文学名词解释2
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中国古代文学史二(名词解释)中国古代史(二)名词解释1.白体:(1)指宋初诗坛流行的学XXX的诗。
(2)宋初一些作家,如XXX称等先后研究XXX平易晓畅的闲适唱和诗和关心民生疾苦的讽喻诗,由此而形成的诗风就叫“白体”。
(3)其特征是“顺熟”“容易”“浅切”。
2.西昆体:(1)这是北宋初期影响极大的诗歌流派。
(2)有广狭二义,狭义单指其近体律诗,广义兼指其四六文。
(3)XXX之名,因创始诸人在秘阁唱和的诗集称《西昆酬唱集》,取玉山、册府之意。
XXX指玉山。
3.晚唐体:(1)指宋初模仿唐代XXX、XXX的诗风的诗作。
(2)以清逸隐幽为旨趣,以锤炼字句为能事。
(3)代表作家XXX。
4.XXX:(1)即指XXX的诗在宋代的一种风格范式,(2)其诗各体兼备,风格多样。
他的七绝清丽精美,XXX豪放。
(3)其基本风格有二:一是刚健中含婀娜的清丽雄健;二是豪放中加平淡的清旷闲逸。
(4)他的诗体对宋诗能于唐诗之后别具一格起了关键性作用。
5.XXX:(1)这是XXX的诗歌风格特征。
(2)他在施展阐发形式上极力打破常规,语意求新,诗句求工。
(3)“廋劲刚健”是其显著特性。
6.半山诗:(1)半山,是XXX晚年在江宁居住的地方。
(2)他这个时期的诗歌被编订为《半山集》,亦称为“半山诗”。
(3)主要体裁是绝句。
7.山谷体:(1)这是XXX的诗歌风格特征。
(2)提倡学XXX,要以学问为诗。
落实于诗歌创作,就是以故为新,变俗为雅。
(3)他作诗造语好奇尚硬,洗净铅华,风格生新瘦硬峭拔。
(4)他重视句法,发展拗句、拗律体制,工于炼字用典,讲究语意老重。
(5)他的诗于苏诗外独树一帜,自成一家。
8.后山体:(1)这是XXX的诗歌风格特征。
(2)作诗学XXX,学力专精,讲苦吟,求奇拙。
(3)他标举“宁拙勿巧,宁朴勿华”,力求简省字句。
(4)其诗均为煞费苦心之作,其锤炼辛劳处与XXX无异。
9.简斋体:(1)即指XXX的诗歌特征。
(2)XXX先后研究XXX、XXX及XXX的诗歌,自创以直致、浅语入诗。
名词解释一、魏晋南北朝:文学自觉:鲁迅在《魏晋风度及文章与药及酒之关系》一文中,称魏晋是“文学的自觉时代”。
文学自觉表现在三个方面:文学从广义的学术中分化出来,成为独立的一个门类,其地位得到空前的提高;对文学的各种体裁有了比较细致的区分和认识;对文学的审美特性有了自觉的追求,比如四声的发现并运用,诗歌中讲究用事、对偶等,证明人们对语言的形式美有了更自觉的追求。
劝百讽一:语出西汉末扬雄的《法言》。
“劝”是鼓励的意思,“讽”即讽谏。
其意是说赋中鼓励的成分过多,淹没了篇末的讽谏主旨,本末倒置,结果欲讽反劝,适得其反,助长了帝王的奢侈心理。
这是杨雄对汉大赋的批评。
三曹:汉魏间曹操、曹丕、曹植三父子的并称。
他们以显赫的政治地位与杰出的文学才能著称于世。
他们在诗歌中抒写自己的政治抱负和乱离的社会场景,悲歌慷慨,是汉魏风骨的代表诗人,在五言诗歌发展史上处于承先启后的重要地位。
曹植被誉为“建安之杰”。
建安七子:指东汉建安年间孔融、陈琳、王粲、徐干、阮瑀、应瑒、刘桢等七位文学家的并称。
他们均以诗文显赫当世,是曹魏文学集团核心成员,与三曹同为建安时代的重要作家。
其中以王粲、刘桢成就最高。
建安风骨:又称建安风力、汉魏风骨,是指以曹氏父子和建安七子为代表的作家继承《诗经》、汉乐府优秀的现实主义创作传统,反映了社会动乱,抒发了渴望国家统一的抱负和对理想生活的追求。
诗歌大抵情辞慷慨悲凉、格调刚健清新,成为后世诗歌创作推崇的榜样,后人把建安诗歌的这种文学风格的形象概括为“建安风骨”。
建安文学:建安是汉献帝的年号,这一称谓包括了其后若干年的文学创作,习惯上就称为“建安文学”。
这一时期,文坛上涌现了大量的作家,“三曹”“七子”和蔡琰是其中的代表。
他们都曾被卷入极度动乱的时代漩涡,生活和思想都有较大的变化。
一,他们继汉乐府之后,打破了汉代文人诗歌消沉的局面,第一次掀起了文人诗歌的高潮,二,他们直接继承了汉乐府民歌的现实主义精神,以反映社会动乱和抒写报国壮志的充实内容,慷慨悲凉的情辞和苍劲雄浑的风格形成了“建安风骨”,对魏晋南北朝诗歌产生了深远影响;同时,我国古典诗歌也从此摆脱了四言格局,完善了五言体制,开创了七言新体,这一时期,赋与散文也表现出新的面貌。
名词解释第一章文学观念名词解释:1、文学观念:文学观念就是对文学的看法,是对“文学是什么”的回答。
文学观念是发展变化的。
2、文学四要素:当代美国学者艾布拉姆斯提出的,文学四要素是指世界、作家、作品、和读者。
3、再现说:在文学四要素中强调“世界”与“作品"的对应关系,即认为作品是对世界的摹仿或再现。
4、表现说:在文学四要素中强调“作品”与“作家”的关系,即认为作品是作家情感的自然流露、表现、传达。
5、实用说:在文学四要素中强调作品被读者所利用的关系,认为文学是一种工具,可以为某种社会目标服务。
6、客观说:在文学四要素中,把作品抬到高于一切、重于一切的地步,认为作品一旦从作家的笔下诞生之后,就获得了完全客观的性质,它既与原作家不相干,也与读者无涉,它从外界的参照物中孤立出来,本身是一个“自足体",出现了所谓的“客观化走向”。
