短篇侦探故事精选(九篇)
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第1篇：短篇侦探故事范文
4月21日，日本推理作家协会公布了本年度协会奖的各部门获奖名单。
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申明:本网站内容仅用于学术交流，如有侵犯您的权益，请及时告知我们，本站将立即删除有关内容。 第68届日本推理作家协会奖
4月21日，日本推理作家协会公布了本年度协会奖的各部门获奖名单。最佳长篇奖颁给了月村了卫的《土漠之花》和早见和真的《无罪之日》。喜国雅彦的《书架侦探的最后问候》和霜月苍的《阿加莎・克里斯蒂完全攻略》获得本次最佳推理评论奖。本届最佳推理短篇奖从缺。各位获奖者将分别获得50万日元的奖金。颁奖仪式预定5月20日晚在东京新桥的东京第一酒店举行。
月村了卫是日本著名的动漫编剧（《天地无用》等），2010年以科幻悬疑作品《机龙警察》系列出道，该系列为其赢得了科幻小说大奖、吉川英治新人奖等诸多荣誉。此前两个月里，月村已经先后拿下了本年度第17回大薮春彦奖及第12届本屋大奖第5位。本作《土漠之花》讲述精锐部队在索马里开展救援行动的故事。37岁的早见和真2008年出版首部作品，本作是其第一部推理小说，即获得了本次大奖。 埃德加・爱伦・坡奖
本年度4月29日，美国侦探作家协会（MWA）在纽约凯越大酒店举行了本年度埃德加・爱伦・坡奖的颁奖仪式。其中最重要的最佳小说奖（Best Novel）被斯蒂芬・金的《梅赛德斯先生》夺得。《梅赛德斯先生》是一部非典型的“警察抓贼”小说，主角是喜欢开着奔驰车的精神病病人，在驾车冲入招聘会现场疯狂造成8死15伤后逃逸，开始策划更疯狂的屠杀计划。收到匿名信后，退休刑警为了阻止这一疯狂计划重出江湖。该作于去年6月出版，目前已经确定会被改编成电影。斯蒂芬・金是全球最为知名的悬疑恐怖小说大师，其作品全球销量高达3亿5千万册，20多部作品被引进至中国，风格包含恐怖、科幻、悬疑、奇幻等，其名作包括《肖申克的救赎》、《闪灵》、《黑暗塔》等。作者曾于2007年拿下埃德加爱伦坡终身成就奖。
其余奖项中，汤姆・波曼的《山谷中的枯骨》拿下最佳处女作奖；去年另一本根据刚解密FBI资料改编的畅销书《好莱坞黎明的谋杀、吗啡和疯狂》拿下了最佳犯罪实录奖；J.W.奥克的《埃德加・爱伦・坡的神圣之处》拿下最佳评论奖；《幸福谷》拿下了最佳悬疑电视剧奖。洛伊丝・邓肯和詹姆斯・艾罗瑞共同获得了终身大师奖。
埃德加・爱伦・坡奖是目前全球最为权威的悬疑推理小说奖项，由美国侦探作家协会（MWA）创立于1946年。获奖作品由美国侦探作家协会指定成员组成的委员会裁定。该奖项也被誉为是侦探推理界的奥斯卡奖。 第15届本格推理小说大奖
2015年5月12日，日本本格推理作家俱乐部公布了本年度本格推理小说大奖得主，麻耶雄嵩凭借去年8月出版的《再见，神啊》拿下最高的19票夺得大奖，山本弘的《我的光辉世界》以3票之差落选。霜月苍的《阿加莎・克里斯蒂完全攻略》拿下了最佳评论作品奖。
麻耶雄嵩此次已经是第2次拿下该奖项（上一次为2011年《独眼少女》），同时也是第2位两夺该大奖的作家。本作作为一部短篇作品集去年已经拿下本格推理排行榜年度第1，在另外三个最为权威的榜单中也全部挤入前3位，是去年当之无愧最为出色的推理作品。麻耶雄嵩是近5年来日本最为出色的新本格推理作家，出版了5部作品几乎全是当年本格推理排行榜的冠亚军之作。其作品以短篇居多，作品大部分有着非常出色的诡计，或是结构创意十分出色，亦或是争议极大的颠覆传统写法，可谓篇篇经典。国内近期也陆续出版了其多部作品，好评如潮，去年麻耶还曾经出现在上海书展上。 英国犯罪作家协会钻石匕首奖
本年度6月30日，英国犯罪作家协会将举行晚宴及颁奖仪式。本次大奖只公布短篇奖、非小说类奖、国际奖、历史小说奖以及钻石匕首奖（终身成就奖）。协会中最为著名的金匕首奖自2013年后尚未出现大奖得主。而本次颁奖仪式中最为瞩目的则是凯瑟琳・艾尔德获得钻石匕首奖。该奖项自1986年开始颁授，历来的钻石匕首得主都是著作甚丰，经年累月深耕推理田地，风格独特明显的老辈作家。也因此获颁钻石匕首奖，对于英国推理作者而言不啻是一种终身成就的肯定。卡地亚钻石匕首价值3万英镑，每年只在授奖仪式上露一次面，获奖作家无权保存钻石匕首，但会得到一枚钻石匕首胸针或者袖口别针。
第2篇：短篇侦探故事范文
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！
对《神探夏洛克》的粉丝们来说，这可能是最不可思议又奇妙无比的消息――据报道，一座真正的《神探夏洛克》主题公园正在建设中，大侦探的粉丝们将可以沿着这个公园一路破解各种谜题，体会破案的激情。
主题公园将要花费数额巨大的资金，这座即将在朴茨茅斯开放的公园大约要花费2500万英镑，作者亚瑟・柯南・道尔曾在朴茨茅斯生活过。
这个趣味主题公园的官方开放日期暂未公布，它将重现剧中的真实情节，大侦探的好伙伴华生医生和死敌莫里亚蒂等人物都将出现，这一主题公园被形容为“世界级多媒体体验”。
公园里将不仅拥有供游客乘骑的游乐设施，还会有主演阵容的全息照片。粉丝将有机会对故事里最出名的一些场所一探究竟，其中当然包括福尔摩斯住的贝克街。
1887年，柯南・道尔的系列短篇故事里，这位主角首次进入人们视线，从那以后，夏洛克・福尔摩斯就成为英国历史上最具代表性的人物之一。
自此，从贝锡・罗斯本1939年的电影系列，到由小罗伯特・唐尼出演的电影、本尼迪克特・康伯巴奇出演的英剧，夏洛克持续被搬上荧屏。
第3篇：短篇侦探故事范文
After a short cameo[片段] in the 2009 hit film Sherlock
Holmes, the detective’s most notorious[声名狼籍的] enemy becomes the focus of the sequel[续集], scheduled[预定的] for release Dec. 16th.
Even with Mark Strong taking the bad guy role as the serial killer[连环杀手] 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[勉强的] 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[电影系列], 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[坏人] for A Game of Shadows. The cast[演员阵容]
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[杀人的]
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[使大吃一惊] by the success of the first Holmes film and wasn’t sure how to
repeat it.
