写作手法十篇

写作手法篇1

在语文考试中常有写作手法、表达技巧、表现手法、表达方式、修辞手法等具体辨析与作用分析的题目，其实这些概念是较难区分的，一是因为这些概念有广义与狭义之分、有专家用语与教育用语之别，二是从来也没有一部权威性的著作对这些问题概念进行准确界定并辨析过。以下所只是个人的理解及一般的说法。

写作手法又叫表达技巧，包括表现手法、表达方式、修辞手法等，具体内容如下：

表现手法：表现手法是一种很模糊的概念。从广义上来讲表现手法即写作手法，包括表达方式、修辞手法。狭义上来讲种类也很多，包括：开门见山、前后照应、伏笔铺垫、设置悬念、承上启下、卒章显志、画龙点睛；以动衬静、欲扬先抑、衬托对比、正面侧面、烘托渲染、实写虚写等。

表达方式：表达方式主要包括记叙、描写、议论、抒情、说明五种，其中描写与抒情是常考内容。抒情又包括间接抒情与直接抒情。间接抒情是指作者不直接出面，通过其它方式来抒发感情，语言比较冷静客观，或借人物之口来抒情，或通过特定的语调来抒情。间接抒情的特点是抒情含蓄婉转，富有韵味，感染力强。间接抒情又分为咏物抒情、借景抒情、融情于景、情景交融、以景结情、以乐景写哀情、托物言志、托物寓理、借古讽今等。直接抒情就是以第一人称“我”为抒情主体，直接表现作者的思想感情的一种文章笔法。也叫直抒胸臆。描写就是用生动形象的语言，把人物或景物的状态具体地描绘出

来。分细描与白描、静态描写与动态描写、正面描写与侧面描写、虚写与实写、人物描写、环境描写等。

写作手法篇2

1、从形式来看，用作伏笔的，言语不多，有隐含性，不注意看不出来，所以，伏笔一般是“细节”；用作铺垫的，语句较多，可以铺陈，如情节高潮的前奏，如一些表现人物的景物环境描写，它没有隐含性，一看就知道是为了下文的铺垫。2、从运用来看，伏笔与下文承的“点”有一段距离，甚至是文首与文尾；而铺垫一般是紧接着，如前面写环境景物他人，接着就写主要人物。

3、从作用来看：伏笔主要是谋篇布局即结构上的技巧，使文章前后照应，结构严谨；铺垫是写作方法上的技巧，主要是对主要内容起烘托作用，比如推动情节，为下文做铺垫，突出人物等等。

在分析记叙性作品中,经常会遇到伏笔和铺垫.但是应如何区别开伏笔与铺垫呢?

《辞海》对伏笔的界定是：文学创作中描写、叙述的一种手法，指作者对将要在作品中出现的人物或事件，预作提示或暗示，以求前后呼应。这种手法有助于全文达到（收到）结构谨严，情节发展合理的的效果。

我认为,所谓伏笔,就是写作中常用的一种表现手法。它可以理解为前段文章为后段文章埋伏线索，也可以理解为上文对下文的暗示。它的好处是交待含蓄，使文章结构严密、紧凑，读者读到下文内容时，不至于产生突兀怀疑之感。例如，冰心的作品《小桔灯》的第一自然段，特意交代竹凳、墙上的电话，暗示下文中主人公小姑娘将和这两件物件打上交道。果然，第三自然段中，小姑娘“挪动竹凳” 、“登上竹凳想去摘墙上的听话器” ，原来，小姑娘的妈妈生病了，她想打电话叫医生来为妈妈看病。这些物件的提前出现，为故事情节的发展埋下了伏笔。

都德的《最后一课》，文章开始写小佛朗士上学路上看到许多人在布告牌前看什么，并且交代最近一些坏消息都是从那儿传出来的，作者还顺便列举几例，如征发啊，打仗啊等等。那么今天是什么消息呢，小佛朗士没有去看，不知道。作者暂不交代，我们读者也不知道。任情节向前发展，待到上课时，韩麦尔先生宣布这是最后一堂法语课，阿尔萨斯和络林已被普鲁士士兵侵占，韩麦尔，小佛朗士他们就要沦为亡国奴时，小佛朗士恍然大悟为什么布告牌前会有那么多人，今天布告牌上什么消息就不言而喻了。文章设置伏笔，往往使情节波澜起伏，跌宕。

《项链》一文对结尾处“项链是赝品”这一结局的“暗示”，却起了另外一种作用。

作者为了使情节更加震撼人心，着意安排了一个出人意料的结局。为使这一结局既出人意料，又合乎情理，作者在上文给了必要的暗示：佛来思节夫人把项链收藏在很显眼的地方，暗示它并不贵重；珠宝店老板称：只售出了匣子，未售出项链，也为项链是赝品这一结局留下余地。而这些暗示，其目的都不在于“衬托”结尾的“意外”，而仅仅在于使这“意外”的结尾更加“合乎情理”。这正是伏笔的作用。

《林教头风雪山神庙》引子“ 林教头沧州遇旧知”中插叙林冲、李小二对话，交代主要人物、事情起因，点明林冲与高俅的尖锐矛盾，说明林、李亲密关系，实际也留下李小二感恩图报的伏笔。

又如：“老军指壁上挂一个大葫芦，说道：?你若买酒吃时，只出草场投东大路去，走三二里便有市井?”。写老军絮叨之态，闲带出葫芦，当时看是为了买酒，实则是为了引出山神庙。“便去包裹里取些碎银子，把花枪挑了酒葫芦”，看时只道天寒手冷，实则是为后来杀人时可立即使枪埋下伏笔。林冲进了山神庙，“入得庙门，再把门掩上。旁边止有一块大石头，掇将过来靠了门。”这个细节描写为下文“用手推门，却被石头靠着了”埋下伏笔，陆虞候等人只好站在庙外边看火边说话，林冲躲在庙内听得一清二楚，知道了事情的真相。

伏笔最需要艺术技巧的铺垫，伏笔的妙处在于一个“伏”字，且要“伏”得不露痕迹。沽酒御寒、挡门遮寒，都是当时的实际需要，并且都又于风雪天气有关，所以读起来感到自然合理，不认为是有意设伏。伏笔的作用在于为后面的情节铺垫，使读者对后面的情节不敢突兀。）

使用伏笔应注意：

（1）有伏必应，如果你在开头提到了枪，那么在第二或第三段就要提到开枪，不伏不应是败笔，只伏不应同样也是败笔。

（2）伏笔要伏得巧妙，切忌刻意、显露。伏笔一般做到别人无法轻易觉察到，要做到如风行水上，自然成文。

（3）伏笔要有照应，前后不宜紧贴。如果伏笔前后贴得过近，反而会使文章显得呆板，读起来反而显得枯燥。

铺垫是为主要人物出场或主要事件发生创造条件而着重描述渲染、进行陪衬衬托的一种表现手法。

（1）铺垫的特点：是为主要情节蓄积酝酿的过程。

（2）铺垫的作用：铺垫是主要情节的基石，能增加情节张力，制造悬念使情节具有合理性。

（3）铺垫的原则：要引而不发、自然合理。

（4）铺垫的种类：①从情节发展的方向来分，有正铺、反铺。正铺是铺垫方向与情节发展的方向完全一致，又叫做正面铺垫。反铺是铺垫的方向与情节发展的方向完全相反，出乎意料之外，又叫反面铺垫。②从铺垫的手法来分，又有伏笔铺垫、悬念铺垫（又叫垫衬）、铺陈铺垫（用铺陈事物的方法，渲染气氛，制造声势）之别。宝玉挨打是伏笔铺垫，红楼梦序曲是悬念铺垫。

