honey是什么意思一个英语生的文学导论课笔记

2021年1月19日发(作者：五丁目)
An introduction to literature
Literature

一、
What is literature

Literature comes from Latin

The
word
literature
literally
means

acquaintance
with
letters

and
the
term

and letters

General meanings

①
published writings in a particular style on a particular subject (publications, books,
brochures and so on)

②
creative writing of recognized artistic value (artistic and literary writings)

③
the profession or art of a writer (vocation)

④
the humanistic study of a body of literature (subject)

⑤
musical product

⑥
knowledge or learning

⑦
reading (supplementary literature)

A Crazy Act

Literature is about writing in a particular country of a period, all over the world in
general.

Literature is a writing which has claimed to consider underground of beauty of form,
and emotional effect. (Aestheticism)

Literature
is
all
the
writings
that
have
permanent
value,
excellent
form
and
great
emotional effect.

Literature is a writing having excellence of form or expression, and expressing ideas
of permanence of universal interest. (
critical mind
)

A developing term.

Aestheticism

Aestheticism
(or
the
Aesthetic
Movement)
was
a
19th
century
European
art
movement
that
emphasized
aesthetic
values
more
than
socio-political
themes
for
literature, fine art, the decorative arts, and interior design.

Generally,
it
represents
the
same
tendencies
that
symbolism
or
decadence
represented in France, and may be considered the British version of the same style.

It was part of the anti-19th century reaction and had post-Romantic origins, and as
such
anticipates
modernism.
It
was
a
feature
of
the
late
19th
century
from
about
1868 to about 1900.

The artists and writers of Aesthetic style used the slogan
Art for Art's Sake

艺术是
纯粹的
),
tended to profess
that
the
Arts
should provide
refined
sensuous
pleasure,
rather than convey moral or sentimental messages. Instead, they believed that Art
did not have any didactic purpose; it need only be beautiful.

The Aesthetes developed a cult of beauty, which they considered the basic factor of
art. Life should copy Art, they asserted. They considered nature as crude and lacking
in design when compared to art.

In
Britain
the
best
representatives
were
Oscar
Wilde

and
Algernon
Charles
Swinburne
, also including John Keats and Percy Bysshe Shelley, greatly influenced by
the French Symbolists.

Oscar Wilde
(1856-1900):

a. an Irish playwright, an aesthete advocating “
art for art’s sake
”.

b. His language is concise, witty and sharp. He criticizes the hypocrisy and corruption
of the upper class. His attacks are more like jokes.

c.

Lady Windermere’s Fan, A Woman of No Importance, An Ideal Husband and The
Importance of Being Earnest

A developing term.

What is literature

The definition of 14th century:

It means polite learning through reading. A man of literature or a man of letters = a
man of wide reading, “literacy”

The definition of 18th century:

practice and profession of writing

The definition of 19th century:

the high skills of writing in the special context of high imagination

Robert Frost’s definition:

performance in words

Modern definition:

We can define literature as language artistically used to achieve identifiable literary
qualities and to convey meaningful messages. Literature is characterized
by beauty
of expression and form
and
by universality intellectual and emotional appeal.

Different Ideas

Literature is imitation.

Literature is function.

Literature is an expression of emotions. (imagism
意象派
)

Literature is literature.
（
pay attention to its form
）

Imagism

It
is
a
Movement
in
U.S.
and
English
poetry
characterized
by
the
use
of
concrete
language
and
figures
of
speech,
modern
subject
matter,
metrical
freedom,
and
avoidance of romantic or mystical themes,

aiming at clarity of expression through
the use of precise visual images.

It grew out of the Symbolist Movement in 1912 and was initially led by Ezra Pound,
Amy Lowell, and others.

The
Imagist
manifesto
came
out
in
1912
showed
three
Imagist
poetic
principles:
direct treatment of the
“
thing
”
（
no fuss, frill, or ornament
）
, exclusion of superfluous
words
（
precision
and
economy
of
expression
）
,
the
rhythm
of
the
musical
phrase
rather than the sequence of a metronome
（
free verse form and music
）
.

Pound
defined
an
image
as
that
which
presents
an
intellectual
and
emotional
complex in an instant of time, and later he extended this definition when he stated
that an image was “a vortex or cluster of fused ideas, endowed with energy.”

Generally an
Imagist’s image represents a moment of revealed truth, truth revealed
by a physical object presented and seen as such. An Imagist poem, therefore, often
contains a single dominant image, or a quick succession of related images. Its effect
is meant to be instantaneous. For example:

In a Station of the Metro

The apparition of these faces in the crowd;

Petals on a wet, black bough.

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。

About the above poem:

The “Metro” is the underground railway of Paris. In this brief poem, Pound u
ses the
fewest possible
words to
convey
an
accurate
image,
according to
the principles
of
the “Imagists”.

He
tries to
render exactly
his
observation
of human faces
seen
in
an
underground
railway station. He sees the faces, turned variously toward light and darkness, like
flower petals which are half absorbed by, half resisting, the wet, dark texture of a
bough.

The
word
“apparition”,
with
its
double
meaning,
binds
the
two
aspects
of
the
observation together:

Apparition
meaning
“appearance”,
in
the
sense
of

something
which
appears,
or
shows up; something which can be clearly observed.

