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[专八辅导] 专业考试指导:美国文学简史(四)

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发表于 2012-8-14 11:29:10 | 显示全部楼层 |阅读模式
  Section 3 Late Romanticism
. Q, o; ~# y% ?  I.                   Nathaniel Hawthorne
9 Z6 a. q0 {5 a( q( W7 M! l  1.         life* O4 Y# e% k7 t  S( {6 v
  2.         works
; x5 ?$ @! k! d- u7 I  (1)      Two collections of short stories: Twice-told Tales, Mosses from and Old Manse  @. Q2 [. }' w; A' r- Y, i2 |' `
  (2)      The Scarlet Letter- }' b  _9 i. q+ B% J) k: c; ~
  (3)      The House of the Seven Gables
; `0 [1 Y: q7 a0 e  (4)      The Marble Faun* J& Y/ u! h1 ]! `% a8 _
  3.         point of view7 l9 `& e/ H7 z- E& N5 n
  (1)      Evil is at the core of human life, “that blackness in Hawthorne”
' k9 W# e6 D% z: l* R+ ?1 X  (2)      Whenever there is sin, there is punishment. Sin or evil can be passed from generation to generation (causality).- D2 |7 G8 s, Q2 S' F
  (3)      He is of the opinion that evil educates.1 Q* Q7 x' l) n2 T, T8 r0 r
  (4)      He has disgust in science.
( {! y. A! S& E  4.         aesthetic ideas
+ J  Q+ `0 a0 v+ h; \5 Q  (1)      He took a great interest in history and antiquity. To him these furnish the soil on which his mind grows to fruition.
) M7 J# ^* S6 {9 z  (2)      He was convinced that romance was the predestined form of American narrative. To tell the truth and satirize and yet not to offend: That was what Hawthorne had in mind to achieve.- ^. G# j0 v9 t2 `* e* C/ f) ^6 ]% k
  5.         style – typical romantic writer
- m; N9 _3 n. N: H4 @8 b  (1)      the use of symbols+ Q: a' j6 L' R( _; R
  (2)      revelation of characters’ psychology1 ^6 Y1 F2 H1 d( B. k% [& p
  (3)      the use of supernatural mixed with the actual/ O" n: F  K$ G$ u' N& l
  (4)      his stories are parable (parable inform) – to teach a lesson
5 T) i' q* V7 Z2 n  (5)      use of ambiguity to keep the reader in the world of uncertainty – multiple point of view
" b/ s' h1 Z8 `8 @* G: u  II.                Herman Melville
9 r1 K6 `0 w2 U- V  1.         life3 t: n) r' v; _3 a3 Q% G. v
  2.         works
: F. m: j# d" s) ~. {) |  (1)      Typee$ X6 C3 D( _* g1 c6 ^8 v$ t
  (2)      Omio
0 i2 g2 E3 U# V5 D' {' [" D. ~; Q- r  (3)      Mardi
9 V& `. b1 j7 [- |1 e7 Q0 s9 T  (4)      Redburn
0 i! o' I% v: |: y- l1 g" D3 N  (5)      White Jacket
5 A3 {( ?, ]: _$ c5 z) R3 m  (6)      Moby Dick
; f' c2 V* y" A: q4 w" X* L  (7)      Pierre6 ~* F" h# U! `4 d8 F
  (8)      Billy Budd
1 w/ s. ?4 }9 L  3.         point of view( x6 S) z9 F# m: ?8 n& Q
  (1)      He never seems able to say an affirmative yes to life: His is the attitude of “Everlasting Nay” (negative attitude towards life).
; [# t8 ?( l- U6 E  (2)      One of the major themes of his is alienation (far away from each other).
