第一篇：精簡英國文學教案Week12
Week12 目的：了解勃朗特三姐妹及《呼嘯山莊》的敘述手法和主題情節(jié)等
Procedures
1.After students have read Wuthering Heights, review its plot and major characters with the class.You may choose to ask students to summarize each chapter.Write the names of characters on the board as they are introduced.When each chapter has been summarized, ask the class to brainstorm words and phrases that describe the characters.2.Divide the class into two groups and assign each one a theme(see step #3).Explain that each group must answer questions about their theme.Then each group will have one class period to prepare a unit on their theme and another class period to teach it to the class.3.Give each group the questions below:
Theme: The Role of Social Class
o Describe the social class of the Earnshaws, the Lintons, and Heathcliff.Which are of a higher social class? Why is this significant?
o How does social class motivate Catherine's actions? How does she try to change her class?
o How does Heathcliff's social class influence the way he is treated and his own actions? How does Heathcliff's class change?
o What is the role of class in the novel? How do tensions in the book result from class struggles?
o What role do the servants Nelly, Joseph, and Zillah play in the novel? Theme: The Significance of Setting
o Describe the setting of the Yorkshire moors.o Describe the houses Wuthering Heights and Thrushcross Grange.Include descriptions of architecture and the surrounding landscape.o How do the houses reflect their inhabitants?
o Do the houses symbolize their inhabitants? Give examples.o How do the settings influence the novel's characters?
4.Have student groups develop a unit based on their theme.Each should begin with an overview of the theme;answers to the questions above should suffice.Each unit will also include a creative or visual presentation, such as posters or drawings, a reenactment of a scene, or a presentation of modern parallels.The groups should prepare questions that will encourage the class to participate in a discussion.5.Have each group teach their theme-based unit.1.quiz.1.Who is the author of the novel? a.錯誤！未找到引用源。Margaret Mitchell b.錯誤！未找到引用源。Emily Bronte c.錯誤！未找到引用源。Charlotte Bronte d.錯誤！未找到引用源。Agatha Christie
2.When was the first edition published? a.錯誤！未找到引用源。1847 b.錯誤！未找到引用源。1947 c.錯誤！未找到引用源。1897 d.錯誤！未找到引用源。1997
3.The novel is a:
a.錯誤！未找到引用源。Murder Mystery
b.錯誤！未找到引用源。Romantic Historical Fiction c.錯誤！未找到引用源。Gothic Realistic Fiction d.錯誤！未找到引用源。Detective Fiction
4.What are the basic themes found in the novel? a.錯誤！未找到引用源。Kindness towards orphans
b.錯誤！未找到引用源。Destructiveness of love that never alters c.錯誤！未找到引用源。Romantic entanglements d.錯誤！未找到引用源。Uncertainty of social classes 5.Who are the protagonists of the story? a.錯誤！未找到引用源。Heathcliff b.錯誤！未找到引用源。Edgar Linton c.錯誤！未找到引用源。Catherine d.錯誤！未找到引用源。Nelly Dean
6.The novel begins with the words:
a.錯誤！未找到引用源。“Mr.Lockwood, your new tenant, sir.” b.錯誤！未找到引用源?！癕r.Heathcliff!I said.”
c.錯誤！未找到引用源?！癐 have just returned from a visit to my landlord...” d.錯誤！未找到引用源。“This is certainly a beautiful country!”
7.Who was Lockwood's housekeeper? a.錯誤！未找到引用源。Cathy Simmons b.錯誤！未找到引用源。Catherine c.錯誤！未找到引用源。Nelly Furtado d.錯誤！未找到引用源。Nelly Dean
8.What was the name of Heathcliff's manor? a.錯誤！未找到引用源。Bothering Heights b.錯誤！未找到引用源。Thrushcross Grange c.錯誤！未找到引用源。Wuthering Lows d.錯誤！未找到引用源。Wuthering Heights
9.Who raises Hareton during his early years? a.錯誤！未找到引用源。Heathcliff b.錯誤！未找到引用源。Edgar c.錯誤！未找到引用源。Catherine d.錯誤！未找到引用源。Nelly
10.Who forces Heathcliff to work as a servant in his home? a.錯誤！未找到引用源。Joseph b.錯誤！未找到引用源。Hindley c.錯誤！未找到引用源。Hareton d.錯誤！未找到引用源。Catherine
11.Why does Heathcliff marry Isabella?
a.錯誤！未找到引用源。To inherit Thrushcross Grange b.錯誤！未找到引用源。To spite Catherine c.錯誤！未找到引用源。Because he loves her d.錯誤！未找到引用源。To spite Edgar
12.How does Catherine die?
a.錯誤！未找到引用源。Commited suicide
b.錯誤！未找到引用源。She was killed in a car accident c.錯誤！未找到引用源。During childbirth
d.錯誤！未找到引用源。Contracted a terminal illness
13.The novel concludes with:
a.錯誤！未找到引用源。Death of Heathcliff
b.錯誤！未找到引用源。Lockwood visiting Heathcliff's grave c.錯誤！未找到引用源。Catherine and Hareton's marriage d.錯誤！未找到引用源。None of the above
14.Wuthering Heights is the only novel written by its author.a.錯誤！未找到引用源。True b.錯誤！未找到引用源。False
15.What was inscribed over the entrance of Wuthering Heights? a.錯誤！未找到引用源。Welcome
b.錯誤！未找到引用源。Hareton Earnshaw 1500 c.錯誤！未找到引用源。Heathcliff 1600
d.錯誤！未找到引用源。Heathcliff and Catherine 1.Bronte sisters:
Emily in 1818 and Anne in 1820.The lives of the Bronte sisters has been the subject of public interest.Charlotte was born in 1816, Charlotte who lived the longest was seen as the most talented of the sisters.Her mother died in 1821 leaving her six children in the care of their aunt.Charlotte's two elder sisters died only four years later.At the rectory, Charlotte would have little to do but read and write and occasionally walk on the moors(曠野).The loneliness experienced by Charlotte was clearly sharp.So it is less shocking that in her early teens she wrote at least 23 complete “novels”(they were of little or no real value).She attended Roe Head school between 1831 and 1832, and then taught at the same school later in the decade.From 1839 to 1842 she worked as a governess(家庭教師).Meanwhile, Emily attended Roe Head in 1835 but returned to the rectory due to homesickness.Like her elder sister she became a governess.She seems to have been the most introspective(內(nèi)省的)of the sisters, having very few friends.Nevertheless, she was a tough woman, controlling a fierce dog with her bare hands.Anne, the youngest sister also attended Roe Head school in 1837.She also became a governess, actually for some time longer than her elder sisters.Anne found material for Agnes Grey(《艾格尼絲格雷》)(1847)in the spoilt children of her employers.By 1847, the three sisters had each written a novel.Emily produced Wuthering Heights(《呼嘯山莊》), Anne Agnes Grey.Both were criticized by the press, Emily's novel especially for its supposedly morbid(病態(tài)的)outlook and inappropriate subjects.Nevertheless, history and particularly the great success of the novels have vindicated(澄清)them.Charlotte wrote Jane Eyre at this time and it was immediately successful.In 1848, Emily died in December with Anne following less than a year later.Charlotte continued to write and produced Shirley(《雪莉》)(1849).Her final novel Villette(《維萊特》)appeared in 1853.Her marriage in 1854 to A.B.Nicholls was followed only months later by her death from tuberculosis.True(T)or False(F)?