Apparition meaning something which seems real but perhaps is not real; something
ghostly which cannot be clearly observed.

This is perhaps the most famous poem written by Ezra Pound.


Life:

Born in Idaho in 1885 and raised in Pennsylvania, Ezra Pound spent most of his life in
Europe and became one of the 20th century's most influential -- and controversial --
poets in the English language.

Pound
was
undoubtedly
a
genius.
Before
he
graduated
from
university,
he
had
mastered
9
languages
as
well
as
English
grammar
and
literature.
After
college
in
Pennsylvania and a brief stint as a teacher, in 1908 Pound travelled to Venice and
then to London, where he refined his aesthetic sensibilities and edited the anthology
Des Imagistes
(1914).

Pound championed the likes of T. S. Eliot, William Carlos Williams and James Joyce

and, influenced by Chinese and Japanese poetry, advocated free meter and a more
economical
use
of
words
and
images
in
poetic
expression,
leading
the
Imagist
Movement of poetry.

He moved to Paris in 1920 and got acquainted with Gertrude Stein and her circle of
friends (which included Ernest Hemingway and Pablo Picasso), then settled in Italy in
1924.

Enamored
with
Benito
Mussolini,
Pound
made
anti-American
radio
broadcasts
during World War II. He was arrested as a traitor in 1945 and initially confined in Pisa.
He
was
then
sent
to
the .,
where
he
was
deemed
mentally
unfit
to
stand
trial
for
treason.

Pound
was
confined
for
12
years
in
a
hospital
(actually
prison)
for
the
criminally
insane
in
Washington.
During
this
time
he
translated
works
of
ancient
Greek
and
ancient
Chinese
literature.
While
in
prison,
he
was
awarded
a
prestigious
poetry
prize in 1949 for his last
Cantos
.

In 1958 he returned to Italy, where he continued to write and make translations until
he died in 1972.

2. His works:

Pound wrote 70 books and over 1500 articles in his life.

His
major
work
of
poetry
is
The
Cantos
,
a
long
poem
which
he
wrote
in
sections
between 1915 and 1945.

3. His masterpiece:
The Cantos

In
this
poem,
he
traces
the
rise
and
fall
of
eastern
and
western
empires,
the
destruction caused by greed and materialism.

He deplores the corruption of America after the heroic time of Jefferson,

The last part, produced from his own suffering, is the most moving.

There existed great influence of Chinese poetry on the Imagist movement. Imagists
found
value
in
Chinese
poetry
was
because
Chinese
poetry
is,
by
virtue
of
the
ideographic
and
pictographic
nature
of
the
Chinese
language,
essentially
imagistic
poetry.

《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

Evening crows perch on old trees wreathed with withered vine,

Water of a stream flows by a family cottage near a tiny bridge.

A lean horse walks on an ancient road in western breeze,

The sun is setting in the west,

The heart-broken one is at the end of the Earth.

二、
Why should we study literature

It can nourish our emotional life.

It can broaden people's perspectives on the world and offer them knowledge in the
form of information.

It can help people to escape from reality.

For nothing but the aesthetic pleasure of observing good artistry form.

It can help students to write a paper or pass an examination.

三、
How to study literature

Literature is not literature.

Historical
Perspectives:

Biographical-Historical
and
Moral- Philosophical.(Diverse
Types
of
Historicisms:

including
Feminist,
Sociological
or
Marxian
Studies
of
Language, Literature and Translation)

Structuralist Perspectives:
Looking for Systematic Deep Structures both in Form and
Content.(Semiotics,
TG
Grammar,
Systematic/Functional
Grammar,
Narratology,
Freudian
psycho-analysis,
Russian
Formalism,
Anglo-American
New
Criticism,
Archetypalism, Myth Criticism, Structural Marxism, Ideology)

Poststructuralist
or
Postmodern
Perspectives:
Deconstructing
Structuring
Binaries
(No
Clear
Distinction
between
Form
and
Content)[Postmodern
Feminism,
Postcolonialism,
Postmodern
Narratologies,
New
Historicism,
Ideological
Studies,
Discourse
Analysis,
Reception
Theories,
Trauma
Studies,
Trans-Atlantic
Studies,
Transnationalism, Eco-criticism, Cultural Pathology, and other Postmodernisms]

1. The Traditional Approaches:

Analytical Approach

Be familiar with the elements of a literary work, eg: plot, character, setting, point of
view, structure, style, atmosphere, theme, etc; answer some basic questions about
the text itself.

Thematic Approach

“What is the story, the poem, the play or the essay about”

Historical - Biographical Approach

Moral - Philosophical Approach.

2. The Formalistic Appoach

Structuralism, Poststructuralism, Semiotics

3
．
The Psychological Approach: Freud

4. Mythological and Archetypal Approach

5. Feminist Approaches

6. Sociological Approach

7. Deconstruction

8. Phenomenology, Hermeneutics, Reception Theory

9. Cultural Criticism

American Multicultualism

The New Historicism, British Cultural Materialism

10. Additional Approaches:

Aristotlian Criticism

Genre Criticism

Rhetoric, Linguistics, and Stylistics

The Marxist Approach

Ecological Criticism

Post Colonialism

Fiction

I. What is fiction

Fiction refers to any
narrative
which has not actually occurred in the history or in the
historical or real world, usually written in
prose
. It is often associated with novel.

