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今天GJXX小編搜羅了上海金山區(qū)楓葉學(xué)校高二語文課程西方文學(xué)經(jīng)典整本書閱讀專題插畫篇（三）希望給擇校的家長們提供參考。

上海金山區(qū)楓葉學(xué)校高二語文課程西方文學(xué)經(jīng)典整本書閱讀專題插畫篇（三）

挪威藝術(shù)家愛德華?蒙克在藝術(shù)筆記里曾寫道：“我的每一筆都在捕捉那些壓倒性情感?！庇嗳A和蘇童們聊天時(shí)也提到最好的散文、最好的小說都會(huì)給人帶來一種“突襲感”。在我看來，無論是“壓倒性的情感”還是“突襲感”都潛藏在偉大的文學(xué)經(jīng)典中。因此在本學(xué)期的《看他們怎么寫：西方經(jīng)典文學(xué)整本書閱讀》項(xiàng)目中我設(shè)計(jì)了這樣一個(gè)任務(wù)：希望學(xué)生用自己擅長的方式或者學(xué)習(xí)合適的表達(dá)方式去捕捉文學(xué)經(jīng)典中那些“壓倒性情感”。

正如繆紀(jì)洲同學(xué)在本學(xué)期的學(xué)習(xí)心得中所寫：“在這個(gè)學(xué)期里，我見證了聶赫留朵夫與瑪絲洛娃的又一次相遇，與他們靈魂復(fù)活的開始；也在蒸汽繚繞的維多利亞時(shí)代看到了底層童工對對社會(huì)壓迫的不屈；同時(shí)更是遠(yuǎn)赴重洋，來到拉丁美洲的馬孔多靜靜的注視著布恩迪亞家族在百年來所承受的全部孤獨(dú)；最后化身為瓦列里在那座無人而又無法逃脫的孤城中，堅(jiān)強(qiáng)生存。有人說小說是杜撰的，是虛構(gòu)的，所以是不真實(shí)的。但我想小說是虛構(gòu)的，但也是真實(shí)的。馬孔多小鎮(zhèn)的故事是魔幻的，豬尾巴的男孩，傳染的失憶癥與失眠癥，最后卷走的小鎮(zhèn)的颶風(fēng)。這是荒誕的，但在這背后后的確實(shí)拉美人民痛苦掙扎的輪回。智利的阿連德總統(tǒng)手持AK與叛軍戰(zhàn)斗到最后一刻時(shí)，在聯(lián)合果品底下的員工被壓迫時(shí)，拉美的迷失靈魂還未找到歸宿時(shí)。圣地亞哥在下雨，整個(gè)南美都在下雨。書中的文字雖未寫道這場雨，但又都沾染著雨水的氣息。當(dāng)我寫小說時(shí)，先前或許想著徹底的魔幻與生活完全的割裂，但寫下的文字卻又處處透露著我生活的影子。小說如夢?！?                今天我們將繼續(xù)奉上學(xué)生們在《了不起的蓋茨比》和《復(fù)活》中所捕捉到的“壓倒性情感”，致敬這些如夢般“突襲”我們的經(jīng)典小說片段。本期推送的作品分別來自陳怡如、聶澤冰、劉珂希、孫問兮等同學(xué)。推文封底來自項(xiàng)溫妍同學(xué)的《復(fù)活》插畫。

高中語文教師 朱琪

孫問兮作品

插圖一：眺望

插圖二：黛西的衣櫥

插圖三：飛蛾撲火

創(chuàng)作說明：我制作的三幅拼貼畫分別為《眺望》《黛西的衣櫥》和《飛蛾撲火》。

插畫一《眺望》：靈感來源于蓋茨比在黛西家對面購入了豪宅以后，天天站在河邊望向河對岸黛西家的房子，那是他的夢想，左下角的剪影是蓋茨比，眺望的城堡是黛西家的意向，男女相擁的剪影表達(dá)了蓋茨比希望能和黛西重歸于好的美好愿望。

插畫二《黛西的衣櫥》：靈感來源是黛西到蓋茨比家參觀時(shí)，蓋茨比向黛西展示了自己雄厚的財(cái)力。在這過程中，蓋茨比激動(dòng)地從樓上扔下一件件為黛西準(zhǔn)備的時(shí)裝，這是他最快樂的時(shí)候，黛西也被蓋茨比迷住，我想應(yīng)該是被蓋茨比的一擲千金給打動(dòng)了。