But a good baddie[恶人] 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[常规的]
character. The challenge was to still make him modern, believable.”
Conventional, Harris isn’t. Recently seen as the British nerd[书呆子] in Mad Men注, Harris “brings a depth, a realism[真实性], 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[缺点] in his character.
“Yet he’s still this constant[不变的] 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[策划者]
at large[未被捕]―Professor Moriarty―and not only is he Holmes’
intellectual equal, but the combination[结合] of his evil and lack of
conscience[道德心] may actually give him an advantage over Holmes.
When the Crown Prince[皇储] of Austria is found dead, the
evidence points to suicide[自杀]. 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[独身]. 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[纺织] a web of death and destruction―all part of a greater plan that, if he succeeds, will change the course[进程] of history.
莫里亚蒂回来了。
大侦探最臭名昭著的敌人――莫里亚蒂在2009年的大热电影《大侦探福尔摩斯》中一闪而过，这次他在续集（定于12月
16日上映）中成为主角。
尽管有马克・斯特朗饰演坏人――连环杀手布莱克伍德爵士，以及2.09亿美元的票房收入，导演盖・里奇总觉得第一部缺少了一些东西。虽然不太情愿拍续集，但他很快就回到了《大侦探福尔摩斯：影子游戏》的队伍中。
“我控制不住自己，”里奇说。“他们希望这成为一个电影系列，而我认为一个系列至少需要两部电影。但我真的很喜欢和第一部电影的剧组工作，所以这还挺轻松的。”
《影子游戏》的大反派选角也同样轻松。
小罗伯特・唐尼和裘德・洛将再次分别饰演福尔摩斯和华生医生，贾里德・哈里斯则饰演神秘的詹姆斯・莫里亚蒂。
电影跟随着福尔摩斯的脚步――在福尔摩斯的哥哥迈克罗夫特（斯蒂芬・弗雷饰）和吉普赛人西姆（劳米・拉佩斯饰）的协助下，福尔摩斯和华生一步一步地追查莫里亚蒂的杀人线索。该片采用了阿瑟・柯南・道尔爵士写于1893年的短篇作品――《最后一案》的元素。该作品首次在《海滨杂志》刊登时也是莫里亚蒂的初次出场。
曾执导《两杆大烟枪》和《偷拐抢骗》的里奇说，他对第一部福尔摩斯电影的成功感到很意外，不知道如何再创佳绩。
而一个大坏蛋总是无伤大雅。
“莫里亚蒂是史上最出名的反派之一，”他说。“但我们不想让他变成一个普通的坏人。挑战在于令他符合现代标准，而且可信。”
哈里斯绝对不普通。作为最近出现在《广告狂人》的英国书呆子，哈里斯“（给角色）带来一种深度、一种真实感，让大家兴奋不已，”里奇如是说。
福尔摩斯为何有如此魅力，这对于里奇来说也是一个谜。
“我也搞不懂这些年来他为何如此受欢迎，”
里奇说。“也许因为他是一个先驱者，是一个性格上有缺点的著名侦探。
“但他还是那个常胜将军。你怎能不爱他呢？”
《影子游戏》故事情节
歇洛克・福尔摩斯一直是所有人中最聪明的……到目前为止是这样。如今，一名新的犯罪主谋――莫里亚蒂教授逍遥法外。他不单有着和福尔摩斯相当的聪明才智，而且本性邪恶，加上毫无道德心，这些也许会让他比
福尔摩斯更有优势。
奥地利皇储的尸体被发现，证据都指向自杀。但福尔摩斯认为王子是被人谋杀的。莫里亚蒂教授设下了一个更大、更麻烦的谜团，而这宗谋杀只不过是其中的一小部分。
第4篇：短篇侦探故事范文
作品中悬疑气氛的营造
学 院： 外 国 语 学 院
专业班级： 英语理工042班
姓 名： 王 华 丹
学 号： 204092041
指导教师： 孟 冬
答辩时间： 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
从《毛格街血案》分析爱伦▪坡作品中悬疑气氛的营造
摘 要：埃德加▪爱伦▪坡在小说，诗歌，评论，出版，随笔等领域都卓有成就，他的短篇故事尤为人称道。他是侦探小说的鼻祖并设立了西方侦探小说的模版。他作品的有鲜明特征，对超自然的惊恐，神秘，残忍，以及宿命论。他写的故事情节充满戏剧性并注重细节描述，气氛营造以及故事效果。当谈及他的侦探故事时，他是当之无愧的悬疑气氛制造大师。本论文以他的《毛格街血案》为例，解构悬疑气氛营造的手法，分析得出反常和对比两大手法在文章中的运用，通过其在语言，情节，人物性格上的体现加深悬疑气氛。本文旨在阐释如何营造悬疑气氛并希望对能更好感受爱伦.坡文章的出彩之处和精妙布局有所裨益。
关键词： 爱伦.坡；侦探小说；悬疑气氛；杜宾
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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第5篇：短篇侦探故事范文
有些小朋友的理解能力不行，那这就更应该用试卷来练习一下，孰能生巧的道理我们都懂，关键就是要去做呀。小学生毕业要升初中了，这一阶段我们简称小升初，下面是小编为大家整理的关于天津小升初语文试卷真题及答案，希望对你有所帮助，如果喜欢可以分享给身边的朋友喔!
天津小升初语文试卷真题一、阅读积累。( 75 分)
(一)填空题。( 25分)
1、肖晓当升旗手时，他的事迹是由___________介绍的。
2、《鲁滨逊漂流记》的作者是英国作家___________。
鲁滨逊在一座无人荒岛上生活多年后，收得一土人为奴，取名________”。
3、“三英战吕布”里的“三英”指的是___________、___________、___________
。
4、《汤姆索亚历险记》中，汤姆索亚住在_______________姨妈家里，他还有一个异母兄弟_________
_____。
5、《西游记》中有许多脍炙人口的故事，如《三打
》《三借 》等。
6、《窗边的小豆豆》中，小豆豆的新学校用_________________当教室，新学校的名字叫_________________。
7、水
，是哺育一切生灵的 乳 汁，它好像有德行。水没有一定的形状，或方或 长，流必 向下，和顺温柔，它好像有情义。水穿穿 山岩，凿凿石壁，从无惧色，它好像有志向。万物入水，必能必能 垢，它好像 ……由此看来，水是真君子啊!
