1、當(dāng)代英美文學(xué)賞析course introduction,Why do we have this Course,高等學(xué)校英語(yǔ)專業(yè)教學(xué)大綱 一、 培養(yǎng)目標(biāo) 高等學(xué)校英語(yǔ)專業(yè)培養(yǎng)具有扎實(shí)的英語(yǔ)語(yǔ)言基礎(chǔ)和廣博的文化知識(shí)并能熟練地運(yùn)用英語(yǔ)在外事、教育、經(jīng)貿(mào)、文化、科技、軍事等部門(mén)從事翻譯、教學(xué)、管理、研究等工作的復(fù)合型英語(yǔ)人才。 21 世紀(jì)是一個(gè)國(guó)際化的知識(shí)經(jīng)濟(jì)時(shí)代。我們所面臨的挑戰(zhàn)決定了 21 世紀(jì)我國(guó)高等學(xué)校英語(yǔ)專業(yè)人才的培養(yǎng)目標(biāo)和規(guī)格：這些人才應(yīng)具有扎實(shí)的基本功、寬廣的知識(shí)面、一定的相關(guān)專業(yè)知識(shí)、較強(qiáng)的能力和較高的素質(zhì)。也就是要在打好扎實(shí)的英語(yǔ)語(yǔ)言基本功和牢固掌握英語(yǔ)專業(yè)知識(shí)的前提下，拓寬人文學(xué)科

2、知識(shí)和科技知識(shí)，掌握與畢業(yè)后所從事的工作有關(guān)的專業(yè)基礎(chǔ)知識(shí)，注重培養(yǎng)獲取知識(shí)的能力、獨(dú)立思考的能力的創(chuàng)新的能力，提高思想道德素質(zhì)、文化素質(zhì)和心理素質(zhì)。,二、英語(yǔ)專業(yè)知識(shí)課程 （1）文學(xué)課程：文學(xué)課程的目的在于培養(yǎng)學(xué)生閱讀、欣賞、理解英語(yǔ)文學(xué)原著的能力，掌握文學(xué)批評(píng)的基本知識(shí)和方法。通過(guò)閱讀和分析英美文學(xué)作品，促進(jìn)學(xué)生語(yǔ)言基本功和人文素質(zhì)的提高，增強(qiáng)學(xué)生對(duì)西方文學(xué)及文化的了解。授課的內(nèi)容可包括：（a）文學(xué)導(dǎo)論；（b）英國(guó)文學(xué)概況；（c）美國(guó)文學(xué)概況；（d）文學(xué)批評(píng)。,What do we learn in this class,Knowledge of contemporary English

3、and American literature language skills (speaking, reading an invitation to a ball at the palace arrives. Rising Action: The step sisters prepare to go to the ball; a fairy godmother appears and gives Cinderella a gown to wear to the ball and coach and footmen to take her there; she goes to the ball

4、 and dances with the prince; she leaves at midnight, losing a slipper on the steps; the prince finds the slipper and agrees to marry the woman whom it fits. Climax: The prince visits the home of Cinderella; the two sisters try to fit in to the slipper, but Cinderella is discovered to be the wearer o

5、f the slipper. Falling Action: Cinderella and the prince prepare to marry. Resolution: They live happily ever after,3.setting,Setting is the locale and time of a story. The setting is often a real place, but may be a fictitious place.,4. theme,Theme is what the author is trying to tell the reader. F

6、or example, the belief in the ultimate good in people, or that things are not always what they seem. The moral of the story. The abstract concept explored in a literary work.,5. style,Style includes the multitude of choices fiction writers make, consciously or not, in the process of writing a story.

7、,Components of style For each piece of fiction, the author makes many choices, consciously or subconsciously, which combine to form the writers unique style. The components of style are diction, syntax, imagery, rhythm and use of figures, or any other linguistic feature.,Diction the choice of words

8、used in literary work. A writers diction may be described according to the oppositions formal/colloquial, abstract/concrete, and literal/figurative,Tone,a very vague critical term usually designating the mood or atmosphere of a work, although in some more restricted uses it refers to the authors att

9、itude to the reader (e.g. formal, intimate, pompous, condescending) or to the subject-matter (e.g. ironic, light, solemn, satiric, sentimental) Tone encompasses the attitudes toward the subject and toward the audience implied in a literary work . Tone may be formal, informal, intimate, solemn, sombe