7、体验说:在文学四要素中强调读者对作品的意向性的体验这种关系,强调读者阅读作品是体验和现创造.8、文学的定义:文学作为一种人类的文化形态,它是具有社会的审美意识形态性质的、凝聚着个体体验的、沟通人际的情感交流的语言艺术。
9、符号论的文化概念:从符号学的角度看,文化是人类的符号思维和符号活动所创造的产品及其意义的总和。
这个观点是由德国的现代哲学家卡西尔提出的。
10、品质阅读:是指“试图尽可能完全地把握作品的肌质,表示首先注意到语言中的各种要素,重音和非重音,重复和省略,意象和含混等等,然后由此向人物、事件、情节和主题运动这是就西语而言的,若是论汉语文学中‘品质阅读"则是读者阅读是首先关注文本的用字、比兴、押韵、平仄、对仗和用事等,进一步再延伸到对情景的描写或人物、情节的叙述的理解。
11、经验和体验:个人和见闻和经历及所获得的知识和技能,统称为经验。
所谓体验是经验中见出深义、诗意和个性的部分。
经验是一种前科学的认识,它指向的是真理的世界(当然这还是常识、知识,即前科学的真理);而体验则是一种价值性的认识和领悟,它要求“以身体之,以心验之",它指向的是价值世界。
[NJU]文学考研资料[中国现代文学·名词解释]*注:1、[xxxx]为历年真题名词解释;【xxxx】为历年真题论述题(涉及)2、【Z】直通车;【Y】阳光版;【S】三十年;【X】新文学史;【B】修订一、基本名词术语1、小说界革命“小说界革命”是1902年梁启超发起的,《新小说》杂志在日本横滨创刊。
梁启超在《论小说与群治之关系》中,提出了"今日欲改良群治,必自小说界革命始,欲新民,必自新小说始"的口号,这是"小说界革命"的开始。
首先,梁启超强调了小说对于社会改革和社会进步的积极作用,将其地位提高到经史、语录、律例之上,打破了千百年来鄙薄小说的传统偏见。
其次,提倡小说界革命,将小说创作纳入资本主义社会改革的轨道,并为小说作出新的分类,为新小说的创作题材揭示了广泛而现实的内容范围第三,揭示了小说具有"浅而易解"、"乐而多趣"的艺术特点,分析了小说具有"支配人道"的"熏"、"浸"、"刺"、"提"四种艺术感染力量。
由此发起的“新小说”创作,成绩虽然不大,却对进一步提高小说在民众心目中的位置,起到推波助澜的作用。
【Z】2、“八事”1917年1月,胡适在《新青年》上发表了《文学改良刍议》,这是文学革命正式发难的标志。
他倡导语体革新,废文言而倡白话。
他提出文学改良应从“八事”着手,即:须言之有物、不模仿古人、须讲求文法、不作无病之呻吟、务去滥调套语、不用典、不讲对仗、不避俗字俗语。
此“八事”从不同角度针砭了旧文坛的复古主义和形式主义流弊,并粗浅地触及了文学内容与形式的关系、文学的时代性与社会性以及语言变革等重要问题,初步阐明了新文学的要求与推行白话语体文的立场。
【Z】3、“三大主义”1917年2月,陈独秀在《新青年》上发表了《文学革命论》,他勇敢地擎起“文学革命军”之大旗,表明了更加坚定的文学革命立场,明确提出“三大主义”作为文学革命的征战目标:曰推到雕琢的阿谀的贵族文学,建设平易的抒情的国民文学;曰推到陈腐的铺张的古典文学,建设新鲜的立诚的写实文学;曰推到迂晦的艰涩的山林文学,建设明了的通俗的社会文学。
现代文学名词解释(二)1.【大墙文学】大墙文学就是以特定历史条件造成的冤狱生活为描写对象的文学。
70 年代末、80 年代初,从维熙、张贤亮相继创作了《远去的白帆》《白云飘落天幕》《雪落黄河静无声》《土牢情话》《男人的一半是女人》《灵与肉》,“大墙文学”的概念由此出。
“大墙文学”成为七八十年代影响较大的一种文学派别。
2.【“方法年”】“方法年”指1985 年和1986 年。
这两年间,文学批评方法的更新问题成为文学界的热点话题。
从1984 年开始,经过1985 年的推动与泛化,流行于当代西方的各种批评方法被大规模介绍进来,同时被评论家迅速运用到文学与文学史研究实践中,如形式主义批评、新批评、现象学、结构主义、解构主义、符号学等,其中尤以系统论、信息论、控制论的“三论”最为普遍。
“新方法”热不仅推进了新时期文学研究的发展,也带动了文艺观念体系的变革和学术思维的时代更新。
3.【“重写文学史”】“重写文学史”的讨论在80 年代出现了两次高潮,即以1985 年与1988 年两个核心时段为中心的高潮时期。
在80 年代初王瑶等有关文学史的讨论基础上,1985 年黄子平、陈平原、钱理群出关于“20世纪中国文学”的基本设想,企图替代政治朝代更迭主宰文学分期的做法,设想厘清文学与政治的正常关系,这一概念的出,给“重写文学史”以启发,在1985 年唐弢等文学史家与晓诸等人展开的论争掀起讨论高潮。
这场讨论为1988 年《上海文论》开设“重写文学史”专栏提供了学术的氛围,赞同者认为从新的理论视角出对新文学历史的个人创见;反对者认为其实质是违背历史主义,跟随西方资产阶级学者的思想观念,力图否定和贬低这些革命作家。
“重写文学史”是对现代文学史写作的一次自觉反思,也是新时期以来文学“方法论”、“观念论”和“主体论”讨论在文学史领域的延续和深化。
4.【新时期文学】“新时期文学”是我国当代文学发展过程中的一个重要阶段,指的是从1976 年粉碎“四人帮”之后我国文学的创作时期。
文学名词解释奥林帕斯神系:古希腊神话中以宙斯为中心的神的家族,因其住在奥林帕斯山上而得名。
奥林帕斯神系是按照原始社会后期父权制氏族的方式、以宙斯为首的主神组成的神系,最著名的有十二大神:众神之王宙斯也是司雷电之神,天后赫拉也是婚姻女神,海神波赛冬,冥王哈得斯,农业女神得墨忒耳,智慧女神雅典娜,爱与美之神阿佛洛狄忒,太阳神阿波罗,月神阿耳忒弥斯,战神阿瑞斯,火神和工匠神赫淮斯特斯,众神使者赫尔墨斯。
