4 A Jazz Tradition

A Jazz Tradition

Background Information

Slavery

A widespread institution in ancient times, slavery had died out in England by the 12th century. The transportation of slaves from Africa to the Americas by European traders began on a large scale in the 16th and 17th century, and although slavery became illegal in Britain in 1772, it remained an important, feature of the economy of the Empire until the 19th century, the slave trade being abolished in 1807 and slavery itself throughout the Empire in 1833. In American South slavery was an essential part of the cotton-based economy, and the abolition campaign waged during the first half of the 19th century eventually led to the American civil War and to final emancipation. In some parts of the world chattel slavery, the ownership of one

person by another, continues to exist. American Civil War

The war between the northern US States (usually known as the Union) and the Confederate States of the South, 1861 - 1865. The southern States, having seceded from the Federal Union over the issues of slavery and States' rights, maintained a military resistance to the superior industrial strength of the north for four years. Although its armies won some impressive victories in the first two years of the war, the Confederacy failed to gain foreign recognition, and was gradually overwhelmed by superior military might and naval blockade. By the time the main Confederate army surrendered in April 1865, most of the South, including its capital Richmond, had already fallen to Union soldiers.

Dizzy Gillespie

American jazz trumpet-player, a leading

exponent of the "bop" style. After working with various other groups he formed his own in New York in 1944.

Charlie Parker (1920 -1955 ) American jazz saxophonist. In New York he played with some of the greatest name of jazz, including Thelonius Monk and Dizzy Gillespie and became one of the figures of the "be-bop" movement, making some classic recording with Miles Davis in 1945.

Benny Goodman (1909 -1986 ) American clarinetist and jazz musician, who formed his own band in 1933. He was known as the "King of Swing" and his style started a new era in the history of jazz. His skill as a clarinetist was not confined to jazz: Bartok, Hindemith, and Copland all, composed solo works for him, and he also gave distinguished performances of classical works.

Duke Ellington (1899 -1974 )

American composer, pianist, and band-leader, the most distinctive and influential figure in the history of jazz. His band established its fame in the early 1930s, and some of its members remained with him for over 30 years. Ellington wrote over 900 compositions; his first world-wide success was Mond Indigo (1930).

Count Basie (1904 -1984 )

American jazz bandleader. He took up the piano at an early age, looking to figures such as "fats" Waller and Willie, "the Lion" Smith for his models, and became famous as leader of his own "big band" from 1935.

Igor Stravinsky (1882 -1971)

Russian-born composer. In 1910 he began his travels with Diaghilev's ballet company, composing for it the ballets The Firebird (1909-1910), Petrushka (1910-1911), and of course, The Rite of Spring (1911

-.1913), which shocked Paris with its angular rhythms and liberal use of dissonance. He was prevented from returning to his native land by the 1917 revolution, but many works of this period have their roots in Russian folk-song, notably another ballet Les Noces (1914-1923). He was fascinated also by the idioms of Western music and derived inspiration for his own neo-classical works from the baroque and classical periods. Stravinsky had moved from Paris to Los Angles on the outbreak of the Second World War, and in the 1950s turned to serialism in such

works as the cantatas Canticum sacrum (1955) and Threni (1957-1958). In his final years he wrote short bare works, many of them religious in feeling and form. The overriding feature of his music is rhythm, and the sense of the theatre and of the dance is never wholly absent even

from his most austere works.

