美国文学16讲-作品赏析
美国文学教程：欣赏与评析
美国文学教程：欣赏与评析
美国文学是美国文化的重要组成部分，它深刻地反映了美国的历史、社会、文化和政治。
美国文学教程可以帮助学生了解美国文学的不同历史时期，欣赏和评析美国文学作品，以及学习美国文学的主要流派和文体。
首先，美国文学教程应该介绍美国文学的历史渊源，从美国的早期历史到现代文学，介绍美国文学的发展历程，以及美国文学的特点。
学生可以学习到美国文学的不同流派，如自然主义、现实主义、浪漫主义等，以及它们的特点。
其次，美国文学教程应该介绍美国文学的主要作品，包括小说、散文、诗歌、戏剧等，以及美国文学的著名作家，如爱德华·詹姆斯、梭罗、海明威等。
学生可以学习到美国文学作品
的欣赏和评析方法，以及美国文学作品的主要主题和内容。
最后，美国文学教程应该教授学生如何运用文学手法，如讽刺、比喻、拟人等，以及如何分析文学作品的结构、情节、人物和主题。
学生可以学习到如何通过文学作品来反映社会现实，以及如何用文学的方式抒发自己的情感。
南开大学 外国语学院 美国文学课件《乌鸦》赏析
Poe’s poetic theories are remarkable in their clarity（（诗歌理论简洁明朗）about even if they lack what Joseph Wood Krutch terms “intellectual detachment” and “catholicity of taste.” （尽管缺乏Krutch 所说的“知识分子的超脱”和“大众品味）These are best elucidated （最好的证明）in his “the Philosophy of Composition” （创作原理）and “ The Poetic Principle.”（诗歌原则）The poem, he says, should be short, readable at one sitting（一口气能读完）( or as long as “The Raven”【或与诗歌”乌鸦“的长度相当】). Its chief aim is beauty, namely, to produce a feeling of beauty in the reader. Beauty ai ms at “an elevating excitement of the soul,” (震撼灵魂) and “beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears. (无论何种形式的美，只要达到最高境界，就能令敏感的灵魂落下泪来) Thus melancholy is the most legitimate of all the poetic tones.” （所以悲伤是诗歌最好的基调）And he concludes that “the death of a beautiful woman is, unquestionably, the most poetical topic in the world.”Poe stresses rhythm, defines true poetry as “the rhythmical creation of beauty,” （真正的诗歌是富有美好旋律的作品）and declares that“music is the perfection of the soul,or idea,of poetry.”（音乐是诗歌灵魂和思想的最高境界）Poe was unabashed to offer his own poem “The Raven”as an illustration of his point.“The Raven”is about 108 lines, perfectly readable at one sitting. Asense of melancholy over the death of a beloved beautiful young woman pervades the whole poem: the portrayal of a young man grieving for his lost Lenore, （早逝的美丽女友Lenore ）his grief being turned to madness under the steady one-word repetition of the talking bird introduced right at the beginning of the poem：Once upon a midnight dreary, while I pondered, weak and weakry.Over many a quint and curious volume of forgotten lore.While I nodded, nearly napping, suddenly there came a tapping,As of some one rapping, rapping at my chamber door."'Tis some visitor," I muttered, "tapping at my chamber door--Only this, and nothing more."After he sees the bird, its response -- or its imagined one一“nevermore"–keeps breaking upon the young man’s psychic wound ruthlessly and ceaselessly as do the waves on the sea shore until his depression reaches its breaking point:And the raven, never flitting, still is sitting, still is sittingOn the pallid bust of Pallas just above my chamber door;And his eyes have all the seeming of a demon that is dreaming,And the lamp-light o' er him streaming throve his shadow on the floor;And my soul from out chat shadow that lies floating on the floorShall be lifted-nevermore!The young man, a neurotic on the brink of a mental collapse, （精神几近崩溃）outpours his sorrow in his semi-sleep（半梦半醒之间）on the appearance of the bird. Poetic imagination externalizes itself（诗歌的想象力表现在…）in the phantom of a bird（幻象中的小鸟）and intermingles with it to enhance the effect of tbe tragedy of the bereavement .（失去挚爱的悲剧）It is good to note that Poe’s poems are heavily tinted in a dreamy, hallucinatory color. （Poe 的诗歌中具有一种浓烈的梦境和幻觉的色彩）“The Raven”is a good example as the narrator is in a state of semi-stupor. （神志几近不清的状态）In addition, Poe insists on an even metrical flow in versification.（主张运用规则的韵律创作）“The Raven”is a marvel of regularity: W. L.Werner records that, of its 719 complete feet, （全诗有719个音步），705 are perfect trochees, （其中705个是完全的抑扬格）ten doubtful trochees, （十个勉强可算是抑扬格）and only four clearly dactyls.