随笔 - 12  文章 - 20  评论 - 8 
  2006年12月12日

06
I have nothing to offer but blood, toil, tears and sweat. We have before us an ordeal of the most grievous kind. We have before us many, many months of struggle and suffering. ---------------------2

You ask, what is our policy? I say it is to wage war by land, sea and air.------------1

War with all our might and with all the strength God has given us,and to wage war against a monstrous tyranny never surpassed in the dark and lamentable catalogue of human crime.------------------2
.
You ask, what is our aim? I can answer in one word, It is victory. Victory at all costs-victory in spite of all terrors-victory, however long and hard the road may be, for without victory there is no survival. ----------------------2

Let that be realized. No survival for the British Empire, no survival for all that the British Empire has stood for, no survival for the urge, the impulse of the ages, that mankind shall move forward toward his goal.------------------3

    我所能奉献的唯有热血、辛劳、眼泪和汗水。我们所面临的将是一场极其严酷的考验,将是旷日持久的斗争和苦难。
  若问我们的政策是什么?我的回答是:在陆上、海上、空中作战。尽我们的全力,尽上帝赋予我们的全部力量去作战,对人类黑暗、可悲的罪恶史上空前凶残的暴政作战。
  若问我们的目标是什么?我可以用一个词来回答,那就是胜利。不惜一切代价,去夺取胜利——不惧一切恐怖,去夺取胜利——论前路如何漫长、如何艰苦,去夺取胜利。因为没有胜利就不能生存。
  我们务必认识到,没有胜利就不复有大英帝国,没有胜利就不复有大英帝国所象征的一切,没有胜利就不复有多少世纪以来的强烈要求和冲动:人类应当向自己的目标迈进。

汉译英
中国民族自古以来从不把人看作高于一切,在哲学文艺方面的表现都反映出人在自然界中与万物占有比例较为恰当的地位,而非绝对统治万物的主宰。因此我们的苦闷基本上比西方人为少为小:因为苦闷的强弱原是随欲望与野心的大小而转移的。农业社会的人比工业社会的人享受差得多,因此欲望也小的多。何况中国古代素来以不怠于物不为物役为最主要的人生哲学。
Chinese people has never thought of human being as the highest creature
among everything since ancient times, whose reflection takes a quite
approporate proportion with all others in our natural world in both aspects
of philosophy and arts, but not as an absolute dominant ruler. Therefore,
our bitterness and depression are basically less than those of westerners,
because the intensity of which is growing with the expansion of one's desire
and ambition. People in the agriculture society enjoyed far less than people
in the industry society, thus their wants are far less either. Besides,
ancient Chinese always regard "not confined by material, not driven by
material" as the major philosophy.

05

一个人的生命究竟有多大意义,这有什么标准可以衡量吗?提出一个绝对的标准当然很困难;但是,大体上看一个人对待生命的态度是否严肃认真,看他对待劳动、工作等等的态度如何,也就不难对这个人的存在意义做出适当的估计了。

 

古来一切有成就的人,都很严肃地对待自己的生命,当他活着一天,总要尽量多劳动、多工作、多学习,不肯虚度年华,不让时间白白地浪费掉。我国历代的劳动人民及大政治家、大思想家等等都莫不如此。
Could there be any standards to evaluate the meaning of one's life? Certainly, it is quite difficult to bring forward such an absolute standard. However, if we, on the whole , could find out whether his attitude towards his life is serious or not and what are his attitude towards his life and work, it would not be that difficult to make an appropriate evaluation of the meaning of one's life.
From the ancient times till now, all accomplished men treat their lives very seriously. As long as they are living, they always work and study as hard as possible, unwilling to dream their life away, let alone waste even a single moment of their lives. Such examples have been set a lot by Chinese laboring people, great statesmen and thinkers of past dynasties.


It is simple enough to say that since books have classes fiction, biography,poetry—we should separate them and take from each what it is right that each should give us. Yet few people ask from books what books can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconception when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellowworker and accomplice.If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, then signs and hints of almost imperceptible finess, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other. Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite.

 

 

维吉尼亚·伍夫

 

既然书籍有不同的门类,如小说、传记、诗歌等,我们就应该把它们区分开来,并从每种中汲取它应当给我们提供的正确的东西;这话说起来固然容易,然而,很少有人要求从书籍中得到它们所能提供的东西,我们常常带这模糊不清、互相抵触的目的,要求小说应该真实,要求诗歌应该虚构,要求传记应该吹捧,要求史书应该执行我们各种偏见。如果我们读书时能抛弃所有这些先见之入,那将是值得赞赏的开始。不要对作者发号施令,而应该试着站在作者的角度,成为他得同伴和合作者。如果读书开始便固步自封,处处设防,甚至批评挑剔,那么你就无法尽可能多地获得书中蕴含的要旨。但是如果你能尽量敞开思想,那么书中那些极细微的精妙之处和暗示都会从头曲折婉转的语句中显现出来,把你带到一个与众不同的境界。如果你深入下去,如果你去认识这个人物,你很快就会领悟作者正在给你或试图给你某些明确得多的东西。倘若我们首先考虑怎样读小说,那么,一部小说中的三十二章就是企图创造出象一座建筑物那样既有一定的形式而各部分又受到控制的东西,不过词句要比砖块难以捉摸,阅读的过程要比看一看更费时、更复杂。理解小说家创作工作的各项要素的捷径也许并不是阅读,而是写作,而是亲自试一试遣词造句中的艰难险阻。那么,回想一下给你留下鲜明印象的某些事——比如,你怎样在大街的拐角处从两个正在交谈着的人身边走过,树在摇曳、灯光在晃动,谈话的语气既喜又悲;这一瞬间似乎包含了一个完整的想象,一个整体的构思。

posted @ 2006-12-12 16:12 ammcc 阅读(528) | 评论 (0)编辑 收藏
形容词 (1) しい 1 惜(お)しい 2:怪(あや)しい 3:嬉(うれ)しい 4:悲(かな)しい 5:厳(きび)しい 6:悔(くや)しい 7:苦(くる)しい 8:詳(くわ)しい 9:険(けわ)しい 10:恋(こい)しい 11:寂(さび)しい 12:親(した)しい 13:涼(すず)しい 14:正(ただ)しい 15:楽(たの)しい 16:激(はげ)しい 17:等(ひと)しい 18:貧(まず)しい 1...  阅读全文
posted @ 2006-12-12 12:32 ammcc 阅读(700) | 评论 (0)编辑 收藏
  2006年12月4日

I have been leading a pell-mell life these days . My body clock is out of whack, two-day weekend, I went to bed at almost 2 o’clock early in the morning  and woke up at almost 12 o’clock at noon in the next day. Flashing  back to the last-week days, I had a shopping window on Wednesday night, and went out again for a pair of new sneakers on Thursday night. It was a hectic Friday. I spent all the afternoon on a bus trip, for the previous-year papers in the university that I will go into. Another hours in the bookstore. At night, I spent couple hours on playing badminton, and then had a big and long dinner with my badminton fellows as usual.

 

Yesterday, I was really disturbed when I read an e-mail from a friend, as I always called him And I despise him and I really hate to mention him again!  Kindness Me, don’t really want to hurt anyone else, but I am not allowed myself to accept those even myself feel disgusting. As a saying goes “ A blessing in disguise” , anyway, I am totally OK now and I believe my wisdom must grow after this experience. I am such a smart girl that I really realize engaging in too much cover-up of personalities will be all-consuming, and definitely will displease you!

 

To be honest, I have some impulse on giving  up  from now and then, but I feel so sad as soon as I think of that the seat I paid for it would be vacant in those two eventful days . So whatever, I should go to occupy the seat that is rightful mine. It is really the time to count down, but I just hate myself being over-strained.

 

I should have been living in a carefree life everyday, but I take a road full of thorns, Am I really enjoy self-infliction, as I always say, I am wondering? But whatever, I will just go forward… And occupy the seat that is rightful mine!  

posted @ 2006-12-04 18:04 ammcc 阅读(508) | 评论 (0)编辑 收藏
  2006年12月2日
第一章  语言的性质
语言的定义:语言的基本特征(任意性、二重性、多产性、移位、文化传递和互换性);语言的功能(寒暄、指令、提供信息、询问、表达主观感情、唤起对方的感情和言语行为);语言的起源(神授说,人造说,进化说)等。
第二章      语言学
语言学定义;研究语言的四大原则(穷尽、一致、简洁、客观);语言学的基本概念(口语与书面语、共时与历时、语言与言学、语言能力与言行运用、语言潜势与语言行为);普通语言学的分支(语音、音位、语法、句法、语义);;语言学的应用(语言学与语言教学、语言与社会、语言与文字、语言与心理学、人类语言学、神经语言学、数理语言学、计算语言学)等。
第三章      语音学
发音器官的英文名称;英语辅音的发音部位和发音方法;语音学的定义;发音语音学;听觉语音学;声学语音学;元音及辅音的分类;严式与宽式标音等。
第四章     音位学
音位理论;最小对立体;自由变异;互补分布;语音的相似性;区别性特征;超语段音位学;音节;重音(词重音、句子重音、音高和语调)等。
第五章    词法学
词法的定义;曲折词与派生词;构词法(合成与派生);词素的定义;词素变体;自由词素;粘着词素(词根,词缀和词干)等。
第六章    词汇学
词的定义;语法词与词汇词;变词与不变词;封闭词与开放词;词的辨认;习语与搭配。
第七章  句法
句法的定义;句法关系;结构;成分;直接成分分析法;并列结构与从属结构;句子成分;范畴(性,数,格);一致;短语,从句,句子扩展等。
第八章   语义学
语义的定义;语义的有关理论;意义种类(传统、功能、语用);里奇的语义分类;词汇意义关系(同义、反义、下义);句子语义关系。
第九章   语言变化
语言的发展变化(词汇变化、语音书写文字、语法变化、语义变化);
第十章  语言、思维与文化
语言与文化的定义;萨丕尔-沃夫假说;语言与思维的关系;语言与文化的关系;中西文化的异同。
第十一章  语用学
语用学的定义;语义学与语用学的区别;语境与意义;言语行为理论(言内行为、言外行为和言后行为);合作原则。
                                 (主讲教师  张祖春)
posted @ 2006-12-02 13:59 ammcc 阅读(952) | 评论 (0)编辑 收藏
Define the following terms:
1.        design feature:are features that define our human languages,such as arbitrariness,duality,creativity,displacement,cultural transmission,etc.
2.        function: the use of language tocommunicate,to think ,etc.Language functions inclucle imformative function,interpersonal function,performative function,interpersonal function,performative function,emotive function,phatic communion,recreational function and metalingual function.
3.        etic: a term in contrast with emic which originates from American linguist Pike’s distinction of phonetics and phonemics.Being etic mans making far too many, as well as behaviously inconsequential,differentiations,just as was ofter the case with phonetic vx.phonemic analysis in linguistics proper.
4.        emic: a term in contrast with etic which originates from American linguist Pike’s distinction of phonetics and phonemics.An emic set of speech acts and events must be one that is validated as meaningful via final resource to the native members of a speech communith rather than via qppeal to the investigator’s ingenuith or intuition alone.
5.        synchronic: a kind of description which takes a fixed instant(usually,but not necessarily,the present),as its point of observation.Most grammars are of this kind.
6.        diachronic:study of a language is carried through the course of its history.
7.        prescriptive: the study of a language is carried through the course of its history.
8.        prescriptive: a kind of linguistic study in which things are prescribed how ought to be,i.e.laying down rules for language use.
9.        descriptive: a kind of linguistic study in which things are just described.
10.        arbitrariness: one design feature of human language,which refers to the face that the forms of linguistic signs bear no natural relationship to their meaning.
11.        duality: one design feature of human language,which refers to the property of having two levels of are composed of elements of the secondary.level and each of the two levels has its own principles of organization.
12.        displacement: one design feature of human language,which means human language enable their users to symbolize objects,events and concepts which are not present c in time and space,at the moment of communication.
13.        phatic communion: one function of human language,which refers to the social interaction of language.
14.        metalanguage: certain kinds of linguistic signs or terms for the analysis and description of particular studies.
15.        macrolinguistics: he interacting study between language and language-related disciplines such as psychology,sociology,ethnograph,science of law and artificial intelligence etc.Branches of macrolinguistics include psycholinguistics,sociolinguistics,                                                                anthropological linguistics,et
16.        competence: language user’s underlying knowledge about the system of rules.
17.        performance: the actual use of language in concrete situation.
18.        langue: the linguistic competence of the speaker.
19.        parole: the actual phenomena or data of linguistics(utterances).