The
term
novel
probably
comes
from
the
Italian
word

meaning

little
new thing

纪实小说

Novel: a long work of prose fiction.

Novel,
as
a
more
realistic

literary
genre
,
is
sometimes
distinguished
in
academic
literary
criticism
from
the
romance,
but
this
distinction
is
not
maintained
by
all
critics.

Novel
is
different
form
romance
in
that
it
is
more
realistic,
secular,
social,
psychological, character-centered, and so on.

Romance consist of
Kings and Queens, Mortals of the first rank.
imagination
) Novels, however,
a
more
familiar
Nature;
Come
near
us,
and
represent
to
us
Intrigues
in
Practice,
delight
us
with
Accidents
and
odd
Events,
but
not
such
as
are
wholly
unusual
or
unpresidented,
such
which
being
not
so
distant
from
our
Belief
bring
also
the
pleasure nearer us.
Romances
give
more
Wonder,
Novels
more
Delight.

Congreve)

All
in
all,
fiction
is
an
imaginary

but
usually
plausible

and
comparatively
truthful
prose narrative which
dramatizes changes in human relationship.
The author draws
his
materials
from
his
experiences
and
observation
of
life,
but
shakes
them
to
his
purposes which include illumination of human experience.

Romance (heroic literature)



As
a
literary
genre
of
high
culture,

romance

or
chivalric
romanc
e
is
a
style
of
heroic prose and verse narrative that was popular in the aristocratic circles of High
Medieval and Early Modern Europe. They were fantastic stories about marvel- filled
adventures, often of a knight errant portrayed as having heroic qualities, who goes
on
a
quest.
Popular
literature
also
drew
on
themes
of
romance,
but
with
ironic,
satiric
or
burlesque
intent.
Romances
reworked
legends, fairy
tales,
and
history to
suit
the
readers'
and
hearers'
tastes,
but
by

they
were
out
of
fashion.
Still,
the
modern image of
medieval genre, and the word medieval invokes knights, distressed damsels, dragons,
and other romantic tropes.



Modern usage of term
subgenre that focuses on the relationship and romantic love between two people;
these
novels
must
have
an

satisfying
and
optimistic
ending.
Despite
the
popularity
of
this
popular
meaning
of
Romance,
other
works
are
still,
occasionally,
referred
to
as
romances
because
of
their
uses
of
other
elements
descended
from
the
medieval
romance,
or
from
the
Romantic
Movement:
larger-than-life
heroes
and
heroines,
drama
and
adventure,
marvels
that
may
become
fantastic,
themes
of
honor
and
loyalty,
or
fairy- tale-like
stories
and
story
settings.

Shakespeare's
later
comedies,
such
as
The
Tempest

or

The
Winter's
Tale

are
sometimes called this romances. Modern works may differentiate from love-story as
romance
into
different
genres,
such
as
planetary
romance
or
Ruritanian
romance.
Science
fiction
was,
for
a
time,
termed
scientific
romance,
and
gaslamp
fantasy
is
sometimes termed gaslight romance.

II. Types of fiction

Character: the
Kunstlerroman
, the spy novel, the
Bildungsroman
(
initative
novel)

Setting: the historical novel, the campus novel

Plot: the detective novel

Structure: the

epistolary novel, the

picaresque novel

Length: novel, novella, short story, novellet

...... (Stream-of-consciousness novel
,
hypertext novel, Saga novel ...)


K
ü
nstlerroman
艺术家成长小说



A

Künstlerroman
,
meaning

artist's
novel

in
German,
is
a
narrative
about
an
artist's
growth
to
maturity.
It
may
be
classified
as
a
specific
sub-genre
of
Bildungsroman;
such
a
work,
usually
a
novel,
tends
to
depict
the
conflicts
of
a
sensitive youth against the values of a bourgeois society of his or her time.

1909 Jack London
Martin Eden


1913 D. H. Lawrence's
Sons and Lovers


1914 James Joyce's
A Portrait of the Artist as a Young Man


1920 F. Scott Fitzgerald's
This Side of Paradise

1927 Virginia Woolf's
To the Lighthouse


Bildungsroman
成长小说，教育小说

Bildungsroman,
or
coming-of-age
story
,
or
apprenticeship
novel
,
or
novel
of
education
, arising in Germany, is a literary genre which focuses on the psychological
and moral growth of the protagonist from youth to adulthood (coming of age), and
in
which
character
change
is
thus
extremely
important.
The
term
coming-of-age
novel is sometimes used interchangeably with Bildungsroman, but its use is usually
wider and less technical.

There are many variations and subgenres of Bildungsroman that focus on the growth
of an individual. An
Entwicklungsroman
(
growth rather than self-cultivation. An
Erziehungsroman
(
on training and formal schooling, while a
Künstlerroman (
is about the
development of an artist and shows a growth of the self.