1． Charlotte Bronte is remembered as the author of Wuthering Heights.()2． The three Bronte sisters went to the same school and two of them worked as governesses.()3． The three Bronte sisters weren't accepted at first in their times.()Keys: 1—3 F F T 2.Character Analyses Heathcliff
To everyone but Catherine and Hareton, Heathcliff seems to be an inhuman monster—or even incarnate evil.From a literary perspective, he is more the embodiment of the Byronic hero(attributed to the writer George Gordon, Lord Byron), a man of stormy emotions who shuns humanity because he himself has been ostracized;a rebellious hero who functions as a law unto himself.Heathcliff is both despicable and pitiable.His one sole passion is Catherine, yet his commitment to his notion of a higher love does not seem to include forgiveness.Readers need to determine if his revenge is focused on his lost position at Wuthering Heights, his loss of Catherine to Edgar, or if it his assertion of dignity as a human being.The difficulty most readers have relating to and understanding Heathcliff is the fact that he hates as deeply as he loves;therefore, he is despised as much as he is pitied.Except for Satan in Milton’s Paradise Lost, the tempestuous and revengeful Heathcliff has no equal in English literature.His intense love for Catherine, his relentless revenge on his enemy, and his frantic restlessness after Catherine’s death mark him a unique figure.In Heathcliff’s conflict with Hindley and the Lintons.Emily Bronte portrays the conflict between the privileged and the underdog, between the master and the hired hand.Plot
About the Novel Character Map
About the Novel Genealogy
4.Critical Essays Class Structure
In the Victorian Era, social class was not solely dependent upon the amount of money a person had;rather, the source of income, birth, and family connections played a major role in determining one’s position in society.And, significantly, most people accepted their place in the hierarchy.In addition to money, manners, speech, clothing, education, and values revealed a person’s class.The three main classes were the elite class, the middle class, and the working class.Further divisions existed within these three class distinctions.The characters in Wuthering Heights demonstrate the nature of this class-structured society.The Lintons were the most elite family in the novel, and Thrushcross Grange was a superior property to Wuthering Heights, yet they were not members of the uppercrust of society;rather, they were the professional middle class.Although Wuthering Heights was a farmhouse, the Earnshaws were not members of the working class because they were landowners who had servants.Their station in society was below the Lintons but not significantly below.Nelly, a servant of the Earnshaws, represents the lower middle class—those who worked non-manual labor.Servants were superior to manual laborers, which explains the problems created by Heathcliff.Heathcliff is an orphan;therefore, his station is below everyone else in Wuthering Heights.It was unheard of to raise someone from the working class as a member of the middle-to-upper middle class.Even Nelly, who was raised with the Earnshaw children, understood her place below her childhood friends.When Mr.Earnshaw elevates the status of Heathcliff, eventually favoring him to his own son, this goes against societal norms.This combination of elevation and usurpation is why Hindley returns Heathcliff to his previous low station after the death of Mr.Earnshaw, and that is why Heathcliff relishes in the fact that Hindley’s son Hareton is reduced to the level of a common, uneducated laborer.And social class must be the reason Catherine marries Edgar;she is attracted to the social comforts he can supply her.No other plausible explanation exists.Catherine naively thinks she can marry Edgar and then use her position and his money to assist Heathcliff, but that would never happen.When Heathcliff returns, having money is not enough for Edgar to consider him a part of acceptable society.Heathcliff uses his role as the outcast to encourage Isabella’s infatuation.The feelings that both Catherine and Isabella have for Heathcliff, the common laborer, cause them to lose favor with their brothers.Hindley and Edgar cannot accept the choices their sisters make and therefore, withdraw their love.When a woman betrays her class, she is betraying her family and her class—both unacceptable actions.5.The Narrative Structure
Although Lockwood and Nelly serve as the obvious narrators, others are interspersed throughout the novel—Heathcliff, Isabella, Cathy, even Zillah—who narrate a chapter or two, providing insight into both character and plot development.Catherine does not speak directly to the readers(except in quoted dialogue), but through her diary, she narrates important aspects of the childhood she and Heathcliff shared on the moors and the treatment they received at the hands of Joseph and Hindley.All of the voices weave together to provide a choral narrative.Initially, they speak to Lockwood, answering his inquiries, but they speak to readers, also, providing multiple views of the tangled lives of the inhabitants of Thrushcross Grange and Wuthering Heights.Bront? appears to present objective observers, in an attempt to allow the story to speak for itself.Objective observations by outsiders would presumably not be tainted by having a direct involvement;unfortunately, a closer examination of these two seemingly objective narrators reveals their bias.For example, Lockwood’s narrative enables readers to begin the story when most of the action is already completed.Although the main story is being told in flashback, having Lockwood interact with Heathcliff and the others at Wuthering Heights immediately displaces his objectivity.What he records in his diary is not just what he is being told by Nelly but his memories and interpretation of Nelly’s tale.Likewise, Nelly’s narrative directly involves the reader and engages them in the action.While reporting the past, she is able to foreshadow future events, which builds suspense, thereby engaging readers even more.But her involvement is problematic because she is hypocritical in her actions: sometimes choosing Edgar over Heathcliff(and vice versa), and at times working with Cathy while at other times betraying Cathy’s confidence.Nonetheless, she is quite an engaging storyteller, so readers readily forgive her shortcomings.Ultimately, both Lockwood and Nelly are merely facilitators, enabling readers to enter the world of Wuthering Heights.All readers know more than any one narrator, and therefore are empowered as they read.