20.        Articulatory phonetics: the study of production of speechsounds.
21.        Coarticulation: a kind of phonetic process in which simultaneous or overlapping articulations are involved..Coarticulation can be further divided into anticipatory coarticulation and perseverative coarticulation.
22.        Voicing: pronouncing a sound (usually a vowel or a voiced consonant) by vibrating the vocal cords.
23.        Broad and narrow transcription: the use of a simple set of symbols in transcription is called broad transcription;the use of a simple set of symbols in transcription is called broad transcription;while,the use of more specific symbols to show more phonetic detail is referred to as narrow transcription.
24.        Consonant: are sound segments produced by constricting or obstructing the vocal tract at some place to divert,impede,or completely shut off the flow of air in the oral cavity.
25.        Phoneme: the abstract element of sound, identified as being distinctive in a particular language.
26.        Allophone:any of the different forms of a phoneme(eg.<th>is an allophone of /t/in English.When /t/occurs in words like step,it is unaspirated<t>.Both<th>and <t>are allophones of the phoneme/t/.
27.        Vowl:are sound segments produced without such obstruction,so no turbulence of a total stopping of the air can be perceived.
28.        Manner of articulation; in the production of consonants,manner of articulation refers to the actual relationship between the articulators and thus the way in which the air passes through certain parts of the vocal tract.
29.        Place of articulation: in the production of consonants,place of articulation refers to where in the vocal tract there is approximation,narrowing,or the obstruction of air.
30.        Distinctive features: a term of phonology,i.e.a property which distinguishes one phoneme from another.
31.        Complementary distribution: the relation between tow speech sounds that never occur in the same environment.Allophones of the same phoneme are usually in complementary distribution.
32.        IPA: the abbreviation of International Phonetic Alphabet,which is devised by the International Phonetic Association in 1888 then it has undergong a number of revisions.IPA is a comprised system employing symbols of all sources,such as Roman small letters,italics uprighted,obsolete letters,Greek letters,diacritics,etc.
33.        Suprasegmental:suprasegmental featuresare those aspects of speech that involve more than single sound segments.The principal supra-segmental features aresyllable,stress,tone,,and intonation.
34.        Suprasegmental:aspects of speech that involve more than single sound segments.The principle suprasegmental features are syllable,stress,tone,and intonation.

35.        morpheme:the smallest unit of language in terms of relationship between expression and content,a unit that cannot be divided into further small units without destroying or drastically altering the meaning,whether it is lexical or grammatical.

36.        compoundoly morphemic words which consist wholly of free morphemes,such as classroom,blackboard,snowwhite,etc.
37.        inflection: the manifestation of grammatical relationship through the addition of inflectional affixes,such as number,person,finiteness,aspect and case,which do not change the grammatical class of the stems to which they are attached.
38.        affix: the collective term for the type of formative that can be used only when added to another morpheme(the root or stem).
39.        derivation: different from compounds,derivation shows the relation between roots and affixes.
40.        root: the base from of a word that cannot further be analyzed without total lass of identity.
41.        allomorph:; any of the different form of a morpheme.For example,in English the plural mortheme is but it is pronounced differently in different environments as/s/in cats,as/z/ in dogs and as/iz/ in classes.So/s/,/z/,and /iz/ are all allomorphs of the plural morpheme.
42.        Stem: any morpheme or combination of morphemes to which an inflectional affix can be added.
43.        bound morpheme: an element of meaning which is structurally dependent on the world it is added to,e.g. the plural morpheme in “dog’s”.
44.        free morpheme: an element of meaning which takes the form of an independent word.
45.        lexeme:A separate unit of meaning,usually in the form of a word(e.g.”dog in the manger”)
46.        lexicon: a list of all the words in a language assigned to various lexical categories and provided with semantic interpretation.
47.        grammatical word: word expressing grammatical meanings,such conjunction,prepositions,articles and pronouns.
48.        lexical word: word having lexical meanings,that is ,those which refer to substance,action and quality,such as nouns,verbs,adjectives,and verbs.
49.        open-class: a word whose membership is in principle infinite or unlimited,such as nouns,verbs,adjectives,and many adverbs.
50.        blending: a relatively complex form of compounding,in which two words are blended by joining the initial part of the first word and the final part of the second word,or by joining the initial parts of the two words.
51.        loanvoord: a process in which both form and meaning are borrowed with only a slight adaptation,in some cases,to eh phonological system of the new language that they enter.
52.        loanblend: a process in which part of the form is native and part is borrowed, but the meaning is fully borrowed.
53.        leanshift: a process in which the meaning is borrowed,but the form is native.
54.        acronym: is made up form the first letters of the name of an organization,which has a heavily modified headword.
55.        loss: the disappearance of the very sound as a morpheme in the phonological system.
56.        back-formation: an abnormal type of word-formation where a shorter word is derived by deleting an imagined affix from a long form already in the language.
57.        assimilation: the change of a sound as a result of the influence of an adjacent sound,which is more specifically called.”contact”or”contiguous”assimilation.
58.        dissimilation: the influence exercised.By one sound segment upon the articulation of another, so that the sounds become less alike,or different.
59.        folk etymology: a change in form of a word or phrase,resulting from an incorrect popular nation of the origin or meaning of the term or from the influence of more familiar terms mistakenly taken to be analogous
60.        category:parts of speech and function,such as the classification of words in terms of parts of speech,the identification of terms of parts of speech,the identification of functions of words in term of subject,predicate,etc.
61.        concord: also known as agreement,is the requirement that the forms of two or more words in a syntactic relationship should agree with each other in terms of some categories.
62.        syntagmatic relation between one item and others in a sequence,or between elements which are all present.
63.        paradigmatic relation: a relation holding between elements replaceable with each other at a particular place in a structure,or between one element present and he others absent.
64.        immediate constituent analysis: the analysis of a sentence in terms of its immediate constituents---word groups(or phrases),which are in trun analyzed into the immediate constituents of their own,and the process goes on until the ultimate constituents are reached.
65.        endocentric construction: one construction whose distribution is functionally equivalent,or approaching equivalence,to one of its constituents,which serves as the centre,or head, of the whole.Hence an endocentric construction is also known as a headed construction.
66.        exocentric construction: a construction whose distribution is not functionally equivalent to any to any of its constituents.
67.        deep structure: the abstract representation of the syntactic properties of a construction,i.e.the underlying level of structural relations between its different constituents ,such sa the relation between,the underlying subject and its verb,or a verb and its object.
68.        surfacte structure: the final stage in the syntactic derivation of a construction,which closely corresponds to the structural organization of a construction people actually produce and receive.
69.        c-command: one of the similarities,or of the more general features, in these two government relations,is technically called constituent command,c-command for short.
70.        government and binding theory: it is the fourth period of development Chomsky’s TG Grammar, which consists of X-bar theme: the basis,or the starting point,of the utterance.
71.        communicative dynamism: the extent to which the sentence element contributes to the development of the communication.
72.        ideational function: the speaker’s experience of the real world,including the inner world of his own consciousness.
73.        interpersonal function: the use of language to establish and maintain social relations: for the expression of social roles,which include the communication roles created by language itself;and also for getting things done,by means of the interaction between one person and another..
74.        textual function: the use of language the provide for making links with itself and with features of the situation in which it is used.
75.        conceptual meaning: the central part of meaning, which contains logical,cognitive,or denotative content.
76.        denotation: the core sense of a word or a phrade that relates it to phenomena in the real world.
77.        connotation: a term in a contrast with denotation,meaning the properties of the entity a word denotes.
78.        reference: the use of language to express a propostion,meaning the properties of the entity a word denotes

