第一篇：文學(xué)欣賞的主體條件與時(shí)代價(jià)值取向

看，文學(xué)欣賞的主體條件與時(shí)代價(jià)值取向

文學(xué)欣賞是讀者對(duì)文學(xué)作品進(jìn)行感受、體驗(yàn)、領(lǐng)悟、理解，從而獲得由淺入深、情理結(jié)合的審美把握。讀者在文學(xué)欣賞的過程中充當(dāng)了欣賞主體這一角色，而欣賞主體生活經(jīng)驗(yàn)、文化基礎(chǔ)等的不同，對(duì)文學(xué)作品欣賞的審美角度、審美深度，自身獲取的審美體驗(yàn)也會(huì)不同。在欣賞主體自身的條件影響下，由于時(shí)代的不同，欣賞主體都對(duì)文學(xué)作品的價(jià)值也會(huì)有不同的取舍趨向?？傮w上說(shuō)，文學(xué)欣賞不僅要有欣賞主體的自身?xiàng)l件，還受到了時(shí)代價(jià)值取向的影響。

一、生活經(jīng)驗(yàn)與時(shí)代價(jià)值取向的共同作用：

文學(xué)作品是對(duì)社會(huì)人生的審美反映，只有具備一定的生活閱歷才能理解作品中的生活現(xiàn)象。欣賞主體若是沒有作品中所描述的生活經(jīng)驗(yàn)，在欣賞作品時(shí)只能是被作者單純的隨意的牽著鼻子走，無(wú)法通過自己已有的體驗(yàn)與作品中的片段產(chǎn)生共鳴，欣賞主體也就無(wú)法進(jìn)入到角色中，進(jìn)而被藝術(shù)形象吸引、感染，和作品中人物同命運(yùn)、共呼吸。而欣賞主體的生活經(jīng)驗(yàn)也反映了其所處的時(shí)代特點(diǎn)，就隨之帶著時(shí)代價(jià)值取向去欣賞一部作品。例如當(dāng)王小波的《黃金時(shí)代》被不同時(shí)代的讀者閱讀、欣賞時(shí)，就會(huì)產(chǎn)生與欣賞主體不同的化學(xué)反應(yīng)。

在《黃金時(shí)代》里，王二離開知青生活的主流，去跟陳清揚(yáng)搞“破鞋”，從而在大批判、生產(chǎn)勞動(dòng)之外，找到了自己的黃金時(shí)代。書中的“時(shí)代”是以文革時(shí)期為背景的二十世紀(jì)六七十年代，知識(shí)分子群體無(wú)能為力而極“左”政治泛濫橫行。生長(zhǎng)于這個(gè)年代后期的讀者，在讀這部作品時(shí)，一開始會(huì)很不理解，為什么王二總是對(duì)“破鞋”很敏感？為什么陳清揚(yáng)總是糾結(jié)于自己是不是“破鞋”？為什么王二會(huì)不顧他人的眼光，不顧組織上的調(diào)查繼續(xù)和陳清揚(yáng)糾結(jié)不清？又或者生長(zhǎng)于20世紀(jì)90年代后的讀者會(huì)認(rèn)為“破鞋”真這么值得去探究嗎？所以，當(dāng)這類讀者去欣賞《黃金時(shí)代》時(shí)會(huì)產(chǎn)生諸多的不解。他們有可能會(huì)將欣賞的角度移到作品中人物語(yǔ)言上，在面對(duì)大段大段的“性愛”描寫上，會(huì)認(rèn)為其增加了作品的可讀性，將王小波看作了如當(dāng)代某些商業(yè)化作家一樣，以此搏人眼球。這便是對(duì)王小波以及其作品的深深的誤解。

實(shí)際上，名叫“王二”的男主人公處于恐怖和荒謬的環(huán)境，遭到各種不公正待遇，但他卻擺脫了傳統(tǒng)文化人的悲憤心態(tài)，創(chuàng)造出一種反抗和超越的方式：既然不能證明自己無(wú)辜，便傾向于證明自己不無(wú)辜。于是他以性愛作為對(duì)抗外部世界的最后據(jù)點(diǎn)，對(duì)陳規(guī)陋習(xí)和政治偏見展開了極其尖銳而又包含幽默的挑戰(zhàn)。特別是王二和陳清揚(yáng)被發(fā)現(xiàn)在一起后，每天都要做機(jī)械式的流水賬式的報(bào)告，更是充滿了對(duì)那個(gè)時(shí)代禁錮人自由的諷刺。當(dāng)讀者生長(zhǎng)于二十世紀(jì)六七十年代，他們對(duì)知青生活、文化大革命有著親身的體驗(yàn)，對(duì)作品背景的了解是發(fā)自于內(nèi)心的，當(dāng)他們一讀到王二所生活的環(huán)境時(shí)，腦海中的記憶自然會(huì)和作品產(chǎn)生碰撞。此時(shí)，這類讀者對(duì)作品的審美是從作品所表達(dá)的主旨、精神上的，讀者似乎也可以在文字間找到自己的影子。他們不再對(duì)人物語(yǔ)言感到陌生或好玩，不再對(duì)“性愛”場(chǎng)景的描寫感到好奇驚嘆，書中的一切不正是那個(gè)時(shí)代的真實(shí)寫照么？所以，他們以他們的生活經(jīng)驗(yàn)，和那個(gè)他們所處時(shí)代的價(jià)值取向?qū)Α饵S金時(shí)代》做出了最正確而客觀的評(píng)價(jià)。真正能夠欣賞到《黃金時(shí)代》的也正是他們這類有著同時(shí)代背景命運(yùn)的讀者。

二、文化基礎(chǔ)與時(shí)代價(jià)值取向的共同作用：

古代的神話，如中國(guó)的《女媧補(bǔ)天》、《后羿射日》，古希臘的《普羅米修斯》等，對(duì)處于童年時(shí)代的讀者來(lái)說(shuō)，他們希望從神話那里獲得對(duì)于自然、社會(huì)的幼稚的認(rèn)識(shí)。正如我們小時(shí)候聽長(zhǎng)輩講看月食會(huì)被天狗咬掉耳朵的故事，我們會(huì)“自覺的”不去看月亮并且還捂住耳朵。我們會(huì)真正祈求神靈的保護(hù)，還會(huì)把神話中的英雄當(dāng)做生活中的上帝來(lái)崇拜。當(dāng)我們長(zhǎng)大后，再來(lái)閱讀古代神話，不是為了認(rèn)識(shí)自然，而是感受古代

神話里那神奇的幻想，那人類童年的經(jīng)驗(yàn)，從而獲得審美的享受。

第二篇：課堂教學(xué)的有效性與價(jià)值取向

課堂教學(xué)的有效性與價(jià)值取向

王敏勤

新課程理念下怎樣才算一堂好課，這是目前討論比較多的一個(gè)問題。一般說(shuō)來(lái)，評(píng)價(jià)一堂好課的標(biāo)準(zhǔn)除了要看教師的基本素質(zhì)以外，主要有如下幾點(diǎn)要求：1.在課程目標(biāo)方面，師生是否明確并落實(shí)了三維的課程目標(biāo)；2.在教學(xué)方式方面，教師是否轉(zhuǎn)變了教的方式和學(xué)生是否轉(zhuǎn)變了學(xué)的方式；3.在使用教材方面，教師是否能夠做到用好教材并超出教材，能夠開發(fā)課程資源；4.在教學(xué)效果方面，學(xué)生的收獲是否大，課堂教學(xué)的效益是否高。實(shí)際上，在這四個(gè)方面，最主要的還是看課堂教學(xué)效果。但課堂教學(xué)的效果主要是指什么，這就涉及到課堂教學(xué)的有效性和價(jià)值取向問題。

