Abstract:Hemingway, one of famous 20th century American writers, uses his real experience as the basis of imagination and working materials. Many scholars have studied Hemingway’s African literatures remarkably and successfully, but many of these studies only focus on ecological awareness of Hemingway or critiquing the author’s limitations of racial ideology. This dissertation initiates a close reading of African images in Green Hills of Africa and The Snows of Kilimanjaro and uses imagology as the theoretical framework to explain the Africa images. The dissertation’s purpose is to understand the shift of African images in these two works.
In Green Hills of Africa, in the early days of hunting, Africa was a natural place for hunting. African lived as white’s servants. In the following days, however, African is more meaningful rather than a hunting place. Meanwhile, Hemingway started to cherish his attendants. While in The Snows of Kilimanjaro, natural Africa is a wonderful spiritual home. However, the ideology of capital imperial is rooted deeply in white’s hearts. Africans were living as servants. The nuances of the African images in these two works are embodying the shift of Hemingway’s views of the relationship of nature and human. In addition, Hemingway reexamines his attitude to African to expose the faults of traditional American culture.
Key words: Hemingway; imagology; Green Hills of Africa; The Snows of Kilimanjaro; Africa
摘要:海明威是20世纪美国著名的作家，把真实的经历作为想象和创作的素材。不少学者研究海明威作品的非洲元素做出了卓越的贡献，但大部分是批评海明威的生态意识和种族观念。本论文通过细读《非洲的青山》和《乞力马扎罗山的雪》，以形象学为理论，来阐释作品中的非洲形象及其变化。
在《非洲的青山》前期，非洲是天然狩猎的地方。非洲人是白人的仆人。但随后，非洲变得有意义而不只是狩猎场。同时海明威开始珍惜他的随从。而在《乞力马扎罗山的雪》，自然的非洲是精神家园，但白人的帝国主义使非洲人活着如奴隶。两部作品中非洲形象的细微差别体现了海明威改变人与自然关系的看法。此外，海明威重新审视了他对非洲的态度，揭露了传统美国文化的缺陷。
关键字：海明威；形象学；《非洲的青山》；《乞力马扎罗山的雪》；非洲
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