(完整word版)英美文学术语(英文版)_literary_terms

英国文学
Alliteration:押头韵repetition of the initial sounds（不一定是首字母）
Allegory:寓言a story with two meanings, a literal meaning and a symbolic meaning.
Allusion:典故a reference in a literary work to person, place etc. often to well-known characters or events. Archetype:原型
Irony:反讽intended meaning is the opposite of what is stated
Black humor:黑色幽默
Metaphor: 暗喻
Ballad: 民谣about the folk loge
Epic:史诗in poetry, refers to a long work dealing with the actions of gods and heroes.
Romance: 罗曼史/骑士文学is a popular literary form in the medieval England./Chivalry
Euphuism: 夸饰文体This kind of style consists of two distinct elements. The first is abundant use of balanced sentences, alliterations and other artificial prosodic means. The second element is the use of odd similes and comparisons.
Spenserian stanza: It refers to a stanza of nine lines, with the first eight lines in iambic pentameter and the last line in iambic hexameter. 斯宾塞诗节新诗体，每一节有9排，前8排是抑扬格五步格诗，第9排是抑扬格六步格诗。

The Faerie Queene
Conceit:奇特的比喻is a far-fetched simile or metaphor, occurs when the speaker compares two highly dissimilar things. 不像的事物
Sonnet: 十四行诗a lyric consisting of 14 lines, usually in iambic pentameter, restricted to a definite rhyme scheme.
Blank verse: 无韵体诗written in unrhymed iambic pentameter.
Elegy 挽歌
The Heroic Couplet:英雄对偶句
Lyric:抒情诗is a short poem that expresses the poet’s thoughts and emotion or illustrates some life principle. often concerns love. A red, red Rose.
Byronic Hero: refers to a proud, mysterious rebel figure of noble origin.
Stream of Consciousness:意识流the author tells the story through the freely flowing thoughts and associations of one of the characters. James Joyce and Virginia Woolf are two major advocates of this technique.
Renaissance:文艺复兴14-15th, originated in Italy, encouraged the reformation of the Church and humanism. Humanism: 人文主义it is the essence of the Renaissance. It emphasizes the dignity of human beings and the importance of the present life.
Metaphysical poetry:玄学派诗歌it is commonly used to name the work of the 17th-century writers who wrote under the influence of John Donne. With the rebellious spirit, they tried to break away from the conventional fashion of the Elizabethan love poetry. The diction is simple. John Donne, George Herbert.
The Enlightenment Movement:启蒙运动18th century flourished in France. Enlighten the whole world with the light of modern philosophical and artistic ideas. reason, rationality, equality and science and universal education. John Dryden, Alexander Pope.
Neoclassicism:新古典主义17-18th centuries of classical standards of standards of order, balance, and harmony in literature. Alexander Pope, Samuel Johnson.
Sentimentalism:感伤主义18世纪60-80年代，came into being as a result of a bitter discontent on the part of certain enlighteners i n social reality. use of pathetic effects and attempts to arouse feeling by “pathetic” indulgence.
The Graveyard School: 墓畔派whose poems are mostly devote to sentimental lamentations or meditation on
life, past and present, with death and graveyard as theme.
Romanticism: 浪漫主义mid-18th century, strong protest against the bondage of neoclassicism. romanticism gave primary concern to passion, emotion, and natural beauty.
Lake Poets:湖畔派诗人refers to such romantic poets as William Wordsworth, Samuel Taylor Coleridge and Robert Southey who lived in the Lake District.
Critical Realism:批判现实主义
•applied to the realistic fiction in the late 19th and early 20th centuries.
•criticize capitalist society from a democratic viewpoint but did not find a way to eradicate social evils. •concerned about the fate of common people and described what was faithful to reality.
•Charles Dickens is the most important critical realist.
Modernism: 现代主义began in the late 19th century and flourish until 1950. concentrate more on the private and subjunctive than on the public and objective, mainly concerned with the inner world of an individual.
美国文学
American Puritanism: 清教徒主义accept the doctrine of predestination, original sin and total depravity, and limited atonement.
American Romanticism: 美国浪漫主义
•subjectivity 主观性emphasis on individualism—personal freedom, no hero worship, natural goodness •back to medieval, esp medieval folk literature
•back to nature 回归自然
Transcendentalism: 超验主义
•Began in New England around 1830, spokesman was R. W. Eme rson, man’s capacity of knowing truth intuitively, or of attaining knowledge transcending the reach the traditional five senses, he can also learn spontaneously, out of his soul or instincts.
•Four sources: Unitarianism, Romantic Idealism, Oriental mysticism, puritanism.
Free Verse: 自由诗体has no regular rhythm or line length and depends on natural speech rhythms…American Realism: Actualities of everyday life, moral and social effects of writing. It concerns for common place and the low, offers an objective view. three dominant figures, Howells, Mark Twain, and Henry James. Local Color: Speech and customs peculiar to one particular place, an indigenous and distinctive little world. Hamlin Garland, Willa Cather, and Sarah Orne Jewette are three representatives.
American Naturalism: is evolved from realism when the author’s tome in writing becomes less serious and less sympathetic but more ironic and more pessimistic.
Imagism: 意象派
•It was influenced by French symbolism, ancient Chinese poetry and Japanese literature ”haiku”.
•An image is defined by Pound. 强调诗要具体，避免抽象，意向比喻要非常准确。

The Lost Generation: Got the name in the 1920s. Gertrude Stein used it to refer those young American expatriates who had traumatic war experience, strong sense of loss, confusion and despair after the first World War. Pound, Hemingway, Fitzgerald are the representatives.
The Harlem Renaissance: In the 1920s in America, there was an upsurge of Black literature, popularly known as the “Harlem Renaissance”, out of which such eminent literary figu res as Langston Hughes grew. He and other black playwrights, poets and novelists presented new insights into the American experience and prepared the way for the emergence of black writers after mid-20th century.
Black humor: Baleful, naive, or inept characters in a fantastic or nightmarish modern world play out their roles in a “tragic farce,” in which the events are often simultaneously comic, horrifying, and absurd. Examples are Joseph Heller’s Catch-22 (1961), and Thomas Pynchon’s V (1963)。