dé lāi sài
mùlù
dé lāi sài Theodore Dreiser (1871~1945) 

德莱塞
　　 dé lāi sài ， TheodoreDreiser， 1871 ～ 1945， měi guó xiǎo shuō jiā， céng rèn měi guó zuò jiā xié huì zhù xí。
　　
　　1871 nián 8 yuè 27 rì dé lāi sài shēng yú yìn dì 'ān nà zhōu tè léi hào tè zhèn。 fù mǔ qīn shì dé guó yí mín， dǔ xìn tiān zhù jiào。 chū shēng bù jiǔ qià féng fù qīn shī yè， tóng nián zài kùn kǔ shēng huó zhōng dù guò， céng hé xiōng dì yán tiě lù shí méi zhā， bāng mǔ qīn qù bié rén jiā lǐ qǔ yī fú lái xǐ miǎnqiǎng hú kǒu dù rì。 zhōng xué méi bì yè jiù qù zhī jiā gē móu shēng， céng shī yè liú luò jiē tóu。 chéng lǎo shī de bāng zhù， tā shàng guò yī nián dà xué。 1892 nián shòu pìn wéi jì zhě hé biān ji， zǒu fǎng liǎo zhī jiā gē hé niǔ yuē děng chéng shì， guǎng fàn jiē chù hé liǎo jiě shè huì shēng huó， kāi shǐ xiě xiē zá wén， yě wéi shāng yè kān wù xiě gù shì。
　　
　　1399 nián dé lāi sài zhuànxiàng xiǎo shuō chuàng zuò， yì nián wán chéng cháng piān xiǎo shuō《 jiā lì mèi mèi》， yóu zuò jiā fú lán kè · nuò lǐ sī tuī jiàn， yǔ chū bǎn shāng qiān dìng liǎo hé tóng。 dàn lǎo bǎn dú liǎo qīng yàng， fā xiàn cǐ shū “ yòu shāng fēng huà ”， zhǐ yìn liǎo 1000 běn， bìng qiě dà bù fēn fēng cún zài cāng kù lǐ。 dé lāi sài shēn shòu dǎ jī， dàn méi yòu jué wàng。 1911 nián yòu fā biǎo liǎo《 zhēn nī gū niàn》， miáo xiě qióng gū niàn zhēn nī hé fù jiā zǐ dì lāi sī tè xiāng 'ài， hòu lái gū dú sǐ qù de cǎn zhuàng。 dé lāi sài yòu zāo wú duān fēinàn， dǎ liǎo jǐ nián guān sī， hòu lái bù liǎo liǎo zhī。 lìng yī bù cháng piān xiǎo shuō《 tiān cái》 tuō dào 1923 nián cái chū bǎn。 xiǎo shuō xiě chū yī gè cái huá chū zhòng de huà jiā de duò luò， jiē lù liǎo zī běn zhù yì shè huì duì yì shù de dú hài。 zuò zhě yòu yī cì shòu dào wéi gōng， xǔ duō zhī míng zuò jiā rú mèng kěn、 jié kè · lún dūn hé xīn kè lāi · liú yì sī fēn fēn chū miàn wèitā biàn hù。 zhè shǐ zuò zhě duì shè huì huán jìng yòu liǎo shēn kè de rèn shí。 tā jiān chí pī pàn xiàn shí zhù yì de chuàng zuò dào lù， jì xù fā biǎo liǎo xǔ duō yōu xiù zuò pǐn。 yǐng xiǎng jiào dà de yòu《 yù wàng sān bù qū》， bāo kuò sān bù cháng piān xiǎo shuō《 jīn róng jiā》（ 1912），《 jù rén》（ 1914） hé《 sī duō gé》（ 1947）。 1925 nián，《 měi guó de bēi jù》 zhèng shì chū bǎn， huò dé liǎo guó nèi wài de hǎo píng。
　　
　　1927 nián 11 yuè， dé lāi sài yìng yāo qù sū lián fǎng wèn。 1931 nián fā biǎo liǎo guān diǎn xiān míng de zhèng lùn jí《 bēi jù de měi guó》 děng， dà dǎn dì fēn xī hé pēng jī liǎo měi guó guǎ tóu zào chéng de zhǒng zhǒng wēi hài。 dì 'èr cì dà zhàn zhōng tā jī jí cān jiā liǎo fǎn fǎ xī sī dǒu zhēng。 1945 nián 8 yuè jiā rù měi guó， tóng nián 12 yuè 28 rì yú jiā lì fú ní yà zhōu de hǎo lāi wù bìng shì。


　　Theodore Herman Albert Dreiser (August 27, 1871 – December 28, 1945) was an American novelist and journalist. He pioneered the naturalist school and is known for portraying characters whose value lies not in their moral code, but in their persistence against all obstacles, and literary situations that more closely resemble studies of nature than tales of choice and agency.
