現(xiàn)代大學(xué)英語第5冊(cè)精讀5LessonTwoTwoK

1、Lesson 2Two Kinds,what about the relationship between you and your parents from childhood to today?,WARM-UP,love and fear, need and rejection love and hostility, expectations and disappointments conflicts and reconciliation.,Contents,Teaching points Teaching aims Teaching requirements,Teaching point

2、s,Make a brief introduction of the background information of story, introduce to the students the writer Amy Tan and her Joy Luck Club , having a detailed explanation and analysis of the story Learn how to read and appreciate an English short story: especially the theme, character, organization of p

3、lot development and the heros or heroines epiphany(頓悟) Writing skills, rhetorical devices Extension: collect a story about the relationship between Chinese parents and children or between American parents and children.,Teaching requirements,1. Carefully read the “Guide to Reading” to get a basic und

4、erstanding of the background information of the story: Two Kinds 2. Read the word and expressions provided on Page 30-31 that will facilitate reading 3. Preview the story with the help of the notes provided on page 31-32 4. Learn how to read and appreciate an English short story: especially the them

5、e, character, organization of plot development and the heros or heroines epiphany(頓悟),5. Get some brief information about the differences between Chinese culture and American culture 6. Get some information about the author, Amy Tan (譚思美) 7. Explain some meaningful sentences and understand their imp

6、lications 8. Do some exercises as is required,The first two periods( 90m) 1. How to appreciate stories 2. Brief Background Information of the story “Two Kinds”,A. setting B . plot C. conflict D. Theme E. point of view F. Characters G. The Joy Luck Club and Amy Tan,A. Setting: when and where the stor

7、y takes place,a) place - geographical location. Where is the action of the story taking place? b) time - When is the story taking place? (historical period, time of day, year, etc) c) weather conditions - Is it rainy, sunny, stormy, etc? d) social conditions - What is the daily life of the character

8、s like? Does the story contain local color (writing that focuses on the speech, dress, mannerisms, customs, etc. of a particular place)? e) mood or atmosphere - What feeling is created at the beginning of the story? Is it bright and cheerful or dark and frightening?,The Setting of Two Kinds,It takes

9、 place approximately from 1950s to 1980s in USA. America is a place for people to realize their dreams. American children are independent of parents projects on their lives.,B Plot A plot is the deliberately arranged sequence of interrelated events that constitute the basic narrative structure of a

10、novel or a short story. Very often a plot starts from a significant conflict. This conflict sets the plot of a story in motion. It retains the readers attention, builds the suspense of the work and arouses expectation for the events that are to follow. The plot of the traditional story contains 4 pa

11、rts: beginning, developing , climax and end. It often moves through 5 stages: exposition, rising action, crisis (climax), falling action and resolution.,Understand and appreciate an epiphany that a short story often tells us readers. When we read a story, one of the first things that draw our attent

12、ion is the plot. However, a finely worked out plot is more than just a sequence of happenings. Often it tells of an epiphany: some moment of insight, discovery, or revelation by which a characters life or view of life is greatly altered. As we read the short story under study “Two Kinds” we should t

13、ry to see if there is a moment in the story that tells of an epiphany.,a) Exposition - The background information on the characters and setting. It may also explain what happened before the story began. b) Rising Action - This is where the events in the story become complicated and the conflict in t

14、he story is revealed (events between the introduction and climax). c) Climax - This is the highest point of interest and the turning point of the story. The reader wonders what will happen next; will the conflict be resolved or not? d) Falling action - The events and complications begin to resolve t

15、hemselves. The reader knows what has happened next and if the conflict was resolved or not (events between climax and denouement). e) Denouementdeinu:m: /resolution - This is the final outcome or untangling of events in the story. This section records the outcome of the conflict and establishes some

16、 new stability.,Climax/crisis,It is helpful to consider climax as a three-fold phenomenon: 1) the main character receives new information 2) accepts this information (realizes it but does not necessarily agree with it) 3) acts on this information (makes a choice that will determine whether or not he

