英美文學(xué)選讀課-lecture-one課件

EnglishLiteratureTeacher:WangXingweiEnglishLiteratureTeacher:WanLectureOneIntroductionLectureOneContentsGeneraldescriptionofthecoursePurposesofthiscourseHowtodowellCourserequirementContentsGeneraldescriptionofAGeneralDescriptionYouwillstudytheeightperiodsinEnglishliteraryhistoryYouwillhaveaveryhardtime!Youwilllearntoappreciateliterature,learntomakecriticismandevenlearntowriteasmallcriticalessay!AGeneralDescriptionYouwillTheAnglo-Saxon(449-1066)TheAnglo-Norman(1066-1350)TheRenaissance(14-mid17thcentury)The17thCenturyRomanticism(thefirsthalfofthe19thcentury)TheVictorianAge(CriticalRealism,1837-1901)Modernism(the20thcentury)TheEnlightenment(18thcentury)TheAnglo-Saxon(449-1066)TheThePurposesofThisCourseMakestudentsgetaclearpictureofthedevelopmentofEnglishliteratureMakestudentsknowhowtoappreciateliterature,understandaliterarywork,andhowtomakecomment.ThePurposesofThisCourseMakThePurposesofThisCourseMakestudentsdevelopadeepunderstandingofthewesternculture,anddeveloptheirownhumanisticthinking;HelpstudentstoenhancetheirEnglishabilities.ThePurposesofThisCourseMakRequirementsFinishthereading,writingandrecitingassignments;Attendtheclassregularly;BeactiveinclassactivitiesanddiscussionBehonestGradingClassattendance.10%Classdiscussion…10%Reading&Writing10%Mid-TermExam20%FinalExam……….50%RequirementsFinishthereading

Whatisliterature?

LongmanDictionary:Writtenworkswhichareofartisticvalue;

Whatisliterature?

LongmanDWhatisliterature?OxfordDictionary:Writingsthatarevaluedasworksofart,esp.fiction,dramaandpoetryWhatisliterature?OxfordDictWhatisliterature?LaurieG.KirsznerandStephenR.Mandell,LiteratureLiteraturemustbeimaginative,becauseevenwhenwritersusefactualmaterial—historicaldocuments,newspaperstories,orpersonalexperience,forexample—theymustaddsomethingintoitandmaketheeventgettheuniversalsignificance.Whatisliterature?LaurieG.KLiteraturemust:BeofartisticvalueIncludefiction,dramaandpoetryBeimaginativeLiteraturemust:BeofartistiThreeGenresofLiteratureFictionPoetryDramaThreeGenresofLiteratureFictAnalyzingFictionFictionisanarrativethattellsastorybypresentingeventsinsomelogicalororderlyway.Worksofnarrativefictionoriginatedintheimaginationoftheauthor,notinhistoryorfact.Certainlysomefiction—historicalorautobiographicalfiction,forexample—focusesonrealpeopleandactualevents,butthewaythecharactersinteractandhowtheplotunfoldsaretheauthor’sinvention.AnalyzingFictionFictionisaAnalyzingFictionThefirstEnglishnovelisDanielDefoe’sRobinsonCrusoeof1719.Bythenineteenthcentury,thenovelreachedahighpointinitsdevelopment,replacingotherkindsofextendednarratives.AnalyzingFictionThefirstEngAnalyzingFictionFolktalesandfairytales:Thefolktalesandfairytalesthatsurvive(suchas“Cinderella”andAesop’sFables)arecontemporaryversionsofold,evenancient,talesthatcanbetracedbackcenturiesthroughmanydifferentcultures.FolktalesandfairytalesinfluencemanygreatliteraryworkssuchasGeoffreyChaucer’sTheCanterburyTalesandD.H.Lawrence’s“TheRockingHorseWinner”.AnalyzingFictionFolktalesandAnalyzingFictionShortStory:Shortstoryoriginatedduringthenineteenthcentury(NathanielHawthorneandEdgarAllanPoe).ShortstoryisverywellacceptedinAmerica,sosomeonebelievesthatshortstoryisanAmericanliteraryform.AnalyzingFictionShortStory:

