为您找到与文学相关的共16个结果:
近年国内学英语风气甚盛 ,无论在中学,在大学,或在自修,多少莘莘学子都在用功夫,日求进益,我想据我个人的经验,谈谈这个中的关系。
四十年前我在德国,听过柏林大学教出来的操华语的德国人,听起来象在北京长大的,但他们都是成年以后才学的;同时我在上海所见到的留过学的中学英文教员,文法冼练极了,分析词句精透了,而说出英文,毫不地道。
有人以为目标在了解阅读,不在口讲,这是把问题看错了,学习英文的目标,只在清顺自然四字而已。凡不以口语为基础的人,一定写不出平易自然,纯熟地道的英文。前英国首相丘吉尔可算英文大家,他有名的句子:We shall fight on the hills. We shall fight in the streets. We shall fight blood and sweat and tears。这是多么矫健的句子!何尝有一个不是小学生所能用的字?又何尝有一字夸词浮句?中国人写英文,寻章摘句,多用深句,所以才学不好。例如对人十分佩服,你说I admire him profoundly。便是古人做文章的做法,因为英美人士并不这样讲,用admire greatly才是自然,而用I take off my hat to him.才是真正地道的英文。
你要明白英语言文一致,而骨子里是白话.愈平易自然愈好,愈少粉饰藻丽语句愈好,愈近清顺口语愈好,愈能念出来顺口成章愈好。中国人写英文,能写到这个地步的就不多,你写出来,外国人念下去象外国人写,就不容易,所以难能可贵,就在这一点.中国人要写英文,必先淘汰古人"做文章"的观念,才能打稳正当的英文基础.因此我们必须以口语入手 ,才能掌握个中窍门。
大家要注意常用字及口语的用法;英文那个"有"字,当然有have,而口语却是have got ( Have you got any money?) 老外这样说,我们只好这样写! Forget about it(算了)!也是一种口语. You are telling me (我还得等你说)?也是一种口语. Not a chance (绝不会)也是一种口语。这四个单字got, forget, tell, chance都是极平常的字,而运用在口语中,却是学好英文的最重要的部分!若是单求长字,生字,看起来文雅好听的僻字,头一步便走错了.所以说善于灵活运用平常的字,是学习英文的不二法门。
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下面是读文网小编整理的美国的移民文学,欢迎大家阅读!
在我初来美国求学之时,华裔移民很少。当时美国的中国移民名额只限105个。今日情势不同,中国移民名额的限制早于肯尼迪总统时期取消。移民大量增多,也令文学爱好者增多,因之产生了“移民文学”一说。
五六十年以前,在美华人既少,知识分子更不多,没有中文刊物,写作者不得不将稿件寄往台湾香港等地去发表,著名者如聂华苓、于梨华等的作品被称为“留学生文学”。而美国的所谓“移民文学”其实是指外裔移民用英文写作所发表的作品。
年轻时我也尝试过用英文写作,目标是最具声誉的文学杂志《纽约客》。多次遭退稿失望后,某日我突然发现《纽约客》发表了数篇署名C.Y.Lee的有关中国故事,艳羡不已。后来我获悉C.Y.Lee的中文名字是黎锦扬,是上世纪30年代中国电影明星黎明晖的亲属。不久,他又写了《花鼓歌》(Flower Drum Song)出书成名,甚至被改编为歌舞剧在百老汇上演,也曾被改编为电影。可惜的是,他其后所写几部小说不能畅销,终而默默无闻。
谈到美国移民文学作家,最著名的我可举出两个。一是《洛丽塔》作者纳博科夫(V.Nabokov),他的母语是俄语,用英文写作并不容易,但是《洛丽塔》文笔雅俗共赏,他被捧成为美国文坛明星。另一是波兰裔的柯辛斯基(J.Kosinski),他以二战难民身份逃来美国,以英文小说《上了漆的鸟》(The Painted Bird)出名,甚至当过国际笔会美国分会主席。可是后来有人著文揭露,他的想象力虽极为丰富,但英文程度不足,小说乃雇人捉刀写成。此秘密泄露后,柯辛斯基郁郁不乐,终而自杀身亡。
华裔作家中最著名的当然是汤婷婷与谭恩美两位。她们二位不但拥有大群读者,而且甚受评论家赞赏。但她们是第二代移民,出生于美国,英文不成问题。受注意者是她们著作的题材。她们写自己的母亲,以及母亲所讲的中国传统神怪故事。谭恩美最近新作是《救鱼出水》(Saving Fish From Drowing),又获好评,立即升入畅销书榜。评论家称扬它的内容已脱出以中国人为背景的圈子。
移民文学作家中印度裔出名的很多,但他们在印度所受的是英文教育,他们的英文写作能力无异于汤婷婷、谭恩美。华裔第二代移民作家近来很不少,另有一位值得一提的是任璧莲,她的作品也颇获好评,但尚未能登上畅销书榜。
因而我要在这里特别一提中英文俱佳的哈金。如纳博科夫一样,他来了美国只不过几年,就能写出英文小说《等待》而获美国重要文学奖。他在美国的声名较获得诺贝尔文学奖的高行健尤高,我想我们一些“移民文学”作家的最后愿望应该还是能像哈金一样的用英文作品打入美国主流社会。
美国的文学 相关
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To Helen——Edgar Allan Poe
Helen, thy beauty is to me
Like those Nicean barks of yore,
That gently, o'er a perfumed sea,
The weary, way-worn wanderer bore
To his own native shore.
On desperate seas long wont to roam,
Thy hyacinth hair, thy classic face,
Thy Naiad airs have brought me home
To the glory that was Greece.
And the grandeur that was Rome.
Lo! in yon brilliant window-niche
How statue-like I see thee stand!
The agate lamp within thy hand,
Ah! Psyche from the regions which
Are Holy Land!
海倫,我視你的美貌
如昔日尼西的小船
于芬芳的海上輕輕漂泛
疲憊勞累的遊子
轉舵駛向故鄉的岸
久經海上風浪,慣于浪跡天涯
海倫,你的艷麗面容,你那紫藍的秀髮
你那仙女般的丰采令我深信
光榮屬於希臘
偉大屬於羅馬
看呀,在遠遠明亮的壁窗裏
你站立著,如同一尊雕塑
手上提著一盞光亮的明燈
塞姬女神啊,那些神聖的土地
才是你的宿地
Whither, midst falling dew,
While glow the heavens with the last steps of day,
Far, through their rosy depths, dost thou pursue
Thy solitary way?
Vainly the fowler's eye
Might mark thy distant flight to do thee wrong,
As, darkly seen against the crimson sky,
Thy figure floats along.
Seek'st thou the plashy brink
Of weedy lake, or marge of river wide,
Or where the rocking billows rise and sink
On the chafed ocean-side?
There is a Power whose care
Teaches thy way along that pathless coast
The desert and illimitable air
Lone wandering, but not lost.
All day thy wings have fanned,
At that far height, the cold, thin atmosphere,
Yet stoop not, weary, to the welcome land,
Though the dark night is near.
And soon that toil shall end;
Soon shalt thou find a summer home, and rest,
And scream among thy fellows; reeds shall bend,
Soon, o'er thy sheltered nest.
Thou 'rt gone, the abyss of heaven
Hath swallowed up thy form; yet, on my heart
Deeply hath sunk the lesson thou hast given,
And shall not soon depart.
He who, from zone to zone,
Guides through the boundless sky thy certain flight,
In the long way that I must tread alone,
Will lead my steps aright.
威廉•库伦•布莱恩特《致水鸟》
你要去往何方?露珠正在坠落,
天穹闪耀着白昼最后的脚步,
远远地,穿过玫瑰色的深处,
你求索着孤独的道路。
也许,猎鸟者的眼睛
徒劳地看着你远飞,想要伤害你,
当红色的天空衬着你的身影,
你飘摇而去。
你想要飞往何处?
要寻觅杂草丛生、潮湿的湖岸?
大河的边沿,还是磨损的海滩?
那里有动荡的巨浪起起落落
有一种力量关照着你,
教导你在无路的海滨,
荒漠和浩淼的长空,
独自漫游,不会迷失。
你整天拍打着翅膀,
扇着远天那寒冷的稀薄大气,
尽管黑夜已靠近,你已疲惫
也不肯屈尊降落安全的大地。
不久那折磨就会结束;
不久你就会找到夏天的家,歇下,
在同伴间欢叫;不久
芦苇将弯下,在你隐蔽的巢上。
你消失了,天空的深渊
吞噬了你的身影;但在我心上
已深深留下你教给我的一课,
它不会很快遗忘。
谁引导你穿过无垠的天空,
从一个领域到另一个领域,
也会在我必须独自跋涉的长途上,
正确地引导我的脚步。
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下面是读文网小编整理的一些英美文学术语大全,欢迎大家阅读!
1.Atmosphere (氛围)
The prevailing mood or feeling of a literary work.
2. Autobiography (自传)
A person‘s account of his or her own life.
3. Ballad (民谣)
A narrative poem in short stanzas, with or without music,often of folk origin and intended to be sung. The term derives by way of French ballade from Latin ballare, "to dance," and once meant a simple song of any kind, lyric or narrative, especially one to accompany a dance. As ballads evolved, most lost their association with dance, although they kept their strong rhythms. Modern usage distinguishes three major kinds: the anonymous traditional ballad (popular ballad or folk ballad), transmitted orally; the broadside ballad, printed and sold on single sheets; and the literary ballad (or art ballad), a sophisticated imitation of the traditional ballad.
4. Ballad Stanza (民谣诗节)
A type of four-line stanza, the first and the third lines have four stressed words or syllables; the second and fourth lines have three stresses.
5. Biography (传记)
A detailed account of a person‘s life written by another person.
传记:由他人篆写的关于某人生平的详细记录。
6. Antithesis (对仗)
The balancing of two contrasting ideas, words, or sentences.
对仗:两组相对的思想,言辞,词句的平衡。
7. Aphorism (警句)
A concise, pointed statement expressing a wise or clever observation about life.
警句:蕴含关于人生真理的明智的看法的精练的语句。
8. Aside (旁白)
A piece of dialogue intended for the audience and supposedly not heard by other actors on stage.
旁白:只说给观众而认为不会让台上其他演员听到的一段对话。
9.Apostrophe (呼语)
The direct address of an absent or imaginary person or of a personified abstraction, especially as a digression in the course of a speech or composition.
呼语:直接称呼不在场或虚构的人物或称呼拟人的事物,尤指作为演讲或作文过程中的离题话。
10.Assonance (类韵)
The repetition of similar vowel sounds, especially in poetry.