79.        reference: the use of anguage to express a proposition,i.e. to talk about things in context.
80.        sense: the literal meaning of a word or an expression,independent of situational context.
81.        synonymy: is the technical name for the sameness relation.
82.        complentary antonymy: members of a pair in complementary antonymy are complementary to each field completely,such as male,female,absent.
83.        gradable antongymy: members of this kind are gradable,such as long:short,big;small,fat;thin,etc.
84.        converse  antonymy: a special kind of antonymy in that memembers of a pair do not constitute a positive-negative opposition,such as buy;sell,lend,borrow,above,below,etc.
85.        relational opposites:converse antonymy in reciprocal social roles,kinship relations,temporal and spatial relations.There are always two entities involved.One presupposes the other. The shorter,better;worse.etc are instances of relational opposites.
86.        hyponymy: a relation between tow words,in which the meaning of one word(the superordinate)is included in the meaning of another word(the hyponym)
87.        superordinate: the upper term in hyponymy,i.e.the class name.A superordinate usually has several hyponyms.Under animal,for example,there are cats,dogs,pigs,etc,
88.        semantic component: a distinguishable element of meaning in a word with two values,e.g<+human>
89.        compositionality: a principle for sentence analysis, in which the meaning of a sentence depends on the meanings of the constituent words and the way they are combined.
90.        selection restriction:semantic restrictions of the noun phrases that a particular lexical item can take,e.g.regret requires a human subject.
91.        prepositional logic: also known as prepositional calculus or sentential calculus,is the study of the truth conditions for propositions:how the truth of a composite propositions and the connection between them.
92.        proposition;what is talk about in an utterance,that part of the speech act which has to do with reference.
93.        predicate logic: also predicate calculus,which studies the internal structure of simple.
94.        assimilation theory: language(sound,word,syntax,etc)change or process by which features of one element change to match those of another that precedes or follows.
95.        cohort theory: theory of the perception of spoken words proposed in the mid-1980s.It saaumes a “recognition lexicon”in which each word is represented by a full and independent”recognistion element”.When the system receives the beginning of a relevant acoustic signal,all elements matching it are fully acticated,and,as more of the signal is received,the system tries to match it independently with each of them,Wherever it fails the element is deactivated;this process continues until only one remains active.
96.        context effect: this effect help people recognize a word more readily when the receding words provide an appropriate context for it.
97.        frequency effect: describes the additional ease with which a word is accessed due to its more frequent usage in language.
98.        inference in context: any conclusion drawn from a set of proposition,from something someone has said,and so on.It includes things that,while not following logically,are implied,in an ordinary sense,e.g.in a specific context.
99.        immediate assumption: the reader is supposed to carry out the progresses required to understand each word and its relationship to previous words in the sentence as soon as that word in encountered.
100.        language perception:language awareness of things through the physical senses,esp,sight.
101.        language comprehension: one of the three strand of psycholinguistic research,which studies the understanding of language.
102.        language production: a goal-directed activety,in the sense that people speak and write in orde to make friends,influence people,convey information and so on.
103.        language production: a goal-directed activity,in the sense that people speak and write in order to make friends,influence people,concey information and so on.
104.        lexical ambiguity:ambiguity explained by reference to lexical meanings:e.g.that of I saw a bat,where a bat might refer to an animal or,among others,stable tennis bat.
105.        macroproposition:general propositions used to form an overall macrostructure of the story.
106.        modularhich a assumes that the mind is structuied into separate modules or components,each governed by its own principles and operating independently of others.
107.        parsing:the task of assigning words to parts of speech with their appropriate accidents,traditionally e.g.to pupils learning lat in grammar.
108.        propositionshatever is seen as expressed by a sentence which makes a statement.It is a property of propositions that they have truth values.
109.        psycholinguistics: is concerned primarily with investigating the psychological reality of linguistic structure.Psycholinguistics can be divided into cognitive psycholing uistics(being concerned above all with making inferences about the content of human mind,and experimental psycholinguistics(being concerned somehow whth empirical matters,such as speed of response to a particular word).
110.        psycholinguistic reality: the reality of grammar,etc.as a purported account of structures represented in the mind of a speaker.Often opposed,in discussion of the merits of alternative grammars,to criteria of simplicity,elegance,and internal consistency.
111.        schemata in text: packets of stored knowledge in language processing.
112.        story structure: the way in which various parts of story are arranged or organized.
113.        writing process: a series of actions or events that are part of a writing or continuing developmeng.
114.        communicative competence: a speaker’s knowledge of the total set of rules,conventions,etc.governing the skilled use of language in a society.Distinguished by D.Hymes in the late 1960s from Chomsley’s concept of competence,in the restricted sense of knowledge of a grammar.
115.        gender difference: a difference in a speech between men and women is”genden difference”
116.        linguistic determinism: one of the two points in Sapir-Whorf hypothesis,i.e.language determines thought.
117.        linguistic relativity: one of the two points in Spir-Whorf hypotheis,i.e.there’s no limit to the structural diversity of languages.
118.        linguistic sexism:many differences between me and women in language use are brought about by nothing less than women’s place in society.
119.        sociolinguistics of language: one of the two things in sociolinguistics,in which we want to look at structural things by paying attention to language use in a social context.
120.        sociolinguistics of society;one of the two things in sociolinguistics,in which we try to understand sociological things of society by examining linguistic phenomena of a speaking community.
121.        variationist linguistics: a branch of linguistics,which studies the relationship between speakers’social starts and phonological variations.
122.        performative: an utterance by which a speaker does something does something,as apposed to a constative,by which makes a statement which may be true or false.
123.        constative: an utterance by which a speaker expresses a proposition which may be true or false.
124.        locutionary act: the act of saying something;it’s an act of conveying literal meaning by means of syntax,lexicon,and phonology.Namely.,the utterance of a sentence with determinate sense and reference.
125.        illocutionary act: the act performed in saying something;its force is identical with the speaker’s intention.
126.        perlocutionary act: the act performed by or resulting from saying something,it’s the consequence of,or the change brought about by the utterance.
127.        conversational implicature: the extra meaning not contained in the literal utterances,underatandable to the listener only when he shares the speaker’s knowledge or knows why and how he violates intentionally one of the four maxims of the cooperative principle.
128.        entailment:relation between propositions one of which necessarily follows from the other:e.g.”Mary is running”entails,among other things,”Mary is not standing still”.
129.        ostensive communication: a complete characterization of communication is that it is ostensive-infer-ential.
130.        communicative principle of relevance:every act of ostensive communication communicates the presumption of its own optimal relevance.
131.        relevance: a property that any utterance,or a proposition that it communicates,must,in the nature of communication,necessarily have.
132.        Q-principle: one of the two principles in Horn’s scale,i.e.Make your contribution necessary (G.Relation,Quantity2,Manner);Say no more than you must(given Q).
133.        division of pragmatic labour: the use of a marked crelatively complex and/or expression when a corresponding unmarkeda(simpler,less”effortful”)alternate expression is available tends to be interpreted as conveying a marked message(one which the unmarked alternative would not or could not have conveyed).
134.        constraints on Horn scales:the hearer-based o-Principle is a sufficiency condition in the sense that information provided is the most the speaker is able to..
135.        third-person narrator: of the narrator is not a character in the fictional world,he or she is usually called a third –person narrator.
136
posted @ 2006-12-02 13:57 ammcc 阅读(435) | 评论 (0)编辑 收藏
英国文学
Part 1. Old and medieval
Beowulf 贝尔武甫(the national epic of the English people) stricking feature: alliteration, metaphors and understatements.
William Langland 威廉。兰格伦 Piers the Plowman耕者皮尔斯
Geoffrey Chaucer杰佛利•乔叟1340-1400 长诗:The House of Fame声誉之堂;Troilus and Criseyde特罗勒斯与克丽西德
小说:Canterbury Tales坎特伯雷故事集----英国文学史上现实主义第一部杰作
(他是最早有人文主义思想的作家,现实主义文学的奠基人)
his contribution to English poetry: introduced from france the rhymed couplet of 5 accents in iambic meter (the heroic couplet), is the first great poet who wrote in the English language. Who making the dialect of London the standard for the modern English speech.
Part 2. The English renaissance
Thomas More托马斯。莫尔 Utopia乌托帮
Philip Sidney菲力普。锡德尼 Astrophel and Stella  Apology for Poetry诗辩
Edmond Spenser埃德蒙。斯宾塞 The Faerie Queene 仙后 The Shepherds’s Calender 牧羊人日历
Francis Bacon培根1561-1626 Advancement of Learning学术的进展;Novum Organum新工具;New Atlantic新大西岛;Essays论文集(Of Studies论学习;Of Wisdom for a Man’s Self)
The founder of English materialist philosophy
Christopher Marlowe克里斯托夫。马洛 Tamburlaine铁木耳大帝 Dr.Faustus浮士德的悲剧 The Jew of Malta马耳他的犹太人 The Passionate Shepherd多情的牧羊人致情人
William Shakespeare莎士比亚1564-1616 The Tempest暴风风雨;The Two Gentlemen of Veronaz维罗纳二绅士;The Mercy Wives of Windsor温莎的风流妇人;Measure for Measure恶有恶报;The Comedy of Errors错中错;Much Ado about Nothing无事自扰;Love’s Labour’s Lost空爱一场;A Midsummer Night’s Dream仲夏夜之梦;The Merchant of Venice威尼斯商人;As You Like It如愿;The Taming of the Shrew驯悍记;All’s Well That Ends Well皆大欢喜;Twelfth Night第十二夜;The Winter’s Tale冬天的故事;The Life and Death of King John/Richard the Second/Henry the Fifth/Richard the Third约翰王/理查二世/亨利五世/理查三世;The First/Second Part of King Henry the Fourth亨利四世(上、下);The First/Second/Third Part of King Henry the Sixth亨利六世(上、中、下);The Life of King Henry the Eighth亨利八世;Troilus and Cressida脱爱勒斯与克莱西达;The Tragedy of Coriolanus考利欧雷诺斯;Titus Andronicus泰特斯•安庄尼克斯;Romeo and Julet罗密欧与朱丽叶;Timon of Athens雅典的泰门;The Life and Death of Julius Caesar;朱利阿斯•凯撒;The Tragedy of Macbeth麦克白;The Tragedy of Hamlet哈姆雷特/王子复仇记;King Lear李尔王;Othello奥塞罗;Antony and Cleopatra安东尼与克利欧佩特拉;Cymbeline辛白林;Pericles波里克利斯;Venus and Adonis维诺斯•阿都尼斯;Lucrece露克利斯;The Sonnets十四行诗
The Great Comedies: A Midsummer Night’s Dream仲夏夜之梦;The Merchant of Venice威尼斯商人;As You Like It如愿;;Twelfth Night第十二夜;
The Great Tragedies: The Tragedy of Hamlet哈姆雷特/王子复仇记; Othello奥塞罗King Lear李尔王; The Tragedy of Macbeth麦克白;
The Later Comedies(romances): Pericles波里克利斯; Cymbeline辛白林; The Winter’s Tale冬天的故事; The Tempest暴风风雨;
Part 3. The English Bourgeois revolution period
John Milton约翰•弥尔顿1608-1674 L‘Allegro欢乐的人;Il Penseroso沉思的人;Comus科马斯;Lycidas列西达斯;Areopagitica论出版自由;Pro Populo Anglicano Defense为英国人民声辩; Pro Populo Anglicano Defense Secunda再为英国人民声辩;Paradise Lost失乐园;Paradise Regained复乐园;Samson Agonistes力士参孙
John Bunyan班扬1628-1688 The Pilgrim’s Progress天路历程;
The Life and Death of Mr Badman培德曼先生的一生
John Donne 约翰。多恩 Songs and Sonnets    Devotions upon emergent Occasions
(The founder of the Metaphysical school of poetry)
John Dryden All for Love  Antony and Cleopatra   An Essay of  Dramatic Poesy
Part 4. The eighteenth Century
Joseph Addison艾迪生 诗:The Campaign 远征;             剧本:Cato加图
名文;Adventure of A shilling一先令的历险
Richard Steele理查德•斯梯尔1672-1729 The Christian Hero基督教徒的英雄
名文:The Spectator Club旁观者俱乐部
Alexander Pope蒲柏1688-1744 Pastorals田园诗集;An Essay on Criticism批评论;Windsor Forest温莎林;The Rape of the Lock卷发遇劫记;The Duncial愚人志;Moral Essays道德论;An Essay on Man人论;Epistle to Dr Arbuthnot与阿布斯诺博士书
Jonathan Swift斯威夫特1667-1745 The Battle of Books书的战争;A Tale of A Tub一个木桶的故事;The Drapier’s Letters布商的书信;A Modest Proposal一个温和的建议;Guilliver’s Travels格列佛游记(A Voyage to Lilliput/Brobdingnag/Laputa,Balnibarbi,Luggnagg,Glubbdubdriba and Japan/The Country of the Houyhnhnms小人国/大人国/拉普他等地/智马国游记)
Danniel Defoe丹尼尔•迪福1660-1731 (标志着近代英国小说的形成)
Hymn to the Pillory枷刑颂;Robinson Crusoe鲁宾孙飘流记;Captain Singleton辛格顿船长;Moll Flanders莫尔弗兰德斯;A Journal of the Plague Year大疫年日记
Samuel Richardson理查逊 Pamela帕美拉  Clarissa Harlowe克拉瑞莎  Sir Charles Grandison 格兰迪生
Henry Fielding亨利•菲尔丁1707-1754(英国现实主义小说的奠基者) 剧本:The Coffeehouse Politician咖啡屋政客;Don Quixote in England堂•吉诃德在英国;The Historical Register for the Year历史记事
长篇小说:The History of the Adventures of Joseph Andrews,and of His Friend Mr Abraham Adams约瑟•安德鲁传;The Life of Mr Jonathan Wild the Great大伟人江奈生•魏尔德传;The History of Tom Jones,a Foundling汤姆•琼斯;Amelia阿美利亚
Richard Bringsley Sheridan理查德。谢立丹 The School for Scsanda造谣学校The Rivals情敌
Samuel Johnson塞缪尔•约翰生1709-1784 A Dictionary of the Engligh Language英语语言辞典;Lives of Poets诗人传;Vanity of Human Wishes人类欲望的虚幻;Rasselas拉塞勒斯
名文:Letter to Lord Chesterfield给吉士菲尔伯爵的信
Oliver Goldsmith哥尔斯密1728-1774 The Vicar of Wakefield威克菲尔德牧师传;The Citizen of the World世界公民;The Deserted荒村;She Stoops to Conquer屈身求爱
Thomas Gray托马斯。格雷 Elegy Written in a Country Churchyard墓园挽歌
William Blake布莱克1757-1827 Poetical Sketches素描诗集;Songs of Innocence天真之歌;Songs of Experience经验之歌The French Revolution法国革命;The Marriage of Heaven and Hell天堂与地狱的婚姻;America;Milton;Jerusalem
名诗:London;The Tiger
Robert Burns彭斯1759-1796 Poems Chiefly in the Scottish Dialect苏格兰方言诗集
名诗:The Tree of Liberty自由村;Scots Wha-Hae苏格兰人;The Two Dogs两只狗;Holy Willie’s Prayer威利长老的祈祷;My Heart’s in the Highlands我的心呀在高原;A Red,Red Rose一朵红红的玫瑰;John Anderson约翰•安德生,My Jo;A Man’s A Man for A’That不管身在何处都须保持尊严;Robert Bruce’s March to Bannockburn
Part 5. Romanticism in England
William Wordsworth威廉•华兹华斯1770-1850 An Evening Walk黄昏漫步;Lyrical Ballads抒情歌谣集(与柯勒律治合编);Lucy Poems露西组诗(She Dwett Among the Untrodden Ways;To the Cuckoo杜鹃颂;I Wandered Lonely as a Cloud;The Solitary Reaper孤寂的刈麦人);Ode on Intimations of Immorality不朽颂;Ode to Duty义务颂;The Excursion远足;The Prelude序曲
Samuel Taylor Coleridge柯勒律治1772-1834 Lyrical Ballads;The Fall of the Bastille巴士底狱的毁灭;The Rime of the Ancient Mariner老船夫;Kubla Khan忽必烈汗;Biographia Literaria文学传记
Robert Southey骚塞 Joan of Arc  Wat Tyler
George Gordon Byron乔治•拜伦1788-1824 Hours of Idliness懒散的时刻;English Bords and Scottish Reviewers英国诗人与苏格兰评论家;Childe Harold’s Pilgrimage,Cantos I and II,Canto III 1818恰罗德•哈罗德游记;Ode to the Framers of the Frame-bill编织机法案编制者颂;Oriental Tales东方叙事诗(The Bride of Abydos阿比道斯的新娘;The Corsa海盗;The Siege of Corinth柯林斯之围);Manfred曼弗雷德;The Age of Bronze青铜世纪;Don Juan唐•璜
名诗:She Walks in Beauty;The Isles of Greece
Percy Bysshe Shelley波西•比希•雪莱1792-1822 Queen Mab麦布女王;Prometheus Unbound解放了的普罗米修斯;Adonais阿东尼斯;The Cenci钦契;Song to the Men of England致英国人民;England in 1819;The Masque of Anarchy专制魔王的化装游行;Ode to the West Wind/a Skylark西风/云雀颂;A Defence of Poetry诗辩
John Keats约翰•济兹1795-1821 Endymion恩底弥翁;Isabella伊莎贝拉;The Eve of Sanit Agnes圣爱尼节前夜;Ode on a Grecian Urn希腊古瓮颂;Ode to a Nightingale夜莺颂;To Autumn秋颂;Hyperion赫披里昂(未完成)
20、Charles Lamb查尔斯•兰姆1775-1834 Tales from Shakespeare莎士比亚故事集;Alburn Verses诗集;Essay of Elia伊利亚散文集(Dream Children梦中儿女;A Dissertation unpon Roast Pig烤猪论;Old China古瓷;New Year’s Eve除夕;The Praise of Chimney Sweepers扫烟囱童工赞;The Superannuated Man领取养老金的人;A Bachelor’s Complaint of the Behavior of Married People单身汉对结过婚的人的行为的抱怨)
Walter Scott瓦尔特•司各特1771-1832 诗:The Minstrlsy of the Scottish Border苏格兰边区歌谣集;Marimion玛里恩;The Lady of the Lake湖上夫人
小说:Waverley威弗利;Guy Mannering盖•曼纳令;Rob Roy罗布罗伊;The Heart of Midlothian米德洛西恩监狱;Ivanhoe艾凡赫;Kenilworth坎尼尔华斯;Woodstock皇家猎馆;Queentin Durward昆廷•达沃
Part 6. English Critical Realism
Thomas Hood胡德1799-1845 The Song of the Shirt衬衫之歌;The Bridge of Sighs悲叹之桥;Miss Kilmansegg and Her Precious Leg基尔曼塞格小姐和她贵重的腿
Ernest Jones琼斯1819-1869 小说:The Women’s Wrongs妇女们的委屈
名诗:The Song of the Lower Class;The Song of the Future
Charles Dickens狄更斯1812-1870 The Posthumous Papers of the Pickwick Club匹克威克外传;Oliver Twist奥利弗•退斯特;American Notes美国札记;Martin Chuzzlewit马丁•朱述尔维特;The Old Curiosity Shop老古玩店;Dombey and Son董贝父子;David Copperfield大卫•科波菲尔;Hard Times艰难时世;A Tale of Two Cities双城记;Great Expectation远大前程
William MakepeaceThackery萨克雷1811-1863 The Book of Snobs势利者集;Vanity Fair名利场;History of Pendennis潘丹尼斯的历史;The History of Henry Esmond亨利•艾斯芒的历史;The Newcomes纽可谟一家;The Virginians弗吉尼亚人
Jane Austin简•奥斯丁1775-1817 Pride and Prejudice傲慢与偏见;Sense and Sensibility理智与情感;Emma爱玛;Mansfield Park曼斯菲尔德公园;Persuasion好事多磨;Northanger Abbey诺桑觉寺
Charlote/Emily/Anne Bronte夏洛蒂/爱米丽/安妮•勃郎特1816-1855 Jane Eyre简爱;Shirley雪丽/
Wuthering Height呼啸山庄/
Agones Grey艾格尼斯•格雷
Elizabeth Cleghorn Gaskell盖斯凯尔1810-1865 Mary Barton玛丽•巴顿;Ruth露斯;Cranford克兰弗德;North and South北与南;Life of Charlote Bronte夏洛蒂勃郎特传
George Eliot爱略特(Mary Ann Evans)1819-1880 Adam Bede亚当•贝德;The Mill on the Floss弗洛斯河上的磨坊;Silas Marner织工马南;Middlemarch米德尔马契;Felix Holt,the Radical
Part 7. Prose-writers & Poets of the Mid & Late 19th century
Thomas Carlyle卡莱尔1795-1881 Sartor Resartus衣裳哲学/旧衣新裁;The Life of Schiller席勒传;The French Revolution;Heroes and Hero-worship论英雄与英雄崇拜
Afred Tennyson丁尼生1809-1892 Poems of Two Brothers壎篪;Timbuctoo提姆巴克图;The Pricess公主;In Memoriam H H悼念哈拉姆;Maud毛黛;Enoch Arden伊诺克•阿登;Idylls of the King国王之歌
名诗:Ulysses;The Eagle;Break,Break,Break
Robert Browning 勃朗宁1812-1889 Paracelsus巴拉塞尔士;Strafford斯特拉福;Pippa Passes比芭走过;Dramatic Lyrics戏剧抒情诗;Dramatic Romances and Lyrics戏剧传奇与抒情诗(Home Thoughts;From Abroad;Prospice向前看);Dramatic Personae登场人物;Men and Women男男女女
Elizabeth Barrel Browning 1806-1861 Sonnets from the Portuguese葡萄牙十四行诗;The Cry of the Children

