英美文學(xué)名詞解釋

Allegory:Ataleinverseorproseinwhichcharacters,actions,orsettingsrepresentabstractideasormoralqualities.Anallegoryisastorywithtwomeanings,aliteralmeaningandasymbolicmeaning.寓言：用詩歌或散文講的故事，在這個故事中人物、事件或背景常常代表抽象的見解或道德質(zhì)量。全部的寓言都是一個擁有兩重意義、文學(xué)內(nèi)涵或象征意義的故事。2.Alliteration:Therepetitionoftheinitialconsonantsoundsinpoetry.頭韻：詩歌中單詞開頭讀音的重復(fù)。3.Allusion:Areferencetoaperson,aawriterexpectsthereadertorecognizefromhistory,geography,literature,orreligion.

place,anevent,oraliteraryworkthatandrespondto.Anallusionmaybedrawn典故：文學(xué)作品中作家希望讀者可以認識或做出反應(yīng)的一個人物、地址、事件或文學(xué)作品。典故或來自歷史、地理、文學(xué)或宗教。AmericanNaturalism:Americannaturalismwasanewandharsherrealism.Americannaturalismhadbeenshapedbythewar;bythesocialupheavalsthatunderminedthecomfortingfaithofanearlierage.America’sliterarynaturalistsdismissedthevalidityofcomfortingmoraltruths.Theyattemptedtoachieveextremeobjectivityandfrankness,presentingcharactersoflowsocialandeconomicclasseswhoweredeterminedbytheirenvironmentandheredity.Inpresentingtheextremesoflife,thenaturalistssometimesdisplayedanaffinitytothesensationalismofearlyromanticism,butunliketheirromanticpredecessors,thenaturalistsemphasizedthattheworldwasamoral,thatmenandwomenhadnofreewill,thatliveswerecontrolledbyheredityandenvironment,thatthedestinyofhumanitywasmiseryinlifeandoblivionindeath.Althoughnaturalistliteraturedescribedtheworldwithsometimesbrutalrealism,itsometimesalsoaimedatbetteringtheworldthroughsocialreform.美國自然主義：美國自然主義是一種新的、更具責(zé)備性的現(xiàn)實主義。美國自然主義是在戰(zhàn)爭和影響人們初期信念的社會凌亂的影響之下形成的。美國的自然主義者常常否認了廣為接受的道德真諦的正確性，他們想達到極端的客觀與爽快，他們所顯現(xiàn)的人物常常都是基層社會的人，他們的命運遇到環(huán)境和遺傳的限制。在反應(yīng)生活方面，自然主義作家常常表現(xiàn)出初期浪漫主義中感想主義特色，但和浪漫主義不同樣的是，自然主義者以為，世界缺少道德，人無論男女都沒有自由的意向，他們的生活都遇到遺傳和環(huán)境的控制，人在生前過著凄慘的生活，死后便被人所忘記。固然自然主義文學(xué)經(jīng)過更為苛刻的現(xiàn)實主義手法來顯現(xiàn)這個世界，可是他有時也是為了經(jīng)過社會改革來改良這個世界。5.AmericanPuritanism:PuritanismisthepracticesandbeliefsofthePuritans.ThePuritanswereoriginallymembersofadivisionoftheProtestantChurch.ThefirstsettlerswhobecamethefoundingfathersoftheAmericannationwerequiteafewofthem.Theywereagroupofserious,religiouspeople,advocatinghighlyreligiousandmoralprinciples.Astheworditselfhints,Puritanswantedtopuritytheirreligiousbeliefsandpractices.Theyacceptedthedoctrineofpredestination,originalsinandtotaldepravity,andlimitedatonementthroughaspecialinfusionofgracefromGod.Asacultureheritage,PuritanismdidhaveaprofoundinfluenceontheearlyAmericanmind.AmericanPuritanismalsohadanenduringinfluenceonAmericanliterature.美國清教主義：清教主義是新教徒的本來的一個分支——清教徒的行為和信仰。在美國的第一批居民中有好多就是清教徒，他們有著嚴格的宗教信仰和道德準則。就像這個詞所暗指的那樣，清教徒們想“清化”他們的宗教信仰和行為習(xí)慣。他們相信宿命論、原罪說、全體墮落和有限的贖罪。作為一種文化遺產(chǎn)，美國清教主義在初期美國人的思想上有著深刻的影響，他對美國文學(xué)的影響也是特別長久的。AmericanRealism:InAmericanliterature,theCivilWarbroughttheRomanticPeriodtoanend.TheAgeofRealismcameintoexistence.Itcameasareactionagainstthelieofromanticismandsentimentalism.Realismturnedfromanemphasisonthestrangetowardafaithfulrenderingoftheordinary,asliceoflifeasitisreallylived.Itexpressestheconcernforcommonplaceandthelow,anditoffersanobjectiveratherthananidealisticviewofhumannatureandhumanexperience.美國現(xiàn)實主義：在美國文學(xué)史上，內(nèi)戰(zhàn)宣布了浪漫主義的終結(jié)和現(xiàn)實主義的開始?，F(xiàn)實主義反對浪漫主義和感想主義的謊話，它從一個陌生的世界轉(zhuǎn)向了一般人的真切生活的描繪。它所關(guān)懷的是一般的基層勞感人民而非理想中的人類天性和現(xiàn)實經(jīng)歷。AmericanRomanticism:TheRomanticPeriodcoversthefirsthalfofthe19thcentury.ArisingAmericawithitsidealsofdemocracyandequality,itsindustrialization,itswestwardexpansion,andavarietyofforeigninfluenceswereamongtheimportantfactorswhichmadeliteraryexpansionandexpressionnotonlypossiblebutalsoinevitableintheperiodimmediatelyfollowingthenation’spoliticalindependence.Yet,romanticsfrequentlysharedcertaingeneralcharacteristics:moralenthusiasm,faithinvalueofindividualismandintuitiveperception,andapresumptionthatthenaturalworldwasasourceofgoodnessandman’ssocietiesasourceofcorruption.RomanticvalueswereprominentinAmericanpolitics,art,andphilosophyuntiltheCivilWar.Theromanticexaltationoftheindividualsuitedthenationheritageanditsfrontieregalitarianism.

