(完整版)英美文學名詞解釋最全版(完整版)英美文學名詞解釋最全版(完整版)英美文學名詞解釋最全版01.Humanism(人文主義)1HumanismistheessenceoftheRenaissance.2itemphasizesthedignityofhumanbeingsandtheimportanceofthepresentlife.Humanistsvoicedtheirbeliefsthatmanwasthecenteroftheuniverseandmandidnotonlyhavetherighttoenjoythebeautyofthepresentlife,buthadtheabilitytoperfecthimselfandtoperformwonders.02.Renaissance(文藝復興)1Theword“Renaissance”means“rebirth”,itmeantthereintroductionintowesternEuropeofthefullculturalheritageofGreeceandRome.2theessenceoftheRenaissanceisHumanism.Attitudesandfeelingswhichhadbeencharacteristicofthe14thand15thcenturiespersistedwelldownintotheeraofHumanismandreformation.3therealmainstreamoftheEnglishRenaissanceistheElizabethandramawithWilliamShakespearebeingtheleadingdramatist.03.Metaphysicalpoetry(玄學派詩歌)1Metaphysicalpoetryiscommonlyusedtonametheworkofthe17thcenturywriterswhowroteundertheinfluenceofJohnDonne.2witharebelliousspirit,theMetaphysicalpoetstriedtobreakawayfromtheconventionalfashionoftheElizabethanlovepoetry.3thedictionissimpleascomparedwiththatoftheElizabethanortheNeoclassicalperiods,andechoesthewordsandcadencesofcommonspeech.4theimageryisdrawnfromactuallife.04.Classicism(古典主義)Classicismreferstoamovementortendencyinart,literature,ormusicthatreflectstheprinciplesmanifestedintheartofancientGreeceandRome.Classicismemphasizesthetraditionalandtheuniversal,andplacesvalueonreason,clarity,balance,andorder.Classicism,withitsconcernforreasonanduniversalthemes,istraditionallyopposedtoRomanticism,whichisconcernedwithemotionsandpersonalthemes.05.Enlightenment(啟蒙運動)1EnlightenmentmovementwasaprogressivephilosophicalandartisticmovementwhichflourishedinFranceandsweptthroughwesternEuropeinthe18thcentury.2themovementwasafurtheranceoftheRenaissancefrom14thcenturytothemid-17thcentury.3itspurposewastoenlightenthewholeworldwiththelightofmodernphilosophicalandartisticideas.4itcelebratedreasonorrationality,equalityandscience.Itadvocateduniversaleducation.5famousamongthegreatenlightenersinEnglandwerethosegreatwriterslikeAlexanderpope.JonathanSwift.etc.06.Neoclassicism(新古典主義)1Inthefieldofliterature,theenlightenmentmovementbroughtaboutarevivalofinterestintheoldclassicalworks.2thistendencyisknownasneoclassicism.TheNeoclassicistsheldthatformsofliteratureweretobemodeledaftertheclassicalworksoftheancientGreekandRomanwriterssuchasHomerandVirgilandthoseofthecontemporaryFrenchones.3theybelievedthattheartisticidealsshouldbeorder,logic,restrainedemotionandaccuracy,andthatliteratureshouldbejudgedintermsofitsservicetohumanity.07.TheGraveyardSchool(墓地派詩歌)1TheGraveyardSchoolreferstoaschoolofpoetsofthe18thcenturywhosepoemsaremostlydevotedtoasentimentallamentationormeditationonlife.Pastandpresent,withdeathandgraveyardasthemes.2ThomasGrayisconsideredtobetheleadingfigureofthisschoolandhisElegywritteninacountrychurchyardisitsmostrepresentativework.08.Romanticism(浪漫主義)1Inthemid-18thcentury,anewliterarymovementcalledromanticismcametoEuropeandthentoEngland.2Itwascharacterizedbyastrongprotestagainstthebondageofneoclassicism,whichemphasizedreason,orderandelegantwit.Instead,romanticismgaveprimaryconcerntopassion,emotion,andnaturalbeauty.3Inthehistoryofliterature.Romanticismisgenerallyregardedasthethoughtthatdesignatesaliteraryandphilosophicaltheorywhichtendstoseetheindividualastheverycenterofalllifeandexperience.4TheEnglishromanticperiodisanageofpoetrywhichprevailedinEnglandfrom1798to1837.