英国浪漫主义文学教学文案

研究生文学教案：英国浪漫主义诗歌一、引言英国浪漫主义诗歌是文学史上的重要流派之一，起源于18世纪末期至19世纪初期的英国。

它代表着对理性主义和工业革命带来的现实世界改变的反抗，以追求自然、个人情感和超越凡俗的灵魂体验为特点。

本文档将为研究生提供关于英国浪漫主义诗歌的全面教学资源。

二、背景知识1.浪漫主义运动的背景和起源–工业革命及其影响–法国大革命及其影响2.浪漫主义在文学领域的发展–文学理论与审美观念变化–前浪漫主义作家与先驱人物三、重要作家与作品1.威廉·华兹华斯 (William Wordsworth)•代表作品介绍（例如《遐想》）•主要创作风格与特点2.山缪尔·泰勒·柯勒律治 (Samuel Taylor Coleridge)•代表作品介绍（例如《古老水手》）•主要创作风格与特点3.乔治·戈登·拜伦 (George Gordon Byron) •代表作品介绍（例如《唐璜》）•主要创作风格与特点4.约翰·济慈 (John Keats)•代表作品介绍（例如《至臻之诗篇》）•主要创作风格与特点四、主题与形式分析1.自然主题的重要性及描写技巧–自然景观的塑造和美化–自然与人类情感的关系2.启示性主题的探索–直觉和灵感源泉的追寻–神秘主义与奇幻元素的应用3.抒情诗与叙事诗对比分析–表达情感和个人体验的抒情诗–讲述故事和描述事件的叙事诗五、社会及文化背景探究1.浪漫主义在当时社会中的意义和影响2.浪漫主义对后世文学及其他艺术形式的影响六、教学资源1.选读材料推荐和文本分析2.研究性论文选题指南和写作技巧3.相关研究课题和研究领域介绍结论英国浪漫主义诗歌是一个充满魅力和独特性的文学流派，它对后世文学产生了深远影响。

通过本教案的学习，研究生将更深入地理解浪漫主义时期的社会背景、重要作家与作品，并掌握分析浪漫主义诗歌的方法与技巧。

这些知识将为他们在相关领域进行进一步的研究奠定坚实基础。

英国文学教案教案标题：探索英国文学的魅力教案目标：1. 了解英国文学的历史和发展，培养学生对英国文学的兴趣和欣赏能力。

2. 探索英国文学作品中的主题、情感和文化内涵，提高学生的文学素养和批判性思维能力。

3. 培养学生的阅读和写作能力，通过分析和讨论文学作品，提升学生的语言运用能力。

教案步骤：引入：1. 利用图片、视频或音频等多媒体资源，引起学生对英国文学的兴趣。

例如，播放一段莎士比亚的戏剧表演或展示英国文学名著的封面。

主体：2. 介绍英国文学的历史和发展。

通过讲解英国文学的不同时期和代表作品，让学生了解英国文学的演变和特点。

可以使用时间线、图表等可视化工具，帮助学生更好地理解和记忆。

3. 选取代表性的英国文学作品进行分析和讨论。

根据学生的学习阶段和英语水平，选择适合的文学作品。

例如，初中阶段可以选择简短的诗歌或短篇小说，高中阶段可以选择莎士比亚的戏剧或狄更斯的长篇小说。

4. 阅读和理解文学作品。

引导学生通过阅读和讨论来理解文学作品的主题、情感和文化内涵。

可以组织小组讨论或角色扮演活动，激发学生的思维和表达能力。

5. 提高学生的写作能力。

根据学生的学习阶段，设计不同类型的写作任务，如书评、读后感或创作短篇故事。

通过写作活动，培养学生的语言表达和思维逻辑能力。

总结：6. 总结英国文学的重要性和魅力。

通过回顾学生的学习成果和经验，强调英国文学对世界文化的影响和贡献。

可以邀请学生分享自己的感悟和体会，进一步激发学生对英国文学的兴趣。

评估：7. 设计评估任务，检查学生对英国文学的理解和掌握程度。

可以包括选择题、填空题或写作任务等形式，确保学生对教学内容的掌握和运用能力。

延伸活动：8. 提供延伸阅读和探究的机会。

推荐学生阅读更多的英国文学作品或了解更多英国文学的相关知识。

可以组织文学俱乐部、写作比赛等活动，激发学生对英国文学的深入探索和研究。

教案资源：- 英国文学作品的选段或摘录- 多媒体资源，如图片、视频或音频- 时间线、图表等可视化工具- 学生练习册或工作纸- 评估任务的题目和答案教案评估：- 学生参与度和表现- 学生对英国文学的理解和掌握程度- 学生的写作能力和语言运用能力- 评估任务的完成情况和质量教案指导：- 针对不同年级和学习阶段的学生，适当调整教学内容和难度。

