美国文学THE AMERICAN MODERNISM III

美国文学概论The Outline of American LiteratureI Colonial Period (1607―1765) Colonial Part: American PuritanismII Revolutionary Period (1765―1800) 1 The Great Awakening 2 The EnlightenmentIII The Age of Romanticism (1800―1865) 1 American Romanticism2 New England Transcendentalism 新英格兰超验主义 IV The Age of Realism (1865―1918) 1 Beginning2 Local Colorism 乡土文学3 American Naturalism (1908―1918) V American Modernism (1918―1945)(I)Modern PoetryAmerican Modernism first began in poetry. 3 types of poems: A: Chicago PoetsB: Leading figures in the poetic revolution ---Imagism and New-poetry Movement C: in-between poets1 Great playwright of the 1920s2 playwrights of the 1930s (II) Modern Novels1 Lost Generation----Ernest Hemingway2 The Age of Jazz----F. Scott Fitzgerald3 Literature of Depression4 Literature of the South / the Southern Renaissance5 Other famous novelists in the 1920s6 Female Writers7 Li terary critics: New Criticism“新批评派”8 Black Literature: Harlem Renaissance哈莱姆文艺复兴 (III) American DramaVI Contemporary Literature (1945-- ) (I) Postwar Novels (II) Postwar Dramas (III) Postwar Poetry(IV) Multiethnic LiteratureAmerican LiteratureI Colonial Period (1607―1800) ⅠIntroductionThe period stretches roughly from the settlement of Americans in the early seventeenth century through the end of the eighteenth. The major topic is about American Puritanism, the one enduring influence in American literature. II American Puritanism PuritansEnglish religious and political reformers who fled their native land in search of religious freedom, and settled and colonized New England in the 17th century. They at first wishe d to reform or “purify” their religious beliefs and practices. To them, religion should be a matter of personal faith rather than a ritual. PuritanismPuritanism is the practices and beliefs of puritans. American PuritanismThe Puritans established their own religious and moral principles known as American Puritanism which became one of the enduring influences in American thought and American literature. American Puritanism stressed predestination, original sin, total depravity, and limited atonement (or the salvation of a selected few)from God's grace. With such doctrines in their minds, Puritansleft Europe for America in order to establish a theocracy in the New World. Over the years in the new homeland they built a way of life that stressed hard work, thrift, piety, and sobriety. The main doctrines of American Puritanism1 They accepted the doctrine of predestination, original sin and total depravity. They considered that man was born sinful, was a sinner and could note redeem his original sin.“In Adam’s fall, we all sin.”2 Man did not know whether they could be God’s chosen people, but should live a saint-like life at ordinary times according to God’s will. The Holy Bible was the guidebook to man’s behaviors.3 Puritanism encoura ged people to struggle in their career. If one’s business was booming, it proved that he had gained god’s providence. Puritans meant to prove that they were God’s chosen people, enjoying his blessing on this earth as in heaven.4 Puritans dreamed of living under a perfect order and worked with indomitable courage and confident hope toward building a new Garden of Eden in America, where man could at long last live the way he should.5 Puritans stressed hard work, thrift, piety and sobriety. In people’s daily life, religious activities were a matter of first importance and allothers should serve the religion. Their lives were disciplined and hard. Significant change in the character of American Puritans Practical idealist, doctrinaire opportunistComparison between American Puritanism and Chinese Confucianism Influenceof Puritanism on American literature1 the spirit of optimism bustles out of the pages of many American authors2 symbolism as a technique has become a common practice in the writing of many American authors3 simplicity has left an indelible imprint on American writing Puritanstyle of writingThe style is fresh, simple and direct; the rhetoric is plain and honest, with a touch of nobility often traceable to the direct influence of the Bible. III Literary Scene in Colonial Period(I) form, content and writing style in the literature of the earlycolonial period form: personal literature in its various forms;content: served either God or colonial expansion or both;writing style: imitated and transplanted English literary traditions （II）Two sorts of literary figures in Colonial Period A write for religion(1) Captain John Smith (1580―1631) 约翰.史密斯船长 Led the first group of immigrants in 1607Settled down and established the first British colony―Jamestown Colony A Description of New England 《新英格兰介绍》 The General History of Virginia (2) William Bradford (1590―1675) 威廉.布雷福德 Led Mayflower in 1620 and arrived at Cape Cod Established the Plymouth ColonyOf Plymouth PlantationChapter IV: Showing the Reasons and Causes of their Removal 4 reasons and causes:①Escape religious persecution ②For wealth③For a new and better life④Having “a great hope and inward zeal” to do the spadework for disseminating “the gospel of the kingdom of Christ” in the new world (3)John Winthrop (1588―1649) 约翰.温思罗普Led the first group of Puritans in the Great Immigration in 1630 Captainof AbraThe first governor of the Massachusetts Bay Colony A Model of Christian Charity --manifested the purpose and intention of their journey (4) Anne Bradstreet (1612―1672) 安妮.布雷特兹里特 Passenger on AbraOn the Burning of My House To My Dear and Loving Husband In Reference toMy ChildrenAs Weary PilgrimThe Tenth Muse Lately Sprung Up in AmericaSeveral Poems Compiled with a Great Variety of Wit and Learning, Full of Delight Contemplation(5) Edward Taylor (1642―1729) 爱德华.泰勒 Metrical History ofChristianityGod’s Determinations Touching His Elect: and the Elect’s Combat in Their Conversation, and Coming up to God in Christ Together with the Comfortable Effects ThereofPreparatory Meditations 217首 B write for civil and religious freedom(1) Roger Williams (1603-1683) 罗杰.威廉斯The Bloody Tenet of Persecution for the Cause of Conscience (2) John Woolman (1720-1772) 约翰.乌尔曼 Some Considerations on the Keeping of NegroesA Plea for the Poor The Journal(3) Thomas Paine (1737―1809) 托马斯.潘恩 Common Sense (1776);The American Crisis (Dec. 1776―April 1783); The Rights of Man (1791―92); The Age of Reason (1794―95);(4)Philip Freneau (1752―1832) 菲利普.弗瑞诺 The British Prison shipThe Rising Glory of America The Indian Burying Ground The Wild Honeysuckle(5) Charles Brockden Brown (1771-1810) 查尔斯.布罗克丹.布朗 Wieland (or The Transformation: An American Tale Edgar Huntly OrmondArthur Mervyn2 The 18th Century:Enlightenment and the Great AwakeningEnlightenmentAn 18th-century movement that focused on the ideals of good sense,benevolence, and a belief in liberty, justice, and equality as the natural rights of man.The Great Awakening: series of religious revivals, which began with the evangelicalism of Jonathan Edwards.Revolutionary WarThe War of Independence, 1775-1783, fought by the American colonies against Great感谢您的阅读，祝您生活愉快。

美国文学文学名词解释1 Modernism(现代主义)Modernism is comprehensive but vague term for a movement , which begin in the late19th century and which has had a wide influence internationally during much of the 20th century、2> modernism takes the irrational philosophy and the theory of psycho-analysis as its theoretical case、3> the term pertains to all the creative arts、Especially poetry, fiction, drama, painting, music and architecture、现代主义就是全面但运动模糊的术语,在19世纪末期开始,在国际上有广泛影响的在20世纪的大部分时间。