A Bildungsroman tells about the growing up of a sensitive person who is looking for
answers
and
experience.
The
genre
evolved
from
folklore
tales
of
a
dunce
or
youngest son going out in the world to seek his fortune.

Usually
in
the
beginning
of
the
story
there
is
an
emotional
loss
which
makes
the
protagonist leave on his journey. In a Bildungsroman, the goal is maturity, and the
protagonist achieves it gradually and with difficulty.

The
genre
often
features
a
main
conflict
between
the
main
character
and
society.
Typically, the values of society are gradually accepted by the protagonist and he is
ultimately
accepted
into
society
–

the
protagonist's
mistakes
and
disappointments
are over. In some works, the protagonist is able to reach out and help others after
having achieved maturity.

Jane Eyre, by Charlotte Bronte (1847)

David Copperfield, by Charles Dickens (1850)

Great Expectations, by Charles Dickens (1860-1861)

Adventures of Huckleberry Finn, by Mark Twain (1884)

The Picture of Dorian Gray, by Oscar Wilde (1890)

The Catcher in the Rye, by J. D. Salinger (1951)

Goodbye, Columbus, by Philip Roth (1959)

Eepistolary Novel
书信体小说



An epistolary novel is a novel written as a series of documents. The usual form is
letters,
although
diary
entries,
newspaper
clippings
and
other
documents
are
sometimes
used.
Recently,
electronic

such
as
recordings
and
radio,
blogs, and e-mails have also come into use.



The
epistolary
form
can
add
greater
realism
to
a
story,
because
it
mimics
the
workings of real life. It is thus able to demonstrate differing points of view without
recourse to the device of an omniscient narrator.



Saul
Bellow's
novel

Herzog
(1964)
is
largely
written
in
letter
format.
These
are
both real and imagined letters, written by the protagonist Moses E. Herzog to family
members, friends and famous figures.

Picaresque novel
流浪汉小说

(
例
:
唐吉柯德
)



Miguel de
’
Cervantes
流浪汉小说鼻祖（
Don Quixote de la Mancha
）

The picaresque novel is a popular sub-genre of prose fiction which is usually satirical
and depicts, in realistic and often humorous detail, the adventures of a roguish hero
of
low
social
class
who
lives
by
his
wits
in
a
corrupt
society.
This
style
of
novel
originated
in
sixteenth
century
Spain
and
flourished
throughout
Europe
in
the
seventeenth and eighteenth centuries. It continues to influence modern literature.

Stream-of-consciousness novel
意识流小说

In
literary
criticism,
stream
of
consciousness
is
a
narrative
mode
that
seeks
to
portray
an
individual's
point
of
view
by
giving
the
written
equivalent
of
the
character's thought processes, either in a loose interior monologue, or in connection
to his or her actions. The term

as a special form of interior monologue and is characterized by associative leaps in
syntax and punctuation that can make the prose difficult to follow.

Stream
of
consciousness
and
interior
monologue
are
distinguished
from
dramatic
monologue, where the speaker is addressing an audience or a third person, which is
used chiefly in poetry or drama. In stream of consciousness, the speaker's thought
processes
are
more
often
depicted
as
overheard
in
the
mind
(or
addressed
to
oneself);
it
is
primarily
a
fictional
device.
The
term
was
introduced
to
the
field
of
literary
studies
from
that
of
psychology,
where
it
was
coined
by
philosopher
and
psychologist William James.

Stream
of
consciousness
is
the
continuous
flow
of
sense
‐
perceptions,
thoughts,
feelings,
and
memories in
the
human
mind
or a
literary
method
of representing
a
blending of mental processes in fictional characters, usually in an unpunctuated or
disjointed
form
of
interior
monologue.
The
term
is
often
used
as
a
synonym
for
interior
monologue,
but
they
can
also
be
distinguished,
in
two
ways.
In
the
first
(psychological)
sense,
the
stream
of
consciousness
is
the
subject
‐
matter
while
interior monologue is the technique for presenting it.

In the second (literary) sense, stream of consciousness is a special style of interior
monologue:
while
an
interior
monologue
always
presents
a
character's
thoughts
‘directly’, without the ap
parent intervention of a summarizing and selecting narrator,
it
does
not necessarily mingle them
with
impressions
and
perceptions, nor does
it
necessarily violate the norms of grammar, syntax, and logic; but the stream
‐
of
‐
consciousness technique also does one or both of these things. An important device
of modernist fiction and its later imitators, the technique was pioneered by James
Joyce in
Ulysses
(1922), and further developed by Virginia Woolf in
Mrs. Dalloway

(1925) and William Faulkner in
The Sound and the Fury
(1928).

Hypertext novel
超文本小说

Hypertext is text displayed on a computer or other electronic device with references
to
other
text
that
the
reader
can
immediately
access,
usually
by
a
mouse
click
or
keypress sequence. Apart from running text, hypertext may contain tables, images
and other presentational devices. Hypertext is the underlying concept defining the
structure of the World Wide Web. It is an easy-to-use and flexible format to share
information over the Internet.

Saga novel
大型系列小说



A saga novel is a novel among various literary novels which is encompassing the
wide
scopes
of
stories
and
narratives
such
as
religious
saga,
national
saga,
family
saga, and human saga, etc.