10、r, playful, serious, ironic, guilty, critical, admiring, condescending, or many other possible attitudes.,Point of view,Point of view is from whose consciousness the reader hears, sees, and feels the story. First-person narrative Second-person narrative (rarely used) Third-person narrative,First-per

11、son narrative,A narrative or mode of storytelling in which the narrator appears as the “I” recollecting his or her own part in the events related, either as a witness of the action or as an important participant in it.,Disadvantage A first-person narratives point of view will normally be restricted

12、to his or her partial knowledge and experience, and therefore will not give us access to other characters hidden thoughts. Advantage (1) a sense of reality and intimacy (2) gradual revelation of the other characters secrets, hidden thoughts， therefore enhancing the readers interest.,The narrator can

13、 be (1) the protagonist (e.g., Gulliver in Gullivers Travels), (2) someone very close to him who is privy to his thoughts and actions (Dr. Watson in Sherlock Holmes), (3) or an ancillary character who has little to do with the action of the story (such as Nick Carraway in The Great Gatsby). (4) Narr

14、ators can report others narratives at one or more removes. These are called frame narrators: examples are Mr. Lockwood, the narrator in Wuthering Heights by Emily Bront.,excerpts,1. My father had a small estate in Nottinghamshire: I was the third of five sons. He sent me to Emanuel College in Cambri

15、dge at fourteen years old, where I resided three years, and applied myself close to my studies; but the charge of maintaining me, although I had a very scanty allowance, being too great for a narrow fortune, I was bound apprentice to Mr. James Bates, an eminent surgeon in London, with whom I continu

16、ed four years. My father now and then sending me small sums of money, I laid them out in learning navigation, and other parts of the mathematics, useful to those who intend to travel, as I always believed it would be, some time or other, my fortune to do.,2. I had seen little of Holmes lately. My ma

17、rriage had drifted us away from each other. My own complete happiness, and the home-centred interests which rise up around the man who first finds himself master of his own establishment, were sufficient to absorb all my attention, while Holmes, who loathed every form of society with his whole Bohem

18、ian soul, remained in our lodgings in Baker Street, buried among his old books, and alternating from week to week between cocaine and ambition, the drowsiness of the drug, and the fierce energy of his own keen nature.,3. In my younger and more vulnerable years my father gave me some advice that Ive

19、been turning over in my mind ever since. Whenever you feel like criticizing any one, he told me, just remember that all the people in this world havent had the advantages that youve had.“ He didnt say any more, but weve always been unusually communicative in a reserved way, and I understood that he

20、meant a great deal more than that. In consequence, Im inclined to reserve all judgments, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores.,我年紀(jì)還輕，閱歷不深的時(shí)候，我父親教導(dǎo)過(guò)我一句話，我至今還念念不忘。 “每逢你想要批評(píng)任何人的時(shí)候，”他對(duì)我說(shuō)，“你就記住，這個(gè)世界上所有的人，并不是個(gè)個(gè)都有過(guò)你擁有的那些優(yōu)越條件?！?他沒(méi)再說(shuō)別的。但

21、是，我們父子之間話雖不多，卻一向是非常通氣的，因此我明白他的話大有弦外之音。久而久之，我就慣于對(duì)所有的人都保留判斷，這個(gè)習(xí)慣既使得許多有怪僻的人肯跟我講心里話，也使我成為不少愛(ài)嘮叨的惹人厭煩的人的受害者。,4. 1801.I have just returned from a visit to my landlordthe solitary neighbour that I shall be troubled with. This is certainly a beautiful country! In all England, I do not believe that I could ha

22、ve fixed on a situation so completely removed from the stir of society. A perfect misanthropists heaven: and Mr. Heathcliff and I are such a suitable pair to divide the desolation between us. A capital fellow! He little imagined how my heart warmed towards him when I beheld his black eyes withdraw s

23、o suspiciously under their brows, as I rode up, and when his fingers sheltered themselves, with a jealous resolution, still further in his waistcoat, as I announced my name. Mr. Heathcliff? I said. A nod was the answer.,一八一年。我剛剛拜訪過(guò)我的房東回來(lái)就是那個(gè)將要給我惹麻煩的孤獨(dú)的鄰居。這兒可真是一個(gè)美麗的鄉(xiāng)間！在整個(gè)英格蘭境內(nèi)，我不相信我竟能找到這樣一個(gè)能與塵世的喧囂完全隔