2 >现代主义以非理性哲学与精神分析理论为其理论的情况。

3 >这个词属于所有的创造性艺术。

特别就是诗歌、小说、戏剧、绘画、音乐与建筑。

2 Transcendentalism(超验主义)Transcendentalism is literature, philosophical and literary movement that flourished in new England from about 1836 to 1860、it is the summit of American Romanticism、it originated among a small group of intellectuals who were reacting against the orthodoxy of Calvinism and the rationalism of the Unitarian Church, developing instead their own faith centering on the divinity of humanity and the natural world、Transcendentalism derived some of its basic idealistic concepts from romantic German philosophy, and from such English authors as Coleridge and Wordsworth、Its mystical aspects were partly influenced by Indian and Chinese religious teachings、Although Transcendentalism was never a rigorously systematic philosophy, it had some basic tenets that were generally shared by its adherents、The beliefs that God is immanent in each person andin nature and that individual intuition is the highest source of knowledge led to an optimistic emphasis on individualism, self-reliance, and rejection of traditional authority、The ideas of Transcendentalism were most eloquently expressed by Ralph waldo Emerson in such essays as Nature, and by Henry David Thoreau in his book Walden、超验主义就是从1836至1860于新英格兰发起的一场文学,哲学以及艺术运动。

美国文学部分(American Literature)一．独立革命前后的文学（The Literature Around the Revolution of Independence）1．本章考核知识点和考核要求：1)．殖民地时期的文学的特点2)．主要的作家、其概况及其代表作品2．独立革命前后时期的主要作家本杰明·富兰克林Benjamin Franklin本杰明·富兰克林，散文家、科学家、社会活动家，曾参与起草“独立宣言”。

《穷查理历书》Poor Richard’s Almanack《致富之道》The Way to Wealth《自传》The Autobiography托马斯·潘恩Thomas Paine托马斯·潘恩，散文家、政治家、报刊撰稿人。

《税务员问题》The Case of the Officers of Excise《常识》Common Sense《美国危机》American Crisis《人的权利》Rights of Man《专制体制的崩溃》Downfall of Despotism《理性时代》The Age of Reason菲利普·弗伦诺Philip Freneau菲利普·弗伦诺，著名的“革命诗人”。

《蒸蒸日上的美洲》“The Rising Glory of America”《英国囚船》“The British Prison Ship”《纪念美国勇士》同类诗中最佳“To the Memory of the Brave Americans”《野生的金银花》“The Wild Honeysuckle”《印第安人殡葬地》“The Indian Burying Ground”二．美国浪漫主义文学（American Romanticism）1．本章考核知识点和考核要求：1)．美国浪漫主义文学产生的社会历史及文化背景2)．主要作家的创作思想、艺术特色及其代表作品的主题结构、人物刻画和语言风格3)．清教主义、超验主义、象征主义、自由诗等名词的解释2.美国浪漫主义时期的主要作家华盛顿·欧文Washington Irving华盛顿·欧文，美国著名小说家，被称为“美国文学之父”.《瑞普·凡·温可尔》Rip Van Winkle《纽约外史》A History of New York《见闻札记》The Sketch Book《睡谷的传说》The Legend of Sleepy Hollow詹姆斯·费尼莫尔·库珀James Fenimore Cooper詹姆斯·费尼莫尔·库珀开创了以《皮裹腿故事集》为代表的边疆传奇小说，其中最为重要的一部是《最后的莫西干人》。

美国文学名词解释The American Dream is a term that refers to the idea that anyone。

regardless of their background or social status。

can achieve success and prosperity through hard work and n。

It is a central theme in American literature。

particularly in the works of writers such as F。

Scott Fitzgerald and Arthur Miller。

The American Dream is often portrayed as a symbol of hope and opportunity。

but it has also been criticized as a myth that perpetuates social inequality and unrealistic ns.3.TranscendentalismTranscendentalism was a literary and philosophical movement that emerged in the mid-19th century in America。

It emphasized the importance of individualism。

n。

and the spiritual n een humans and nature。

Transcendentalists believed that people could transcend the limits of their own experience and achieve a higher level of usness through n and n。

