2023年名詞解釋筆記總結(jié)

01.Ｈuｍanism（人文主義）ＨumaｎismｉstheessｅnceofｔheＲenaiｓｓance.Ｉｔemphａsｉzｅsthediｇniｔyofhumanbeingｓanｄｔｈeｉmportａｎｃｅoｆthｅpｒｅsentｌｉｆe.Ｈuｍanｉsｔｓvoicedthｅiｒｂelｉefｓthatｍaｎｗasthｅｃenteroｆtheuniverseandmanｄｉdｎｏtonlｙｈａveｔｈeriｇhttｏeｎjoytheｂeautｙoftheｐrｅｓentlifｅ，buthａｄtheaｂiliｔｙtoperｆecthiｍselｆaｎdｔopｅrfoｒmwｏnｄｅrs.02．Renａisｓａｎｃｅ（文藝復(fù)興）Theworｄ“Renaiｓsanｃｅ”means“rebirtｈ”,iｔｍeaｎtthereiｎtroｄｕctioｎintoｗesternEurｏpeoftｈefulｌculｔurａlｈeritagｅｏfGrｅe(cuò)ceandRｏme．2>theeｓｓenceｏftｈeRenaｉsｓanceisＨumanism．Attｉtudesandfeeｌｉngｓｗhｉchhａｄbeｅnｃhａｒａctｅristｉｃofｔhｅ14thand1５tｈcenturiesperｓistedｗeｌｌｄownintoｔｈeeｒaofHumａnisｍaｎdrefｏｒmation．３>thｅrealmaiｎsｔreaｍoftheEｎglisｈRenaiｓｓaｎceisｔheElｉｚabethａnｄramaｗｉtｈWｉｌliamＳhakespearebeinｇｔhelｅadingｄｒamatist.03.Metaphｙsicalｐoetrｙ(玄學(xué)派詩歌）Mｅtａｐhｙsicalpoetrｙｉｓcomｍoｎlyusedtｏｎametheｗorkoftｈe17tｈcenｔurywrｉterswhowｒoteｕndeｒｔheinfｌuｅnｃeofJohnDｏnne.2>withaｒｅbeｌliouｓspirｉt，thｅＭetaphysiｃalpｏetstriedtobreakawayfｒｏmtｈeconventiｏnalfashiｏnoftｈeElｉzabｅtｈaｎlovｅｐoetｒy.３>thｅdｉｃｔionisｓimｐlｅascompareｄwｉｔhthatoftheEｌizaｂethanortｈｅＮeoclａsｓicalperｉoｄｓ,andechｏesｔｈewｏｒdsａndcadencesofcommoｎｓpｅｅcｈ.4>thｅiｍageryisdraｗnfromactualｌife.０4．Classｉcｉｓm(古典主義）Clａssiｃiｓmrｅfｅｒｓｔｏamｏvemｅntortｅndencyｉnart,liｔeｒatuｒｅ，ｏrmusicｔｈatrｅfleｃtｓtｈeｐrincｉpleｓmanｉfeｓtedinthｅaｒtofaｎｃienｔGreecｅandRome.Ｃlassicｉsmemｐhasizesthetradｉtioｎalandthｅuｎivｅrsaｌ，andplacesvalueｏnreaｓon,clarity,ｂａlance，aｎdorder．Claｓsiciｓm,witｈｉtｓｃｏncerｎfoｒｒeasonandunivｅｒsａlthemes，iｓｔraditｉonalｌyｏpposedtoRomantiｃｉｓm,ｗhicｈｉsｃoｎcerneｄwithemoｔionsandｐersｏｎaltheｍes.０5．Enliｇhtenｍenｔ（啟蒙運(yùn)動(dòng)）EnｌighｔｅｎmeｎtmovementwasaｐrｏgressivepｈiｌosｏphｉcalanｄartisticmoveｍentｗhichflourisheｄｉnＦranceaｎdswｅptthroｕｇｈweｓｔernEuｒopeinthe18thｃeｎtury.2>ｔhemｏvｅmｅｎtwasａfurthｅranceofthｅRenａisｓａnceｆｒｏm1４ｔhｃenturyｔｏthｅmid－17ｔｈｃentuｒy.3>iｔspｕｒpoｓewastoenlightｅｎthｅｗholｅworｌｄｗitｈtｈelｉghtofmｏdernphilosｏpｈiｃalandarｔｉstｉcidｅａs.4＞iｔcｅlebratedrｅasoｎｏrrａｔionａlity,equalityaｎdｓcience.Itａｄvocatedｕniversaｌｅducatioｎ．５>fａmousamoｎｇtｈｅgｒｅatenlighteneｒsinEｎgｌandｗerｅｔhｏsegreatwrｉtersｌikeAｌｅxandeｒpｏpｅ,ＪonatｈanＳwiｆt,ｅｔc．0６.Neoｃlassiｃｉsｍ(新古典主義）Ｉntheｆieldｏｆliｔeratｕre,theenlightenｍｅntmovemenｔbｒouｇhtabouｔarｅviｖalofinｔerestiｎtｈｅｏldｃlassiｃaｌｗoｒkｓ．２>thisｔendencｙiskｎownasｎｅocｌasｓiciｓm.ＴｈeNeoclaｓｓicistｓhelｄthatformsofliteratureweｒeｔｏbemodｅｌｅdａfｔertheｃｌassiｃaｌworksｏftheancｉｅntGrｅe(cuò)kａｎdRomaｎwriterｓsｕｃｈａsHomerａnｄVｉrgiｌanｄtｈoseofthｅcontemｐoraryFreｎchonｅｓ.3>thｅyｂｅlｉeveｄthａt(yī)tｈeartisticiｄｅalsｓｈoulｄbｅordeｒ,loｇic,ｒesｔraｉneｄeｍoｔionaｎｄａccurａcy,andtｈaｔｌiteratureshｏｕldbejudgedintｅrmsofitsserｖicｅtohｕｍａnity.07.TheGravｅｙarｄＳchooｌ(墳場派詩歌)TheＧraveyardSchoｏlreferstoaｓcｈｏoｌｏfpoetsｏfｔhe１8ｔhcｅｎtｕrｙｗhｏseｐｏeｍｓaｒｅｍoｓtlyｄevoteｄtoａsentｉmentalｌamentaｔionorｍeditatｉｏｎｏｎlｉｆe.Pastａndｐreseｎt,witｈdeaｔhａndgrａｖeyardastheｍｅs.2＞ＴｈomasGrayｉsｃonsiderｅdtobethｅleaｄingfiｇureofthｉsscｈoolａndhisElegywｒitteniｎacountryｃhｕrchyaｒdiｓitｓｍostrｅpresentａt(yī)iｖｅwork.0８.Romaｎticism（浪漫主義)１>Inthｅmid-18tｈcentｕry，anewｌｉteｒaryｍovemenｔｃalleｄｒomaｎｔicismcａmeｔoEurｏpｅａｎdthｅnｔoEｎgｌand．２＞Itwａsｃharａcｔeｒizｅｄbyaｓｔronｇprotestagａinsｔtｈebｏndageofｎeocｌasｓicisｍ，ｗhicheｍphasｉzedrｅaｓｏn，ordｅrandeｌｅgaｎｔｗｉt.Insｔｅad，ｒomantiｃｉｓmgavepriｍaryｃoncernｔoｐassion，eｍｏtioｎ，aｎdｎaturaｌbｅautｙ.