海明威的短篇小说杀手英文版

❹ 海明威所有短篇小说英文名称是什么

我跟你打赌，这么庞大的工程不给悬赏分，除了混分的也就是我愿意回答了。专
最出名的几本
《永属别了，武器》 《A Farewell to Arms》
《太阳照样升起》 《The Sun Also Rises》
《丧钟为谁而鸣》 《For whom the bell tolls 》
《老人与海》 《old person and sea 》
《非洲的青山》 《The Green Hills of Africa》
《战地钟声》 《For Whom the Bell Tolls 》
《乞力马扎罗的雪》《The Snows of Kilimanjaro》
《第五纵队》 《the fifth column》

❺ 杀手：海明威短篇小说的介绍

《杀手海明威短篇小说》是2010年华东理工大学出版社出版的图书，作者是朱振武。

❻ 杀手：海明威短篇小说的内容简介

《杀手:海明威短篇小说(评注本)》精选了美国著名作家海明威的经典短篇小版说17部，包括其最具权代表性的短篇《杀手》、《乞力马扎罗山的雪》、《白象似的群山》、《士兵之家》、《弗朗西斯?麦康伯短促的幸福生活》、《没有被斗败的人》、《三天大风》、《雨中的猫》、《一个同性恋者的母亲》、《一天的等待》等。
《杀手:海明威短篇小说(评注本)》提供最地道的英文，最优美的译文，在每一篇小说之前，特别提供精彩独特的“导读”，旨在提供当时的社会语境及其与作者其他作品的内在联系，同时又表达出编撰者的强烈的阅读感受，做到与读者交流的目的。此外，原文中的注释，也就是注疑释典，是很见功力的工作。注释与导读比较起来，一个是放大镜，一个是显微镜，互为补充，相得益彰，让我们看到了作品的全貌。

❼ 急急急 海明威短片小说 《杀手》 全文

海明威的小说《杀手》，原文

❽ 海明威的小说The killers的主题是什么，200左右，英文的~谢谢~

写作思路：首先要了解海明威的小说《杀手》的主要内容，然后梳理文章的主要情节，比如海明威的《杀手》是一篇耐人寻味、含义深刻的故事，从其结构形式和思想主题上来考察，都是一篇完美无缺的短篇小说典范。

正文：

"The killer" is about two killers who are hired to come to a small restaurant. They tie up the chef and wait for the boxer to appear. However, the murder plan fails because the boxer doesn't come. Little guy Nick rushed to the boxer's small apartment to inform the news, but saw that the boxer was indifferent to the impending death, waiting to be captured. Shocked, Nick returns to the restaurant and is determined to leave the city.

《杀手》讲述了两个杀手受人雇佣来到一家小餐馆，一边捆绑伙计厨师，一边等待拳击手的出现，谋杀计划却因拳击手没来而告失败。小伙计尼克赶到拳击手的小公寓去通风报信，却见拳击手对即将面临的杀身之祸无动于衷，等待束手就擒。倍感震惊的尼克回到餐馆，决意离开这个城市。

Hemingway's "the killer" is an intriguing and profound story. From the perspective of its structure and theme, it is a perfect short story model. Because of its superb narrative art and strong drama, his works are frequently included in various literary books and adapted into films for three times. Meanwhile, it has attracted the attention of literary researchers and critics.

海明威的《杀手》是一篇耐人寻味、含义深刻的故事，从其结构形式和思想主题上来考察，都是一篇完美无缺的短篇小说典范。因其高超的叙述艺术与浓厚的戏剧性，作品频繁地被收录到各种文学读本，并三次被改编成电影，同时还不停地受到文学研究者和批评界的关注。

The killer, published in 1927, is one of Hemingway's works after experiencing the first World War. It also shows his confused feelings.

《杀手》发表于1927年，也就是海明威经历了第一次世界大战后所作的作品之一，同样流露出了迷惘的情感。

The original intention of the lost generation is to refer to the young people who were killed in the first World War and those who survived but were in a state of spiritual and moral dissociation. In the history of literature, it refers to the American novelists who express the feelings of the lost generation. Hemingway is the leader of this group of writers.

迷惘的一代原意是指在第一次世界大战中被杀害的年轻人和幸存下来但在精神上和道德上处于游离状况的年轻人，而在文学史上是指表现迷惘一代生存下来的情感的美国小说家，其中海明威是这一作家群的领头羊。

The so-called perplexity is actually a kind of disillusionment after the war, that is, the worry about people's living conditions is not ideal. It is the writer's strong reaction to the impact of war, violence and death threat on people.