类音,类韵:相同或相似元音的重复,尤其指在诗歌中的重复。
11.Allegory (寓言)
A tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities.
A story suggests another story. An allegory is present in literature whenever it is clear that the author is saying, "By this I also mean that." In practice, allegory appears when a progression of events or images suggests a translation of them into conceptual language. Allegory is thus a technique of aligning imaginative constructs, mythological or poetic, with conceptual or moral models. During the Romantic era a distinction arose between allegory and symbol. With Coleridge, symbol took precedence: "an allegory is but a translation of abstract notions into picture-language," but "a symbol always partakes of the reality which it makes intelligible."
寓言,讽喻:一种文学、戏剧或绘画的艺术手法,其中人物和事件代表抽象的观点、原则或支配力。
12.Alliteration (头韵)
Alliteration is the repetition of the same initial consonant sound within a line or a group of words.Alliteration is thus the opposite of rhyme, by which the similar sounds occur at the ends of the syllables.
头韵:在一组词的开头或重读音节中对相同辅音或不同元音的重复。
13.Allusion (典故)
A reference to a person, a place, an event, or a literary work that a writer expects the reader to recognize and respond to.
典故:作者对某些读者熟悉并能够作出反映的特定人物,地点,事件,文学作品的引用。
14.Analogy (类比)
A comparison made between two things to show the similarities between them.
类比:为了在两个事物之间找出差别而进行的比较。
15. Antagonist (反面主角)
The principal character in opposition to the protagonist or hero or heroine of a narrative or drama.
反面主角:叙事文学或戏剧中与男女主人公或英雄相对立的主要人物。
16.Blank Verse (无韵体诗)
Verse written in Unrhymed iambic pentameter. See also Meter. In the 1540s Henry Howard, Earl of Surrey, seems to have originated it in English as the equivalent of Virgil's unrhymed dactylic hexameter. In Gorboduc (1561), Thomas Sackville and Thomas Norton introduced blank verse into the drama, whence it soared with Marlowe and Shakespeare in the 1590s. Milton forged it anew for the epic in Paradise Lost (1667).
17. Caesura (休止)
A break or pause in a line of poetry.
18. Canto (章)
One of the principal divisions of a long poem..
诗章:一首长诗的主要部分之一。
19. Caricature (夸张讽刺)
The use of exaggeration or distortion to make a figure appear comic or ridiculous.
夸张讽刺:为了使文中的人物显得可笑而使用的夸张或扭曲人物形象的手法。
20. Characterization (人物刻画)
The means by which a writer reveals the personality of a character.
人物刻画:作者表现作品中人物性格的方法。
21. Classicism (古典主义)
A movement or tendency in art, literature, or music that reflects the principles manifested in the art of ancient Greece and Rome.
古典主义:一种在文学,艺术,音乐领域体现古代希腊,罗马风格的运动。
22. Climax (高潮)
The point of greatest intensity, interest, or suspense in a narrative.
23. Comedy (喜剧)
A dramatic work that is often humorous or satirical in tone and usually contains a happy resolution of the thematic conflict.
喜剧:轻松的和常有幽默感的或在调子上是讽刺的戏剧作品,常包括主题冲突的愉快解决
24. Conceit (奇想)
A kind of metaphor that makes a comparison between two startlingly different things. Any fanciful, ingenious expression_r_r or idea, especially one in the form of an extended metaphor.
奇想:一种在截然不同的事物之间建立起的比喻。
25. Conflict (冲突)
A struggle between two opposing forces or characters in a short story, novel, play, or narrative poem.
冲突:故事,小说,戏剧中相对的力量和人物之间的对立。
26. Connotation (外延)
All the emotions and associations that a word or phrase may arouse.
外延:包括单词字面意思之外的或被该词汇唤起的全部内涵的意义。
27. Consonance (辅音韵)
The repetition of consonants or a consonant pattern, especially at the ends of words.
辅音韵:辅音或辅音模式的重复,尤指位于词尾的。
28. Couplet (双韵体)
A unit of verse consisting of two successive lines, usually rhyming and having the same meter and often forming a complete thought or syntactic unit.
双韵体:包括两个相连的诗行的一种诗的单位,通常压韵并具有同样的格律,经常组成一个完整的意思和句法单位
29. Heroic couplet (英雄双韵体)
A couplet written in iambic pentameter is called a heroic couplet.
英雄双韵体:五步抑扬格的双韵体称英雄双韵体。
30. Denotation (内涵)
The literal or dictionary meaning of a word.
直接意义:一个词的字面意义或词典意义。
31. Denouement (结局)
The final resolution or clarification of a dramatic or narrative plot.
结局:戏剧或叙事场景的最后结果。
32. Diction (措辞)
A writer‘s choice and use of words in speech or writing, particularly for clarity, effectiveness, and precision.
措词:讲话或书写中,出于表述清晰,言简意赅对词语的使用或选择。
33. Dissonance (不协和)
A harsh or disagreeable combination of sounds; discord.
34. Dramatic monologue (戏剧独白)
A kind of narrative poem in which one character speaks to one or more listeners whose replies are not given in the poem.
35. Elegy (挽歌)
A poem or song composed especially as a lament for a deceased person.
挽歌,挽诗:专门为悼念某一死者所写的诗或歌.
36. Emblematic Image (象征)
A verbal picture of figure with a long tradition of moral or religious meaning attached to it.
37. Epic (史诗)
An extended narrative poem in elevated or dignified language, celebrating the feats of a legendary or traditional hero and of reflecting the values of the society from which it originated. Many epics were drawn from an oral tradition and were transmitted by song and recitation before they were written down. Later on this literary genre was written down by the poets, such as Paradise Lost, Paradise Regained. Two of the greatest epics are Homer’s Iliad and Odyssey. While in British literary history, the national epic is Beowulf. During the Renaissance, critical theory emphasized two assumptions:
史诗:用严肃或庄重的语言写成的叙事长诗,歌颂传奇中或历史上英雄的丰功伟绩
38. Epigram (隽语)
A concise, clever, often paradoxical statement, susally in the form of a poem.
隽语:一个简明,机智,常常似是而非的陈述,经常以诗的形式出现
39. Epigraph (引语/开场白)
A motto or quotation at the beginning of a literary composition, setting forth a theme.
引语:在一部文学作品开头的引言,警句,阐明主题
40. Epilogue (结语/收场白)
A short addition or concluding section at the end of a literary work, often dealing with the future of its characters. Also called In this sense, also called afterword
结语:文学作品结束时简短的附加或总结性章节,常常关于作品人物的未来也作 在此意义上也可称作 afterword.
41. Epiphany(顿悟)
A moment of illumination, usually occurrs at or near the end of a work.
顿悟:对现实真谛的顿悟或洞察,通常出现在作品的结尾.
42. Epitaph(墓志铭)
An inscription on a tombstone or in a short poem in memory of someone who has been dead.
墓志铭:刻于墓碑上用以怀念死者的碑铭.
43. Epithet (表述词语)
A term used to characterize a person or thing。
表述词语:用来表示某人某物特性的一个表达。
44. Essay (散文)
A short literary composition on a single subject, usually presenting the personal view of the author.
散文:内容通常论及一个主题的短小文章,通常表达作者个人的观点
45. Exemplum (说教故事)
A tale, usually inserted into the text of a sermon, that illustrates a moral principle.
说教故事:一种短小的体现某种道德原则的故事性文章,通常出现在布道文中。
46. Fable (寓言)
A brief story that is told to present a moral, or practical lesson.
寓言:一种体现某种道德观念或实用价值的说教性文章。
47. Farce (轻喜剧)
A kind of comedy based on a ridiculous situation, often with stereotyped characters.
轻喜剧: 一种以可笑的情节的为基础的喜剧,通常包含固定的角色。
48. Figurative Language (象征性语言)
Language that is not intended to be interpreted in a literal sense.
象征性语言:不能直接用字面意义来理解的语言。
49. Figure of Speech (比喻)
A word or an expression that is not meant to be interpreted in literal sense.
比喻:不能直接按照字面意义理解的词语或表述方法。
50. Flashback(倒叙)
A literary device in which an earlier event is inserted into a narrative.
倒叙,闪回镜头:一种文学或电影的表现手法,往往在一段按正常时间顺序记叙的叙事中插入一件以前发生过的事情
51. Foil (陪衬)
A character who sets off another character by contrast.
陪衬:用来反衬其他人物的人物。
52. Foreshadowing (铺垫)
The use of hints or clues in a narrative to suggest what will happen later.
铺垫:用来预示将要发生的事情的线索或暗示。
53. Free verse (自由诗体)
Verses that has neither a metrical pattern or an regular pattern.
自由诗体:既不具格式韵律又不具常规格律的诗体。
54. hyperbole (夸张法)
A figure of speech in which exaggeration is used for emphasis or effect
夸张法:一种比喻,使用夸张来强调或产生某种效果。
55. Iambic pentameter (五步抑扬格)
A poetic line consisting of five verse feet, with each foot an iamb--that is, an unstressed syllable followed by a stressed syllable.
五步抑扬格:一种诗句形式,每行诗句包含五个抑扬格音步。
56. Imagery(意象)
Words or phrases that create pictures, or images, in readers‘ mind.
意象:用来在读者的思维中唤起某种图示或形象的词汇。
57. Incremental repetition (递进重复)
The repetition of a previous line or lines, but with a slight variation each time that advances the narrative stanza by stanza.
递进重复:诗歌中对上文中一行或几行的重复,但每次重复都有一定的变化,而且每一节的重复中的叙述都有所强化。
58. Inversion (倒装句)
The technique of reversing, or inverting the normal word order of a sentence.
倒装句:一种将句子正常的表达方法倒置的技巧。
59. Invocation (开篇祷告)
A call to a muse, god or spirit for inspiration at the beginning of an epic or other poem.
开篇祷告:在史诗或诗歌的开篇企求神灵给予启示的文字。
60. Irony (反语)
A contrast between what is stated and what is really meant, or between what is expected to happen and what actually happened.
反语:一种建立在字面表述和真实意义上或期待产生的结果和真实的结果之间的对比。
61.Kenning (隐喻语)
A figurative, usually compound expression used in place of a name or noun, especially in Old English and Old Norse poetry. for example, storm of swords is a kenning for battle.
隐喻语:尤指古英语和古斯堪的纳维亚语诗中,一种比喻性的,在表名字或名词时常用的复合表达方式,如“剑的风暴” 是 “战争” 的隐喻语
62. Lyric (抒情诗)
A poem, usually a short one, that expresses a speaker‘s personal thoughts or feelings.
