1. Black humor, in literature, drama, and film, grotesque or morbid humor ud to
chj>ralexexpress the absurdity, innsitivity, paradox, and cruelty of the modern world.
Ordinary characters or situations are usually exaggerated far beyond the limits of normal satire or irony. Black humor us devices often associated with tragedy and is sometimes equated with tragic farce. For example, Stanley Kubrick's film Dr. Strangelove; or, How I Learned to Stop Worrying and Love the Bomb (1963) is
四级作文句型a terrifying comic treatment of the circumstances surrounding the dropping of an
atom bomb, while Jules Feiffer's comedy Little Murders (1965) is a delineation of the horrors of modern urban life, focusing particularly on random assassinations.
The novels of such writers as Kurt Vonnegut, Thomas Pynchon, John Barth, Joph Heller, and Philip Roth contain elements of black humor.
2Renaissance :The Renaissance is a historical period in which the European humanist thinkers and scholars made attempts to get rid of tho old feudalist ideas in medieval Europe, to introduce new ideas that expresd the interests of the rising bourgeoisie, and to recover the purity of the early churc
h from the corruption of the Roman Catholic Church. Humanism is the esnce of the Renaissance . It is frequently taken as the beginning of the Renaissance on its conscious, intellectual side , for the Greek and Roman civilization was bad on such a conception that man is the measure of all things. Humanists voiced their beliefs that man did not only have the right to enjoy the beauty of this life, but had the ability to perfect himlf and to perform wonders
3 Epic: A long narrative poem telling about the deeds of a great hero and reflecting
the values of the society from which it originated. Many epics were drawn from an oral tradition and were transmitted by song and recitation before they were written down.
4. Romanticism is a complex artistic, literary, and intellectual movement that originated
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in the cond half of the 18th century in Western Europe, and gained strength in reaction to the Industrial Revolution. It was partly a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature, and was embodied most strongly in the visual arts, music, and literature.
The movement validated strong emotion as an authentic source of aesthetic experience, placing ne
w emphasis on such emotions as trepidation, horror and terror and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.
Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative perceived to be authentically medieval, in an attempt to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the exotic, unfamiliar, and distant in modes more authentic than chinoirie, harnessing the power of the imagination to envision and to escape.
5. A novel is an extended work of written, narrative, pro fiction, usually in story form; the writer of a novel is a novelist. The English word "novel" derives from the Italian word novella, meaning "a tale, a piece of news". The novel is longer (40,000 words and onwards) and more complex than either the short story and the novella, is not bound by the structural and metrical restrictions of plays and poetry, and is not usually compod of the traditional plots of myth and legend (contrast with "romance"). In many cas a novel is about characters and their actions in everyday life (often the w
riter's prent), with emphasis on the "novelty" of the narrative.
Most novels have the following qualities:小孩不会说话
draconianIts intent is entertainment, at least partially.
The subject is prented fictionally, though parts of it may be factual.
The subject is familiar, credible, and plausible, i.e. readers believe the places and characters.
The subject is people (usually humans), the story their actions and relations; the novel is centered on the person.
There is a small number of central characters.
A single plot, however fragmented or tangential, unites the events and characters.
The protagonist(s) evolves and grows in the cour of the novel; characters are "rounded fleshed out, than are the "flat," one-dimensional characters of earlier literary genres.
Its story occurs in an identifiable historical period.
6. The Lost Generation: It’s ud to describe the people of the postwar years. It
describes the Americans who remained in Paris as a colony of “expatriates” or exiles.
taishaIt describes the writers like Hemingway who lived in mipoverty. It describes the Americans who returned to their native land with an inten awareness of living in an unfamiliar changing world.
After World War I, the young disappointed American writers, such as Hemingway, Pound, Cummings Fitzgerald, cho Paris as their place of exile. They came from the East or the Middle West of the U. S. A, and most of them had been shocked or wounded in the war. An American woman writer named Gertrude Stein, who had lived in Paris since 1903, welcomed the young writers to her apartment which was already famous as a literary salon. She called them “the lost generation”, becau they had cut themlves off from their past in American in order to create new types of writing which had never been tried before. “The Lost Generation” is also paint ed in the writers’ writings. The young English and American expatriates, men and women, were caught in the war and cut off from the old values and yet unable to come to terms with
the new era when civilization had gone mad. They wandered pointlessly and re stlessly, enjoying things like fishing, swimming, bullfight and beauties of nature, but they were aware all the while that t
he world is crazy and meaningless and futile. Their whole life is undercut and defeated.
全国研究生网上报名系统7. Point of view: The vantage point from which a narrative is told. There are two basic
points of view: first-person and third-person. In the first-person point of view, the story is told by one of the characters in his or her own words. The first-person point of view is limited. In the third-person point of view, the narrator is not a character in the story.
The narrator may be an omniscient. On the other hand, the third-person narrator might tell a story from the point of view of only one character in the story.
8. Black humor, in literature, drama, and film, grotesque or morbid humor ud to
express the absurdity, innsitivity, paradox, and cruelty of the modern world.
Ordinary characters or situations are usually exaggerated far beyond the limits of normal satire or irony. Black humor us devices often associated with tragedy and is sometimes equated with tragic farce. For example, Stanley Kubrick's film Dr.
Strangelove; or, How I Learned to Stop Worrying and Love the Bomb(1963) is a terrifying comic treat
ment of the circumstances surrounding the dropping of an atom bomb, while Jules Feiffer's comedy Little Murders(1965) is a delineation of the horrors of modern urban life, focusing particularly on random assassinations. The novels of such writers as Kurt Vonnegut, Thomas Pynchon, John Barth, Joph Heller, and Philip Roth contain elements of black humor.
9. Sonnet is a poem of 14 lines, usually in iambic pentameter, restricted to a definite
rhyme scheme. There are two prominent types: the Elizabethan, or Shakespearean sonnet and the Italian or petrarchian sonnet. The Elizabethan sonnet was generally divided into three quatrains and a couplet. While the Italian sonnet consists of an octave and a stet. The chief difference between the two forms lies in their two different rime scheme: abba, abba, cdccd or abba, abba, cdecde for the Italian or Petrarchan form and abab, cdcd, efef, gg for the English or Shakespearen.
10. Local colorism as a trend first made its prence felt in the late 1860s and early
drawonventies in America. The movement once was so much widespread that it became as contagious as whooping cough. The list of names of the local colorists is a long one.
Hamlin Garland defined local colorism as having “such quality of texture and background that it coul
d not have been written in any other place or by anyone el than a native.” Garland’s “texture” refers to the elements which characterize a local culture, such as speech, customs and other peculiarities. And his “background” covers physical tting and tho distinctive qualities of Landscape which condition human thought and behavior. The ultimate aim of the local colorists is, as Garland indicates, to create the illusion of an indigenous little world with qualities that tell it apart from the world outside.
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The social and intellectual climate of the country provided a stimulating milieu for
the growth of local color fiction in America. The appearance of Bret Harte’s the Luck of Roaring Camp in 1868 marked a significant development in the brief history of local color fiction. The voice of Bret Harte was echoed and made more resonant by some other local colonists. Local colorists concerned themlves with prenting and interpreting the local character of their regions. They tended to idealize and glorify, but they never forgot to keep an eye on the truthful color of local life. They formed an important part of the realistic movement. Although it lost its momentum toward the end of the nineteenth century, the local spirit continued to inspire and fertilize the imagination of authors such as Willa Cather, John Steinbeck and William Faulkner.