《拜伦诗集》中的浪漫主义与情感表达教学方案1. 引言1.1 概述本篇长文旨在探讨《拜伦诗集》中的浪漫主义与情感表达教学方案。

浪漫主义是十九世纪欧洲文学和艺术领域中一股独特而强烈的思潮，强调个人内心情感体验、人类创造力和不受限制的想象力。

而拜伦诗集则是英国浪漫主义时期最重要的代表之一。

通过深入分析拜伦诗集中的浪漫主义元素以及与情感表达的关系，我们可以更好地设计与实施情感表达教学方案，提升学生对于浪漫主义文学的理解和情感体验。

1.2 文章结构本文将按照以下结构进行阐述：首先，在第二部分中，我们将定义并描述浪漫主义的特点，并通过具体分析拜伦诗集中的浪漫主义元素来进一步探讨其内涵。

接着，在第三部分中，我们将详细设计情感表达教学方案，制定教学目标，并根据选材原则选择合适的教材。

此外，还将探讨教学内容的安排和教学方法的选择，以及建立教学评价与反馈机制。

然后，在第四部分中，我们将讨论教学方案的实施步骤和时间安排，并确定学生参与度和学习成效的评估指标。

最后，我们将分析并总结教学效果，提出经验教训。

最后，在第五部分中，我们将总结拜伦诗集中的浪漫主义与情感表达教学方案的意义和价值，并展望未来研究方向及改进措施。

1.3 目的本文旨在通过研究浪漫主义诗歌作品以及设计情感表达教学方案，促进学生对于浪漫主义文学与情感表达之间关系的理解和欣赏。

同时，通过实施该教学方案并评估其效果，为今后类似领域的研究提供经验借鉴，并为改进和创新提供思路。

通过本篇长文的撰写与分享，希望能够激发更多教育工作者对于浪漫主义文学与情感表达教育重要性的关注，并不断推动相关研究和实践工作的发展。

2. 拜伦诗集与浪漫主义2.1 浪漫主义的定义与特点浪漫主义是一种文学和艺术运动，起源于18世纪末至19世纪初的欧洲。

它强调情感、个人自由、想象力和对自然的热爱。

浪漫主义追求超越现实生活的理想境界，注重个体内心世界的表达和关注，具有情感上的激情、矛盾性和反传统的倾向。

拜伦诗选浪漫主义教案教学设计导言：浪漫主义是19世纪欧洲文学艺术的重要潮流，其核心价值观包括追求自由、个人感受和对自然的崇拜。

而拜伦是浪漫主义诗歌中的一位杰出代表，他的诗作反映了个人情感、英雄主义和对古代历史的热爱。

本教学设计旨在通过拜伦诗选的学习，帮助学生深入了解浪漫主义文学的特点并培养其文学鉴赏能力和创造力。

一、教学目标1. 知识目标- 了解浪漫主义文学的定义和主要特点。

- 熟悉拜伦的生平和主要作品。

- 掌握拜伦诗选中几首重要诗作的主题和意义。

2. 能力目标- 培养学生对浪漫主义文学的鉴赏能力，理解和感受其中包含的情感和意境。

- 提高学生的文学创造能力，鼓励他们运用浪漫主义元素创作自己的诗歌或故事。

3. 情感目标- 培养学生对自由、个人感受和自然的崇尚精神，提高他们对美的认知和追求。

二、教学内容和步骤1. 拜伦和浪漫主义的简介（10分钟）- 学生通过课前阅读或互联网搜索等途径了解拜伦和浪漫主义的基本背景。

- 老师简要介绍拜伦和浪漫主义的定义以及拜伦在浪漫主义文学中的地位。

2. 拜伦诗选的选读（30分钟）- 老师选择拜伦的几首代表作进行详细解读，例如《奇异的江湖》、《唐璜》等。

- 老师结合诗歌的内容和背景，引导学生理解其中蕴含的浪漫主义情感和思想。

- 学生通过阅读、分析和讨论，深入挖掘诗歌中的意义，并将其与浪漫主义思想联系起来。

3. 分组讨论与展示（25分钟）- 将学生分成小组，每个小组选择一首拜伦的诗歌进行深入研究。

- 学生在小组内讨论，分析诗歌的主题、情感以及与浪漫主义相关的元素。

- 每个小组派代表进行展示，向全班分享他们的研究成果。

4. 创作实践环节（30分钟）- 学生以拜伦诗选的浪漫主义元素为灵感，进行小型创作实践。

- 学生可以选择写一首浪漫主义风格的诗歌，或者创作一个故事，表达浪漫主义情感和思想。

- 老师在学生创作过程中给予指导和建议，鼓励他们大胆发挥创造力。

5. 作品分享与总结（20分钟）- 学生将自己的创作作品进行朗读或展示，并分享创作背后的灵感和意义。

《英国文学选读》教案一、教学目标1. 让学生了解英国文学的发展历程和重要作家及其作品。

2. 通过阅读和分析英国文学作品，提高学生的文学鉴赏能力和批判性思维能力。

3. 增进学生对英国文化和社会的了解，培养跨文化交际能力。

二、教学内容1. 英国文学的起源和发展历程2. 重要作家及其代表作3. 英国文学的主要流派和特点4. 文学作品的批判性分析方法5. 英国文化和社会背景知识三、教学方法1. 讲授法：讲解英国文学的发展历程、重要作家及其作品，介绍文学流派和特点。