抒情诗:一种用来抒发作者感情或思想的短诗。
63. Masque (假面剧)
A dramatic entertainment, usually performed by masked players representing mythological or allegorical figures, that was popular in England in the 16th and early 17th centuries.
假面剧:一种戏剧性娱乐,由代表神话或寓言中人物的佩戴面具者表演,该娱乐形式在16世纪和17世纪早期的英国很流行.
64. Melodrama (情节剧)
A drama that has stereotyped characters, exaggerated emotions, and a conflict that pits an all-good hero or heroine against an all-evil villain.
65. Metaphor (隐喻)
A figure of speech in which a word or phrase that ordinarily designates one thing is used to designate another, thus making an implicit comparison.
隐喻:一种语言表达手法,通常用指某物的词或词组来指代他物,从而暗示它们之间的相似之处.
66.Metaphysical Poetry (玄学派诗歌)
The poems of 17th-century English poets, whose verse is characterized by an intellectually challenging style and extended metaphors comparing very dissimilar things.It is also featured by verbal wit and excess, ingenious structure, irregular meter, colloquial language, elaborate imagery, and a drawing together of dissimilar ideas.
玄学派诗歌:17世纪英国诗人的诗歌,这种诗歌的特点是风格极具智慧,引人深思,善用引申的暗喻来对比极其不同的事物.
67. Meter (格律)
A generally regular pattern of stressed and unstressed syllables in poetry.
格律:诗歌中通常的重读音节和非重读音节的排列模式。
68. Metonymy (转喻)
A figure of speech in which one word or phrase is substituted for another with which it is closely associated.
转喻:一种一个词或词组被另一个与之有紧密联系的词或词组替换的修辞方法.
69. Mock epic (讽刺史诗)
A comic literary from that treats a trivial subject in the grand, heroic style of the epic.
讽刺史诗:一种用史诗的宏大风格来描写微不足道的事情的喜剧形式。
70. Motif (主旨)
A recurrent thematic element in an artistic or literary work.
主题:艺术品或文学作品中反复体现的、揭示主题的部分。
71. Motivation (动机)
The reasons, either stated or implied, for a character‘s behavior.
动机: 引发作品中人物行为的理由。
72. Myth (神话)
A story, often about immortals and sometimes connected with religious rituals, that is intended to give meaning to the mysteries of the world.
神话:一种解释世界上的神秘现象的关于神灵或同宗教仪式有联系的故事。
73. Narrative Poem (叙事诗)
A poem that tells a story.
叙事诗:讲述一个故事的诗歌。
74. Narrator (叙述者)
One who narrates or tells a story.
叙述者:讲述或叙述一个故事的人。
75. Naturalism (自然主义)
The practice of describing precisely the actual circumstances of human life in literature, it is the extreme form of realism.
自然主义:在文学中精确地描述人类现实环境的实践,现实主义的最高表现形式。
76. Neoclassicism (新古典主义)
A revival in literature in the late 17th and 18th centuries, characterized by a regard for the classical ideals of reason, form, and restraint styles.
新古典主义:17、18世纪晚期的文学复兴,以尊重古代典型的推理形式和严谨文体为特征
77. Novel (小说)
A book length fictional prose narrative, having many characters and often a complex plot.
小说:虚构的叙述性文章,有一定长度,较多的人物,和思想复杂的情节。
78. Octave (八行诗)
An eight-line poem or stanza.
79. Ode (颂)
A complex and often lengthy lyric poem, written in a dignified formal style on some lofty or serious subject.
颂:一种复杂的,具有一定长度的诗歌,通常以高贵的风格写成,用来表述一些高尚或严肃的主题。
80. Onomatopoeia (拟声)
The formation or use of words by imitating the sounds associated with the objects or actions they refer to.
拟声:通过模仿事物或行动的声音构词的方法。
81. Oxymoron (矛盾修饰法)
A rhetorical figure in which combines or contradictory terms are combined, as in a deafening silence and a mournful optimist.
矛盾修饰法:一种把互相矛盾或不调和的词合在一起的修辞手法,如在"震耳欲聋的沉默"和"悲伤的乐观"
82. Paradox (似非而是)
A statement that reveals a kind of truth, although it seems at first to be self-contradictory and untrue./An apparently untrue or self-contradictory statement or circumstance that proves true upon reflection or when examined in another light.
似非而是:一种在字面上看起来自相矛盾,却体现着一定的真理的说法。
83. Parallelism (并行)
The use of phrases, clauses, or sentences that are similar or complementary in structure or in meaning.
并行:结构或意义相近的词汇,子句,句子的并用。
84.Parody (模仿诗文)
A humorous imitation of a work of art for comic effect or ridicule./Originally, "a song sung beside" another. From this idea of juxtaposition arose the two basic elements of parody, comedy and criticism. As comedy, parody exaggerates or distorts the prominent features of style or content in a work. As criticism, it mimics the work, borrowing words or phrases or characteristic turns of thought in order to highlight weaknesses of conception or expression_r_r.
模仿诗文:一种为取得喜剧或嘲讽效果,而对某一艺术作品进行的滑稽模仿。
85. Pastoral (田园诗)
A kind of poem, that deals in an idealized way with shepherds and rustic life.
田园诗:一种用理想的手法来体现牧羊人的乡村生活的诗歌。
86. Pathos (悲怅)
The quality in a work of literature or art that arouses the reader‘s feelings of pity, sorrow, or compassion for a character.
悲怅:文学艺术作品的一种引发读者怜悯,同情或伤感的特质。
87. Personification (拟人)
A figure of speech in which inanimate objects or abstractions are endowed with human qualities or are represented as possessing human form./The technique of treating abstractions, things, or animals as persons. A kind of metaphor, personification turns abstract ideas, like love, into a physical beauty named Venus, or conversely, makes dumb animals speak and act like humans.
拟人:给无生命的东西或者抽象的东西赋予人的个性或绘以人的形象.
88. Plot (情节)
The plan of events or main story in a novel, narrative or drama.
情节:在小说,故事,或戏剧中事件的概要或主要故事.
89. Point of view (视角)
A point from which an author presents a story.
视角:作者阐述故事的角度。
90. protagonist (主角)
The main character in a drama or other literary work.
主角:戏剧或其他文学作品中的主要人物.
91. Psalm (赞美诗)
A song or lyric poem in praise of God.
赞美诗:用来颂扬上帝的诗歌或抒情诗。
92. Pun (双关语)
The use of a word or phrase to suggest two or more meanings at the same time.
双关语:用一个词来同时表示两个内涵。
93. Quatrain (四行诗)
A stanza or poem of four lines.
94. Realism (现实主义)
The representation in art or literature of objects, actions, or social conditions as they actually are, without idealization or presentation in abstract form./The theory that reason, rather than revelation or authority, provides knowledge, truth, the choice of good over evil, and an adequate understanding of God and the universe.
现实主义:在艺术或文学中将事物,行为或社会状况按其起初情况进行的表现,而不用模糊的形式来表现或理想化
95. Refrain (副句)
A phrase, verse, or group of verses repeated at intervals throughout a song or poem, especially at the end of each stanza.
副句,副歌:一个短语、一句诗或一组诗句在一首歌或诗中每隔一段重复一次, 尤其在每个诗节的结尾处
96. Rhyme (压韵)
The repetition of sounds in two or more words or phrases that appear close to each other in a poem. /(sometimes Rime, an older spelling) The effect created by matching sounds at the ends of words. The functions of rhyme are essentially four: pleasurable, mnemonic, structural, and rhetorical. Like meter and figurative language, rhyme provides a pleasure derived from fulfillment of a basic human desire to see similarity in dissimilarity, likeness with a difference.
压韵:音在两个或两个以上的词汇或短语中的重复。
97. Rhythm (格律)
The arrangement of stressed and unstressed syllables into a pattern.
重读音节和非重读音节的固定排列模式。
98. Romance (传奇故事)
An imaginative literature that is set in an idealized world and that deals with heroic adventures and battles between good and devil.
传奇故事:设定在想象世界中的以英雄冒险和善恶之间的斗争为题材的文学作品。
99. Romanticism (浪漫主义)
An artistic and intellectual movement originating in Europe in the late 18th century which emphasis on the individual‘s expression of emotion and imagination, departure from the attitudes and forms of classicism.
浪漫主义:起源于18世纪末期欧洲的一种注重个人情感和想象力的表达的艺术和知识上的运动,它与古典主义的观点和形式相悖.
100. Satire (讽刺文)
A kind of writing that holds up to ridicule or contempt the weakness and wrongdoings of individuals, institutions or humanity in general./Poking corrective ridicule at persons, types, actions, follies, mores, and beliefs
讽刺:一种讽刺个人,习俗或人性中的缺点或错误的文体。
101. Scansion(韵律分析)
The analysis of verse into meter patterns.
韵律分析:将诗划分成音步的分析方法。
102.Sestet (六行诗)
A six-line poem or stanza.
103. Setting (背景)
The time, place, and circumstances in which a narrative, drama, or novel takes place.
背景:记叙文、戏剧或小说发生的时间、地点和环境.
104. Simile (明喻)
A comparison made between two things through the use of a specific word of comparison.
明喻:两种事物之间借助于比喻词汇进行的比较。
105. Soliloquy (独白)
A dramatic or literary form of discourse in which a character reveals a character‘s thoughts when alone or unaware of the presence of other characters.
独白:一种戏剧或文学的说话形式,其中某角色在独自一人或不知道其他角色存在的情况下展示角色的思想。
106. Song (歌)
A short lyric poem with distinct musical qualities, normally written to be set to music.
歌:一种具有典型的音乐特征的抒情诗体,通常为谱曲而作。
107. Sonnet (十四行诗)
A 14-line verse form usually written in iambic pentameter.
十四行诗:一种由十四行组成的诗歌形式,通常以五步抑扬格为押韵形式。
108. Spenserian Stanza (斯宾塞诗体)
A nine line stanza with the following rhyme scheme ababbcbcc.
109. Stream of consciousness (意识流)
The style of writing that attempts to imitate the natural flow of a character‘s thoughts, feelings reflections, and mental images as the character experiences them.
意识流:一种模仿作品中人物思想,思维,精神活动的自然过程的写作技巧。
110.Style(风格)
An author‘s characteristic way of writing ,determined by the choice of words, the arrangement of words in sentences, and the relationship of sentences to one and another.
风格:由词汇的选择,句子中词汇的安排,句子之间的关系形成的某一作家的特定的写作方式。
111. Suspense (悬念)
The quality of a story, novel, or drama that makes readers uncertain or tense about the outcome of events.
