(完整word版)《美国文学选读》课程标准
《美国文学》课程教学大纲
《美国文学》课程教学大纲一、教师或教学团队信息（美国文学课程为上海市精品课，团队教师致力于打造精品，编写教材《美国文学名作研读》为上海市教委重点课程资助项目，获上海师范大学教学成果奖，教学网站内容丰富，教学资源可全社会共享。
）二、课程基本信息课程名称（中文）：美国文学课程名称（英文）：American Literature课程类别：□通识必修课□通识选修课 专业必修课□专业方向课□专业拓展课□实践性环节课程性质*： 学术知识性□方法技能性□研究探索性□实践体验性课程代码：周学时：2 总学时：32 学分: 2先修课程：英国文学授课对象：英语师范、英语专业本科三年级学生三、课程简介《美国文学》课程的目的是培养学生阅读、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。
通过阅读和作品分析，促进学生语言基本功和人文素质的提高，增强学生对西方文化的了解。
《美国文学》课程是英语专业知识课程中重要的课程，一般在第六学期开设。
通过阅读和分析美国的文学作品,使学生了解和认知美国文学史上一些较有影响的作家的创作倾向、思想方法、在文学史上的地位和成就以及对本国文学乃至世界所产生的影响等。
在此基础上,使学生了解一些名家的代表作品的思想意义、文学价值、写作手法、语言技巧等。
在知识方面使学生对英美国家的文学发展脉络有一个清晰系统地把握；在能力方面经过一个学年的系统学习基本掌握文学欣赏的基本方法,为以后进一步深造或进行学术科学研究打下良好的基础。
四、课程目标本课程要求学生对美国文学形成与发展的全貌有个大概的了解：了解各个发展时期的文学特色及作家、作品，并通过阅读具有代表性的文学作品，理解作品的内容，学会分析作品的艺术特色并努力掌握正确评价文学作品的标准和方法，努力提高语言水平，增强对美国文学原著的理解，特别是对作品中表现的社会生活和人物情感的理解，提高他们对各种形式的文学作品如小说、诗歌、戏剧等阅读能力和鉴赏水平。
美国文学教学大纲
海南师范学院本科英语专业理论课教学大纲：美国文学课程编号：03101026 学时：36 学分：2一、课程的性质和任务《美国文学史及选读》是英语语言文学专业（本科）的一门专业知识必修课。
它简要介绍了美国文学从十七世纪殖民时期到二十世纪的发展历史及其主要作品。
本课程是英语专业的专业基础课，目标是：通过文学史的教学拓宽学生的知识面，提高学生的文学修养，使学生了解英美文学各个历史时期的文艺思潮、文学流派、主要作家和作品；通过美国文学作品的教学，提高学生对英文原著的理解能力、鉴赏能力，培养学生发现问题、分析问题和解决问题的能力；通过课外实践活动，激发学生的文学兴趣，培养学生的文学鉴赏和批评能力及论文写作能力二、相关课程的衔接本课程是为英语专业高年级学生开设的，学生必须具有良好的英语阅读和理解基本功方能顺利地学习该课程，与此同时，它与美国历史、文化、社会背景等关系密切，因此，学生先期完成英语听说读写等技能训练基本课程，相关衔接课程有《英国文学》，《英语国家概况》《跨文化交际》等课程。
三、教学的基本要求1．了解美国文学发展史上的重要时期和阶段，包括殖民地时期、独立战争时期、浪漫主义时代、南北战争时期和两次世界大战前后文学现象及特征。
2．了解各个重要发展阶段的代表作家及作品，熟知其内容、风格和艺术价值及其在世界文学史上的重要地位。
3．了解伴随美国文学各个阶段产生的文艺批评思潮，提高学生的文艺理论水平。
四、教学方法与重点、难点教学方法：教学方法以课堂讲授为主，辅以讨论，并要求学生在课外大量阅读参考书，撰写读书报告及评论课上充分利用网络资源及现代化教学手段，使学生能够积极主动地进行学习本课程的重点与难点相对来说是一致的从时段上来说，19世纪20年代以后的美国文学由于处于第二次繁荣时期，对于美国文学的历史走向曾发生了相当重要的影响，自然是本课程的重点而这一阶段的文学语言丰富、色彩各异，且与哲学、史学、艺术学等结合得比较紧密，所以这一时期的文学作品在语言上和思想上都具备一定的难度，是本课程的难点所在另外，后现代文学作品的出现也增加了学生阅读的难度，因此了解后现代作品的创作手法，写作动机也是本科的一个难点解决的办法主要是在专业基础课之外，定期安排专家讲学，题目多涉及与课程难度相关的内容，旨在拓宽学生的知识面，使学生对特定时期的美国文学有一个历史层面上的深刻把握，从而有助于理解作品的语言和思想另外，课程组加强“英美文化”的教学力度和课外阅读的范围，在教学框架中将文学和文化结合起来，使学生在浓厚的异域文化氛围中感受美国文学，从而对深化对文学作品的理解从流派上说，《美国文学》课程的重点和难点都集中在流派嬗变的历史规律、流派与流派之间的关系、各流派的形成背景、形成历史以及体制特点美国文学各流派的继承性从总体上来说表现得相当明显，但对具体的继承与创造的关系尚缺乏充分的整理和研究我们的解决办法是：在分阶段的文学史教学过程中，充分梳理各文学流派的历史，从中概括流派的特性和历史以及与其他流派的区别我们开设有多门分阶段文学史的课程，目的就是在目前“横”的文学史的基础上，加强“纵”的线索，使学生形成纵横兼备的知识体系。
(完整word版)英美文学选修课电子教案11(word文档良心出品)
介绍清教徒的基本定义和对美国早期诗歌的影响(10 min)
1.Show some pictures to demonstrate the life of Puritans;
2.Briefly introduce their writing content：1）their voyage to the new land
2.Lead students to read his great poemTo a Waterfowltogether.
1. Learn more about life experience of William Bryant;
2.Try to understand writing content:
4) About dealing with Indians
对殖民地时期清教徒诗歌文学进行介绍。
介绍美Байду номын сангаас诗歌之父菲利普·费瑞诺和浪漫主义散文文体作家华盛顿.欧文(10 min)
1.Briefly introduce Philip Freneau (known as a poet and political journalist ):
3. Try to give some comments on these poems.
对诗歌和散文进行同时赏析和比较。
介绍作家诗人威廉.卡伦.布莱恩特和他的《致水鸟》(10 min)
1. Briefly introduce life storiesof William Cullen Bryant,the 1st American to gain the stature of a major poet.
美国文学名著选读教学大纲
《美国文学名著选读》教学大纲课程名称：《美国文学名著选读》英文名称：；History and Anthology of American Literature学分： 2学分总学时： 36学时适用专业：英语先修课程：《综合英语》（1,2,3,4册）一、课程性质、教学任务课程类别：专业通用课课程性质：通用选修课本课程的教学对象是高等学校英语专业（四年制）三年级学生。
他们已基本掌握和具备了英语语言文学的听、说、读、写、译的基本技能和基本的文学理论和文学常识。
在此条件下，引导学生发掘文学史演变的规律和文学与其它学科的内在联系。
传授英美国文学的基础知识，发掘美国文学演变的基本规律，树立正确阅读美国文学方式方法。
通过系统、全面的讲授和剖析，训练学生正确阅读和思考、鉴赏的能力，培养学生运用事实检验理论的才能，养成分析问题、解决问题的良好方法，为学生打下扎实、牢固的美国文学史基础。
二、课程教学目的通过本课程学习，培养学生以下专业素质：1.主要作家、作品及主要作品中的主要人物；2.主要文学流派，文学思潮及经典选文；3.主要文学术语；4.经典选段的分析。
通过本课程学习，培养学生以下非专业素质：1.求真务实的作风；2.开拓创新的精神；3.严谨科学的求学观；4.健康向上的人生观。
三、课程教学内容与要求1.殖民时代和独立战争时期Benjamin Franklin2.浪漫主义文学时期1) Washington Irving2) Edgar Allan Poe3) Walt Whitman4) Ralph Emerson5) Henry David Thoreau6) Nathaniel Hawthorne３.现实主义作家1) Mark Twain2) Henry James4.美国自然主义作家1) Jack London2) Theodore Dreiser5.二十世纪二十年代的美国作家1) Ernest Hemingway2) F· Scott Fitzgerald3) Imagism· Ezra Pound4) Robert Frost5) William Faulkner四、教学重点与难点六、实验、实训等实践教学要求本环节主要引导学生将学到的知识与社会生活进行密切融合，并关注与本课内容相关的社会问题等。
《美国文学选读》第二版
《美国文学选读》第二版Selected Reading in American Literature内容简介：《美国文学选读》第二版(Selected Reading in American Literature)是高等院校英语专业教材，也可供师范校、教育学院、广播电视大学及社会上英语自学者学习使用。
本书以20世纪美国重要作家的作品为主，同时收有l8、19世纪的经典作家的作品，在体裁上兼顾小说、诗歌、戏剧与散文。
本书的序言简要介绍美国文学发展的历史、各阶段重要的文学流派及代表性作家与作品。
文部分共26个单元，每单元包括“作者简介”、“赏析”、“选文”、“注释”和“问题”等五个方面。
如果选文为长篇作的选段，每一单元后面还附有该作家的一些箴言名句。
目录：Unit 1Benjamin Franklin (1706-1790)The Autobiography (Excerpt)Unit 2Edgar Allan Poe (1809-1849)The Cask of AmontilladoUnit 3Ralph Waldo Emerson (1803-1882)Self-Reliance (Excerpt)Unit 4Nathaniel Hawthorne (1804-1864)The Scarlet Letter-- Chapter 2Unit 5Herman Melville (1819-1891)Moby Dick -- Chapter 41Unit 6Henry David Thoreau (1817-1862) Walden -- Chapter 2 (Excerpt)Unit 719th-Century American PoetsHenry Wadsworth Longfellow (1807- 1882) Edgar Allan Poe (1809-1849)Walt Whitman (1819-1892)Emily Dickinson (1830-1886)Unit 8Mark Twain (1835-1910)The Celebrated Jumping Frog of Calaveras County Unit 9Henry James (1843-1916)The Jolly CornerUnit 10 Stephen Crane (1871-1900)The Open BoatUnit 11 Willa Cather (1873-1947)Miss JewettUnit 12 Sherwood Anderson (1876-1941)The Triumph of the EggUnit 13 Katherine Anne Porter (1890-1980)The Jilting of Granny Weatherall 143Unit 14 F.Scott Fitzgerald (1896-1940)The Great Gatsby -- Chapter 9Unit 15 William Faulkner (1897-1962)Barn BurningUnit 16 Ernest Hemingway (1899-1961)A Clean, Well-Lighted PlaceUnit 1720th-Century American Poets (I)Ezra Pound (1885-1972)Wallace Stevens (1879-1955)William Carlos Williams (1883-1963)Robert Frost (1874-1963)Langston Hughes (1902-1967)Archibald MacLeish (1892-1982)Unit 18Eugene Glastone O'Neill (1888-1953) Desire Under the Elms -- Scene IVUnit 19 Elwyn Brooks White (1899-1985)Once More to the LakeUnit 20Tennessee Williams (1911-1983)A Streetcar Named DesireUnit 21Ralph Waldo Ellison (1914-1994) Invisible Man -- ChapterUnit 2220th-Century American Poets (II)Robert Lowell (1917-1977) Elizabeth Bishop (1911-1979) ……Unit 23Arthur Miller(1915- ) Unit 24Saul Bellow(1915-2005) Unit 25 Joseph Heller(1923-1999) Unit 26 Toni Morrison(1931- )。
《英美文学选读》word版
英美文学选读英美文学选读1.课程性质与学习目的英美文学选读课是全国高等教育自学考试英语语言文学专业本科段的必修课程,是为培养和检验自学应考者英美文学的基本理论知识和理解、鉴赏英美文学原著的能力而设置的一门专业理论课程.设置本课程旨在使英语自学者对英美两国文学形成与发展的全貌有一个大概的了解；并通过阅读具有代表性的英美文学作品,理解作品的内容,学会分析作品的艺术特色并努力掌握正确评价文学作品的标准和方法.由于本课程以作家作品为重点,因此考生需仔细阅读原作.通过阅读,努力提高语言水平,增强对英美文学原著的理解,特别是对作品中表现的社会生活和人物思想感情的理解,提高他们阅读文学作品的能力和鉴赏水平.2.课程内容与考核目标本课程的考试要求为全日制普通高等学校英语语言文学专业《英美文学选读》课程本科的结业水平.课程的内容和考核目标是根据本课程的性质、学习目的以及自学考试的特点编制而成的.本课程由英国文学和美国文学两部分组成.主要内容包括英美文学发展史及代表作家的简要介绍和作品选读.文学史部分从英美两国历史、语言、文化发展的角度,简要介绍英美两国文学各个历史断代的主要历史背景,文学文化思潮,文学流派,社会政治、经济、文化等对文学发展的影响,主要作家的文学生涯、创作思想、艺术特色及其代表作品的主题结构、人物刻画、语言风格、思想意义等；选读部分主要节选了英美文学史上各个时期重要作家的代表作品,包括诗歌、戏剧、小说、散文等,详见全国高等教育自学考试指导委员会编写的指定用书《英美文学选读》〔X伯香主编,外语教学与研究１９９９年１２月第２版〕.根据本课程考试的大纲,凡要求"识记"的内容,所涉及的知识和理论都与考核点直接相关,考生应熟知其概念和有关知识,理解其原理,并能在语言环境中予以辨认.凡要求"领会"的内容,必须做到掌握有关知识和理论.凡要求"应用"的内容,必须做到在掌握有关知识和理论的基础上使之转换为能力,即能用有关知识和理论来分析解决英美文学中的相关问题,并指导作品的阅读.凡要求"一般识记"的内容,所涉及的知识和理论,一般不直接作为考核时命题的内容,但由于这些内容对于其他相关知识和理论以及作品阅读能力的考核有直接或间接的影响,因此要求考生在自学过程对这些内容也要有所了解.英美文学选读第1章<英国文学>文艺复兴时期第1节Edmund Spenser第2节Christopher Marlowe第3节William Shakespeare第4节Francis Bacon第5节John Donne第6节John Milton第2章新古典主义时期第1节John Bunyan第2节Alexander Pope第3节Daniel Defoe第4节Jonathan Swift第5节Henry Fielding第6节Samuel Johnson第3章浪漫主义时期第1节William Blake第2节William Wordsworth第3节Samuel Taylor Coleridge第4节George Gordon Byron第5节Percy Bysshe Shelley第6节John Keats第7节Jane Austen第4章维多利亚时期第1节Charles Dickens第2节The Bronte Sisters第3节Alfred Tennyson第4节Robert Browning第5节George Eliot第6节Thomas Hardy第5章现代时期第1节George Bernard Shaw第2节John Galsworthy第3节William Butler Yeats第4节T. S. Eliot第5节D. H. Lawrence第6节James Joyce第6章<美国文学>浪漫主义时期第1节Washington Irving第2节Ralph Waldo Emerson第3节Nathaniel Hawthorne第4节Walt Whitman第5节Herman Melville第7章现实主义时期第1节Mark Twain第2节Henry James第3节Emily Dickinson第4节Theodore Dreiser第8章现代时期第1节Ezra Pound第2节Robert Lee Frost第3节Eugene O'Neill第4节F. Scott Fitzgerald第5节Ernest Hemingway第6节William Faulkner<英国文学>文艺复兴时期本章简介<>The Renaissance marks a transition from the medieval to the modern world. Generally, it refers to the period between the 14th and mid-17th centuries. It first started in Italy, with theflowering of painting, sculpture and literature. From Italy the movement went to embrace the rest of Europe. The Renaissance, which