《西方文论》第01章在线测试答案
2020年智慧树知道网课《西方文论经典导读》课后章节测试满分答案
智慧树知道网课《西方文论经典导读》课后章节测试满分答案绪论单元测试1【单选题】(1分)西方文论的开端是（）。
A.中世纪文论B.古希腊文论C.古罗马文论D.古希伯来文论2【单选题】(3分)西方现代文论的地点是（）。
A.英美新批评B.俄国形式主义C.精神分析文论D.现象学文论3【单选题】(3分)英美新批评以采用（）批评方法而知名。
A.细读式B.精英式C.细节式4【单选题】(3分)法国结构主义文论的主要成就体现在（）。
A.小说叙事学研究B.史诗研究C.散文研究D.诗歌研究第一章测试1【单选题】(1分)《伊安篇》的作者是（）A.苏格拉底B.柏拉图C.贺拉斯D.亚里士多德2【单选题】(2分)柏拉图认为，诗人在灵感来临时处于（）A.理智状态B.清醒状态C.平静状态D.迷狂状态3【单选题】(1分)《理想国》在柏拉图的著作中属于（）A.前期B.晚期C.中期D.早期4【判断题】(3分)柏拉图认为艺术是对理念的直接模仿。
A.对B.错5【多选题】(3分)柏拉图对诗人的指控主要包括A.其作品败坏了人的心灵B.是撒谎者C.过分理性D.不能打动读者6【判断题】(1分)亚里士多德认为诗比历史更富有真理性。
A.对B.错7【多选题】(3分)亚里士多德认为诗人描写事物的原则主要包括A.必然的原则B.可然的原则C.一般性原则D.个别性原则8【单选题】(4分)悲剧是对一个严肃、完整、有一定长度的（）的模仿。
A.行动B.行为C.人物D.场景9【单选题】(3分)亚里士多德认为，构成悲剧的要素中最重要的是（）A.场景B.性格C.唱段D.情节10【单选题】(3分)亚里士多德认为，悲剧的功能是使观众的怜悯和恐惧等情感得到得到疏泄或（）A.发泄B.升华C.净化第二章测试1【多选题】(4分)康德认为，构成天才的认识能力主要有A.知性B.想象力C.理性D.判断力2【单选题】(2分)康德认为，艺术天才的想象力能够把抽象的理念A.真实化B.感性化C.理性化D.间接化3【单选题】(2分)歌德认为，古典主义艺术在创作时必须遵循（）A.个别化原则B.主观化原则C.客观化原则D.一般化原则4【多选题】(3分)歌德认为，古典主义艺术的特点主要有A.强健B.健康C.达观D.新颖5【多选题】(3分)歌德认为，浪漫主义艺术的特点主要有A.病态B.新颖C.虚弱D.强健6【判断题】(3分)席勒认为，诗人或者就是自然，或者寻求自然。
西方文论试题及答案
名词解释:布拉格学派：(发起者、贡献最大者、内涵、理论主张、影响、评价)①理论渊源：1926年雅各布森与马捷齐乌斯共同创立布拉格语言学学会,到1935年更名捷克结构主义.一方面肯定索绪尔(de)共时性语言学研究,一方面反对脱离历史发展过程单纯谈论共时性,以结构和功能为两个基本点构建了自己(de)理论体系.文学作品不只是言语或文学性(de)东西,而是一种系列结构,一种与各种社会环境密切相关(de)系列结构.②主要特征：⑴注重语言(de)功能研究.文学语言(de)特点是最大限度(de)偏离日常生活实用语言(de)指称功能,而把表现功能放到首位.⑵类比方法是布拉格学派(de)主要研究手段之一.通过对音位类比(de)研究来区分词语和语法(de)意义,从而达到对语言体系结构乃至文学作品结构(de)把握.⑶把共时性语言学研究与历时性语言学研究结合起来.解释语言本质(de)最佳研究途径是对语言体系作共时性分析,但共时性分析不可能否认历史进程对语言体系(de)影响,要正确理解语言(de)结构和功能,就必须深入探讨历史(de)语言环境.⑷读者阅读是作品审美价值实现(de)原因.一部作品印刷成书只有潜在(de)审美价值,只有被读者阅读之后,其审美价值才能真正实现,且由于审美标准不同,审美价值是可变(de)不确定(de).这些观点预示着接受美学(de)基本观点.③地位影响：布拉格学派存在时间较长且较活跃,是连接俄国形式主义与英美新批评、法国结构主义(de)桥梁,对现代西方文论(de)发展产生了很大影响.它提出(de)语言(de)功能研究、类比方法(de)运用、共时性与历时性研究(de)结合以及在对读者(de)转向等方面取得了令人瞩目(de)成就.但它过分夸大艺术形式(de)作用,用形式来规定文艺本质,把文学发展规律和形式发展规律等同起来.虽然艺术形式有自身(de)发展规律,但从根本上来说,这一规律是由社会文化和艺术内容(de)发展所决定(de),艺术形式无法自我规定.且语言学方法只是一种研究文艺(de)手段,不能将之当成研究目(de).文学性：文学性是指文学之所以为文学(de)独特性质.文学性就是文学(de)性质和文学(de)趣味,它存在于文学语言(de)联系和构造之中.文学性不存在于某一部文学作品中,而是一种同类文学作品普遍运用(de)构造原则和表现手段,如结构、韵律、节奏、修饰等.文学性(de)诗性功能：雅各布森认为,文学性存在于文学作品(de)语言形式之中,诗歌是具有独立价值(de)词(de)形式显现,即诗歌(de)本质不在指称叙述外在世界(de)事物,而在具有表达目(de)(de)诗歌语言形式显现.诗歌语言往往打破符号与指称(de)稳固(de)逻辑联系,而为能指与所指(de)其他新关系和审美功能(de)实现提供可能.诗歌语言虽然有提供信息(de)功能,但应以自指(de)审美功能为主.荒诞派戏剧：20世纪50年代兴起于法国(de)反传统戏剧流派.代表作有尤奈斯库(de)秃头歌女,贝克特剧作等待戈多 .荒诞派戏剧家提倡纯粹戏剧性、通过直喻把握世界,他们放弃了形象塑造与戏剧冲突,运用支离破碎(de)舞台直观场景、奇特怪异(de)道具、颠三倒四(de)对话、混乱不堪(de)思维,表现现实(de)丑恶与恐怖、人生(de)痛苦与绝望,达到一种抽象(de)荒诞效果.代表作家有尤奈斯库、贝克特等人.尤奈斯库(de)荒诞派戏剧理论：1、戏剧表达超现实(de)真实：一是作为意义之无和物质之有(de)“超现实(de)真实”.二是作为永恒之在(de)“超现实(de)真实”.2、戏剧(de)虚构本质与非理性本质.3、悲剧性与戏剧性及其戏剧张力.4、纯喜剧：戏剧(de)独立性.原型批评：发展概况：原型批评是20世纪五六十年代流行于西方(de)一个十分重要(de)批评流派,其主要创始人是弗莱.理论基础主要是荣格(de)精神分析学说和弗雷泽(de)人类学理论.主要主张：原型批评试图发现文学作品中反复出现(de)各种意象、叙事结构和人物类型,找出它们背后(de)基本形式,并强调作品中(de)神话类型,认为这些神话类型同具体(de)作品比较起来是更基本(de)原型,并把一系列原型广泛应用于对作品(de)分析、阐释和评价.纵观整个原型批评,其呈现出整体性批评和文化批评(de)倾向.影响评价：原型批评是20世纪西方文学批评最重要(de)流派之一,它以荣格精神分析学说和弗雷泽(de)人类学理论为基础,在文学观念上,弗莱受到了马克思主义文艺思想和社会历史观(de)影响,使其原型批评呈现出一种整体性文化批评(de)倾向.在方法论上,原型批评还吸取了斯本格勒(de)历史有机循环发展论和早期结构主义(de)一些理论,此外,原型批评虽然反对新批评,但其理论仍带有一定程度上(de)文学自足论(de)痕迹.细读法：细读法可以说是新批评(de)阅读方式,它(de)目(de)不是要找出诗歌(de)意义.也就是说,对于诗歌(de)意义不应从内容上来认识,而是要从诗歌(de)整体内在结构上来阅读和理解诗歌语言,通过这种阅读,发现文学作品(de)语言是否成功地形成了一个富有张力(de)和谐(de)整体,组成这个整体(de)各个部分之间又具有怎样(de)相互关系.为形式主义辩护：⑴布鲁克斯认为形式主义批评(de)一个基本信条就是,文学批评是对于批评对象(de)描述和评价,形式主义批评家主要关注(de)是作品本身,这一观点就将文学批评与作者读者之间(de)关联割裂开来.⑵文学批评就是对作品本身(de)描述和评价,只有在作品中体现过(de)意图才是作者真正(de)意图,而不是以作者生平为依据(de)猜测,读者也应该找到一个中心立足点来研究诗歌或者小说(de)结构.⑶布鲁克斯(de)观点为现代文本理论奠定了基础,将文学作品视为独立自足(de)整体来研究获得了许多重要成果,对新批评(de)发展起了巨大推动作用,但其割裂了文学作品与外部事物(de)关系从而陷入了形式主义(de)泥潭.悖论与反讽：布鲁克斯主张文学批评应当只关心作品本身,文学作品应当是一个和谐整体,对于一件成功(de)作品来说,形式和内容是不能分割(de).作品(de)形式关系包含了逻辑关系但又超出了逻辑关系.总体上说,文学是隐喻(de)、象征(de).布鲁克斯对作品形式(de)关注主要体现在运用语义学方法对作品(de)语言和结构进行分析研究上.⑴悖论是修辞学上(de)一种修辞格,指(de)是表面上荒谬而实际上真实(de)陈述,诗歌语言和结构(de)各种平面不断倾倒产生种种重叠、差异和矛盾.⑵反讽指(de)是所说(de)话与所要表达(de)意思恰恰相反,是语词受到语境压力造成意义扭转而形成(de)所言与所指之间对立矛盾(de)语言现象.这也是诗歌语言与科学语言(de)区别,科学语言是不会在语境(de)压力下改变意义(de).但诗歌语言则是多义(de),诗人使用(de)词包含多种意义,是具有潜在意义能力(de)词,是意义(de)网络.结构理论：⑴有机整体观,⑵布鲁克斯指出结构(de)基本原则就是对作品(de)内涵、态度和意义进行平衡和协调,结构不是仅仅把不同(de)因素安排成同类(de)组合体,而是使相似(de)与不相似(de)因素相结合.结构是一种积极(de)统一,不是通过回避矛盾取得和谐,而是通过解释矛盾、展开矛盾、解决矛盾而取得和谐.意见谬误：意图谬见在于将诗歌和诗歌(de)起源和产生过程相混淆,从诗歌创作(de)心理原因中推演批评标准最终只能是传记式批评和相对主义.意图谬见(de)结果是取消了作为批评(de)具体对象(de)文学作品本身.由于文学作品本身就是一种独立自足(de)存在,在诗歌之外寻找创作意图并批判诗就是多此一举.维姆萨特对意图说(de)批判高度强调了作品本身(de)重要性,这对于传统文学批评中只注重作者意图(de)传记式批评(de)批判,(de)确具有积极意义.但是意图说还将矛头指向历史批评、社会批评及其他传统文学研究,尤其是完全割断了作品与作者之间(de)关联,又走向了一种新(de)片面性,只将是个看作一种形式方面(de)风格技巧,谬误更为明显.简答：举例说明当代西方文艺理论(de)两大主潮：人本主义与科学主义是当代西方文艺理论(de)两大主潮.所谓人本主义,就是以人为本(de)哲学理论,其根本特点是把人当作哲学研究(de)核心、出发点和归宿,通过对人本身(de)研究来探寻世界(de)本质及其他哲学问题.人本主义文艺理论(de)主要代表有象征主义诗论、表现主义文论、精神分析学文论、直觉主义文论、现象学和存在主义文论、西方马克思主义文论、解释学和接受理论等.这些人本主义文艺理论重视主体(de)艺术和审美经验在审美活动中(de)作用,高度重视人(de)个性与心灵活动,尤其是注重无意识心理活动嫉妒者阅读接受等层面,开辟了以往文艺理论研究未涉及(de)新领域,并对后世文艺理论有深远(de)影响.所谓科学主义,是以自然科学(de)眼光、原则和方法来研究世界(de)哲学理论,它把一切人类精神文化现象认识论根源都归结为数理科学,强调研究(de)客观性、精确性和科学性,其思想基础在本世纪主要是主观经验主义和逻辑实证主义.科学主义文艺理论(de)主要代表有俄国形式主义、布拉格学派、英美语义学和新批评文论、结构主义文论、符号学文论、叙事学文论以及解构主义等.这些科学主义文艺理论较之人本主义文艺理论更清晰地呈现出一条一脉相承、前后相继(de)线索,尤其是反对人本主义(de)口号更是旗帜鲜明.在索绪尔语言学(de)影响下,形式主义、结构主义都希冀能在科学方法(de)指导下研究文艺作品及文学现象,试图找到其内部规律,揭示文学之为文学(de)文学性,专注于作品本身(de)形式、语言、语义等内部研究,甚至完全割裂了文学作品与作者、社会、读者(de)关联,但对文本研究(de)规范性、客观性和科学性作出了巨大贡献.俄国形式主义(de)理论主张：俄国形式主义是1914年至1930年在俄罗斯出现(de)一种文学批评流派.这一流派分为两个分支,一是莫斯科语言学小组,代表人物是罗曼·雅各布森,一是彼得堡小组（诗歌语言研究会1916）代表人物有什克罗夫斯基、日尔蒙斯基和艾亨鲍姆.理论渊源：俄国形式主义深受日内瓦语言学派、胡塞尔现象学、象征主义、未来主义和立体主义(de)影响,把音位学作为语言成分(de)因素用来剖析和建造形式结构,反对只根据作家生平、社会环境、哲学、心理学等文学外部因素去研究文学作品,认为文学研究(de)对象应该是文学作品本身,文学评论家要探寻文学自身(de)特性和规律,亦即研究文学作品(de)语言、风格、结构等形式上(de)特点和功能.主要主张：⑴文学作品是意识之外(de)现实.文学作品只是一种构造和游戏,形式主义者不研究作者和读者(de)主观意识和主观心理,而仅仅局限于对客观现实(de)艺术作品(de)研究.⑵文学创作(de)根本艺术宗旨不在于审美目(de),而在于审美过程.形式主义者提出了陌生化这一概念,认为要使人们对熟悉事物(de)自动感知变为审美感知,就要采取陌生化(de)手段,使现实中(de)事物变形,创造出新(de)艺术形式,使人们重新审美(de)感知原本已经熟悉(de)事物,尽可能(de)延长审美感知(de)过程.⑶文学批评(de)任务是要研究文学性,文学性即文学之所以为文学(de)内部规律,要着重研究艺术形式,深入文学系统内部去研究文学(de)形式和结构.既然文学作品可以表现多样化(de)内容,那么文学性就不在作品(de)内容而在作品(de)形式,,即语言(de)运用和修辞技巧(de)安排组织.⑷共时性(de)语言学研究方法是文学批评(de)主要方法之一.这一方法能够科学揭示文学作品(de)形式结构、把握文学创作(de)规律,按照索绪尔语言学研究方法将文学研究分为内部研究和外部研究,并着眼于以形式分析为主(de)内部研究.影响：⑴俄国形式主义是对传统文学批评进行反拨(de)艺术理论上(de)先锋主义.它从形式角度规定文艺本质,把文艺创作视为一种表现形式,并认为过去把形象思维作为文艺本质,把反映生活看成文艺(de)主要任务是很不科学(de).文艺创作(de)目(de)不是给人提供认识,而是提供感受与体验,欣赏文艺(de)人首先直接得到(de)是审美感受与审美体验.⑵俄国形式主义(de)最大贡献就在于它始终坚持文学是一个特殊领域,力图解释文学内部构造及其发展(de)特殊规律.它提出(de)陌生化、文学语言与日常语言(de)区别、文学性、诗性功能等理论概念和原则,极大地丰富了西方文学批评理论.⑶俄国形式主义(de)局限性：它过分夸大艺术形式(de)作用,用形式来规定文艺本质,把文学发展规律和形式发展规律等同起来.虽然艺术形式有自身(de)发展规律,但从根本上来说,这一规律是由社会文化和艺术内容(de)发展所决定(de),艺术形式无法自我规定.且语言学方法只是一种研究文艺(de)手段,不能将之当成研究目(de).俄国形式主义(de)理论主张与批评实践并不完全一致,还没有超出19世纪唯美主义(de)范围,是唯美主义(de)延续.俄国形式主义存在时间并不长,但其影响却是深远(de).布拉格学派、结构主义、符号学等文学理论流派都深受俄国形式主义(de)影响而形成了20世纪西方文论史上(de)独特线索.接受美学(de)理论意义：接受理论兴起于60年代后期,在70年代达到高潮,不仅是一种文学理论也是一种美学理论,因此又被称为接受美学.尽管其与现象学、存在主义和俄国形式主义也有密切(de)关系,但它直接起源于解释学文论,而且从20世纪西方文论史(de)总体背景上看,它是读者反应批评(de)一支.读者反应批评这一术语出自美国文学批评,是指所有以读者为中心(de)文学理论与批评,包括60年代以来(de)现象学意识批评、解释学批评、精神分析学(de)自我心理学派、结构主义、解构主义和接受理论,它也被用来专指受德国接受理论影响(de)英美读者反应批评,因此无论从哪个角度来看,接受理论都是读者反应批评(de)突出代表.其主要代表人物有姚斯、伊瑟尔、福尔曼、普莱斯丹茨、斯特里德等人组成(de)康士坦茨学派.举例说明解构主义(de)基本理论主张：①解构主义是整个后结构主义思潮中最重要(de)组成部分,兴起于60年代末盛行于70年代,总体上表现出对结构主义(de)不满和失望乃至批判否定.60年代法国一些文论家、作家和哲学家组成了“太凯系”集团,明确打出后结构主义(de)旗号,德里达也是其重要成员之一,该集团在思想上与尼采(de)非理性主义有密切(de)联系.随后德里达将解构主义介绍至美国,很快取代了新批评长期以来(de)支配地位,尤其是耶鲁学派(de)解构主义文学批评颇负盛名,80年代后半期解构主义逐渐退潮.