３>Inthehｉstoｒｙofliterature.Romaｎticismiｓgeｎeｒaｌlyregａrdｅdastｈｅthouｇhttｈａt(yī)designatesalｉterａryanｄphiｌoｓoｐhicalthｅorywhｉchtendｓｔｏseｅtheindividualaｓthｅｖerｙceｎｔerｏfaｌｌｌｉｆｅanｄｅｘperｉence.4>ＴｈeＥｎglisｈｒomaｎticｐeriodｉsａnagｅofｐｏｅtｒywｈｉchｐrｅvaileｄｉnEnglanｄfｒｏｍ1798ｔo18３７.ThemajorromanticpoetsincludeＷｏrdswoｒｔh,ByronanｄShellｅy.０9.ＢyｒｏnicHerｏ(拜倫式英雄)Byｒonichｅroreｆerｓtoaprｏuｄ,ｍｙstｅｒiousrebelｆiｇurｅofnoｂlｅｏrｉgin.2＞ｗithimｍenｓesuｐeriｏrｉtyinhispassiｏｎsaｎdpｏｗers,ｔhｉsByｒonicHeｒowouldcaｒrｙｏnhiｓｓhouldeｒstｈｅburｄeｎofrｉghtingalｌthｅwroｎgsｉnａcorrｕptsociｅty.Andwoulｄrisesinｇle－ｈandedｌyａgaｉnｓｔanykｉndoｆtyraｎnicalｒuｌesｅｉtheringｏvｅrnmenｔ，inrｅliｇｉoｎ,orｉｎmoralpｒinciplesｗiｔhｕnconqueraｂlewillsaｎｄinexhausｔibleenerｇies.3>Ｂｙｒon‘scｈiefcｏntｒibｕｔiontｏEnｇｌｉshliteratｕｒｅishiscrｅaｔiｏnofthe“ByronicHero”１0.CriｔicａlRealiｓm（批判現(xiàn)實(shí)主義）ＣｒｉticalRｅaliｓmisatermａppliedｔotheｒealisticfiｃｔioｎｉnthelaｔｅ１9ｔhａndｅarlｙ20thｃentｕries.2>Iｔmeanｓｔhｅｔｅnｄencyofwｒｉteｒｓeｌleｃｔuａlsｉnｔheperiｏｄｂeｔweｅｎ187５ａｎd1９20toapplｙthemeｔhodsofreａlisticfictiontoｔｈｅcritiｃｉsmofsociｅtyanｄtheexaminationoｆsocialiｓｓues.3>Reaｌistｗｒｉteｒｓwerｅａllcoｎcernedabｏuｔtｈefａt(yī)eofｔhｅcoｍmonｐeopｌeanddeｓcrｉbedwｈaｔwasfａitｈfuｌtｏｒeaｌｉty．4>CharｌeｓDｉckｅnsiｓtｈｅmostimportａnｔcritｉｃａlrealisｔ.11．Aｅstheticism(美學(xué)主義）ThebasicｔheｏryoftheAesthｅｔiｃｍoveｍent——“aｒｔfｏrａｒt‘sｓaｋe”ｗassetfｏrｔｈbyaFreｎchpoｅｔ，TｈｅｏｐhｉleＧautiｅr，thefirsｔEｎglishmaｎwhoｗroｔeaｂｏｕttheｔhｅoryofaestheｔicisｍwaｓＷalｔｅrＰatｅr.2>ａｅstｈeticismplａcｅｓartaboveliｆe,andholdstｈatｌifeshoｕｌdiｍitateａrt,ｎｏtartimitaｔelifｅ.３>Accorｄinｇtｏtｈｅａesthetｅs,aｌlartistｉccreaｔｉonisabsoｌｕｔelysubjeｃtｉvｅasoppｏsｅdtｏobjｅcｔive.Ａrｔｓhｏulｄbｅfｒeefｒomanyinfluenceofegoism.Ｏnlyｗhenartisfｏrａrｔ‘ssakｅ,ｃａｎｉtbｅimmｏrtal．Ｔｈeｙbelｉevedthａｔartshoｕldｂeuｎconcｅrｎedwithcｏｎtｒoveｒsialissues,sucｈaspoｌｉticｓaｎｄmoｒalｉｔｙ，aｎdtｈatitsｈoulｄｂeｒestｒｉctｅｄtocontrｉbutingbｅａutyinahｉghlypolishedstyｌe.4＞ThｉｓiｓoｎeｏfthereactionsagａｉnｓttheｍaterialisｍａｎdｃｏmmｅrcialiｓｍofthｅVictorianiｎdｕsｔriaｌeｒa，aswellasareactｉonagainｓttheVictorｉａncｏnveｎtioｎofartforｍoraｌity‘ssake，oraｒtfｏrmonｅy’ｓsake.美學(xué)運(yùn)動(dòng)的基本原則“為藝術(shù)而藝術(shù)”最初由法國詩人西奧費(fèi)爾。高締爾提出,英國運(yùn)用該美學(xué)理論的第一人是沃爾特。佩特。美學(xué)主義崇尚藝術(shù)高于生活,認(rèn)為生活應(yīng)模仿藝術(shù),而不是藝術(shù)模仿生活。在美學(xué)主義看來，所有的藝術(shù)創(chuàng)作都是絕對主觀而非客觀的產(chǎn)物。藝術(shù)不應(yīng)受任何功利的影響,只有當(dāng)藝術(shù)為藝術(shù)而創(chuàng)作時(shí),藝術(shù)才干成為不朽之作。他們還認(rèn)為藝術(shù)不應(yīng)只關(guān)注一些熱點(diǎn)話題如政治和道德問題,藝術(shù)應(yīng)著力于以華麗的風(fēng)格張揚(yáng)美。這是對維多利亞工業(yè)發(fā)展時(shí)期物質(zhì)崇敬的一種回應(yīng)，也是向藝術(shù)為道德或?yàn)榻疱X而服務(wù)的維多利亞傳統(tǒng)的挑戰(zhàn)。1２.TｈｅVｉctoriａnperiod(維多利亞時(shí)期）(來源：自考３６5網(wǎng)ziｋａｏ365.coｍ)Inｔhispｅriod,ｔheｎovelbｅcａｍeｔhemostwidｅlyreaｄａｎdｔhemoｓtvｉtalandcｈallenｇｉnｇｅxｐrｅssionoｆprogreｓsiｖetｈouｇht.Whiｌestickｉngtｏtheｐrinciplｅoffaitｈfulreｐresenｔationoftｈe1８thｃｅｎtuｒyｒeaｌiｓtnoveｌ,ｎoveｌistsinthisperiodｃarrｉedｔheｉrdutyｆoｒｗaｒdｔocriｔicisｍofthesocieｔｙａndｔhedefenseoｆｔheｍass．2＞alｔｈｏｕghwritｉngfroｍdifferentpoinｔｓofviewaｎdwitｈdiｆｆｅｒentｔeｃhｎiqｕes，theｙshareｄoneｔhinｇiｎcommoｎ,thａｔis,ｔｈeywereallｃoncernedabouttheｆateofthｅcｏmmonpｅｏｐle.Tｈeywerｅangｒyｗiｔhtheinhｕmansｏciaｌｉｎstｉtｕｔioｎｓ，thedecayingｓｏcｉalmｏraｌityａsｒepresenｔｅdbyｔheｍoneｙ-wｏrｓhipandＵtiｌｉｔarｉanism,ａｎdtheｗidesｐreadmiseｒｙ，povertｙaｎdｉｎjusｔice.3>tｈeirｔruthfulｐictureofｐｅoplｅ‘ｓlｉfeａndｂｉtteraｎdstroｎgcritiｃismoftｈesocｉｅｔyhadｄonemuchｉnａwakenｉngthepubｌiｃcｏnsｃiouｓnessｔｏthｅｓociａlpｒｏｂｌemsａnｄinｔheaｃｔualｉmpｒｏveｍenｔoftheｓoｃiｅty.４>CharlesDiｃkensistｈｅｌeaｄingfiｇurｅoｆthｅＶictｏriａｎperｉod.13.Moderｎism(現(xiàn)代主義)Modernismisｃomｐrehensiveｂutvagｕetermfｏra

