英美文學考試

英美文學考試英美文學考試英美文學考試英美文學考試編制僅供參考審核批準生效日期地址：電話：傳真:郵編: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（懺悔的）,inspirationalandprophetic.Gothicnovels—mostlystoriesofmysteryandhorrorwhichtakeplaceinsomehauntedordilapidated（荒廢的，破舊的）andMiddleAgecastles—wereturnedoutprofusely（豐富的）bybothmaleandfemalewriters;workssuchasTheCastleofOtranto（1765）byHoraceWalpole,ThemysteriesofUdolpho(1794)andTheItalian(1797)byMrs.AnnRadcliffe，TheChampionofVirtue，aGothicStory(1777)byClaraReeve,andTheMonk(1796)byM.G.Lewisbecameverypopular.Eulogizing（頌揚，稱贊）orlamenting（挽歌，哀掉）lyricsbynaturepoetslikeJamesThomson,WilliamCollins,andWilliamCowper,andbysuchsentimentalists（多愁善感的人）asthe"GraveyardSchool"werewidelyread.TheromanticpoemsoftheScottishpeasantpoet,RobertBurnsandWilliamBlakealsojoinedin,pavingthewayfortheflourishofRomanticismearlythenextcentury.Modernismroseoutofskepticism（懷疑主義）anddisillusion（使醒悟）ofcapitalism（資本主義）.Theappalling（可怕的）shockoftheFirstWorldWarseverelydestroyedpeople'sfaithintheVictorianvalues;andtheriseoftheirrational（荒謬的）philosophyandnewsciencegreatlyincited（煽動，激勵）writerstomakenewexplorationsonhumannaturesandhumanrelationships.TheFrenchsymbolism（象征主義）,appearinginthelate19thcentury,heralded（預示著，先驅(qū)）modernism.AftertheFirstWorldWar,allkindsofliteraturetrendsofmodernismappeared:expressionism,surrealism,futurism,Dadaism（達達主義崇尚虛無的藝術(shù)派別）,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（苦惱）."Modernismtakestheirrationalphilosophyandthetheoryofpsycho-analysisasitstheoreticalbase.Themajorthemesofthemodernistliteraturearethedistorted（扭曲的）,alienated（疏遠的）andillrelationshipsbetweenmanandnature,manandsociety,manandman,andmanandhimself.Themodernistwritersconcentratemoreontheprivatethanonthepublic,moreonthesubjectivethanontheobjective.Theyaremainlyconcernedwiththeinnerbeingofanindividual.Therefore,theypaymoreattentiontothepsychic（精神的，靈魂的）timethanthechronological（按時間順序的）one.Intheirwritings,thepast,thepresentandthefuturearemingled（混合）togetherandexistatthesametimeintheconsciousnessofanindividual.Modernismis,inmanyaspects,areactionagainstrealism.Itrejectsrationalism,whichisthetheoreticalbaseofrealism;itexcludesfromitsmajorconcerntheexternal,objective,materialworld,whichistheonlycreativesourceofrealism;byadvocatingafreeexperimentation（實驗）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（哀傷的）inspirit.Generallyspeaking,theOldEnglishpoetrythathassurvivedcanbedividedintotwogroups:thereligiousgroupandthesecular（世俗的）one.Thepoetryofthereligiousgroupismainlyonbiblical（圣經(jīng)的）themes.GenesisA,GenesisBandExodusarepoemsbasedontheOldTestament（舊約）;Whereas（然而）TheDreamoftheRood（基督受難的十字架）comesfromtheNewTestament（新約.Inthispoem,Christisportrayed（描繪）astheyoungwarriorstriding（大步行走）toembracedeathandvictory,whiletherood(cross)itselftakesontheburdenofhissuffering.Inadditiontothesereligiouscompositions,OldEnglishpoetsproducedthenationalepicpoem,Beowulf,andanumberofmoreorlesslyrical（抒情的）poemsofshorterlength,whichdonotcontainspecificChristiandoctrines（教義，信條）,butevoke（喚起）theAnglo-Saxonsenseoftheharshness（嚴酷的）ofcircumstanceandthesadnessofthehumanlot.TheWanderer，Deor，Theseafarer,andtheWife'scomplaintareamongthemostbeautifulinthisseculargroup.TheharshclimateofNorthSeastronglyaffectedthetoneormoodofthepoets.Thelifeissorrowful,andthespeakersarefatalistic（宿命論的）,thoughatthesametimecourageousanddetermined.Page82Neoclassicists（新古典主義）hadsomefixedlawsandrulesforalmosteverygenre（流派）ofliterature.Prose（散文）shouldbeprecise,direct,smoothandflexible.Poetryshouldbelyrical,epical,didactic（說教的）,satiric（諷刺的）ordramatic,andeachclassshouldbeguidedbyitsownprinciples.DramashouldbewrittenintheHeroicCouplets（英雄雙韻體）(iambicpentameter（抑揚格五音步）rhymedintwolines);Thethreeunitiesoftime,spaceandactionshouldbestrictlyobserved;regularityinconstructionshouldbeadheredto,andtypecharactersratherthanindividualsshouldberepresented.Page83Andfromthemiddleparttotheendofthecenturytherewasalsoanapparentshiftofinterestfromtheclassicliterarytraditiontooriginalityandimagination,fromsocietytoindividual,andfromthedidactictotheconfessional（懺悔的）,inspirationalandprophetic.Gothicnovels—mostlystoriesofmysteryandhorrorwhichtakeplaceinsomehauntedordilapidated（荒廢的，破舊的）andMiddleAgecastles—wereturnedoutprofusely（豐富的）bybothmaleandfemalewriters;workssuchasTheCastleofOtranto