第二篇：精簡英國文學教案Week9
Week9 目的：了解雪萊的生平和代表作
Percy Bysshe Shelley was born in 1792, into a wealthy Sussex family which eventually attained minor noble rank--the poet's grandfather, a wealthy businessman, received a baronetcy in 1806.Timothy Shelley, the poet's father, was a member of Parliament and a country gentleman.The young Shelley entered Eton, a prestigious school for boys, at the age of twelve.While he was there, he discovered the works of a philosopher named William Godwin, which he consumed passionately and in which he became a fervent believer;the young man wholeheartedly embraced the ideals of liberty and equality espoused by the French Revolution, and devoted his considerable passion and persuasive power to convincing others of the rightness of his beliefs.Entering Oxford in 1810, Shelley was expelled the following spring for his part in authoring a pamphlet entitled The Necessity of Atheism--atheism being an outrageous idea in religiously conservative nineteenth-century England.At the age of nineteen, Shelley eloped with Harriet Westbrook, the sixteen-year-old daughter of a tavern keeper, whom he married despite his inherent dislike for the tavern.Not long after, he made the personal acquaintance of William Godwin in London, and promptly fell in love with Godwin's daughter Mary Wollstonecraft, whom he was eventually able to marry, and who is now remembered primarily as the author of Frankenstein.In 1816, the Shelleys traveled to Switzerland to meet Lord Byron, the most famous, celebrated, and controversial poet of the era;the two men became close friends.After a time, they formed a circle of English expatriates in Pisa, traveling throughout Italy;during this time Shelley wrote most of his finest lyric poetry, including the immortal “Ode to the West Wind” and “To a Skylark.” In 1822, Shelley drowned while sailing in a storm off the Italian coast.He was not yet thirty years old.Shelley died when he was twenty-nine, Byron when he was thirty-six, and Keats when he was only twenty-six years old.To an extent, the intensity of feeling emphasized by Romanticism meant that the movement was always associated with youth, and because Byron, Keats, and Shelley died young(and never had the opportunity to sink into conservatism and complacency as Wordsworth did), they have attained iconic status as the representative tragic Romantic artists.Shelley's life and his poetry certainly support such an understanding, but it is important not to indulge in stereotypes to the extent that they obscure a poet's individual character.Shelley's joy, his magnanimity, his faith in humanity, and his optimism are unique among the Romantics;his expression of those feelings makes him one of the early nineteenth century's most significant writers in English.1．“Ozymandias” Summary
The speaker recalls having met a traveler “from an antique land,” who told him a story about the ruins of a statue in the desert of his native country.Two vast legs of stone stand without a body, and near them a massive, crumbling stone head lies “half sunk” in the sand.The traveler told the speaker that the frown and “sneer of cold command” on the statue's face indicate that the sculptor understood well the passions of the statue's subject, a man who sneered with contempt for those weaker than himself, yet fed his people because of something in his heart(“The hand that mocked them and the heart that fed”).On the pedestal of the statue appear the words: “My name is Ozymandias, king of kings: / Look on my works, ye Mighty, and despair!” But around the decaying ruin of the statue, nothing remains, only the “l(fā)one and level sands,” which stretch out around it, far away.Form : It is a sonnet, a fourteen-line poem metered in iambic pentameter.The rhyme scheme is ABABACDCEDEFEF.Commentary This sonnet from 1817 is probably Shelley's most famous and most anthologized poem.Essentially it is devoted to a single metaphor: the shattered, ruined statue in the desert wasteland, with its arrogant, passionate face and monomaniacal inscription(“Look on my works, ye Mighty, and despair!”).The once-great king's proud boast has been ironically disproved;Ozymandias's works have crumbled and disappeared, his civilization is gone, all has been turned to dust by the impersonal, indiscriminate, destructive power of history.The ruined statue is now merely a monument to one man's hubris, and a powerful statement about the insignificance of human beings to the passage of time.Ozymandias is first and foremost a metaphor for the ephemeral nature of political power, and in that sense the poem is Shelley's most outstanding political sonnet.But Ozymandias symbolizes not only political power--the statue can be a metaphor for the pride and hubris of all of humanity, in any of its manifestations.It is significant that all that remains of Ozymandias is a work of art and a group of words;as Shakespeare does in the sonnets, Shelley demonstrates that art and language long outlast the other legacies of power.2．Ode to the west wind Summary
The speaker invokes the “wild West Wind” of autumn, which scatters the dead leaves and spreads seeds so that they may be nurtured by the spring, and asks that the wind, a “destroyer and preserver,” hear him.The speaker calls the wind the “dirge / Of the dying year,” and describes how it stirs up violent storms, and again implores it to hear him.The speaker says that the wind stirs the Mediterranean from “his summer dreams,” and cleaves the Atlantic into choppy chasms, making the “sapless foliage” of the ocean tremble, and asks for a third time that it hear him.The speaker says that if he were a dead leaf that the wind could bear, or a cloud it could carry, or a wave it could push, or even if he were, as a boy, “the comrade” of the wind's “wandering over heaven,” then he would never have needed to pray to the wind and invoke its powers.He pleads with the wind to lift him “as a wave, a leaf, a cloud!”--for though he is like the wind at heart, untamable and proud--he is now chained and bowed with the weight of his hours upon the earth.The speaker asks the wind to “make me thy lyre,” to be his own Spirit, and to drive his thoughts across the universe, “l(fā)ike withered leaves, to quicken a new birth.” He asks the wind, by the incantation of this verse, to scatter his words among mankind, to be the “trumpet of a prophecy.” Speaking both in regard to the season and in regard to the effect upon mankind that he hopes his words to have, the speaker asks: “If winter comes, can spring be far behind?”