悬念:小说,故事,戏剧所具有的使读者对结局产生不安或紧张的感觉的特质。
112. Symbol (象征)
Any object, person, place, or action that has a meaning in itself and also stands for something larger than itself, such as a quality, attitude, or belief.
象征:本身具有意义,用来体现高于自身意义的思想的,观点的人,物,行为,地点。
113. Symbolism (象征主义)
A literary movement in the late19th century, characterized by the use of symbols to represent things.
象征主义:十九世纪的一种文学潮流,运用象征来体现事物。
114. Synecdoche (提喻法)
A figure of speech in which a part is used for the whole.
提喻法:一种以局部代表整体的修辞方法。
115. Terza rima (三行体)
An Italian verse form consisting of a series of three line stanzas in which the middle line of each stanza rhymes with the first and the third lines of the following stanza.(aba bcb cde, ect.)
116. Theme (主题)
The general idea or insight about life that a writer wishes to express in a literary work.
作者在作品中表现的对于生活的总的观点或看法。
117.Tone (调子)
The attitude a writer takes toward his or her subject, characters, or audience.
调子:作者对于作品的主题,人物和读者所持的态度。
118. Tragedy (悲剧)
In general, a literary work in which the protagonist meets an unhappy or disastrous end.
悲剧:以主人公可悲的或灾难性的结局结束的故事。
119.Wit (睿智)
A brilliance and quickness of perception combined with a cleverness of expression.
睿智:巧妙的思维和睿智的表达的结合。
120.Exposition (评注)
The part of a narrative or drama, in which important background information is revealed.
评注:记叙文章或戏剧中向读者介绍主要的背景情况的部分。
121. Sentimentalism
Sentimentalism originated in the 18th century, and was a direct reaction against the cold, hard commercialism and rationalism that had dominated people’s life since the last decades of the 17th century. Besides, it seemed to have appeared hand in hand with the rise of realistic English novel. Sentimentalism often relates to sentimentality and sensibility in some literary works such as Richardson’s Pamela; Goldsmith’s The Vicar of Wakefield; Sterne’s A Sentimental Journey through France and Italy. In Poetry, we have Thomas Gray’s “An Elegy Written in a Country Churchyard”, Goldsmith’s “The Deserted Village”, and Cowper’s “Task”, not mention the various odes of sensibility which flourished in the later half of the century.
122. Humanism
Humanism refers to the main literary trend and is the keynote of English Renaissance. Humanists took interest in human life and human activities and gave expression_r_r to the new feeling of admiration for human beauty, human achievement.
123. Renaissance
It is a cultural movement of the rising bourgeoisie. The key word for it is humanism, which emphasizes the belief in human beings, his environment and doings and his brave fight for the emancipation of man from the tyranny of the church and religious dogmas. It originally indicates a revival of classical arts and learning after the dark ages of medi obscurantism. Its aim is to get rid of those old feudalist ideas in medi time and introduce new ideas that express the interests of the rising bourgeoisie. Shakespeare, Spenser, and Marlowe are all famous literary figures in this period.
124. Enlightenment
Enlightenment is a progressive intellectual movement, which swept over England and other lands in Western Europe in the 18th century. Enlightenment freed and reformed the thinking of man. Enlighteners strove to clear away the feudal remnants and replace them by bourgeois ideologue.
125. Run-on Line
A line of poetry whose sense does not stop at the end, with punctuation, but runs on to the next line.
126. End Rhyme
Rhyme at the end of a line of verse (the usual placement), as distinguished from initial rhyme, at the beginning, or internal rhyme, within the line.
127. Foot
The metrical unit; in English, an accented syllable with accompanying light syllable or syllables.
128. Genre
A term often applied loosely to the larger forms of literary convention, roughly analogous to "species" in biology. The Greeks spoke of three main genres of poetry-lyric, epic, and drama. Within each major genre, there are sub-genres. In written forms dominated by prose, for example, there is a broad distinction between works of fiction (e.g., the novel) and thematic works (e.g., the essay). Within the fictional category, we note a distinction between novel and romance, and other forms such as satire and confession. The object of making these distinctions in literary tradition is not simply to classify but to judge authors in terms of the conventions they themselves chose.
129. Humor
A humor is a theory used by Ben Jonson in his play writing. A humor, according to the physiology and the psychology of the time, was one of the liquid constituents of the body, each of which had its peculiar emotional propensity. Every character in Jonson’s comedies personifies a definite humor, so his characters are like caricatures.
130. Internal Rhyme
Rhyme within a line, rather than at the beginning (initial rhyme) or end (end rhyme); also, rhyme matching sounds in the middle of a line with sounds at the end.
131.Cavalier Poets
Cavalier poets were often courtiers who stood on the side of the king, and called themselves “sons” of Ben Jonson. The Cavalier poets wrote light poetry, polished and elegant, amorous and gay, but often superficial. They mostly dealt in short songs on the flitting joys of the day, but underneath their light-heartedness lays some foreboding of impending doom. This spirit of pessimism and cynicism is typical of the aristocratic class in decline.
132.Platoism
Any reflection of Plato's philosophy, particularly the belief in the eternal reality of ideal forms, of which the diversities of the physical world are but transitory shadows.
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下面是读文网小编整理的一些英美文学常用术语及解释,希望对大家有帮助。
Romance is a popular literary form in the medic England.
2>it sings knightly adventures or other heroic deeds.
3>chivalry is the spirit of the romance.
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I lost my sight when I was four years old by falling off a box car in a freight yard in Atlantic City and landing on my head. Now I am thirty-two. I can vaguely remember the brightness of sunshine and what red color is. It would be wonderful to see again, but a calamity can do strange things to people.
It occurred to me the other day that I might not have come to love life as I do if I hadn’t been blind. I believe in life now. I am not so sure that I would have believed in it so deeply, otherwise. I don’t mean that I would prefer to go without my eyes. I simply mean that the loss of them made me appreciate the more what I had left.
Life, I believe, asks a continuous series of adjustments to reality. The more readily a person is able to make these adjustments, the more meaningful his own private world becomes. The adjustment is never easy. I was bewildered and afraid. But I was lucky. My parents and my teachers saw something in me —a potential to live, you might call it ——which I didn’t see, and they made me want to fight it out with blindness.
The hardest lesson I had to learn was to believe in myself. That was basic. If I hadn’t been able to do that, I would have collapsed and become a chair rocker on the front porch for the rest of my life. When I say belief in myself I am not talking about simply the kind of self-confidence that helps me down an unfamiliar staircase alone. That is part of it. But I mean something bigger than that: an assurance that I am, despite imperfections, a real, positive person that somewhere in the sweeping, intricate pattern of people there is a special place where I can make myself fit.
It took me years to discover and strengthen this assurance. It had to start with the most elementary things. Once a man gave me an indoor baseball, I thought he was mocking me and I was hurt. “I can’t use this,” I said. “Take it with you,” he urged me,” and roll it around. “The words stuck in my head.” Roll it around!” By rolling the ball I could hear where it went. This gave me an idea how to achieve a goal I had thought impossible: playing baseball. At Philadelphia’s Overbrook School for the Blind I invented a successful variation of baseball. We called it ground ball.
All my life I have set ahead of is a series of goals and then tried to reach them, one at a time. I had to learn my limitations. It was no good to try for something I knew at the start was wildly out of reach because that only invited the bitterness of failure. I would fail sometimes anyway but on the average I made progress.
4岁那年在大西洋城,我从货场一辆火车上摔下来,头先着地,于是双目失明。现在我已经32岁了。我还模糊地记得阳光是多么灿烂,红色是多么鲜艳。能恢复视觉固然好,但灾难也能对人产生奇妙的作用。
有一天我突然想到,倘若我不是盲人,我或许不会变得像现在这样热爱生活。现在我相信生活,但我不能肯定如果自己是明眼人,会不会像现在这样深深地相信生活。这并不意味着我宁愿成为盲人,而只是意味着失去视力使我更加珍惜自己其他的能力。
我认为,生活要求人不断地自我调整以适应现实。人愈能及时地进行调整,他的个人世界便愈有意义。调整决非易事。我曾感到茫然害怕,但我很幸运,父母和老师在我身上发现了某种东西——可以称之为活下去的潜力吧——而我自己却没有发现。他们激励我誓与失明拼搏到底。
我必须学会的最艰难的一课就是相信自己,这是基本条件。如做不到这一点,我的精神就会崩溃,只能坐在前门廊的摇椅中度过余生。相信自己并不仅仅指支持我独自走下陌生的楼梯的那种自信,那是一部分。我指的是大事:是坚信自己虽然有缺陷,却是一个真正的有进取心的人;坚信在芸芸众生错综复杂的格局当中,自有我可以安身立命的一席之地。
我花了很长时间才树立并不断加强这一信念。这要从最简单的事做起。有一次一个人给我一个室内玩的棒球,我以为他在嘲笑我,心里很难受。“我不能使这个。”我说。“你拿去,”他竭力劝我,“在地上滚。”他的话在我脑子里生了根。“在地上滚!” 滚球使我听见它朝哪儿滚动。我马上想到一个我曾认为不可能达到的目标:打棒球。在费城的奥弗布鲁克盲人学校,我发明了一种很受人欢迎的棒球游戏,我们称它为地面球。
我这一辈子给自己树立了一系列目标,然后努力去达到,一次一个。我必须了解自己能力有限,若开始就知道某个目标根本达不到却硬要去实现,那不会有任何好处,因为那只会带来失败的苦果。我有时也失败过,但一般来说总有进步。
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下面是读文网小编整理英语国家概况:美国文学精讲,欢迎大家阅读!
Literature,Architecture and Music 文学,建筑和音乐
1)Major American Writers and their works
① Bejamin Franklin(1706-1790)本杰明.富兰克林: theonly writer in the colonial period. Works: PoorRichard'S Almanac, which is an annual collection ofproverbs.
殖民地时期的作家。作品:《穷理查年鉴》,一本年度谚语集。
② Washington Irving(1803-1882) 华盛顿 欧文: AHistory of New Youk纽约外史; The Sketch Book最著名的作品为《见闻札记》,his most famous book, contians “Rip Van Winkle”《瑞普.凡.温克尔》and“The Legend of Sleepy Hollow”《睡谷的传说》
③Ralph Waldo Emerson(1803-1882) 爱默生:the leader of the movement oftranscendentalism.超验 主义运动的领导者Works:Nature,(论自然) Self-reliance(论自助),Representative Men(代表人物), English Traits and Poems (英国人的性格和诗).