The
major
example
of
a
saga
novel
in
English
literature
is
George
Eliot's
Middlemarch
.
In
the
US,
Pearl
S.
Buck's
The
Good
Earth

and
Margaret
Mitchell's
Gone with the Wind
belong to the category of saga novels.

However,
the
British
and
American
Sagas
are
usually
underestimated
more
than
middle- sized novels in academic institutions despite their public popularity. In China,
Lo Guanzhong (Lo Kuanchung)'s
Sanguo zhi yanyi
(
Romance of the Three Kingdoms
)
is the most representative and well-known saga novel since the 14th century as one
of the four great classical novels in China.

A Dream of Red Mansions (The Story of the Stone)

Pilgrimage to the West (Journey to the West)

Heroes of Marshes (Water Margins)

Romance of the Three Kingdoms

III. History of fiction. (4-6)

the early 14th century

the mid-17th century
——
the first true novel

France, the development of a refined short novel

the 18th century




Walter Scott,
历史小说经典作家
, moved from romanticism to realism

the 19th century

The 19th century was an age of conversion from a tradition pre-modern state to a
modern industrial society.

the 20th century

There
arose
a
more
deliberate
kind
of
realism
called
neutralism
which
aimed
to
provide a precise description of actual circumstances of human life in minute detail.

In
fiction,
the
established
chronological
development
was
challenged
by
Joseph
Conrad
and
William
Faulkner,
while
James
Joyce

and
Virginia
Woolf

attempted


stream- of-consciousness.

IV
．
Elements of fiction

Plot

Structure

Character

Setting

Point of view

Theme

style

......

Plot

Traditionally,
plots
arise
out
of
conflict,
either
internal
or
external.
When
a
story
includes an internal conflict, the protagonist(
主角
) often undergoes a conflict within
himself or herself.

四种关系：人与社会、人与自然、人与人、人与自我、（人与宗教）

An
author
’
s
careful
arrangement
of
incidents
in
a
narrative
to
achieve
a
desired
effect.

Plot is defined as the events that make up the story, particularly as they relate to
one another in a pattern, in a sequence, through cause or effect, or by coincidence.
One is generally interested in how well this pattern of events accomplishes some
artistic or emotional effect.

Plot and story.

Plot and structure.

Plot is the pattern of events and situation in a narrative work. It keeps us interested
and turning pages to find out what will happen next.
Different from the story that
indicates the
“
raw material
”
of events, the plot is the selected version of events in a
certain
order or duration.
An
effective
plot
usually
follows the
mode of
cause
and
effect between incidents.

A story
’
s structure can be examined in relation to its plot. In examining structure, we
look
for
patterns,
for
the
shape
that
the
story as
a
whole
possesses.
If
plot
is
the
sequence of unfolding action, structure is the design or form of the complete action.
Plot and structure together reveal aspects of the story
’
s artistic design.

the focus of plot
——

conflict.






1)
Virginia Woolf
’
s
The Waves

．
．
．
．
．
．
．
．．
．
．．
．





2) Thomas Hardy
’
s
Tess of the d
’
Urbervilles
（坏境悲剧、性格悲剧、命运悲剧）






3) William Faulkner
’
s
A Rose for Emily

The Waves

The
Waves,
more
than any
of
Virginia
Woolf's novels,
conveys
the
complexities of
human experience. Tracing the lives of a group of friends, The Waves follows their
development from childhood to youth and middle age.

While social events, individual achievements and disappointments form its narrative,
the novel is most remarkable for the rich poetic language that conveys the inner life
of
its
characters:
their
aspirations,
their
triumphs
and
regrets,
their
awareness
of
unity and isolation. Separately and together, they query the relationship of past to
present, and the meaning of life itself.


Woolf's novel is concerned with the individual consciousness and the ways in which
multiple consciousnesses can weave together. It
’
s different from a Bildungsroman in
that
the
self
may
very
well
be
considered
to
be
its
own
society.
The
difficulty
of
assigning
genre to this novel
is
complicated
by the fact that
obliterates
traditional
distinctions between prose and poetry, allowing the novel to flow between six not
dissimilar
interior
monologues.
The
book
similarly
breaks
down
traditional
boundaries
between
people, and
Woolf herself wrote
in
her that
the
six
were
not
meant
to
be
separate

at
all,
but
rather
facets
of
consciousness
illuminating
a
sense
of
continuity.
Even
the
name

may
not
accurately
describe the complex form of. Woolf herself called it not a novel but a

Tess of the d
’
Urbervilles

Tess
of
the
D’Urbervilles
was
subtitled A Pure Woman
and
published
in 1891.
It
is
one of Hardy’s saddest tales of rural troubles. Tess is the daughter of the poor John
Durbeyfield
who
learn
from
the
village
parson
that
his family
is
related
to
ancient
nobility, being the last of the family the D’Urbervilles. In trying to make use of this
connection, Joan
–

John’s wife
- suggests that Tess pursue the son of the local family
of Mrs D’Urberville. As it turns out the Mrs D’Urberville has merely taken the name
for convenience but Tess becomes involved with her son Alec nonetheless who gives
her
employment
but
takes
advantage
of
her
and
in
unpleasant
circumstances
seduces her.