William Morris莫里斯1834-1896 诗:The Earthly Paradise地上乐园;Chants of Socialism社会主义歌集;Pilgrims of Hope希望的探求者
小说:A Dream of John Ball梦见给翰•保尔;News from Nowher乌有乡消息
William Hazlitt威廉•赫兹里特1778-1830 Characters of Shakespeare’s Plays莎剧中的人物;A View of the English Stage英国舞台一瞥;Lecture on the English Poets论英国诗人;The Spirit of the Age时代精神;Sketches and Essays素描与随笔;Table Talk桌边文谈
名文:On Familiar Style
George Gissing吉辛1857-1903 小说:Demos民众;New Crub Srreet新穷士街;Born in Eile在流放中诞生;The Private Papers of Henry Ryecroft拉伊克罗夫特的日记(散文);Charles Dickens:A Critical Study狄更斯研究
Robert Couis Stevenson史蒂文生1850-1894 小说:New Arabian Nights新天方夜谭;Treasure Island宝岛;The Strange Case of Dr Jeykell and Mr Hyde化身博士;Kidnapped诱拐
游记:An Inland Voyage内陆游记;Travels with a Donkey in the Cevennes骑驴旅行;A Child’s Garden of Verses儿童诗园
Oscar Wilde王尔德1856-1900 长篇小说:The Picture of Dorian Gray道林•格雷的画像
童话:The Happy Prince and Other Tales快乐王子
诗集:De Prafundis惨痛的呼声;The Ballad of Reading Gaol累丁狱之歌
剧作:Lady Windermere’s Fan温德米尔夫人的扇子;A Woman of No Importance一个无足轻重的妇女;An Ideal Husband理想丈夫;The Importance of Being Earnest埃耐斯特的重要性
20th century English literature
Joseph Rudyard Kipling罗德雅德•吉卜林1865-1936 诗集:Barrak Room Ballad营房诗集;The Seven Seas七海;Recession and Other Poems赞美诗及其他;The Five Nations五国
长篇小说:Kim基姆;Captain Courageous勇敢的船长
短篇小说:Plain Tales from the Hills;Soldiers There;The Story of the Gadsby;Life Handcap生命的阻力;The Jungle Book;The Second Jungle Book林莽之书;The Lost Legion
Samuel Butler勃特勒1835-1902 The Way of All Flesh如此人生;Erewhon埃瑞璜;Erewhon Revisited重游埃瑞璜
Joseph Conrad康拉德1859-1924 长篇小说:Almayer’s Folly奥尔迈耶的愚蠢;The Nigger of the Narcissus水仙号上的黑鬼;Lord Jim吉姆老爷;Nostromo诺斯特罗莫;The Secret Agent间谍;Chance机缘;Victory胜利
短篇小说:An Outpost of  Progress文明的前哨;Heart of Darkness黑暗的中心;Youth青春
Henry James Daisy Miller  The portrait of a Lady  The Wings of the Dove  The ambassadors  The Golden Bowl
Thomas Hardy哈代1840-1928 Under the Greenwood Tree绿茵下;Far from the Madding Crowd远离尘嚣;The Return of the Native还乡;The Mayor of Casterbridge卡斯特桥市长;Tess of the D’urbervilles德伯家的苔丝;Jude the Obscure无名的裘德
诗集:Wessex Poems 威塞克斯诗集            史诗剧:The Dynasts统治者三部曲
John Galworthy高尔斯华绥1867-1933 From the Four Winds天涯海角(The Man of Property有产业的人;In Chancery骑虎难下;To Let出租→The Forsyte Saga福尔塞世家);(The White Monkey白猿;The Silver Spoon银匙;Swan Song天鹅曲→A Modern Comedy现代喜剧)
剧作:The Silver Box银匣;Strife斗争
George Bernard Shaw萧伯纳1856-1950 长篇小说:An Unsocial Socialist业余社会主义者  评论:Quintessence of Ibsenism
剧本:Widoer’s Houses鳏夫的房产;Mrs Warren’s Profession华伦夫人的职业The Devil’s Disciple魔鬼的门徒;Man and Superman人与超人;John Bull’s Other Island英国佬的另一个岛;Major Barbara巴巴拉少校;Pygmalion劈克美梁;Heartbreak House伤心之家;The Apple Cart苹果车;Too True to be Good真相毕露
William Butler Yeats叶芝1865-1939 诗:Respondibilities责任;The Tower塔;The Winding Stair盘旋的楼梯
名诗:A Deap Sworn Vow;Easter 1916
剧本:The Land of Heart’s Desire理想的国土;The Hour Glass时漏;Dedidre黛德尔
Autobiographies自传三部曲;Essays and Introduction
Thomas Stearns Eliot艾略特1888-1965 诗集:Prufrock and Other Observation普鲁夫洛克及其他;The Waste Land荒原;The Hollow Men空虚的人们;Ash-Wednesday圣灰星期三;Four Quarters
诗剧:Murder in the Cathedral大教堂里的谋杀案;The Family Reunion团圆
评论集:The Sacred Wood圣林;Homage to John Dryden向约翰•德莱顿致敬;For Lancelot Andrews纪念兰斯洛特•安德鲁斯
David Herbert Lawrence劳伦斯1885-1930 The White Peacock白孔雀;Sons and Lovers儿子与情人;The Reinbow虹;Women in Love恋爱中的妇女;Lady Chatterley’s Lover查泰莱夫人的情人
James Joyce乔伊斯1882-1941 短篇小说:Dubiners都柏林人
长篇小说:A Portrait of the Artist as a Young Man青年艺术家的画像;Ulysess尤利西斯;Finnegans Wake芬尼根的觉醒
Virginia Woolf沃尔芙1882-1941 长篇小说:Mrs Dalloway达洛威夫人;To the Lighthouse到灯塔去;Orlando奥兰多传;The Waves浪;Flush弗乐希;Between the Acts幕间
散文集:The Common Readers;The Death of the Moth and Other Essays;A Room of One’s Own;Three Guineas三个基尼亚
名文:Modern Fiction现代小说    日记:A Writer’s Diary
posted @ 2006-12-02 13:40 ammcc 阅读(2547) | 评论 (3)编辑 收藏
A Concise History of British Literature
Chapter 1 English Literature of Anglo-Saxon Period. Introduction
1. The historical background
(1) Before the Germanic invasion
(2) During the Germanic invasion
a. immigration;
b. Christianity;
c. heptarchy.
d. social classes structure: hide-hundred; eoldermen (lord) – thane - middle class (freemen) - lower class (slave or bondmen: theow);
e. social organization: clan or tribes.
f. military Organization;
g. Church function: spirit, civil service, education;
h. economy: coins, trade, slavery;
i. feasts and festival: Halloween, Easter; j. legal system.
2. The Overview of the culture
(1) The mixture of pagan and Christian spirit.
(2) Literature: a. poetry: two types; b. prose: two figures.