24、絕的地方，一個(gè)厭世者的理想的天堂。而希刺克厲夫和我正是分享這兒荒涼景色的如此合適的一對(duì)。一個(gè)絕妙的人！在我騎著馬走上前去時(shí)，看見(jiàn)他的黑眼睛縮在眉毛下猜忌地瞅著我。而在我通報(bào)自己姓名時(shí)他把手指更深地藏到背心袋里，完全是一副不信任我的神氣。剎那間，我對(duì)他產(chǎn)生了親切之感，而他卻根本未察覺(jué)到。 “希刺克厲夫先生嗎？”我說(shuō)。 回答是點(diǎn)一下頭。,(chapter 4) She returned presently, bringing a smoking basin and a basket of work; and, having placed the former on the hob, drew in

25、 her seat, evidently pleased to find me so companionable. Before I came to live here, she commenced-waiting no farther invitation to her story-I was almost always at Wuthering Heights; because my mother had nursed Mr. Hindley Earnshaw,她不久就回來(lái)了，帶來(lái)一個(gè)熱氣騰騰的盆子，還有針線籃子。她把盆子放在爐臺(tái)上后，又把椅子拉過(guò)來(lái)，顯然發(fā)現(xiàn)有我作伴而高興呢。 在我來(lái)這兒

26、住之前她開(kāi)始說(shuō)，不再等我邀請(qǐng)就講開(kāi)了我差不多總是在呼嘯山莊的。因?yàn)槲夷赣H是帶辛德雷恩蕭先生的,Third-person narrative,A narrative or mode of storytelling in which the narrator is not a character within the events related, but stand “outside” those events. In a third-person narrative, all characters within the story are therefore referred to as he

27、, she, or they“. Third-person narrators are often omniscient mnnt or “all-knowing” about the events of the story, but they may sometimes appear to be restricted in their knowledge of these events. Third-person narrative is by far the most common form of storytelling.,(1) A third-person narrator may

28、be omniscient, and therefore show an unrestricted knowledge of the storys events from outside or “above” them. E.g. countless classic novels, including works by Jane Austen, Leo Tolstoy, Charles Dickens, and George Eliot. (2) Another kind of third-person narrator may confine our knowledge of events

29、to whatever is observed by a single characters or small group of characters, this method being known as “l(fā)imited point of view”.,excerpts,It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. However little known the feelings or views o

30、f such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters. My dear Mr. Bennet, said his lady to him one day, have you heard that Netherfield Park

31、 is let at last?,A passage to IndiaE.M. Forster,About the title,Passage,After we read 作者簡(jiǎn)介 and ABOUT THE NOVEL,What is the novel about? What attitude do you think E.M. Forster may adopt towards the English and the Indians? What solutions do you think E.M. Forster might provide to the problems betwee

32、n the English and the Indians ?,Personal Life(1879-1970),Born into a comfortable London family in 1879 He attended Kings College, Cambridge,After graduating from Cambridge, Forster lived in Italy and Greece. During World War I he served with the International Red Cross in Egypt. In 1946, Forster bec

33、ame an honorary fellow (名譽(yù)研究員） of Kings College, Cambridge, where he lived until his death.,Forster also spent much time in India and became well-acquainted with the conflict between the British Raj and the Indian Independence Movement of which he wrote about in A Passage to India (1924).,He also wr

34、ote,Where Angels Fear to Tread (1905) The Longest Journey (1907) A Room With a View (1908) Howards End (1910) Maurice（1914,1970）,Historical context( England),Britain had undergone the traumatic experience of World War I. The British self-confidence was replaced with doubt and uncertainty. The Britis

35、h supported the British presence in India.,Between 1912 and 1924, the British Empire was beginning to change. This change was most evident in Ireland. On Easter Sunday, 1916, a group of Irish rebels declared Irish independence from Britain and attempted to seize control of Dublin.,The Indian Context

36、,Ireland had gained limited independence helped to strengthen the idea of possible Indian independence in the minds of many Indians. The British established a sophisticated colonial administration in India.,Indians were forbidden to hold high government office and were subject to other laws that kep

