西方文论 考研复习笔记(完整版)
高教版西方文论复习提纲
西方文論史古代文論（古希臘文論——新古典主義文論）古希臘文論第一節古希臘早期文藝思想畢達哥拉斯“數的和諧”理論從數量比例關係上著力探尋藝術的形式美，得出“美是和諧統一”的結論，天體是大宇宙，人是小宇宙人的內在和諧受外在和諧影響，內外相契合才能進入藝術欣賞狀態。
赫拉克利特“對立和諧”理論首先提出“藝術模仿自然”德謨克利特模仿說對文藝和美的對象的研究，文藝描寫的對象是社會的人，是外形和內心統一的人。
對作家藝術家主觀條件的研究，十分注重作家、藝術家的天才、靈感、語言。
對文藝作品的社會效果的研究，“快樂說’蘇格拉底模仿說和功用說“藝術模仿自然”強調通過描寫眼睛姿態等外在的東西，表現人物“精神方面的特質”，即描繪出人物的“心境”、“品格”和“感情”。
判斷美的標準就是“功用”的結論，有用即美，無用即醜第二節柏拉圖文藝對話錄理式論模仿說a理式是一種超時空、非物質、永恆不滅的“本體”b文學藝術是理式模仿的模仿，三種床，照鏡子，貶低詩人和藝術家。
c理式模仿說的唯心主義本質與理論價值文藝的社會功用說a理想國的建設與文學藝術b模仿的藝術的三條罪狀c對審美教育的重視與政治第一的文藝標準靈感說a靈感的基本含義，神靈附體、神靈感發，熱情磅礴b柏拉圖對靈感的解釋，靈感說的三個方面：靈感的源泉（神靈附體）、靈感的表現（狂迷）和獲得靈感的過程（靈魂對真善美理式世界的回憶）c靈感說的矛盾與價值，確認靈感是文藝活動中特有的現象，看出了文藝創作與技藝製作的區別，揭示了藝術創造離不開現實美的觸發，但又不停留在現實美的基礎上。
第三節亞裏士多德的《詩學》文藝本質論a文藝是人的行動的模仿b詩比歷史更富有哲學意味c文藝求其相似但比原物更美悲劇理論a悲劇的含義，悲劇是對於一個嚴肅的、完整的、有一定長度的行為的模仿；它的媒介是語言，具有各種悅耳之音，分別在劇的各個部分使用；模仿方式是借人物的動作表達，而不是採用敘述法；借引起憐憫和恐懼來使這種情感得到陶冶b悲劇情節和人物性格，悲劇六成分：情節、性格、思想、言詞、形容和歌曲，情節是悲劇的靈魂，性格占第二位。
西方文论笔记
有两种东西，我们对它们的思考愈是深沉和持久，它们所唤起的那种愈来愈大的惊奇和敬畏就会充溢我们的心灵，这就是繁星密布的苍穹和我心中的道德律。
[康德]西方文论讲稿前言西方文论呈现的方式大体有三种：一种是在一些哲学家、政治家、宗教家、美学家的著作中包含着的文学理论。
第二种是诗人作家著书立说谈他们的文学见解。
第三种是19世纪以后才有的专门的文学批评家、理论家写的文艺理论论著。
西方文艺的发展可以分为古代、近代、现代、后现代四个阶段，西方文艺理论的发展按照时间先后顺序，也可以分为古代文论、近代文论、现代文论的后现代文论四个历史阶段： 古典文论：古希腊文论——新古典文论古希腊文论——罗马古典主义文论——中世纪基督教神学文艺思想——文艺复兴时期的文艺思想——新古典主义近代文论：启蒙主义——自然主义启蒙主义——德国古典美学文艺理论——浪漫主义——现实主义——实证主义和自然主义 现代文论:唯美主义——结构主义唯美主义——直觉主义——象征主义与意象派诗论——现代心理学文艺理论——俄国形式主义——现象学与存在主义文学理论——英美“新批评”——结构主义后现代文论：解构主义——后殖民主义解构主义——西方马克思主义文艺理论——阐释—接受理论、读者反应批评——女权主义批评——新历史主义批评——后殖民主义批评学习西方文论应注意影响西方文论发展的以下几种因素：第一，注意西方文学艺术创作的发展变化与文艺理论发展变化的关系。
第二，注意西方社会生活的演变，特别是政治生活的变化对西方文艺理论发展的重要影响。
第三，注意哲学思潮的变化对西方文艺理论的影响。
第四，注意基督教神学对西方文艺理论的影响。
第五，注意语言学、符号学的发展对西方文艺理论的影响。
第六，注意西方文论研究重点的转移和自身范畴的演变，文学艺术理论是在文艺实践发展的基础上，受政治、哲学等条件的影响而发展的。
古希腊的文艺理论第一节 古希腊早期的文艺思想1.毕达哥拉斯的“数的和谐”理论毕达哥拉斯（约公元前580－约前500）西方最早的哲学家之一，主要贡献在哲学、数学、天文学、医学、美学等方面。
西方文论——精选推荐
西⽅⽂论《西⽅⽂论》复习⼀、基本知识点1、西⽅最古⽼的⽂学观念是模仿说2、柏拉图的⽂艺思想①哲学思想：理念论或“相”论——在柏拉图的世界中有两个世界，⼀个是理念的世界，也即“相”的世界；另⼀个则是现实的世界。
②柏拉图的“理想国”③柏拉图的⽂艺学思潮（1）摹仿理论；“摹仿的摹仿”，“影⼦的影⼦”，“同真理隔着三层”。
（2）现实美⾼于艺术美。
3、亚⾥⼠多德提出诗歌与历史更加真实的理论4、亚⾥⼠多德的悲剧理论思想悲剧的定义：悲剧是对⼀个完整的有⼀定长度的⾏动的模仿。
悲剧的媒介悲剧中的主⼈公。
悲剧的效果，净化说。
5、提出流溢说的中世纪神学美学家是普洛丁6、古典主义⽂论、现实主义⽂论和浪漫主义⽂论的特征。
◆主要理论作为启蒙主义的继承和完善，德国古典哲学美学的⼀个基本出发点就是把美学问题归结到⼈的⾃我意识和理性这个现代哲学的⽴⾜点上，这是康德、席勒、歌德和⿊格尔共同的思想⽴场。
（理性主义美学）1、以理性为主，调和理性与感性，促成和谐的健康的⼈性。
2、美学和⾃由的联系，审美成为通向⾃由的桥梁，美是⾃由的象征。
浪漫主义强调⼈的主观性和内⼼现实，反感对古典主义的理性统治，推崇感性的⼒量。
◆浪漫主义的特点1、诗歌的关键在于感情的表现。
情感体验是诗歌的核⼼主题。
2、诗意的关键不在于诗⾏和韵⽂的形式，⽽在于动⼈的情感表达。
3、诗⼈的灵感来⾃于想象⼒⽽不是现实⽣活。
4、诗⼈与科学家⼀样都在追寻真理。
基本特征是追求真实和再现现实。
现实主义⽂学观念的主要特征◆要求真实客观地再现社会现实，按照⽣活的本来⾯⽬进⾏写作。
◆现实主义⽂学理论⾼度重视⽂学典型。
◆现实主义⽂学具有基本的历史观要求。
7、提出“审美带有令⼈解放的性质”的美学家⿊格尔8、提出⽂学性概念的俄国形式主义⽂论家什克洛夫斯基雅各布森9、⽂学的内部研究，参阅韦勒克的《⽂学理论》(详见论述题3)《⽂学理论》是对新批评派理论的总结，代表了新批评理论与⽅法论发展的⾼度⾃觉与成熟阶段。
20世纪西方文论终极笔记
20世纪西方文论终极笔记导论；当代西方文艺理论概观0.1两大主潮：人本主义和科学主义。
人本主义包括：象征主义与意象派诗论、表现主义、精神分析、现象学和存在主义、西方马克思主义。
科学主义包括：俄国形式主义、英美语义学和新批评、结构主义。
0.2★两次转移：从作家到作品（20、30年代形式主义和新批评兴起）和从作品到读者接受（30、40年代现象学和存在主义兴起；60、70年代解释学和接受理论完成。
）。
0.3两个转向：“非理性转向”和“语言论转向”。
非理性转向，主要就人本主义而言。
★语言论转向：古代：世界的本质是什么17世纪：我们如何知道世界的本质，笛卡尔。
19世纪末，20世纪初：我们如何表述我们所知晓的世界前象征主义主要是指：19世纪后半叶产生于法国的诗歌流派。
代表人物是：波德莱尔、魏尔伦、兰波和马拉美。
波德莱尔的十四行诗《应和》首次提出著名的象征主义“应和”论。
认为自然界万物互为象征，组成“象征的森林”，而人的诸感官之间亦相互应和沟通，最重要的是人的心灵与自然界之间也是互为应合、交流的，诗就是这种象征、应和的产物。
故该诗被誉为“象征主义的宪章”。
前期象征主义随着1898年马拉美的逝世而告终。
第一讲象征主义与意象派诗论一、瓦莱里以音乐化为核心的象征主义诗论保尔·瓦莱里（1871-1945），法国人，1912年出版《旧诗集存》，1912年发表长诗《年轻的命运女神》，1922年出版诗集《幻美集》，其中《海滨墓园》标志着其诗歌创作的顶点。
主要理论著作有《尤帕利诺斯》、《灵魂与舞蹈》、《文学杂集》和三本续集。
1、象征主义的现实存在第一，象征主义追求高于现实世界的丰富心灵世界及其内在生命力。
现实世界为可鄙的、不真实的，他们力图超越现实而进入超验的心灵世界和“内在生命的实体”，他们感到真切存在的只是“大自然和生命的某些面貌以及人类的某些作品”所赋予的激情，使人能从中汲取“珍贵的感觉、无限丰富的思想以及思想、情感、严谨的幻想的奇妙组合，还有与神秘相连的快感和活力”，并孕育出“应合”的象征主义诗作。
西方文论史笔记
西方文论呈现的方式大体有三种：一种是在一些哲学家、政治家、宗教家、美学家的著作中包含着的文学理论。
第二种是诗人作家著书立说谈他们的文学见解。
第三种是19世纪以后才有的专门的文学批评家、理论家写的文艺理论论著。
西方文艺的发展可以分为古代、近代、现代、后现代四个阶段，西方文艺理论的发展按照时间先后顺序，也可以分为古代文论、近代文论、现代文论的后现代文论四个历史阶段：古典文论：古希腊文论——新古典文论古希腊文论¬——罗马古典主义文论——中世纪基督教神学文艺思想——文艺复兴时期的文艺思想——新古典主义近代文论：启蒙主义——自然主义启蒙主义——德国古典美学文艺理论——浪漫主义——现实主义——实证主义和自然主义现代文论:唯美主义——结构主义唯美主义——直觉主义——象征主义与意象派诗论——现代心理学文艺理论——俄国形式主义——现象学与存在主义文学理论——英美“新批评”——结构主义后现代文论：解构主义——后殖民主义解构主义——西方马克思主义文艺理论——阐释—接受理论、读者反应批评——女权主义批评——新历史主义批评——后殖民主义批评学习西方文论应注意影响西方文论发展的以下几种因素：第一，注意西方文学艺术创作的发展变化与文艺理论发展变化的关系。
第二，注意西方社会生活的演变，特别是政治生活的变化对西方文艺理论发展的重要影响。
第三，注意哲学思潮的变化对西方文艺理论的影响。
第四，注意基督教神学对西方文艺理论的影响。
第五，注意语言学、符号学的发展对西方文艺理论的影响。
第六，注意西方文论研究重点的转移和自身范畴的演变，文学艺术理论是在文艺实践发展的基础上，受政治、哲学等条件的影响而发展的。
古希腊的文艺理论第一节古希腊早期的文艺思想1.毕达哥拉斯的“数的和谐”理论毕达哥拉斯（约公元前580－约前500）西方最早的哲学家之一，主要贡献在哲学、数学、天文学、医学、美学等方面。
其基本哲学观念是宇宙万物的本源是“数”，认为数的原则是一切事物的原则，整个天体就体现着一种数的和谐。
(精品)英美文学考研复习笔记
英美文学考研复习笔记英美文学复习笔记整理英国部分The Renaissance Period1. Renaissance :between 14th and mid-17th century.2. Renaissance means rebirth or revival, is actually a movementstimulated by a series of historical events, such as the rediscoveryof ancient Roman and Greek culture, the new discoveries in geography and astrology, the religious reformation and the economic expansion.3. the Renaissance, therefore in essence is a historical period inwhich the European humanist thinkers and Scholars made attempt to get rid of those old feudalist ideas in Medieval Europe, tointroduce new ideas that expressed the purity of the risingbourgeoisie, and to recover the purity of the early church from thecorruption of the Roman Catholic church.4. Humanism is the essence of the Renaissance(1) Capable of individual development in the direction ofperfection.(2) They inhabited was theirs not to despise by to question, exploreand enjoy.