③ Nathaniel Hawthorne(1804-1864) 霍桑:The Scarlet Letter红字
⑤Mark Twain1835-1910)马克吐温: The Celebrated Jumping Frog(《著名的跳蛙》,成名之作) ;The Adventures of Tom Sawyer(a boy book)汤姆.索亚历险记; The Adventures of HuckleberryFinn(his master work)哈克贝利.芬历险记,则是他最杰出著作; Atramp Abroad浪迹海外, Life on theMississippi密西西比河上, The Golded Age 镀金时代and Innocents Abroad异乡奇遇。
⑥Walt Whitman(1819-1892) 沃尔特. 惠特曼: the first to explore fully the possibilities of freeverse(探索自由诗体可能性的第一人). Leaves of Grass(his masterpiece)草叶集, EmilyDickinson(1830-1886) 艾米丽. 狄更生:Death was one of the great themes of her work死亡是她作品的重要主题之一
⑦Theordor Dreiser(1871-1945)西奥多.德莱塞: the representative of naturalists in whose worksreported truthfully and objectively the life in the slums.自然主义代表,在他们的作品里对贫民窟的生活进行了真实而客观的报道。 Works:Trilogy of Desire(欲望三部曲); An American Tragedy(美国的悲剧—被公认为最佳作品,which is considered to be his best)
⑧T.S Eliot(1888-1965);won the Nobel Prize for literature in 1946
⑨Emest hemingway(1899-1967)海明威; was awarded the Nobel Prize 诺贝尔文学奖for literaturein 1954. A Farewell to Arms永别了,武器; For Whom the Bell Tolls(the two about the first andsecond world war); 丧钟为谁而鸣(关于一、二战的2篇小说)Old Man and the Sea(hisrepresentative book)老人与海(代表作).
2)Harlem Renaissance(哈莱姆复兴) and black writing in American literature:
In the 1920s, Black Litrature developed into an upsurge which has come to be known as theHarlem Renaissace.20世纪20年代, 黑人文学蓬勃发展,后来被称为‘哈莱姆复兴’。LangstonHughes(1899-1967) 休斯 (masterpiece: The Weary Blues困倦的BLUES) and RichardWright(1908-1960) 赖特(masterpiece: Native Son土生子) were the major figures of thoseBlack writers.
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摘录:虽然4215页的长度被分成七卷,但《追忆似水年华》只是一部小说。普鲁斯特于1909年开始创作,直到1922年11月因病去世前的那段时间依然在写作。1913年普鲁斯特自己筹钱发表了小说的第一部分,他去世之后,这部小说又接连发表了五年的时间。
For 55 years, Harper Lee had been one of the best-known literary one hit wonders: she won the Pulitzer prize for her only published novel, To Kill a Mockingbird. But now the 88-year-old has revealed that she will publish a second novel this summer, which she technically wrote before To Kill a Mockingbird and which even inspired her only book to date。
But Lee leaves a number of literary one-hit wonders behind her. Here are a few of the best:
55年来,哈珀·李的名作一直只有那部使得获得普利策奖的《杀死一只知更鸟》。而现已88岁的她最近表示今年夏天要发表第二部小说,即将出版的第二部小说实际上写于《杀死一只知更鸟》之前,且为这部名作的书写提供了不少灵感。
和之前的哈珀·李一样,很多著名作家因一书而成名,且一生只出版了这一部小说。
1. Margaret Mitchell - Gone With The Wind (1936)
1. 玛格丽特·米切尔--《乱世佳人》(1936)
Published in 1936, the sweeping tale of Scarlett O'Hara and the dashing Rhett Butler was an instant success. Mitchell, a writer for her local Atlanta newspaper, won the Pulitzer Prize and saw her debut novel turned into a Hollywood epic。
小说于1936年发表后,斯嘉丽和瑞德的故事立刻横扫全球,获得了巨大的成功。小说作者米切尔不仅获得了普利策奖,还见证了自己的首部出版小说被搬上荧屏成为了好莱坞的经典。
Mitchell hated fame and declared that she would not write another word as long as she lived. She died in a road accident in 1949. In 1995, an unpublished manuscript she had written as a teenager was discovered. It was published the following year as Lost Laysen, a romantic novella set in the South Pacific。
米切尔是个不喜名誉的人,她宣称在有生之年不再写任何东西。1949年她死于一场车祸。1995年,她写于青少年时期的一份未经发表的手稿被发现,次年这部描写南天平洋一个小岛上的爱情故事的名为《失去的莱松岛》的短片故事被发表。
2. Oscar Wilde - The Picture of Dorian Grey (1890)
2.奥斯卡·王尔德--《道林·格雷的画像》(1980)
While Wilde built a career of writing poetry and plays, his arguably most controversial work was his only published novel. At the end of the 19th century its narrative of obsession, murder and hedonism offended Victorian society, with critics dubbing The Picture of Dorian Grey everything from "effeminate" to "unclean". Perhaps it rubbed off: Wilde never wrote another novel again。
王尔德以诗歌和戏剧创作闻名,而他最受争议的也是他唯一出版的小说。十九世纪末,这部小说中对痴恋、谋杀及享乐主义的记叙与当时的社会格格不入,评论者对《道林·格雷的画像》批评从“女人气”到“不纯洁”。或许是因为这些批评,王尔德之后再没写过任何一部小说。
3. JD Salinger - The Catcher in the Rye (1951)
3. 杰罗姆·大卫·塞林格--《麦田里的守望者》(1951)
Although he wrote short stories and the novella Franny and Zooey, The Catcher in the Rye was Salinger's only novel. The author was believed to have retreated from society to spend his last half century as a hermit, until letters published in January this year revealed that he had been travelling the world, visiting West End shows and popping into Burger King, all the while happily chatting to strangers who had no idea who he was。
虽然也会写短篇故事如《弗兰妮与卓埃》,但《麦田里的守望者》是塞林格唯一的一部小说。据说这位作家的后半生远离社会纷扰、做了一名隐士,但今年一月发表的信件表明他曾经周游世界,观看过伦敦西区剧院的演出,也匆匆走进过汉堡王快餐店,跟不认识自己的人一起愉快地聊天。
4. Emily Brontë - Wuthering Heights (1847)
4. 艾米莉·勃朗特--《呼啸山庄》(1847)
Brontë published her one and only novel under the pseudonym
Ellis Bell. She died the following year, aged 30, from tuberculosis. In 1850, a new edition of Wuthering Heights was published with a preface written by her sister, Charlotte。
勃朗特以笔名埃利斯·贝尔出版了其唯一的一部小说,次年30岁的她死于肺结核。1850年,《呼啸山庄》再次出版,姐姐夏洛特为其撰写前言。
5. Boris Pasternak - Dr Zhivago (1957)
5. 鲍里斯·帕斯捷尔纳克--《日瓦戈医生》(1957)
While Pasternak was an acclaimed poet, he only published one novel: Dr Zhivago. The controversial tome struggled to get published because of Pasternak's controversial attitude to socialism in soviet Russia. The manuscript was smuggled out of Russia before being published in Italy. When the novel won Pasternak the Nobel Prize in 1958, he was forced to turn it down by the Soviet authorities - or else face exile or prison. However, it was not this strife which meant Pasternak never published another novel, but the fact he died two years later from lung cancer。
虽然帕斯捷尔纳克是一个著名的诗人,但他曾出版过唯一的一部小说《日瓦戈医生》。由于作者对于苏联社会主义的态度引发争议,所以这部小说的出版过程相当艰难。小说手稿是在被私运出苏联之后才在意大利出版的。1958年帕斯捷尔纳克凭借这部小说获得诺贝尔文学奖,但苏联政府强迫他拒绝奖项,否则将对其施以放逐或监禁。当然并不是这场斗争导致帕斯捷尔纳克不再写小说的,而是两年后他因肺癌去世了。
6. Anna Sewell - Black Beauty (1877)
6. 安娜·休厄--《黑骏马》(1877)
English novellist Sewell wrote the equine children's classic in the last years of her life while she confined to bed by ill health. There she worked on it for seven years, finally being published six months before she died - just long enough for her to witness its instant early success。
英国作家休厄生命中的最后几年因病在床上度过的,在此期间她写下了这部与马有关的经典儿童小说。她花了7年的时间完成它,最终在去世前6个月得以发表,使得她能够亲眼见证自己的成功。
7. Marcel Proust - In Search of Lost Time (A la recherche du temps perdu) (1913-1927)
7. 马塞尔·普鲁斯特--《追忆似水年华》(1913-1927)
Its 4,215 pages are split over seven volumes, but In Search of Lost Time counts as one novel. Proust started writing it in 1909, and was still working on until he fell ill for the final time, weeks before his death in November 1922. Although the sprawling novel continued to be published five years after his death, Proust raised the funds to publish the first part of it himself in 1913.
虽然4215页的长度被分成七卷,但《追忆似水年华》只是一部小说。普鲁斯特于1909年开始创作,直到1922年11月因病去世前的那段时间依然在写作。1913年普鲁斯特自己筹钱发表了小说的第一部分,他去世之后,这部小说又接连发表了五年的时间。
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名词解释:诺贝尔文学奖,诺贝尔在1895年11月27日写下遗嘱,捐献全部财产3122万余瑞典克朗设立基金,每年把利息作为奖金,授予“一年来对人类作出最大贡献的人”。根据他的遗嘱,瑞典政府于同年建立“诺贝尔基金会”,负责把基金的年利息按五等分授予,文学奖就是其中之一。你知道怎么用英语表达吗?
Chinese author Mo Yan has been awarded the 2012 Nobel Prize for literature.
A prolific author, Mo has published dozens of short stories, with his first work published in 1981.
The Swedish Academy praised his work which "with hallucinatory realism merges folk tales, history and the contemporary".
The 57-year-old is the first Chinese resident to win the prize. Chinese-born Gao Xingjian was honoured in 2000, but is a French citizen.
中国作家莫言获2012年诺贝尔文学奖。
莫言发表了多部小说,第一部作品发表于1981年。
瑞典文学院称赞他的作品“以幻觉现实主义融合了民间故事、历史和当代”。
57岁的莫言是首位获得诺贝尔文学奖的中国籍作家。华裔作家高行健也曾在2000年获此殊荣,不过他是法国公民。
“诺贝尔文学奖”在文中的表达是Nobel Prize for literature,也可以说成Nobel Prize in literature或Nobel Literature Prize。莫言是笔名,原名为管谟业,其作品深受hallucinatory realism(幻觉现实主义)影响,其代表作及作品英译名如下:
《红高粱》 Red Sorghum
《檀香刑》 Sandalwood Death
《丰乳肥臀》 Big Breasts and Wide Hips
《酒国》 The Republic of Wine
《生死疲劳》 Life And Death Are Wearing Me Out
《蛙》Frog
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想知道汉语言文学专业的英语应聘信怎么写吗? 读文网小编整理了英文求职信范文,希望对大家的求职有所帮助。
Hello! My name is XXX, the XXX University Chinese Language and Literature fresh college graduates. On the occasion of choosing the occasion, I harbored a sincere heart and the pursuit of education, recommended in good faith to your own.