Maurice Ravel (1875 -1937 )

French composer. The best-known of Debussy's contemporaries, he was equally influenced by the Oriental music brought to Paris in 1889 World Exhibition and by impressionism, but combined his love of apt descriptive sonorities with a cool classicism and a recognition of Liszt's legacy of brilliance and vigour. His works span all genres: opera, ballet, orchestral music, and song. Among his later works were the two great piano concertos (both 1931); the first is for left hand only, composed for Paul Wittgenstein who lost his right arm in the first World War. Aaron Copland

American composer, pianist, and conductor. The son of immigrant Jewish parents from Lithuania, he was concerned to establish a distinctive "American" style in music, borrowing from jazz in his Piano

Concerto (1926) and Music for the Theater (1925), from Shaker music in the evocative and popular Appalachian Spring (1944), and from other folk and traditional songs in the ballet scores Billy the Kid (1938) and Rodeo (1942). He furthered the cause of his country's music in his work as a conductor and in his establishment of the American Composers' Alliance (1937). Introduction

The opening sentence introduces the theme of the essay to the reader. In this essay Parker gives the reader a detailed description of the jazz tradition: The writer's description is organized and developed in chronological order. Parker begins with a review of past history of jazz to point up the changes that have occurred and the reasons for those changes. The description is realistic and the tradition of jazz is viewed from an objective point of view. The writer explains the origin of jazz.

Jazz began with the Negro slave from the western coast of Africa and was developed in the southern USA early in the 20th century. It blends western Africa rhythms with elements from spirituals, work-songs, blues and brass bands. By citing examples, such as Abolition of slavery and the Great Depression in USA, Parker points out that the evolution of jazz is closely related to the development of the societies.

In many places of the article, he mentions the characteristic features of jazz, such as its improvisation , syncopation and strong rhythm. Jazz is a spontaneous music expressing, man's natural thinking and emotions. He also discusses the problem jazz is faced with. Some people state that jazz must become a composed music. Parker lists several reasons to refute such claims. By quoting the dedicated jazz man's statement, Parker expresses his opinions on jazz. He thinks that jazz can

not be truly written down. As a symbol of freedom and creativity, it should maintain its spontaneous nature-brevity. , . Language Points

1. compelling

(1) attracting attention, one's interest, etc Examples:

a compelling novel /account / stare ;

He remains a compelling figure in politics.

(2) forcing or demanding (a reason and action, .etc) ,

Examples:

a compelling argument; compelling advice Have you any compelling reason for leaving now? .

2. glaring

(1) (fig) (of a mistake, sth wrong that has been done, etc) very easy to be seen; very obvious

Examples:

There were several glaring mistakes in her answers.

A glaring injustice, has been done. to those too poor to help themselves.

(2) (of ,the sun, light, etc) shining very hard and brightly

Example:

When he came into the glaring light he had to shade his eyes.

(3) (of colors) far too bright and unpleasant

Example:

The walls were painted in glaring colors.

3. volatile

(1) changing very easily, and often Example:

a volatile political situation; volatile stock markets; volatile exchange rates

(2) (of a liquid) changing rapidly into vapor

Example:

The better the petrol, the more volatile it is.

(3) (often derog) (of a person) changing

quickly from one mood or interest to another; fickle

Example:

a highly volatile personality, disposition, nature, etc

4. Historically, its sounds and moods parallel the struggle and growth of a people.

Viewed in historical perspective, the sounds and moods of jazz music reflect the struggle and growth of the black people. 5.wail, cry, weep, sob

These words all describe the inarticulate sounds, and shedding of tears indicative of grief, pain, or. other strong emotions.

Wail implies the uttering of loud, prolonged mournful cries in unsuppressed lamentation.

Examples:

The women of the town wailed over the war victims.

She was wailing for her lost husband.

Cry is the common term and gives primary emphasis to the sounds. It does not always indicate depth of feeling. Examples:

She cried loudly in despair.

The baby cried loudly when he had emptied his bottle.

Weep, however, is more often used in writing than in speech, and gives greater emphasis to the shedding of tears than to the accompanying sounds.

Examples:

She wept copiously over the death of her dog.

His poor mother wept her eyes blind. Sob,more than "weep" or "cry", implies pathetic circumstances. To sob is to weep aloud with a catch in the voice and short gasping breaths.

Examples:

He was sobbing and didn't say a word.

He saw his mother sobbing over the body

over his younger brother who had died of hunger.