例如，例如：《背影》一文，文章开头写家境贫穷，“父亲”差使交卸了，祖母死了，“父亲”变卖典质，安葬了祖母，家境十分贫寒。接着又写到“父亲”亲自到车站送别，和车夫讲价钱，上车给“我”拈座位，并帮我铺好大衣等四件事。作者写这些要表达的意思有二，一是要告诉读者家里这样穷，可是“父亲”还是让“我”穿好，从后文作者交代的自己的皮大衣证明这一点。同时也告诉读者“父亲”作为一家之主，生活压力这么大还是不顾一切来照顾“我”，可见“父亲”对“我”是怎样一种感情。实际上作者写这些时，自己感情也已在酝酿蓄积，带动读者酝酿蓄积感情，待到写父亲蹒跚过铁道，爬上爬下去买橘子给我”解渴时，“我”感激“父亲”，理解父爱这种激动的心情就一发而不可收。作者感情进入高潮，作品内容也进入高潮。这就是铺垫的效果。文学作品运用铺垫手法，往往能增加文章的深度，使人物形象更鲜明，主题更突出。

鲁迅在《孔乙己》中写道：“中秋过后,秋风是一天凉比一天,看看将近初冬;我整天的靠着火,也须穿上棉袄了”，文中这里通过自然环境的描写，暗示当时天气已经很冷了（秋风越来越凉，初冬，靠着火，穿棉袄），为下文写孔乙己的悲惨遭遇作了铺垫。再如，王周生的作品《这不是一颗流星》开头写“我”和孩子在

体育馆看戏熊，熊的出现，孩子异常激动，“我”奇怪，读者也好奇：孩子见了熟悉的熊为什么会如此激动呢？接着孩子希望熊死，更是使人大吃一惊，“我”对孩子的训斥使孩子感到委屈，才吐露了深埋在孩子内心深处的隐情：要给阿婆做熊皮手套。读者这时才恍然大悟，为孩子纯朴天真的心灵由衷地激动。“熊”这个物件，为故事情节的发展作了绝妙的铺垫。

《猎户》一文，为了陪衬“董昆”这个新时代猎户的典型，作者先写了两个次要人物：尚二叔、百中老人。尚二叔这个旧社会猎人的“苦”，衬托了新时代猎人董昆的“甜”；而百中老人这个新时代猎人的形象，则把董昆衬托成新时代过着幸福生活的猎人的典型。

《明湖居听书》一文，则通过对琴师、黑妞等两个次要人物的有关描写，有效地衬托了白妞说书技艺之高超。

这两篇文章，因为采用了铺垫手法，使主要人物一出场就具有相当的高度。这正是铺垫手法“陪衬作用”的“功绩”。铺垫的全部奥妙都在“垫”和“衬”上。它们的三点区别:

1、从形式来看，用作伏笔的，言语不多，有隐含性，不注意看不出来，所以，伏笔一般是“细节”；用作铺垫的，语句较多，可以铺陈，如情节高潮的前奏，如一些表现人物的景物环境描写，它没有隐含性，一看就知道是为了下文的铺垫。2、从运用来看，伏笔与下文承的“点”有一段距离，甚至是文首与文尾；而铺垫一般是紧接着，如前面写环境景物，接着就写人物。

3、从作用来看：伏笔主要是谋篇布局即结构上的技巧，使文章前后照应，结构严谨；铺垫是写作方法上的技巧，主要是对内容起作用，比如推动情节，突出人物，等等。

从目的和作用上看，铺垫是衬托。作者尽管是在次要人物或事件上下功夫，其着眼点却是主要的人物或事件。伏笔是“对将要在作品中出现的人物或事件，预作提示或暗示，以求前后呼应”。它常常与“照应”配合使用，即所谓前有伏笔，后有照应。

写作手法篇3

[关键词]乔伊斯 a little cloud 象征主义 印象主义 精神顿悟

一、引言

乔伊斯是爱尔兰现代派小说巨匠,其文学创作素以新颖隐晦著称。他独辟蹊径运用全新的意识流写作手法,深入剖析人们的内心世界,昭显人类精神的黑暗面。在他的早期作品《都柏林人中》(15个故事独立成篇,但又衔接紧密,如同作者把都伯林视为一人,以童年青少年成年以及社会生活等人生发展的四个阶段叙述),作者更是用他惯常运用的象征、对比等修辞手法以达到更为高度的反讽效果。a little cloud是《都柏林人》成年期的代表作之一,讲述了都柏林的一个办事员小钱得勒去豪华酒店赴约一位八年未见的老朋友加拉赫。多愁善感的小钱得勒在裹足不前的事业以及成天算计柴米油盐的婚姻生活里日渐孤独麻痹。他小心翼翼的怀揣着当年两个人的情分,急切的渴望通过昔日穷困潦倒如今声名显赫故友的帮忙,实现自己成就事业的梦想。可谁料他幻想破灭,友情难叙,终究回到百无聊赖的家庭琐屑生活当中,自哀成泣。

二、写作手法

1.作品的象征主义手法

乔伊斯素有“20世纪最伟大的英语语言作家”之美誉,其语言表面上平淡无奇,实则通过悉心推敲。象征手法是乔伊斯作品的一大艺术特色。它的特殊的艺术魅力,使得乔伊斯的小说得以浓缩时空,以小见大,充分展示其深厚的艺术功底和体现其作品深邃的主题,所以笔者认为有必要对其作进一步的分析和研究。

象征就是依赖形象化的语言,用具体的形象来代表或暗示某种抽象概念和思想感情。在a little cloud这篇小说的标题中,象征手法得到了充分的体现。

little的象征意义。little一词在作品中多次出现,作者对其都赋予了丰富的象征意义。《牛津高阶英汉双解词典》对little作为形容词有如下五种注解:(1)小的;(2)距离或时间短的;(3)不重要的,不足道的;(4)幼小的;(5)相比之下小的。很显然,(2),(4),(5)与标题中和冠在主人公名字前的逻辑意义不相符。所以 little除“小的”解释外,还有潜在的“不重要的,不足道的”的含义。这让人不禁联想到作品所塑造的主人公——小钱得勒。作者在作品中对其外貌做的几笔勾画使一个“小男人”形象跃入读者的眼帘。其实作者对这个“小男人”的描绘贯穿于整个故事。