——《孔子游春》
8、良药苦口利于病，______________________。
——《古今贤文》
9、粉骨碎身全不怕，______________________。
——《石灰吟》
10、天生我材必有用，_____________
____ ______。 ——《将进酒》
(二)选择题。( 8 分)
1、“破釜沉舟”“
乌江自刎”这两个词语都是讲关于( )的故事。
A、项梁 B、宋义 C、项羽
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、《青铜葵花》中葵花的亲生爸爸一生最为成功的作品是(
)。
A、用青铜制作成的葵花 B、绘画作品葵花 C、种植了一大块葵花地
4、“但使龙城飞将在，不教胡马度阴山”中的“龙城飞将”指的是(
)。
A、汉朝名将霍去病 B、汉朝名将李广 C、三国名将赵云
5、下面哪个故事不是三国故事(
)。
A、赤壁大战 B、草船借箭 C、三顾茅庐 D、负荆请罪
6、《夏洛的网》中，那只落脚的小猪名字叫(
)。
A 弗恩 B、威尔伯 C、夏洛 D、戈博
7、《爱的教育》中，弗兰蒂被开除的原因是(
)。
A、品行太坏 B、成绩太差 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、一个月 C、半年
(三)判断题。(正确的在后面括号里打“ √ ”，错误的打“ ×” 10 分 )
1、莫泊桑是“短篇小说之王”;
季羡林被誉为“学界泰斗”。( )
2、小说有着历史真实的影子，《西游记》讲的是宋贞观年间玄奘远去西域取经的事件。
( )
3、《水浒传》的作者是施耐庵，“智取生辰纲”的组织领导者是宋江。
( )
4、《王子与贫儿》是美国作家马克?吐温的作品。
( )
5、《海底两万里》小说从海面上“怪兽”出没，频频袭击各国海轮，使市民人心惶惶开始，到鹦鹉螺号被大西洋旋涡吞没为止，整部小说悬念迭出，环环相扣。
()
6、《假如给我三天光明》以一个身残志坚的柔弱女子的视角，告诫身体健全的人们应珍惜生命，珍惜造物主赐予的一切。
( )
7、《少女的红发卡》是一部长篇少女心理小说，描写了三个少女美丽动人的心路历程。
( )
8、福尔摩斯是生活在“雾都”伦敦一座简陋公寓里的一位极具侦探天才的人物。
他目光敏锐，思维严密而独特，是跨时代的名侦探。 ( )
9、《中国未解之谜》是德国作家雷纳.科特编写的一部科普著作。
( )
10、项羽忍受“胯下之辱”而成就一代霸业。
( )
(四)阅读短文，完成练习。( 32 分)
短文一( 10分 )：
广玉兰开花有早有迟，在同一棵树上，能看到花开的各种形态。有的含羞待放，碧绿的花苞鲜嫩可爱。有的刚刚绽放，几只小蜜蜂就迫不及待地钻了进去，那里面椭圆形的花蕊(ruǐxīn)约有一寸长。盛开着的广玉兰花，洁白柔嫩得像婴儿的笑脸，甜美、纯洁，惹人喜爱。先前热热闹闹开过的广玉兰花呢，花瓣虽然凋谢了，花蕊却依然挺立枝头，已长成近两寸长的圆茎。圆茎上面缀满了像细珠似(sìshì)的紫红色的小颗粒，这就是孕育着新生命的种子。远远看上去，一株广玉兰就像是一个数世同堂、生生不息的大家族。
1、用“——”给加点字画出正确的读音。
(2分)
2、文中依次写了玉兰花的
___________、___________、___________ 和___________这几种形态。(4分)
3、这段话在结构上，采用的写法是___________。
(2分)
A总-分 B 分-总 C总-分-总 D 时间先后
4、你喜欢什么形态的玉兰花?为什么?
(2分)
短文二( 22 分)：
什么最广阔
“世界上什么最广阔?”我问老师。老师说最广阔的东西就在你的生活中，需要你自己去发现。于是，我便在生活中观察、探索，于是我发现……
瞧，雯君的手绢真漂亮，雪白的手绢上叠印着点点红梅。雯君在跑，手绢在飘;秦敏追上去：“给我看看!”“追上就给!”雯君狡黠地说。忽然，“啊”的一声尖叫，秦敏摔倒了，胖乎乎的胳膊上渗出血来。雯君毫不犹豫地用雪白的手帕帮秦敏包扎，秦敏笑了，雯君笑了，我明白了……
严冬的早晨，一个小女孩正跺着脚，眼睛在行人中焦急地搜寻。她的小手、小脸冻得通红，手中拿着钱包。原来她在找失主。时间一秒秒过去了，而她依然等着，当失主拿到钱包，要和她合影时，她却像棵含羞草，把头深深埋在胸前。我明白了……
啊，我明白了，世界上最广阔的是海洋，比海洋更广阔的是蓝天，比蓝天更广阔的是人的美好心灵。
1、“毫不犹豫”的意思是_____
____，
用 “毫不犹豫”写一句话_____ _______。(4分)
2、最后一自然段用____________的手法，着重强调的是_____
______。(2分)
3、读一读下面的句子，分别写出句中人物的心理活动。
(6分)
(1)雯君毫不犹豫地用雪白的手帕帮秦敏包扎，秦敏笑了，雯君笑了。
______________________________________________________________________________________________________________________________________________________(2)当失主拿到钱包，要和她合影时，她却像棵含羞草，把头深深埋在胸前。
______________________________________________________________________________________________________________________________________________________4、短文通过________________和_________________这两件事，告诉人们_____________________________ __。(4分)
5、“老师说最广阔的东西就在你的生活中，需要你自己去发现。
”这句话给我们的启示是________________________________________________________________
__________________________________________________________ _
(3分)
6、文中两处写“我明白了……”，我究竟明白了什么?(3分)
_____________________________________________________________________________________________________________________________________________
二、习作表达。( 25 分)
生活像一个万花筒，五彩缤纷;又像一幕幕精彩的电影，时时呈现在我们的眼前。请你用不少于250字将生活中的一个小镜头描写出来。题目自定。
温馨提示：1、书写工整，卷面整洁。
2、习作中不要出现真实的校名和人名。
天津小升初语文试卷真题答案一、阅读积累。
(一)填空题。
1、林茜茜
2、笛福
星期五
3、刘备、关羽、张飞
4、波莉
锡德
5、白骨精
芭蕉扇
6、废旧电车
巴学园
7、奔流不息
乳汁 或方或长 流必向下 和顺温柔
山岩 石壁 从无惧色 荡涤污垢 善施教化
8、忠言逆耳利于行
9、要留清白在人间
10、千金散尽还复来
(二)选择题。
1、C
2、B 3、A 4、B
5、D
6、B 7、A 8、A
(三)判断题。
1、√
2、× 3、× 4、√ 5、√
6、√
7、√ 8、√ 9、× 10、×
(四)阅读短文，完成练习。
短文一
1、ruǐ
shì
2、含羞待放
刚刚绽放 盛开着的 花瓣凋谢
3、C
短文二
1、一点也不犹豫很果断
2、排比
世界上最广阔的是人们美好的心灵
3、(1)雯君：都怪我，让秦敏摔伤了!
秦敏：真的太感谢雯君了!要不是雯君，我的伤还不知道怎么办呢!
(2)失主：真是个好孩子啊!天这么冷却一定要等我来!