II. Beowulf.
1. A general introduction.
2. The content.
3. The literary features.
(1) the use of alliteration
(2) the use of metaphors and understatements
(3) the mixture of pagan and Christian elements

III. The Old English Prose
1. What is prose?
2. figures
(1) The Venerable Bede
(2) Alfred the Great
Chapter 2 English Literature of the Late Medieval Ages
I. Introduction
1. The Historical Background.
(1) The year 1066: Norman Conquest.
(2) The social situations soon after the conquest.
A. Norman nobles and serfs;
B. restoration of the church.
(3) The 11th century.
A. the crusade and knights.
B. dominance of French and Latin;
(4) The 12th century.
A. the centralized government;
B. kings and the church (Henry II and Thomas);
(5) The 13th century.
A. The legend of Robin Hood;
B. Magna Carta (1215);
C. the beginning of the Parliament
D. English and Latin: official languages (the end)
(6) The 14th century.
a. the House of Lords and the House of Commons—conflict between the Parliament and Kings;
b. the rise of towns.
c. the change of Church.
d. the role of women.
e. the Hundred Years’ War—starting.
f. the development of the trade: London.
g. the Black Death.
h. the Peasants’ Revolt—1381.
i. The translation of Bible by Wycliff.
(7) The 15th century.
a. The Peasants Revolt (1453)
b. The War of Roses between Lancasters and Yorks.
c. the printing-press—William Caxton.
d. the starting of Tudor Monarchy(1485)
2. The Overview of Literature.
(1) the stories from the Celtic lands of Wales and Brittany—great myths of the Middle Ages.
(2) Geoffrye of Monmouth—Historia Regum Britanniae—King Authur.
(3) Wace—Le Roman de Brut.
(4) The romance.
(5) the second half of the 14th century: Langland, Gawin poet, Chaucer.

II. Sir Gawin and Green Knight.
1. a general introduction.
2. the plot.

III. William Langland.
1. Life
2. Piers the Plowman

IV. Chaucer
1. Life
2. Literary Career: three periods
(1) French period
(2) Italian period
(3) master period
3. The Canterbury Tales
A. The Framework;
B. The General Prologue;
C. The Tale Proper.
4. His Contribution.
(1) He introduced from France the rhymed stanza of various types.
(2) He is the first great poet who wrote in the current English language.
(3) The spoken English of the time consisted of several dialects, and Chaucer did much in making the dialect of London the standard for the modern English speech.

V. Popular Ballads.

VI. Thomas Malory and English Prose

VII. The beginning of English Drama.
1. Miracle Plays.
Miracle play or mystery play is a form of medieval drama that came from dramatization of the liturgy of the Roman Catholic Church. It developed from the 10th to the 16th century, reaching its height in the 15th century. The simple lyric character of the early texts was enlarged by the addition of dialogue and dramatic action. Eventually the performance was moved to the churchyard and the marketplace.
2. Morality Plays.
A morality play is a play enforcing a moral truth or lesson by means of the speech and action of characters which are personified abstractions – figures representing vices and virtues, qualities of the human mind, or abstract conceptions in general.
3. Interlude.
The interlude, which grew out of the morality, was intended, as its name implies, to be used more as a filler than as the main part of an entertainment. As its best it was short, witty, simple in plot, suited for the diversion of guests at a banquet, or for the relaxation of the audience between the divisions of a serious play. It was essentially an indoors performance, and generally of an aristocratic nature.


Chapter 3 English Literature in the Renaissance
I. A Historical Background

II. The Overview of the Literature (1485-1660)
Printing press—readership—growth of middle class—trade-education for laypeople-centralization of power-intellectual life-exploration-new impetus and direction of literature.
Humanism-study of the literature of classical antiquity and reformed education.
Literary style-modeled on the ancients.
The effect of humanism-the dissemination of the cultivated, clear, and sensible attitude of its classically educated adherents.
1. poetry
The first tendency by Sidney and Spenser:  ornate, florid, highly figured style.
The second tendency by Donne: metaphysical style—complexity and ingenuity.
The third tendency by Johnson: reaction--Classically pure and restrained style.
The fourth tendency by Milton: central Christian and Biblical tradition.
2. Drama
a. the native tradition and classical examples.
b. the drama stands highest in popular estimation: Marlowe – Shakespeare – Jonson.
3. Prose
a. translation of Bible;
b. More;
c. Bacon.

II. English poetry.
1. Sir Thomas Wyatt and Henry Howard (courtly makers)
(1) Wyatt: introducing sonnets.
(2) Howard: introducing sonnets and writing the first blank verse.
2. Sir Philip Sidney—poet, critic, prose writer
(1) Life:
a. English gentleman;
b. brilliant and fascinating personality;
c. courtier.
(2) works
a. Arcadia: pastoral romance;
b. Astrophel and Stella (108): sonnet sequence to Penelope Dvereux—platonic devotion.
Petrarchan conceits and original feelings-moving to creativeness—building  of a narrative story; theme-love originality-act of writing.
c. Defense of Poesy: an apology for imaginative literature—beginning  of literary criticism.
3. Edmund Spenser
(1) life: Cambridge - Sidney’s friend - “Areopagus” – Ireland - Westminster Abbey.
(2) works
a. The Shepherds Calendar: the budding of English poetry in Renaissance.
b. Amoretti and Epithalamion: sonnet sequence
c. Faerie Queene:
 The general end--A romantic and allegorical epic—steps to virtue.
 12 books and 12 virtues:  Holiness, temperance, justice and courtesy.
 Two-level function: part of the story and part of allegory (symbolic meaning)
 Many allusions to classical writers.
 Themes: puritanism, nationalism, humanism and Renaissance Neoclassicism—a Christian humanist.
(3) Spenserian Stanza.

III. English Prose
1. Thomas More
(1) Life: “Renaissance man”, scholar, statesman, theorist, prose writer, diplomat, patron of arts
a. learned Greek at Canterbury College, Oxford;
b. studies law at Lincoln Inn;
c. Lord Chancellor;
d. beheaded.
(2) Utopia: the first English science fiction.
Written in Latin, two parts, the second—place of nowhere.
A philosophical mariner (Raphael Hythloday) tells his voyages in which he discovers a land-Utopia.
a. The part one is organized as dialogue with mariner depicting his philosophy.
b. The part two is a description of the island kingdom where gold and silver are worn by criminal, religious freedom is total and no one owns anything.
c. the nature of the book: attacking the chief political and social evils of his time.
d. the book and the Republic: an attempt to describe the Republic in a new way, but it possesses an modern character and the resemblance is in externals.
e. it played a key role in the Humanist awakening of the 16th century which moved away from the Medieval otherworldliness towards Renaissance secularism.
f. the Utopia
(3) the significance.
a. it was the first champion of national ideas and national languages; it created a national prose, equally adapted to handling scientific and artistic material.
b. a elegant Latin scholar and the father of English prose: he composed works in English, translated from Latin into English biography, wrote History of Richard III.
2. Francis Bacon: writer, philosopher and statesman
(1) life: Cambridge - humanism in Paris – knighted - Lord Chancellor – bribery - focusing on philosophy and literature.
(2) philosophical ideas: advancement of science—people:servants  and interpreters of nature—method: a child before nature—facts and observations: experimental.
(3) “Essays”: 57.
a. he was a master of numerous and varied styles.
b. his method is to weigh and balance maters, indicating the ideal course of action and the practical one, pointing out the advantages and disadvantages of each, but leaving the reader  to make the final decisions. (arguments)

IV. English Drama
1. A general survey.
(1) Everyman marks the beginning of modern drama.
(2) two influences.
a. the classics: classical in form and English in content;
b. native or popular drama.
(3) the University Wits.
2. Christopher Marlowe: greatest playwright before Shakespeare and most gifted of the Wits.
(1) Life: first interested in classical poetry—then in drama.
(2) Major works
a. Tamburlaine;
b. The Jew of Malta;
c. The Tragical History of Doctor Faustus.
(3) The significance of his plays.

V. William Shakespeare
1. Life
(1) 1564, Stratford-on-Avon;
(2) Grammar School;
(3) Queen visit to Castle;
(4) marriage to Anne Hathaway;
(5) London, the Globe Theatre: small part and proprietor;
(6) the 1st Folio, Quarto;
(7) Retired, son—Hamnet; H. 1616.
2. Dramatic career
3. Major plays-men-centered.
(1) Romeo and Juliet--tragic love and fate
(2) The Merchant of Venice.
Good over evil.
Anti-Semitism.
(3) Henry IV.
National unity.
Falstaff.
(4) Julius Caesar
Republicanism vs. dictatorship.
(5) Hamlet
Revenge
Good/evil.
(6) Othello
Diabolic character
jealousy
gap between appearance and reality.
(7) King Lear
Filial ingratitude
(8) Macbeth
Ambition vs. fate.
(9) Antony and Cleopatra.
Passion vs. reason
(10) The Tempest
Reconciliation; reality and illusion.
3. Non-dramatic poetry
(1) Venus and Adonis; The Rape of Lucrece.
(2) Sonnets:
a. theme: fair, true, kind.
  b. two major parts: a handsome young man of noble birth; a lady in dark complexion.
  c. the form: three quatrains and a couplet.
d. the rhyme scheme: abab, cdcd, efef, gg.

