英美小说要素解析 To build a fire

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高三英语小说评论单选题20题(带答案)

高三英语小说评论单选题20题(带答案)

高三英语小说评论单选题20题(带答案)1.The main theme of the novel is about love and sacrifice. Which of the following is not a possible theme?A.Friendship and loyaltyB.Revenge and hatredC.Hope and perseveranceD.Greed and ambition答案:B。

本题考查对小说主题的理解。

小说的主题是爱与牺牲,友谊和忠诚、希望和毅力、贪婪和野心在不同的小说中都可能与爱和牺牲有一定关联。

而复仇和仇恨与爱和牺牲的主题相差较大。

2.In the novel, the protagonist is brave and intelligent. What quality does the protagonist lack?A.CourageB.WisdomC.CowardiceD.Determination答案:C。

主角勇敢且聪明,勇敢对应courage,聪明对应wisdom,有决心对应determination,而cowardice 是怯懦,主角不缺乏怯懦的品质。

3.The novel portrays a complex character. Which of the following is not a characteristic of a complex character?A.One-dimensionalB.FlawedC.MultifacetedD.Realistic答案:A。

复杂的人物形象具有有缺陷(flawed)、多面性(multifaceted)、现实((realistic)等特点,而一维的((one-dimensional)不是复杂人物形象的特征。

4.The setting of the novel contributes to the theme. Which of the following settings is least likely to enhance the theme of love and sacrifice?A.A war-torn cityB.A peaceful countrysideC.A busy metropolisD.A deserted island答案:C。

《了不起的盖茨比》文学五要素分析

《了不起的盖茨比》文学五要素分析

《了不起的盖茨比》文学五要素分析《了不起的盖茨比》是美国作家F·斯科特·菲茨杰拉德于1925年创作的长篇小说,被誉为20世纪最伟大的小说之一、这部小说以20世纪20年代美国为背景,通过描绘主人公盖茨比不屈不挠的追求和对梦想的执着追求,深刻剖析了美国社会的虚伪与空洞。

其文学价值在于对爱情、财富、虚荣等主题的深入挖掘,并通过一系列独特的文学要素来展现这些主题。

首先,小说涵盖了丰富的情节,从而增强了作品的吸引力和可读性。

故事以主人公尼克·卡拉威为叙述者,讲述了他在长岛上的邻居盖茨比的故事,引发了读者对盖茨比的好奇心。

小说中,盖茨比通过财富和奢华的生活方式来吸引梦中情人黛西,展示了他对黛西的深情和执着。

同时,小说还展现了20年代美国社会的暴露和矛盾,通过对冷漠和虚伪的描绘,揭示了社会道德和人际关系的脆弱性。

其次,小说中的人物塑造也是其文学要素之一、主人公盖茨比是一个富有的商人,他通过经商致富,但内心却一直向往着不可触摸的东西,即他的梦中情人黛西。

虽然他冒险改变了自己的身份,但在追求中却逐渐失去了自我的真实性,成为一个被虚荣驱使的人。

而黛西则是一个典型的小资产阶级女性,追求物质享受和社会地位,对待感情和责任缺乏诚意。

通过对这些角色的细腻描写和刻画,小说展现了社会背景对个人命运的影响。

此外,小说也通过描写细腻的环境来增强故事的真实感。

作品中的长岛代表着20年代美国经济繁荣和社交场所的繁忙,尤其是盖茨比的豪华别墅成为他奢靡生活的象征。

而小说中对于瓦莱特谷的描写则代表着腐败和浪费。

通过这些环境描绘,小说帮助读者更好地理解和感受到了社会和角色的特殊性。

总之,《了不起的盖茨比》通过丰富多样的情节、鲜明独特的人物塑造、细腻描绘的环境、巧妙运用的文学手法等文学要素的运用,揭示了20年代美国社会的矛盾和人性的脆弱。

这部小说不仅具有很高的艺术价值,而且深入挖掘了人类社会的本质和困境,对于读者来说具有深远的思考和启示意义。

to build a fire写作风格

to build a fire写作风格

to build a fire写作风格《To Build a Fire》是美国作家杰克·伦敦(Jack London)所写的一篇小说,讲述了一个人在极端寒冷的环境下点燃生火的故事。

作品的写作风格给人留下了深刻的印象,在此我将从几个方面展开分析。

一、语言简洁明了《To Build a Fire》中所使用的语言简洁明了,将读者带入了那个严峻而寒冷的环境中。

文章中的词汇多使用简单的日常用语,习惯于西部区域的俚语和传统用语,使人更容易进入故事。

例如:“It was a clear day, and yet there seemed an intangible pall over the face of things, a subtle gloom that made the day dark”(故事的开头)。

“Clear”和“day”这两个字眼本身很简单,但在随后的段落中,作者使用“intangible pall” 和“subtle gloom”这些更加抽象的词汇来说出天气的严重性,为读者呈现出一个稍稍阴暗的环境。

二、描写细腻入微作者在描写环境和气氛方面给人留下了深刻的印象。

通过对细节的刻画,让读者更加真实地呈现出这个严寒的世界。

例如,当主人公感到他的手指逐渐感到麻木时,作者表现出了他身体的反应:手无力地摸爬着,“半聚起来的手指末端成了销子似的。

”这样的描写让读者能够感同身受,产生共鸣。

同时,在细节描写的方面,作者让读者感到主人公简直就是冷的肉体反应的各个方面的奴隶。

“It travelled on its own volition now”,就是人对于自己的控制力度越来越不好时的反应,主人公直接被寒冷所支配。

三、渲染独特的西部风情《To Build a Fire》作者杰克·伦敦擅长于创作有西部风情和文化色彩的小说。

小说中,作者利用呆板和平淡的语言,成功地创造了一个生动逼真的简陋的环境,而且以此作为展现主人公与自然斗争的一个有效手段。

中考英语小说理解练习题50题含答案解析

中考英语小说理解练习题50题含答案解析

中考英语小说理解练习题50题含答案解析1. In "Jane Eyre", Jane was sent to the red - room as a punishment. What made the red - room so frightening for Jane?A. It was cold and darkB. There was a strange noiseC. She thought she saw a ghostD. All of the above答案:D。

解析:在《简·爱》中,红房子对于简来说非常恐怖。

首先它又冷又暗,这是环境上的恐怖因素。

其次里面有奇怪的声音,这增加了恐怖氛围。

而且简认为自己看到了鬼魂,综合这些因素,所以答案是D,这些都使得红房子令简害怕。

2. In "The Adventures of Tom Sawyer", Tom had to whitewash the fence. Why did his friends end up helping him?A. Tom promised to give them moneyB. Tom made it look like funC. They were afraid of TomD. They wanted to please Tom's aunt答案:B。

解析:在《《汤姆·索亚历险记》里,汤姆要刷篱笆。

他的朋友最后帮他是因为汤姆把刷篱笆这件事弄得看起来很有趣,让朋友们觉得刷篱笆是一件有意思的事情,而不是因为汤姆承诺给钱、朋友们害怕汤姆或者想取悦汤姆的姨妈,所以答案是B。

3. In "Jane Eyre", who was Mr. Rochester's mad wife?A. Blanche IngramB. Bertha MasonC. Mrs. FairfaxD. Adele Varens答案:B。

高三英语小说评论单选题20题

高三英语小说评论单选题20题

高三英语小说评论单选题20题1. In "Pride and Prejudice", Elizabeth Bennet's attitude towards Mr. Darcy changes mainly because ofA. his wealthB. his appearanceC. his characterD. his social status答案:C。

本题主要考查对《傲慢与偏见》中人物形象的理解。

A 选项“his wealth(他的财富)”不是伊丽莎白态度改变的主要原因;B 选项“his appearance(他的外表)”也不是关键因素;C 选项“his character((他的性格)”,随着剧情发展,达西先生性格中的真诚和善良逐渐展现,使得伊丽莎白改变了对他的看法,是主要原因;D 选项“his social status(他的社会地位)”并非决定性因素。

2. The theme of "To Kill a Mockingbird" can best be described asA. justice and equalityB. love and friendshipC. adventure and explorationD. power and corruption答案:A。

此题重点考查对(《杀死一只知更鸟》主题的把握。

B 选项“love and friendship(爱与友谊)”不是这部小说的核心主题;C 选项“adventure and exploration((冒险与探索)”不符合小说的主要思想;D 选项“power and corruption((权力与腐败)”并非其主要表达的内容。

A 选项“justice and equality((正义与平等)”贯穿了整个故事,是其最恰当的主题描述。

3. In "Jane Eyre", Mr. Rochester is characterized asA. cruel and selfishB. gentle and kindC. mysterious and complexD. simple and straightforward答案:C。

小说的要素英文ppt分析解析

小说的要素英文ppt分析解析

Round characters are more complex than flat or stock characters, and often display the inconsistencies and internal conflicts found in most real people. They are more fully developed, and therefore are harder to summarize. Journey to the West
The Elements of Fiction
Fiction refers to any imaginary work portraying characters and events
Elements of fiction
Classification of fiction : novel, novelette, short story. Short short story.
Setting
The setting is the physical and social context in which the action of a story occurs. The major elements of setting are the time, the place, and the social environment that frames the characters. Setting can be used to evoke a mood or atmosphere that will prepare the reader for what is to come. Sometimes, writers choose a particular setting because of traditional associations with that setting that are closely related to the action of a story.