' g  N0 A% r4 ~5 z  ^3 V/ t5 Z  Other themes: loneliness, suicidal individualism (individualism causing disaster and death), rejection and quest, confrontation of innocence and evil, doubts over the comforting 19c idea of progress$ X) @: Q7 H7 q
  4.         style# B- K# c) Y' Y, X4 y2 R. ~0 C
  (1)      Like Hawthorne, Melville manages to achieve the effect of ambiguity through employing the technique of multiple view of his narratives.$ V4 S! n4 c/ L" {$ G. o/ y
  (2)      He tends to write periodic chapters.# f- a3 q! i/ }/ F, A- G
  (3)      His rich rhythmical prose and his poetic power have been profusely commented upon and praised.& o. @  F. c: {7 i; i3 @% C
  (4)      His works are symbolic and metaphorical.
7 p5 l7 \, A" D: h: j+ R5 j+ _  (5)      He includes many non-narrative chapters of factual background or description of what goes on board the ship or on the route (Moby Dick)
' f  e2 y( O( v& z  Romantic Poets
. x% t7 `  z7 \2 s  I.                   Walt Whitman
! i3 u1 \# l" g- C  l2 F5 {1 N  1.         life; s( j5 i6 b, p1 R, e4 L
  2.         work: Leaves of Grass (9 editions)
5 ]! P* D' B# {3 x, k  (1)      Song of Myself
* ~5 U4 E7 ~3 ?% f  (2)      There Was a Child Went Forth
: q' y! F( p5 h  (3)      Crossing Brooklyn Ferry6 M# b5 z2 c) Q, ^4 `- Z$ v9 C
  (4)      Democratic Vistas3 ]2 @/ _- F& F
  (5)      Passage to India, E5 ^6 k3 G  E9 {3 H; B+ M
  (6)      Out of the Cradle Endlessly Rocking, b3 t1 V) b1 D4 x
  3.         themes – “Catalogue of American and European thought”
( k! I7 n# j) X  He had been influenced by many American and European thoughts: enlightenment, idealism, transcendentalism, science, evolution ideas, western frontier spirits, Jefferson’s individualism, Civil War Unionism, Orientalism.3 }9 `/ ^  i* b, j& a3 L
  Major themes in his poems (almost everything):
# }; ^( _$ b; Z7 C) C  l         equality of things and beings5 A3 S1 N2 U. ~! c; L2 X
  l         divinity of everything8 L, S% `# m" Q! c7 F8 T
  l         immanence of God
" ]$ o6 E/ w/ Y( g1 x6 U  l         democracy' Y/ H+ n5 q4 w) W. X
  l         evolution of cosmos. {0 P4 i2 }! y
  l         multiplicity of nature4 K4 v" @9 F& @+ r  M& @! G
  l         self-reliant spirit
0 z5 M8 q5 [% S$ I4 q$ ^7 I/ Y: J, H) }  l         death, beauty of death9 F  S) b# q) B; b2 U
  l         expansion of America
4 F) I2 ^! S! y7 j  l         brotherhood and social solidarity (unity of nations in the world)
3 t* Z# k4 B$ o# v3 p+ I  l         pursuit of love and happiness
; L4 N$ J' [6 `  4.         style: “free verse”
) Y5 x9 _5 L! o" M/ r' t* ^  (1)      no fixed rhyme or scheme
/ S0 ~9 N0 z! g) U  (2)      parallelism, a rhythm of thought2 C8 B, M4 ^+ V5 T* j" _
  (3)      phonetic recurrence
6 m2 [9 ~4 _4 `" w" n% \  (4)      the habit of using snapshots
0 u! E: v  W& z. Z' u  (5)      the use of a certain pronoun “I”
" t! K7 ]& l( o# d* w& o1 _  y9 t  (6)      a looser and more open-ended syntactic structure
( b3 m# l. L; Z7 l. A6 J# M  (7)      use of conventional image
2 n, C& J6 q" j/ R% ]- O3 l  (8)      strong tendency to use oral English
, i8 z3 Y2 {: u9 ~" g( E+ P  (9)      vocabulary – powerful, colourful, rarely used words of foreign origins, some even wrong
, ^$ v, C% K: p5 {" f; E& X  (10)  sentences – catalogue technique: long list of names, long poem lines+ g1 q% C, n: D2 |4 y" ?. N* B& z
  5.         influence  w/ J' T3 [2 e+ ], X6 w' \
  (1)      His best work has become part of the common property of Western culture.
  h; _3 q- H2 [  (2)      He took over Whitman’s vision of the poet-prophet and poet-teacher and recast it in a more sophisticated and Europeanized mood.4 `! g& o# A# x& |, B* A
  (3)      He has been compared to a mountain in American literary history.