一、什么是課堂教學(xué)的有效性

現(xiàn)在我們都知道：教學(xué)是一門科學(xué)也是一種藝術(shù)。其實(shí)對(duì)這個(gè)問題的認(rèn)識(shí)有一個(gè)漫長(zhǎng)的過程。在20世紀(jì)以前，在西方的教育理論中占主導(dǎo)地位的教學(xué)觀是“教學(xué)是藝術(shù)”，持這種觀點(diǎn)的人認(rèn)為：影響教學(xué)過程的因素是復(fù)雜的多方面的，每個(gè)教師的情況不同，每個(gè)班學(xué)生的情況不同，所以教學(xué)是無(wú)規(guī)律可循的，是難以用科學(xué)的方法進(jìn)行研究的。教學(xué)只能是一種教師個(gè)性化的、沒有“公共的方法”的行為，是一種“憑良心行事”的、“約定俗成”的行為。

但是，隨著20世紀(jì)以來(lái)科學(xué)思潮的影響，以及心理學(xué)特別是行為科學(xué)的發(fā)展，人們才逐步意識(shí)到，教學(xué)也是科學(xué)。也就是說(shuō)，教學(xué)不僅有科學(xué)的基礎(chǔ)，而且還可以用科學(xué)的方法來(lái)研究，教學(xué)是一種有規(guī)律的行為，教學(xué)的結(jié)果是可以測(cè)量的。所以人們才提出：教學(xué)不盡是一種藝術(shù)，也是一門科學(xué)。有效教學(xué)（effective teaching）的理念正是源于20世紀(jì)上半葉西方的教學(xué)科學(xué)化運(yùn)動(dòng)，它是“教學(xué)是藝術(shù)還是科學(xué)”之爭(zhēng)的產(chǎn)物。有效教學(xué)的核心問題就是教學(xué)的效益問題，即什么樣的教學(xué)是有效的?是高效的、低效的還是無(wú)效的? 所謂“有效”，主要是指通過教師在一段時(shí)間的教學(xué)之后，學(xué)生所獲得的具體的進(jìn)步或發(fā)展。也就是說(shuō)，學(xué)生有無(wú)進(jìn)步或發(fā)展是教學(xué)有沒有效益的唯一指標(biāo)。比如，一個(gè)教師承擔(dān)了一個(gè)班的數(shù)學(xué)教學(xué)任務(wù)，在期末考試和總結(jié)的時(shí)候，人們看這個(gè)班是進(jìn)步了還是退步了，是進(jìn)步幅度大還是幅度小，以此衡量教師教學(xué)效益的大小。

但在日常教學(xué)中，我們更多的是看一堂課的教學(xué)效果。具體到一節(jié)課，所謂課堂教學(xué)的有效性是指：在規(guī)定的課堂教學(xué)時(shí)間內(nèi)，師生對(duì)既定教學(xué)目標(biāo)的達(dá)成情況。這個(gè)定義有兩方面的規(guī)定性： 1.強(qiáng)調(diào)課堂教學(xué)時(shí)間的規(guī)定性

我們提出向課堂要質(zhì)量是指向40分鐘（小學(xué)）或45分鐘（中學(xué)）要質(zhì)量，就是說(shuō)，在規(guī)定的教學(xué)時(shí)間內(nèi)教師要完成既定的教學(xué)任務(wù)，學(xué)生要實(shí)現(xiàn)既定的學(xué)習(xí)目標(biāo)，而不是隨意的把時(shí)間前伸和后延，如果學(xué)生在課前預(yù)習(xí)占用太多的時(shí)間也是增加學(xué)生的負(fù)擔(dān)，如果學(xué)生在課后布置很多作業(yè)更是增加學(xué)生的負(fù)擔(dān)。我曾經(jīng)提出評(píng)價(jià)教師教學(xué)水平的標(biāo)準(zhǔn)：高水平的教師向課堂要質(zhì)量，低水平的教師向課下要質(zhì)量。這幾年我研究了許多名教師的案例，他們的教學(xué)質(zhì)量高、升學(xué)率高，而學(xué)生的負(fù)擔(dān)卻很輕，其奧妙就是向課堂要質(zhì)量，所有的問題都在課堂上解決，很少留課后作業(yè)甚至沒有作業(yè)。如遼寧的魏書生、北京的孫維剛、馬芯蘭等。我們?cè)谌粘＝虒W(xué)中也經(jīng)常發(fā)現(xiàn)這樣的現(xiàn)象：對(duì)桌辦公的兩個(gè)老師教平行班，一個(gè)老師整天忙得暈頭轉(zhuǎn)向，不是批作業(yè)就是給學(xué)生個(gè)別輔導(dǎo)，工作非常敬業(yè)，但師生的負(fù)擔(dān)都很重，是以犧牲師生的身心健康為代價(jià)取得成績(jī)的。而另一個(gè)老師可能課后作業(yè)很少，也很少給學(xué)生個(gè)別輔導(dǎo)，課后主要是研究教法，師生都不累，教學(xué)成績(jī)卻很好。其關(guān)鍵就是抓住了課堂教學(xué)這個(gè)環(huán)節(jié)，力爭(zhēng)所有的問題都在課堂解決，不把問題和作業(yè)推向課后。

2.強(qiáng)調(diào)教學(xué)目標(biāo)的規(guī)定性

在課堂教學(xué)的開始，教師是否應(yīng)該把課程目標(biāo)告訴學(xué)生（書面的或口頭的），這個(gè)問題爭(zhēng)論了多少年沒有定論。有的老師說(shuō)：我在教案中有課程目標(biāo)，但我不能告訴學(xué)生。為什么？因?yàn)槲业恼n堂教學(xué)設(shè)計(jì)是很藝術(shù)的，事先學(xué)生不知道一堂課的教學(xué)目標(biāo)，有一種神秘感，愿意聽我的課。如果學(xué)生一開始就知道了一堂課的教學(xué)要求和目標(biāo)，就不愿聽課了。教學(xué)固然需要藝術(shù)性，但更要注重教學(xué)效果。在課程改革之前教師不告訴學(xué)生教學(xué)目標(biāo)是可以理解的，因?yàn)檫^去是先教后學(xué)、以教定學(xué)，學(xué)生圍著教師轉(zhuǎn)，教師教什么、學(xué)生學(xué)什么，所以課前教師是否告訴學(xué)生教學(xué)目標(biāo)并不重要，只要教師知道就行了。但課程改革提出要轉(zhuǎn)變教與學(xué)的教學(xué)方式，要先學(xué)后教、以學(xué)定教，教師的教為學(xué)生的學(xué)服務(wù)，在這種情況下學(xué)生事先不知道一堂課的課程目標(biāo)，就沒法發(fā)揮主動(dòng)性和積極性，就很難轉(zhuǎn)變學(xué)習(xí)方式。另外如果一堂課沒有具體的教學(xué)目標(biāo)，很難評(píng)價(jià)這堂課效率的高低。美國(guó)的教育學(xué)家布盧姆說(shuō)：“有效的教學(xué)始于知道希望達(dá)到的目標(biāo)是什么。”