作品中除了little chandler之外,还出现了little house(小的房间,没有经济能力买大房子)和little lamp(小的灯,生活拮据没有钱买豪华的灯饰)。笔者以为这两个短语与小钱得勒这个普通人物形象相得益彰。

cloud的象征意义。cloud(中文“云”)素来被古人赋予孤独,游移,彷徨等寓意。cloud虽然只是出现在作品标题中,但寓意相当深刻。仔细通读整个作品,读者不难看出:小钱得勒更是活脱脱”云“之苦恼,是孤独与彷徨的化身。他那具有“云”一样孤独彷徨的精神状态正是都柏林“精神瘫痪”的最大症状,与小说主题遥相呼应;除此之外,cloud另有一层象征意义就是:借助云的易幻变的特征,象征着主人公的思绪的漂浮与想象,他的希望、梦想如同空中的小云朵,在不断变化中,变成各种美好的图案浮现在眼前,但实质上只是精神世界的幻想,就像海市蜃楼一般,必将消失破碎。而“云”最终化为了“雨”,也就是结尾主人公小钱德勒因为幻想彻底的破灭,而流下的眼泪。

2.作品的印象主义色彩

印象主义,即通过对人物瞬间的感官印象,特别是视觉上对光、影、色的感受,形象的表现个人精神领域中们朦胧的感性活动的写作手法。乔伊斯是一位十分擅长揭示人物内心世界的作家,他的作品通常具有十分浓郁的印象主义色彩。在a little cloud中,乔伊斯在描述主人公的无望的心理时,并没有直接描述主人公的心理活动,而是通过主人公的所见所闻,同读者一起体会主人公的内心世界。例如,作品中有这样一段描述:

the glow of a late autumnsunset covered the grass plots and walks. it cast a shower of kindly golden dust on the untidy nurses and decrepit old men who drowsed on the benches; it flicked upon all the moving figures——on the children who ran screaming along the gravel paths and on everyone who passed through the gardens. he watched the scene and thought of life; and he became sad. a gentle melancholy took possession of him. he felt how useless it was to struggle against fortune, this being the burden of wisdom which the ages had bequeathed to him…

这段描写的是小钱得勒在与朋友进行赴约的豪华酒店门口看到的景象。乔伊斯通过小钱得勒对光、影、色的自我感观印象衬托出一种氛围,一种情绪。没有激情或感叹的语言,没有任何比喻,只有光,影,色,一切是那样的平淡与真实,就这样乔伊斯将读者领入主人公的内心世界,让读者真切的感受到小钱得勒周身散发的无望气息。

3.作品中的“精神顿悟”

“精神顿悟”是“事物本质意义的的突然出现”,是“最普通的客体的灵魂向我们闪闪发光”的一刻,也是一事一物,一种景象或一段难忘的思绪在精神上的豁然开朗。它不仅具有象征意义,而且往往构成了小说的高潮。在小说中,乔伊斯用印象主义和象征主义手法勾勒出小钱得勒由希望,热望,失望到绝望的系列“心路历程”,此外,他还用“精神顿悟”向读者展示了主人公小钱得勒错综复杂的内心感受。这种“精神顿悟”在小说的结尾得到了最充分的显现。小钱得勒挤下的泪水实质上就是一种“精神顿悟”,是他面对现实头脑豁然醒悟的最好佐证。并且他那悔恨的泪水告诉我们:生活不过如此,再努力挣扎也徒劳无益,他的生活还将回到原点。作者精心地将精神顿悟安排到小说中的最后一段,将小说推到高潮,在主人公感受到生活的真理时,故事嘎然而止,不仅恰到好处,而且寓意深刻,同时也给读者留下了广阔的想象空间。

三、结束语

乔伊斯通过 a little cloud这部短篇小说,向读者展示了普通都柏林人的生活,生动的描述了主人公小钱得勒错综复杂的“心路历程”。他运用象征主义和印象主义手法,使文章生动形象,也使读者感同身受。他以独创的“精神顿悟”,充分展示出20世纪上半叶都柏林人的幻灭与疏离感。不难看出,这三种创作手法对人物“心路历程”的描述超越了传统现实主义小说的界面,使其带有浓厚的前现代主义文学色彩。

参考文献:

[1]袁得成.詹姆斯•乔伊斯.现代尤利西斯[m].成都:四川人民出版社.

[2]童丽娟等.“一小片云”深处的艺术[j].合肥合肥工业大学学报(社会科学版),2009.

写作手法篇4

【关键词】新闻写作；文学手法；运用

中图分类号：H13文献标识码A文章编号1006-0278（2015）09-208-01

随着经济的发展与各种现代化传播方式的提高，新闻事业也得到了很好地发展，为了更好地体现新闻的社会效应，就必须保证新闻作品的质量。作为最后一道工序，新闻写作有着举足轻重的作用，一个好的新闻素材，如果不能用好的变现手法变达出来，就会被埋没，失去新闻价值。现在人们已经不再满足于从新闻中获得基本事实，还希望新闻能生动形象，具有可读性与感染性，新闻写作的文学化应运而生，逐渐成为新闻表达的有效手段之一。

一、新闻写作的文学化表达

新闻是对就近发生事实的报道，其目的是向群众传递信息，具有时效性，可读性与真实性，新闻的基本原则是用事实说话。因此，新闻语言必须准确，客观，不能有丝毫偏差。而文学写作是对真实生活的艺术化表达，是作者表达自己某种情感、价值观的载体，这就要求文学语言必须具备很高的审美价值。虽然新闻写作与文学写作文体不同，对语言要求也不同，但二者都是以文字为载体，且兼具可读性的要求，所以在新闻写作中适度引入文学写作的手法，可以在确保新闻真实性的基础上，增强新闻的可读性与艺术感染力，更好地发挥新闻价值。

二、新闻写作中文学手法的运用

（一）修辞手法的运用

修辞手法是通过对语句的修饰、调整，运用特定的表达方式，提高语言表达效果的集合，包括比喻、比拟、夸张、排比等。在新闻写作中使用恰当的修辞手法可以使新闻作品生动形象，提高作品的可读性、可听性，也能更好地渲染新闻主题。如《守护人民政党的生命线》中，将我国“从群众中来，到群众中去”的那种精神比作西方人眼中磁石般的“东方魔力”，暗夜中照亮征程的“兴国之光”，而结尾又说“人民就是江山，江山就是人民”，这里有比喻，也有比拟，却没有让新闻失真，而是赋予了新闻极强的情感与人文精神，使读者能立即抓住新闻的主旨，同作者一同参与到党的群众路线教育实践活动中去。反之，如果新闻只知道将事实机械的排列出来，语言呆板，毫无生机，一味追求客观而忽略了新闻的可读性，就会失去读者和听众，也就失去了新闻价值。