(3) By emphasizing the dignity of human being and the Importance of the present life, they voiced their beliefs that man did not onlyhave the right to enjoy the beauty of this life(4) Tomas More, Christopher Marlow and William Shakespeare are the best representative of the English humanist.5 Metaphysical poetry: Metaphysical is characterized by passionate thought succession of concentrated image, exercise of elaborate ingenuity and “wit”, John Done was the famous of the Metaphysic al poet. The Metaphysical Poets were men of learning and to show their learning was their endeavour.Edmund SpencerMasterpiece: The Faerie Queene (allegory)Christopher MarloweUniversity witsImportant plays: Tambulaine, Dr.Faustus, The Jewof Meta Edmund II Marlowe voiced the supreme desire of the man of the Renaissance of infinite powers and authority(1) Perfected the blank verse.(2) Creation of the Renaissance hero to English drama ,it embodiesMarlowe’s ideal of human dignity and capacity.Dr.Faustus: aspiring for knowledge, the play’s dominant moral ishuman rather than religious, it celebrates the human passion for knowledge, power and happiness , it also reveals man’s frustrationin realizing the high aspiration in a hostile moral order and theconfinement to time is the cru elest fact of man’s condition.William Shakespeare1. Works: 154 sonnets, 38 plays, 2 long poemsComedy :Merchant of Venice.2 4 great tragedies: Hamlet, Othello, King Lear, MacbethEach portrays some noble hero, who face the injustice of human fate is closely connected with the fate of the whole nation, each herohas his weakness of nature. Hamlet, the melancholic scholar-prince, faces the dilemma be tween action and mind: Othello’s inner weakness is made use of by the outside evil force; the old King Lear who isunwilling to totally give up his power makes himself suffer, from treachery and infidelity; Macbeth’s lust for power stirs up hisambition and leads him to incessant crime.3 Merchant of VeniceIn this play, Shakespeare has created tension: ambiguity, a selfconscious and self-delighting artifice that is at onceintellectually existing and emotionally engaging . Thesophistication derives in part from the play between high,outstanding romance and dark faces of negating and hate thetraditional theme of the play is to praise the friendship betweenAntonio and Bassanio, to idealize Portia as a heroine of greatbeauty , wit and loyalty, and to explore insuitable greed andbrutality of the Jew.4 Hamlet.The play has the qualities of a “blood-and-thunder” thriller and aphilosophical exploration of life of life and death, the timelessappeal of his mighty drama lies in its combination of injustice,emotional conflict and searching philosophic melancholy. Hamlet is obliged to inhabit a shadow world , to live suspended between factand fiction, language and action. His life is one of the constantrole-playing examining the nature of acting only to deny itspossibility. For such a figure, soliloquy is a natural medium, anecessary release of his anguish; and some of his questioningmonologue posses surpassing power and insight. By revealing thepower-seeking, the jostling for place , the hidden motives, thecourteous superficialities that veil lust and guilty, Shakespearecondemns the hypocrisy and treachery and general religiouscorrupting at the royal count.Francis Bacon1 Masterpiece: Essay; Novum Organum.2 Novum Organum: most impressive display of Beacon’s intellect. The argument is for the use of inductiveness of reason in scientificstudy.3 Beacon suggests the inductive reasoning, i.e, proceeding from theparticular to the general , in place of the Aristotelian method ,the deductive reasoning ,i.e. proceeding from the general to theparticular.4 Beacon’s essay are famous for their brevity, compactness andpowerfulness.John DoneMetaphysical poetryThe most striking feature of Done’s poetr y is precisely its tang ofreality, in the sense that it seems to reflect life in a real ratherthan a poetical world..Done frequently applies conceits.John MiltonThree major poetical works:Paradise lost , Paradise Regained, Samson AgonistsThe freedom of the will is the keytone of Milton.s creed.Paradise LostThe epic is the masterpiece of John MiltonThe story is drawn from the Old Testament of the Bible, which tells how Satan, after being defeated in his rebel against God, temps Adam and Eve to eat the apples for the Forbidden Tree, and causes theFall of Man.Satan, in the image of a rebel , still determines to fight backagainst God when he and his followers are cast into the Hell. Thefeatures of the character include his boldness, unbending ambitionand his unconquerable will. The poem, as in other writing, is fullof biblical and classical allusion, and is in a Latinized style withone sentence running perhaps across several lines. But, the majesty of expression suits well the sublimity o f the poet’s thought.【自考版重要资料汇总】【自考英语课程学习交流区入口】短消息发送邮件报告帖子引用回复返回顶部自烤成柴Nothing Can Be Everything会员等级: 超级版主发帖数量: 4,090精华数量: 2所持现金: 19271巴士币银行状态:正常用户积分: 16来自: 注册日期: 2006-02-06# 2 2006-02-16 13:57The Neoclassic Period1 Between the return of the Stuarts to the English throne in 1660and the full assertion of Romanticism which came with thepublication of lyrical Ballads by Wordsworth and Coleridge in 17981. Enlightenment or the Age of reasonThe Enlightenment movement was a progressive intellectual movement which flourished in France and swept the whole western Europe at the timeIts propose was to enlighten the whole world with the light ofmodern philosophical and artistic ideas. The enlightenmenterscelebrated reason or rationally, equality and science. They called for a reference to order, reason and rule , yield place to “eternaltruth” “eternal justice” and “natural equality”They believed that human beings were limited , dualistic andimperfect literature at the time , heavily didactic and moralizing.They believed in self-restraint, self-reliance and hard work. Towork , to economize and to accumulate wealth constitute the wholemeaning of their life. This aspect of social life is best-formed inthe realistic novels of the 18th century.3 In the field of literature , they believed that the artisticshould be order,logic, restrained emotion and accuracy . seekproportion, unity, harmony and grace in literary expression, in an effort to delight, instruct and correct human beings..4 Neoclassicism. In English literature and, the stylistic trendbetween the Restoration and the advent of romanticism at thebeginning of the 19th century is referred to as Neoclassicism.5 Heroic: It is a pair of rhymed lines of iambic pentameter. The form was introduced into English by Chaucer and widely used subsequently.