有关于奥林帕斯神系的神话是古希腊神话中内容最丰富、流传最广泛、影响最深远的神话。
荷马史诗:又称“英雄史诗”,是古希腊文学辉煌的代表,被看作是欧洲叙事诗的典范。
相传是由一个名叫荷马的游吟诗人所作,故称荷马史诗,包括《伊利昂纪》和《奥德修纪》两部,各为24卷。
它们都是以特洛亚战争为题材,记载了古希腊先民在与异民族和大自然的斗争中所创造的英雄业绩。
其中《伊利昂纪》叙述了古希腊人征服特洛伊人的经过,描写阿喀琉斯的愤怒及战争最后51天内发生的事件。
《奥德修纪》描写参加特洛伊战争的希腊英雄奥德修斯在班师途中迷失道路、辗转漂流了10年重返故乡的经过及其沿途所见所闻。
荷马史诗通过塑造一系列个性鲜明、英勇善战、拥有无穷力量和智慧的英雄人物,歌颂了希腊全民族的光荣史迹和勇敢、正义、无私、勤劳的品质,讴歌克服一切困难的乐观主义精神,肯定人与生活的价值。
荷马史诗语言质朴,比喻奇特,情节生动,形象鲜明,结构巧妙,是世界文学中的经典作品,远古社会生活的百科全书,其影响深深渗透到希腊社会生活的一切领域,对后来的世界文学产生了巨大的、深远的影响。
摹仿说:古希腊传统的文艺学说。
首先提出这一观点的是当时的哲学家德谟克利特。
亚里斯多德在《诗学》中继承并发展了这一观点,认为文艺起源于对自然和社会人生的摹仿;现实是真实的,因此作为现实之摹本的文艺也是真实的,强调了文艺与现实不可分离的关系。
摹仿说是古代世界中最重要的艺术理论,奠定了西方文艺思想史上现实主义传统的基础。
名词解释:1 西昆体——北宋初期以杨亿﹑刘筠看来这种类型的人是你喜欢的对象钱惟演为主要代表人物的诗歌,其重要标志是《西昆酬唱集》,他们主要学习晚唐诗人李商隐的近体律诗,夸大了李诗的形式美,注重对偶,喜欢用典,堆砌辞藻,崇尚纤巧,追求华艳,在内容上歌功颂德,粉饰太平,总体来说,西昆体形式精美,内容空洞2 易安体——因李清照号易安居士,故其词称为“易安体”,其特点有三,其一,用通俗易懂的文学语言和明白流畅的音律声调作词其二,“易安体”融入了国家兴亡的深悲巨痛,又不失婉约词的本色,具有凄婉悲怆的格调其三,“易安体”有倜傥丈夫气。
3 山谷体——是指北宋诗人黄庭坚的诗,黄庭坚字山谷他的诗的特征是:生奇瘦硬,其艺术特色是:1以学杜诗为宗旨,重视句法发展了拗句﹑拗律的体制2强调“无一字无来处”,用典以故为新,变俗为雅,点铁成金,夺胎换骨3好奇尚硬,造语洗净铅华,独标隽旨,风格生新瘦峭峻,但兼有浏亮芊绵的一面。
4 一祖三宗——是指江西派标榜和效法的诗歌作家,一祖指杜甫,江西诗派标榜要向杜甫学习,特别是杜诗高度的艺术技巧,学习杜诗的句法﹑字法甚至模仿杜诗的七律形式,但却忽略杜诗的情感特征。
三宗指的是黄庭坚﹑陈师道﹑陈与义,其中以黄庭坚的诗歌理论和创作理论作为学习和模仿的关键,在作诗时强调“无一字无来处”,“点铁成金”,“夺胎换骨”。
5 江西诗派——指北宋以黄庭坚为主,以他的诗歌风格为特点形成的一个诗歌流派,因吕本中的《江西诗社宗派图》而得名,图中首列黄庭坚,次列陈师道,共二十五人,江西诗派远学杜甫,以黄庭坚的诗歌为典范。
在黄庭坚影响下北宋后期形成的一个诗派,南宋初吕本中作《江西诗社宗派图》,首列黄庭坚,陈师道,陈与义等二十余人,后方回《瀛奎律髓》增杜甫为一祖。
江西诗派因黄庭坚是江西人而得名,都主张宗法杜甫,讲究诗法技巧,影响直至明清近代。
6 骚雅词派——指的是姜夔词的艺术特征概括出来的,即“清空”与“优雅”。
7 诚斋体——杨万里创作的诗歌,被称为“诚斋体”,由江西入,不由江西出,是“诚斋体”得以成立的前提,以日常生活中的小情趣为题。
1、上官体:指高宗龙朔年间以上官仪为代表的宫廷诗风,题材以奉和、应制、咏物为主,内容空泛,重视诗的形式技巧、追求诗的声辞之美。
《旧唐书》本传:“工五言,好以绮错婉媚为本,仪既贵显,故当时颇有学其体者,时人谓之上官体。
”成为代表当时宫廷诗人创作最高水平的典型范式。
2、文章四友:武后时期的宫廷诗人李峤、杜审言、苏味道、崔融的并称。
内容不外歌功颂德、宫苑游宴,但在他们的其他一些作品中,却有时透露了诗歌变革的消息,有的还对诗歌体制的建设做出了积极的贡献。
四人中,杜审言成就最高。
3、初唐四杰:王勃、杨炯、卢照邻、骆宾王的并称,四人都出生于太宗时,才高位下,高宗时以文词齐名天下。
四人从理论和实践上与“上官体”对立,体现出诗风的转变。
并扩大了诗歌的题材,推动了律诗的发展。
4、吴中四士:指包融、贺知章、张若虚、张旭。
四人为吴、越之士,文词俊秀,名扬于长安,号称“吴中四士”。
5、沈宋体:律诗的别称。
初唐诗人在律诗方面有很大的进展,他们主要在永明体的基础上做了两方面的工作,一是把四声二元化,二是解决了粘式律的问题,摆脱永明诗人种种病犯说的束缚,创造了新体诗—律诗。
律诗在他们手中开始成熟,其中贡献最大的就是沈佺期和宋之问,故称沈宋体。
6、山水田园诗派:盛唐兴起的一个诗歌流派,以王维、孟浩然为代表,又称“王孟诗派”。
他继承和发展了陶渊明田园诗和谢灵运、谢瑶等的山水诗,以反映田园生活、描绘山水景物为主要内容,作品较多的反映了闲适淡泊的思想,色彩雅淡,意境幽深,多采用五言古体和五言律绝的形式。
7、边塞诗派:盛唐兴起的一个诗歌流派。
其诗长于七言,特别是七言歌行,善于描写边塞风光和战争生活,表现征人思妇的思想感情,大多具有爱国感情和进取精神,显示浓厚的生活气息,风格多慷慨悲壮。