American Literature: PoetryINTRODUCTIONAmerican Literature: Poetry, verse in English that originates from the territory now known as the United States. American poetry differs from British or English poetry chiefly because America’s culturally diver se traditions exerted pressure on the English language, altering its tones, diction, forms, and rhythms until something identifiable as American English emerged. American poetry is verse written in this form of English.The term American poetry is in some ways a contradiction. America represents a break with tradition and the invention of a new culture separate from the European past. Poetry, on the other hand, represents tradition itself, a long history of expression carried to America from a European past. American poetry thus embodies a clearly identifiable tension between tradition and innovation, past and future, and old forms and new forms. American poetry remains a hybrid, a literature that tries to separate itself from the tradition of English literature even as it adds to and alters that tradition.American poetry could be defined differently, however, especially if it is not limited to poetry in English. Without that qualifying term, American poetry has its origins in the rich oral traditions of Native American cultures. Each of these cultures developed complex symbolic tales of the origins and history of its people, akin to epic poems in the European tradition. These tales were performed as part of rituals and passed on through memorization from one generation to the next. Some of them have been translated into English. Yet these works tend to vanish from most histories of American poetry because they were part of ongoing performances based in spoken rather than written language. Moreover, their rhythms and sounds are bound to the native languages in which they evolved.Other cultures have contributed to the rich heritage of American poetry. Spanish-language poetry has been produced in America from the time of the earliest Spanish explorers to current Hispanic and Chicano and Chicana poetry. American poetry traditions also have thrived in many other languages, from Chinese to Yiddish, as the result of centuries of immigration to the United States.But most people mean by American poetry those rhythmic, memorable, and significant verse forms composed in English in the United States or in lands that became the United States. This overview of more than 300 years of American poetry tracks the creation of a national literature identifiably different from that of any other nation. In the 1600s colonial poets responded to the challenges of their new world and expressed the hopes and fears of Europeans who settled there. In the years following the Declaration of Independence (1776) American poets created a patriotic poetry as a defining literature for the new nation. A powerful new kind of poetry flowered in the mid- and late 19th century among the first poets to be born and raised as actual citizens of the United States. American modernist poetry emerged in the first half of the 20th century, as many writers sought to subdue nationalist impulses in their poetry and define themselves as part of an international advance in the arts. Finally, in the second half of the 20th century a multiplicity of diverse voices redefined American poetry. For information on American prose or drama, see American Literature: Prose; American Literature: Drama.I I BEGINNINGS: 1600S THROUGH THE AMERICAN REVOLUTION(1775-1783)From the beginning until well into the 19th century, widespread agreement existed that American poetry would be judged by British standards, and that poetry written in America was simply British poetry composed on the other side of the Atlantic Ocean. Yet in responding to British styles, American poetry took inspiration from the new physical environment and the evolving culture of the colonies. In the process it recorded a subtle shift from poets who were dependent imitators to poets who spoke for and in the language of the new nation.A New England PuritanPoetryPuritans who had settled in New England were the first poets of the American colonies. Most Puritan poets saw the purpose of poetry as careful Christian examination of their lives; and private poems, like Puritan diaries, served as a forum where the self could be measured daily against devout expectations. Puritan leaders deemed poetry a safe and inspiriting genre, since they considered the Bible itself to be God’s poetry. Thus poetry became the literary form that allowed devout believers to express, with God’s help, divine lessons. Other genres, such as drama and fiction, were considered dangerous, capable of generating lies and leading to idle entertainment instead of moral uplift.Puritan poets had grown up in England during a period when Christian epic poetry—culminating in Paradise Lost (1667) by John Milton—was considered the highest literary accomplishment. When they came to America they maintained their cultural allegiances to Britain. Anne Bradstreet looked to British poets Sir Philip Sidney and Edmund Spenser; Edward Taylor looked to poets George Herbert and John Donne.Bradstreet was the first poet in America to publish a volume of poetry. The Tenth Muse Lately Sprung Up in America was published in England in 1650. Bradstreet had lived in England until 1630, when at the age of 18 she arrived in the Massachusetts Bay Colony, where she spent the rest of her life. Although Bradstreet wrote many poems on familiar British themes and produced skilled imitations of British forms, her most remarkable works responded directly to her experiences in colonial New England. They reveal her attraction to her new world, even as the discomforts of life in the wilderness sickened her. Her poetry contains a muted declaration of independence from the past and a challenge to authority.Although Bradstreet’s verses on the burning of her house in 1666 and poems on the death of three grandchildren end by reaffirming the God-fearing Puritan belief system, along the way they also question the harsh Puritan God. Further, Brads treet’s work records early stirrings of female resistance to a social and religious system in which women are subservient to men. In “The Prologue” (1650), Bradstreet writes, “I am obnoxious to each carping tongue / Who says my hand a needle better fits, / [than] A poet’s pen.…” Bradstreet’s instincts were to love this world more than the promised next world of Puritan theology, and her struggle to overcome her love for the world of nature energizes her poetry.Taylor, a poet of great technical skill, wrote powerful meditative poems in which he tested himself morally and sought to identify and root out sinful tendencies. In “God's Determinations Touching His Elect” (written 1680?), one of Taylor’s most important works, he celebrates God's power in the triump h of good over evil in the human soul. All of Taylor’s poetry and much of Bradstreet’s served generally personal ends, and their audience often consisted of themselves andtheir family and closest friends. This tradition of private poetry, kept in manuscript and circulated among a small and intimate circle, continued throughout the colonial period, and numerous poets of the 17th and 18th centuries remained unknown to the general public until long after their deaths. For them, poetry was a kind of heightened letter writing that reaffirmed the ties of family and friends. Taylor’s poems remained unpublished until 1939, when The Poetical Works of Edward Taylor appeared. Many of Bradstreet’s most personal poems also remained unpublished during her lifetime.Public poetry for the Puritans was more didactic or instructive in nature and often involved the transformation into verse of important biblical lessons that guided Puritan belief. Poet and minister Michael Wigglesworth wrote theological verse in ballad meter, such as The Day of Doom (1662), which turned the Book of Revelation into an easily memorized sing-song epic. Puritan poetry also included elaborate elegies,or poems honoring a person who had recently died. Puritans used these poems to explore the nature of the self, reading the character of the dead person as a text and seeing the life as a collection of hidden meanings.B SouthernSatireColonial poets of the 18th century still looked to British poets of their time, such as Alexander Pope and Ambrose Philips. Both were masters of pastoral verse—poetry that celebrated an idealized English countryside and rural life—and of satirical verse. Initially, this satiric tone was more prevalent in the southern colonies than in New England.Two poets from the Maryland Colony, Ebenezer Cook and Richard Lewis, wrote accomplished satirical poems based on British pastoral models. But their poems cleverly undermine those models by poking fun at the British. Cook’s The Sot-Weed Factor (1708) is a long narrative poem written in rhyming couplets that mocks Americans as a backward people but aims its satire most effectively at the poem’s narrator, who is a British snob. Americans may be laughable, Cook suggests, but they are not as ridiculous as the British with their ignorance and prejudice about Americans.C Revolutionary Era PatrioticPoetryA penchant for satire continued in the American Revolutionary era, when American poetry was centered