（二）表达方式的选择

表达方式是指表述特定内容所使用的特定语言方法、手段，选择合适的表达方式，可以更好地表达新闻主题。在信息化与快速消费的时代，观众对生硬刻板的传统“读题”新闻模式已经不再满足，具备可读性与感染性成为新闻改革的方向。故事化成为新闻写作中一个常用的手法，通过文学手法中的场景设置、对话描写、细节描写等改变传统新闻平淡乏味的状态，并借用倒叙法、插叙法、略叙法等增强新闻的戏剧化，激发观众的兴趣，使观众能感同身受，引发观众的情感变化，使新闻达到最好的传播效果。如《小村大事》，该新闻旨在探索现阶段农村的发展之路，却舍弃了严肃规整的议论，转而借用记叙和描写的手法讲述了信阳市郝堂村的变化，从一个小村庄的发展，写出一个时代的发展趋向。有事实，有依据，增强了新闻的说服力，而且口语化的记叙与优美的风景描写使读者仿佛置身于这个小村，跟着记者一起采访，思考，为新农村的发展而骄傲。

（三）表现手法的运用

表现手法从广义上讲是指作者在行文措辞和表达思想感情时所使用的特殊的语句组织方式，有想象、联想、渲染等。新闻的真实性要求报道需客观复原事实情节，不能有夸大其词的成分，但新闻工作者不可能参与所有报道事实的情节，为了向群众汇报情况，就必须依据已有信息对现场进行情景还原。如去年的马航事件，没有人直击事件的发生，可是新闻不能平铺直叙的报道一架飞机就突然失踪了，这不是客观而是冷漠，会引起群众心理的反感。而通过对事故现场的合理想象与对场景的适度渲染，有助于激发社会的温情意识，抚慰受害家属的悲愤情绪，让人们对灾难有更深的体会，更加珍惜生命与身边的亲人朋友。所以变现手法的运用并不是对新闻真实客观的违背，它的艺术性与感染力使新闻理性且不失人性化，能更好地被理解和接受。

三、把握文学手法应用的尺寸，追求真善美

适当的文学手法可以为新闻写作锦上添花，增强新闻的可读性和感染性，但如果运用过度，就会失去新闻的真实性、客观性，对观众产生误导，从而违背新闻的基本原则。因此新闻写作在借助文学手法提升其文学性的过程中一定要坚守新闻“用事实说话”的原则，把握好这个尺度。首先，在对新闻事件准确把握的基础上确定整体的报道中心，围绕这个中心，提取合适的采访内容确立报道的大体框架；然后，选择合适的表达方式对采访内容进行报道，运用适宜的文学手法去丰富细节，增加细节的生动性，从而在真实的基础上增加新闻的文学性。

四、结束语

文学手法在新闻写作中的运用为新闻报道注入了新的血液，把新闻提高到一个更高的境界。文学化的新闻形象生动，能够更好地吸引、感染观众，从而更好地实现新闻价值，因此新闻的文学化已成为新闻界的发展趋势，而且这种趋势有助于我国新闻事业的改革，有助于提高观众对新闻的关注度，有助于新闻的全面发展。同时，记者要有较强的新闻意识和良好的文学修养，能够把握好新闻与文学的尺度，坚守新闻真实客观的原则。

参考文献：

[1]姜威.浅谈如何在新闻写作中借鉴文学手法的技巧[J].中国传媒科技，2013（4）：216-217.

写作手法篇5

无论是视觉娱乐还是文字阅读，想必大家最不愿意看到的是，接下去的情节早已在自己的“意料之中”。事实与预想完全吻合，一马平川，可以将你的情节预估到底，还有什么期待的理由？作文其实也一样，苍白总是乏味的，需要点技巧，或铺设，或曲折，或隐晦，或暗示，不一而足。今天我们就谈谈如何利用暗示这一写作手法来增添文字的魅力。

会说话的人，通常不会太直接表达自己的意思;会写文章的人，通常也会给读者留一个咀嚼的空间，不会直白地挑明，暗示总会被他们有意无意地自觉利用。作文中的暗示就是不直接说明，而用含蓄的话敲敲边鼓，给点隐晦的提示，憋着不捅破这层薄薄的窗纸，等到读完故事，回过头来才发现原来前面已经作了种种的暗示，不禁为精妙构思拍案叫好。

林海音的《爸爸花儿落了》就是一个经典的例子。通读全文，除了夹竹桃花的垂落来暗示父亲的离逝外，文章还有很多的暗示：

①矛盾的对话：“英子，不要怕，无论什么困难的事，只要硬着头皮去做，就闯过去了。” “那么爸爸不也可以硬着头皮从床上起来到我们学校去吗？”

②动作描写：爸爸看着我，摇摇头，不说话了。他把脸转向墙那边，举起他的手，看那上面的指甲。

③语言描写：“没有爸爸，你更要自己管自己，并且管弟弟和妹妹，你已经大了，是不是？”

④蹊跷之事：妈妈今早的眼睛为什么红肿着;院里大盆的石榴和夹竹桃今年爸爸都没有给上麻渣;到了五月节，石榴花没有开得那么红，那么大;石榴树大盆底下也有几粒没有长成的小石榴。

⑤环境描写：看外面的天，有点阴。

⑥歌声：“长亭外，人生难得是欢聚，唯有别离多……”（是同学分别，其实也有父女诀别暗示）

⑦心理描写：快回家去！快回家去！我好像怕赶不上什么事情似的。

⑧景物描写：旁边的夹竹桃不知什么时候垂下了好几枝子，散散落落的，很不像样;看那垂落的夹竹桃。

⑨插叙：爸爸那么爱花，今年都没有给院里大盆的石榴和夹竹桃上麻渣。

这样一找，我们才豁然明白，发现原来有那么多的文字都是在为父亲的离世处处暗示，处处伏笔，暗示的手段可以这么丰富，以致全文居然没有用一个“死”“去世”等字眼，太厉害了！

写作手法篇6

一、运用文学手法可增强新闻形象性

事实上，在新闻报道中充分运用文学手法，不仅是增强新闻形象性的重要手段，更是社会变革、人们观念更新、审美情趣变化的需要。应该看到，过去，由于受社会经济发展的制约和社会环境的影响，人们的视野相对狭小，对外界的认识和了解相对有限，因而人们主要把新闻当作文件来看，只强调新闻的指导性；而近年来随着社会经济的发展和“全球化”的不断推进，观众和读者已经今非昔比了，他们需要立体地（多层次、多角度、多侧面）了解社会，对新闻的要求也就从求知、求新、求趣等方面上升到了求美的更高层次，他们看新闻报道除了满足自己的信息需求外，还追求文学美的享受。《中国新闻文学史》则将新闻与文学两者的关系作了进一步融合：“中国文学史，源远流长；中国新闻史，也已经超过一个半世纪。在新闻观念、写作方法、报纸副刊和社会文化的影响下，中国的近代、现代、当代文学和新闻传播方式之间发生了长期的融合和渗透，这种情况的直接结果就是出现了兼具新闻性、时效性和文学性的新闻文学。”衡量一件新闻作品是否优秀，除了要看这个新闻作品是否高扬新闻性外，还要看它是否有文学性。在新闻报道中运用文学手法，借鉴各种文学修辞手法和文学叙事手法，则可以更好地对新闻事实进行表述，最大限度地体现新闻价值。