短消息发送邮件报告帖子引用回复返回顶部自烤成柴Nothing Can Be Everything会员等级: 超级版主发帖数量: 4,090精华数量: 2所持现金: 19271巴士币银行状态:正常用户积分: 16来自: 注册日期: 2006-02-06# 3 2006-02-16 13:57John Bunyan1. Masterpiece: The pilgrim’s progress2. The “vanity fair” symbolizes human word, for all that comthis vanity Everything and anything in this world is vanity, having no value and no meaning. The vanity fair, a “market sellingnothingness” of all sorts, is a dirty place originally built up bydetails, but, this town “lay” in the way to the Celestial City,meaning pilgrims had to resist the temptations there when they made their way through. So, the depiction of the “Fair” in selling thingsworldly and in attracting people bad, r epresents John Bunyan’srejection of the worldly seekings and pious longing for the pure and charming “Celestial city”, his Christian ideal.Alexander PopePope, a very sensitive man, would strike back hard, and in theconstant verbal battles he developed a style of biting satire.He was one of the first to introduce rationalism to England, but was not entirely blind to the rapid moral, political and culturaldeterioration.For him the supreme values was order-cosmic order, political order , social order, aesthetic order, and this emphasis an order expression in all of his works. Pope made his name as a great poet with thepublication of an Essay on Criticism in 1711.Pope strongly advocated Neoclassicism, emphasizing that literaryworks should be judged by classical rule of order, reason, logic,restrained emotion, good taste and decorum.Daniel DefoeMasterpiece: Robinson CrusoeHis language is smooth , easy, colloquial and most vernacular. Defoe glorifies human labor and the puritan fortitude. It refers theenterprising sprit of the middle class.Jonathan Swift1. Chief works: A Tale of a Tub, The battle of the books, TheDrapier’s letters, Guilliver’s Travel and a Modest proposal.2.Swift is almost unsurpassed in the writing of simple, direct,precise prose. He defined a good style as “proper words in properplaces” clear, simple, concrete, diction, uncomplicated sentencestructure and economy and concise use of language mark all hiswriting-essay, poems and novels.3. As a whole , the book is one of the most effective anddevastating criticism and satires of all aspects in the then Englishand European life- socially, politically, religiously,philosophically, scientifically and morally.Henry Fielding1. Masterpiece : A History of Tom Jones, a Foundling2. Fielding has been regarded by some as “Father of the EnglishNovel” for his contribution to the establishment of the form of themodern novel.3. Fielding’s language is easy, unlaboured and familiar butetremly vivid and vigorous.4. Of all the 18th century novelist, he was the first to setout. Both in theory and practice. To write specially a “comic epicin poem” the first to give the modern novels its structure andstory; he use epistol ary form and “ the third-person narration”.5. In planning his stories, he tries to retain the grand,epical of the classical works but at the same time keeps fatithfulto his realistic presentation of common life as it is.Samuel Johnson1. Lexicographer: the author of the first English dictionary byan English man---A Dictionary of the English Language(1755)2. To the Right Honorable the Earl of----Chesterfield3. He was particularly fond of moralizing, and didacticism. His language in characteristically general, often Latinate andfrequently polysyllabic.Richard Brinsley Sheridan1 Masterpiece: The school for scandle.2 Sheridan has the only important English dramatist of the 18thcentury; important link between Shakespeare and Benard Shaw.3 In his play, morality is the constant theme.He is much concerned with the current moral issue and harshly at the social life of the day.Tomas Gray1. His masterpiece, “ Elegy in a Country Churchyard” waspublished in 1751, the poem once and for all established his fame as the leader of the sentimental poetry of the day especially” theGraveyard School”2. In his poem, Gray reflects on death, the sorrow of life andthe mysteries of human life with a touch of his Personal Melancholy.3. His poem, as a whole are mostly devoted to a sentimentallamentation or mediation on life, past and present. His poems arecharacterized by an exquisite sense of form. His style issophisticated and allusive. His poem are often marked with the trait of a highly artificial diction and a distorted word order.