　　
　　Early life
　　
　　Dreiser was born in Terre Haute, Indiana, to Sarah and John Paul Dreiser, a strict Catholic family. John Paul Dreiser was a German immigrant and Sarah was from the Mennonite farming community near Dayton, Ohio; she was disowned for marrying John and converting to Roman Catholicism. Theodore was the twelfth of thirteen children (the ninth of the ten surviving). The popular songwriter Paul Dresser (1859–1906) was his older brother.
　　
　　From 1889 to 1890, Theodore attended Indiana University before dropping out.[citation needed]. Within several years, he was writing for the Chicago Globe newspaper and then the St. Louis Globe-Democrat. He wrote several articles on writers such as Nathaniel Hawthorne, William Dean Howells, Israel Zangwill, John Burroughs, and interviewed public figures such as Andrew Carnegie, Marshall Field, Thomas Edison, and Theodore Thomas. Other interviewees included Lillian Nordica, Emilia E. Barr, Philip Armour and Alfred Stieglitz. After proposing in 1893, he married Sara White on December 28, 1898. They ultimately separated in 1909, partly as a result of Dreiser's infatuation with Thelma Cudlipp, the teenage daughter of a work colleague, but were never formally divorced.
　　Literary career
　　
　　His first novel, Sister Carrie (1900), tells the story of a woman who flees her country life for the city (Chicago) and falls into a wayward life. It sold poorly, but it later acquired a considerable reputation. (It was made into a 1952 film by William Wyler, which starred Laurence Olivier and Jennifer Jones.)
　　
　　He was a witness to a lynching in 1893 and wrote the short story, " Cracker," which appeared in Ainslee's Magazine in 1901.
　　
　　His second novel, Jennie Gerhardt, was published in 1911. Many of Dreiser's subsequent novels dealt with social inequality. His first commercial success was An American Tragedy (1925), which was made into a film in 1931 and again in 1951. In 1892, when Dreiser began work as a newspaperman he "began to observe a certain type of crime in the United States that proved very common. It seemed to spring from the fact that almost every young person was possessed of an ingrown ambition to be somebody financially and socially." "Fortune hunting became a disease" with the frequent result of a peculiarly American kind of crime "many forms of murder for money...the young ambitious lover of some poorer girl...(for) a more attractive girl with money or position...it was not always possible to drop the first girl. What usually stood in the way was pregnancy." Dreiser claimed to have collected such stories every year between 1895 and 1935. The murder in 1911 of Avis Linnell by Clarence Richeson particularly caught his attention. By 1919 this murder was the basis of one of two separate novels begun by Dreiser. The 1906 murder of Grace Brown by Chester Gillette eventually became the basis for An American Tragedy.
　　
　　Though primarily known as a novelist, Dreiser published his first collection of short stories, Free and Other Stories in 1918. The collection contained 11 stories. A particularly interesting story, "My Brother Paul", was a brief biography of his older brother, Paul Dreiser, who was a famous songwriter in the 1890s. This story was the basis for the 1942 romantic movie, "My Gal Sal".
　　
　　Other works include The "Genius" and Trilogy of Desire (a three-parter based on the remarkable life of the Chicago streetcar tycoon Charles Tyson Yerkes and composed of The Financier (1912), The Titan (1914), and The Stoic). The latter was published posthumously in 1947.
　　
　　Because of his depiction of then-unaccepted aspects of life, such as sexual promiscuity, Dreiser was often forced to battle against censorship.
　　Political commitment
　　
　　Politically, Dreiser was involved in several campaigns against social injustice. This included the lynching of Frank Little, one of the leaders of the Industrial Workers of the World, the Sacco and Vanzetti case, the deportation of Emma Goldman, and the conviction of the trade union leader Tom Mooney. In November 1931 Dreiser led the National Committee for the Defense of Political Prisoners to the coalfields of southeastern Kentucky, where they took testimony from coal miners in Pineville and Harlan on the violence against the miners and their unions by the coal operators.
　　
　　Dreiser was a committed socialist, and wrote several non-fiction books on political issues. These included Dreiser Looks at Russia (1928), the result of his 1927 trip to the Soviet Union, and two books presenting a critical perspective on capitalist America, Tragic America (1931) and America Is Worth Saving (1941). His vision of capitalism and a future world order with a strong American military dictate combined with the harsh criticism of the latter made him unpopular within the official circles. Although less politically radical friends, such as H.L. Mencken, spoke of Dreiser's relationship with communism as an "unimportant detail in his life," Dreiser's biographer Jerome Loving notes that his political activities since the early 1930s had "clearly been in concert with ostensible communist aims with regard to the working class." .
