高级英语 lesson5

1、Lesson 5 love is a fallacy Text Book高级英语由张汉熙主编, 外语教学与研究出版社TitleUnit 5Love Is a Fallacy by Max ShulmanTeaching Aims1. Improving Reading Skills of understanding a light humorous satire2. Enriching Vocabulary in academic field and logic3. Improving Writing skills of applying rhetoric in a speechTeachin

2、g ActivitiesVocabulary 1 hourText Analysis6 hoursDiscussion 0. 5 hourPractice 3 hoursTeaching ProcessI .Warming upIIIntroduction to Additional Background Knowledge III. Text Analysis1. Introduction to the Passage2. Effective Writing Skills3. Rhetorical Devices 4. Special Difficulties IV. QuestionsAs

3、signmentWrite a composition of classification.Reference Books1. Walkers Rhyming Dictionary2. Any Standard Encyclopedia 3. Any Book on the History of the English literature4. Oxford Companion to English literature5. Any book on Lexicology or word Building附页Text Book高级英语由张汉熙主编, 外语教学与研究出版社TitleUnit 5Lo

4、ve Is a Fallacy by Max ShulmanTeaching ActivitiesVocabulary1. Pay attention to words and expressions in the following aspects respectively:² Spelling and Pronunciation² synonyms² Opposites² Similar words and expressions² Settled or habitual usage2. Word building knowledge附页T

5、ext Book高级英语由张汉熙主编, 外语教学与研究出版社TitleUnit 5Love Is a Fallacy by Max ShulmanTeaching Process （1.Warming up）Question 1What is love?Question 2What is logic?Question 3Love is blind?Question 4Love is reason?1.        The meaning of Logical fallacies 2.   &#

6、160;    Logical fallacies: -Dicto Simpliciter -Hasty Generalization -Poisoning the Well -Ad Misericordiam Text AnalysisIntroduction to the Passage1.        Type of literature: a piece of narrative writing -protagonist/antagonists -climax -denouement

7、2.        The main theme 3.        Well chosen title and words 4.        Style -a very fast pace with a racy dialogue full of American colloquialism and slang -employing a variety of writing tech

8、niques to make the story vivid, dramatic and colorful Effective Writing Skills1.        Employing colorful lexical spectrum, from the ultra learned terms to the infra clipped vulgar forms 2.        Too much figurative language and

9、 ungrammatical inversion for specific purposes 3.        The using of short sentences, elliptical sentences and dashes to maintain the speed of narration Rhetorical Devices 1. metaphor 3.        antithesis 4.   

10、0;    transferred epithet 4.        hyperbole 5.        metonymy 6.        litotes 7.        ellipsis 8.       

11、; synecdoche 9.        inversion 10.     simile 11.     mixed metaphor 12.     rhetorical questions SpecialDifficulties1.          Analyzing the logical fallaci

12、es 2.          Using inverted sentences to achieve emphasis 1.        Effectively using many figures of speech 2.        Understanding colloquial expressions and slang 3.  

13、60;     Allusions: -Frankenstein -Pygmalion 4.        Paraphrasing some sentences 5.        Identifying figures of speech Questions1.        Define and give an example of each

14、 of the logical fallacies discussed in this essay. 2.       Can you find any evidence to support the view that the writer is satirizing a bright but self-satisfied young man?3.       Comment on the language used by Polly. What eff

15、ect does her language create? 4.        Why does the writer refer to Pygmalion and Frankenstein? Are these allusions aptly chosen?5.        In what sense is the conclusion ironic? 附页 3Text Book高级英语由张汉熙主编, 外语教学与研究出版社TitleUnit 1Face

16、 to Face with Hurricane Camille by Joseph P. BlankTeaching Process （2. Introduction to Additional Background Knowledge.）Logical fallacy:1. An argument in logic presents evidence in support of some thesis or conclusion. An argument has two components: a conclusion, the thesis argued for; and certain

17、premises, the considerations adduced on behalf of the conclusion. The conclusion is said to be drawn, or inferred, from the premises. An argument is deductively valid when its premises provide conclusive evidence for the conclusion. An argument that fails to be conclusively deduced is invalid; it is

18、 said to be fallacious.An argument may be fallacious in three ways: in its material content, through a misstatement of the facts; in its wording, through an incorrect use of terms; or in its structure (or form), through the use of an improper process of inference. Fallacies are, therefore, divided i

19、nto three groups and classified as (1) material, (2) verbal and (3) formal. The material fallacies are also known as fallacies of presumption, because the premises presume too much- they either covertly assume the conclusion or avoid the issue in view. The verbal fallacies, called fallacies of ambig

20、uity, arise when the conclusion is achieved through an improper use of words. Strictly logical, or formal, fallacies arise not from the specific matter of the argument but from a structural pattern of reasoning that is generically incorrect.The fallacies(谬误、谬论) mentioned in the text belong to the fi

21、rst group, i.e. they are material fallacies. Some of the important fallacies in this category may be stated as follows: (1) the fallacy of accident is committed by an argument that applies a general rule to a particular case in which some special circumstances (“accident”) makes the rule inapplicabl

22、e. This is the “Dicto Simpliciter” fallacy in the text. (2) The converse fallacy of accident argues improperly from a special case to a general rule. The fact that a certain drug is beneficial to some sick persons does not imply that it is beneficial to all men. This is the fallacy of “Hasty General

23、ization” in the text. (3) The fallacy of irrelevant conclusion is committed when the conclusion changes the point that is at issue in the premises. Special cases of irrelevant conclusion are presented by the so-called fallacies of relevance. These include: (a) the argument ad hominem (speaking “agai

24、nst the man” rather than to the issue, or the fallacy of “Poisoning the Well” mentioned in the text) in which the premises may only make a personal attack on a person who holds some thesis, instead of offering grounds showing why what he says is false; (b) the argument ad misericordiam (an appeal to

25、 “pity”), as when a trial lawyer, rather than arguing for his Clients innocence, tries to move the jury to sympathy for him. (4) The fallacy of circular argument or “begging the question” occurs when the premises presume, openly or covertly, the very conclusion that is to be demonstrated (example: “

26、Gregory always votes wisely.” “But how do you know?” “Because he always votes Libertarian.”) (5) The fallacy of false cause dislocates the cause of one phenomenon in another that is only seemingly related. The most common version of this fallacy, called post hoc ergo propter hoc, mistakes temporal s

27、equence for causal connection-as when a misfortune is attributed to a “malign event”, like the dropping of a mirror. (6) The fallacy of many questions consists in demanding or giving a single answer to a question when this answer could either be divided (example: “Do you like the twins?” “Neither ye

28、s nor no; but Ann yes and Mary no.”) or refused altogether, because a mistaken presupposition is involved (example: “Have you stopped beating your wife?”). (7) The fallacy of non sequitur (“it does not follow”), still more drastic than the preceding, occurs when there is not even a deceptively plaus

29、ible appearance of valid reasoning, because there is a virtually complete lack of connection between the given premises and the conclusion drawn from them.2. Charles Lamb:See Lesson 3, Pub Talk and the Kings English, point 7.3. Carlyle:See Lesson 3, Pub Talk and the Kings English, point 6.4. Ruskin:

30、John Ruskin (1819-1900), English critic and social theorist, was the virtual dictator of artistic opinion in England during the mid-19th century. Ruskin attended Oxford from 1836-40 and won the Newdigate Prize for poetry. In 1843 appeared the first volume of Modem Painters. This work elaborates the

31、principles that art is based on national and individual integrity and morality and also that art is a “universal language”. The Seven tamps of Architecture applied these same theories to architecture. About 1857, Ruskins art criticism became more broadly social and political. In his works he attacke

32、d bourgeois England and charged that modern art reflected the ugliness and waste of modern industry. Ruskins positive program for social reform appeared in Sesame and Lilies (1865), The Crown of Wild Olive (1866), Time and Tide (1867), and Fors Clavigera (8 vols. 1871-84). Many of his suggested prog