movｅｍｅｎt,whichbeginiｎtｈeｌaｔe19tｈcentｕｒyａndｗhｉchhａsｈadawｉdeiｎflueｎcｅｉnternａt(yī)ioｎalｌyduriｎｇmｕchofthe2０ｔhｃｅｎｔury.2>moderｎismtａkesｔheｉrrationalｐhilosopｈyａｎdthetｈeｏryofpsｙcｈo－ａnａlyｓｉｓasｉtstｈeorｅticalcase.3>ｔhetermpeｒｔainstoalltheｃreativeａrts.Esｐｅcｉallypoeｔrｙ,fiction，drama,paｉnｔiｎg，muｓｉcaｎdarcｈitecture.4>inEｎｇlａｎdfromearlｙintｈe20tｈｃenturyanｄｄuringｔｈe1９2０sand1930ｓ，inAmericａfroｍshoｒtlｙｂeforethefirsｔworldwarａndoｎduringtheiｎter-waｒperｉod,modｅrnｉstｔeｎdenciesｗereattheirmｏstaｃtiveanｄfruiｔfｕl.５＞asｆaraｓｌiteratureｉscｏｎｃｅｒnｅd,Mｏdernismｒｅｖealsａｂｒｅakｉngawａyfｒoｍestabｌisheｄｒulｅs,tｒaｄitionsａndconventioｎs.fresｈwaｙsoflｏokｉnｇatman‘spositｉｏnandfunctioninｔheunivｅrseanｄｍａnyｅｘｐｅrimentsinforｍaｎdstyle.Iｔｉspartiｃularlｙｃonｃeｒnedwｉthlａngｕaｇeanｄｈowtouseitanｄwithwriｔinｇitsｅｌｆ.１4.Ｓｔreａmofcｏnsｃiousnesｓ(意識流）(ｏrinterｉormonolｏgue)Inliterarycritｉｃiｓm,Streａmofconｓciｏusnｅsｓｄenotesalｉterarytｅchniｑueｗｈiｃhｓeeｋｓｔodesｃrｉbeaninｄiｖiｄｕal‘ｓpｏinｔofｖｉeｗｂygiｖｉngｔhewritteneｑｕｉvaｌeｎtoftheｃｈarａcｔer’sｔhougｈtpｒocesseｓ.Ｓｔreamofcoｎscioｕｓnesswrｉtingisstronglｙassociａt(yī)edwｉthｔhｅｍodｅｒnｉstmovemｅｎt.Itsｉntroductionintｈeliｔerarycｏｎtｅｘt，traｎsfｅｒredfｒompsｙｃｈologｙ,isattriｂuteｄｔｏMaｙＳinｃｌaｉr.Sｔreaｍofconsciｏuｓneｓsｗritingｉsuｓualｌyrｅgａrdeｄａsasｐeciaｌformｏfｉnteriormｏnologueａｎdｉsｃｈaracｔｅrｉｚedbyaｓsociａt(yī)iveｌｅapsinsyntaxａｎdｐｕnctｕaｔｉoｎthatcａnｍａkｅｔhepｒoｓedｉfｆｉculttｏfoｌlｏｗ，ｔraｃingasｔheydoaｃhａｒａcter‘sfraｇmｅnｔaｒytｈoughtsａndsenｓoｒyfeeliｎgｓ.FamoｕｓwｒiterstoemploytｈｉsｔechniｑueinｔheＥｎgｌishlaｎguageｉｎclｕdeJamesＪoｙｃeａnｄＷｉlliａmＦａulkner.學(xué)術(shù)界認(rèn)為意識流是一種通過直接描述人物思維過程來尋求個(gè)人視角的文學(xué)寫作技巧。意識流是現(xiàn)代主義運(yùn)動(dòng)的體現(xiàn),它一方面出現(xiàn)在心現(xiàn)學(xué)領(lǐng)域,由梅。辛克拉提出的,后引進(jìn)文學(xué)領(lǐng)域。意識流寫作通常被認(rèn)為是一種特殊形式的內(nèi)心獨(dú)白。它的特別是聯(lián)想性,以句法和標(biāo)點(diǎn)的跳躍,文章的晦澀難懂為特性。來表現(xiàn)人物的片斷思維和感官性直覺。比較著名的使用此技巧的有喬伊斯。?？思{。1５.AmericanＰuｒitaｎｉsm(美國清教主義)PuriｔanismwａｓaｒeligiouｓrefoｒmtｈatarosewｉthintｈeCｈurchofEｎgｌandinthｅlate1６tｈcentuｒy.Ｕndersiegefromchuｒchａndcrｏwn，itsｅnｔａnｏffshootinthethirdaｎｄｆourｔｈdecadesofｔhe17ｔｈtｏthenoｒthｅrnEngｌishcoｌｏｎiesinｔｈeneｗworlｄ——amiｇｒatｉonthatlaidｔhefｏundationfortherelｉgious,ｉntellecｔual，ａnｄsocialorderofNｅｗEngｌaｎｄ.Puｒitaｎism,howｅｖｅr，waｓnｏｔonlyaｈisｔoriｃallyspｅciｆicpheｎoｍenoｎcoinｃidentwiｔhthefounｄingｏfnewEｎｇlａnｄ，itwａsａｌsoawａｙofbｅiｎｇiｎtｈewoｒld——ａstyｌeofrespoｎseｔolivｅdeｘpｅriｅnce——tｈathａsreverberateｄｔhrｏuｇhAmeriｃanlifeeｖｅrsinｃe.Ｄoｃtｒｉnally,puriｔaｎｓａｄhereｄtotｈefiｖepoinｔｓofＣaｌvinismａscodifiedattｈeｓｙｎｏdofdｏｒtｉn16１9：1)Ｕｎconｄitiｏnａlelｅctｉon：tｈeideatｈaｔGoｄhａddecｒeedａt(yī)thesyｎoｄoｆdａmnedaｎdwhowassavedfroｍｂｅｆoｒeｔheｂｅginningoｆtheworld；2）limitｅdaｔoｎeｍeｎｔ：ｔheｉｄeathatChriｓtｄiｅｄfoｒtheelectonly;3）Ｔoｔａｌdｅpraｖｉtｙ:humaｎity‘ｓuttｅrcｏrrupｔionｓｉｎcetｈefaｌl;4）Irrｅsisｔiblegｒａcｅ：regeｎeratiｏnａsentirelyaworｋofＧod，whｉchcaｎnotbere３sｉsteｄaｎｄtｏwｈiｃhｔhｅsｉnnｅrconｔribｕteｓnoｔｈing;5)Ｔhｅｐｅrseveranｃeofthesaints：theelect，dｅspｉｔetｈeｉｒbacｋｓlidｉngａndfaintnesｓｏfhｅart,cannotfalｌawaｙｆromgraｃｅ.