　　
　　The author died on December 28, 1945 in Hollywood, aged 74.
　　Legacy
　　
　　Dreiser had an enormous influence on the generation that followed his. In his tribute "Dreiser" from Horses and Men (1923), Sherwood Anderson writes:
　　
　　 Heavy, heavy, the feet of Theodore. How easy to pick some of his books to pieces, to laugh at him for so much of his heavy prose ... [T]he fellows of the ink-pots, the prose writers in America who follow Dreiser, will have much to do that he has never done. Their road is long but, because of him, those who follow will never have to face the road through the wilderness of Puritan denial, the road that Dreiser faced alone.
　　
　　Alfred Kazin characterized Dreiser as "stronger than all the others of his time, and at the same time more poignant; greater than the world he has described, but as significant as the people in it," while Larzer Ziff (UC Berkeley) remarked that Dreiser "succeeded beyond any of his predecessors or successors in producing a great American business novel." Arguably, Dreiser succeeded beyond any of his predecessors or successors in producing the great American novel.
　　
　　Renowned mid-century literary critic Irving Howe spoke of Dreiser as "among the American giants, one of the very few American giants we have had." A British view of Dreiser came from the publisher Rupert Hart-Davis: "Theodore Dreiser's books are enough to stop me in my tracks, never mind his letters — that slovenly turgid style describing endless business deals, with a seduction every hundred pages as light relief. If he's the great American novelist, give me the Marx Brothers every time."
　　
　　One of Dreiser's strongest champions during his lifetime, H.L. Mencken, declared "that he is a great artist, and that no other American of his generation left so wide and handsome a mark upon the national letters. American writing, before and after his time, differed almost as much as biology before and after Darwin. He was a man of large originality, of profound feeling, and of unshakable courage. All of us who write are better off because he lived, worked, and hoped."
　　
　　Dreiser's great theme was the tremendous tensions that can arise among ambition, desire, and social mores.
　　
　　In 2008, The Library of America selected Dreiser’s article “Dreiser Sees Error in Edwards Defense” for inclusion in its two-century retrospective of American True Crime.
　　Selected bibliography
　　Fiction
　　
　　 * Sister Carrie (1900)
　　 * "Old Rogaum and His Theresa" (1901)
　　 * Jennie Gerhardt (1911)
　　 * The Financier (1912)
　　 * The Titan (1914)
　　 * The "Genius" (1915)
　　 * Plays of the Natural and Supernatural (1916)
　　 * Free and Other Stories (1918)
　　 * The Hand of the Potter (1918)
　　 * Twelve Men (1919)
　　 * An American Tragedy (1925)
　　 * Chains: Lesser Novels and Stories (1927)
　　 * A Gallery of Women (1929)
　　 * The Bulwark (1946)
　　 * The Stoic (1947)
　　
　　Nonfiction
　　
　　 * A Traveler at Forty (1913)
　　 * A Hoosier Holiday (1916)
　　 * Hey Rub-a-Dub-Dub: A Book of the Mystery and Wonder and Terror of Life (1920)
　　 * A Book About Myself (1922); republished (unexpurgated) as Newspaper Days (1931)
　　 * The Color of a Great City (1923)
　　 * Dreiser Looks at Russia (1928)
　　 * My City (1929)
　　 * Tragic America (1931)
　　 * Dawn (1931)
　　 * America Is Worth Saving (1941)
　　
　　Published as
　　
　　 * Sister Carrie, Jennie Gerhardt, Twelve Men (Richard Lehan, ed.) (Library of America, 1987) ISBN 978-0-94045041-7.
　　 * An American Tragedy (Thomas P. Riggio, ed.) (Library of America, 2003) ISBN 978-1-93108231-0.