’srevolutionary美國浪漫主義：浪漫主義階段涵蓋了19世紀前半頁。美國的不停壯大和發(fā)展以及隨之而來的明珠和同樣的思想、工業(yè)化的發(fā)展、西北邊境的不停擴展和外國的各樣影響使浪漫主義作家文學(xué)不單成為一種可能，并且使它成為美國政治獨立后的一種必定。可是，浪漫主義文學(xué)常常有好多共性：他們熱情于道德、相信個人主義價值觀和對世界的直觀感受，并且他們以為自然世界是真、善、美的源泉而人類社會則是墮落的本源。在內(nèi)戰(zhàn)以前，浪漫主義價值觀占有是政治、藝術(shù)、和哲學(xué)等領(lǐng)域，浪漫主義者對個人的贊嘆正好逢迎了美國的革命遺風(fēng)和邊境開辟者的品均主義。AmericanTranscendentalism:theemergenceoftheTranscendentalistsasanidentifiablemovementtookplaceduringthelate1820sand1830s,buttherootsoftheirreligiousphilosophyextendedmuchfartherbackintoAmericanreligioushistory.TranscendentalismandevangelicalProtestantismfollowedseparateevolutionarybranchesfromAmericanPuritanism,takingastheircommonancestortheCalvinismoftheseventeenthandeighteenthcenturies.TheyspokeforculturalrejuvenationandagainstthematerialismofAmericanspirit,ortheOversoul,asthemostimportantthingintheUniverse.Theystressedtheimportanceoftheindividual.Tothem,theindividualwasthemostimportantelementofsociety.Theyofferedafreshperceptionofnatureassymbolic

of

theSpiritorGod.Naturewas,tothem,alive,filledwithGod’soverwhelmingpresence.Transcendentalismisbasedonthebeliefthatthemostfundamentaltruthsaboutlifeanddeathcanbereachedonlybygoingbeyondtheworldofthesenses.Emerson