17、/she gains his objective).,C. Conflict,Conflict is essential to plot. Without conflict there is no plot. It is the opposition of forces which ties one incident to another and makes the plot move. Conflict is not merely limited to open arguments, rather it is any form of opposition that faces the mai

18、n character. Within a short story there may be only one central struggle, or there may be one dominant struggle with many minor ones.,two types of conflict,1) External - A struggle with a force outside ones self. 2) Internal - A struggle within ones self; a person must make some decision, overcome p

19、ain, quiet their temper, resist an urge, etc.,four kinds of conflict,1) Man vs. Man (physical) - The leading character struggles with his physical strength against other men, forces of nature, or animals. 2) Man vs. Circumstances (classical) - The leading character struggles against fate, or the cir

20、cumstances of life facing him/her. 3) Man vs. Society (social) - The leading character struggles against ideas, practices, or customs of other people. 4) Man vs. Himself/Herself (psychological) - The leading character struggles with himself/herself; with his/her own soul, ideas of right or wrong, ph

21、ysical limitations, choices, etc.,D) Theme The theme of a story is different from the plot. While the plot tells what happens in the story, the theme shows what the story is about. The theme of a story is the general meaning, the central and dominating idea that unifies and controls the total work.

22、Usually it is easier to summarize the events than to state the theme in ones own word.,Theme,The theme in a piece of fiction is its controlling idea or its central insight. It is the authors underlying meaning or main idea that he is trying to convey. The theme may be the authors thoughts about a to

23、pic or view of human nature. The title of the short story usually points to what the writer is saying and he may use various figures of speech to emphasize his theme, such as: symbol, allusion, simile, metaphor, hyperbole, or irony. Some simple examples of common themes from literature, TV, and film

24、 are: - things are not always as they appear to be - Love is blind - Believe in yourself - People are afraid of change- Dont judge a book by its cover,E. Point of View,1. Innocent Eye 2. Stream of Consciousness 3. First Person. 4. Omniscient-全知的, 無所不知的 a) Omniscient Limited b) Omniscient Objective,P

25、oint of view, or p.o.v., is defined as the angle from which the story is told.,1. Innocent Eye - The story is told through the eyes of a child (his/her judgment being different from that of an adult) . 2. Stream of Consciousness - The story is told so that the reader feels as if they are inside the

26、head of one character and knows all their thoughts and reactions. 3. First Person - The story is told by the protagonist or one of the characters who interacts closely with the protagonist or other characters (using pronouns I, me, we, etc). The reader sees the story through this persons eyes as he/

27、she experiences it and only knows what he/she knows or feels.,4. Omniscient- The author can narrate the story using the omniscient point of view. He can move from character to character, event to event, having free access to the thoughts, feelings and motivations of his characters and he introduces

28、information where and when he chooses. There are two main types of omniscient point of view: a) Omniscient Limited - The author tells the story in third person (using pronouns they, she, he, it, etc). We know only what the character knows and what the author allows him/her to tell us. We can see the

29、 thoughts and feelings of characters if the author chooses to reveal them to us. b) Omniscient Objective The author tells the story in the third person. It appears as though a camera is following the characters, going anywhere, and recording only what is seen and heard. There is no comment on the ch

30、aracters or their thoughts. No interpretations are offered. The reader is placed in the position of spectator without the author there to explain. The reader has to interpret events on his own.,First-person narration,A story can be told from the 1st or 3rd person. When the 1st-person narrative is us

31、ed, the story is told by “I”. In this story, the narrator, the daughter, is one of the main characters of the story. The whole story is narrated by the daughter. Though the narrator remains the same, the point of view may change. Most of the story is narrated from the point of view of the daughter a

32、s a little girl and the last part is from the point of view of the same daughter when she has grown up. We readers should distinguish between the 1st-person narrator “I” and the author who wrote the story. In other words, the fictional “I” and the real-life author are not the same person, though in