清教主義是１6世紀(jì)晚期在英國教會(huì)內(nèi)進(jìn)行的一場宗教改革。在教會(huì)和皇權(quán)的雙重壓力之下，清教的一個(gè)分支于1７世紀(jì)30,4０年代遷至美洲新大陸的北方殖民地,他們?yōu)樾掠⒏裉m奠定了宗教、知識和社會(huì)秩序的基礎(chǔ)。清教主義不僅符合新英格蘭成立的特定歷史，并且一直反映了美國生活的一種生活方式。從教義上說，清教徒遵循加爾文派于162023多特宗教會(huì)議上制定的五條信條：１)無條件揀選:神沒有任憑人在罪中滅亡,而是在創(chuàng)世以前就揀選了一群人旅行拯救；2）有限救贖：基督的死只是為了特定數(shù)目的選民而死;3)完全墮落:自從亞當(dāng)偷吃善惡果后,整個(gè)人類都墮落了；4)不可抗拒的恩典:圣靈的能力在罪人心里運(yùn)營，一直到他認(rèn)罪悔改方休；５）圣徒的堅(jiān)守：圣徒是神所挑選的,無論他們?nèi)绾瓮瞬剑冀K在神的感召下。16.ＡmerｉcａｎRomａｎｔiｃism(美國浪漫主義)RomanticismreferstoaｎartistiｃandｉｎtelleｃtuａlｍovementoriginatinｇinEｕrｏpeinthｅlａｔe18tｈｃenturyａndｃharacterizedbyaheighｔenｅdiｎterestiｎnature,eｍphasiｓｏntheinｄividuａl‘ｓeｘpressionoｆemｏtｉonanｄimaginaｔion，departurefroｍtｈｅattitｕdesaｎｄformsoｆclassicｉsm，andrebellionagainsｔｅstａblｉshedｓociaｌrｕｌeｓaｎｄｃｏnvｅntions.ＴheｒomａｎticpｅｒｉodｉnAmeriｃａｎlitｅraturestrｅtcｈesｆｒomtheendoｆthｅ18tｈcentuｒyｔｈroｕghtheｏｕtbreａkofｔhecｉvilwar.Iｔwasanageｏｆgreatwestｗaｒdexpansｉoｎ，ofｔhｅiｎcreasingｇｒavityofthesｌａveryquｅstiｏn，ｏfaｎintenｓifiｃａt(yī)ｉonoｆtheｓpiritｏｆｅmbattlｅdsｅctioｎａlｉｓminｔhesouth,aｎdofａpoweｒfulｉmpulsetorefｏｒminthｅnorth.ＩnliteratureitwasAmeｒicａ’ｓｆｉrsｔgreatcreaｔiveperiod，afullfｌoｗeringofｔｈｅｒoｍanticimpuｌseｏnAmeｒｉcａｎsoil.Althoughfoｒeiｇninfｌuencｅswereｓtroｎg,Ａｍerｉｃanrｏmａnticismexhibｉteｄfｒomtｈeｖｅｒｙoutｓetdｉsｔinctfeａt(yī)uresofｉtsown．Fｉrsｔ，Ameｒicanromanｔiｃismwasinesseｎcｅtｈeexprｅssioｎof“ａrｅａｌｎeweｘperieｎce”anｄconｔａined“aｎalienquａlity”fｏrｔheｓiｍｐlerｅａｓｏnthａt(yī)“ｔｈespｉritｏｆthｅplace”wａsｒａｄicａllｙnewaｎdalｉen.Second,puｒitａninflueｎｃeoveｒAmｅｒｉcａｎrｏｍａnｔｉcismwaｓcｏｎspｉｃuouslｙｎoticeaｂlｅ.ＥmｅrgingasnewwrｉteｒsofstｒengthandcrｅatiｖepoweｒweretｈenｏvelｉstsHawｔhornｅ,Ｍelviｌle，theｐoetsDickinsｏn,Whitmａn,theｅssayistｓＴｈｏreａu，Emeｒｓon.ThｅseAmｅrｉｃａnwriterｓhadmａdeagｒeatlｉtｅraｒypeｒioｄｂycａｐturinｇonthｅｉrpagestheeｎthuｓiaｓmaｎdｔheoｐtimisｍofｔｈatdｒeaｍ.浪漫主義是于18世紀(jì)晚期發(fā)起于歐洲的一場藝術(shù)性及思想性的運(yùn)動(dòng),它注重自然，強(qiáng)調(diào)個(gè)人情感表達(dá)與想像力,向既定的社會(huì)制度和傳統(tǒng)挑戰(zhàn),與古典主義形式相分離。美國的浪漫主義時(shí)期從18世紀(jì)末一直延續(xù)到內(nèi)戰(zhàn)爆發(fā)前。這個(gè)時(shí)期發(fā)生了大規(guī)模的西遷運(yùn)動(dòng),日益嚴(yán)峻的奴隸問題,南部各州的地方保護(hù)主義的是益盛行以及北部呼聲愈演愈烈火的革新運(yùn)動(dòng)。在文學(xué)上，這個(gè)時(shí)期是美國第一次偉大的創(chuàng)作時(shí)期，浪漫主義的種子在北美的土壤里生根發(fā)芽。盡管受到歐洲浪漫主義運(yùn)動(dòng)的影響,美國浪漫主義文學(xué)仍然呈現(xiàn)出自己的獨(dú)特風(fēng)格。第一，美國浪漫主義在本質(zhì)上是一個(gè)“全新的經(jīng)歷”的表達(dá)，因這個(gè)新大陸充滿著生機(jī)和活力而使美國的浪漫主義蘊(yùn)含異國的氣質(zhì);第二，清教主義對美國浪漫主義有著顯著的影響，作為新生創(chuàng)作力量的有小說家霍桑，麥爾維爾。詩人狄金森和惠特曼,散文家梭羅，愛默生。這些美國作家充滿熱情地記錄下這個(gè)偉大時(shí)代的樂觀主義精神。１7．Ｔranscenｄentalisｍ（超驗(yàn)主義）

（來源:自考3６5網(wǎng)ｚ)Ｔraｎsceｎdentaｌismislｉｔeｒａt(yī)ｕrｅ，philｏsophicaｌａndｌiteｒaｒymovementｔhatflourｉsｈeｄｉｎneｗEnglandfromaｂouｔ1８3６ｔo１8６０.ｉｔｉｓthｅｓummｉtoｆAmｅriｃaｎRomaｎｔiｃism．ｉtｏｒｉｇinatedamongａsｍallgｒoｕpoｆiｎtelｌｅctuaｌswhｏwｅreｒeacｔinｇａgａiｎsttheortｈodoxyｏfCalvｉｎismandtｈeratiｏnalｉsmoftheUｎitariａnＣhｕrch,devｅlopinｇinｓｔeaｄtheｉrownｆａithcｅntｅriｎgonthedivinityofｈumａniｔyandthenatｕralwoｒld．TranscｅｎdｅntaｌiｓｍdｅrｉvedsomeｏfitｓbaｓicideａlistiｃconcepｔｓfromromantｉcGermａnpｈｉｌoｓｏｐhｙ，andfromsuｃhEngliｓhauthorｓasＣoｌeriｄgeandWordsｗoｒth.ItsｍysｔiｃalaspｅｃｔswerｅpaｒtlyinｆｌuenｃedbｙIｎdianaｎｄＣhinｅserｅｌiｇioustｅachings．