They
have
a
child
together
who
dies
early
and
cannot
be
baptised
because
he
is
illegitimate. The second stage of the novel concerns the family of the Reverend Mr
Clare and his son Angel. Angel and Tess marry but when she admits the incident with
Alec their relationshi
p is torn apart leading to Angel’s departure for South America
and
Alec’s
second
attempt
to
ensnare
Tess.
This
leads
to
murder,
escape
and
superficial impurity on the part of Tess who is finally brought to

This
is
an
exceptionally
bleak
novel
that
offers
little
relapse
from
the
persistent
cruelty of fate (or as the novel would have it the President of the Immortals) against
Tess.
At
the
time
the
novel
was
considered
pessimistic
and
immoral,
and
Henry
James
thought
it
thoroughly
poorly
conceived
which
reminds
us
of
a
certain
conversation between a pot and a black kettle.

A Rose for Emily

The
story,
told
in
five
sections,
opens
in
section
one
with
an
unnamed
narrator
describing the funeral of Miss Emily Grierson. (The narrator always refers to himself
in collective pronouns; he is perceived as being the voice of the average citizen of
the
town
of
Jefferson.)
He
notes
that
while
the
men
attend
the
funeral
out
of
obligation, the women go primarily because no one has been inside Emily’s house for
years
. The narrator describes what was once a grand house ‘‘set on what had once
been our most select street.’’ Emily’s origins are aristocratic, but both her house and
the neighborhood it is in have deteriorated.

The
narrator
notes
that
prior
to
her
death,
Emi
ly
had
been
‘‘a
sort
of
hereditary
obligation upon the town.’’ This is because Colonel Sartoris, the former mayor of the
town,
remitted
Emily’s
taxes
dating
from
the
death
of
her
father
“on
into
perpetuity.’’ Apparently, Emily’s father left her with nothin
g when he died. Colonel
Sartoris invented a story explaining the remittance of Emily’s taxes (it is the town’s
method of paying back a loan to her father) to save her from the embarrassment of
accepting charity.

The narrator uses this opportunity to segue into the first of several flashbacks in the
story.
The
first
incident
he
describes
takes
place
approximately
a
decade
before
Emily’s
death.
A
new
generation
of
politicians
takes
over
Jefferson’s
government.
They
are unmoved
by Colonel
Sartoris’s
grand
gesture on
Emily’s
behalf,
and they
attempt to collect taxes from her. She ignores their notices and letters.

Finally, the Board of Aldermen sends a deputation to discuss the situation with her.
The men are led into a
decrepit parlor
by Emily’s black man
-servant, Tobe. The first
physical description of Emily is unflattering: she is ‘‘a small, fat woman in black” who
looks “bloated, like a body long submerged in motionless water, and of that pallid
hue.”
After
the
spokesman
awkwardly
explains
the
reason
for
thei
r
visit,
Emily
repeatedly insists that she has no taxes in Jefferson and tells the men to see Colonel
Sartoris.
The
narrator
notes
that
Colonel
Sartoris
has
been
dead
at
that
point
for
almost ten years. She sends the men away from her house with nothing.

Story-telling techniques

Flashback
：

disrupt the linear movement of the plot and present an earlier action

Foreshadowing

Suspense

Coincidence

Tickets, Please
by D. H. Laurence

本我与超我的碰撞

欲望本能

非理性主义的艺术审美

Character

flat character and round character

major character and minor character

static character and active character

direct characterization and indirect characterization

Point of view and tone

It is the vantage point from which the story is presented by the narrator. In other
words, it is the position of the story teller.

Forms

First-person narratives (I)

Third-person narratives (he, she, they)

Second-person narratives (you)

First-person narratives

There is little doubt that the first-person point of view is fairly
“
limited
”
.

reliable
narrator and
unreliable
narrator

Third-person Narrator

the third-person omniscient narrator

the third-person limited narrator

limited omniscience

multiple point of view

Second-person Narrator

Its
most
striking
feature
is
the
person
addressed
by
the
narrator
as
“
you
”

has
different
referents
in
various
contexts:

Specific
character
within
the
story
,
the
current reader, or even
the narrator himself
.

Tone

Tone
in
writing
is
somewhat
like
some
of
voice
in
speech
and
can
be
serious,
introspective, satirical, sad, ironic, playful, condescending, forma, or informal.

Tone
is
the
author
’
s
attitude
toward
the
characters,
the
topic,
or
the
readers,
as
expressed by the narrator.

Irony

Verbal irony
言语反讽

Situational irony
情景反讽

Dramatic irony
喜剧反讽

Irony is a rhetorical device, literary technique, or situation in which there is a sharp
incongruity
or
discordance
that
goes
beyond
the
simple
and
evident
intention
of
words or actions.

Ironic statements
(verbal irony)
are statements that imply a meaning in opposition
to their literal meaning. A situation is often said to be ironic
(situational irony)
if the
actions
taken
have
an
effect
exactly
opposite
from
what
was
intended.
The
discordance
of
verbal
irony
may
be
deliberately
created
as
a
means
of
communication (as in art or rhetoric). Descriptions or depictions of situational irony,
whether in fiction or in non-fiction, serves the communicative function of sharpening
or highlighting certain discordant features of reality.