2. 阅读法：学生自主阅读文学作品，提高文学鉴赏能力。

3. 讨论法：分组讨论文学作品，培养学生的批判性思维能力。

四、教学评估1. 课堂参与度：评估学生在讨论和提问中的表现，考察学生的积极性和主动性。

2. 阅读笔记：检查学生的阅读笔记，评估学生的文学鉴赏能力和批判性思维能力。

3. 文学评论：评估学生的文学评论写作能力，考察学生对英国文学的理解和分析能力。

五、教学安排1. 第一周：讲解英国文学的起源和发展历程，介绍重要作家及其代表作。

2. 第二周：学习英国文学的主要流派和特点，阅读经典文学作品。

3. 第三周：运用批判性分析方法，深入探讨文学作品的主题和意义。

4. 第四周：了解英国文化和社会背景知识，分析文学作品与时代背景的关系。

六、教学资源1. 教材：《英国文学选读》教材，提供全面的文学作品和背景知识。

2. 参考书目：提供相关的参考书目，供学生进一步阅读和拓展知识。

3. 网络资源：利用互联网查找相关的英国文学资源，如文学评论、作家生平介绍等。

4. 视听资料：播放相关的文学作品的朗读或电影改编，增强学生的直观感受。

七、教学活动1. 文学作品阅读：学生自主阅读教材中的文学作品，了解作品的情节和主题。

2. 课堂讨论：分组进行讨论，分享对文学作品的理解和感受，提出问题和建议。

3. 文学分析：运用批判性思维方法，深入分析作品的语言、形象、情节等方面。

5. 文学演讲：学生选择一部喜欢的文学作品，进行演讲，分享对该作品的理解和欣赏。

英国文学教案教案标题：探索英国文学的精华教学目标：1. 介绍英国文学的历史和发展，培养学生对英国文学的兴趣和理解。

2. 培养学生的阅读和分析能力，提高他们的文学素养。

3. 帮助学生发展批判性思维和创造性表达能力。

教学内容：1. 英国文学的历史概述：从中世纪到现代，介绍英国文学的不同时期和代表作品。

2. 重要的英国文学作家和作品：包括莎士比亚、狄更斯、奥斯汀等。

3. 文学风格和主题：探讨英国文学的不同风格和主题，如浪漫主义、现实主义等。

4. 文学分析技巧：引导学生学习如何分析文学作品的结构、语言运用和主题表达。

5. 文学创作实践：鼓励学生进行文学创作，如写作短篇小说、诗歌或戏剧。

教学步骤：1. 导入：通过展示英国文学名著的封面或摘录，引起学生对英国文学的兴趣，并提出本节课的主题和目标。

2. 知识讲解：简要介绍英国文学的历史概述，重点强调不同时期和作家的代表作品。

3. 小组讨论：将学生分成小组，让他们选择一个英国文学时期或作家进行深入研究，并分享他们的发现。

4. 文学分析活动：选择一篇经典的英国文学作品，引导学生分析作品的结构、语言运用和主题表达。

5. 创作实践：鼓励学生选择一个他们喜欢的英国文学作品的场景或角色，写作一个短篇小说、诗歌或戏剧。

6. 学生展示：学生展示他们的文学分析和创作成果，并进行同伴评价和讨论。

7. 总结：回顾本节课的学习内容和目标，鼓励学生继续探索和阅读英国文学作品。

教学资源：1. 英国文学作品选集和教材2. PowerPoint演示或投影仪3. 小组讨论指导问题4. 文学分析工具和模板5. 创作指导材料和范例评估方式：1. 学生的小组讨论和分享活动，评估他们对英国文学时期和作家的了解程度。

