美国文学史名词解释

1、1、the Lost GenerationIn gen eral, the p ost-World War I gen eratio n, but sp ecifically a group of . writers who came of age duri ng the war and established their literary repu tati ons in the 1920s. The term stems from a remark made by Gertrude Ste in to Ern eHem in gway,“ You are alla lost gen era

2、ti on. ” Hemi ngway used it as an ep ThapSuo Also Rises(1926).The gen erati on was “ lost ” in the sense that its in herited values were no Ion ger releva nt in the p ostwar world and because of its sp iritual alie nati on from a . that, bask ing un der P reside nt Hardi ngs“ back to no rmalcy ” p o

3、licy, seemed to its members to behop elessly provin cial, materialistic, and emoti on ally barre n. The term embraces Hemin gway, F. Scott Fitzgerald, Joh n Dos P assos, . cum mings and many other writers who made P aris the centre of their literary activities in the 20s. They were n ever a literary

4、 school. I n the 1930s, as these writers turned in differe nt directi ons, their works lost the dist in ctive sta mp of the p ostwar p eriod. The last rep rese ntative works of the era were FitzgeraldsTe nderLost gen erati onThe lost gen eratio n is a term first used by Stein to describe the po st-w

5、ar I gen erati on of America n writers: men and wome n haun ted by a sense of betrayal and emp ti ness brought about by the destructive ness of the full of youthful idealism, these in dividuals sought the meaning of life, drank excessively, had love affairs and created some of the fin est America n

6、literature to the three best-k nown rep rese ntatives of lost generation are Fitzgerald, Hemingway and John dos Passos.Lost gen erati onThe Lost Gen erati on is a group of exp atriate America n writers residi ng p rimarily in P aris duri ng the 1920s and 1930s. The group was give n its n ame by the

7、America n writer Gertrude Stei n, who used“ a lost gen erati on” to refer to exp atriate America nsbitter about their World War I exp erie nces and disillusi oned with America n society.Hemin gway later used the p hrase as an epigraph for his no vel The Sun Also Rises. It con sisted of many in flue

8、ntial America n writers, i ncludi ng Ern est Hemin gway, F.Scott Fitzgerald, William Carlos Williams and Archibald MacLeish.2、Iceberg TheoryIt is a term used to describe the of America n writer . The meaning of a p iece is not immediately evide nt, because the crux of the story lies below the surfac

9、e, just as most of the mass of a real similarly lies beneath the surface.Iceberg TheoryErnest Hemingway s “ iceberg theory ” suggests that the writer include in the text only a small portion of what he kno ws, leav ing about nin ety p erce nt of the content a mystery that grows ben eath the surface

10、of the writ ing. If a writer of p rose knows eno ugh about what he is writi ng about he may omit things that will have a feeli ng of those thi ngs as stro ngly as though the writer had stated them. The dig nity of moveme nt of an iceberg is due to only on e-eighth of it being above water. A good wri

11、ter does not n eed to reveal every detail of a character or actionThere is seve n-eighths of it un der water for every part that shows. Any thi ng you know you can elmin ate and it only stre ngthe ns your iceberg. It is the part that does n (1938) (PPT)3、Code heroThe Hemin gway hero is an average ma

12、n of decidedly masculi ne tastes, sen sitive and in tellige nt, a man of action, and one of few words. That is an in dividualist kee ping emoti ons un der con trol, stoic and self-disc ip li ned in a dreadful p lace. These people are usually sp iritual strong, people of certa in skills, and most of

13、them encoun ter death many times. The heroes in his book are all have someth ing in com mon which Hemin gway values: they have see n the cold world and for one cause or ano ther, they boldly and courageously face the reality; whatever the result is, they are ready to live with grace un der p ressure

14、. The Hemin gway code hero has an in destructible sp irit for his op timistic view of life, though he is p essimistic that is Hemin gway.4、Streamofc on scious nessThec ontinu ousflowofse nse-p erce pti on s,thoughts,feeli ngs,a ndmemories in thehuma nmi n d:oraliterarymethodofre prese nti ngsuchable

15、 ndin gofme ntal processesi nfictio nalcharact ers,usuallyi nanunpun ctuatedordisjoi ntformofi nterior mon ologue 注： sense-perceptions 认知，观念 blending：混合物 unpunctuated未力卩标点的 Disjoint:脱节5、ImagismA po etic moveme nt of En gla nd and the . that flourished from 1909 to 1917. The moveme nt in sists on the

16、 creationof images in p oetry by“ the direct treatme nt of thething ” and the economy of wording.“ poetic techniques to record exactly themomentary impressions ” The leaders of this movement were Ezra Pound and Amy Lowell.Three mai n princip les of the Imagist Moveme nt (1912):1 direct treatme nt of