33、an autobiographical novel or story, many events that “I” experience are based on the authors own life experiences.,The 1st-person narrative is more effective than the 3rd-person narrative. As the 1st-person narrator is part of the story, she/he can move freely within the fictional world and approach

34、 other fictional characters. The 1st-person narrator addresses the reader directly. The immediate and compelling quality of the 1st-person narration enables the author to capture the moment as if it were taking place this very instant and right here. The 1st-person is either a participant of an eyew

35、itness of the events. So there is authority in the 1st-person narration.,The 1st-person narration can also allow the reader to enter the mind of the narrator. The narrator tells us what happens in the physical world as well as in his/her mental world. Restrictions of the 1st-person narration: it is

36、tightly controlled and limited in its access to information. It can only tell us that the narrator sees and knows. It cannot let the reader enter the minds of other characters. So the 1st-person narration is inevitably limited and may even be biased in terms of perspectives and observations.,F. Char

37、acters The characters, especially the main ones, are an important element of a story. Every story has a plot and characters. As events inevitably involve people, it is impossible to discuss plot in isolation from character. Character and plot are intimately related. The major, or central, character

38、of the plot is the protagonist; his opponent, the character against whom the protagonist struggles or contends, is the antagonist. The protagonist is the essential character without whom there would be no plot in the first place. It is the protagonists fate on which the attention of the reader is fo

39、cused. The terms protagonist and antagonist do not imply a judgment about eithers moral worth. Many protagonists and antagonists embody a complex mixture of bother positive and negative qualities.,Characters,There are two meanings for the word “character”: 1) The person in a work of fiction. 2) The

40、characteristics of a person. Persons in a work of fiction - Antagonist and Protagonist Short stories use few characters. One character is clearly central to the story with all major events having some importance to this character - he/she is the PROTAGONIST. The opposer of the main character is call

41、ed the ANTAGONIST.,Characters are convincing if they are: consistent, motivated, and life-like (resemble real people) Characters are. 1. Individual - round, many sided and complex personalities. 2. Developing - dynamic, many sided personalities that change, for better or worse, by the end of the sto

42、ry. 3. Static - Stereotype, have one or two characteristics that never change and are emphasized e.g. brilliant detective, drunk, scrooge, cruel stepmother, etc.,The Characteristics of a Person,In order for a story to seem real to the reader its characters must seem real. Characterization is the inf

43、ormation the author gives the reader about the characters themselves. The author may reveal a character in several ways: a) his/her physical appearance b) what he/she says, thinks, feels and dreams c) what he/she does or does not do d) what others say about him/her and how others react to him/her,A

44、well-portrayed character should be what we call dynamic or round, not static or flat. A dynamic or round character, with richness in personality, grows or develops in the progress of the story while a static, or flat, one stays unchanged, more or less the same throughout the story.,Amy Tan Anmei Hsu

45、 and Rose; Lindo Jong and Waverly; Ying-ying St. Clair and Lena. These stories are told by seven voices, those of the mothers and daughters except for Suyuan Woo, who id dead when the story begins in the book.,HER WORKS,The Joy Luck Club (1989) 喜福會(huì) The Kitchen Gods wife (1991) 灶神之妻 The Hundred Secre

46、t Senses (1995)百種神秘感覺 The Bonesetters Daughter (2001) 接骨師之女 Saving Fish from Drowning (2005)拯救溺水魚 ,Suyuan Woo,Chwun Yu,Chwun Hwa,Wang Fuchi 1st husband,Canning Woo 2nd husband,JIng-mei,吳府,Lindo Jong,Huang Taitai Huang Tyan-yu Lindo Jong (first husband),Lindo Jong and Tin Jong Winston Vincent Waverly

47、 ( daughter) Shoshana Marvin Chen (first husband) (white Fiance) Rich Schields,Wu-Tsing Bing Hsu An-meis mother An-mei Hsu George Hsu Second wife Rose Hsu Ted Jordan,許府,St. Clair Family,Ying-ying St. Clair,Clifford St. Clair,Lena St.Clair,Harold Livotny,The different points of view enable the reader

