填空题 Translate the following into Chinese.(上海外国语大学2006研,考试科目:英汉互译)The fact is that, as a writer, Faulkner is no more interested in solving problems than he is tempted to indulge in sociological comments on the sudden changes in the economic position of the southern states. The defeat and the consequences of defeat are merely the soil out of which his epics grow. He is not fascinated by men as a community but by man in the community, the individual as a final unity in himself, curiously unmoved by external conditions. The tragedies of these individuals have nothing in common with Greek tragedy: they are led to their inexorable end by passions caused by inheritance, traditions, and environment, passions which are expressed either in a sudden outburst or in a slow liberation from perhaps generations-old restrictions. With almost every new work Faulkner penetrates deeper into the human psyche, into man"s greatness and powers of self-sacrifice, lust for power, cupidity, spiritual poverty, narrow-mindedness, burlesque obstinacy, anguish, terror, and degenerate aberrations. As a probing psychologist he is the unrivalled master among all living British and American novelists. Neither do any of his colleagues possess his fantastic imaginative powers and his ability to create characters. His subhuman and superhuman figures, tragic or comic in a macabre way, emerge from his mind with a reality that few existing people—even those nearest to us—can give us, and they move in a milieu whose odours of subtropical plants, ladies" perfumes, Negro sweat, and the smell of horses and mules penetrate immediately even into a Scandinavian"s warm and cosy den. As a painter of landscapes he has the hunter"s intimate knowledge of his own hunting-ground, the topographer"s accuracy, and the impressionist"s sensitivity. Moreover, side by side with Joyce and perhaps even more so Falkner is the great experimentalist among twentieth-century novelists. Scarcely two of his novels are similar technically. It seems as if by this continuous renewal he wanted to achieve the increased breadth which his limited world, both in geography and in subject matter, cannot give him.
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【正确答案】 1、正确答案: 事实上,作为一个作家,福克纳既不热衷于从社会学角度对南方各州突发的经济变化发表评论,更没有兴趣去解决问题。南方战败以及战败的后果只不过给福克纳的史诗般作品提供了成长的土壤。吸引他的并不是以社会为单位的人们,而是在社会中个体的、独立存在的人。奇怪的是,这些个体对外部情况却无动于衷。这些个体的悲剧与希腊式的悲剧并没有共同之处:祖辈传承、传统以及时代环境让他们产生了激情,无论其表现方式如何——是突然之间集中爆发,还是有所约束地持续几代缓慢释放——激情,让他们劫数难逃,走向灭亡。福克纳几乎在每一部新作品中都更加深入地剖析人类的灵魂,探索人类自我牺牲的伟大之处和力量之源,洞悉权力的欲望、精神的贫瘠、思想的狭隘、可笑的固执、痛苦和恐惧,以及道德的滑坡。福克纳见解深刻,善于剖析人的心理。在当世英美小说家当中,他无可匹敌,堪称大师。其超凡绝伦的想象,塑造人物的技巧,更令其他作家难以望其项背。在以死亡为主题的悲剧或喜剧中,他塑造的人物类似凡人,却又超乎凡人,来自于脑海,却又具有现实意味。能给我们这样体验的,当世少有,甚至近代也不多见。这些人物在一个混杂了亚热带植物的清香、女人香水的芳香、黑人的汗臭味和骡马臭味的环境中活动,这股气味甚至可以立即弥漫到斯堪的纳维亚的一间温暖舒适的小房子里。作为一名风景画画家,福克纳具有猎人般熟知猎场的能力、地形学家的精确判断力和印象派画家的敏感力。此外,福克纳还是二十世纪小说家中伟大的实验主义者,与乔伊斯并列,或许还要强于乔伊斯。在他的小说当中,几乎没有任何两部小说在写作手法上是相似的。似乎正是通过这种不断的更新,福克纳才可以获得他想要的创作广度,而这种广度是他所处的缺乏创见的世界(无论是主观的还是客观的世界)所不能给予他的。    
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