6.virile, manly, mannish

manly: (of a man) having the qualities or appearance expected of a man Example:

I've always thought he looked very manly in his uniform.

virile: having or showing typically masculine- strength or energy. Examples:

virile pursuits such as rowing and mountaineering

a virile performance of Othello

Manly and virile, in comparison, might suggest a contrast between appearance and performance.

Example:

husbands who appear manly enough but are not really very virile

Just as virile is positive and applies exclusively to: man, so mannish applies in

an exclusive and negative way to woman; (of a woman) looking; something or behaving like a man.

Examples:

her square, mannish build

Her voice was mannish.

7. earthy, earthly

earthy:

(1) (of people, jokes, etc) coarse; not refined

Examples:

an earthy sense of humor

He expresses himself in earthy language.

(2) more concerned with things of the body than with the things of the mind Example

Peter is a very earthy person, interested only in beer and sex..

Earthly remains largely confined to religious: use; and is directly opposed to heavenly.

Examples:

this earthly paradise

earthly joys

No earthly sovereign can do what he pleases.

8.He had ye arned for …in blue realism: He had been filled with longing for a spiritual expression of grace, but instead of being angel he accepted something more rough and stark than the smooth style he had looked for. That was the black man's song sung in a sad kind of realism.

9. For images to guide his song, the Negro drew upon what was deep down inside him:

The Negro made use of his experiences and ideas in his heart to produce images to guide his song.

10. play on:make use of; try to develop (sth such as someone's feelings or a quality) so as to make use of or take advantage of it Examples:

By playing on the old lady's fears, the

criminals were able to persuade her to give them her money.

Politicians often win votes by playing on the elector's distrust of the party in power. The plan can be defeated if you play on its weaknesses.

11. improvised, unrehearsed

Both unrehearsed and improvised can be used in either a musical or a theatrical context. Unrehearsed, here, may suggest that a set piece is to be performed, but that the players have not previously played it through. In this context, improvised would suggest a basic structure within which the players have considerable opportunities for spontaneous invention. Although improvised is generally used in a neutrally descriptive way, unrehearsed can sometimes suggest a negative judgement. Example:

Jazz is necessarily improvised, but it is ridiculous to think of it as unrehearsed.

In a more general context, unrehearsed stresses a voluntary and unplanned telling or acting out.

Example:

He asked bluntly if the witness's testimony was freely given and unrehearsed. Improvised can suggest a rough-and-ready substitute for something lacking or the making of decisions as one goes along. Examples:

an improvised tour

We left the tent pole behind, so we had to use an improvised tent pole made from a stripped branch.

12. ad lib

adj. (esp of speaking and performing in public) without preparation; spontaneous Examples:

She welcomed ad lib questions.

The director thought those ad. lib lines were more funny than those in the script. adv.

(1)without preparation; spontaneously Examples:

I had forgotten to bring my notes and had to speak ad lib.

He writes his report instead of dictating ad lib on the tape.

(2) without restraint; freely

Example

We were told to help ourselves to the food ad lib..

v. speak or act without preparation, esp when performing in public; improvise Example:

The actress often forgot her lines but was very good at ad libbing.

13. sequence, succession, series

These words are alike in denoting a group of things, which come or are brought together in some particular order or according to a plan. The words are further alike in that the order they refer to is one in which the things grouped together

follow each other. Sequence designates, a following in space, time; or thought, and suggests that the things brought together are done so according to some logical system.

Examples:

making sure the chassis parts were added in proper sequence

the sequence of arguments in a discourse Succession emphasizes the following, one after the order, of similar objects or events, without interruption. Unlike sequence, succession can, but does not necessarily, imply a logical ordering.