To Build a Fire Summary

To Build a Fire Summary

《生火》是著名美国作家,捷克伦敦的著名短篇故事之一。

描写的是一个人独自在寒冷中行走,最终抵御不住严寒而冻死的故事。

《生火》是一篇经典的自然主义作品。

故事中的人藐视自然,却被自然挫败。

叙述在大雪纷飞的寒冬之际,一只狗跟着一位旅人,徒步横越阿拉斯加。

故事主要是想告诉读者这位旅人之所以能让狗乖乖地跟在他身边,完全是因为他身上有可以用来生火的火柴,可以提供这只狗在冰天雪地所需要的温暖,并不是因为狗对主人的忠心。

半个月后的一个雪夜里,这只狗悄悄的离开了这位旅人,原因是旅人不小心将身上的火柴弄湿,不能再像之前一样生火,让它度过漫漫长夜。

杰克伦敦在故事的最后写道:“这只狗在严冬的夜空下低吠,还是未见主人有生火的动静,他觉的眼前的这位主人,似乎已是无法再满足它所要的温暖,只好夹着尾巴,低着头离开,在月光下继续寻找另一个可能给予它温暖火光的主人。

” 英文版简介To Build A Fire and Other Storiesis the most comprehensive and wide-ranging collectionof Jack London's short stories 口口ailable in paperback. This superb volume brings togethertwenty-five of London's finest, including a dozen of his great Klondike stories, vivid tales of theFar North were rugged individuals, such as the Malemute Kid face the violence of man and natureduring the Gold Rush Days. Also included are short masterpieces from his later writing, plussix stories un口口ailable in any other paperback edition. Here, along with London's famous wildernessadventures and fireband desperadoes, are portraits of the working man, the immigrant, and the exoticoutcast: characters representing the entire span of the author's prolific imaginative career, in tales thath口口e been acclaimed throughout the world as some of the most thrilling short stories ever written.There is a man in Alaska who wanted a camp near Henderson Creek.And,his friends have already been thereTo Build a Fire SummaryA man travels in the Yukon (in Alaska) on an extremely cold morning with a husky wolf-dog. The cold does not faze the man, a newcomer to the Yukon, who plans to meet his friends by six o'clock at an old claim. As it grows colder, he realizes his unprotected cheekbones will freeze, but he does not pay it much attention. He walks along a creek trail, mindful of the dangerous, concealed springs; even getting wet feet on such a cold day is extremely dangerous. He stops for lunch and builds a fire.The man continues on and, in a seemingly safe spot, falls through the snow and wets himself up to his shins. He curses his luck; starting a fire and drying hisfoot-gear will delay him at least an hour. His feet and fingers are numb, but he starts the fire. He remembers the old-timer from Sulphur Creek who had warned him that no man should travel in the Klondike alone when the temperature was fifty degrees below zero.The man unties his icy moccasins, but before he can cut the frozen strings on them, clumps of snow from the spruce tree above fall down and snuff out the fire. Though building a fire in the open would have been wiser, it had been easier for the man to take twigs from the spruce tree and drop them directly below on to the fire. Each time he pulled a twig, he had slightly agitated the tree until, at this point, a bough high up had capsized its load of snow. It capsized lower boughs in turn until a small avalanche had blotted out the fire.The man is scared, and sets himself to building a new fire, aware that he is already going to lose a few toes from frostbite. He gathers twigs and grasses. His fingers numb and nearly lifeless, he unsuccessfully attempts to light a match. He grabs all his matches--seventy--and lights them simultaneously, then sets fire to a piece ofbark. He starts the fire, but in trying to protect it from pieces of moss, it soon goes out.The man decides to kill the dog and puts his hands inside its warm body to restore his circulation. He calls out to the dog, but something fearful and strange in his voice frightens the dog. The dog finally comes forward and the man grabs it in his arms. But he cannot kill the dog, since he is unable to pull out his knife or even throttle the animal. He lets it go.The man realizes that frostbite is now a less worrisome prospect than death. He panics and runs along the creek trail, trying to restore circulation, the dog at his heels. But his endurance gives out, and finally he falls and cannot rise. He fights against the thought of his body freezing, but it is too powerful a vision, and he runs again. He falls again, and makes one last panicked run and falls once more. He decides he should meet death in a more dignified manner. He imagines his friends finding his body tomorrow.The man falls off into a comfortable sleep. The dog does not understand why the man is sitting in the snow like that without making a fire. As the night comes, it comes closer and detects death in the man's scent. It runs away in the direction of the camp, "where were the other food-providers and fire-providers."。

大学英语专业推荐阅读书目

大学英语专业推荐阅读书目

英语专业学生推荐阅读书目(英汉对照)1. 美国文学简史与作品选读 [专著]/何木英,杜平主编, 2004,2. 傲慢与偏见=Pride and Prejudice/(英)简奥斯汀(Jane Austen), 2006,3. 傲慢与偏见:中英对照/[英]简奥斯汀著;刘玉成编译, 2005,4. 洛娜杜恩/(英)理多布莱克莫尔原著;赵雅君编译, 2006,5. 雾都孤儿/(英)狄更斯原著;钱颖编译, 2006,6. 艰难时世/(英)狄更斯原著;吴素君编译, 2006,7. 威克菲尔德的牧师/(英)奥利费哥尔斯密原著;王红坤编译, 2006,8. 德伯维尔家的苔丝/(英)托马斯哈代原著;贾志刚编译, 2006,9. 白衣女人/(英)威尔基柯林斯原著;袁曦编译, 2006,10. 化身博士/(英)史蒂文森原著;危薇编译, 2006,11. 大卫科波菲尔:中英对照/(英])更斯著;张宏中编译, 2005,12. 德拉库拉/(英)Bram Stoker著;(英)Diane Mowat改写;商海燕译, 200313. “慷慨”号上的叛乱:[英文插图本]/[英]William Bligh[著];[郑红译注], 2002,14. 远大前程:[英文插图本]/[英]Charles Dickens[著], 2002,15. 双城记:[英文插图本]/[英]Charles Dickens[著], 2002,16. 呼啸山庄/(英)勃朗特(Emily Bronte)著;(英)韦斯特(Clare West)改写;赵兵译, 199717. 简爱=Jane Eyre/(英)Charlotte Bronte原著;Evelyn Attwood简写;陈小眉译, 1981,18. 蝴蝶梦:中英对照/[英]达夫妮杜穆里埃著;周亮编译, 2005,19. 生命之爱:英汉对照/(英)汉考克(Penny Hancock)著;黎松峭译, 2002,20. 孤身复21. 仇记/(英)Alan Maley著;温向东译, 2002,22. 海豚之歌:英汉对照/(英)Antoinette Moses著;石显富,黄秀云译, 2002,23. 柯南道尔作品选:中英对照/[(英)柯南道尔(Arthur Conan Doyle)著];刘青译注, 2001,24. 占有/(美)A.S.拜厄特(A.S.Byatt)著, 2000,25. 简萨默斯的日记/(英)多丽丝莱辛(Doris Lessing)著, 2000,26. 三十九级台阶/(英)John Buchan著;[英]Nick Bullard改写;王云译27. 达罗卫夫人 [中译文]/(英)沃尔夫(Virginia Woolf) 著;(英)米弗姆(John Mepham) [注释28. 莎士比亚名29. 篇赏析/黄必康编著, 2005.06,30. 李尔王:中英文对照全译本/(英)莎士比亚著;朱生豪译, 2001,31. 奥瑟罗:中英文对照全译本/(英)莎士比亚著;朱生豪译, 2001,32. 四大喜剧:无事自扰仲夏夜梦威尼斯商人第十二夜:中英对照/[(英)莎士比亚著];梁实33. 四大悲剧:马克白哈姆雷特李尔王奥赛罗:中英对照/[(英)莎士比亚著];梁实秋译,34. 托马斯哈代的卡斯特桥市长/[美][K.索博尔]Ken Sobol著;刘芊,覃荣译, 1997,35. 第十二夜 [中译文]=Twelfth Night/(英)莎士比亚(Shakespeare,W.)著;朱生豪译,杨小川36. 仲夏夜之梦 [中译文]=A Midsummer Night's Dream/(英)莎士比亚(Shakespeare,W.)著;朱生37. 罗密欧与朱丽叶 [中译文]=Romeo and Juliet/(英)莎士比亚(Shakespeare,W.)著;朱生豪38. 哈姆莱特 [中译文]=Hamlet/(英)莎士比亚(Shakespeare,W.)著;朱生豪译,杨小川编, 239. 无事生非 [中译文]=Much Ado About Nothing/(英)莎士比亚(Shakespeare,W.)著;朱生豪40. 威尼斯商人 [中译文]=The Merchant of Venice/(英)莎士比亚(Shakespeare,W.)著;朱生41. 麦克白 [中译文]=Macbeth/(英)莎士比亚(Shakespeare,W.)著;朱生豪看不42. 见的人 [夫埃里森(Ralph Ellison)著, 2000,43. 简萨默斯的日记/(英)多丽丝莱辛(Doris Lessing)著译,杨小川编, 2001,44. 爱丽思漫游奇境记:中英对照/[英]卡罗尔(Lewis Carroll)著;李敏中译, 2004,45. 北回归线 [中译文]=TROPIC OF CANCER/(美)亨利米勒(Henry Miller) 著;亦霖注释,46. 查尔斯狄更斯的艰难时世/[美][P.M.奥乔杰斯基]Paul M.Ochojski著;姜红译, 1997,47. 亨利詹姆斯的贵妇画像/[美][V.基诺安]Vartkis Kinoian著;章汝雯译, 1997,48. 托马斯哈代的还乡/[美][C.L.莱维特]Charles L.Leavitt,[美][E.S.莱维特]Emily S.Leavi 2. Other English Works49. 最经典的短篇小说:汉英珍藏版/徐翰林编译, 2006.11,50. 英语散文精品赏析/程梅编著, 2005,51. 英美小说要素解析/林六辰编著, 2004.07,52. 巴黎圣母院:英汉对照/(法)雨果(V.Hugo)著;王怀远译注, 1986,53. 英语现代散文选/李汝仪,章祖德选注, 1983,54. 英文名55. 篇鉴赏金库散文卷/辜正坤主编, 2006,56. 英文名57. 篇鉴赏金库电影卷/钱锋, 刘爱萍58. 编著, 2005,59. 英美文学赏析教程散文与诗歌/罗选民主编, 2002,60. 英文名61. 篇鉴赏金库诗歌卷/辜正坤主编, 2000,62. 英文名63. 篇鉴赏金库小说卷/王占梅,蔡丽文编著, 2000,64. 世界上最美的诗歌:全新中英对照版/(英)托马斯哈代(Thomas Hardy)等著;成应翠编著, /Richard A. Lanham, 2004,65. 经典英语短篇小说赏析= Classic short stories in English/王玲主编, 2005,66. 彼得潘:[英文插图本]/[英]J. M. Barrie[著], 2002, H319.4:I/B11467. 丛林历险记:[英文插图本]/[英]Rudyard Kipling[著], 2002,68. 世界上最美的诗歌:全新中英对照版/(英)托马斯哈代(Thomas Hardy)等著;成应翠编著,69. 浪漫短诗/朱孝愚, 张爱民编译, 2006,70. 英文经典歌词赏析/袁晓波, 倪志磊, 谢宜兴编著, 2005,71. 英语爱情诗歌精粹/程雪猛等编译, 2000,72. 二十世纪西方文论选读:[英语读物]/张中载,王逢振,赵国新编, 2002,73. 时尚英语主题阅读精美散文篇/翁云凯主编, 200774. 现代美文阅读:[英汉对照]/冯其良,董西华编著, 2006,75. 最伟大的演说辞:汉英珍藏版/徐翰林编译, 2006,76. 西方经典演讲辞:英汉对照本/《西方元典》编委会主编;吴群芳编译, 2005.08,77. 世界上最美丽的英文:爱与人生= Love and Life/赵妍编, 200578. 西方经典情书:英汉对照本=Western classical love letters/《西方元典》编委会主编;79. 人类最伟大的声音= The greatest speeches in the world:全新中英对照版/(美) 亚伯拉希80. 腊罗马神话与西方民间传说:英汉对照=Classical Mythology & Western Legends/郝澎编81. 杜甫诗选:汉英对照/[(唐)杜甫著];(新西兰)路易艾黎(Rewi Alley)英译, 2003,82. 阿Q正传:[汉英对照]/鲁迅著;杨宪益,戴乃迭译, 2003,83. 中国现代名84. 家短篇小说选:汉英对照/老舍85. 等著;沙博理等英译, 2002,86. 彷徨:[汉英对照]/鲁迅著;杨宪益,戴乃迭译, 2002,87. 鲁迅诗选:[汉英对照]/鲁迅著;(英)W.J.F.詹纳尔(W.J.F.Jenner)译, 2002,88. 嬉雪:中国当代女性散文选:汉英对照本/朱虹,周欣编, 2002,89. 日出:汉英对照/曹禺著;(英)巴恩斯(Barnes)译, 2001,90. 雷雨:[汉英对照]/曹禺著;王佑良,巴恩斯译, 2001,91. Tales of Prime Ministers in Ancient China/程宇编译, 2001,92. 关汉卿杂剧选二:汉英对照/[(元)关汉卿著];杨宪益,戴乃迭译, 2001,93. 关汉卿杂剧选一:汉英对照/[(元)关汉卿著];杨宪益,戴乃迭译, 2001,94. 长生殿:汉英对照/(清)洪昇95. 著;杨宪益,戴乃迭译, 2001,96. 茶馆:[汉英对照]/老舍97. 著;霍98. 华译, 2001,99. 骆驼祥子:汉英对照/老舍100. 著;施晓菁译, 2001,101. 太平广记选:汉英对照/(宋)李〓等编;张光前译, 2001,102. 聊斋志异选:汉英对照/(清)蒲松龄著;(美)丹尼斯马尔(Denis C.Mair),(美)维克多马尔(Vi 103. 汉魏六朝小说选:汉英对照读物/杨宪益,戴乃迭译, 2001,104. Six Classical Chinese Comedies/[钟元编], 2001,105. 鲁迅小说选:[汉英对照]/鲁迅著;杨宪益,戴乃迭译, 2000,106. 倘若鸟儿回还:百味人生美文精选:英汉对照/明廷雄译注, 2001,107. 东坡诗文选:[中英对照]/[(宋)苏东坡著];林语堂译, 2002,108. 爱的教育:中英对照/(意)亚米契斯著;徐立编译, 2005,109. 宋词:[汉英对照]/聂鑫森今译;杨宪益,戴乃迭等英译, 2001,110. 诗经:汉英对照/野莽今译;杨宪益,戴乃迭等英译, 2001,111. 女神:汉英对照/郭沫若著;( )勒斯特(Jong Lester),( )巴恩斯(A.C.Barnes)译, 2001 112. 英语电影对白:英汉对照, 2003,113. 汉英对照《千家诗》/郭著章,傅惠生等编译, 2004,114. 安徒生童话精粹:英汉对照/(丹)安徒生(Hans Christian Andersen)原著;( )W.A.Craigi 欣中译, 2003,大学生读书目录推荐1.《语言问题》赵元任著,商务印书馆,1980年版2.《语言与文化》罗常培著,语文出版社,1989年版3.《汉语语法分析问题》吕叔湘著,商务印书馆,1979年版4.《修辞学发凡》陈望道著,上海教育出版社,1979年版5.《汉语方言概要》袁家骅等著,文字改革出版社,1983年版6.《马氏文通》马建忠著,商务印书馆,1983年版9.《中国语言学史》王力著,山西人民出版社,1981年版12.《普通语言学教程》(瑞士)索绪尔著,高名凯译,岑麒祥、叶蜚声校注,商务印书馆,19814.《西方语言学名著选读》胡明扬主编,中国人民大学出版社,1988年版15.《应用语言学》刘涌泉、乔毅编者,上海外语教育出版社,1991年版20.《文心雕龙选译》刘勰著,周振甫译注,中华书局1980年版22.《西方文艺理论史精读文献》章安祺编,中国人民大学出版社1996年版23.《20世纪西方美学名著选》蒋孔阳主编,复旦大学出版社1987年版24.《西方美学史》朱光潜著,人民文学出版社1979年版25.《文学理论》(美)韦勒克、沃伦著,刘象愚等译,三联书店1984年版26.《比较文学与文学理论》(美)韦斯坦因著,刘象愚译,辽宁人民出版社1987年版35.《李白诗选》复旦大学中文系古典文学教研组选注,人民文学出版社1977年版36.《杜甫诗选》萧涤非选注,人民文学出版社1985年版41.《唐宋词选》中国社科院文学所编,人民文学出版社1982年版46.《西厢记》王实甫著,王季思校注,人民文学出版1978年版47.《三国演义》罗贯中著,人民文学出版社1957年版48.《水浒传》施耐庵著,人民文学出版社1975年版49.《西游记》吴承恩著,人民文学出版社1955年版51.《牡丹亭》汤显祖著,人民文学出版社1982年版52.《聊斋志异选》张友鹤选注,人民文学出版社1978年版53.《儒林外史》吴敬梓著,人民文学出版社1977年版54.《红楼梦》曹雪芹著,人民文学出版社1982年版57.《老残游记》刘鹗著,人民文学出版社1959年版58.《鲁迅小说集》人民文学出版社1979年版60.《女神》郭沫若著,人民文学出版社1978年重印版61.《郁达夫小说集》浙江人民出版社1982年版63.《子夜》茅盾著,人民文学出版社1994年版64.《家》巴金著,人民文学出版社1979年版65.《沈从文小说选集》,人民文学出版社1982年版66.《骆驼祥子》老舍著,人民文学出版社1999年版67.《曹禺选集》曹禺著,人民文学出版社1978年版69.《围城》钱钟书著,人民文学出版社1980年版73.《茶馆》老舍著,收《<茶馆><龙须沟>》,人民文学出版社1994年版78.《中国当代文学作品选》王庆生主编,华中师范大学出版社1997年版79.《希腊的神话和传说》(德)斯威布著,楚图南译,人民文学出版社197782.《哈姆莱特》(《莎士比亚悲剧四》)卞之琳译,人民出版社1988年版83.《伪君子》(法)莫里哀著,李健吾译,上海译文出版社1980年版84.《浮士德》(德)歌德著,董问樵译,复旦大学出版社1982年版85.《悲惨世界》(法)雨果著,李丹、方于译,人民文学出版社1978-1983年版86.《红与黑》(法)司汤达著,郝运译,上海译文出版社1986年版87.《高老头》(法)巴尔扎克著,傅雷译,人民文学出版社1954年版88.《双城记》(英)狄更斯著,石永礼译,人民文学出版社1993年版89.《德伯家的苔丝》(英)哈代著,张谷若译,人民文学出版社1957年版91.《安娜·卡列尼娜》(俄)托尔斯泰著,周扬、谢索台译,人民文学出版社1978年版92.《母亲》(俄)高尔基著,瞿秋白等译,人民文学出版社1980年版93.《百年孤独》(哥伦比亚)加西亚·马尔克斯著,黄锦炎等译,上海译文出版社,1984年版97.《泰戈尔诗选》(印)冰心译,湖南人民出版社1981年版99.《一千零一夜》(阿拉伯)纳训译,人民文学出版社1957年版100.《外国文学作品选》(两卷本)郑克鲁编,复旦大学出版“英美文学”必读作品“英美文学”为外语系英语专业三年级学生在第五、六学期所开设的专业课。

