英国文学史期中论文
An Analysis of the Design of the First Assemblyin Pride and Prejudice[Abstract] In Pride and Prejudice, the first assembly is the stage of the debut of hero, Darcy and the heroine, Elizabeth. Therefore, the design of this assembly, including which part of the assembly should be narrated directly in the description of the assembly, how to do with other things happened during the party, how to shape the characteristics and personality of the two main characters as well as other important role on the assembly, is essentially significant to the character portrait for the whole novel. Mainly employing description of language and technique of comparative description, the plot about this assembly is well-designed as three parts, before, during and after the assembly, which is efficient to the character figuring of the novel. [Keywords] character figuring, design, description of language, comparative descriptionThe novel introduces the first assembly in Chapter 3, using only half of a chapter to directly describe things happened on the party while two other whole chapter to show people’s discussion on it. By the delicate design, vivid language description and useful comparative description, the description of this party is highly efficient to the chapter portrait of this novel.Before the party, Mrs. Bennet’s worry about Mr. Bingley’s going into the town is showed, which totally reveals the purpose of Mrs. Bennet’s participating in the dinner, again echoing the description of Mrs. Bennet’s saying "If I can but see one of my daughters happily settled at Netherfield, and all the others equally well married, I shall have nothing to wish for." (Austen, 2001: 2) at former plot. In the case, the assembly is platform to looking for sweetheart, love and even possible marriage (Yang, 91). At the end of this paragraph, Mr. Bingley’s invitating his sisters and Darcy leads to the appearance of these important characters.For the description of things happened during the party, instead of using scene description to the setting of the ball or psychological description to the participators, language description organized by comparative technique is mainly employed to mould different personality of different participant. First of all, It can be directly seen that the description of Mr. Hurst’s and Mr. Darcy’s first appearance is put in the same paragraph and connected by the conjunction “but”,saying “Mr. Hurst, merely looked the gentleman; but his friend Mr. Darcy soon drew the attention of the room.” (Austen, 2001: 2). Then,people’s evaluations to Mr. Bingley and Mr. Darcy are also presented in comparison made by ladies and gentlemen, and more powerfully demonstrated in the discussion by ladies who “declared he was much handsomer than Mr. Bingley.” (Austen, 2001: 2). Even