ThemajorromanticpoetsincludeWordsworth,ByronandShelley.09.ByronicHero(拜倫式英雄)1Byronicheroreferstoaproud,mysteriousrebelfigureofnobleorigin.2withimmensesuperiorityinhispassionsandpowers,thisByronicHerowouldcarryonhisshoulderstheburdenofrightingallthewrongsinacorruptsociety.Andwouldrisesingle-handedlyagainstanykindoftyrannicalruleseitheringovernment,inreligion,orinmoralprincipleswithunconquerablewillsandinexhaustibleenergies.3Byron’schiefcontributiontoEnglishliteratureishiscreationofthe“ByronicHero”10.CriticalRealism(批判現實主義)1CriticalRealismisatermappliedtotherealisticfictioninthelate19thandearly20thcenturies.2Itmeansthetendencyofwritersandintellectualsintheperiodbetween1875and1920toapplythemethodsofrealisticfictiontothecriticismofsocietyandtheexaminationofsocialissues.3Realistwriterswereallconcernedaboutthefateofthecommonpeopleanddescribedwhatwasfaithfultoreality.4CharlesDickensisthemostimportantcriticalrealist.11.Aestheticism（美學主義）1ThebasictheoryoftheAestheticmovement“artforart’ssake”wassetforthbyaFrenchpoet,TheophileGautier,thefirstEnglishmanwhowroteaboutthetheoryofaestheticismwasWalterPater.2aestheticismplacesartabovelife,andholdsthatlifeshouldimitateart,notartimitatelife.3Accordingtotheaesthetes,allartisticcreationisabsolutelysubjectiveasopposedtoobjective.Artshouldbefreefromanyinfluenceofegoism.Onlywhenartisforart’ssake,canitbeimmortal.Theybelievedthatartshouldbeunconcernedwithcontroversialissues,suchaspoliticsandmorality,andthatitshouldberestrictedtocontributingbeautyinahighlypolishedstyle.4ThisisoneofthereactionsagainstthematerialismandcommercialismoftheVictorianindustrialera,aswellasareactionagainsttheVictorianconventionofartformorality’ssake,orartformoney’ssake.美學運動的基本原則”為藝術而藝術”最初由法國詩人西奧費爾.高締爾提出,英國運用該美學理論的第一人是沃爾特.佩特.美學主義崇尚藝術高于生活,認為生活應模仿藝術,而不是藝術模仿生活.在美學主義看來,所有的藝術創作都是絕對主觀而非客觀的產物.藝術不應受任何功利的影響,只有當藝術為藝術而創作時,藝術才能成為不朽之作.他們還認為藝術不應只關注一些熱點話題如政治和道德問題,藝術應著力于以華麗的風格張揚美.這是對維多利亞工業發展時期物質崇拜的一種回應,也是向藝術為道德或為金錢而服務的維多利亞傳統的挑戰.12.TheVictorianperiod(維多利亞時期)1Inthisperiod,thenovelbecamethemostwidelyreadandthemostvitalandchallengingexpressionofprogressivethought.Whilestickingtotheprincipleoffaithfulrepresentationofthe18thcenturyrealistnovel,novelistsinthisperiodcarriedtheirdutyforwardtocriticismofthesocietyandthedefenseofthemass.2althoughwritingfromdifferentpointsofviewandwithdifferenttechniques,theysharedonethingincommon,thatis,theywereallconcernedaboutthefateofthecommonpeople.Theywereangrywiththeinhumansocialinstitutions,thedecayingsocialmoralityasrepresentedbythemoney-worshipandUtilitarianism,andthewidespreadmisery,povertyandinjustice.3theirtruthfulpictureofpeople’slifeandbitterandstrongcriticismofthesocietyhaddonemuchinawakeningthepublicconsciousnesstothesocialproblemsandintheactualimprovementofthesociety.4CharlesDickensistheleadingfigureoftheVictorianperiod.13.Modernism(現代主義)1Modernismiscomprehensivebutvaguetermforamovement,whichbegininthelate19thcenturyandwhichhashadawideinfluenceinternationallyduringmuchofthe20thcentury.2modernismtakestheirrationalphilosophyandthetheoryofpsycho-analysisasitstheoreticalcase.3thetermpertainstoallthecreativearts.Especiallypoetry,fiction,drama,painting,musicandarchitecture.4inEnglandfromearlyinthe20thcenturyandduringthe1920sand1930s,inAmericafromshortlybeforethefirstworldwarandonduringtheinter-warperiod,modernisttendencieswereattheirmostactiveandfruitful.5asfarasliteratureisconcerned,Modernismrevealsabreakingawayfromestablishedrules,traditionsandconventions.freshwaysoflookingatman’spositionandfunctionintheuniverseandmanyexperimentsinformandstyle.Itisparticularlyconcernedwithlanguageandhowtouseitandwithwritingitself.14.Streamofconsciousness(意識流)(orinteriormonologue)Inliterarycriticism,Streamofconsciousnessdenotesaliterarytechniquewhichseekstodescribeanindividual’spointofviewbygivingthewrittenequivalentofthecharacter’sthoughtprocesses.Streamofconsciousnesswritingisstronglyassociatedwiththemodernistmovement.Itsintroductionintheliterarycontext,transferredfrompsychology,isattributedtoMaySinclair.Streamofconsciousnesswritingisusuallyregardedasaspecialformofinteriormonologueandischaracterizedbyassociativeleapsinsyntaxandpunctuationthatcanmaketheprosedifficulttofollow,tracingastheydoacharacter’sfragmentarythoughtsandsensoryfeelings.FamouswriterstoemploythistechniqueintheEnglishlanguageincludeJamesJoyceandWilliamFaulkner.學術界認為意識流是一種通過直接描述人物思維過程來尋求個人視角的文學寫作技巧。意識流是現代主義運動的體現，它首先出現在心現學領域，由梅.辛克拉提出的，后引進文學領域。意識流寫作通常被認為是一種特殊形式的內心獨白.它的特別是聯想性,以句法和標點的跳躍,文章的晦澀難懂為特征.來表現人物的片斷思維和感官性直覺.比較著名的使用此技巧的有喬伊斯.福克納.15.AmericanPuritanism(美國清教主義)PuritanismwasareligiousreformthatarosewithintheChurchofEnglandinthelate16thcentury.Undersiegefromchurchandcrown,itsentanoffshootinthethirdandfourthdecadesofthe17thtothenorthernEnglishcoloniesinthenewworldamigrationthatlaidthefoundationforthereligious,intellectual,andsocialorderofNewEngland.Puritanism,however,wasnotonlyahistoricallyspecificphenomenoncoincidentwiththefoundingofnewEngland,itwasalsoawayofbeingintheworldastyleofresponsetolivedexperiencethathasreverberatedthroughAmericanlifeeversince.Doctrinally,puritansadheredtothefivepointsofCalvinismascodifiedatthesynodofdortin1619:1)Unconditionalelection:theideathatGodhaddecreedatthesynodofdamnedandwhowassavedfrombeforethebeginningoftheworld;2)limitedatonement:theideathatChristdiedfortheelectonly;3)Totaldepravity:humanity’suttercorruptionsincethefall;4)Irresistiblegrace:regenerationasentirelyaworkofGod,whichcannotbere3sistedandtowhichthesinnercontributesnothing;5)Theperseveranceofthesaints:theelect,despitetheirbackslidingandfaintnessofheart,cannotfallawayfromgrace.清教主義是16世紀晚期在英國教會內進行的一場宗教改革.在教會和皇權的雙重壓力之下,清教的一個分支于17世紀30,40年代遷至美洲新大陸的北方殖民地,他們為新英格蘭奠定了宗教、知識和社會秩序的基礎。清教主義不僅符合新英格蘭成立的特定歷史，而且一直反映了美國生活的一種生活方式。從教義上說，清教徒遵循加爾文派于1619年多特宗教會議上制定的五條信條：1）無條件揀選：神沒有任憑人在罪中滅亡，而是在創世以前就揀選了一群人旅行拯救；2）有限救贖：基督的死只是為了特定數目的選民而死；3）完全墮落：自從亞當偷吃善惡果后，整個人類都墮落了；4）不可抗拒的恩典：圣靈的能力在罪人心里運行，一直到他認罪悔改方休；5）圣徒的堅守：圣徒是神所挑選的，無論他們如何退步，始終在神的感召下。16.AmericanRomanticism(美國浪漫主義)RomanticismreferstoanartisticandintellectualmovementoriginatinginEuropeinthelate18thcenturyandcharacterizedbyaheightenedinterestinnature,emphasisontheindividual’sexpressionofemotionandimagination,departurefromtheattitudesandformsofclassicism,andrebellionagainstestablishedsocialrulesandconventions.TheromanticperiodinAmericanliteraturestretchesfromtheendofthe18thcenturythroughtheoutbreakofthecivilwar.Itwasanageofgreatwestwardexpansion,oftheincreasinggravityoftheslaveryquestion,ofanintensificationofthespiritofembattledsectionalisminthesouth,andofapowerfulimpulsetoreforminthenorth.InliteratureitwasAmerica’sfirstgreatcreativeperiod,afullfloweringoftheromanticimpulseonAmericansoil.Althoughforeigninfluenceswerestrong,Americanromanticismexhibitedfromtheveryoutsetdistinctfeaturesofitsown.First,Americanromanticismwasinessencetheexpressionof“arealnewexperience”andcontained“analienquality”forthesimplereasonthat“thespiritoftheplace”wasradicallynewandalien.Second,puritaninfluenceoverAmericanromanticismwasconspicuouslynoticeable.EmergingasnewwritersofstrengthandcreativepowerwerethenovelistsHawthorne,Melville,thepoetsDickinson,Whitman,theessayistsThoreau,Emerson.TheseAmericanwritershadmadeagreatliteraryperiodbycapturingontheirpagestheenthusiasmandtheoptimismofthatdream.