’sNaturehasbeencalledthe

“ManifestoofAmericanTranscendentalism

”andhisTheAmericanScholarhasbeenrightlyregardedasAmerica’s

“DeclarationofIntellectualIndependence

”.美國超驗主義：美國超驗主義出現(xiàn)的19世紀20年月末期到三十年月，可是它的本源在宗教史上要遠得多。超驗主義和福音派新教分別是美國清教主義的兩個分支，他們的祖先是17世紀和18世紀的加爾文神教。超驗主義者主張文化的中興，以為“超靈”是宇宙中最重要的事物。他們重申個人的重要性，反對精神上的物質(zhì)主義。對他們來說，個人是一個社會最重要的元素。他們以為自然就是“精神”或“上帝”的象征，它是有生命的，而上帝又無處不在。他們以為生與死最基本的真諦可以超越感官的世界而獲取。艾默生的《自然》被稱為是“美國超驗主義的宣言”，他的《美國學(xué)者》則被以為是美國的“文化獨立宣言書”。9.Analogy:(afigureofspeech)Acomparisonmadebetweentwothingstoshowthesimilaritiesbetweenthem.Analogiesareoftenusedforillustrationorforargument.類比：（修辭）把兩種事物放在一同進行比較進而發(fā)現(xiàn)他們的同樣點，類比一般用于說明或論述。Anapest:It’smadeupoftwounstressedandonestressedsyllables,withthetwounstressedonesinfront.抑抑揚格：抑抑揚格由兩個非重度音節(jié)和一個重讀音節(jié)構(gòu)成，兩個非重度音節(jié)在前。11.Antagonist:Apersonorforceopposingtheprotagonistinanarrative;arivaloftheheroorheroine.反面人物：一個故事中和主人公相對峙的人物或一種力量，是男女主人公的敵手。12.Antithesis:

(afigure

ofspeech)Thebalancing

oftwocontrasting

ideas,

wordsphrases,orsentences.