2. 文学分析活动中，评估学生对文学作品结构、语言运用和主题的分析能力。

3. 创作实践中，评估学生的创造性表达和对英国文学风格的理解。

4. 同伴评价和讨论，评估学生对他人作品的理解和批判性思维能力。

英国⽂学课件新古典主义——浪漫主义Chapter 12 John MiltonParadise Lost（completed in 1667. In 1674, he published the final version of the epic. 12 books）Type of Work：Paradise Lost is an epic poem which —like the epic poems of Homer, Dante, Vergil, and Goethe—tells a story about momentous events while incorporating grand themes that are timeless and universal. Sources：Milton used the Bible, Homer's Iliad and Odyssey, Vergil's Aeneid, and the stories in Greco-Roman mythology as sources of information and as writing models. The Bible's Book of Genesis is the main source for his retelling of the story of creation and the first humans, Adam and Eve.Settings：The settings are heaven, hell, the firmament (苍穹) (Chaos), and earth.Characters：God the Father, God the Son: (trinity)Two of the three divine persons making up the all-powerful Godhead, the single deity（神性）that created and ruled all that exists outside of itself. The third divine person, the Holy Spirit, does not play a role in Paradise Lost. God the Father is portrayed as just but merciful, condemning (批判) the defiant （⽬中⽆⼈）and unrepentant (不后悔的) rebel angels but permitting redemption of the repentant Adam and Eve. God the Son volunteers to redeem them by becoming human and enduring suffering and death.Satan (Lucifer, Archfiend): Powerful and prideful angel who, with legions (众多的) of supporters, leads an unsuccessful rebellion against God and suffers eternal damnation. T o gain revenge, he devises a plan to corrupt God's newly created beings, Adam and Eve, through deceit. Modern readers often admire him for his steely defiance (藐视). He would rather rule in hell, he says, than serve in heaven. It was not Milton's intent, however, to create an admirable character; rather his intent was to create a character of colossal (巨⼤的) hatred — loathsome (令⼈讨厌的), execrable (恶劣的), incurably remorseless (冷酷⽆情的).Adam and Eve: The first human beings, created by God to fill the void（真空）that resulted when God cast Satan and his supporters out of the celestial realm. Adam and Eve live on the planet earth in utter happiness in a special garden where spring is the only season and love and godly living prevail. Though they have all that they want and need, cunning Satan tells them they can have knowledge and status beyond their reach if only they eat of the fruit of the Tree of Knowledge. Eve can become a goddess, he says. Vanity overtakes her. She eats. Adam reluctantly does the same.Gabriel, Raphael, Michael, Uriel: Powerful and fearless angels on the side of God.Beelzebub, Mammon, Belial, Moloch: Powerful leaders in Satan's army. In a great council in hell, each of them speaks his mind on what policy devil-kind should follow after losing paradise. Should they make a new war? Should they make peace?Ithuriel, Zephron: Angels who expel Satan from the Garden of Eden with the help of a sign from God. Satan returns to the garden later to complete his devious enterprise.Mulciber: Fallen angel who designs hell's capital city and seat of government, Pandemonium. In ancient Roman mythology, Mulciber is another name for Vulcan (Greek: Hephaestus), god of fire and the forge. As a blacksmith, he kept shop in burning mountains (volcanoes).Sin: Daughter of Satan. She was born from his head in the manner of Athena, Greek goddess of wisdom and war, who sprang from the forehead of Zeus, king of the gods.天动说的design rather than the Copernican design (哥⽩尼式设计). The former placed earth at the center of the solar system, with the sun and other celestial bodies orbiting it. Copernicus and other scientists later proved that the earth orbits the sun. Milton was aware of the Copernican theory, but he used the Ptolemaic design—either because he believed it was the more credible theory or because he believed it would better serve his literary purpose. In Paradise Lost, Adam inquires about the movements of celestial bodies—in particular, whether earth orbits the sun or vice versa—in his conversation with the archangel天使Raphael, but Raphael gives no definite answer. Raphael may have been speaking for Milton.Style and Verse FormatMilton wrote Paradise Lost in dignified, lofty, melodic English free of any colloquialisms and slangs that would have limited the work's timeliness and universality. The format, Milton says in an introductory note, is "English heroic verse without rhyme"—in other words, blank verse, the same verse form used by Shakespeare in his plays. Milton's strong religious faith infuses the poem with sincerity and moral purpose, but he does not allow his enthusiasm for his subject to overtake control of his writing. Though Milton frequently uses obscure allusions to mythology and history, as well as occasional difficult wordsand phrases, his language is never deliberately affected or ostentatious炫耀的. What is more, it does not preach and does not take the reader on circumlocutory迂回的expeditions. Like a symphony composer—mighty Beethoven, for example —Milton is always in control, tempering his creative genius with his technical discipline.With a good dictionary and an annotated有注解的text, a first-time reader of Milton can easily follow and understand the story while developing an appreciation for the exquisite writing.Epic ConventionsIn Paradise Lost, Milton used the classical epic conventions—literary practices, rules, or devices established by Homer that became commonplace in epic poetry. Some of these practices were also used in other genres ofliterature. Among the classical conventions Milton used are the following:(1) The invocation 祈祷of the muse, in which a writer requests divine help in composing his work.(2) Telling a story with which readers or listeners are already familiar; they know the characters, the plot, and the outcome. Most of the great writers of the ancient world—as well as many great writers in later times, including Shakespeare—frequently told stories already known to the public. Thus, in such stories, there were no unexpected plot twists, no surprise endings. If this sounds strange to you, the modern reader and theatergoer, consider that many of the most popular motion pictures today are about stories already known to the public.(3) Beginning the story in the middle, a literary convention known by its Latin term in media res资源(in the middle of things). Such a convention allows a writer to begin his story at an exciting part, then flash back to fill the reader in on details leading up to that exciting part.(4) Announcing or introducing a list of characters who play a major role in the story. They may speak at some length about how to resolve a problem (as the followers of Satan do early in Paradise Lost).