VI. Ben Jonson
1. life: poet, dramatist, a Latin and Greek scholar, the “literary king” (Sons of Ben)
2.contribution:
(1) the idea of “humour”.
(2) an advocate of classical drama and  a forerunner of classicism in English literature.
3. Major plays
(1) Everyone in His Humour—”humour”; three unities.
(2) Volpone the Fox


Chapter 4 English Literature of the 17th Century
I. A Historical Background

II. The Overview of the Literature (1640-1688)
1. The revolution period
(1) The metaphysical poets;
(2) The Cavalier poets.
(3) Milton: the literary and philosophical heritage of the Renaissance merged with Protestant political and moral conviction
2. The restoration period.
(1) The restoration of Charles II ushered in a literature characterized by reason, moderation, good taste, deft management, and simplicity. (school of Ben Jonson)
(2) The ideals of impartial investigation and scientific experimentation promoted by the newly founded Royal Society of London for Improving Natural Knowledge (1662) were influential in the development of clear and simple prose as an instrument of rational communication.
(3) The great philosophical and political treatises of the time emphasize rationalism.
(4) The restoration drama.
(5) The Age of Dryden.

III. John Milton
1. Life: educated at Cambridge—visiting the continent—involved into the revolution—persecuted—writing epics.
2. Literary career.
(1) The 1st period was up to 1641, during which time he is to be seen chiefly as a son of the humanists and Elizabethans, although his Puritanism is not absent. L'Allegre and IL Pens eroso (1632) are his early masterpieces, in which we find Milton a true offspring of the Renaissance, a scholar of exquisite taste and rare culture. Next came Comus, a masque. The greatest of early creations was Lycidas, a pastoral elegy on the death of a college mate, Edward King.
(2) The second period is from 1641 to 1654, when the Puritan was in such complete ascendancy that he wrote almost no poetry. In 1641, he began a long period of pamphleteering for the puritan cause. For some 15 years, the Puritan in him alone ruled his writing. He sacrificed his poetic ambition to the call of the liberty for which Puritans were fighting.
(3) The third period is from 1655 to 1671, when humanist and Puritan have been fused into an exalted entity. This period is the greatest in his literary life, epics and some famous sonnets. The three long poems are the fruit of the long contest within Milton of Renaissance tradition and his Puritan faith. They form the greatest accomplishments of any English poet except Shakespeare. In Milton alone, it would seem, Puritanism could not extinguish the lover of beauty. In these works we find humanism and Puritanism merged in magnificence.
3. Major Works
(1) Paradise Lost
a. the plot.
b. characters.
c. theme: justify the ways of God to man.
(2) Paradise Regained.
(3) Samson Agonistes.
4. Features of Milton’s works.
(1) Milton is one of the very few truly great English writers who is also a prominent figure in politics, and who is both a great poet and an important prose writer. The two most essential things to be remembered about him are his Puritanism and his republicanism.
(2) Milton wrote many different types of poetry. He is especially a great master of blank verse. He learned much from Shakespeare and first used blank verse in non-dramatic works.
(3) Milton is a great stylist. He is famous for his grand style noted for its dignity and polish, which is the result of his life-long classical and biblical study.
(4) Milton has always been admired for his sublimity of thought and majesty of expression.

IV. John Bunyan
1. life:
(1) puritan age;
(2) poor family;
(3) parliamentary army;
(4) Baptist society, preacher;
(5) prison, writing the book.  
2. The Pilgrim Progress
(1) The allegory in dream form.
(2) the plot.
(3) the theme.

V. Metaphysical Poets and Cavalier Poets.
1. Metaphysical Poets
The term “metaphysical poetry” is commonly used to designate the works of the 17th century writers who wrote under the influence of John Donne. Pressured by the harsh, uncomfortable and curious age, the metaphysical poets sought to shatter myths and replace them with new philosophies, new sciences, new words and new poetry. They tried to break away from the conventional fashion of Elizabethan love poetry, and favoured in poetry for a more colloquial language and tone, a tightness of expression and the single-minded working out of a theme or argument.
2. Cavalier Poets
The other group prevailing in this period was that of Cavalier poets. They were often courtiers who stood on the side of the king, and called themselves “sons” of Ben Jonson. The Cavalier poets wrote light poetry, polished and elegant, amorous and gay, but often superficial. Most of their verses were short songs, pretty madrigals, love fancies characterized by lightness of heart and of morals. Cavalier poems have the limpidity of the Elizabethan lyric without its imaginative flights. They are lighter and neater but less fresh than the Elizabethan’s.

VI. John Dryden.
1. Life:
(1) the representative of classicism in the Restoration.
(2) poet, dramatist, critic, prose writer, satirist.
(3) changeable in attitude.
(4) Literary career—four decades.
(5) Poet Laureate
2. His influences.
(1) He established the heroic couplet as the fashion for satiric, didactic, and descriptive poetry.
(2) He developed a direct and concise prose style.
(3) He developed the art of literary criticism in his essays and in the numerous prefaces to his poems.


Chapter 5 English Literature of the 18th Century
I. Introduction
1. The Historical Background.
2. The literary overview.
(1) The Enlightenment.
(2) The rise of English novels.
When the literary historian seeks to assign to each age its favourite form of literature, he finds no difficulty in dealing with our own time. As the Middle Ages delighted in long romantic narrative poems, the Elizabethans in drama, the Englishman of the reigns of Anne and the early Georges in didactic and satirical verse, so the public of our day is enamored of the novel. Almost all types of literary production continue to appear, but whether we judge from the lists of publishers, the statistics of public libraries, or general conversation, we find abundant evidence of the enormous preponderance of this kind of literary entertainment in popular favour.
(3) Neo-classicism: a revival in the seventeenth and eighteenth centuries of classical standards of order, balance, and harmony in literature. John Dryden and Alexander Pope were major exponents of the neo-classical school.
(4) Satiric literature.
(5) Sentimentalism

II. Neo-classicism. (a general description)
1. Alexander Pope
(1) Life:
a. Catholic family;
b. ill health;
c. taught himself by reading and translating;
d. friend of Addison, Steele and Swift.
(2) three groups of poems:
e. An Essay on Criticism (manifesto of neo-classicism);
f. The Rape of Lock;
g. Translation of two epics.
(3) His contribution:
h. the heroic couplet—finish, elegance, wit, pointedness;
i. satire.
(4) weakness: lack of imagination.
2. Addison and Steele
(1) Richard Steele: poet, playwright, essayist, publisher of newspaper.
(2) Joseph Addison: studies at Oxford, secretary of state, created a literary periodical “Spectator” (with Steele, 1711)
(3) Spectator Club.
(4) The significance of their essays.
a. Their writings in “The Tatler”, and “The Spectator” provide a new code of social morality for the rising bourgeoisie.
b. They give a true picture of the social life of England in the 18th century.
c. In their hands, the English essay completely established itself as a literary genre. Using it as a form of character sketching and story telling, they ushered in the dawn of the modern novel.
3. Samuel Johnson—poet, critic, essayist, lexicographer, editor.
(1) Life:
a. studies at Oxford;
b. made a living by writing and translating;
c. the great cham of literature.
(2) works: poem (The Vanity of Human Wishes, London); criticism (The Lives of great Poets); preface.
(3) The champion of neoclassical ideas.

III. Literature of Satire: Jonathan Swift.
1. Life:
(1) born in Ireland;
(2) studies at Trinity College;
(3) worked as a secretary;
(4) the chief editor of The Examiner;
(5) the Dean of St. Patrick’s in Dublin.
2. Works: The Battle of Books, A Tale of a Tub, A Modest Proposal, Gulliver’s Travels.
3. Gulliver’s Travels.
Part I. Satire—the Whig and the Tories, Anglican Church and Catholic Church.
Part II. Satire—the legal system; condemnation of war.
Part III. Satire—ridiculous scientific experiment.
Part IV. Satire—mankind.

IV. English Novels of Realistic tradition.
1. The Rise of novels.
(1) Early forms: folk tale – fables – myths – epic – poetry – romances – fabliaux – novelle - imaginative nature of their material. (imaginative narrative)
(2) The rise of the novel
a. picaresque novel in Spain and England (16th century): Of or relating to a genre of prose fiction that originated in Spain and depicts in realistic detail the adventures of a roguish hero, often with satiric or humorous effects.
b. Sidney: Arcadia.
c. Addison and Steele: The Spectator.
(plot and characterization and realism)
(3) novel and drama (17the century)
2. Daniel Defoe—novelist, poet, pamphleteer, publisher, merchant, journalist.)
(1) Life:
a. business career;
b. writing career;
c. interested in politics.
(2) Robinson Cusoe.
a. the story.
b. the significance of the character.
c. the features of his novels.
d. the style of language.
3. Henry Fielding—novelist.
(1) Life:
a. unsuccessful dramatic career;
b. legal career; writing career.
(2) works.
(3) Tom Jones.
a. the plot;
b. characters: Tom, Blifil, Sophia;
c. significance.
(4) the theory of realism.
(5) the style of language.

V. Writers of Sentimentalism.
1. Introduction
2. Samuel Richardson—novelist, moralist (One who is unduly concerned with the morals of others.)
(1) Life:
a. printer book seller;
b. letter writer.
(2) Pamela, Virtue Rewarded.
a. the story
b. the significance
Pamela was a new thing in these ways:
a) It discarded the “improbable and marvelous” accomplishments of the former heroic romances, and pictured the life and love of ordinary people.
b) Its intension was to afford not merely entertainment but also moral instruction.
c) It described not only the sayings and doings of characters but their also their secret thoughts and feelings. It was, in fact, the first English psycho-analytical novel.

3. Oliver Goldsmith—poet and novelist.
A. Life:
a. born in Ireland;
b. a singer and tale-teller, a life of vagabondage;
c. bookseller;
d. the Literary Club;
e. a miserable life;
f. the most lovable character in English literature.
B. The Vicar of Wakefield.
a. story;
b. the signicance.

VI. English Drama of the 18th century
1. The decline of the drama
2. Richard Brinsley Sheriden
A. life.
B. works: Rivals, The School for Scandals.
C. significance of his plays.
a. The Rivals and The School for Scandal are generally regarded as important links between the masterpieces of Shakespeare and those of Bernard Shaw, and as true classics in English comedy.
b. In his plays, morality is the constant theme. He is much concerned with the current moral issues and lashes harshly at the social vices of the day.
c. Sheridan’s greatness also lies in his theatrical art. He seems to have inherited from his parents a natural ability and inborn knowledge about the theatre. His plays are the product of a dramatic genius as well as of a well-versed theatrical man.
d. His plots are well-organized, his characters, either major or minor, are all sharply drawn, and his manipulation of such devices as disguise, mistaken identity and dramatic irony is masterly. Witty dialogues and neat and decent language also make a characteristic of his plays.


Chapter 6 English Literature of the Romantic Age
I. Introduction
1. Historical Background
2. Literary Overview: Romanticism
Characteristics of Romanticism:
(1) The spontaneous overflow of powerful feelings
(2) The creation of a world of imagination
(3) The return to nature for material
(4) Sympathy with the humble and glorification of the commonplace
(5) Emphasis upon the expression of individual genius
(6) The return to Milton and the Elizabethans for literary models
(7) The interest in old stories and medieval romances
(8) A sense of melancholy and loneliness
(9) The rebellious spirit

II. Pre-Romantics
1. Robert Burns
(1) Life: French Revolution
(2) Features of poetry
a. Burns is chiefly remembered for his songs written in the Scottish dialect.
b. His poems are usually devoid of artificial ornament and have a great charm of simplicity.
c. His poems are especially appreciated for their musical effect.
d. His political and satirical poems are noted for his passionate love for freedom and fiery sentiments of hatred against tyranny.
(3) Significance of his poetry
His poetry marks an epoch in the history of English literature. They suggested that the spirit of the Romantic revival was embodied in this obscure ploughman. Love, humour, pathos, the response to nature – all the poetic qualities that touch the human heart are in his poems, which marked the sunrise of another day – the day of Romanticism.
2. William Blake
(1) life: French Revolution
(2) works.
 Songs of Innocence
 Songs of Experience
(3) features
a. sympathy with the French Revolution
b. hatred for 18th century conformity and social institution
c. attitude of revolt against authority
d. strong protest against restrictive codes
(4) his influence
Blake is often regarded as a symbolist and mystic, and he has exerted a great influence on twentieth century writers. His peculiarities of thought and imaginative vision have in many ways proved far more congenial to the 20th century than they were to the 19th.