University three years, I always follow the "wide professional, solid foundation, strong ability, high-quality" standard to exercise and develop themselves. Learning, I work hard, set up the successful completion of the school language and literature, pedagogy, curriculum, each subject to achieve good results are more than can be said to engage in educational work must master a considerable degree of knowledge to understand and master. Month internship in the education and work outstanding, I believe competent secondary language education.
"Oaks from little acorns", so I for normal students, "the words one would" give particular attention to basic skills. Through these efforts, I passed the national examination Mandarin class, and honors received two A-level certificate; usually adhere to diligent practice calligraphy, pen writing, chalk is preferred. After school, I studied under through media such as books and all aspects of network knowledge, expanding their knowledge. , I was also with honors by the National Computer proficiency test, and can operate free cooked Word and other office software and CAI courseware, the network has a strong ability to retrieve information. Also, I have been working as student leaders, a former head of community, strong planning skills and organizational activities of interpersonal skills. Actively participate in various social practices of public cultural and sports activities, arts and sports in more expertise. Because of high academic achievers, was named colonel "outstanding members."
I grew up on the teachers, the profession is full of reverence and love, to become a good teacher of the people! I know the importance of teachers and for social accountability! I believe I can do a teacher, I will be worthy of the " engineers of human souls, "the title of honor. good birds greener pastures, submit the cover letter is the result of a carefully considered and well-prepared, if your school to give me a chance, I will be able to work hard and continue to forge ahead and dedication to the school to make its own contribution to the motherland nurture more talent, I could use my efforts to prove that you made the right choice.
I was in a period of energetic life, and love of education, determined to do an outstanding teacher of the people. Hope your school can provide a platform for me their expertise, I will make every effort to achieve good results at work. Enclose my personal profile, so you can better understand me.
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摘要:“耽美”是一种日本文学流派,这种文学描述的是男人之间的爱情,在中国许多年轻异性恋女性成了“耽美文学”的铁粉。
Tanbi is a form of Japanese literature depicting love between men that its hardcore following of young, heterosexual women can't get enough of.
In the literary world of tanbi, a Japanese term meaning "the pursuit of beauty" and often used to refer to two good-looking men in a romantic relationship, there are answers to what a heterosexual woman wants in love and life.
日本耽美文学作品受中国女性追捧
At least, this is the case for Cici Zhou, a 25-year-old real estate agent who has devoured 1,200 tanbi books over the past 10 years, drawn to them by the strong characters and their fighting spirit.
“耽美”是一种日本文学流派,这种文学描述的是男人之间的爱情,在中国许多年轻异性恋女性成了“耽美文学”的铁粉。
在日本文化里,“耽美”的文学释义是“对美的追求”,并且常用来形容两个俊美男子之间的浪漫情感。女性异性恋者也能在其中读到对感情和生活的追求。
就拿25岁的房产中介周慈慈(音)来说,在过去的十年里,她已经阅览了近1200件关于“耽美”的作品,并被主人公坚强勇敢的性格所打动。
Zhou's favorite, Tianxiadiyi (translated to English means "No 1 in the world"), is the story of two opposing majestic kings who are mutually attracted but have to fight against each other and their desire.
"You can't find these characters in normal chick-lit," she says. "They're both strong, outstanding men. There are dramatic ups and downs and greater obstacles to overcome."
There is no official tally, but there are an estimated one million readers of tanbi stories in China, according to Yang Ling, associate professor with Xiamen University who studies tanbi sub-culture.
周最喜欢的作品是《天下第一》,它讲述了两位伟大的帝王之间的争斗和彼此的欲望。
她说,在通俗小说里我们是读不到这样的人物的,他们都很坚强、杰出,生命起起伏伏,需要越过一个又一个障碍。
据厦门大学研究“耽美”文化的助理教授杨玲说,虽然没有官方统计数据,但据估计在中国“耽美”文学有近百万的读者。#p#副标题#e#
The scene is dominated by work from Japan and China's Taiwan, but tanbi lovers are also putting out original stories in forums, podcasts, custom-made books and other items that target hardcore fans.
Jinjiang Literature, one of the more popular websites that features original tanbi stories, clocks two million log-ins a day. Ninety percent of its users are female, and 80 percent are in the 18 to 35 age group, according to a report the company provided to China Daily.
Tanbi borders on gay fiction, but the readership is predominantly heterosexual women.
作品场景大多设置在日本和中国台湾,但是“耽美”爱好者们也会在论坛、播客、专门的书籍里或其它工具上分享一些原创作品,以此来吸引忠实粉丝们。
“耽美”文学接近男同小说,但读者中女异性恋却占大多数。
周慈慈说:“我不觉得两个男性成为伴侣很奇怪,我们读这些关于男人的故事只是因为我们喜欢男孩子。”
"I never thought it strange when two men become a couple," Zhou says. "We are reading about two guys together exactly because we like boys."
"They're reading for the variety tanbi offers," Yang says.
The genre is broken down into a gamut of sub genres, that touch on a wide variety of themes from apocalyptic tales, star wars, martial arts, and fan fiction. The stories can be "clear-water" (platonic) or x-rated. Tanbi is written in so many styles that there are stories told in dialects from northeastern China to Cantonese.
"Whatever subject you like, you can find it there," Yang says. "It's like a small literary kingdom."
And then there is the love story at the core.
杨玲说道,读者喜爱耽美文学的多样性。
“耽美”体裁多样,涉及到启示录故事、星球大战、武打、以及同人小说。故事可以是柏拉图式的或略带色情的。耽美文学风格多种多样,有的以中国东北方言写成,也有些以广东话写成。
杨玲说,不管你喜欢什么样的主题,在这样的故事王国里你都能找到。
而且爱永远是故事的核心。
"In tanbi, love and relationships have no set patterns like in Cinderella, where a hero rescues a beauty in danger," Yang says. "Both sides can be strong. Or they can take different roles in different circumstances. There are many more possibilities to explore."
That is perhaps one of the reasons why these readers are more open-minded when setting their own terms, and more understanding to others, Yang says, who has interviewed many tanbi fans in recent years.
"These are definitely positive influences. When they are open to different types of relationships, they are also open to other discussions, such as staying single for longer, or raising a child on their own," Yang says.
杨玲说,在耽美故事中,爱情并不像灰姑娘童话那样有着固定模式,比如英雄救美等等。双方都可以很强大,或者在不同场合里他们扮演着不同的角色。要去阐释的可能性无穷无尽。
杨玲在近年采访了众多耽美粉丝,她说,当涉及到自身时,这些读者往往很开明而且善解人意,这也许就是原因之一。
杨玲说:“耽美文学当然会带来积极影响。当人们开始接受不同的恋爱方式时,人们也渐渐会对一些争议采取包容态度,比如长期单身、自己认养小孩儿等等。”
According to Ducky, another seasoned reader of 10 years, who will only reveal the name she uses online, "I'm an independent woman, I get to make my own decisions in work as well as in life." She says she prefers stories where both members of the couple are standing on their own two feet and fighting for what they want in love.
"However, we still like alpha males better," she says. "When there are two of them, there is the tension we want. Especially now that boys are becoming feminine and girls have somehow turned aggressive."
In the strong male characters, the female readers find their most desired kind of romance.
据粉龄已达十年之久网友Ducky说,“我是一个独立的女性,不论在工作还是生活中我一直追求自我。”她还说,她喜欢那些故事,故事里的主人公遗世独立、为爱献身。
她说,“然而,我们还是更喜欢具有男子汉气概的男人,当出现两个男性时,我们往往不知道该选哪一个。而且当下男孩子越来越女性化,而女孩们却似乎更有闯劲儿。”
故事中的男子汉,往往就是女性心中最理想的男神形象。
"I believe tanbi describes the purest kind of love," says Jodie Cheng, who first discovered tanbi when looking for news of her idols, the Korean pop group Super Junior, in 2010. In a fictional account, written by tanbi fans, band members become lovers.
"But as long as a story has a modicum of realism, two men together means trouble, and giving up everything for love," Cheng says. "That's rare in our real life, therefore, we look for it."
With the rise of Weibo and Wechat, two major instant messaging platforms in China, tanbi is no longer the cult genre it was a decade ago. There has been a growing number of girls, or fojoshi (a Japanese term for girls who endorse male homosexual love), who have started to write fan fiction that moves tanbi into the world of mainstream literature.
2010年,Jodie Cheng在搜寻偶像男团“Super Junior”的最新动态时,偶然发现了耽美文学作品,讲的是男团成员之间的爱。
Jodie Cheng说:“我认为耽美描述了纯粹的爱,但是只要故事中加入一点现实元素,两个男人在一起就意味着接踵而至的问题、意味着为爱放弃一切。而这些在我们生活中是很少见的,因此,我们一直在书中寻找着这些。”
随着微博和微信这两大即时通讯平台的兴起,耽美这一体裁也不再像十年前那样小众,万千女孩开始撰写耽美小说,由此推动其成为一种主流文学形式。
A recent work pairs two X-men, Magneto and Professor X, powerful opponents who care about each other, at least in the Hollywood megahit X-Men: Days of Future Past.
"There are so many fojoshi that it's almost a selling point now," Yang, the researcher says.
"But whatever the girls are attracted to, they are after the true, good, beautiful human feelings that have always been at the center of literature."
最近上映的《X战警---逆转未来》是一个巨大成功,在影片里,万磁王和X教授是两个惺惺相惜的对手。
杨玲说,“如今有太多喜欢耽美文学的女孩们,这俨然已成为一大卖点。”
“但是不管女孩们到底是被什么所吸引,这背后真实的、美好的人性将永远是耽美文学的核心。”
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下面是读文网小编整理的英语文学论文范文,希望对大家有帮助。
Being distinguished form many greatest American writers, Hemingway is noted for his writing style. Among all his work , The Old Man and the Sea is a typical one to his unique writing style and technique. The language is simple and natural on the surface , but actually deliberate and artificial. Sometimes the simple style is made a little different. The dialogue is combined with the realistic and the artificial. The simplicity is highly suggestive , and often reflects the strong undercurrent of emotion. Occasionally , the author uses some figures of speech. Hemingway’s style is related to his experience as a journalist, his learning form many famous writers, and most importantly, his conscientious effort in looking for a style of his own, The influence of his style is great all over the world. The Old Man and the Sea is full of facts, most of which comes form Hemingway’s own experience. So the way to use facts is a very important writing technique in this novel. The fact in the novel are selected and used as a device to make the fictional world accepted. In the forepart of the novel, the are used to show the quality of Santiago’s life, and are narrated simply and naturally; while in the latter part of the novel, they are used form inside Santiago’s own consciousness and form part of a whole scheme of the novel.