means rebirth or revival, is actually a movement stimulated by a series of historical events, such as the rediscovery of ancient Roman and Greek culture, the new discoveries in geography and astrology, the religious reformation and the economic expansion. The Renaissance, therefore, in essence, is a historical period in which the European humanist thinkers and scholars made attempts to get rid of those old feudalist ideas in medieval Europe, to introduce new ideas that exssed the interests of the rising bourgeoisie, and to recover the purity of the early church from the corruption of the Roman Catholic Church. The Renaissance was slow in reaching England not only because of England's separation from the Continent but also because of its domestic unrest. The century and a half following the death of Chaucer is the most volcanic period of English history. The war-like nobles seized the power of England and turned it into self-destruction. The Wars of Roses are examples to show how the energy of England was violently destroying itself. The frightful reign of Richard III marked the end of civil wars, making possible a new growth of English national feelings under the popular Tudors. But it was not until the reign of Henry VIII <from 1509 to 1547> that the Renaissance really began to show its effect in England. With Henry VIII's encouragement, the Oxford reformers, scholars and humanists introduced classical literature to England. Education, based upon the classics and the Bible, was revitalized, and literature, already much read during the 15th century, became even more popular. Thus began the English Renaissance, which was perhaps England's Golden Age, especially in literature. Among the literary giants were Shakespeare, Spenser, Johnson, Sidney, Marlowe, Bacon and Donne. The English Renaissance had no sharp break with the past. Attitudes and feelings which had been characteristic of the 14th and 15th centuries persisted well down into the era of Humanism and Reformation. Humanism is the essence of the Renaissance. It sprang from the endeavor to restore a medieval reverence for the antique authors and is frequently taken as the beginning of the Renaissance on its conscious, intellectual side, for the Greek and Roman civilization was based on such a conception that man is the measure of all things. Through the new learning, humanists not only saw the arts of splendor and enlightenment, but the human values resented in the works. In the medieval society, people as individuals were largely subordinated to the feudalist rule without any freedom and independence; and in medieval theology, people's relationships to the world about them were largely reduced to a problem of adapting to or avoiding the circumstances of earthly life in an effort to pare their souls for a future life. But Renaissance humanists found in the classics a justification to exalt human nature and came to see that human beings were glorious creatures capable of individual development in the direction of perfection, and that the world they inhabited was theirs not to despise but to question, explore, and enjoy. Thus, by emphasizing the dignity of human beings and the importance of the sent life, they voiced their beliefs that man did not only have the right to enjoy the beauty of this life, but had the ability to perfect himself and to perform wonders. Humanism began to take hold in England when the Dutch scholar Desiderius Erasmus <1466-1536> came to teach the classical learning, first at Oxford and then at Cambridge. Thomas More, Christopher Marlowe and William Shakespeare are the best resentatives of the English humanists. The long reign of Henry VIII was marked not only by a steady increase in the national power at home and abroad but also by the entrance of the religious reformation from the Continent. It was Martin Luther <1483-1546>, a German Protestant, who initiated the Reformation. Luther believed that every true Christian was his own priest and was en学习指导d to intert the Bible for himself. Encouraged by Luther's aching, reformers fromnorthern Europe vitalized the Protestant movement, which was seen as a means to recover the purity of the early church from the corruption and superstition of the Middle Ages. The colorful and dramatic ritual of the Catholic Church was simplified. Indulgences, pilgrimages, and other practices were condemned. In the early stage of the continental Reformation, Henry VIII was regarded as a faithful son of the Catholic Church and named "Defender of the Faith" by the Pope. Only his need for a legitimate male heir, and hence a new wife, led him to cut ties with Rome. But the common English people had long been dissatisfied with the corruption of the church and inspired by the reformers' ideas from the Continent. So they welcomed and sup-ported Henry's decision of breaking away from Rome. When Henry VIII declared himself through the approval of the Parliament as the Sume Head of the Church of England in 1534, the Reformation in England was in its full swing. One of the major results was the fact that the Bible in English was placed in every church and services were held in English instead of Latin so that people could understand. In the brief reign of Edward VI, Henry's son, the reform of the church's doctrine and teaching was carried out. But after Mary ascended the throne, there was a violent swing to Catholicism. However, by the middle of Elizabeth's reign, Protestantism had been firmly established, with a certain extent of compromise between Catholicism and Protestantism. The religious reformation was actually a reflection of the class struggle waged by the new rising bourgeoisie against the feudal class and its ideology. Strong national feeling in the time of the Tudors gave a great incentive to the cultural development in England. English schools and universities were established in place of the old monasteries. With classical culture and the Italian humanistic ideas coming into England, the English Renaissance began flourishing. And one of the men who made a great contribution in this respect was William Caxton, for he was the first person who introduced printing into England. In his lifetime, Caxton printed about one hundred books in English, including Chaucer's The Canterbury Tales <1483> and Malory's Morte Darthur <1485>. Thus, for the first time in history it was possible for a book or an idea to reach the whole nation in a speedy way. With the introduction of printing, an age of translation came into being. And lots and lots of continental literary works both ancient and modern were translated and printed in English. For instance, Plutarch's Lives of the Noble Grecians and Romans was translated by North, Ovid's etamorphoses by Golding, Homer's The Iliad by Chapman, and Montaigne's Essays by Florio. As a result, the introduction of printing led to a commercial market for literature and provided numerous books for the English people to read, thus making everything ready for the appearance of the great Elizabethan writers. The first period of the English Renaissance was one of imitation and assimilation. Academies after the Italian type were founded. And Petrarch was regarded as the fountainhead of literature by the English writers. For it was Petrarch and his successors who established the language of love and sharply distinguished the love poetry of the Renaissance from its counterparts in the ancient world. Wyatt and Surrey began engraving the forms and graces of Italian poetry upon the native stock. While the former introduced the Petrarchan sonnet into England, the latter brought in blank verse, i.e. the unrhymed iambic pentameter line. Sidney followed with the sestina and terza rima and with various experiments in classic meters. And Marlowe gave new vigor to the blank verse with his "mighty lines. "From Wyatt and Surrey onwards the goals of humanistic poetry are: skillful handling of conventions, force of language, and, above all, the development of a rhetorical plan in which meter, rhyme, scheme, imagery and argument should all be combined to frame the emotional theme and throw it into high relief. Poetry was to be a