小女孩：拾金不昧是我该做的，既然失主来了，那我也该走了。
4、雯君用心爱的手帕帮秦敏止血
小女孩不畏严寒找失主并不求回报
告诉我们：广阔的是同学之间的互相帮助，是可贵的诚实，人们去帮助别人的心灵是最广阔的。
5、在生活中我们要留心观察，勇于实践。
第6篇：短篇侦探故事范文
木心在历经文化劫难的后来到美国，是因为“目前的中国，这流传两三千年的精神命脉是断了，文学的潜流枯涸而消失。”[2]“我可不是理想主义者，我是从急骤堕落的东方文化的绝境中，仓皇脱越而来到西方的，西方文化也在衰颓，然而总要尊严些，舒徐有致些。”[3]但这并不是说木心抛弃了中国传统文化，正相反，木心认为自己是带根的流浪者，在木心那里，艺术文化原是没有民族界限的。木心以诗和画最有盛名，其次是他的散文和小说。本文主要从小说集《温莎墓园日记》中来分析木心融合中西两方面的写作手法和文化意蕴。
二
Diaspora在我国译为“流散”、“离散”，是我国在海外华文文学研究中的一个术语，“离散”的中文翻译带有离开家园的乡愁，在不同文化环境中身份认同的障碍，漂泊异地的悲彩，这也与这个词含有犹太人流离失所的本意相符合。离散文学的代表作家有严歌苓和白先勇，这些作家的特点是深受中西两种文化熏陶，拥有跨文化，跨民族的世界视野。随后美国加州大学童明教授提出了飞散的新译法，对Diaspora不同译法的变化也体现了这个词本身意义的变化。从翻译“离散”转变为“流散”也体现了原词在时代变化下意义的变化。
亲身经历过抗战、内战，甚至经历过迫害的木心在作品中鲜少提及这段历史，他的文字没有抱怨和含沙射影，木心的文笔始终透着淡然，一份贵族的悠闲自得。作品中虽有乡愁但这乡愁总是淡淡的，绝不是悲观的。就木心的小说集《温莎墓园日记》来说，整个风格是恬淡闲适的。
三
木心熟悉西方古今的思想经典又有中国文化的底蕴，他的作品中必然体现了中西文化的相通性，展示了世界性的特点。而木心对人类在现代社会中面临的一系列问题的书写体现出深远的慈悲关怀。木心对自己所经历的时代没有抱怨，而把它看成历史的必然，以一种超然的姿态审视历史却不失慈悲。木心童年时就已经接受西方文学洗礼，学会用中西两只眼睛观察世界，他在《鱼丽之宴》里写到：“我的童年少年是在中国古文化的沉淀物中苦苦折腾过来的，而能够用中国文化给予我的双眼去看世界是快乐的，因为一只是辩士的眼.另一只是情郎的眼。”[4]木心的作品不是展现了激烈的东西方文化冲突，而是把世界看成一个整体的家园。木心认为现代文化的第一要义是整体性，而不是某一个中心。木心的小说兼具散文和诗的特质，文笔带着贵族的小资情结。
下面从两方面以小说集《温莎墓园日记》为例分析木心在飞散视角下展示的对世界各族文化的体察以及隐含在作品中的人文关怀。
（一）以美国为背景展现了西方现代社会文化
《美国喜剧》记叙了“我”在美国的两件小事：“我”在窗口总是看见一位穿着精心打扮的，天气炎热她却始终在街边等待，“我”观察她的衣着猜想她等待的情郎，为她的痴心感动。终于有一天“我”决定看看她等待的情夫，没想到迎面而来的是一辆公交巴士。
她蠕动，她举手，招挥，多稚气……她朝着来者的方向奔过去……长而且大的巴士驶进，这一段人行道全是车身的投影，她奔过去的地方是巴士站――上车。
上午九时以后，郊区巴士的班次减少，又不准时，每次难免要久等。
・文化艺术杨希：论飞散视角下木心的创作 这是“我”在美国生活中的一个小笑料，反映了美国女人们对外表礼仪的重视，也反映了现代社会大城市生活的拥挤与不便。
第二件小事讲述了美国司法的严谨，“我”在高速公路上超速被罚款和违章吸烟被罚款，由此产生对法律过于繁琐细小的不满，联想到对美国宣扬的自由的更深层次的认识。我超速去自首是因为美国警察有雷达波记录，这点小事却还需要在法庭辩护，在警察审讯违章吸烟罪时有个小细节，警察打了个喷嚏，随即说一句文雅的歉词。作者反映了美国文化法律的严谨，却又认为“文明是愚蠢的复杂化”。而在法律的复杂化下，作者又思考了自由的涵义：
“自由”就是这样吧。如果再提一项“免于纳税的恐惧的自由”，罗斯福夫人会发愣，再提一项“免于购物付款的恐惧的自由”，可尊敬的夫人要拿起电话喊人了。
《第一个美国朋友》讲述了七岁的主人公住在美国福音医院和院长孟医生成了忘年交的故事。孟医生对待病人如亲人般，对工作谨慎勤勉，对“我”更是格外照顾，怕“我”寂寞送来一堆画报杂志，福音医院里的护士和医生都是基督教的信仰者，对待病人体贴，既有医德又有医术。“我”虽然进行了切除扁桃体的手术但是却留下一段难忘的美好回忆，二次大战冲散了他们，但这段友情铭记在心。作者在这篇文章中表达了对美国医疗工作的赞美，以及对西方基督教宽厚爱人品质的欣赏，而木心本人对耶稣也带有崇敬感，木心受过诸多磨难却始终拥有平和的心态对待一切，这份慈悲之心正像为人类赎罪上了十字架的耶稣。
《SOS》描写了轮船海难沉船前的一幕：临盆的孕妇，外科医生，即使在即将沉船面对死亡之时，医生仍然不忘抢救生命，迎接新生命。结局在“海水墙一样倒进来，灌满舱房”中结束，但是歌颂了西方文化中对人的尊重，人性在灾难前的光辉。木心认为现代中国没有经历过西方的文艺复兴，启蒙主义思潮始终是缺欠的，对个人价值的重视不够，木心在那个时代已经能客观看待中西方文化了。“到了现代，西方人没有接受东方文化的影响，是欠缺、遗憾，而东方人没有接受西方文化的影响，就不只是欠缺和遗憾”[5]，东方和西方是相互对话的关系，现代文化不是“中心论”，而是相互吸收成为整体。
（二）中国现代历史下对小人物命运的思索
《夏明珠》讲述的是“我父亲”没有名分的姨太太夏明珠在父亲病故后想回到“我家”，夏明珠深受西方教育影响，说得一口流利的英语，服装打扮西化，在太平洋战争爆发后“我”居住的小镇沦陷于日本法西斯之手，夏明珠遭日本人猜疑、逮捕，严木心作品集刑逼供甚至受侮辱，最终死于日本人之手，女儿也被卖掉下落不明。《芳芳No.4》讲述了青春年少、下乡、、嫁为人妇四个时期的芳芳，“”只当作一个背景，故事情节看上去一点也不伤感，但芳芳身上的变化却留下了那段历史的烙印：
肤色微黑泛红，三分粗气正好冲去了她的纤弱，举止也没有原来的僵涩，尤其是身段，有了乡土味的婀娜……本是生得姣好的眉目，几乎是顾盼哗然……
