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Anintroductiontoliterature

Literature

一、Whatisliterature?

LiteraturecomesfromLatin"litterae",meaning"letter"inEnglish.

Thewordliteratureliterallymeans"acquaintancewithletters"andtheterm

"letters"issometimesudtosignify"literature,"asinthefiguresofspeech

"artsandletters"and"manofletters."

Generalmeanings?

①publishedwritingsinaparticularstyleonaparticularsubject(publications,books,

brochuresandsoon)

②creativewritingofrecognizedartisticvalue(artisticandliterarywritings)

③theprofessionorartofawriter(vocation)

④thehumanisticstudyofabodyofliterature(subject)

⑤musicalproduct

⑥knowledgeorlearning

⑦reading(supplementaryliterature)

ACrazyAct

Literatureisaboutwritinginaparticularcountryofaperiod,alloverthe

worldingeneral.

Literatureisawritingwhichhasclaimedtoconsiderundergroundofbeautyof

form,andemotionaleffect.(Aestheticism)

Literatureisallthewritingsthathavepermanentvalue,excellentformand

greatemotionaleffect.

Literatureisawritinghavingexcellenceofformorexpression,andexpressing

ideasofpermanenceofuniversalinterest.(criticalmind)

Adevelopingterm.

Aestheticism

Aestheticism(ortheAestheticMovement)wasa19thcenturyEuropeanart

movementthatemphasizedaestheticvaluesmorethansocio-politicalthemesfor

literature,fineart,thedecorativearts,andinteriordesign.

Generally,itreprentsthesametendenciesthatsymbolismordecadence

reprentedinFrance,andmaybeconsideredtheBritishversionofthesamestyle.

Itwaspartoftheanti-19thcenturyreactionandhadpost-Romanticorigins,andas

featureofthelate19thcenturyfromabout1868

toabout1900.

TheartistsandwritersofAestheticstyleudtheslogan"ArtforArt'sSake"(艺术

是纯粹的),tendedtoprofessthattheArtsshouldproviderefinednsuouspleasure,

d,theybelievedthatArtdid

nothaveanydidacticpurpo;itneedonlybebeautiful.

TheAesthetesdevelopedacultofbeauty,whichtheyconsideredthebasicfactorof

ouldcopyArt,nsiderednatureascrudeandlacking

indesignwhencomparedtoart.

InBritainthebestreprentativeswereOscarWildeandAlgernonCharles

Swinburne,alsoincludingJohnKeatsandPercyByssheShelley,greatlyinfluenced

bytheFrenchSymbolists.

OscarWilde(1856-1900):

hplaywright,anaestheteadvocating“artforart’ssake”.

guageisconci,icizesthehypocrisyandcorruption

acksaremorelikejokes.

ndermere’sFan,AWomanofNoImportance,AnIdealHusbandandThe

ImportanceofBeingEarnest

Adevelopingterm.

Whatisliterature?

1)Thedefinitionof14thcentury:

➢literatureoramanof

letters=amanofwidereading,“literacy”

2)Thedefinitionof18thcentury:

➢practiceandprofessionofwriting

3)Thedefinitionof19thcentury:

➢thehighskillsofwritinginthespecialcontextofhighimagination

4)RobertFrost’sdefinition:

➢performanceinwords

5)Moderndefinition:

➢Wecandefineliteratureaslanguageartisticallyudtoachieveidentifiable

tureis

characterizedbybeautyofexpressionandformandbyuniversality

intellectualandemotionalappeal.

DifferentIdeas

Literatureisimitation.

Literatureisfunction.

Literatureisanexpressionofemotions.(imagism意象派)

Literatureisliterature.（payattentiontoitsform）

Imagism

1)lishpoetrycharacterizedbytheuof

concretelanguageandfiguresofspeech,modernsubjectmatter,metrical

freedom,andavoidanceofromanticormysticalthemes,aimingatclarityof

expressionthroughtheuofprecivisualimages.

2)ItgrewoutoftheSymbolistMovementin1912andwasinitiallyledbyEzra

Pound,AmyLowell,andothers.

3)TheImagistmanifestocameoutin1912showedthreeImagistpoetic

principles:directtreatmentofthe“thing”（nofuss,frill,orornament）,

exclusionofsuperfluouswords（precisionandeconomyofexpression）,the

rhythmofthemusicalphraratherthanthequenceofametronome（free

verformandmusic）.

4)Pounddefinedanimageasthatwhichprentsanintellectualandemotional

complexinaninstantoftime,andlaterheextendedthisdefinitionwhenhe

statedthatanimagewas“avortexorclusteroffudideas,endowedwith

energy.”

5)GenerallyanImagist’simagereprentsamomentofrevealedtruth,truth

istpoem,

therefore,oftencontainsasingledominantimage,oraquicksuccessionof

mple:

InaStationoftheMetro

Theapparitionofthefacesinthecrowd;

Petalsonawet,blackbough.

人群中幽然浮现的一张张脸庞，

黝黑的湿树枝上的一片片花瓣。

6)Abouttheabovepoem:

❖The“Metro”briefpoem,Pound

usthefewestpossiblewordstoconveyanaccurateimage,accordingtothe

principlesofthe“Imagists”.

❖Hetriestorenderexactlyhisobrvationofhumanfaceseninan

thefaces,turnedvariouslytowardlight

anddarkness,likeflowerpetalswhicharehalfabsorbedby,halfresisting,the

wet,darktextureofabough.

❖Theword“apparition”,withitsdoublemeaning,bindsthetwoaspectsofthe

obrvationtogether:

➢Apparitionmeaning“appearance”,inthenofsomethingwhichappears,

orshowsup;somethingwhichcanbeclearlyobrved.

➢Apparitionmeaningsomethingwhichemsrealbutperhapsisnotreal;

somethingghostlywhichcannotbeclearlyobrved.

ThisisperhapsthemostfamouspoemwrittenbyEzraPound.

e:

1)BorninIdahoin1885andraidinPennsylvania,EzraPoundspent

mostofhislifeinEuropeandbecameoneofthe20thcentury'smost

influential--andcontroversial--poetsintheEnglishlanguage.

2)hegraduatedfromuniversity,

collegeinPennsylvaniaandabriefstintasateacher,in1908Poundtravelled

toVeniceandthentoLondon,whereherefinedhisaestheticnsibilitiesand

editedtheanthologyDesImagistes(1914).

3),WilliamCarlosWilliamsand

JamesJoyceand,influencedbyChineandJapanepoetry,advocatedfree

meterandamoreeconomicaluofwordsandimagesinpoeticexpression,

leadingtheImagistMovementofpoetry.

4)HemovedtoParisin1920andgotacquaintedwithGertrudeSteinand

hercircleoffriends(whichincludedErnestHemingwayandPabloPicasso),

thenttledinItalyin1924.

5)EnamoredwithBenitoMussolini,Poundmadeanti-Americanradio

rrestedasatraitorin1945and

hennttotheU.S.,wherehewasdeemed

mentallyunfittostandtrialfortreason.

6)Poundwasconfinedfor12yearsinahospital(actuallyprison)forthe

thistimehetranslatedworksof

nprison,hewasawarded

aprestigiouspoetryprizein1949forhislastCantos.

7)In1958hereturnedtoItaly,wherehecontinuedtowriteandmake

translationsuntilhediedin1972.

ks:

1)Poundwrote70booksandover1500articlesinhislife.

2)HismajorworkofpoetryisTheCantos,alongpoemwhichhewrotein

ctionsbetween1915and1945.

terpiece:TheCantos

1)Inthispoem,hetracestheriandfallofeasternandwesternempires,

thedestructioncaudbygreedandmaterialism.

2)HedeploresthecorruptionofAmericaaftertheheroictimeofJefferson,

3)Thelastpart,producedfromhisownsuffering,isthemostmoving.

7）ThereexistedgreatinfluenceofChinepoetryontheImagistmovement.

ImagistsfoundvalueinChinepoetrywasbecauChinepoetryis,by

virtueoftheideographicandpictographicnatureoftheChinelanguage,

esntiallyimagisticpoetry.

《天净沙·秋思》

马致远

枯藤、老树、昏鸦，小桥、流水、人家，

古道、西风、瘦马，夕阳西下，断肠人在天涯。

Autumn

Eveningcrowsperchonoldtreeswreathedwithwitheredvine,

Waterofastreamflowsbyafamilycottagenearatinybridge.

Aleanhorwalksonanancientroadinwesternbreeze,

Thesunisttinginthewest,

Theheart-brokenoneisattheendoftheEarth.

二、Whyshouldwestudyliterature?

Itcannourishouremotionallife.

Itcanbroadenpeople'sperspectivesontheworldandofferthemknowledgein

theformofinformation.

Itcanhelppeopletoescapefromreality.

Fornothingbuttheaestheticpleasureofobrvinggoodartistryform.

Itcanhelpstudentstowriteapaperorpassanexamination.

三、Howtostudyliterature?

Literatureisnotliterature.

HistoricalPerspectives:Biographical-HistoricalandMoral-Philosophical.(Diver

TypesofHistoricisms:includingFeminist,SociologicalorMarxianStudiesof

Language,LiteratureandTranslation)

StructuralistPerspectives:LookingforSystematicDeepStructuresbothinForm

andContent.(Semiotics,TGGrammar,Systematic/FunctionalGrammar,Narratology,

Freudianpsycho-analysis,RussianFormalism,Anglo-AmericanNewCriticism,

Archetypalism,MythCriticism,StructuralMarxism,Ideology)

PoststructuralistorPostmodernPerspectives:DeconstructingStructuringBinaries

(NoClearDistinctionbetweenFormandContent)[PostmodernFeminism,

Postcolonialism,PostmodernNarratologies,NewHistoricism,IdeologicalStudies,

DiscourAnalysis,ReceptionTheories,TraumaStudies,Trans-AtlanticStudies,

Transnationalism,Eco-criticism,CulturalPathology,andotherPostmodernisms]

ditionalApproaches:

1)AnalyticalApproach

➢Befamiliarwiththeelementsofaliterarywork,eg:plot,character,tting,

pointofview,structure,style,atmosphere,theme,etc;answersomebasic

questionsaboutthetextitlf.