二、什么是課堂教學(xué)的價(jià)值取向

一堂課怎樣才算是有效？有效的標(biāo)準(zhǔn)是什么？這里有一個(gè)價(jià)值取向問題。離開了價(jià)值取向討論課堂教學(xué)的有效性是很模糊的。所謂課堂教學(xué)的價(jià)值取向就是教學(xué)目標(biāo)的方向性問題。也就說(shuō)，在一節(jié)課上，在有限時(shí)間內(nèi)，師生做什么最有價(jià)值。做有價(jià)值的事才是有效的，價(jià)值越大效益越大。比如，在數(shù)學(xué)課上，教師帶著學(xué)生做游戲，雖然數(shù)學(xué)知識(shí)沒有學(xué)到多少，但學(xué)生很開心，有利于他們的身心健康發(fā)展。但這節(jié)課的主要任務(wù)是什么，在有限的時(shí)間內(nèi)師生做什么最有價(jià)值？這就是價(jià)值取向問題。

再比如：目前談?wù)摫容^時(shí)髦的課堂教學(xué)的“預(yù)設(shè)與生成”問題。其實(shí)這個(gè)問題在過去就有：教師的備課就是預(yù)設(shè)，教師在課堂教學(xué)靈活變通就是生成，并不深?yuàn)W。我聽過這樣一節(jié)課：有個(gè)老師正在上數(shù)學(xué)課，講一元二次方程組的解法，突然教室里來(lái)了一只貓，老師話題一轉(zhuǎn)，引導(dǎo)學(xué)生討論起了對(duì)動(dòng)物的保護(hù)問題。有人覺得這是一堂自然生成的好課，是創(chuàng)新，是一堂跨學(xué)科的綜合課。我認(rèn)為：什么時(shí)候討論動(dòng)物的保護(hù)問題都有價(jià)值，但具體到這一節(jié)數(shù)學(xué)課，教學(xué)的主要目的是什么，這堂課要完成的主要任務(wù)是什么，在這里討論動(dòng)物的保護(hù)問題雖然也有價(jià)值，但卻脫離了教學(xué)目標(biāo)，是無(wú)效的或低效的。

? 再比如：在一節(jié)語(yǔ)文課上，老師讓學(xué)生表演一個(gè)小品，雖然這個(gè)小品與課文的關(guān)系不大，但也能鍛煉學(xué)生的表演能力和表達(dá)能力。對(duì)這樣的課如何評(píng)價(jià)？特別在當(dāng)前的課程改革中，有些教師只注重形式的活躍，堂堂都有分組討論，堂堂都有表演和搶答。這就涉及到課堂教學(xué)的價(jià)值取向問題。師生一定要明確：一堂課的主要任務(wù)是干什么，在有限的時(shí)間內(nèi)首先要完成主要任務(wù)，主要任務(wù)完成了，課堂教學(xué)的效率才能提高。

美國(guó)哈佛商學(xué)院經(jīng)常給學(xué)生講述一種很有效的做事方法：80對(duì)20的法則。即任何工作，如果按價(jià)值順序排列，那么總價(jià)值的80％往往來(lái)源于20％的項(xiàng)目。簡(jiǎn)單地說(shuō)，如果你把所有必須干的工作，按重要程度分為10項(xiàng)的話，那么只要把其中最重要的兩項(xiàng)干好，其余的8項(xiàng)工作也就自然能比較順利地完成了。課堂教學(xué)也是如此。在一堂數(shù)學(xué)課上，有價(jià)值的事很多，比如讓學(xué)生唱歌，可以增加他的音樂素養(yǎng)；讓學(xué)生表演，可以增強(qiáng)他的表演能力。但教師要清楚這節(jié)課的主要任務(wù)是什么，這節(jié)課主要是圍繞什么來(lái)開展活動(dòng)，評(píng)價(jià)一堂課的標(biāo)準(zhǔn)不是看搞了什么活動(dòng)，而是完成了什么任務(wù)。

三、課程目標(biāo)的價(jià)值取向與長(zhǎng)效和短效問題?

新課程提出了三維的課程目標(biāo)：知識(shí)與技能、過程與方法、情感態(tài)度價(jià)值觀。有的老師一直感到困惑：這三維的課程目標(biāo)在課堂教學(xué)中是什么關(guān)系，應(yīng)以什么為主？這實(shí)際上也是一個(gè)價(jià)值取向問題。對(duì)于三維的課程目標(biāo)，我認(rèn)為應(yīng)以知識(shí)和技能為主線，過程與方法和情感態(tài)度價(jià)值觀都是以知識(shí)為載體來(lái)實(shí)現(xiàn)的。其關(guān)系圖示如下：

所謂過程與方法，是學(xué)生在獲得知識(shí)和技能的過程中運(yùn)用了什么方法，是教師灌輸獲得的還是自主探究獲得的，其價(jià)值不同；所謂情感態(tài)度價(jià)值觀是指：學(xué)生在學(xué)習(xí)的過程中是以什么樣的情感和態(tài)度來(lái)參與的，是積極主動(dòng)還是消極被動(dòng)？是富有興趣還是厭學(xué)乏味？通過一節(jié)課的學(xué)習(xí)學(xué)生的價(jià)值觀、人生觀、環(huán)保觀等價(jià)值觀念會(huì)發(fā)生什么樣的變化。這一些都以知識(shí)為載體。所以在課堂教學(xué)中不能淡化知識(shí)的教學(xué)。建國(guó)后我們進(jìn)行了八次課程改革，有成功的經(jīng)驗(yàn)，有失敗的教訓(xùn)，但基礎(chǔ)知識(shí)和基本技能的教學(xué)（雙基教學(xué)）是一條基本的經(jīng)驗(yàn)，所以不能淡化。

一堂課的價(jià)值取向也有長(zhǎng)效和短效的問題。具體到一節(jié)課，滿堂灌的方法可能是最好的方法。有的老師說(shuō)：如果讓學(xué)生自學(xué)，可能十分鐘還搞不明白，我給學(xué)生講，三分鐘學(xué)生就明白了。這就如同鉆山洞，讓學(xué)生自己鉆，會(huì)在黑暗中探索很多時(shí)間，甚至?xí)鲱^磕腿，如果老師領(lǐng)著學(xué)生鉆山洞，很快就出去了，因?yàn)槔蠋煛皩W(xué)道在先，術(shù)業(yè)有專攻”。具體到一節(jié)課來(lái)講可能會(huì)如此。但從長(zhǎng)遠(yuǎn)來(lái)講，特別是從學(xué)生的終生發(fā)展來(lái)講就不是如此?，F(xiàn)在提出了終身學(xué)習(xí)的概念，學(xué)生走向社會(huì)后還要不斷的自學(xué)才能適應(yīng)不斷發(fā)展的社會(huì)，而這種自學(xué)能力不是走向社會(huì)后才培養(yǎng)，而是在學(xué)校里，甚至從小學(xué)一年級(jí)就要培養(yǎng)。另外，學(xué)生在初始階段，自學(xué)可能會(huì)花費(fèi)很多時(shí)間，不如老師講授學(xué)得快，但經(jīng)過一個(gè)階段甚至半年、一年的時(shí)間，學(xué)生的自學(xué)能力一旦形成，會(huì)成倍的提高學(xué)習(xí)的效率。正是從這些意義上，新課程提出轉(zhuǎn)變學(xué)生的學(xué)習(xí)方式，為學(xué)生的一生發(fā)展奠基。所以課堂教學(xué)還有長(zhǎng)效和短效的問題。我們?cè)谡n堂教學(xué)中不能只圖一時(shí)的效果而忽視學(xué)生終生發(fā)展的問題。

