英美文学考试

英美文学考试英美文学考试英美文学考试英美文学考试编制仅供参考审核批准生效日期地址：电话：传真:邮编:Epic:Alongnarrativepoemtellingaboutthedeedsofagreatheroandreflectingthevaluesofthesocietyfromwhichitoriginated.Manyepicsweredrawnfromanoraltraditionandweretransmittedbysongandrecitationbeforetheywerewrittendown.Romance:Anyimaginaryliteraturethatdescribedtheidealismworldandthatdealswithheroicandadventuresorbattlesbetweengoodcharactersandvillainsormonsters.IngeneralitwasamedievaltalewhichinvolvewithloversandadventuresofKings,Queens,Knights,andLadies,andincludingsomeunlikelyorsupernaturalismhappenings.Verse:Formofwriting,arrangedinlines,eachcontainingapatternofaccentedandunaccentedsyllables,allgroupsoflinesformingaunitofrhymescheme.JohnDryden:Englishpoetryanddramatists,alsoconsideredthefatherofEnglishliteraturecriticism,hebecamethePoetLaureatein1668.BlackVerse:Blankverseisaversethatiswritteninunrhymediambicpentameter,usedinShakespeare'sdramasandMiltonGothicnovels—Andfromthemiddleparttotheendofthecenturytherewasalsoanapparentshiftofinterestfromtheclassicliterarytraditiontooriginalityandimagination,fromsocietytoindividual,andfromthedidactictotheconfessional（忏悔的）,inspirationalandprophetic.Gothicnovels—mostlystoriesofmysteryandhorrorwhichtakeplaceinsomehauntedordilapidated（荒废的，破旧的）andMiddleAgecastles—wereturnedoutprofusely（丰富的）bybothmaleandfemalewriters;workssuchasTheCastleofOtranto（1765）byHoraceWalpole,ThemysteriesofUdolpho(1794)andTheItalian(1797)byMrs.AnnRadcliffe，TheChampionofVirtue，aGothicStory(1777)byClaraReeve,andTheMonk(1796)byM.G.Lewisbecameverypopular.Eulogizing（颂扬，称赞）orlamenting（挽歌，哀掉）lyricsbynaturepoetslikeJamesThomson,WilliamCollins,andWilliamCowper,andbysuchsentimentalists（多愁善感的人）asthe"GraveyardSchool"werewidelyread.TheromanticpoemsoftheScottishpeasantpoet,RobertBurnsandWilliamBlakealsojoinedin,pavingthewayfortheflourishofRomanticismearlythenextcentury.Modernismroseoutofskepticism（怀疑主义）anddisillusion（使醒悟）ofcapitalism（资本主义）.Theappalling（可怕的）shockoftheFirstWorldWarseverelydestroyedpeople'sfaithintheVictorianvalues;andtheriseoftheirrational（荒谬的）philosophyandnewsciencegreatlyincited（煽动，激励）writerstomakenewexplorationsonhumannaturesandhumanrelationships.TheFrenchsymbolism（象征主义）,appearinginthelate19thcentury,heralded（预示着，先驱）modernism.AftertheFirstWorldWar,allkindsofliteraturetrendsofmodernismappeared:expressionism,surrealism,futurism,Dadaism（达达主义崇尚虚无的艺术派别）,imagismandstreamofconsciousness.Towardsthe1920s,thesetrendsconverged（聚合）intoamightytorrentofmodernistmovement,whichsweptacrossthewholeEuropeandAmerica.ThemajorfiguresthatwereassociatedwiththismovementwereKafka,Picasso,Pound,Webern,Eliot,JoyceandVirginiawoolf.Modernismwassomewhatcurbed（抑制）inthe1930s.ButaftertheSecondWorldWar,avarietyofmodernism,orpost-modernism,likeexistentialistliterature,theateroftheabsurd,newnovelsandblackhumor,rosewiththespuroftheexistentialistideathat"theworldwasabsurd,andthehumanlifewasanagony（苦恼）."Modernismtakestheirrationalphilosophyandthetheoryofpsycho-analysisasitstheoreticalbase.Themajorthemesofthemodernistliteraturearethedistorted（扭曲的）,alienated（疏远的）andillrelationshipsbetweenmanandnature,manandsociety,manandman,andmanandhimself.Themodernistwritersconcentratemoreontheprivatethanonthepublic,moreonthesubjectivethanontheobjective.Theyaremainlyconcernedwiththeinnerbeingofanindividual.Therefore,theypaymoreattentiontothepsychic（精神的，灵魂的）timethanthechronological（按时间顺序的）one.Intheirwritings,thepast,thepresentandthefuturearemingled（混合）togetherandexistatthesametimeintheconsciousnessofanindividual.Modernismis,inmanyaspects,areactionagainstrealism.Itrejectsrationalism,whichisthetheoreticalbaseofrealism;itexcludesfromitsmajorconcerntheexternal,objective,materialworld,whichistheonlycreativesourceofrealism;byadvocatingafreeexperimentation（实验）onnewformsandnewtechniquesinliterarycreation,itcastsawayalmostallthetraditionalelementsinliteraturesuchasstory,plot,character,chronologicalnarration,etc.,whichareessentialtorealism.Asaresult,theworkscreatedbythemodernistwritersareoftenlabeledasanti-novel,anti-poetryandanti-drama.Page1~2TheperiodofOldEnglishliteratureextendsfromabout450to1066,theyearoftheNormanconquestofEngland.TheGermanictribesfromtheNorthernEuropebroughtwiththemnotonlytheAnglo-Saxonlanguage,thebasisofModernEnglish,butalsoaspecificpoetictradition,whichisbothboldandstrong,mournful(悲哀的)andelegiac（哀伤的）inspirit.Generallyspeaking,theOldEnglishpoetrythathassurvivedcanbedividedintotwogroups:thereligiousgroupandthesecular（世俗的）one.Thepoetryofthereligiousgroupismainlyonbiblical（圣经的）themes.GenesisA,GenesisBandExodusarepoemsbasedontheOldTestament（旧约）;Whereas（然而）TheDreamoftheRood（基督受难的十字架）comesfromtheNewTestament（新约.Inthispoem,Christisportrayed（描绘）astheyoungwarriorstriding（大步行走）toembracedeathandvictory,whiletherood(cross)itselftakesontheburdenofhissuffering.Inadditiontothesereligiouscompositions,OldEnglishpoetsproducedthenationalepicpoem,Beowulf,andanumberofmoreorlesslyrical（抒情的）poemsofshorterlength,whichdonotcontainspecificChristiandoctrines（教义，信条）,butevoke（唤起）theAnglo-Saxonsenseoftheharshness（严酷的）ofcircumstanceandthesadnessofthehumanlot.TheWanderer，Deor，Theseafarer,andtheWife'scomplaintareamongthemostbeautifulinthisseculargroup.TheharshclimateofNorthSeastronglyaffectedthetoneormoodofthepoets.Thelifeissorrowful,andthespeakersarefatalistic（宿命论的）,thoughatthesametimecourageousanddetermined.Page82Neoclassicists（新古典主义）hadsomefixedlawsandrulesforalmosteverygenre（流派）ofliterature.Prose（散文）shouldbeprecise,direct,smoothandflexible.Poetryshouldbelyrical,epical,didactic（说教的）,satiric（讽刺的）ordramatic,andeachclassshouldbeguidedbyitsownprinciples.DramashouldbewrittenintheHeroicCouplets（英雄双韵体）(iambicpentameter（抑扬格五音步）rhymedintwolines);Thethreeunitiesoftime,spaceandactionshouldbestrictlyobserved;regularityinconstructionshouldbeadheredto,andtypecharactersratherthanindividualsshouldberepresented.Page83Andfromthemiddleparttotheendofthecenturytherewasalsoanapparentshiftofinterestfromtheclassicliterarytraditiontooriginalityandimagination,fromsocietytoindividual,andfromthedidactictotheconfessional（忏悔的）,inspirationalandprophetic.Gothicnovels—mostlystoriesofmysteryandhorrorwhichtakeplaceinsomehauntedordilapidated（荒废的，破旧的）andMiddleAgecastles—wereturnedoutprofusely（丰富的）bybothmaleandfemalewriters;workssuchasTheCastleofOtranto（1765）byHoraceWalpole,ThemysteriesofUdolpho(1794)andTheItalian(1797)byMrs.AnnRadcliffe，TheChampionofVirtue，aGothicStory(1777)byClaraReeve,andTheMonk(1796)byM.G.Lewisbecameverypopular.Eulogizing（颂扬，称赞）orlamenting（挽歌，哀掉）lyricsbynaturepoetslikeJamesThomson,WilliamCollins,andWilliamCowper,andbysuchsentimentalists（多愁善感的人）asthe"GraveyardSchool"werewidelyread.TheromanticpoemsoftheScottishpeasantpoet,RobertBurnsandWilliamBlakealsojoinedin,pavingthewayfortheflourishofRomanticismearlythenextcentury.Page157ThemovementwhichwecallRomanticismissomethingnotsoeasytodefine,especiallyconcerningitscharacteristicsordates.ForitisabroadmovementthataffectedthewholeofEurope(andAmerica).However,EnglishRomanticism,asahistoricalphaseofliterature,isgenerallysaidtohavebegunin1798withthepublicationofWordsworthandColeridge'sLyricalBalladsandtohaveendedin1832withSirWalterScott'sdeathandthepassageofthefirstReformBillintheParliament.Page235Ideologically,theVictoriansexperiencedfundamentalchanges.Therapiddevelopmentofscienceandtechnology,newinventionsanddiscoveriesingeology（地质学）,astronomy,biologyandanthropologydrasticallyshookpeople'sreligiousconvictions（信念）.Thereligiouscollisionthatstartedfromtheearlynineteenthcenturycontinuedandwasintensified（变激烈）bythedisputesoverevolutionary（进化）science.Darwin'sTheOriginofSpecies(1859)andTheDescent（血统）ofMan(1871)shookthetheoreticalbasisofthetraditionalfaith.Newscientificdiscoveriesincreasedpeople'sreligiousdoubtsandanxieties.InhislongpoemInMemoriam（悼念）Tennysonrecordedhisownexperienceofreligiousuncertaintiesbeforethefallingfaithingod.Ontheotherhand,Utilitarianism（实用主义）waswidelyacceptedandpracticed.Almosteverythingwasputtothetestbythecriterion（准则）ofutility,thatis,theextenttowhichitcouldpromotethematerialhappiness.TheBibleandtheEvangelical（福音派）Orthodoxy（东正教）wereregardedeitherasanoutmoded（过时的）superstitionortestedbytheprincipleofutility.Churchservicebecameaforminsteadofrealdevotion.Thistheoryheldaspecialappealtothemiddle-classindustrialists（工业家）,whosegreeddrovethemtoexploitingworkerstotheutmostandbroughtgreatersufferingandpovertytotheworkingmass.Dickens,Carlyle,Ruskinandmanyothersociallyconsciouswritersseverelycriticizedtheutilitariancreed（信条，教义）,especiallyitsdepreciation（折旧，贬值）ofculturalvaluesanditscoldindifferencetowardshumanfeelingsandimagination.Page312~313Modernismroseoutofskepticism（怀疑主义）anddisillusion（使醒悟）ofcapitalism（资本主义）.Theappalling（可怕的）shockoftheFirstWorldWarseverelydestroyedpeople'sfaithintheVictorianvalues;andtheriseoftheirrational（荒谬的）philosophyandnewsciencegreatlyincited（煽动，激励）writerstomakenewexplorationsonhumannaturesandhumanrelationships.TheFrenchsymbolism（象征主义）,appearinginthelate19thcentury,heralded（预示着，先驱）modernism.AftertheFirstWorldWar,allkindsofliteraturetrendsofmodernismappeared:expressionism,surrealism,futurism,Dadaism（达达主义崇尚虚无的艺术派别）,imagismandstreamofconsciousness.Towardsthe1920s,thesetrendsconverged（聚合）intoamightytorrentofmodernistmovement,whichsweptacrossthewholeEuropeandAmerica.ThemajorfiguresthatwereassociatedwiththismovementwereKafka,Picasso,Pound,Webern,Eliot,JoyceandVirginiawoolf.Modernismwassomewhatcurbed（抑制）inthe1930s.ButaftertheSecondWorldWar,avarietyofmodernism,orpost-modernism,likeexistentialistliterature,theateroftheabsurd,newnovelsandblackhumor,rosewiththespuroftheexistentialistideathat"theworldwasabsurd,andthehumanlifewasanagony（苦恼）."Modernismtakestheirrationalphilosophyandthetheoryofpsycho-analysisasitstheoreticalbase.Themajorthemesofthemodernistliteraturearethedistorted（扭曲的）,alienated（疏远的）andillrelationshipsbetweenmanandnature,manandsociety,manandman,andmanandhimself.Themodernistwritersconcentratemoreontheprivatethanonthepublic,moreonthesubjectivethanontheobjective.Theyaremainlyconcernedwiththeinnerbeingofanindividual.Therefore,theypaymoreattentiontothepsychic（精神的，灵魂的）timethanthechronological