Form Each of the 5 parts of “Ode to the West Wind” contains five stanzas--four three-line stanzas and a two-line couplet, all metered in iambic pentameter.The rhyme scheme in each part follows a pattern known as terza rima, the three-line rhyme scheme employed by Dante in his Divine Comedy.Thus each of the 5 parts of “Ode to the West Wind” follows this scheme: ABA BCB CDC DED EE.Commentary Shelley invokes the wind magically, describing its power and its role as both “destroyer and preserver,” and asks the wind to sweep him out of his torpor “as a wave, a leaf, a cloud!” In the fifth section, the poet then takes a remarkable turn, transforming the wind into a metaphor for his own art, the expressive capacity that drives “dead thoughts” like “withered leaves” over the universe, to “quicken a new birth”--that is, to quicken the coming of the spring.Here the spring season is a metaphor for a “spring” of human consciousness, imagination, liberty, or morality--all the things Shelley hoped his art could help to bring about in the human mind.Shelley asks the wind to be his spirit, and in the same movement he makes it his metaphorical spirit, his poetic faculty, which will play him like a musical instrument, the way the wind strums the leaves of the trees.The thematic implication is significant: whereas the older generation of Romantic poets viewed nature as a source of truth and authentic experience, the younger generation largely viewed nature as a source of beauty and aesthetic experience.In this poem, Shelley explicitly links nature with art by finding powerful natural metaphors with which to express his ideas about the power, import, quality, and ultimate effect of aesthetic expression.Assignments: How does Shelley's treatment of nature differ from that of the earlier Romantic poets? What connections does he make between nature and art, and how does he illustrate those connections?
Whereas older Romantic poets looked at nature as a realm of communion with pure existence and with a truth preceding human experience, the later Romantics looked at nature primarily as a realm of overwhelming beauty and aesthetic pleasure.While Wordsworth and Coleridge often write about nature in itself, Shelley tends to invoke nature as a sort of supreme metaphor for beauty, creativity, and expression.This means that most of Shelley's poems about art rely on metaphors of nature as their means of expression: the West Wind in “Ode to the West Wind” becomes a symbol of the poetic faculty spreading Shelley's words like leaves among mankind, and the skylark in “To a Skylark” becomes a symbol of the purest, most joyful, and most inspired creative impulse.The skylark is not a bird, it is a “poet hidden.”
第三篇：精簡英國文學教案Week11
Week11 目的：理解批評現(xiàn)實主義以及迪更斯(mirror)1． Realism, a mode of writing that gives the impression of recording or reflecting faithfully an actual way of life.It is not a direct or simple reproduction of reality(a slice of life)but a system of conventions producing a lifelike illusion of some real world outside the text.The earliest Realist work began to appear in the 18th century, in a reaction to the excesses of Romanticism and Neoclassicism.2． WHAT IS THE STRENGTH AND WEEKNESS OF ENGLISH CRITICAL REALISM？ 3．
Three periods of Charles Dickens’ literary career.(英國文學簡史)4.Features of Dickens’ novels
A.Dickens’novels offer a most complete and realistic picture of the English bourgeois of his age.B.Dickens is a petty bourgeois intellectual.He could not overstep the limits of his class.He believed in the moral self-perfection of the wicked propertied classes.He failed to see the necessity of a bitter struggle of the oppressed against their oppressors.C.Almost all his novels have a happy ending.D.His novels tell much of the experiences of his childhood.F.Dickens is a great humorist.His novels are full of humor and laughter.5．Key Facts of Oliver Twist full title · Oliver Twist: The Parish Boy’s Progress
genre · Children’s story;detective story;novel of social protest narrator · Anonymous narrator point of view · The narrator is third person omniscient, and assumes the points of view of various characters in turn.The narrator’s tone is not objective;it is sympathetic to the protagonists and far less so to the novel’s other characters.When dealing with hypocritical or morally objectionable characters, the narrative voice is often ironic or sarcastic.tone · Sentimental, sometimes ironic, hyperbolic, crusading setting(time)· 1830s setting(place)· London and environs;an unnamed smaller English city;the English countryside protagonist · Oliver Twist major conflict · Although Oliver is fundamentally righteous, the social environment in which he is raised encourages thievery and prostitution.Oliver struggles to find his identity and rise above the abject conditions of the lower class.rising action · Oliver is taken care of by a gang of London thieves, but refuses to participate in their thievery.An upper-class family takes him in, but the thieves and a mysterious character, Monks, continue to pursue him.climax · Nancy is murdered for disclosing Monks’s plans to Oliver’s guardians.Mr.Brownlow gets the full story of Oliver’s origins from Monks.falling action · Fagin is executed and Sikes dies;Oliver and his new family live out their days in happiness.themes · The failures of charity;the folly of individualism;purity in a corrupt city;the countryside idealized motifs · Disguised or mistaken identities;hidden family relationships;surrogate families;Oliver’s face foreshadowing · The truth about Oliver’s parentage is foreshadowed by the portrait in Mr.Brownlow’s house, by the locket that Old Sally has stolen, and by Monks’s pursuit of Oliver.Why did you kill Nancy off? I thought she was a very strong character who was a great asset to the book's moral.(Virginia, aged 11-16 from St Mary's Academy)Nancy is the most complex case, because although she is a prostitute, a member of Fagin抯 gang, and Sikes抯 mistress, she also has virtuous sentiments, which prompt her to defend Oliver and to betray Fagin.But her good qualities also underpin her loyalty to Sikes, and that loyalty is the direct cause of her tragic fate at his hands.According to the novel抯 logic, it is miraculous that Oliver抯 goodness survives in such an environment, whereas it is virtually inevitable that goodness such as Nancy抯 is destroyed.6.Analysis of Major Characters Oliver Twist As the child hero of a melodramatic novel of social protest, Oliver Twist is meant to appeal more to our sentiments than to our literary sensibilities.On many levels, Oliver is not a believable character, because although he is raised in corrupt surroundings, his purity and virtue are absolute.Throughout the novel, Dickens uses Oliver’s character to challenge the Victorian idea that paupers and criminals are already evil at birth, arguing instead that a corrupt environment is the source of vice.At the same time, Oliver’s incorruptibility undermines some of Dickens’s assertions.Oliver is shocked and horrified when he sees the Artful Dodger and Charley Bates pick a stranger’s pocket and again when he is forced to participate in a burglary.Oliver’s moral scruples about the sanctity of property seem inborn in him, just as Dickens’s opponents thought that corruption is inborn in poor people.Furthermore, other pauper children use rough Cockney slang, but Oliver, oddly enough, speaks in proper King’s English.His grammatical fastidiousness is also inexplicable, as Oliver presumably is not well-educated.Even when he is abused and manipulated, Oliver does not become angry or indignant.When Sikes and Crackit force him to assist in a robbery, Oliver merely begs to be allowed to “run away and die in the fields.” Oliver does not present a complex picture of a person torn between good and evil—instead, he is goodness incarnate.Even if we might feel that Dickens’s social criticism would have been more effective if he had focused on a more complex poor character, like the Artful Dodger or Nancy, the audience for whom Dickens was writing might not have been receptive to such a portrayal.Dickens’s Victorian middle-class readers were likely to hold opinions on the poor that were only a little less extreme than those expressed by Mr.Bumble, the beadle who treats paupers with great cruelty.In fact, Oliver Twist was criticized for portraying thieves and prostitutes at all.Given the strict morals of Dickens’s audience, it may have seemed necessary for him to make Oliver a saintlike figure.Because Oliver appealed to Victorian readers’ sentiments, his story may have stood a better chance of effectively challenging their prejudices.