měi guó xiǎo shuō jiā American novelist
　　 dé lāi sài ，（ theodoredreiserl871.8.27～ 1945） měi guó xiǎo shuō jiā。 chū shēng yú pò chǎn xiǎo yè zhù jiā tíng。 céng cháng qī zài shè huì dǐ céng láo dòng zhēngzhá。 qīng nián shí qī céng rèn bào kān jì zhě hé biān ji， bìng kāi shǐ cóng shì wén xué chuàng zuò。 1917 nián hòu qīng xiàng shè huì zhù yì， 1928 nián yìng yāo fǎng sū， 1945 nián shēn qǐng cān jiā měi guó gòng chǎn dǎng。 dé lāi sài shì qīng xiàng shè huì zhù yì de měi guó xiàn shí zhù yì zuò jiā。 1928 nián fǎng sū qián， tā de chuàng zuò réng shǔ pī pàn xiàn shí zhù yì fàn chóu。 xiě chū liǎo jiē lù měi guó shè huì pín fù xuán shū、 dào dé lún sàng de cháng piān xiǎo shuō《 jiā lì mèi mèi》（ 1900）、《 zhēn nī gū niàn》（ 1911） hé jiē lù jīn róng zī chǎn jiē jí de fā jiā jí qí bì rán miè wáng de cháng piān xiǎo shuō《 yù wàng sān bù qū》（ dì 1 bù《 jīn róng jiā》 1912， dì 2 bù《 jù rén》 1914， dì 3 bù《 sī duō gé》 1947）。 dài biǎo zuò cháng piān xiǎo shuō《 měi guó de bēi jù》（ 1925） tōng guò yī gè qióng jiào shì 'ér zǐ kè lāi tè · gé lǐ fěi sī wéi zhuī zhú jīn qián cái shì duò luò wéi xù yì shā rén fàn de gù shì， bù jǐn jiē shì liǎo lì jǐ zhù yì 'è xìng péng zhàng de yán zhòng hòu guǒ， tóng shí gèng jiē lù liǎo jīn qián zhì shàng de měi guó shēng huó fāng shì duì rén de pǔ biàn de zuì 'è xìng fǔ shí dú hài zuò yòng。 zhè shí qī zuò zhě jìn guǎn yě shòu shè huì jìn huà lùn hé fú luò yī dé xīn lǐ fēn xī xué shuō de yǐng xiǎng， qiě bǎ tā men yùn yòng yú rén wù gòu sī hé xīn lǐ kè huà shàng， dàn tā bǎ tā men gēn shè huì huán jìng jǐn mì jié hé qǐ lái， bìng wèi xiàn rù shēng wù hé qíng yù de ní nào， fǎn shǐ zuò pǐn jù yòu fēng mǎn de xiàn shí zhù yì nèi róng hé jù dà yì shù gǎn rǎn lì。 1928 nián fǎng sū hòu， suí zhe dé cài sài zhèng zhì lì chǎng de zhuǎn biàn， tā de chuàng zuò yě kāi shǐ zǒu xiàng shè huì zhù yì xiàn shí zhù yì dào lù。 zhè yī shí qī de zuò pǐn yòu《 dé lāi sài fǎng sū yìn xiàng jì》（ 1928）， zhèng lùn jí《 bēi jù de měi guó》（ 1931）， duǎn piān xiǎo shuō jí《 fù nǚ qún xiàng》（ 1929） děng。
dé lāi sài (Drauze) yǎn bù cì jī shí yàn
　　cǐ zhǒng shí yàn kāi shǐ yú 40 nián dài。 dé lāi sài shì měi guó shí pǐn yǔ yào wù guǎn lǐ jú de gōng zuò rén yuán， tā fā míng liǎo yī zhǒng fāng fǎ yǐ cè shì mǒu zhǒng wù pǐn de cì jī dù， nà jiù shì bǎ gāi wù zhì zhì yú tù zǐ yǎn jīng zhōng。 tù zǐ bèi gù dìng zài yī zhǒng shè shī shàng， zhǐ yòu tóu shēn chū lái， yīn cǐ tā men zhuā bù dào zì jǐ de yǎn jīng。 cè shì wù pǐn ( zhū rú piào bái jì、 xǐfà jīng huò mò shuǐ ) fàng rù měi zhǐ tù zǐ de yī zhǐ yǎn jīng zhōng。 tā men yòng de fāng fǎ shì bǎ tù zǐ de xià yǎn pí yòng jiā zǐ xiàng wài lā， yīn cǐ xíng chéng xiǎo cáo， shòu cè wù pǐn biàn zhì yú“ cáo” zhōng， rán hòu bǎ yǎn jīng jǐn jǐn hé qǐ lái。 zhè zhǒng shǒu xù yòu shí huì fǎn fù shù cì。 shí yàn rén yuán zé měi tiān guān chá tù zǐ yǎn jīng de fā zhǒng、 kuì làn、 gǎn rǎn yǔ liúxiě liú nóng。 zhè yàng de yán jiū kě yǐ chí xù 3 gè xīng qī。
yīngwénjièshì
  1. n.:  dreiser,  Theodore Dreiser
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