②代表人物：德里达、德·曼、哈特曼、布鲁姆、米勒、福柯等.③理论来源：⑴尼采和非理性主义：尼采(de)非理性主义与解构主义关系密切,他主张文字超越一切观念形态,真理就是一支由隐喻、拟人和双关等修辞手段组成(de)军队,哲学和一切观念形态都首先是文字.德里达受尼采影响也肯定文字(de)自由游戏.⑵海德格尔：德里达在解构西方形而上学(de)哲学传统上与海德格尔极为相似,其语言第一(de)观点以及用文学和艺术来解构并拯救哲学(de)观点也对德里达发生了直接影响.⑶巴尔特：巴尔特后期转向了后结构主义,建构了独特(de)文本理论与阅读理论：⒈能指群与复数(de)文本：从消解索绪尔(de)符号理论入手,认为文本语言(de)能指与所指并不能构成索绪尔所谓(de)完整固定(de)符号,能指所指涉(de)不是一个概念即所指,而是一个能指群,这就导致能指与所指(de)分裂,能指(de)意指活动还未达到其所指前就已经转向了其他(de)能指,能指最终只能够在所指(de)表面进行自由漂移,语词符号不再是明确固定(de)意义实体,有限(de)能指符号所折射(de)是一个能指大海.巴尔特据此指出作品是单数(de)而文本则是复数(de),任何文本真正成为文本时,其四周已经是一片无形(de)文本海洋,每个文本都是由其他文本(de)碎片编织而成(de),根本不存在一个原初文本,这种复数特点导致文本意义(de)不断播散和转换,文本本身只是一个开放无尽(de)象征活动,任何意义都只不过是这个活动中迅速生成而又迅速消失(de)东西,这是对结构主义作品论(de)有力消解.⒉阅读理论包括以下三个方面：A、阅读结构主义作品只需要理解性思维,而阅读他所谓(de)文本则需要转喻式(de)思维,就是需要把文本(de)每一部分和每一个象征都看作对另外更大部分和象征群体(de)无限替代品.B、判断结构主义作品间(de)区别主要根据我们所理解(de)确定(de)意义内容,而判断他所谓(de)文本之间(de)区别则需要根据不同(de)能指所指(de)活动路线和意义传播过程.C、阅读结构主义作品是按照兴趣享受意义(de)文化商业消费,而阅读他所谓(de)文本则是一种创造(de)双重游戏,既要遵循文本意指活动玩文本游戏,不断再生产文本(de)意义,又要把文本当做乐谱来演奏,这种演奏不是解释而是生产,是一种合作式(de)创造,在此意义上阅读就是写作和批评.④解构主义对文学(de)影响：乔纳森·卡勒指出解构主义对文学产生了以下影响：⑴解构主义影响了一系列有关文学和文学批评(de)概念,包括文学本身(de)概念.⑵解构主义为文学批评提供了新话题.⑶德里达本人(de)解构阅读实践为一个新读解模式树立了样板.⑷解构主义还影响了人们对文学批评性质目标(de)看法.⑤评价：⑴重要贡献：⒈试图推翻逻各斯中心主义,动摇了西方全部哲学传统赖以安身立命(de)始源范畴(de)语言学基础,无疑是对企图为世界寻找某个终极根源(de)整个西方传统哲学(de)根本(de)反叛和致命(de)打击.体现出一种极其鲜明(de)反传统色彩和大胆变革、锐意创新(de)强烈愿望,为西方哲学美学和文学理论(de)现代变革打开了全新思路.⒉发现了揭示了文本(de)无始源性、开放性和互文性,把包括文学文本在内(de)一切文本都看作无限开放和永恒变化(de)动态过程,这是辩证而深刻(de),对于说明一切优秀作品(de)无限生命力具有重要(de)理论价值.⒊分解式阅读理论强调了阅读批评(de)创造性,把阅读等同于写作,与接受美学遥相呼应,与当代主张文学平民化(de)方向也是一致(de).⒋解构主义文论彻底反传统、反中心、反权威、反社会(de)超前倾向表现出后工业文明时代知识分子对抗资本主义现存秩序(de)一种普遍心态,与西方马克思主义反对现代资本主义异化(de)思潮异曲同工,具有一定积极意义.⑵根本缺陷：⒈过分强调语言文本(de)隐喻性和修辞性,从而实际上彻底否认了语言(de)表意和交际功能,由此对语言文本(de)一切阅读实际上也面临无所适从(de)困境.⒉从怀疑、破坏、反抗一切权威、中心、传统(de)怀疑主义出发,彻底否定颠倒消解一切现有(de)秩序、界限、传统和框框,终于走向相对主义和虚无主义,走向充满自相矛盾(de)谬误,最终也难逃被怀疑、被颠覆和被消解(de)命运.语义学批评(de)理论主张：①产生背景：俄国形式主义将文学研究(de)重点从以作者为中心转移到以作品为中心之后,语义学与新批评学派在20年代发端兴起.②发展概况：语义学批评形成于20世纪20年代,主要代表人物为英国文艺理论家瑞恰兹.此外还有查尔斯·奥格登和詹姆斯·伍德.③理论主张：⑴语义学批评带有鲜明(de)实证主义和心理学倾向,它受到了逻辑实证主义哲学(de)深刻影响,以逻辑实证(de)研究原则重新审视文学批评问题,将文学艺术中使用(de)语言与科学中使用(de)语言严格区分开来,将语义分析作为文学批评(de)最基本手段.⑵语义学批评又深受20世纪心理学发展(de)深刻影响,瑞恰兹甚至认为文学批评从根本上说是心理学(de)一个分支.在艺术鉴赏、艺术传达和艺术价值等重要问题上,语义学批评都试图从心理学(de)角度进行阐释.⑶语义学批评还引入了类型学和词源学,通过对文学作品(de)类型研究和语词分析,达到对作品各部分相互关系(de)了解并进一步理解作品整体.④地位影响：语义学对西方文论产生了极大影响,如新批评、结构主义和早期心理学派批评等,尤其是新批评派直接来源于语义学批评.论述题：简述新批评(de)理论主张：新批评派是20世纪英美文学批评中最有影响(de)流派之一,兰色姆在1941年新批评一书中称艾略特、瑞恰兹和温特斯等人为新批评家,新批评派由此得名.①产生背景：19世纪西方文学批评以实证主义和浪漫主义(de)文学批评为主导.实证主义只注重作家个人(de)生平和心理、社会历史和政治等因素对文学(de)影响；浪漫主义只强调文学是作家主观情感(de)表现,热衷于谈论灵感、激情、天才、想象和个性.这两种批评方式都忽视了对文学作品本身(de)研究.新批评(de)兴起正是对这一理论倾向(de)反拨,它一开始就抓住了传统文学批评最薄弱(de)环节而以一整套完整具体操作性极强(de)阅读批评文学作品(de)方法进行批判,因而在相当长(de)一段时间内该流派在西方文论界都占据主导地位.②发展历程：新批评派在20世纪20年代(de)英国形成,30年代至50年代在美国经过长足发展达到鼎盛,60年代之后逐渐衰落.退特、布鲁克斯与沃伦在30年代成立了“南方集团”.维姆萨特、韦勒克、布鲁克斯、沃伦等人在40年代后期成立“耶鲁集团”.从艾略特和瑞恰兹到南方集团再到耶鲁集团体现了新批评发展(de)一条主线.③流派特点：⑴极端(de)文本中心主义彻底割裂了文学研究与社会历史文化、与读者作者及社会效果等(de)关联.⑵对文学作品结构(de)分析较为细致深入,常常包含了某些辩证法因素.⑶以语义学分析作为文学研究(de)基本方法,并高度重视对文学语言(de)研究.⑷理论与实践(de)结合较为紧密,其理论一般都能在文学批评实践中自觉地运用.④代表人物：⑴瑞恰兹是新批评(de)奠基者之一.新批评学派十分重视瑞恰兹将语义学引进文学研究(de)努力,从中获得了基本方法论,但另一方面新批评派又对他(de)心理逐主义加以尖。
智慧树知到《西方文论原典导读》章节测试[完整答案]
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智慧树知到《西方文论原典导读》章节测试[完整答案]智慧树知到《西方文论原典导读》章节测试答案第一章1、Plato use the _ to explain the relationship between art and idea.A:bedB:tableC:bookshelf答案: bed2、Socrates” theory is mainly organized by whom?A:PlatoB:AristotleC:Thales答案: Plato3、In Ion Socrates stressed that the inspiration of the poets comes from the .A:godsB:heartC:experience答案: gods4、_ said“I am the midwive of philosophy”.B:PlatoC:Aristotle答案: Socrates5、Three sages of Ancient Greece are Plato,_and Aristotle. A:ProtagorasB:SocratesC:Homer答案: Socrates第二章1、_ is called a Encyclopedia of character in Greek.A:SocratesB:PlatoC:Aristotle答案: Aristotle2、In the poetics, _ is the goal of the tragedy.A:plotB:ethosC:pathos答案: plot3、Aristotle set up his own schools called _.A:lyceumC:freedom答案: lyceum4、Compared with Plato, the biggest character of Aristotle is_____.A:comprehensivenessB:scientifictyC: far-reaching答案: comprehensiveness5、Aristotle thinks types differ from one another in three ways: the means, objects and _.A:structureB:frameC:manner答案: manner第三章1、Characteristics of Johson”s theory on Shakespeare is_____.A:not persistentB:straightforwardC:obscare答案: A2、What”s the attitude on Shakespeare by Samuel Johnson? A:criticalB:praisableC: A and B答案: C3、In_____,Samuel started compiling a dictionary of the Engish language.A:1747B:1755C:1765答案: A4、Johson considered the shortcoming of Shakespeare is losing of_____.A:pleasureB:teachingC:conflict答案: B5、_ is a friend and biographyer for Samuel.A:James BoswellB:David GarrickC:Edward Cave答案: A第四章1、From the aspect of words, it emphasized words____.A:close to lifeB:unnaturalC: classical答案: C2、Wordsworth, Coleridgo and southey are called _.A:lake poetsB:literature threeC:absurdist poets答案: A3、Which work was published by Wordsworth”s widow after his death.A: Lyrical BalladsB:The preludeC:Solitary Reaper答案: B4、Wordsworth”s philosophical views almost come from _. A:theory of evolutionB:the apocalypse of natureC:coleridge答案: B5、Wordsworth, Coleridgo and southey are called _.A:lake poetsB:literature threeC:absurdist poets答案: A第五章1、Taine is called as“critics of _”.A:NapoleonB:CharlieC:Hitler答案: A2、In Taine”s first aspect, which country makes philosophers.A:FranceB:EnglandC: Germany答案: C3、Which is not the origin of Taine”s theory in a literary perspective?A:Sainte-beuveB: Madame de stealC:Rousseau答案: C4、Which work is not written by Taine.A:The philosophy of artB:The ideal in artC:Biographia literaria答案: C5、In Taine”s first aspect, which country makes philosophers.A:FranceB:EnglandC:Germany答案: C第六章1、Which work is written by Wilde in prison?A:A ideal husbandB:VeraC:De profundis答案: C2、Oscar Wilde is called“Prince of _”.A:ProseB:FairytalesC: Fiction答案: B3、Wilde produced _ social comedies in the early 1890s. A:threeB:fourC:five答案: B4、The novel tells us that we should find the balance of beauty and _.A:idealB:moralityC:literature答案: B5、Which drama is created by Oscar Wilde?A:the comedy of ErrorsB:Much ado about nothingC:Salome答案: C第七章1、Who is called as“the father of psychoanolysis” _. A:JungB:FreudC:Darwin答案: B2、Freud divided human development into _stages.A:fiveB:sixC: four答案: A3、Freud called a force can promote Ego to transform into other forms as_____.A:ErosB:libidoC: supergo答案: B4、The Oedipus complex describes a child”s sexual desire for his _.A:oppositesex parentsB:oppositesex sistersC:oppositesex brothers答案: A5、In Freud”s view, literature had its origin in _ of human . A:reactionB:sexual desireC:behavior答案: B第八章1、Eliot considered tradtion a _ awareness.A:historicalB:geographyC:classical答案: A2、Which work is created by Eliot?A:The sunsetB: LinesC: The waste land答案: C3、What does Eliot think of about“personality”.A:simple individualB:personal emotion and experienceC: unique character答案: B4、In Eliot”s view, he suggested poets were like _. A:onlookerB:catalystsC:master答案: B5、Which year that Eliot acquired the Nobel prize.A:1944B:1945C:1946答案: A第九章1、Empson initally found his talents in which subject? A:chemistryB: mathematicsC:physical答案: B2、Empson”s writing has a _ style.A:obscureB:rigorousC:proficient答案: A3、How