Examples:

a succession of hereditary kings

a succession of catastrophes

A series is a number of things ordered or arranged according to a similarity of nature or on the, basis of like relationships. Although it is therefore very much sequence or succession, series suggests the

individuality of the connected thing rather than the mere fact that they follow one another

Example:

a long series of successes in the theater

14. The “ad lib” spirit is contagious, ... fresh and new: The spontaneous spirit can spread easily from one person to another, and the entire ensemble shows a particular quality of energy and life that makes the music fresh and new.

take on sth: (no passive, usu. simple tenses) begin to have (a quality, form, or appearance)

Examples:

As the word was repeated over and over again, it began to take on a different meaning.

These insects can take on the color of their background, so that their enemies can't see them.

15. speak-easy:place where alcohol may

走进济慈的_真_美_世界_关于_希腊古瓮颂_的批判性分析

摘要“美即是真，真即是美”。约翰?济慈在《希腊古瓮颂》中如是说。“真”与“美”从此便成了批评家争论不休的话题。正因诗人作品的开放性与多元性，众人的解读也莫衷一是。本文将通过细读的手法研究该诗，并对诗中诗人提出的一些论点，包括“真”与“美”的涵义等进行评述。力图通过自己的批评性分析，带领读者走进济慈的“真”、“美”世界。 关键词济慈美真批评性分析 一、“此地长眠者，声名水上书。” ——济慈 批评家的无情抨击几乎使其名 誉扫地，但他并没屈服，诗人托友人在其墓志铭上刻上，“一位 年轻的英国诗人”，以一颗“痛楚的内心”，“在仇敌恶毒的势 力”面前，“声名书写与水上”。 （Eliot，270）。相反，詹姆士?奥鲁克认为诗歌结 尾的声明“表现出一种肯定的自我意识” 。有的批评家便武断地 得出结论，认为济慈是试图在视觉艺术与诗歌做出比较，并认 为视觉艺术更胜一筹。的确绘画等视觉艺术形式往往激起观 者丰富的想象，而且个中内涵未通过明确文字直接给出，因此 理解是开放式的，多元的。然而，诗歌也是如此。 综观人类历史，诗歌一直都是人们的精神食粮，发人深 思，诱人想象，给予心灵的观照。笔者认为，济慈只是单纯称 赞古瓮之美，并非要做高下比较。笔者有两个依据。一方面， 这句本身自相矛盾，是个悖论。古瓮虽“铺叙”了一个比“诗还 瑰丽”的“如花故事”，但自身形态之美却恰恰通过“诗”来表 现、传达出来。若非此诗读者无法欣赏到古瓮的艺术之美。 因此，这个悖论无解。当然，或许诗人本就无意求解，他认为 视觉艺术和诗歌只要能唤起美感，便同样美好。巧的是诗人 苏轼也有类似的诗画理论。他认为诗歌和绘画紧密相连。他 曾称赞王维，“味摩诘之诗，诗中有画。观摩诘之画，画中有 诗。”两位诗人在诗、画这两种艺术形式中看到和谐与统一，而 非对立和矛盾。二者在诗中互相作用，互相渗透，将古瓮之 “美”升华到极致。 另一个依据是通感的使用，在“一个如花的故事，比诗还 瑰丽（原诗用词为‘sweet’亦有人译为甜美）”这行寥寥八字的 诗句中， 便运用了