英美小说要素解析1

英美小说要素解析1
the textbook.
1. Be here! Attendance will be recorded and it is part of your final score.
2. Don’t be late. If you are, say you’re sorry. 3. Don’t have any kind of food here. 4. No cell phone can be used in the
Dickens wrote flat characters superbly well. Nearly every one can be summed up in a sentence, and yet there is this wonderful feeling of human depth. Probably the immense vitality of Dickens causes his characters to vibrate a little, so that they borrow his life and appear to lead one of their own.
/wiki/Novel
A novel is a book of long narrative in literary prose.
Prose: the most typical form of language, applying ordinary grammatical structure and natural flow of speech rather than rhythmic structure (as in traditional poetry).
A specific novel can have these "eternal qualities" of art, this "deeper meaning" an interpretation tries to reveal.

素解析Tobuildafire

素解析Tobuildafire

man failled to fight against the nature, and in the end, he is dead. On the
contrary, the dog survived.
On the other hand, in this story, we describe many of the natural
environment, which is to highlight strong power of nature and human's
wekness, helplessness. Although the man is trying to compete with the
natural, but ultimately failed to break the control of the natural
4. The whole story shows the depression and melancholy.
4
How does London's prose style(particularly his use of imagery) serve to eatablish and then to intensify that mood?
London’s Writting Style
Social Darwinism: the survival of the fittest
Naturalism mingled with Romanticism Forceful and colorful
Subjectivity and enthusiasm His characterizations were often stiff and

英文小说从要素分析

英文小说从要素分析

Elements of Fiction - A Brief IntroductionA. Primary Elements: Plot, Character, Theme, Points of View, Symbol, SettingB. Secondary Elements: Imagery, Irony, Style & Tone, Exposition1. Plot - the sequence of events or incidents of which the story is composed/the arrangement of events that make up a story/the complete pattern or design of the work.A. Conflict is a clash of actions, ideas, desires or wills.a.Person against person.b.P erson against environment- external force, physicalnature, society, or "fate."c.Person againstherself/himself - conflictwith some element inher/his own nature; maybephysical, mental, emotional,or moral.d.P erson against God-Greekmythology.B. Artistic Unity - essential to a good plot; nothing irrelevant that does not contribute to the total meaning; nothing that is there only for its own sake or its own excitement.C. Plot Manipulation and Fabulation - a good plot should not have any unjustified or unexpected turns or twists, no false leads, and no deliberate and misleading information; fabulation is the introduction of the fabulous or unrealistic or gothic elements in an otherwise realistic setting.D. Story Ending: In a Happy Ending thestereotypical expectation is that the protagonist must solve all the problems, defeat the villain, win the girl, and live happily everafter. Unfortunately, many real life situations have unhappy endings; for the writers of serious fiction, the unhappy endings are more likely to raise significant issues concerning life and living.E. Types of Plot:a. Tragedy(noble)b. Comedy(less great/noble)c. Romance(less great/noble)d. Satire (used to teach lesson or present a point of viewF. Use of Plot:a. The structure of its actionsb. Order: 1st, 2nd, 3rd…c. To create(The author uses actions as a painter uses paints to create)d. To achieve particular words to create certain effect2. CharacterA. Direct Presentation - author tells us straight out, by exposition or analysis, or through another character.B. Indirect Presentation - author shows us the character in action; the reader infers what a character is like from what she/he thinks, or says, or does. These are also called dramatized characters and they are generally consistent (in behavior), motivated (convincing), and plausible (lifelike).C. Character Types - a Flat character is known by one or two traits; a Round character is complex and many-sided; aStock character is a stereotyped character (a mad scientist, the absent-minded professor, the cruel mother-in-law); a Static character remains the same from the beginning of the plot to the end; and a Dynamic (developing) character undergoes permanent change. This change must be a. within the possibilities of the character; b. sufficiently motivated; and c. allowed sufficient time for change.D. Protagonist and Antagonist - the protagonist is the central character, sympathetic or unsympathetic. The forces working against her/him, whether persons, things, conventions of society, or traits of their own character, are the antagonists.3. Theme - the controlling idea or central insight. It can be 1. a revelation of human character; 2. may be stated briefly or at great length; and 3. a theme is not the "moral" of the story.A. A theme must be expressible in the form of a statement - not "motherhood" but "Motherhood sometimes has more frustration than reward."B. A theme must be stated as a generalization about life; names of characters or specific situations in the plot are not to be used when stating a theme.C. A theme must not be a generalization larger than is justified by the terms of the story.D. A theme is the central and unifying concept of the story. It must adhere to the following requirements:1. It must account for all the major details of the story.2. It must not be contradicted by any detail of the story.3. It must not rely on supposed facts - facts not actually stated or clearly implied by the story.E.There is no one way of stating the theme of a story.F. Any statement that reduces a theme to some familiar saying, aphorism, or clichéshould be avoided. Do not use "A stitch in time saves nine," "You can't judge a book by its cover, " "Fish and guests smell in three days," and so on.。

