美國(guó)文學(xué)期末復(fù)習(xí)要點(diǎn)WhatarethehistoricaldivisionsofBritishliterature?1.Anglo-SaxonPeriod(449-1066)2.MiddleEnglishPeriod(1066-1485)3.EnglishRenaissance(1485-1603)4.The17thcentury(1603-1660)5.ThePeriodof18thcentury(Neo-Classicism)(1660-1789)6.TheRomanticPeriod(1798-1832)7.TheVictorianPeriod(1832-1901)8.TheTwentiethCenturyTheperiodsofAmericanliterature1.Literaturebeforethecivilwar1).Thecolonialperiod(約1607-1765)2)TheliteratureofReasonandRevolution:(Theperiodofenlightenment)BenjaminFranklin3)Theromanticperiod(1800-1865)a.Theearlyromanticism:WashingtonIrvingJamesFenimoreCooperb.“NewEnglandTranscendentalism”or“AmericanRenaissance(1836-1855)”EmersonThoreauWhitmanDickinsonHawthorneMelvilleAllanPoec.“NewEnglandPoets”:LowellBryantLongfellow2.Therealisticperiod(1865-1914)MidwesternRealismWilliamDeanHowellsCosmopolitanNovelistHenryJamesLocalColorismNaturalismStephenCraneJackLondonTheodoreDreiserMarkTwain3.Betweenthetwowars(1914-1945)Modernpoetry:experimentsinform(Imagism)EzraPoundT.S.EliotWallaceStevensRobertFrostCarlosWilliamsProseWriting:modernrealism(theLostGeneration)F.ScottFitzgeraldErnestHemingwayWilliamFaulknerNovelsofSocialAwarenessSinclairLewisDosPassosJohnSteinbeckRichardWright4)The20thCenturyAmericanDramaEugeneO’Neil4.TheContemporaryLiterature(1945-)1)AfricanAmericanliterature2)ChineseAmericanliterature3)Drama:ArthurMiller4)BlackhumorToniMorrisonJosephHellerMaxineHongKingstonAliceWalkerAlistforfurtherreading:WashingtonIrvingTheSketchBook

NathanielHawthorneTheScarletLetter

MelvilleMobyDickHarrietBeecherStowe:UncleTom’sCabinHenry

James:ThePortraitofALadyMarkTwain:TheAdventuresofTomSawyerTheAdventuresofHuckleberryFinnTheodoreDreiser:SisterCarrieAmericantragedy:JackLondonMartinEdenTheCalloftheWild,WillaCatherMyAntoniaKateChopinTheAwakeningStephenCraneTheRedBadgeofCourageRalphEllisonInvisibleManWilliamFaulknerGoDown,Moses,TheSoundandtheFuryF.ScottFitzgeraldTheGreatGatsbyAlexHaleyRootsJosephHellerCatch-22ErnestHemingwayTheSunAlsoRises,TheOldManandtheSeaMaxineHongKingstonWomanWarriorMargaretMitchellGonewiththeWindToniMorrisonTheBluestEye,BelovedVladimirNabokovLolitaJ.D.SalingerTheCatcherintheRyeJohnSteinbeckTheGrapesofWrathAliceWalkerTheColorPurpleRichardWrightNativeSonWritersandwritings:JohnSmith約翰·史密斯：美國(guó)文學(xué)史上第一個(gè)作家BenjaminFranklin本杰明·富蘭克林：PoorRichard’sAlmanac窮查理歷書(shū)TheAutobiography自傳(記錄作者從窮到成功的經(jīng)歷，“美國(guó)夢(mèng)”反映，體現(xiàn)啟蒙倡導(dǎo)的理性主義和有序、教育的觀點(diǎn))ThomasPaine托馬斯·潘恩:CommonSense常識(shí)AmericanCrisis美國(guó)危機(jī)WashingtonIrvingAHistoryofNewYork紐約外史TheSketchBook見(jiàn)聞札記（RipVanWinkle,TheLegendofSleepyHollow）JamesCooper庫(kù)珀:（“美國(guó)小說(shuō)之父”）Leatherstockingtales皮襪子故事集TheDeerslayer《獵鹿者》TheLastoftheMohicans《最后的莫西干人》ThePathfinder《探路者》ThePioneers《拓荒者》ThePrairie《草原》RalphWaldoEmerson:thespokesmanofNewEnglandTranscendentalism（超驗(yàn)主義）movement"TheAmericanScholar"論美國(guó)學(xué)者,"Self-Reliance"論自助,"TheOver-Soul"HenryDavidThoreau梭羅:"Walden"瓦爾登湖NathanielHawthorne:(四部長(zhǎng)篇)TheScarletLetter(1850)紅字A“adultery","able"and"angel".TheHouseoftheSevenGables(1851)帶有七個(gè)尖角閣的房子TheBlithedaleRomance(1852)福谷傳奇TheMarbleFaun(1860)玉石雕像NathanielHawthorne:(短篇小說(shuō)集)Twice-ToldTales(1837,1851)重講一遍的故事>MossesfromanOldManse(1846,1854)古屋青苔“Rappaccini’sDaughter”醫(yī)生的女兒“TheBirth-mark”胎記“YoungGoodmanBrown”年輕的布朗“TheMinister’sBlackVeil”教長(zhǎng)的黑紗EdgarAllanPoe:Stories:“TalesoftheGrotesqueandArabesque”怪誕故事集“ThePurloinedLetter”失竊的信“TheFalloftheHouseofUsher”厄舍屋的倒塌Poems:“AnnabelLee”“ToHelen”“Sonnet—ToScience”“TheRaven”HermanMelville:Moby-Dick白鯨WaltWhitman:LeavesofGrass草葉集“Songofmyself”“OCaptain!MyCaptain!”FreeverseEmilyDickinson:自然、愛(ài)情，死亡/永生三大類(lèi)The