on Connecticut and a group of poets known as the Connecticut Wits (or Hartford Wits). This group, most of whose members were associated with Yale University, included David Humphreys, John Trumbull, and Joel Barlow. Along with other writers they produced The Anarchiad (1786-1787), a mock epic poem warning against the chaos that would ensue if a strong central government, as advocated by the Federalists, was not implemented in the United States. American poets used the British literary model of the mock epic as a tool to satirize and criticize British culture. Trumbull’s mock epic M’Finga l (1775-1782) lampooned the British Loyalists during the Revolution.Revolutionary-era poets composed more than satire, however. They felt an urgency to produce a serious—even monumental—national poetry that would celebrate the country’s new democratic ideals. Epic poems, they believed, would confer importance and significance on the new nation’s culture. Educated in the classics, these poets were also lawyers, ministers, and busy citizens of the new republic. They did not bother with the question whether a new nation required new forms of poetry, but were content to use traditional forms to write about new subjects in orderto create the first truly American poetry. Whereas traditional epics celebrated past accomplishments of a civilization, American epics by necessity celebrated the future. Examples of such epics include Barlow’s The Vision of Columbus(1787), later revised as The Columbiad (1807); Greenfield Hill (1794) by clergyman Timothy Dwight; and The Rising Glory of America (1772) by Philip Freneau. All offered the prospect of America as the future culmination of civilization.Freneau, the most accomplished patriot poet, was not associated with Connecticut. He was born in New York City and later lived in a variety of places. His range of experience and clarity of expression made him a very popular poet, widely regarded as the first poet who spoke for the entire country. Much of his poetry focused on America’s future greatness, but he also wrote on other subjects, including the beauties of the natural w orld. Such lyric poems as “The Wild Honey Suckle” (1786) and “On a Honey Bee” (1809), can be seen as the first expressions in American poetry of a deep spiritual engagement with nature.D Early BlackVoicesSlavery was the great contradiction in the new nation that had affirmed in its Declaration of Independence a basic belief that “all men are created equal” and have “inalienable” rights to “life, liberty, and the pursuit of happiness.” Many of the country’s early leaders believed that African slaves were intellectually inferior to whites. Phillis Wheatley, a Boston slave, challenged those racist assumptions early on. Brought to America as a young girl, Wheatley was educated by her masters in English and Latin. She became an accomplished poet, and her Poems on Various Subjects, Religious and Moral(1773) was published in England. Like the white patriot poets, Wheatley wrote in 18th-century literary forms. But her highly structured and elegant poetry nonetheless expressed her frustration at enslavement and desire to reach a heaven where her color and social position would no longer keep her from singing in her full glory.Wheatley’s poetry, along with that of other slaves, begins a powerful African American tradition in American poetry. In 1746 Lucy Terry, a slave in Massachusetts who was also educated by her owner, wrote the first poem to be published by a black American: 'Bar's Fight.' The poem, which was not published until 1855, describes the victims and survivors of a Native American raid against settler s. It was followed by Jupiter Hammon’s biblically inspired, hymnlike verse, “An Evening Thought; Salvation by Christ, with Penitential Cries” (1761).Born at the time of the founding of the nation, African American poetry retained its concern with the burning issues of the American Revolution, including liberty, independence, equality, and identity. It also expressed African American experiences of divided loyalties. Just as white Americans experienced divided loyalties in the republic’s early years—unsure whether their identity derived from the new country or from their European past—so too did African Americans, who looked always to their African past and to their problematic American present.I IITHE 19TH CENTURYThe 19th century began with high hopes for poetic accomplishment. The first comprehensive anthologies of American poetry appeared in the 1820s, 1830s, and 1840s. In the first half of the century poets sought to entertain, to inform, and to put into memorable language America’s history, myths, manners, and topography, but they did not seek to forge a radical new poetic tradition. Their poetry built upon tradition, and they met the first great goal of American poetry:that it be able to compete in quality, intelligence, and breadth with British poetry. But just as they achieved this goal, poetic aspirations began to change. By the mid-19th century the new goal for American poetry was to create something very different from British poetry. Innovative poets, particularly Walt Whitman and Emily Dickinson, led the way.A The FiresidePoetsWilliam Cullen Bryant, Henry Wadsworth Longfellow, James Russell Lowell, Oliver Wendell Holmes, and John Greenleaf Whittier constituted a group sometimes called the Fireside Poets. They earned this nickname because they frequently used the hearth as an image of comfort and unity, a place where families gathered to learn and tell stories. These tremendously popular poets also were widely read around the hearthsides of 19th-century American families. The consensus of American critics was that the Fireside Poets first put American poetry on an equal footing with British poetry.Bryant gained public recognition first and is best remembered for “Thanatopsis,” published in 1821 but written when he was a teenager. Still widely anthologized, this poem offers a democratic reconciliation with death as the great equalizer and a recognition that the “still voice” of God is embodied in all processes of nature. During a busy life as a lawyer and editor of the New York Evening Post, Bryant wrote accomplished, elegant, and romantic descriptions of a nature suffused with spirit.Longfellow was the best known of the Fireside Poets, and it was with him that American poetry began its emergence from the shadow of its British parentage. His poetic narratives helped create a national historical myth, transforming colorful aspects of the American past into memorable romance. They include Evangeline (1847), which concerns lovers who are separated during the French and Indian War (1754-1763), and The Song of Hiawatha (1855), which derives its themes from Native American folklore. No American poet before or since was as widely celebrated during his or her lifetime as Longfellow. He became the first and only American poet to be honored with a bust in the revered Poets’ Corner of Westminster Abbey in London, England.The accomplishments of the other Fireside Poets were various. Lowell’s Biglow Papers (1848) added to the American tradition of long satirical poems. Holmes wrote several memorable short po ems such as “The Chambered Nautilus” (1858). Whittier became best known for Snow-Bound (1866), a long nostalgic look at his Massachusetts Quaker boyhood, when the family gathered around the fireside during a snowstorm.B AbolitionistPoetryDuring the 19th century, black and white poets wrote about the abolition of slavery and the emancipation of slaves. George Moses Horton, a North Carolina slave, was the first Southern black poet. Joshua McCarter Simpson was a black poet from Ohio whose memorable songs of emancipation were set to popular tunes and sung by fugitive slaves. Frances Ellen Watkins Harper wrote passionate abolitionist and early feminist poems that called both blacks and whites to action against oppression. James M. Whitfield wrote powerful poems criticizing America for its failure to live up to its ideals. In his long poem “America” (1853), he writes: “America, it is to thee, / Thou boasted land of liberty,— / It is to thee I raise my song, / Thou land of blood, and crime, and wrong.”Black poets at this time appropriated the language and style of the predominantly white, mainstream patriotic America. In using mainstream language, these black poets showed their white audiences how differently songs of liberty and freedom sounded from the perspective of those who had been left out of the “all men are created equal” equation. Black poets also often expressed themselves with irony and ambiguity so that different audiences heard different intonations and meanings, a double voicing that would become central to later African American writing.White abolitionist poets, from their more privileged social position, could afford to be more confrontational about the issue of slavery. Whittier was a fiery abolitionist whose numerous antislavery poems were collected in Voices of Freedom(1846). Longfellow’s Poems on Slavery (1842) forms a long-forgotten but illuminating contribution to the tradition of American political poems. Lowell also was an ardent abolitionist.C WaltWhitmanA newspaper reporter and editor, Whitman first published poems that were traditional in form and conventional in sentiment. In the early 1850s, however, he began experimenting with a mixture of the colloquial diction and prose rhythms of journalism; the direct address and soaring voice of oratory; the repetitions and catalogues of the Bible; and the lyricism, music, and drama of popular opera. He sought to write a democratic poetry—a poetry vast enough to contain all the variety of burgeoning 19th-century American culture.In 1855 Whitman published the first edition of Leaves of Grass, the book he would revise and expand for the rest of his life. The first edition contained only 12 untitled poems. The longest poem, which he eventually named “Song of Myself,” has become one of the mos t discussed poems in all of American poetry. In it Whitman constructs a democratic “I,” a voice that sets out to celebrate itself and the rapture of its senses experiencing the world, and in so doing to celebrate the unfettered potential of every individual in a democratic society. Emerging from a working class family, Whitman grew up in New York City and on nearby Long Island. He was one of the first working-class American poets and one of the first writers to compose poetry that is set in and draws its energy from the bustling, crowded, diverse streets of the city.Whitman later added a variety of poems to Leaves of Grass. They include “Crossing Brooklyn Ferry” (1856), in which Whitman addresses both contemporary and future riders of the ferry, and “Out of the Cradle Endlessly Rocking” (1860), a reverie about his boyhood on the shores of Long Island. Other poems were about affection between men and about the experiences and sufferings of soldiers in the Civil War (1861-1865).Whitman’s work was initially embraced more fully in Britain than in the United States. An influential 1872 anthology, American Poems, published in England and edited by English literary critic William Michael Rossetti, was dedicated to Whitman and gave him more space than any other poet. From then on American poetry was judged not by how closely it approximated the best British verse, but by how radically it divorced itself from British tradition. Rough innovation came to be admired over polished tradition.D EmilyDickinsonEmily Dickinson, along with Whitman, is one of the most original and demanding poets in American literature. Living her whole life in Amherst, Massachusetts, Dickinson composed nearly2,000 short, untitled poems. Despite her productivity, only a handful of Dickinson’s poems were published before her death in 1886. Most of her poems borrow the repeated four-line, rhymed stanzas of traditional Christian hymns, with two lines of four-beat meter alternating with two lines of three-beat meter. A master of imagery that makes the spiritual materialize in surprising ways, Dickinson managed manifold variations within her simple form: She used imperfect rhymes, subtle breaks of rhythm, and idiosyncratic syntax and punctuation to create fascinating word puzzles, which have produced greatly divergent interpretations over the years.Dickinson’s intensely private poems cover a wide range of subjects and emotions. She was fascinated with death, and many of her poems struggle with the contradictions and seeming impossibility of an afterlife. She carries on an argument with God, sometimes expressing faith in him and sometimes denying his existence. Many of her poems record moments of freezing paralysis that could be death, pain, doubt, fear, or love. She remains one of the most private and cryptic voices in American literature.Because of Dickinson’s prominence, it sometimes seems that she was the only female poet in America in the 19th century. Yet nearly a hundred women published poetry in the first six decades of the 1800s, and most early anthologies of American poetry contained far more women writers than appeared in anthologies in the first half of the 20th century. Dickinson’s work can be better understood if read in the context of these poets.Lydia Huntley Sigourney was a popular early-19th-century poet whose work set the themes for other female poets: motherhood, sentiment, and the ever-present threat of death, particularly to children. She developed, among other forms, the same hymn stanza that Dickinson used, although she experimented with fewer variations on it than Dickinson, and her poetry was simple and accessible. The work of Sigourney, along with that of Elizabeth Oakes Smith, Frances Sargent Locke Osgood, Alice and Phoebe Cary, and Sarah Morgan Bryan Piatt, was dismissed by most 20th-century critics until feminist critics began to rediscover the ironic edge to what had before seemed to be conventional sentimentality. The work of these and other women poets offers a window into the way 19th-century culture constructed and understood such concepts as gender, love, marriage, and motherhood.Poe, Melville, andOthersOther poets who tried out distinctive new forms included Edgar Allan Poe and Herman Melville. Poe devoted great effort to writing poetry that was unlike anything before it. A careful craftsman, he examined in detail the effects that his every poetic choice had. Poe’s poetry earned little respect from his contemporaries, who dismissed him as “the jingle man.” He had, said Whitman, “the rhyming art to excess.” Yet Poe’s nightmarish scenes, unnerving plots, and probings of abnormal psychology gave his poetry, as well as his tales, a haunting, memorable quality that makes him one of the most admired innovators in American literature. The opening lines of his best-kno wn poem, “The Raven” (1845), demonstrate Poe’s love of rhyming and his use of varying rhythm: “Once upon a midnight dreary, while I pondered, weak and weary, / Over many a quaint and curious volume of forgotten lore.”Melville, though much better known as a novelist, nonetheless wrote powerful poetry about the Civil War, collected in Battle-Pieces and Aspects of the War (1866). He later wrote a long and mysterious poem, Clarel (1876), about his search for faith, his struggle with doubt, and his anxiety about the decline of civilization.Lesser-known innovators of the 19th century include Jones Very, Sidney Lanier and Henry Timrod. Very was a Massachusetts poet who produced strikingly original religious sonnets. Lanier was a Georgia poet who sought to reproduce in language the effects of music. Timrod, a Southern poet who was known as “the laureate of the Confederacy,” wrote some notably original and dark poetry in the 1860s.Toward the 20thCenturyWhitman had hoped that his work would generate new energy in American poetry. But when he died in 1892, the American poetic scene was relatively barren. Most of the major poets had died and no successor to Whitman was emerging. William Vaughn Moody, a poet born in Indiana, wrote The Masque of Judgement(1900), which was the first in a series of verse dramas about humanity’s spiritual tortures and eventual spiritual victory. Stephen Crane, best known for his novels, published two volumes of poetry, The Black Riders and Other Lines (1895) and War Is Kind and Other Poems (1899). In their tone and fragmented form, his grim poems anticipate the concerns of many modern writers. But neither poet lived far into the 20th century.I VTHE 20TH CENTURYBy 1900 the United States was far different from the new nation it had been a hundred years earlier. Westward expansion, waves of immigration, and increasing urbanization all combined to create a physically larger, more populous, and far more diverse country than its founders could have imagined. These changes are tracked mor e visibly in America’s fiction than in its poetry, but the nation’s growing diversity is evident in the diverse voices of 20th-century American poets. American poetry in the opening decades of the century displayed far less unity than most anthologies and critical histories indicate. Shifting allegiances, evolving styles, and the sheer number of poets make it difficult to categorize 20th-century poetry.A RegionalismIn the last decades of the 19th century, American literature had entered a period of regionalism, exploring the stories, dialects, and idiosyncrasies of the many regions of the United States. Dialect poetry—written in exaggerated accents and colorful idioms—became a sensation for a time though it produced little of lasting value. However, one major poet who rose to fame on the basis of his dialect poems was Paul Laurence Dunbar, a black writer from Ohio. Dunbar’s dialect poems, which romanticized the life of slaves in the pre-Civil War South, were extremely popular. His volumes Oak and Ivy (1893) and Majors and Minors(1895) brought attention to African American literature, although the dialect poems later embarrassed many black poets. Dunbar also wrote many nondialect poems, and through his work initiated an important debate in African American literature about what voices and materials black writers should employ.Other regions and groups developed their own distinctive voices. Kansas-born Edgar Lee Masters achieved success with Spoon River Anthology(1915). His poetic epitaphs (commemorations) capture the hidden passions, deceits, and hopes of Midwesterners buried in the fictional Spoon River cemetery. Edwin Arlington Robinson explored the lives of New Englanders in his fictional Tilbury Town through dramatic monologues—poems written entirely in the voice。