短消息发送邮件报告帖子引用回复返回顶部自烤成柴Nothing Can Be Everything会员等级: 超级版主发帖数量: 4,090精华数量: 2所持现金: 19271巴士币银行状态:正常用户积分: 16来自: 注册日期: 2006-02-06# 4 2006-02-16 13:58Romantic Period1. Major Romantic Points(1) a rebellion against neo-classicism(2) express on imagination(3) priorities been given to passion, emotion and feeling(4) being close to nature for its purity while the society iscorrupting(5) tremendous interest in something remote in term of space and time(6) favor of modernism(7) supremacy of freedom2 Romantic period began in 1798 with the publication of wordsworthand Coleridge’s lyrical Ballads and have ended in 1852 with SirWalter Scott’s death and the passage of the first Reform Bill in theParliament.3. It was in effect a revolt of the English imagination against theneoclassical reason which prevailed from the days of Pope to those of Johnson1. Jean-Roseau: exploration new idea about Nature, society,Education.Tomas P aine’s Declaration of Rights of Man.5 The Romantic Movement expressed a more or less negative attitude the existing social and political conditions that came withindustria lization and the growing importance of the bourgeoisie.Thus, we can say that Romanticism actually constitute a change ofdirection attention to the outerworld of social civilization to theinner world of the human spirit6 Nature: for the most influential 18th-century writers, was moresomething to be seen than something to be known. But for theRomantics, it is just the opposite. Nature to Wordsworth is a sourceof mental cleanliness and spiritual understanding.7 Poetry has been traditionally regarded as an art governed byrules; but for Romantics, Poetry should be free from all rules.8 Gothic novel: its principal elements are violence, horror andsupernat ural, which strongly appeal to the reader’s emotion.9 How is Romanticism different from Neoclassicism? Provide briefevidence from the literary works you know best.a. Neoclassicists upheld that artistic ideals should be order,logic , restrained emotion and accuracy, and that literature, shouldbe judged in terms of its service to humanity, and thus, literaryexpressions should be of proportion, unity, harmony and grace.Pope’s An Essay on Criticism advocates grace, wit ( usually thoughsatire/ humour ), and simplicity in language (and the poem itself isa demonstration of those ideals, too); Fielding’s Tom Jones helpedest ablished the form of novel; Gray’s Elegry Written in a country Churchyard” displays elegance in style, unified structure, serioustone and moral instructions.b. Romanticism tended to see the individual as the very centerof all experience, including art, and thus, literary work should be “spontaneous overflow of strong of feeling” and no matter howfragmentary those experience were ( Wordsworth’s “I Wandered Lonely as a Cloud,” or “The Solitary Reaper,) 0r Coleridge’s “ KebleKhan”), the value of the work link lied in the accuracy ofpresenting those unique feelings and particular altitude.c. In a word, Neoclassicism emphasized rationality and formbut Romanticism attached great importance to the individual’s mind (emotion, imagination, temporary experience……….)短消息发送邮件报告帖子引用回复返回顶部自烤成柴Nothing Can Be Everything会员等级: 超级版主发帖数量: 4,090精华数量: 2所持现金: 19271巴士币银行状态:正常用户积分: 16来自: 注册日期: 2006-02-06# 5 2006-02-16 13:58William Blake1 (1) The songs of Innocence is a lovely volume poems, presenting a happy and innocent world, though not without its evil and sufferings.(2) The songs of Experience paints a different world, a world ofmisery, poverty, disease, war and repress with melancholy tone(1) The two books hold the similar subject-matter, but the tone,emphasis and conclusion differs.2 Blake’s Marriage of Heaven and Hell(1790) marks his entry intomaturity. The Poem was composed during the change of FrenchRevolution and it plays the double role both as a satire and arevolutionary Prophecy. In this Poem, Blake explain the relationship of the contraries.“wit hout contraries, there is no progression. The marriage to Blake means the reconciliation of the contraries, not the subordination of the one to the other.3 Blake writes his poem in plain and direct language ,his poem often carries the lyric beauty with immense compressing of meaning. Hedistrusts the abstractness and tend to embody his views with visualimages, symbolism in wide range is also a distinctive feature of hispoetry.William Wordsworth1 William Wordsworth, Samuel TAYLOR Coleridge and Robert Southey,the three man known as the “ Lake Poets”2 Wordsworth is regarded as a “worshiper of nature”3 Wordsworth thinks that common life is the only subject of literaryinterest.4 Wordsworth see the word freshly, sympathetically and naturally.5 The most important contributionWordsworth has made is that he hasnot only started the modern poetry of the growing inner self, butalso changed the course of English poetry by using ordinary speechof the language and by advocating a reform to nature.Samuel Taylor Coleridge1 Coledrige’s portion(work) was to deal with supernature thing forhe wai more interested insomething remote strange on foreign.2 Two divers group: the demonic and the conversational(1) The demonic group: beyond the control of reason. The Rime ofthe Ancient Mariner “Christabel” “Kuble Khan”(2) The conversational group: “Frost at Midnight”3 Coledrige is one of the firstcritics to give close criticalaffection to language, maintainng that the true end of poetry is to give pleasure “ through the medium of beauty”4 He was recongnized as alyrical poet and literary critic ofthe first rank.His poetic themes range from the supernature to the domestic. Histreatises, lectures, and compelling conversational powers made himone of the most influential English literary critics andphilosophers of the 19th century.George Gordon Byron1 Masterpiece: Don Juan,Childe Herold’s Pilgrimate‘ I awake one morning and found myself famous2 Byron invests in Juan the moral positives like courage, generosityand franknessThe unifying principal in Don Juan is the basic ironic theme ofappearance and reality.3 Byron has enriched European poetry with an abundance of ideas,images, artistic forms and innovation.4Byronic heroThe creation of the Byronic hero is Byron’s chief contribution toEnglish Poetry, such a hero is a proud, mysterious rebel figure ofnoble origin. Passionate and powerful, he is to right all thewrongs in a corrupt society and he would fight single-handelyagainst all the misdoings, political, religious moral. Thus thisfigure is a rebellious