（1765）byHoraceWalpole,ThemysteriesofUdolpho(1794)andTheItalian(1797)byMrs.AnnRadcliffe，TheChampionofVirtue，aGothicStory(1777)byClaraReeve,andTheMonk(1796)byM.G.Lewisbecameverypopular.Eulogizing（頌揚，稱贊）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（地質(zhì)學）,astronomy,biologyandanthropologydrasticallyshookpeople'sreligiousconvictions（信念）.Thereligiouscollisionthatstartedfromtheearlynineteenthcenturycontinuedandwasintensified（變激烈）bythedisputesoverevolutionary（進化）science.Darwin'sTheOriginofSpecies(1859)andTheDescent（血統(tǒng)）ofMan(1871)shookthetheoreticalbasisofthetraditionalfaith.Newscientificdiscoveriesincreasedpeople'sreligiousdoubtsandanxieties.InhislongpoemInMemoriam（悼念）Tennysonrecordedhisownexperienceofreligiousuncertaintiesbeforethefallingfaithingod.Ontheotherhand,Utilitarianism（實用主義）waswidelyacceptedandpracticed.Almosteverythingwasputtothetestbythecriterion（準則）ofutility,thatis,theextenttowhichitcouldpromotethematerialhappiness.TheBibleandtheEvangelical（福音派）Orthodoxy（東正教）wereregardedeitherasanoutmoded（過時的）superstitionortestedbytheprincipleofutility.Churchservicebecameaforminsteadofrealdevotion.Thistheoryheldaspecialappealtothemiddle-classindustrialists（工業(yè)家）,whosegreeddrovethemtoexploitingworkerstotheutmostandbroughtgreatersufferingandpovertytotheworkingmass.Dickens,Carlyle,Ruskinandmanyothersociallyconsciouswritersseverelycriticizedtheutilitariancreed（信條，教義）,especiallyitsdepreciation（折舊，貶值）ofculturalvaluesanditscoldindifferencetowardshumanfeelingsandimagination.Page312~313Modernismroseoutofskepticism（懷疑主義）anddisillusion（使醒悟）ofcapitalism（資本主義）.Theappalling（可怕的）shockoftheFirstWorldWarseverelydestroyedpeople'sfaithintheVictorianvalues;andtheriseoftheirrational（荒謬的）philosophyandnewsciencegreatlyincited（煽動，激勵）writerstomakenewexplorationsonhumannaturesandhumanrelationships.TheFrenchsymbolism（象征主義）,appearinginthelate19thcentury,heralded（預示著，先驅(qū)）modernism.AftertheFirstWorldWar,allkindsofliteraturetrendsofmodernismappeared:expressionism,surrealism,futurism,Dadaism（達達主義崇尚虛無的藝術(shù)派別）,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（苦惱）."Modernismtakestheirrationalphilosophyandthetheoryofpsycho-analysisasitstheoreticalbase.Themajorthemesofthemodernistliteraturearethedistorted（扭曲的）,alienated（疏遠的）andillrelationshipsbetweenmanandnature,manandsociety,manandman,andmanandhimself.Themodernistwritersconcentratemoreontheprivatethanonthepublic,moreonthesubjectivethanontheobjective.Theyaremainlyconcernedwiththeinnerbeingofanindividual.Therefore,theypaymoreattentiontothepsychic（精神的，靈魂的）timethanthechronological（按時間順序的）one.Intheirwritings,thepast,thepresentandthefuturearemingled（混合）togetherandexistatthesametimeintheconsciousnessofanindividual.Modernismis,inmanyaspects,areactionagainstrealism.Itrejectsrationalism,whichisthetheoreticalbaseofrealism;itexcludesfromitsmajorconcerntheexternal,objective,materialworld,whichistheonlycreativesourceofrealism;byadvocatingafreeexperimentation（實驗）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（諷刺的）andbitter（充滿仇恨的）attitudetowardstheupper-classpeoplebyrevealingtheircorruption（腐?。?theirsnobbery（勢利）,andtheirhypocrisy（虛偽）,inhisplays,especiallyinhismasterpiece,TheImportanceofBeingEarnest(1895).ShawismoreimportantfigureindramathanWilde.Heisconsideredtobethebest-knownEnglishdramatistsinceShakespeare.Hisworksareexamplesoftheplaysinspiredbysocialcriticism.JohnGalsworthycarriedonthistraditionofsocialcriticisminhisplays.Bydramatizingsocialandethical（倫理，道德）problems,Galsworthymadeconsiderableachievementsinhisplays.TheSilverBox（1906）,andStrife（1910斗爭）,aresuchexamples,inwhichGalsworthypresentsnotonlyrealisticpicturesofsocialinjustice,butalsotheworkers'heroicstrugglesagainsttheiremployers.Page399TheRomanticPeriod,oneofthemostimportantperiodsinthehistoryofAmericaliterature,stretchesformtheendofthe18thcenturytotheoutbreakoftheCivilWar.ItstartedwiththepublicationofWashingtonIrving'sTheSketchBookandendedwithWhitman'sLeavesofGrass.BeingaperiodofthegreatfloweringofAmericanliterature,itisalsocalled"theAmericanRenaissance."Page402Transcendentalism（超越論，先驗論）hasbeendefinedphilosophicallyas"therecognitioninmanofthecapacityofknowingtruthintuitively（直覺的）,orofattainingknowledgetranscending（超越）thereachofthesenses."Emersononceproclaimedinaspeech,"Nothingis