2)ThematicApproach

➢“Whatisthestory,thepoem,theplayortheessayabout?”

3)Historical-BiographicalApproach

4)Moral-PhilosophicalApproach.

malisticAppoach

➢Structuralism,Poststructuralism,Semiotics

3．ThePsychologicalApproach:Freud

ogicalandArchetypalApproach

stApproaches

ogicalApproach

truction

enology,Hermeneutics,ReceptionTheory

alCriticism

➢AmericanMulticultualism

➢TheNewHistoricism,BritishCulturalMaterialism

onalApproaches:

①AristotlianCriticism

②GenreCriticism

③Rhetoric,Linguistics,andStylistics

④TheMarxistApproach

⑤EcologicalCriticism

⑥PostColonialism

Fiction

fiction?

Fictionreferstoanynarrativewhichhasnotactuallyoccurredinthehistory

orinthehistoricalorrealworld,tenassociated

withnovel.

ThetermnovelprobablycomesfromtheItalianword"novella",meaning"a

littlenewthing"and"tale".

纪实小说？

Novel:alongworkofprofiction.

Novel,asamorerealisticliterarygenre,issometimesdistinguishedin

academicliterarycriticismfromtheromance,butthisdistinctionisnot

maintainedbyallcritics.

Novelisdifferentformromanceinthatitismorerealistic,cular,social,

psychological,character-centered,andsoon.

Romanceconsistof"theConstantLovesandinvincibleCouragesofHeros,

Heroins,KingsandQueens,Mortalsofthefirstrank."(imagination)Novels,

however,"areofamorefamiliarNature;Comenearus,andreprenttous

IntriguesinPractice,delightuswithAccidentsandoddEvents,butnotsuchas

arewhollyunusualorunpresidented,suchwhichbeingnotsodistantfromour

esgivemoreWonder,

NovelsmoreDelight."(WilliamCongreve)

Allinall,fictionisanimaginarybutusuallyplausibleandcomparatively

truthfulpronarrativewhichdramatizeschangesinhumanrelationship.

Theauthordrawshismaterialsfromhixperiencesandobrvationoflife,

butshakesthemtohispurposwhichincludeilluminationofhuman

experience.

Romance(heroicliterature)

Asaliterarygenreofhighculture,romanceorchivalricromanceisastyleof

heroicproandvernarrativethatwaspopularinthearistocraticcirclesofHigh

refantasticstoriesabout

marvel-filledadventures,oftenofaknighterrantportrayedashavingheroic

qualities,rliteraturealsodrewonthemesofromance,

butwithironic,esreworkedlegends,fairytales,

andhistorytosuitthereaders'andhearers'tastes,butbyc.1600theywereoutof

,themodernimageof"medieval"ismoreinfluencedbytheromance

thanbyanyothermedievalgenre,andthewordmedievalinvokesknights,

distresddamls,dragons,andotherromantictropes.

Modernusageofterm"romance"usuallyrefertotheromancenovel,whichisa

subgenrethatfocusontherelationshipandromanticlovebetweentwopeople;

thenovelsmusthavean"emotionallysatisfyingandoptimisticending."Despite

thepopularityofthispopularmeaningofRomance,otherworksarestill,

occasionally,referredtoasromancesbecauoftheirusofotherelements

descendedfromthemedievalromance,orfromtheRomanticMovement:

larger-than-lifeheroesandheroines,dramaandadventure,marvelsthatmay

becomefantastic,themesofhonorandloyalty,orfairy-tale-likestoriesandstory

ttings.

Shakespeare'slatercomedies,suchasTheTempestorTheWinter'sTaleare

worksmaydifferentiatefromlove-story

asromanceintodifferentgenres,suchasplanetaryromanceorRuritanian

efictionwas,foratime,termedscientificromance,andgaslamp

fantasyissometimestermedgaslightromance.

ffiction

Character:theKunstlerroman,thespynovel,theBildungsroman(initative

novel)

Setting:thehistoricalnovel,thecampusnovel

Plot:thedetectivenovel

Structure:theepistolarynovel,thepicaresquenovel

Length:novel,novella,shortstory,novellet

......(Stream-of-consciousnessnovel,hypertextnovel,Saganovel...)

Künstlerroman艺术家成长小说

AKünstlerroman,meaning"artist'snovel"inGerman,isanarrativeaboutan

artist'eclassifiedasaspecificsub-genreof

Bildungsroman;suchawork,usuallyanovel,tendstodepicttheconflictsofa

nsitiveyouthagainstthevaluesofabourgeoissocietyofhisorhertime.

1909JackLondonMartinEden

ce'sSonsandLovers

1914JamesJoyce'sAPortraitoftheArtistasaYoungMan

itzgerald'sThisSideofParadi

1927VirginiaWoolf'sTotheLighthou

Bildungsroman成长小说，教育小说

Bildungsroman,orcoming-of-agestory,orapprenticeshipnovel,ornovelof

education,arisinginGermany,isaliterarygenrewhichfocusonthepsychological

andmoralgrowthoftheprotagonistfromyouthtoadulthood(comingofage),andin

mcoming-of-agenovelis

sometimesudinterchangeablywithBildungsroman,butitsuisusuallywiderand

lesstechnical.

TherearemanyvariationsandsubgenresofBildungsromanthatfocusonthe

icklungsroman("developmentnovel")isastoryof

ehungsroman("educationnovel")

focusontrainingandformalschooling,whileaKünstlerroman("artistnovel")is

aboutthedevelopmentofanartistandshowsagrowthofthelf.

ABildungsromantellsaboutthegrowingupofansitivepersonwhoislooking

reevolvedfromfolkloretalesofadunceor

youngestsongoingoutintheworldtoekhisfortune.

Usuallyinthebeginningofthestorythereisanemotionallosswhichmakesthe

dungsroman,thegoalismaturity,andthe

protagonistachievesitgraduallyandwithdifficulty.

Thegenreoftenfeaturesamainconflictbetweenthemaincharacterandsociety.

Typically,thevaluesofsocietyaregraduallyacceptedbytheprotagonistandheis

ultimatelyacceptedintosociety–theprotagonist'smistakesanddisappointmentsare

works,theprotagonistisabletoreachoutandhelpothersafterhaving

achievedmaturity.

JaneEyre,byCharlotteBronte(1847)

DavidCopperfield,byCharlesDickens(1850)

GreatExpectations,byCharlesDickens(1860-1861)

AdventuresofHuckleberryFinn,byMarkTwain(1884)

ThePictureofDorianGray,byOscarWilde(1890)

TheCatcherintheRye,er(1951)

Goodbye,Columbus,byPhilipRoth(1959)

EepistolaryNovel书信体小说

alformis

letters,althoughdiaryentries,newspaperclippingsandotherdocumentsare

ly,electronic"documents"suchasrecordingsandradio,blogs,

ande-mailshavealsocomeintou.

Theepistolaryformcanaddgreaterrealismtoastory,becauitmimicsthe

usabletodemonstratedifferingpointsofviewwithout

recourtothedeviceofanomniscientnarrator.

SaulBellow'snovelHerzog(1964)re

bothrealandimaginedletters,tofamily

members,friendsandfamousfigures.

Picaresquenovel流浪汉小说(例:唐吉柯德)

Miguelde’Cervantes流浪汉小说鼻祖（DonQuixotedelaMancha）

Thepicaresquenovelisapopularsub-genreofprofictionwhichisusually

satiricalanddepicts,inrealisticandoftenhumorousdetail,theadventuresofa

yle

ofnoveloriginatedinsixteenthcenturySpainandflourishedthroughoutEuropeinthe

inuestoinfluencemodernliterature.

Stream-of-consciousnessnovel意识流小说

Inliterarycriticism,streamofconsciousnessisanarrativemodethateksto

portrayanindividual'spointofviewbygivingthewrittenequivalentofthecharacter's

thoughtprocess,eitherinaloointeriormonologue,orinconnectiontohisorher

m"StreamofConsciousness"wastakenfromthebook"The

PrinciplesofPsychology".Stream-of-consciousnesswritingisusuallyregardedasa

specialformofinteriormonologueandischaracterizedbyassociativeleapsinsyntax

andpunctuationthatcanmaketheprodifficulttofollow.

Streamofconsciousnessandinteriormonologuearedistinguishedfromdramatic

monologue,wherethespeakerisaddressinganaudienceorathirdperson,whichis

amofconsciousness,thespeaker'sthought

processaremoreoftendepictedasoverheardinthemind(oraddresdtoonelf);

mwasintroducedtothefieldofliterary

studiesfromthatofpsychology,whereitwascoinedbyphilosopherandpsychologist

WilliamJames.

Streamofconsciousnessisthecontinuousflowofn‐perceptions,thoughts,

feelings,andmemoriesinthehumanmindoraliterarymethodofreprentinga

blendingofmentalprocessinfictionalcharacters,usuallyinanunpunctuatedor

misoftenudasasynonymfor

interiormonologue,buttheycanalsobedistinguished,irst

(psychological)n,thestreamofconsciousnessisthesubject‐matterwhile

interiormonologueisthetechniqueforprentingit.

Inthecond(literary)n,streamofconsciousnessisaspecialstyleofinterior

monologue:whileaninteriormonologuealwaysprentsacharacter'sthoughts

‘directly’,withouttheapparentinterventionofasummarizingandlectingnarrator,

itdoesnotnecessarilyminglethemwithimpressionsandperceptions,nordoesit

necessarilyviolatethenormsofgrammar,syntax,andlogic;butthestream‐of‐

rtantdeviceof

modernistfictionanditslaterimitators,thetechniquewaspioneeredbyJamesJoyce

inUlyss(1922),ay(1925)

andWilliamFaulknerinTheSoundandtheFury(1928).