代表诗人有王昌龄、王之涣、王翰、崔颢、李颀等,而以高适、岑参为首。
故后人也称“高岑诗派”。
8、大历十大才子:最初见于中唐诗人姚合编的《极玄集》,即李端、卢纶、吉中孚、韩翊、钱起、司空曙、苗发、崔峒、耿湋、夏侯审。
鲁迅鲁迅(1881~1936),原名周树人,字豫才。
中国现代文学的奠基人,创造社现实主义小说创作的代表作家。
“鲁迅”是他1918年发表《狂人日记》时开始使用的笔名。
小说代表作有:《狂人日记》(1918年发表,中国第一篇现代白话小说)、《药》、《孔乙己》、《故乡》、《阿Q正传》、《祝福》、《孤独者》、《伤逝》等。
小说集有:《呐喊》、《彷徨》和《故事新编》。
抒情性散文集(散文诗集)有:《野草》。
回忆性叙事散文集有:《朝花夕拾》。
主要杂文集有:《热风》、《坟》、《华盖集》、《而已集》、《二心集》、《三闲集》、《花边文学》、《伪自由书》、《且介亭杂文》等十四部。
散文名篇有:《过客》、《秋夜》等。
郁达夫郁达夫(1896~1945),名文。
创造社的现代浪漫主义小说创作的代表作家。
他的小说创作特别信守“自叙传”的写法,张扬主观情绪的抒发,善于坦露作品主人公及作家自身的内心世界,其小说具有浓郁的浪漫主义抒情色彩。
小说代表作有短篇小说集《沉沦》(1921年出版,中国现代文学史上第一部白话短篇小说集,收小说三篇:《银灰色的死》、《沉沦》、《南迁》)、《寒灰集》等;短篇小说《沉沦》、《春风沉醉的晚上》、《薄奠》、《迟桂花》等。
散文集《闲书》、《屐痕处》、《日记九种》等;散文名篇有《一个人在途上》,《钓台的春昼》等。
叶绍钧叶绍钧(1894~1988),文学研究会现实主义小说创作的代表作家。
小说代表作有短篇集《隔膜》、《火灾》、《线下》、《城中》、《未厌集》;长篇小说《倪焕之》,短篇小说《潘先生在难中》等。
散文集《脚步集》、《未厌居习作》、《四川集》等。
他还创作了最早的现代儿童文学作品集《稻草人》、《古代英雄的石像》等。
冰心冰心(1900~1999),原名谢婉莹。
文学研究会代表作家。
1919年起,谢婉莹以“冰心”这一笔名写了许多“问题小说”。
“问题小说”代表作有《两个家庭》、《斯人独憔悴》、《秋风秋雨愁杀人》、《去国》等:“爱的哲学”的小说代表作《超人》、《烦闷》等。
Anapest抑抑杨格: It‘s made up of two unstressed and one stressed syllables, with the two unstressed ones in front.Critical Realism批判现实主义: The critical realism of the 19th century flourished in the forties and in the beginning of fifties. The realists first and foremost set themselves the task of criticizing capitalist society from a democratic viewpoint and delineated the crying contradictions of bourgeois reality. But they did not find a way to eradicate social evils.Realism现实主义:The attempt in literature and art to represent life as it really is, without sentimentalizing or idealizing it. Realistic writing often depicts the everyday life and speech of ordinary people. This has led, sometimes, to an emphasis on sordid details.Spenserian stanza史宾塞体:A nine-line stanza with the following rhyme scheme: ababbabcc. The first eight lines are written in iambic pentameter. The ninth line is written in iambic hexameter and is called an alexandrine.Gothic Novel哥特式小说:A story of terror and suspense usually set in a gloomy old castle or monastery..Modernism现代主义:refers to a form of literature mainly written before WWII. It is characterized by a high degree of experimentation. It can be seen as a reaction against the 19th century forms of Realism. Modernist writers express the difficulty they see