（只有四个是强弱格）Poe rarely allows himself twenty-five percent of irregular feet as is found in “Israfel”. （Poe 几乎不会让诗中出现四分之一以上的不规则音步，就像在诗歌Israfel里一样）For the sake of regularity in rhythm, Poe disapproves of the use of archaisms, contractions, inversions, and similar devices.（Poe反对使用古体、缩写、倒置等技法）“The Raven” is thus aperfect illustration of his theory on poetry.The RavenOnce upon a midnight dreary, while I pondered, weak and weakry. Over many a quint and curious volume of forgotten lore.While I nodded, nearly napping, suddenly there came a tapping, As of some one rapping, rapping at my chamber door."'Tis some visitor," I muttered, "tapping at my chamber door--Only this, and nothing more."Ah, distinctly I remember it was in the bleak December,And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; -vainly I had tried to borrowFrom my books surcease of sorrow -sorrow for the lost Lenore- For the rare and radiant maiden whom the angels name Lenore-Nameless here for evermoreAnd the silken sad uncertain rustling of each purple curtain Thrilled me-filled me with fantastic terrors never felt before;So that now, to still the beating of my heart, I stood repeating" ' Tis some visitor entreating entrance at my chamber door- Some late visitor entreating entrance at my chamber door;-This it is and nothing more.Presently my soul grew stronger; hesitating then no longer, "Sir," said I, "or Madam, truly your forgiveness I implore;But the fact is I was napping, and so gently you came rapping,And so faintly you came tapping, tapping at my chamber door,That I scarce was sure I heard you"--here I opened wide the door;Darkness there, and nothing more.Deep into that: darkness peering, long I stood there wondering, fearing Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the darkness gave no token,And the only word there spoken was the whispered word, "Lenore!" This I whispered, and an echo murmured back the word, " Lenore! " Merely this, and nothing more.Then into the chamber turning, all my soul within me burning,Soon I heard again a tapping somewhat louder than before. "Surely," said I, "surely that is something at my window lattice;Let me see, then, what thereat is, and this mystery explore-Let my heart be still a moment and this mystery explore;'Tis the wind, and nothing more!Open here I flung the shutter, when, with many a flirt and flutter.In there stepped a stately raven of the saintly days of yore;Not the least obeisance made he; not an instant stopped or stayed he; But, with mien of lord or lady, perched above my chamber door- Perched upon a bust of Pallas just above my chamber door-Perched, and sat, and nothing more.Then this ebony bird beguiling my sad fancy into smiling,By the grave and stern decorum of the countenance it wore,"Though thy crest be shorn and shaven, thou," I said, "art sure no craven, Ghastly grim and ancient raven wandering from the Nightly shore-Tell me what thy lordly name is on the Night ' s Plutonian shore!Quoth the raven, "Nevermore. "Much I marveled this ungainly fowl to hear discourse so plainly, Though its answer little meaning-little relevancy hore;For we cannot help agreeing that no sublunary beingEver yet was blessed with seeing bird above his chamber door-Bird or beast upon the sculptured bust above I us chamber door,With such mime as "Nevermore.“But the raven, sitting lonely on the placid bust, spoke onlyThat one word, as if his soul in that ill~ word he did outpour. Nothing farther then he uttered-not a feather then he fluttered-Till I scarcely more than muttered, "Other friends have flown before- On the morrow he will leave me, as my hopes have flown before. " Quoth the raven, "Nevermore. "Wondering at the stillness broken by reply so aptly spoken, "Doubtless," said I, "what it utters is its only stock and store," Caught from some unhappy master whom unmerciful Disaster Followed fast and followed fastel-so, when