她的眉眼口鼻还能辨识，都萎缩了，那高高的起皱的额角，是从前所没有的……江南三月，她却像满脸灰沙，枯瘦得，连那衣裤也是枯瘦的。
年青时的婀娜风韵被风霜粗俗取代，这段前后对比的外貌描写让人想起鲁迅笔下的少年闰土与成年闰土的差别。夏明珠和芳芳的遭遇都让人唏嘘不已。
《此岸的克利斯朵夫》是木心为了悼念亡友席德进而写。席德进是木心在杭州艺专的好友，木心用罗曼罗兰笔下的克利斯朵夫来相比席德进，是因为席德进喜爱唯美主义，是个浪漫主义者，是接受五四后西方思潮的进步青年，而他也是个勤奋努力又有天分的人。但是中国的现实让他只能是个“浪漫主义在中国的遗腹子”。正如作者的感悟：
中国没有顺序的人的觉醒、启蒙运动，缺了前提的浪漫主义必然是浮面的骚乱，历时半个世纪的浩大实验，人，还是有待觉醒，蒙，亦不知怎样才启。
《约翰・克利斯朵夫》被艺专学生奉为经典，但是这迟到的西方思潮与欧洲的时间差距是一百年四百年。
这种本是裨人清醒的“英雄的气息”，反而弄得我们喝醉了酒似的，将艺术的人物倾在生活中，而把现实所遇者纳入艺术里。我们的青春年华是这样结结巴巴耗完的。
席德进后来去台湾当了老师，后来成为台湾著名的画家，“我”刚得到好消息却又被告知他患上癌症，“我”从前写给他的信始终无法交到他手里。
罗曼罗兰在其小说的终局，克利斯朵夫渡过了河……席德进是有望渡河，突然折倒在岸边……
（三）中西结合的写作技巧和思想内涵
木心的短篇小说中有的背景是中国，人物是中国人但是却采用了西方短篇小说的写作技巧；另一种是小说背景是国外但写作上没有侧重故事情节反而注重氛围的描写，营造了朦胧唯美的中国美学意境。正如童明评价木心的写作具有世界性美学思维，集中体现在他散文和诗的写作中，在他的短篇小说写作中也体现了这点。
《一车十八人》讲的是“我”研究所里的司机李山和十七个男子开车去参加讨论会，李山婚姻不和睦性格变得沉默寡言，除了“我”公司没有人关心他的生活。因为李山的迟到一车人对他冷嘲热讽，在他们眼里李山近年不肯动用公车来便利他们的生活，他就没有可利用的价值了，只有“我”为他说话。开车中途李山怒斥让“我”下车，车朝着悬崖开去……出人意料细想又合理的结尾方式很有西方短篇小说的特点，还有点侦探小说的悬疑味，展示了人性的自私自利。值得一提的是，虽然没有说明是这篇小说的改编，但是故事情节完全类似的一部电影《车四十四》，女大巴司机开着满载乘客的车在公路上遇到两名在公路上遇到两名劫匪，女司机被劫匪，全车只有一个男乘客反抗帮助她，最后女司机强迫让这位男乘客下车，自己开着车驶向悬崖。这部2001年的电影短片获得58届威尼斯电影节评委会大奖，电影改编的比木心的小说更合情合理，矛盾冲突更剧烈，更加突出了人性中虚伪冷漠的一面，也充分说明这部电影的原型木心的小说深得西方文化精髓。
中国古代背景的《七日之粮》出自《公羊传》中《宋人及楚人平》，春秋时期楚庄王围攻宋国，楚军只剩下七日的粮食，楚国大夫司马子反和宋国大夫华元相互刺探情报得知宋国已是“易子而食”的地步， 司马子反说服楚庄王退兵的故事。原故事在中国古代的评价褒贬不一，君子赞扬两位大夫为百姓着想，而有的人认为大夫私下讲和有违国君的权威。在木心的笔下这篇小说以第三人称司马子反的视角描写，侧重司马子反的心理刻画，心理刻画正是西方小说的长处。故事以月亮开头以月亮结尾，全文笼罩在月色下，增添了东方神秘的韵味。木心在原故事的基础上虚构了司马子反把一半粮食留给宋城的情节，这体现了西方的人道主义精神和人文关怀，同时这也是中国传统儒家思想中“仁爱”的思想，正如这个故事中所说的“君子见人之厄则矜之，小人见人之厄则幸之”的仁者爱人、兼爱非攻思想，中国文化和西方文化的交汇就在对人的尊重、关爱上。而木心的这篇小说就把西方的人道与东方的仁爱思想通过运用西方小说技巧表达出来，中西文化是相通的。
同样是中国古代背景的《五更转曲》写的是明末清初清军南下江阴，在南京已经不战而降的情况下，江阴驻守官兵和百姓毅然决定赴死一战，结局是壮烈悲壮的，清兵损失惨重。作者在结尾特意说明“尸体满街巷，无一投降者”。写的是中国故事，却赞颂了人的生命力的顽强，在决战前官兵醉中唱起了《五更转曲》，全城百姓引吭高歌。虽然完全是中国的故事，但在木心笔下却有了荷马史诗的韵味，以悲剧来赞颂人的伟大。
而《月亮出来了》则是发生在西方都市的一个雨夜，公爵和公爵夫人在大雨中乘坐马车回家，途中马车陷进泥坑里，两人和车夫一起推车，雨停了月亮出来了。月光、夜色下伴随着马鸣，这里的景物描写别有一番情趣：
皓月中天，苍穹澄澈，几片杏黄的薄云徐徐飘过旷野……
月色分外清幽，马嘶，划破夜的静空，远处的林丛氲着雾意，月光下的旷野有古战场的幻觉。
区别于西方的以人为本，中国传统思想一直很强调人与自然的和谐，以庄子思想为代表的道家思想强调“天人合一”，而中国传统美学的概念“意境”就是对自然景物审美的升华，由景及人，情景交融。在木心的一系列散文中都体现了中国美学含蓄隽永的美学思想，这在小说中也有体现。自然本位的文化下自然都是有着人类情感的，带上了人的主观性，而实际上自然又是无知无情的存在。这与西方文化中人本位的观念完全不同，在西方文化中歌颂人自身的生命创造力，人生的价值在于生命意志，西方美学中悲剧的美就在于人在反抗宿命时显得伟大而有尊严。
结语
木心对中西两种文化的理解是：“所谓东方，中国才是代表，补给西方，正是对的，因为西方最缺的就是中国的东西：含蓄， 以弱制胜。东方西方要是真的相通，文明才开始。可是要唤醒东方，中国，非得西方来理解”[6]木心熟悉西方经典又有中国文化的底蕴，他的作品体现了中西文化的相通性，展示了现代文化的整体性特点。东方和西方是相互对话的关系，现代文化不是“中心论”，不是以一方为尊贵一方卑微，而是相互吸收他人的优点成为世界文化家园。而木心对人类在现代社会中面临的一系列问题的书写体现出深远的慈悲关怀和人文精神。
参考文献：
[1]木心.答台湾《联合文学》编者问[M]//鱼丽之宴.桂林：广西师范大学出版社，2007：27.
[2][3]木心. 1983―1998年航程纪要[M]//鱼丽之宴.桂林：广西师范大学出版社，2007：109，117.