Literature

of

Realism

&Mark

TwainI.IntroductiontorealismgroundedinthefaithfulreportingofallfacetsofeverydayAmericanlife"Realismisnothingmoreandnothinglessthanthetruthfultreatmentofmaterial"--WilliamDeanHowellsfromtheyear1865to1914II.BackgroundtheCivilWar(1861—1864)“TheGildedAge”:“anageofextremes”—“ofdeclineandprogress,ofpovertyanddazzlingwealth,ofgloomandbuoyanthope”.GoldrushtherailroadIII.Diversityofliterature1.localcolorism:MarkTwain2.psychologicalrealism:HenryJames3.naturalism:StephanCrane,FrankNorris,JackLondon,TheodoreDreiserLocalcolorismatrendbecamedominantinAmericanliteratureinthelate1860sandearly1870savariationofAmericanliteraryrealism.concernedwiththelifeofasmall,well-definedregionorprovincesetting:theisolatedsmalltownLocalcolorists:nostalgichistoriansofavanishingwayoflife,recordersofapresentthatfadedbeforetheireyesdedicatedthemselvestominutelyaccuratedescriptionsofthelifeoftheirregionsSomelocalcoloristsandworks:HarrietBeecherStowe,UncleTom’sCabinKateChopin,TheAwakeningMarkTwainIVMarkTwain(1835—1910)1.lifePennameofSamuelLanghorneClemens,Americanwriter,journalist,andhumorist;alicensedMississippiriver-boatpilot(1857-61);agold-miner;workedinSanFranciscoasareporterin1864.2．LiteraryachievementsTheCelebratedJumpingFrogofCalaverasCounty,andOtherSketches(1867)---thebeginningofTwain'sliterarycareer.

TheInnocentAbroad(1869)TheGildedAge:ATaleofToday(1873).TheAdventuresofTomSawyer(1876)ThePrinceandthePauper(1881)LifeontheMississippi(1883)TheAdventuresofHuckleberryFinn(1884),"AllmodernAmericanliteraturecomesfromonebookbyMarkTwaincalledHuckleberryFinn”---ErnestHemingway).“Humoristhegreatthing,thesavingthing.Theminuteitcropsup,allourirritationsandresentmentsslipawayandasunnyspirittakestheirplace.”--MarkTwain

車(chē)票馬克吐溫一次乘車(chē)外出，火車(chē)開(kāi)得很慢。當(dāng)查票員過(guò)來(lái)查票時(shí)，馬克吐溫遞給他一張兒童票。查票員調(diào)侃道：“我還真沒(méi)看出您還是個(gè)孩子呢！”馬克吐溫回答：“現(xiàn)在我已經(jīng)不是孩子了，但我買(mǎi)票上車(chē)時(shí)還是個(gè)孩子哩?！盋heckhomeworkHowdidTomgetotherboystowhitewashforhim?whatmakesthestoryinteresting?TextstudyQuestions:1.whatisthelanguagestyleoftheexcerpt?2.whatdoyoulearnfromthischapter?Languagestyle:Hiswords:colloquial,concreteanddirectineffect,vividHissentencestructures:simple,evenungrammatical.HumorousHischaractersspeakwithastrongaccent,whichistrueofhislocalcolorism.Tom’scharacter:mischievousIntelligentSmartcommanderKateChopinWorks:"TheStoryofanHour"