individual social systems and customs.Because Byron’s poetry is one of texperience on the whoel, such a hero is more or less a surrogate of himself, He appears first in Childe Harold’s Pilgrimage and then further develops in later works such as the “Oriented Tale” “Manfred” and “Don Juan”.Persy Bysshe Shelley1 In 1813 he published his first long serious work. Queen Mab: A Philosophical Poem.2 Masterpiece “The Cenci” “Prometheus unbounded”lyrics: “The Cloud” “To a Skylark” “Adonais”3 He held a life-long aversion to cruelty, injustice, authority,institutional religion and the formal shames of respectable society, condemning war, tyranny and exploitation.4 Shelley expressed his love for freedom and his hatred towardtyranny in several of his lyrics such as : Ode to Liberty,” “Ode toNaples,” “ Sonnet: England in 1819” and so on.5Best of all the well known lyric pieces is his “Ode to the west wine” it is rhapsodic and declamatory.6Shelley’s style abounds in personification and metaphor and other figure of speech which describe vividly what we see and feel, orexpress what passionately moves us.短消息发送邮件报告帖子引用回复返回顶部自烤成柴Nothing Can Be Everything会员等级: 超级版主发帖数量: 4,090精华数量: 2所持现金: 19271巴士币银行状态:正常用户积分: 16来自: 注册日期: 2006-02-06# 6 2006-02-16 13:58John Keats1. Work: Limia, Isabella, The Eve of St.Agne2. The Odes are generally regarded as Keats’s most importantand mature works.Ode on Melancholy, Ode on a Grecian Urn, Ode to a Nightingale, Ode to Psyche3. Keats’s poetry is always sensuous, colorful and rich inimagery, which expresses the actuelness of his senses , sights,sound, scent, taste and felling are all taken in to give an entireunderstanding of an experience of others either human or animal.4. His realization of the empathetic power of the imaginationis of the greatest consequence to his work and is a faculty which,as his thought and technique matured, leads him to his most profound insights. Keats’s poetry, characterized by exact and closely knitconstruction, sensual description, and by force of imagination,gives transcendental values to the physical beauty of the world.Jane AustenWorks : Pride and Prejudice. Sense and Sensibility. Northanger Abbey As a realistic writer, she considers it her duty to express in herworks a discriminated and serious criticism of life, and to expressthe follies and illusions of mankind. She shows contemptuousfeelings towards snobbery, stupidity, worldliness and vulgaritythrough subtle satire and irony. And in style, she is aneoclassicism advocator, upholding those traditional ideals oforder, reason, proportion and gracefulness in novel writing.TO BE CONTINUED短消息发送邮件报告帖子引用回复返回顶部自烤成柴Nothing Can Be Everything会员等级: 超级版主发帖数量: 4,090精华数量: 2所持现金: 19271巴士币银行状态:正常用户积分: 16来自: 注册日期: 2006-02-06# 7 2006-02-16 13:58The Victorian Period1. The Victorian Period roughly coincides with the reign ofQueen Victorian from 1836 to 1901, the most glorious in the English history.2 Towards the mid-19th century,, England had reached its highlypoint of development as a world power.3 Darwin’s The origin of species and The Descent of Man shooktheoretical basic of traditional faith. Utilitarianism was widelyaccepted and practiced . In this period, the novel became the mostwidely read and the most vital and challenging experiences ofprogress thought4 Famous novelists like Charles Dickens , William MakepeaceThackery, Charlotte Bronte , Emily Bronte, Mrs. Gaskell and Anthony Trollope.5 Victorian literature has the high-spirted vitality, thedown-to-earth earnestness , the good-natured humor and unbounded imagination are all unprecedented短消息发送邮件报告帖子引用回复返回顶部自烤成柴Nothing Can Be Everything会员等级: 超级版主发帖数量: 4,090精华数量: 2所持现金: 19271巴士币银行状态:正常用户积分: 16来自: 注册日期: 2006-02-06# 8 2006-02-16 13:58Charles Dickens1 Dickens is one of the greatest critical realist writers of theVictorian Age2 In language, he is often compared with Shakespeare for hisadeptness with the vernacular and large vocabulary with which he brings out many a wonderful verbal picture of man and scene.3 His humor and wit seem inexhaustible, character- portrayal is the most distinguished feature of his work.4His best-depicted characters, are those innocent , virtuous ,persecuted helpless child characters.5Dickens work are also characterized by a mingling of humor and pathos. He seems to believe that life is itself a mixture of joy and grief.The Bronte sistersCharlotte Bronte1Masterpiece: Jane Eyre2Jane Eyre is one of the most popular and important novels of theVictorian Age. It is noted to its sharp criticism of the existingsociety, e.g the religious hypocrisy of charity institution such asLowood School, where poor girls are treated constant starvation andhumiliation, to be humble slave, the social discrimination . Jane experiences first as a dependant at her aunt’s house and later as agoverness at Thornfield and the false social convention asconcerning love and marriage. At the same time, it is an intensemoral fable, Jane, like Mr. Rochester, has to undergo a series ofphysical and moral tests to grow up and achieve her final happiness3The success of the novel is also due to its introduction to theEnglish novel the first governess heroine, Jane Eyre, and orphanchild with a fiery spirit and a longing to love and be loved, apoor, plain, little governess who dares to love his master, a mansuperior to her in many ways , and even is brave enough to declareto the man her love for him, cuts a completely new woman images. She represents those middle-class working woman who are struggling for recognition of their basic rights and equality as a human being.That vivid description of her intense feeling and her thought andinner conflicts brings her to the heart of the audience.Emily Bronte1 Masterpiece: Wuthering Heights2 The novel is a riddle of view, it is a story about a poor manabused, betrayed and distorted by his social betters, because he isa poor nobody. As a love story, this is one of the most misery: thepassion between Heathcliff and Cathrine proves the most intense, the most beautiful and at the same time, the most horrible passion areto be found in human being.