ElementsofFiction

1.Plot2.Characterization3.Setting4.Pointofview5.Style,tone,andlanguage6.Symbol

ElementsofFiction

1.PlotPlotPlotisthewayinwhichastory’seventsarearranged;itisshapedbycausalconnections—historical,social,andpersonal—bytheinteractionbetweencharacters,andbythejuxtapositionofevents.It’satruismthatthereareonlytwobasicplotsinfiction:one,somebodytakesatrip;two,astrangercomestotown.(LeeSmith,NewYorkTimesBookReview)PlotPlotisthewayinwhichConflictConflictisthemajorwaytokeepreader’sinterestandinvolvement.ConflictisthestrugglebetweenopposingforcesoftheProtagonistandtheAntagonist.TheProtagonistisastory’sprincipalcharacter,andtheantagonistissomeoneorsomethingpresentedinoppositiontotheprotagonist.ConflictConflictisthemajorStagesofPlotExpositionComplicationClimaxResolutionStagesofPlotExpositionExpositionInastory’sexpositionthewriterpresentsthebasicinformationreadersneedtounderstandtheeventsthatfollow.Typically,theexpositionsetsthestoryinmotion:itestablishesthescene,introducesthemajorcharacters,andperhapssuggeststhemajoreventsorconflictstocome.ExpositionInastory’sexposComplication.Astheplotprogresses,thestory’sconflictunfoldsthroughaseriesofcomplicationsthatwilleventuallyleadreaderstothestory’sclimaxComplication.Climax

Theclimaxisthepointofgreatesttensionorimportance,thescenethatpresentsastory’sdecisiveactionorevent.Theclimaxmayincludeseveralcrises.Acrisisisapeakinthestory’saction,amomentofconsiderabletensionorimportance.ClimaxTheclimaxisthepoinResolutionResolutionisthefinalstageofplot.Itdrawstheactiontoacloseandaccountsforallremaininglooseends.ResolutionResolutionisthefiCharacterizationCharacterizationisthewaywritersdevelopcharactersandrevealthosecharacters’traitstoreaders.Methodsofcharacterization:※action※reactions※physicalappearance※speech,gestures,andexpressions※namesCharacterizationCharacterizatiRoundandFlatCharactersFlatcharactersaretwo-dimensionalinthattheyarerelativelyuncomplicatedanddonotchangethroughoutthecourseofawork.Roundcharactersarecomplexandundergodevelopment,sometimessufficientlytosurprisethereader.RoundandFlatCharactersFlatRoundandFlatCharactersSomeflatcharactersarestockcharacters,easilyidentifiabletypeswhobehavesoconsistentlythatreaderscanreadilyrecognizethem.Thekindlyoldpriest,thetoughyoungbully,andtheruthlessbusinessexecutiveareallstockcharacters.RoundandFlatCharactersSomeSettingWhenandwherethestoryhappensinfluenceourinterpretationofthestory’seventsandcharacters.HistoricalsettingGeographicalsettingPhysicalsettingSettingWhenandwherethestorPointofViewFirstpersonnarrator(IorWe)“EverymorningIlayonthefloorinthefrontparlourwatchingherdoor”.(JamesJoyce,“Araby”)PointofViewFirstpersonnarrPointofView“Andsoshedied…Wedidnotevenknowshewassick;wehadlongsincegivenuptryingtogetinformation…”(WilliamFaulkner,“ARoseforEmily”)

PointofView“AndsoshediedPointofViewThird-personnarrator(He,She,It,orThey)OmniscientLimitedomniscientObjective(Dramatic)PointofViewThird-personnarrPointofViewOmniscient“inahouse,inasuburb,therewereamanandhiswifewholovedeachotherverymuch…”(NadineGordimer,“Onceuponatime”)PointofViewOmniscientPointofViewLimitedomniscient“Thewagonwenton.Hedidnotknowwheretheyweregoing.”(WilliamFaulkner,“BarnBurning”)PointofViewLimitedomniscienPointofViewObjective(Dramatic)“‘You’llbedrunk,’thewaitersaid.Theoldmanlookedathim.Thewaiterwentaway.”(ErnestHemingway,“AClean,Well-LightedPlace”)PointofViewObjective(DramatStyle,Tone,andLanguageStyle:wordchoice,syntax,sentencelengthandstructure,andthepresence,frequency,andprominenceofimageryandfiguresofspeech;Style,Tone,andLanguageStyleToneTone:theattitudeofthenarratororauthorofaworktowardthesubjectmatter,characters,oraudience.(Wordchoiceandsentencestructure)Thetonecanbeintimateordistant,bitteroraffectionate,straightforwardorcautious,supportiveorcritical,respectfulorcondescending.ToneTone:theattitudeofthe