(5) Conflict in the celestial realm. Divine beings fight and scheme against one another in the epics of Homer and Vergil, and they do so in Paradise Lost on a grand scale, with Satan and his forces opposing God and his forces. (6) Use of dramatic irony. Dramatic irony is a literary device in which a character in a story fails to see or understand what is obvious to the audience or readers. Dramatic irony appears frequently in the plays of the ancient Greeks. ImageryMilton's imagery is at times graceful and elegant, as in this memorable personification in Book 6 [Waked by the circling hours, with rosy hand Unbarred the gates of light. (lines 2-4)]At other times, the imagery is imposing and awe-inspiring, as in this description in Book 7In Book 8, Milton describes the commission of the first sin in simple, straightforward language, followed by a succinct personification summing up the terrible effects of the iniquityMilton also uses personification in Book 4 in this beautiful passage about a quiet night, the starry sky, and the ascendancy of the moonEnjambment跨⾏连续Milton uses frequently uses enjambment (also spelled enjambement) in the poem. It is a literary device in which a poet does not complete his sentence or phrase at the end of one line but allows it to carry over to the next line. Milton's use of enjambment helps the poem flow from one line to the next.Of man's first disobedience, and the fruitBrought death into the world. . .(Book 1, lines 1-3)Of that forbidden tree, whose mortal tasteMain ThemeIn Book 1 of Paradise Lost, Milton reveals the central theme of the work: to justify the ways of God to man. Justify here means to explain and defend, and ultimately to vindicate澄清, God’s course of action in dealing with Adam and Eve after they succumbed to the temptation of Satan and ate forbidden fruit.Other ThemesInordinate 过度的pride: It leads to Satan's downfall and his continuing defiance of God.Envy: Arising from Satan's pride, it makes him jealous of God the Son, who is the favorite of God the Father. Revenge: It motivates Satan to corrupt Adam and Eve and thereby subvert God's plans.Vanity: It leads Eve to believe—under the temptation of Satan—that she can become godlike.Deceit: Satan appears in many disguises and tells many lies during his mission to trick Adam and Eve.Infidelity: Adam betrays God by siding with Eve and eating the forbidden fruit.Unbridled 不受约束的pursuit of knowledge: It leads Adam and Eve to seek knowledge beyond their ken, knowledge that will make them godlike.Volition意志: Angels and humans alike possess free will, enabling them to make decisions. Satan freely chooses to rebel against God, and Adam and Eve freely choose to eat forbidden fruit. The consequences of their actions are their own fault, not God's. Milton uses this theme to help support the central theme, "to justify the ways of God to man."Disobedience违抗: All sins are acts of disobedience against God, impairing or cutting off the sinner's relationship with God. Adam and Eve and all of the devils disobey God through their sins.Loyalty: Loyalty to God and his ways are necessary for eternal salvation. Loyalty requires obedience. All of the good angels exhibit loyalty.Repentance悔悟: Even though Adam and Eve have disobeyed God, their repentance makes them eligible for eventual salvation.Hope: At the end of Paradise Lost, Adam and Eve enter the imperfect world with hope; they can yet attain eternal salvation. Redemption赎回: Through the suffering and death of the Son of God, sinful man can reconcile himself with God if he is sincerely sorry for his sins.ClimaxThe climax, or turning point, of Paradise Lost occurs when Adam and Eve succumb to Satan's temptations and eat the forbidden fruit. This act of disobedience results in their downfall and eviction from Paradise.What Is an Angel?An angel is a supernatural being that serves God by praising and adoring Him and by carrying out special missions that assist humans. Angels have the additional task of opposing and punishing devils. Devils are angelscast out of heaven because they rebelled against God. The word angel derives from the Greek word angelos, meaning messenger. The major western religions—Christianity, Judaism, and Islam—all accept the existence of angels. The rank of angels from highest to lowest is as follows:1. Seraphim (Seraph)2. Cherubim (Cherub)3. Thrones4. Dominations5. Virtues6. Powers7. Principalities8. Archangels9. AngelsChapter 13 The Seventeenth-Century Prose2007-11-12 13:53I. Bible1. The Bible is the name given to the revelation of God to man contained in sixty-six books or pamphlets, bound together and forming one book.2. The Books of the Bible：Old Testament（39 Books, written in the Hebrew language between 1400 and 400B.C. ）About the creation of the world, the origin of the Jewish people, its history, religion, law, and poetry. New Testament（27 Books, written in the Greek language between 40 and 100 A.D.）About Jesus Christ’s life, his deeds and teachingsSon of an important official / Studied law, became a barrister and entered House of Commons, legal advisor to Elizabeth I / Attorney General and Lord Chancellor under James I; forced out of office in 1621 / Retired to his estate to write and study / Tried to convince Elizabeth I and James I to embrace natural philosophy as statecraft2. Major WorksEssays (1594)The Advancement of Learning (1605) Great Instauration and Novum Organum (1620) New Atlantis (posthumous)3. Important Baconian ideas●Reliance on the evidence of the senses and instruments●Progress through technology●Technological transformation of nature to make it useful to humanity●State Institutions of science: institutes, centralization, technocratic expertise4. Bacon’s Essays●Essay as a form of literature, the essay is a composition of moderate length, usually in prose, which deals in aneasy, cursory way with the external conditions of a subject, and, in strictness, with that subject, only as it affects the writer. The essay was invented by Montaigne.●Bacon’s essaysBacon offers his views on a whole smorgasbord of topics ranging from Truth, Death,' Adversitie', Marriage & the single life, Love, Boldness, Superstition, Friendship, Health, Ambition, Youth, Beauty to Anger & Fame.Features of Bacon’s essays●Bacon’s essays are the first example of that genre in English lit erature and have been recognized as animportant landmark in the development of English prose. The essays are famous for the pithy aphoristic style, which he had defended in principle in The Advancement of Learning as proper for the expression of tentative opinions.●There is an obvious stylistic change in the Essays. The sentences in the first edition are charged and crowdedwith symmetries. They are composed in a rather affected way. However, the final edition not only enlarges the range of theme, but also brings forth the looser and more persuasive style.●The essays are well arranged and enriched by Biblical allusions, metaphors and cadences. In general, Bacon’s literary style is noted for three prominent qualities: directness, terseness, and forcefulness.II. John Bunyan (1628-1688)1. Life and CareerHad very little schooling, but abnormally active imagination with dreams and fears of devils and hell-fire / Worked in the tinker's trade / Served in the parliamentary army / Married in 1649 / Joined a non-sectarian church / Was arrested and imprisoned for making illegal preaching in the surrounding villages / Wrote Pilgrim’s Progress in Prison2. Points of View●Religiously, a devout Christian, and a firm non-conformist of the Anglican Church, he believed that man’s final salvation could be achieved only by one’s own spiritual struggle.