AltｈoughTｒanscｅndｅntａlismwasnevｅrａriｇoｒousｌｙsｙsteｍaｔiｃphｉlｏsophy，ithadｓomebaｓicｔｅｎetsthatｗeｒｅgeneraｌｌysharedｂyiｔsadherentｓ.Tｈebeｌiefsｔhａt(yī)Ｇｏdiｓimmanentineaｃhpersonandｉnnatureａndthatindividualintuitioｎisthehiｇｈｅstsｏurceofknowleｄgeledtoaｎoptimiｓtiｃｅｍｐｈaｓisoｎindiｖidualism,self-reliance,andrｅｊectiｏnoftraｄiｔionａlauthoriｔy.ＴhｅideａsofTranscenｄenｔａｌismwereｍosｔｅｌoqｕｅntlｙexpreｓsｅdbyRaｌｐｈwaldoEｍｅrsoninsuchｅssaysａsＮａt(yī)uｒe，aｎｄbyHｅnrｙDavidＴhoreａuｉnhisbookWaｌdｅn.超驗(yàn)主義是從18３6至186０于新英格蘭發(fā)起的一場文學(xué)，哲學(xué)以及藝術(shù)運(yùn)動(dòng)。即浪漫主義的頂點(diǎn)。由于一小群知識分子反對加爾文教派和唯一神論教派理性的形式主義，他們從而提出人與自然的神圣這一信念。超驗(yàn)主義受到德國浪漫主義哲學(xué)以及英國浪漫主義作家柯勒律治和沃茲華斯的影響,還在一定限度上受到東方古典哲學(xué)和宗教的影響。盡管超驗(yàn)主義思想并不能算是嚴(yán)格意義上的哲學(xué)，但是它還是有一些基本原則的。超驗(yàn)主義者認(rèn)為人人都有內(nèi)在的神性，只有通過接觸自然才干使神性與人的天性互相融合。從而超驗(yàn)主義十分強(qiáng)調(diào)個(gè)人主義，自立，拒絕傳統(tǒng)權(quán)威思想。超驗(yàn)主義思想在愛默生的<論自然>和梭羅的<瓦爾登湖＞等書中表現(xiàn)得淋漓盡致。18.

theAgeoｆReａlｉｓm(現(xiàn)實(shí)主義時(shí)期)1）。ＲeaｌｉｓｍwａsaｒeactionagａｉnsｔＲoｍａnｔiｃisｍaｎｄpaveｄｔhewaｙtoModeｒnｉsｍ;２)。Duｒｉngthｉsperiodａnewｇｅneｒatioｎｏｆwritｅrｓ，ｄｉsｓaｔisfiedwitｈthｅRｏｍａnticideaｓintheolｄｅrgenｅratiｏn，cameuｐｗｉthaｎewinｓｐirａt(yī)ion.Ｔｈiｓnewａt(yī)titｕdewasｃhａracterｉｚｅdbyagrｅaｔinterestｉnthereａlitｉesoflifｅ.Iｔａimedattheinｔerｐreｔatioｎofｔherealitieｓofａnyaspectofliｆe，freefromｓubｊeｃtiveprejuｄice，idealism，ｏrroｍantｉccoｌor.Inｓteadofthinkingａbouttｈeｍｙsｔerｉesoflifeaｎｄdeaｔhandheroicindividuaｌism,people‘sattentioｎｗaｓnowdｉｒｅcｔedtotheiｎterｅｓｔｉngｆeaturesofeｖerydayexｉstencｅ,towhatwasbrutalｏrsoｒｄid，andtｏｔheｏｐｅnpoｒｔｒaｙalofclassstrｕgｇlｅ;3）soｗritersｂeｇaｎtodｅscriｂethｅiｎｔegｒityoｆhuｍancharａｃtersreacｔｉngundeｒvariｏuｓｃircumｓｔancｅsandpiｃtuｒethepiｏneersｏfthefarｗest，ｔheｎewｉｍmｉgrantsａndｔhesｔruggleｓoftheworｋinｇｃｌaｓs;4)MａrkＴｗaｉnHowellsandHenｒyJamesarethreeｌｅadinｇfigureｓｏftheＡｍerｉｃaｎRealｉｓｍ.19．ＡmericaｎNａt(yī)uｒaliｓｍ（美國自然主義文學(xué))TheAmericannatuｒalistsacceptedthemoｒeneｇａt(yī)iｖeiｎterpｒｅｔationoｆDａrwiｎ‘sｅvoｌutioｎaｒytheｏryanｄｕsedittoaｃcｏｕｔforthｅbｅhaｖiｏｒofthoｓecｈaｒacｔeｒsｉnlitｅｒarywoｒkswhowｅrｅregaｒdedaｓmoreorpｌeｘcombｉnaｔionsofinheｒitedatｔributｅs,thｅirhａｂitscｏndiｔioｎedbｙsｏcｉalaｎdeconomicｆoｒceｓ.2)naｔuraliｓmisevolveｄfrｏｍrｅalismwhenｔheauｔhor’stｏｎeｉnwｒitingbecomｅslessserｉousaｎdleｓssyｍpatheｔicbutmoｒeiroｎicaｎdmorepessimｉsｔiｃ.Itｉsnomoｒetｈanaglooｍｙphiｌosophｉcalaｐproaｃｈｔｏｒｅaｌiｔy,ortｏhumaneｘistencｅ.３>Dreiseｒisaleadingfiｇureofｈisｓｃｈｏoｌ．20.Naturａｌism（自然主義）ＮaｔuraｌisｍｉsalｉterarｙｍoｖeｍentrelaｔedtoandsｏmeｔimesdescriｂｅｄasaneｘtreｍefoｒmofrｅaｌismｂｕｔwhiｃｈmaｙbemoreappropｒｉateｌｙconｓidereｄasａpａrallelｔｏphｉloｓｏpｈicNａt(yī)uraｌism．2)ａsamoredｅｌibｅraｔeｋinｄofrealismＮａt(yī)uralismuｓｕaｌlyinvolvesaviｅwofhumanbeingsａｓpassiveｖictimsofnatｕralｆorｃｅsaｎdsocｉaleｎviroｎmeｎt.IｎＮaturaliｓmamoredocumeｎtarｙ-ｌikeａｐproachisｉnｅvｉdenｃe,wｉthａgreatstｒｅssonhowenvironｍenｔaｎdheｒｅｄityshapepeople.3）Asaliｔｅrａrymｏvemｅnt，NaturalisｍｗasiｎitｉatedinFrance.４）Nａｔuraｌｉstｆictｉｏnaspiredtoasociologicaｌobｊeｃtiｖity,offeringdeｔaｉledａndfullyrｅｓｅarchediｎveｓtigatiｏnsiｎｔouneｘplorｅｄcｏnceｒnsofｍoｄｅrnsoｃｉeｔy．21．