33、rams - old age pensions, nationalization of education, and organization of labor-have become accepted doctrine.附页 3Text Book高级英语由张汉熙主编, 外语教学与研究出版社TitleUnit 1Face to Face with Hurricane Camille by Joseph P. BlankText Analysis (English Version)1. This text is a piece of narrative writing, a story. The

34、 narrator of the story, Dobie Gillis, a freshman in a law school, is the hero or protagonist. He struggles against two antagonists (敌手、对手): Petey Burch, his roommate whose girl friend he plans to steal; and Polly Espy, the girl he intends to marry after suitable re-education. The climax of the story

35、 is reached in paras 147-150 when Polly refuses to go steady with the narrator because she had already promised to go steady with Petey Burch. The denouement follows rapidly and ends on a very ironic note. The raccoon coat which he gave to Petey Burch for the privilege of dating his girl, the raccoo

36、n coat which the narrator disliked and abhorred, was the instrument of his undoing. Polly Espy promised to go steady with Petey Burch because he owned a raccoon coat, a coat that all fashionable people on campus were wearing. The main theme of the story, however, is stated by the writer in the title

37、 of the story: “Love is a fallacy”.The whole story is a piece of light, humorous satire. The writer, Max Shulman, is satirizing or making fun of a smug, self-conceited freshman in a law school. The freshman is made the narrator of the story who goes on smugly boasting and singing praises of himself

38、at every conceivable opportunity. From the very beginning, in paragraph 4, he begins to heap on himself all the beautiful words of praise he can think of - cool, logical, keen, calculating, perspicacious, acute, astute, powerful, precise and penetrating. This exaggerated self-praise and the profuse

39、use of similes and metaphors help to make the satire humorous. At the same time the narrator takes every opportunity to down-grade Petey Burch. For example, he calls him: dumb, nothing upstairs, unstable, impressionable and a faddist. And as for Polly Espy, she is “a beautiful dumb girl”, who would

40、smarten up under his guidance. In order to smarten her up, the narrator decides to give her a course in logic. He teaches her how to recognize the common fallacies of logic. He succeeds too well because the whole thing backfires on him when Polly refutes all his arguments as logical fallacies before

41、 finally rejecting him. In desperation the narrator argues that “the things you learn in school dont have anything to do in life.” The appeal does not move Polly because she does not reject him on logical grounds. She rejects him because he does not own a raccoon coat as Petey Burch does. At the end

42、 of the story, the reader feels the narrator has got what he deserved. He has been too clever for his own good.The title of the story is humorous and well chosen. It has two meanings. When “fallacy” is taken in its ordinary sense, the title means: “there is a deceptive or delusive quality about love

43、.” When taken as a specific term in logic the title means: “love cannot be deduced from a set of given premises.” Perhaps Max Shulman wants the reader, after reading the story, to conclude that “love” is an error, a deception and an emotion that does not follow the principles of logic. But the write

44、r, through this story has succeeded perhaps unwittingly in revealing what love may sometimes mean in the affluent society. Girls do not want brilliant, gifted or educated husbands, but want husbands who are rich and wealthy enough to provide all the things necessary for keeping up with the Joneses-

45、home, clothes, cars, etc.Max Shulman has a style quite his own. The story goes forward at a very fast pace with a racy dialogue full of American colloquialism and slang. He employs a whole variety of writing techniques to make his story vivid, dramatic and colorful. The lexical spectrum is colorful

46、- from the ultra learned terms used by the conceited narrator to the infra clipped vulgar forms of Polly Espy. He uses figurative language profusely and also grammatical inversion for special emphasis. The speed of the narration is maintained by the use of short sentences, elliptical sentences and d

47、ashes throughout the story. This mix adds to the realism of the story. One would expect a freshman to talk like this.2. Love is a Fallacy: This piece is taken from Max Shulmans The Many Loves of Dobie Gillis, 1951. The narrator is Dobie.3. Charles Lamb: See Lesson 3 Pub Talk and the Kings English, A