"APairofStockings"

"Desiree'sBaby”TheAwakening

Herviews:“Shesawfreedomasmuchmoreamatterofspirit,soul,characteroflivingyourlifewithintheconstraintsthattheworldmakes[or]yourGodoffersyou,becauseallofusdolivewithinconstraints”."TheStoryofanHour"文本閱讀1.FromwhatdiseasedoesMrs.Millardsuffer?2.WhatmightMrs.Mallard'sailmentsymbolize?()A.herinabilitytoseethingsastheyareB.herinabilitytofilteroutlessimportantthingsinlifeC.herunhappinessandtroublingemotions3.Thefollowingpassage"Whenthedoctorscametheysaidshehaddiedofheartdisease--ofthejoythatkills.“isanexampleof_____A.symbolismB.metaphorC.ironyBackground19世紀(jì)末的美國(guó),男權(quán)專(zhuān)制的社會(huì)氛圍依然濃厚。男權(quán)文化提倡“真正女人”的四種品質(zhì)是:虔誠(chéng)、貞潔、服從、溫順。女性是男人的附屬；女性生活的中心就應(yīng)該是家庭和丈夫。Discussiontopics1.whensheretreatsintoherroom,whatdoessheseethroughtheopenwindow?Doesitcarryanysymbolicmeaning?2.whydoesshesay“free,free,free”toherselfover?Howdoesherprivatereactiondifferfromherpublicreaction?3.whatistherelationshipbetweenthecouple?4.howwasironyusedinthestory?Possibleperspectivesofresearch1.feministreading(femaleconsciousness,subordinatestatus)2.psychologicalreading(Id,ego,superego)3.writingtechniques(symbols,irony)Emotions---femaleconsciousnesssheweptatonce,withsudden,wildabandonment.therestood,facingtheopenwindow,acomfortable,roomyarmchair.Intothisshesank.“thetopsoftreesthatwereallaquiverwiththenewspringlife.""Thedeliciousbreathofrainwasintheair.""countlesssparrowsweretwitteringintheeaves”“patchesofblueskyshowinghereandtherethroughtheclouds...""butshefeltit,creepingoutofthesky,reachingtowardherthroughthesounds,thescents,thecolorthatfilledtheair“Expecting"springdays,andsummerdays,andallsortsofdaysthatwouldbeherown“Free!Bodyandsoulfree!springdays,andsummerdays,andallsortsofdaysthatwouldbeherown"Feministreading-----socialstatusRelationshipSheisintroducedas“Mrs.Millard”andreferredtoas“she”formostofthenarrativeHersearchforfreedomBrentlyMillard’sreturndoctors’diagnosissymbols“acomfortable,roomyarmchair"asasymbolofsecurityandcomfort;“theopenwindow",asymbolofconnectiontotheworld,tolife.theblueskyasymboloffreedomandfuturelife.IronyDramaticirony:指劇中人物或小說(shuō)中人物未察覺(jué)而觀眾或讀者卻能領(lǐng)會(huì)的諷刺如：lastparagraphIronyofsituation：作者顯示出某種行為和情景的預(yù)期結(jié)局與實(shí)際結(jié)局的差異。如：Mrs.Milard對(duì)丈夫之死的反映，主要情節(jié)一波三折“女性意識(shí)”指的是女性的自我意識(shí)，它立足于女性的“此在”去感知、體驗(yàn)人生與世界，傳達(dá)女性的欲望與追求，肯定女性的經(jīng)驗(yàn)與價(jià)值。具體而言，“女性意識(shí)蘊(yùn)含復(fù)雜而多層次的婦女人生的價(jià)值取向：對(duì)（職業(yè)或性別）角色的看法，以及對(duì)它們所體現(xiàn)的（女）人的價(jià)值的看法；對(duì)女性權(quán)益的要求；對(duì)（女性）人生意義的認(rèn)識(shí)；對(duì)（女）人的人生態(tài)度和看法（涵蓋女人的幸福、愛(ài)情與苦樂(lè)觀等）；對(duì)（女）人內(nèi)在價(jià)值的認(rèn)定；對(duì)（女）人人生感受和體驗(yàn)的張揚(yáng)與肯定等。