many times did Empson come to China?A:onceB:twiceC:three times答案: B4、We can called the first type of ambiguity as _.A:metaphorB:comparisonC:symbol答案: A5、There are how many tupes of ambiguity summary by Empson? A:sixB:sevenC:eight答案: B第十章1、Who has a similar identity to Bakhtin?A:ShklovskyB:FoucaultC:Eliot答案: A2、Whose novels were selected to explain Bakhtin”s theories?A:Tolstoy”sB:Gorky”sC:Dostoevsky”s答案: C3、According to Bakhtin,_is the only into an incomplete state.A:NovelB:EpicC: Drama答案: A4、In which year that Bakhtin”s first major work published.A:1920B:1924C:1929答案: C5、Bakhtin was exiled into Siberia in the _.A:1920sB:1930sC:1940s答案: B第十一章1、Abrams is a famous literary critic for _ literature. A:romanticB:realistC:aestheticism答案: A2、In the Mirror and the Lamp, Abrams put forward the four factors of literture: universe, _, artist and audience.A:workB:objectC:subject答案: A3、The expressive theory stresses the effect of _.A:objective worldB:poet”s mindC:reader feedback答案: B4、The classical model of rhetoric to discuss poetry was . A:AristotleB: HoraceC: Plato答案: B5、The Mimetic theory first appeared in _.A:Aristotle”s poeticsB:HomericC:Plato”s dialogue答案: C第十二章1、How do we understand the relationship between Against interpretation and the hermeneutics?A:oppositeB:alternativeC:similar答案: C2、How interpretation did Sontag against?A:singular interpretationB:plural interpretationC:hermeneutics答案: A3、Content and _are the two sides of concept.A:interpretationB:formC: transparence答案: B4、Sontag divided the article into _sections.A:nineB:tenC:eleven答案: B5、Which work is Sontag”s last novel?A:The volcano loverB:In AmericaC:On photography答案: B第十三章1、Jauss and established the knonstanz school.A:IsereB:EsslingenC:Geslingen答案: A2、The theory by Jauss and Iser is the first time _ are seen as core in literary research.A:worksB:readersC:authors答案: B3、In Jauss”s view on rewriting the literary history, how many topics did he talk?A:fiveB:sixC: seven答案: C4、Jauss”s theory is interested more in_____.A:public readersB:single readerC: writing background答案: A5、Jauss and Iser were called as the binary star of _.A:receptional aestheticB:interactive aestheticC:comparative aesthetic答案: A第十四章1、The third definition of orientalism by Said is _.A:of the academic fieldB:as a discourse of powerC:as a discourse pattern答案: B2、In the western tradition,the orientals characters are always _.A:uglyB: plumpishC:proud答案: A3、Edward Said gained his worldwide reputation in _university as well.A:ColumbiaB:OxfordC:Cambridge答案: A4、How many meanings did Said put forward of Orientatism in his book.A:twoB:threeC:four答案: B5、Which book is not written by Said?A:OrientalismB: Culture and imperialismC: Course in Greneral Linguistics 答案: C。
西方文论作业(上)答案
《西方文论》作业（上）第一单元一、判断正误1、西方文艺理论的源头，就是古希腊的文艺理论。
√2、毕达哥拉斯认为，宇宙的本源是“数”。
√3、毕达哥拉斯认为，天体是“大宇宙”，人是“小宇宙”，人的身体和宇宙天体一样，都由数的和谐原则统辖，而人的内在和谐可以收到外在和谐的影响，一旦两者相契合，就进入了艺术欣赏状态。
√4、贺拉克里特认为宇宙万物的本源是“火”，认为这个既不是神创造的，又不是人创造的，而是合规律地燃烧并且合规律地熄灭的活生生的永恒的火。
√5、列宁评价贺拉克里特是古代朴素的辩证法哲学的奠基人，因为他说过，人不能一次踏入两条河流。
√6、贺拉克里特是最早提出“艺术模仿自然”的古希腊哲学家。
×7、苏格拉底认为，“大的快乐来自于对美的作品的瞻仰”，因为美的作品能够给人以快感，而作家不应该追求一切种类的快乐，而只应该追求高尚的快乐。
这个观点被看做是文艺审美作用理论的萌芽。
×8、德莫克里特是古代原子论的创立者。
√9、苏格拉底一生专事教授讲学活动，但是没有留下一部著作。
他的文艺美学以及哲学思想，是由他的学生色诺芬、柏拉图等人记述下来的。
√10、苏格拉底讨论了德行和善以及美的关系问题，得出了判断美的标准就是“社会功用”的标准，这以观点导致了西方长期的美善不分，以功用代替文艺本质的批评倾向。
√二、选择1、“从蜘蛛我们学会了织布和缝补，从燕子学会了造房子，从天鹅和黄莺等歌唱的鸟我们学会了歌唱。
”这是（B ）为了说明“艺术模仿自然”的观点而举的例子。
A 贺拉克里特B 德莫克里特C 苏格拉底D 柏拉图2、（ B ）指出了动物和人的区别的标志，因为他说：“动物只要求为它所必须的东西，反之，人的要求则超过这个。
”A 马克思B 德莫克里特C 苏格拉底D 柏拉图3、（ B ）认为，“大的快乐来自于对美的作品的瞻仰”，因为美的作品能够给人以快感，而作家不应该追求一切种类的快乐，而只应该追求高尚的快乐。
这个观点被看做是文艺审美作用理论的萌芽。
西方文论试题及答案
名词解释:布拉格学派：(发起者、贡献最大者、内涵、理论主张、影响、评价)①理论渊源：1926年雅各布森与马捷齐乌斯共同创立布拉格语言学学会，到1935年更名捷克结构主义。
一方面肯定索绪尔的共时性语言学研究，一方面反对脱离历史发展过程单纯谈论共时性，以结构和功能为两个基本点构建了自己的理论体系。
文学作品不只是言语或文学性的东西，而是一种系列结构，一种与各种社会环境密切相关的系列结构。
②主要特征：⑴注重语言的功能研究。
文学语言的特点是最大限度的偏离日常生活实用语言的指称功能，而把表现功能放到首位。
⑵类比方法是布拉格学派的主要研究手段之一。
通过对音位类比的研究来区分词语和语法的意义，从而达到对语言体系结构乃至文学作品结构的把握。
⑶把共时性语言学研究与历时性语言学研究结合起来。
解释语言本质的最佳研究途径是对语言体系作共时性分析，但共时性分析不可能否认历史进程对语言体系的影响，要正确理解语言的结构和功能，就必须深入探讨历史的语言环境。
⑷读者阅读是作品审美价值实现的原因。
一部作品印刷成书只有潜在的审美价值，只有被读者阅读之后，其审美价值才能真正实现，且由于审美标准不同，审美价值是可变的不确定的。
这些观点预示着接受美学的基本观点。
③地位影响：布拉格学派存在时间较长且较活跃，是连接俄国形式主义与英美新批评、法国结构主义的桥梁，对现代西方文论的发展产生了很大影响。
它提出的语言的功能研究、类比方法的运用、共时性与历时性研究的结合以及在对读者的转向等方面取得了令人瞩目的成就。
但它过分夸大艺术形式的作用，用形式来规定文艺本质，把文学发展规律和形式发展规律等同起来。
虽然艺术形式有自身的发展规律，但从根本上来说，这一规律是由社会文化和艺术内容的发展所决定的，艺术形式无法自我规定。
且语言学方法只是一种研究文艺的手段，不能将之当成研究目的。
文学性：文学性是指文学之所以为文学的独特性质。
文学性就是文学的性质和文学的趣味，它存在于文学语言的联系和构造之中。
西方文论选读答案
西⽅⽂论选读答案2005年10⽉⾼等教育⾃学考试全国统⼀命题考试西⽅⽂论选读试卷（课程代码0815）第⼀部分选择题（共40分）⼀、单项选择题（本⼤题共20⼩题，每⼩题1分，共20分）1、属于狄德罗著作的是。
D （三论集阐述了去艺术看法）A、《诗艺》B、《诗学》C、《悲剧的诞⽣》D、《绘画论》2、华滋华斯呼呈诗⼈采⽤语⾔。
CA、贵族B、书⾯C、⽇常D、古典3、布⽡洛⼈物理论为后来的典型化⼈物理论作了有⼒的铺垫CA、个性化B、独特化C、类型化D、共性化4、莱⾟认为诗歌运⽤的符号B(⽂字)画（A⾊彩）A、⾃然B、⼈为C、天然D、抽象5、在柏拉图看来，创作的动⼒是DA、理性B、想象C、幻想D、灵感6、提出“意图廖见说”的是A、俄国形式主义B、英美新批评C、语义学D、精神分析学派7、亚⾥⼠多德认为，悲剧主⾓应A、由顺境转⼊逆境单B、由有逆境转达⼊顺境地C、处于顺境D、处于逆境8、歌德认为，艺术的真正⽣命在于对的掌握和描述。
A、个别B、⼀般C、共性D、集体9、俄国形式主义的纲领性⽂件是A、《词语的复活》B、《散⽂理论》C、《⼀⼋四七年俄国⽂学⼀瞥》D、《作为⼿法的艺术》10、席勒认为，⼈对纯朴⾃然的兴趣是有条件的。
A、主观B、客观C、主客D、先天11、在狄德罗那⾥，严戏剧采取的是题材。
A、农民⽣活B、宫廷⽣活C、市民⽣活D、下层⽣活12、克罗齐主张，直觉就是A、再现B、表现C、确认D、判断13、布⽡洛的理性原则要求A、形式服从内容B、内容服从形式C、形式等于内容D、内容等于形式14、尼采认为要重振悲剧艺，就要复活精神。
A、理性B、感性C、⽇神D、酒神15、海德格尔指出，诗以确⽴存在。
A、形象B、意象C、意境D、语词16、⽇神精神与酒神精神是尼采在中提出的。
A、《悲剧的诞⽣》B、《权⼒意志》C、《⼈性的、太⼈性的》D、《查拉图斯特拉如斯说》17、柏拉图主张⽂艺模仿的对象是A、⾃然现象B、⼈的精神⽣活C、感觉世界D、数的和谐18、尧斯指出，是⼀种历史的能动创造⼒量。
北语网院20春《西方文论》作业_1答案
(单选)1：“对立产生和谐”出自
A：毕达哥拉斯
B：赫拉克利特
C：柏拉图
D：亚里士多德
正确答案：B
(单选)2：《判断力批判》的作者是
A：柏克
B：鲍桑葵
C：沃尔夫
D：康德
正确答案：D
(单选)3：为中世纪基督教神学和美学铺平道路的新柏拉图主义者是
A：奥古斯丁
B：托马斯．阿奎那
C：普罗塔哥拉斯
D：普罗提诺
正确答案：D
(单选)4：《论戏剧诗》的作者是（）。
A：狄德罗
B：莱辛
C：帕斯卡尔
D：加达默尔
正确答案：A
(单选)5：“认识和理解不属于经验范畴，而属于艺术范畴”，这句话出自亚里士多德的A：《诗学》
B：《修辞学》
C：《政治学》
D：《形而上学》
正确答案：D
(单选)6：泰纳的理论运用到下面哪种方法
A：形而上学的方法
B：实证主义的方法
C：科学主义的方法
D：人本主义的方法
正确答案：B
(单选)7：一般认为使“原型批评”真正确立自己地位的是
A：荣格。
智慧树知到《西方文论原典导读》章节测试[完整]
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最新资料欢迎阅读智慧树知到《西方文论原典导读》章节测试[ 完好答案 ]智慧树知到《西方文论原典导读》章节测试答案第一章1、Plato use the _ to explain the relationship between art and idea.A:bedB:tableC:bookshelf答案 : bed2、Socrates ” theory is mainly organized by whom?A:PlatoB:AristotleC:Thales答案 : Plato3、 In Ion Socrates stressed that the inspiration ofthe poets comes from the .A:godsB:heartC:experience答案 : gods4、_ said“I am the midwive of philosophy”.A:SocratesB:PlatoC:Aristotle答案 : Socrates5、Three sages of Ancient Greece are Plato,_and Aristotle. A:ProtagorasB:SocratesC:Homer答案 : Socrates第二章1、_ is called a Encyclopedia of character in Greek.A:SocratesB:PlatoC:Aristotle答案 : Aristotle2、In the poetics, _ is the goal of the tragedy.A:plotB:ethosC:pathos答案 : plot3、Aristotle set up his own schools called _.A:lyceumB:athensC:freedom答案 : lyceum4、Comparedwith Plato, the biggest character of Aristotleis_____.A:comprehensivenessB:scientificty C:far-reaching答案 : comprehensiveness5 、Aristotle thinks types differ from one another in three ways: the means, objects and _.A:structureB:frameC:manner答案 : manner第三章1 、 Characteristics of Johson ” s theory on Shakespeare is_____.A:not persistentB:straightforwardC:obscare答案: A2、What”s the attitude on Shakespeare by Samuel Johnson?A:criticalB:praisableC: A and B答案: C3、In_____,Samuel started compiling a dictionary of theEngish language.A:1747B:1755C:1765答案: A4、 Johson considered the shortcoming of Shakespeareis losing