Anantithesisisoftenexpressedina

balancedsentence,thatis,asentenceinwhichidenticalorsimilargrammaticalstructureisusedtoexpresscontrastingideas.對偶：（修辭）互相對稱的兩個短語、句子或思想。對偶常常用一個對稱的句子來表達，也就是，一句話中使用同樣或相像的語法構(gòu)造來表達互比較較的兩種事物。Aphorism:Aconcise,pointedstatementexpressingawiseorcleverobservationaboutlife.警語：用一種精練、正確的方式來表達對生活充滿智慧的見解。14.Apostrophe:Afigureofspeechinwhichanabsentoradeadperson,anabstractquality,orsomethingnonhumanisaddresseddirectly.頓呼：演說或詩歌等中對某人,常為死者或不在場者,或?qū)M人的事物所說的話。15.Argument:Aformofdiscourseinwhichreasonisusedtoinfluenceorchangepeople’sideaoractions.Writerspracticeargumentmostoftenwhenwritingnonfiction,particularlyessaysorspeeches.議論：用講道理的方法來影響人們的思想或行動的一種文本形式。作家常常是在寫非小說文體，特別是散文或演講的時候用這類方法。Aside:Indrama,linesspokenbyacharacterinanundertoneordirectlytotheaudience.Anasideismeanttobeunheardbytheothercharactersonstage.旁白：在戲劇中低聲說出或直接說給觀眾的臺詞。旁白在舞臺上其余人物是聽不到的。Assonance:Therepetitionofsimilarvowelsounds,especiallyinpoetry.Assonanceisoftenemployedtopleasetheearoremphasizecertainsounds.類韻：在詩歌中同樣或相像元音的重復(fù)，它的目的主假如用來使句子動聽動聽或用來強調(diào)某個音。Atmosphere:Theprevailingmoodorfeelingofaliterarywork.Atmosphereisoftendeveloped,atleastinpart,throughdescriptionsofsetting.Suchdescriptionshelptocreateanemotionalclimateforthewriterstoestablishthereader’sexpectationsandattitudes.氛圍：文學(xué)作品中主要的基調(diào)或感覺。氛圍的襯著主假如經(jīng)過對環(huán)境的描繪來張開的，這類描繪有助于作家創(chuàng)辦一種情緒氛圍來時感染讀者Autobiography:Aperson’saccountofhisorherownlife.Anautobiographyisgenerallywritteninnarrativeformandincludessomeintrospection.自傳：一個人對他或她自己生活的描繪，自傳是一種表達性的文體，多包含回想性的描寫。20.Ballad:Astorytoldinverseandusuallymeanttobesung.Inmanycountries,thefolkballadwasoneoftheearliestformsofliterature.Folkballadshavenoknownauthors.Theyweretransmittedorallyfromgenerationtogenerationandwerenotsetdowninwritinguntilcenturiesaftertheywerefirstsung.Thesubjectmatteroffolkballadsstemsfromtheeverydaylifeofthecommonpeople.Devicescommonlyusedinballadsaretherefrain,incrementalrepetition,andcodelanguage.Alaterformofballadistheliteraryballad,whichimitatesthestyleofthefolkballad.民謠：民謠是一種做詩配唱的故事。在好多國家，民謠是最早的文學(xué)形式之一，都是無名作家所寫，它們從開始傳唱到真切寫下來要在口頭流傳好幾代人。民謠中所采納的手法多為疊句、重復(fù)和暗語。今后民謠就變?yōu)榱擞形淖值母柚{，其風(fēng)格模擬民間歌謠。21.Balladstanza:Atypeoffour-linestanza.Thefirstandthirdlineshavefourstressedwordsorsyllables;thesecondandfourthlineshavethreestresses.Balladmeterisusuallyiambic.Thenumberofunstressedsyllablesineachlinemayvary.Thesecondandfourthlinesrhyme.民謠體詩節(jié)：一種四行詩節(jié)，第一、三行由四個重讀單詞或音節(jié)構(gòu)成，二、四行由三個重音構(gòu)成。民謠的韻腳常常采納抑揚格的形式，每一行中非重度音節(jié)的數(shù)量不等，二、四行押韻。22.Biography:Adetailedaccountofaperson’slifewrittenbyanotherperson.23.Blankverse:Versewritteninunrhymediambicpentameter.素體詩：用五音步抑揚格寫的無韻詩。24.Caesura:Abreakorpauseinalineofpoetry.休止：一行詩中的中斷或停留。25.Canto:Asectionordivisionofalongpoem.詩章：長詩的一部分。Caricature:Theuseofexaggerationordistortiontomakeafigureappearcomicorridiculous.Aphysicalcharacteristic,aneccentricity,apersonalitytrait,oranactmaybeexaggerated.漫畫：用夸張或歪曲的手法來描繪一個人物的容貌特色、怪癖、個性或某個動作來產(chǎn)生風(fēng)趣可笑的見效。Character:Inappreciatingashortstory,charactersareanindispensableelement.Charactersarethepersonspresentedinadramaticornarrativework.Forstdividescharactersintotwotypes:flatcharacter,whichispresentedwithoutmuchindividualizingdetail;androundcharacter,whichiscomplexintemperamentandmotivationandisrepresentedwithsubtleparticularity.人物：在短篇小說的賞識中，人物是必不可以少一個元素。人物是喜劇或小說中所描繪的人。福斯特把人物區(qū)分為兩類，扁平型人物和圓型人物。扁平型人物常常缺少個人化的細節(jié)描繪而圓型人物則在性格和行為動機上較為復(fù)雜。28.Characterization：themeansbywhichawriterrevealsthatpersonality.人物描繪：一個作家描繪某個人物的方法。29.Classicism:Amovementortendencyinart,literature,ormusicthat

reflectstheprinciplesmanifestedintheartofancientGreeceandRome.Classicismemphasizesthetraditionalandtheuniversal,andplacesvalueonreason,balance,andorder.Classicism,withitsconcernforreasonanduniversal

clarity,themes,istraditionallyopposedtoRomanticism,whichisconcernedwithemotionsandpersonalthemes.古典主義：在藝術(shù)、文學(xué)或音樂方面反應(yīng)古希臘、羅馬文學(xué)原理的運動。古典主義重申傳統(tǒng)，追求理性、清楚、均衡和次序。由于古典主義重申治性和廣泛主題，在傳統(tǒng)上反對重申感情和個人主題的浪漫主義。30.Climax:Thepointofgreatestintensity,interest,orsuspensein

astory

’sturningpoint.Theactionleadingtotheclimaxandthesimultaneousincreaseoftensionintheplotareknownastherisingaction.Allactionafter