concentrated exercise of the mind, of craftsmanship, and of learning. Spenser'sThe Shepheardes Calender showed how the pastoral convention could be adopted to a variety of subjects, moral or heroic, and how the rules of decorum, or fitness of style to subject, could be applied through variations in the diction and metrical scheme. In "The Passionate Shepherd to His Love," Marlowe spoke with a voice so innocent that it would be very difficult for us to connect it with the voice in his tragedies. In the early stage of the Renaissance, poetry and poetic drama were the most outstanding literary forms and they were carried on especially by Shakespeare and Ben Jonson. But the poetry written by John Donne, George Herbert and others like them <who were later labeled as the metaphysical poets by Dryden and Johnson> resented a sharp break from the poetry by their decessors and most of their contemporaries. The Elizabethan drama, in its totality, is the real mainstream of the English Renaissance. It could be dated back to the Middle Ages. Interludes and morality plays thriving in the medieval period continued to be popular down to Shakespeare's time. But the development of the drama into a sophisticated art form required another influence- the Greek and Roman classics. Lively, vivid native English material was put into the regular form of the Latin comedies of Plautus and Terence. Tragedies were in the style of Seneca. The fusion of classical form with English content brought about the possibility of a mature and artistic drama. The most famous dramatists in the Renaissance England are Christopher Marlowe, William Shakespeare, and Ben Jonson, who wrote plays with such universal qualities of greatness. By imitating the romances of Italy and Spain, embracing the mysteries of German legend, and combining the fictions of poetic fancy with the facts of daily life, they made a vivid depiction of the sharp conflicts between feudalism and the rising bourgeoisie in a transitional period. And with humors of the moment, abstractions of philosophical speculation, and intense vitality, this extraordinary drama, with Shakespeare as the master, left a monument of the Renaissance unrivaled for pure creative power by any other product of that epoch. Francis Bacon <1561-1626>, the first important English essayist, is best known for his essays which greatly influenced the development of this literary form. He was also the founder of modern science in England. His writings paved the way for the use of scientific method. Thus, he is undoubtedly one of the resentatives of the English Renaissance.新古典主义时期本章简介<> What we now call the neoclassical period is the one in English literature between the return of the Stuarts to the English throne in 1660 and the full assertion of Romanticism which came with the publication of Lyrical Ballads by Wordsworth and Coleridge in 1798. The English society of the neoclassical period was a turbulent one. Of the great political and social events there were the Restoration of King Charles II in 1660, the Great Plague of 1665 which took 70,000 lives in London alone, the Great London Fire which destroyed a large part of the city, leaving two-thirds of the population homeless, the Glorious Revolution in which King James Il was replaced by his Protestant daughter Mary and her Dutch husband William, Duke of Orange, in 1689, and so on. There was constant strife between the monarch and the parliament, between the two big parties -- the Tories and the Whigs -- over the control of the parliament and government, between opposing religious sects such as the Roman Catholicism, the Anglican Church and the Dissenters, between the ruling class and the laboring poor, etc. In short, it was an age full of conflicts and divergence of values. The eighteenth century saw the fast development of England as a nation. Abroad, a vast expansion of British colonies in North America, India, the West Indies, and a continuous increase of colonial wealth and trade provided England with a market for which the small-scale handproduction methods of the home industry were hardly adequate. This created not only a steady demand for British goods but also standardized goods. And at home in the country, Acts of Enclosure were putting more land into fewer privileged rich landowners and forcing thousands of small farmers and tenants off land to become wage earners in industrial towns. This coming together of free labor from the home and free capital gathered or plundered from the colonies was the essence of the Industrial Revolution. So, towards the middle of the eighteenth century, England had become the first powerful capitalist country in the world. It had become the work-shop of the world, her manufactured goods flooding foreign markets far and near. Along with the fast economic development, the British bourgeois or middle class also grew rapidly. It was the major force of the Revolution and was mainly composed of city people: traders, merchants, manufacturers, and other adventurers such as slave traders and colonists. As the Industrial Revolution went on, more and more people joined the rank of this class. Marx once pointed out that the bourgeois class of the eighteenth-century England was a revolutionary class then and quite different from the feudal aristocratic class. They were people who had known poverty and hardship, and most of them had obtained their sent social status through hard work. They believed in self-restraint, self-reliance and hard work. To work, to economize and to accumulate wealth constituted the whole meaning of their life. This aspect of social life is best found in the realistic novels of the century. The eighteenth-century England is also known as the Age of Enlightenment or the Age of Reason. The Enlightenment Movement was a progressive intellectual movement which flourished in France and swept through the whole Western Europe at the time. The movement was a furtherance of the Renaissance of the fifteenth and sixteenth centuries. Its purpose was to enlighten the whole world with the light of modern philosophical and artistic ideas. The enlighteners celebrated reason or rationality, equality and science. They held that rationality or reason should be the only, the final cause of any human thought and activities. They called for a reference to order, reason and rules. They believed that when reason served as the yardstick for the measurement of all human activities and relations, every superstition, injustice and opssion was to yield place to "eternal truth," "eternal justice" and "natural equality." The belief provided theory for the French Revolution of 1789 and the American War of Independence in 1776. At the same time, the enlighteners advocated universal education. They believed that human beings were limited, dualistic, imperfect, and yet capable of rationality and perfection through education. If the masses were well educated, they thought, there would be great chance for a democratic and equal human society. As a matter of fact, literature at the time, heavily didactic and moralizing, became a very popular means of public education. Famous among the great enlighteners in England were those great writers like John Dryden, Alexander Pope, Joseph Addison and Sir Richard Steele, the two pioneers of familiar essays, Jonathan Swift, Daniel Defoe, Richard Brinsley Sheridan, Henry Fielding and Samuel Johnson. In the field of literature, the Enlightenment Movement brought about a revival of interest in the old classical works. This tendency is known as neoclassicism. According to the neoclassicists, all forms of literature were to be modeled after the classical works of the ancient Greek and Roman writers <Homer, Virgil, Horace, Ovid, etc.