第三篇：當(dāng)代禮儀與價(jià)值取向

? 中華禮儀與當(dāng)代價(jià)值取向

今日中國(guó)，懲治腐敗，端正黨風(fēng)，培育和踐行社會(huì)主義核心價(jià)值觀，政治生態(tài)環(huán)境正在發(fā)生深刻變化，敬老崇文蔚然成風(fēng)。衷心祝愿各位館老堅(jiān)持傳承、弘揚(yáng)中華傳統(tǒng)文化，筆耕不輟、丹青不斷，歲增身益健，菊酒對(duì)晚霞，妙筆傳往事，清韻頌中華。

第五屆敬老崇文論壇以“中華禮儀與當(dāng)代價(jià)值取向”為題，明示中華禮儀就是中華民族文化基因，闡釋禮以載德、儀彰文明的淵源真諦。緊扣時(shí)代脈搏，意義深遠(yuǎn)。

總書記在北師大與師生共度教師節(jié)時(shí)，交談中，對(duì)小學(xué)課本刪除古詩(shī)詞“很不贊成”，對(duì)“去中國(guó)化”感到“很悲哀”。他的直言卓見，彰顯了對(duì)經(jīng)典的愛，對(duì)民族的愛，對(duì)國(guó)家的愛，社會(huì)熱議，群眾擁護(hù)。對(duì)總書記的觀點(diǎn)，我非常贊成。

實(shí)現(xiàn)中國(guó)夢(mèng)，要堅(jiān)持改革開放、轉(zhuǎn)型發(fā)展，更要扎根鑄魂、傳承基因。傳承中華文明，踐行核心價(jià)值觀，是全社會(huì)的責(zé)任，我們各位館員更是義不容辭。

烈士暮年壯心不已。衷心期盼各位館員，利用各種機(jī)會(huì)，各種場(chǎng)合，揮如椽筆，潑五彩墨，吟詩(shī)詞歌賦，書經(jīng)典文章，向孩子，向社會(huì)，傳播中華文化精粹。祝論壇圓滿成功！祝各位館老、各位嘉賓身體健康、闔家歡樂！

傳統(tǒng)禮儀文化的傳承與創(chuàng)造性轉(zhuǎn)化

□燕爽（中共上海市委宣傳部副部長(zhǎng)、市文明辦主任）

自2010年至今，敬老崇文論壇已連續(xù)舉辦了五屆。我們本次敬老崇文論壇的主題是“中華禮儀與當(dāng)代價(jià)值取向”，就是從禮儀文化的角度探索思考，既有理論借鑒，又有實(shí)踐意義。我在這里談三點(diǎn)想法：

第一，傳統(tǒng)禮儀文化是涵養(yǎng)社會(huì)主義核心價(jià)值觀的重要源泉。中華民族素以“禮義之邦”自豪，傳統(tǒng)禮儀文化積淀著中華民族的精神追求，包含著中華民族的精神基因，代表著中華民族獨(dú)特的精神標(biāo)識(shí)。我們不僅要在形式上延續(xù)傳統(tǒng)禮儀禮節(jié)，更要在本質(zhì)上傳承禮法禮數(shù)的道德內(nèi)涵?？鬃铀f(shuō)：“博學(xué)于文，約之以禮”，就是既要博覽經(jīng)典，更要以德育人，以禮化人，使人遵德守禮，和諧相處。在全面深化改革的新形勢(shì)下，在上海創(chuàng)新驅(qū)動(dòng)、轉(zhuǎn)型發(fā)展的攻堅(jiān)階段，在思潮多元、觀念碰撞的今天，我們要挖掘優(yōu)秀禮儀文化蘊(yùn)含的思想道德資源，弘揚(yáng)傳統(tǒng)禮儀文化中的處世智慧和道德準(zhǔn)則，構(gòu)筑共同的精神家園。

第二，傳統(tǒng)禮儀文化要回歸百姓家庭、融入日常生活。加強(qiáng)傳統(tǒng)禮儀教育，是社會(huì)主義核心價(jià)值觀日?；⒕唧w化、形象化、生活化的有效載體。今年以來(lái)，市文明辦圍繞培育和弘揚(yáng)傳統(tǒng)禮儀文化，與市婦聯(lián)等相關(guān)部門密切配合，在全市開展了中華優(yōu)秀傳統(tǒng)文化禮儀大賽和“征集好家訓(xùn)、評(píng)議好家風(fēng)、尋找好家庭”主題宣傳等系列活動(dòng)，廣泛開展媒體宣傳、網(wǎng)絡(luò)評(píng)議、微信互動(dòng)、專家訪談、檔案展覽等活動(dòng)，得到了社會(huì)各界和廣大市民的熱烈反響。

第三，加強(qiáng)傳統(tǒng)禮儀文化的創(chuàng)造性轉(zhuǎn)化和創(chuàng)新性發(fā)展。貫穿于中國(guó)傳統(tǒng)社會(huì)的“仁、義、禮、智、信”，是一個(gè)以德治為核心的倫理性社會(huì)的基本準(zhǔn)則?！岸Y”的內(nèi)容十分龐雜，既包括國(guó)家典章制度，也包括宗教儀式、社會(huì)習(xí)俗、禮儀規(guī)范，對(duì)維護(hù)社會(huì)秩序和穩(wěn)定、協(xié)調(diào)人際關(guān)系和睦、倡導(dǎo)言談舉止禮貌具有重要的正面作用，影響到社會(huì)領(lǐng)域和個(gè)人生活的方方面面。但不可否認(rèn)，隨著時(shí)代變遷和社會(huì)發(fā)展，以往禮儀規(guī)范中存在著一些繁文縟節(jié)和個(gè)別不合時(shí)宜的內(nèi)容，需要在順應(yīng)民主政治、先進(jìn)文化、技術(shù)革命等新形勢(shì)中與時(shí)俱進(jìn)、創(chuàng)新發(fā)展。

創(chuàng)造富有時(shí)代性和民族性的中華禮儀

□郝鐵川（上海市文史研究館館長(zhǎng)）

道德建設(shè)的歷史經(jīng)驗(yàn)告訴我們，一個(gè)重要的價(jià)值觀念要想具有普遍性、持久性和權(quán)威性，主要靠四種東西來(lái)實(shí)現(xiàn)。一靠一個(gè)通俗易懂和較高權(quán)威的教義讀本；二靠政府、制度的支撐；三靠社會(huì)化的禮節(jié)儀式；四靠一支體現(xiàn)價(jià)值觀念的人格化示范隊(duì)伍。今天，我們?cè)谌ツ昱e辦弘揚(yáng)中華民族尊老傳統(tǒng)敬老崇文論壇之后，舉辦以“中華禮儀與當(dāng)代價(jià)值取向”為主題的論壇，目的在于推進(jìn)一些中華民族優(yōu)秀道德觀念的禮節(jié)儀式化，融入大眾的日常生活中。