浪漫主義是于18世紀晚期發起于歐洲的一場藝術性及思想性的運動，它注重自然，強調個人情感表達與想像力，向既定的社會制度和傳統挑戰，與古典主義形式相分離。美國的浪漫主義時期從18世紀末一直延續到內戰爆發前。這個時期發生了大規模的西遷運動，日益嚴峻的奴隸問題，南部各州的地方保護主義的是益盛行以及北部呼聲愈演愈烈火的革新運動。在文學上，這個時期是美國第一次偉大的創作時期，浪漫主義的種子在北美的土壤里生根發芽。盡管受到歐洲浪漫主義運動的影響，美國浪漫主義文學仍然呈現出自己的獨特風格。第一，美國浪漫主義在本質上是一個“全新的經歷“的表達，因這個新大陸充滿著生機和活力而使美國的浪漫主義蘊含異國的氣質；第二，清教主義對美國浪漫主義有著顯著的影響，作為新生創作力量的有小說家霍桑，麥爾維爾。詩人狄金森和惠特曼，散文家梭羅，愛默生。這些美國作家充滿熱情地記錄下這個偉大時代的樂觀主義精神。17.Transcendentalism(超驗主義)Transcendentalismisliterature,philosophicalandliterarymovementthatflourishedinnewEnglandfromabout1836to1860.itisthesummitofAmericanRomanticism.itoriginatedamongasmallgroupofintellectualswhowerereactingagainsttheorthodoxyofCalvinismandtherationalismoftheUnitarianChurch,developinginsteadtheirownfaithcenteringonthedivinityofhumanityandthenaturalworld.TranscendentalismderivedsomeofitsbasicidealisticconceptsfromromanticGermanphilosophy,andfromsuchEnglishauthorsasColeridgeandWordsworth.ItsmysticalaspectswerepartlyinfluencedbyIndianandChinesereligiousteachings.AlthoughTranscendentalismwasneverarigorouslysystematicphilosophy,ithadsomebasictenetsthatweregenerallysharedbyitsadherents.ThebeliefsthatGodisimmanentineachpersonandinnatureandthatindividualintuitionisthehighestsourceofknowledgeledtoanoptimisticemphasisonindividualism,self-reliance,andrejectionoftraditionalauthority.TheideasofTranscendentalismweremosteloquentlyexpressedbyRalphwaldoEmersoninsuchessaysasNature,andbyHenryDavidThoreauinhisbookWalden.超驗主義是從1836至1860于新英格蘭發起的一場文學,哲學以及藝術運動.即浪漫主義的頂點.由于一小群知識分子反對加爾文教派和唯一神論教派理性的形式主義,他們從而提出人與自然的神圣這一信念.超驗主義受到德國浪漫主義哲學以及英國浪漫主義作家柯勒律治和沃茲華斯的影響,還在一定程度上受到東方古典哲學和宗教的影響.盡管超驗主義思想并不能算是嚴格意義上的哲學,但是它還是有一些基本原則的.超驗主義者認為人人都有內在的神性,只有通過接觸自然才能使神性與人的天性相互融合.從而超驗主義十分強調個人主義,自立,拒絕傳統權威思想.超驗主義思想在愛默生的和梭羅的等書中表現得淋漓盡致.18.theAgeofRealism(現實主義時期)1).RealismwasareactionagainstRomanticismandpavedthewaytoModernism;2).Duringthisperiodanewgenerationofwriters,dissatisfiedwiththeRomanticideasintheoldergeneration,cameupwithanewinspiration.Thisnewattitudewascharacterizedbyagreatinterestintherealitiesoflife.Itaimedattheinterpretationoftherealitiesofanyaspectoflife,freefromsubjectiveprejudice,idealism,orromanticcolor.Insteadofthinkingaboutthemysteriesoflifeanddeathandheroicindividualism,people’sattentionwasnowdirectedtotheinterestingfeaturesofeverydayexistence,towhatwasbrutalorsordid,andtotheopenportrayalofclassstruggle;3)sowritersbegantodescribetheintegrityofhumancharactersreactingundervariouscircumstancesandpicturethepioneersofthefarwest,thenewimmigrantsandthestrugglesoftheworkingclass;4)MarkTwainHowellsandHenryJamesarethreeleadingfiguresoftheAmericanRealism.19.AmericanNaturalism(美國自然主義文學)TheAmericannaturalistsacceptedthemorenegativeinterpretationofDarwin’sevolutionarytheoryandusedittoaccoutforthebehaviorofthosecharactersinliteraryworkswhowereregardedasmoreorlesscomplexcombinationsofinheritedattributes,theirhabitsconditionedbysocialandeconomicforces.2)naturalismisevolvedfromrealismwhentheauthor’stoneinwritingbecomeslessseriousandlesssympatheticbutmoreironicandmorepessimistic.Itisnomorethanagloomyphilosophicalapproachtoreality,ortohumanexistence.3Dreiserisaleadingfigureofhisschool.20.Naturalism(自然主義)NaturalismisaliterarymovementrelatedtoandsometimesdescribedasanextremeformofrealismbutwhichmaybemoreappropriatelyconsideredasaparalleltophilosophicNaturalism.2)asamoredeliberatekindofrealismNaturalismusuallyinvolvesaviewofhumanbeingsaspassivevictimsofnaturalforcesandsocialenvironment.InNaturalismamoredocumentary-likeapproachisinevidence,withagreatstressonhowenvironmentandheredityshapepeople.3)Asaliterarymovement,NaturalismwasinitiatedinFrance.4)Naturalistfictionaspiredtoasociologicalobjectivity,offeringdetailedandfullyresearchedinvestigationsintounexploredconcernsofmodernsociety.21.LocalColorism(鄉土文學)1Generallyspeaking,thewritingsoflocalcoloristsareconcernedwiththelifeofasmall,well-definedregionorprovince.Thecharacteristicsettingistheisolatedsmalltown.2)Localcoloristswereconsciouslynostalgichistoriansofavanishingwayoflife,recordersofapresentthatfadedbeforetheireyes.Yetforalltheirsentimentality,theydedicatedthemselvestominutelyaccuratedescriptionsofthelifeoftheirregions,theyworkedfrompersonalexperiencetorecordthefactsofalocalenvironmentandsuggestedthatthenativelifewasshapedbythecuriousconditionsofthelocal.3)majorlocalcoloristsisMarkTwain.22.Imagism(意象主義)1ImagismcameintobeinginBritainandU.Saround1910asareactiontothetraditionalEnglishpoetrytoexpressthesenseoffragmentationanddislocation.2theimagists,withEzraPoundleadingtheway,holdthatthemosteffectivemeanstoexpressthesemomentaryimpressionsisthroughtheuseofonedominantimage.3imagismischaracterizedbythefollowingthreepoeticprinciples:A.directtreatmentofsubjectmatter;B.economyofexpression;C.asregardsrhythm,tocomposeinthesequenceofthemusicalphrase,notinthesequenceofmetronome.4pound’sInaStationoftheMetroisawell-knownimagistpoem.23.TheLostGeneration(迷惘的一代)1ThelostgenerationisatermfirstusedbySteintodescribethepost-warIgenerationofAmericanwriters:menandwomenhauntedbyasenseofbetrayalandemptinessbroughtaboutbythedestructivenessofthewar.2fullofyouthfulidealism,theseindividualssoughtthemeaningoflife,drankexcessively,hadloveaffairsandcreatedsomeofthefinestAmericanliteraturetodate.3thethreebest-knownrepresentativesoflostgenerationareF.ScottFitzgerald,HemingwayandJohndosPassos.24.Expressionism(表現主義)1ExpressionismreferstoamovementinGermanyearlyinthe20thcentury.Inwhichanumberofpainterssoughttoavoidtherepresentationofexternalrealityand,instead,toprojectahighlypersonalorsubjectivevisionoftheworld.2expressionismisareactionagainstrealismornaturalism,aimingatpresentingapost-warworldviolentlydistorted.3inafurthersense,thetermissometimesappliedtothebeliefthatliteraryworksareessentiallyexpressionsoftheirauthors’moodsandthoughts;thishasbeenthedominantassumptionaboutliteraturesincetheriseofromanticism.25.TheBeatGeneration(垮掉的一代)1ThemembersofTheBeatGenerationwerenewbohemianlibertines,whoengagedinaspontaneous,sometimesmessy,creativity.2TheBeatwritersproducedabodyofwrittenworkcontroversialbothforitsadvocacyofnon-conformityandforitsnon-conformingstyle.3themajorbeatwritingsareAllenGinsberg’sHowl.HowlbecamethemanifestoofTheBeatGeneration.26.JazzAge(爵士時代)TheJazzAgedescribestheperiodofthe1920sand1930s,theyearsbetweenWorldWarIandWorldWarII.ParticularlyinNorthAmerica.Withtheriseofthegreatdepression,thevaluesofthisagesawmuchdecline.PerhapsthemostrepresentativeliteraryworkoftheageisAmericanwriterFitzgerald’sTheGreatGatsby.Highlightingwhatsomedescribeasthedecadenceandhedonism,aswellasthegrowthofindividualism.Fitzgeraldislargelycreditedwithcoiningtheterm”JazzAge”.27.Surrealism(超現實主義)Ananti-rationalmovementofimaginativeliberationinEuropeaninartandliteratureinthe1920sand1930s,whichlaunchedbyAndreBretonafterhisbreakfromtheDadagroupin1922.Surrealismseekstobreakdowntheboundariesbetweenrationalityandirrationality,exploringtheresourcesandrevolutionaryenergiesofdreams,hallucinationsandsexualdesire.InfluencedbothbythesymbolistsandbySigmundFreud’stheoriesoftheunconscious,thesurrealistsexperimentedwithautomaticwritingandwiththefreeassociationofrandomimagesbroughtinsurprisingjuxtaposition.超現實主義是20世紀20年代和30年代在歐洲文藝和文學界發起的一場反對理性提倡思想解放的運動.這場運動由安德烈.布里多尼和達達派決裂后發起.超現實主義試圖打破理性和非理性之間的界限.探討夢.幻覺以及性欲的源頭和動力.由于受到象征主義和弗洛伊德無意思理論的影響,超現實主義將自由聯想和自由寫作以不可思議的形式并置合并在一起.28.Metaphysicalpoets(玄學派詩人）Itisthenamegiventoadiversegroupof17thcenturyEnglishpoetswhoseworkisnotableforitsingenioususeofintellectualandtheologicalconceptsinsurprisingconceits,strangeparadoxesandfar-fetchedimagery.TheleadingMetaphysicalpoetwasJohnDonne,whosecolloquial,argumentativeabruptnessofrhythmandtonedistinguisheshisstylefromtheconventionsofElizabethanlovelyrics.29.NewCriticism(新批評主義)NewCriticismisamovementinAmericanliterarycriticismfromthe1930stothe1960s,concentratingontheverbalcomplexitiesandambiguitiesofshortpoemsconsideredasself-sufficientobjectswithoutattentiontotheiroriginsoreffects.ThenamecomesfromJohnChrisom’sbookTheNewCriticism.30.Feminism(女權主義)1Feminismincorporatesbothadoctrineofequalrightsforwomenandanideologyofsocialtransformationaimingtocreateaworldforwomenbeyondsimplesocialequality.2ingeneral,feminismisideologyofwomen’sliberationbasedonthebeliefthatwomensufferinjusticebecauseoftheirsex.Underthisbroadumbrellavariousfeminismsofferdifferinganalysesofthecauses,oragents,offemaleoppression.3definitionsoffeminismbyfeministstendtobeshapedbytheirtraining,ideologyorrace.So,forexample,Marxistandsocialistfeministsstresstheinteractionwithinfeminismofclasswithgenderandfocusonsocialdistinctionsbetweenmenandwomen.Blackfeministsarguemuchmoreforanintegratedanalysiswhichcanunlockthemultiplesystemsofoppression.31.HemingwayCodeHero(海明威式英雄)1HemingwayCodeHero,alsocalledcodehero,isonewho,woundedbutstrongmoresensitive,enjoysthepleasuresoflife(sex,alcohol,sport)infaceofruinanddeath,andmaintains,throughsomenotionofacode,anidealofhimself.2barnsinthesunalsoRises,HenryinaFarewelltoarmsandSantiagointheoldmanandtheseaaretypicalofHemingwayCodeHero32.Impressionism(印象主義)Impressionismisastyleofpaintingthatgivestheimpressionmadebythesubjectontheartistwithoutmuchattentiontodetails.Writersacceptedthesameconvictionthatthepersonalattitudesandmoodsofthewriterwerelegitimateelementsindepictingcharacterorsettingoraction.2briefly,itisastyleofliteraturecharacterizedbythecreationofgeneralimpressionsandmoodsratherthatrealisticmood.33.Postmodernism(后現代主義)Itisadisputedtermthathasoccupiedmuchrecentdebateaboutcontemporaryculturesincetheearly1980s.initssimplestandleastsatisfactorysenseitrefersgenerallytothephaseof20thcenturywesternculturethatsucceededthereignofhignmodernism,thusindicatingtheproductsofthe“spaceage”aftersometimeinthe1950s.Moreoften,thoughitisappliedtoaculturalconditionprevailingintheadvancedcapitalistsocietiessincethe1960s,characterizedbyasuperabundanceofdisconnectedimagesandstyles.Inthissense,postmodernityissaidtobeacultureoffragmentarysensations,eclecticnostalgia,disposablesimulacra,andpromiscuoussuperficiality,inwhichthetraditionallyvaluedqualitiesofdepth,coherence,meaningoriginalityandauthenticityareevacuatedordissolvedamidtherandomswirlofemptysignals.