> and those of the contemporary French ones. They believed that the artistic ideals should be order, logic, restrained emotion and accuracy, and that literature should be judged in terms of its service to humanity. This belief led them to seek proportion, unity, harmony and grace in literary exssions, in an effort to delight, instruct and correct human beings, primarily as social animals. Thus a polite, urbane, witty, and intellectual art developed.Neoclassicists had some fixed laws and rules for almost every genre of literature. Prose should be cise, direct, smooth and flexible. Poetry should be lyrical, epical, didactic, satiric or dramatic, and each class should be guided by its own principles. Drama should be written in the Heroic Couplets <iambic pentameter rhymed in two lines>; the three unities of time, space and action should be strictly observed; regularity in construction should be adhered to, and type characters rather than individuals should be resented. In the last few decades of the 18th century, however, the neoclassical emphasis upon reason, intellect, wit and form was rebelled against or challenged by the sentimentalists, and was, in due time, gradually replaced by Romanticism. But it had a lasting wholesome influence upon English literature. The poetic techniques and certain classical graces such as order, good form, unified structure, clarity and conciseness of language developed in this period have become a permanent heritage. The neoclassical period witnessed the flourish of English poetry in the classical style from Restoration to about the second half of the century, climaxing with John Dryden, Alexander Pope and the last standard-bearer of the school, Samuel Johnson. Much attention was given to the wit, form and art of poetry. Mock epic, romance, satire and epigram were popular forms adopted by poets of the time. Besides the elegant poetic structure and diction, the neoclassical poetry was also noted for its seriousness and earnestness in tone and constant didacticism. The mid-century was, however, dominated by a newly rising literary form -- the modern English novel, which, contrary to the traditional romance of aristocrats, gives a realistic sentation of life of the common English people. This -- the most significant phenomenon in the history of the development of English literature in the eighteenth century -- is a natural product of the Industrial Revolution and a symbol of the growing importance and strength of the English middle class. Among the pioneers were Daniel Defoe, Samuel Richardson, Henry Fielding, Laurence Sterne, Tobias George Smollett, and Oliver Goldsmith. And from the middle part to the end of the century there was also an apparent shift of interest from the classic literary tradition to originality and imagination, from society to individual, and from the didactic to the confessional, inspirational and prophetic. Gothic novels -- mostly stories of mystery and horror which take place in some haunted or dilapidated Middle Age castles -- were turned out profusely by both male and female writers; works such as The Castle of Otranto <1765> by Horace Walpole, The Mysteries of Udolpho <1794> and The Italian <1797> by Mrs. Ann Radcliffe, The Champion of Virtue, a Gothic Story <1777> by Clara Reeve, and The Monk <1796> by M.G. Lewis became very popular. Eulogizing or lamenting lyrics by nature poets like James Thomson, William Collins, and William Cowper, and by such sentimentalists as the "GraveyardSchool" were widely read. The romantic poems of the Scottish peasant poet, Robert Burnsand William Blake also joined in, paving the way for the flourish of Romanticism early the century. In the theatrical world, Richard Brinsley Sheridan was the leading figure among a host of playwrights. And of the witty and satiric prose, those written by Jonathan Swift are especially worth studying, his A Modest Proposal being generally regarded as the best model of satire, not only of the period but also in the whole English literary history.浪漫主义时期本章简介<> The movement which we call Romanticism is something not so easy to define, especially concerning its characteristics or dates. For it is a broad movement that affected the whole of Europe <and America>. However, English Romanticism, as a historical phase of literature, is generally said to have begun in 1798 with the publication of Wordsworth and Coleridge's LyricalBallads and to have ended in 1832 with Sir Walter Scott's death and the passage of the first Reform Bill in the Parliament. However, these dates are arbitrary and, to some extent, conventional, for a new current of literature, in fact, had started long before the publication of the Lyrical Ballads. In the works of the sentimental writers, we note a new interest in literatures and legends other than those of Greece and' Rome. It was in effect a revolt of the English imagination against the neoclassical reason which vailed from the days of Pope to those of Johnson. And some of the great imaginative writings in English literature sprang from the confrontation of radicals and conservatives at the close of the 18th century, as the history in England started to move with a new urgency. This urgency was provoked by two important revolutions: the French Revolution of 1789-1794 and the English Industrial Revolution which happened more slowly, but with astonishing consequences. Jean-Jacques Rousseau, a French philosopher, was one of the leading thinkers in the second half of the 18th century. In 1762 he published two books that electrified Europe -- Du Contrat Social and Emile, in which he explored new ideas about Nature, Society and Education. These ideas of Rousseau's provided necessary guiding principles for the French Revolution, for they inspired an implacable resentment against the tyrannical rule in France and an immense hope for the future. In 1789 there broke out the epoch-making French Revolution. The news of the Revolution, especially the Declaration of Rights of Man and the storming of Bastille, aroused great sympathy and enthusiasm in the English liberals and radicals. Patriotic clubs and societies multiplied in England, all claiming Liberty, Equality and Fraternity. Then, in October, 1790, Edmund Burke published his Reflections on the Revolution in France. Burke's pamphlet was designed as a crusade against the sad of such radical innovations and the overthrow of the established privileges he saw enshrined in the church, the hereditary power of the monarchy and the greater landed families. By pouring scorn on the feverish violence of rebellion and prophesying mob-rule and military dictatorship in France, Burke raised the most authoritative voice in Britain in denouncing the Revolution. Burke's Reflections provoked many replies from the radical writers who argued for the rights of the people to fight against tyranny and to overthrow any government of opssion; but none was so effective as Thomas Paine's Declaration of Rights of Man <1791-1792>. Paine knew what he was talking about: he had been in France during the Revolution, and demonstrated conclusively that by 1789 France was so enmeshed in opssion and misery that nothing short of revolution could set her free. William Godwin, who exerted a great influence on Wordsworth, Shelley and other poets, wrote passionately against the injustices of the economic system and the opssion of the poor in his Inquiry Concerning Political Justice <1793>. Fighting against Burke's conservative ideas was also William Cobbet whom Marx once extolled as "an instinctive defender of the masses of the people against the encroachment of the bourgeoisie." If law and government appeared to some contemporaries as one system of injustice, conventional gender roles were another, for women had long been regarded as inferior to men. After the Declaration of Rights of Man was released, Mary Wollstonecraft urged the equal rights for women in her A Vindication of the Rights of Woman <1792>, thus setting out the earliest exposition of feminism based on a comhensive system of ethics. But later when Jacobeans took over power in France and started to push a policy of violent terror at home and aggressive expansion abroad, most of the English sympathizers dropped their support. And the English government even waged wars against France till the fall of Napoleon in 1815. During this period, England itself had experienced profound economic and social changes. The primarily agricultural society had been replaced by a modern industrialized one. The biggest social change in Englishhistory was the transfer of large