●Politically, with a deep hatred for the corrupted, hypocritical rich, he condemned oppression, falsehood,indulgence in pleasure seeking and many other vices of the money-corrupted upper class, but eulogized the truth-seeking Christian.3. The Pilgrim's Progress(1) Story : A tale of adventure on a perilous path, encountering giants, wild beasts, hobgoblins, etc. The tale based on human experience: e.g. the moving account of his death with Hopeful(2) Major charactersChristian Faithful Hopeful Giant Despair Ignorance Christiana(3) Major theme:●Spiritual salvation for mankind●The cost of salvation●The road to salvation is difficult and lonely ●Salvation is attainable by all who seek it. ●To grow in holiness is a daily battle, in which therewill be setbacks and encouragements, but which isa battle worth fighting(4) The basic metaphor: Life is a journey.●"Everyone sojourning in the flesh is passing through this earth to a mysterious state of future bliss .... thePilgrim's progress is toward no earthly destination.―●The journey is from this world to the next world.●Pilgrim, one who strives to obtain salvation of their soul through a physical journey in which love for God, and notlove for material things, drives them.●Pilgrimage: the journey to a distant sacred goal; it is found in all the great religions of the world. It is a journeyboth outwards to hallowed places and inwards to spiritual improvement; it can express penance for past evils, or the search for future good; the pilgrim may pursue spiritual ecstasy in the sacred sites of a particular faith, or seek a miracle through the medium of God or a saint.●Johnson praised John Bunyan highly. "His Pilgrim's Progress has great merit, both for invention, imagination,and the conduct of the story; and it has had the best evidence of its merit, the general and continued approbation of mankind. Few books, I believe, have had a more extensive sale. It is remarkable, that it begins very much like the poem of Dante; yet there was no translation of Dante when Bunyan wrote. There is reason to think that he had read Spenser."(5) Special features●The most successful religious allegory in English language●Vivid characterization: Travelers who represent states of the soul, or moral attitudes●Style: Modeled on the prose style of the English Bible; Simple diction; colloquial expressions; andstraightforward sentence structuresIII. John Dryden (1631-1700)1. Life and CareerBorn in a country g entry’s family / Received his education at Cambridge / Shifted to the royalist side after Restoration / Became a prominent poet, dramatist, and critic in his time2. Major WorksAbsalom and AchitophelAntony and Cleopatra: All for LoveAn Essay of Dramatic Poesy3. Influence on Literature●Dryden is the ―lock by which the waters of English poetry were let down from the mountains of Shakespeare andMilton to the plain of Pope.‖●His satire exerted a fruitful influence on the most brilliant verse satirists of the next century.●As a prose writer, Dryden had a very marked influence on English literature in shortening his sentences, andespecially in writing naturally, without depending on literary ornamentation to give effect to what he is saying.Primarily focusing on drama, the poetry of plays, he creates a dialogue between poet/critics of He chooses to review the existing, generally accepted conventions and decide in what respects they are being followed, or whether they should be followed by English writers.Chapter 14 Introduction to the 18th centuryI. Introductory Remarks:The period (1660-1798) began with the Restoration of Charles II, during whose reign the leading literary figure was John Dryden, with whom the neoclassical literature came into being, and concluded with the death of Samuel Johnson in 1784, the last important advocate of neoclassicism. By Johnson’s death, neoclassicism came to a decline the 18th century. Complacency (self-satisfaction) marked the beginning of the 18th century. The upper classes, in complete control now, wanted no religious enthusiasts and revolutionaries. They believed in reason. This rational approach to social and literary problems have given it the title of ―The Age of Reason‖, while the desire for perfect form which resulted in adaptations of Greek and Latin models has caused it to be called ―The Neoclassic Age.‖1. The Glorious Revolution (1688)1) James II (reactionary rule and ruthless suppression of the Protestant rebellion) / discontent from the bourgeoisie and the aristocracy / Mary and her husband, William were invited to be joint sovereigns of the English throne / James II was forced to abdicate and fled to France in 1688. / This was called the Glorious or Bloodless Revolution in England2) After that England gradually became a constitutional monarchy, and power passed from the king to the parliament and the cabinet.2. Religious ConflictsWith the triumph of the Glorious Revolution, the conflicts were very intense between the Anglican Church and its two adversaries – Protestant Dissenters and Roman Catholics. Finally England was firmly established as a dominantly Protestant nation. In the late 17th century, Deism⾃然神教admitted their belief in a Supreme Being or the God as the creator of the world, but they glorified reason and so rejected the so-called “revealed”religious truth.(reason underlying the so-called “revealed”religious truth)3. The Rapid Expanding of the British Empirethe defeat of the Holland navy; a series of victories over France / the Act of Union of 1707 – Great Britain / from Canada in the west to India in the east / Swift, Burke, Sheridan and Goldsmith (from Ireland); Thomson, Boswell, Hume and Burns (from Scotland).4. The Industrial Revolutionthe discovery of the Laws of Gravitation by Newton; steam engine (James Watt); te xtile machines… / the Enclosure 5. Two-Party Politics (The Tory and the Whig)the Tory (conservative) defended the kingship, the old traditions and the noble country families / the Whig (liberal) sought toincrease the powers of the Parliament and to advance commerce and education.6. Connection between Politics and Literaturepolitical pamphlets / literary men were eager to offer their services in shaping the government7. The American War of Independence and the French Revolution (1789-1794)The century closed, however, with revolutions, exploding in the American colonies and in France. Though these outbursts of revolutionar y movements did not change England’s position as a big industrial and capitalist power, they had the most far-reaching influences upon men’s thoughts and were left most deeply in literature, esp in the literature of the Age of Romanticism which followed.III. Enlightenment启蒙运动and its effects on English literature1. It was a progressive intellectual movement throughout Western Europe in the 18th and Russia in the 19th centuries. The movement was, on the whole, an expression of