和人文關懷，同時這也是中國傳統儒家思想中“仁愛”的思想，正如這個故事中所說的“君子見人之厄則矜之，小人見人之厄則幸之”的仁者愛人、兼愛非攻思想，中國文化和西方文化的交匯就在對人的尊重、關愛上。而木心的這篇小說就把西方的人道與東方的仁愛思想通過運用西方小說技巧表達出來，中西文化是相通的。

同樣是中國古代背景的《五更轉曲》寫的是明末清初清軍南下江陰，在南京已經不戰而降的情況下，江陰駐守官兵和百姓毅然決定赴死一戰，結局是壯烈悲壯的，清兵損失慘重。作者在結尾特意說明“尸體滿街巷，無一投降者”。寫的是中國故事，卻贊頌了人的生命力的頑強，在決戰前官兵醉中唱起了《五更轉曲》，全城百姓引吭高歌。雖然完全是中國的故事，但在木心筆下卻有了荷馬史詩的韻味，以悲劇來贊頌人的偉大。

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

皓月中天，蒼穹澄澈，幾片杏黃的薄云徐徐飄過曠野……

月色分外清幽，馬嘶，劃破夜的靜空，遠處的林叢氳著霧意，月光下的曠野有古戰場的幻覺。

區別于西方的以人為本，中國傳統思想一直很強調人與自然的和諧，以莊子思想為代表的道家思想強調“天人合一”，而中國傳統美學的概念“意境”就是對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了中國美學含蓄雋永的美學思想，這在小說中也有體現。自然本位的文化下自然都是有著人類情感的，帶上了人的主觀性，而實際上自然又是無知無情的存在。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造力，人生的價值在于生命意志，西方美學中悲劇的美就在于人在反抗宿命時顯得偉大而有尊嚴。

結語

木心對中西兩種文化的理解是：“所謂東方，中國才是代表，補給西方，正是對的，因為西方最缺的就是中國的東西：含蓄， 以弱制勝。東方西方要是真的相通，文明才開始?？墒且獑拘褨|方，中國，非得西方來理解”[6]木心熟悉西方經典又有中國文化的底蘊，他的作品體現了中西文化的相通性，展示了現代文化的整體性特點。東方和西方是相互對話的關系，現代文化不是“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點成為世界文化家園。而木心對人類在現代社會中面臨的一系列問題的書寫體現出深遠的慈悲關懷和人文精神。

參考文獻：

[1]木心.答臺灣《聯合文學》編者問[M]//魚麗之宴.桂林：廣西師范大學出版社，2007：27.

[2][3]木心. 1983―1998年航程紀要[M]//魚麗之宴.桂林：廣西師范大學出版社，2007：109，117.

第7篇：短篇偵探故事范文

關鍵詞: 西班牙語專業 低年級 泛讀教材 選擇和使用

西班牙語在全球是僅次于英語和漢語的第三大語言,但長久以來在我國一直都定位為小語種,一般只在大學專業課或者二外課程中設置,開辦的學校也非常有限。進入二十一世紀,隨著對外聯系和貿易活動的擴大和頻繁,我國對西班牙語的專業人才的需求呈現急劇增加。許多高校都新開設了西班牙語專業。

西班牙語教學在全國與同類其他語種相比是起步比較晚的,發展也比較緩慢。大多沿襲在國內最權威的北京外國語大學的教學體系。其中,基礎課程中除了貫穿前后的精讀課程外,就數泛讀課程最重要了。在泛讀的教學中,教材的選擇和使用又至關重要。

國內西班牙語教學使用的教材主要有國內出版教材和國外原版教材兩種。

一、國內出版教材

(一)《新編西班牙語課本》

在二十世紀八十年代末外研社出版的《西班牙語閱讀課本》基礎上更新出版的2000年《新編西班牙語閱讀課本》,主要由北京外國語大學的老師選編,是市場上很長一段時間內唯一的一套泛讀教材。這套教材因為和精讀課程的教材《現代西班牙語》進度貼合,深受教師歡迎。

《新編西班牙語閱讀課本》一共是四冊。所有選編的文章都從國外原版教材或者書籍中摘取,保證了文章的原汁原味,而且每一冊的難度設計都是梯度上升的,是配合精讀教材的補充讀物,能拓寬學生的知識面,提高閱讀能力,擴充詞匯量。課本的編寫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間。