in understanding and communicating how the world works. Often, Modernist writing seems disorganized, hard to understand. It often portrays the action from the viewpoint of a single confused individual, rather than from the viewpoint of an all-knowing impersonal narrator out side the action. One of the most famous English modernist writers is Virginia Woolf.Stream-of-consciousness意识流文学A literary method of representing mental process in fictional characters, usually in the form of interior monologue.English Romanticism浪漫主义is a revolt of the English imagination against the neoclassical reason.•The romanticists express a negative attitude towards the existing social or political conditions.•They place the individual at the center of art, as can be seen from Lord Byron‘s Byronic Hero. The key words of English Romanticism are nature and imagination.•English Romantic tends to be nationalistic, defending the greatest English writers. They argue that poetry should be free from all rules.Antithesis对偶: (a figure of speech) The balancing of two contrasting ideas, words phrases, or sentences. An antithesis is often expressed in a balanced sentence, that is, a sentence in which identical or similar grammatical structure is used to express contrasting ideas.Iamb抑扬格: It is the most commonly used foot in English poetry, in which an unstressed syllable comes first, followed by a stressed syllable.Spondee扬扬格: It consists of two stressed syllables.h eroic couplet 英雄双韵体:a verse unit consisting of two rhymed lines in iambicpentametersonnet(十四行诗):form of poetry intricately rhymed(间隔押韵) in 14 lines iambic pentameterBlank verse 无韵诗:is poetry written in unrhymed iambic pentameter. Androgyny雌雄同体:London1).描述的画面The poem has four stanzas, and each line has ten syllables. Every stanza has double rhyme. For example, the first stanza has two foots, ‘|i:| and |ou|’. It uses some rhetoric methods in the poem, just like trope, parallelism, and metaphor. The three ‘in every’ are obvious parallelism in the second line. In the third line, Blake used hyperbole, antitheses and metaphor. The miserable chimney-sweeper contrasts the bright church. The soldier contrasts the palace walls.2)表达的情感the author shows his love and sympathy to the poor and weakness. London’, which had been written in 1794 is a