第四篇：英國文學選讀（推薦）
文學體裁：詩歌poem 小說novel 戲劇drama Origin起源： Christianity 基督教 bible 圣經(jīng)
Myth 神話 The Romance of king Arthur and his knights 亞瑟王和他的騎士
一、The Anglo-Saxon period(449-1066)
1、這個時期的文學作品分類： pagan(異教徒)Christian(基督徒)
2、代表作：
3、Alliteration 押頭韻（寫作手法）
例子： of man was the mildest and most beloved, To his kin the kindest, keenest for praise.二、The Anglo-Norman period(1066-1350)Canto 詩章
1、romance 傳奇文學
2、代表作：
三、Geoffrey Chaucer(1340-1400)杰弗里.喬叟時期
1、“the founder of English poetry”（英國詩歌之父）
2、heroic couplet 英雄雙韻體：a verse unit consisting of two rhymed lines in iambic pentameter(五步抑揚格).3、代表作：
大致內(nèi)容：The pilgrims are people from various parts of England, representatives of various walks of life and social groups.朝圣者都是來自英國的各地的人,代表著社會的各個不同階層和社會團體
小說特點：Each of the narrators tells his tale in a peculiar manner, thus revealing his own views and character.這些敘述者以自己特色的方式講述自己的故事，無形中表明了各自的觀點，展示了各自的性格。小說觀點：He believes in the right of man to earthly happiness.He is anxious to see man freed from superstitions and a blind belief in fate.他希望人們能從迷信和對命運的盲從中解脫出來。
4、Popular Ballads 大眾民謠 ：A story holds in 4-line stanzas with second and fourth line rhymed.Ballads are anonymous narrative songs that have been preserved by oral transmission.歌謠是匿名敘事歌曲,一直保存著口頭傳播的方式
代表人物：Bishop Thomas Percy 托馬斯.帕希主教
代表作：Robin Hood and Allin-a-Dale 羅賓漢和阿林代爾
四、The Renaissance(16世紀)文藝復興時期
（Greek and Roman）戲劇drama 詩章canto
The term Renaissance originally indicated a revival of classical(Greek and Roman)arts and sciences.文藝復興最初是指經(jīng)典藝術和科學在英國的復興。
The epoch of Renaissance witnessed a particular development of English drama.在文藝復興時期的英國，戲劇也得到了迅速的發(fā)展。
1、key word: humanism: admires human beauty and human achievement
2、代表人物：
1)、Thomas More 托馬斯.莫爾
2)、Francis Bacon 弗朗西斯.培根 第一個散文家 3)、Thomas Wyatt 托馬斯.懷亞特 引入十四行詩的第一人
Sonnet(十四行詩)：form of poetry intricately rhymed(間隔押韻)in 14 lines iambic pentameter 4)、Edmund Spenser 埃德蒙.斯賓塞 poet’s poet(詩人中的詩人)< The Fairy Queene>《仙后》(epic poem 史詩)5)、Christopher Marlowe 克里斯托弗.馬洛
blank verse(無韻體：不押韻的五步抑揚格)是十六世紀英國戲劇的主要表現(xiàn)形式。
6)、William Shakespeare 威廉姆.莎士比亞 戲劇 drama 四大悲?。?Hamlet>(哈姆雷特)，
五、The period of Revolution and Restoration(17世紀)資產(chǎn)階級革命與王權復辟
prose 散文
1、文學特點：The Puritans believed in simplicity of life, disapproved of the sonnets and the love poetry, breaking up of old ideals.清教徒崇尚儉樸的生活、拒絕十四行詩和愛情詩、與舊思想脫離。
2、代表人物：
1)、John Donne 約翰.多恩 “metaphysical poets”(玄學派詩人)的代表人物
sonnet 十四行詩 《Death be not proud》
作品特點：① strike the reader in Donne’s extraordinary frankness and penetrating realism.(坦誠的態(tài)度和現(xiàn)實描繪)
