英國文學(xué)復(fù)習(xí)工商學(xué)院市公開課一等獎(jiǎng)省賽課微課金獎(jiǎng)?wù)n件

SelectedReadingsin

EnglishLiterature---英國文學(xué)復(fù)習(xí)第1頁1.Pre-ChaucerianAge1.Pre-ChaucerianAgeAnglo-Saxonperiod(450-1066)--(Anglo-Saxon)Teutonicconquest:formationofEnglishasanation,language,andpeople--Poetry:Beowulf

Anglo-Normanperiod--NormanConquest--Romance:SirGawinandtheGreenKnight第2頁RomanceRomance,alliterativeandmetrical,referstosomeversenarrativethatsingsofknightlyadventuresorotherheroicdeeds,andusuallyemphasizesthechivalricloveoftheMiddleAgesinEurope.Theheroisusuallytheknight,whosetsoutonajourneytoaccomplishsomegoal---toprotectthechurch,torescueamaiden,tomeetachallenge,andetc.Characterizationisstandardized.Thelanguageandstylearesimpleandstraightforward.

第3頁2.TheAgeofChaucer(1340-1400)GeoffreyChaucer---“fatherofEnglishpoetry”---thefirsttowriteaboutcommonpeopleinarealisticwayinsteadofinanallegoricalway---TheCanterburyTalesinrhymingcouplet—heroiccouplet第4頁15th-16thcenturyAfterChaucer,Englishliteraturebegantodecline.Exceptthe“TheDeathofArthur”byThomasMarlory,therewasnowrittenliteratureinitsrealsense.However,

ballads

becameanimportantfeatureinthisage.---SirPatrickSpens---RobinhoodAllareinballad.第5頁Ⅱ.TheEnglishRenaissanceHistoricalbackgroun---RenaissanceinEurope---Humanism:themostoutstandingintellectualmovement--Theideal/coreofRenaissanceishumanism2.LiteraryAchievement(Ageofdrama)---WilliamShakespeare

---FrancisBacon---thefirstEnglishessayist

---ThomasMoore(“Utopia”)---Drama/blankverse---Sonnetandsonnetsequence第6頁Theideal/coreofRenaissanceishumanism.Renaissancehumanistsfoundintheclassicsajustificationtoexalthumannatureandcametoseethathumanbeingsweregloriouscreaturescapableofindividualdevelopmentinthedirectionofperfection,andinhabitedinaworlditwastheirsnottodespisebuttointerrogate,exploreandenjoy.Thus,byemphasizingthedignityofhumanbeingsandtheimportanceofthepresentlife,theyvoicedtheirbeliefsthatmandidnotonlyhavetherighttoenjoythebeautyofthislife,buthadtheabilitytoperfecthimselfandtoperformwonders.Theyalsoexpressedtheirrebelliousspiritagainstthetyrannyoffeudalruleandecclesiasticaldomination.第7頁ShakespeareHis4greatcomediesareTheMerchantofVenice;MuchAdoAboutNothing;AsYouLikeIt;TwelfthNight.

His4greattragediesare

Hamlet;Othello;KingLear;Macbeth.第8頁Sonnet18thepermanenceorimmortalityofpoetry.Poetrywillbringeternitytotheonethepoetlovesandeulogizes.Figurativedevices

Metaphor:summer’sday---thebelovedperson.

Personification:summer’sday-----holdalease.Symbol:bud,theeyeofheaven---beautifulthings第9頁Ⅲ.17thcentury(PuritanAge)---Bourgeoisrevolution:forchurchbutagainstdespoticrulers---Metaphysicalpoets---JohnMilton:TheParadiseLost第10頁