短消息发送邮件报告帖子引用回复返回顶部自烤成柴Nothing Can Be Everything会员等级: 超级版主发帖数量: 4,090精华数量: 2所持现金: 19271巴士币银行状态:正常用户积分: 16来自: 注册日期: 2006-02-06# 9 2006-02-16 13:59Alfred Tennyson1. His poetry voices the doubt and the faith, the grief and thejoy of English people in an age of fast social change.2. In 1850, Tennyson was appointed the poet laureate.3. Tennyson is a real artist. He has the natural power oflinking visual picture with musical expression, and these two with the feelings.4. His wonderful works manifest all the qualities of England’s great poets.The dreaminess of Spencer, the majesty of Milton, the naturalsimplicity of Wordsworth, the fantasy of Blake and Coleridge, the melody of Keats and Shelley, and the narrative vigor of Scott and Byron.Robert Browning1He is the most original poet of the time.Masterpiece: The ring and the Book2Dramatic MonologueA kind of narrative poem in which one character speaks to one or more listens whose replies are not given in the poem. The occasion is usually a crucial one in the speaker’s life, and the dramaticmonologue reads the speaker’s personality as well as the incid ent that is the subject of the poem, an experience of a dramatic monologue is “My Last Duchess” by Robert Browning.3“My Last Duchess” : this dramatic monologue is the duke’s speech addressed to the agent who comes to negociate the marriage. In this talk about “Last Duchess” the duck reveals himself as aself-conceited , cruel and tyrannical man. The poem is written isheroic couplet, but with no regular metrical system. In reding, itsounds like bland verse.George Eliot1 Three great popular novel, Adam Bede, The Millon the Floss and Silus Mane. Her mind is always active, instinctively analyzing and generalizing to discuss the fundamental truth about human life. In her works, she seeks to present the inner struggle of a soul and toreveal the motives, impulses and hereditary influences which govern human action.2 As a woman of exceptional, intelligence and life experience,George shows a particular and social aspiration. In her mind, thepathetic tragedy of women lies in their very birth. Their inferioreducation and limited social life determine that they must depend on men for sustenance and realization of their goals, and they haveonly to fulfill the domestic duties expected of them by the society. Tomas Hardy1 real success in literature came with “Under Greenwood”major works: Tess of the D’Urbevilles , Jude the Obscurelong epic grama: The Dynasts2 He is both a naturalistic and a critical realistic writer.3 Hardy’s heroes and heroines are all vividly and realisticallydepicted. They all seem to possess a kind of exquisitely sensuousbeauty. They are not only individual cases but also of universaltruth. Their plight is not just their own; it applies to any one,any age. And finally, all the works of Hardy are noted for therustic dialect and a poetic flavor which fits well into theirperfectly designed architectural structures. They are the product of a conscientious artist.短消息发送邮件报告帖子引用回复返回顶部自烤成柴。
西方文论复习资料
柏拉图1、柏拉图灵感说：（1）基本含义。
“灵感说"源自古希腊酒神祭者和女祭司在迷狂状态中宣示阿波罗的神谕的神话传说。
希腊语中“灵感”原意是“神灵的附体”、“神灵感发”，柏拉图把它集中运用到文艺创作和欣赏方面，认为一个艺术家能否创作出伟大的作品,关键是他是否能获得灵感。
（2）柏拉图对灵感的解释。
第一,对灵感的源泉的解释主要是“神灵附体”或“神灵凭附".第二，灵感的表现是迷狂。
第三,灵感的获得过程是灵魂对真善美的理式世界的回忆。
即诗人创作时，经神灵附体后，灵魂陷入迷狂状态,回忆起神灵降临人间前在天上所经历的生活,反映的是理式世界.（3)灵感说显示出柏拉图理论的矛盾及其价值.矛盾：既有唯心主义的神性色彩，又包含着对文学艺术活动特征认识的真知灼见。
价值：第一，柏拉图确认灵感是文艺活动中存在的特有现象，优美的文艺作品就是灵感的产物。
第二，柏拉图看出了文艺创作与技艺制作的区别.第三，他在论述灵感获得的过程中，强调灵感是人的不朽灵魂“见到尘世的美"而回忆起“上界里真正的美”。
2、柏拉图对文艺规定的三条罪状摹仿的艺术与真理隔着三层，诗人没有真知识，为摹仿的艺术摹仿的艺术以虚构的谎言亵渎神明，贬低英雄诗人为了讨好群众,摹仿“人性中低劣的部分”，助长人的“感伤癖”、“哀怜癖",摧残人的理性，使“城邦保卫者”失去勇敢、镇静的精神品质.3、柏拉图主要文艺思想柏拉图的文艺思想可分为本质论，价值论创作论三方面：（1）“理式论”摹仿说.柏拉图的“理式”是不依存物质存在，也不是人的意识，而是一种超时空、非物质、永恒不灭的“本体”。
他认为最高理式是神,“文艺是自然的摹仿”，而“自然"以“理式”为蓝本，故文学艺术是理式的摹仿的摹仿，其摹仿“都只是得到影像,并不曾抓住真理”.（2）文艺的社会功用说。
要求文艺“不仅能引起快感，而且对于国家和人生都有效果”,即有意义建设“正义"的城邦和培育“正义”的人格。
西方文论复习资料
西方文论复习资料《西方文论》复资料XXX整理西方文论复资料一、填空（15%）1、美在“数的和谐统一”的思想是由XXX学派提出来的。
2、XXX是西方第一个从研究自然过渡到研究社会、探求美和艺术的本质的哲学家。
3、在XXX的悲剧理论中，居于悲剧六个成分(性格、思想、情节、言词、形象和歌曲)之首的是情节。
4、“灵魂回忆”说是XXX灵感理论的一部分，其意是说灵感的获得过程是灵魂对真善美的理式世界的回忆。
5、《论崇高》这部作品大约完成于公元前一世纪，作者XXX是与XXX同一时代的人。
6、XXX“寓教于乐”理论揭示了文学艺术的审美作用和认识教育作用的关系。
7、“四义说”是XXX提出的关于文学语言的重要理论，它揭示了语言艺术意义的多层次性，这四义分别指的是语言的字面义、譬喻义、道德义和寓言义。
8、17世纪法国新古典主义时期的代表性文论家是的XXX，反映他古典主义实际的主要著作是《诗的艺术》。
9、在XXX对诗与画的界限做分别时认为诗与画有不同的美学原则，画的最高原则是美，诗的最高原则是真。
10、法国启蒙主义文论家中先崇尚XXX后又完全贬低XXX的作家是XXX。
11、在法国古典主义那里，理性即等于自然，等于古典P105。
（不肯定）另一个答案是“道德”12、德国十八世纪卓越的艺术史家XXX提出古希腊艺术的最高理想是“尊贵的纯真”和“静穆的伟大”，此论影响了这一时代许多的诗人、艺术家，包括XXX。
13、XXX的主要美学著作是《审美教育书简》和《朴素的诗和伤感的诗》。
14、作为XXX一切哲学和美学思想的出发点是他的理性万能论。
190（不确定）15、XXX艺术哲学的基本命题是“美是理念的感性显现”。
16、英国文艺复兴时期文论家XXX对诗人给予了极高的评价，他说“世界是铜的，而只有诗人才给予我们金的。
”17、XXX关于悲剧冲突的本质理论认为悲剧冲突起源于“好人犯了错误”。
18、XXX论述文艺的主要著作是《诗学》19、XXX的主要文艺著作是《诗艺》20、XXX的文艺理论著作是《诗的艺术》21、XXX的美学和文艺思想主要在他的《判断力批判》里得到了表述。
西方文论复习
柏拉图一、文艺本质论1、以哲学思想“理式论”为基础（客观唯心主义）。
“理式”（Ideal），从个别事物中抽象出来的一般概念。
最低的理式是具体事物的理式，往上是数学、几何方面的理式，再往上是艺术、道德方面的理式（美、公正），最高的理式是善，它是神的化身。
2、文艺本质：摹仿说艺术世界? 现实世界? 理念世界(最不真实) ( 感觉世界,变化不定) (最真实，永恒不变)如，“画家作品中的床” ?“木匠造的床” ?“床的理式”（柏拉图理式观的缺陷：一般脱离个别而存在、一般反过来成为个别的依据，僵化、神化）二、文艺价值论：功利主义价值观1.文艺的社会功能：有益于建立“正义”的城邦，培养“正义”人格；《理想国》三个等级的公民：哲学家（理智）、武士（意志）、百工（情欲）。
把诗人驱逐出理想国，只留下歌颂神和英雄的颂歌。
2.批评古希腊文艺：a、艺术与真理隔着三层；b、亵渎神灵，丑化英雄，最严重的毛病是说谎（如神话、史诗）；c、摧残理性，滋养情欲，助长人的“感伤癖”、“哀怜癖”（悲剧），使观众“染到小丑的习气”（喜剧）。
三、文艺创作论：宗教神秘主义色彩的“灵感说”“灵感”，诗神凭附后的神力驱遣。
……诗神就像这块磁石，她首先给人灵感，得到这灵感的人们又把它递传给旁人，让旁人接上他们，悬成一条锁链。
凡是高明的诗人，无论在史诗或抒情诗方面，都不是凭技艺来做成他们的优美的诗歌，而是因为他们得到灵感，有神力凭附着。