Hypertextnovel超文本小说

Hypertextistextdisplayedonacomputerorotherelectronicdevicewithreferences

toothertextthatthereadercanimmediatelyaccess,usuallybyamouclickor

romrunningtext,hypertextmaycontaintables,imagesand

extistheunderlyingconceptdefiningthe

easy-to-uandflexibleformattoshare

informationovertheInternet.

Saganovel大型系列小说

Asaganovelisanovelamongvariousliterarynovelswhichincompassingthe

widescopesofstoriesandnarrativessuchasreligioussaga,nationalsaga,familysaga,

andhumansaga,etc.

ThemajorexampleofasaganovelinEnglishliteratureisGeorgeEliot's

S,'sTheGoodEarthandMargaretMitchell's

GonewiththeWindbelongtothecategoryofsaganovels.

However,theBritishandAmericanSagasareusuallyunderestimatedmorethan

middla,

LoGuanzhong(LoKuanchung)'sSanguozhiyanyi(RomanceoftheThree

Kingdoms)isthemostreprentativeandwell-knownsaganovelsincethe14th

centuryasoneofthefourgreatclassicalnovelsinChina.

▪ADreamofRedMansions(TheStoryoftheStone)

▪PilgrimagetotheWest(JourneytotheWest)

▪HeroesofMarshes(WaterMargins)

▪RomanceoftheThreeKingdoms

yoffiction.(4-6)

①theearly14thcentury

②themid-17thcentury——thefirsttruenovel

France,thedevelopmentofarefinedshortnovel

③the18thcentury

WalterScott,历史小说经典作家,movedfromromanticismtorealism

④the19thcentury

The19thcenturywasanageofconversionfromatraditionpre-modernstatetoa

modernindustrialsociety.

⑤the20thcentury

Therearoamoredeliberatekindofrealismcalledneutralismwhichaimedto

provideaprecidescriptionofactualcircumstancesofhumanlifeinminutedetail.

Infiction,theestablishedchronologicaldevelopmentwaschallengedbyJoph

ConradandWilliamFaulkner,whileJamesJoyceandVirginiaWoolfattempted

stream-of-consciousness.

IV．Elementsoffiction

▪Plot

▪Structure

▪Character

▪Setting

▪Pointofview

▪Theme

▪style

▪......

Plot

Traditionally,plotsarioutofconflict,tory

includesaninternalconflict,theprotagonist(主角)oftenundergoesaconflictwithin

himlforherlf.

四种关系：人与社会、人与自然、人与人、人与自我、（人与宗教）

▪Anauthor’scarefularrangementofincidentsinanarrativetoachievea

desiredeffect.

▪Plotisdefinedastheeventsthatmakeupthestory,particularlyasthey

relatetooneanotherinapattern,inaquence,throughcauoreffect,

enerallyinterestedinhowwellthispatternof

eventsaccomplishessomeartisticoremotionaleffect.

▪Plotandstory.

▪Plotandstructure.

susinterested

entfromthestorythat

indicatesthe“rawmaterial”ofevents,theplotisthelectedversionofeventsin

ctiveplotusuallyfollowsthemodeofcau

andeffectbetweenincidents.

Astory’iningstructure,

welookforpatterns,isthe

quenceofunfoldingaction,structureisthedesignorformofthecomplete

dstructuretogetherrevealaspectsofthestory’sartisticdesign.

▪thefocusofplot——conflict.

1)VirginiaWoolf

．．．．．．．．．．．．．

’sTheWaves

2)ThomasHardy’sTessofthed’Urbervilles（坏境悲剧、性格悲剧、命运悲剧）

3)WilliamFaulkner’sARoforEmily

TheWaves

TheWaves,morethananyofVirginiaWoolf'snovels,conveysthecomplexitiesof

gthelivesofagroupoffriends,TheWavesfollowstheir

developmentfromchildhoodtoyouthandmiddleage.

Whilesocialevents,individualachievementsanddisappointmentsformits

narrative,thenovelismostremarkablefortherichpoeticlanguagethatconveysthe

innerlifeofitscharacters:theiraspirations,theirtriumphsandregrets,their

telyandtogether,theyquerytherelationship

ofpasttoprent,andthemeaningoflifeitlf.

Woolf'snovelisconcernedwiththeindividualconsciousnessandthewaysin

’sdifferentfroma

Bil

difficultyofassigninggenretothisnoveliscomplicatedbythefactthatobliterates

traditionaldistinctionsbetweenproandpoetry,allowingthenoveltoflowbetween

ksimilarlybreaksdowntraditional

boundariesbetweenpeople,andWoolfherlfwroteinherthatthesixwerenot

meanttobeparate"characters"atall,butratherfacetsofconsciousness

ename"novel"maynotaccuratelydescribe

erlfcalleditnotanovelbuta"playpoem."

Tessofthed’Urbervilles

TessoftheD’

oneofHardy’thedaughterofthepoorJohn

Durbeyfieldwholearnfromthevillageparsonthathisfamilyisrelatedtoancient

nobility,beingthelastofthefamilytheD’ngtomakeuofthis

connection,Joan–John’swife-suggeststhatTesspursuethesonofthelocalfamily

ofMrsD’rnsouttheMrsD’Urbervillehasmerelytakenthename

forconveniencebutTessbecomesinvolvedwithhersonAlecnonethelesswhogives

heremploymentbuttakesadvantageofherandinunpleasantcircumstancesduces

her.

Theyhaveachildtogetherwhodiearlyandcannotbebaptidbecauheis

ondstageofthenovelconcernsthefamilyoftheReverendMr

ndTessmarrybutwhensheadmitstheincidentwith

AlectheirrelationshipistornapartleadingtoAngel’sdepartureforSouthAmerica

andAlec’adstomurder,escapeand

superficialimpurityonthepartofTesswhoisfinallybroughtto"Justice".

Thisisanexceptionallybleaknovelthatofferslittlerelapfromthepersistent

crueltyoffate(orasthenovelwouldhaveitthePresidentoftheImmortals)against

imethenovelwasconsideredpessimisticandimmoral,andHenryJames

thoughtitthoroughlypoorlyconceivedwhichremindsusofacertainconversation

betweenapotandablackkettle.

ARoforEmily

Thestory,toldinfivections,opensinctiononewithanunnamednarrator

describingthefuneralofMissEmilyGrierson.(Thenarratoralwaysreferstohimlf

incollectivepronouns;heisperceivedasbeingthevoiceoftheaveragecitizenofthe

townofJefferson.)Henotesthatwhilethemenattendthefuneraloutofobligation,

thewomengoprimarilybecaunoonehasbeeninsideEmily’

narratordescribeswhatwasonceagrandhou‘‘tonwhathadoncebeenourmost

lectstreet.’’Emily’soriginsarearistocratic,butbothherhouandthe

neighborhooditisinhavedeteriorated.

Thenarratornotesthatpriortoherdeath,Emilyhadbeen‘‘asortofhereditary

obligationuponthetown.’’ThisisbecauColonelSartoris,theformermayorofthe

town,remittedEmily’staxesdatingfromthedeathofherfather“onintoperpetuity.’’

Apparently,Emily’lSartoris

inventedastoryexplainingtheremittanceofEmily’staxes(itisthetown’smethodof

payingbackaloantoherfather)tosaveherfromtheembarrassmentofaccepting

charity.

Thenarratorusthisopportunitytogueintothefirstofveralflashbacksinthe

stincidenthedescribestakesplaceapproximatelyadecadebefore

Emily’nerationofpoliticianstakesoverJefferson’sgovernment.

TheyareunmovedbyColonelSartoris’sgrandgestureonEmily’sbehalf,andthey

orestheirnoticesandletters.

Finally,theBoardofAldermenndsadeputationtodiscussthesituationwithher.

ThemenareledintoadecrepitparlorbyEmily’sblackman-rvant,st

physicaldescriptionofEmilyisunflattering:sheis‘‘asmall,fatwomaninblack”

wholooks“bloated,likeabodylongsubmergedinmotionlesswater,andofthat

pallidhue.”Afterthespokesmanawkwardlyexplainsthereasonfortheirvisit,Emily

repeatedlyinsiststhatshehasnotaxesinJeffersonandtellsthementoeColonel

ratornotesthatColonelSartorishasbeendeadatthatpointfor

dsthemenawayfromherhouwithnothing.

Story-tellingtechniques

▪Flashback：

disruptthelinearmovementoftheplotandprentanearlieraction

▪Foreshadowing

▪Suspen

▪Coincidence

Tickets,ce

①本我与超我的碰撞

②欲望本能

③非理性主义的艺术审美

Character

flatcharacterandroundcharacter

majorcharacterandminorcharacter

staticcharacterandactivecharacter

directcharacterizationandindirectcharacterization

Pointofviewandtone

r

words,itisthepositionofthestoryteller.

Forms

First-personnarratives(I)

Third-personnarratives(he,she,they)

Second-personnarratives(you)

First-personnarratives

Thereislittledoubtthatthefirst-personpointofviewisfairly“limited”.

reliablenarratorandunreliablenarrator

Third-personNarrator

thethird-personomniscientnarrator

thethird-personlimitednarrator

limitedomniscience

multiplepointofview

Second-personNarrator

Itsmoststrikingfeatureisthepersonaddresdbythenarratoras“you”has

differentreferentsinvariouscontexts:Specificcharacterwithinthestory,

thecurrentreader,oreventhenarratorhimlf.

Tone

Toneinwritingissomewhatlikesomeofvoiceinspeechandcanberious,

introspective,satirical,sad,ironic,playful,condescending,forma,or

informal.