我覺得，推進(jìn)中華民族優(yōu)秀道德觀念的禮節(jié)儀式化，需要把握三個(gè)問題：

第一，注意弘揚(yáng)中華民族禮儀傳統(tǒng)中的熱情、責(zé)任、敬老精神。一要注意弘揚(yáng)中華民族熱情好客精神，正如孔子所說(shuō)：“有朋自遠(yuǎn)方來(lái)，不亦樂乎？”二要弘揚(yáng)中華民族社會(huì)責(zé)任心精神。三要弘揚(yáng)中華民族尊老敬賢精神。

第二，注意借鑒現(xiàn)代西方禮節(jié)儀式中的科學(xué)、平等、人權(quán)精神。一要注意弘揚(yáng)西方禮節(jié)儀式中的科學(xué)精神。二要注意弘揚(yáng)西方禮節(jié)儀式中的平等精神。三要注意弘揚(yáng)西方禮節(jié)儀式中尊重私權(quán)精神。

第三，融通古今中外，推出具有時(shí)代性、民族性的中華禮儀。一是不要盲目崇拜西方，妄自菲薄。二是要注意兼取中西禮儀之長(zhǎng)。

為了在促進(jìn)中華禮儀民族性、時(shí)代性方面做深、做實(shí)、做細(xì)，上海文史館成立禮儀研究中心，將對(duì)中華傳統(tǒng)禮儀逐個(gè)研究，借鑒西方，推陳出新，為中國(guó)特色社會(huì)主義精神文明大廈的建設(shè)增磚添瓦。

弘揚(yáng)孝文化踐行核心價(jià)值觀

□唐國(guó)才（上海市老年基金會(huì)副理事長(zhǎng)）

我們的傳統(tǒng)禮儀，本指人與人、國(guó)與國(guó)之間交往的一種禮儀，同時(shí)也逐步成為規(guī)范和強(qiáng)化社會(huì)秩序的一種手段。我國(guó)古代推崇的禮治，則是在此基礎(chǔ)上的升華。禮儀就范圍而言，包羅萬(wàn)千，紛繁復(fù)雜。從歷史實(shí)踐來(lái)看，最為核心的就是推崇“孝道”，所謂“百善孝為先”。梁瀨溟稱中國(guó)文化為“孝的文化”，將忠孝原則推行發(fā)展到設(shè)身處世、推己及人，所謂“老吾老以及人之老，幼吾幼以及人之幼”，“己欲立而立人、己欲達(dá)而達(dá)人”，“己所不欲，勿施于人”等等。

改革開放造就了我們中華民族經(jīng)濟(jì)騰飛的偉大時(shí)代，互聯(lián)網(wǎng)時(shí)代的大門開啟，東西方各種新舊文化觀念的碰撞出不僅僅是燦爛的火花，也帶給我們各種意想不到的病源與隱憂，如信仰缺失、拜金主義、物欲橫流、貪污腐敗等等。要實(shí)現(xiàn)中華民族的真正復(fù)興，必須尋找振奮本民族的文化基因，牢固形成我們民族特有的信仰體系和精神價(jià)值觀念，這是民族崛起的關(guān)鍵。

今天，面對(duì)全球人口老齡化以及我國(guó)特有的日趨嚴(yán)重的社會(huì)養(yǎng)老問題，我們應(yīng)該意識(shí)到從傳統(tǒng)“孝道”延伸出的“家家有老人，人人都會(huì)老”、“老人的今天就是我們的明天”、“關(guān)愛老人就是關(guān)愛自己”的敬老養(yǎng)老的道德理念，不僅易入人心，且切實(shí)可行。它集中體現(xiàn)了政府有責(zé)、社會(huì)有責(zé)、家庭有責(zé)的共識(shí)。這是解決我國(guó)養(yǎng)老問題的重要理念和保障。

我們上海市老年基金會(huì)要進(jìn)一步動(dòng)員廣大愛心企業(yè)和公民，自覺履行社會(huì)公德和社會(huì)責(zé)任，關(guān)愛老人，奉獻(xiàn)愛心，積極應(yīng)對(duì)我國(guó)“未富先老”的問題。我們將引導(dǎo)和組織廣大公民進(jìn)一步弘揚(yáng)和豐富中華民族的“孝文化”，牢固確立和實(shí)踐社會(huì)主義核心價(jià)值觀。我們要逐步擴(kuò)大老年基金的規(guī)模，并堅(jiān)持公開透明、從嚴(yán)管理、合理分配、科學(xué)使用，更好地發(fā)揮“拾遺補(bǔ)缺，雪中送炭”的積極作用。配合政府，團(tuán)結(jié)愛心企業(yè)，依靠民眾在“老有所養(yǎng)，老有所醫(yī)”的前提下，推進(jìn)“老有所樂，老有所學(xué)，老有所為”的計(jì)劃，提升老年人的幸福指數(shù)。近年來(lái)，我們和電視臺(tái)合作的《精彩老朋友》欄目，以及“金色廣場(chǎng)”、“九九關(guān)愛小劇場(chǎng)”、老年人大合唱和旗袍大賽、“心悅夕陽(yáng)”網(wǎng)絡(luò)等活動(dòng)，因切合社會(huì)實(shí)際和老年人的具體需求，豐富了老年人的文化娛樂生活，得到了社會(huì)的好評(píng)。

第四篇：人文關(guān)懷和歷史理性：文學(xué)價(jià)值取向的交合

人文關(guān)懷和歷史理性：文學(xué)價(jià)值取向的交合在文學(xué)創(chuàng)造中，人文關(guān)懷是古往今來(lái)一切以文學(xué)作品的總主題，并與歷史理性共同筑起文學(xué)的真善美功能的價(jià)值體系。作者從人的需要出發(fā)，堅(jiān)持以人為本把自己對(duì)社會(huì)生活的體驗(yàn)以及社會(huì)現(xiàn)實(shí)的認(rèn)識(shí)用文字表達(dá)出來(lái)，使人文關(guān)懷寄寓在對(duì)社會(huì)規(guī)律的認(rèn)識(shí)和描述中，即同歷史理性密切的聯(lián)系在一起，兩者你中有我，我中有你，實(shí)現(xiàn)了人文與歷史兩種文學(xué)價(jià)值的交合。文學(xué)創(chuàng)造是作家對(duì)社會(huì)生活的反映。作者根據(jù)現(xiàn)實(shí)生活的實(shí)際，在歷史理性中展現(xiàn)人文精神。例如英國(guó)作家狄更斯的小說(shuō)以高度的藝術(shù)概括、生動(dòng)的細(xì)節(jié)描寫、妙趣橫生的幽默以及細(xì)致入微的心理分析，廣泛地描寫英國(guó)十九世紀(jì)中期的社會(huì)生活，塑造了眾多的“小人物”形象，對(duì)社會(huì)下層階級(jí)表現(xiàn)極大的同情，批判資產(chǎn)階級(jí)社會(huì)的自私、偽善和冷酷，小說(shuō)《雙城記》最為突出。它以法國(guó)的革命為背景，描寫瑪耐特醫(yī)生婦女的遭遇，揭露貴族的荒淫殘暴，表現(xiàn)法國(guó)大革命的必然性和人民革命的熱情。小說(shuō)寫得是兩個(gè)男人和他們的愛，以及圍繞這場(chǎng)愛發(fā)生的無(wú)法回避的沖突。瑪耐特醫(yī)生放下自己的不幸，看在查爾斯憎惡家族的作惡多端放棄了貴族爵位與財(cái)產(chǎn)自食其力的份上，為了女兒露西的幸福，把女兒嫁給了他，而卡頓為了自己刻骨銘心深愛著的露西的幸福獻(xiàn)出了自己的生命。小說(shuō)以個(gè)人的歡樂和悲哀反映了整個(gè)國(guó)家的興盛與悲慘，作者藝術(shù)描寫中無(wú)形的加入了自己的情感評(píng)價(jià)，是小說(shuō)不僅蘊(yùn)含著豐厚的人文關(guān)懷的價(jià)值意義，而且也體現(xiàn)了深刻的歷史理性。