這套教材雖然是早前《西班牙語閱讀課本》的更新,但十年的使用周期,還是讓一代新過一代的學生覺得其中的文章稍微乏味或者古舊了一點。所以這套教材現在更適合作為學生課外的讀物,定期布置、定期抽查,然后在課堂上花少量的時間給學生解答其中的語言難點。

(二)《西班牙語閱讀教程》

《西班牙語閱讀教程》作為普通高等教育“十一五”國家級規劃教材,由上海外國語大學牽頭,聯合幾所知名高校的老師一同編寫,經上海外語教育出版社出版。計劃出版四冊,截止到2010年8月已出版前三冊。

這套教材在很多方面都作了改善和擴充。首先,每本教材的體例都非常的清晰,每冊十八個單元,剛好用于一個學期。每個單元都設三篇文章,三篇文章對閱讀要求都作了不同的要求,在《編寫說明》中對如何使用作了詳細的說明。其次,這套教材不再是簡單的文章和材料的選取,增加了主題的設計和課后練習的內容。最后,對于文章中出現的疑難句型進行了解釋,文章中的生詞也采用了西語解釋,更有利于學生準確掌握生詞的意思。

通過這樣的編寫和設計,泛讀課本從簡單的閱讀材料的集合變成完整的有教學主題、教學內容和教學檢測的系統體系。而且,本套書籍沒有提供答案,雖然對于老師的備課提出了更高的要求,但也確實杜絕了學生不勞而獲的僥幸心理。另外,課后習題的設計緊貼全國西班牙語專業四級考試的題型,也可以在資源極度匱乏的大環境下,提供給學生一些練習,可以更好地提高相應的應試技巧。

二、國外原版教材

(一)ANAYA出版的閱讀讀本

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

(二)SGEL出版的閱讀課本

SGEL出版的閱讀課本種類繁多,可以滿足各種不同需要。

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

這套叢書,或者讓學生課外閱讀,課堂上用自己的語言復述;或者老師在課堂上朗讀這些文章并提問,以聽力理解的方式來檢查學生理解的情況。最后,還可以讓學生分組討論書后的話題。這樣的使用,可以讓學生在聽、說、讀、寫方面同步得到訓練和發展。

《短篇閱讀故事》(Historias breves para leer),這套書有初級、中級和高級三本,故事比《新西班牙語故事》中的略長,每篇大概有1500個詞,但都比較簡單。適合在大一下和大二上使用,而且因為篇后有很多關于語法、詞法的練習,這套書籍適合做課堂上的快速閱讀練習。

除了以上的兩套叢書外,SGEL還有許多專為學習西班牙語的外國人設計的消遣類的閱讀書籍,都是一些偵探類的小故事,也可以推薦給學生在課外使用。

以上主要羅列分析了國內外現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。泛讀課的教學目的,主要在于提高學生的閱讀能力,擴充學生的知識量和詞匯量,而這樣僅僅通過每周兩三頁的閱讀量是達不到目的的。所以,課外的大閱讀量是必需的。隨著網絡的普及,閱讀資源的收集雖然簡單很多,但是資料的篩選尤其重要,這其中教師需要承擔主要的責任。

三、低年級學生的閱讀資料的選擇和使用

低年級的學生,因詞匯量有限,語法結構還不健全,所以適合的原文讀物并不是那么多。一般來說,有以下幾種選擇。

(一)國外的兒童讀物

從語言本身來說,這是最適合低年級學生的泛讀讀物。但是從內容上來說,有的時候會稍顯幼稚。需要選擇一些語言簡單,但思想性豐富的作品。總結使用過的一些材料,有這些推薦:關于一個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)為這個人物一共創作了七本小說,這個系列都適合低年級的學生閱讀,語言幽默,而且口語化。曾經獲得過西班牙行星獎(Premio Planeta)和納達爾獎(Premio Nadal)的女作家安娜?瑪利亞(Ana María Matute)的兒童文學作品也比較適合二年級的學生閱讀,雖然是講述以兒童為主人公的小說,但其中刻畫的卻是孩子的殘忍和無知,具有深刻的思想性。其中如長篇《尤利西斯號的偷渡客》(El polizón del Ulises),短篇如《干枯的樹枝》(La rama seca)等都是很好的淺易讀物。

