英国文学术语及问答题.docx
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英国文学术语及问答题.docx
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英国文学术语及问答题
Someliteraryterms
Epic–alongpoemaboutdeedsofagreatherooranation’spasthistory
Romance(骑士浪漫诗)–alongpoeminverseorprosedescribinglife&adventuresofaknight
Ballad(歌谣)–afolksongwithwordsthatcanbesungorally
Moralityplay(道德剧)–presentstheconflictbetweengoodandevilwithintraductionofallegoricalpersonagessuchasMercy,Peace,Hate,Folly
Blankverse(无韵体素体诗)–poeminunrhymediambicpentameter
Spenserian(斯宾塞诗体)–a9-linesonnetrhymedababbcbcc,withthefirst8linesiniambicpentameterandthelastlineiniambichexameter
Heroiccouplet(英雄偶句双韵体)–2-linestanzainiambicpentameter
“3Unities”(三一律原则)–unitiesofplace,timeandactioninplaywriting
Renaissanceisa progressiveculturalmovement thatfirstspranginItalyinthe14thcentury andlaterspreadtotherestofEurope.Itsinfluencewasfeltinart,literature,music,philosophy,politics,science,religion,andotheraspectsofintellectualinquiry.Renaissancescholarsemployedthe humanist methodinstudy,andsearchedforrealismandhumanemotioninart.Humanismisitskeynote(essence).
Humanismisnotaphilosophybutamethodoflearning.Humanistswouldstudyancienttextsintheoriginalandappraisethemthroughacombinationofreasoningandempiricalevidence(实证).Humanistsassert"thegeniusofman,theuniqueandextraordinaryabilityofthehumanmind."Theytrustandcelebrateman,man’scapabilityandpowerofart.Theybelievethatmancanmouldtheworldaccordingtotheirowndesiresandhavetherighttoattainhappinessinlife.
EnlightenmentMovement(late17th–mid18thcentury)isaprogressiveintellectualmovement,flourishedfirstinFranceandsweptthroughthewholeWesternEuropeinthe18thcentury.Itwasafurtheranceofthe16th-centuryRenaissance,withitspurposetoenlightenthewholeworldwiththelightofmodernphilosophicalandartisticideas.Theenlightenersfoughtagainstclassinequality,stagnation,prejudicesandothersurvivalsoffeudalism.Theycelebratedreason,equalityandsciencebyrejectingthefalsereligiousdoctrines.Theyprovedthatmanwasbornkindandhonestandthattheinfluenceofcorruptedsocialenvironmentresultedinthedepravity(堕落)ofhumanbeings.
Romanticismisamovementthatflourishedinliterature,philosophy,musicandartinwesterncultureduringmostofthe19thcentury,beginningasarevoltagainstclassicism.TherehavebeenmanyvarietiesofRomanticisminmanydifferenttimesandplaces.Inessencetheromanticistsseemanasanindividualinsolitarystateandemphasizethespecialqualitiesofeachindividual’smind.Inotherwords,Romanticismdesignatesaliteraryandphilosophicaltheorythattendstoseetheindividualastheverycenterofalllifeandexperience.Theromanticwritersmovetheirfocusofwritingfromtheouterworldofsocialcivilizationtotheinnerworldofthehumanspirit.
Criticalrealismisaphilosophicaltheoryofrealityandhumanknowledgewhichpositsthathumansarecapableoflearningobjectivelyabouttheworld,withoutinterferencefromhumanpsychologyorothersubjectivefactorsthatcolorperception.However,criticalrealistsdonotthinkthisisasimplethingtodo.Toseetheworldasitreallyis,onemustlearnandthenreflectcriticallyonwhatwaslearnedandonhowitwascoloredbythelimitsofhumanperception.CriticalrealistsdescribethechieftraitsoftheEnglishsocietyandcriticizethecapitalistsystemfromademocraticviewpoint.Thegreedandhypocrisyoftheupperclassarecontrastedwiththehonestyandgood-heartednessofthelowerclass.Hencehumorandsatireabindintheworksofthecriticalrealism.Andtheirworksoftencloseinamuchtoocoincidentalhappyendingoracompromise.
Modernism hasitsoriginsinthelate19thandearly20thcenturies,mainlyinEuropeandNorthAmerica.Modernism,characterizedbyaself-consciousbreakwithtraditionalstylesofpoetryandverse,isdrivenbyadesiretooverturntraditionalmodesofrepresentationandexpressthenewsensibilitiesoftheirtime.Modernistsexperimentwithliteraryformandexpression,adheringtothemodernistmaximto"Makeitnew" ,andfreshwaysoflookingatman’spositionandfunctionintheuniverse.Inliteraturethisofteninvolvedtherejectionofintelligibleplotsorcharacterizationinnovels,orthecreationofpoetrythatdefiedclearinterpretation.Juxtaposition, irony,comparisons,and satire areimportantelementsfoundinmodernistwriting.Modernistauthorsemploydiscontinuousnarrativesandfragmentedplotstructuresaswell.Theytendtorejecthistory,socialsystems,andemphasizealienationinmodernurbanandindustrialsocieties.