Toneistheauthor’sattitudetowardthecharacters,thetopic,orthereaders,as

expresdbythenarrator.

Irony

Verbalirony言语反讽

Situationalirony情景反讽

Dramaticirony喜剧反讽

Ironyisarhetoricaldevice,literarytechnique,orsituationinwhichthereisasharp

incongruityordiscordancethatgoesbeyondthesimpleandevidentintentionofwords

oractions.

Ironicstatements(verbalirony)arestatementsthatimplyameaninginopposition

tionisoftensaidtobeironic(situationalirony)ifthe

discordanceofverbalironymaybedeliberatelycreatedasameansofcommunication

(asinartorrhetoric).Descriptionsordepictionsofsituationalirony,whetherin

fictionorinnon-fiction,rvesthecommunicativefunctionofsharpeningor

highlightingcertaindiscordantfeaturesofreality.

Verbalandsituationalironyareoftenudforemphasisintheasrtionofatruth.

Theironicformofsimile,udinsarcasm,andsomeformsoflitotemphasizeone's

meaningbythedeliberateuoflanguagewhichstatestheoppositeofthetruth—or

drasticallyandobviouslyunderstatesafactualconnection.

Indramaticirony,theauthorcausacharactertospeakoracterroneously,outof

rwords,

theaudienceknowsthecharacterismakingamistake,evenasthecharacterismaking

chniquehighlightstheimportanceofaparticulartruthbyportrayinga

personwhoisstrikinglyunawareofit.

课本P49RapeFantasies

ironyconsistsofunderstatementsandoverstatements.

Ex:Greta’sandChrissy’srapefantasiesunderstatetheimpactofrapeandwhat

rlenesaysthattheyshouldnotgooutaloneat

night,itisanoverstatement.

ionalirony

Ex:Greta’sandChrissy’srapefantasiesarenotwhatrapetrulybelikebutrather

whattheyhopeitwouldbelike.

Ex:Inherfantasiesstrangerrapeher,butstatisticsshowthatwomenaremore

likelytoberapedbysomeonetheyknow.

icirony

Ex:Estelleistalkingtothemenatthebarabouthavingaconversationwitharapist

sshedoesn’tthinkthe

personwouldbeabletogothroughwiththeplansafterhavingsucharealization.

Theme

Likeacommonthread,thethemeisrepeatedandincorporatedthroughoutaliterary

testhecentralideaformulatedasageneralization.

Inesnce,thethemeisthemainideaorsometypeoflessonormessagethatthe

authorwantstoconveytothereader.

TheThemeof“TheEgg”:Disillusionmentisnecessarytotheprocessof

maturing.

FamiliarThematicConcerns

①Therelations(p51)

②Time(52)

③Death(52)

④Life

⑤Love

⑥……

TheThemeofTime

①《喧嚣与骚动》的时间主题

②《了不起的盖茨比》的时间主题

③莎士比亚十四行诗的时间主题

④米兰·昆德拉小说的时间主题

WaystoIdentifyTheme

①thetitle

②thecentraltopicor“bigidea”

③toorganizethoughts(evidencethatsupportthetopic,protagonist’sactions,

speechesandrespons,andsoon)

Style

Definition:

Styleisthemannerofexpressionofaparticularwriter,school,period,or

genreproducedbychoiceofwords,grammaticalstructures,uofliterary

devices,ombinedqualities

thatdistinguishonecategoryfromanother.

Subjectively,thestyleisthemanhimlf.

Objectively,properwordsinproperplacesmakethetruedefinitionofastyle.

RelativeElements:

①Tone：Indicatethespeaker’sattitudetowardshissubjectandhisaudience.

②Diction:referstoawriter’schoiceofwords.

③Imagery:istoestablishawriter’sstylesitextendstoallthen.

④Syntax:isthepatternoarrangementofindividualwordsandphras

⑤Structure:ishelpfulforawritetocreateaparticularstyle

twogroups:①③②④⑤

文学：对谁说，说什么，怎么说

TheHallmarksofTwoStyles:

FormalStyle:periodicandloontences,parallelism,repetition,metaphor

andcomparison,Latinatelanguageandmultisyllabicwords,aswellas

avulsions.

FamiliarStyle:judiciousuofspeechcharacteristics,suchassimple

vocabulary,uofslangandprofanity,lessrigorousgrammar,contractions,

simpleandshortntencesandironyandhumor,minimaluofsubordinate

clausanduofdialogue.(theartofmodernnarration)

Theartofmodernnarration现代叙事艺术

Forhisnovelsandforhisshortstories,whichincludesomeofthefinestinthe

Englishlanguage,1954hewasawardeda

NobelPrizeforhis"masteryoftheartofmodernnarration."Takinghiscuefrom

MarkTwain'smasterpiece,Hemingwaybroughtthecolloquialstyletonearperfection

s,Hemingway--alongwithGertrudeStein,Ezra

Pound,,andJamesJoyce--accomplishedarevolutioninliterarystyleand

lopedaspare,tight,reportorialprobadonsimplentence

structureandusingarestrictedvocabulary,preciimagery,andanimpersonal,

dramatictone.

Hislanguageischaracterizedbyfeaturesincluding:economyofexpression,

shortntencesandparagraphs,vigorousandpositivelanguage,anddeliberate

avoidanceofgorgeousadjectives,andetc.

He-man硬汉；4marriages,4wars,4aircrashes

InAnotherCountrybyErnestHemingway

gh

unnamed,heisassumedtobe"Nick"acharacterHemingwaymadetoreprenthim.

he

"machines"areudtospeedthehealing,withthedoctorsmakingmuchofthe

owpicturestothewoundedofinjuriesliketheirs

healedbythemachines,butthewar-hardenedsoldiersareportrayedasskeptical,

perhapsjustifiablyso.

Asthenarratorwalksthroughthestreetswithfellowsoldiers,thetownspeople

asisfromthistreatmentisCafe

Cava,efellowsoldiersadmirethe

protagonist'smedal,theylearnthatheisAmerican,ipsofactonothavingtofacethe

samestrugglesinordertoachievethemedal,andnolongerviewhimasanequal,but

tagonistacceptsthis,since

hefeelsthattheyhavedonefarmoretoearntheirmedalsthanhehas.

Lateron,amajorwhoisfriendswiththenarrator,inanangryfittellsNickhe

shouldnevergetmarried,terrevealed

thatthemajor'orisdepictedasfar

moregrievouslywounded,withahandwitheredtothesizeofababy'shand,and

Hemingwaymemorablydescribesthewitheredhandbeingmanipulatedbyamachine

whichthemajordismissasa"damnthing."Butthemajoremvenmoredeeply

soimpliedthintireepisodeisadream,by

miniscentof

Dante'sInferno.

Loss,failure,thecharactersgrapple

withalossoffunction,alossofpurpo,arscontagious.

Twocharacterslothenormaluofalimb--thenarrator(leg)andthemajor(hand).

Almostallthecharactersinthestoryareportrayedascasualtiesofsomesort.

Detachment,disability,soldiers,courageis

notjustfacingenemyfireonthefrontlinebutalsopickingupthepiecesoftheir

,items,isforever.

tglance,"InAnotherCountry,"refersto

salsoa

visitortoanotherrealm--the"country"beWorldWar

Iistheultimateothercountry--attingthatdefinesnationsordestroysthemandhas

thepotentialtoerapeople,ideology,edoctorfeaturedinthe

storytrulybelievethathispatientswillrecoverfromtheirinjuriesorishemerely

accustomedtodispensinghopeinmuchthesamewayhemightdoleoutaspirin?The

egadgets

prefiguremoderntechnologyoraretheyanotherreminderofhowdependentupon

machinesbothwarandmedicinereallyare?

ErnestHemingway(1899-1961)

phy:

1)BorninOakPark,Illinois,thesonofacountrydoctor,Hemingwayworkedas

areporterfortheKansasCityStaraftergraduatingfromhighschoolin1917.

2)DuringWorldWarIhervedasanambulancedriverfortheAmericanRed

Cross;woundedontheAustro-Italianfrontjustbeforehis19thbirthday,he

wasdecoratedforheroism.

3)AfterrecuperatingintheUnitedStates,hesailedforFranceasaforeign

shebecamepartofthecoterieof

expatriateAmericansthatincludedGertrudeStein,EzraPound,

Fitzgerald.

4)DuringtheSpanishCivilWar,Hemingwayrvedasacorrespondentonthe

loyalistside.

5)HefoughtinWorldWarIIandthenttledinCubain1945.

6)In1954,HemingwaywasawardedtheNobelPrizeinLiterature.

7)By1960FidelCastro'srevolutionhadledHemingwaytoleaveCubaand

,anxiety-ridden,depresd,andillwithcancer,heshot

himlf,isposthumously

publishedbooksaretheadmiredmemoirofhisapprenticedaysinParis:A

MoveableFeast(1964),andIslandsintheStream(1970),consistingofthree

clolyrelatednovellas.

els:

1)TheSunAlsoRi(1926)Thenovelconcernsagroupofpsychologically

bruid,disillusionedexpatriateslivinginpostwarParis,whotakepsychic

refugeinsuchimmediatephysicalactivitiesaating,drinking,traveling,

brawling,epublicationofit,hewasrecognizedasthe

spokesmanofthe“lostgeneration”(socalledbyGertrudeStein).

2)AFarewellToArms(1929)tellsofatragicwartimeloveaffairbetweenan

ambulancedriverandanEnglishnur.

3)DeathintheAfternoon(1932),anonfictionworkaboutbullfighting

4)GreenHillsofAfrica(1935),anonfictionworkaboutbig-gamehunting,

glorifyvirility,bravery,andthevirtueofaprimalchallengetolife.