——《柏拉图文艺对话集》“失去自主，陷入迷狂”，于“无知无觉”中“代神说话”，描述了创作中的非理性状态。
亚里士多德（前384－前322）文艺不是宗教工具和道德附庸，具有独立性1.摹仿论：文艺是人的行动的摹仿悲剧是对于一个严肃、完整、有一定长度的行动的摹仿；它的媒介是语言，具有各种悦耳之音，分别在剧的各部分使用；摹仿方式是借人物的动作来表达，而不是采用叙述法；借引起怜悯与恐惧来使这种情感得到陶冶。
——《诗学》，人民文学出版社2002年版。
西方文论笔记
西方文论教案前言西方文论呈现的方式大体有三种：一种是在一些哲学家、政治家、宗教家、美学家的著作中包含着的文学理论。
第二种是诗人作家著书立说谈他们的文学见解。
第三种是19世纪以后才有的专门的文学批评家、理论家写的文艺理论论著。
西方文艺的发展可以分为古代、近代、现代、后现代四个阶段；西方文艺理论的发展按照时间先后顺序，也可以分为古代文论、近代文论、现代文论和后现代文论四个历史阶段：古典文论：古希腊文论——新古典文论古希腊文论——罗马古典主义文论——中世纪基督教神学文艺思想——文艺复兴时期的文艺思想——新古典主义近代文论：启蒙主义——自然主义启蒙主义——德国古典美学文艺理论——浪漫主义——现实主义——实证主义和自然主义现代文论：唯美主义——结构主义唯美主义——直觉主义——象征主义与意象派诗论——现代心理学文艺理论——俄国形式主义——现象学与存在主义文学理论——英美“新批评”——结构主义后现代文论：解构主义——后殖民主义解构主义——西方马克思主义文艺理论——阐释—接受理论、读者反应批评——女权主义批评——新历史主义批评——后殖民主义批评学习西方文论应注意影响西方文论发展的以下几种因素：第一，注意西方文学艺术创作的发展变化与文艺理论发展变化的关系。
第二，注意西方社会生活的演变，特别是政治生活的变化对西方文艺理论发展的重要影响。
第三，注意哲学思潮的变化对西方文艺理论的影响。
第四，注意基督教神学对西方文艺理论的影响。
第五，注意语言学、符号学的发展对西方文艺理论的影响。
第六，注意西方文论研究重点的转移和自身范畴的演变，文学艺术理论是在文艺实践发展的基础上，受政治、哲学等条件的影响而发展的。
古希腊的文艺理论第一节古希腊早期的文艺思想1.毕达哥拉斯的“数的和谐”理论毕达哥拉斯（约公元前580－约前500）西方最早的哲学家之一，主要贡献在哲学、数学、天文学、医学、美学等方面。
其基本哲学观念是宇宙万物的本源是“数”，认为数的原则是一切事物的原则，整个天体就体现着一种数的和谐。
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考 研 中文（文学类）
➢ 主编：李家晔 编委（18人）： 何明（北大）、王娟（北师）、罗国斌（人大）、杨新明（清华）、郭建平（社科院）、任乐平（北语）、张志亮（复旦大学）、田雪华（华东师大）、辛军强（南京大学）、随红侠（南开大学）、朱生喜（武汉大学）、蔡小平（华中师大）、李志勇（浙江大学）、刘璐（山东大学）、徐宏（吉林大学）、高满军（东北师大）、刘水清（中山大学）、李家晔（北师） 本资料适合全国大学中文系文学类考研，不管参考书如何，因为精华不变，任何指定书目重点本书均可适应，并可夺得高分。（另有语言文字类、对外汉语类）
2007新版 秘密资料
04-05-06-
第四版 If winter comes , can spring be far behind ?( P. B. Shelley , British poet )
2 资料说明 本资料是众多人的考研精华汇编，以北大、北师、人大、复旦、武大、南开等为主，请勿擅自传播．．．．．
和侵犯权益．．．．．。本资料提供了很多典型试题，很有代表性，因此必须认真地把每道题做好，知其然还要知
其所以然。很多题都有答案，也只是参考。答题时除了名词简答要有根有据，论述题考察知识广度和深度，除非无从下手自说一套，但要自圆其说，正确合理，虽不强求一致，但一定要跟所考学校指定书观点一致。
西方文论 西方文论大纲 ......................................................................................................................................................... 5 西方文论讲稿 ....................................................................................................................................................... 20
前言 ........................................................................................................................................................... 20
古希腊的文艺理论 ......................................................................................................................... 21
第一节 古希腊早期的文艺思想 ....................................................................................................... 21 1.毕达哥拉斯的“数的和谐”理论 .................................................................................................... 21 2.赫拉克利特的“对立和谐”理论 .................................................................................................... 21 3.德谟克利特的摹仿说 ........................................................................................................................ 22 4.苏格拉底的摹仿说与功用说 ............................................................................................................ 22 第二节柏拉图的文艺对话录 ............................................................................................................... 23 第三节亚里斯多德的《诗学》 ........................................................................................................... 25
罗马古典主义文论 ......................................................................................................................... 26
一、贺拉斯与《诗艺》 ....................................................................................................................... 27 二、朗加纳斯《论崇高》 ................................................................................................................... 29
法国新古典主义文论 ................................................................................................................... 30
一、新古典主义文论产生 ................................................................................................................... 30 二、布瓦洛《诗的艺术》 ................................................................................................................... 30 三、古今之争 ....................................................................................................................................... 32 黑格尔《美学》 ................................................................................................................................... 32 象征主义与意象派诗论 ....................................................................................................................... 36
俄国形式主义与布拉格学派 .................................................................................................. 40
俄国形式主义的基本主张 ................................................................................................................... 40 布拉格学派的理论特征 ....................................................................................................................... 41 什克洛夫斯基的“陌生化”理论 ....................................................................................................... 44 If winter comes , can spring be far behind ?( P. B. Shelley , British poet ) 3 雅各布森对文学性的语言学阐释 ....................................................................................................... 45 艾亨鲍姆的科学实证主义文论 ........................................................................................................... 46 西方文论专题 ....................................................................................................................................................... 47 [一]表现主义 ................................................................................................................................................ 47 [二]启蒙主义 ................................................................................................................................................ 