第7篇：短篇侦探故事范文
关键词: 西班牙语专业 低年级 泛读教材 选择和使用
西班牙语在全球是仅次于英语和汉语的第三大语言,但长久以来在我国一直都定位为小语种,一般只在大学专业课或者二外课程中设置,开办的学校也非常有限。进入二十一世纪,随着对外联系和贸易活动的扩大和频繁,我国对西班牙语的专业人才的需求呈现急剧增加。许多高校都新开设了西班牙语专业。
西班牙语教学在全国与同类其他语种相比是起步比较晚的,发展也比较缓慢。大多沿袭在国内最权威的北京外国语大学的教学体系。其中,基础课程中除了贯穿前后的精读课程外,就数泛读课程最重要了。在泛读的教学中,教材的选择和使用又至关重要。
国内西班牙语教学使用的教材主要有国内出版教材和国外原版教材两种。
一、国内出版教材
(一)《新编西班牙语课本》
在二十世纪八十年代末外研社出版的《西班牙语阅读课本》基础上更新出版的2000年《新编西班牙语阅读课本》,主要由北京外国语大学的老师选编,是市场上很长一段时间内唯一的一套泛读教材。这套教材因为和精读课程的教材《现代西班牙语》进度贴合,深受教师欢迎。
《新编西班牙语阅读课本》一共是四册。所有选编的文章都从国外原版教材或者书籍中摘取,保证了文章的原汁原味,而且每一册的难度设计都是梯度上升的,是配合精读教材的补充读物,能拓宽学生的知识面,提高阅读能力,扩充词汇量。课本的编写人还给每篇文章附上了生词的中文解释,降低了阅读的难度,减少了查阅字典的时间。
这套教材虽然是早前《西班牙语阅读课本》的更新,但十年的使用周期,还是让一代新过一代的学生觉得其中的文章稍微乏味或者古旧了一点。所以这套教材现在更适合作为学生课外的读物,定期布置、定期抽查,然后在课堂上花少量的时间给学生解答其中的语言难点。
(二)《西班牙语阅读教程》
《西班牙语阅读教程》作为普通高等教育“十一五”国家级规划教材,由上海外国语大学牵头,联合几所知名高校的老师一同编写,经上海外语教育出版社出版。计划出版四册,截止到2010年8月已出版前三册。
这套教材在很多方面都作了改善和扩充。首先,每本教材的体例都非常的清晰,每册十八个单元,刚好用于一个学期。每个单元都设三篇文章,三篇文章对阅读要求都作了不同的要求,在《编写说明》中对如何使用作了详细的说明。其次,这套教材不再是简单的文章和材料的选取,增加了主题的设计和课后练习的内容。最后,对于文章中出现的疑难句型进行了解释,文章中的生词也采用了西语解释,更有利于学生准确掌握生词的意思。
通过这样的编写和设计,泛读课本从简单的阅读材料的集合变成完整的有教学主题、教学内容和教学检测的系统体系。而且,本套书籍没有提供答案,虽然对于老师的备课提出了更高的要求,但也确实杜绝了学生不劳而获的侥幸心理。另外,课后习题的设计紧贴全国西班牙语专业四级考试的题型,也可以在资源极度匮乏的大环境下,提供给学生一些练习,可以更好地提高相应的应试技巧。
二、国外原版教材
(一)ANAYA出版的阅读读本
一般使用比较多的是ANAYA出版的一套经典作品缩写改编的系列图书。这套书籍一共分为初级、中极和高级,分别以黄、红、绿三色区分。主要以篇幅长短、词量多少来分等级。一本书即是一个完整的故事,每个故事后面有一些问题。书后还附有词汇表和问题答案。这套书籍主要选取西班牙的经典文学作品,如《小赖子》、《熙德之歌》、《堂・吉诃德》、《三脚帽》、《玻璃硕士》等之类的名著改编,而且书前都有作品作者的一些简单介绍。这可以让学生对这些作品和作家有初步的了解,为将来他们阅读原作打好基础。这些书籍在近几年的新版中都附带朗读的CD,即是有声书的形式。所以,阅读之余,还可以让学生做听力练习。
(二)SGEL出版的阅读课本
SGEL出版的阅读课本种类繁多,可以满足各种不同需要。
《新西班牙语故事》(Nuevas narraciones espa?olas)是一套让阅读变得很轻松的一套丛书,一共是四本,也分初、中、高、特级。丛书全都围绕一个叫托维斯(Tobías)主人公展开,每本包含五十个小故事,短小精悍,趣味无穷,有很典型的西班牙式的幽默。这套丛书出版较新,其中有一些非常实用地道的西班牙表达方式。每篇文章后也有一些词组句型的西语解释,还有一些设计的问题,但最有意义的是从文章延伸出的可供学生讨论的话题。
这套丛书,或者让学生课外阅读,课堂上用自己的语言复述;或者老师在课堂上朗读这些文章并提问,以听力理解的方式来检查学生理解的情况。最后,还可以让学生分组讨论书后的话题。这样的使用,可以让学生在听、说、读、写方面同步得到训练和发展。
《短篇阅读故事》(Historias breves para leer),这套书有初级、中级和高级三本,故事比《新西班牙语故事》中的略长,每篇大概有1500个词,但都比较简单。适合在大一下和大二上使用,而且因为篇后有很多关于语法、词法的练习,这套书籍适合做课堂上的快速阅读练习。
除了以上的两套丛书外,SGEL还有许多专为学习西班牙语的外国人设计的消遣类的阅读书籍,都是一些侦探类的小故事,也可以推荐给学生在课外使用。
以上主要罗列分析了国内外现有的可以利用的泛读课教材,但这些大多仅适合在课堂上使用。泛读课的教学目的,主要在于提高学生的阅读能力,扩充学生的知识量和词汇量,而这样仅仅通过每周两三页的阅读量是达不到目的的。所以,课外的大阅读量是必需的。随着网络的普及,阅读资源的收集虽然简单很多,但是资料的筛选尤其重要,这其中教师需要承担主要的责任。
三、低年级学生的阅读资料的选择和使用
低年级的学生,因词汇量有限,语法结构还不健全,所以适合的原文读物并不是那么多。一般来说,有以下几种选择。
(一)国外的儿童读物
从语言本身来说,这是最适合低年级学生的泛读读物。但是从内容上来说,有的时候会稍显幼稚。需要选择一些语言简单,但思想性丰富的作品。总结使用过的一些材料,有这些推荐:关于一个戴眼镜男生小马诺林(Manolito Gafotas)的系列故事,女作家埃尔维拉(Elvira Lindo)为这个人物一共创作了七本小说,这个系列都适合低年级的学生阅读,语言幽默,而且口语化。曾经获得过西班牙行星奖(Premio Planeta)和纳达尔奖(Premio Nadal)的女作家安娜・玛利亚(Ana María Matute)的儿童文学作品也比较适合二年级的学生阅读,虽然是讲述以儿童为主人公的小说,但其中刻画的却是孩子的残忍和无知,具有深刻的思想性。其中如长篇《尤利西斯号的偷渡客》(El polizón del Ulises),短篇如《干枯的树枝》(La rama seca)等都是很好的浅易读物。
(二)从英文翻译的西语作品
因为是翻译作品,所以一般使用的词语也比较简单。从英文到西班牙语的翻译比从英文到中文的翻译保存了更多原文的风格,也可以在一定的程度上拓宽学生的阅读面,初步体会一下翻译的奥妙。其中最具代表性的就是哈利・波特系列。有中文译文和电影的铺垫,可以让学生很快地融入到书籍中。
泛读课程在西班牙语的基础教学中是非常重要的课程。借用另外一种语言,打开另外一扇更大的门,直接了解更多的国外社会文化动态。不是单纯学习语言本身,而是以文化文学为载体来学习并提高外语水平。相信无论是学生还是老师,都会从这样的阅读中受益匪浅。
参考文献:
[1]岑楚兰,蔡绍龙.新编西班牙语阅读课本[M].北京:外语教学与研究出版社,2000.