新闻的“新”决定了它具有非常强的时效性，非常容易“过期”，而如果恰当的运用文学手法，则很容易解决“保鲜”问题，能让新闻能够经受时间的考验，多年之后仍然经久而耐读。美国普利策新闻奖获奖作品《世界末日即将来临———第一颗原子弹试爆记》描写原子弹爆炸一刻的壮观景象：“这是一次亘古未有的日出，一个巨大的绿色太阳转瞬之间升至800英尺的高度，越升越高，直抵云霄，耀眼的光辉照亮天地万物。大火球继续上升直径约1英里，它飞射入空，异彩纷呈，从深紫到橘红，膨胀，扩大，膨胀着上升，可怕的力量在束缚了亿万年后终于摆脱羁绊，爆发了。顷刻间，大火球碧绿异常好似我们在日全食才见到的日冕。”这本来是一个十分概念化的科技新闻，但作者通过运用散文式的艺术描法，生动地营造了极其强烈的现场感，使无法到达新闻现场或接近现场的人们如见其人，如临其境，如闻其声，如睹其物，如触其温，如嗅其味，从而使新闻充满了经久不衰的文学性魅力。

二、现代新闻报道融入大量的文学手法

《贵州日报》的头版新闻中就不乏此类的生花妙笔，这些新闻报道中随处可见各种文学手法的应用，报道既遵循客观真实的原则，又有文学意蕴，富有美感。笔者摘几则如下所示：“‘一个金罐罐，装些硬饭饭，不吃硬饭饭，要吃金罐罐。’这个谜语说的就是刺梨。”（《贵州日报》2010年8月27日：《金灿灿的产业》）作者通过引用民间谜语，以形象生动的标题，新鲜、活泼的语言，托物寓言，向读者讲述了退耕还林种刺梨让村民的日子越过越红火。“无论是低温严寒、雪凝肆虐之时，还是大地震颤，一片废墟之中；无论是平凡的岗位，还是伟大的奥运赛场；无论是城乡农村，还是街道社区；无论是在景区还是在大型活动现场，处处是青年志愿者忙碌的身影；时时有青年志愿者真诚的笑脸，他们用行动传递着真情与温暖，用奉献书写着人间大爱。”（《贵州日报》2010年8月13日：《爱的阳光洒满高原》）这一段排比句表达出了强烈的感情，展现了贵州青年志愿者用青春智慧为贵州经济社会建设和繁荣注入新的力量和血液的时代风彩。“‘汪！汪！’一条黄狗一边吠叫，一边摆尾，惊飞了栖息于树木间的鸟儿……7月21日一大早，暴雨初歇，记者走进德江县城郊的四季花木场，但见恣意生长的花木葱绿，颇招人喜爱。”

（《贵州日报》2010年7月22日：《“城市长大了，我们的日子越来越好”———德江即景》）以现场式、故事化的新闻特写，展现了德江县抢抓机遇、乘势而上提升城镇化水平的积极行动，为读者描绘了我省城镇化取得的新进展，人民群众生产生活质量随之提高后的新风采，具有较强的镜头感和画面感。新闻报道引入文学表现手法是不以人的主观意志为转移的，但文学手法在新闻报道中的运用不应该简单地只是作为个别词句的点缀，而应纳入新闻写作整体设计的轨道上来。因此，在新闻报道中运用文学手法时要注意两点：首先，新闻报道必须将真实性和新近性放在首位，也就是要切合“新闻是社会生活中新近发生的事实的报道”这一定义，文学手法的运用不能干扰新闻的本质，更不能让新闻报道偏离正常的轨道，不能“因文（学）害义（新闻的本质）”。其次，新闻报道是用事实来说话的，文学手法的运用只是为了更好的表述事实的真相，因此在新闻报道中运用文学手法时要客观，不能肆意夸大，进行所谓的“合理想象”，使读者产生错觉甚至误解。

三、结语

写作手法篇7

运用“明贬实褒”写作手法来表达，像“我们的鹅老爷、架子十足。”等含有贬义的词语，表现鹅的个性，从中感受到作者对俄的喜爱。《白鹅》作者丰子恺，光绪二十四年生，浙江省嘉兴市桐乡市石门镇人。原名丰润，又名仁、仍，号子觊，后改为子恺，以中西融合画法创作漫画以及散文而著名。

（来源：文章屋网 http://www.wzu.com）

写作手法篇8

[关键词]领导讲话稿 陌生化 写作

[中图分类号]H152 [文献标识码]A [文章编号]1009-5349（2014）08-0057-02

所谓的领导讲话稿写作的陌生化，就是个性化与创新性的问题。怎样才能使讲话稿具有个性，鲜明生动，更好地体现讲话稿的功用和价值，需要我们对陌生化理解掌握，并将其灵感运用到领导讲话稿的写作中去。

一、陌生化含义及其功能扩延

陌生化就是使所描绘和表现的事物变得陌生，也可以叫做反常化或者奇异化，其内容与自动化、模式化相对立。国外对陌生化理论的研究主要集中于文学理论及文学作品分析中，指出陌生化通过变形、反常、扭曲、阻塞等技巧将事物改造成所谓的视象，从而增加人们对事物感受的难度与时延，使主体回复感受的新鲜感。近几年，我国学者对陌生化理论做了一些扩延，首先是胡敏在《对“陌生化”的概念理解及扩容尝试》中提出将陌生化手法从语言陌生化的领域中扩延出去，运用到写作的其他方面中，实现陌生化手法的多元化。之后，不少学者又将该理论应用于新闻写作中，“陌生化”开始踏入应用写作领域。

简单说，陌生化就是推陈出新，将熟悉的对象变得陌生起来。由此可见，陌生化的精髓就是创新，通过创新可以实现将对象陌生化的目的，“创新”在《现代汉语词典》里的解释为抛开旧的，创造新的。“创新”也是有新意的意思，从这点看，创新与陌生化相同，通过创新可以达到陌生化效果。但是创新不是陌生化的全部，只是达到陌生化效果的手段之一，对事物的外貌稍加改变，但不改变事物的本质，也就是说，改造也可达到陌生化的效果。

二、陌生化手法在领导讲话稿中的具体应用

陌生化手法运用到领导讲话稿写作中，可以弥补模式化运用的不足，提高讲话稿质量。我们可以从打破模式化思维、巧用语言修辞等方面达到写作的陌生化效果，使领导讲话稿写作具有个性，达到共性与个性的统一。

（一）打破模式化思维取得陌生化效果

1.多路出击，综合定势。多路出击就是从某一事物的中心点开始，通过发散思维向四面八方展开联想，提出多种设想及写作方案。多路出击的发散型思维方法不受任何限制，写作者的思考方向自由发展。但是我们不能让这种思维方法任意发展下去，当写作者得到足够的、合理的写作方案及设想之后，就要运用综合定势的思维方法，将不同方向的思维结果指向同一个中心点，也就是将发散出去的思维再聚拢过来，进行综合处理，实质形成某种定势，以达到写作者的写作目的。