the

climaxisreferredtoasthefallingaction,orresolution.Thetermcrisisissometimesusedinterchangeablywithclimax.熱潮：小說中最緊張、最風(fēng)趣或最具懸念的轉(zhuǎn)折點。情節(jié)中惹起熱潮的動作和情節(jié)緊張度的增添稱作“上漲”，熱潮后的動作稱為“回落”或“結(jié)局”。有時熱潮又稱作“轉(zhuǎn)折點”。31.Conceit:Akindofmetaphorthatmakesacomparisonbetweentwostartlinglydifferentthings.Aconceitmaybeabriefmetaphor,butitusuallyprovidestheframeworkforanentirepoem.Anespeciallyunusualandintellectualkindofconceitisthemetaphysicalconceit.奇異的比喻：將兩種截然相反的事物進行比較的一種隱喻。它雖被視為是一種隱喻，但是它常常建立了整首詩的框架，最為奇異的應(yīng)屬玄學(xué)詩里面的。32.Conflict:Astrugglebetweentwoopposingforcesorcharactersinashortstory,novel,play,ornarrativepoem.Usuallytheeventsofthestoryareallrelated

to

the

conflict,

andtheconflict

is

resolved

in

somewaybythestory

’send.矛盾：在小說、短篇小說、戲劇或敘事詩中互相對峙的兩種力量。故事中的事件常常都和矛盾有關(guān)，并且在故事的結(jié)尾矛盾都會得以解決。Connotation:Alltheemotionsandassociationsthatawordorphrasemayarouse.Connotationisdistinctfromdenotation,whichistheliteralor“dictionary”meaningofawordorphrase.內(nèi)涵：一個詞或短語所指的全部的感情和聯(lián)系。與外延不同樣，外延則是指一個詞的字面意思或字典上的解說。Consonance:Therepetitionofsimilarconsonantsoundsinthemiddleorattheendofwords.諧音：單詞詞尾或中間相像輔音的重復(fù)。Couplet:Twoconsecutivelinesofpoetrythatrhyme.Aheroiccoupletisaniambicpentametercouplet.對句：兩個連續(xù)押韻的詩行。英豪雙行體的對句一般都為抑揚格五音步。36.CriticalRealism:Thecriticalrealismofthe19thcenturyflourishedinthefortiesandinthebeginningoffifties.Therealistsfirstandforemostsetthemselvesthetaskofcriticizingcapitalistsocietyfromademocraticviewpointanddelineatedthecryingcontradictionsofbourgeoisreality.Buttheydidnotfindawaytoeradicatesocialevils.責(zé)備現(xiàn)實主義：責(zé)備現(xiàn)實主義在19世紀40年月達到熱潮。責(zé)備現(xiàn)實主義作家們常常把從民主的角度責(zé)備和揭露資本主義社會的丑陋視為己任，但他們并無找到治療社會弊病的良方。37.Dactyl:It’smadeupofonestressedandtwounstressedsyllables,withthestressedinfront.揚抑抑格：揚抑抑格由一個重度音節(jié)和兩個非重度音節(jié)構(gòu)成，重讀音節(jié)在前。38.Denotation:Theliteralor“dictionary”meaningofaword.外延：單詞的字面意義或“字典”解說。39.Denouement:Theoutcomeofaplot.Thedenouementisthatpartofaplay,shortstory,novel,ornarrativepoeminwhichconflictsareresolvedorunraveled,andmysteriesandsecretsconnectedwiththeplotareexplained.結(jié)局：情節(jié)的結(jié)尾部分。在戲劇、小說、短篇小說的結(jié)尾部分，矛盾得以解決，和情節(jié)有關(guān)的神秘都得以揭露。40.Diction:Awriter’schoiceofwords,particularlyforclarity,effectiveness,andprecision.措辭：一個作家用詞的選擇，主假如為了清楚、有效和精練等目的。41.Dissonance:Aharshordisagreeablecombinationofsounds;discord.不友好音：難聽或沒法友好的音的組合，噪音。Dramaticmonologue:Akindofnarrativepoeminwhichonecharacterspeakstooneormorelistenerswhoserepliesarenotgiveninthepoem.Theoccasionisusuallyacrucialoneinthespeakerthatisthesubjectofthepoem.

’spersonalityaswellastheincident戲劇獨白：在一種敘事詩里面，一個人物對其余的人物發(fā)言但并無交代他們的回答，這類場合常常對反應(yīng)說話人的性格特色和詩歌的主題是至關(guān)重要的。43.Elegy:Apoemofmourning,usuallyoverthedeathofanindividual.isatypeoflyricpoem,usuallyformalinlanguageandstructure,andsolemnorevenmelancholyintone.