Metaphysicalpoets

Donnewasthefounderofthemetaphysicalschoolandapoetofgenius,knownbyhiscontemporariesas“thegreatwriterofconceitedverse”.conceits第11頁---logicalreasoning(toexpresstheemotion),---psychologicalanalysisoftheemotionsandreligion,---theirfondnessofthenovelandtheshocking,---theuseofboldandingeniousconceitsandincongruousimagery,---theirstatementofcomplexideasorthought,---frequentuseofparadox,---theirignoringoftheconventionalmetricdevicesAllresultedfrequentlyinobscurity,roughverse,andstrainedimagery.第12頁JohnMilton:“Paradise”—inblankverseFightingtheGod---fightingthedespotism第13頁Ⅳ.18thcentury(AgeofNovel)---Enlightenment(emphasisonreason)---Poets:JohnDryden;AlexandraPope---Essayists:JosephAddison,RichardSteele,

---Novelists:DanielDefoe,HenryFielding---Sentimentalism:ThomasGray(therepresentative)---Pre-Romanticism:WilliamBlake,RobertBurns第14頁WilliamBlake---SongsofInnocence;SongsofExperienceThesymbolicmeaningofTyger第15頁R.Burns--inscottishdialect--ARed,RedRose:Symboliclanguage第16頁Ⅴ.Romanticism(1798-1832)TheFrenchRevolution;theIndustrialRevolutionFromemphasisonreasontoinstinctandemotionWordsworth;Coleridge;Southey;Shelley;Byron;KeatsPost-Romanticism:theBrowings;Tennysons第17頁P(yáng)rinciplesforRomanticism“allgoodpoetryisthespontaneousoverflowofpowerfulfeeling.”---Subjectivism---Spontaneity---Nature---Simplicity/plainness---Lifeofthecommonpeople---Imagination---Rebelliousspirit第18頁W.Wordsworth(1770-1850)In1798,incollaborationwithColeridge,hepublishedusfirstmajorvolumeofpoetry,“TheLyricalBallads”,anepoch-makingbookinEnglishpoetry.第19頁IWonderedLonelyasaCloud：thehappyrecollectionstendtoenablethepoettounderstandtheharmonybetweenthingsinnature,andharmonybetweenthepoethimselfandthenature,thusrealizingthehappinessofonenessofthesoulandcreatures第20頁Shelley(1792-1822）OdetotheWestWind：“IfWintercomes,canSpringbefarbehind?”illustratedShelley’soptimisticbeliefinthefutureofmankind.Theimageofwestwind第21頁Keats---Keats’odeshavegenerallybeenconsideredashismostimportantworks,OdetoNightingale--synaethesia--hisidealgardenofEden第22頁RobertBrowning(1812-1889)MyLastDuchess:DramaticmonologueCharacterization第23頁Ⅵ.19th.Century(TheVictorianAge1832-1901)---AgeofNovels:criticalrealism---Dickens;Thackery---Womennovelists:Brontesisters;JaneAustin---ThomasHardy第24頁JaneAustinPrideandPrejudice---Theme---Characteranalysis第25頁ThomasHardyTess--Stonehengesceneanditssignificance--causesforTess’stragedy第26頁Ⅶ.20thCenturyModernistliterature---T.S.Eliot:thedesolationinthewesterncountryafterthewar,andtheirspirit---D.H.,lawrence:concernswiththesex,thedefectinwesterncivilization---V.Wolf(Mrs.Dalloway;TothelightHouse)andJamesJoyce(Ulysses):asearchintothesoulofmodernwesternersbyadoptingtheStreamofConsciousnessDorislessing:afemalewriterabouttherepressionsufferedbywomenandtheawakeningoftheirself-consciousnessTedHughes:apoetofAnimalwritesintothehumannature.第27頁T.S.Eliot:thedesolationinthewesterncountryafterthewar,andtheirspiritALoveSong:Style第28頁Styleanalysis---Monologue---imagery---allusion---irony---fragmentation第29頁Fragmentationfragmentationistheaccumulationofnumerousandvaried-oftentochaoticeffect-signs(words,images,sounds).第30頁

1.Fragmentationinstanzaform:---fragmentedstanzasrepresentednotinsequentialfashion.i.e.Streetwomen’sroomfogwomen’sroom---ellipticalstructure---absenceofbridge第31頁2.Therhythmofthelinesisdeliberatelyirregular.Eliotoccasionallyrhymesforlongstretches(LL4-12)andthennotatall;hisrhymeschemeitselfseemslikeheconfusing"Streetsthatfollowlikeatediousargument"(8).