Language

※Diction(formaldictionandinformaldiction)※Imageryandfigurativelanguage

Language

※Diction(formaldiSymbolAsymbolisaperson,object,action,place,oreventthat,inadditiontoitsliteralmeaning,suggestsamorecomplexmeaningorrangeofmeanings.SymbolAsymbolisaperson,obAnalyzingPoetryTypesofpoetryNarrativepoetry:thepoetrythatrecountsastoryLyricPoetry:Lyricpoetrycommunicatesaspeaker’smood,feelings,orstateofmind.AnalyzingPoetryTypesofpoetrNarrativePoetryEpic:longnarrativepoemsaboutheroicfigureswhoseactionsdeterminethefateofanationoranentirerace.Thelanguageofepicpoemstendstobeformal,evenelevated,andoftenquiteelaborate.(IliadandOdyssey,Beowulf)IliadNarrativePoetryEpic:longnarNarrativePoetryBallad:Theballadisanothertypeofnarrativepoetrywithrootsinanoraltradition.Originallyintendedtobesung,aballadusesrepeatedwordsandphrases,includingarefrain,toadvanceitsstory.RobinHoodNarrativePoetryBallad:ThebaRomanceRomance:Romanceisanimaginativeliteraturethatissetinanidealizedworldandthatdealswithheroicadventuresandbattlesbetweengoodandevil.KingArthurRomanceRomance:RomanceisanLyricPoetryElegy:apoeminwhichapoetmournsthedeathofaspecificperson.(“ElegyWritteninaCountryChurchyard”)Ode:alonglyricpoem,formalandseriousinstyle,tone,andsubjectmatter.(“OdetotheWestWind”)LyricPoetryElegy:apoeminwLyricPoetrySonnet:Sonnetisa14-lineverseformusuallywritteniniambicpentameter.Pastoral:alyricpoemthatcelebratesthesimpleidyllicpleasuresofcountrylife.(“ThePassionateShepherdtoHisLove)LyricPoetrySonnet:SonnetisElementsofPoetrySpeakerImageryFiguresofspeechSymbolismSoundElementsofPoetrySpeakerFiguresofSpeechSimile:Myloveislikeared,redroseMetaphor:Myheadisabadlyorganizedfile;/Myheadisaswitchboard…(MargePiercy,“TheSecretaryChant”)FiguresofSpeechSimile:Symbolism

Asymbolisanideaorimagethatsuggestssomethingelse.Tyger!Tyger!burningbright,/IntheforestsofthenightSymbolismAsymbolisanideaSoundRhymeandrhythmRhyme:Alliteration:Heclaspsthecragwithcrookedhands;Closetothesuninlonelylands,SoundRhymeandrhythmRhyme

Assonance:

AlawnabouttheshoulderthrownIntoafinedistraction;Acarelessshoestring,inwhosetieIseeawildcivility;DomorebewitchmethanwhenartIstoopreciseineverypart.Endrhyme:Tyger!Tyger!burningbrightIntheforestsofthenightRhymeAssonance:Rhythm

Rhythm:Rhythmisthearrangementofstressedandunstressedsyllablesintoapattern.Meter:MeterisagenerallyregularpatternofstressedandunstressedsyllablesinpoetryRhythmRhythm:RhythmistheaRhythmFoot:Footreferstotwoormoresyllablesthattogethermakeupthesmallestunitofrhythminapoem.Forexample,anIambisafootthathastwosyllables,oneunstressedfollowedbyonestressed.AnAnapesthasthreesyllables,twounstressedfollowedbyonestressed.RhythmRhythmIamb抑揚(yáng)格Trochee揚(yáng)抑格Anapest抑抑揚(yáng)格Dactyl揚(yáng)抑抑格RhythmIamb抑揚(yáng)格R