插畫三《飛蛾撲火》：這幅插圖來自是我的想像。蓋茨比為黛西付出了自己能付出的一切以至于到最后替黛西頂了駕車肇事逃逸的罪行。他希望時(shí)光可以倒流，可以與五年前的愛人黛西重?cái)⑴f情，但是黛西已經(jīng)不是原來那個(gè)單純的小姑娘了。他其實(shí)心里多多少少也明白，后來的黛西愛的也許只是他的錢，但是他還是愿意用自己的一切愛黛西。但令人諷刺的是，蓋茨比被事故死者的丈夫開槍殺死以后，黛西都沒有去蓋茨比的葬禮。她還是過著富太太的紙醉金迷的生活，而蓋茨比已經(jīng)化身一塊冰冷的墓碑了。

The three collages I made were titled Overlook, Daisy's Wardrobe and Moth to the Fire.First of all, the inspiration of Overlook comes from Gatsby's dream of standing by the river every day after he bought a luxury house opposite Daisy's house. The silhouette on the lower left corner is Gatsby, the castle he looks at is Daisy's intention, and the silhouette of men and women embracing each other expresses Gatsby's wish to be reunited with Daisy.Then, the inspiration for Daisy's Wardrobe was that when Daisy visited Gatsby's house, Gatsby showed Daisy her rich financial resources. In this process, Gatsby excitedly threw down pieces of fashion for Daisy from upstairs. This was his happiest time, and Daisy was also fascinated by Gatsby. I think Gatsby should have been impressed by his money.Finally, The Moth to the Fire is my imagination. Gatsby paid everything he could for Daisy, so that he finally covered the crime of hit and run for Daisy. He hoped that he could go back in time and reconnect with his lover Daisy five years ago, but Daisy was no longer that simple girl. In fact, he knew more or less in his heart that Daisy might only love his money later, but he was still willing to love Daisy with all he had. But ironically, Daisy did not go to Gatsby's funeral after Gatsby was shot and killed by the husband of the deceased in the accident. She still lives a life of luxury and luxury, while Gatsby has turned into a cold tombstone.

劉珂希作品

插圖一：夜

插圖二：窗

插圖三：擁吻

插畫一《夜》：“蓋茨比信奉這盞綠燈，這個(gè)一年年在我們眼前漸漸遠(yuǎn)去的極樂的末來。它從前逃脫了我們的追求，不過那沒關(guān)系，明天我們跑得更快一點(diǎn)，把胳臂伸得更遠(yuǎn)一點(diǎn).........總有一天．于是我們奮力向前劃，逆流向上的小舟，不停地倒退，進(jìn)入過去。”插畫整體上選用沉悶的黑色，將氣氛塵土的悲傷孤獨(dú)，在圖畫下方畫了一只手，這只手是蓋茨比的手，對應(yīng)了“把手伸的遠(yuǎn)一點(diǎn)”這句話，遠(yuǎn)處綠色的燈光，對應(yīng)文本中的綠燈。表達(dá)蓋茨比對黛西的思念以及對過去的留戀。

On the whole, the illustration is made of dull black, which makes the atmosphere of dust sad and lonely. A hand is drawn below the picture. This hand is Gatsby's hand, which corresponds to the sentence "extend your hand a little farther". The green light in the distance corresponds to the green light in the text. To express Gatsby's yearning for Daisy and nostalgia for the past.

插畫二《窗》：“-輪明月正照在蓋茨比別墅的上面，夜色跟先前一樣美好。明月依1舊，而歡聲笑語己經(jīng)從仍然光輝燦爛的花園里消失了。股突然的空虛此刻好像從那些窗戶和巨大的門里流出來，使主人的形象......”畫面的主體是蓋茨比，站在床邊看向窗外，背景全部都是黑色的，蓋茨比的西服也是黑色的與背景融為一體，做出好像要講蓋茨比吞噬的感覺，背景上星星點(diǎn)點(diǎn)的光亮，告訴人們窗戶內(nèi)是富麗堂皇的，更加襯托了蓋茨比的孤獨(dú)。

Gatsby is painted. Standing by the bed and looking out of the window, the background is all black. Gatsby's suit is also black and integrated with the background, making it seem that Gatsby is devouring. The light on the background tells people that the window is magnificent, which further sets off Gatsby's loneliness.