LocalColoｒiｓｍ(鄉(xiāng)土文學(xué))Ｇｅnｅrａlｌysｐeaking,tｈｅｗritingsoｆloｃａlcoloristｓareｃonｃernedwithｔhelifeofasmａll，ｗeｌｌ-ｄefinedｒｅｇionoｒproｖincｅ.Thecharaｃｔerｉsticsetｔｉngｉstheｉsｏlatedsmalltｏwn.2)Locａlcoｌｏｒisｔsｗeｒｅcｏnｓｃiouslynostalgｉchisｔorianｓofavanｉshiｎgwayoflife，reｃoｒdｅrsｏfapreｓenttｈatfadedbｅforｅthｅireyes．Yetforallthｅiｒseｎtimenｔality,ｔhｅｙdediｃateｄｔｈｅｍｓelvesｔomｉnutelyaccuratｅdescripｔiｏnsofthelifeoftheｉｒrｅｇions，thｅywｏrｋｅdｆrompｅｒsonaｌｅxperienｃetoｒｅｃｏrdthefaｃtｓofalocaleｎｖironmeｎtaｎｄｓｕggｅstedthatｔheｎａt(yī)ivｅlｉfｅｗasｓhapedｂythecｕriousｃoｎｄiｔｉｏｎｓoftｈｅlｏｃal．3)maｊoｒloｃａlcoｌoristsisＭａrkTｗaｉｎ.2２.Ｉmagism（意象主義)ImａgiｓmcaｍｅｉntｏbｅｉnｇinBｒiｔaｉnandＵ．Sａrouｎd19１0asareａｃｔiontoｔｈetｒaditｉonalEｎｇlishpoetrｙtoexprｅssthesｅnｓeoffragmentationanddiｓlocａｔioｎ．２>ｔheｉmagists,withEzraPoundlｅadｉnｇｔｈeway,hｏlｄthatthemostｅffectivｅmｅanstoexpresｓthesｅｍoｍeｎtａryimpressｉoｎsistｈrｏughthｅｕseｏfonedoｍinantimaｇe.３>imａgismiscｈarａｃteｒｉzedbythefｏlloｗingthreeｐoetｉcprｉncｉples：A.dｉrｅcttreatmentofsubjecｔｍａｔter；B．economｙofeｘpｒession;Ｃ.aｓreｇａrｄsrｈythm,ｔposeintｈeseｑuｅncｅoftｈeｍusicalpｈｒaｓe，ｎotintｈｅｓequenceｏfmetｒonome.4＞pound‘sInａＳtaｔｉonｏftheMetroiｓawell-kｎｏwnimａｇｉstpoｅm.23.ＴheLostＧｅneｒatｉon（迷惘的一代)Thｅloｓtｇeneｒaｔioniｓａt(yī)ermfiｒｓtuseｄbｙSteintodｅscrｉbｅｔheｐost－warIｇeneratｉonofAmeｒicaｎwritｅrs：mｅnanｄwomｅnｈauｎteｄbyasｅnseoｆbeｔrａyalaｎdempｔinｅssbroｕgｈtaboutｂytheｄestructivｅneｓｓoｆtheｗａr.2>fulｌｏfｙouthfuｌidｅalisｍ，tｈesｅindiviｄualssｏughｔthｅmeaｎingoflife,dranｋｅｘcessiｖely,hａｄlｏveaffairsaｎdcreatedsomｅｏftｈefinestAmericanliｔeraturetodａt(yī)e．３>theｔhreｅｂｅsｔ-kｎoｗnrepresenｔativesofｌｏｓtgeｎｅratiｏnａreF.ScoｔtFiｔzgeｒald，HeｍingｗayaｎdＪohndosＰassos.24．Eｘprｅsｓionism(表現(xiàn)主義）EｘprｅssioｎiｓmrefｅｒsｔｏaｍovemeｎtinGerｍanyeａｒｌyinthe２0thcentury.Iｎwhichanumberoｆpaintｅｒsｓｏuｇｈttoavoidtherｅprｅsentatｉｏnofeｘterｎalｒｅalｉtyand,instｅａd,toprojｅctahｉgｈlypeｒsonalｏrｓuｂjｅcｔｉvｅｖｉsiｏnoｆthｅworlｄ.2>exｐressｉonｉsmiｓａreaｃtionagaｉｎstrealiｓmoｒnａｔｕralism,aｉmｉnｇaｔpresentｉnｇapost－ｗａｒｗｏrｌdviolｅｎtlｙdistortｅd．3>ｉnａfurtｈersense，ｔｈeterｍｉssoｍetiｍｅｓapｐlieｄｔothebeｌieftｈａt(yī)lｉｔｅraryworkｓarｅｅsseｎtiallｙｅxprｅssionsｏftｈeirauthors‘moｏdｓanｄthoｕghts；tｈisｈasｂeenｔhｅdｏｍiｎａｎｔaｓｓｕmｐtionaboutlｉteraturesinｃethｅrｉｓeｏｆrｏmanticｉsm.25．TheBeａt(yī)Geneｒａｔiｏｎ(垮掉的一代）（來源：自考365網(wǎng)zikａo3６5.cｏm)ThｅmｅmbersｏfＴｈeＢeａｔGeneraｔionwerenewｂohｅmiａnｌibertｉneｓ，ｗhoenｇａgedinaｓpoｎtaneous，someｔimeｓｍｅssy，creaｔivity.2>TｈeBeaｔｗrｉtｅrｓprodｕcedａbodyofwritｔeｎｗｏrkcoｎtｒovｅrｓｉａlｂｏthforitsaｄvocａcｙofｎｏｎ-ｃonｆｏrmityａndforitsnoｎ-confｏrｍingstyle.3＞theｍａｊorｂｅatwritiｎgsａrｅAｌｌenＧinsberｇ‘sＨｏwｌ．HowlｂecaｍｅｔhemanifｅｓtoｏfTheＢeａｔGｅｎerａｔion.26．JａzｚＡge(爵士時(shí)代）ThｅJazｚAgedescriｂestheperioｄｏｆthｅ１9２0ｓand1930ｓ，theyeａrｓbeｔweenWorlｄWarIaｎdＷo(hù)rldWａrII.ParticｕlarlｙiｎNorthＡmｅｒｉca.Withｔhｅｒiｓeofthegｒeaｔｄeprｅssiｏn,thevalｕｅsoｆthiｓagesaｗmuchdecline.ＰerhapｓtｈemｏｓtreprｅseｎtativｅlｉteraryworkｏftheageiｓAmｅricanwritｅｒFitzgｅｒald‘ｓTheGreａt(yī)Gaｔsby.Hｉｇhｌｉgｈｔingｗhatｓｏｍedeｓcrｉbｅaｓthedecａｄenceａndhedoｎiｓｍ,asｗelｌasthegroｗｔhofinｄividualism.Fiｔzｇeraldislaｒｇelycredｉtedwithｃoiningtｈetｅrm“JazzAｇe”。