in introducing Mr. Bingley’s and Mr. Darcy’s primary impression to the guests, comparison is never be forgotten in saying “not all his large estate in Derbyshire could then save him from having a most forbidding, disagreeable countenance, and being unworthy to be compared with his friend.” (Austen, 2001: 3). In this debut of the two main male characters, comparative description from different layers is applied, which enriches their personality, polishes the description and help to model the character in a vivid and objective way with less words (Ai, 1981: 58).Another wonderful utilization of comparative description in the design and narration during the party is the description to the dialogue between Mr. Darcy and Mr. Bingley. The Author uses no any word to describe the setting of the party or even to show other characters on the ball, but apply a large space for the conversation between Mr. Darcy and Mr. Bingley. "Come, Darcy. I must have you dance. I hate to see you standing about by yourself in this stupid manner. You had much better dance." This is Mr. Bingley’s first sentence in the whole novel and Mr. Darcy answered by saying "I certainly shall not. You know how I detest it, unless I am particularly acquainted with my partner. At such an assembly as this, it would be insupportable. Your sisters are engaged, and there is not another woman in the room whom it would not be a punishment to me to stand up with" (Austen, 2001: 3). Analyzing this sentence, It is not difficult to find the intimate friendship between these two gentlemen by observing the diction of Mr. Bingley. He used an imperative sentence at the very beginning, which according to John Searle is a directives showing his attempt to incite Mr. Darcy to a dance with Elizabeth. More importantly, by analyzing the different choice of modals verbs in the conversation, the personality of these two gentlemen can be dissected more clearly. Mr. Bingley, when inciting his friend, used a word “must”, while Mr. Darcy was designed to use words that is more euphemistic, conservative and indirect like “shall”, “would” (Zhang, 2009: 438 ). This may display that Mr. Bingley is more frank and direct while Mr. Darcy still highly mind his words since that it is necessary for him to set a space between him and the people he talked to even faced to his best friend. Further more, Although Mr. Darcy pays particular care to his choice of word, his pride still can not be hided because of hisunkind, harsh and even acerb word in saying "She is tolerable; but not handsome enough to tempt me; and I am in no humour at present to give consequence to young ladies who are slighted by other men. You had better return to your partner and enjoy her smiles, for you are wasting your time with me." when discussing about Elizabeth. Putting