盖茨比这个人物的复杂性外文翻译资料

外文文献翻译

姓名：左益 学号：20131310036

论文题目：The Complexity of Character Gatsby

Fictitious characters rarely become as famous as their literary progenitors, their names carrying the cachet of bona fide celebrities and evoking the spirit of an entire generation. F. Scott Fitzgeraldrsquo;s most iconic character, Jay Gatsby, fits the bill, and a portion of his reputation hinges on his extracurricular presence in American culture, particularly in the stage and film adaptations of The Great Gatsby that have been produced since the novelrsquo;s 1925 publication. Directors who work with this masterpiece of modern literature face a certain set of challenges during the creative process of adaption, challenges stemming, at least in part, from the novelrsquo;s status as a cornerstone of American fiction. The canonical text is routinely taught in the high school and college classroom, and its nearly systematic inclusion on English syllabi suggests that a number of students and adults have read the novel, or at least been exposed to its characters, plot, and themes during lectures and discussions. These readers-turned-viewers have personal opinions about the novel and its characters, and the existence of such preconceived notions can influence the decisions of the various productions teams that have embraced this laborious but rewarding task over the years. Reviewers in the popular media often resort to comparisons between the book and the adaptation, using fidelity as a barometer of success. Other complications arise because the novel is a beloved classic, and some literary scholars and Fitzgerald fans are protective of The Great Gatsby, arguing that it cannot be made into a play or film, and that an adaptation should not be produced in the first place. These readers fail to recognize the value of the major Gatsby adaptations, which boost sales of the novel and spark a rebirth of interest in Fitzgerald and his work. The relationship between the novel and its various adaptations is nuanced and complex, and although the plays and films are not in direct competition with the novel. Instead, the film adaptations are particularly lucrative for the publishers, who reissue the novel and often offer movie tie-in editions. Although some instructors worry that their students will watch the movie instead of reading the book, and some students will certainly resort to this dull method of substitution, it is more important to appreciate the many moviegoers who buy and (re)read the novel outside of the classroom in concert with the release of a new adaptation.

F. Scott Hollywood: Fitzgerald and the Film Industry

The significance of the most prominent Gatsby adaptions grows deeper when one considers Fitzgeraldrsquo;s unsuccessful endeavors in the film industry. Fitzgerald suffered a series of professional setbacks shortly before his 1940 death at the age of 44, and although he was involved with a number of productions as a screenwriter in Hollywood, he did not earn a single film credit. Fitzgerald died without knowing that The Great Gatsby, which was out of print at that time, would become a masterpiece of modern literature, and more surprisingly, a reliable candidate for adaptations. Fitzgeraldrsquo;s fiction has enjoyed sustained success in Hollywood since his death, with a number of production teams and actors achieving the fame and financial security that unfortunately proved destructive when not elusive for the Fitzgeralds themselves. Cinematic renditions of The Great Gatsby revive the novelrsquo;s presence in contemporary society and improve Fitzgeraldrsquo;s former reputation in Hollywood, where his own work was financially rewarding but artistically disappointing. In addition, Esquire published the infamous “Crack-Up” essays 1936, three self-disparaging non-fiction pieces wherein Fitzgerald damaged his image in the most public of venues. In 1939, Fitzgerald was fired from his job on Winter Carnival for “drinking heavily” at Dartmouth with Budd Schulberg, the producerrsquo;s son, and the mishap purportedly excluded him from several subsequent opportunities in Hollywood as well (Margolies 202). Fitzgeraldrsquo;s relationship with Zelda had deteriorated; she was then institutionalized across the country, and he was also struggling to finance his daughterrsquo;s education at Vassar. Fitzgerald nevertheless learned the craft of adaptation first-hand during his three stints in Hollywood, where he encountered the same difficulties that the screenwriters of adaptations of his own literature would face in 1949, 1979, and 2013. His general impression of the process of adaptation emerges in the letters the authors wrote from California during these trips, which suggest that Fitzgerald might respect the artists who would later rework his fiction for another medium. Fitzgerald described one of his chief frustrations with literary adaptations in a February 1939 letter to his editor, Maxwell Perkins: “It is wonderful to be writing again instead of patching—do you know that in that Gone with the Wind job I was absolutely forbidden to use any words except those of Margaret Mitchell; that is, when new phrases had to be invented one had to thumb through as if it were Scripture and check out phrases of hers which would cover the situation!” (Turnbull 284). Fitzgeraldrsquo;s complaint indirectly liberates the production teams that have adapted his work from criticsrsquo; expectations that they strictly adhere to the language of the text.