of_____.A:pleasureB:teachingC:conflict答案: B5、_ is a friend and biographyer for Samuel.A:James BoswellB:David GarrickC:Edward Cave答案: A第四章1、From the aspect of words, it emphasized words____.A:close to lifeB:unnaturalC: classical答案: C2、Wordsworth, Coleridgo and southey are called _.A:lake poetsB:literature threeC:absurdist poets答案: A3、Which work was published by Wordsworth ”s widow after his death.A: Lyrical BalladsB:The preludeC:Solitary Reaper答案: B4、Wordsworth”s philosophical views almost come from _.A:theory of evolutionB:the apocalypse of natureC:coleridge答案: B5、Wordsworth, Coleridgo and southey are called _.A:lake poetsB:literature threeC:absurdist poets答案: A第五章1、Taine is called as“critics of _”.A:NapoleonB:CharlieC:Hitler答案: A2 、 In Taine ” s first aspect, which country makes philosophers.A:FranceB:EnglandC: Germany答案: C3、Which is not the origin of Taine ”s theory in a literary perspective?A:Sainte-beuveB: Madame de stealC:Rousseau答案: C4、Which work is not written by Taine.A:The philosophy of artB:The ideal in artC:Biographia literaria答案: C5 、 In Taine ” s first aspect, which country makes philosophers.A:FranceB:EnglandC:Germany答案: C第六章1、Which work is written by Wilde in prison?A:A ideal husbandB:VeraC:De profundis答案: C2、Oscar Wilde is called“Prince of _”.A:ProseB:FairytalesC: Fiction答案: B3、Wilde produced _ social comedies in the early 1890s.A:threeB:fourC:five答案: B4、The novel tells us that we should find the balance of beauty and _.A:idealB:moralityC:literature答案: B5、Which drama is created by Oscar Wilde?A:the comedy of ErrorsB:Much ado about nothingC:Salome答案: C第七章1、Who is called as“the father of psychoanolysis” _.A:JungB:FreudC:Darwin答案: B2、Freud divided human development into _stages.A:fiveB:sixC: four答案: A3、Freud called a force can promote Ego to transform into other forms as_____.A:ErosB:libidoC: supergo答案: B4 、The Oedipus complex describes a child ”s sexual desire for his _.A:oppositesex parentsB:oppositesex sistersC:oppositesex brothers答案: A5、In Freud”s view, literature had its origin in _ of human. A:reactionB:sexual desireC:behavior答案: B第八章1、Eliot considered tradtion a _ awareness.A:historicalB:geographyC:classical答案: A2、Which work is created by Eliot?A:The sunsetB: LinesC: The waste land答案: C3、What does Eliot think of about“personality”.A:simple individualB:personal emotion and experienceC: unique character答案: B4、In Eliot ”s view, he suggested poets were like _. A:onlookerB:catalystsC:master答案: B5、Which year that Eliot acquired the Nobel prize. A:1944B:1945C:1946答案: A第九章1、Empson initally found his talents in which subject? A:chemistryB: mathematicsC:physical答案: B2、Empson”s writing has a _ style.A:obscureB:rigorousC:proficient答案: A3、How many times did Empson come to China?A:onceB:twiceC:three times答案: B4、We can called the first type of ambiguity as _.A:metaphorB:comparisonC:symbol答案: A5、There are how many tupes of ambiguity summaryby Empson?A:sixB:sevenC:eight答案: B第十章1、Who has a similar identity to Bakhtin?A:ShklovskyB:FoucaultC:Eliot答案: A2 、 Whose novels were selected to explain Bakhtin ” s theories?A:Tolstoy”sB:Gorky ”sC:Dostoevsky ”s答案: C3、According to Bakhtin,_is the only into an incomplete state.A:NovelB:EpicC: Drama答案: A4、In which year that Bakhtin”s first major work published.A:1920B:1924C:1929答案: C5、Bakhtin was exiled into Siberia in the _.A:1920sB:1930sC:1940s答案: B第十一章1、Abrams is a famous literary critic for _ literature.A:romanticB:realistC:aestheticism答案: A2 、In the Mirror and the Lamp, Abrams put forward the four factors of literture: universe, _, artist and audience.A:workB:objectC:subject答案: A3、The expressive theory stresses the effect of _.A:objective worldB:poet ”s mindC:reader feedback答案: B4、The classical model of rhetoric to discuss poetry was .A:AristotleB:HoraceC:Plato答案: B5、The Mimetic theory first appeared in _.A:Aristotle”s poeticsB:HomericC:Plato”s dialogue答案: C第十二章1、How do we understand the relationship between Against interpretation and the hermeneutics?A:oppositeB:alternativeC:similar答案: C2、How interpretation did Sontag against?A:singular interpretationB:plural interpretationC:hermeneutics答案: A3、Content and _are the two sides of concept.A:interpretationB:formC: transparence答案: B4、Sontag divided the article into _sections.A:nineB:tenC:eleven答案: B5、Which work is Sontag ”s last novel?A:The volcano loverB:In AmericaC:On photography答案: B第十三章1、Jauss and established the knonstanz school.A:IsereB:EsslingenC:Geslingen答案: A2、The theory by Jauss and Iser is the first time _ are seen as core in literary research.A:worksB:readersC:authors答案: B3 、In Jauss ”s view on rewriting the literary history, how many topics did he talk?A:fiveB:sixC: seven答案: C4、Jauss ”s theory is interested more in_____.A:public readersB:single readerC: writing background答案: A5、Jauss and Iser were called as the binary star of _.A:receptional aestheticB:interactive aestheticC:comparative aesthetic答案: A第十四章1、The third definition of orientalism by Said is _.A:of the academic fieldB:as a discourse of powerC:as a discourse pattern答案: B2、In the western tradition,the orientals characters arealways _.A:uglyB: plumpishC:proud答案: A3 、 Edward Said gained his worldwide reputation in _university as well.A:ColumbiaB:OxfordC:Cambridge答案: A4、How many meanings did Said put forward of Orientatismin his book.A:twoB:threeC:four答案: B5、Which book is not written by Said?A:OrientalismB:Culture and imperialismC:Course in Greneral Linguistics 答案: C。
北语19秋《西方文论》作业1-4及答案
北语19秋《西方文论》作业1一、单选题共15题，75分1.下面被视为古希腊美学的创立者的是。
A.德谟克利特B.毕达哥拉斯C.柏拉图D.赫拉克利特2.布瓦洛的著作是。
A.《诗的艺术》B.《为诗一辩》C.《论崇高》D.《诗艺》3.提出“文本细读”的批评流派的是。
A. 俄国形式主义B. 英美新批评C. 符号学派D. 结构主义4.斯塔尔夫人在对喜剧的分析中，她的基本理论依据是。
A. 时代特征B. 种族差异C. 社会制度D. 环境因素5.将西方文论的发展归纳为摹仿说、实用说、表现说和客观说的著作是。
A. 艾布拉姆斯的《镜与灯》B. 黑格尔的《美学》C. 康德的《判断力批判》D. 来辛的《拉奥孔》6.提出“二律背反”理论的是。
A. 黑格尔B. 康德C. 休谟D. 柏克7.卡斯特尔维特罗的著作是。
A. 《为诗一辩》B. 《诗的艺术》C. 《诗学》D. 《亚里士多德<诗学>的诠释》8.艾布拉姆斯在《镜与灯》提出的为20世纪西方文论范式转换提供了基本依据。
A. 将西方文论的发展归纳为摹仿说、实用说、表现说和客观说B. 作者、文本、读者、世界之四四种因素说C. “权利话语”机制D. 历史的文本性和文本的历史性9.“寓教于乐”见于贺拉斯的。
A. 《论演说术》B. 《致奥古斯都书》C. 《论崇高》D. 《诗艺》10.“我思故我在”，提出这一命题的是。
A. 奥古斯丁B. 帕斯卡尔C. 笛卡尔D. 霍布斯11.一般认为使“原型批评”真正确立自己地位的是。
A. 荣格B. 弗雷泽C. 弗莱D. 鲍德金12.将想象划分为第一性和第二性的浪漫主义文论家的是。
A. 华兹华斯B. 雨果C. 柯尔律治D. 赫尔德13.荣格的理论对原型批评产生了明显的影响。
A. “隐微写作”B. “自动写作”C. “集体自恋”D. “集体无意识”14.《美之根源及性质的哲学研究》的作者是。
A. 莱辛B. 狄德罗C. 席勒D. 温克尔曼15.《性别政治》一书的作者是。
远程教育《西方文论》在线测试及答案
《西方文论》第01章在线测试第一题、单项选择题（每题1分，5道题共5分）1、柏拉图没有一本专门的美学和文艺学著作，他的文艺思想散见于一些对话之中，（）将其汇编成册，题为《文艺对话集》。
A、宗白华B、鲁迅C、朱光潜D、2、亚里斯多德文论代表作是A、《诗学》B、《诗艺》C、《为诗一辩》D、3、亚里斯多德认为悲剧的主角的命运应该是（）A、好人由福转到祸B、穷凶极恶的人从福落到祸C、中等人由福转祸D、4、亚里斯多德认为悲剧的效果在于“激起哀怜和恐惧，从而导致这些情绪的净化”，“净化”原文是“katharsis”（卡塔西斯），罗念生先生将其翻译为（）A、熏陶B、陶冶C、提升D、5、在诗的功用问题上，简洁而明确地提出了“寓教于乐”说的是（）A、苏格拉底B、贺拉斯C、朗吉努斯D、第二题、多项选择题（每题2分，5道题共10分）1、柏拉图把世界划分为三种，分别是（）A、理式世界B、幻想的世界C、现实世界D、艺术世界2、柏拉图列举的文艺的三条罪状，分别是（）A、文艺不具有真实性B、文艺亵渎神明，丑化英雄C、文艺为贵族服务D、文艺迎合人性中的低劣因素3、亚理斯多德在《诗学》里拿诗和历史作比较时认为（）A、诗人的职责不在描述已发生的事，而在描述可能发生的事B、诗比历史更具有哲学意味C、诗所说的多半带有普遍性，而历史所说的则是个别的事D、历史比诗更真实、更具有普遍性4、关于情节的安排，亚里士多德的“有机整体说”有三个要点（）A、情节必须完整B、情节必须曲折离奇C、情节必须长短适度D、情节必须有机统一5、亚里士多德认为悲剧艺术的成分共有六个：言语、歌曲、形象（指演员造型和舞台布景），另外三个是（）A、舞台B、情节C、性格D、思想第三题、判断题（每题1分，5道题共5分）1、西方文论是指，以欧洲为主体的、包括北美的广大地区的文学艺术的理论，它以欧洲的文学理论为主，也兼及一部分有关绘画、音乐等其他艺术的理论形态。
正确错误2、柏拉图率先提出了美是和谐的命题。
西方文论部分答案
三一律：是西方戏剧结构理论之一，亦称“三整一律”。
是一种关于戏剧结构的规则。
先由文艺复兴时期意大利戏剧理论家提出，后由法国古典主义戏剧家确定和推行。
要求戏剧创作在时间、地点和情节三者之间保持一致性。