本我Id遵循享樂(lè)原則，迫使人設(shè)法滿(mǎn)足它追求快感的種種要求，而這些要求往往違背道德習(xí)俗，于是在本我和現(xiàn)實(shí)環(huán)境之間，自我起著調(diào)節(jié)作用。自我Ego遵循現(xiàn)實(shí)原則，努力幫助本我實(shí)現(xiàn)其要求，既防止過(guò)度壓抑造成傷害，又避免與社會(huì)公德公開(kāi)沖突。人格結(jié)構(gòu)的最高層次是超我Superego，它代表社會(huì)利益的心理機(jī)制，總是根據(jù)道德原則，把為社會(huì)習(xí)俗所不容的本我沖動(dòng)壓制在無(wú)意識(shí)領(lǐng)域（PeggySkaggs，1995）。WilliamFaulknerFaulkner’sWorks:TheSoundandtheFury《喧嘩與騷動(dòng)》AsILayDying《我彌留之際》Sanctuary《圣殿》LightinAugust《八月之光》Absalom,Absalom!《押沙龍，押沙龍》GoDown,Moses《去吧，摩西》“ARoseforEmily”Faulkner’sTechniques:a.multiplepointofview:theeventsareshownfromthepositionsoftwoormoredifferentcharacters.b.stream-of-consciousness:tellingastorybyrecordingthethoughtsofacharacterc.time-shiftswithinnarrativeFaulkner’sthemes:“ForallhisconcernwiththeSouth,Faulknerwasactuallyseekingoutthenatureofman.Thuswemustturntohimforthatcontinuityofmoralpurposewhichmadeforthegreatnessofourclassics.”—RalphEllison“ARoseforEmily”文本閱讀1.whodiedinthestory?2.whatdidEmilybuyfromthedrugstore?whatwasitfor?3.whatmakesthestorydifferentfromotherstories?Textualstudy--“ARoseforEmily”Focus:Analyzethewritingfrom：1.Theperspectiveofnarratology2.Otherperspectives1.whonarratesthestory?Whatisthefunctionofthisnarrator?2.whatisthechronologyofthenarrative?Whateffectsdoesithave?3.canyouthinkofsomeperspectivestoanalyzethestory?QuestionsfordiscussionPointofview:multiple—ambivalence矛盾情緒Ontheonehand,theypityherOntheotherhand,theytreatheras“atradition,aduty,acare,anobligation”“ARoseforEmily”：Narrativechronology:Timesequence:故事時(shí)序（storytime）：故事從開(kāi)始到結(jié)束發(fā)生的自然時(shí)間順序。這種時(shí)序是固定不變的，前后邏輯分明的。敘事時(shí)序(narrativetime)：文本展開(kāi)敘事，從開(kāi)頭到結(jié)尾的先后排列順序.（敘事者敘述故事的先后順序）Effects:Forplotdevelopment,tocreatesuspense；Forcharacterportrayal.Otherperspectives：1.psychologicalanalysis----Emily’scharacterandinnerconflict(ID,Ego,Superego)2.feministreading----Emily’stragedy(Fathervs.Emily,Homervs.Emily,pointofview)3.symbolism----negro,house,rose,Emily4.culturalreading---conflictsbetweentheSouthandtheNorth5.thematicreading(Traditionsvs.change;Goodvs.evil)6.Gothicelements哥特式的元素Thetitle：Faulknerdescribedthetitleas"anallegoricaltitle;themeaningwas,herewasawomanwhohashadatragedy,anirrevocabletragedyandnothingcouldbedoneaboutit,andIpitiedherandthiswasasalute...toawomanyouwouldhandarose."Ernest

Hemingway1.life:hewasawardedtheNobelPrizeforliteratureforhis“masteryoftheartofmodernnarration“in1954．2.works:ThreeStoriesandTenPoems(1923)InOurTime(1925)TheTorrentsofSpring(1926)TheSunAlsoRises(1926)MenWithoutWomen(1927)("TheKillers.")AFarewelltoArms(1929)TheFifthColumnandtheFirstForty-NineStories(1930)WinnertakeNothing(1932)DeathintheAfternoon(1933)(aboutbull-fightinginSpain)GreenHillsofAfrica(1935)(inAfrica)"TheSnowsofKilimanjaro."To