2.逆转思路，双向出击。逆转思维即思维打破传统定势，转换思考方向，获得解决问题的办法。我们的社会生活丰富多彩、复杂多变，任何两个事物都不可能是完全相同的，事物与事物之间既有共性也存在着个性差异。我们在思考问题的时候就要打破传统思维方式，逆转思路，从问题的两方面双向出击，得到新的看待问题、解决问题的方法。所以，将逆转思路的思维方法运用到写作中去，可以使讲话稿变得立体、有新意。

3.多元择优，重述层递。在进行领导讲话稿写作时，写作者的思维方式往往是单一性的，但是只从一个角度、一种思维模式中分析问题，是不能正确反映事物的发展规律的。因为任何事物都是有两面性的，都是矛盾的结合体，而矛盾的每一层面都有其不同的展现方式。所以写作者在构思领导讲话稿时不能单只运用单一性的思维方式，应该将思维方式多元化，从一个事物的多角度、多侧面进行思考，拓宽写作思路，采用多种方式进行。但是通过多种方案构思得到的结果并不能全部使用，还要通过重述层递的方法，对构思结果进行反复的求索，深入的挖掘，选择最好的结论。

（二）巧用语言修辞获得陌生化效果

领导若想生动精准地传情达意，讲话稿的语言就要适当运用一些陌生化的手法，为讲话带来鲜活的色彩。

1.适当运用积极修辞。积极修辞方法有很多种，领导讲话中可以适当地运用比喻、排比、设问、对偶等风格简单、既容易被受众接受又能增添领导讲话语言美感的修辞方法。比如同志在庆祝清华大学建校100周年的讲话上谈到提高高等教育质量的问题时说：“要自觉参与推动战略性新兴产业加快发展……要自觉参与推动区域协调发展……要自觉参与推动学习型社会建设……努力为党和国家科学决策、民主决策做出积极贡献。”讲话者通过三个“要自觉”在内容上提出了对提高高等教育质量的新要求，在形式上层次分明，结构工整，逻辑严谨，节奏感强。接下来，总书记又以“奋斗、奋斗、再奋斗！”作为讲话的结尾，通过反复的修辞方法，表现了强烈的情感，给讲话以铿锵有力的结尾。

2.合理引用典故名言。在讲话时引用一两个典故或名人俗语，既可增强讲话的说服力，为领导提出的观点提供强有力的论据，又可使讲话内容具有厚重感，新颖有感染力。比如在英国皇家协会上的讲话，在讲到我国对文明多样性主张的时候引用了我国已故著名社会学家费孝通先生的一段话“各美其美，美人之美，美美与共，世界大同”，准确地反映了当代中国人对世界文明开放包容的胸怀及渴望。而在讲话的结尾又引用了英国伟大思想家培根的名言“智者创造机会，而不是等待机会”，对推动两国合作关系的发展表现出有信心。总理通过引用中英两位名人的名言充分阐明观点的同时，也展示出中英两国的良好关系的写照。

三、结束语

将陌生化手法运用到领导讲话稿写作的研究仍存在一定的争议，但一些学者认为领导讲话稿写作的模式总结使领导讲话出现雷同抄袭、平淡死板、散乱离题等问题，学者希望打破陈规，善于发挥创造性，灵活运用写作方法，达到出新效果。将陌生化手法运用到领导讲话稿写作中，正可以弥补模式化运用的不足，提高讲话稿质量。

【参考文献】

[1]孟建伟.实用写作技术[M].北京：中国社会出版社，

2003.6.

[2]余飞.领导干部讲话稿写作实务[M].南宁：广西民族出版社，2005.1.

写作手法篇9

Being distinguished from many greatest American writers, Hemingway is noted for his writing style. Among all his works, The Old Man and the Sea is a typical one to his unique writing style and technique. The language is simple and natural on the surface, but actually deliberate and artificial. Sometimes the simple style is made a little different. The dialogue is combined with the realistic and the artificial. The simplicity is highly suggestive, and often reflects the strong undercurrent of emotion. Occasionally, the author uses some figures of speech. Hemingway’s style is related to his experience as a journalist, his learning from many famous writers, and most importantly, his conscientious effort in looking for a style of his own. The influence of his style is great all over the world.

The Old Man and the Sea is full of facts, most of which comes from Hemingway’s own experience. So the way to use facts is a very important writing technique in this novel. The facts in the novel are selected and used as a device to make the fictional world accepted. In the forepart of the novel, they are used to show the quality of Santiago’s life, and are narrated simply and naturally; while in the latter part of the novel, they are used from inside Santiago’s own consciousness and form part of a whole scheme of the novel.

Keywords: Facts; Simplicity; Artificial; Iceberg Theory

中文摘要

在众伟大的美国作家中,海明威以独特的写作风格而着称。在他所有的作品中,《老人与海》最能体现他独特的写作风格和手法。这部小说语言看似简洁自然,其实包含了作者的精心揣摩和润色加工。有时为了突出某一部分,作者会采用长句代替短句。文中的对话内容真实、贴近生活,而表达形式则经过了艺术加工。小说简洁自然的语言背后隐藏了深刻的意义和感情。文中还运用了比喻、拟人等修辞手法.还名位的这种独特风格与他当过新闻记者的经历有关,同时他兼菜各家之长,自成一体,形成了自己独特的创作方法和艺术风格。这种风格对整个世界文坛产生了重要的影响。

《老人与海》这部小说中运用了大量的事实,他们大多来自于作者亲身经历。海明威对这些事实精心选择,从而吸引读者的兴趣并使读者有一种身临其境的感觉。小说一开始用大量事实描写了主人公生活的环境,叙述风格简洁自然,未加任何感彩。随着情节的发展,大量的事实主要被运用于主人公的心理活动之中,而不是主要由作者来叙述。同时,这些事实构成了整个小说体系中不可缺少的一部分。

关键词:

事实;简洁;加工;冰山理论

Hemingway’s Writing Style and Techniques in The Old Man and the Sea

Introduction

The Old Man and the Sea (1952) comes round at the finish of Hemingway’s writing career. With its vivid characterization, its simple language, and the profound implicating it carries, it stands out as one of the excellent books Hemingway’s former stature as the word’s preeminent novelist after Hemingway’s unsuccessful novel Across the River and into the trees (1950). The Old Man and the Sea earned its author the Pulitzer Prize in fiction for 1952, and was instrumental in winning him the Nobel Prize for Literature two years later. It is a short novel about Santiago, an old Cuban fisherman who has gone for 84 days without catch. Therefore the boy, Mandolin, who used to sail with him, is forced to leave him and catch in another ship. The old man insists on fishing alone and at last, he hooks an eighteen-foot, giant marlin, the largest he has ever known. But the fish is very powerful and disobedient. It tows the old man and his boat out to sea for 48 hours, with the old man bearing the whole weight of the fish through the line on his back. The old man, with little food and sleep, has to endure much pain and fights against his treacherous hand cramp. To his great excitement, on his third day at sea, he succeeds in drawing the weakened marlin to the surface and harpoons it. On his way home, he lashes marlin alongside his boat because it is too big to be pulled into the boat. But, unfortunately, the come across sharks in different numbers for four times. The old man fights to kill the sharks with as much might and many weapons as he can summon, but only to find a giant skeleton of his marlin left after his desperate defense. At last, Santiago, having lost what he fought for, reaches the shore and struggles to his shack. He falls into sound sleep, dreaming of Africa, and the lions again. His struggle wins him much respect.