37、t them in a subservient position, both politically and economically Indians wanted to gain independence,Plot summary,The hot season arrives in India, and the day of the trial dawns. Adela fears she may break down on the witness stand. As the English party drives to the court, the town is restive, an

38、d some workers are on strike in protest against the trial. Some of the English blame Fielding for the bad feeling in the city, and Callendar takes the opportunity to make a series of vicious racist remarks against the Indians.,At the trial, Mr. McBryde opens the case for the prosecution. There is an

39、 interruption, and the English party demand to be seated on the raised platform. They intimidate the magistrate, Das, and virtually take charge of the courtroom. But the defense, led by Amritao, soon succeeds in getting all the English removed from the platform, with the exception of Miss Quested.,M

40、cBryde continues with the prosecution case, attempting to demonstrate that the assault was premeditated. He mentions Mrs. Moore, whom he does not intend to call as a witness, and the rumor goes around the court that the prosecution has smuggled her out of the country because she would have proved Az

41、izs innocence. Mahmoud Ali demands that Mrs. Moore be produced. He gets excited by his own rhetoric, then walks out of the court, saying the trial is a farce. The Indians in the court invoke Mrs. Moores name, and the chant is taken up by the crowd in the street outside.,After order is restored, Adel

42、a is called to testify. But as McBryde prompts her to say that Aziz followed her into the cave, she balks. She cannot find any memory of Aziz being present. She replies that she is not sure. When pressed by McBryde, she says she made a mistake, that Aziz never followed her into the cave. As bedlam b

43、reaks out in the courtroom, Adela says she withdraws her charge. Stunned, McBryde is forced to drop the case. The court breaks up in confusion.,Plot of Chapter 24(another version),The case is called, and the first person Adela notices in the Court is the man who pulls the punkah.,Mahmoud Ali claims

44、that Mrs. Moore was sent away because she would have testified that Aziz is innocent.,Adela is the next to testify; a new sensation protects her like a magnificent armor.,Finally, she admits that she made a mistake and Dr. Aziz never followed her.,The Major attempts to stop the proceedings, but Adel

45、a withdraws the charge.,Theme,The Difficulty of English-Indian Friendship The “Muddle” of India The Negligence of British Colonial Government,Analysis of chapter 24,AnalysisThe trial scene combines drama with farce. It seems to bring out the worst in both sides. Each has contempt for the other, and

46、every action, on either side, merely confirms the racial stereotypes already well established. The English act as if they own the court, and McBrydes remark that the darker races are attracted to the fairer, but not vice versa, is presented (as racism often is) as a simple matter of scientific fact,

47、 not prejudice. It is McBrydes belief in this kind of science that enables him to regard the Indians as an inferior race, and still think of himself as a fair-minded man. Adelas sudden reversal comes as a surprise, but she has had her doubts all along about Azizs guilt, and she finally finds the cou

48、rage, at the last minute, to speak honestly. What really happened in the cave has still not been established; it remains a mystery.,The Difficulty of English-Indian Friendship,At the beginning of the novel, Aziz is scornful of the English, wishing only to consider them comically or ignore them compl

49、etely.,Yet intuitive connection Aziz feels with Mrs. Moore in the mosque opens him to the possibility of friendship with Fielding.,Forster suggests that British rule in India could be successful and respectful if only English and Indians treated each other as Fielding and Aziz treat each otheras wor

50、thy individuals who connect through frankness, intelligence, and good will.,However, Aziz and Fielding both suffer from the tendencies of their cultures.,Furthermore, their respective Indian and English communities pull them apart.,Forsters final vision of the possibility of English-Indian friendshi

51、p is a pessimistic one, yet it is qualified by the possibility of friendship on English soil, or after the liberation of India.,As the landscape itself seems to imply at the end of the novel, such a friendship may be possible eventually, but “not yet.”,The “Muddle” of India,“Muddle” has connotations

52、 of dangerous and disorienting disorder, whereas “mystery” suggests a mystical, orderly plan by a spiritual force that is greater than man.,The muddle of India disorients Adela the most; indeed, the events at the Marabar Caves that trouble her so much can be seen as a manifestation of this muddle.,F