masses of the population from the countryside to the towns. The prosperous peasant farmers had long been considered the solid base of English society; but by the 19th century they had largely disappeared. As a result of the Enclosures and the agricultural mechanization, the peasants were driven out of their land: some emigrated to the colonies; some sank to the level of farm laborers; and many others drifted to the industrial towns where there was a growing demand for labor. But the new industrial towns were no better than jungles, where the law was "the survival of the fittest." The workers were herded into factories arid overcrowded streets, and reduced to the level of commodities, valued only according to the fluctuating demand for their labor. Women and children were treated no differently in this respect from the men. With the British Industrial Revolution coming into its full swing, the capitalist class came to dominate not only the means of production, but also trade and world market. Though England had increased its wealth by several times, it was only the rich who owned this wealth; the majority of the people were still poor, or even poorer. After the Napoleonic War, the English people suffered severe economic dessions. While the price of food rose rocket high, the workers' wages went sharply down; sixteen hours' labor a day could hardly pay for the daily bread. This cruel economic exploitation caused large-scale workers' disturbances in England; the desperation of the workers exssed itself in the popular outbreaks of machine-breaking known as the Luddite riots. The climax of popular agitation and government brutality came in August 1819 at St. Peter's Field, Manchester, where a huge but orderly group of peaceful protesters were charged by mounted troops who killed nine and wounded hundreds more. This was the notorious "Peterloo Massacre'' which roused indignation even among the upper class. However, the workers' strong demands for reform, for their own political and economic rights did not die down. The industrial bourgeoisie made use of this struggle to fight for its own sumacy in political power against the landed aristocrats. In 1832, the Reform Bill was enacted, which brought the industrial capitalists into power; but the workers who played the major role in the fight got nothing. Consequently, there arose sharp conflicts between capital and labor. The Romantic Movement, whether in England, Germany or France, exssed a more or less negative attitude toward the existing social and political conditions that came with industrialization and the growing importance of the bourgeoisie. The Romantics, who were deeply immersed in the most violent phase of the transition from a decadent feudal to a capitalist economy, saw both the corruption and injustice of the feudal societies and the fundamental inhumanity of the economic, social and political forces of capitalism. They felt that the society denied people their essential human needs. So under the influence of the leading romantic thinkers like Kant and the Post-Kantians, they demonstrated a strong reaction against the dominant modes of thinking of the 18th century writers and philosophers. Where their decessors saw man as a social animal, the Romantics saw him essentially as an individual in the solitary state. Where the Augustans emphasized those features that men have in common, the Romantics emphasized the special qualities of each individual's mind. Thus, we can say that Romanticism actually constitutes a change of direction from attention to the outer world of social civilization to the inner world of the human spirit. In essence it designates a literary and philosophical theory which tends to see the individual as the very center of all life and all experience. It also places the individual at the center of art, making literature most valuable as an exssion of his or her unique feelings and particular attitudes, and valuing its accuracy in portraying the individual's experiences. The Romantic period is an age of poetry. Blake, Wordsworth, Coleridge, Byron, Shelley and Keats are the major Romantic poets. They started a rebellion against the neoclassical literature, which。
《美国文学选读》课程教学大纲
《美国文学选读》课程教学大纲课程名称：美国文学选读课程类别：专业选修课适用专业：英语考核方式：考查总学时、学分：32学时,2 学分其中实验学时：0 学时一、课程教学目的《美国文学选读》是英语语言文学专业本科四年级学生的选修课程，是为培养理解和鉴赏美国文学原著的能力而设置的一门专业理论课程。
设置本课程旨在使学生在掌握美国文学源流和发展的基础之上，通过阅读具有代表性的美国文学作品，理解作品的内容，学会分析作品的艺术特色并努力掌握正确评价文学作品的标准和方法，增强对作品中表现的社会生活和人物感情的理解，提高语言基本功和阅读文学作品的能力和鉴赏水平。
二、课程教学要求本课程要求学生了解美国文学各个时期的代表性人物和其代表性作品。
熟悉构成不同文学体裁的基本要素,基本把握不同作家,不同流派的风格和文体特点。
对所学篇章的思想内容,文化内涵有较为深入的了解；能够识别作品中运用的各种文学修饰手段。
在主要提高阅读能力的同时,争取口头表达能力也有较大提高,特别是能用明白,准确的英语就熟悉和感兴趣的主题表达自己的观点和意见。
三、先修课程综合英语，英语阅读，英语国家概况四、课程教学重、难点1.教学重点：美国殖民地时期、理性与革命时期和浪漫主义时期的历史背景，文学流派，主要思想、主要作家作品及文学表现手法。
2.教学难点：美国殖民地时期、理性与革命时期和浪漫主义时期文学产生的历史、文化背景，文学创造的基本特征，基本主张，及其对同时代和后期美国文学的影响。
主要作家的文学创作生涯，人生观及价值观及其代表作品的主题思想、人物刻画、语言风格。
五、课程教学方法与教学手段课堂讲授和研讨相结合，教师布置学生课前对作家生平和历史背景进行研究，并向学生提供参考书目和相关网站；课堂上进行重点阅读和分析；组织课堂讨论，鼓励新视角和新思维；并通过影视、多媒体等手段辅助教学，在期中和期末布置学期论文和考查来检验教学效果。
六、课程教学内容第1章：Introduction（2课时）1．教学内容美国文学自殖民时期至第二次世界大战之后的发展纲要及作家网络。
《美国文学史》课程教学规范 2012版
《美国文学史》课程教学规范一、课程教学基本情况1、学时：602、学分：33、课程类型：专业指定选修课4.授课对象:英语专业高年级学生5. 考核方式：笔试6. 先修课程：英国文学史二、课程教学目标《美国文学史》是英语专业的专业基础理论课。
该课程的目的是培养学生阅读、欣赏、理解美国英语文学原著的能力，掌握文学批评的基本知识和方法。
通过阅读和作品分析，提高学生的语言技能，增强学生对美国文化的了解，从而提高学生的人文素质。
三、课程教学环节的实施与管理细则１、备课备课是课程教学的首要环节，任课教师必须从教学过程的全局出发来备课，力争做到教材、学生和教学的有机统一。
首先教师应该了解学生的学习基础，从实际出发进行教学，做到因材施教。
任课教师还应认真钻研教学大纲、教材和参考资料，抓住”三基”，明确各章节基本要求、重点、难点，选择恰当的教学方法和手段，合理科学地安排教学内容。
然后在正式授课前，每次应结合前次授课情况及学生反馈情况，重新考虑并适当修改教案，以求更切实际。
教案要求经常更新，及时补充新的内容。
２、课堂教学课堂教学是教学过程的重要环节，直接影响课程教学质量与效果。
由于学生们具有一定的主动性和自我选择性，要想让他们融入课堂教学，教师应该使课堂教学既具有一定的知识性，又具有一定的趣味性。
只有把知识性和趣味性有机结合起来，教师驾驭课堂的能力才能得到切实提高。
为此，课堂讲授应做到：观点正确，概念清楚、论证严密、逻辑性强；注意教学方法的改进和多媒体教学手段的应用；注意启发学生思维、培养学生独立思考的能力、调动学生学习的积极性；语言表达清晰流畅，教学要点清楚明了；注意将美国文学方面的最新研究成果及时介绍给同学们；教学中能把美国文学史的学习与学生的成长有机结合，已达到教书育人的目的。
３、实践教学教师应在充分讲授美国文学发展简史的基础上，引导学生阅读和分析相关作家的作品。
通过朗诵、角色扮演、课堂讨论和课前演讲陈述等一系列实践活动来提高学生的语言技能和文学素养。
(完整word版)外国文学课程标准
《外国文学》课程标准一、课程性质和任务本课程是语文教育（专科）的一门必修专业基础理论课，以讲授东西方古代至现当代文学发展史和名家名作为基本内容。
通过系统地学习外国文学基础知识，使学生了解外国文学史发展的基本线索及文学思潮，掌握重要作家、作品，使之能够借助工具书和参考资料，运用相关的理论独立分析、鉴赏外国文学作品,着重培养学生的外国文学素养和文化素质及自学能力、思考能力、审美能力，为以后的教育教学等工作和学习打下坚实的基础。
二、课程目标通过本课程的学习，学生应能系统地掌握外国文学发展史，并能结合所学文学理论等知识对外国文学史上的各类文学现象进行理论联系实际的分析，特别要掌握外国文学的发展规律，文学作品的基本内容与艺术特点，文学人物的性格特征等，提高学生分析问题和解决问题的能力，提高审美能力。
三、课程教学重点、难点重点：本大纲所列内容均为教学重点。
难点：（1）处于东方文化语境下的中国学生对作为西方文化重要内容的西方文学的主体接受。
（2）在东西方文学之间建立有效的参照框架。
（3）灵活运用历史唯物主义与辩证唯物主义基本理论，运用所学美学与文学理论对具体的文学现象、文学作品进行具体分析，并能实际工作中灵活运用。
四、课程教学方法（1）授课方式：本课程以讲授为主，辅以适量的课堂讨论和学生试讲，强调学生对原著的泛读与精读，在师生之间的有效互动中提升授课质量。
（2）辅助手段：适当组织观看与教学有关的世界文学名著经典影视片，以多媒体方式加深学习印象和拓展视野，充分利用网络为学生学习搭建良好的平台。
五、课程教学内容及要求第一章古代欧洲文学（6课时）教学目标：（1）了解古希腊、罗马文学发展概况。
（2）掌握神话与悲剧的特征及重要作家作品。
（2）理解古希腊、罗马文学在欧洲文学史上的地位及影响。
（3）分析《荷马史诗》的思想艺术价值。
教学重点：（1）希腊文学神话、戏剧（特别是悲剧）的主要成就。
（2）《荷马史诗》的思想艺术价值。
美国语文课程标准读摘
美国语文课程标准读摘《英语语言艺术标准》规定了语文教育的最终目标：“确保所有的学生都能获得语言学习的机会，并得到鼓励，使他们形成为追求个人生活目标，包括丰富个人生活而发展语言技巧的观念，作为有教养的、有生产力的成员充分参与社会生活。
”课程标准应该完成的使命：为满足学生今天和明天的读写需要提出一个读写教育共同分享的远景为所有的孩子提升平等，促进卓越概念的解释：文本：不仅指纸质的印刷品，而且指口头语言形式、书面作品，以及信息技术的交流媒介。
语言：除了指口头与书面形式的表达之外，还包括视觉交流形式。
阅读：除了对印刷品的阅读之外，还涉及到听和观察美国基础教育特别强调训练学生的“批判性思维”。
批判性思维，是指在文学、艺术、科学和其他学科领域中，具有创造性、批判性和逻辑性的思维过程特征；发散性思维。
批判性阅读：用这样的方式阅读文本：提出假设，探讨观察问题的视角，批评社会和政治的基本价值观或立场。
批判性阅读是一种对抗性的、积极的阅读方式，把注意力集中到文本与世界两个方面。
批判性读者从文本中获得经验，反过来，又借助文本形成并发展自己对个人和社会经验的批评性观点。
《英语语言艺术标准》提出语文教学的12项内容，具体内容如下：1.学生广泛阅读印刷或非印刷的文本，建立对文本意义的理解，认识自我，以及对美国和世界文化的理解。
通过阅读，获得新的信息，满足社会和工作的需求，同时更好的完善自我。
这些文本包括虚构和非虚构类的、古典的和当代的作品。
2.学生广泛阅读各个时期的不同类型的文学作品，从很多不同的角度（比如哲学的，伦理的，审美的）来理解人类经验。
3.学生运用各种策略方法去理解、阐释、评价和欣赏文本。
他们综合先前的经验，利用与其他读者和作者互动的机会，借助词汇知识和其他文本知识、词汇辨认策略，以及对文本特征的理解（比如声音-字母一致，句子结构，语境，图画等），从而形成正确的认识。
4.学生依据不同的听众和目的，调整他们书面的、口头的和视觉的语言（如表达习惯、风格和词汇等），达到有效交流的目的。
《美国文学史及作品选读》教学大纲
《美国文学史及作品选读》教学大纲一、课程说明1. 课程代码：1070138312. 课程中文名称：美国文学史及作品选读3. 课程英文名称：History and Selected Readings of American Literature4. 课程总学时数：265. 课程学分数： 1.56. 授课对象：英语专业本科学生7. 本课程的性质、地位和作用本课程为面向英语专业高年级（三年级）学生开设的一门专业选修课，在学科体系中居重要地位。
要求学生以先修英语阅读、综合英语、英美文化和英美概况等课程为基础。
通过教学，使学生对美国文学有一个概观了解，同时初步培养学生对美国文学作品的鉴赏能力，增强学生对西方文学及文化的了解。
该课程有助于增强学生的语言基本功，丰富学生的人文知识、充实学生的文化修养，提高学生的精神素质。
二、教学基本要求1. 本课程的目的、任务美国文学史及文学作品包含着历史的记忆和哲学的睿智，是英语语言艺术的结晶。
本课程旨在介绍美国文学各个时期的主要文化思潮，文学流派，主要作家及其代表作，使学生对美国文学的发展脉络有一个大概的了解和认识，提高他们对文学作品的阅读鉴赏能力，并能掌握文学批评的基本知识和方法。