Anelegy挽歌：為某個逝世的人所做的詩，挽歌常常屬于抒懷詩，在語言和機構(gòu)上比較正式，語氣上比較浩大甚至是悲傷的。Emblematicimage:Averbalpictureorfigurewithalongtraditionofmoralorreligiousmeaningattachedtoit.象征性意象：包含道德或宗教意義的文字描繪或人物。Enlightenment:Withtheadventofthe18thcentury,inEngland,asinotherEuropeancountries,theresprangintolifeapublicmovementknownastheEnlightenment.TheEnlightenmentonthewhole,wasanexpressionofstruggleofthethenprogressiveclassofbourgeoisagainstfeudalism，Thesocialinequality,stagnation,prejudicesandothersurvivalsoffeudalism.Theyattemptedtoplaceallbranchesofscienceattheserviceofmankindbyconnectingthemwiththeactualdeedsandrequirementsofthepeople.啟示主義：啟示主義是在18世紀在英國發(fā)生的。整體上，啟示主義是當(dāng)時的財產(chǎn)階級對封建主義，社會的不同樣樣、死寂、成見和其余的封建節(jié)余的一種反對。經(jīng)過將科學(xué)的各個分支與人民的平時生活和需要聯(lián)系起來，啟示主義者們努力將他們變?yōu)闉槿嗣翊蟊姺?wù)的工具Epic:Alongnarrativepoemtellingaboutthedeedsofagreatheroandreflectingthevaluesofthesocietyfromwhichitoriginated.Manyepicsweredrawnfromanoraltraditionandweretransmittedbysongandrecitationbeforetheywerewrittendown.史詩：表達英豪事跡并反應(yīng)出這些英豪事跡的社會價值觀的長篇敘事詩。在成為以前，好多史詩都來自于口頭傳統(tǒng)并經(jīng)過歌唱和背誦流傳。47.Epigram:Ashort,witty,pointedstatementoftenintheformofapoem.警語詩：一種簡潔、智慧、包含深刻的詩。48.Epigraph:Aquotationormottoatthebeginningofachapter,book,shortstory,orpoemthatmakessomepointaboutthework.題辭：在一章、一本書、短篇小說或詩歌的開頭指涉作品內(nèi)容的引文或銘文。49.Epilogue:Ashortadditionorconclusionattheendofaliterarywork.結(jié)束白：文學(xué)作品尾端簡潔的增補或結(jié)論。Epiphany:Amomentofillumination,usuallyoccurringatorneartheendofawork.頓悟：事實得以揭露的時刻，常常發(fā)生在作品的結(jié)尾或快要掃尾部分。Epitaph:Aninscriptiononagravestoneorashortpoemwritteninmemoryofsomeonewhohasdied.Epithet:Adescriptivenameorphraseusedtocharacterizesomeoneorsomething.稱呼：用來描繪一個人或事物的描繪性詞或短語。EraofModernism:Theyearsfrom1910to1930areoftencalledtheEraofModernism,forthereseemstohavebeeninbothEuropeandAmericaastrongawarenessofsomesortof“break”withthepast.Thenewartistssharedadesiretocapturethecomplexityofmodernlife,tofocusonthevarietyandconfusionofthe20thcenturybyreshapingandsometimesdiscardingtheideasandhabitsofthe19thcentury.TheEraofModernismwasindeedtheeraoftheNew.現(xiàn)代主義時期：從1910到1930年這一段時間被稱作現(xiàn)代主義時期，由于在這一時期，無論是在美國仍是在歐洲人們都認識到一種激烈的與過去的“分裂”，新藝術(shù)家們都渴望反應(yīng)現(xiàn)代生活的復(fù)雜性，都希望經(jīng)過從頭建立，有時甚至放棄19世紀的思想和習(xí)慣來聚焦于20世紀的多樣性和誘惑之上。54.Essay:Apieceofprosewriting,usuallyshort,thatdealswithasubjectinalimitedwayandexpressesaparticularpointorview.Anessaymaybeseriousorhumorous,tightlyorganizedorrambling,restrainedoremotional.Thetwogeneralclassificationsofessayaretheinformalessayandtheformalessay.Aninformalessayisusuallybriefandiswrittenasifthewriteristalkinginformallytothereaderaboutsometopic,usingaconversationalstyleandapersonalorhumoroustone.Bycontrast,aformalessayistightlyorganized,dignifiedinstyle,andseriousintone.小品文：小品文一般都是簡潔的散文，作家經(jīng)過有線的篇幅宣布自己獨到的見解。小品文的風(fēng)格要么嚴肅要么風(fēng)趣，組織或謹慎或廢弛，感情或抒發(fā)或藏而不露。小品文大概上又分為正式的和非正式的兩種。非正式的小品文一般比較短，使用對話的風(fēng)格和個人化或風(fēng)趣的語氣，憂如在給讀者針對一個話題娓娓而談。比較之下，正式的小品文則組織謹慎，風(fēng)格文雅，語氣嚴肅。55.Exemplum說教故事:Atale,usuallyinsertedintothetextofasermonthatillustratesamoralprinciple.勸喻故事：穿插在步道中間來論述一種道德原則的故事。56.Fable:Afableisashortstory,oftenwithanimalsasitscharacters,whichillustrateamoral.寓言：以動物為主人公來寫的短小的故事。57.Farce:Atypeofcomedybasedonaridiculoussituation,oftenwithstereotypedcharacters.Thehumorinafarceislargelyslapstickofteninvolvescrudephysicalaction.Thecharactersinafarceareoftenthebuttsofpracticaljokes.