然而，文學(xué)創(chuàng)作并不存在規(guī)范化的模式。文學(xué)作為審美創(chuàng)造的自由空間，使作家能夠在不同的歷史理性觀點(diǎn)上展現(xiàn)人文精神。例如茅盾的《子夜》主要對(duì)都市生活中各個(gè)階級(jí)和階層人物進(jìn)行描寫，通過這些人物的生活和命運(yùn)，大規(guī)模地反映中國(guó)的社會(huì)現(xiàn)象，提出尖銳的社會(huì)問題，體現(xiàn)了鮮明的革命現(xiàn)實(shí)主義色彩。而與茅盾處于同一時(shí)期的作家沈從文的《邊城》則是通過湘西邊地鄉(xiāng)村人物的性格、命運(yùn)的發(fā)展變化來(lái)展示湘西下層人民的悲歡離合，是人道主義現(xiàn)實(shí)主義的代表作。他們把歷史理性的視點(diǎn)放到不同的側(cè)面，各有各自的局限性，但他們?cè)诳坍嬅鑼懼邪扇宋年P(guān)懷與歷史理性血肉般地聯(lián)系在一起，在對(duì)當(dāng)時(shí)中國(guó)社會(huì)的現(xiàn)實(shí)生活的實(shí)際反映中實(shí)現(xiàn)了人文與歷史價(jià)值的交會(huì)，體現(xiàn)了作家在文學(xué)審美創(chuàng)作中的自由度，展現(xiàn)了自己的藝術(shù)個(gè)性。

當(dāng)然，在文學(xué)創(chuàng)造中，我們不能違背社會(huì)發(fā)展的規(guī)律，也不能違背藝術(shù)創(chuàng)作的規(guī)律。如果違背，則會(huì)導(dǎo)致對(duì)人文精神的破壞。社會(huì)在其發(fā)展進(jìn)程中，會(huì)不可避免地?fù)p害某個(gè)階層的利益，但如果一味片面強(qiáng)調(diào)某一歷史觀點(diǎn)就意味著人文關(guān)懷與歷史理性的脫離。因此，作家在文學(xué)創(chuàng)作中應(yīng)該把握好一個(gè)“度”：在肯定社會(huì)發(fā)展的前提下，以藝術(shù)的方式揭露苦難與罪惡，從而讓人文與歷史兩種價(jià)值相交會(huì)，使文學(xué)實(shí)現(xiàn)對(duì)著生命的追求。

第五篇：文學(xué)閱讀與欣賞200507

中央廣播電視大學(xué)2004—2005學(xué)第二學(xué)期“開放本科”期末考試

英語(yǔ)專業(yè) 文學(xué)閱讀與欣賞 試題

2005年7月

注 意 事 項(xiàng)

一、將你的學(xué)號(hào)、姓名及分校(工作站)名稱填寫在答題紙的規(guī)定欄內(nèi)。考試結(jié)束后，把試卷和答題紙放在桌子上，試卷和答題紙均不得帶出考場(chǎng)。監(jiān)考人收完考卷和答題紙后才可離開考場(chǎng)。

二、仔細(xì)讀懂題目的說(shuō)明，并按題目要求和答題示例答題。答案一定要寫在答題紙的指定位置上，寫在試卷上的答案無(wú)效。

三、用藍(lán)、黑圓珠筆或鋼筆答題，使用鉛筆答題無(wú)效。Information for the examinees: This examination consists of three sections.They are: Section Ⅰ: Listening Test(40 points, 40 minutes)Section Ⅱ: Reading Test(40 points, 50 minutes)Section Ⅲ: Writing Test(20 points, 30 minutes)The total marks for this examination are 100 points.Time allowed for completing this examination is 2 hours(120 minutes).Section Ⅰ: Literary Fundamentals [25 points] Part 1.Multiple Choice(10 points).Questions 1-10 are based on this part.Choose the best answer from A, B, C and D.Circle your answers on the Answer Sheet.1.In the poem, The Reverie of Pour Susan, Wordsworth set out to avoid literary language and to use the English of ordinary conversation among educated people, what he called “the language of men”.A.true B.real C.good D.kind 2.A narrator who observes the events like a camera is called a(n)_______narrator.A.subjective B.active C.objective D.passive 3.Shakespeare's play Hamlet was written in_______.A.epic B.ballad C.sonnet D.blank verse 4.The poem “A Day” was written by the American poet Emily Dickinson.The title ,“A Day ” metaphorically refers to_______.A.a life B.a holiday C.a date D.a love 5.The famous tale of the little ugly duckling by Hans _______ tells the story of a wretched little “duck” who was knocked about and eventually deserted by everyone.A.Johnson B.Jackson C.Anderson D.Robinson 6.In_______, Shakespeare arranges the three witches to meet in the foul weather to suggest a sense of danger and evil.A.Macbeth B.Hamlet C.As You Like It D.Tzuelfth-Night 7.In the novel Jane Eyre, Jane is a _______to a little girl in Thornfield.A.supervisor B.governess C.hostess D.advisor 8.Which of the following books was written by Mark Twain? A.The Red Badge of Courage B.Life on the Mississippi C.Who's Afraid of Virginia Wolf el D.Emma

9.The novel, Com With The Wind, written by Margaret Mitchell, was set against the historical background of the _______Civil War.A.French B.American C.British D.Russian 10.The metaphor is a figure of_______—used to describe something by referring to something else.A.place B.scene C.speech D.action Part 2: Blank-Filling(15 points).Choose a proper word or phrase from the following box to complete each sentence.Write your answers on the Answer Sheet.Sour Grapes, King, Fox, Wilde, Shelly play, comedy, money, fable, play-house, poem rich, friendless, wooden, circular 11.“Ozymandias” written by P.B.is a about a called “King of Kings”