17、 p oetic subjects2 elim in ati on of merely orn ame ntal or sup erfluous words, to use no word that does not con tribute to the p rese ntati on.3 rhythmical comp ositi on in the seque nee of the musical p hrase rather tha n in the seque nee of a metrono me.4 pound s In a Station of the Metro is a wk

18、nown poem.Major features:-it was one of the most esse ntial tech nique of writi ng po etry in moder n p eriod.-with a sp irit of revolt aga inst conven ti on s, imagism was ant roma ntic and an ti-victoria n-In a sen se, imagism was equivale nt to n aturalism in ficti on-it p roduced free verse with

19、out imposing a rhythmical p atter n.-Imagism tried to record objective observatio ns of an object or a situati on without interp retati on or comme nt by the p oet.-it p roduced free verse without imposing a rhythmical p atter n.-Imagism tried to record objective observatio ns of an object or a situ

20、ati on without interp retati on or comme nt by the p oet.The most outsta nding figures:Ezra P ou nd Amy Lowell Hilda DoolittleThe form of free verse (Ezra Loomis Pound) 影响 its in flue nee1) the imagist theories call for brief Ian guage, describ ing the p recise p icture in as few words as po ssible.

21、 This new way of p oetry comp ositi on has a last ing in flue nee in the 20th cen tury p oetry.2) the sec ond lasti ng in flue nee of Imagism is the form of free verse. There are no metrical rules. There are apparent in discrimi nate line breaks, which reflects the disc on ti nuity of life itself. T

22、hat is art of the p oem. The poet uses the len gth of the lines and the stra nge groupings of words to show how life itself can be broke n up into somehow meanin gless clusters6、ModernismModer n writ ing is marked by a strong and con scious break with traditi onal forms and tech niq ues of exp ressi

23、 on; it believes that we create the world in the act of p ercei ving it. Moder nism imp lies historical disc ontinu ity, a sense of alie natio n, of loss, and of des pair. It elevates the in dividual and his inner being over social man and p refers the uncon scious to the self-c on scious.Modernism

24、(来自老师的PPT)A gen eral term app lied retros pectively to the wide range of exp erime ntal and ava nt-garde trends in the literature and other arts of the early 20th cen tury, in clud ing Symbolism, Futurism, Exp ressi oni sm, Imagism, Vorticism, Dada, and Surrealism, along with the inno vati ons of un

25、 affiliated writers.7、The Harlem RenaissaneeThe Harlem Ren aissa nee, a floweri ng of literature (and to a lesser exte nt other arts) in New York City duri ng the 1920s and 1930s, has long bee n con sidered by many to be the high point in Africa n America n writi ng. It p robably had its foun dati o

26、n in the works of . B. Du Bois who believed that an educated Black elite should lead Blacks to liberati on. He further believed that his people could not achieve social equality by emulati ng white ideals; that equality could be achieved only by teach ing Black racial p ride with an emp hasis on an

27、Africa n cultural heritage. Although the Ren aissa nee was not a school, nor did the writers associated with it share a com mon purp ose, n evertheless they had a com mon bond: they dealt with Black life from a Black persp ective. Among the major writers who are usually viewed as part of the Harlem

28、Ren aissa nee are Claude McKay, Coun tee Culle n, Lan gst on Hughes, Zora Neale Hurst on, Rudo Iph Fisher, James Weld on Joh nson, and Jea n Toomer.Harlem Ren aissa nee 主要作品： The Weary Blues, The Dream kee per and Other Po ems, Fine Clothes to the Jew8、Postmodernism( From Wikipedia, the free encyclo

29、pedia)Po stmoder nism is a term which describes the p ostmodernist moveme nt in the arts, its set of cultural tenden cies and associated cultural moveme nts. It is in gen eral the era that follows freque ntly serves as an ambiguous overarch ing term for in terpretati ons ofand .It is often associate

30、d with and because its usage as a term gained significant popularity at the same time as twentieth-century post-structural thought.后现代主义是一个术语，它描述了后现代主义运动在艺术，文化倾向和相关的文 化运动。它是在一般的时代，遵循。它经常作为一个模棱两可的总体长期诠释，。它往往是与和因为它作为一个长期使用在20世纪后期的结构思想的同时，取得了显着的普及。9、Black humorThe term black humor was created in 1920s,

31、 but it was not no ticed un til 1960s. it was particularly a literary phenomenon in America after WWH . Black humor, in literature, is drama, no vel, and film, grotesque or morbid humor used to exp ress the absurdity, insen sitivity, p aradox, and cruelty of the moder n world. Ordinary characters or situati ons are usually exaggerated far bey ond the limits of no rmal satire or irony. Black humor uses devices ofte n associated with tragedy and is sometimes equated with tragic face. Josegh Heller and Kury Vonn egut are famous for their no vels of black humor. Esp ecially