第32頁Theconcludingtwothree-linestanzasactasasestet(sixlines).Althoughtherhymeschemediffers(hereitisabbcdd),Petrarchansonnetscomplementtheopeningoctet(firsteightlines)withasestet(cdecde).ThisisEliot'sfinalmock-allusiontoyetanotherRenaissanceartist(afterDanteandMichelangelo).Petrarchunrequitedlymoonedafterhislove,Laura,butPrufrock,whosenamesoundsmuchlikePetrarch's,doesnotevenhaveanunattainableideallove.Hehasunattainable,frustrated,paralyzeddesireforallwomenwhorejecthim.第33頁3.Prufrock'sfragmentedvoiceItisdifficulttodecidewhoisthespeakerbecauseitisacombinationofsomanyhistoricpoeticvoices.Thepoemcomesintheformofadramaticmonologue,aformthatisusuallyfitforaresonantspeakingvoice(andonethatextinguishesthepersonalityofthepoet,too).But"Prufrock"hasachorusoffragmentedvoices-theepigraphtoDante,thefrequentallusionstotheBible,Shakespeare,andmanypoeticpredecessors-whichdenytheexistenceofasolovoice.This,then,isPrufrock'svoice:afragmentationofvoicespastandpresentthatsomehowharmonize.第34頁Fragmentationisalsoembodiedintherhetoricaldevicesused,suchasimage,allusion.第35頁ImageryCityimagesunlitskyaslooking"likeapatientetheriseduponatable"(Eliot3).Thisisanunusualimagerythatwouldbeoutofplaceinatraditionallovepoem,andthis"etherised"outsideworldisthekeytounderstandingallofPrufrock'sviews.Heisafraidoftheincreasinglyindustrializedandimpersonalcitysurroundinghim,andheisunsureofwhattodoandafraidtocommittoanyparticularchoiceofaction第36頁

2.fogimage"rubsitsbackuponthewindow-panes";rubsitsmuzzleonthewindowpanes".Lateroninthepoem,Prufrockreferstosmokeagainwhiledescribingthestreetsheiswalkingon.

Allthisimagery1)leavesthereaderfeelingthattheplacePrufrockisatisdarkandhazyandnotatallwelcoming,anditconveysPrufrock'sdiscontentmentwithhissurroundings.2)subliminalfeelingofthespeaker---desireandinaction第37頁3.Insectimage---hisoverallboredomwithlife.---hisparalysis/impotence第38頁4.Crabimage:self-reproachandself-comfort第39頁5.MermaidimageBytheendofthepoem,Prufrockisimagingmermaids,orman'sidealvisionofwomensittingonthebeach,buteveninhisimaginationtheydonotsingtohim.Whenheisawakenedfromhisdaydreambyahumanvoice,itisapparentthateveninhisfantasiesPrufrockisparalyzedandnon-active.

第40頁ThefragmentationoftheimagesinthepoemalsoshedsomelightonPrufrock'sfears.Herarelysayswhathemeans,ifheisevensureofithimself.Instead,likethemagiclanternthrowing"patternsonascreen,"Thepoemislikeasetofslides,showingusPrufrock'sfailuresandexperienceshe'scollected.Prufrockmovesfromstreetstowomantalkingtoimagesofwomanandmythologicalcreatures.Thereisnocongruityinthepoem.第41頁Allusion1.Epigraph---Prufrock’splight2.Michelangelo---idealman---hypocrisyofthenoble第42頁3.Therewillbetimeworksanddays---P’shesitationandindecisiveness/inaction第43頁4.Headonaplatter—JohntheBaptiststrongdesireandextremehesitation5.Hamlet

hesitation第44頁Alltheseallusions---addtotheeffectoffragmentation;---enhancesthehistoricalandrealisticmeaning第45頁