12.Theatre in Elizabethan time was very different from theatre today.First of all, the Elizabethan ________ was a _______building, usually ________or octagonal.13.The________, The Importance of Being Ernest, is a ________by Oscar_______ which was first performed in 1895.14.We are probably familiar with some of the traits of a miserly person.In literary works, the miser is often a________ man, who is keen on collecting and storing _______ and wealth.He would grudge every penny he spends and is always mean with people and even with himself.So a miser is almost always________.15.A _______ is a story meant to leach a normal.Actually, we heard many similar allegorical stories when we were young children.In Aesop's “Sour Grapes” the_______ tries in vain to get a, some grapes, but when he finds that they are beyond his reach, he goes away saying, “I see they are sour”.So, the phrase _______ is used to allude something disparaged only because it is out of one's reach.Section Ⅱ: Poem Analysis [16 points] Read the following poem by Scottish poet Robert Burns carefully and answer Questions 16-19 that follow.Write your answers on the Answer Sheet.O My Luve's like a red, red rose, That's newly sprung in June;O my luve's like the melodie, That's sweetly played in tune.As fair art thou, my bonie lass, So deep in luve am I;And I will luve thee still, my dear, Till a' the seas gang dry.Till a' the seas gang dry, my dear, And the rocks melt wi' the sun;And I will luve thee still, my dear, While the sands o'life shall run.And fare thee weel, my only luve，And fare thee weel a while;And I will come again, my luve, Tho' it were ten thousands mile!16.What is the poetic form of the poem? What is the rhyme scheme of the first four lines of the poem?(4 points)17.Find(and name)two examples of figures of speech used in the poem.(4 points)18.Point out two well-known lines which have a similar expression in Chinese(?？菔癄€).(4 points)19.What is the poem mainly about?(4 points)

Section Ⅲ : Drama Analysis [14 points] Part 1.Questions 20-23(8 points).Here's an excerpt from the play Jane Eyre.Read it and answer the questions that follow.Write your answers on the Answer Sheet.(Note: A few parts of the following excerpt are shortened or simplified.)(Mr.Rochester and Blanche are taking a walk in the garden.)B：It is a beautiful place, your Thornfield.R: As a dungeon it serves its purpose.B: Dungeon, why, it's paradise' Though of course, if one lived here, one would really have to have a house in London?.Wouldn't one? R: Unquestionably, A little apartment in Paris, perhaps a villa in the Mediterranean.B: Delightful that would be.But Thornfield would always be there as a retreat from the world.A green haven of peace and love.R: Love, who's talking of love? All a fellow needs is a bit of distraction.A house full of beautiful women every now and then to keep him from brooding on his walls.Peering too closely into the mysteries of his heart.B: That if he has a heart.And sometimes I wonder if you really do have one.R: Have I ever done or said anything to make you believe that I have? If so, I assure you that it was quite unintentional.B: I never said?

R: Never more than at this moment except perhaps when I'm eating my dinner.B: Really Edward, you can be revoltingly coarse, at times.R: It's a very nice point, Blanche.Would you or would you not? Let's begin by considering the significant facts of the case first.Mr.Rochester is revoltingly coarse and is ugly as sin.B：Edward, I?

R: Allow me, my dear Blanche, I repeat as ugly as sin.Second, he flirts sometimes but is careful never to talk about love or marriage.However, this is the third point.Lady Ingrain is somewhat impoverished whereas the revolting Mr.Rochester has an assured income of 8000 a year, and I knew all this.What is the attitude that Miss Blanche may be expected to take, from my experience of the world, I'd surmise that she'd ignore the coarseness etc., until such time?

B: How dare you!R: Now, now, now, horseplay!B: I've never been so grossly insulted in all my life!R: Insulted? I merely paid you the enormous compliment of being completely honest.B: Mr.Rochester, you are a boor and a cur.(In the evening Jane is wandering in the garden, when Rochester comes to her.)J: I thought you'd gone.R: I changed my mind.Or rather the Ingram family changed theirs.Why are you crying? J: I was thinking about having to leave Thornfield.R: You've become quite attached to that foolish little Adele, haven't you? To that simple old Fairfax.You'd be sorry to part with them.J: Yes, sir!R: It's always the way in this life.No sooner have you got settled in a pleasant resting place than you are summoned to move on.J: I told you sir, I shall be ready when the order comes.R: It has come now!J: Then it's settled.R: All settled.Even about your future situation.J: You've found a place for me? R: Yes, Jane.I have? er? West of Ireland.You'll like Ireland, I think.There are such warm-hearted people there.J: It's a long way off, sir.R: From what, Jane? J: From England and from Thornfield.R;Well? J: And from you，sir.R: Yes, Jane.It's a long way.When you get there I'll probably never see you again.We've been good friends, Jane, haven't we? J: Yes, sir.R: Even good friends may be forced to part.Let's make the most of what time is left to us.Let us sit here in peace.Even though we should be destined never to sit here again.Sometimes I have a queer feeling with regard to you, Jane.Especially when you are near me as now.It is as if I had a string somewhere under my left rib.Tightly and inextricably knotted to a similar string situated in a corresponding corner of your little frame.And if we should have to be parted, that cord of communion will be snapped.Kind of a nervous notion I should take to bleeding inwardly.As for you, you'd forget me.J: That I never will, sir.You know that.I see the necessity of going but it's like looking on the necessity of death.R: Where do you see that necessity? J: In your bride.R: What bride? I have no bride.J: But you'll have.R: Yes, I will.I will.J: You think I could stay here to become nothing to you.Do you think because I'm poor and obscure and plain that I'm heartless? I have as much soul as you and fully as much heart.And if God had gifted me with wealth and beauty, I should have made it as hard for you to leave me as it is now for me to leave you.There, I've spoken my heart now, let me go.R: Jane, Jane...you strange almost unearthly thing.You that I love as my own flesh.J: Don't mock...R: I'm over with Blanche.It's you I want.Answer me Jane, quickly.Say, “Edward.I'll marry you”.Say it, Jane.Say it.J: I want to read your face.R: Read quickly.Say, “Edward.I'll marry you.” 20.Has Mr.Rochester ever been in love with Lady Ingram? How do you know that? 21.Do you think both Jane and Lady Ingrain love Thornfieid? Are their feeling towards Thornfield the same? Give reasons to support your view.22.Mr.Rochester speaks to both Blanche and Jane teasingly, vet to Jane, his words are full of emotions, to Lady Ingram, satire.Write down two sentences respectively from what Mr.Rochester says to Lady Ingram and that to Jane to illustrate this point.Rochester to Lady Ingram:

Rochester to Jane: 23.What do you think Jane will say after Rochester asks her to say that she will marry him? Write down Jane's words and Rochester's reply to give an ending of this scene.Part 2: Questions 24—26(6 points).The following is an extract from Shakespeare's play Hamlet.Read it and paraphrase the underlined parts.Write your answers on the Answer Sheet.24.To be or not to be — that is a question.Whether it's nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? to die, to sleep-No more;-and by a sleep to say we end The heartache, and thousand natural shocks That flesh is heir to.'Tis a consummation Devoutly to be wished.To die, to sleep;To sleep, perchance to dream.Ay, there's the rub;For in that sleep of death what dreams may come, When we shuffled off this mortal coil, Must give us pause.25.There's the respect That makes calamity of so long life;For who would bear the whips and scorns of time, Th' oppressor's wrong, the poor man's contumely, The pangs of disprized love, the law's delay The insolence of office, and the spurns

eThat the patient merit of th unworthy takes.When he himself might his quietus make With a bare bodkin? Who would these fardels bear, To grunt and sweat under a weary life But that the dread of something after death — The undiscover'd country, from whose bourn No traveler returns —puzzles the will.And makes us rather bear those ills we have Than fly to others that we know not of? And thus conscience does make cowards of us all And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, 26.And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action.Section Ⅳ:Short Story Analysis [25 points] Here is a complete short story, My Wonderful Lousy Poem , written by Budd Schulbery.Read it and answer Questions 27-34.Write your answers on the Answer Sheet.(Note: This reading task will be relevant to the writing task in Section V.)

