Before I get to the question of influence,I'm going to talk about the strangeness of Hemingway's “reception history,” which is more complicated,and more genuinely complex,than that of any writer I have are a few of the ways he has been read over the years.

在谈到影响问题之前，我想先谈谈海明威奇特的“接受历程”，那比我所接触的任何作家的接受历程都更加复杂，也着实更加匪夷所思。以下便是多年来人们对海明威的几种解读：

2As a journalist and sometime war correspondent who led an exciting life and wrote down what happened.

2 他是个记者，一度还当过战地记者，过着颇为刺激的生活，并将之记录下来。

3As a consummate literary artist dedicated to the craft of this guise,he is also known for what the Nobel Prize committee called his “powerful,style-forming mastery of the art of modern narration.” He saw himself as searching for a new mode of expression,even a new language,working along the same lines as other modernist innovators like James Joyce,Ezra Pound,and Gertrude Stein.(But the fresh new style he forged was so striking,and yet so apparently “simple,” that he was fre-quently imitated,and eventually parodied.)

3 他致力于写作艺术，是个造诣极深的文艺家。在这方面，他又以诺贝尔奖委员会评价其“精湛有力、独树一格的现代叙事艺术”而著称于世。他自认是在摸索一种新的表达方式，甚至是一种新的语言，是在与其他的现代主义先驱——如詹姆斯·乔伊斯、埃兹拉·庞德、格特鲁德·斯泰因等——进行同样性质的探索。（但是，他所创造的风格如此鲜明独特，令人耳目一新，却未免流于“简单”，以致经常有人故意模仿他，甚至嘲弄他。）

4As a frivolous expatriate,decadent and rootless,who engaged in a popular form of travel writing.

4 他去国离乡、不务正业、颓废堕落、无根无基，作品属于流行文类的旅行写作。

5As a representative of the manly life,capturing manly pleasures like hunting,camping,fishing,and boxing,for an audience of men,and writing frequently about male “code heroes1海明威在多部小说中用“准则英雄”一词来描述主人公及其价值观念。也即，主人公的言行是由其信奉的某些行为准则决定的。勇气、荣誉感、在悲剧或痛苦面前仍然坚韧不屈是比较常见的此类准则。,” who exhibit “grace under pressure.”

5 他是男性生活的代言人，为男性读者描写男性喜闻乐见之事，例如狩猎、野营、钓鱼和拳击等，并经常塑造在“重压之下不失优雅”的男性“准则英雄”。

6As a deeply Romantic writer,committed to exploring the depths of love between men and women,often against a backdrop of rapidly evolving customs and morals.

6 他致力于探讨男女两性之爱所能达到的深度，是位极其浪漫的作家，并经常将爱情故事置于快速变化的风俗和道德背景中。

7As a confronter of the existentialist void,writing profoundly about the experience of “nada.” (“Our nada who art in nada…”2这一句引文来自海明威的短篇小说《一个干净明亮的地方》（A Clean,Well-Lighted Place），nada 是“虚无”之意，小说中的老侍者用nada 来替换基督教《主祷文》（The Lord's Prayer，见于《马太福音》6:9-13）中的“上帝”和“天堂”：原文为“我们在天上的父，愿人都尊你的名为圣……（Our Father who art in heaven， hallowed be thy name...）”，在海明威小说中被改为“我们在虚无的虚无，虚无是你的名……（Our nada who art in nada， nada be thy name...）”。)

7 他直面存在主义的虚无，作品深刻反映了“虚无”的体验。（例如“我们在虚无中的虚无……”）

8As,in Wyndham Lewis's3（1882—1957），英国作家、画家和文学评论家。phrase,a sort of “dumb ox,” with nary4〈俚〉丝毫没有，一点儿也没有。a brain in his head,who somehow manages to speak.

8 借用温德姆·刘易斯的用词，他是一头“愚蠢的公牛”，没有长一丁点儿脑子，却不知怎么居然学会了说话。

9As a misogynist,most of whose female characters are “bitches” whose main goal is to destroy men.

9 他憎恨女性，作品中的大多数女性角色都是“婊子”，其主要目标就是摧毁男性。

10As a feminist writer,questioning masculine and feminine roles,and writing strong female characters,some of them feminine “code heroes” in their own right5in one's own right 指靠自己的能力、权威等（获得某物），而不是依靠别人或借助别的东西。.

10 他是位女性主义作家，挑战男女的性别角色，塑造了强大的女性形象，她们有些仅凭自身便是女性版的“准则英雄”。

11As an artist of gender exploration and even transformation,anticipating recent ideas about gender fluidity.

文章来源：《文学少年》 网址: http://www.wxsnzz.cn/qikandaodu/2020/1023/796.html