Keywords: Facts; Simplicity; Artificial; Iceberg; Theory
中文摘要
在伟大的美国作家中,海明威以独特的写作风格而著称。在他所有的作品中,《老人与海》最能体现他独特的写作风格和手法。这部小说语言看似简单自然,其实包含了作者的精心揣摩和润色加工。有时为了突出某一部分,作者会采用长句代替短句。文中的对话内容真实、贴近生活,而表达形式则经过了艺术加工。小说简洁自然的语言背后隐藏了深刻的意义和感情。文中还运用了比喻、拟人等修辞手法,还名位的这种独特风格与他当过新闻记者的经历有关,这种风格对整个世界文坛产生了重要的影响。
《老人与海》这部小说运用了大量的事实,他们大多来自于作者亲身经历。海明威对这些事实精心选择,从而吸引读者的兴趣并使读者有一种身临其境的感觉。小说一开始用大量事实描写了主人公生活的环境,叙述风格简单自然,未加任何感情色彩。随着情节的发展,大量的事实主要被运用于主人公的心理活动中,而不是主要由作者来叙述。同时,这些事实构成了整个小说体系中不可缺少的一部分。
关键词:事实;简洁;加工;冰山理论#p#副标题#e#
Introduction
1. Writing characteristics of the Old Man and the Sea
1.1 Hemingway’s Writing Style and Techniques in The Old Man and the Sea
The Old Man and the Sea (1952) comes round at the finish of Hemingway’s writing career. With its vivid characterization, its simple language, and the profound implicating it carries, it stands out as one of the excellent books Hemingway’s former stature as the word’s preeminent novelist after Hemingway’s unsuccessful novel Across the River and into the trees (1950). The Old Man and the Sea earned its author the Pulitzer Prize in fiction for 1952, and was instrumental in winning him the Nobel Prize for Literature two years later. It is a short novel about Santiago, an old Cuban fisherman who has gone for 84 days without catch. Therefore the boy, Mandolin, who used to sail with him, is forced to leave him and catch in another ship. The old man insists on fishing alone and at last, he hooks an eighteen-foot, giant marlin, the largest he has ever known. But the fish is very powerful and disobedient. It tows the old man and his boat out to sea for 48 hours, with the old man bearing the whole weight of the fish through the line on his back. The old man, with little food and sleep, has to endure much pain and fights against his treacherous hand cramp. To his great excitement, on his third day at sea, he succeeds in drawing the weakened marlin to the surface and harpoons it. On his way home, he lashes marlin alongside his boat because it is too big to be pulled into the boat. But, unfortunately, the come across sharks in different numbers for four times. The old man fights to kill the sharks with as much might and many weapons as he can summon, but only to find a giant skeleton of his marlin left after his desperate defense. At last, Santiago, having lost what he fought for, reaches the shore and struggles to his shack. He falls into sound sleep, dreaming of Africa, and the lions again. His struggle wins him much respect.
Among many great American writers, Hemingway is famous for his objective and terse prose style. As the last novel Hemingway published in his life, The Old Man and the Sea typically reflects his unique writing style. This paper aims to discuss the writing style and techniques in The Old Man and the Sea. Of course, Hemingway has used many techniques in this novel, such as realism, the creation of suspense, monologue, etc. And this paper focuses especially on the language style and one of the important techniques-the way to use facts in this novel.
2.Writing of the Old Man and the Sea
2.1 Unique language style Old Man and the Sea
Hemingway is famous for his language. With much care and effort, he created a very influential and immediately recognizable style. “The style he created in his early work, such as In Our Time and The Sun also Rises, was almost too good. Like the style of certain painters, it tended to become a manner, rather than a flexible way of responding to experience and conveying fresh insights through words.” Among all his works, The Old Man and the Sea is the most typical one to his unique language style. Its language is simple and natural, and has the effect of directness, clarity and freshness. This is because Hemingway always manages to choose words “`concrete, specific, more commonly found, more Anglo-Saxon, casual and conversational.” He seldom uses adjectives and abstract nouns, and avoids complicated syntax. Hemingway’s strength lies in his short sentences and very specific details. His short sentences are powerfully loaded with the tension, which he sees in life. Where he does not use a simple and short sentence, he connects the various parts of the sentence in a straightforward and sequential way, often linked by “and”. In his task of creating real people, Hemingway uses dialogue as an effective device. It is presented in a form “as close to the dramatic as possible, with a minimum of explanatory comment.”Here is an example chosen from The Old Man and the Sea:
‘What do you have to eat?’ the boy asked.
‘No, I will eat at home. Do you want me to make the fire?’
‘No, I will make it later on. Or I may eat the rice cold.’
Here we can see that such interpolations as “he said” have frequently been omitted and the words are very colloquial. Thus the speech comes to the reader as if he were listening. Hemingway has captured the immediacy of dialogue skillfully and has made the economical speech connotative. But it is good to note that Hemingway’s style is deliberate and artificial, and is never as natural as it seems to be. The reasons are as follows. Firstly, in some specific moments, in order to stand out by contrast and to describe an important turning point or climax, the style is made a little different:
He took all his pain and what was left of his long gone pride and he put it against the fish’s agony and the fish came over on to his side and swam gently on his side, his bill almost touching the planking of the skiff, and started to pass the boat, long, deep, wide, silver and barred with purple and interminable in the water. The language in this one-sentence paragraph is different from other parts of the novel. Kenneth Graham has commented that the sentence builds up its parts in a carefully laborious sequence-“all his pain and what was left of his strength and his long gone pride”. It emulates the movement of the exhausted marlin and the physical strain of the old man. And it mounts to a heavy crescendo in the very un-prosaic inversion of adjectives-“long, deep, wide”-ending in the virtually poetic cadence, “interminable in the water.”The dialogue, too, is combined with the realistic and the artificial. Usually the content contains and the expression contains the artificial. In The Old Man and the Sea, the language style is very peculiar from Hemingway’s other writings. This is because the novel is an English version of the Spanish that Santiago and Mandolin would speak in real life. “Since we are meant to realize that Santiago and Mandolin could not possibly speak like this, since English is not his tongue anyway, we are more likely to accept other artificialities of the dialogue. Using the device of a pretended ‘translation’, which would be bound to stilt in any case, Hemingway can ‘poetize’ the dialogue as he wishes.”The speakers are distanced from readers to a certain degree. And while their language taking on a kind of epic dignity, it does not lose its convincingness. Even slightly strange exchanges like the following become fairly acceptable. For example:#p#副标题#e#
‘You’re my alarm clock’, the boy said.
‘Age is my alarm clock’, the old man said. ‘Why do old man wake so early? Is it to have one longer day?’
‘I don’t know’, the boy said. ‘All I know is that young boys sleep late and hard’.
‘I can remember it’, the old man said. ‘ I’ll waken you in time.’
The simple sentences and the repeated rhythms hit at the profundities that the surface of the language tries to ignore. Its simplicity is highly suggestive and connotative, and often reflects the strong undercurrent of emotion. Indeed, the more closely the reader watches, the less rough and simple the characters appear. In Death in the Afternoon, Hemingway uses an effective metaphor to describe his writing style: If a writer of the prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water.Among all the works of Hemingway, the saga of Santiago is thought as the most typical one to this Iceberg Theory. The author seldom expresses his own feelings directly, nor does he make any comments or explanations. On the contrary, he tries to narrate and describe things objectively and blend his own feelings harmoniously to the natural narration and description this gives readers a pictures compression, from which-the 1/8 of the iceberg above water, they can learn the implying meaning and feelings of the author- 7/8 of the iceberg under water. When Hemingway said of this story, “I tried to make a real old man, a real sea and real sharks”, he then went on to say, “But if I made them good and true enough they would mean many things.” So this novel has a great and significance conveyed by a compressed action. The core of the novel’s action is fishing. To the hero, fishing is not simply of contest in life. It contains profound philosophic meaning. In addition, two details-the baseball match and the hand wresting with the Negro, like fishing, symbolize the contention in life. They compensate and enrich the inner meaning of the main plot of fishing. So the simplicity of the novel is highly suggestive.
2.2 The Old Man and the Sea Writing Methods
Occasionally, the author uses such figures of speech as metaphor, personification, etc to describe details. Hemingway likes to us natural things to make metaphors. For example, he describes Santiago’s eyes as “the same color as the sea and were cheerful and undefeated.”The metaphor reveals that the old man is closely linked with nature. At the beginning of the novel, a simile is used: “the sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.” Here Santiago’s eyes are contrasted with the patched sail, which symbolize defeat, as reveals Santiago’s unyielding character. So Hemingway has formed of narrative and dialogue, though natural and simple on the surface, is actually deliberated and artificial. It combines elements that are realistic with elements that are stylized and heightened. How Hemingway has formed such a writing style? The reason is related to his own experiences. “His use of short sentences and paragraphs and vigorous and positive language, and the deliberate avoidance of gorgeous adjectives are some of the traces of his early journalistic practices.” After leaving school at 17, he went to the Kansas City Star, which was one of the best newspapers in America at that time. He served as its eager and energetic reporter. As a journalist, Hemingway trained himself in the economy of expression. He once said that, during his working in Star, he had to learn to use simple sentences, which is very useful to him; and that the experience of working as a journalist would not do harm to a young writer, instead it is very helpful if he could cast it off timely. He laid stress on “speaking” with facts and objected groundless concoction in writing. His descriptions of details are full of factuality, and are as precise as news reports.
3.The import on Hemingway’s Old Man and the Sea
The influence of Hemingway’s language style is great. In the latter part of his life, Hemingway was known as “Papa Hemingway.” It refers mainly to his contribution to the development of a new writing style in America-the colloquial style. His simple word, short sentences and vividly colloquial language purity American novel. In England, which Miss Storm Jameson discussing “The Craft of the Novelist” in the January 1934 issue of The English Review, she advanced an explanation of Hemingway’s popularity:
It is this simplicity, this appeal to our crudest interests, which explains Hemingway’s success…In English at least his success has been largely with the intellectuals. Thy have praised his simplicity, his directness…When Hemingway’s death was reported on 3 July 1961, the obituary in The Tines pronounced pontifically: No history of the literature of our time will be able to ignore his achievement or his far-reaching influence…his last masterpiece, The Old Man and The Sea, he remained a solitary both in achievement and style…And Hemingway’s influence as a stylist was “neatly expressed in the praise of the Noble Prize Committee about ‘his powerful style-forming mastery of the art’ of writing modern fiction.”