III. Romantic Poets of the first generation
1. Introduction
2. William Wordsworth: representative poet, chief spokesman of Romantic poetry
(1) Life:
a. love nature;
b. Cambridge;
c. tour to France;
d. French revolution;
e. Dorathy;
f. The Lake District;
g. friend of Coleridge;
h. conservative after revolution.
(2) works:
a. the Lyrical Ballads (preface): significance
b. The Prelude: a biographical poem.
c. the other poems
(3) Features of his poems.
a. Theme
A constant theme of his poetry was the growth of the human spirit through the natural description with expressions of inward states of mind.
b. characteristics of style.
His poems are characterized by a sympathy with the poor, simple peasants, and a passionate love of nature.
3. Samuel Taylor Coleridge: poet and critic
(1) Life:
a. Cambridge;
b. friend with Southey and Wordsworth;
c. taking opium.
(2) works.
 The fall of Robespierre
 The Rime of the Ancient Mariner
 Kubla Khan
 Biographia Literaria
(3) Biographia Literaria.
(4) His criticism
He was one of the first critics to give close critical attention to language. In both poetry and criticism, his work is outstanding, but it is typical of him that his critical work is very scattered and disorganized.

IV. Romantic Poets of the Second Generation.
1. Introduction
2. George Gordon Byron
(1) Life:
a. Cambridge, published poems and reviews;
b. a tour of Europe and the East;
c. left England;
d. friend with Shelley;
e. worked in Greece: national hero;
f. radical and sympathetic with French Revolution.
(2) Works.
 Don Juan
 When We Two Parted
 She Walks in Beauty
(3) Byronic Hero.
Byron introduced into English poetry a new style of character, which as often been referred to as “Byronic Hero” of “satanic spirit”. People imagined that they saw something of Byron himself in these strange figures of rebels, pirates, and desperate adventurers.
(4) Poetic style: loose, fluent and vivid
3. Percy Bysshe Shelley: poet and critic
(1) Life:
a. aristocratic family;
b. rebellious heart;
c. Oxford;
d. Irish national liberation Movement;
e. disciple of William Godwin;
f. marriage with Harriet, and Marry;
g. left England and wandered in EUrope, died in Italy;
h. radical and sympathetic with the French revolution;
i. Friend with Byron
(2) works: two types – violent reformer and wanderer
(3) Characteristics of poems.
a. pursuit of a better society;
b. radian beauty;
c. superb artistry: imagination.
(4) Defense of Poetry.
4. John Keats.
(1) Life:
a. from a poor family;
b. Cockney School;
c. friend with Byron and Shelley;
d. attacked by the conservatives and died in Italy.
(2) works.
(3) Characteristics of poems
a. loved beauty;
b. seeking refuge in an idealistic world of illusions and dreams.

V. Novelists of the Romantic Age.
1. Water Scott. Novelist and poet
(1) Life:
a. Scotland;
b. university of Edindurgh;
c. poem to novel;
d. unsuccessful publishing firm;
e. great contribution: historical novel.
(2) three groups of novels
(3) Features of his novels.
(4) his influence.
2. Jane Austen
(1) Life:
a. country clergyman;
b. uneventful life, domestic duties;
(2) works.
(3) features of her writings.
Austen’s novels are britened by their witty conversation and omnipresent humour. Her stories are skillfully woven together; her plots never leave the path of realism, and have always been sensible. Her language shines with an exquisite touch of lively gracefulness, elegant and refined, but never showy. She herself compared her work to a fine engraving made up on a little piece of ivory only two inches square. The comparison is true. The ivory surface is small enough, but the lady who made the drawings of human life on it was a real artist.
(4) rationalism, neoclassicism, romanticism and realism.

VI. Familiar Essays.
1. Introduction
2. Charles Lamb: essayist and critic
(1) life:
a. poor family;
b. friend of Coleridge;
c. sister Mary;
d. worked in the East India House;
e. a miserable life;
f. a man of mild character.
g. a Romanticist of the city.
(2) works: Essays of Elia. Three groups.
(3) Features.
a. The most striking feature of his essays is his humour.
b. Lamb was especially fond of old writers.
c. His essays are intensely personal.
d. He was a romanticist.



Chapter 7 English Literature of the Victorian Age
I. Introduction
1. Historical Background
(1) An age of expansion
(2) The conditions of the workers and the chartist movement
(3) Reforms
(4) Darwin’s theory of evolution and its influence
(5) The women question
2. Literary Overview: critical realism.
In Victorian period appeared a new literary trend called critical realism. English critical realism of the 19th century flourished in the 40s and in the early 50s. It found its expression in the form of novel. The critical realists, most of whom were novelists, described with much vividness and artistic skill the chief traits of the English society and criticized the capitalist system from a democratic viewpoint.
II. Novels of Critical Realists.
1. Charles Dickens.
(1) Life:
a. clerk family;
b. a miserable childhood;
c. a clerk, a reporter, a writer;
d. a man of hard work.
(2) works of three periods.
a. optimize
b. frustration
c. pessimism
(3) Features of his works.
a. character sketches and exaggeration
b. broad humour and penetrating satire
c. complicated and fascinating plot
d. the power of exposure

2. William Makepeace Thackeray
(1) Life:
a. born in India;
b. studied in Cambridge;
c. worked as artist and illustrator and writer.
(2) work: The Vanity Fair
(3) Thackeray and Dickens – features
a. Just like Dickens, Thackeray is one of the greatest critical realists of the 19th century Europe. He paints life as he has seen it. With his precise and thorough observation, rich knowledge of social life and of the human heart, the pictures in his novels are accurate and true to life.
b. Thackeray is a satirist. His satire is caustic and his humour subtle.
c. Besides being a realist and satirist, Thackeray is a moralist. His aim is to produce a moral impression in all his novels.
3. The Bronte Sisters
(1) Charlotte Bronte and Jane Eyre
(2) Emily Bronte and The Wuthering Heights.
4. George Eliot.
(1) Life:
a. Mary Ann Evans;
b. the rural midland;
c. abandoned religion;
d. interested in social philosophical problems;
e. editor of the Westminster Review;
f. George Henry Lewis.
(2) works
 Adam Bede
 Silas Marner
 Middlemarch
(3) Features of works.
As a moralist, she shows in each of her characters the action and reaction of universal forces and believes that every evil act must bring inevitable punishment to the man who does it. Moral law was to her as inevitable and automatic as gravitation.
5. Thomas Hardy: novelist and poet
(1) Life:
a. Dorchester—”Wexssex;
b. close to peasantry;
c. belief in evolution.
(2) Works:
a. Romances and fantasies
b. novels of ingenuity
c. novels of characters and environment
(3) Ideas of Fate.
Unlike Dickens, most of Hardy’s novels are tragic. The cause of tragedy is man’s own behaviour or his own fault but the supernatural forces that rule his fate. According to Hardy, man is not the master of his destiny; he is at the mercy of indifferent forces which manipulate his behaviour and his relations with others.

III. English Poets of the Age
1. Alfred Tennyson
(1) life:
a. Cambridge;
b. friend with Hallem;
c. poet laureate.
(2) Works: In Memoriam; Idylls of the King.
2. Robert Browning.
(1) Life: married Elizabeth Barret, a poetess.
(2) Works
(3) the Dramatic Monologue
The dramatic monologue is a soliloquy in drama in which the voice speaking is not the poet himself, but a character invented by the poet, so that it reflects life objectively. It was imitated by many poets after Browning and brought to its most sophisticated form by T. S. Eliot in his The Love Song of J. Alfred Prufrock (1915)

IV. English Prose of the age
1. Thomas Carlyle
(1) life
(2) works
2. John Ruskin
(1) life
(2) works
(3) social and aesthetic ideas

V. Aestheticism
1. Aestheticism
the basic theory of the aesthetic – “art for art’s sake” – was set forth by a French poet, Theophile Gautier. The first Englishman who wrote about the theory of aestheticism was Walter Peter, the most important critical writer of the late Victorian period, whose most important works were studies in the History of Renaissance and Appreciations. The chief representative of the movement in England was Oscar Wilde, with his The Picture of Dorian Gray. Aestheticism places art above life, and holds that life should imitate art, not art imitate life. According to aesthetes, all artistic creation is absolutely subjective as opposed to objective. Art should be free from any influence of egoism. Only when art is for art’s sake can it be immortal. It should be restricted to contributing beauty in a highly polished style.
2.  Oscar Wilde
(1) Life: dramatist, poet, novelist and essayist, spokesman for the school of “Art for art’s sake”, the leader of the Aesthetic movement
(2) works
 The Happy Prince and Other Tales
 The Picture of Dorian Gray
 The Importance of Being Earnest



Chapter 8 English Literature of the first half of the 20th Century
I. Historical Background
1. rational changes on old traditions, in social standards and in people’s thoughts
2. the high tide of anti-Victorianism
3. the First World War
4. the success of women’s struggle for social and civil rights

II. Overview of the Literature – the Modernism
1. What is modernism?
The reaction against the value of Victorian society and the theme of its literature that began in the 1890s, particularly with the so-called dissident writers, was manifested in the early decades of the 20th century by drastic changes in form, vocabulary, and image. These changes were not limited to England. The movement, which has come to be called modernism, was international in scope and drew heavily on the French Symbolist poets as well as on the new psychological teachings of Sigmund Freud, Carl Gustav Jung, and their followers in Vienna and Switzerland.
2. Features of modernism
(1) Complexity
(2) Radical and deliberate break with traditional aesthetic principles
(3) Back to Aristotle
3. Development of modernism after WWII



Section 1 Poetry
I. A General Survey
1. The century has produced a large number of both major and minor poets, many of whom have received general acclaim.
2. Many writers of significant works of fiction also write distinguished poetry.
3. The poets of the 20th century have tended to group themselves into schools whose poetry has particular distinguishing characteristics.

II. Thomas Hardy
1. life
2. works
(1) his poetry
a. Wessex Poems and Other Verses
b. Poems of the Past and the Present
c. Time’s Laughing Stocks
d. Moments of Vision
e. Late Lyrics and Earlier
f. The famous Tragedy of the Queen of Cornwell
g. Winter Words
(2) his fictions
a. Tess of the D’Urbervilles
b. Jude the Obscure
c. The Return of the Native
d. Far from the Madding Crowd
e. The Mayor of Casterbridge
3. point of view
According to his pessimistic philosophy, mankind is subjected to the rule of some hostile mysterious fate, which brings misfortune into human life.

III. William Butler Yeats
1. Life – poet and dramatist
2. Works
(1) his poetry
a. The Responsibilities
b. The Wild Swans at Coole
c. The Tower
d. The Winding Stair
(2) his dramas
a. The Hour Glass
b. The Land of Heart’s Desire
c. On Baile’s Strand
(3) his book of philosophy – Visions
3. style
He is a celebrated and accomplished symbolist poet, using an elaborate system of symbols in his poems. Some of his symbols are simple, whereas others are difficult to comprehend. But read as a whole, his poetry is elucidated by itself and gives the reader many memorable stanzas and lines of great poetry. He is referred to by T. S. Eliot as “the greatest poet of our age – certainly the greatest in this (i.e. English) language”.