Chapter 3 The Modern PeriodI. BackgroundIn the early 20th century, nothing had more important and long-lasting effect on America than the two great world wars. America entered the era of big industry and big technology, a mechanized age that deprived individuals of their sense of identity. The war affected young writers' attitude toward life, society, and writing. Also during the interval between the two wars, some significant events exerted great influence on American literature.II. Modern period charactersFirst, many young American writers and artists lived abroad for months and years.Second, Marxism and Freudianism were widely studied. They changed people's view of society and themselves. Third, up to this point, the typical American writer had been native-born, white, more or less rich, Protestant and Anglo-Saxon. After the war, the voices of new groups of Americans were heard. They were poor, or immigrants, or Jews, or blacks. There was the new literature coming out of the South and the literature written by women with awakened self-consciousness.Fourth, during this period there occurred in America an intense reexamination of the structure of literature and of the nature of the critical activity itself.During the first decades of the 20th century, modernism became an international tendency against positivism and representational an in art and literature.a. compared with earlier writings, especially those of the 19th century, modern American writings are notable for what they omit---the explanations, interpretations, connections, and summaries. A typical modern work will seem to begin arbitrarily, to advance without explanation, and to end without resolution.b. Modernistic techniques and manifestos were initiated by poets first and later entered and transformed fiction in this period as well like the poets, prose writers strove for directness,compression, and vividness and were sparing of words.III. Main writers:I. Robert Lee Frost(1874-1963)In 1912, Robert Frost took his family to England. There he met Ezra Pound who had a very good opinion about his poems and helped him to find British publishers.A Boy's Will(1913) and North of Boston(1914) were published and highly acclaimed in England.Most of his major poetry was written before 1930, although he continued writing all the way through the 1950s and into the early 1960s. His major books include Mountain interval (1916), New Hampshire(1923), West-Running Brook (1928), A Further Range (1936), A Witness Tree (1942), A Mosque of Reason (1945), A Masque of Mercy(1947), A Steeple Bush(1947), Complete Poems(1949), and In the Clearing(1962). Although recognition came late to him at the age of forty, Robert Frost was the most popular American poet from 1914 to his death.a. During the course of his career, he changed from a national critic to a national hero.b. His verse at first was terrifying, showing a dark side of human life, human society, and the problems which confronted his own life.c. By the end of his life, his poems were filled with more sunshine. He was more pleasant. This is an important change because America needed such a poet that it could admire, especially because the other modernist poets during this time were obscure. They were intellectuals. They could not be understood by the average person. Robert Frost could be understood by the average person and his poetry is full of life, truth, and wisdom.Frost's achievement was fantastic. He won the Pulitzer Prize four times, received honorary degrees fromforty-four colleges and universities, and became the nation's unofficial Poet Laureate when he was invited to read "The Gift Outright" at the inauguration of President John F. Kennedy in 1961.d. he used simple spoken language and conversational rhythms, and achieved an effortless grace in his style. He combined traditional verse forms—the sonnet, rhyming couplets, blank verse—with a clear American local speech rhythm, the speech of New England farmers with its idiosyncratic diction and syntax.II: F. Scott Fitzgerald(1896-1940): he was a most representative figure of 1920s. who was mirror of the exciting age in almost every way.Main works:This Side of ParadiseThe Beautiful and Damned.The Great GatsbyTender is the NightThe Last TycoonFlappers and PhilosophersTales of the Jazz AgeAll the Sad Young MenTaps at ReveilleBabylon Revisited(short stories)His works characters:a.He was thought of in his day a short-story writer, too.b.most critics have agreed that he is both an insider and an outsider of the Jazz Age with double vision.c. his fictional world is the best embodiment of the spirit of the Jazz age, in which he shows a particular interest in upper-class society, especially the upper-class young people.d. he never spared an intimate touch in his fiction to deal with the bankruptcy of the American Dream, which is highlighted by the disillusionment of the protagonists personal dreams due to the clashes between their romantic vision of life and the sordid reality.e.he is still a great stylist in American literature. His style closely related to his themes, is explicit and chilly. his accurate dialogues, his careful observation of mannerism, styles, models and attitudes provide the reader with a vivid sense of realityIII: Ernest Hemingway(1899-1961): a Nobel Prize winner for literature.Main works: In Our TimeThe Sun Also RisesA Farewell to ArmsFor Whom the Bell TollsThe Old Man and the SeaMen without Women(The Undefeated, The Killers, Fifty Grand)Death in the AfternoonThe Green Hills of AfricaThe Snow of KilimanjaroTo Have and Have NotHis works characters:a. His world is limited. He deals with a limited range of characters in quite similar circumstances and measures then against an unvarying code, known as …grace under pressure‟, which is actually an attitude towards life that Hemingway had been trying to demonstrate in his works.b. Typical of the …iceberg‟analogy is Hemingway‟style, which he had been trying hard to get.c. His style is actually polished and tightly controlled, but highly suggestive and connotative.d. Render vividly the outward physical events and sensations Hemingway expresses the meaning of the story and conveys the complex emotions of his characters with a considerable range and astonishing intensity of feeling.e. He develops the style of colloquialism initiated by Mark Twainf. The accents and mannerisms of human speech are so well presented that the characters are full of flesh and blood and the use of short, simple and conventional words and sentences has an effect of clearness, terseness and great care.IV. William Faulkner(1897-1962): is regarded as one the leading American writers in the literary history of the United States.Main works:The Marble FaunSoldiers‟ paySartorisThe Sound and the FuryAs I Lay DyingLight in AugustAbsalom, AbsalomWild PalmsThe HamletThe UnvanquishedGo Down, MosesThe Portable FaulknerIntruder in the DustRequiem for a NunThe FableThe TownThe MansionThough in decline in the 20th century, the family retained some of the old customs and it was from his own family history, the southern region's characteristic of white social status, racial violence, honor codes, and traditional moral values that Faulkner drew the material for most of his fiction.With his friend Phil Stone's money he published The Marble Faun, a book of poems, in 1924. Since then his primary occupation was writing fiction.In 1925 he went to New Orleans where some of his early poems, articles, and sketches were published, and where he came into contact with the new intellectual current of his day, notably Freud's psychology and James Joyce's vanguard fiction.His works characters:a. he has always been regarded as a man with great might of invention and experimentation. He added to the theory of the novel as an art form and evolvedhis own literary strategies.b. his works were to explore and represent the infinite possibilities inherent in human life.c. he was a master of his own particular style of writing. His prose, marked by long and embedded sentences, co mplex syntax and vague reference pronouns on the one hand and a variety of “registers” of the English language on the other, is very difficult to read.d. he captured the dialects of the Mississippi characters, including Negroes and the red neck, as well as more refined and educated narrators like Quentin.IV. Terms definition:1. The Lost Generation: the disillusioned intellectuals and artists of the years following the First World War,who rebelled against former ideals and values but could replace them only by despair or a synical hedonism;/ you are all a lost generation, addressed to Hemingway by Gertrude Stein, which was used as a Preface to The Sun Also Rises, which brilliantly describes those expatriates who had cut themselves off from their past in America in order to create new types of writing.2. The Imagist Movement: Led by the American poet Ezra Pound;/a poetic movement that flourished in the U.S. and England between 1909-1917;/three main principles endorsed by Pound as guidelines for Imagism: direct treatment of poetic subjects, elimination of merely ornamental or superfluous words, and rhythmical composition should be composed with the phrasing of music, not a metronome.3. Stream-of-Consciousness: a term coined by Willam James in his The Principles of Psychology to describe the flow of thoughts of the waking mind, now widely used in a literary context to describe the unspoken thoughts and feelings of the characters, without resorting to objective description or conventional dialogue;/ adapte d and developed by Joyce, V. Woolf, and others;/ the ability to represent the flux of a character‟s thought, impressions, emotions, or reminiscences, often without logical sequence of syntax, marked a revolution in the form of novel at that time.V. Questions and Answers1. Comment on Robert Lee Frost’s poetic stylea. well known as a lyrical poet, difficult to be classified with the old or the new: learned from the tradition and made the colloquial New England speech into a poetic expression;b. images and metaphors in his poems taken from simple rural life and pastoral landscape, profound ideas revealed under the disguise of plain language and simple form.c. combines traditional verse forms with a clear American local speech rhythm, writes in both the metrical forms and the free verse, and sometimes writes in a form that might be called semi-free conventional.2. Why is The Great Gatsby a successful novel?a. evoking a haunting mood of a glamorous, wild time that seemingly will never come again.b. sense of loss and disillusionment that comes with the failure embodied fully in the personal tragedy of a young man whose “incorruptible dream””smashed into pieces by the relentless reality”;c. Gatsby, a mythical figure whose personal experience approximates a sense of mind of the American; the last of the romantic heroes, whose energy and sense of commitment take him in search of his personal grail, Gatsby‟s failure predicts to a great extent the end of the American dream.3. Briefly introduce William Faulkner’s narrative techniques.a. would never step between the characters and the reader to explainb. purposely broke up the chronology of his narrative by juxtaposing the past with the present.c. the modern stream-of-consciousness technique also exploited to emphasize the reactions and inner musings of the narrator; the inner monologue helps achieve the most desirable effect of exploring the nature of human consciousness;d. good at presenting multiple points of view, which gave the story a circular form;e. the other narrative techniques include symbolism and mythological and biblical allusions.VI: Topic Discussion:1. Summarize the artistic features of imagist poems.a. Imagist poems tend to be short, composed of short lines of musical cadence rather than metrical regularity, to avoid abstraction, and to treat the image with a hard, clear precision rather than with overt symbolic intent/ the influence of Japanese forms, tanka and haiku, obvious in many.b. most of the imagist poets wrote in free verse and they like to employ common speech.they stresses the freedom in the choice of subject matter and form.2. Comment on Robert Frost’s nature poemsa. Robert Frost(1874-1963), American poet, known for his verse concerning New England life/ learned the familiar conventions of nature poetry from his predecessors, made the colloquial New England speech into a poetic expression; A poem so conceived thus becomes a symbol or metaphor, a careful, loving exploration of reality;b. Images and metaphors in his poems are drawn from the simple country life. However, profound ideas are delivered under the disguise of the plain language and the simple form;c. the thematic concern include the terror and tragedy in nature, as well as its beauty, and the loneliness and poverty of the isolated human being. In short, the nature poems demonstrate Frost‟s love of life and his belief ina serenity that comes from the common experience.3. Comment on the stylistic features of Hemingway’s novelsa. Hemingway once s aid,”The dignity of movement of an iceberg is due to only one-eighth of it being above water”.typical of this “iceberg”analogy is Hemingway‟s style: Hemingway‟s economical writing style often seems simple, but his method is calculated. In his writing, Hemingway provided detached descriptions of action, using simple nouns and verbs to capture scenes precisely to avoid describing his characters‟ emotions and thoughts directly. Hemingway was deeply concerned with authenticity in writing. Besides, Hemingway develops the style of colloquialism initiated by Mark Twain. The accents and mannerisms of human speech are well presented, and the use of short, simple words and sentences has an effect of clearness, terseness and great care.4. Summarize the feature of the main character in W. Faulkner’s A Rose for Emily.The story focuses on Emily, and eccentric spinster who refused to accept the passage of time, or the inevitable change and loss that accompanies it. As a descendent of the Southern aristocracy, Emily is typical of those in Faulkner‟s Yoknapatwapha stories that are the symbols of the Old South but the prisoners of the past. The deformed personality and abnormity of Emily demonstrates Faulkner‟s point of view that by alienating oneself from reality, a person is bound to be a tragedy. Emily is regarded as the symbol of tradition and the old way of life. Thus her death parallels with the decline of the Old South.。