their words together in a conversation, the personality of these two men is comprehensively presented.Although the half-chapter direct description to the assembly is quite short, some other needful details of the party are introduced through the conversation in the following two chapters. Designed in this way, the direct description of the ball will become more outstanding and the personality of those main characters, like Mr. Darcy, Mr. Bingley and Elizabeth, will be more impressive because of the only presentation, especially the deep display of the conflict between Mr. Darcy and Elizabeth, of them, thus resulting in a proactive effect. In Chapter Four and Chapter Five, conversation between Mr. and Mrs. Bennet, Elizabeth with Jane and Miss. Lucases with Mrs. Bennet are arranged and there is still a skillful use of comparative description and successful presentation of characters’ language. These three parts employ almost no more other techniques but language description. In the talk between two Bennets, Mr. Bingley and Mr. Darcy are again compared in Mrs. Bnnet’s words to emphasize Mr. Bingley’s good manner and the annoying pride of Mr. Darcy. The talk between Elizabeth and Jane may be mainly used to deepen the characteristic of Elizabeth. In the dialogue, Jane’s words like "I was very much flattered by his asking me to dance a second time. I did not expect such a compliment."(Austen, 2001: 5) reveals her naivete and simplicity of mind while Elizabeth’s words like "Did not you? I did for you. But that is one great difference between us. Compliments always take you by surprise, and me never. What could be more natural than his asking you again? He could not help seeing that you were about five times as pretty as every other women in the room. No thanks to his gallantry for that. Well, he certainly is very agreeable, and I give you leave to like him. You have liked many a stupider person."accounts for her splendid quickness. In the dialogue between Miss. Lucases and Mrs. Bennet, the comparison between Mr. Bingley and Mr. Darcy emerges again. Moreover, by saying "That is very true,and I could easily forgive his pride, if he had notmortified mine." answering the words "His pride does not offend me so much as pride often does, because there is an excuse for it. One cannot wonder that so very fine a young man, with family, fortune, every thing in his favour, should think highly of himself. If I may so express it, he has a right to beproud." uttered by Miss. Lucases, Elizabeth’s characteristics is showed strongly and also reveal one of the key concept that leads to the conflict between Mr. Darcy and Elizabeth, pride. All of these, without other complex techniques, are presented by conversations and comparative descriptions.The design of the first assembly in