Verbal and situational irony are often used for emphasis in the assertion of a truth.
The
ironic
form
of
simile,
used
in
sarcasm,
and
some
forms
of
litotes
emphasize
one's
meaning by
the
deliberate use
of
language
which
states
the
opposite
of
the
truth
—
or drastically and obviously understates a factual connection.

In
dramatic irony
, the author causes a character to speak or act erroneously, out of
ignorance
of
some
portion
of
the
truth
of
which
the
audience
is
aware.
In
other
words, the audience knows the character is making a mistake, even as the character
is
making
it.
This
technique
highlights
the
importance
of
a
particular
truth
by
portraying a person who is strikingly unaware of it.

课本
P49
Rape Fantasies

1. Verbal irony consists of understatements and overstatements.




Ex: Greta
’
s and Chrissy
’
s rape fantasies understate the impact of rape and what
that situation would be like. When Darlene says that they should not go out alone at
night, it is an overstatement.

2. Situational irony



Ex: Greta
’
s and Chrissy
’
s rape fantasies are not what rape truly be like but rather
what they hope it would be like.



Ex: In her fantasies stranger rape her, but statistics show that women are more
likely to be raped by someone they know.

3. Dramatic irony

Ex: Estelle is talking to the men at the bar about having a conversation with a rapist
to remind him that she is real human and has a life too. She says she
doesn’t
think
the
person
would
be
able
to
go
through
with
the
plans
after
having
such
a
realization.

Theme

Like a common thread, the theme is repeated and incorporated throughout a literary
work. It denotes the central idea formulated as a generalization.

In essence, the theme is the main idea or some type of lesson or message that the
author wants to convey to the reader.

The Theme of “The Egg”
:
Disillusionment is necessary to the process of maturing.

Familiar Thematic Concerns

The relations (p51)

Time (52)

Death (52)

Life

Love

……

The Theme of Time

《喧嚣与骚动》的时间主题

《了不起的盖茨比》的时间主题

莎士比亚十四行诗的时间主题

米兰
·
昆德拉小说的时间主题

Ways to Identify Theme

the title

the central topic or “big idea”

to
organize
thoughts
(evidence
that
support
the
topic,
protagonist’s
actions,
speeches and responses, and so on)

Style

Definition:

Style
is
the
manner
of
expression
of
a
particular
writer,
school,
period,
or
genre
produced by choice of words, grammatical structures, use of literary devices, and all
the
possible
parts
of
language
use.
It
is
a
combined
qualities
that
distinguish
one
category from another.

Subjectively, the style is the man himself.

Objectively, proper words in proper places make the true definition of a style.

Relative Elements:

Tone
：
Indicate the
speaker’s
attitude towards his subject and his audience.

Diction: refers to a writer
’
s choice of words.

Imagery: is to establish a writer
’
s styles it extends to all the sense.

Syntax: is the pattern o arrangement of individual words and phrases

Structure: is helpful for a write to create a particular style

two groups:
①③


②④⑤

文学：对谁说，说什么，怎么说

The Hallmarks of Two Styles:

Formal
Style
:
periodic
and
loose
sentences,
parallelism,
repetition,
metaphor
and
comparison, Latinate language and multisyllabic words, as well as avulsions.

Familiar Style
: judicious use of speech characteristics, such as simple vocabulary, use
of
slang
and
profanity,
less
rigorous
grammar,
contractions,
simple
and
short
sentences
and
irony
and
humor,
minimal
use
of
subordinate
clauses
and
use
of
dialogue. (
the art of modern narration
)

The art of modern narration
现代叙事艺术

For
his
novels
and
for
his
short
stories,
which
include
some
of
the
finest
in
the
English
language,
Hemingway
received
wide
acclaim.
In
1954
he
was
awarded
a
Nobel
Prize
for
his

of
the
art
of
modern
narration.
Taking
his
cue
from
Mark
Twain's
masterpiece,
Hemingway
brought
the
colloquial
style
to
near
perfection
in
American
literature.


In
Paris,
Hemingway
--
along
with
Gertrude
Stein, Ezra Pound, T. S. Eliot, and James Joyce --accomplished a revolution in literary
style and language. He developed a spare, tight, reportorial prose based on simple
sentence
structure
and
using
a
restricted
vocabulary,
precise
imagery,
and
an
impersonal, dramatic tone.

His
language
is
characterized
by
features
including:
economy
of
expression,
short
sentences
and
paragraphs,
vigorous
and
positive
language,
and
deliberate
avoidance of gorgeous adjectives, and etc.

He-man
硬汉；

4 marriages, 4 wars, 4 air crashes

In Another Country
by
Ernest Hemingway

It
is
about
an
ambulance
corps
member
in
Milan
during
World
War
I.
Although
unnamed, he is assumed to be
He
has
an
injured
knee
and
visits
a
hospital
daily
for
rehabilitation.
There
the

are
used
to
speed
the
healing,
with
the
doctors
making
much
of
the
miraculous
new
technology.
They
show
pictures
to
the
wounded
of
injuries
like
theirs
healed
by
the
machines,
but
the
war-hardened
soldiers
are
portrayed
as
skeptical, perhaps justifiably so.