即要求一出戏所叙述的故事发生在一天（一昼夜）之内，地点在一个场景，情节服从于一个主题。
1.俄国形式主义是1914年至1930年在俄罗斯出现的一种文学批评流派。
代表人物是罗曼•雅各布森，什克罗夫斯基、日尔蒙斯基和艾亨鲍姆。
理论渊源：俄国形式主义深受索绪尔的现代语言学、象征主义、未来主义和立体主义的影响，把作品作为考虑的中心，拒绝接受当时支配俄国文学批评的心理学、哲学或社会学的方法。
反对只根据作家生平、社会环境等文学外部因素去研究文学作品，认为文学研究的对象应该是文学作品本身，文学评论家要探寻文学自身的特性和规律，亦即研究文学作品的语言、风格、结构等形式上的特点和功能。
主要主张：⑴文学作品是意识之外的现实。
文学作品只是一种构造，形式主义者不研究作者和读者的主观意识和主观心理，而是对客观现实的艺术作品的研究。
⑵文学创作的根本艺术宗旨不在于审美目的，而在于审美过程。
形式主义者提出了陌生化这一概念，认为要使人们对熟悉事物的自动感知变为审美感知，就要采取陌生化的手段，使现实中的事物变形，创造出新的艺术形式，使人们重新审美的感知原本已经熟悉的事物，尽可能的延长审美感知的过程。
⑶文学批评的任务是要研究文学性,文学性即文学之所以为文学的内部规律，要着重研究艺术形式，深入文学系统内部去研究文学的形式和结构。
既然文学作品可以表现多样化的内容，那么文学性就不在作品的内容而在作品的形式，即语言的运用和修辞技巧的安排组织。
⑷主要方法是彻底颠覆传统诗学关于内容与形式的二分，突出形式在文学中的核心地位。
共时性的语言学研究方法也是文学批评的主要方法之一，这一方法能够科学揭示文学作品的形式结构、把握文学创作的规律，按照索绪尔语言学研究方法将文学研究分为内部研究和外部研究，并着眼于以形式分析为主的内部研究。
西方文论作业(上)题库及答案
西方文论》作业（上）题库及答案第一单元、判断正误1、西方文艺理论的源头，就是古希腊的文艺理论。
2、毕达哥拉斯认为，宇宙的本源是“数” 。
3、毕达哥拉斯认为，天体是“大宇宙” ，人是“小宇宙” ，人的身体和宇宙天体一样，都由数的和谐原则统辖，而人的内在和谐可以收到外在和谐的影响，一旦两者相契合，就进入了艺术欣赏状态。
4、贺拉克里特认为宇宙万物的本源是“火” ，认为这个既不是神创造的，又不是人创造的，而是合规律地燃烧并且合规律地熄灭的活生生的永恒的火。
5、列宁评价贺拉克里特是古代朴素的辩证法哲学的奠基人，因为他说过，人不能一次踏入两条河流。
6、贺拉克里特是最早提出“艺术模仿自然”的古希腊哲学家。
7、苏格拉底认为，“大的快乐来自于对美的作品的瞻仰” ，因为美的作品能够给人以快感，而作家不应该追求一切种类的快乐，而只应该追求高尚的快乐。
这个观点被看做是文艺审美作用理论的萌芽。
8、德莫克里特是古代原子论的创立者。
9、苏格拉底一生专事教授讲学活动，但是没有留下一部著作。
他的文艺美学以及哲学思想，是由他的学生色诺芬、柏拉图等人记述下来的。
10、苏格拉底讨论了德行和善以及美的关系问题，得出了判断美的标准就是“社会功用”的标准，这以观点导致了西方长期的美善不分，以功用代替文艺本质的批评倾向。
、选择1、“从蜘蛛我们学会了织布和缝补，从燕子学会了造房子，从天鹅和黄莺等歌唱的鸟我们学会了歌唱。
”这是（）为了说明“艺术模仿自然”的观点而举的例子。
A 贺拉克里特B 德莫克里特C 苏格拉底D 柏拉图2、（）指出了动物和人的区别的标志，因为他说：“动物只要求为它所必须的东西，反之，人的要求则超过这个。
”A 马克思B 德莫克里特C 苏格拉底D 柏拉图3、（）认为，“大的快乐来自于对美的作品的瞻仰” ，因为美的作品能够给人以快感，而作家不应该追求一切种类的快乐，而只应该追求高尚的快乐。
这个观点被看做是文艺审美作用理论的萌芽。
A 亚里士多德B 德莫克里特C 苏格拉底D 柏拉图4、苏格拉底一生专事教授讲学活动，但是没有留下一部著作。
西方文论试题及答案
名词解释：布拉格学派：（发起者、贡献最大者、内涵、理论主张、影响、评价)①理论渊源:1926年雅各布森与马捷齐乌斯共同创立布拉格语言学学会，到1935年更名捷克结构主义.一方面肯定索绪尔的共时性语言学研究，一方面反对脱离历史发展过程单纯谈论共时性，以结构和功能为两个基本点构建了自己的理论体系。
文学作品不只是言语或文学性的东西，而是一种系列结构，一种与各种社会环境密切相关的系列结构。
②主要特征：⑴注重语言的功能研究。
文学语言的特点是最大限度的偏离日常生活实用语言的指称功能，而把表现功能放到首位。
⑵类比方法是布拉格学派的主要研究手段之一。
通过对音位类比的研究来区分词语和语法的意义，从而达到对语言体系结构乃至文学作品结构的把握。
⑶把共时性语言学研究与历时性语言学研究结合起来.解释语言本质的最佳研究途径是对语言体系作共时性分析，但共时性分析不可能否认历史进程对语言体系的影响,要正确理解语言的结构和功能,就必须深入探讨历史的语言环境。
⑷读者阅读是作品审美价值实现的原因。
一部作品印刷成书只有潜在的审美价值，只有被读者阅读之后，其审美价值才能真正实现，且由于审美标准不同，审美价值是可变的不确定的.这些观点预示着接受美学的基本观点。
③地位影响：布拉格学派存在时间较长且较活跃,是连接俄国形式主义与英美新批评、法国结构主义的桥梁，对现代西方文论的发展产生了很大影响。
它提出的语言的功能研究、类比方法的运用、共时性与历时性研究的结合以及在对读者的转向等方面取得了令人瞩目的成就.但它过分夸大艺术形式的作用，用形式来规定文艺本质,把文学发展规律和形式发展规律等同起来。
虽然艺术形式有自身的发展规律，但从根本上来说，这一规律是由社会文化和艺术内容的发展所决定的,艺术形式无法自我规定。
且语言学方法只是一种研究文艺的手段，不能将之当成研究目的。
文学性:文学性是指文学之所以为文学的独特性质。
文学性就是文学的性质和文学的趣味,它存在于文学语言的联系和构造之中。
西方文论作业(上)答案
《西方文论》作业（上）答案第一单元一、判断正误1、西方文艺理论的源头，就是古希腊的文艺理论。
√2、毕达哥拉斯认为，宇宙的本源是“数”。
√3、毕达哥拉斯认为，天体是“大宇宙”，人是“小宇宙”，人的身体和宇宙天体一样，都由数的和谐原则统辖，而人的内在和谐可以收到外在和谐的影响，一旦两者相契合，就进入了艺术欣赏状态。
√4、贺拉克里特认为宇宙万物的本源是“火”，认为这个既不是神创造的，又不是人创造的，而是合规律地燃烧并且合规律地熄灭的活生生的永恒的火。
√5、列宁评价贺拉克里特是古代朴素的辩证法哲学的奠基人，因为他说过，人不能一次踏入两条河流。
√6、贺拉克里特是最早提出“艺术模仿自然”的古希腊哲学家。
×7、苏格拉底认为，“大的快乐来自于对美的作品的瞻仰”，因为美的作品能够给人以快感，而作家不应该追求一切种类的快乐，而只应该追求高尚的快乐。
这个观点被看做是文艺审美作用理论的萌芽。
×8、德莫克里特是古代原子论的创立者。
√9、苏格拉底一生专事教授讲学活动，但是没有留下一部著作。
他的文艺美学以及哲学思想，是由他的学生色诺芬、柏拉图等人记述下来的。
√10、苏格拉底讨论了德行和善以及美的关系问题，得出了判断美的标准就是“社会功用”的标准，这以观点导致了西方长期的美善不分，以功用代替文艺本质的批评倾向。
√二、选择1、“从蜘蛛我们学会了织布和缝补，从燕子学会了造房子，从天鹅和黄莺等歌唱的鸟我们学会了歌唱。
”这是（B ）为了说明“艺术模仿自然”的观点而举的例子。
A 贺拉克里特B 德莫克里特C 苏格拉底D 柏拉图2、（ B ）指出了动物和人的区别的标志，因为他说：“动物只要求为它所必须的东西，反之，人的要求则超过这个。
”A 马克思B 德莫克里特C 苏格拉底D 柏拉图3、（ B ）认为，“大的快乐来自于对美的作品的瞻仰”，因为美的作品能够给人以快感，而作家不应该追求一切种类的快乐，而只应该追求高尚的快乐。
这个观点被看做是文艺审美作用理论的萌芽。
(完整版)《西方文学理论》题库(含参考答案)
1.What are the origin and features of literary theory in classical times? P1-21）It originates in all societies from the very earliest times. And it is related to the Greek forms.They were tied in very tightly to specific social occasion, for instance, plays recitation of Homeric epics, epinician or victory odes were conducted in different rituals.2) a.It focused on concept genre , which sprang up almost automatically in Greek ‘literary’ theory.b. The element of ritual was modified by the element of agon or contest.c. Greek plays, epics and odes were all performed to an audience. The role of audience was inescapable.d. The textual object of Greek ‘literary’ theory is the term poiesis. It is in its relations with neighbouring areas of verbal composition.e. It makes no clear separation between the language of poiesis and the language of legal debate, or political debate, or public speaking.2. By the first century B. C., the rhetorical critics had established two important systems of classification. What are they? Expound them in details. P41)The first system of classification was a division of stylistic registers into the high (or grand), the middle (or moderate), and the low(or plain).The grand style calls for strong emotion and elevated language, the plain style calls for quiet simplicity, and relatively unadorned language, the middle style is a quiet but not simple style, it calls for sweetness, smoothness, flowingness. Each style is considered appropriate for specific audiences and specific forms of persuasion. The grand style serves to sway an audience to resolution and decision, the middle style serves to win an audience by charming conciliation, and the plain style serves to convince by argument.2)The second system was the system of tropes and figures. A trope is a deviation from the normal use of an individual word, while a figure is a deviation from the normal arrangement of words or the normal sequence of thought. The tropes include metaphor, synecdoche, and metonymy. Figures and tropes are viewed as ornaments or clothing for an already existing material and the same may be said of all other stylistic devices discussed by rhetorical critics3. What are the features of Rhetoric tradition? P51) The first feature of Rhetoric tradition is that the traditional separation of form and content is about all a tradition of rhetorical criticism.2) Another feature of the rhetorical tradition is the emphasis upon details at the expanse of larger wholes. Large-scale unity is not a major concern for the rhetorical critics.3) The last feature is that rhetorical criticism was a very conservative discipline. Its history contains no drastic challenges or revolutions of the kind associated with later literary criticism, which has typically been affected by the changeability of the object, literature.4. What are the three most plausibe criteria for defining literature? P61)The quality of dramatization.2) The quality of fictionality.3)A special figurative quality of language.5. Discuss Plato’s theory of imitation or mimesis. P6-101)Mimesis is a critical and philosophical term that carries a wide range of meanings, which include imitation, representation, mimicry, imitatio, receptivity, nonsensuous similarity, the act of resembling, the act of expression, and the presentation of the self.In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative.Plato saw in mimesis the representation of nature. Plato wrote about mimesis in both Ion and The Republic (Books II, III, and X). In Ion, he states that poetry is the art of divine madness, or inspiration. Because the poet is subject to this divine madness, it is not his/her function to convey the truth.