the struggle of the bourgeoisie against feudalism. The enlighteners fought against class inequality, stagnation停滞, prejudices and other feudal survivals.2. The enlightenment was so called because it considered the chief means for the betterment of the society was the―enlightenment‖ or ―education‖ of the people. In other words they believed in the power of reason and their watchword was ―common sense‖. That is why the 18th century in England has often been called ―the Age of Reason‖. Most of the enlightenment thinkers believed that social problems could not be solved by church doctrines or by the power of God but should be solved with human intelligence.3. Most of the important writers of the 18th century belonged to the enlightenment. In their works these writers criticized different aspects of contemporary England, discussed social problems and the management of the government, and some even partly defended the interests of the exploited laboring masses, the peasants, and the working people in the cities. The literature of the Enlightenment in England mainly appealed to the middle class readers.IV. Neo-Classicism1. Neoclassicism was a reaction against the intricacy 复杂and occasional obscurity晦涩, boldness and the extravagance of European literature of the late Renaissance, and in favor of simplicity, clarity, restraint, regularity and good sense. In England, neoclassicism was initiated by Dryden, culminated in Pope and continued by Johnson.2. The writers were considered neoclassic because they modeled themselves on classical Greek or Latin authors in order to achieve perfect form in literature. The general tendency of neoclassical literature was to look at social and political life critically, to emphasize intellect rather than imagination, the form rather than the content of a sentence.3. Chief characteristics of Neoclassic literature1) The neoclassic writers manifested a strong traditionalism, which was clearly shown in their immense respect for classical writers.2) The neoclassic believed that literature was primarily an ―art‖, which must be perfected by long study and practice. They laid much emphasis on the correct, the appropriate, on restraint and discipline, paid much attention to their style, and respected the established rules of their art.3) The neoclassic regarded poetry as imitation of human life –a mirror up to nature. Emphasis was placed on what human beings possess in common （共性）–representative characteristics, and widely shared experiences, thoughts, feelings and tastes.4) The neoclassic believed that the poet is the maker – the maker of the representative images of human actions and of the world, and the purpose for which he makes this image of life is to teach. In order to teach effectively, he must please the reader by his fictions, and by all the ornaments of language, metrics and rhetoric that belong to his craft. This concept of the nature of the poet inevitably determines the didactic, satirical, artificial and orderly qualities of neoclassicism.5) The neoclassic deduced 演绎rules from the practice of early masters and invented new rules of their own.In drama, they adhered to the three unities of time, place and action, regularity in construction, and the presentation of types rather than individuals.In di ction, they highly regarded ―witty‖ expressions. They preferred the use of artificial and stock diction. ?In poetry, they demanded it to follow the ancient divisions: lyric, epic, didactic, satiric or dramatic, and each class should be guided by its own principles.In versification诗律, the age was famous for its ―closed heroic couplet‖, that is, two rhyming lines of iambic pentameter which contains within itself a complete statement and so is closed by a semicolon, period, question mark, or exclamation point.The neoclassic poetry differs from that of the Elizabethan Age in three ways. First, it is more formal, with its demand to follow exact rules, while the Elizabethans wrote in a more natural style sometimes without regard to rules; second, it is more artificial, polished, prosaic单调的, and dull and lacks the creative vigor of the Elizabethans; third, the chief poetic form of neoclassicism is heroic couplet which replaced the variety of forms in the Elizabethan Age.4. The literature of the Neoclassic Age (1660-1784)1) the first, extending to the death of Dryden in 1700, may be thought of as the period in which English ―neoclassical‖literature came into being and its critical principles were formulated; the second, ending with the death of Pope in 1744 and of Swift in 1745, brought to its culmination the literary movement; the third, concluding with the death of Johnson in 1784 and the publication of William Cowper’s The Task in 1785, was a period in which neoclassical principles gradually petered out 耗尽and were replaced by the Romantic Movement.Chapter 15 The 18th Century PoetryI. Alexander Pope (1688-1744)1. Life StoryBorn in London of a successful merchant’s family, of Roman Catholic faith / weak and crippled from childhood / did not have regular schooling but was taught at home by a priest / his only amusement was reading and writing. He taught himself by reading and translating Latin, French, Italian, and Greek poets, with the help of dictionaries and grammar books. Pope began to write poems when he was only 12.2. His Poems1) the first groupdidactic and philosophical poems, including Essay on Criticism (1711); Moral Essays (1731); An Essay on Man (1734);2) The second group contains his poems of social satires, such as the Rape of the Lock (1714); An Heroic-Comical Poem and The Dunciad3) The third group is composed of his translations of Homer’s Iliad and Odyssey.3. His Influences1) He had a brilliant wit, a sharp critical sense, and a deadly pen. He brought the neoclassicism in England to its climax.2) In his hands, the heroic couplet achieved all the finish, elegance, wit and pointedness which the form invited.3) As a technician in English verse 韵⽂he has never been excelled, and he occupied such a prominent place in the literary world of his time that not infrequently the literary epoch of early 18th century has been named after him as “The Age of Pope”. After his time, esp since the 19th century, Pope has been much criticized and some critics have called him a versifier and not a poet, meaning that he wrote clever and standardized but very mechanical sort of verse which had not flights of poetic imagination. Bla ke summarized him as ―elegant formalism‖. Byron, however, thought highly of him, defended him, and was much under his influence. Nowadays he is rated by some critics as second only to Shakespeare and Milton, and the equal of Wordsworth.II. Thomas Gray (1716-1771)The most scholarly and well-balanced of all the early romantic poets and the most outstanding of the minor poets of the mid-18th century.1. Life StoryBorn in London / educated first at Eton and then at Cambridge / spend 2 years on a grand tour of the European Continent / after graduation he continued to live at Cambridge and was appointed professor at Cambridge.2. His WorksOn Spring;。