IV. Thomas Stearns Eliot
1. life- poet, playwright, literary critic
2. works
(1) poems
 The Love Song of J. Alfred Prufrock
 The Waste Land (epic)
 Hollow Man
 Ash Wednesday
 Four Quarters
(2) Plays
 Murder in the Cathedral
 Sweeney Agonistes
 The Cocktail Party
 The Confidential Clerk
(3) Critical essays
 The Sacred Wood
 Essays on Style and Order
 Elizabethan Essays
 The Use of Poetry and The Use of Criticisms
 After Strange Gods
3. point of view
(1) The modern society is futile and chaotic.
(2) Only poets can create some order out of chaos.
(3) The method to use is to compare the past and the present.
4. Style
(1) Fresh visual imagery, flexible tone and highly expressive rhythm
(2) Difficult and disconnected images and symbols, quotations and allusions
(3) Elliptical structures, strange juxtapositions, an absence of bridges
5. The Waste Land: five parts
(1) The Burial of the Dead
(2) A Game of Chess
(3) The Fire Sermon
(4) Death by Water
(5) What the Thunder Said


Section 2 Fiction
I. The Continuing of Realism
1. The two characteristics of 20th century fiction
(1) Modernism
(2) Continuation of the tradition of realism
2. The beginning
3. General features

II. John Galsworthy
1. life
2. works
(1) The Island Pharisees
(2) Turgenev
(3) The Man of Property
(4) In Chancery
(5) Forsyte Saga
(6) The End of the Chapter
(7) The Silver Box
(8) Strife
3. point of view
The novels and plays of Galsworthy give a complete picture of English bourgeois society. A bourgeois himself, Galsworthy nevertheless clearly saw the decline of his class and truthfully portrayed this in his works. Yet his criticism of the bourgeoisie was limited to the spheres of ethics and aesthetics only. He aimed to improve his class, wishing it might retain its ruling position in society. His bourgeois conservatism is particularly evident in the works written after WWI and the October Revolution. Facing the crisis of British imperialism and the growing forces of socialism, Galsworthy began to idealize the decadent bourgeoisie. This is particularly evident in his last trilogy The End of the Chapter.
4. style
(1) strength and elasticity
(2) powerful sweep
(3) brilliant illustrations
(4) deep psychological analysis

III. Stream of Consciousness
1. James Joyce
(1) life
(2) major works
a. A Portrait of the Artist as a Young Man
b. Dubliners
c. Ulysses
d. Finnegans Wake
(3) significance of his works
a. He changed the old style of fictions and created a strange mode of art to show the chaos and crisis of consciousness of that period.
b. From him, stream of consciousness came to the highest point as a genre of modern literature.
c. In Finnegans Wake, this pursue of newness overrode the normalness and showed a tendency of vanity.
2. Virginia Woolf
(1) life
(2) works
a. Mrs. Dalloway
b. To the Lighthouse
c. The Waves
d. Orlando
e. Flush
f. The Years
g. Between the Acts
h. A Room of One’s Own
i. Three Guineas
j. Modern Fiction
k. The Common Reader (2 series)
(3) point of view
a. She challenged the traditional way of writing and created her novels in a new way.
b. She thought the depiction of details darkened the characters.
c. She called the writers for writing about events of daily life that gave one deep impression.
3. influence
(1) The stream of consciousness presented by Joyce and Woolf marks a total break from the tradition of fiction and has promoted the development of modernism.
(2) However, at the same time, because of the newness in form but hard to understand, this kind of fiction cannot attract readers.
(3) The writers showed interest in the psychological depiction of the bourgeoisie but neglected the conflict that most people cared about at that time.

IV. David Herbert Lawrence
1. life
2. works
(1) Sons and Lovers
(2) The Rainbow
(3) Women in Love
(4) Lady Chatterlay’s Lover
3. his influence


Section 3 Drama
I. Overview
1. the development of science (light) and the revival of drama
2. social dramas
3. the renaissance of Irish dramas
4. the poetic drama
5. different schools of drama

II. George Bernard Shaw
1. life
2. works
(1) Widower’s Houses
(2) Man and Superman
(3) Major Barbara
(4) Pygmalion
(5) Heartbreak House
(6) Mrs. Warren’s Profession
(7) The Apple Cart
(8) Saint Joan
3. point of view
(1) Shaw was very much impressed by the Norwegian dramatist Ibsen.
(2) He opposed the idea of “art for art’s sake”, maintaining that “the theatre must turn from the drama of romance and sensuality to the drama of edification”.
(3) He sought from the beginning to expose the hypocrisy, stupidity, and conventionality of the English way of life as he saw it with a rich wit and lively sense of comedy.
(4) His heroes and heroines are always unheroic, unromantic, common sense people, and he used them to convey ideas.
4. style
(1) Shaw is a critical realist writer. His plays bitterly criticize and attack English bourgeois society.
(2) His plays deal with contemporary social problems. He portrays his situations frankly and honestly, intending to shock his audiences with a new view of society.
(3) He is a humorist and manages to produce amusing and laughable situations.

posted @ 2006-12-02 13:39 ammcc 阅读(302) | 评论 (0)编辑 收藏
美国文学
Part 1. Colonial America
Thomas Paine托马斯•潘恩1737-1809 The Case of the Officers of Excise税务员问题;Common Sense常识;American Crisis美国危机;Rights of Man人的权利:Downfall of Despotism专制体制的崩溃;The Age of Reason理性时代
Philip Freneau菲利普•弗伦诺1752-1832 The Rising Glory of America蒸蒸日上的美洲;The British Prison Ship英国囚船;To the Memory of the Brave Americans纪念美国勇士-----同类诗中最佳;The Wild Honeysuckle野生的金银花;The Indian Burying Ground印第安人殡葬地
Jonathan Edwards The Freedom of the Will  The Great Doctrine of Original Sin defended  The Nature of True Virtue
Benjamin Franklin本杰明•富兰克林1706-1790 A Modest Inquiry into the Nature and Necessity of a Paper Money;Poor Richard’s Almanack穷查理历书;The Way to Wealth致富之道;The Autobiography自传
Part 2. American Romanticism
Washington Irving华盛顿•欧文1783-1859 A History of New York纽约的历史-----美国人写的第一部诙谐文学杰作;The Sketch Book见闻札记The Legend of Sleepy Hollow睡谷的传说-----使之成为美国第一个获得国际声誉的作家;Bracebridge Hall布雷斯布里奇田庄;Talks of Travellers旅客谈;The Alhambra阿尔罕伯拉
James Fenimore Cooper詹姆斯•费尼莫尔•库珀1789-1851 The Spy间谍;The Pilot领航者;The Littlepage Manuscripts利特佩奇的手稿;Leatherstocking Tales皮裹腿故事集:The Pioneer拓荒者;The Last of Mohicans最后的莫希干人;The Prairie大草原;The Pathfinder探路者;The Deerslayer杀鹿者
Part 3.New England Transcendentalism
Ralf Waldo Emerson拉尔夫•沃尔多•爱默生1803-1882 Essays散文集:Nature论自然-----新英格兰超验主义者的宣言书;The American Scholar论美国学者;Divinity;The Oversoul论超灵;Self-reliance论自立;The Transcendentalist超验主义者;Representative Men代表人物;English Traits英国人的特征;School Address神学院演说
Concord Hymn康考德颂;The Rhodo杜鹃花;The Humble Bee野蜂;Days日子-首开自由诗之先河
Henry David Threau亨利•大卫•梭罗1817-1862 Wadden,or Life in the Woods华腾湖或林中生活;Resistance to Civil Government/Civil Disobedience抵制公民政府;A Week on the Concord and Merrimack Rivers
Henry Wadsworth Longfellow亨利•沃兹沃思•朗费罗1807-1882 The Song of Hiawatha海华沙之歌----美国人写的第一部印第安人史诗;Voices of the Night夜吟;Ballads and Other Poens民谣及其他诗;Belfry of Bruges and Other Poems布鲁茨的钟楼及其他诗;Tales of a Wayside Inn路边客栈的故事---诗集:An April Day四月的一天/A Psalm of Life人生礼物/Paul Revere’s Ride保罗•里维尔的夜奔;Evangeline伊凡吉琳;The Courtship of Miles Standish迈尔斯•斯坦迪什的求婚----叙事长诗;Poems on Slavery奴役篇---反蓄奴组诗
Nathaniel Hawthorne纳撒尼尔•霍桑1804-1864
Twice-told Tales尽人皆知的故事;Mosses from an Old Manse古屋青苔:Young Goodman Brown年轻的古德曼•布朗;The Scarlet Letter红字;The House of the Seven Gables有七个尖角阁的房子--------心理若们罗曼史;The Blithedale Romance福谷传奇;The Marble Faun玉石雕像
Herman Melville赫尔曼•梅尔维尔1819-1891 Moby Dick/The White Whale莫比•迪克/白鲸;Typee泰比;Omoo奥穆;Mardi玛地;Redburn雷得本;White Jacket白外衣;Pierre皮尔埃;Piazza广场故事;Billy Budd比利•巴德
Walt Whitman沃尔特•惠特曼1819-1892 Leaves of Grass草叶集:Song of the Broad-Axe阔斧之歌;I hear America Singing我听见美洲在歌唱;When Lilacs Lost in the Dooryard Bloom’d小院丁香花开时;Democratic Vistas民主的前景;The Tramp and Strike Question流浪汉和罢工问题;Song of Myself自我之歌
Emily Dickinson埃米莉•迪金森1830-1886 The Poems of Emily Dichenson埃米莉•迪金森诗集-----“Tell all the truth and tell it slant”迂回曲折的,玄学的
Edgar Allan Poe埃德加•爱伦•坡1809-1849(以诗为诗;永为世人共赏的伟大抒情诗人-----叶芝) Tales of the Grotesque and Arabesque怪诞奇异故事集;Tales故事集;The Fall of the House of Usher厄舍古屋的倒塌;Ligeia莱琪儿;Annabel Lee安娜贝尔•李-----歌特风格;首开近代侦探小说先河,又是法国象征主义运动的源头
Tamerlane and Other Poems帖木儿和其他诗;Al Araaf,Tamerlane and Minor Poems艾尔•阿拉夫,帖木儿和其他诗;The Raven and Other Poems乌鸦及其他诗:The Raven乌鸦;The City in the Sea海城;Israfel 伊斯拉菲尔;To Hellen致海伦
Harriet Beecher Stowe哈丽特•比彻•斯托1811-1896 Uncle Tom’s Cabin汤姆叔叔的小屋;A Tale of the Great Dismal Swamp德雷德阴暗大沼地的故事片;The Minister’s Wooing牧师的求婚;The Pearl of Orr’s Island奥尔岛的珍珠;Oldtown Folks老城的人们
Part 4. The age of Realism
William Dean Howells 威廉•狄恩•豪威尔斯1837-1920 The Rise of Silas Lapham赛拉斯•拉帕姆的发迹;A Modern Instance现代婚姻; A Hazard of Now Fortunes时来运转;A Traveller from Altruia从利他国来的旅客;Through the Eye of the Needle透过针眼----乌托邦小说;Criticism and Fiction;Novel-Writing and Novel-Reading小说创作与小说阅读
23、Henry James享利•詹姆斯1843-1916 小说:Daisy Miller苔瑟•米乐;The Portrait of a Lady贵妇人画像;The Bostonians波士顿人;The Real Thing and Other Tales真货色及其他故事;The Wings of the Dove鸽翼;The Ambassadors大使;The Golden Bowl金碗
评论集:French Poets and Novelists法国诗人和小说家;Hawthorne霍桑;Partial Portraits不完全的画像;Notes and Reviews札记与评论;Art of Fiction and Other Essays小说艺术
Part 5. Local Colorism
Mark Twain马克•吐温(Samuel Longhorne Clemens)---美国文学的一大里程碑 The Celebrated Jumping Frog of Calaveras County加拉维