My Wonderful Lousy Poem By Budd Schulbery When I was eight or nine years old, I wrote my first poem.At that time my father was a Hollywood tycoon, head of Paramount Studios.My mother was a prime mover in various intellectual projects, helping to bring “culture” to the exuberant Hollywood community of the 1920's.My mother read the little poem and began to cry.“Buddy, you didn't really write this beautiful, beautiful poem!” Shyly, proud-bursting, I stammered that I had.She poured out her praise.Why, this poem was nothing short of genius!I glowed.“What time will Father be home?” I asked.I could hardly wait to show him.I spent the best part of that afternoon preparing for his arrival.First, I wrote the poem out in my finest flourish.Then I crayoned an elaborate border around it that would do justice to its brilliant content.As seven o'clock drew near, I confidently placed it on my father's plate on the dining room table.But my father did not return at seven.Seven-fifteen came.Seven-thirty.The suspense was exquisite.1 admired my father.I like to go to the studio and watch the cuts of his new pictures in his big projection room.He had begun his motion-picture career as a writer.He would be able to appreciate this wonderful poem of mine even more than my mother.But this evening when my father burst in, his mood seem even more thunderous than usual.An hour late for dinner, he could not sit down but circled the long dining room with a Scotch highball in his hand, calling down terrible oaths on his employees.1 can see him now, a big Havana cigar in one hand, highball in the other, crying out against the Fates that had sentenced him to the cruel job of running a Hollywood studio.“Imagine, we would have finished the picture tonight,” my father was shouting.“Instead that moron(stupid person)suddenly gets it into her beautiful, empty little head that she can't play the last scene.So the whole company has to stand there at $ 1000 a minute while this silly little blank, who's lucky she isn't behind the counter of a five-and-ten, walks off the set!And now I have to beg her to come back on Monday!” He wheeled in his pacing, paused and glared at his plate.There was a suspenseful silence.“What is this?” He was reaching for my poem.“Ben, a wonderful thing has happened,” my mother began.“Buddy has written his first poem!And it's beautiful, absolutely amaz—” “If you don't mind, I'd like to decide that for myself,” Father said.I kept my face lowered to my plate as he read that poem.It was only ten lines.But it seemed to take hours.I remember wondering why it was taking so long.I could hear my father breathing.Then I could hear him dropping the poem back on the table.Now came the moment of decision.“I think it's lousy,” my father said.I couldn't look up.My eyes were getting wet.“Ben, sometimes I don't understand you,” my mother was saying.“This is just a little boy.You're not in your studio now.These are the first lines of poetry he's ever written.He needs encouragement.” “I don't know why.” My father held his ground.“Isn't there enough lousy poetry in the world already? No law says Buddy has to become a poet.” They quarreled over it, and I still remember my father's self-defense: “Look, I pay my best writers $ 2000 a week.All afternoon I've been tearing apart their stuff.I only pay Buddy 50 cents a week.And you're trying to tell me I don't have a right to tear apart his stuff if I think it's lousy!” I couldn't stand it another second.I ran from the dining room bawling.Up in my room I threw myself on the bed and sobbed.That may have been the end of the anecdote, but not of its significance for me.Inevitably the family wounds healed.My mother began talking to my father again.My father asked me whether I would like to go to a prizefight-his favorite recreation.I even began committing poetry again, though of course f dared not expose it to my father.A few years later I took a second look at that first poem-, it was a pretty lousy room.After a while, I worked up the courage to show him something new, a primitive short story written in what 1 fancied to be the dark Russian manner.My father thought it was overwritten but not hopeless.I was learning to rewrite and my mother was learning that she could criticize me without crushing me.You might say we were all learning.I was going on 12.But it wasn't until years later that the true meaning of that painful “first poem” experience dawned on me.As I became a professional writer, doing books and plays and films, it became clearer and clearer to me how fortunate I had been to have a mother who said, “Buddy, did you really write this? I think it's wonderful!” and a father who shook his head no and drove me to tears with, “I think it's lousy.” A writer — in fact every one of us in life needs that loving-mother force from which all creation flows;and yet alone it is incomplete, even misleading, finally destructive, without the father force to caution, “Watch.Listen.Review.Improve.” Sometimes you find these opposing forces personified in associates, friends, loved ones.But finally you must counter-poise these opposites within yourself;first, the confidence to go forward, to do, to become;second, the tempering of rampant self-approval with hardheaded, realistic self-appraisal, the father discipline.Those conflicting but complementary voices of my childhood echo down through the years wonderful?lousy? wonderful? lousy — like two powerful, opposing winds buffeting me.I try to navigate my little craft so as not to capsize before either.Between the two poles of affirmation and doubt, both in the name of love, I try to follow my true course.27.What do you think the title means? Who considered the writer's poem wonderful? Who considered it lousy? 28.Why did the author's mother cry when she read the poem? 29.Why did the boy think that his father would be able to appreciate his poem even more than his mother? 30.Was his father in a good mood when he returned? What did he do in the dining room? 31.What had happened at the studio? 32.How did the boy feel when his father said the poem was lousy? What did the boy do when his parents began to quarrel over it? 33.What were they all learning? 34.What did the author realize as he became a professional writer?

Section Ⅴ: Writing [20 points] In the story of Section IV, the author argues that all of us need “the mother force” and “the father force”.Please write an article of about 150 words to illustrate how you think you should counterpoise these forces within yourself.Give your article a topic and write it on the Answer Sheet.中央廣播電視大學(xué)2004—2005學(xué)第二學(xué)期“開放本科”期末考試

英語(yǔ)專業(yè) 文學(xué)閱讀與欣賞 試題答案及評(píng)分標(biāo)準(zhǔn)

(供參考)

2005年7月

Section Ⅰ: Literary Fundamentals [25 points] Part 1.(10 points* one point each.)1．B 2.C 3.D 4.A 5.C 6．A 7.B 8.B 9.B 10.C Part 2.(15 points, 1 point for each correct answer)11.Shelley, poem, King 12.playhouse, wooden, circular 13.play, comedy, Wilde/comedy, play, wilde 14.rich, money, friendless 15.fable, Fox, Sour Grapes

Section Ⅱ: Poem Analysis [16 points] 16.(4 points, 2 points each): 1)The poem is written in ballad metre.2)The rhyme scheme is a, b, c, b.17.(Award a maximum of 4 points, 2 points for any of the following): 1)My luve's like a red, red rose/my luve's like the melodie — simile;2)Till a' the seas gang dry/the rocks melt wi' the sun/Tho' it were ten thousands mile — hyperbole;3)while the sands o'life shall run — metaphor 18.(4 points, 2 points each):

1)Till a'the seas gang dry, my dear, 2)And the rocks melt wi' the sun.19.It's about a person's love for a pretty girl.(4 points)

Section Ⅲ: Drama Analysis [14 points]