Pride and Prejudice is special for the different arrange of the length of the description of things happened in the party and after the party and further more, to model the characters in this significant process, accurate words are utilized in the dialogues among different roles, mainly designed in a comparative way. These elements makes the narration of the first assembly brilliant and efficient to the whole fiction.Work CitedAusten, Jane. Pride and Prejudice. [M]. 上海：上海世界图书出版社，2001.艾斐. 山西大学学报. (1981). [J]. /Article/CJFDTotal-SXDD 198101009.htm杨青青. 外国文学. (2007).[J]. /link?url=KP8lV3uUErz qoxkVSuv0McPCNgFAcLrXv203E5SltA_s0rHAm1dVivKdkmDJ2Y58-lBBidT0J0RWNB7 yAA-Om0ePr9etTRax0fi782VdZya章振邦. 新编英语语法教程[M]. 上海:上海外语教育出版社,2009：438.。
关于英国文学方面论文
关于英国文学方面论文英国文学的历史比较悠久，在历史长河的推动下，经历了一个漫长又复杂的演变发展过程。
下文是店铺为大家整理的关于英国文学方面论文的范文，欢迎大家阅读参考!关于英国文学方面论文篇1浅论启蒙运动和英国文学摘要：18世纪的启蒙运动的开始，对英国的文学产生了重大影响。
现实主义小说的兴起和发展是英国启蒙文学最重要的成就。
其中，笛福的《鲁滨孙飘流记》是英国现实主义小说的先锋之一。
它创作了一位18世纪典型的具有冒险精神的英国资产阶级的人物形象。
关键词：现实主义小说;笛福;《鲁滨孙飘流记》一、启蒙文学与现实主义小说作为启蒙运动一部分的启蒙文学，在思想上以“理性崇拜”为核心，主张崇拜“自然理性”，反对君主王权。
体现在文学上，基本都表现出崇尚个人自由、崇尚回归自然、宣传开明君主制或君主立宪制、主张发展工商业、自由的经济竞争等等。
17世纪的法国古典主义文学在启蒙运动中仍占有一定地位，但并未产生伟大的作品。
尽管许多文学家仍借用古典主义的形式进行创作。
整体上看，启蒙文学中的反王权、反教会思想和文艺复兴文学有些相似，但更加激进。
由于根植于启蒙运动的土壤之中，启蒙文学具有更加强烈的哲学思辨特征和政治经济学底蕴。
启蒙文学不追求崇高的风格，多半以来自市民阶层的平民为主要人物，在体裁上也不仅仅局限于诗歌和戏剧，而是广泛采用各种体裁，其中尤以小说最为突出，为19世纪现实主义小说的繁荣奠定良好的基础。
欧洲文学的“诗体时代”向“散文体时代”的过渡就是在启蒙文学阶段完成的。
18世纪前半叶，英国社会安定，文学上崇尚新古典主义，其代表者是诗人蒲柏。
他运用英雄偶句体极为成熟，擅长写讽刺诗，但以发泄私怨居多。
表现出启蒙主义精神的主要是散文作家，他们推进了散文艺术，还开拓了两个文学新领域，即期刊随笔和现实主义小说。
二、笛福与《鲁滨孙飘流记》《鲁滨孙飘流记》是英国小说家笛福(1660-1731)写的一部小说，发表于一七一九年。
《鲁滨孙飘流记》是一部成功的现实主义小说。
英国文学简史结课论文ThePilgrim'sProgress
A Brief History of English LiteratureThe Pilgrim’s ProgressName:Number:Class Number:Teacher:The Pilgrim’s ProgressAs Banyun’s most significant work, The Pilgrim’s Progress met with warm reception after it came out. It’s not strange that The Pilgrim’s Progress became a book owned by almost every family in England for two following centuries, a record perhaps only next to the Bible itself. Translated into over 200 languages,The Pilgrim's Progress is one of the most famous classics of literature.Ⅰ.The AuthorJohn Bunyan (1628一1688), the author of The Pilgrim's Progress, is recognized as one of the most famous English allegorists. John Bunyan was born into a tinker's family in 1628. He was sent to school for a short time, but he was soon busy in his father's shop. When he was not yet sixteen his mother died; in two months his father married again. In 1642 he joined the parliamentary army and in 1647 was honorably discharged. Then he married a wife whose piety redeemed him from his delight in rural sport and the habit of profane swearing. He got interested in religion and in a few years joined a small group of non-conformists. His influential preaching astonished and enraged the authorities and then upon his refusal to leave off preaching, the justice committed him to Bedford jail, where he lay for nearly thirteen years. And it was here, in this period, he wrote the wonderful The Pilgrim's Progress.