5)ToHaveAndHaveNot(1937)

6)TheFifthColumn(hisonlyplay1938)

7)ForWhomTheBellTolls(1940),indetailinganincidentinthewar,arguesfor

humanbrotherhood.

8)AcrosstheRiverandintotheTrees(1950)

9)TheOldManAndTheSea(1952,PulitzerPrize),celebratestheindomitable

courageofanagedCubanfisherman.

10)Paris:AMoveableFeast(1964)

11)IslandsintheStream(1970)

lectionsofStories

1)ThreeStoriesandTenPoems(1923),

2)InOurTime(1924)

3)MenwithoutWomen(1927)

4)WinnerTakeNothing(1933)

5)FirstForty-nineStories(1938)

ousstories:

1)TheKillers

2)TheUndefeated

3)TheSnowsofKilimanjaro

tingStyle:

way’sfictionusuallyfocusonpeoplelivingesntial,dangerous

lives—soldiers,fishermen,athletes,bullfighters—whomeetthepainand

ebratedliterarystyle,

influencedbyEzraPoundandGertrudeStein,isdirect,ter,andoften

monotonous,yetparticularlysuitedtohilementalsubjectmatter.

emingway’arlycareerbenefitedfromhisconnectionswith

Fitzgeraldand(moreso)withAmericannovelistSherwoodAnderson,his

aestheticisactuallyclortothatsharedbythetransplantedAmericanpoets

thathemetinParisduringthe1920s;,EzraPound,and,most

crucially,context,wemustrealizethatHemingway’s

approachtothecraftoffictionisdirectbutneverbluntorjustplainsimple.

way’stextistheresultofapainstakinglectionprocess,eachword

hoicesoflanguage,

inturn,occurthroughthemindandexperienceofhisnovels’central

characterswhethertheyrveexplicitlyasnarratorsoftheirexperienceoras

n

workingcorollaryofHemingway’s“icebergprinciple”（冰山原则）isthat

thefullmeaningofthetextisnotlimitedtomovingtheplotforward:thereis

alwaysawebofassociationandinference,asubmergedreasonbehindthe

inclusion(oreventheomission)ofeverydetail.

,too,thatalthoughHemingway’snovelsusuallyfollowa

straightforwardchronologicalprogressionasinthethreedaysofForWhom

theBellTolls,Hemingwaydoesmakeuofsummaryaccountsofthepast,of

memoriesrelatedexternallyasstories,eviceslend

furtherdepthtohischaractersandcreatenarrativestructuresthatarenot

completelystraightforwardchronicles.

salsoquitesubtle,andsubtletyisnotatraitthat

nd,Hemingwayisaninternational

artist,amanwhoneverrelinquishedhisAmericanidentitybutwhoentered

newterritoriestoobroadandtoodeeptofitwithinthedomainofanynational

culture.

reimportant,Hemingway’sstyle,withitsconsistentuofshort,

concrete,directproandofscenesconsistingexclusivelyofdialogue,gives

hisnovelsandshortstoriesadistinctiveaccessibilitythatisimmediately

othedirectcharacterofbothhisstyleand

hislife-style,thereisatendencytocastHemingwayasa“reprentative”

Americanwriterwhoworkreflectsthebold,forthrightandrugged

individualismoftheAmericanspiritinaction.

backgroundasawoundedveteranofWorldWarI,asanengaged

combatantinthefightagainstFascism/Nazism,andasa“he-man”witha

passionforoutdooradventuresandothermanlypursuitsreinforcethis

association.

sidentificationofHemingwayasauniquelyAmericangeniusis

ghthreeofhismajornovelsaretoldbyand/orthrough

Americanmen,Hemingway’sprotagonistsareexpatriates,andhisfictional

ttingsareinFrance,Italy,Spain,andlaterCuba,ratherthanAmericaitlf.

Poetry

Poetry?

Poetryisthelanguagesung,chanted,spoken,orwrittenaccordingtosome

patternofrecurrencethatemphasizestherelationshipsbetweenwordsonthe

basisofsoundandn.(dictionary)

Poetryis“thespontaneousoverflowofpowerfulfeelings…recollectedin

tranquility.”(WilliamWordsworth)

Poetryis“musicalthought.”(ThomasCarlyle)

IfIreadabookanditmakesmybodysocoldnofireevercanwarmme,I

knowthatispoetry.(EmilyDickinson)

Poetryis“hundredsofthingscomingtogetherattherightmoment.”

(ElizabethBishop)

Inesnce,poetryisakindof"saying".Asthemostcondendand

concentratedformofliterature,poetrysaysthemostinthefewestnumberof

words.

fication

ivepoetry叙事诗

oetry抒情诗

icpoetry戏剧诗

Narrativepoetryisaformofpoetrywhichtellsastory,oftenmakinguofthevoices

ofanarratorandcharactersaswell;theentirestoryisusuallywritteninmeteredver.

Thepoemsthatmakeupthisgenremaybeshortorlong,andthestoryitrelatesto

uallydramatic,withobjectives,divercharacters,andmeter.

Narrativepoemsincludeepics(史诗),romance,andballads.

Lyric

ancientworld,lyricpoemsweresung,oemsdonot

havetorhyme,tle,inPoetics,

mentionslyricpoetryalongwithdrama,epicpoetry,dancing,paintingandother

icpoem,datingfromtheRomanticera,doeshavesome

thematicantecedentsinancientGreekandRomanver,buttheancientdefinition

wasbadonmetricalcriteria,andinarchaicandclassicalGreekculturepresuppod

oetryischaracterized

bybrevity,melodyandemotionalintensity.

epigram讽刺诗(epigraph)

elegyandlament（哀歌、挽歌）

ode颂歌

aubade晨曲、黎明曲（爱情）

sonnet十四行诗(PetrarchanandShakespearean)

stina

villanelle

Thesonnethastwobasicpatterns:theItalian(or(Petrarchan)andtheEnglish(or

Shakespearean).AnItaliansonnetiscompodofaneight-lineoctaveandasix-line

speareansonnetiscompodofthreefour-linequatrainanda

concludingtwo-linecouplet.

AvillanelleisapoeticformthatenteredEnglish-languagepoetryinthe19th

dderivesfromtheItalian

villanellefromLatinvillanus(rustic).

firstandthirdlinesofthefirststanzaarerhymingrefrainsthatalternateasthethird

nelleisnineteen

lineslong,eofits

non-linearstructure,ellesdonottell

c,thevillanelleisadanceform,

accompaniedbysunglyricsoraninstrumentalpiecebadonthisdanceform.

维拉内拉诗(16世纪法国的一种19行诗)；①农村舞曲，维拉涅拉歌舞(意大利古代农村的一种歌舞)，②

那不勒斯民歌(villanella的名词复数)(意大利16世纪时的一种无伴奏的歌曲，如牧歌——pastorale)

Dramaticpoetryprentsthevoiceofanimaginarycharacterorcharacters

speakingdirectly,matic

poem,thepoetsayswithinthelimitsofoneimaginarycharacteraddressinganother

icpoetryisformwritingwithverydeepexpressionof

t'smotiveistocapturetheaudiences'attentionandmakethem

llyinvolvesanarrativepoemaboutapersoninvolvedina

situation,sometimesatruestoryandsometimesitisjustaformofcreativeart.

y

①oldEnglish(Beowulf)andtheMiddleAges

②theElizabethantime

③theearlierventeenthcentury

④thelateventeenthcentury

⑤from1790sto1830s

⑥theVictoriantime

⑦attheturnof20thcentury(modernism)

⑧afterWWII

Beowulf

Beowulf,900A.D.,isan

epic,rtherclassified

asafolkepicinthatitpiecestogetheritsstoryfromfolktalestransmittedorallyfor

centuries,probablysometimestotheaccompanimentofamusicalinstrumentsuchas

aharp.

Beowulfconsistsof3,182lineswritteninvernacularOldEnglish(nativelanguage

oftheauthor'stimeandplace)ratherthaninLatin,theloftylanguageofreligion,

philosophy,science,history,and,ofcour,ctdoesnotmeanthatthe

writinginBeowulfisinferior;onthecontrary,,thipicis

manyotherepics,Beowulfhas

characteristicsofanelegy(asomberpoemorsongthatpraisorlamentsthedead).

TheElizabethanera

TheElizabethanerawastheepochinEnglishhistoryofQueenElizabethI'sreign

(1558–1603).

symbolofBritanniawasfirstudin1572andoftenthereaftertomarkthe

Elizabethanageasarenaissancethatinspirednationalpridethroughclassicalideals,

internationalexpansion,andnavaltriumphoverthehatedSpanishfoe.

This"goldenage"reprentedtheapogeeoftheEnglishRenaissanceandsawthe

floweringofpoetry,ismostfamousfortheatre,as

WilliamShakespeareandmanyotherscompodplaysthatbrokefreeofEngland's

nageofexplorationandexpansionabroad,whilebackat

home,theProtestantReformationbecamemoreacceptabletothepeople,most

lsotheendoftheperiod

whenEnglandwasaparaterealmbeforeitsroyalunionwithScotland.

The

wasabriefperiodoflargelyinternalpeacebetweentheEnglishReformationandthe

battlesbetweenProtestantsandCatholicsandthebattlesbetweenparliamentandthe

testant/Catholicdividewas

ttled,foratime,bytheElizabethanReligiousSettlement,andparliamentwasnot

yetstrongenoughtochallengeroyalabsolutism.

TheVictoriantime

TheVictorianeraofBritishhistorywastheperiodofQueenVictoria'sreignfrom

longperiodofpeace,

prosperity,

scholarsdatethebeginningoftheperiodintermsofnsibilitiesandpolitical

concernstothepassageoftheReformAct1832.