② novelty of subject matter and point(新穎的題材和視角)③ novelty of its form.(新穎的形式)
2)、John Milton 約翰.彌爾頓 a great poet 詩人（blank verse）
《失樂園》 “Satan is not a villain”撒旦不是壞人
《復樂園》
六、The Age of Enlightenment(18世紀)啟蒙運動
prose 散文
1、Emphasized formality or correctness of style, to write prose like Addison, or verse like Pope.強調(diào)正確的格式和寫作規(guī)范，像艾迪生一樣創(chuàng)作散文，和蒲柏一樣創(chuàng)作詩歌。
The Enlightenment was an expression of struggle of the then progressive class of bourgeoisie against feudalism.啟蒙運動實際上是當時先進的資產(chǎn)階級同落后的封建主義斗爭的一種形式。
The enlighteners repudiate the false religious doctrines about the viciousness of human nature, and prove that man is born kind and honest, and if he becomes depraved, it is only due to the influence of corrupted social environment.啟蒙主義者顛覆了宗教所宣揚的人類本惡的觀點；論證了人生誠實而友善，而腐化墮落則是后天腐敗的社會環(huán)境所致。
Contrary to all reasoning, social injustice still held strong, found the power of reason to be insufficient, and therefore appealed to sentiment as a means of achieving happiness and social justice.無論怎樣講究理性，社會不平等現(xiàn)象仍然普遍存在，理性的力量明顯不足。因此呼吁把情感的訴求作為一種謀求幸福和社會公平的手段。
2、18th century 文學的三個方面：Classicism(古典主義)、revival of romantic poetry(新興的浪漫主義詩歌)、beginnings of the modern novel(剛啟萌的現(xiàn)代派小說)
3、代表人物：
1)、Daniel Defoe 丹尼爾.笛福 realistic novel 現(xiàn)實主義小說
Novel：
2)、Jonathan Swift 喬納森.斯威夫特
作品特點：no visible sign of anger, nor raising the voice;the tone is cold, restrained, ironic, varied only by some flashes of fooling when Swift’s sense of the ridiculous gets the better of him.努不動顏，罵不揚聲，語調(diào)冷酷，鋒芒暗藏，諷刺辛辣，僅在諷喻之情難以抑制時才偶露揶揄之態(tài)。
七、the Romantic Period(1798-1832)浪漫主義
散文 prose
1、前浪漫主義代表人物：William Blake 威廉.布萊克 詩人
Robert Burns 羅伯特.彭斯 蘇格蘭詩人
Pre-Romanticism was greatly influenced by the Industrial Revolution and the French Revolution 前浪漫主義極大地影響了工業(yè)革命和法國大革命。
2、教育意義Educational：liberty, equality and fraternity 自由，平等，博愛
3、開始的標志：beginning with the publication of William Wordsworth’s
4、lake poets(湖畔派詩人)：Coleridge Southey Wordsworth
5、代表人物：
1)、William Wordsworth 威廉.華茲華斯 poet-laureate(桂冠詩人)
With S.T.coleridge, they jointly published the “Lyrical Ballads”.與s.t.coleridge一起,聯(lián)合發(fā)表了“抒情民謠” 作品特點：simplicity and purity of the language, fighting against the conventional forms of the 18th century poetry 簡單而純潔的語言,反傳統(tǒng)形式的18世紀詩歌
2)、Lord Byron 拜倫
3)、Percy Bysshe Shelley 雪萊
《解放了的普羅米修斯》 drama 戲劇
4)、John Keats 濟慈 poet 詩人
第五篇：英國文學 女性主義
近代英國文學中女性主義思想的嬗變
摘要：本文通過分析簡·奧斯汀、勃朗特姐妹、蓋斯凱爾夫人、喬治·艾略特和弗吉尼亞·伍爾夫等女性作家在她們作品中反映出的女性主義思想，試圖研究近代英國文學中女性主義思想的嬗變以及所經(jīng)歷的過程和社會意義。
關鍵詞：英國女性文學 女性主義思想嬗變
簡·奧斯汀作品中對女性智力的肯定