Ⅱ.The Plot LayoutIt is an allegorical novel, describing a Christian's journey through life to reach heaven. In this allegory, Christian and his company progress on a spiritual pilgrimage according to the instructions in the Bible. Despite their occasional diversions, they always hold to the Divine truth. Therefore all of them get an access to the world of eternal blessing, honor, glory and power. The readers must have exulted at the desirable salvation of the Christian family, because they are pilgrims on the same road. They encounter similar trials, temptations and difficulties. No doubt, the breadth of religious sympathies accounts for the universal acceptableness of The Pilgrim's Progress.Ⅲ.Writing Features--Biblical AllegoryA.The Biblical Allegory of theThemeThe theme that life is a pilgrimage has been widely used by western writers. The Bible, the most important source of Bunyan’s writings, deseribes that human beings live on the earth as pilgrims, and in all their life they “seek a homeland”, “a heavenly country”, (Hebrews 11:11,16). In The Pilgrim’s Progress, literally the hero Christian undergoes a journey from his hometown to his destination; allegorieally, it is a spiritual pilgrimage for everyman to pursue self-understanding and salvation.B.The Biblical Allegory of the NarrativeThe Status of the Bible can Provide the gauge to the possibilities of allegory, and the nrrative of the Bible provides the arehetype for literal works. As in The Pilgrim’s Progress, “the narrative sense” in the reading of the Bible remains “direetly, as in the Methodist’s devout use of the Bible... In tracing and treading the path from sin to perfetion.,(Frei152).C.The Biblical Allegory of the CharaeterizationAs the pretext of The Pilgrim’s Progress, the Bible makes its mark not only on the text’s theme and narrative, but also on its characterization. In The Pilgrim’s Progress, the characters in the work almost all serve exclusively to present unambiguously a certain principle in the doctrine of the Bible. The characters, such as Ignoranee, Talkative, Lord Hategood, Obstinate, Pliable etc., in a sense are not characters; they are even not character types; they are the reifieation and personifications of very explicit characteristics introduecd inio the text in order to illustrate a clear point. In a sense, there is only one charaeter in this story, Christian himself: the fulfillment of his salvation depends upon various stages of his spiritual growth.