這個具有爭議的名字概念是從20世紀80年代早期開始應用于近幾十年的現代文化領域.最簡單也最難說服人的說法是后現代主義是20世紀西方文明繼高度現代主義之后的一個階段.后現代主義是50年代太空時代的產物.通常它被用來解釋自60年代起先進資本主義社會主要的社會文化現象.從這個意義上說.后現代主義被認為是片斷構建的編織.折衷的懷舊主義,濫用的仿物以及混雜的淺浮,而傳統所強調的深度.連貫.意義的原創性,真實性都在空洞信號的隨意泛濫中消失瓦解.34.Confessionalpoetry(自白派詩歌)Itisanautobiographicalmodeofversethatrevealsthepoet’spersonalproblemswithunusualfrankness.ThetermisusuallyappliedtocertainpoetsoftheUnitedstatesfromthelate1950stothelate1960s,notablyRobertLowell.Theterm’sdistinctivesensedependsonthecandidexaminationofwhatwereatthetimeofwritingvirtuallyunmentionablekindsofprivatedistress.Thegenuinestrengthsofconfessionalpoets,combinedwiththepityevokedbytheirhighsuiciderate,encouragedinthereadingpublicaromanticconfusionbetweenpoeticexcellenceandinnertorment.自白詩歌是一種自傳體詩歌.詩歌主要用不尋常的坦白展示詩人的個人內心問題.自白詩歌是指50年代后期到60年代后期出現的詩人.特別是羅伯特.洛厄爾.此概念有時在廣義上指任何個人或自傳的詩歌,但自白詩歌最明顯的特征,是坦誠揭露寫作時的所思所想,個人心里憂傷的流露.自白派詩人杰出的文學才華和他們由于痛苦而引起的高自殺率,以及詩歌中處處流露著痛苦,迷茫,悲觀,隱晦的氣氛,讓讀者們閱讀時產生一種詩歌精妙和內心痛苦的迷茫感.35.TheNewYorkSchool（紐約派）TheNewYorkSchoolwasaninformalgroupofAmericanpoetsandpaintersactivein1950sNewYorkCity,criticsarguedthattheirworkwasareactiontotheconfessional’smovementincontemporarypoetry.Theirpoeticsubjectmatterwasoftenlight,violent,orobservational,whiletheirwritingstylewasoftendescribedascosmopolitanandworld-traveled.thepoetsoftendrewinspirationfromsurrealismandthecontemporaryavant-gardeartmovement,inparticulartheactionpaintingoftheirfriendsintheNewYorkCityartcircle.therearealsocommonalitiesbetweentheNewYorkSchoolandtheearlierBeatGenerationpoetsactivein1940sand1950sNewYorkCity.紐約派詩人是50年代活躍在紐約的美國詩人和畫家的非正式群體。評論家認為他們是對同時代自白派詩歌運動的反抗。他們作品的主題通常輕快，激烈或者觀察入微。他們的寫作風格是全球性的。他們接受了超現實主義和先鋒藝術運動，特別是紐約畫界的朋友的影響創作詩。他們與40,50年代紐約的垮掉一代詩人有一定共同點.36.TheAbsurd(荒謬派)ItisatermderivedfromtheexistentialismofAlbertCamus,andoftenappliedtothemodernsenseofhumanpurposelessnessinauniversewithoutmeaningorvalue.Many20thcenturywritersofprosefictionhavestressedtheabsurdnatureofhumanexistence:notableinstancesarethenovelsandstoriesofFranzKafka,inwhichthecharactersfacealarminglyincomprehensiblepredicaments.37.TheBlackMountainPoets(黑山派詩人)1TheBlackMountainPoetsrefertoagroupofpoetsactiveonthecontemporaryscene,asthesepeoplewereeitherassociatedwithBlackMountaincollege,orwithBlackMountainReview,theyhavebecomeknownas“TheBlackMountainPoets”2theleadingfigureofthisschoolofpoetrywasCharlesOlson.38.Realism(現實主義)Realismwasalooselyusedtermmeaningtruthtotheobservedfactsoflife(especiallywhentheyaregloomy).Realisminliteratureisanapproachthatattemptstodescribelifewithoutidealizationorromanticsubjectivity.39.MeditativePoetry(冥想派詩歌)40.Allegory(寓言)1Allegoryisastorytoldtoexplainorteachsomething.Especiallyalongandcomplicatedstorywithanunderlyingmeaningdifferentfromthesurfacemeaningofthestoryitself.2allegoricalnovelsuseextendedmetaphorstoconveymoralmeaningsorattackcertainsocialevils.charactersinthesenovelsoftenstandfordifferentvaluessuchasvirtueandvice.3Bunyan’sPilgrim’sProgress,Melville’sMobyDickaresuchexamples.41.Alliteration(頭韻)1Alliterationmeansarepetitionoftheinitialsoundsofseveralwordsinalineorgroup.2alliterationisatraditionalpoeticdeviceinEnglishliterature.3RobertFrost’sAcquaintedwiththeNightisacaseinpoint:”Ihavestoodstillandstoppedthesoundoffeet”42.Ballad(民謠)1Balladisastoryinpoeticfromtobesungorrecited.inmoreexactliteraryterminology,aballadisanarrativepoemconsistingofquatrainsofiambictetrameteralternatingwithiambictrimester.