Existentialis(存在主义哲学)– isatermappliedtotheworkofanumberoflate19th-and20th-centuryphilosopherswho,despiteprofounddoctrinaldifferences, sharedthebeliefthatphilosophicalthinkingbeginswiththehumansubject—notmerelythethinkingsubject,buttheacting,feeling,livinghumanindividual.Inexistentialism,theindividual’sstartingpointischaracterizedbywhathasbeencalled“theexistentialattitude”,orasenseofdisorientationandconfusioninthefaceofanapparentlymeaninglessorabsurdworld.Manyexistentialistshavealsoregardedtraditionalsystematicoracademicphilosophies,inbothstyleandcontent,astooabstractandremotefromconcretehumanexperience.存在主义以人为中心、尊重人的个性和自由,认为人是在无意义的宇宙中生活,人的存在本身也没有意义,但人可以在存在的基础上自我造就,活得精彩。
Post-modernismremainsacontroversialterm,butmaybelinkedtoatransformationofEuropeancultureattheendofWWII,whichproducedthedeathcampsandtheatombomb,andthusgeneratedanewsenseofman’spropensity(tendency)toevil,ofthedestructivepotentialofscientificknowledge,andoftheperilsofpoliticaltotalitarianism.TheendoftheEmpireandthepost-warchangesintheworldeconomyandpowerstructureinvolvednewrelationshipsbetweenBritainandothercultures.Inliterature,post-modernistwritersadoptedaself-consciousintertextuality(互文性)sometimesvergingonpastiche(文学作品杂集),whichdeniedtheformalproprietyofauthorshipandgenre.Theirworksaremarkedbyingenuity,playfulness,pastiche,anti-formoropenform.Thesewritersliketolaybareunderlyingstructuresthattraditionallywerehiddenaway.Theywanttheirreaderstobeconsciousofthedevicesbywhichtheirfictionisconstructed.Theydeliberatelypresenttextswhichdonotcloseoff,leavinganopenconclusionsothatthereaderisforcedtobeactive:
hemustworktomakesenseofthework.Heisnolongerapassive,docileconsumer,butaparticipantintheproductionofthemeaning.
AngryYoungMen—atermwhichwasappliedtoanumberofBritishnovelistsanddramatistsofthe1950sincludingJohnWain,KinsleyAmis.JohnOsborne,JohnBraine,SillitoeandC.Wilson.Theycreatedaseriesofanti-heroesandexpressedasenseofdissatisfactionandrevoltagainstestablishedsocialmoresanddescribedvariousformsofsocialalienation.Theyfollowedthe19thcenturyrealistictraditionsintheirwritingtechniquesandwereagainstthemodernistexperimentalistsofthe1920sand1930s.Thisliteraryphenomenondisappearedinthe1960s.
Kitchensinkdrama(“厨房洗碗池戏”)—atermappliedinthelate1950stotheplaysofwriterssuchasArnoldWesker,S.DelaneyandJ.Osborne,whichportrayedworking-classorlower-middle-classlife,withanemphasisondomesticrealism.Theseplayswerewritteninpartasareactionagainstthedrawing-roomcomediesandmiddle-classdramaaofCowardandRattiganandalsounderminedthepopularityoftheversedramaofT.S.EliotandC.Fry.ThedramaticcriticK.P.Tynan(1927-80)wasprincipaladvocateofthisnewgroupofwriters.Heplayedaleadingroleintheshiftoftastefromdrawing-roomcomedyandthepoeticdramaofT.S.EliotandC.Frytonaturalismand“working-classdrama”.以激进现实主义来描写工人阶级的灰暗现实生活
TheatreoftheAbsurd(荒诞派戏剧)—anamegivenbythecriticMartinEsslintodescribetheworkofanumberofdramatistsincludingIonesco,Genet,BeckettandPinterwhoseplayshadincommonthesensethathumanexistencewaswithoutmeaning.Theideawasreflectedintheformaswellasthecontentoftheplays,bytherejectionoflogicalconstruction,andthecreationofmeaninglessspeechesandsilences.Suchdeviceshelpedtodevelopnewformsoftheatreduring1950sand1960snolongerreliantonoutmodeddramaticconventions.
Meta-fiction(元小说)—thistermwasappliedtofictionalwritingwhichquestionedtherelationshipbetweenrealityandfictionthroughdeliberatelyandself-consciouslydrawingattentiontoitsownstatusasalinguisticconstruct.ExampleswouldincludeJohnFowles’sTheFrenchLieutenant’sWoman.
Feministcriticism—acriticalapproach.Itseekstore-examinewomen’sliteratureofthepastandpresent,rangingfromthescholarly(学术)tothepoliticalandprescriptive(政治和法律),withtheaidofanewfeministawarenessoffemaleandmalestereotypes,women’seconomicsituationasauthors,thesupposedprejudiceofmalecriticsandpublishers,therelationshipbetweenwritingandgender,etc.Feministcriticismcomesinmanyforms,andfeministcriticshaveavarietyofgoals.Someareinterestedinrediscoveringtheworksofwomenwritersoverlookedbyamasculine-dominatedculture.Othershaverevisitedbooksbymaleauthorsandreviewedthemfromawoman’spointofviewtounderstandhowtheybothreflectandshapetheattitudesthathaveheldwomenback.Stillothershavebeeninterestedinmorefundamentalquestionsinvolvingthepsychologicalandlinguisticdevelopmentofwomeninapatriarchalormasculine-dominatedculture.
Sincetheearly1970s,threestrainsoffeministcriticismhaveemerged:
French,AmericanandBritish.Theyhave
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