[citation needed] As Plato has it, truth is the concern of the philosopher only. As culture in those days did not consist in the solitary reading of books, but in the listening to performances, the recitals of orators (and poets), or the acting out by classical actors of tragedy, Plato maintained in his critique that theatre was not sufficient in conveying the truth.[citation needed] He was concerned that actors or orators were thus able to persuade an audience by rhetoric rather than by telling the truth.[citation needed]In Book II of The Republic, Plato describes Socrates' dialogue with his pupils. Socrates warns we should not seriously regard poetry as being capable of attaining the truth and that we who listen to poetry should be on our guard against its seductions, since the poet has no place in our idea of God.In developing this in Book X, Plato told of Socrates' metaphor of the three beds: one bed exists as an idea made by God (the Platonic ideal); one is made by the carpenter, in imitation of God's idea; one is made by the artist in imitation of the carpenter's.2) Imitation imitates men performing actions either forced or voluntary, and believing that they are either successful or not in these actions, and feeling pain or pleasure as a result of it all.Plato also uses the term mimesis in a more restricted, though still related, sense. That is, he distinguishes between mimesis as the speech of a character directly reproduced, and diegesis as narration of doings and sayings. Plato disapproves of both imitation in general and dramatised dialogue in particular.Plato disapproval is at bottom a disapproval of any form of copying. Because, in his view, imitation cannot see through to the most real reality, the true. In drama, impersonations rub off very readily onto the impersonator, becoming lasting disposition of personality.Plato's case against mimesis in the unrestricted sense focuses upon the fact that drama and epic imitate the world of perceptual appearances.6. There are three worlds in Plato’s opinion. What are they? What are their relationship? P8-91)There is, first, the world that consists of physical bodies: of stones and of stars; of plants and of animals; but also of radiation, and of other forms of physical energy. I will call this physical world ‘world 1’.If we so wish, we can subdivide the physical world 1 into the world of non-living physical objects and into the world of living things, of biological objects; though the distinction is not sharp.There is, secondly,the mental or psychological world, the world of our feelings of pain and of pleasure, of our thoughts, of our decisions, of our perceptions and our observations; in other words, the world of mental or psychological states or processes, or of subjective experiences. I will call it ‘world 2’. World 2 is immensely important, especially from a human point of view or from a moral point of view. Human suffering belongs to world 2; and human suffering, especially avoidable suffering, is the central moral problem for all those who can help.By world 3 I mean the world of the products of the human mind, such as languages; tales and stories and religious myths; scientific conjectures or theories, and mathematical constructions; songs and symphonies; paintings and sculptures. The reality of the mental world 2 - and with it, the reality of human suffering -has been sometimes denied; more recently by certain monistic materialists or physicalists, or by certain radical behaviourists. On the other hand, the reality of the world 2 of subjective experiences is admitted by common sense.Many of the objects belonging to world 3 belong at the same time also to the physical world 1. Michelangelo’s sculpture The Dying Slave is both a block of marble, belonging to the world 1 of physical objects, and a creation of Michelangelo’s mind, and as such belonging to world 3. The same holds of course for paintings.2) In Plato's opinion, the three worlds are the world of perceptual appearances, the world of the reality of abstractions, and the world of drama,epic, ode and lyric.Plato sees the world of perceptual appearances as secondary and derivative.According to Plato, the world of perceptual appearances is nothing more than an imitation of the reality of abstractions. (艺术世界的关系没找到）7. What are the differences between Plato and Aristotle in their literary theory? P10-14(可能是论述题）1）Compared with Plato, Aristotle appears as a less absolute theorist, more interested in describing and classifying things as they are, with less regard to ultimate principles. In the Poetics, he follows Plato in defining poetry as mimesis, specifically the imitation of an action. But whereas Plato condemns mere copying, Aristotle views the impulse to mimicry as a natural healthy human impulse: （引文见课本P10）2）The difference between Aristotle and Plato arises not merely from a difference of temperament but from a difference of general conceptual framework. Aristotle's way of thinking about the world is dominated by the model of the biological organism. Clearly, the Aristotelian version of mimesis is no mere matter of passive copying.3）Aristotle claims for poetry a higher kind of truth: not the reporting of factual details but the understanding of underlying generalities. Again, this is a rebuttal of Plato and his view that poetry is cut off from the universal because it is cut off fromthe reality of pure abstractions. Aristotle envisages another kind of generality: generality of the species.4）In focusing upon emotional effect, Aristotle is promoting that very aspect of poetry to which Plato most objected. But then Aristotle does not regard the emotions as intrinsically harmful but as a natural part of human life. Aristotle challenges Plato's assumption that people who 'indulge' in fictionally-created emotions will become prone to excessive emotionality in their lives generally.8. Discuss Aristotle’s theory of tragedy. P12-15Aristotle asserts that 'the characters [ in tragedy] should be lifelike', he also asserts that 'comedy aims at representing men as worse than they are nowadays, tragedy as better'. He considers the genre of tragedy superior to the genre of epic.The main goal that Aristotle proposes for both tragedy and epic is the goal of unity-- a natural enough goal when works of art are conceived on the biological model.Other goals proposed by Aristotle have to do with audience-- effect. For tragedy, Aristotle defines a specific tragic effect, a distinctive emotional response which the genre seeks to arouse in the audience. Tragedy, he says, should represent actions capable of awakening pity and fear.Aristotle claims that the emotional experience of a tragedy brings about a catharsis (katharsis) od pity and fear in the audience.Having defined the appropriate effect of tragedy, Aristotle goes on consider the type of hero required to produce this effect. The fall of a wholly good man does not generate pity and fear. The appropriate type of hero is a man remarkable for neither virtue nor vice, for neither justice nor depravity, but a man whose fall is due to some error or weakness, some hamartia.9. What is Aristotle’s organic principle? P10-11Aristotle appears as a less absolute theorist,,more interested in describing and classifying things as they are,with less regard to ultimate