(抑揚格四音步與抑揚格三音步詩行交替出現的四行敘事詩)2.balladswerepasseddownfromgenerationtogeneration.3Coleridge’sTheRimeoftheAncientMarinerisa19thcenturyEnglishballad.43.epic(史詩)1Epic,inpoetry,referstoalongworkdealingwiththeactionsofgoodsandheroes.2Epicpoemsarenotmerelyentertainingstoriesoflegendaryorhistoricalheroes;theysummarizeandexpressthenatureoridealsofanentirenationatasignificantorcrucialperiodofitshistory.3BeowulfisthegreatestnationalEpicoftheAnglo-Saxons.44.Lay(短敘事詩)Itisashortpoem,usuallyaromanticnarrative,intendedtobesungorrecitedbyaminstrel.45.Romance(傳奇)1RomanceisapopularliteraryforminthemedicEngland.2itsingsknightlyadventuresorotherheroicdeeds.3chivalryisthespiritoftheromance.46.Alexandrine(亞歷山大詩行)1Thenameisderivedfromthefactthatcertain12thand13thcenturyFrenchpoemsonAlexandertheGreatwerewritteninthismeter.2itisaniambiclineofsixfeet,whichistheFrenchheroicverse.47.BlankVerse(無韻詩或素體廣義地說)Blankverseisunrhymedpoetry.Typicallyiniambicpentameter,andassuch,thedominantverseformsofEnglishdramaticandnarrativepoetrysincethemid-16thcentury.48.Comedy(喜劇)Comedyisalightformofdramathataimsprimarilytoamuseandthatendshappily.Sinceitstrivestoprovokesmileandlaughter,bothwitandhumorareutilized.Ingeneral,thecomiceffectarisesfromrecognitionofsomeincongruityofspeech,action,orcharacterrevelation,withintricateplot.49.Essay(隨筆)Thetermreferstoliterarycompositiondevotedtothepresentationofthewriter’sownideasonatopicandgenerallyaddressingaparticularaspectofthesubject.Oftenbriefinscopeandinformalinstyle,theessaydiffersfromsuchformalformsasthethesis,dissertationortreatise.50.Euphuisticstyle(綺麗體)Itsprinciplecharacteristicsaretheexcessiveuseofantithesis,whichispursuedregardlessofsense,andemphasizedbyalliterationandotherdevices;andofallusionstohistoricalandmythologicalpersonagesandtonaturalhistorydrawnfromsuchwritersasPlutarch(普盧塔克),Pliny(普林尼),andErasmus(伊拉茲馬斯).2itisthepeculiarstyleofEuphues(優浮綺斯)51.HistoryPlays(歷史劇)Historyplaysaimtopresentsomehistoricalageorcharacter,andmaybeeitheracomedyoratragedy.Theyalmosttellstoriesaboutthenobles,thetruepeopleinhistory,butnotordinarypeople.theprincipleideaofShakespeare’shistoryplaysisthenecessityfornationalunityunderamightyandjustsovereign.52.MasquesorMasks(假面劇)Masques(orMasks)refertothedramaticentertainmentsinvolvingdancesanddisguises,inwhichthespectacularandmusicalelementspredominatedoverplotandcharacter.Astheywereusuallyperformedatcourt,oftenatverygreatexpense,manyhavepoliticalovertones.53.Moralityplays(道德劇)AkindofmedicandearlyRenaissancedramathatpresentstheconflictbetweenthegoodandevilthroughallegoricalcharacters.Thecharacterstendtobepersonifiedabstractionsofvicesandvirtues,whichcanbenamedasMercy.Conscience,etc.unlikeamysteryoramiracleplay,moralityplaydoesnotnecessarilyuseBiblicalorstrictlyreligiousmaterialbecauseittakesplaceinternallyandpsychologicallyineveryhumanbeing.54.Sonnet(十四行詩)1Itisalyricpoemof14lineswithaformalorrecitedandcharacterizedbyitspresentationofadramaticorexcitingepisodeinsimplenarrativeform.2itisoneofthemostconventionalandinfluentialformsofpoetryinEurope.3Shakespeare’ssonnetsarewell-known.55.SpenserianStanza(斯賓塞詩節)S