所谓迷惘，其实是指战后的一种幻灭的情绪，即对人们生存状况不理想所表现出的忧虑，是作家对战争、暴力和死亡威胁给人们带来的影响的强烈反应。

❾ 海明威的小说The killers的读后感（英文的）

Works of Ernest Hemingway initiated minimalist movement in American fiction and had an enormous influence on the work of Raymond Carver and other minimalist authors. Comparing the style of Ernest Hemingway’s “ Killers” and Raymond Carver’s “What We Talk About When We Talk About Love”, one can notice numerous similarities. The first one can be seen in the description of the setting. Ernest Hemingway writes:
Outside it was getting dark. The street-light came on outside the window. The two men at the counter read the menu. From the other end of the counter Nick Adams watched them. He had been talking to George when they came in. (The Killers)
Raymond Carver’s passage seem to be strikingly similar:
The four of us were sitting around the kitchen table drinking gin. Sunlight filled the kitchen from the big window behind the sink. There were Mel and me and his second wife, Teresa-Terri, we called her-and my wife, Laura. (What We Talk About When We Talk About Love)
Both authors use only few short sentences to introce and enumerate characters, and to describe the atmosphere. They both do it by avoiding pronouns and using the same nouns they have been using in previous sentences. The vocabulary is very simple and devoid of florid excess.
Clarity and precision are also present in the description of characters:
She was a bone-thin woman with a pretty face, dark eyes, and brown hair that hung down her back. She liked necklaces made of turquoise, and long pendant earrings. (What We Talk About When We Talk About Love)
He wore a derby hat and a black overcoat buttoned across the chest. His face was small and white and he had tight lips. He wore a silk muffler and gloves. (The Killers)
Describing characters, both authors employ luminous details which seem to be very carefully chosen. As if according to the saying that “less is more”, Hemingway and Carver use only two or three sentences for character description. The rest is to be found in action and dialogues since characters are presented dramatically: readers learn about them through their dialogues. The interpretation of character’s tone and feeling is based on the context and other character’s response. This way of presenting characters makes the role of dialogue to be of paramount importance. Especially when the are almost none editorializing instances:
“It gets worse,” Terri said. “He shot himself in the mouth. But he bungled that too. Poor Ed,” she said. Terri shook her head. “Poor Ed nothing,” Mel said.
Another thing that can be said about Hemingway and Carver’s style is that they frequently make use of lexical and syntactical repetition. In the example above there are repeatedly used same words and the same structure: “Terri said”, “Mel said”. This technique, as the stylistician M.A.K. Halliday observes, generates motivated prominence.
In both „The Killers” and „What We Talk About When We Talk About Love” story, which is what we learn about characters and their past, dominates over action, which is what physically happens. It is very different from popular fiction where there is almost only action. Hemingway and Carver do not comment on what happens in the story and let readers interpret the meaning through characters’ dialogues. They are very economic when describing action:
The two of them went out the door. George watched them, through the window, pass under the arc-light and cross the street. In their tight overcoats and derby hats they looked like a vaudeville team. George went back through the swinging-door into the kitchen and untied Nick and the cook. (The Killers)
He poured more gin into his glass. He added an ice cube and a sliver of lime. We waited and sipped our drinks. Laura and I touched knees again. I put a hand on her warm thigh and left it there. (What We Talk About When We Talk About Love)

This story takes place primarily within the confines of Henry's Lunch-Room. As two men enter the establishment, George, the counterman, asks them what they would like to eat. The two men are not sure what they would like and take a few minutes to look at the menu. The only other person at the counter is Nick Adams.

When one of the men orders roast pork tenderloin, George informs him that that item is only available for dinner which will not be served until 6 o'clock. According to the clock in the lunchroom, the time is 5:20. However, George tells the men that the clock is twenty minutes fast.

George then tells the man that he can serve sandwiches, steak or eggs. The man asks for chicken croquettes, but again he is told that that is a dinner item. Frustrated, the man asks for ham and eggs. This man's name is Al, and he is wearing a derby hat, buttoned up, black overcoat, a silk muffler and gloves. Al's companion, who is similarly dressed, asks for bacon and eggs.

As Al and his companion wait for their food, they speak to George and Nick in a condescending manner, referring to them as "bright boys" and making fun of the town in which they live. In the course of the conversation, we learn that the name of Al's companion is Max.