to build a fire 理解 高考

to build a fire 理解 高考

转自独行者的博客地址:In this essay, I intend to review the short story of To Build a Fire byJack London in three aspects: the setting, the characters and my thought about the theme of this novel.Since the main purpose is to present my thought about the theme of the story, I have no intention in wasting a lot of words on the useless summary of the novel downloaded form the Internet. Besides, discussion about the author Jack London is also skimmed, although it may be useful in the understanding of this novel. Instead, the background and characters is talked about first, which, I think, is important and helpful to understand this novel Then my viewpoint about the theme is naturally concluded. Here, I should mention that some essays and analyses about To Build a Firein the net have been read before I wrote this essay.1 The setting,the psychological time or place in a storyWhat impresses me most, when I read this novel in the first time, is the vivid description of the environment by the author.“The Yukon lay a mile wide and hidden under three feet of ice. On top of this ice were as many feet of snow. It was all pure white, rolling in gentle undulations where the ice-jams of the freeze-up had formed. North and south, as far as his eye could see, it was unbroken white, save for a dark hair-line that curved and twisted from around the spruce- covered island to the south, and that curved and twisted away into the north, where it disappeared behind another spruce-covere d island.”These words present me a “dim and little-traveled” land, extreme cold, white and with no sign of life. As a boy from southeast China, I had no experiences and even imaginations of extreme cold. Similar to the traveler, “the tremendous cold, and the strangeness and weirdness of it all--made no impression on” me. However, I was quickly shocked by the idea of extreme cold conveyed by the author in the following dialogue,“It did not lead him to meditate upon his frailty as a creature of temperature, and upon man's frailty in general, able only to live within certain narrow limits of heat and cold; and from there on it did not lead him to the conjectural field of immortality and man's place in the universe.”This is a description of the extreme cold from another perspective (the meditation of author), indicating that the environment is so cold and hard that man doesn’t belong it. Furthermore, the description seems to betray the theme of the novel: man and nature, namely, the author in the beginning of the novel has put the question about the relation between man and nature or man’s position in the nature forward. (This is an old topic. Our Chinese ancestor’s viewpoint seems to be rational and acceptable, that is, harmonization of man and nature (天人合一). And it has gradually accepted by the international community. That’s why we tend to use the word “communicate” instead of “conquer” in the anniversary of successful climbing Everest of 100 years.)Since the environment has much importance to do with the plot and theme of the novel, apart from his direct description and narration about cold, London made use of the hero’s action to make extreme cold seem to be more vivid and believable.“As he turned to go on, he spat speculatively. There was a sharp, exp losive crackle that startled him. He spat again. And again, in the air, before it could fall to the snow, the spittle crackled.”“He was surprised, however, at the cold. It certainly was cold, he concluded, as he rubbed his numbed nose and cheek-bones with his mittened hand. He was a warm-whiskered man, but the hair on his face did not protect the high cheek-bones and the eager nose that thrust itself aggressively into the frosty air.”“The frozen moisture of its breathing had settled on its fur in a fin e powder of frost, and especially were its jowls, muzzle, and eyelashes whitened by its crystalled breath.”“There was nobody to talk to and, had there been, speech would have been impossible because of the ice-muzzle on his mouth. So he continued monotonously to chew tobacco and to increase the length of his amber beard.Once in a while the thought reiterated itself that it was very cold and that he had never experienced such cold.”“He started to untie his moccasins. They were coated with ice; the thick German socks were like sheaths of iron half-way to the knees; and the mocassin strings were like rods of steel all twisted and knotted as by some conflagration. For a moment he tugged with his numbed fingers, then, realizing the folly of it, he drew his sheath-knife”All these mentioned above provide a setting, a man traveled in an extreme cold palace alone, which accounts much for the success of this short story. Were there not extreme cold environment and a lonely traveler, there is no attracting story. Furthermore, the theme what the author tried to express would become impossible. It is not exaggerated to say, it is this vivid setting that succeed in making me, a boy form southeast, experience an extreme cold story, and force me to think the relation between man and nature implied in the story.2 CharactersApart from the background (the vivid description of nature), the successful portraying of characters also contributes much to the theme of To Build a Fire. There are two main characters existing in the novel: a man and a dog, one symbolizing human being or social life form and the other natural life form. Besides, other two characters are also worth mention, although they are not notable, that is,the old-timer, representing the law of nature, and the boys, representing the ambition and desire of human being.The man is a person whose goal at the start of the story is to reach the camp to meet "the boys," presumably to prospect for gold. In To Build a Fire he is purposely not given a name, as the man is a representative of rational and intelligent human beings. Here, some persons maybe argue that he is not rational and intelligent enough to symbolize the whole human race, for his own faults results his death. However, in my viewpoint, he is still intelligent and rational although he died in the end. My evidence lies in the following paragraphs:“He was keenly observant, and he noticed the changes in the creek, the curves and bends and timber- jams, and always he sharply noted where he placed his feet.”“He knew that the coldest snaps never froze these springs, and he knew likewise their danger. They were traps. They hid pools of water under the snow that might be three inches deep, or three feet.”“He had felt the give under his feet and heard the cra ckle of a snow-hidden ice-skin. And to get his feet wet in such a temperature meant trouble and danger.”“He did not expose his fingers more than a minute, and was astonished at the swift numbness that smote them. It certainly was cold. He pulled on the mitten hastily, and beat the hand savagely across his chest.”These mentioned above are good examples of his caution, betraying his intelligence. His intelligence also presents in his building a fire.“He threw down several large pieces on top of the snow. This served for a foundation and prevented the young flame from drowning itself in the snow it otherwise would melt. The flame he got by touching a match to a small shred of birch-bark that he took from his pocket. This burned even more readily than paper. Placing it on the foundation, he fed the young flame with wisps of dry grass and with the tiniest dry twigs.”And he also know that“ the circulation of wet and freezing feet cannot be restored by running when it is seventy-five below. No matter how fast he runs, the wet feet will freeze the harder.”Even after his fire to save his life was put out by the snow, he still tried to keep calm and remain rational.“He was busy all the time they were passing through his mind, he made a new foundation for a fire, this time in the open; where no treacherous tree could blot it out. Next, he gathered dry grasses and tiny twigs from the high-water flotsam. He could not bring his fingers together to pull them out, but he was able to gather them by the handful. In this way he got many rotten twigs and bits of green moss that were undesirable, but it was the best he could do. He worked methodically, even collecting an armful of the larger branches to be used later when the fire gathered strength.”“Small pieces of rott en wood and green moss clung to the twigs, and he bit them off as well as he could with his teeth.He cherished the flame carefully and awkwardly. It meant life, and it must not perish.”Hence, the man is intelligent and rational. Meanwhile, his mistake in building a fire should not be ignored, that is, building a fire under a spruce tree, which account much for his death. However, it cannot be used as a proof to argue that he is stupid, for “he was a new-comer in the land, a chechaquo, and this was his firs t winter.”In Author’s words, it is his "own fault or, rather, his mistake,"namely, it is mistake rather than a fault. The latter implies full responsibility, whereas the former suggests an isolated incident out of one's control. Instead of weakening the point that he is intelligent and rational man, this mistake strengthens the fact that he is a common person, who will make mistake in daily life. It is the extreme environment that makes this small mistake claim his life.As a matter of fact, his ignorance to the old-timer’s admonition rather than his building fire under tree has implied the man’s death. The admonition is the law, to which naturewill not allow any defiance. Under the environment not belonged to human beings or, rather, the social life form, the force and law of nature decides everything. In the beginning of the story, the author has implied the hero’s destine.“It did not lead him to meditate upon his frailty as a creature of temperature, and upon man's frailty in general, able only to live within certain narrow limits of heat and cold; and from there on it did not lead him to the conjectural field of immortality and man's place in the universe.”However, it is also not his fault, as he is not a dog, the wide animal, which “was depressed by the tremendous cold” and “knew that it was no time for traveling.” Instead, he is human being, with ambitions. He wants to go to the camp and together with boys. Therefore, his ambition decides his death. Meanwhile, it also confirms his role, the representative of human being as well as a challenger to the force of Nature.Dissimilar to the man, the dog has no intelligence and ration, but it has instinct.“The dog did not know anything about thermometers. Possibly in its brain there was no sharp consciousness of a condition of very cold such as was in the man's brain. But the brute had its instinct. It experienced a vague but menacing apprehension that subdued it and made it slink along at the man's heels, and that made it question eagerly every unwonted movement of the man as if expecting him to go into camp or to seek shelter somewhere and build a fire.”“This man did not know cold. Possibly all the generations of his ancestry had been ignorant of cold, of real cold, of cold one hundred and seven degrees below freezing-point. But the dog knew; all its ancestry knew, and it had inherited the knowledge.”The best comparison between human and dog lies in the following sentence.“It made quick efforts to lick the ice off its legs, then dropped down in the snow and began to bite out the ice that had formed between the toes. This was a matter of instinct. To permit the ice to remain would mean sore feet. It did not know this. It merely obeyed the mysterious prompting that arose from the deep crypts of its being. (Dog) But the man knew, having achieved a judgment on the subject, and he removed the mitten from his right hand and helped tear out the ice- particles. He did not expose his fingers more than a minute, and was astonished at the swift numbness that smote them. It certainly was cold. He pulled on the mitten hastily, and beat the hand savagely across his chest. (Man)”Hence, the dog represents pure instinct, a sign of nature and obedience to the force of nature. Unlike the man, who requires the products of intellectual civilization--warm clothing, matches, maps, thermometers--the dog simply uses its own natural advantages--fur, a keen sense of smell and an instinctive understanding of the cold. Perhaps more importantly, the dog has no ambition and it knows how to harmonize with Nature. Although the lack of intelligence deprives it from the ability to build a fire, it ensures the dog never to be a challenger, which makes it survive its host.The rest two characters only exist in the hero’s thought.His attitude towards old-timer changes from respect to scoff, then to believe again andfinally to admit the old-timer is right.“He remembered the advice of the old-timer on Sulphur Creek, and smiled. The old-timer had been very serious in laying down the law that no man must travel alone in the Klondike after fifty below. Well, here he was; he had had the accident; he was alone; and he had saved himself. Those old-timers were rather womanish, some of them, he thought.”“Perhaps the old-timer on Sulphur Creek was right. If he had only had a trail-mate he would have been in no danger now. The trail-mate could have built the fire.”“ "You were right, old hoss; you were right," the man mumbled to the old-timer of Sulphur Creek.”In fact, the old-timer and his admonitions never change in the whole story, as the admonition is the law, which is proofed by many people’s death and finally including the hero himself.As for the boys in the camp, they are symbolized as ambitions in the innermost recess of hero’s heart. It is w hat motivates him to adventure in the wasteland lonely; it is what promotes him never to give up; it is what finally claims his life. Even before his death, the hero still holds his ambitions.“He pictured the boys finding his body next day. Suddenly he f ound himself with them, coming along the trail and looking for himself. He did not belong with himself any more, for even then he was out of himself, standing with the boys and looking at himself in the snow.”The man realizes his dream in the dream. It is hard to say that whether it is a happy end or a sarcastic end.3 the main theme of the storyDifferent people have different opinions about the theme of To Build a Fire. However, after the analysis in the background and characters, one main theme of this story seems to be self-evident, that is “man's place in the universe”.The author tried to remind people of the importance to know themselves, which can be understand in the following four aspects:In the first place, he used determinism to awaken people to the fact that human being is not God. Although man is intelligent and rational, he has no completely free will; instead, he is shaped, or determined, by their environment and biology. He is inevitable to make mistake in life and no matter how cautious in action, he is doom before he is obedient to the blind force of nature.“It grew like an avalanche, and it descended without warning upon the man and the fire, and the fire was blotted out!”Secondly, he pointed out that man is not an animal. Man is intelligent and rational. He can learn, study and analyze. Furthermore, he is ambitious. Although the blind force of Nature is awing, man is destined to challenge it. That’s why man is more grandeur than animal.Thirdly, he implied the power of intelligence should not be exaggerated through the cynical end of the story. Though the man is more intelligent, for example, he usescomplicated tools (matches) to build a fire; he understands how cold it is through temperature readings; he identifies where he is (Henderson Creek, the Yukon) through language on a map, the dog survives the man in the end. It is Nature that decides everything.Finally, London strengthened his viewpoint that the law of Nature should be respected. Nature is indifferent to human’s existence a nd struggle, but human can take advantage of their intelligence and ambition to understand Nature. As long as the law of Nature is being revealed, man can realize his dream and ambition in Nature.To conclude, London attempted to inquire an old but also maybe eternal topic in the story: man’s position in the universe, or in other word, how to live harmoniously with Nature. Reader can find different answers in the novel, optimistic or pessimistic. In my viewpoint, the combination of four points of what I mentioned above is a acceptable and rational answer.。