lyric. At the time, the Britain had been capitalism for centuries. The society became more decayed as the time past. For express the dissatisfaction to the society, the author wrote the poem. Blake opened out the reality that the society moldered day by day. The distance between rich and poor were larger and larger. More and more inequable things happened in the daily lives. It seems that people lost the hope for the future. Blake used a technique as montage to write the different angles of the society. As the fast change of the scene, the poem shows up a real British society to readers. 3)如何表达的?In the first paragraph, the last sentence tells readers that the decayed society will be destroyed eventually.Blake used the words skillfully. For instance, the word ‗chartered‘ means that a street or a river only owned by rich men and nobles. He just used a word to describe a hierarchical society that poor man has not the right to walk on the chartered street or see the river—Thames. Then he used three ‗mark‘. The first ‗mark‘ is a noun, the other two ones are verb. It depicts the weak and woeful people in the street visually. In the last line, Blake used the word ‗blast‘ to describe how harmful ‗the youthful harlot's curse‘ to the baby. It gives readers a consuming feeling that the curse will destroy all the things thoroughly.A room of one’s own1) 主题是如何呈现的?In Part1, the position of women indicated in History of England by Trevelyan is that should obey the parents‘ wish, Betrothal in the cradle and No right to choose their own husbands. In part 2 and part3, the author makes a comparative analysis ofWomen‘s Position: imaginatively – practically; in fictions – in fact; in literature – in real life. In the part4, the author makes a comparative analysis of Shakespeare and his supposed sister. In the part5, the author posts a question why couldn‘t a genius woman in Shakespeare‘s day make achievement? I n the part6, the author gives an answer to the question: What would happen to women born with a great gift in the 16th century? The author express her emotion step by step.2)修辞devise:1.Metaphors and Symbolisms. There are many metaphors and symbolisms inthe book, for example, the title of the book—A Room of One’s Own suggests the material needs and spiritual needs of a woman to write. They formed the expression for woman’writing and imply the feminism.2. 