As
the
narrator
walks
through
the
streets
with
fellow
soldiers,
the
townspeople
hate them openly because they are officers. Their oasis from this treatment is Cafe
Cava, where the waitresses are very patriotic. When the fellow soldiers admire the
protagonist's medal, they learn that he is American, ipso facto not having to face the
same struggles in order to achieve the medal, and no longer view him as an equal,
but still recognize him as a friend against the outsiders. The protagonist accepts this,
since he feels that they have done far more to earn their medals than he has.

Later on, a major who is friends with the narrator, in an angry fit tells Nick he should
never get married, it being only a way to set one up for hurt. It is later revealed that
the major's wife had suddenly and unexpectedly died. The major is depicted as far
more grievously wounded, with a hand withered to the size of a baby's hand, and
Hemingway
memorably
describes
the
withered
hand
being
manipulated
by
a
machine
which
the
major
dismisses
as
a

thing.
But
the
major
seems
even
more deeply wounded by the loss of his wife. It is also implied this entire episode is a
dream,
by
subtle
references
to
night
time
and
searching
for
needed
light.
It
is
reminiscent of Dante's Inferno.

Loss,
failure,
and
ruin
permeate
this
brief
story.
Many
of
the
characters
grapple
with a loss of function, a loss of purpose, and a loss of faith. It appears contagious.
Two
characters
lose
the
normal
use
of
a
limb--the
narrator
(leg)
and
the
major
(hand). Almost all the characters in the story are portrayed as casualties of some sort.
Detachment, disability, and fear of death are pervasive. For the soldiers, courage is
not
just facing
enemy
fire
on the front
line
but
also
picking
up the
pieces
of
their
damaged lives and facing the prospect of tomorrow. War, it seems, is forever.

The title of the story is interesting. At first glance,
fact
that
the
American
narrator
is
indeed
in
a
foreign
land--Italy.
Yet
he
is
also
a
visitor
to
another
realm--the

of
the
sick
and
injured.
And
maybe
World
War I is the ultimate other country --a setting that defines nations or destroys them
and
has
the
potential
to
erase
people,
ideology,
and
the
future.
Does
the
doctor
featured in the story truly believe that his patients will recover from their injuries or
is he merely accustomed to dispensing hope in much the same way he might dole
out aspirin The likelihood that the machines will heal the soldiers is debatable. Do
these
gadgets
prefigure
modern
technology
or
are
they
another
reminder
of
how
dependent upon machines both war and medicine really are

Ernest Hemingway (1899 - 1961)

I. Biography:

Born
in
Oak
Park,
Illinois,
the
son
of
a
country
doctor,
Hemingway
worked
as
a
reporter for the Kansas City
Star
after graduating from high school in 1917.

During World War I he served as an ambulance driver for the American

Red Cross;
wounded on the Austro-Italian front just before his 19th birthday, he was decorated
for heroism.

After
recuperating
in
the
United
States,
he
sailed
for
France
as
a
foreign
correspondent
for
the
Toronto
Star
.
In
Paris
he
became
part
of
the
coterie
of
expatriate
Americans
that
included
Gertrude
Stein,
Ezra
Pound,
and
F.
Scott
Fitzgerald.

During the Spanish Civil War, Hemingway served as a correspondent on the loyalist
side.

He fought in World War II and then settled in Cuba in 1945.

In 1954, Hemingway was awarded the Nobel Prize in Literature.

By
1960
Fidel
Castro's
revolution
had
led
Hemingway
to
leave
Cuba
and
settle
in
Idaho. There, anxiety-ridden, depressed, and ill with cancer, he shot himself, leaving
behind
many
manuscripts.
Two
of
his
posthumously
published
books
are
the
admired
memoir
of
his
apprentice
days
in
Paris:
A
Moveable
Feast

(1964),
and
Islands in the Stream
(1970), consisting of three closely related novellas.

II. His Novels:

The
Sun
Also
Rise

(1926)
The
novel
concerns
a
group
of
psychologically
bruised,
disillusioned
expatriates
living
in
postwar
Paris,
who
take
psychic
refuge
in
such
immediate physical activities as eating, drinking, traveling, brawling, and lovemaking.
With
the
publication
of
it,
he
was
recognized
as
the
spokesman
of
the
“lost
generation” (so called by Gertrude Stein).

A Farewell To Arms
(1929) tells of a tragic wartime love affair between an ambulance
driver and an English nurse.

Death in the Afternoon
(1932), a nonfiction work about bullfighting

Green Hills of Africa
(1935), a nonfiction work about big-game hunting, glorify virility,
bravery, and the virtue of a primal challenge to life.

To Have And Have Not
(1937)

The Fifth Column
(his only play 1938)

For Whom The Bell Tolls
(1940), in detailing an incident in the war, argues for human
brotherhood.

Across the River and into the Trees
(1950)

The Old Man And The Sea
(1952, Pulitzer Prize), celebrates the indomitable courage
of an aged Cuban fisherman.

Paris: A Moveable Feast
(1964)