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中国考博辅导首选学校
2015暨南大学考博英
语真题阅读理解精练
Black
Fiction,
in< /p>
attempting
to
apply
litera ry
rather
than
sociopolitica
l
criteria
to
its
subject,
successfully
alters
the
< br>approach
taken
by
most
previous
studies.
As
Rosenblatt< /p>
notes,
criticism
of
Bl ack
writing
has
often
serv ed
as
a
pretext
for
expounding
on
Black
history.
Addison
Gayle’s
recent
wo rk,
for
example,
judges
< p>thevalue
of
Black
ficti on
by
overtly
political
standards,
rating
each
work
according
to
the
notions
of
Black
identity
which
it
propounds.
Although
fiction
assuredly
springs
from
political
circumstances,
its<
/p>
authors
react
to
those
circumstances
in
ways
other
than
ideological,
and
t alking
about
novels
and
st ories
primarily
as
instrumen
ts
of
ideology
circumvents
much
of
the
fictional
ent erprise.
Rosenblatt’s
literary
analysis
discloses
affinities
and
connections
among
works
of
Black
fiction
which
solely
political
studies
hav e
overlooked
or
ignored.
Writing
acceptable
criticism
of
Black
fiction,
however,
presupposes
giving
satisfacto ry
answers
to
a
number
of
questions.
First
of
all,
is
there
a
suffic ient
reason,
other
than
th e
facial
identity
of
t he
authors,
to
group
toget her
works
by
Black
authors ?
Second,
how
does
Bla ck
fiction
make
itself
dis tinct
from
other
modern
fiction
with
which
it
is
largely
contemporaneous?
Rosenb latt
shows
that
Black
fiction
constitutes
a
distinct
body
of
writing
that
has
an
identifiable,
coheren t
literary
tradition.
Looking
at
novels
中国考博辅导首选学
校
written
by
Black
ove r
the
last
eighty
years,
he
discovers
recurring
concerns
and
designs
independent
of
chronology.
These
stru ctures
are
thematic,
and
they
spring,
not
surprisingly ,
from
the
central
fact
that
the
Black
character s
in
these
novels
exist
in
a
predominantly
white
culture,
whether
they
try
to
conform
to
that
culture
or
rebel
against
it.
Black
Fiction
does
leave
some
aesthetic
questio ns
open.
Rosenblatt’s
themat ic
analysis
permits
considerable
objectivity;
he
even
explicitly
states
that
it
is
not
his
intention
to
judge
the
merit
of
the
various
works
—
yet
his
reluctance
seems
mispla ced,
especially
since
an
attempt
to
appraise
might
have
led
to
interesting
results.
For
instance,
some
of
the
novels
appear
< p>tobe
structurally
diffuse.
Is
this
a
defect,
or
are
the
authors
working
out
of,
or
trying
t o
forge,
a
different
k ind
of
aesthetic?
In
addit ion,
the
style
of
some
Black
novels,
like
Jean
Toomer’s
Cane,
verges
on
expressionism
or
surrealism;
does
this
technique
provide
a
counterpoint
to
the
prevalent
theme
that
port rays
the
fate
against
whic h
Black
heroes
are
pit
ted,
a
theme
usually
conve yed
by
more
naturalistic
m odes
of
expression?
In
spite
of
such
omissions,
what
Rosenblatt
does
include
in
his
discussion
mak es
for
an
astute
and
worthwhile
study.
Black
Fiction
surveys
a
wide
variet y
of
novels,
bringing
to
our
attention
in
the
process
some
fascinating
and
little-known
works
like
J ames
Weldon
Johnson’s
Autobi ography
of
an
Ex-Colored
M an.
Its
argument
is