To_Build_a_Fire_《生火》中文翻译_杰克伦敦1

To_Build_a_Fire_《生火》中文翻译_杰克伦敦1

之欧侯瑞魂创作To Build a Fire, 杰克伦敦作品《生火》是著名美国作家, 杰克伦敦的著名短篇故事之一.描写的是一个人单独在寒冷中行走, 最终抵挡不住严寒而冻死的故事.《生火》是一篇经典的自然主义作品.故事中的人藐视自然, 却被自然挫败.生火原文如下:天气又阴又冷, 他离开了育空河主道, 爬上了高高的河堤, 看见一条模糊的、人迹罕至的小径穿过茂密的云杉森林, 延伸至东部地域.河堤峻峭, 他爬到顶部停下来喘了口气, 顺便看了下手表.现在是早晨9点钟, 尽管天空中没有一片云彩, 连一点点太阳的影子都没有.这虽说是个年夜晴天, 但所有物体的概况都好像蒙上了一层黑幕, 有一种难以捉摸的黑暗把白天酿成了黑夜, 而这都归因于天上没有太阳.这些倒不让他担忧.他已经习惯了没有太阳的日子.上次看见太阳已经是好几天前的事了, 他知道还要再过几天才华看到那令人振奋的星球.在南方尽头, 地平线已经隐约可见, 或者不外是在视线之外的一点点的处所. 他回头沿着走过的路望去, 一英里宽的育空河隐藏在三尺厚的冰下.冰面上覆盖了几尺厚的积雪.处处是白茫茫的一片, 封冻的冰面被挤压出一条温柔的曲线, 此起彼伏.不论往北还是往南, 视力所及之处, 全是白茫茫的一片.只有一条头发丝一样的线, 弯弯曲曲的从南边的一座被冰雪覆盖的岛屿蜿蜒至南方, 消失在另一座冰雪覆盖的岛屿的后面.这条黑线就是那条路那条主干道它向南延伸50里到其库特隘口、代亚和盐湖, 向北延伸70里到道森, 继续走1000里就到了奴拉图, 最终通向白令海边的圣迈克尔不外, 那还得走1500多里. 可是, 所有的这一切那神秘、遥远的头发丝般的路途、没有太阳的天空、刺骨的寒风以及随之而来的陌生和古怪的感觉, 都没能对他发生影响.其实不是因为他长期生活在这种环境下, 已经适应了, 他只是个新来的, 这也是他在此地渡过的第一个冬季.他的问题在于缺乏想象力.因为他只对活着的生物反应敏锐警觉, 但也只限于活物自己, 而不是看意义层面.零下50 就是华氏冰点下80 .这种情况也只是让他感觉像得了感冒, 身体不舒服而已.这并没有让他想到自己是个恒温植物, 这是人类所具有的、一个无法克服的缺陷只能在很有限的温度区间内生存, 他想不到这是人类在宇宙中的位置.要抵挡继续零下50 的严寒和冰冻带来的伤害, 必需要有手套、耳套、温暖的鹿皮靴和厚厚的袜子.零下50 对他来说就只是零下50 .这对他意味着什么, 他却从未想过.他继续行走, 随意吐了口痰, 却被一种尖锐、爆裂的劈啪声震惊了.他又吐了一口.然后又试了一次, 在空气中, 在痰落到雪地上之前, 就爆裂了.他知道零下50 的时候痰落在地上时才爆开, 而现在, 它还在空中的时候就爆开了.不用说, 气温已经低于零下50 了, 至于温度究竟有多低, 他也不知道.但温度不是问题.他的目的地是亨德森港附近的营地, 朋友们正在那里等他.他们已经越过了一条叫“印第安小溪”的小河, 他却在兜圈子, 四下里寻找利用溪流从育空河中的小岛上运出这些木料的可能性.他希望在6点钟, 也就是天刚黑的时候赶回营地, 是真的, 朋友们应该都在那里, 点着篝火, 准备好了热腾腾的晚饭.他伸手摸了下外套内一个凸出的包裹, 包裹放在衬衫的里面, 用一个手帕包着, 紧贴着皮肤.这是唯一使饼干不被冻住的方法.他满意于自己的这种做法, 每每想到这些饼干, 想到年夜片年夜片的烤肉, 而且每一片都浸透着油脂, 他就笑得合不拢嘴.他钻进了这片杉树林.路途很模糊.最后一辆雪橇经过后又下了一英尺厚的雪.他很庆幸自己没有雪橇, 可以轻装上路.事实上, 除手帕里包着的午饭, 他什么都没带.这样的寒冷几多令他感到一些惊讶.他戴着手套, 搓了一下冻僵的鼻子和脸, 心想确实很冷.虽然他是个年夜胡子, 但这些毛呵护不了他高高的颧骨, 也呵护不了如挑衅一般伸进冰凉空气中的鼻子.他身后跟着一条狗, 一条庞年夜的野狗, 是狼和狗的混血品种, 灰色的毛, 无论从外形还是脾性, 它与它的野狼兄弟几乎没有区别.它对这种极端寒冷的天气很沮丧, 明白这是没有止境的旅行.它的天性比人类的判断更能告诉它真相.事实上, 气温其实不是只比零下50 低一点点, 而是比零下60 还低, 甚至比零下70 还低, 达到了零下75 .因为凝固点是零上32 , 那就意味着现在是华氏温度冰点下108 .狗对温度没有概念, 脑子中也不像人类那样对严寒天气有一个明确的认识.但野兽有它们的直觉, 它感到一种隐隐约约的威胁, 这种直觉驱使着它, 让它跟在他的后面.在每个不寻常的时刻, 这种想法就更加的强烈, 它期望他能回到营房或是找到一个呵护所或是生一堆火.狗知道火是什么工具, 它也想要一堆火, 否则的话只能在雪的下面挖一个洞窟, 躲在里面保暖.它呼出的湿气在皮毛的概况凝结成了冰霜, 尤其是下巴、鼻子和眼皮都酿成了白色.那个男人的红色胡子也冻住了, 他呼出的温暖湿润的气体不竭地凝结成冰, 招致胡子冻得越来越结实.他正嚼着烟草, 脸上的冰将嘴唇变得僵硬, 以至于在吐口水的时候弄得下巴上满是唾液.结果, 下巴上冻住的琥珀胡子越来越长.如果不小心摔倒, 胡子会像玻璃一样伤到自己, 然后酿成碎片.但他其实不介意.他把这看成是对全国的烟草快乐喜爱者的一种处分, 之前的两次寒潮中, 他都已经体会到了.但那两次都没有这次寒冷, 他知道, 因为他曾在一个叫做“六十里”的处所看到了温度的丈量结果, 一次是零下50 , 一次是零下55 .在树林中, 他继续往前走, 跨过一片平坦的黑土地, 来到了一条叫“印第安小溪”的小河边, 他知道这里距离营地只有10里.手表显示现在是10点钟, 他一小时走了4英里.根据这个行进速度, 他预计自己在12点半的时候就能够赶到岔口.他决定在那里吃顿午饭, 稍微庆祝一下.他蹒跚地沿着被雪覆盖的冰面前进, 而那只狗还在他的后边跟着, 沮丧地耷拉着尾巴.路上雪橇留下的辙印清晰可见, 但那几尺厚的雪已经把最后一个通行者的脚印覆盖了.这一个月来, 没有人从这条小河经过.他继续行走, 除在岔口吃午饭和六点钟的时候他应该在营地和朋友们在一起之外, 脑子里什么都不想.连个说话的人都没有, 甚至根本无法说话, 因为下巴上已经结了一层硬邦邦的冰块.因而他继续单调地嚼着烟草, 以延长他的琥珀胡子. 有一段时间, 他的脑子里也不竭呈现天气太冷的念头.他从未经历过这么糟糕的天气, 一边走, 一边用戴着手套的手搓着脸和鼻子.他不自觉地重复这样的举措, 搓搓换一只手, 再搓搓, 再换一只手, 但他必需不竭地搓, 因为只要一停下来, 脸和鼻子就冻得失去了知觉.他肯定自己的脸蛋已经冻伤了.现在他真是满肚子的悔恨:在这种极度寒冷的天气里怎么就没带一条鼻套呢.如果有一条鼻套的话, 就可以把鼻子和脸包裹起来, 不至于被冻伤.不外, 没有也没关系, 究竟, 冻脸就是有点疼而已, 就是这些, 没什么年夜不了的.他的脑子里空空的, 什么都不想, 但还是很敏锐地观察着前方的冰面.他注意到了冰面的变动以及那些弯道和拐角.他知道踩在什么处所才会比力平安.有时, 遇到一个弯道, 他会突然避开, 像一匹受惊的马, 然后绕开他刚才走过的处所, 沿着河道往回走一段.他知道这条小河已经被冻透了在这样的严冬里, 河里是不应该有水流动的可是, 他也知道这里有泉水不竭地从山边涌出, 沿着冰冻的河面, 在雪的下面流动.他知道即即是最冷的天气也没有法子把那些泉水冻住, 这样就非常危险.因为它们就是个陷阱, 在雪的下面形成小水洼, 浅的有三英寸深, 深的能达到三英尺.有的时候, 这些水洼概况的冰层有半英尺厚, 上面覆盖着雪, 有的水洼的冰层只是薄薄的几层, 一旦有人踩上去, 就会不竭地陷下去, 一直没到腰部. 这就是为什么他惊慌地躲闪.他能感觉到冰面下流动的水, 能听见雪面下冰碎裂的声响.这么冷的天气, 如果打湿了鞋, 是很麻烦、也很危险的事, 因为这样的话, 至少也得停下来生火, 光着脚在火边烤干袜子和靴子, 担搁一些时间.他站定后, 研究了一下河床和河岸, 确定水是从右边流过来的.随即搓了搓鼻子和面颊, 深思了片刻, 然后小心翼翼地走向左边, 轻轻地迈着步子, 每走一步都先试探一下.每接触一次危险, 他就狠嚼一口烟草, 摇晃着, 向每小时4英里的目标努力.接下来的两小时里, 他也遇到了相似的陷阱.通常, 水洼上面的雪都是凹下去的, 这样的一个表象能帮手他识别危险.不外有一次, 他差点就踩到了陷阱.还有一次, 他怀疑前面有危险, 就让狗在前面探路.但狗一直退缩不前, 最后还是他自己冒险前进, 狗也迅速地跟着它, 穿越这片白色的、看似坚实的冰面.突然, 冰面破了, 狼狗失落进水里, 它挣扎着, 爬上一个结实的处所.它的前腿和爪子全湿了, 可以说是一瞬间, 水就酿成了冰.它立即咬失落了腿上的冰块, 然后躺在雪地上继续咬失落在脚趾间的冰块.它是凭直觉这么做的.如果让冰留在脚上, 就意味着脚会剧烈的疼痛, 而它其实不知道这些, 只是遵循自己内心唤起的一种无名感动, 但男人知道.考虑了一下以后的情况, 他摘下手套擦拭了一下眼角, 以防止眼泪冻成冰块, 可是他没有想到这些举措耗时还不到1分钟, 他的手就已经开始被冻得麻木了, 实在是太冷了, 他赶紧戴上手套, 右手疯狂地捶着自己的胸部.天最亮的时刻是12点, 但太阳还在地平线以下, 在遥远的南方进行着它的冬季旅行.这样的地舆原因使得太阳照射不到哈德森湾, 在这里, 他在午后晴朗的天空下行走, 却没有影子.12点半的时候, 他准时达到了哈德森湾的岔口.他对自己的行进速度感到很满意.照这个速度下去, 六点钟的时候肯定能和朋友们汇合了.他解开外套和衬衫, 然后拿出头具名包和肉, 准备吃午饭.这些举措耗时不外20秒, 但他的手指已经开始被冻住了.他并没有立即戴上手套, 而是用力在腿上拍打着自己的手指, 直到感觉到刺痛.然后, 坐在一个被雪覆盖的木头上开始吃饭.