50 [三]唯美主义 ................................................................................................................................................ 50 [四]直觉主义 ................................................................................................................................................ 51 [五]象征主义 ................................................................................................................................................ 51 [六]现代心理学文艺理论 ............................................................................................................................ 52 [七]俄国形式主义与英美“新批评” ........................................................................................................ 52 [八]结构主义和解构主义 ............................................................................................................................ 52 [九]西方马克思主义文艺理论 .................................................................................................................... 52 [十]阐释与接受理论 .................................................................................................................................... 53 文学批评专题 ....................................................................................................................................................... 53 1．社会-历史批评 ........................................................................................................................................ 54 2．道德批评 ................................................................................................................................................. 54 3．印象批评 ................................................................................................................................................. 55 4．心理学批评 ............................................................................................................................................. 56 5．文化学批评 ............................................................................................................................................. 56 6．文体学批评 ............................................................................................................................................. 57 7．新批评 ..................................................................................................................................................... 58 8．结构主义批评 ......................................................................................................................................... 59 9．解构主义 ................................................................................................................................................. 60 10．读者批评 ............................................................................................................................................... 61 西方文艺流派及批评家 ....................................................................................................................................... 62 萨特（1905-1980） ...................................................................................................................................... 63 马尔库塞（1897-1979） .............................................................................................................................. 63 阿尔都塞（1918-） ...................................................................................................................................... 66 马契雷 ........................................................................................................................................................... 66 哥德曼（1913-1970） .................................................................................................................................. 66 狄尔泰（1833-1911） .................................................................................................................................. 66 赫斯 ............................................................................................................................................................... 67 伽达默尔（1900-） ...................................................................................................................................... 67 伊塞尔 ........................................................................................................................................................... 67 文学理论练习题[有答案] .................................................................................................................................... 67 1．古代文论——先秦两汉 ................................................................................................................. 67 2．古代文论——魏晋南北朝隋唐五代 ............................................................................................. 70 3．古代文论——宋金元、明代 ......................................................................................................... 72 4．古代文论——清代、近代 ............................................................................................................. 75 《文学理论》试卷（一） ................................................................................................................... 77 《文学理论》试卷（二） ................................................................................................................... 78 《文学概论》试卷（三） ................................................................................................................... 79 《文学概论》试卷（四） ................................................................................................................... 79 《文学概论》试卷（五） ................................................................................................................... 80