Ⅳ.Spiritual InfluenceThe Pilgrim’s Progress nearly has the same reputation with the Bible in western countries. It shows the author’s incomparable respect and devoutness by the hero Christian’s speech. The attitude of the Christian to god was absolutely complete. He followed God’s every orders and dared not to have any fault. And his efforts had gained plentiful reward. After a series hardship and trial, the Christian was welcomedinto the dreamed paradise holy city by the angel. Saying as the ideological content, John Bunyan’s The Pilgrim’s Progress is the most respectful work to God.For the above analysis, the Pilgrim’s Progress is undoubtedly successful. It influences the readers’mind greatly; meanwhile its many rhetoric and sentence making had been wildly cited as proverb, common saying, idiom and classical expressing ways in the English world. Bunyan achieved his faith, which was established by dream for using his The Pilgrim’s Progress.Ⅴ.References[1]谈竹琴. The Influence of The Bible on The Pilgrim's Progress[J]. 读与写(教育教学刊),2009,03:6-7+31.[2]林雅琴. The Christian Doctrines of Salvation at the Earlier Stages of The Pilgrim's Progress[J]. 海外英语,2011,09:278-279.[3]刘俊楠. A Tentative Feminist Exploration of the Innovation and Evolution of The Pilgrim's Progress-in Comparison with the Bible[D].赣南师范学院,2011.[4]李果. On the Biblical Allegory inThe Pilgrim’s Progress[M].湖南师范大学,2006,10.。
文艺复兴时期英国文学的辉煌的论文
文艺复兴时期英国文学的辉煌的论文文艺复兴时期英国文学的辉煌一、文艺复兴与英国文学文艺复兴在英国是以重新发现希腊、罗马的古典文化为开端，英国文艺复兴在整个欧洲文艺复兴领域具有重要地位。
英国的大学里恢复了古希腊语的教学，并出现规模宏大的翻译活动，众多的学者、作家将古代希腊﹑罗马和近代意﹑法等国的学术和文学名著译成了早期近代英语。
哲学家、教育家、历史家、政治家、宗教人士纷纷从事著述，用不同方式表达了人文主义思想，其中有托马斯·莫尔用拉丁文写的《乌托邦》，这个时期是英国近代文学开始阶段，这个阶段的英国文学是一个吸收外来文化的过程。
文艺复兴为英国文学大发展带来了新的气息。
文学一直以来都是与社会、政治和宗教有直接的关系，文艺复兴之前，英国的文学创作氛围并不是特别好，没有良好的创作范围，英国也就没有诞生影响世界文坛的作家，只本文由收集整理到文艺复兴时期，英国文学打破了闭塞的文学创作思路，开始学习历史上的希腊和罗马，以及外国文学，整个文学界迸发出活力。
二、文艺复兴时期英国文学成就文艺复兴在英国成就主要体现在戏剧。
戏剧作为希腊最为重要的文学形式，在文艺复兴期间得以在英国生根发芽，很多但是除了戏剧之外，文艺复兴时期的英国诗歌创作也取得了非常重大的成就，最为著名和影响力最为甚远的应当是我们熟知的莎士比亚《十四行诗》文艺复兴时期诗歌创作空前活跃，一些具有里程碑意义的诗作陆续问世，诗歌创作的创新和尝试，为文艺复兴其他文学形式的发展奠定了基础，其中《杂集》发表了华埃特和萨里两人对于意大利十四行诗的仿作，使这一诗体在英国生根。
到了90年代，锡德尼等著名诗人都出版了十四行诗集，虽然仍以歌颂爱情为主，却能突破旧格局而注入新内容。
十四行诗之外，英国诗歌界也有很多伟大的诗人，其中，成就最大的则是著名诗人斯宾塞。
他的主要作品《仙后》规模宏大，内容丰富，利用中古骑士传奇的体裁，以寓言为主要手法，在精神上却反对天主教而歌颂作为英国民族象征的伊丽莎白女王，传达了正在兴起的清教主义的严峻的道德观，并且出之以优美而多变的韵文，使得斯宾塞不仅独步当时诗坛，而且成为後世讲究诗艺的作家所仰慕的“诗人的诗人。
英国文学方面的论文范文大全
英国文学方面的论文范文大全英美文学课作为英语专业高年级学生的专业必修课,在教学计划中占有举足轻重的地位。
下文是店铺为大家整理的关于英国文学方面的论文范文大全的内容，欢迎大家阅读参考!英国文学方面的论文范文大全篇1浅论英美文学与英语阅读教学一.英美文学在高中英语阅读教学上的课程定位(一)英美文学的阅读教学要求《普通高中英语课程标准(实验)》(以下简称《课标》)指出，高中学生学习外语可以促进心智、情感、态度与价值观的发展和综合人文素养的提高。
程爱民(2002：17)认为：“英美文学课的首要目的在于培养学生对英美文学的兴趣，提升学生的文化修养和人文素质，而不仅仅是去提高学生的欣赏水平或是英语水平”。
这很适用于高中阶段的广大英语学习者。
因此，在高中阶段，一方面，教师从英语教学方面扩大学生接触异国文化的范围，帮助学生拓展视野。
课堂中渗透英美文学不但能促进高中英语教学，而且能切实提高学生的文学素养，培养其多元文化意识，降低跨文化交际的焦虑。
另一方面，英美文学作品是英美社会文化中的精华部分，学生接触到这些作品时，首先大量生动、优美的语句和地道的语言表达为学生提供了原汁原味的英语语料，在一定量的语言“输入”之后，学生的英语水平会在潜移默化中得到提高。
(二)高中学生的自身发展需求英国心理学家Botzlar在谈到培养学生学习兴趣的问题时说：“要不断刺激孩子的好奇心和求知欲。