他很惊讶手拍击年夜腿时发生的疼痛感消失得如此之快.他甚至没来得及咬一口饼干.他不竭地拍手, 然后戴上手套, 腾出一只手来吃饭.当想吃上一年夜口时, 他却发现冻硬的下巴让他张不开嘴.他笑自己怎么没想到先生一堆火, 这时他突然意识到裸露的手指变得麻木.另外走路时那个最先疼痛的脚趾在他坐下后也不疼了.他好奇脚趾是暖和过来了还是冻得麻木了, 就在靴子里来回摩擦自己的脚, 然后发现脚趾也冻僵了. 他迅速戴上手套, 站起来, 有点害怕, 不竭地跺着脚, 直到脚趾又感觉到疼痛.实在太冷了!他想.一个硫磺湾的人曾告诉过他这个国家的寒冷水平, 正如他所说的那样, 而那时他居然还取笑那个人.看来人不能对什么事都太肯定了.毋庸置疑, 天气实在太冷了.他不竭跺脚、拍手, 直到又感受到了温暖,然后把火柴拿出来准备生火.他从灌木丛中找了一些木柴这是去年春季发年夜水时长起来的, 经过谨慎地努力, 火终于燃烧起来了.这时, 脸上的冰块也烤化了, 他在火边吃失落了饼干.此时此刻, 寒冷被击退了.那条狗满意地在火旁一个适当的处所躺下, 舒展着身体享受这样的温暖, 其实不担忧会被烧到.吃过午餐, 他舒服地抽上一袋烟, 然后戴上手套, 调整了一下帽子上的耳罩, 牢牢地护住耳朵.享受了片刻的温暖后, 他沿着冰河的支流继续前进.那条狗冲着火堆叫了一阵后恋恋不舍地离开了.这个人不知道寒冷, 可能他祖上的每一代人都对冷没什么意识, 不论多冷, 哪怕是华氏零下107 , 他们也感觉不到.可是狗知道, 它所有的祖先都知道, 它从它们那里也知道了这一点.它还知道这么冷的天气不适于在外面处处行走.当这样的寒冷袭来的时候, 应该在雪地上挖一个洞, 躲在里面, 直到有年夜片的云盖住这片清冷的天空才华出来.不外, 那条狗和人之间并没有亲密的感情, 它只是给人干活的一个奴隶, 而它获得的溺爱, 仅仅是皮鞭的抽打和喝斥的声音.所以狗也其实不想把自己的想法告诉那个人, 它才不关心那个男人的死活, 它冲着火堆叫也只是为了自己的缘故.可是那个男人却冲着它吹口哨, 边挥着皮鞭边年夜声吼着, 狗只好乖乖地跟在他的后面.他嚼了一口烟叶, 又开始给自己打造新的琥珀胡子.很快, 他呼出的湿气就在胡子、眉毛和眼睫毛上结成了冰霜.哈德森湾的支流左岸看起来没有那么多的泉水流过.半小时了, 他都没看到有水洼的迹象.就在这时, 意外发生了, 在一个看上去雪比力结实的处所, 冰面破了, 他失落到了水里, 水其实不深, 可是一直湿到了膝盖.他迅速挣扎到一个结实的空中上. 这让他很恼火, 诅咒着这样的坏运气.这次意外会担搁他达到营地的时间.现在他不能不再次生火, 花一个小时的时间来烤干自己的衣服和鞋子.在如此寒冷的天气里, 这是极危险的他非常清楚这一点, 迅速爬到了岸上.在坡顶的灌木丛中、低矮树木的枝干上, 纠缠的枝条是春季的残留物干燥的木柴;而更重要的是, 有年夜片的碎木片和去年干燥的草类.他把一些年夜的木头放在树下的雪地上, 防止融化的雪水把火浇灭, 然后用火柴划燃了从兜里掏出的一小片白桦皮, 这种工具甚至比纸更好引燃, 把它放在木头上, 最后放一些干的草和枝条在上面.他知道自己现在的处境很危险, 所以做得特别小心仔细.慢慢地, 火势变得年夜一些, 再添一些年夜的木头, 火烧得更旺.他蹲在雪地上, 不竭地往火中填加从灌木丛中扯下的干草和木头.他知道自己只能胜利不能失败, 当处在零下75 的严寒中, 一个打湿了脚的人在第一次检验考试生火的时候决不能失败.如果他的脚是干的, 生火失败了, 他还能沿着雪地跑个半英里来恢复血液循环, 坚持身体各个部位的温度.可是一只湿透的冻僵的脚无法在零下75 的高温中靠跑步来坚持血液的流通.不论他跑很多快, 脚只会冻得越发僵硬.这一切他都知道.那个硫磺湾的老者在秋天的时候曾警告过他,现在对他来说特别受用.他的脚已经完全失去知觉了.为了生起火, 他必需把手套摘失落, 但手指也很快麻木了.每小时4英里的行进速度可以使他的心脏将血液输送到身体的每一部份, 但现在停下来, 严寒让他的血液减缓了流动.寒冷袭击了地球上这个毫无防卫的角落, 而他, 身处此地, 正接受着寒冷的全部冲击.他身体中的血液畏缩了, 这血液是有生命的, 像那条狗一样, 也想把自己藏起来避开这可怕的寒冷.当他以每小时4英里的速度行进时, 血液被心脏这个年夜泵输送到身体的概况.而现在, 血液退缩了, 躲在他身体的最深处.他开始感到自己的四肢仿佛不存在了, 湿透的脚冻得越来越死, 露出的手也很快麻木了, 尽管它们还没有完全冻僵.鼻子和脸也失去了知觉, 全身上下都在发抖, 好像没有血液了.但他仍是平安的.脚趾、鼻子和脸也只是接触了一下寒冷, 因为这时火堆已经变旺了.他把手指般粗的细枝填到火里, 纷歧会儿, 又把手腕那么粗的树枝放进去了.那时他就可以把湿靴子和袜子脱下来, 并在烤干鞋袜的同时, 光着脚在火边取暖, 固然得先用雪搓一下脚.火胜利地烧起来了, 他现在也平安了.回想起在硫磺湾遇到的老者.那位老者告诉他, 没人可以在零下50 的严寒天气中单独旅行.可是现在他做到了.他单独一人, 还遇到了意外.他升起了一堆火, 拯救了自己.他笑着想, 那些老头们全都是娘们, 至少其中一部份是.一个男人所要做的就是坚持头脑冷静, 能做到这一点就不会出什么事.只要是真正的男人, 就可以单独旅行.但出人意料的是, 他的脸和鼻子这么快就冻僵了.他也没想到在这么短的时间里手指就僵死了, 完全不听使唤, 连拿起小树枝都做不到, 好像它们已经不在身上了.当触摸到一根树枝时, 他必需看着才华确定自己是否拿住了, 他却亲眼看到树枝从他的指尖滑落.管不了那么多了!火在燃烧, 跳动的火苗, 陪伴着啪啪的声响, 以优美的姿态舞出身命的希望.他开始解开他的鹿皮靴, 靴子上全部都是冰, 厚实的德国产的袜子硬得像铁打的刀鞘箍在他的膝盖下边.鞋带像是火灾后扭曲交织在一起的钢条.一开始, 他用麻木的手使劲拽, 后来, 他意识到这根本是白费力气, 于是拔出了刀.不外还没比及他割断鞋带, 坏事就发生了.这是他的失误或者说是一个年夜毛病.他不应该在树下生火的, 而应该在空地上生火, 尽管这样更容易从树上扯下一些枝条来生火用.现在, 他头顶的树枝上已经压满了积雪, 有一个星期没刮风了, 树枝也到了接受的极限.每一次从树上扯下一根枝条, 对树来说, 都是一次轻微的摇动.尽管他只是轻轻地震了一下小树, 可是这足以引发一次“枝条雪崩”.树梢上积雪落在了下面的树枝上, 树枝上的积雪又落在了下面的树枝上, 就这样像滚雪球一样, 在没有任何预兆的情况下, 一年夜团雪失落了下来, 火被压灭了.刚才还燃烧的火堆登时酿成了一摊碎雪.他被惊呆了, 坐在地上呆呆地看着火被压灭的处所, 仿佛刚刚听到了对自己的死亡宣判似的.但他很快就镇定下来.也许老人家是对的, 如果有另外一个人和他在一起, 他就不会处于如此危险的境地了.伙伴会帮他把火升起来.可是现在只能靠自己来生火, 这次绝对不能失败.即即是胜利了, 他也很可能会失去几个脚趾.现在, 他的脚一定冻坏了, 然而, 还需要一段时间才华生起第二堆火. 这样的观念在脑海中一闪而过, 他忙碌着, 根原本不及坐在那里慢慢细想.他收集了更多的木片, 这一次是在空地上, 不会有雪从树枝上失落下对其构成威胁.然后, 他又从洪水后的堆积中收集了一些干草和小树枝.他没有法子用手指把它们拿起来, 但可以一次握住一把.通过这样的方式他弄到了一点腐烂的树枝和一些苔藓, 虽然不够用, 但他已经尽了最年夜努力.他有条不紊地做着准备工作, 甚至收集到了胳膊那么粗的年夜树枝以备火旺时使用.狗一直卧在一边看着他, 眼里闪着一种强烈的渴望, 它把他看成了一个可以提供火的人, 但这火迟迟生不起来.一切准备就绪, 他把手伸向兜里去摸第二片白桦树皮.他知道它在哪里, 虽然他的手感觉不到, 可是当他的手碰到白桦树皮时发出的声响, 他就能听到.他尽了最年夜的努力, 但还是抓不住那片白桦树皮.这段时间, 他的脚冻得越来越僵硬.这让他有点恐慌, 但他还是尽量控制住并冷静了下来.他用嘴把手套戴好, 前后甩了甩胳膊, 用自己的全部力气用手在胸口上拍打.他开始坐着拍, 然后又站着拍.整个过程中, 狗还是一动不动地卧在一旁看着他, 像狼一样的年夜尾巴盘起来暖暖地护住了前爪, 狼一般的耳朵朝前探着, 好像在看着这个男人.而这个男人, 在敲拳头、甩胳膊的时候, 对那个牲畜天生长着一身温暖平安的皮毛感到无比的羡慕.过了一会儿, 他的手指有了一点知觉, 微弱的疼痛慢慢地酿成了一种剧烈的疼痛.他感觉差未几了, 然后摘失落右手的手套, 把手伸到口袋里面去拿那片白桦皮.可是极度的寒冷, 让他的手很快又失去了知觉.接着, 他拿出了一把火柴, 而这时手指失去了活动能力.他想从中抽出一根来, 却把所有的火柴都弄失落到雪地上.他试着去捡, 可是根本捡不起来.冻僵的手指既摸不到也抓不住.他想到了自己冻僵的脚、鼻子和脸, 小心地将全部注意力集中到火柴上.他看着, 试图用视力取代感觉, 他把手指移到火柴边, 然后用力握住马上就要握住它们了.可是, 随着火柴的滑落, 他发现自己的手指一点都不听使唤.他又戴上了手套, 再次把手在膝盖上使劲拍打.然后戴着手套把失落在雪地上的火柴连同周围的碎雪一起捧起来, 放到了兜里.他只能做到这样了.经过一番努力, 他用两个手掌底部夹着一把火柴, 放到嘴边.他用力张开嘴, 脸上的冰发出了碎裂的声响.他收起下颌, 抬起上唇, 想用牙齿抽出一根火柴来.终于, 他胜利地抽出了一根, 故意失落在衣兜上.他只能做到这样.他无法把火柴捡起来.然后他想到了一个法子, 用牙齿把火柴咬住, 在年夜腿上摩擦, 年夜约划了20次, 火柴就着了.他衔着这根扑灭的火柴去引燃白桦皮, 但燃烧的硫磺气体窜进了他的鼻孔, 钻到了他的肺里, 引起他不住的咳嗽.结果火柴失落到了雪地上, 熄灭了.那位老者的话是对的, 绝望再一次让他想到了这点:零下50 的天气里确实应该结伴而行.他又一次击打双手, 却没有一点。