插畫三《擁吻》：“兩天之后，他們倆再見面時(shí)，顯得心慌意亂，似乎上當(dāng)受騙的倒是蓋茨比。她家涼臺(tái)沐浴在燦爛的星光里。她轉(zhuǎn)身讓他吻她那張奇妙、可愛的嘴時(shí)，時(shí)髦的長靠椅的柳條吱吱作響，她著了涼，她的聲音比平時(shí)更沙啞，更動(dòng)人?！边@是蓋茨比和黛西擁吻的畫面，以大片的綠色為背景，將兩位主角更加襯托出來，兩個(gè)人的衣服也用了鮮亮的顏色。整體的感覺是輕快，幸福的，同時(shí)又是虛浮、夢幻的。

The painting shows Gatsby and Daisy kissing each other. With a large green background, the two protagonists are more highlighted. Their clothes are also in bright colors. The overall personal feeling is light and happy.

關(guān)于《復(fù)活》中聶赫留朵夫和瑪斯洛娃的三次相見：

陳怡如作品

插圖一：初遇之笑

插圖二：牢獄之會(huì)

插圖三：復(fù)活之典

圖一《初遇之笑》: The scene shows Nekhludoff and Maslova meeting in the midst of their mutual affection. At that time, Maslova thought she had met love and smiled brightly. At the same time, as a noble Nekhludoff also really like Maslova, so look at her feel is shining. Maslova was a maid at that time, but she was beautiful and lively, and full of expectations for the future. The meeting between the two is also full of expectations on both sides, is beautiful.

圖二《牢獄之會(huì)》: The scene is Maslova in prison, Nekhludov visited the prison to atone for the crime. At that time, Maslova's heart was like death, although the face smiled, but full of disdain and seduction. The cell is noisy, two people across the iron fence meet, no longer as at the beginning. At the time, Maslova was no longer looking forward to their meeting. Her heart was full of rejection and she had no hope for the future. The overall tone is very dark, and the environment wants to highlight the miasma.

圖三《復(fù)活之典》：The scene is a meeting between Nekhludoff and Maslova after Nekhludoff has made a big effort to atone for his SINS and Maslova has found redemption in another sense, finding her true love. At that time, I think Maslova was also really grateful to Nekhludoff for his displacement along the way. Then her smile had gratitude and courage for the future. And Nekhludoff is only in the distance to see her leave, this is not a kind of "resurrection"?

來自陳怡如的創(chuàng)作心得：在這三幅插畫中都有瑪斯洛娃的笑容。雖然畫面中的她都是笑著面對聶赫留朵夫的，但是各有不同的情感。而三幅畫上的聶赫留朵夫都在側(cè)身遠(yuǎn)遠(yuǎn)觀望著瑪斯洛娃。這也表明了當(dāng)時(shí)社會(huì)的殘酷，純潔美好的女子身敗名裂，貴族的地位卻難以撼動(dòng)。當(dāng)然，在小說中的聶赫留朵夫和瑪斯洛娃都得以最終“復(fù)活”，奔向各自的未來。

聶澤冰作品

插畫創(chuàng)作說明：我選取了三個(gè)片段，分別是第一次探監(jiān)、第二次探監(jiān)和第三次探監(jiān)，從畫面表現(xiàn)出三次探監(jiān)聶赫留朵夫和卡秋莎的變化。

P1:When Nekhludoff visits Katyusha in prison and asks her about their child, she begins to feel shocked and is painfully awakened by the past. But she made only a few brief replies, treated Nekhludoff as a man of use, gave him a smile, and asked him for ten roubles of alcohol and cigarettes to numb herself. Nekhludov was surprised and frightened by the changes in Katyusha.

P2: Nekhludoff's second visit to the prison, Nekhludoff met Katyusha, he twice religiously asked her to forgive, to atone for her, and declared that he would marry her. But Katyusha could not forgive his past. 'Go away!' she cried angrily. ... I hate you, and your glasses, and your dirty fat face!" Nekhludoff continued to campaign for her injustice with a sense of responsibility.

P3:Maslova's kindness in the bottom of her heart was finally awakened by Nekhludoff's sincere heart, and her cynical attitude towards the world was transformed into full of love for the world. Nekhludoff third visit to prison Nekhludoff first to clear Katyusha to the prison hospital work, and she met. She apologized to him, promised to nurse in the prison hospital, and promised never to drink again. Nekhludoff thought happily: she is a different person. He believes that the power of love is invincible. But Katyusha still refused to marry him.