”虽然在高考的压力下，学生早已厌倦了无休止的语法灌输和乏味的填鸭式教学，但是当代的高中生，他们对新鲜事物依然充满好奇，内心感情丰富，对新知识的学习拥有很强的接收能力。
事实上，笔者在实际的教学操作过程中深刻地体会到学生对获知英美文学的强烈渴望，他们尤其喜爱原版小说，学生要求教师在课堂上穿插讲解英美文学的相关知识。
他们希望在阅读、欣赏英美文学的过程中，个人的精神世界也得到极大丰富。
因此，英语课堂教学除了主要围绕考点知识的传授和解题方法的训练，英美文学的阅读教学渗透，更有利于培养有独立意识的学生个体，更有利于学生形成健康的审美观、正确的人生观和价值观。
【英国文学毕业论文】 英国文学论文2000字
【英国文学毕业论文】英国文学论文2000字英国文学源远流长，经历了长期、复杂的发展演变过程。
关于英国文学的毕业论文是怎样的?下面是小编整理的英国文学毕业论文，仅供参考。
英国文学毕业论文【1】浅析英美文学课边缘化成因及其对策摘要：英美文学课是为英语专业高年级学生开设的课程，对于提升学生的文学修养有着不可替代的作用。
在当前的教学实践中，英美文学课出现了诸多问题，并陷入了窘境。
本文拟从文学课边缘化的成因入手，全面剖析教师、学生及课本等几方面原因，并根据笔者的教学经验，提出切实可行的解决问题的策略。
关键词：英美文学;边缘化;原因;对策阅读文学作品不但可以提升一个人的文化修养，更可以启迪精神、净化灵魂。
对于英语专业的毕业生来说，文学作为一种资源和财富，最起码的文学修养是有必要的。
尽管2000年《高等学校英语专业教学大纲》中明确指出“文学课程的目的在于培养学生阅读、欣赏、理解英语文学原著的能力，掌握文学批评的基本知识和方法，通过阅读和分析英美文学作品，促进学生语言基本功和人文素质的提高，增强学生对西方文学及文化的了解”。
然而，在近些年的教学实践中，英美文学课却陷入了一些困境，文学课已出现逐渐地被边缘化趋向，已经引起了很多教育人士的担忧。
本文试从自身教学经历来探讨文学课边缘化的成因及解决方法。
一、英美文学课教学存在的问题造成英美文学课边缘化的原因可以从教育体制、教师、学生和教材等方面来探究。
1.教育结构失衡尽管2000年《高等学校英语专业教学大纲》将英美文学课划为专业知识课，并规定在英语专业三四年级开设英美文学课，但是在实际教学过程中，文学课已被边缘化。
“从主干课、必修课沦落到选修课、讲座课;从二十人的小班、讨论式上课改为两三百人的、讲座式的大课堂;从两个学年的课程‘浓缩’到一个学期。
对该课程的要求也随之放宽”。
[3]在教学实践环节，文学课已从主干课变成服务型课程，居于次要的位置。
有关英国文学论文
有关英国文学论文英国文学展现了作家内心的艺术世界,文学实质就是一种语言文字艺术。
下文是店铺为大家整理的有关英国文学论文的范文，欢迎大家阅读参考!有关英国文学论文篇1浅谈英国浪漫主义文学浪漫主义起源于中世纪法语中的Romance(意思是“传奇”或“小说”)一词,“罗曼蒂克”一词也由此音译而来。
浪漫主义宗旨与“理”相对立,主要特征注重个人感情的表达,形式较少拘束且自由奔放。
作为创作方法和风格,浪漫主义在表现形式上,强调主观与主体性,侧重表现理想世界,把情感和想象提到创作的首位,常用热情奔放的语言、超越现实的想象和夸张的手法塑造理想中的形象。
而以浪漫主义为基础发展起来的浪漫主义文学也因此具有其独特的艺术风格,在文学历史的长河中是一颗璀璨的明珠。
浪漫主义思潮发展得最完备,最规范,最有成就的当推英国。
英国的浪漫主义文学与其他国家相比,有其无可比拟的光彩和风韵,以独特性、多样性和活力性为特征的英国浪漫主义文学对于世界浪漫主义文学的发展和进步真可谓是功不可没。
近代的文学家,历史学家和学者都热衷于英国浪漫主义文学的研究和探索,对其发展和起源以及特点做了相当完善的了解。
一. 英国浪漫主义文学的发展和起源英国的浪漫主义文学开始于18世纪中后期,是由18世纪末和19世纪初欧洲的社会政治状况决定的。
同时18世纪英国的伤感主义文学、哥特式小说以及德国狂飙突进文学,都推崇主观情感,为浪漫主义文学的出现提供了条件。
而康德哲学的“唯心主义哲学”,费希德的“唯我论”赞扬了人的主观作用,也为浪漫主义文学的主观色彩和个人主义奠定了哲学基础。
英国的浪漫主义文学在发展历程中出现过两次高潮。
第一次是在1805年左右,这一时期是英国的湖畔派诗人创作的高峰期,最重要的代表是华兹华斯, 威廉·华兹华斯是英国19世纪著名的浪漫主义诗人,他在英国文学史上的地位仅次于莎士比亚和弥尔顿,在所有浪漫主义诗人当中,其诗歌的哲理沉思色彩是最浓重的。
英国文学史论文2100字_英国文学史毕业论文范文模板
英国文学史论文2100字_英国文学史毕业论文范文模板英国文学史论文2100字(一)：“雨课堂”在“英国文学史及选读”课程教学中的应用论文【摘要】本文分析了现阶段“英国文学史及选读”课程教学现状，特别是传统教学方法的局限和问题，结合教学实践，总结了“雨课堂”在课程教学中的应用。
【关键词】雨课堂；英国文学史及选读；智慧教学一、“英国文学史及选读”教学现状2018年初教育部颁布的《外国语言文学类教学质量国家标准》中明确规定外语类专业学生应具备文学赏析能力，专业知识课程包括外国文学。
胡文仲先生曾说：“在外语教学中，文学作品往往是能够最生动、具体、深入、全面地提高学生文化素养的材料。
从这个角度看，可以说没有其他任何材料可以替代文学作品。
”随着本科专业必修课课时的缩减，许多学校对文学课尽量给其他应用课程让道，或将文学史与作品选读整合在一起。
在西南石油大学，“英国文学史及选读”仅有40学时。
“英国文学史及选读”目的在于培养学生阅读、理解及欣赏英语文学原著的能力，掌握基本文学常识，掌握文学批评的基本知识和基本方法，通过对文学作品阅读和分析，加强学生语言运用能力，同时提高人文素质。
但由于该课程内容涵盖广（从古英语到近现代英国文学），传统教学采用以讲授为主的教学模式下，“英国文学史及选读”课程教学面临着许多挑战。
有限课堂时间几乎只能让教师快速按照时间脉络介绍各时期文学概况，不足以深入文学文本；作品选读成了精读或故事梗概介绍，很少或基本不涉及到文学批评或欣赏，教学效果较差；学生对课外阅读的兴趣不大，或由于满篇的生单词产生畏难情绪；由于上课信息量大，老师讲课速度快，学生只有埋头抄笔记应付最后的考试，学习效果差；授课过程中；课后练习缺乏实效性，教师无法及时了解学生掌握情况。
二、“雨课堂”在“英国文学史及选读”课程中的应用“雨课堂”是由清华大学在线教育办公室组织研发的推动混合式教学，形成性评价，多通道互动的教学利器，将教学工具巧妙融入PowerPoint与微信全景式采集数据，驱动教学探微。