Modernism

Modernismisaculturalmovementthatgenerallyincludestheprogressiveartand

architecture,design,literature,music,dance,paintingandothervisualartswhich

emergedinthebeginningofthe20thcentury,particularlyintheyearsfollowing

movementofartistsanddesignerswhorebelledagainstlate

19thcenturyacademicandhistoricisttradition,andembracedtheneweconomic,

socialandpoliticalaspectsoftheemergingmodernworld.

Theavant-gardemovementsthatfollowed-includingImpressionism,

Post-Impressionism,Cubism,Futurism,Expressionism,Constructivism,DeStijl,and

AbstractExpressionism-aregenerallydefinedasModernist.

Modernisminliteratureisnoteasilysummarized,butthekeyelementsare

experimentation,anti-realism,individualismandastressonthecerebralrather

thanemotiveaspects.

TheworkofModernistwritersischaracterizedbyshowingthedinchantment,

dislocation,andalienationofmenintheworld,andbytheemphasison

experimentationandformalismandobjectivismwhichare,inmostcas,areactionto

thecataclysmknownastheModernAge

g

Tobeginwith,readthepoemoncestraightthroughopen-mindedly.

Onthecondreading,readfortheexactnofallthewords.

Finally,trytoparaphrathepoemasawhole,andanalyzetheelementsline

byline.

ts

ionandtting

n

y

sofspeech

ismandallegory

andmeter

dallusion

ure

Voice:Speakerandtone

•Whenreadingorhearingapoem,wehearaspeaker’svoice.

•Thespeakerofapoemisdifferentfromthepoet,justasacharacterinaplay

oem,readermayhearthepoet’s

voice,orthepersona’s(thespeaker’s)voice,orboth.

Inpoetryunattractiveorunreliablespeakersarecommon,andpoets

intentionallyinvitereaderstoponderwhatthespeakersaretalkingabout.

Itisthespeaker’svoicethatconveysthepoem’stone,whichusuallyimplies

eofapoemis

theemotionalcoloring,ortheemotionalmeaning,oftheworkandisan

extremelyimportantpartofthefullmeaning.

Thetonemaybeaffectionate,solemn,calm,hostile,earnest,playful,or

sarcastic.

Elementstomaketone:

①Theuofmeterandrhyme(orthelackofthem)

②Theinclusionofcertainkindsofdetailsandexclusionofotherkinds

③Particularchoicesofwordsandntencepattern

④Particularchoicesofimageryandfigurativelanguage

⑤……

Imagery

Imagerymaybedefinedasthereprentationthroughlanguageofnexperience.

Thewordimageperhapsmostoftenindicatesamentalpicture:①asight(visual

imagery),②asound(auditoryimagery),③asmell(olfactoryimagery),④a

taste(gustatoryimagery),⑤touchlikehardnessorwetness(tactileimagery),⑥an

internalnsationsuchashunger,thirst(organicimagery),⑦movement(kinesthetic

imagery)

Figuresofspeech

Types

①metaphor

②simile

③personification

④apostrophe

⑤overstatementandunderstatement

⑥verbalirony

⑦metonymy

⑧synecdoche

⑨paradox

⑩pun

Metonymy转喻

Metonymyisafigureofspeechudinrhetoricinwhichathingorconceptisnot

calledbyitsownname,butbythenameofsomethingintimatelyassociatedwiththat

mscanbeeitherrealorfictionalconceptsreprentingother

conceptsrealorfictional,buttheymustrveasaneffectiveandwidelyunderstood

condnameforwhattheyreprent.

guresinvolve

phor,thissubstitutionisbadon

somespecificsimilarity,whereas,inmetonymy,thesubstitutionisbadonsome

understoodassociation(contiguity).

Forinstance,"Hollywood"isudasametonym(aninstanceofmetonymy)forUS

cinema,becauofthefameandculturalidentityofHollywood,adistrictofthecity

ofLosAngeles,Californiaasthehistoricalcenterofmoviestudiosandmoviestars.

Anotherexampleis"Westminster,"whichisudasametonymfortheParliamentof

theUnitedKingdom,becauitislocatedthere.

Synecdoche提喻

Synecdoche,meaning"simultaneousunderstanding",isafigureofspeechinwhicha

termisudinoneofthefollowingways:

①Partofsomethingisudtorefertothewholething（"thegraybeard"asan

olderman,"wheels"asvehicle）

②Thewholeisudtorefertopartofit(uofAmericatoindicateonlythe

UnitedStates)

③Aspecificclassofthingisudtorefertoalarger,moregeneralclass("bug"

foranykindofinct)

④Ageneralclassofthingisudtorefertoasmaller,morespecificclass("the

goodbook"or"TheBook"fortheBible)

⑤Acontainerisudtorefertoitscontents("barrel"forabarrelofoil)

⑥Amaterialisudtorefertoanobjectcompodofthatmaterial

➢"glass"forspectacles

➢"steel"forasword

➢"strings"forguitar

➢"tin"foracontainermadewithtinplating

➢"wood"foratypeofclubudinthesportofgolf

➢"irons"forshacklesplacedaroundaprisoner'swristsoranklestorestricttheir

movement

➢"plastic"foracreditcard

➢"silver"forflatwareorotherdishesthatwereoncemadeofsilvermetal

➢"threads"forclothing

Frost

①TheRoadnotTaken

②StoppingbywoodsonaSnowyEvening

③Design

④FireandIce

⑤AfterApplePicking

⑥MendingWall

RobertFrost(1874-1963),Themostpopular20thCenturyAmericanPoet,A

four-timewinnerofthePulitzerPrize.

BiographicalInformation

BorninSanFranciscoin1874,diedinBostonin1963.

Afterhisfather'sdeathin1885,youngFrostleftCaliforniawithhisfamilyand

ttledinMassachutts.

AttendedhighschoolinMass.,enteredDartmouthCollege,butremainedless

thanonemester.

Didoddjobs:teachingschoolandworkinginamillandasanewspaper

reporter.

AttendedHarvardCollegeasaspecialstudentbutleftwithoutadegree.

Overthenexttenyearshewrote(butrarelypublished)poems,operatedafarm

inDerry,NewHampshire,andsupplementedhisincomebyteachingat

Derry'sPinkertonAcademy.

LiteraryCareer

At38,hesoldthefarmandtookhisfamilytoEngland.

InEngland,hiffortstoestablishhimlfasapoetwasalmostimmediately

'sWillwaspublished1913,followedayearlaterbyNorthof

Boston.

FavorablereviewsonbothsidesoftheAtlanticresultedinAmerican

publicationofthebooks.

TheFrostssailedfortheUnitedStatesinFebruary1915andlandedinNew

YorkCity.

SalesofhisbooknabledFrosttobuyafarminFranconia,N.H.;toplace

newpoemsinliteraryperiodicalsandpublishathirdbook,MountainInterval

(1916);andtoembarkonalongcareerofwriting,teaching,andlecturing.

Frost’spoetictheory

Heemphasizedonthedramaticqualitiesofpoetry.

Hebelievedthatallpoetryisntiallymetaphorical.

Heinsistedthatpoetrycannotbeforcedintobeing.

Hethoughtthatpoetryrvesasameansofgivingpatternstoman’s

existence.

MajorFeaturesofFrost’sPoems

HewasanesntiallypastoralpoetoftenassociatedwithruralNewEngland.

Heudtheruralworldasasourceofsymbols,whophilosophical

dimensionstranscendanyregion.

Hisadoptstraditionalverforms,plainlanguageandeverydayspeechto

explorethecomplexityofhumanexistencethroughtreatingeminglytrivial

subjects.

TheRoadnotTaken

Tworoadsdivergedinayellowwood,

AndsorryIcouldnottravelboth

Andbeonetraveler,longIstood

AndlookeddownoneasfarasIcould

Towhereitbentintheundergrowth;

Thentooktheother,asjustasfair,

Andhavingperhapsthebetterclaim,

Becauitwasgrassyandwantedwear;

Thoughasforthatthepassingthere

Hadwornthemreallyaboutthesame,

Andboththatmorningequallylay

Inleavesnostephadtroddenblack.

Oh,Ikeptthefirstforanotherday!

Yetknowinghowwayleadsontoway,

IdoubtedifIshouldevercomeback.

Ishallbetellingthiswithasigh

Somewhereagesandageshence:

Tworoadsdivergedinawood,andI—

Itooktheonelesstraveledby,

Andthathasmadeallthedifference.

Thispoemiswritteninclassicfive-linestanzas,anarrativepoemconsistingoffour

stanzasofiambictetrameter(thoughitishypermetricbyonebeat-therearenine

syllablesperline,insteadofthestricteightrequiredfortetrameter),withtherhyme

schemea-b-a-a-bandconversationalrhythm.

Thesighcanbeinterpretedasoneofregretoroflf-satisfaction;ineitherca,

theironyliesinthedistancebetweenwhatthespeakerhasjusttoldusaboutthe

roads'ightalsohave

intendedapersonalirony;ina1925lettertoCrystineYatesofDickson,Tennese,

askingaboutthesigh,Frostreplied,"Itwasmyratherprivatejestattheexpenof

thowhomightthinkIwouldyetlivetobesorryforthewayIhadtakeninlife."

Thepoememstobeaboutthepoet,walkinginthewoodsinautumn,choosing

ity,itconcernstheimportant

decisionswhichonemustmakeinlife,whenonemustgiveuponedesirablethingin

,whatevertheoutcome,onemustacceptthe

conquencesofone’schoiceforitisnotpossibletogobackandhaveanotherchance

tochoodifferently.

Inthepoem,thepoethesitatesforalongtime,wonderingwhichroadtotake,

nd,hefollowstheonewhichemstohavefewer

ically,hechotofollowanunusual,solitarylife;perhapshe

wasspeakingofhischoicetobecomeapoetratherthansomecommonerprofession.

Buthealwaysrememberstheroadwhichhemighthavetaken,andwhichwouldhave

givenhimadifferentkindoflife.