Among many great American writers, Hemingway is famous for his objective and terse prose style. As the last novel Hemingway published in his life, The Old Man and the Sea typically reflects his unique writing style. This paper aims to discuss the writing style and techniques in The Old Man and the Sea. Of course, Hemingway has used many techniques in this novel, such as realism, the creation of suspense, monologue, etc. And this paper focuses especially on the language style and one of the important techniques-the way to use facts in this novel.

Hemingway is famous for his language. With much care and effort, he created a very influential and immediately recognizable style. “The style he created in his early work, such as In Our Time and The Sun also Rises, was almost too good. Like the style of certain painters, it tended to become a manner, rather than a flexible way of responding to experience and conveying fresh insights through words.”1 Among all his works, The Old Man and the Sea is the most typical one to his unique language style. Its language is simple and natural, and has the effect of directness, clarity and freshness. This is because Hemingway always manages to choose words “`concrete, specific, more commonly found, more Anglo-Saxon, casual and conversational.” 2 He seldom uses adjectives and abstract nouns, and avoids complicated syntax. Hemingway’s strength lies in his short sentences and very specific details. His short sentences are powerfully loaded with the tension, which he sees in life. Where he does not use a simple and short sentence, he connects the various parts of the sentence in a straightforward and sequential way, often linked by “and”.

In his task of creating real people, Hemingway uses dialogue as an effective device. It is presented in a form “as close to the dramatic as possible, with a minimum of explanatory comment.”3 Here is an example chosen from The Old Man and the Sea:

‘What do you have to eat?’ the boy asked.

‘No, I will eat at home. Do you want me to make the fire?’

‘No, I will make it later on. Or I may eat the rice cold.’

Here we can see that such interpolations as “he said” have frequently been omitted and the words are very colloquial. Thus the speech comes to the reader as if he were listening. Hemingway has captured the immediacy of dialogue skillfully and has made the economical speech connotative.

But it is good to note that Hemingway’s style is deliberate and artificial, and is never as natural as it seems to be. The reasons are as follows. Firstly, in some specific moments, in order to stand out by contrast and to describe an important turning point or climax, the style is made a little different:

He took all his pain and what was left of his long gone pride and he put it against the fish’s agony and the fish came over on to his side and swam gently on his side, his bill almost touching the planking of the skiff, and started to pass the boat, long, deep, wide, silver and barred with purple and interminable in the water.5

The language in this one-sentence paragraph is different from other parts of the novel. Kenneth Graham has commented that the sentence builds up its parts in a carefully laborious sequence-“all his pain and what was left of his strength and his long gone pride”. It emulates the movement of the exhausted marlin and the physical strain of the old man. And it mounts to a heavy crescendo in the very un-prosaic inversion of adjectives-“long, deep, wide”-ending in the virtually poetic cadence, “interminable in the water.”6

The dialogue, too, is combined with the realistic and the artificial. Usually the content contains and the expression contains the artificial. In The Old Man and the Sea, the language style is very peculiar from Hemingway’s other writings. This is because the novel is an English version of the Spanish that Santiago and Mandolin would speak in real life. “Since we are meant to realize that Santiago and Mandolin could not possibly speak like this, since English is not his tongue anyway, we are more likely to accept other artificialities of the dialogue. Using the device of a pretended ‘translation’, which would be bound to stilt in any case, Hemingway can ‘poetize’ the dialogue as he wishes.”7 The speakers are distanced from readers to a certain degree. And while their language taking on a kind of epic dignity, it does not lose its convincingness. Even slightly strange exchanges like the following become fairly acceptable. For example:

‘You’re my alarm clock’, the boy said.

‘Age is my alarm clock’, the old man said. ‘Why do old man wake so early? Is it to have one longer day?’

‘I don’t know’, the boy said. ‘All I know is that young boys sleep late and hard’.

‘I can remember it’, the old man said. ‘ I’ll waken you in time.’8

The simple sentences and the repeated rhythms hit at the profundities that the surface of the language tries to ignore. Its simplicity is highly suggestive and connotative, and often reflects the strong undercurrent of emotion. Indeed, the more closely the reader watches, the less rough and simple the characters appear. In Death in the Afternoon, Hemingway uses an effective metaphor to describe his writing style:

If a writer of the prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water.9

Among all the works of Hemingway, the saga of Santiago is thought as the most typical one to this Iceberg Theory. The author seldom expresses his own feelings directly, nor does he make any comments or explanations. On the contrary, he tries to narrate and describe things objectively and blend his own feelings harmoniously to the natural narration and description this gives readers a pictures compression, from which-the 1/8 of the iceberg above water, they can learn the implying meaning and feelings of the author- 7/8 of the iceberg under water. When Hemingway said of this story, “I tried to make a real old man, a real sea and real sharks”, he then went on to say, “But if I made them good and true enough they would mean many things.”10 So this novel has a great and significance conveyed by a compressed action. The core of the novel’s action is fishing. To the hero, fishing is not simply of contest in life. It contains profound philosophic meaning. In addition, two details-the baseball match and the hand wresting with the Negro, like fishing, symbolize the contention in life. They compensate and enrich the inner meaning of the main plot of fi shing. So the simplicity of the novel is highly suggestive.

Occasionally, the author uses such figures of speech as metaphor, personification, etc to describe details. Hemingway likes to us natural things to make metaphors. For example, he describes Santiago’s eyes as “the same color as the sea and were cheerful and undefeated.”11The metaphor reveals that the old man is closely linked with nature. At the beginning of the novel, a simile is used: “the sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.”12 Here Santiago’s eyes are contrasted with the patched sail, which symbolize defeat, as reveals Santiago’s unyielding character.

So Hemingway has formed of narrative and dialogue, though natural and simple on the surface, is actually deliberated and artificial. It combines elements that are realistic with elements that are stylized and heightened.

How Hemingway has formed such a writing style? The reason is related to his own experiences. “His use of short sentences and paragraphs and vigorous and positive language, and the deliberate avoidance of gorgeous adjectives are some of the traces of his early journalistic practices.”13 After leaving school at 17, he went to the Kansas City Star, which was one of the best newspapers in America at that time. He served as its eager and energetic reporter. As a journalist, Hemingway trained himself in the economy of expression. He once said that, during his working in Star, he had to learn to use simple sentences, which is very useful to him; and that the experience of working as a journalist would not do harm to a young writer, instead it is very helpful if he could cast it off timely. He laid stress on “speaking” with facts and objected groundless concoction in writing. His descriptions of details are full of factuality, and are as precise as news reports.