principles.His way of thinking about the world is dominated by the model of the biological organism.Art imitates Nature is Aristotle’s general principle,in the sense that the arts,like Nature,work to unfold the potentials hidden within things.In deed ,since a great many accidental factors intervene to prevent things from growing as they “want”in the real world ,Aristotle even suggests that the arts may “on the basis of Nature ,carry things further than Nature can.10. What are Horace’s literary theories? P15-181)Horace’s literary theory appears especially in Epistles 2.1 and 2.2,and above all in the espitle that has come to be known as the Ars poetica.His stance is that of the experienced practioner,passing on valuable advice.Whereas Aristotle expounds principles,Horace lays down rules.2)Like the schooolroom grammarian,Horace speaks the language of right and wrong,the language of social duty.3)Horace recognises a larger number of genres than Aristotle ,including his own favourite genre of satire,But his approach is actually more limiting:less an examination of genres which happen to exist,more a designation of genres which may be allowed to exist.4)Horace’s key concept of decorum.In Horace’s way of thinking ,the ultimate goal is more easily lost gight of .5)Horace consistently views poesis as a craft,in Horace’s thinking ,”native genius “is indeed akin to aptitude .6)He continues to speak of imitating from reality.7)Horace’s new emphasis upon moral value in poetry,he institutes a bifurcation of virtue.In general,Horace’s importance to the history of literary theory lies not in any profoundly original ideas, but in the new twist that he gave to the ideas of Aristotle.11. Discuss Longinus’theory of the sublime. P19-211)For Longginus,the sublime is not just one option out of a range of options .It is the essence of all great poetry and oratory,Pinning supreme value to a special use of language,he has no time for concepts of genre.Nor is he interested in the usual rhetorical goal of persuasion.2)The element of preaching in Longinus is reminiscent of more recent manifestos in which poets or novelists have proclaimed their own new way of writing as the only true way ,But Longinus stands in outright opposition to the literary tendencies of his time.3)For Longinus ,the sublime is a matter of reader response,It is true that he also invokes the author and the need for grand ideas impregnated with a noble inspiration,”Sublimity is the echo of a noble mind”,he writes,But his theory is essentially affective,not self-expressive.4)Longinus is interested in an extremity of effect that is always in danger of topling over into absurdity.5)The sublime as defined by Longinus is virtually beyond language,or at least ordinary literal language,He is concerned with what a text commun icates rather than the writer’s uncommunicated soul.6)Longinus nonetheless gestures towards a poetic “rightness”which somehow transcends the literal meanings involved.7)He regards concision as generally inimical to the goals of transport,wonder and awe ,instead he favours the appropriate use of amplification and periphrasis ,two standard devices in the rhetorician’s armoury.12. Dante Alighieri argues that the full four levels of meaning in Biblical exegesis can also be found in secular, vernacular poetry. What are they? Give some examples to expound them.P31-3213.There is one early battle in the Renaissance between Latin and the national vernacular. What is it? Expound it in detail. P31-321)One early battle in the renaissance was fought between those who believed that the new literature should be written in latin and those who believed that it should be written in the national vernacular. On the one hand, the humanist enterprise led to the recovery of a “pure” roman latin, as distinct from the delegat ed church latin of the middle ages. However, the growing power of the centralised ruler, and the growing power of the centralised ruler corresponded to a growth of national consciousness. This curious contradiction between cultural forces and socio-political forces was resolved in favor of the socio-political forces.2)The battle was fought our first in italy the earliest reasoned argument for a vernacular literature appeared in the 14th century. The argument also became a debate between different forms of the vernacular. Finally, the continuation of the debate into the early renaissance resulted in a victory for the school.3)A side ............................quantitative verse.(32页第二段开始）4)In hindsight........................assumptions.14. Discuss the idealising strain in the early Renaissance. P33-351)The renaissance period was still creative in its relation to antiquity. But its accurate and less overwhelming.2)For literary theory, the most........publishing history（33页第二段）. Ariosto filled his romance with fantastic beings and events, and audience reaction clearly showed that such novel inventions had a special appeal of their own. The justification of marvels and the marvelous became one significant strand of renaissance theory.3)Moreover, the renaissance was still a christian age. For all the fascination of the pagan classics, there were certain christian attitudes that could not be left behind. Above all, literature had to be justified as morally useful.4)Drawing upon renaissance notions of “divine”inspiration and marvelous invention, sidney effectively outmanoeuvres the whole issue of truth.5)Theoretically, this..........................important.(35页最后一段）15. Discuss the Aristotelians’principle of verisimilitude. P39-39Verisimilitude means, literally, likeness to reality. With the principle of verisimilitude, the Italian Aristotelians gave more weight to believability, less to emotional effect;In the first place verisimilitude has nothing to do with everyday realism or the limitation of how a majority of people spend the majority of their lives; then, verisimilitude is still the way we tend to judge credibility in relation to public events; last, according to the principle of verisimilitude, credibility depends upon probability, probability depends upon truth-to-type;Of all the Italian Aristoteans, Castelvetro is the most interesting, and particularly extreme is his insistance upon verisimilitude;Considerations of verisimilitude also apply to presentation and performance.16. In the first half of the seventeenth century, there was the purification of language. Explain it in detail. P40-41From the very start of the seventeenth century, the wholesale naturalisation of foreign terms advocated by du Bellay was reversed by Francois de Malherbe, who sought to restrict and stabilise language in the interests of clear communication.During the Neoclassical period, the accolades go to perspicuity, that is, the quality of ‘see-through-able-ness’ in language.Indeed, Neoclassical writers have a general predilection for analogies to sight and light and seeing: sight being the most objectifying sense, where the subject observes at a distance and the object appears as if untouched and unmediated.17. Discuss the scientific attitude and its influence in the Neoclassical theory. P42-45Scientific attitude:the rational attitude is