Whyfragmentation?Modernistsbelievethat1)modernworldpresentsan“immensepanoramaoffutilityandanarchy”esp.afterWWI.Sothereisa2)akeenneedto“[give]shapeandsignificance”tothemeaningless,futileandchaoticexperienceofmodernman,because3)meaningcouldbemadeoutofthesefragments.Fromtheruinsoffragments,somecoherencecanbeestablished;onlythisgivesthechaosofmodernlifehope.第46頁Sointhispoem,Nothingisexplainedinlogicalmanner.Readershavetomakeleapsinreadingandappreciation.butcarefulreaderscanperceivethetoneandunderstandtheunderlyingmeaning.第47頁2.J.Joyce’sAraby

Araby---Setting---Pointofview---Epiphany第48頁SettingSettingisusuallyapartofatmosphereandthatatmosphereconsistsoftheprevailingtoneoftheworkanditsresultantmeaningoreffect.Theboyinthestoryisintenselysubjecttothecity'sdark,hopelessconformity,andhistragicyearningtowardtheexoticinthefaceofdrab,uglyrealityformsthecenterofthestory.Questions:---What’sthesettinglike?What’sthefunctionofthesettingdescription?第49頁Scenesdescribed:---theopeningdescriptionoftheboy'sstreet,---hishouse,---hisrelationshiptohisauntanduncle,theinformationaboutthepriestandhisbelongings,theboy'stwotrips-hiswalksthroughDublinshoppingandhissubsequentridetoAraby.第50頁(1)NorthRichmondStreetNorthRichmondStreetpresentsthereaderwithhisfirstviewoftheboy'sworld.---Thestreetis"blind";adeadend---itsinhabitantsaresmuglycomplacent;---thehousesare"imperturbable"inthe"quiet,"the"cold,"the"darkmuddylanes"and"darkdrippinggardens."Thetotaleffectofsuchsettingisanatmospherepermeatedwithstagnationandisolation.第51頁(2)Priest’s(andtheboy’s)houseThehousedescription:---theformertenant:apriest---thepossessionsleftbehind---thecentralappletree;(symbolsofspirituallifeinthepast)---stragglingbushesTheeffectofthedescriptionistodeepen,throughasenseofadeadpast,thespiritualandintellectualstagnationofthepresent.ThismayreferustotheunderstandingofwhathappenedlateratArabybazzar.第52頁(3)Shoppingcenter----ugly,drabreality“mosthostiletoromance”(wheretheboyaccompaniedhisaunttoshopping)

----imaginingthathebearsnotparcels,buta"chalicethroughathrongoffoes."----transforminginhismindaperfectlyordinarygirlintoanenchantedprincess:untouchable,promising,saintly.Settinginthisscenedepictstheharsh,dirtyrealityoflifewhichtheboyblindlyignores.Thecontrastbetweentherealandtheboy'sdreamsisironicallydrawnandclearlyforeshadowstheboy'sinabilitytokeepthedream,whileremainingblind.第53頁(4)Araby—thebazaarAraby:themostimportantimageThetawdrysuperficialityofthebazaar,whichinhismindhadbeenan"Orientalenchantment,"stripsawayhisblindnessandleaveshimalonewiththerealizationthatlifeandlovedifferfromthedream.Araby,thesymbolictempleoflove,isnowahelltotheboy.Thebazaarisdarkandempty,likeotherplaces;itthrivesonthesameprofitmotiveasthemarketplace("twomenwerecountingmoneyonasalver");loveisrepresentedasanempty,passingflirtation.Theboy'sfinaldisappointmentoccursasaresultofhisawakeningtotheworldaroundhim.第54頁Summary:

"Araby"isaportraitofaworldthatdefiestheidealandthedream.Thussettinginthisstorybecomesextremelyimportant,embodyingana