(二)從英文翻譯的西語作品

因為是翻譯作品,所以一般使用的詞語也比較簡單。從英文到西班牙語的翻譯比從英文到中文的翻譯保存了更多原文的風格,也可以在一定的程度上拓寬學生的閱讀面,初步體會一下翻譯的奧妙。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,可以讓學生很快地融入到書籍中。

泛讀課程在西班牙語的基礎教學中是非常重要的課程。借用另外一種語言,打開另外一扇更大的門,直接了解更多的國外社會文化動態。不是單純學習語言本身,而是以文化文學為載體來學習并提高外語水平。相信無論是學生還是老師,都會從這樣的閱讀中受益匪淺。

參考文獻:

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

[2]陸經生.西班牙語閱讀教程[M].上海外語教育出版社,2009.

第8篇：短篇偵探故事范文

關鍵詞： 動態對等翻譯理論 《狄公案》 歸化

一、動態對立理論

奈達是當代杰出的美國語言學家和翻譯學家。在二十世紀六十年代，他提出了翻譯的動態對等理論。奈達把這一理論定義為：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、自然和對等的語言從語義到文體再現源語的信息”（郭建中，2000，P65）。在《翻譯理論和實踐》（奈達和塔伯，1969）中，他進一步定義動態對等為：譯語中的信息接受者對譯文信息的反映應該與源語接受者對原文的反應程度相同，也就是說，翻譯始終是為讀者服務的。奈達提出了翻譯的四個標準：（1）傳達信息；（2）傳達原作的精神風貌；（3）語言順暢自然，完全符合譯語規范和慣例；（4）讀者反映類似。然而要達到這四個標準，內容和形式之間就會發生矛盾。奈達認為信息對等優于形式對應。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，所以判斷譯文質量的標準最終基于三個方面：能使接受者正確理解原文信息;易于理解;形式適當，吸引接受者。翻譯時不應求文字表面的死板對應，而要在兩種語言間達成功能上的對等。奈達可以說是歸化的代表人物，動態對等理論對中西翻譯界產生了深遠的影響。

二、《狄公案》的創作和翻譯

當歐美等國興起“福爾摩斯熱”時，1949年在中國的荷蘭外交家、漢學家和偵探小說家高羅佩（Robert Van Gulik）根據清初公案小說《武則天四大奇案》中的一些原型用英語創作了《銅鐘案》。出版后大獲成功。隨后高羅佩又寫了《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》為書名，用中文把《中國迷宮命案》改寫成章回體小說。這本小說共有52回。從1954年至1967年，他又用英文撰寫了《中國潮中案》、《漆屏風》等十幾個中短篇小說，這些小說組成了130萬字的鴻篇巨制——《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，在歐洲風行一時。“Judge Dee”（狄公）從此成為歐洲家喻戶曉的傳奇人物，成了西方人心目中的“中國的福爾摩斯”，最后，中國譯者陳來元、胡明自八十年代起模仿宋元白話風格，將高羅佩的《狄公案》譯成中文，引入國內，頗受歡迎。由于譯者改寫得惟妙惟肖，以至于很多人都以為《狄公案》原本就是中國古典小說，而非荷蘭人高羅佩的作品。陳來元、胡明的中文版《狄公案》能夠吸引大批中國讀者的原因在于他們在翻譯的過程中并沒有刻板地遵循字字對應的形式一致，而是非常靈活地對譯文進行了相應的調整，滿足了中國讀者的要求，造成了文本信息傳遞的順暢，實現了動態對等，使讀者產生了相似的反應效果。

三、如何通過動態理論成功改寫

以下以《鐵釘案》的第一章為例探討譯者（陳來元、胡明）如何通過動態對等實現了在不同文化中小說文體的成功改寫。奈達提出“用最近似的自然對等值”，這就要求譯文盡量使用譯文接受者喜聞樂見、符合譯語表達規范的言語形式。高羅佩的《狄公案》對原材料進行了取舍，并按照西方人普遍接受的小說模式和套路進行創作，因此獲得了巨大成功；因為故事背景在中國，本身這是部商業小說，所以當譯者將這部小說引進時所進行的歸化翻譯并沒有降低作品本身的文學價值，反而讓中國讀者產生相同的反應，實現動態對等。