要求学生在阅读和分析美国文学作品的基础上了解美国的历史、社会、政治等方面的情况及传统，促进学生对西方文学及文化的了解，提高学生对文化差异的敏感性、宽容性，培养学生对作品的洞察批判能力，从而丰富提升学生人文素养。
2. 本课程的教学要求了解美国文学的发展概况，熟悉发展过程中出现的历史事件，文学思潮，文学流派；熟悉具体作家的文学生涯，创作思想，艺术特色和所属流派；能读懂代表作家的经典作品，并能分析评介作品的主题思想，人物形象，篇章结构、语言特点、修辞手法、文体风格；能掌握文学批评的基本知识和方法，对重要的文学术语有相当的了解并能在文学批评中加以运用。
重点放在代表作家的经典作品的主题思想、人物形象、文体风格、语言特点及其在文学史上的地位与影响，其中作品的主题思想、人物形象、文体风格及语言特点为难点。
《英美文学及选读》课程标准
《英美文学及选读》课程标准英文名称：English and American Literature & Selected Readings 课程编号：适用专业：英语学分数：6分一、课程性质“英美文学及选读”属于“文学”学科门类，其一级学科为“外国语言文学”，二级学科为“英语语言文学”，是根据教育部英语专业本科教学大纲规定的、为本科英语专业开设的基础课程。
在邯郸学院外国语学院英语专业的培养计划中属于专业教育课程模块，是专业基础系列课程之一。
二、课程理念1、将“双高+双强+双意识”目标渗透到各个教学环节“英美文学及选读”课程的各个教学环节要体现培养思想素质高、专业水平高、外语实践能力强、信息技术运用能力强、具有创新意识和合作意识的“双高+双强+双意识”应用型人才的教学理念。
2、多种方法培养学生的创新思维与实践能力在本课程的教学与实践中，通过简述历史，精选作品篇章，细评作品精华，提高学生的鉴赏能力和人文素养；借助师生相互提问、共同讲授、共同讨论，培养学生的创新思维与实践能力。
3、灵活考核方法采用对学生的自主学习成果展示、课堂讨论、话剧表演、论文写作、期末考试的评价，提高学生的语言实践能力和信息技术的使用能力，激发其学习积极性、创造性和合作精神。
三、课程内容的选择“英美文学及选读”课程的框架结构是基于“英美文学及选读”的教学对象和教学任务。
教学内容由英国文学和美国文学两部分构成。
英国文学部分共七章。
第一章“早期和中古时期英国文学”讲述了盎格鲁-萨克逊及盎格鲁-诺曼底文学产生的历史背景及特色、Beowulf故事梗概、人物分析及创作特色、中世纪文学的主要作家及作品和早期戏剧的产生。
第二章“文艺复兴时期的英国文学”讨论了英国文艺复兴运动产生的历史背景、文学特色、莎士比亚等主要作家的创作生涯及其主要作品。
第三章“英国资产阶级革命文学”讲解了该时期诗派，即清教徒派、玄学派、保皇派，主要作家的创作生涯及其主要作品。
《英美文学选读》课程教学大纲
2． 基本概念和知识点 罗马征服 盎格鲁萨克逊征服 日尔曼征服
3． 问题与应用（能力要求）英国早期的三次征服对英国的影响
第二节
1． 《贝奥武甫》
2． 头韵诗 史诗体
3． 史诗《贝奥武甫》的大概内容
第三节
1. 乔叟及《坎特伯雷故事集》
（二）教学内容
第一节
1. 英国资产阶级革命
2. 君主独裁 克伦威尔 王室复辟 光荣革命
3. 英国革命的根源
第二节
1. 英国资产阶级革命时期主要作家及其代表作
三、课程性质与教学目的
设置本课程旨在使学生对英美两国文学形成与发展的全貌有一个大概的了解；并通过阅读具有代表性的英美文学作品，理解作品的内容，学会分析作品的艺术特色并努力掌握正确评价文学作品的标准和方法。由于本课程以作家作品为重点，因此学生要仔细阅读原作。通过阅读，努力提高语言水平，增强对英美文学原著的理解，特别是对作品中表现的社会生活和人物感情的理解，提高他们阅读文学作品的能力和鉴赏水平；并且通过讨论加强学生对文学本质的意识，提高他们的综合人文素质，增强他们对西方文学及文化的理解
（四） 教学方法与手段
教师讲授、团队合作、课堂讨论
第二章 文艺复兴时期英国文学
（一）目的与要求
通过本章的学习，了解文艺复兴运动和人文主义思潮产生的历史、文化背景，认识该时期文学创作的基本特征和基本主张，及其对同时代及后世英国文学乃至文化的影响；了解该时期重要作家的文学生涯、创作思想、艺术特色及其代表作品的主题结构、人物刻画、语言风格、思想意义等；同时结合注释，读懂所选作品，了解其思想内容和写作特色，培养理解和欣赏文学作品的能力。
(完整word版)《美国文学选读》课程
《美国文学选读》课程标准一、课程性质与任务美国文学选读是英语专业高年级的选修课.它与英美文学史密切结合，使学生在接触到浩繁的文学作品的同时，可以对繁杂的文学现象加以整理和梳理,并形成自己阅读文学作品的习惯，开阔视野，在学习过程中把握正确的理解文学作品的方法。
美国文学选读通过向学生介绍文学作品及其作品创作的历史文化背景，培养学生阅读文学作品的兴趣，增强语感，增进学生对美国社会、历史、文化以及生活习俗的了解,提高他们对西方文学的欣赏能力及批评能力。
二、课程教学目标1．知识目标1)文学知识：通过本课程的学习,学生应深入、直观地理解各个时期的美国文学作品,把握其思想、语言及创作技巧上的特点；另外,还应对美国的文学评论流变具备相对清晰的认识。
2）语言知识:本课程是通过介绍不同文体的文学作品，深化学生对英语语言的认知、理解和应用的能力。
并通过对不同时期英语原文资料的阅读和解析,以一种更加直观的方式了解这门语言的发展.2．能力目标1）文学作品鉴赏能力：通过作者作品的讲解，学生可以对作品的社会历史价值和艺术价值进行评价，培养并提高自我的鉴赏能力；2)语言表达能力：通过课堂和课下阅读及评价任务的完成，学生的口头和书面表达能力能够得到全面的提高;3)思辩能力:课上小组讨论环节和presentation环节能够激发学生的思辩能力，助其开拓思路，同时也为以后对英语的有效使用打下基础。
3．素质目标1）文学文化修养：本课程作为英语专业高年级学生的素养课，旨在培养学生对美国文学及文化的理解，可以使学生以直观的方式全面接触这种语言和文化，并形成独立的开放的文化观，进一步强化其跨文化意识；2)基本的研究素质：本课程通过对文学评论的介绍和讲解向学生传授文学鉴赏的不同视角，可使其具备基本的文学研究素质;3）文学翻译的基础：本课程通过对文学作品的细读向学生介绍文字背后的人文、历史、政治、哲学及美学等因素,可为文学翻译课程提供较好的材料,并做好前期准备。
美国文学史及作品选读教案（5）
Lecture 5American Romanticism and New England Literature: Walt Whitman, Emily Dickinson and Edgar Allan PoeⅠT eaching ContentWalt Whitman; Emily Dickinson; Edgar Allan PoeⅡTime Allotment2 periodsⅢT eaching Objectives and Requirements1 Help the students to know about Walt Whitman.2 Help the students to know about Emily Dickinson.3 Help the students to know about Edgar Allan Poe.ⅣKey Points and Difficult Points in Teaching1 Walt Whitman2 Emily Dickinson3 Edgar Allan PoeⅤT eaching Methods and MeansLecture; Discussion; Multi-mediaⅥT eaching Process1 General Introduction to W alt Whitman and Emily Dickinson1.1 Sameness● Walt Whitman and Emily Dickinson were two major poets in late 19th century.●Thematically, both extolled an emergent America, its expansion, its individualism,and its Americanness, their poetry being part of “American Renaissance”.● Technically, both added to the literary independence of the new nation by breakingfree of the convention of the iambic pentameter and exhibiting a freedom in form unknown before. They were both considered as the pioneers of modern American poetry.1.2 Differences●Thematically,Whitman keeps his eye on society, while Dickinson explores theinner life of the individual●In outlook, Whit man is “national” while Dickinson is “regional”.●In form, Whitman’s endless, all-inclusive catalogs contrast with Dickinson’sconcise, direct, and simple diction and syntax2 W alt Whitman (1819-1892)2.1 Leaves of Grass● Through out Whitman’s life, Leaves of Grass went through 9 editions: 1855, 1856,1860, 1867, 1871, 1876, 1881, 1889, 1891-92.●The first edition of Leaves of Grass contained 12 poems, not sold well but made astir on the American literary scene. Because it broke with the poetic convention and expressed the pleasures of sex and the sensuality of the body, it was criticized as “noxious weeds”, “poetry of barbarism”.●In Leaves of Grass, Whitman extols the ideals of equality, democracy, the dignity,the self-reliant spirit, and the joy of the common man, the expansion of America with its dynamic creative fertility and its indomitable energy.●Leaves of Grass is an Adamic song.2.2 Poetics● Whitman’s poetic style is marked, first of all, by the use of the poetic “I” (usually atriangular relationship: “I” the poet, subject in the poem and “you” the reader.● Whitman is also radically innovative in terms of the form of his poetry. What heprefers is “free verse”, that is poetry without a fixed beat or regular rhyme scheme.A looser and more open-ended syntactical structure is frequently favored. Linesand sentences of different lengths are left lying side by side just as things, undisturbed and separate. There are few compound sentences to draw objects and experiences into a system of hierarchy.●There is a strong sense of the poems being rhythmical.●The rhetoric of Whitman’s poetry is relatively simple and even rather crude.●He has a strong tendency to use oral English.2.3 Contribution●Whitman’s influence over modern poetry is great in the world as well as inAmerica.● His best work has become part of the common property of Western culture. Manypoets in England, France, Italy and Latin America are in his debt.● Modern American poets like T. S. Eliot and Ezra Pound would not have been whatthey were without Whitman. Pound though called him a “pigheaded father”, recognized him as a father figure who led the break from the past.● Whitman has been compared to a mountain in American literary history.● His innovations in diction and versification, his frankness about sex, his inclusionof the commonplace and the ugly and his censure of the weakness of the American democratic practice—these paved his way to a share of immortality in American Literature.2.4 Song of Myself (For self-study)●Song of Myself is a repertory of Whitman’s thought. From a blade of “curlinggrass” Whitman sees into the mystery of death and birth and concludes that “the smallest sprout shows there is really no death”(Section 6), and that “all goes onward and out ward, nothing collapses” (Section 6). The “I”, present everywhere in life, leaves one with the impression of a divine omniscience beholding nature and man alike. It is only natural that “I am deathless”(Section 20), “I exist as I am” (Section 20), and “One world is aware…and that is myself” (Section 20), and that the whole poem ends on an extremely transcendental note: “I am large, Icontain multitudes.” (Section 51)●Through his senses, through his uninhibited imagination, and through his ecstaticjoy in life and urge to creation, the experiences of American life are poured. He moves from himself to “you” and to “others, to all humanity en masse about him, to the brave violence of his nation, to love and death, to the pantheistic God in every object, to the future and to eternity. Then: “I depart as air, I shake my white locks at the runaway sun…/I stop somewhere waiting for you.”(Section 52) Whitman’s thought moves often about the layers of friend, lover, the “en masse”, nation, humanity, to a kind of cosmic evolution or unity, a oneness with the universe. It comes from a form of Emersonian self-reliance and moves to the cosmos. The most limited and personal of his poems becomes the largest and most nearly universal.