（按时间顺序的）one.Intheirwritings,thepast,thepresentandthefuturearemingled（混合）togetherandexistatthesametimeintheconsciousnessofanindividual.Modernismis,inmanyaspects,areactionagainstrealism.Itrejectsrationalism,whichisthetheoreticalbaseofrealism;itexcludesfromitsmajorconcerntheexternal,objective,materialworld,whichistheonlycreativesourceofrealism;byadvocatingafreeexperimentation（实验）onnewformsandnewtechniquesinliterarycreation,itcastsawayalmostallthetraditionalelementsinliteraturesuchasstory,plot,character,chronologicalnarration,etc.,whichareessentialtorealism.Asaresult,theworkscreatedbythemodernistwritersareoftenlabeledasanti-novel,anti-poetryandanti-drama.Page316Thefirstthreedecadesofthiscenturyweregoldenyearsofthemodernistnovel.Instimulatingthetechnicalinnovationsofnovelcreation,thetheoryoftheFreudianandJungianpsycho-analysisplayedaparticularlyimportantrole.Withthenotionthatmultiplelevelsofconsciousnessexistedsimultaneouslyinthehumanmind,thatone'spresentwasthesumofhispast,presentandfuture,andthatthewholetruthabouthumanbeingsexistedintheunique,isolated,andprivateworldofeachindividual,writerslikeDorothyRichardson,JamesJoyceandVirginiaWoolfconcentratedalltheireffortsondiggingintothehumanconsciousness.Theyhadcreatedunprecedentedstream-of-consciousnessnovelssuchasPilgrimage（1915～1938）byRichardson,Ulysses（1922）byJoyce,andMrs.Dalloway（1925）byWoolf.Oneoftheremarkablefeaturesoftheirwritingswastheircontinuousexperimentationonnewandsophisticatedtechniquesinnovelwriting,whichmadetremendousimpactsonthecreationofbothrealisticandmodernistnovelsinthiscentury.JamesJoyceisthemostoutstandingstream-of-consciousnessnovelist;inUlysses,hisencyclopedia-likemasterpiece,Joycepresentsafantasticpictureofthedisjointed,illogical,illusory,andmental-emotionallifeofLeopoldBloom,whobecomesthesymbolofevery-maninthepost–World-War-IEurope.Page317Themostcelebrated（有名望的）dramatistsinthelastdecadeofthe19thcenturywereOscarWildeandGeorgeBernardShaw,who,inasense,pioneeredthemoderndrama,thoughtheydidnotmakesomanyinnovationsintechniquesandformsasmodernistpoetsornovelists.Wildeexpressedasatirical（讽刺的）andbitter（充满仇恨的）attitudetowardstheupper-classpeoplebyrevealingtheircorruption（腐败）,theirsnobbery（势利）,andtheirhypocrisy（虚伪）,inhisplays,especiallyinhismasterpiece,TheImportanceofBeingEarnest(1895).ShawismoreimportantfigureindramathanWilde.Heisconsideredtobethebest-knownEnglishdramatistsinceShakespeare.Hisworksareexamplesoftheplaysinspiredbysocialcriticism.JohnGalsworthycarriedonthistraditionofsocialcriticisminhisplays.Bydramatizingsocialandethical（伦理，道德）problems,Galsworthymadeconsiderableachievementsinhisplays.TheSilverBox（1906）,andStrife（1910斗争）,aresuchexamples,inwhichGalsworthypresentsnotonlyrealisticpicturesofsocialinjustice,butalsotheworkers'heroicstrugglesagainsttheiremployers.Page399TheRomanticPeriod,oneofthemostimportantperiodsinthehistoryofAmericaliterature,stretchesformtheendofthe18thcenturytotheoutbreakoftheCivilWar.ItstartedwiththepublicationofWashingtonIrving'sTheSketchBookandendedwithWhitman'sLeavesofGrass.BeingaperiodofthegreatfloweringofAmericanliterature,itisalsocalled"theAmericanRenaissance."Page402Transcendentalism（超越论，先验论）hasbeendefinedphilosophicallyas"therecognitioninmanofthecapacityofknowingtruthintuitively（直觉的）,orofattainingknowledgetranscending（超越）thereachofthesenses."Emersononceproclaimedinaspeech,"Nothingis