英国文学史文学术语解释
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Allego ry:It is a figura tivepieceof writin g convey ing a meanin g otherthan the litera l. Allego ry commun icate s its messag e by meansof symbol ic figure s, action s or symbol ic repres entat ion. Allego ry is genera lly treate d as a figure of rhetor ic.
Ballad:a form of verse, oftena narrat ive and set to music.
Epic:a length y narrat ive poem, ordina rilyconcer ninga seriou s subjec t contai ningdetail s of heroic deedsand events signif icant to a cultur e or nation.
Romanc e: as a litera ry genre, romanc e refers to a styleof heroic proseand versenarrat ive. The storie s always aboutthe marvel ous advent uresof a chival rous,heroic knight, oftend super-humanabilit y, who goes on a quest.
Blankv erse:it is rhyme-less iambic pentam eteror a line of ten syllab les in five iambs, a rhythm ic unit of two syllab les with the unstre ssedfollow ed by the stress ed syllab le.
Sonnet: is a fourte en-line poem in iambic pentam eterwith a carefu lly patter ned rhymescheme.
A Shakes peare an, or Englis h sonnet consis ts of 14 lines, each line contai ns ten syllab le, and each line is writte n in iambic pentam eterin whicha patter n of a non-emphas izedsyllab le follow ed by an emphas izedsyllab le is repeat ed five times.
Spense rianstanza: is a nine-line stanza of 8 linesin iambic pentam eterplus an iambic hexame ter. Heroic couple t:is a tradit ional form for Englis h poetry, common ly used for epic and narrat ive poetry; it refers to poemsconstr ucted from a sequen ce of rhymin g pairsof iambic pentam eterlines. The rhymeis always mascul ine.
Neocla ssici sm: is the name givento quitedistin ct moveme nts in the decora tiveand visual arts, litera ture,theatr e, music,and archit ectur e that draw upon wester n classi cal art and cultur e (usuall y that of ancien t Greece or ancien t Rome).
Picare sque novel: is a popula r sub-genreof prosefictio n whichis usuall y satiri cal and depict s in realis tic and oftenhumoro us detail the advent uresof a roguis h hero of low social classwho livesby his or her wits in a corrup t societ y.
Byroni chero: is an ideali zed but flawed charac ter exempl ified in the life and writin gs of Lord Byron.
Romant icism:
Romant icism: is the artist ic moveme nt of the 18 and 19 centur ies, whichwas concer ned with the expres sionof the indivi dual’s feelin gs and emotio ns. The moveme nt is partly a revolt agains t aristo crati c social and politi cal normsof the Age of Enligh tenme nt and a reacti on agains t the scient ificration aliza tionof nature. It stress es strong emotio n as a source of aesthe tic experi ence. Beside s, romant icism emphas izesintuit ion and imagin ation.
The aesthe tic moveme nt:is a loosel y define d moveme nt in litera ture,fine art, the decora tivearts, and interi or design in later19-centur y Britai n. It belong s to the anti-Victor ian reacti on and had post-romant ic roots, and as such antici pates modern ism.
Bildun gsrom an: is a novelof growth or develo pment, tellin g a storyabouta youngperson growin g from innoce nce to experi enceand from immatu rityto maturi ty.
Dramat ic monolo gue: is a pieceof spoken versethat offers greatinsigh t into the feelin gs of the speake r.
Imagis m:was a moveme nt in early20th-centur y Anglo-Americ an poetry that favore d precis ion of imager y and clear,sharplangua ge. The Imagis ts reject ed the sentim ent and artifi ce typica l of much Romant ic and Victor ian poetry. Imagis m called for a return to what were seen as more Classi cal values, such as direct nessof presen tatio n and econom y of langua ge, as well as a
willin gness to experi mentwith non-tradit ional verseforms.
Modern ism: in its broade st defini tion,is modern though t, charac ter, or practi ce. More specif icall y, the term descri bes both a set of cultur al tenden ciesand associ atedcultur al moveme nts, origin allyarisin g from wide-scaleand far-reachi ng change s to Wester n societ y in the late 19th and early20th centur ies. Modern ism also reject s the linger ing certai nty of Enligh tenme nt thinki ng, as well as the idea of a compas siona te, all-powerf ul Creato r. A salien t charac teris tic of modern ism is self-consci ousne ss. Modern ism’s stress on freedo m of expres sion, experi menta tion, radica lismand primit ivism disreg ardsconven tiona l expect ation s.
Stream of consci ousne ss: is a narrat ive mode that seeksto portra y an indivi dual’s pointof view by giving the writte n equiva lentof the charac ter’s though t proces ses, either in a looseinteri or monolo gue, or in connec tionto his or her action s.
New critic ism: was a domina nt trendin Englis h and Americ an litera ry critic ism of the mid-twenti eth centur y, from the 1920sto the early1960s. Its adhere nts were emphat ic in theiradvoca cy of closereadin g and attent ion to textsthemse lves, and theirreject ion of critic ism basedon extra-textua l source s, especi allybiogra phy.New Critic s treata work of litera tureas if it were self-contai ned. They do not consid er the reader's respon se, author's intent ion, or histor icaland cultur al contex ts. New Critic s perfor m a closereadin g of the text, and believ e the struct ure and meanin g of the text should not be examin ed separa tely. New Critic s especi allyapprec iatethe use of litera ry device s in a text. The New Critic ism has someti mes been called an object ive approa ch to litera ture.
The moveme nt poets:contai ned a groupof writer s of the 1950sagains t the extrem e romant icism of DylanThomas and his contem porar ies. They were concer ned with the social change s that postwa r labori te Britai n was goingthroug h, and triedto examin e life in an honest, realis tic manner.
The angryyoungmen: The epithe t was origin allya journa listi c term used to descri be a groupof playwr ights and noveli sts of the mid-1950s,but it has also come to referloosel y to the majorcharac tersthat theseauthor s have create d. The writer s were normal ly iconoc lasti cand anti-establ ished standa rds. Ambiti ous and disill usion ed, they lashed out agains t contem porar y societ y. They were in revolt agains t the high litera ry ideals of modern ism and wrotein a delibe ratel y vulgar, comic, and satiri cal vein.
The dreamof the absurd: absurd ity playsexplor e the absurd nature of the humancondit ion. The worldthat the dramaof the absurd triesto deline ate seemsto be one in whichgod no longer smiles upon the humank ind, and man is thrown back upon himsel f for surviv al. As a result, modern man feelsan acutesenseof futili ty and meanin gless ness, and sees no lightat the end of tunnel.。