objective and looks out beyond what merely happens to be in the immediate vicinity of the subject.This is also the scientific attitude, in the 17tn century,scientists had had to pull down human pride in a very drastic way,displacing the Earth from the centre of the universe..Ideally,scientific attitude involves a kind of modesty in the face of the world,a willingness to accept self-reducing,self-controlling laws.1)Neoclassical literary theorists embrace this kind of modesty almost for its own sake.Critic must recognise their own limits,but it is not by looking out to the observable factual evidence that Neoclassical critics transcend the subjective point of view.2)As regards the authority of the past,Neoclassical critics believe that the writer can be just as True Nature by imitating the Greek and Roman classics as by imitating actual reality.There is a sense of self-centred pride reduced to a proper humility.3)The authority of the past was also accepted on the subject of genres. Neoclassical theory allowed only a small number of genres,and no mixing between genres.4)This attitude helps to explain the Neoclassical concept of Nature.This is not a Nature of scenes and phenomena uncontaminated by human hand,but a Nature which includes and centres upon human nature.5)Another recurring Neoclassical concept is decorum which means fittingness,Neoclassical critics give the term a bewildering multiplicity of application.18. Discuss John Dryden’s literary theory in the Neoclassical period. P46-471) In many of Dryden’s critical statements, Dryden shows himself wholly in agreement with the new trend.But he is also aware of a distinctively English literary tradition,with specific reference points in Shakespeare,Beaumont and Fletcher,Joson and Chaucer.2) He insists that different national audience have their own temperaments and requirement.The Neoclassical assumption of an essential human nature that is constant across cultures and history is here under challenge.3) Dryden’s most important piece of literary criticism,An Essay of Dramatic Poesy,is in large part a defence of English practice as against French theory,in which,drama is defined as a just and lively imageof human nature.4) Variety is a recurring concept in Dryden’s criticism.The weighting of character above action had already been advanced by the Italian Aristotelians,but Dryden gives it a distinctively English twist.5) Dryden is more important as a practical than as a theoretical critic.His appreciations and evaluation and contrast ,would loom much larger in a history of practical literary criticism.19. Discuss Samuel Johnson’s literary theory in the Neoclassical period. P47-481) Samuel’s criticism is remarkable for judgements and insights into particular authors rather than for any development of a consistent theoretical position.Johnson is essentially Neoclassical in his attitudes,but with certain very significant reservations.2) Johnson values variety:the great source of pleasure is variety.Uniformity must tire at last,though it be uniformity of excellence.3) He also places temphasis on imitating real life,and dismisses abruptly the imitation of past works of literature:No man was ever great by imitation.Nor will he allow an a priori absolute status to Neoclassical rules:there is always an appeal open from criticism to nature.4) He suspects the artificial conventionality of the well-established classical genre of the pastoral.,he also insists the moral role of literature,and requires the writer to select from nature with a moral end in view.5) He believes in starting from actual observation,like the British cist philosophers.Moving away from the apparatus of Neoclassical verisimilitude,he takes a step in the direction of modern notions of realism and the realistic.20. Discuss the concept of the sublime in the Age of Sensibility in Britain. P53-54The term has already appeared in quotes from Joseph and Thomas Warton. The general reverence for everything Classical thinking; for a long time, however, the sublime was restricted to a superficial quality of style. John Dennis regarded passion as the essential feature of poetry, and gave highest praise to religious poetry because of its power to generate sublime feelings of admiration and awe. The most important theorist of the sublime was Edmund Burke. He distinguishes between two quite different forms of aesthetic response: our sense of the beautiful versus our sense of the sublime. Although both are valuable in their own ways, it is clear that a higher level of value is associated with the greaterintensity of the sublime. Our sense of the sublime is inspired by ruggedness, irregularity, vastness, power and obscurity. Terror and fear are mind-numbing, reason-numbing emotions.21. Discuss Giambattista Vico’s literary theory. P57Vico founded the scientific study of culture.He thought that mythological thinking was determined by the early state of human language which lacked abstract terms.The early state of language is metaphorical ,and myth is a metaphorical way of thinking.He evidently entail a complete rejection of the Neoclassical perspective.Viewed in relation to myth,poetry is n longer something merely added on top of ordinary rational thinking.He argues that metaphor is thinking.(56页第三行，第十一行，第十九行，倒数第二段第三行和第十一行）22. Discuss Denis Diderot’s literary theory. P57-58Denis Diderot's paradox-loving manner foreshadows Postmodernism.He was a proponent of sensibility and the virtues of natural emotion.He thought that language already operates at a very great distance from the natural.加上57页十六行到十九行的involved.57第二段倒数第九行到faked.57页第二段最后三句话。
北语19秋《西方文论》作业1答卷【参考答案】
19秋《西方文论》作业1
试卷总分:100 得分:100
一、单选题 (共 15 道试题,共 75 分)
1.下面被视为古希腊美学的创立者的是
A.赫拉克利特
B.毕达哥拉斯
C.柏拉图
D.德谟克利特
答案:D
2.布瓦洛的著作是（）。
A.《诗艺》
B.《诗的艺术》
C.《论崇高》
D.《为诗一辩》
答案:B
3.提出“文本细读”的批评流派的是
A.英美新批评
B.结构主义
C.符号学派
D.俄国形式主义
答案:A
4.斯塔尔夫人在对喜剧的分析中，她的基本理论依据是
A.种族差异
B.社会制度
C.环境因素
D.时代特征
答案:B
5.将西方文论的发展归纳为摹仿说、实用说、表现说和客观说的著作是
A.黑格尔的《美学》
B.莱辛的《拉奥孔》
C.艾布拉姆斯的《镜与灯》
D.康德的《判断力批判》
答案:C
6.提出“二律背反”理论的是
A.黑格尔
B.柏克
C.康德
D.休谟
答案:C。
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郑州大学远程教育《西方文论》第01章在线测试答案
《《西方文论》第01章在线测试
第一题、单项选择题（每题1分，5道题共5分）
1、柏拉图没有一本专门的美学和文艺学著作，他的文艺思想散见于一些对话之中，（）将其汇编成册，题为《文艺对话集》。
A、宗白华
B、鲁迅
C、朱光潜
D、
2、亚里斯多德文论代表作是
A、《诗学》
B、《诗艺》
C、《为诗一辩》
D、
3、亚里斯多德认为悲剧的主角的命运应该是（）
A、好人由福转到祸
B、穷凶极恶的人从福落到祸
C、中等人由福转祸
D、
4、亚里斯多德认为悲剧的效果在于“激起哀怜和恐惧，从而导致这些情绪的净化”，“净化”原文是“ katharsis”（卡塔西斯），罗念生先生将其翻译为（）
A、熏陶
B、陶冶
C、提升
D、
5、在诗的功用问题上，简洁而明确地提出了“寓教于乐”说的是（）
A、苏格拉底
B、贺拉斯
C、朗吉努斯
D、
第二题、多项选择题（每题2分，5道题共10分）
1、柏拉图把世界划分为三种，分别是（）
A、理式世界
B、幻想的世界
C、现实世界
D、艺术世界
2、柏拉图列举的文艺的三条罪状，分别是（）
A、文艺不具有真实性
B、文艺亵渎神明，丑化英雄
C、文艺为贵族服务
D、文艺迎合人性中的低劣因素
3、亚理斯多德在《诗学》里拿诗和历史作比较时认为（）
A、诗人的职责不在描述已发生的事，而在描述可能发生的事
B、诗比历史更具有哲学意味
C、诗所说的多半带有普遍性，而历史所说的则是个别的事
D、历史比诗更真实、更具有普遍性
4、关于情节的安排，亚里士多德的“有机整体说”有三个要点（）
A、情节必须完整
B、情节必须曲折离奇
C、情节必须长短适度
D、情节必须有机统一
5、亚里士多德认为悲剧艺术的成分共有六个：言语、歌曲、形象（指演员造型和舞台布景），另外三个是（）
A、舞台
B、情节
C、性格
D、思想
第三题、判断题（每题1分，5道题共5分）
1、西方文论是指，以欧洲为主体的、包括北美的广大地区的文学艺术的理论，它以欧洲的文学理论为主，也兼及一部分有关绘画、音乐等其他艺术的理论形态。
正确错误
2、柏拉图率先提出了美是和谐的命题。
正确错误
3、荷马时代的人们普遍相信，文艺是由神发明的，文艺家的创作才能和灵感也是神赐予的，诗人只不过是在代神说话。
正确错误
4、贺拉斯是古希腊时期的文艺理论家。
正确错误
5、朗吉弩斯是罗马帝国晚期重要的文艺理论家，新柏拉图主义哲学的真正创始人和最有影响的代表。
正确错误
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