StoppingbywoodsonaSnowyEvening

WhowoodstheareIthinkIknow,

Hishouisinthevillagethough;

Hewillnotemestoppinghere

Towatchhiswoodsfillupwithsnow.

Mylittlehormustthinkitqueer

Tostopwithoutafarmhounear

Betweenthewoodsandfrozenlake

Thedarkesteveningoftheyear.

Hegiveshisharnessbellsashake

Toaskifthereissomemistake.

Theonlyothersound’sthesweep

Ofeasywindanddownyflake.

Thewoodsarelovely,darkanddeep,

ButIhavepromistokeep,

AndmilestogobeforeIsleep,

AndmilestogobeforeIsleep.

ThepoemiswritteniniambictetrameterintheRubaiyatstanzacreatedby

ver(savethelast)followsana-a-b-arhymingscheme,withthefollowingver'sa's

rhymingwiththatver'sb,whichisachainrhyme.

Design

Ifoundadimpledspider,fatandwhite,

Onawhiteheal-all,holdingupamoth

Likeawhitepieceofrigidsatincloth--

Assortedcharactersofdeathandblight

Mixedreadytobeginthemorningright,

Liketheingredientsofawitches'broth--

Asnow-dropspider,aflowerlikeafroth,

Anddeadwingscarriedlikeapaperkite.

Whathadthatflowertodowithbeingwhite,

Thewaysideblueandinnocentheal-all?

Whatbroughtthekindredspidertothatheight,

Thensteeredthewhitemoththitherinthenight?

Whatbutdesignofdarknesstoappall?--

Ifdesigngoverninathingsosmall.

Thepo

doesnotlaughatthe"emulatingflies"whotrytoimitatestars,eventhough"they

can'tsustainthepart".

The"heal-all"isacommoncountryplantsuppodtohavehealingproperties;itis

thasfoundastrangewhitevarietyand,stranger

still,attachedtoitawhitespinner,"asnow-dropspider",holdingawhitemoth,

,inaworldofchaosanddarkness,thereis

purpoanddesign—"if"(thepoetspeculateswhimsically)"designgoverninathing

sosmall".

FireandIce

Somesaytheworldwillendinfire;

Somesayinice.

FromwhatI'vetastedofdesire

Iholdwiththowhofavorfire.

Butifithadtoperishtwice,

IthinkIknowenoughofhate

Tosaythatfordestructionice

Isalsogreat

Andwouldsuffice.

Styleandstructure:Itiswritteninasingle9-linestanza,whichgreatlynarrowsin

m'smeterisanirregularmixofiambictetrameterand

dimeter,andtherhymescheme(whichisABAABCBCB)alsofollowsnoregular

pattern.

Theme:Itdiscusstheendoftheworld,likeningtheelementalforceoffirewith

theemotionofdesire,andicewithhate.

tcomparesthe

gitsdestructiveforceonmankind,hethinks

therhand,hecompareshatredtoice.

This,too,ldalsobecapableofruining

theearthinthesamewaythathatredcanruinmen.

Drama

drama?

①Animitationofaction.(Aristotle)

②Dramisastorythatpeopleactoutonastagebeforespectators.(G.B.

Tennyson)

③Thetheatricalsituation,reducedtoaminimum,isthatAimpersonatesBwhile

Clookson.(EricBentley)

④Aplayissomethingnotreallyapieceofliteratureforreading.(Marjorie

Boulton)

⑤Atrueplayisthree-dimensional;itisliteraturethatwalksandtalksbeforeour

eyes.——theatricality

mcomes

fromaGreekwordmeaning"action",whichisderivedfrom"todo“.Theenactment

ofdramaintheatre,performedbyactorsonastagebeforeanaudience,presuppos

collaborativemodesofproductionandacollectiveformofreception.

Typesofdrama:

①Tragedy,“tragicflaws”悲剧性的瑕疵→thetragicheroesoftendosomedeedsandsuffer

fromtheirgreaterrors.

ex:sthekingwrittenbySophocles→杀父娶母revealsOedipus’sstep-by-step

fasalesmanwrittenbyArthurmiller家庭悲

剧domestictragedy

②comedy,③tragicomedy

Comedies:highcomedies(高雅喜剧),lowcomedies(滑稽喜剧),farcecomedies(闹

剧),romanticcomedies,comediesofmanners(风尚喜剧，讽刺喜剧satiriccomedies)

Thetheatreofabsurd荒诞剧thefeministtheatre女性戏剧moralityplay(16世

纪)wonderplay（奇迹剧17世纪）meloplay

Fiveelementsoftragedy:

Tragedyfocusonlife’ssorrows&difficulties,recountingariesofimportant

eventsinthelifeofasignificantperson,treatedwithriousness&dignity,and

culminatinginanunhappycatastrophe.

y

a)TheancientGreektime第一次高潮

b)TheRomantime（moralityplay）（之后有一千多年的空白期）

c)Thelatterpartofthe16thcentury(Shakespeare)第二次高潮

d)TheRestorationperiod（复辟时期）

e)The18thcentury(TheRomanticMovement)【melodrama】

f)The19thcentury(realism)→小说比较多，戏剧较少

g)The20thcentury第三次高潮

【BernardShaw,SamuelBeckett,OscarWilde】

【EugeneO’Neill,ArthurMiller,EdwardAlbee】

GreekDramatists出现了四大悲剧作家：

Aeschylus

➢thefirstofthethreeancientGreektragedianswhoplayscanstillbereador

performed

Sophocles

➢oneofthethreegreattragediansofclassicalAthens

Euripides

➢oneofthethreegreattragediansofclassicalAthens

Aristophanes

➢knownastheFatherofComedy

Moralityplay

Inthe14centuryanewkindofdramanamedmoralityplayappearedandit

flourishedthroughthe16century,combiningdelightandinstruction,morality

playswerewonderfulteachingvehiclestoteachthedangersofsinandthe

goodnessofGod.

ThemoralityplayisagenreofMedievalandearlyTudortheatricalentertainment.

Intheirowntime,theplayswereknownas"interludes",abroadertermgivento

typlaysareatypeofallegoryinwhich

theprotagonistismetbypersonificationsofvariousmoralattributeswhotryto

ysweremostpopularin

grownoutofthereligiouslybad

mysteryplaysoftheMiddleAges,theyreprentedashifttowardsamorecular

baforEuropeantheatre.

(TheTudorperiodusuallyreferstotheperiodbetween1485and1603,specificallyin

incideswiththeruleoftheTudordynastyin

EnglandwhofirstmonarchwasHenryVII(1457–1509).Thetermcanbeud

morebroadlytoincludeElizabethI'sreign(1558–1603),althoughthisisoften

treatedparatelyastheElizabethanera.)

WilliamShakespeare

WidelyregardedasthegreatestwriterinEnglishLiterature

•1563-1616

•Stratford-on-Avon,England

•wrote37plays

•about154sonnets

•startedoutasanactor

TheGreatComedies

•AMidsummerNight’sDream

•TheMerchantofVenice

•AsYouLikeIt

•TwelfthNight

TheGreatTragedies

•Othello

•KingLear

•Macbeth

•Hamlet

Historicalbackground:

•TheElizabethAge(1558-1603):Englandenjoyedpeacefuldevelopment

undertheruleofQueenElizabethI,whomaintainedabalancebetweenthe

ProtestantsandtheCatholics.

•In1588,EnglishnavydefeatedtheSpanishArmada,whichacceleratedthe

awakeningEnglishpeople’snationalconsciousness;

•Theenclosuremovement:Manypeasantswereforcedtoleavethelandand

oppositeclasscameintobeing,thecapitalist

andthelaboringclass.

•Reformation:ItwasareturntopureChristianity--cleansingthechurchofall

hReformationwastriggeredbyHenryVIII’sdivorce

andremarrying.

RenaissanceandHumanism:

•(1)Renaissance:aFrenchword,meaning“rebirth”.Theartandscienceof

ancientGreeceandRomewerebeingrediscoveredafterlongyearsofneglect.

•(2)EnglishRenaissancehadtwoimpuls—humanistreverenceforthe

classicsandEnglishprideandnofnationalidentity.

•(3)Humanismemphasizedthedignityandpotentialoftheindividualandthe

worthoflifeinthisworld.

FourPeriods

TheFirstPeriod(1590-1594)

•Hisworksofthisperiodareconcernedwiththeaffairsofyouthandfullof

romanticntiment.

•RomeoandJulietishiarliestsuccessintragedy.

•HisfirsttheatricalsuccesswashishistoricalplayHenryVIinthreeparts.

TheSecondPeriod(1595-1600)

•Thisishismatureperiod,mainlyaperiodofgreatcomediesandmature

historicalplays.

•Worksofthisperiodreflectthesocialcontradictionanditisinthisperiodthat

hispositionwascuredasamatureandhighlysuccessfuldramatistandpoet,

admired,praid,andrervedbyeveryone.

TheThirdPeriod(1601-1607)

•Worksofthisperiodaremainlytragediesanddarkcomedies.

•Playsofthisperiodaggravatedthetragicnote.

•Thecauofsuchchangeshouldbesoughtfromhischangeofmoodsas

influencedbythesocialupheavalsattheturnofthecentury.

TheFourthPeriod(1608-1612)

•Aperiodofromanticdrama.

•Thisperiodincludes4romancesandahistoricalplay.

•Withthisperiodweturnfromthestorm,thegloom,andthewhirlwindtoa

greatpeacefulnesslight,andaharmonyofearthandheaven.

Melodrama

BesidesShakespeare,melodramawasanotherimportantkindofplaysthatreceivea

udedsimplifiedcharactersandclear

thescriptswereofslightliterarymerit,theperformanceof

passion,orterror,orlivelyfunaffordedtheaudiencechancestowallowinraw

emotion(沉迷于直接的情感中),t

wassuperdedbyfilm,melodramaremainedoneofthegreatestsourofmass

entertainment.