The influence of Hemingway’s language style is great. In the latter part of his life, Hemingway was known as “Papa Hemingway.”14 It refers mainly to his contribution to the development of a new writing style in America-the colloquial style. His simple word, short sentences and vividly colloquial language purity American novel. In England, which Miss Storm Jameson discussing “The Craft of the Novelist” in the January 1934 issue of The English Review, she advanced an explanation of Hemingway’s popularity:

It is this simplicity, this appeal to our crudest interests, which explains Hemingway’s success…In English at least his success has been largely with the intellectuals. Thy have praised his simplicity, his directness…15

When Hemingway’s death was reported on 3 July 1961, the obituary in The Tines pronounced pontifically:

No history of the literature of our time will be able to ignore his achievement or his far-reaching influence…his last masterpiece, The Old Man and The Sea, he remained a solitary both in achievement and style…16

And Hemingway’s influence as a stylist was “neatly expressed in the praise of the Noble Prize Committee about ‘his powerful style-forming mastery of the art’ of writing modern fiction.”17

Apart from the language style, which The Old Man and the Sea is famous for, the writing techniques in this novel are also worth paying close attention to. A very important one of them is the way to use facts. The main events of the story seem to be based on a real incident, which is described by Hemingway in an article about fishing in the Gulf Stream in Esquire for April 1936. So the novel of full facts, such as the habit of fish, the technique of catching marlin, the weather, the sea, and so on. But the power of the novel lies in the way to use these facts.

Firstly the facts are selected. “Hemingway’s old man, boy, sea, fish, and sharks are not so much built up in our minds, detail by detail, facts by facts, as drive into our mind by the force and the sympathy with which the author himself shares in their imaginary existence.”18 Like any realist, he relies on selection. When the giant marlin finally surfaces, his tail “was higher than a big scythe blade and a very pale lavender above the dark blue water.”19 Sargasso weed is bleached and yellow by day; Tuna are silver when they jump out if the water, but blue-backed and gold-sides when swimming. Hemingway never described them with excessively, but choose some effective ones. He uses them with a sense of how colors shift and change in their relationship. Without selection, there can be no intensity, and compression.

Secondly, the facts are used as a device to make the fictional word accepted. The novel is not simply a manual for us to study the technique to catch a fish or how to survive in a boat. The author tries to implicate people’s imagination in what is happening by appealing to our love of practical knowledge. This shows “the facts are fundamentally a device, a technique of reassuring our sense of everyday values.”20 So they can help to make us accept more readily what the author has invented and made more dramatic than in everyday life. Still take the use of color as example:

The clouds over the land now rose like mountains and the coast was only a long green line with the gray-blue hills behind it. The water was a dark blue now, so dark that it was almost purple. As he looked down into it he saw the red sifting of the plankton in the dark water and the strange light the sun made now.21

These facts show readers the process of fishing, which mostly comes from the author’s own experience. From these facts, which are vivid, precise and terse, readers can learn a lot about how to catch a fish and can also feel as if they themselves were catching a fish. Then they will have the sense that what the author describes is real and believable. Therefore, as Kenneth Graham has said, many facts in the novel about fishing and about the sea have a double function: they satisfy people’s sense of the real word. And this is what underlies Hemingway’s famous statement that his intention was always to convey to the reader “the way it was.”22

All in all, Hemingway’s language in The Old Man and the Sea is simple and natural on the surface, but actually deliberate and artificial. “The language is rarely emotional. Rather, it controls emotions: it holds them in.”23 The forming of this distinct style is related to Hemingway’s own experience. And the influence of this style is not only within America but also all over the world. The facts in the novel are selected and used as a device to make the fictional world accepted. Unlike other novelists who add allegorical meanings to their facts, Hemingway uses the facts simply and naturally, without any emotion. In the latter part of the novel, instead of being narrated by the author, the facts are used from inside Santiago’s own consciousness, and form part of a whole scheme of the novel. Besides what have been mentioned above, other techniques in The Old Man and the Sea, such as realism, monologue, the creation of suspense and so on, are also very successful. All these show Hemingway’s superb artistic attainments as a Nobel Prize winne r.

Notes:

1. Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea, (Beijing: world Publishing Corporation, 1991), p41

2. Chang Yaoxin, “Chapter 14” in A Survey of American Literature, (TianJin: Nankai University Press, 1987), p304

3. Mary A. Campbell, “Study Guide” in The Old Man and the Sea, (Beijing: world Publishing Corporation, 1998), p126

4. Ernest Hemingway, The Old Man and the Sea, (Beijing: world Publishing Corporation, 1998), p8

5. Ibid, p83

6. Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea, (Beijing: world Publishing Corporation, 1991), p42

7. Ibid, p45

8. Ernest Hemingway, The Old Man and the Sea, (Beijing: world Publishing Corporation, 1998), p20

9. Ernest Hemingway, Death in the Afternoon, (New York, 1932), p138

10. Times, 13 December 1954.

11. Ernest Hemingway, The Old Man and the Sea, (Beijing: world Publishing Corporation, 1998), p2

12. Ibid, p1

13. Chang Yaoxin, “Chapter 14” in A Survey of American Literature, (TianJin: Nankai University Press, 1987), p295

14. A.E.Hotchner, Papa Hemingway, (New York: Random House, 1966), p1

15. Roger Asselineau, ed, “Hemingway’s English Reputation” in The Literary Reputation of Hemingway in Europe, (New York: New York University Press, 1965), p15

16. Ibid, p10

17. Chang Yaoxin, “Chapter 14” in A Survey of American Literature, (TianJin: Nankai University Press, 1987), p305

18. Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea, (Beijing: world Publishing Corporation, 1991), p25

19. Ernest Hemingway, The Old Man and the Sea, (Beijing: world Publishing Corporation, 1998), p79

20. Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea, (Beijing: world Publishing Corporation, 1991), p29

21. Ernest Hemingway, The Old Man and the Sea, (Beijing: world Publishing Corporation, 1998), p26

22. Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea, (Beijing: world Publishing Corporation, 1991), p29

23. Peter B. High, “Chapter 11” in An Outline of American Literature, (New York: Long man Inc., 1986), p147

Bibliography:

1. Chang Yaoxin, “Chapter 14” in A Survey of American Literature. TianJin: Nankai University Press, 1987

2. Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea. Beijing: world Publishing Corporation, 1991

3. Ernest Hemingway, The Old Man and the Sea. Beijing: world Publishing Corporation, 1998

4. 崔道怡等编.《“冰山”理论:对话与潜对话》工人出版社, 1987.

写作手法篇10

《马说》是通篇借物比喻的杂文，属论说文体。本文作者借“千里马”的遭遇，寄托了怀才不遇、愤懑不平的情绪。以“千里马不遇伯乐”比喻贤才难遇明主。作者希望统治者能识别人才，重用人才，使他们能充分发挥才能。

全文寄托作者的愤懑不平和穷困潦倒之感，并对统治者埋没、摧残人才，进行了讽刺、针砭和控诉。

（来源：文章屋网 ）