Hope he would adjure, Stern Despair returned, instead of the sweet Hope he dared adjure-That sad answer, "Nevermore!"But the raven still beguiling all my sad soul into smiling,Straight I wheeled a cushioned seat in front of bird, and bust, and door ;Then upon the velvet sinking, I betook myself to linkingFancy unto fancy, thinking what this ominous bird of yore-What this grim, ungainly, ghastly, gaunt, and ominous bird of yoreMeant in croaking "Nevermore. "This I sat engaged in guessing, but no syllable expressingTo the fowl whose fiery eyes now burned into my bosom's core;This and more I sat divining, with my head at ease recliningOn the cushion's velvet lining that the lamplight gloated o'er,But whose velvet violet lining with the lamplight gloating o'er,She shall press, ah, nevermore!Then, methought, the air grew denser, perfumed from an unseen censer Swung by angels whose faint foot-falls tinkled on the tufted floor. "Wretch," I cried, "thy God hath lent thee-by these angels he hath sent th eeRespite-respite and Nepenthe from thy memories of Lenore!Let me quaff this kind Nepenthe and forget this lost Lenore!"Quoth the raven, "Nevermore. ""Prophet!" said I, "thing of evil! -prophet still, if bird or devil! - Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate, yet all undaunted, on this desert land enchanted-On this home by Horror haunted-tell me truly, I implore-Is there-is there balm in Gilead?-tell me-tell me, I implore!"Quoth the raven, "Nevermore. ""Prophet!" said I, "thing of evil! -prophet still, if bird or devil!By that Heaven that bends above us-by that God we both adore-Tell this soul with sorrow laden if, within the distant Aidenn ,It shall clasp a sainted maiden whom the angels name Lenore-Clasp a rare and radiant maiden whom the angels name Lenore.Quoth the raven, "Nevermore. ""Be that word our sign of parting, bird or fiend!" I shrieked, upstarting- "Get thee back into the tempest and the Night's plutonian shore!Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! -quit the bust above my door!Take thy beak from out my heart, and take thy form from off my door! " Quoth the raven, "Nevermore. "And the raven, never flitting, still is sitting, still is sittingOn the pallid bust of Pallas just above my chamber door;And his eyes have all the seeming of a demon that is dreaming,And the lamp-light o' er him streaming throve his shadow on the floor; And my soul from out chat shadow that lies floating on the floorShall be lifted-nevermore!* The RavenOnce upon a midnight dreary, while I pondered, weak and weakry，Over many a quint and curious volume of forgotten lore，While I nodded, nearly napping, suddenly there came a tapping, As of some one rapping, rapping at my chamber door.“Tis some visitor," I muttered, "tapping at my chamber door ——Only this, and nothing more."有一天阴沉的半夜时分，当我疲乏烦闷，面对一堆古籍奇书，想把失传的奥秘揭开，当我打着盹几乎睡着，忽听得一声剥啄，仿佛有人轻轻敲着，轻敲在我的房门外。
英美文学作品赏析
William Shakespeare
• Shakespeare wrote 154 sonnets.
• The first group (1126): to Mr. W. H.
• The second group (127-152): to a Dark Lady
iambic pentameter
• meter: the basic rhythmic structure of a verse or lines
in verse the pattern of syllables in a line of poetry a rhythm of accented and unaccented syllables
arranged into feet.
iambic: 抑扬格(轻读音节与重读音节交替出现） pentameter:五音步 (five feet） syllable: 音节，通常包含一个元音和若干辅音 vowel: 元音 consonant: 辅音
iambic pentameter
• Example： 1. if you would put the key inside the lock
Sonnet 18
• In the sonnet, the speaker compares his beloved to the summer season, and argues that his beloved is better. He also states that his beloved will live on forever through the words of the poem.
• The Canterbury Tales was written in the years between 1387 and 1400. It has a general prologue and twenty four tales that are connected by “links”.