1. First person—―I‖. The unnamed female narrator is the only major character in the book. Here then was I (call me Mary Beton, Mary Seton, Mary Carmichael or by any name you please—it is not a matter of any importance) sitting on…”3)特殊的写作技巧1. Stream-of-consciousness technique.2. Androgyny雌雄同体. “ …it is fatal for anyone who writes to think of theirsex. It is fatal to be a man or woman pure and simple; one must be woman-manly or man-womanly. ”3. Semi-fictional narrative style. For instance, the figure of Judith Shakespeare isgenerated as an example of the tragic fate a highly intelligent woman would have met with under those circumstances. Eg.1 " That, more or less, is how the story would run, I think, if a woman in Shakespeare's day had had Shakespeare's genius.“David CopperfieldThrough so much difficulties and troubles in David‘s life, he became steady in his adulthood. In his profession, his love and his friendship, David all found his best answers. He lived with stability and maturity in his mind. Regarding his career, David went on along a right road. He took to the literature and had fun in what he did. David became more and more confident with the success in his career. David knew that his dream came true by his year‘s hard work. And after his ―child wife‘‘died, David decided to give his most sincere love to Agnes, his ―good angel‖. She was the source of every worthy aspiration, the center of his life and the right person he founded his love on a rock. With Anges‘love and guide, David would make his life better and come more mature and steady in his life.Vanity FaireBeckyThe mind of Becky is changeable. Becky is a pretty clever and well-behaved girl. Unfortunately, her parents died when she was young. She tasted the taste of poverty in her childhood, and was looked down upon at school. After leaving school, she determined to control her own destiny getting out of trouble. Her first plan was attempting to marry Joseph but failed. Then Rebecca took a position as governess at Queen‘s Crawley and married Rawdon Crawley. In order to be a woman in the upperclass, she tried to earn money by any kind of means, free riding or adventure. After being several times failures and