●Song of Myself reveals a world of equality, without rank and hierarchy. “Theprostitute draggling her shawl, the President holding a cabinet council, the stately and friendly matrons on the piazza walk…”illustrate the principle of democracy and equality. The poet, “walking around, hears America singing. The mother is singing while setting food on the table. The carpenter is singing, planning his boards…”Long catalogs of different people and different occupations indicate that here the new children of Adam are being restored to the Garden of Eden, developing their potentiality to the fullest extent possible. In a general sense Leaves of Grass is an Adamic song, and its author is an Adamic singer.3 Emily Dickinson (1830-1886)3.1 Themes of her poetry●Dickinson’s poems are usually based on her own experience, her sorrows and joys.Dickinson addresses those issues that concern the whole human beings, which include religion, death, immortality, love, and nature.◆Some of her poems are about her doubt and belief about religious subjects (shedesired salvation and immortality, yet she denied the orthodox view of paradise;she believed in God, while sometimes doubted his benevolence) P97-98.◆Some of her poems concern death and immortality (themes lying at the centerof Dickinson’s world), ranging over the physical as well as the psychological and emotional aspects of death (she looked at death from the point of view of both the living and the dying; for her, death leads to immortality, death marks the beginning of a higher life)—”I heard a Fly buzz—when I died”(a poem universally considered one of her masterpieces) P98-99.◆Some of her poems are about love, one group treating the suffering andfrustration love can cause, the clear reflection of her own unhappy experience (many of them are striking and original depictions of the longing for shared moments, the pain of separation, and the futility of finding happiness)—”If you were coming in the Fall”, “I can’t live with Y ou—”, the other group focusing on the physical aspect of desire, in which Dickinson dealt with allegorically the influence of the male authorities over the female, emphasizing the power of physical attraction and expressing a mixture of fear and fascination for the mysterious magnetism between sexes.◆More than five hundred poems of Dickinson’s are about nature, in which hergeneral skepticism about the relationship between man and nature is well expressed (she saw nature both gaily benevolent and cruel: she on the one hand believed that a mythical bond between man and nature existed and nature revealed to man things about mankind and universe. On the other hand, she felt strongly about nature’s inscrutability and indifference to the life and interest of human beings).● On the ethical level Dickinson emphasizes free will and human responsibility. Shebelieves that man is aided in his struggle by a resolute faith in immortality. She is absolutely convinced with soul’s sovereignty. She attacks over-emphasis on materialism and commercialism and responses to the expansion of America warmly. Dickinson admires the crusading liberal Republicanism. She has sympathy for the poor and the weak. She holds that beauty, truth and goodness are ultimately one.3.2 Characteristics of her poetry●Dickinson’s poetry is unique and unconventional in its own way. Her choice ofwords, her verbal constructions, her images and even her spelling are unconventional.◆Her poems have no titles, hence are always quoted by their first lines. In herpoetry, there is a particular stress pattern, in which dashes are used as a musical device to create cadence and capitals as a means of emphasis.◆The form of her poetry is more less like that of the hymns in communitychurches, familiar, communal, and sometimes, irregular.◆Her poetry abounds in telling images.◆ A salient feature of her technique is her severe economy of expression. Herpoetic idiom is noted for its laconic brevity, directness, and plainest words.◆Her poems are usually short, tending to be personal and meditative due to herdeliberate seclusion. Her poetry is remarkable for its variety, subtlety and richness. All these characteristics were to become popular through Stephen Crane with the Imagist such as Ezra Pound and Amy Lowell in the twe ntieth century. She became, with Stephen Crane, the precursor of the Imagist movement.(Compare Whitman and Dickinson)4 Edgar Allan Poe (1809-1849) (For self-study)4.1 Others’ comment on Allan Poe●For a long time after his death, Poe remained the most controversial and mostmisunderstood literary figure in the history of American literature.◆Rufus Griswold painted him as a Bohemian, depraved and demonic, a villainwith no virtue at all.◆Emerson described him in three words: “the jingle man.”◆Mark Twain declared his prose unreadable.◆Henry James stated ruthlessly that “an enthusiasm for Poe is the mark ofdecidedly primitive state of development.”◆Whitman had mixed feelings about him: admitting Poe’s genius, but thinkingit was “its narrow range and unhealthy, lurid quality” that most impressed him.◆T. S. Eliot proclaimed him a critic of the first rank, but charged him with“slipshod writing”.◆Yvor Winters regarded Poet’s literary merit as “a very frail delusion”.●For a long time American literary criticism was reluctant to come to terms withPoe and failed to do full justice to his genius●Ironically, in Europe Poe enjoyed respect and welcome. Swinburne, Bernard Shaw,D. H. Lawrence and W. H. Auden all admired and spoke highly of him.◆Shaw said Poe was on the centenary of his birth, “the greatest journalisticcritic of his time; his poetry is “exquisitely refined”; and his tales are “complete works of art.”◆In Germany, writers such as R. M. Rilke indebted him.◆In Russia, the works of Dostoevsky bear a visible imprint of Poe’s influence.◆In France, Charles Baudelaire determined that “Edgar Poe…must become agreat man in France” and spent the beat of his mature time life translating Poe, elevating Poe to the status of a literary deity. (P106)●Today, his works are read with appreciation and understanding. Critics regarded him as a great writer of fiction, a poet of the first rank, and a critic of insight.4.2 Poe’s esthetics principles●Poetic principle:◆Poem should be short readable at one sitting.◆Its chief aim is beauty, namely, to produce a feeling of beauty in the reader.◆Poe is opposed to “the heresy of the didactic” and calls for “pure” poetry.◆He stresses rhythm, defines true poetry as “the rhythmical creation of beauty”,and declares that “music is the perfection of the soul, or idea, of poetry.”(P107) In addition, Poe insists on an even metrical flow in versification.(P108)●Theories for short stories:◆The short story must be of such length as to be read at one sitting (brevity, soas to ensure the totality of impression.◆The very first sentence ought to help bring out the “single effect” of the story.A tale should reveal some logical truth with “the fullest satisfaction,”andshould end with the last sentence, leaving a sense of finality with the reader.◆In theme Poe anticipates twentieth-century literature in his treatment of thedisintegration of the self in a world of T. S. Eliot’s “nothingness”and Hemingway’s “nada”.◆He was immensely interested in deduction and induction. (P110-114)4.3 Poe’s style●Traditional●Much too rational, too ordinary to reflect the peculiarity of his theme●Not easy to read4.4 Poe’s position●His influence is world-wide in modern literature.●His aesthetics and conscious craftsmanship, his attack on “the heresy of thedidactic”, and his call for “the rhythmical creation of beauty”have influenced French symbolists and the devotees of “art for art’s sake”.●Poe is the father of psychoanalytic criticism and the father of detective story.4.5 Discussion of Poe’s two poems●To Helen◆In the first stanza, Helen’s beauty is soothing. It provides security and safety toHelen’s beauty, for her beauty is as hypnotic for the speaker as the ships that transported another wanderer-Ulysses-home from Troy.◆Poe uses allusions to classical names and places, as well as certain kinds ofimages to create the impression of a far-off idealized, unreal woman, like a Greek statue. Words that support the image of an ideal woman are “hyacinth”and “classic”“Naiad airs”and “statue-like. Helen stands, not like a real woman, but like a saint in a”windows-niche. She becomes a symbol both of beauty and of frustration, a romantically idealized, yet inaccessible image of the heart’s desire.