The20thcentury课本P186最后一段背诵(见下)

GeorgeBernardShaw现实主义作家(英)

AnIrishplaywright

WinneroftheNobelPrizeforLiteraturein1925

AfterthoofWilliamShakespeare,Shaw'splaysaresomeofthemostwidely

producedinEnglishlanguagetheatre.

Hismajorworks：

Pygmalion《卖花女》

CashelByron'sProfession《卡歇尔.拜伦的职业》

OurTheatersintheNineties《九十年代的英国戏剧》）

Widowers'Hou《鳏夫的房产》

'sProfession《沃伦夫人的职业》

CaesarandCleopatra《凯撒与克利奥佩特拉》

《圣女贞德》

ManandSuperman《人与超人》

BacktoMethulah《回归玛士撒拉》

TheAppleCart《苹果车》

JohnBull'sOtherIsland《约翰.布尔的另外岛屿》

SamuelBeckett(1906-1989)(英)

MostImportanntWorks:

Molloy（马洛依）

MaloneDies(马隆纳之死)

TheUnnamable（无名的人）

(TriologyofNovels)

Play

★WaitingForGodot（等待戈多）→荒诞剧的最经典之作

Endgame（最后的一局）

HappyDays（快乐的日子）

OscarWilde(1854-1900)(英)

1.开创唯美主义

art’ssake

esultofafamoustrial,hesufferedadramaticdownfallandwas

imprisonedafterbeingconvictedof"grossindecency"forhomoxualacts.

Plays:

1、Vera（《薇拉》，1880年）

2、LadyWindermere`sFan（《溫德密爾夫人的扇子》1892年，又譯《溫夫

人的扇子》、《少奶奶的扇子》）

3、TheDuchessofPadua（《帕都瓦公爵夫人》，1893年）

4、Salomé（1893年，《莎樂美》，原著用法語寫成）

5、AWomanofNoImportance（1892年，《無足輕重的女人》）

EugeneO’Neill(1888-1935)(美)

HisMajorWorks:

①DesireUndertheElms(1924)

②MourningBecomesElectra(1931)

③TheIcemanCometh(1946)

④1920’sPulitzerPrizeforBeyondtheHorizon

⑤1921’sPulitzerPrizeforAnnaChristie

⑥1928’sPulitzerPrizeforStrangeInterlude

⑦1956’sfourthPulitzerPrizeposthumouslyforhisautobiographical,andtoan

extent,darkestplayandhisapex,LongDay'sJourneyintoNight

ArthurMiller(美)

,“(hisplays)madehimoneoftheleadinglightsof20th

centurytheatre…”

HisMajorPlays:

WhoHadAlltheLuck--clodafter4performances吉星高

照的人

ons,（全是我的儿子）openedattheCoronet(1/29)andranfor

328performances--Miller'sfirstmajorsuccess.

fASalesman,推销员之死openedattheMorosco(2/10)for

742performances.

cible.严峻的考验OpenedattheMartinBeck(1/12)for197

performances.

romtheBridge,two-actversion)openedatLondon‘sComedy

Theater桥头眺望

heFall,openedattheANTAWashingtonSquare(1/23)for208

performances.堕落之后

attheANTAWashingtonSquare(12/3)for99

performances.维希事件

EdwardAlbee(美)

▪BorninWashington,DConMarch12,1928

▪AdoptedbytherichAlbeefamilyinvolvedinthetheaterbusiness

▪Dismisdfromalmosteveryschoolheattended

TheZooStory(1959)

Hisfirstmajorplay

One-actplay,writteninthreeweeks

BrandedasthebirthoftheAmericanabsurdistdrama

Who'sAfraidofVirginiaWoolf?(1962)

EdwardAlbee’sbestknownplay.

Earnedhimthewelldervedrespectamongthecritics.

NominatedforPulitzerprize.

WontheTonyAwardandNewYorkDramaCriticsCircleAward.

★★

Thetwentieth-centurytheaterwasknowforitsdiversity(多元化).Realismcontinued

andthemostsuccessfulillogic,anarchy,andabsurdityexistedsidebysidewith

culturethatbrokesharplyfromtherealisticmethodwas

expressionism(表现主义)thatconcernedonthenatureoftheinnerlfinsteadofthe

layscommonlyfollowedthepatternofthedream,inwhich

Strindberg,

theknownexpressionist,indeednamedhisbest-knownworkofhisgenreADream

generationwhohadlivedthroughthewars,theproblemof

communicationinanincreasinglycomplexandterrifyingworldbecauthemajor

espontothespiritualandmaterialimpoverishment,andtheultimate

Inonesco

rimportanttheatrical

theorynamed“anenationeffect”(异化效应)

demandtheaudienceshouldnotpassivelyenjoytheplaybutremainanofcritical

the

endoftwentiethcentury,therehasbegunaconsciousreturningtotheritualsofthe

cietyemstofallapart,ork,

,chorusandancientPersiantexts

eryexperimentalfringe

ofthecontemporarytheater,wehaveentherevivalofthetradition(传统的复古).

ts

:souloftragedy,(4parts:exposition,complication,reversal,resolution)

ter

t

ge

cleorvisualeffects

odes

TherearethreetypesofDramaElements.

•Literary

•Technical

•Performance

ryElements

(Whatisneededtowriteascriptorstory?)

•Script:Ascriptisthewrittenwordsanddirectionsofaplay.

•Plot:Theplotisthestorylineorarrangementofaction.

•Character:Acharacterisapersonportrayedinadrama.

•StoryOrganization:Thestoryorganizationishowastoryistold–the

beginning,middleandend.

•Setting:Thettingiswheretheactiontakesplace

•Dialogue:Adialogueisaspokenconversationbetweentwocharacters.

•Monologue:Amonologueisalongspeechmadebyoneperson.

•Conflict:Theinternalorexternalstrugglebetweenopposingforces,ideas,or

intereststhatcreatedramatictension.

calElements

(Whatisneededtoproduceaplay?)

•Scenery

Thesceneryistheatricalequipmentsuchascurtains,backdrops,andplatformsto

plemightbetreestoshowaforest

environment.

•Costumes

•Props

Propsareanyarticleotherthancostumesorsceneryudaspartofadramatic

plemightbeatableonthestage.

•SoundandMusic

Soundistheeffectanaudiencehearsduringashow,

music–well,youknowwhatmusicis!

•Make-up

Make-upistheuofcostumes,wigsandbodypainttotransformanactorintoa

character.

manceElements

(Whatdotheactorsdoonstagetomakeacharactercomealive?)

•Acting:Actingishowspeakingandmovinghelptocreatecharacters.

•Speaking:Speakingisvocalexpression,projection,speakingstyleand

diction.

•Non-verbalExpression:Non-expressionincludesgestures,facialexpressions,

andmovement.

IV．TheProblemPlay社会问题戏剧

a)Termdefinition

Theproblemplayorplayofideasisatypeofdramathathasdeveloped

duringthenineteenthcenturytodealwithcontroversialsocialissuesina

realisticmanner.

Itprentsproblematicissuethroughdebatesbetweenthecharacterson

stage.

b)Themostimportantexponentoftheproblemplay:HenrikIbn

HenrikIbn,hisworkcombinepenetratingcharacterizationwithemphasis

ontopicalsocialissue,usuallyconcentratedonthemoraldilemmaofacentral

character.

Threemostfamousworks:

①Adoll’shou:玩偶之家therestrictionofwomen’slives

②Ghosts:鬼魂xuallytransmitteddia(卖淫带来的严重后果)

③Anenemyofthepeople:人民的敌人provincialgreed

V．TheFeministTheatre

Feministplayxploreissuesofwomen’soppressionandrightsbadonxand

heyarecommittedtoradicalsocialchangeanddirect

politicalaction.

Thestrategiesoffeministtheoryarelargelyfocudonpolitics,patriarchal

prejudice,xualoppression,wageinequities,discriminatoryhiringpractices,

andwomen’sinvisibilitywithamale-dominatedculture.

女权主义行为:①thereisanefforttoreconstructthehistoryofwomenintheaterand

torecoverplaysandmaterialsburiedovercenturies.(重现被埋没的女性作品)②they

evolvenewwritingstylescompatiblewithradicalfeminismwhichremainthe

predominantcriticalapproachintheUnitedStates.

VI．TheTheatreoftheAbsurd

a)Term

Criticshaveappliedthelabeltowiderangeofplayswhichdemonstratesome

commoncharacteristic:①broadcomedy,oftensimilartoVaudeville,mixedwith

horrificortragicimage;②characterscaughtinhopelesssituationforcedtodo

repetitiveormeaninglessaction;③dialoguefullofcliches，wordplay,andnonn;

④plotsthatarecyclicalorabsurdlyexpansive;⑤eitheraparodyordismissalof

realismandtheconceptofthe“well-made”play.

Themodeofmostabsurdistplaysistragicomedy.

Inpractice,thetheatreoftheabsurddepartsfromrealisticcharacters,situationsand

,placeandidentityareambiguous

andfluidandevenbasiccausalityfrequentlybreaksdown.

b)Reprentativemasterpiece:WaitingforGodot

WaitingforGodot

Beckett’smasterpieceisastrangelittleplayinwhich“nothinghappens.”New

dramaticstrategieshavebeenintroduced:norecognizableplots,puppet-like

characters,mechanicalbehaviourandlanguage,illogicalacts,andnightmares.

Theprisonersunderstoodwellthat“Lifemeanswaiting,killingtimeandclinging

tothehopethatreliefmaybejustaroundcorner.”

SamuelBeckett:1969,NobelPrizeforLiterature

小说三部曲：Molloy,Malone,theUnnamable

三部有名戏剧：WaitingforGodot，Endgame,Krapp’slasttape

整理:Erica