19世紀的英國婦女地位非常卑微，在經(jīng)濟、政治，甚至在受教育方面的權利都被限制。與男性相比，婦女被認為天生智力低劣，而且當時絕大多數(shù)婦女似乎也承認這種觀念，她們對自己的卑微地位毫無自覺意識。簡·奧斯汀卻以自己的創(chuàng)作實踐為女性爭取到她們應有的空間。她的作品充分肯定了女性的智力，認為婦女和男人一樣智力發(fā)達，女性甚至比男性更具有敏銳的觀察力和判斷力。她一反傳統(tǒng)文學中正面主人公都為男性的模式，將不少女性提升為作品中的主人公。她筆下的這些女主角們不再是以“花瓶”的面貌出現(xiàn)，而是理性、美德和智慧的化身，她們代表了既敏感又富有思想的年輕一代女性獨立的個體，都經(jīng)歷了從不完美到完美這樣一個過程。奧斯汀在作品中著意于表現(xiàn)女性作為與男性完全平等的“人”的性格魅力，并且她把長期處于邊緣的失勢地位的女性作為全知視角下的限制性敘述角度，喚醒了女性沉睡已久的主體意識，由此，奧斯汀使英國女性文學的主體意識提前半個世紀被表現(xiàn)出來。
在某種意義上說，簡·奧斯汀是一位女權主義者。在她那個時代，婦女是不允許按部就班地接受教育的，小說《曼斯菲爾德莊園》中，埃德蒙·伯特倫去的伊頓公學以及牛津和劍橋這樣的學校都是不會朝婦女敞開大門的。像小說《曼斯菲爾德莊園》中男爵的妻子伯特倫太太，《理智與情感》中的米德爾頓女士，《愛瑪》中的埃爾頓太太這樣的上層社會的個別女性才有機會接受一些非家政性的教育，如繪畫、唱歌、樂器演奏以及語言學等，但她們掌握這些技能的最終目的是為了能取悅自己的丈夫。結婚以后，她們的這些技能將會逐漸被荒廢。但在小說《傲慢與偏見》中的伊麗莎白·班尼特則表現(xiàn)出相反的態(tài)度，她認為彈琴完全是無所謂的事情。小說《蘇珊女士》的女主人公更是有著憤世嫉俗的觀點，認為自己尚未成年的女兒弗雷德麗卡所接受的教育不過是在今后找丈夫過程中為自己增加些魅力，甚至認為女子所掌握的這些技能純粹多余。簡·奧斯汀通過筆下的這些婦女形象說明以男性為中心的社會造成了女人這樣的境遇，因此她創(chuàng)作的女性形象不僅對女性文學，而且對整個英國文學史都具有重要意義。
當然，簡·奧斯汀的作品始終是在愛情的領域——當時女性唯一能表現(xiàn)出女性意識覺醒的空間。她筆下的女性都是平等愛情的呼喚者，這在婦女處于被輕視和貶抑的社會無疑代表了女性自覺意識的最強音。不過她們在愛情領域里還是處于被動的地位，她們只是安靜地等待男性的求婚，缺少主動出擊的勇氣和魄力，而且全無謀職以求經(jīng)濟獨立的想法與愿望，僅僅停留在空談感情的水平上。
勃朗特姐妹作品中對女性獨立人格的確立
如果說是簡·奧斯汀的作品把女性推向文壇的中心，那么繼之而起的勃朗特姐妹的作品則成為英國文學史上的里程碑，也成為世界女性文學的轉折點，因為她們的作品宣告了女性意識的真正覺醒。勃朗特姐妹率先提出了女性獨立人格的問題，并指出獨立的人格是建立在經(jīng)濟獨立的基礎之上的。她們的作品深入到女性的內(nèi)心世界，凸現(xiàn)了女性自尊自愛的美好人格。
具有強烈的自我意識和獨立人格的代表當首推夏洛蒂·勃朗特所創(chuàng)作的小說《簡·愛》里的女主人公。這部小說敘述了一個在惡劣的生存環(huán)境中不斷奮斗的孤女的故事。在小說中，簡·愛是一個新型女性，她改變了英國傳統(tǒng)女性中溫柔可愛、逆來順受的形象。她出生貧窮，貌不驚
人，但堅決反對壓迫屈辱的行為，始終捍衛(wèi)自己的獨立人格，并最終以和羅切斯特先生的美滿愛情結局表達出作者對愛情、理想和人與人之間關系的思考。通過這個人物，夏洛蒂更多地否定了當時社會男性與女性角色的差別，正如作品中簡·愛對羅切斯特所說，“在人格上我們是平等的?！边@種平等意識顯然是英國文學中女性意識的一大進步，它使得女性意識從對女性特點的強調(diào)轉到了對女性作為人的價值的強調(diào)；從對女性修養(yǎng)、尊嚴等的強調(diào)，轉到了對女性真摯、坦誠和獨立人格的強調(diào)；從對女性的社會認知度等外在價值的強調(diào)，轉到了對女性內(nèi)在情感價值的強調(diào)。夏洛蒂試圖透露這樣一個信息：我雖不是一個你們所喜愛的女性，但我并不因此而自卑。我身材矮小，相貌不揚，但我獨立，自尊。勃朗特姐妹認為女性最可悲之處正在于沒有一個獨立的生活目標。因此，從對女性智力的肯定和對女性性別角色的強調(diào)到對女性獨立人格的強調(diào)，是簡·奧斯汀到勃朗特姐妹的作品的變化和發(fā)展。
然而，無論是簡·奧斯汀還是勃朗特姐妹都只是在家庭或是在經(jīng)濟領域內(nèi)關照女性的覺醒，而沒有拓展到深入而更廣泛的社會領域即政治層面。要真正為女性找到有力的支點，必須在社會意識下反映女性意識的自覺性，蓋斯凱爾夫人首先做到了這一點。
蓋斯凱爾夫人作品中逐漸走向社會的女性
在男權社會中除了家庭生活以外，女性幾乎全部的社會領域都被男性控制和壟斷。女性無論在道德和人格上多么自立，都始終無法徹底改變她們的從屬地位。其主要原因就是她們與社會政治處于隔絕狀態(tài)，只有主動參與廣泛的社交與政治生活，女性才有可能取得根本的自主地位。蓋斯凱爾夫人的作品描寫了一群逐漸走向社會領域的女性，她在簡·奧斯汀和勃朗特姐妹探索的基礎上，把女性意識納入了社會的軌道，與現(xiàn)實社會緊密聯(lián)系在一起，實現(xiàn)了女性意識社會化的突破。
在《瑪麗巴頓》和《南方與北方》中，蓋斯凱爾夫人把女性意識的自覺性向前推進了一大步，使女性意識擺脫了以往狹小而閉塞的情感體驗，為女性意識的發(fā)展開辟了更廣闊的社會領域。作品中的瑪麗從幼稚走向成熟的過程與愛瑪有幾分相似，不過愛瑪?shù)某墒焓菫樽约涸炝艘幻骁R子，通過自我反省、自我批判和自我剖析來實現(xiàn)，而瑪麗的迷途知返則是把社會作為自己判斷的參照對象，她把自己的愛戀者放在社會政治生活中予以考察，這種愛情本身帶有更多的理性思考和對社會現(xiàn)象的權衡，這是婦女參與社會思考的開始。
蓋斯凱爾夫人的作品不僅把女性帶入了社會，而且還表現(xiàn)了女性在社會政治領域中的能力和素質(zhì)。她筆下女性的成長和覺醒主要依靠的是自身的力量，她們的思想成熟代表著傳統(tǒng)社會觀念向新的價值觀念體系的轉變。通過作品中女主人公的成長和自我意識的覺醒，蓋斯凱爾夫人意欲說明女性意識和社會意識應同步發(fā)展，這是她對女性參與社會生活能力的充分肯定。
喬治·艾略特作品中獨特的女性意識
喬治·艾略特的作品融入了同時代女性寫作的主流，述說著女性瑣碎的婚姻故事與心靈體驗。她的作品蘊涵著獨特的女性意識：作者除了把女性細微的心靈空間和邊緣地位歸咎于男權社會的無情壓制外，還把矛頭直接指向女性群體本身，即對女性自身弱點與不足進行剖析和展示。喬治·艾略特的小說就像一面鏡子反映了人們的真實生活，展示了女性的價值，揭示了生活的真諦。盡管作品主題很一般，但它所蘊涵的深刻道德感和現(xiàn)實意義卻對當時的作家和讀者產(chǎn)生了深遠的影響。
她的前期小說主題多涉及情感、宗教與人性的沖突，不斷突出“心中的神靈”善之美德對人的影響，但在她后期作品中，女性的命運成了她創(chuàng)作的主題。她以嚴肅的創(chuàng)作態(tài)度全面而深刻地探討了女性的處境、體驗和對生活的看法，揭示了女性與男性各自的弱點以及由于環(huán)境的限制，不能實現(xiàn)各自的遠大抱負。如在小說《米德爾馬契》中，艾略特對女主人公的內(nèi)在精神與心靈進行了探索與挖掘，控訴了男權社會對女性精神的殘酷統(tǒng)治和對女性理想的扼殺，祭奠
了幻滅后靈魂的升騰與凝重。艾略特以一個知識女性的身份和體驗在小說里指出，女人可以用知識來拓寬心靈，指導自己的行為和想法，但“為了保障社會和家庭生活的安全，這些主張自然不宜當真實行”。小說中女性的這種邊緣狀態(tài)既是男權社會壓制的結果，又是女性自身歷史積淀的集體無意識所導致的。
在艾略特的作品中女性人物總是極為優(yōu)秀，她們雖是男性主宰的社會制度的受害者，不得不屈從于世俗習慣并放棄自己的遠大理想，但她們能“在自己有限的活動領域里獲得心靈上的成功”。她們雖不能在公眾的、社會的領域發(fā)揮出她們的作用，但她們能以間接的方式對周圍的男性施加影響，并借助男性在社會各個領域發(fā)揮作用，間接地實現(xiàn)自身的價值并推動社會的民主進程。因此，女性對男性人生的影響是艾略特作品中的一個常見主題。
在作品中，艾略特用自己的成就證實了女性能擺脫諸多限制并獲得史詩般的成就，但要在男性主宰的世界里獲得成功需要非凡的勇氣和堅強的毅力。大多數(shù)女性沒有足夠的選擇余地，不得不屈從于傳統(tǒng)的世俗力量。在此，作者表明了她鮮為人知的女權主義觀點，即女性要取得真正的平等并實現(xiàn)自身的價值，不僅要打破社會強加在她們身上的枷鎖，摧毀一切世俗障礙，還要擺脫自己給自己套上的鏈條，以真實的自我展現(xiàn)自己，并改變對自身價值的認識。
弗吉尼亞·伍爾夫作品中的女權意識
與前面幾位女性作家相比，弗吉尼亞·伍爾夫是一個激進的女權主義者。她一生都在通過寫作和演講、語言和行動來建立和完成自己的偉大事業(yè)。她不僅要反對男性文化的壓迫，解除男權思想的束縛，求得與男性和解式的“平權”，而且還不時想通過與男性對抗來解決現(xiàn)實存在的男女不平等的問題。在作品中，她首次提出了女性寫作是有別于男性的“性別寫作”，公開向以男性寫作為主流意識形態(tài)的創(chuàng)作領域挑戰(zhàn)。由此，弗吉尼亞·伍爾夫掀起了一場女權主義思想的革命。
作為系統(tǒng)地把女權主義思想引入文學批判的第一人，她的《一間自己的房子》和《三個基尼金幣》成為后世女權論者的典范著作。《一間自己的房子》是她婦女意識與女權思想的重要論著，在其中她提出了“雙性同體”的創(chuàng)作思想，唱響了女權主義的號角，成為女性主義作品的經(jīng)典。從此，“自己的屋子”為女性寫作打開了新天地，這是婦女寫作史上一座里程碑式的“建筑”?！度齻€基尼金幣》是伍爾夫向男性政治宣戰(zhàn)的宣言書。她以縝密的邏輯思維、睿智的思想維度和辛辣諷刺夸張的筆法，通過捐贈三枚舊金幣給名譽司庫這樣一個事實，以書信體的形式對男性熱衷戰(zhàn)爭的法西斯本質(zhì)進行了深刻批判，對婦女與政治、文化、職業(yè)和教育等問題進行了探討，以提供文件的方式批駁了男性特權、男性偏見、男性虛榮與男性主宰，指出戰(zhàn)爭的別名就是政治，將戰(zhàn)爭與政治緊密地聯(lián)系在一起。伍爾夫對于戰(zhàn)爭的控訴也就勢表現(xiàn)出對于男權政治的控訴。她的女性主義思想是如此深刻和犀利，樹立了女性反抗男性社會的一面旗幟。
在控訴女性的自我被社會排擠得幾乎消失，在痛心于女性的自我被女性幾乎全部拋棄的同時，伍爾夫一直試圖探索一條重塑女性自我、恢復女性社會地位和樹立女性堅強自信的道路。怎樣才能“成為自己”是擺在伍爾夫面前的一個重要問題。女性要真正成為“自己”最重要的前提是要獲取必要的物質(zhì)條件，只有這樣，女性才能最終擺脫歷史和現(xiàn)實強加給她的不利地位。
首先，要拒絕臣服，要克服自我貶抑和妄自菲薄的心理。如果說獲取必要的物質(zhì)條件是恢復女性社會地位的必要前提，那么克服女性對自己的自我貶抑、妄自菲薄的態(tài)度就是真正樹立女性自信的前提，而這兩者都是重塑女性自我意識的先決條件。其次，要建立女性自己的價值觀念，這些價值觀念表現(xiàn)為一種復雜的力量，一種獨特的創(chuàng)造力，“這種創(chuàng)造力是數(shù)千年來最嚴厲的規(guī)矩換來的，沒有別的東西可以代替?！弊詈螅叱龇忾]的、狹小的個人世界。假如女性能勇敢地走出私人的領地，走向廣闊的公共社會生活，那么女性的“獨立”就指日可待，女性真正“成為自己”就有了堅實的基礎。
伍爾夫表述了一個相對完整的關于女性的觀點體系。她所主張的女性“成為自己”，實質(zhì)上是要建立一種自足而又開放的女性自我，這樣一種自我既獨立，又與男性、與整個世界有著相互依賴和相互促進的關系，正是這一質(zhì)樸的思想對后世的女權主義思想產(chǎn)生了重要影響
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