disgrace, she was still unknown to the public in Britain. According to the life experiences of Rebecca, we can easily know that her desire of being wealth is complicated and changeable. However, we can‘t judge Rebecca is a good girl or not, she just is the typical of female adventurer among the early 19th century in Britain.Wuthering HeightsHeath cliffThe mind of Heath cliff is quite changeable. At first, he was kind be thankful. Although he was maltreated by Hindley, his love to Catherine makes him hopeful and happy. After Catherine married Edgar Linton, he revenged almost everyone in the Wuthering Heights. He left Wuthering Height and came back several years. He married Isabella and then tormented she by captivated her at the Wuthering Heights; he adopted Linton Heathcliff, son of Hindley, and cultivated him into a barbarian; he also let Kate , Catherine‘s daughter, married his little son in order to make them hate each other. At the end of the story, he gave up revenge and become kind again because he found that Kate and his son were fall in love with each other which reminded his memory of being love with Catherine. He didn‘t want to revenge anymore; the only thing he wanted to do is meeting Catherine again in the heaven. He lost his life with rage to the world at the end.Tess of d‘ UrbervillesTess’s characters ——an inner factor that causes her tragedyTess is a pure girl with simple, strong, diligent, virtuous, and staunch characters. What‘s more, she is conservative. All of these characters of Tess lead to her tragedy directly. Tess is a very obedient girl. Whatever her parents say, she always obeys. Tess‘ sense of responsibility plays a central role in tragedy.She thinks she has the responsibility to her family, especially after the death of the horse Prince and her father. Seeing the difficult life burden of her mother, brothers and sisters, Tess again and again turns to Alec for help despite of her own unwillingness.Minds of loveTess is undivided and insistent for her love. She is pure to her love as well as the life. So strong is the girl‘s love for Angel, and so powerful her hatred for Alec, that she kills him. Tess loves Angel most. She is even willing to devote her life to him. Tess‘s insist of love plays a central role in the ruination of her fate.。