27.Sｕrreａlisｍ(超現(xiàn)實(shí)主義)Ananｔi－rａt(yī)ionalmovｅmeｎtofimaginativeliｂeratｉonｉｎEuropｅaｎinartaｎdlｉteratureｉｎｔhe1920sａnd1930s,whichlaunchｅdbｙAndreBｒetonａfｔerhisbreakfroｍtｈeDaｄａｇｒoupiｎ192２.Surreａliｓｍseｅkｓtoｂreａkdoｗntheboｕndariesbetwｅe(cuò)nrationalityaｎdｉrｒaｔionalitｙ，exｐｌｏｒｉｎgｔhｅresourcesandrｅvｏlutiｏnaryeｎergｉesoｆdreams,ｈalｌuciｎatiｏnsandsｅxualdｅsirｅ.InflueｎｃｅdｂoｔｈbyｔhesymbolisｔsaｎdbySｉgmｕnｄFreuｄ‘sｔheｏrｉesofｔheunconｓciouｓ,ｔhesurrｅalistsexpｅrｉmenteｄwitｈautomatiｃｗritiｎgandwｉtｈthｅfreeassoｃiaｔioｎｏfraｎｄomimagｅｓbroughtｉnｓurpriｓingｊｕxtaｐosition.超現(xiàn)實(shí)主義是2０世紀(jì)2023代和３０年代在歐洲文藝和文學(xué)界發(fā)起的一場反對理性提倡思想解放的運(yùn)動(dòng)。這場運(yùn)動(dòng)由安德烈。布里多尼和達(dá)達(dá)派決裂后發(fā)起。超現(xiàn)實(shí)主義試圖打破理性和非理性之間的界線。探討夢。幻覺以及性欲的源頭和動(dòng)力。由于受到象征主義和弗洛伊德無意思理論的影響,超現(xiàn)實(shí)主義將自由聯(lián)想和自由寫作以不可思議的形式并置合并在一起。2８.Ｍｅtapｈｙsｉｃａlpoets（玄學(xué)派詩人）Itistheｎａmegivｅntoaｄｉｖersegrouｐof1７thcenturｙEnｇｌishｐoetsｗhoseworｋｉｓnotablefoｒitｓiｎgeniｏｕｓusｅofｉｎtelleｃtｕaｌandtheｏlogicalｃonceｐtｓｉnｓuｒprｉsingｃｏnceｉtｓ,strangｅparaｄoxesaｎｄｆａr-fetchｅｄimａgery.ThelｅadiｎgMｅtａphysiｃａｌpoetｗasＪohｎDｏnnｅ,wｈosecolｌoquial，arｇumentatiｖeabruｐtnessofrｈｙtｈｍandtonediｓtinｇuiｓhｅsｈｉsstyｌefｒomｔheｃoｎvｅｎtionsoｆＥlizａbethanlovelｙrics．２9.ＮｅwCrｉticisｍ(新批評主義)NewCritiｃiｓmｉsａｍovｅｍentinAmeriｃanlitｅrarycｒitiｃismfｒomthe1９30ｓtothe196０s,concｅnｔｒaｔingontheplexｉtiesandambiｇｕitｉesｏfｓhｏｒtpｏｅｍscｏｎｓｉderedaｓｓelf-sufｆicientoｂｊeｃtswｉｔhoｕｔaｔｔｅnｔionｔoｔheiroriｇinsoreffeｃts．ThenaｍeｃomｅｓfrｏmJoｈnＣhｒisom‘sboｏkTheＮewCｒitｉcisｍ．3０.Fｅminiｓｍ(女權(quán)主義)Femiｎismincorporatesbotｈadｏctrｉｎeｏfequalrｉgｈｔsforwoｍenandａniｄｅoloｇyｏfsoｃialtraｎsformａt(yī)iｏnaiｍｉngtoｃｒｅaｔeaworldforwomｅｎｂeyondsiｍｐlesｏｃｉalequalitｙ．2＞ｉngeneral，ｆemｉｎｉsmisｉdeｏｌｏgyofwｏmeｎ‘sｌｉbeｒａｔionbａsedoｎｔheｂelｉｅfｔｈatwomensufferinjusticebecａｕｓeofthｅirsex．Uｎderthisｂroaduｍｂｒellavariｏｕsfemｉｎｉsmsｏfferｄiｆfｅｒinganaｌｙｓesofthｅcaｕsｅｓ，oｒａｇenｔs，ｏffemaleopｐressｉon.3>defiｎitionsofｆｅminismbｙfemｉniststendtｏbeshapedbytheirｔraｉning，ideoｌogyoｒracｅ．So,foｒｅｘaｍpｌｅ,Maｒxistａndsｏcｉalistfeminｉｓｔsｓｔｒesstheinｔｅｒactiｏｎｗithinfeminiｓmofｃｌaｓswｉthgenｄerandfｏｃuｓｏnsoｃiａldistｉｎctioｎsbｅtｗeｅｎｍｅnａndｗｏmｅn.Blａckfｅmiｎistｓarｇuemuchmｏrefoｒanｉｎｔeｇratｅdanalyｓｉswhｉchcａnunｌoｃkthemultipleｓｙstemsofｏpｐressｉon.31.HemingwａyCodｅHｅro（海明威式英雄)HemingwayCodeHｅro,ａlｓｏcalledcoｄehｅro,iｓonewｈｏ,woｕndedbutｓtrongmoresｅnsｉｔiｖe，enｊoysthｅpleaｓuresｏflｉfｅ(sex，ａｌcoｈol,ｓport)infaceｏｆｒuinａndｄeaｔh，ａｎdmａintａｉns,ｔhｒouｇhｓomeｎotionofacodｅ，ａｎｉdｅaｌofhimself.2>barnesinthesunalsoRｉses，HenryinaFaｒeｗellｔｏarmsandSａｎtiaｇoｉnｔheoldmanandtｈeseaaｒeｔypｉcalofHemｉngwaｙＣｏdeHｅro32.Imｐｒessｉonism(印象主義)Impresｓiｏnｉｓｍｉsastyｌeoｆpaintinｇthａt(yī)giｖｅstheiｍpreｓsioｎmadebｙtｈesｕbjectｏｎthearｔisｔwithoutmuchaｔtenｔiｏntoｄeｔaｉｌs．Ｗｒitｅｒｓaｃceｐtedｔhesamecｏnvictioｎtｈatthepersonａlatｔitｕｄesａndmoodsｏfthewrｉｔerweｒelegiｔiｍatｅe(cuò)lｅmentsindeｐｉcｔingcｈａracｔerｏｒsettiｎgoraｃｔiｏn.2>bｒiｅfly,itisastyleｏflitｅrａt(yī)ｕｒecｈａracterizedbyｔhecreａｔionｏfｇeneｒaｌimpressionsandmoodsrathｅrthａｔrｅalｉstiｃｍood.33．Pｏstmｏｄｅrnism（后現(xiàn)代主義)（來源于自考365網(wǎng)ｚｉｋａo365.ｃｏm)Itｉsａdiｓｐutedtｅrmtｈａt(yī)hａsｏｃcupiｅｄmuｃｈｒecentdeｂateaboutconｔemporarycultｕrｅsｉncethｅe(cuò)arlｙ1980s.iｎitssｉｍｐｌeｓtandｌｅastsatiｓfactorｙseｎseitrefersｇｅnｅｒallytoｔheｐhaseof20thcenturywｅsteｒｎcｕltｕｒethatsuｃceedeｄtherｅignｏfhiｇnmodeｒniｓm，thｕsinｄicａt(yī)ingｔheｐroｄuctsｏｆthe“spaceage”afｔeｒsｏｍetimｅintｈe1950ｓ.Morｅoｆteｎ,thoｕghitｉｓaｐpliｅdtoacuｌturaｌconditioｎprevaiｌiｎgiｎthｅａｄｖancedcapitａlｉｓtsocietｉessｉncｅthe1９６0ｓ，chａrａｃtｅrｉｚedbyasuperaｂundａnceofdiｓcoｎnｅｃtｅdimagｅｓandstｙlｅs．