九年级英语文学作品主题分析练习题40题

九年级英语文学作品主题分析练习题40题

九年级英语文学作品主题分析练习题40题1. In "The Gift of the Magi", the main theme is about _____.A.love and sacrificeB.adventure and courageC.mystery and suspenseD.humor and entertainment答案:A。

解析:《麦琪的礼物》主要讲述了一对夫妻为了给对方买礼物而做出的牺牲,体现了爱与牺牲的主题。

选项B 冒险和勇气与该小说内容不符;选项C 神秘和悬念也不是该小说的主题;选项D 幽默和娱乐不是小说的主要主题。

2. "The Necklace" mainly reflects _____.A.vanity and its consequencesB.friendship and loyaltyC.hope and perseveranceD.kindness and generosity答案:A。

解析:《项链》主要反映了女主人公的虚荣以及虚荣带来的后果。

选项B 友谊和忠诚不是该小说的主要体现;选项C 希望和坚持与小说内容不符;选项D 善良和慷慨不是该小说的主题。

3. In the short story "The Tell-Tale Heart", the theme is related to _____.A.guilt and conscienceB.ambition and successC.loneliness and isolationD.optimism and positivity答案:A。

解析:《泄密的心》讲述了一个人因杀人而产生的内疚和良心的谴责。

选项B 野心和成功与该小说无关;选项C 孤独和隔离不是该小说的主要主题;选项D 乐观和积极与小说内容相反。

4. "The Most Dangerous Game" centers on the theme of _____.A.survival and competitionB.romance and passionC.forgiveness and reconciliationD.creativity and imagination答案:A。

英美小说要素解析 To build a fire

英美小说要素解析 To build a fire

Group 6
What is the dominant mood of the story? How does London's prose style(particularly his use of imagery) serve to eatablish and then to intensify that mood?
London’s Writting Style
Social Darwinism: the survival of the fittest
Naturalism mingled with Romanticism Forceful and colorful
Subjectivity and enthusiasm His characterizations were often stiff and
4. The whole story shows the depression and melancholy.
How does London's prose style(particularly his use of
imagery) serve to eatablish and then to intensify that mood?
Second style----The author operates as a third
person and an outside odserver; he tells the story in an objective way as he knows everything and it is on concern for the man.
We can draw a conclusion that : the theme of this story is: The fittest survive.