48、dditional Background Material for Teachers Reference, point 7.4. Charles Lamb . Dreams Children: a metaphor. Charles Lamb., with his essays Old China and Dreams Children, set free (loosened the chains that bound) the informal essay.as . as: a correlative construction used to indicate the equality or

49、 sameness of two thingsmonth of Sundays: (colloquial) long timeOld China and Dreams Children: Title of two essays written by Charles Lamb. Charles Lamb is a very merry and enterprising person. Youll meet such a person only after a long time. He wrote the essays, Old China and Dreams Children, which

50、set free the informal essay.(Note: the word “and” in the phrase “Old China and Dreams Children” in the text should not be in italics.)5. There follows . frontier: metaphor, comparing the limitations set by Lamb to a frontier. The informal essay that follows here is freer than the one Charles Lamb wr

51、ote.6. “limp”. appropriate: It would perhaps be more correct to call this essay a limp, flaccid or a spongy essay.limp(柔软的、易曲的): drooping; lacking firmnessflaccid(软弱的、无力的): soft, flabby; hanging in loose foldsspongy(柔软、富有弹性的): like a sponge; soft and porous7. Vague . category: inversion to emphasize

52、 “vague”8. Could Carlyle . Ruskin? two rhetorical questions also for the sake of emphasis Carlyle: See Lesson 3, Pub Talk and the King s English, Additional Background Material for Teachers Reference, point 6Ruskin: See Additional Background Material for Teachers Reference, point 4.9. logic, far fro

53、m and trauma: metaphor and hyperbole (夸张法). It is a metaphor comparing logic to a living human being. It is a hyperbole because it exaggerates for the sake of effect. Logic is not at all a dry, learned branch of learning. It is like a living human being, full of beauty, passion and painful emotional

54、 shocks.far from ( it ): not at alldiscipline: a branch of knowledge or learningtrauma(损伤): a term in psychiatry meaning a painful emotional experience or shock, often producing a lasting psychic effect10. Cool. logical: inversion for emphasizing “cool”11. Keen . these: Notice the use of the dash. O

55、rdinarily one would say: “I was also keen . and astute.”12. My brainscalpel: simile, comparing his brain to three different things; also hyperbole, exaggerating for effectdynamo(发电机): an earlier form for generator, a machine that converts mechanical energy into electrical energychemists scales: Such

56、 scales are more precise and accurate for they have to weigh small quantifies of powder or other medicine.Scalpel(解剖刀): a surgeon s sharp knife used in operations13. And- think of it! -eighteen: Notice the use of dashes.think of it: an exclamatory phrase to intensify that which follows. Some other s

57、uch phrases are “only think!” and “you cant think!”14. It is not often . a giant intellect: hyperbole for effectgiant intellect: great mind or intelligence15. Same ageox: ellipsis (省略). He is of the same age and has the same background but he is dumb as an ox.dumb as an ox: simile, as stupid as an o

58、x; very stupiddumb: (American colloquialism or slang) stupid; moronic; unintelligent16. A nice . upstairs: ellipsis. He is a nice enough young fellow, you understand, but there is nothing upstairs.nothing upstairs: (American slang) empty-headed; a nitwit(笨人、傻子). The corresponding British slang is “u

59、nfurnished in the upper storey.”17. Emotional . faddist (趋于时尚者): All four sentences are elliptical. The subject and verb “he is” is left out.faddist: a person who follows fads (a passing fashion or craze) 18. Fads . reason: Fads (a passing fashion or craze), in my opinion, show a complete lack of re

60、ason.submit: to offer as an opinion; suggest, proposevery negation: complete (absolute) lack19. To be swept up in acme of mindlessness: Notice the grammar construction used here. The long infinitive subject (the real subject) is first stated followed by a dash and then a pronoun “this” (the grammati

61、cal subject) is used to represent it in the sentence that follows. Compare sentence 2 in paragraph 4, where the predicative is dealt with in the same manner.to be swept up in: to be carried away by; to follow enthusiasticallycraze: something that is currently the fashion: fadto surrender yourself: to yield; to indulge (in) (纵容)acme of mindlessness: the height of stupidity; the greatest lack of intelligence20. Not . Petey: ell