9 \/ f, ]7 C4 v# s/ ^3 l3 h. ^  |! Q  (4)      Contemporary American poetry, whatever school or form, bears witness to his great influence.5 h6 ^0 }8 m4 d( O/ g. `
  II.                Emily Dickenson
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 楼主| 发表于 2012-8-14 11:29:11 | 显示全部楼层

专业考试指导:美国文学简史(四)

  1.         life
" x6 N; j% ?' A  @! X* K! |! B  2.         works
  _3 X7 V7 @7 P( |7 `7 O9 b  o/ r: ?  (1)      My Life Closed Twice before Its Close
0 |* x- k: I1 b* G6 v) j  (2)      Because I Can’t Stop for Death
. C/ i! R  C+ R$ x& R  (3)      I Heard a Fly Buzz – When I died
6 V9 N: [0 u( E6 i/ Z; R9 U+ M  (4)      Mine – by the Right of the White Election
) V4 B$ ?/ A, a5 _* S! L9 ~  (5)      Wild Nights – Wild Nights
( z% b& h% {0 a3 i4 s9 `  3.         themes: based on her own experiences/joys/sorrows4 h8 A; ]2 k0 X# P1 x* {6 N) }
  (1)      religion – doubt and belief about religious subjects
/ G$ p3 t+ @  W$ k  (2)      death and immortality! p( J6 t7 O, Q3 Z  ^. L8 x( C  c
  (3)      love – suffering and frustration caused by love
3 U) n) c' @5 ]* p1 y  w: k  (4)      physical aspect of desire3 X/ \# V9 b$ n9 _( j! B: g) p% o
  (5)      nature – kind and cruel
6 b$ F: q2 A2 \) v. y) v  (6)      free will and human responsibility
# X9 ?0 Q' m+ L( `6 b0 C1 V* ?  4.         style
# [! R! b/ \+ a2 t9 {. Z3 B  (1)      poems without titles
3 |8 A' l$ F: k, z* Y0 O  (2)      severe economy of expression) W! y6 k* z# r7 O
  (3)      directness, brevity/ o; u; m0 m# B1 b
  (4)      musical device to create cadence (rhythm)
  q. W; Y8 q$ j( ~  (5)      capital letters – emphasis; o5 c3 V1 J. K- U) \
  (6)      short poems, mainly two stanzas
2 f: n7 D* }" H. X2 `  (7)      rhetoric techniques: personification – make some of abstract ideas vivid
+ M; x, y$ ]  B/ C& D' ~" d  III.             Comparison: Whitman vs. Dickinson
" s4 k" D, J' E: t3 m  1.         Similarities:
9 M5 d, ]$ C  B  (1)      Thematically, they both extolled, in their different ways, an emergent America, its expansion, its individualism and its Americanness, their poetry being part of “American Renaissance”., A# Y( V) |  j7 L
  (2)      Technically, they both added to the literary independence of the new nation by breaking free of the convention of the iambic pentameter and exhibiting a freedom in form unknown before: they were pioneers in American poetry.) Y) r$ u) `( t8 L* o9 ]9 F
  2.         differences:
1 E0 h, b3 G6 c# X! N, {8 U  (1)      Whitman seems to keep his eye on society at large; Dickinson explores the inner life of the individual.
& Q( ]3 Y: b9 W' T  (2)      Whereas Whitman is “national” in his outlook, Dickinson is “regional”.2 l5 ]# U6 p1 v" g5 o  U: n
  Dickinson has the “catalogue technique” (direct, simple style) which Whitman doesn’t have.
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