中世纪英国文学概述

中世纪英国文学概述 中世纪文学（约5世纪-1485） 英国最初的文学同其他国家最初的文学一样，不是书面的，而是口头的。故事与传说口头流传，并在讲述中不断得到加工、扩展，最后才有写本。公元5世纪中叶，盎格鲁、撒克逊、朱特三个日耳曼部落开始从丹麦以及现在的荷兰一带地区迁入不列颠。盎格鲁-撒克逊时代给我们留下的古英语文学作品中，最重要的一部是《贝奥武甫》（Beowulf），它被认为是英国的民族史诗。《贝奥武甫》讲述主人公贝尔武甫斩妖除魔、与火龙搏斗的故事，具有神话传奇色彩。这部作品取材于日耳曼民间传说，随盎格鲁-撒克逊人入侵传入今天的英国，现在我们所看到的诗是8世纪初由英格兰诗人写定的，当时，不列颠正处于从中世纪异教社会向以基督教文化为主导的新型社会过渡的时期。因此，《贝奥武甫》也反映了7、8世纪不列颠的生活风貌，呈现出新旧生活方式的混合，兼有氏族时期的英雄主义和封建时期的理想，体现了非基督教日耳曼文化和基督教文化两种不同的传统。 公元1066年，居住在法国北部的诺曼底人在威廉公爵率领下越过英吉利海峡，征服英格兰。诺曼底人占领英格兰后，封建等级制度得以加强和完备，法国文化占据主导地位，法语成为宫廷和上层贵族社会的语言。这一时期风行一时的文学形式是浪漫传奇，流传最广的是关于亚瑟王和圆桌骑士的故事。《高文爵士和绿衣骑士》（Sir Gawain and the Green Knight，1375-1400）以亚瑟王和他的骑士为题材，歌颂勇敢、忠贞、美德，是中古英语传奇最精美的作品之一。传奇文学专门描写高贵的骑士所经历的冒险生活和浪漫爱情，是英国封建社会发展到成熟阶段一种社会理想的体现。 14世纪以后，英国资本主义工商业发展较快，市民阶级兴起，英语逐渐恢复了它的声誉，社会各阶层普遍使用英语，为优秀英语文学作品的产生提供了条件。杰弗利·乔叟（Geoffrey Chaucer， 1343-1400）的出现标志着以本土文学为主流的英国书面文学历史的开始。《坎特伯雷故事》（The Canterbury Tales）以一群香客从伦敦出发去坎特伯雷朝圣为线索，通过对香客的生动描绘和他们沿途讲述的故事，勾勒出一幅中世纪英国社会千姿百态生活风貌的图画。乔叟首创英雄诗行，即五步抑扬格双韵体，对英诗韵律作出了很大贡献，被誉为"英国诗歌之父".乔叟的文笔精练优美，流畅自然，他的创作实践将英语提升到一个较高的文学水平，推动了英语作为英国统一的民族语言的进程。

约翰济慈诗歌赏析

Analysis of Ode to a Nightingale by John Keats 在诗歌的第一节里，诗人主要描写夜莺的歌声给诗人带到了飘飘欲仙的忘我境界，在艰难的现实生活里，诗人感到无情命运对其压迫产生的痛楚：My heart aches，and a drowsy numbness pain My sense，as though of hemlock I had drunk 诗人的心里痛苦，困顿麻木，就象吃了鸦片一样，但是痛苦带来的麻木又使诗人感到一丝慰藉：Or emptied some dull opiate to the drains One minute past，and Lethe-wards had sunk；列撕忘川是哈帝斯冥城里的一条让人忘记过去的河流。作者通过引用这条河流来忘记现实生活的磨难，压迫，在这里诗人大量运用了“^”音来加强痛苦的效果“drunk some,dull,one,sunk”：并且“S”音的重复使用使诗歌具有一种破碎的撕心裂肺的效果，aches，drowsy,numbness,pains,sense,as,drains，

两组音的交替出现使人们在朗读过程中深深体会到诗人内心的痛苦，接着，诗歌进入了一个较为欢快的段落，这是因为夜莺的歌声使人感到快意，作者把夜莺比喻成树林里的精灵(Dryad of the tree)，为夏日引吭高歌，并且这种欢快的声音在某种程度上引起诗人的嫉妒：This not through envy of the happy lot, But being too happy in thine happiness 在第一节诗里'作者先用现实生活带来的痛苦感受来引出夜莺快乐的情感，这种矛盾修饰辞法(paradox)大大加强了诗歌的戏剧效果，让人更感受到夜莺歌声的魅力，从而自然引出了夜莺歌声而产生的快乐意境。 在第二节里，诗人通过运用了通感修辞手法(synesthesia[.sin?s'θi:?i?])把夜莺的歌声比作温酿可口的清醇的葡萄酒,葡萄酒产生于法国南部的普鲁旺斯省(Provencal)这一带地区气候温暖湿润，阳光明媚，是一处宜人可爱的地方一樽珍藏在地窖多年的美酒就更加清醇可口