Feature-length film adaptations of The Great Gatsby are particularly important to literary studies because they trigger a renewal of public fascination with the author and the Jazz Age, and allow Fitzgerald to retain an extraordinary influence over popular culture to this day. A significant revival of interest in Fitzgerald and his fiction is perhaps the bottom li

剩余内容已隐藏，支付完成后下载完整资料

外文文献翻译

姓名：左益 学号：20131310036

论文题目：The Complexity of Character Gatsby

Fictitious characters rarely become as famous as their literary progenitors, their names carrying the cachet of bona fide celebrities and evoking the spirit of an entire generation. F. Scott Fitzgeraldrsquo;s most iconic character, Jay Gatsby, fits the bill, and a portion of his reputation hinges on his extracurricular presence in American culture, particularly in the stage and film adaptations of The Great Gatsby that have been produced since the novelrsquo;s 1925 publication. Directors who work with this masterpiece of modern literature face a certain set of challenges during the creative process of adaption, challenges stemming, at least in part, from the novelrsquo;s status as a cornerstone of American fiction. The canonical text is routinely taught in the high school and college classroom, and its nearly systematic inclusion on English syllabi suggests that a number of students and adults have read the novel, or at least been exposed to its characters, plot, and themes during lectures and discussions. These readers-turned-viewers have personal opinions about the novel and its characters, and the existence of such preconceived notions can influence the decisions of the various productions teams that have embraced this laborious but rewarding task over the years. Reviewers in the popular media often resort to comparisons between the book and the adaptation, using fidelity as a barometer of success. Other complications arise because the novel is a beloved classic, and some literary scholars and Fitzgerald fans are protective of The Great Gatsby, arguing that it cannot be made into a play or film, and that an adaptation should not be produced in the first place. These readers fail to recognize the value of the major Gatsby adaptations, which boost sales of the novel and spark a rebirth of interest in Fitzgerald and his work. The relationship between the novel and its various adaptations is nuanced and complex, and although the plays and films are not in direct competition with the novel. Instead, the film adaptations are particularly lucrative for the publishers, who reissue the novel and often offer movie tie-in editions. Although some instructors worry that their students will watch the movie instead of reading the book, and some students will certainly resort to this dull method of substitution, it is more important to appreciate the many moviegoers who buy and (re)read the novel outside of the classroom in concert with the release of a new adaptation.

F. Scott Hollywood: Fitzgerald and the Film Industry

The significance of the most prominent Gatsby adaptions grows deeper when one considers Fitzgeraldrsquo;s unsuccessful endeavors in the film industry. Fitzgerald suffered a series of professional setbacks shortly before his 1940 death at the age of 44, and although he was involved with a number of productions as a screenwriter in Hollywood, he did not earn a single film credit. Fitzgerald died without knowing that The Great Gatsby, which was out of print at that time, would become a masterpiece of modern literature, and more surprisingly, a reliable candidate for adaptations. Fitzgeraldrsquo;s fiction has enjoyed sustained success in Hollywood since his death, with a number of production teams and actors achieving the fame and financial security that unfortunately proved destructive when not elusive for the Fitzgeralds themselves. Cinematic renditions of The Great Gatsby revive the novelrsquo;s presence in contemporary society and improve Fitzgeraldrsquo;s former reputation in Hollywood, where his own work was financially rewarding but artistically disappointing. In addition, Esquire published the infamous “Crack-Up” essays 1936, three self-disparaging non-fiction pieces wherein Fitzgerald damaged his image in the most public of venues. In 1939, Fitzgerald was fired from his job on Winter Carnival for “drinking heavily” at Dartmouth with Budd Schulberg, the producerrsquo;s son, and the mishap purportedly excluded him from several subsequent opportunities in Hollywood as well (Margolies 202). Fitzgeraldrsquo;s relationship with Zelda had deteriorated; she was then institutionalized across the country, and he was also struggling to finance his daughterrsquo;s education at Vassar. Fitzgerald nevertheless learned the craft of adaptation first-hand during his three stints in Hollywood, where he encountered the same difficulties that the screenwriters of adaptations of his own literature would face in 1949, 1979, and 2013. His general impression of the process of adaptation emerges in the letters the authors wrote from California during these trips, which suggest that Fitzgerald might respect the artists who would later rework his fiction for another medium. Fitzgerald described one of his chief frustrations with literary adaptations in a February 1939 letter to his editor, Maxwell Perkins: “It is wonderful to be writing again instead of patching—do you know that in that Gone with the Wind job I was absolutely forbidden to use any words except those of Margaret Mitchell; that is, when new phrases had to be invented one had to thumb through as if it were Scripture and check out phrases of hers which would cover the situation!” (Turnbull 284). Fitzgeraldrsquo;s complaint indirectly liberates the production teams that have adapted his work from criticsrsquo; expectations that they strictly adhere to the language of the text.

Feature-length film adaptations of The Great Gatsby are particularly important to literary studies because they trigger a renewal of public fascination with the author and the Jazz Age, and allow Fitzgerald to retain an extraordinary influence over popular culture to this day. A significant revival of interest in Fitzgerald and his fiction is perhaps the bottom li

剩余内容已隐藏，支付完成后下载完整资料

资料编号：[27798]，资料为PDF文档或Word文档，PDF文档可免费转换为Word