—thatis,it鬧?。呼[劇是戲劇的一種，它以搞笑的情節(jié)為基礎(chǔ)，常常使用典型化的人物，鬧劇中的風(fēng)趣很大程度上都是打鬧——它常常會有比較激烈的肢體動作。鬧劇中的人物一般都是被譏笑的對象。58.Figurativelanguage:Languagethatisnotintendedtobeinterpretedinaliteralsense.Byappealingtotheimagination,figurativelanguage

provides

newwaysoflookingattheworld.Figurativelanguageconsistsofsuchfiguresofspeechashyperbole,metaphor,metonymy,oxymoron,personification,

simile,

andsynecdoche.比喻用語：不可以用字面意義來解說的用語。經(jīng)過想象，比喻用語讓讀者以新的方式對待世界，它一般包含夸張、隱喻、轉(zhuǎn)喻、矛盾修飾法、擬人、明喻和提喻等修辭手法。59.Flashback:Asceneinashortstory,novel,play,ornarrativepoemthatinterruptstheactiontoshowaneventthathappenedearlier.倒敘：在短篇小說、小說、戲劇或敘事詩中穿插在表達中表達更早的一件事。60.Foil:Acharacterwhosetsoffanothercharacterbycontrast.襯托：經(jīng)過比較來襯托另一個人物的人物。61.Foot:Itisarhythmicunit,aspecificcombinationofstressedandunstressedsyllables.音步：音步是詩歌韻律的一個單元，是一個重度音節(jié)和非重度音節(jié)的組合。62.Foreshadowing:Theuseofhintsorcluesinanarrativetosuggesthappenlater.WritersuseforeshadowingtocreateinterestandtobuildSometimesforeshadowingalsopreparesthereaderfortheendingofthestory.

whatwillsuspense.伏筆：在表達中使用表示或線索來預(yù)示將要發(fā)生的事情，作家們使用伏筆來增添讀者的興趣和產(chǎn)生懸念，有時伏筆又為故事的結(jié)尾做好鋪墊。63.FreeVerse:Versethathaseithernometricalpatternoranirregularpattern.自由詩：依據(jù)語言的抑揚頓挫和意象模式，而不是依據(jù)固定韻律寫出的詩。它的韻律建立在音素、語詞、短語、句子和段落等形式的基礎(chǔ)上，而不是建立在音步傳統(tǒng)格律單位上。所以，自由詩除去了好多不自然的成分和詩體表現(xiàn)的某些審美差距。20世紀初，在英國詩法中自由詩已經(jīng)流行。Hyperbole:Afigureofspeechusingexaggeration,oroverstatement,forspecialeffect.夸張：為了產(chǎn)生特定的見效而使用夸張其詞的方法所產(chǎn)生的一種修辭方式。Iamb:ItisthemostcommonlyusedfootinEnglishpoetry,inwhichanunstressedsyllablecomesfirst,followedbyastresseds