美国文学期末考试作品赏析
美国文学期末考试作品赏析The Legend of Sleepy Hollow.1.what is the location of this story?2.the atmosphere and the history of this area?3.who is the protagonist of this story?4.what is the main conflict?"The Legend of Sleepy Hollow" is a short story by Washington Irving contained in his collection The Sketch Book of Geoffrey Crayon, Gent., written while he was living in Birmingham, England, and first published in 1820. With Irving's companion piece "Rip Van Winkle", "The Legend of Sleepy Hollow" is among the earliest examples of American fiction still read today.The story is set circa 1790 in the Dutch settlement of Tarry Town, New York, in a secluded glen called Sleepy Hollow. It tells the story of Ichabod Crane, a lean, lanky, and extremely superstitious schoolmaster from Connecticut, who competes with Abraham "Brom Bones" Van Brunt, the town rowdy, for the hand of 18-year-old Katrina Van Tassel, the daughter and sole child of a wealthy farmer. As Crane leaves a party he attended at the Van Tassel home on an autumn night, he is pursued by the Headless Horseman, who is supposedly the ghost of a Hessian trooper who had his head shot off by a stray cannonball during "some nameless battle" of the American Revolutionary War, and who "rides forth to the scene of battle in nightly quest of his head". Ichabod mysteriously disappears from town, leaving Katrina to marry Brom Bones, who was "to look exceedingly knowing whenever the story of Ichabod was related".The dénouement of the fictional tale is set at the bridge over the Pocantico River in the area of the Old Dutch Church andBurying Ground in Sleepy Hollow. The characters of Ichabod Crane and Katrina Van Tassel may have been based on local residents known to the author. The character of Katrina is thought to have been based upon Eleanor Van Tassel Brush, in which case her name is derived from that of Eleanor's aunt Catriena Ecker Van Tessel.Although Irving knew an army colonel named Ichabod Crane from Staten Island, New York (who was also once the Commanding Officer of Lieutenant Stonewall Jackson), the character in "The Legend" may have been patterned after Jesse Merwin, who taught at the local schoolhouse in Kinderhook, further north along the Hudson River, where Irving spent several months in 1809.the wild honey suckle 的分析《野金银花》是Freneau在南卡罗莱纳州查尔斯顿散步时，看到一簇幽生的金银花，于是便有感而发，将这首短诗一气呵成。
美国文学教程：欣赏与评析
美国文学教程：欣赏与评析
美国文学教程：欣赏与评析（Appraisal and Enjoyment of American Literature）是一门课程，旨在教学生如何通过阅读和评论美国文学作品来培养和提高学生对文学的理解和欣赏。
它首先介绍美国文学的基础知识，介绍欧洲历史，社会环境与移民，形成美国文学的根源。
此外，美国文学教程还涉及到美国文学发展的重要时期，研究美国文学发展历史时期的重要作家以及他们的代表作品。
最后，学生可以学习如何通过欣赏、阅读和评论文学作品来更好地理解和欣赏美国文学，从而为他们的生活和文学鉴赏增添乐趣。
本课程适合任何对美国文学感兴趣的学生，尤其是文学重视的学生。
通过本课程的学习，学生们将学会如何解读美国文学作品，并学习如何通过分析作品中的修辞、观点和叙事手法来更好地欣赏美国文学作品。
美国文学多部作品的翻译及赏析
The wild honey suckle ---- Philip Freneau Fair flower,that dost so comely grow,Hid in this silent,dull retreat,Unseen thy little branches greet;No roving foot shall crush thee here,No busy hand provoke a tear.By Nature's self in whrite arrayed,She bade thee shun the vulger eye,And planted here the guardian shade,And sent soft waters murmuring by;Thus quietly thy summer goes,Thy days declining to repose.Smit with those chams,that must decay,I grieve to see your future doom;they died--nor were those flowers more gay, the flowers that did in Eden bloom;Unpitying frosts,and Autumn's power.Shall leave no vestige of this flower.From morning suns and evening dewsAt first thy little being came:If nothing once,you nothing lose, For when you die you are the same; The space between,is but an hour, The frail duration of flower.美好的花呀，你长得：这么秀丽，却藏身在这僻静沉闷的地方——甜美的花儿开了却没人亲昵，招展的小小枝梢也没人观赏；没游来荡去的脚来把你踩碎，没东攀西摘的手来催你落泪。
美国文学诗歌名篇翻译赏析