48、 to look at the bittersweet mother-daughter relations from different angles. The mothers and daughters treat one another cautiously, playing a game of love and fear, need and rejection. The older women, who suffered in Old China and emigrated to the United States with new hopes, are ambitious for th

49、eir daughters, but while they expect them to succeed in America, they want them to remain Chinese. The daughters consider themselves American and regard their mothers a source of embarrassment, for they speak fractured English, behave with Chinese manners, and wear funny-looking dresses with high, s

50、tiff collars and slits up the sides.,They want to be different from their mothers, and break loose from their mothers cultural gravity. They yearn to leave tradition behind. The mother-daughter relationships are a mixture of love and hostility, expectations and disappointments, conflicts and reconci

51、liation. When the daughters become older and more mature, they begin to reconsider their identity and reevaluate their cultural heritage. They discover that their mothers are “in their bones”, and that heritage is not something they can ignore and shake off easily.,Text Appreciation,Exposition (para

52、.1-3) Rising action (para.4-60) section 1 (para.4-11) section 2 (para.12-20) section 3 ( para.21-28) section 4 (para.29-46) section 5 (para.47-60) Climax (para.61-76) Falling action (para.77-89) Resolution (para.90-93),Structure of the story,Part I of the story (para.1-3) Exposition the beginning pa

53、rt of the story, provides the reader with some background information. It tells about the mother and her hopes for her daughter. This paves the way for the development of the conflicts between the daughter and mother.,Can you say something about the mother? the mother was very optimistic about the f

54、uture. the mother was rather ambitious for her daughter.,Why did the mother place extraordinarily high hopes on the daughter? She was influenced by and believed in the “American Dream” She was competing with her good friend Lindo, who had a smart daughter. She lost everything in China and had come t

55、o America with the determination to make things better. She was transferring her own hopes to her daughter.,英 文 名：Shirley Temple中文譯名：秀蘭鄧波兒出生日期：1928年4月23日出 生 地：加利福尼亞，圣莫尼卡曾出演：一月船長、可憐的富家小姑娘、小酒窩、小偷渡者(1936)、威莉溫基、海蒂(1937)、桑尼布魯克農(nóng)場的麗貝卡、百老匯小姐、角落邊上(1938)、小公主、小騎警蘇珊娜(1939)等 秀蘭鄧波兒堪稱電影史上最偉大的童星，當(dāng)時(shí)美國正受經(jīng)濟(jì)蕭條以及戰(zhàn)爭陰影籠罩，

56、Shirley Temple的電影形象充滿了樂觀向上的精神，給人以無數(shù)歡笑和鼓舞。成年后她放棄了演藝事業(yè)，轉(zhuǎn)入政界，曾擔(dān)任美國駐加納和前捷克斯洛伐克的大使。2006年，78歲的秀蘭鄧波兒獲得美國演員工會(huì)頒獎(jiǎng)禮終身成就獎(jiǎng)。,Rising Action (Para 4-60),Subsection 1 (Para 4-11),Please summarize this section according to the following pictures with natural transitions.,Main idea,The mothers first unsuccessful attem

57、pt to change the daughter into a Chinese Shirley Temple. In the beginning the child was as excited as the mother about becoming a prodigy. At this point the conflict between mother and daughter was not visible.,To the mother, the new hairstyle was even worse because the daughter now looked like a Ne

58、gro girl.,“crying with holy indignity” - The author is being humorous here. Jesus Christ did everything with holy dignity, such as preaching and healing the sick. But when he was a newborn baby, and when he was lifted out of the straw manger(草槽）, he cried just like other ordinary babies, without hol

59、y dignity, but with indignity. Yet, because he was the holy Son of God, his indignity was holy, too.,Subsection 2 (Para 12-20),Main idea,The mother was trying very hard to train the daughter to be a genius but the daughter lost interest and confidence and decided that she would not let her mother Change her by saying “I wont be what Im not.” Compared to the attitude in Para 9 “In the beginning, I was just as excited as my mother, maybe even mo