Inthisseｎse,poｓtmodeｒniｔyiｓsaidｔｏbeacultuｒeｏffragmentａｒyｓensatiｏnｓ，ecｌeｃticnostalgia，diｓposabｌｅsiｍulacra，aｎｄproｍｉsｃuoussuperficｉａlｉtｙ,inｗhｉcｈthetraditｉonalｌyvaluedqualitiesofdepth，cohｅreｎcｅ，meanｉｎgｏｒigiｎalityaｎdauthｅnｔicｉtyａｒeｅvａｃuａt(yī)edordissｏlｖｅｄamiｄtｈｅｒandoｍsｗirｌofemptyｓigｎａls.這個(gè)具有爭議的名字概念是從2０世紀(jì)８0年代初期開始應(yīng)用于近幾十年的現(xiàn)代文化領(lǐng)域。最簡樸也最難說服人的說法是后現(xiàn)代主義是２0世紀(jì)西方文明繼高度現(xiàn)代主義之后的一個(gè)階段。后現(xiàn)代主義是50年代太空時(shí)代的產(chǎn)物。通常它被用來解釋自６０年代起先進(jìn)資本主義社會(huì)重要的社會(huì)文化現(xiàn)象。從這個(gè)意義上說。后現(xiàn)代主義被認(rèn)為是片斷構(gòu)建的編織。折衷的懷舊主義,濫用的仿物以及混雜的淺浮,而傳統(tǒng)所強(qiáng)調(diào)的深度。連貫。意義的原創(chuàng)性,真實(shí)性都在空洞信號的隨意泛濫中消失崩潰。3４.Ｃoｎｆｅssiｏnalpoetｒy(自白派詩歌）Itisanautｏbｉｏgrapｈicａｌmodｅofverseｔｈatｒｅvealｓthｅpｏet‘spersｏnａlｐrｏｂlemsｗithｕnusualfｒａnkness.TheteｒmisusuａlｌｙapplｉedtｏcerｔainpoｅtｓoftheＵnｉteｄｓtaｔｅsfｒｏｍtｈelatｅ195０ｓｔothｅlａt(yī)e196０s，notａblyRoberｔＬowelｌ.Thｅterm’sｄｉstinctiveseｎｓｅdependsonｔhecanｄidexamiｎatiｏnofwhatwerｅatthｅtiｍeofwriｔinｇvirtualｌyunｍeｎｔｉonablｅkindsofpriｖateｄistress．Tｈegenuｉｎestrenｇthsofｃonｆessionａlpoets,ｃｏmbｉnedwｉthｔｈeｐityevokeｄbｙｔhｅｉrｈighsｕicidｅrａt(yī)e，encouragｅdinｔｈｅreａdｉngｐuｂlｉcaromantiｃconfusionｂｅtwｅe(cuò)npｏeticexceｌlenceａndinnｅrｔoｒmｅnｔ．自白詩歌是一種自傳體詩歌。詩歌重要用不尋常的坦白展示詩人的個(gè)人內(nèi)心問題。自白詩歌是指50年代后期到60年代后期出現(xiàn)的詩人。特別是羅伯特。洛厄爾。此概念有時(shí)在廣義上指任何個(gè)人或自傳的詩歌，但自白詩歌最明顯的特性，是坦誠揭露寫作時(shí)的所思所想，個(gè)人心里憂傷的流露。自白派詩人杰出的文學(xué)才華和他們由于痛苦而引起的高自殺率,以及詩歌中處處流露著痛苦,迷茫，悲觀，隱晦的氣氛,讓讀者們閱讀時(shí)產(chǎn)生一種詩歌精妙和內(nèi)心痛苦的迷茫感。3５.TheNewYorkSchool(紐約派)ThｅNewYｏrkＳｃhoｏlｗａsａnｉｎformalgroupofＡmｅricaｎpoetsａndpainterｓactivｅin19５０sNewYorkCiｔy,critiｃｓargｕeｄtｈaｔｔheirworkｗasareａｃtiｏｎｔotｈｅcｏｎfessionaｌ‘smovementｉncoｎtempｏraｒｙｐoetry.Theｉrpoeticsｕbjｅctmatｔerwasoftenlight,ｖiolent,orｏbservational，ｗhiｌeｔheirwｒiｔｉｎｇstｙlewaｓoftendｅsｃrｉbedaｓcoｓmｏpｏlｉｔanaｎｄwoｒld-ｔraveleｄ.thepoeｔsｏftenｄrewinspｉrationfrｏｍsｕrreａlismandｔhecontemporaryａvant－garｄeａrｔmovｅmeｎt,ｉnpａrticulａrtheaｃtｉｏｎpaｉntingoｆtheiｒfriｅndsｉｎtｈeNewYorkＣityaｒtciｒcｌe.thereａrｅａlsocｏmｍonａliｔiesbｅtweｅnｔhｅNewYｏrｋSchoolanｄｔheearｌierBeatＧeneraｔionpoｅｔsacｔivein1940ｓand1９５0sNewYorkCity.紐約派詩人是５0年代活躍在紐約的美國詩人和畫家的非正式群體。評論家認(rèn)為他們是對同時(shí)代自白派詩歌運(yùn)動(dòng)的反抗。他們作品的主題通常輕快，劇烈或者觀測入微。他們的寫作風(fēng)格是全球性的。他們接受了超現(xiàn)實(shí)主義和先鋒藝術(shù)運(yùn)動(dòng),特別是紐約畫界的朋友的影響創(chuàng)作詩。他們與40，50年代紐約的垮掉一代詩人有一定共同點(diǎn)。36.TｈｅAｂsurｄ(荒唐派)（來源于自考3６5網(wǎng)zｉkａｏ３65.cｏm）IｔisatermdeｒivｅdfrｏmtheexisｔentiａlismｏｆAｌｂeｒtCａmus,ａndoftenａｐｐliedtothemodeｒnｓenseｏfhｕmaｎpurｐｏｓelｅssneｓsｉnaunｉverseｗiｔｈｏutmeａningｏrvaluｅ.Many20thｃentuｒywriｔeｒｓｏｆproseｆiｃtｉonｈａｖeｓｔｒｅssedtｈeａｂsurdnaｔureofhｕmanexistｅnce：notablｅinｓtaｎｃｅsareｔheｎｏvelsａndｓtｏｒiesｏfFranzKafka，inwhiｃｈtheｃｈarａcteｒｓfａｃeａlarminｇlyiｎcomprehensｉｂlepredicameｎts.37．TheBlacｋMｏｕnｔainPoｅts(黑山派詩人）ＴhｅBｌackＭouｎtａinＰoetsｒｅfertoａgｒｏupofpoetsactｉvｅontｈecontｅmporａｒyｓcene，aｓtｈesepeoｐlewｅrｅe(cuò)iｔheｒasｓoｃｉatedwitｈＢlackMｏuｎｔａiｎｃoｌlｅge,ｏrwithBlａckMouｎtainRｅｖieｗ，theyｈaｖebecoｍｅknowｎas“TheBlackMountａinPoetｓ”２>ｔｈelｅaｄｉnｇfｉgureofthisschoolofpoetrywasＣharlesOｌsoｎ.３8.Ｒeaｌｉsｍ(現(xiàn)實(shí)主義)Realismwａsａloosｅｌyuseｄtｅｒmmeaｎingtruｔhｔｏｔhｅoｂsｅrvｅｄfacts