[2]陆经生.西班牙语阅读教程[M].上海外语教育出版社,2009.
第8篇：短篇侦探故事范文
关键词： 动态对等翻译理论 《狄公案》 归化
一、动态对立理论
奈达是当代杰出的美国语言学家和翻译学家。在二十世纪六十年代，他提出了翻译的动态对等理论。奈达把这一理论定义为：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.“翻译是用最恰当、自然和对等的语言从语义到文体再现源语的信息”（郭建中，2000，P65）。在《翻译理论和实践》（奈达和塔伯，1969）中，他进一步定义动态对等为：译语中的信息接受者对译文信息的反映应该与源语接受者对原文的反应程度相同，也就是说，翻译始终是为读者服务的。奈达提出了翻译的四个标准：（1）传达信息；（2）传达原作的精神风貌；（3）语言顺畅自然，完全符合译语规范和惯例；（4）读者反映类似。然而要达到这四个标准，内容和形式之间就会发生矛盾。奈达认为信息对等优于形式对应。他主张从译文接受者角度，而不是从译文形式角度看待翻译，所以判断译文质量的标准最终基于三个方面：能使接受者正确理解原文信息;易于理解;形式适当，吸引接受者。翻译时不应求文字表面的死板对应，而要在两种语言间达成功能上的对等。奈达可以说是归化的代表人物，动态对等理论对中西翻译界产生了深远的影响。
二、《狄公案》的创作和翻译
当欧美等国兴起“福尔摩斯热”时，1949年在中国的荷兰外交家、汉学家和侦探小说家高罗佩（Robert Van Gulik）根据清初公案小说《武则天四大奇案》中的一些原型用英语创作了《铜钟案》。出版后大获成功。随后高罗佩又写了《迷宫案》、《黄金案》、《铁钉案》等，与《铜钟案》合成一组，即为初期的《狄公案》，非常受广大西方读者欢迎。1952年，高罗佩以《狄仁杰奇案》为书名，用中文把《中国迷宫命案》改写成章回体小说。这本小说共有52回。从1954年至1967年，他又用英文撰写了《中国潮中案》、《漆屏风》等十几个中短篇小说，这些小说组成了130万字的鸿篇巨制——《狄公案》。《狄公案》的英文名字是Judge Dee，出版后立即征服了西方读者，在欧洲风行一时。“Judge Dee”（狄公）从此成为欧洲家喻户晓的传奇人物，成了西方人心目中的“中国的福尔摩斯”，最后，中国译者陈来元、胡明自八十年代起模仿宋元白话风格，将高罗佩的《狄公案》译成中文，引入国内，颇受欢迎。由于译者改写得惟妙惟肖，以至于很多人都以为《狄公案》原本就是中国古典小说，而非荷兰人高罗佩的作品。陈来元、胡明的中文版《狄公案》能够吸引大批中国读者的原因在于他们在翻译的过程中并没有刻板地遵循字字对应的形式一致，而是非常灵活地对译文进行了相应的调整，满足了中国读者的要求，造成了文本信息传递的顺畅，实现了动态对等，使读者产生了相似的反应效果。
三、如何通过动态理论成功改写
以下以《铁钉案》的第一章为例探讨译者（陈来元、胡明）如何通过动态对等实现了在不同文化中小说文体的成功改写。奈达提出“用最近似的自然对等值”，这就要求译文尽量使用译文接受者喜闻乐见、符合译语表达规范的言语形式。高罗佩的《狄公案》对原材料进行了取舍，并按照西方人普遍接受的小说模式和套路进行创作，因此获得了巨大成功；因为故事背景在中国，本身这是部商业小说，所以当译者将这部小说引进时所进行的归化翻译并没有降低作品本身的文学价值，反而让中国读者产生相同的反应，实现动态对等。
第9篇：短篇侦探故事范文
《厄舍古屋的倒塌》诞生于1839年，描写的是一个古老家族的一对孪生兄妹，他们住在一座令人窒息的阴森古屋里，妹妹常年疾病缠身，哥哥因思想久被压抑而精神失常。为摆脱精神折磨，哥哥邀请挚友前来做伴。后来哥哥把妹妹活埋，在一个风雨交加的夜晚，妹妹挣脱棺材走出地窖，扑死在哥哥怀里，哥哥也被吓死。而朋友被吓得魂飞魄散，仓皇逃离古屋。古屋在风雨中倒塌，碎石烂瓦被深深的塘水无声地吞没于无形。
一、哥特式风格
“哥特式风格”是哥特式小说创作的风格。所谓“哥特式小说”是指18世纪后半叶率先在英国诞生的小说文类，是一种恐怖和鬼怪小说。它多以中世纪的古堡、废墟或荒野为背景，描写那些为满足或夺取财产而引起谋杀、迫害等事件，故事情节恐怖刺激，笼罩着神秘的气氛。恐怖和怪诞是哥特式小说的基本特征，死亡是哥特式小说永恒的主题。《厄舍古屋的倒塌》作为世界最杰出的短篇小说之一，与其因通篇弥漫着“血色”的恐怖气息而给人以心灵的震撼是分不开的，这种恐怖与死亡又是紧密相关的。可见，《厄舍古屋的倒塌》是一部具有哥特式风格的作品。
首先，小说一开始的环境描写给人以身处地狱之感，使人不寒而栗，这给全文奠定了一个阴郁、死亡的基调。文中写道：“那年秋天，一个沉淡、阴暗、寂静的日子里，乌云压顶，整整一天，我孤零零地骑着马穿过乡间一大片异常荒凉的旷野；暮色降临时，我终于看见了愁云笼罩的厄舍古屋。”万物凋零的秋季、一个阴暗而沉寂的午后、悬在半空中的黑压压的云层、一大片荒凉异常的乡野，都呈现出死气沉沉、寂无人声、令人窒息的氛围，末日之感也不过如此吧！此外，秋天、乌云、旷野、古屋，这一个个意象无一不给人以死亡将即之感，同时，这些意象与以古堡、废墟或荒野为背景的哥特式小说可谓“不谋而合”。