53、orster suggests that Adelas feelings about Ronny become externalized and muddled in the caves, and that she suddenly experiences these feelings as something outside of her.,Though Forster is sympathetic to India and Indians in the novel, his overwhelming depiction of India as a muddle matches the ma

54、nner in which many Western writers of his day treated the East in their works.,The Negligence of British Colonial Government,Forsters satire is most harsh toward Englishwomen, whom the author depicts as overwhelmingly racist, self-righteous, and viciously condescending to the native population.,For

55、all Forsters criticism of the British manner of governing India, however, he does not appear to question the right of the British Empire to rule India.,He suggests that the British would be well served by becoming kinder and more sympathetic to the Indians with whom they live, but he does not sugges

56、t that the British should abandon India outright.,Symbolthe Marabar Caves,The Marabar Caves represent all that is alien about nature. The caves are older than anything else on the earth and embody nothingness and emptiness.,They defy both English and Indians to act as guides to them, and their beaut

57、y and menace unsettles visitors.,The all-reducing echo of the caves causes that Adela confronts the shame and embarrassment of her realization that she and Ronny are not actually attracted to each other, and that she might be attracted to no one.,關(guān)于個(gè)性自由的人文理念 表達(dá)自由、平等與人道的精神 福斯特作品與其倡導(dǎo)的人文主義與人道精神一脈相承 去意大

58、利和希臘旅行，陶醉于那里的異族文化，更加深了他對(duì)英國(guó)僵硬的社會(huì)秩序的不滿 “我注定不會(huì)跟這個(gè)世道抗?fàn)?，也不?huì)想法去改變它” 理解與寬容能使周圍各個(gè)階層的人走在一起 福斯特的社會(huì)理想： “但求溝通” 溝通可以基于妥協(xié)與和解，但溝通與自由往往通過(guò)決裂來(lái)取得 霍華德莊園該小說(shuō)描寫(xiě)來(lái)自不同社會(huì)層次的三個(gè)家庭之間的關(guān)系與糾葛，表現(xiàn)了英國(guó)當(dāng)時(shí)的階級(jí)斗爭(zhēng)狀況。作品人物繁多，結(jié)構(gòu)復(fù)雜，但不管是主要人物細(xì)致入微的心理敘述，還是次要人物的寥寥幾筆，福斯特生動(dòng)地刻劃了各色人物在當(dāng)時(shí)社會(huì)狀況下的心態(tài)。 莫利斯-同性戀版的查太萊夫人的情人,印度之行 1921年，福斯特第二次去印度，擔(dān)任德瓦省君王的私人秘書(shū)。這次旅行使福

59、斯特再次目睹了英國(guó)殖民統(tǒng)治丑惡。這種反感促使他寫(xiě)出了印度之行，于1924年發(fā)表。小說(shuō)描寫(xiě)了英國(guó)小姐阿苔拉去印度與一位英國(guó)駐官訂婚，認(rèn)識(shí)了當(dāng)?shù)氐尼t(yī)生阿齊茲。一次他們?nèi)ド缴弦安蜁r(shí)，阿苔拉走入了一間陰森的巖洞，幻覺(jué)被阿齊茲強(qiáng)奸。當(dāng)時(shí)印度獨(dú)立風(fēng)潮已經(jīng)風(fēng)起云涌，英方試圖通過(guò)審判阿齊茲來(lái)向當(dāng)?shù)刈迕袷?，但清醒后的阿苔拉小姐不顧英方的慫恿，最后在法庭上主動(dòng)承認(rèn)了自己的錯(cuò)覺(jué)，還阿齊茲清白。 很多讀者對(duì)阿苔拉小姐的巖洞幻覺(jué)大惑不解時(shí)，勞倫斯用弗洛依德的精神分析法指出那是因?yàn)榘⑻〗銓?duì)棕色皮膚的阿齊茲情有獨(dú)鐘，壓抑的環(huán)境使她不自覺(jué)地把自己的幻想變相地表達(dá)了出來(lái)。而阿苔拉小姐的這種情感正是福斯特鐘情深色皮膚的印度男子的間接寫(xiě)照。,Character list,Dr. Aziz- An intelligent, emotional Indian doctor in Chandrapore. He has three children; his wife died several years before the beginning of the novel.,Aziz is a warmhearted, passionate, excitable people whose quick cha