●“Sonnet: To Science”◆Structure: This sonnet can be divided into four parts: 3 quatrains and a couplet.▼In the first quatrain, through comparison, Poe condemns Science as a “true daughter of Old Time” and as a “Vulture” that “preyest . . . upon the poet’sheart”, helping make a case against science and cast it in a negative light.The reference to time reminds the reader of death and decay, both of whichcome with time. Without time, after all, there would be no reason to worryabout deadlines and responsibilities, and one could devote oneselfcompletely to reverie. The reference to a vulture, similarly, conjures up theconnotations of death and decay while completing the image in theprevious line of science devouring the heart of the poet.▼In the second quatrain, the poet poses rhetorical questions asking how a poet could like, respect, or join Science or think it as wise when it does notpermit him to indulge in imagination, even though he, the poet, perseveresit with undaunted courage. This image of the poor brave poet with his heartbeing preyed upon as he is simply trying to enjoy the beauty of the starspresents a victimized character to the reader.▼In the third quatrain, the poet accuses Science of spoiling some beautiful myths, such as that of Diana and the Hamadryad with harsh language. (InRoman mythology, Diana was the hunting goddess or moon goddess, andan emblem of chastity. Here car indicates Diana’s chariot. Now science hasvanquished the hunt, leaving Diana aimless and lost; Hamadryad, in Greek& Roman Mythology, a wood nymph who lives only as long as the tree, ofwhich she is the spirit, lives. Now with the advent of science, TheHamadryad does not tend to the old forests; but science explains the cycleof photosynthesis; in Greek mythology, the Naiads were a type of nymphwho presided over fountains, wells, springs, streams, and brooks. Nowinstead of the Naiad, nymph of fresh water, being the source of the flood,science can come up with dreary explanations involving weather patterns.)The wood nymph Hamadryad, the water nymph Naiad, and Diana, goddessof wild animals, all conjure up notions of magic, beauty, and imagination.▼Finally, the concluding couplet reveals the reason for the persona’s lament;here, with the poem’s only first-person pronoun, the persona focusesattention on himself, accusing Science of depriving him of his reverie.Thus through its sonnet structure, metaphor, allusions, diction, and alliteration, “Sonnet: To Science” laments the effects of science on poetry and imagination.◆Theme:▼Under the traditional Shakespearean sonnet structure, Poe expresses nontraditional accusations of science. It is spoken through the vision of apassionate man mourning the slaughter of mythology, fantasy, art by itsalleged arch enemy, Science. Science is portrayed as evil and words like“prey st,”“Vulture,”and “torn” are used to describe science’s impact onmankind.▼Poe does not see science and scientific development as a good thing, rather he feels that science “alterest all things with thy peering eyes.” This visionof science grows stronger and appears in virtually all of Poe’s later talesand stories. He implores Science as to why “she”must impose her “dullrealities”on the hearts of poets like himself, squelching their wanderingminds. He questions the desertion of imagination by the objective forceof science.▼He is inclined to avoid logic in his argument, although the classic sonnet structure implies his own attempt to rationalize his own thoughts. Perhapsthe structure contrasted with such feelings further insinuates humanity’sparadoxical need for organization in every field of thought.ⅦReflection Questions and AssignmentsReflection QuestionsWhy was Walt Whitman viewed to be “one of the greatest innovators inAmerican literature”?Assignments1 Read “Because I could Not Stop for Death”.2 Read “The Raven”.3 Self-study William Dean Howells4 Compare the following poem with Poe’s “Sonnet: To Science”.如果数字和圆形不再是…….诺瓦利斯（徳）Novalis 1772-1801如果数字和圆形不再是一切造物的钥匙,如果歌唱或亲吻的人们学识比大师还精深,如果有一天世界必定回归到自由的生命,如果那是光与影重新合为纯粹的澄明,如果人们从童话和诗句认识真实的世界历史于是整个颠倒的存在随一句密语飞逝.ⅧMajor ReferencesEdward by Sculley Bradley. The American Tradition in Literature. Random House Inc., 1956.James D. Hart. The Oxford Companion to American Literature. 北京：外语教学与研究出版社，1995.常耀信.《美国文学简史》. 天津：南开大学出版社，2003.常耀信.《漫话英美文学》. 天津：南开大学出版社，2004.董衡巽. 《美国文学简史》(修订本). 北京：人民文学出版社，2003.蒋洪新.《英美诗歌选读》. 长沙：湖南师范大学出版社，2004.李公昭.《20世纪美国文学导论》. 西安：西安交通大学出版社，2000.刘洊波. 《英美文学史及作品选读》. 北京：高等教育出版社，2001.姜涛. 《美国诗歌赏析》. 北京：新华出版社，2006.钱青等. 《美国文学名著精选》（上，下）. 北京：商务印书馆，1995.陶洁. 《美国文学选读》（第二版）. 北京：高等教育出版社，2005.吴伟仁. 《美国文学史及选读》（第一、二册）. 北京：外语教学与研究出版社，1990.吴定柏. 《美国文学大纲》.上海：上海外语教育出版社，1998.杨岂深，龙文佩. 《美国文学选读》. 上海：译文出版社，1985.张伯香. 《英美文学选读》北京: 外语教学与研究出版社，1998.张冲. 《新编美国文学史》（第一卷）. 上海：上海外语教育出版社，2000.左金梅.《美国文学》. 青岛：青岛海洋出版社, 2000.。
《美国文学作品选读》课程教学大纲
《美国文学作品选读》课程教学大纲、课程信息二、课程目标通过本课程的学习，学生应达成以下目标：1.运用所掌握的英语技能学习了解具体作家的文学生涯，创作思想，艺术特色和所属流派。
2.运用习得的学科技能理解代表作家的经典作品，并能分析评价作品的主题思想，人物形象，篇章结构、语言特点、修辞手法、文体风格，从而提高文学作品阅读鉴赏力。
3.掌握文学批评的基本知识和方法，对重要的文学术语有相当的了解并能在文学批评中加以运用。
4.了解西方文学及文化，提高对文化差异的敏感性、宽容性，培养对作品的洞察批判能力，从而丰富提升学生人文素养。
5.形成正确的人生观、世界观和价值观及较强的批判思维能力。
课程目标对毕业要求的支撑关系表三、教学内容与预期学习成效四、成绩评定及考核方式[1]陶洁.《美国文学选读》（第三版）.北京：高等教育出版社，2011.1.主要参考书[1]常耀信.《美国文学简史》（第三版）南开大学出版社，2008.[2]刘海平、王守仁.《新编美国文学史》：上海外语教育出版社，2002.[3]隋刚.《美国文学旧作新读》.北京：外文出版社，1998.[4]常耀信.《漫话英美文学》.天津：南开大学出版社，2004.[5]杨金才.《新编美国文学史》（第三卷）.上海外语教育出版社，2000.[6]童明.《美国文学史》.南京：译林出版社，2002.[7]董衡巽.《美国文学史》.北京：人民文学出版社，1986.[8]杨岂深，龙文佩.《美国文学选读》.上海：译文出版社，1985.[9]钱青等.《美国文学名著精选》，（上，下）.商务印书馆，1995.[10]姜涛.《美国诗歌赏析》.北京：新华出版社，2006.[11]蒋洪新.《英美诗歌选读》.长沙：湖南师范大学出版社，2004.[12]吴伟仁.《美国文学史及选读》，（一、二册）（第一版）.北京：外语教育与研究出版社，1998.[13]程爱民.《美国文学阅读教程》.南京：南京师范大学出版社，1999.[14]庞好农、陈许.《新编英美文学概论》.汕头：汕头大学出版社，2001.[15]常耀信.《美国文学选读》.天津：南开大学出版社，1991.[16]李正栓、李翠婷.《美国文学学习指南》.清华大学出版社，1998.[17]胡荫桐、刘树森.《美国文学教程》.天津：南开大学出版社，1995.。
(完整版)《美国文学史及选读》教学大纲
《美国文学》教学大纲American Literature课程编号：12601030学时：４０学分：2·5课程性质:必修选课对象：外语系英语专业内容概要：介绍美国文学的来龙去脉，讲解美国文学史上富有影响力的文学流派，具有代表性的作家及作品。
建议选用教材：Tao，Jie·[陶洁]·(2005）·Selected Readings in American Literature·[美国文学选读]·北京：高等教育出版社·主要参考书目：Chang，Yaoxin·[常耀信]·(1997）·A Survey of American Literature［美国文学简史]·天津：南开大学出版社·Liu,Haiping·,＆ Wang，Shouren·［刘海平、王守仁］·（2002）·Literary History of the United States·[新编美国文学史］·上海:上海外语教育出版社·Rubistein,Annette T·[鲁宾斯坦,A·T]·（1997)·American Literature Rootand Flower: Significant Poets, Novelists ＆ Dramatists· [美国文学源流]·北京：外语教学与研究出版社·Wu,Weiren·[吴伟仁]·(2003）·History and Anthology of English Literature·[美国文学及选读］·北京：外语教学与研究出版社·《美国文学》教学大纲学时：40 学分：2·5一、课程的目的及任务本课程是英语专业高年级学生提高英语语言水平和文化素质的重要课程。
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《美国文学选读》课程标准
一、课程性质与任务
美国文学选读是英语专业高年级的选修课。
它与英美文学史密切结合，使学生在接触到浩繁的文学作品的同时，可以对繁杂的文学现象加以整理和梳理，并形成自己阅读文学作品的习惯，开阔视野，在学习过程中把握正确的理解文学作品的方法。
美国文学选读通过向学生介绍文学作品及其作品创作的历史文化背景，培养学生阅读文学作品的兴趣，增强语感，增进学生对美国社会、历史、文化以及生活习俗的了解，提高他们对西方文学的欣赏能力及批评能力。
二、课程教学目标
1．知识目标
1）文学知识：通过本课程的学习，学生应深入、直观地理解各个时期的美国文学作品，把握其思想、语言及创作技巧上的特点；另外，还应对美国的文学评论流变具备相对清晰的认识。
2）语言知识：本课程是通过介绍不同文体的文学作品，深化学生对英语语言的认知、理解和应用的能力。
并通过对不同时期英语原文资料的阅读和解析，以一种更加直观的方式了解这门语言的发展。
2．能力目标
1）文学作品鉴赏能力：通过作者作品的讲解，学生可以对作品的社会历史价值和艺术价值进行评价，培养并提高自我的鉴赏能力；
2）语言表达能力：通过课堂和课下阅读及评价任务的完成，学生的口头和书面表达能力能够得到全面的提高；
3）思辩能力：课上小组讨论环节和presentation环节能够激发学生的思辩能力，助其开拓思路，同时也为以后对英语的有效使用打下基础。
3．素质目标
1）文学文化修养：本课程作为英语专业高年级学生的素养课，旨在培养学生对美国文学及文化的理解，可以使学生以直观的方式全面接触这种语言和文化，并形成独立的开放的文化观，进一步强化其跨文化意识；
2）基本的研究素质：本课程通过对文学评论的介绍和讲解向学生传授文学鉴赏的不同视角，可使其具备基本的文学研究素质；
3）文学翻译的基础：本课程通过对文学作品的细读向学生介绍文字背后的人文、历史、政治、哲学及美学等因素，可为文学翻译课程提供较好的材料，并做好前期准备。
三、课程基本信息和内容要求
四、教学建议
1.教学方法
本课程的授课坚持以学生为中心的原则。
教师的理论讲授是辅助性的，其目的在于通过基本知识的传授引导学生，使其具备独立学习和分析的能力。
同时，通过任务下达的方式督促同学借助网络拓展知识面，以加深对作家作品的理解。
本课程全程启用多媒体教学设备，通过图片、音频、和视频的方式结合文字向学生传输知识。
2.评价方法
本课程采取行成性评价与结果评价相结合的方式进行考核。
本课程为考试课，期末进行统一闭卷考试，试题由任课教师提供。
本课程记平时成绩，平时成绩应以读书报告课上的presentation，以及辩论为主，平时成绩占40%，期末考试卷面成绩100分，占期末总成绩的60%。
3.教学条件
教学班规模应设定在30人以内，教学过程中需要全程启用多媒体辅助教学设备。
教学材料应包括下列各项：
（1）本课程授课计划
（2）本课程考核大纲
（3）纸质版授课教案
（4）教材、教师参考用书、教学日志
（5）延伸阅读材料
4.主讲教师
主讲教师需具备英美文学方向硕士研究生以上学历或高级职称，主讲《英/美文学简史》及《英/美文学选读》课程三年以上。
5.教材编选
教材：《美国文学选读》高等教育出版社主编：陶洁
主要参考文献
1．常耀信，《美国文学简史》，南开大学出版社
2．李公昭，《新编美国文学选读》，西安交通大学出版社
3. 吴伟仁，《美国文学史及选读》，外语教学与研究出版社
执笔人：李丽审核人：
2015年月日。