美国文学诗歌名篇翻译赏析第一篇：美国文学诗歌名篇翻译赏析I shot an arrow……我射出一支箭……---Henry Wadsworth LongfellowI shot an arrow into the air,我把一支箭射向空中It fell to earth I knew not where;不知它落在何方For so swiftly it flew the sight飞得那么快Could not follow it in its fight.眼睛难以追寻它的方向I breathed a song into the air,我对着天空轻轻唱歌It fell to earth I knew not where;不知它消逝在何方For who has the sight so keen and strong谁的眼光能如此敏锐犀利That can follow the flight of a song.能跟上歌声的翅膀Long, long afterwards in an oak,很久很久以后，在一棵橡树上I found the arrow still unbroke;我找到了那支箭，仍未折断And the song, from beginning to end,也发现了那支歌，自始自终I found again in the heart of a friend.在朋友的心中欢唱This poem is written in a traditional iambic form with the feet “aabb aacc ddee”.In the poem, Longfellow sings the friendship implicitly and skillfully.The arrow and the song in this poem stand for the friendship.When he shot an arrow and breathed a song into the air, he did not expect to find them any more.But many years later, he came across with the arrow and found that hissong was always in the heart of his friend.This suggests that the friendship is everlasting.I’m Nobody!我是无名之辈Emily DickinsonI’m nobody!Who are you?我是无名之辈！你是谁？Are you nobody, too?你也是无名之辈吗？Then there’s a pair of us----don’t tell!那么我们就是一对儿了！千万不要透露出去They’d banish us, you know!不然我们都会被他们驱逐，你知道。
文学-《英美文学作品赏析》教学大纲
《英美文学作品赏析》教学大纲《英美文学作品赏析》教学大纲课程编号：E032019 课程类型：专业选修课课程名称：英美文学作品赏析英文名称：Reading American & British Literary Works 学分：2 适用专业：英语专业第一部分大纲说明一、课程的性质、目的和任务《英美文学作品赏析》是针对英语专业高年级学生，并在其学习了《英国文学》和《美国文学》两门专业基础课之后，开设的一门旨在提高学生鉴赏英美文学经典作品能力的专业选修课。
本课根据学生的兴趣、语言水平以及相关文化等因素，从全新的角度选择了英美不同时期作家的代表作，主要是小说作品，材料难度适中，涉猎广泛。
本课程的教学目的是使学生通过阅读和理解英美重要作家的小说作品，掌握其体裁特点、思想内涵、文体风格、所属流派和写作技巧等方面的文学知识；学会分析小说作品的艺术特色，提高英语阅读欣赏水平和英语写作技巧，提高文学欣赏水平及文学批评能力；拓展文化视野，扩大接触异国文化的范围，提高对中外文化的异同的敏感性和鉴别能力。
本课程的教学任务是帮助学生在巩固所学基础知识与技能的同时，提升学生对英美经典小说作品的鉴赏能力，提高学生的文学素养和文化底蕴，从而为其将来得心应手地参加实际工作打下良好的基础。
二、课程的基本要求1. 知识要求：1)了解—英美不同时期和阶段的重要作家和其小说代表作。
2)熟悉—各个所选作家的文学生涯、创作思想、艺术特色及其小说代表作的思想内涵、主题结构、文体风格、所属流派、人物刻画、语言风格、写作技巧等。
3)掌握—一定的欣赏小说作品的技巧和方法。
2．能力要求：1)了解—通过阅读经典小说，巩固所学文学知识，扩大词汇量，增强语感，培养学生独立阅读、欣赏文学作品的能力。
2)熟悉—通过浏览网上的文学资源库，观看文学名著影片，举办作品欣赏讨论会，尝试名著改写，表演人物对话等实践性教学活动，培养学生阅读、分析以及理解小说作赏能力、思辨能力和文学批判能力。
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1. The Soul Selects Her Own Society
The Soul selects her own Society---
Then---shuts the door---
To her divine Majority---
Present no more---
Unmoved ---she notes the Chariots---pausing---
At her low Gate---
Unmoved---an Emperor be kneeling
Upon her Mat---
I’ve known her---from an ample nation--- Choose One---
Then---close the Valves or her attention--- Like Stone---
1) the soul made its choice and wanted no more.
This showed her resolution and determination.
2) Unmoved by any other temptation
3) Since I have made my choice, I will stick to it
and will never be tempted by other things. Soul, one: art , poetry, love, ideal
2. Anecdote(奇闻，轶事) of the Jar
I placed a jar in Tennessee,
And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill
The wilderness rose up to it,
And sprawled around, no longer wild.
The jar round upon the ground
And tall and of a port in air
It took dominion everywhere.
The jar was gray and bare.
It did not give of bird or bush
Like nothing else in Tennessee.
Interpretation:
the setting is the wild, chaotic and Tennessee, a symbol of the world of nature. Then “I” of the poem places in i8t a tall, round jar, a man-made object, a symbol of the world of art, and by extension, it controls the whole disorderly landscape, so that “The wilderness rose up to it, / And sprawled around , no longer wild.” The poem seems to talk about the relationship between art and nature. The world of nature, shapeless and slovenly, takes shape and order from the presence of the jar. The world of art and imagination gives form and meaning to that of nature and reality, this suggesting that any society without art is one without order and that man makes the order he perceives, and the world he inhabits is one he half creates
On the other hand the world of reality exists to determine the limits of art, and
imagination can construct only on the basis of the world of nature. Stevens manages to keep a balance between art and life in his creative work. It is true that the jar imposes order and form on the sprawling wilderness around, but the two concluding lines, “It did not give of bird or bush,/Like nothing else in Tennessee”, render the jar something dependent on the physical world as its “central reference.”。