第9篇：短篇偵探故事范文

《厄舍古屋的倒塌》誕生于1839年，描寫的是一個古老家族的一對孿生兄妹，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，哥哥邀請摯友前來做伴。后來哥哥把妹妹活埋，在一個風雨交加的夜晚，妹妹掙脫棺材走出地窖，撲死在哥哥懷里，哥哥也被嚇死。而朋友被嚇得魂飛魄散，倉皇逃離古屋。古屋在風雨中倒塌，碎石爛瓦被深深的塘水無聲地吞沒于無形。

一、哥特式風格

“哥特式風格”是哥特式小說創作的風格。所謂“哥特式小說”是指18世紀后半葉率先在英國誕生的小說文類，是一種恐怖和鬼怪小說。它多以中世紀的古堡、廢墟或荒野為背景，描寫那些為滿足或奪取財產而引起謀殺、迫害等事件，故事情節恐怖刺激，籠罩著神秘的氣氛?？植篮凸终Q是哥特式小說的基本特征，死亡是哥特式小說永恒的主題?！抖蛏峁盼莸牡顾纷鳛槭澜缱罱艹龅亩唐≌f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的，這種恐怖與死亡又是緊密相關的。可見，《厄舍古屋的倒塌》是一部具有哥特式風格的作品。

首先，小說一開始的環境描寫給人以身處地獄之感，使人不寒而栗，這給全文奠定了一個陰郁、死亡的基調。文中寫道：“那年秋天，一個沉淡、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鄉間一大片異常荒涼的曠野；暮色降臨時，我終于看見了愁云籠罩的厄舍古屋?！比f物凋零的秋季、一個陰暗而沉寂的午后、懸在半空中的黑壓壓的云層、一大片荒涼異常的鄉野，都呈現出死氣沉沉、寂無人聲、令人窒息的氛圍，末日之感也不過如此吧！此外，秋天、烏云、曠野、古屋，這一個個意象無一不給人以死亡將即之感，同時，這些意象與以古堡、廢墟或荒野為背景的哥特式小說可謂“不謀而合”。

其次，愛倫?坡巧妙運用電影蒙太奇手法，通過一幅幅畫面的迭現：遠鏡頭――古屋外光禿禿的墻壁、眼睛般的窗戶、灰色的衰草、死樹的白樹干等，中鏡頭――古屋內哥特式的拱門、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，這種表現方法給人的視覺以強烈的藝術沖擊力。“死物”一一迭現，“病人”緩緩露面，還有躡手躡腳的仆人、表情陰險的醫生，雖然先見其景，后見其人，未聞其聲，但恐怖感已隨之倍增。

接著，小說對羅德里克?厄舍孿生妹妹瑪德琳的描述也為小說增添了許多恐怖氣氛：似乎受某種邪惡力量的迫害，她無時無刻不受精神病的折磨。初見時如幽靈般一閃而過，她像一個鬼魂，一個被病痛終日折磨、至死方休的鬼魂，無時無刻不在古屋之中游蕩。當寫到她“死后”被埋入地窖時，對存放尸體的地窖的描寫“地窖就位于‘我’臥室的正下方，它又小又潮，照不進一絲光亮”；繼而對“死者”瑪德琳的描寫“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的淺淺的微笑”。由字入畫，浮想之際，不禁讓人毛骨悚然。

最后，在一個風雨交加的夜晚，當朗讀的故事情節與現實不謀而合：“瘋子！門沒有了，她就站在那兒！”，“馬德琳小姐掙脫棺材走出地窖，門應聲而開：馬德琳小姐直直地站在那兒！高高的個子，身穿殮衣，白色的袍子上淌著鮮血，瘦削的身體上，每一處都顯現出痛苦掙扎的痕跡?！薄八濐澪∥?，搖搖晃晃，隨著一聲一聲長長的，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見到的恐怖所嚇死的。”恐怖至此達到，讀者的恐懼感也由此達到極限。同時，這種濃濃的恐懼感又符合了哥特式小說恐怖、怪誕的基本特征。有人說“《厄舍古屋的倒塌》讀起來好似一場噩夢，自始至終充滿一種令人毛骨悚然的恐怖氣氛，情節愈益陰森古怪，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，這主要是從它的結局――古屋的主人羅德里克?厄舍和瑪德琳連同古屋一起“倒塌”了體現出來。首先，“厄舍古屋的倒塌”，顧名思義，倒塌是古屋的結局，然而僅僅是古屋倒塌了嗎？其實不然，“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。通過對厄舍古屋的觀察，以及對羅德里克?厄舍活埋馬德琳前后的神態變化的描寫，暗示古屋的坍塌與人的死亡是在悄悄地同時進行著的?！肮盼莸牡顾彪[喻了主人公精神的崩潰直至最終的毀滅，也體現出愛倫?坡對人類精神崩潰的恐懼和精神狀態悲劇性的憂慮。