其次，爱伦・坡巧妙运用电影蒙太奇手法，通过一幅幅画面的迭现：远镜头――古屋外光秃秃的墙壁、眼睛般的窗户、灰色的衰草、死树的白树干等，中镜头――古屋内哥特式的拱门、黑暗的走廊、深色的壁布、乌黑的地板、破旧的家具等，最后突出了特写镜头――脸色苍白、面如槁灰、心神不宁、精神失常的古屋主人罗德里克・厄舍，这种表现方法给人的视觉以强烈的艺术冲击力。“死物”一一迭现，“病人”缓缓露面，还有蹑手蹑脚的仆人、表情阴险的医生，虽然先见其景，后见其人，未闻其声，但恐怖感已随之倍增。
接着，小说对罗德里克・厄舍孪生妹妹玛德琳的描述也为小说增添了许多恐怖气氛：似乎受某种邪恶力量的迫害，她无时无刻不受精神病的折磨。初见时如幽灵般一闪而过，她像一个鬼魂，一个被病痛终日折磨、至死方休的鬼魂，无时无刻不在古屋之中游荡。当写到她“死后”被埋入地窖时，对存放尸体的地窖的描写“地窖就位于‘我’卧室的正下方，它又小又潮，照不进一丝光亮”；继而对“死者”玛德琳的描写“死者身上留有僵硬症的一切特征。她的脸和脖子上有一层像是涂上去的淡淡的红晕，嘴角上挂着一丝仿佛是装出来的浅浅的微笑”。由字入画，浮想之际，不禁让人毛骨悚然。
最后，在一个风雨交加的夜晚，当朗读的故事情节与现实不谋而合：“疯子！门没有了，她就站在那儿！”，“马德琳小姐挣脱棺材走出地窖，门应声而开：马德琳小姐直直地站在那儿！高高的个子，身穿殓衣，白色的袍子上淌着鲜血，瘦削的身体上，每一处都显现出痛苦挣扎的痕迹。”“她颤颤巍巍，摇摇晃晃，随着一声一声长长的，她沉重地跌向屋里，扑倒在他哥哥身上，两人顷刻间倒地而死，她的哥哥是被那他已预见到的恐怖所吓死的。”恐怖至此达到，读者的恐惧感也由此达到极限。同时，这种浓浓的恐惧感又符合了哥特式小说恐怖、怪诞的基本特征。有人说“《厄舍古屋的倒塌》读起来好似一场噩梦，自始至终充满一种令人毛骨悚然的恐怖气氛，情节愈益阴森古怪，感情愈益炽烈可怕”，的确如此。
二、象征手法
《厄舍古屋的倒塌》是一部具有象征意义的悲剧性小说，这主要是从它的结局――古屋的主人罗德里克・厄舍和玛德琳连同古屋一起“倒塌”了体现出来。首先，“厄舍古屋的倒塌”，顾名思义，倒塌是古屋的结局，然而仅仅是古屋倒塌了吗？其实不然，“厄舍古屋的倒塌”是具有象征意义的。厄舍古屋可视为主人公罗德里克・厄舍的躯体，幽暗、破败、令人毛骨悚然的古屋则等同于主人公因压抑而失常的精神状态。通过对厄舍古屋的观察，以及对罗德里克・厄舍活埋马德琳前后的神态变化的描写，暗示古屋的坍塌与人的死亡是在悄悄地同时进行着的。“古屋的倒塌”隐喻了主人公精神的崩溃直至最终的毁灭，也体现出爱伦・坡对人类精神崩溃的恐惧和精神状态悲剧性的忧虑。
其次，小说中描写主人公罗德里克・厄舍朗诵一首题为《鬼宫》狂诗：“在天使护卫下的碧绿的翠谷之中，曾经有一个庄严美丽的王宫，多么辉煌，瞧它昂首挺胸。屹立在皇家的领地上，魅力无穷……但是邪恶的势力驱动悲郁之气，袭击了皇家的领地（啊！让我们哀悼吧！因为他再不会感受到明日的晨曦，多么悲戚！）而包围着他的那些辉煌和美丽，只留下一个淡忘的故事，发生在遥远的过去……”就此诗内容上看，可知该诗描绘的是王宫在前后不同时期的两种状态。“美丽、辉煌、魅力无穷”，诗歌的前两节讲述了宫殿的壮丽宏伟，隐含了古屋早年的辉煌史；“王旗金光闪烁地随风飘扬、天使们围着宝座翩翩起舞”，中间两节描绘了王宫里歌舞升平的景象，隐含了罗德里克・厄舍的幻想以及古屋早年的美好景象；“邪恶来袭、悲郁之气弥漫、辉煌和美丽被阴沉和嘲笑取代”，最后两节则描述了闹鬼的宫殿辉煌难在，美好往昔已成为被淡忘的故事，暗指古屋的破败现状和主人公罗德里克・厄舍怀古伤今的失落感。可以说，
《鬼宫》这首诗就是罗德里克・厄舍为自己作的一首挽诗。
最后，破败的古屋上的一道裂缝可以说是故事中的另外一个象征。爱伦・坡在小说的开始部分就提到了这道裂缝――“仔细观察，也许会发现一道难以辨识的裂缝，从房子正面的屋顶开始，呈锯齿形沿墙而下，直通入池塘的死水之中。”“就在我凝望之际，那道裂缝迅速地越裂越大，随之一阵狂风呼啸卷起，那轮血红的月亮一下进到我眼前，接下去是一阵长长的巨响，我头昏眼花地看见那座高大的府邸正在崩溃坍塌。”这道裂缝在小说的结尾也同样提到。爱伦・坡之所以用“裂缝”贯穿小说首尾，原因就在于那道裂缝象征着笼罩于整个古屋的邪恶之源。裂缝的扩大意味着邪恶的日益增大，古屋破败了，厄舍家族没落了，古屋历史在日益强盛的邪恶力量的伴随下蹉跎前行。可见，邪恶最终倾覆了古屋，也完全毁灭了厄舍家族。
三、第一人称的叙述角度
《厄舍古屋的倒塌》这部小说最巧妙之处就是用第一人称的叙述视角展开故事情节，话说“书道写心”，爱伦・坡采用第一人称的叙述视角对《厄舍古屋的倒塌》这部小说展开创作有其特定的原因和意义。
一方面，小说采用第一人称的叙述视角，可以在精神上缩短叙述者“我”和读者之间的距离，从而引起读者的共鸣。在这部小说中，“我”只是以一个旁观者的身份来到厄舍古屋，为的是和古屋主人罗德里克・厄舍做伴。“我”没有像古屋和古屋的主人一样毁灭于无形，虽然在古屋生活的那一段时间里，“我”耳闻了古屋由盛转衰的历史，目睹了古屋主人无法抗拒地走向死亡的悲剧，以一个正常人的姿态在病态的环境中感受莫名的恐惧。当“我”逃出古屋的一刹那，古屋随之崩塌，我成了“唯一”的幸存者。如此惊心动魄又巧合的情节难道不正说明了“我”只是个有意闯入古屋外来者，只是一个叙述者，一个旁观者吗？由于小说的内容是通过“我”传达给读者，表示小说中所写的都是叙述人的亲眼所见、亲耳所闻，使读者得到一种更为真切的感觉，给人以身临其境之感。
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