一、教学目标1. 了解英国诗歌的发展历程和主要流派。

2. 掌握英国诗歌的基本特点和表现手法。

3. 培养学生对英国诗歌的鉴赏能力和审美情趣。

4. 增强学生的文学素养和语言表达能力。

二、教学内容1. 英国诗歌发展历程简介2. 英国诗歌主要流派及其特点3. 英国诗歌代表作品及分析4. 英国诗歌鉴赏技巧三、教学过程第一课时1. 导入新课- 简述英国诗歌的发展历程，激发学生学习兴趣。

2. 英国诗歌发展历程简介- 古代、中世纪、文艺复兴时期、启蒙运动时期、浪漫派、现代派和现代派之后。

3. 英国诗歌主要流派及其特点- 古典主义、浪漫主义、现实主义、象征主义等。

第二课时1. 英国诗歌代表作品及分析- 以《致华兹华斯》为例，分析雪莱诗歌的特点。

2. 英国诗歌鉴赏技巧- 诗歌的节奏、韵律、意象、象征等。

第三课时1. 课堂讨论- 学生分组讨论英国诗歌的鉴赏技巧，分享各自的理解。

2. 学生自选英国诗歌作品，进行鉴赏和分析。

3. 课堂展示- 学生展示自己的鉴赏成果，教师点评。

四、教学评价1. 课堂参与度2. 学生对英国诗歌的鉴赏能力3. 学生对英国诗歌的审美情趣4. 学生文学素养和语言表达能力五、教学范文《致华兹华斯》讴歌自然的诗人，是你曾经挥着泪，看到事物过去了，就永不复返：童年、青春、友情和初恋的光辉，都像美梦般消逝，使你怆然。

这些我也领略。

但有一种损失，那个你虽然明白，却只有我感到惋惜：你像一颗孤星，它的光芒照耀过一只小船，在冬夜的浪涛里;那个你也曾像一座石彻的避难所，在盲目纷争的人海之中屹立;在光荣的困苦中，那个你曾经吟唱，把你的歌献给真理与只有之神——现在那个你抛弃了这些，我为你哀伤，前后相比，竟自判若二人。

这首诗歌以自然为背景，表达了诗人对逝去美好时光的感慨。

通过描绘自然景象，诗人抒发了对人生、爱情、友情等方面的思考。

这首诗歌具有浪漫主义的特点，充满了诗人的情感和想象力。

总结：本教案通过介绍英国诗歌的发展历程、主要流派、代表作品及鉴赏技巧，旨在帮助学生了解英国诗歌的魅力，提高学生的文学素养和审美情趣。