其次，小說中描寫主人公羅德里克?厄舍朗誦一首題為《鬼宮》狂詩：“在天使護衛下的碧綠的翠谷之中，曾經有一個莊嚴美麗的王宮，多么輝煌，瞧它昂首挺胸。屹立在皇家的領地上，魅力無窮……但是邪惡的勢力驅動悲郁之氣，襲擊了皇家的領地（??！讓我們哀悼吧！因為他再不會感受到明日的晨曦，多么悲戚?。┒鼑哪切┹x煌和美麗，只留下一個淡忘的故事，發生在遙遠的過去……”就此詩內容上看，可知該詩描繪的是王宮在前后不同時期的兩種狀態?！懊利?、輝煌、魅力無窮”，詩歌的前兩節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飄揚、天使們圍著寶座翩翩起舞”，中間兩節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；“邪惡來襲、悲郁之氣彌漫、輝煌和美麗被陰沉和嘲笑取代”，最后兩節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，暗指古屋的破敗現狀和主人公羅德里克?厄舍懷古傷今的失落感。可以說，

《鬼宮》這首詩就是羅德里克?厄舍為自己作的一首挽詩。

最后，破敗的古屋上的一道裂縫可以說是故事中的另外一個象征。愛倫?坡在小說的開始部分就提到了這道裂縫――“仔細觀察，也許會發現一道難以辨識的裂縫，從房子正面的屋頂開始，呈鋸齒形沿墻而下，直通入池塘的死水之中。”“就在我凝望之際，那道裂縫迅速地越裂越大，隨之一陣狂風呼嘯卷起，那輪血紅的月亮一下進到我眼前，接下去是一陣長長的巨響，我頭昏眼花地看見那座高大的府邸正在崩潰坍塌?！边@道裂縫在小說的結尾也同樣提到。愛倫?坡之所以用“裂縫”貫穿小說首尾，原因就在于那道裂縫象征著籠罩于整個古屋的邪惡之源。裂縫的擴大意味著邪惡的日益增大，古屋破敗了，厄舍家族沒落了，古屋歷史在日益強盛的邪惡力量的伴隨下蹉跎前行?？梢?，邪惡最終傾覆了古屋，也完全毀滅了厄舍家族。

三、第一人稱的敘述角度

《厄舍古屋的倒塌》這部小說最巧妙之處就是用第一人稱的敘述視角展開故事情節，話說“書道寫心”，愛倫?坡采用第一人稱的敘述視角對《厄舍古屋的倒塌》這部小說展開創作有其特定的原因和意義。

一方面，小說采用第一人稱的敘述視角，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。在這部小說中，“我”只是以一個旁觀者的身份來到厄舍古屋，為的是和古屋主人羅德里克?厄舍做伴。“我”沒有像古屋和古屋的主人一樣毀滅于無形，雖然在古屋生活的那一段時間里，“我”耳聞了古屋由盛轉衰的歷史，目睹了古屋主人無法抗拒地走向死亡的悲劇，以一個正常人的姿態在病態的環境中感受莫名的恐懼。當“我”逃出古屋的一剎那，古屋隨之崩塌，我成了“唯一”的幸存者。如此驚心動魄又巧合的情節難道不正說明了“我”只是個有意闖入古屋外來者，只是一個敘述者，一個旁觀者嗎？由于小說的內容是通過“我”傳達給讀者，表示小說中所寫的都是敘述人的親眼所見、親耳所聞，使讀者得到一種更為真切的感覺，給人以身臨其境之感。