外国文学史期中论文
外国文学史期中论文一、试论述莫里哀喜剧艺术的特点莫里哀的喜剧不仅仅是优秀的文学作品，更是一道划破黑暗的闪电，撕裂了夜空并以一种无往不前的气势呼唤黎明的到来。
莫里哀生活在资产阶级初步兴起、封建统治日益衰败的文艺复兴时代。
他出身商人家庭却喜爱戏剧创作和表演，身为贵族却更亲近平民。
由于个人志向的缘故，莫里哀不仅负债累累更是居无定所，流浪多年。
然而，正是这数年的流浪生涯使莫里哀更进一步的了解了人民的生活和艺术趣味，熟悉了法国社会，从而确立了他对贵族和教会的批判态度。
莫里哀的喜剧创作基本可以说是他本人生活感受和社会历程的表现，他以喜剧的眼光看待自己的生活，用自己的悲惨让众人欢笑，直接的描绘现实，笔触间满是强烈的战斗精神。
他同情劳动人民，笔锋所向，揭露的是昏庸腐朽的贵族，坑蒙拐骗的教士，附庸风雅的资产阶级和利欲熏心的高利贷者等等剥削阶级的丑恶形象。
《伪君子》将矛头直指教会的欺骗与伪善行为；《堂璜》指出了贵族光鲜表象下的腐朽本质；《吝啬鬼》讽刺了资产阶级贪财如命的劣性；《乔治·唐丹》则揭露了资产阶级向上爬的虚荣心理。
综述莫里哀的喜剧，可以总结出莫里哀喜剧的艺术特点有四点：一、成功的间接描写在莫里哀喜剧的代表作《伪君子》中，中心人物达尔丢夫在前半部分并未出场，然而剧中奥尔恭家的种种矛盾都是围绕他发生的。
作者通过不同的矛盾侧面勾勒了达尔丢夫的基本形象，刻画出了他的伪善面，有一种“未见其人，先闻其声”的效果，使他的性格先一步他的形象深入人心，栩栩如生。
二、结构严谨，情节曲折，层次分明，戏剧矛盾冲突尖锐而又不失合理性作者巧妙的以达尔丢夫这个人物为戏剧结构中心，通过他种种伪善行径将全剧贯穿为一个有机整体，并通过侧面描画使剧情安排更合理，矛盾冲突更尖锐集中，结构也更加严谨精巧。
通过剧中人物的愚昧行径所引发的的嘲笑，批判、讽刺并揶揄了封建宗教的精神统治和封建贵族的愚昧腐朽，揭露了一个个沉甸甸的残酷现实。
三、表现手法严谨而灵活，戏剧技巧及语言风格多样莫里哀在基本遵循古典主义的创作法则时，又常常喜欢突破古典主义的清规戒律，表现更多的现实主义倾向并以高超的技巧掌握“三一律”的法则，在有限的空间里展开情节，塑造人物并表达主题。
英国文学论文优秀范文
英国文学论文优秀范文英国文学论文优秀范文篇1浅论人文精神与英国文学素质教育和人文精神的塑造已成为一个广为接受的概念。
然而,人们对如何在具体教学过程中实施素质教育、塑造人文精神却持有不同观点。
英美文学等文学课程是使英语学科有别于其他学科的专业知识课程,所以应给予足够重视并使之成为素质教育和人文精神塑造的重要组成部分。
人文精神英国文学素质教从莎士比亚说起英国文学从发生、发展到今天已有千余年的时间,取得了辉煌的成就,对世界文学尤其是世界英语文学产生了持久、深刻的影响。
这期间先后出现的有名有姓的作家数百上千,创作的作品更是卷帙浩繁。
就作家在文学史上的地位和影响而言,学习英国文学最躲不开的作家就是威廉莎士比亚。
莎士比亚是一个世界级文化名人,对英国文学以及世界文学均产生了深刻的影响。
他是一位人文主义作家,阅读和理解莎士比亚的关键是把握和领会其作品里的人文主义思想和精神。
人文主义是欧洲文艺复兴时期所形成的思想体系,也可以说是文艺复兴运动的精髓。
它强调人的独立意识和主体意识,宣扬个性解放,主张人们应重视现世而不是来生,是对禁锢欧洲思想达千年之久的宗教神学体系和僵化腐败的封建制度的有力反拨。
莎士比亚以其精湛的艺术手法塑造了一系列个性鲜明的人物形象,展现了封建制度和资本主义制度交替时期波澜壮阔的历史画卷。
他赞扬人的美德,歌颂爱情、友谊和忠诚,鞭挞昏聩的君主和奸邪的小人。
在莎士比亚身后的近四个世纪以来,他的声誉日隆,世界各国学者研究其作品和生平事迹的专著和论文可谓汗牛充栋。
有学者曾说,如果没有莎士比亚,整个英国文学乃至世界文学都会呈现出一番不同的面貌。
17～20世纪英国文学的代表人物17世纪英国文学的一个重点和难点是约翰弥尔顿。
弥尔顿早期积极投身于英国的资产阶级革命,以其犀利的笔锋和雄辩的才能为革命立下了汗马功劳。
他的主要文学作品《失乐园》、《复乐园》和《力士参孙》都是在其双目失明以后在极其艰难的条件下创作的。
说他是个重点是指其在英国文学史上的重要地位而言的;说他是个难点是因为其主要作品的题材均取自《圣经》,与宗教的关系非常紧密,加之语言艰深,思辨曲折,令一般读者望而却步。
英国文学方面的参考论文例文
英国文学方面的参考论文例文英美文学从诞生之日起,就在不断的发展之中,具有较高的艺术成就。
下文是店铺为大家整理的关于英国文学方面的参考论文例文的内容，欢迎大家阅读参考!英国文学方面的参考论文例文篇1论英美文学中典故的英汉翻译摘要：典故作为一种特殊的语言形式，承载了丰富的历史文化遗产，具有浓厚的民族色彩.文章从基本对应，部分对应和不对应三个方面论述了英汉典故的对应关系。
从而得出英语典故翻译的具体原则和方法。
关键词：典故;差异;对应关系典故在英美文学中出现的频率极高。
在给文学语言增加亮丽色彩的同时，也形成了语言翻译的一道特殊障碍。
典故(Allusion)，指诗文中利用神话，寓言，传说，历史故事或历史名人的词语构成的语句。
一、英汉典故的对应情况英汉典故主要来源于神话故事、寓言故事、《圣经》、文学作品莎士比亚戏剧及一些民间文学。
典故有如此多的差异，能否互译两种语言，典故间的对应情况值得注意。
英汉典故在文化内涵方面可分为基本对应，部分对应和不对应三个方面：1 基本对应指英语典故与对应的汉语典故的意义和用法上都基本一致，有可能互译，基本对应不是对等，两者仍有差异，但总的说还可以互译。
例如：burn one’s boat与“破釜沉舟” burn one’s boat来源：古时候从海路入侵外国的将军，到达彼岸后把他的船只弄上沙滩，放火烧掉，以此向士兵指明后路已断，不可能退却。
“破釜沉舟”出自《史记项羽本纪》项羽乃悉引兵渡河，皆沉船，破釜甑，烧庐舍，持三日粮，以示士卒必死，无一还。
这两个典故不仅形象寓意相似，人们还认为他们的典故也相同。
2 部分对应指英语典故在意义上或用法上与汉语典故有不一致的地方，但仍存在共同点，所以说两者只是部分对应，在某些情况下仍可以互译，翻译时要根据上下文灵活运用。
例如： the touch of Midas与“点铁成金” the touch of Midas出自希腊神话：酒神巴克科斯(Bacchus)报答弗利治亚(Phrygia)国王迈达斯(Mides)赋予他神力可以把接触的东西变成金子，他接触到的食物和他的女儿都变成了金子，他害怕了，只好求巴克科斯解除他这种神力。