(完整)英国文学史知识点,推荐文档

一、The Anglo-Saxon period (449-1066) 1、这个时期的文学作品分类：pagan(异教徒) Christian(基督徒) 2、代表作：The Song of Beowulf 《贝奥武甫》( national epic 民族史诗) 采用了隐喻手法 3、Alliteration 押头韵（写作手法） 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 诗章 1、romance 传奇文学 2、代表作：Sir Gawain and the Green Knight (高文爵士和绿衣骑士) 是一首押头韵的长诗 三、Geoffrey Chaucer (1340-1400) 杰弗里.乔叟时期 1、the father of English poetry 英国诗歌之父 2、heroic couplet 英雄双韵体：a verse unit consisting of two rhymed(押韵) lines in iambic pentameter(五步抑扬格) 3、代表作：the Canterbury Tales 坎特伯雷的故事(英国文学史的开端) 大致内容：the pilgrims are people from various parts of England, representatives of various walks of life and social groups. 朝圣者都是来自英国的各地的人,代表着社会的各个不同阶层和社会团体 小说特点：each of the narrators tells his tale in a peculiar manner, thus revealing his own views and character. 这些叙述者以自己特色的方式讲述自己的故事，无形中表明了各自的观点，展示了各自的性格。 小说观点：he believes in the right of man to earthly happiness. He is anxious to see man freed from superstitions(迷信) and a blind belief in fate(盲目地相信命运). 他希望人们能从迷信和对命运的盲从中解脱出来。 4、Popular Ballads 大众民谣：a story hold in 4-line stanzas with second and fourth line rhymed(笔记) Ballads are anonymous narrative songs that have been preserved by oral transmission(书上). 歌谣是匿名叙事歌曲,一直保存着口头传播的方式

女生跳爵士舞的坏处,看了吓一跳

对于舞蹈大家都是比较熟悉的，而且种类也多样，街舞比较炫酷，芭蕾舞比较优美，比较潇洒飞扬的舞蹈就属爵士舞了，很多人都只是知道它能够让人们关节灵活，有更好的音乐节奏之感，但是对于女生来说，女生跳爵士舞的坏处也是有的。 爵士舞者也透过其他辅助锻炼法(如水中健体，瑜伽训练等)来增强肌肉的能耐。 1、柔软度–不论跳甚麼舞，如果要跳得美，身体的柔软度必须要好，否则不能发挥出应有的线条美感，爵士舞也不例外。在进行暖身的伸展动作必须留意，不适宜在身体肌肉未完全和暖前用弹振形式来做伸展，否则容易弄巧反拙，拉伤肌肉。用静态方式伸展较安全，不过也较需要耐性。柔软度的练习动作之幅度更不应达到痛楚的地步，肌肉有拉紧的感觉即可，动作(角度)

维持的时间可由10馀秒至30-40秒不等，时间愈长对肌肉及关节附近的连结组织之负荷也愈高。 2、身体组合–绝大部份出色的爵士舞者都拥有强健的肌肉，但身体的脂肪量一般都比较少。这令他们的躯体呈现出很明显的肌肉条纹，使他们舞动起来时的动作更觉有劲，有力。较低的脂肪量也避免舞者负担不必要的体重，使舞蹈动作来得更潇洒轻盈。虽然学爵士舞也可以是一个减肥的途径，但身体过重的初学者适宜透过其他模式先行减磅，不然对肌肉及关节的健康构成有一定的危机。 3、协调性–协调性在爵士舞中非常重要，除了是手和脚的配合外，还有头，躯干和四肢的动作配合。再加上在爵士舞中，身体不同部位会同时以不同节奏舞动，对舞者的协调能力实在是个大考验。初学时适宜先把身体不同部位的动作分开练熟，才续步配合成所需动作，那样的成功感会比较高。 4、灵巧度–爵士舞中常利用不同方向和不同水平的动作来增加刺激和娱乐性，所以舞者的动作必须灵巧纯熟，转向的时候角度更需准确迅速。 5、平衡力–动态平衡的能力在爵士舞中往往较静态的平衡力之应用更广，也就是说舞者对舞步法的重心转移必须清晰，另外更要技巧地借助目光去做定位，协助转身时得以平衡。