英美小说要素解析 复习

英美小说要素解析 复习

The Bride Comes to Yellow Sky新娘来到黄天镇——Stephen Crane 斯蒂芬·克莱恩Christmas Day in the Morning在圣诞节的早上——Pearl.S.Buck 赛珍珠The Catbird Seat胜券在握——James Thurber 詹姆斯·瑟伯Two kinds喜福会——Amy Tan 谭恩美To Build a Fires生火——Jack London杰克·伦敦A Horseman in the sky空中骑士——Bierce Ambrose 比尔斯A Clean,Well-lighted Place一个干净而明亮的地方——Ernest Hemingway 海明威The Broken Globe残破的世界——Henry Kreisel亨利Yellow Woman黄女人——Leslie Silko莱斯利Rain 雨——W.Somerset Maugham 毛姆My Oedipus Complex我的恋母情结——Frank O’Connor奥康纳Haircut 剪发——Ring Lardner拉德纳The Horse Dealer's Daughter马贩子的女儿——wrence劳伦斯Luck好运气——Mark Twain 马克吐温The Chrysanthemums菊花——John Steinbeck约翰斯坦贝克The Egg 蛋——Sherwood Anderson安德森Old Rogaum and His Theresa老罗格姆和他的特里萨——Theodore Dreiser西奥多Everything That Rises Must Converge上升的一切必将汇合——Flannery O’Connor奥康纳Plot: A Sequence of Interrelated Actions or Events. Plot, or the structure of action, it generally refers to the scheme or pattern of events in a work of fiction. A plot is a plan or groundwork for a story, based on conflicting human motivations, with the actions resulting from believable and realistic human response.Types of Conflict:①External Conflict: Man and nature, man and society, and man and man.②Internal Conflict: It focuses on two or more elements contesting within the protagonist’s own character.Exposition(情节交代): It is where everything is introduced is the beginning section in which the author provides the necessary background information, sets and scene, establishes the situation, and dates the action. It usually introduces the characters and the conflict, or at least the potential for conflict.Complication(纠葛): Which is sometimes referred to as the rising action, develops and intensifies the conflict. The rising action(起始行动) is when things begin to escalate. It takes the reader from the exposition and leads them towards the climax. This part tends to be dramatic and suspenseful.Climax(高潮):When you finally take a breath after holding it in suspense. This is the most emotional part of the book.Crisis(关子):It( also referred to as the climax) is that moment at which the plot reaches its point of greatest emotional intensity; it is the turning point of the plot, directly precipitating the resolution. It is the reversal or” turning point”.Falling action(下降行动):Once the crisis, or turning point, has been reached, the tension subsides and the plot moves toward its conclusion. It is when everything tends to slow down, and the climax is over.Resolution(冲突解开):It is the final section of the plot which records the outcome of the conflict and establishes some new equilibrium. The resolution is also referred toas the conclusion, the end or the denouement. This is the final part of the story when everything is wrapped up. Sometimes the story is finished off completely, answering every reader's question. Sometimes authors leave mysterious, to intrigue the reader. Or sometimes authors leave hints of a sequel.Catastrophe: Applied to tragedy only.Denouement:Applied to both comedy and tragedy.The ordering of plot—Chronological plotting—Flashback: It is interpolated narratives or scenes( often justified, or naturalized, as a memory, a reverie, or a confession by one of the characters) which represent events that happened before the time at which the work opened.Character:They are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it –the dialogue—and from what they do—the action. A character may remain essentially“stable,”or unchanged in outlook and disposition, from beginning to end of a work, or may undergo a radical change, either through a gradual process of development, or as the result of a crisis. Whether a character remains stable or changes, the reader of a traditional and realistic work expects “consistency”--- ---the character should not suddenly break off and act in a way not plausibly grounded in his or her temperament as we have already come to know it.Motivation: The grounds in the characters temperament, desires, and moral nature for their speech and actions.Types of characters—protagonist: The chief character in a plot, on whom our interest centers.(or alternatively, the hero or heroine) It is the major, or central, character of the plot.Antagonist: If the plot is such that he or she is pitted against and important opponent, that character is called the antagonist. It is his opponent, the character against whom the protagonist struggles or contends.Flat characters: they are those who embody or represent a single characteristic, trait, or idea, or at most a very limited number of such qualities. Flat characters are also referred to as type characters, as one-dimensional characters, or when they are distorted to create humor, as caricatures.Stock characters: Flat characters have much in common with the kind of stock characters who appear again and again in certain types of literary works. A flat character (also called a type, or “two-dimensional”), Forster says, is built around “a single idea or quality”and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence.Round characters: They are just the opposite. They embody a number of qualities and traits, and are complex multidimensional characters of considerable intellectual and emotional depth who have the capacity to grow and change. A round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is as difficult to describe with any adequacy as a person in real life, and like real persons, is capable of surprising us.Dynamic characters: They exhibit a capacity to change; static characters do not. Asmight be expected, the degree and rate of character change varies widely even among dynamic characters.Static characters: They leave the plot as they entered it, largely untouched by the events that have taken place.Methods of characterization-- Telling: It relies on exposition and direct commentary by the author.In telling, the author intervenes authoritatively in order to describe, and often to evaluate, the motives and dispositional qualities of the characters. Characterization through the use of names, through appearance, and by the author. Showing: It involves the author’s stepping aside, as it were, to allow the characters to reveal themselves directly through their dialogue and their actions. In showing(also called“the dramatic method”), the author simply presents the characters talking and acting and leaves the reader to infer the motives and dispositions that lie behind what they say and do.The author may show not only external speech and actions, but also a character’s inner thoughts, feelings, and responsiveness to events; for a highly developed mode of such inner showing, see stream of consciousness. Characterization through dialogue, and action.Setting: The stage against which the story unfolds.( Place and objects in fiction) The overall setting of a narrative or dramatic work is the general locale, historical time, and social circumstances in which its action occurs; the setting of a single episode or scene within such a work is the particular physical location in which it takes place. Types of setting—Natural and ManufacturedThe language used in description of settingThe functions of setting: Setting as a background for action, antagonist, a means of creating appropriate atmosphere, a means of revealing character, and a means of reinforcing theme.Point of view: The events of a story may be told as they appear to one or more participants or observers. In first-person narration the point of view is automatically that of the narrator.More variation is possible in third-person narration, where the author may choose to limit his or her report to what could have been observed or known by one of the characters at any given point in the action--- or may choose to report the observations and thoughts of several characters. The author might choose to intrude his or her own point of view.Narrator: It is the speaker or the voice of the literary text, the agent who does the narration. The narrator, like any character in fiction, only exists in a narrative, and he cannot be identified with anything of the real-life author of a literary work.Various points of view—First person:①Advantages: First, he creates an immediate sense of reality. Second, the writer has a ready-made principle of selection.② Difficulties: It may only strike us when we try to write stories ourselves.Second personThird person: There are three variants: omniscient, limited omniscient, and objective or dramatic.Mingling of points of view: It is because for the purpose of sustaining interest or creating suspense.A brief summary: 1. First person( I): All these first-person narrators may have(1)complete understanding,(2) partial or incorrect understanding, or(3) no understanding at all.①Major participantⅰtelling his or her story as a major mover,ⅱtelling a story about others and also about herself or himself as one of the major inter-actors,ⅲtelling a story mainly about others; this narrator is on the spot and completely involved but is not a major mover.②Minor participant, telling a story about events experienced and/ or witnessed.③Uninvolved character, telling a story not witnessed but reported to the narrator by other means. 2. Second person( you): Occurs only when speaker has more authority on a character’s action than the character himself or herself. Occurs only in brief passages when necessary. 3. Third person( she, he, it, they):①Omniscient. Omniscient speaker sees all, reports all, knows inner workings of minds of characters.②Limited omniscient. Action is focused on one major character.③Dramatic or third-person objective. Speaker reports only actions and speeches. Thoughts of characters can be expressed only as dialogue.Theme: It is the central idea or a statement about life that unifies and controls the total work.Points of theme:1. A theme does not exist as an intellectual abstraction that an author superimposes on the work like icing on a cake.2. The theme may be less prominent and less fully developed in some works of fiction than in others.3. It is entirely possible that intelligent readers will differ, at times radically, on just what the theme of a given a work is.4. The theme of a given work need not be in accord with the reader’s particular beliefs and values. As a general rule, then, we should assume that the ideas of authors grow out of their values, and that values are embodied in their stories along with the ideas. But we must remember that although literature is full of ideas that may strike us, at least initially, as unpleasant, controversial, or simply wrongheaded, literary sophistication and plain common sense should warn us against dismissing them out of hand.Identifying theme:1. It is important to avoid confusing a work’s theme with its subject or situation.2. We must be as certain as we can that our statement of theme does the work full.3. The test of any theme we may propose is whether it is fully and completely supported by the work’s other elements.4. The title an author gives the work often suggests a particular focus or emphasis for the reader’s attention.Style: It has traditionally been defined as the manner of linguistic expression in Prose or verse--as how speakers or writers say whatever it is that they say. TheWord style, derived from the Latin word stilus, is understood to mean the way in which writers assemble words to tell the story, develop the argument, dramatize the play, or compose the poem. Style is to be judged on the degree of its adaptability. Elements of style—Diction: Choice of words, and Syntax: Construction of sentences.Oedipus complex: ①It is a term coined by Sigmund Freud to designate a son’s subconscious feeling of love toward his mother and jealousy and hatred toward his father. ②D.H. Lawrence’s Sons and Lovers is a case in point.Tone: It refers to the methods by which writers convey attitudes, it refers not to attitudes but to those techniques and modes of presentation that reveal or create these attitudes. It is a means of creating a relationship or conveying an attitude.Types of irony:1. Verbal irony: It is a statement in which one thing is said and another is meant.2. Situational irony: It or irony of situation, refers to conditions that are measured against forces that transcend and overpower human capacities.3. Dramatic irony: It is a special kind of situational irony; it applies when a character perceives a situation in a limited way while the audience, including other characters, may see it in greater perspective.1.1 The Bride Comes to Yellow Sky—Stephen Crane 1.2 Christmas Day in the Morning—Pearl S. Buck2.1 The Catbird Seat—James Thurber 2.2 Two kinds—Amy Tan3.1 To Build a Fire—Jack London 3.2 A Horseman in the Sky—Ambrose Bierce4.1 A Clean, Well-lighted Place—Ernest Hemingway 4.2 The Broken Globe—Henry Kreisel5.1 Yellow Woman—Leslie Silko 5.2 Rain—W. Somerset Maugham6.1 My Oedipus Complex—Frank O’Connor 6.2 Haircut—Ring Lardner7.1 The Horse Dealer’s Daughter—D.H. Lawrence 7.2 Luck—Mark Twain。

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Does the story have a theme? If it does, describe it. To build a fire symbolizes an onion; the external theme he illustrates is the man’s struggle to meet up with his friends, i.e. human
How does London's prose style(particularly his use of imagery) serve to eatablish and then to intensify that mood? London ’s Writting Style
Social Darwinism: the survival of the fittest Naturalism mingled with Romanticism Forceful and colorful Subjectivity and enthusiasm His characterizations were often stiff and his dialogue stereotyped.
dominant mood of the story : isolation helplessness depression melancholy
Evidence and Data 1. A man is climbing the high earth-
bank in Yukon alone, and the man has no experience of climbing in 75. ---- These two sentences show the mood of isolation and helplessness. 2. “day had broken cold and gray, exceedingly cold and grey”. ---This sentence hints at the depressing atmosphere. 3.He is shocked when the fire
First style---The author from two
aspects tell us the theory of Naturalism: natural selection and survival of the fittest .
On the one hand, between different species, the story shows the competition of human beings and dog. In the extreme cold environment, if one can't adapt to the harsh natural environment, there is only one outcome - turned out to be the victim of the nature. In the story, the man failled to fight against the nature, and in the end, he is dead. On the contrary, the dog
What comment does the story make about the relationship between man and nature?
presented by 黄
Fory of the survival of the fittest is one of important comments. we human beings are very powerful, but compared with the nature, we are fragile and obscure. If we want to have a stand in this nat ure, we should learn how to show our reverence toward the natur
operates as a third person and an outside odserver; he tells the story in an objective way as he knows everything and it is on concern for the man.
Second style----The author
1.What is the dominant mood of the story? How does London’s prose style (particularly his use of imagery ) serve to establish and to intensify that mood?
In addition, based on t
he story, the author als o puts forward the nec essity and inevitability of keeping a harmonio us relationship betwee n the man and the natu
We can draw a conclusion that : the theme of this story is: The fittest survive.
you!
Thank
Group 6
What is the dominant mood of the story? How does London's prose style(particularly his use of imagery) serve to eatablish and then to intensify that mood?
should respect nature and revere the power of nature
Further more, once you peel the outer layers off, you realize that he intertwines the deeper meaning of ignorance, the
survival, and knowledge.
The man’s instincts and sense allow him to understand the weather is definite drawback, but ignorance and the stubbornness triumphs. He goes into this adventure without knowledge of the dangers that can be occurred, he did not realize What he was
In this story, we can see that London establish and intensify the mood of isolation, helplessnee, depression and melancholy through two kind of prose style. First, Social Darwinism( the survival of the fittest) Second, Third-person
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