《美国文学（一）（二）》教学大纲张立新编写英语专业课程教学大纲514 目录前言 (515)一、概述 (515)二、课程教学目的和基本要求 (515)三、课程主要内容及学时分配 (515)Unit One: Early American and Colonial Period to 1776 (518)Unit Two: Democratic Origins and Revolutionary Writers, 1776-1820 (522)Unit Three: The Romantic Period, 1820-1860: Essayists and Poets (524)Unit Four: The Romantic Period, 1820-1860: Fiction (526)Unit Five : The Rise of Realism: 1860-1914 (527)Unit Six: Modernism and Experimentation: 1914-1945 (529)Unit Seven :American Poetry Since 1945: The Anti-Tradition (532)Unit Eight :American Prose Since 1945: Realism and Experimentation (534)Unit Nine: Southern Literature (539)Unit Ten: African American Literature (540)Unit Eleven: Jewish American Literature (541)四、Reference Books (541)美国文学（一）（二）前言一、概述美国是世界上最年轻的国家之一。

在其短暂的历史上，涌现出无数有着深远影响的作家、文学运动或文学派别。

美国文坛，流派众多。

美国文学在短短时间内取得如此重大的成绩，成为学者关注的焦点和引人注目的问题。

美国文学史常耀信版很有用的哦！ 2008-08-10 22:02 阅读206 评论0字号：大中小美国文学史常耀信版美国文学Part 1. Colonial America浪漫主义American Romanticism(1815-1865)早期浪漫主义early romanticism——Irving欧文, Cooper库柏, Bryant布莱恩特 先验主义transcendentalism and symbolic representation——Emerson 爱默森，Margaret Fuller玛格丽特福勒，Thoreau 梭罗三位重要的小说家——Hawthorne 霍桑，Melville 梅尔维尔，Poe 坡二位重要的诗人——Whitman 惠特曼，Dickinson 狄更生现实主义American Realism（1865-1914）带有地方色彩的写作local color writing——Mark Twain马克吐温现实主义literary realism——James 詹姆士，Howells 豪斯尔斯自然主义literary naturalism——Garland 加兰特，Grane 格雷恩，Frank Norris 弗兰克诺里斯，Jack London 杰克伦敦，Theodore Dreiser 西奥多德莱塞现代主义American Modernism(1914-1945)现代主义在欧洲American modernism in Europe——Gerturde Stein 格特鲁德斯坦因，Ezra Pound 艾兹拉庞德，Amy Lowell 艾米洛威尔，H.D.(Hilda Doolittle) 杜丽埃尔战时的现代派小说modern fiction between the wars——William Faulkner 威廉福克纳，Hemingway 海明威，Fitzgerald 费兹杰罗，Passos 帕索斯，Steinbeck 斯坦贝克现代派诗歌modern American poetry——T.S. Eliot 艾略特，Wallace Stevens 史蒂文斯，William Carols Williams 威廉姆斯， E.E.Cummings 卡明斯Thomas Paine托马斯?潘恩1737-1809 The Case of the Officers of Excise税务员问题；Common Sense常识；American Crisis美国危机；Rights of Man人的权利：Downfall of Despotism专制体制的崩溃；The Age of Reason理性时代Philip Freneau菲利普?弗伦诺1752-1832 The Rising Glory of America蒸蒸日上的美洲；The British Prison Ship英国囚船；To the Memory of the Brave Americans 纪念美国勇士-----同类诗中最佳；The Wild Honeysuckle野生的金银花；The Indian Burying Ground印第安人殡葬地Jonathan Edwards The Freedom of the Will The Great Doctrine of Original Sin defended The Nature of True VirtueBenjamin Franklin本杰明?富兰克林1706-1790 A Modest Inquiry into the Nature and Necessity of a Paper Moneyoor Richard’s Almanack穷查理历书；The Way to Wealth致富之道；The Autobiography自传Part 2. American RomanticismWashington Irving华盛顿?欧文1783-1859 A History of New York纽约的历史-----美国人写的第一部诙谐文学杰作；The Sketch Book见闻札记The Legend of Sleepy Hollow睡谷的传说-----使之成为美国第一个获得国际声誉的作家；Bracebridge Hall布雷斯布里奇田庄；Talks of Travellers旅客谈；The Alhambra阿尔罕伯拉James Fenimore Cooper詹姆斯?费尼莫尔?库珀1789-1851 The Spy间谍;The Pilot领航者;The Littlepage Manuscripts利特佩奇的手稿;Leatherstocking Tales皮裹腿故事集:The Pioneer拓荒者；The Last of Mohicans最后的莫希干人;The Prairie 大草原;The Pathfinder探路者;The Deerslayer杀鹿者Part 3.New England TranscendentalismRalf Waldo Emerson拉尔夫?沃尔多?爱默生1803-1882 Essays散文集:Nature 论自然-----新英格兰超验主义者的宣言书;The American Scholar论美国学者;Divinity;The Oversoul论超灵;Self-reliance论自立;The Transcendentalist超验主义者;Representative Men代表人物;English Traits英国人的特征;School Address神学院演说Concord Hymn康考德颂;The Rhodo杜鹃花;The Humble Bee野蜂;Days日子-首开自由诗之先河Henry David Threau亨利?大卫?梭罗1817-1862 Wadden,or Life in the Woods 华腾湖或林中生活;Resistance to Civil Government/Civil Disobedience抵制公民政府;A Week on the Concord and Merrimack RiversHenry Wadsworth Longfellow亨利?沃兹沃思?朗费罗1807-1882 The Song of Hiawatha海华沙之歌----美国人写的第一部印第安人史诗;V oices of the Night夜吟;Ballads and Other Poens民谣及其他诗;Belfry of Bruges and Other Poems布鲁茨的钟楼及其他诗;Tales of a Wayside Inn路边客栈的故事---诗集：An April Day四月的一天/A Psalm of Life人生礼物/Paul Revere’s Ride保罗?里维尔的夜奔;Evangeline伊凡吉琳;The Courtship of Miles Standish迈尔斯?斯坦迪什的求婚----叙事长诗；Poems on Slavery奴役篇---反蓄奴组诗Nathaniel Hawthorne纳撒尼尔?霍桑1804-1864Twice-told Tales尽人皆知的故事;Mosses from an Old Manse古屋青苔:Young Goodman Brown年轻的古德曼?布朗;The Scarlet Letter红字;The House of the Seven Gables有七个尖角阁的房子--------心理若们罗曼史;The Blithedale Romance福谷传奇;The Marble Faun玉石雕像Herman Melville赫尔曼?梅尔维尔1819-1891 Moby Dick/The White Whale莫比?