After George serves the men their food, he steps back and watches them eat, noting that neither man removes their gloves. Max, uncomfortable with being watched, lashes out at George. Returning to their food, Al asks Max if he knows the name of the young man at the other end of the counter. Max calls out to Nick and tells him to join George on the other side of the counter. Nicks asks why they want him to do this, but does not get a reply.

Next, Al asks if there is anyone in the kitchen. George replies that Sam, the Negro cook is there. When Max tells him to bring Sam into the lunchroom, George asks why. Sensing that George is suspicious of them, Al assures him they will not be hurt and asks again for Sam to join them. When Sam enters the lunchroom, Al gets off his stool and takes Nick and Sam back to the kitchen, leaving Max and George alone at the counter. When George again asks Max to explain what is going on, Max responds by asking George to tell him what he thinks is going on. George does not have an answer.

Meanwhile, Al asks the two men to move from where they are standing. Again, Max asks George to tell him what he thinks is going on. When George does not respond, Max tells him that he and Al are there to kill Ole Andreson, a man that normally comes to the diner at six o'clock for dinner.

In an attempt to get him to change the subject, Max asks George if he has seen any movies recently. Rather than answer Max's question, George asks what Ole has done to the two men that has caused them to want to kill him. Max replies that they have never met Ole; rather, they have been hired to assassinate him. Al thinks that Max is providing too much information and suggests to Max that perhaps he should keep quiet. He tells Max that he has Nick and Sam tied up in the kitchen.

Max instructs George to tell anyone that enters the lunchroom that the cook is off for the evening. Further, George is to cook whatever the person orders. As he agrees to do this, George asks what is going to happen to them. Max tells him that he really cannot predict his fate.

Shortly after this, a man enters the lunchroom for supper. When George tells him that Sam has gone out, the man decides to go to another establishment. Max compliments George on his handling of the situation and once again refers to him as a "bright boy."

By five minutes to seven, Ole still has not arrived. George tells Max that if Ole has not arrived by now, he will not be there that night. Al decides they should wait five more minutes. While they wait, another man comes in, and upon hearing that Sam is not there to cook, he abruptly leaves.

After five minutes have passed, Max suggests to Al that it is time to leave. Al wonders what they should do with George, Nick and Sam. Max tries to assure him that they do not need to harm them; Al is not totally convinced as he thinks Max as told them too much.

Even so, the two men leave the lunchroom. George goes back to the kitchen and unties Nick and Sam. While Nick is somewhat dazed, Sam is clearly shaken by the experience. George tells them why the men were there and suggests that Nick go find Ole Andreson to tell him the two men want to kill him. Sam tries to dissuade Nick from doing this, but Nick goes anyway.

Nick arrives at the boarding house where Ole lives to find him lying on his bed, fully dressed. (Ole had been a heavyweight prizefighter in his younger years.)

Nick reports the evening's events to Ole. When he does not get a response, he tells Ole that George suggested Ole might want to know about what happened. Ole says that there is nothing he can do about the two men who want to kill him. He thanks Nick for coming to tell him. He also refuses Nick's offer to alert the police.

Before Nick leaves, Ole says that he has not been able to bring himself to leave his room all day. Nick asks if he can do anything to alleviate Ole's troubles, but Ole tells him that he has taken the wrong path and nothing can change the past. Ole thanks Nick again for coming and Nick leaves.

On his way out of the boarding house, Nick runs into the landlady and they discuss Ole's reluctance to leave his room. Nick returns to the lunchroom and reports what has happened to George. Sam hears him enter, but once Nick starts to speak, he retreats to the kitchen saying that he does not want to hear what Nick has to say.

Nick tells George that he told Ole that the men were looking for him so that he could kill them. He also tells George that Ole does not intend to protect himself. The two men agree that Ole will wind up dead. The two men wonder what Ole did to get himself into so much trouble. Nick decides that he wants to leave town; knowing that Ole is sure to be killed the moment he leaves his room is too much for him to handle. George agrees that this is probably a wise thing for Nick to do.

Sentences are short and simple. They are often joined by coordinate conjunction “and”, which is a characteristic of paratactic style. Neither Hamingway nor Carvver explain relation or connection between sentences. Lack of subordinate sentences gives effect of clarity and directness. By saying less, both authors leave their readers with the freedom to interpret the text and to imply their own meaning.
The other thing worth mentioning is the choice of vocabulary. Both authors use everyday language in characters’ dialogues, which makes them appear very realistic.

字数够吗

❿ 杀手3的英文版

去终极刺客吧看看吧，我就是从那里下的