Apart from the language style, which The Old Man and the Sea is famous for, the writing techniques in this novel are also worth paying close attention to. A very important one of them is the way to use facts. The main events of the story seem to be based on a real incident, which is described by Hemingway in an article about fishing in the Gulf Stream in Esquire for April 1936. So the novel of full facts, such as the habit of fish, the technique of catching marlin, the weather, the sea, and so on. But the power of the novel lies in the way to use these facts. Firstly the facts are selected. “Hemingway’s old man, boy, sea, fish, and sharks are not so much built up in our minds, detail by detail, facts by facts, as drive into our mind by the force and the sympathy with which the author himself shares in their imaginary existence.” Like any realist, he relies on selection. When the giant marlin finally surfaces, his tail “was higher than a big scythe blade and a very pale lavender above the dark blue water.” Sargasso weed is bleached and yellow by day; Tuna are silver when they jump out if the water, but blue-backed and gold-sides when swimming. Hemingway never described them with excessively, but choose some effective ones. He uses them with a sense of how colors shift and change in their relationship. Without selection, there can be no intensity, and compression.
4.The philosophical significance Old Man and The Sea
4.1The Old Man and The Sea by the message to people’s moods#p#副标题#e#
Secondly, the facts are used as a device to make the fictional word accepted. The novel is not simply a manual for us to study the technique to catch a fish or how to survive in a boat. The author tries to implicate people’s imagination in what is happening by appealing to our love of practical knowledge. This shows “the facts are fundamentally a device, a technique of reassuring our sense of everyday values.”So they can help to make us accept more readily what the author has invented and made more dramatic than in everyday life. Still take the use of color as example: The clouds over the land now rose like mountains and the coast was only a long green line with the gray-blue hills behind it. The water was a dark blue now, so dark that it was almost purple. As he looked down into it he saw the red sifting of the plankton in the dark water and the strange light the sun made now. These facts show readers the process of fishing, which mostly comes from the author’s own experience. From these facts, which are vivid, precise and terse, readers can learn a lot about how to catch a fish and can also feel as if they themselves were catching a fish. Then they will have the sense that what the author describes is real and believable. Therefore, as Kenneth Graham has said, many facts in the novel about fishing and about the sea have a double function: they satisfy people’s sense of the real word. And this is what underlies Hemingway’s famous statement that his intention was always to convey to the reader “the way it was.”
4.2The influence of the Old Man and the Sea
All in all, Hemingway’s language in The Old Man and the Sea is simple and natural on the surface, but actually deliberate and artificial. “The language is rarely emotional. Rather, it controls emotions: it holds them in.”The forming of this distinct style is related to Hemingway’s own experience. And the influence of this style is not only within America but also all over the world. The facts in the novel are selected and used as a device to make the fictional world accepted. Unlike other novelists who add allegorical meanings to their facts, Hemingway uses the facts simply and naturally, without any emotion. In the latter part of the novel, instead of being narrated by the author, the facts are used from inside Santiago’s own consciousness, and form part of a whole scheme of the novel. Besides what have been mentioned above, other techniques in The Old Man and the Sea, such as realism, monologue, the creation of suspense and so on, are also very successful. All these show Hemingway’s superb artistic attainments as a Nobel Prize winner.
Bibliography
1. Chang Yaoxin, “Chapter 14” in A Survey of American Literature. TianJin: Nankai University Press, 1987
2. Kenneth Graham, “commentary” in York Notes: The Old Man and the Sea. Beijing: world Publishing Corporation, 1991
3. Ernest Hemingway, The Old Man and the Sea. Beijing: world Publishing Corporation, 1998
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学习是人在生活过程中,通过获得经验而产生的行为或行为潜能的相对持久的行为方式。学习是贯穿每个人的一生,需要养成终生学习的好习惯。下面读文网小编为大家带来英文学习名人名言,欢迎大家阅读!
1、不动笔墨不读书。——徐特立
pen and ink is not reading。
2、必须有所知,否则不如死。——罗曼·罗兰
something must be known, or dead。
3、不读书的人,思想就会停止。——狄德罗
people who do not read, thinking will stop。
4、读书忌死读,死读钻牛角。——叶圣陶
one avoid is dead read, read drill horn to death。
5、为中华之崛起而读书。——周恩来
reading for the rise of the chinese。
6、读书也像开矿一样“沙里淘金”。——赵树理
reading is like mining "informed"。
7、书籍是人全人类的营养品。——莎士比亚
books are the nourishment of all mankind。
8、立志宜思真品格,读书须尽苦功夫。——阮元
aspire to appropriate's character, reading must try hard。
9、没有求知欲的学生,就像没有翅膀的鸟儿。——萨迪
no students curiosity, like a wingless bird。
10、只有天才和科学结了婚才能得到最好的结果。——斯宾塞
only genius married science can get the best results。
11、距离已经消失,要么创新,要么死亡。——托马斯·彼得斯
distance has disappeared, innovation, or death。
12、求学犹植树,春天开花朵,秋天结果实。——爱因斯坦
study of plant trees, spring flowers, autumn fruit。
13、天才就是这样,终身劳动,便成天才!——门捷列夫
genius is such, life work, then into a genius!
14、人的知识愈广,人的本身也愈臻完善。——高尔基
man's knowledge more wide, the person's itself also will be。
15、所谓天才,那就是假话,勤奋的工作才是实在的。——爱迪生
the so-called genius, that is untrue, hard work is the reality。
16、优秀的作品无论你怎样去探测它,都是探不到底的。——歌德
best work no matter how you to detect it, are not exactly。
17、天才的悲剧地于被小而舒适的名望所束缚。——芥川龙之介
the tragedy of genius to be tied down by a small and comfortable fame。
18、哪里有天才,我是把别人喝咖啡的工夫都用在了工作上了。——鲁迅
where there is a genius, i'm with all the others drink coffee time on the job。
19、在知识的山峰上登得越高,眼前的景色越壮阔。——拉吉舍夫
in knowledge in the higher the mountain,the view is spectacular。
20、如果试图改变一些东西,首先应该接受许多东西。——萨特
if you try to change something, first of all should accept many things。
21、天才就是百分之九十九的汗水加百分之一的灵感。——爱迪生
genius is ninety-nine percent perspiration plus one percent inspiration。
22、饭可以一日不吃,觉可以一日不睡,书不可以一日不读。——毛泽东
rice can a day don't eat, sleep can't sleep a day, don't read books can't a day。
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文学包括诗歌、散文、小说、剧本、寓言童话等,是文化的重要表现形式,那么你知道文学用英语怎么说吗?下面跟读文网小编一起学习一下关于文学的英语知识吧。
晋太元中,武陵人捕鱼为业,缘溪行,忘路之远近。忽逢桃花林,夹岸数百步,中无杂树,芳草鲜美,落英缤纷;渔人甚异之。复前行,欲穷其林。林尽水源,便得一山。山有小口,仿佛若有光,便舍船,从口入。初极狭,才通人;复行数十步,豁然开朗。土地平旷,屋舍俨然。有良田美池,桑竹之属,阡陌交通,鸡犬相闻。其中往来种作,男女衣着,悉如外人;黄发垂髫,并怡然自乐。见渔人,乃大惊,问所从来;具答之。便要还家,设酒、杀鸡、作食。村中闻有此人,咸来问讯。自云:先世避秦时乱,率妻子邑人来此绝境,不复出焉;遂与外人间隔。问今是何世?乃不知有汉,无论魏、晋!此人一一为具言所闻,皆叹惋。余人各复延至其家,皆出酒食,停数日,辞去。此中人语云:“不足为外人道。”
During the reign of Taiyuan of Chin, there was a fisherman of Wuling. One day he was walking along a bank. After having gone a certain distance, he suddenly came upon a peach grove which extended along the bank for about a hundred yards. He noticed with surprise that the grove had a magic effect, so singularly free from the usual mingling of brushwood, while the beautifully grassy ground was covered with its rose petals. He went further to explore, and when he came to the end of the grove, he saw a spring which came from a cave in the hill, Having noticed that there seemed to be a weak light in the cave, he tied up his boat and decided to go in and explore. At first the opening was very narrow, barely wide enough for one person to go in. After a dozen steps, it opened into a flood of light. He saw before his eyes a wide, level valley, with houses and fields and farms. There were bamboos and mulberries; farmers were working and dogs and chickens were running about. The dresses of the men and women were like those of the outside world, and the old men and children appeared very happy and contented. They were greatly astonished to see the fisherman and asked him where he had come from. The fisherman told them and was invited to their homes, where wine was served and chicken was killed for dinner to entertain him. The villagers hearing of his coming all came to see him and to talk. They said that their ancestors had come here as refugees to escape from the tyranny of Tsin Shih-huang (builder of Great Wall) some six hundred years ago, and they had never left it. They were thus completely cut off from the world, and asked what was the ruling dynasty now. They had not even heard of the Han Dynasty (two centuries before to two centuries after Christ), not to speak of the Wei (third century A.D.) and the Chin (third and fourth centuries). The fisherman told them, which they heard with great amazement. Many of the other villagers then began to invite him to their homes by turn and feed him dinner and wine.After a few days, he took leave of them and left. The villagers begged him not to tell the people outside about their colony.
既出,得其船,便扶向路,处处志之。及郡下,诣太守,说如此。太守即遣人随其往,寻向所志,遂迷不复得路。南阳刘子骥,高尚士也,闻之,欣然规往,未果,寻病终。后遂无问津者。
The man found his boat and came back, marking with signs the route he had followed. He went to the magistrate’s office and told the magistrate about it. The latter sent someone to go with him and find the place. They looked for the signs but got lost and could never find it again. Liu Tsechi of Nanyang was a great idealist. He heard of this story, and planned to go and find it, but was taken ill and died before he could fulfill his wish. Since then, no one has gone in search of this place.
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英国文学源远流长,经历了长期、复杂的发展演变过程。在这个过程中,文学本体以外的各种现实的、历史的、政治的、文化的力量对文学发生着影响。那么你知道英国文学用英语怎么说吗?接下来跟着读文网小编来学习一下吧。
英国文学作品选读 Selected Readings of British Literature
英国文学选读 selected readings in british literature
英国文学讲座 Lecture on English Lite
英国文学及写作 English Literature and Composition
中古时期英国文学 Old and Medieval British Literature
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