迪克/白鲸；Typee泰比;Omoo奥穆;Mardi玛地;Redburn雷得本;White Jacket 白外衣ierre皮尔埃iazza广场故事;Billy Budd比利?巴德Walt Whitman沃尔特?惠特曼1819-1892 Leaves of Grass草叶集:Song of the Broad-Axe阔斧之歌;I hear America Singing我听见美洲在歌唱;When Lilacs Lost in the Dooryard Bloom’d小院丁香花开时;Democratic Vistas民主的前景;The Tramp and Strike Question流浪汉和罢工问题;Song of Myself自我之歌Emily Dickinson埃米莉?迪金森1830-1886 The Poems of Emily Dichenson埃米莉?迪金森诗集-----“Tell all the truth and tell it slant”迂回曲折的，玄学的Edgar Allan Poe埃德加?爱伦?坡1809-1849（以诗为诗；永为世人共赏的伟大抒情诗人-----叶芝） Tales of the Grotesque and Arabesque怪诞奇异故事集;Tales 故事集;The Fall of the House of Usher厄舍古屋的倒塌;Ligeia莱琪儿;Annabel Lee 安娜贝尔?李-----歌特风格；首开近代侦探小说先河，又是法国象征主义运动的源头Tamerlane and Other Poems帖木儿和其他诗;Al Araaf,Tamerlane and Minor Poems艾尔?阿拉夫，帖木儿和其他诗;The Raven and Other Poems乌鸦及其他诗:The Raven乌鸦;The City in the Sea海城;Israfel 伊斯拉菲尔;To Hellen致海伦Harriet Beecher Stowe哈丽特?比彻?斯托1811-1896 Uncle Tom’s Cabin汤姆叔叔的小屋;A Tale of the Great Dismal Swamp德雷德阴暗大沼地的故事片;The Minister’s Wooing牧师的求婚;The Pearl of Orr’s Island奥尔岛的珍珠;Oldtown Folks老城的人们Part 4. The age of RealismWilliam Dean Howells 威廉?狄恩?豪威尔斯1837-1920 The Rise of Silas Lapham赛拉斯?拉帕姆的发迹;A Modern Instance现代婚姻; A Hazard of Now Fortunes时来运转;A Traveller from Altruia从利他国来的旅客;Through the Eye of the Needle透过针眼----乌托邦小说;Criticism and Fiction;Novel-Writing and Novel-Reading小说创作与小说阅读23、Henry James享利?詹姆斯1843-1916 小说：Daisy Miller苔瑟?米乐；The Portrait of a Lady贵妇人画像；The Bostonians波士顿人；The Real Thing and Other Tales真货色及其他故事；The Wings of the Dove鸽翼；The Ambassadors大使；The Golden Bowl金碗评论集：French Poets and Novelists法国诗人和小说家;Hawthorne霍桑;Partial Portraits不完全的画像;Notes and Reviews札记与评论;Art of Fiction and Other Essays小说艺术Part 5. Local ColorismMark Twain马克?吐温（Samuel Longhorne Clemens）---美国文学的一大里程碑 The Celebrated Jumping Frog of Calaveras County加拉维拉县有名的跳蛙;The Innocent’s Abroad傻瓜出国记;The Gilded Age镀金时代;The Adventures of Tom Sawyer汤姆?索耶历险记;The Prince and the Pauper王子与贫儿;The Adventures of Huckleberry Finn哈克贝利?费恩历险记;A Connecticut Yankee in King Arthur’s Court亚瑟王宫中的美国佬;The Tragedy of Pudd’nhead Wilson傻瓜威尔逊;Personal Recollections of Joan of Arc冉?达克;The Man That Corrupted Hadleyburg败坏哈德莱堡的人How to Tell a Story怎样讲故事---对美国早期幽默文学的总结Part 6. American NaturalismStephen Crane斯蒂芬?克莱恩1871-1900 Magic:A Girl of the Streets街头女郎梅姬（美国文学史上首次站在同情立场上描写受辱妇女的悲惨命运）；The Red Badge of Courage红色英勇勋章；The Open Boat小划子;The Bride Comes to Yellow Sky新娘来到黄天镇Frank Norris弗兰克?诺里斯1870-1902 Moran of the Lady Letty茱蒂夫人号上的莫兰（romantic）;Mc-Teague麦克提格（naturalistic）;The Epic of the Wheat(realistic)小麦诗史(The Octopus章鱼,The Pit小麦交易所);A Deal in Wheat and Other Stories of the Old and New West小麦交易所及其他新老西部故事Theodore Dreiser西奥多?德莱塞1871-1945 Sister Carrie嘉莉姐妹;Jennie Gerhardt珍妮姑娘;Trilogy of Desire欲望三部曲(Financer金融家,The Titan巨人,The Stoic);An American Tragedy美国的悲剧（被称为美国最伟大的小说）;Nigger Jeff黑人杰弗Edwin Arlington Robinson鲁宾逊1869-1935 Captain Craig克雷格上尉---诗体小说；The Town Down the River河上的城镇;The Man Against the Sky衬托着天空的人;Avon’s Harvest沃冯的收成;Collected Poems诗集40、Jack London杰克?伦敦1876-1916 The Son of the Wolf狼之子,The Call of the Wild野性的呼唤;The Sea-wolf海狼;White Fang白獠牙;The People of the Abyss 深渊中的人们;The Iron Heel铁蹄;Marti Eden马丁?伊登;How I become a Socialist 我怎样成为社会党人;The War of the Classes阶级之间的战争;What Life Means to Me生命对我意味着什么;Revolution革命;Love of Life热爱生命;The Mexican墨西哥人;Under the Deck Awings在甲板的天蓬下Upton Sinclair厄普顿?辛克莱尔1878-1968 Spring and Harvest春天与收获;The Jungle屠场（揭发黑幕运动的代表作家）;King Coal煤炭大王;Oil石油;Boston波士顿;Dragon’s Teeth龙齿Part 7. The 1920sImagism Ezra Pound艾兹拉?庞德1885-1972 The Spirit of Romance罗曼司精神;The Anthology Des Imagistes意像派诗选;Cathay华夏（英译中国诗）;Literary Essays文学论;Hugh Swlwyn Mauberley;A Few Don’ts by Imagiste意像派戒条;Personage面具;Polite Essays文雅集;The Cantos of Ezra Pound庞德诗章（109首及8首未完成稿）Thomas Stearns Eliot托马斯?艾略特1888-1965 Prufrock and Other Observations普罗夫洛克（荒原意识）;The Waste Land荒原(The Burial of the Dead 死者的葬礼;A Game of Chess弈棋;The Fire Sermon火诫;Death by Water水边之死;What the Thunder Said雷电之言);名诗：Ash Wednesday圣灰星期三;Four Quarters四个四重奏诗剧：Murder in the Cathedral大教堂谋杀案;Family Reunion大团圆;Cocktail Party 鸡尾酒会Wallace Stevens华莱士?史蒂文斯1879-1955 Harmonium风琴;The Man With the Blue Guitar弹蓝吉他的人;Notes Toward a Supreme Fiction关于最高虚构的札记(Peter Quince at the Clavier彼得?昆斯弹风琴;Sunday Morning礼拜天早晨);The Auroras of Autumn秋天的晨曦;Collected Poems诗集。