济慈夜莺颂韵律赏析

第一小节，较沉闷的元音(如在“heart”、“drowsy”、“numbness”、等词中)与较严厉的词(如“aches”、“pains”、) 形成一种强烈的对比。写诗人被美妙的歌声刺醒了被痛苦麻木的灵魂，一种隐隐的甜蜜的痛苦敲醒了诗人困顿的心神。/s/ /W / /z//T/ 等滑音的运用，给人一种舒缓的感觉，它像钝头痛一样，如丝般，一缕一缕，细细的侵入你的身躯，你的灵魂。沉闷的元音/Q /也缕缕出现（“drunk ”“some”“dull”等词中），与"beechen green","full throated ease"也形成一种对比，表现了诗人快感与痛苦的糅合，表现了诗人对那个明快亮丽世界的向往，与急于摆脱现实羁绊的强烈愿望。 第二小节，诗人用一系列爆破音/d/、/t/、/b/、/p/、/k/等与短元音/i//Q//A//R/等，构成一幅声音响亮、欢快的美好世界，那里有陈年佳酿，似灵泉之水，有生机勃勃的绿色，有舞步欢快，有笑声盈盈，有声声歌唱……诗人领我们走进了一个美妙的世界，实践着他所说的“那些值得尊敬的诗人是那些讲述悦耳动听故事的人”。 第三小节，/v/、/r/、/n/等辅音（如在“fever”“fret”“groan”中）的运用，使嗡嗡之声充溢其间，给人一种烦躁、压抑之感，一些沉闷的元音给人一种沉闷、无生气、瘫软的感觉。 第四小节，/s//f/等擦音及长元音/ei/、/i:/的运用，产生一站种柔和、安宁的效果。“fly”、“wings”、“tender”、“breezes”、“venderous”、“light”等词，一动一静、一明一暗，形成对比，使富有动感，柔风软拂，月光柔和，树林静谧，曲径通幽，给人一种宁静之感。 第五小节，“flowers”、“soft incense”“embalmed darkness”、“pastoral eglantine”等词产生一种柔美的艺术效果。头韵/m/的运用，告诉人民们在五月里，天气渐热，夹杂着苍蝇的嗡嗡声，让人们有一种昏昏欲睡之感。另外，元音从/Q/到/R/到/a:/到/ai/，不断变化，使人完全没有单调像琴键上跳跃的音符，避免了单调。 第六小节，长元音/i:/的连续运用，（如在“easeful death”“mused rhyme”“cease”“requiem”等中）带人进入一种幽静、甜熟、“奢侈”的死的意境之中。之是诗人的梦呓，是听着歌声沉醉的话语。 第七小节，/d/ /t/ /n/ /g/等辅音（如在“tread”“down”“night”“off-times”“magic”中）以及长音/ei//R://E://EU/等（如在“born”“immortal”“heard”“home”“casement”中）的运用，长短相间，意象跳跃较快，使整节诗充满了跳动的音符。 第八小节，一连贯/s/的运用（如在“sole self”“so”“elf”“fades”“past”“still stream”“vallage-glades”“sleep”等中）将读者留在那个已经离去的世界里，美妙的音乐久久盘旋在人们的心间。 诗人运用了典故：君王与平民的故事、圣经中的“路德记”和中世纪的神话故事，借以说明夜莺虽然将刺刺进自己的胸膛，但是它活在过去，现在和将来永世，他在这满目疮痍的世界里一视同仁，激励着一代一代的人，夜莺的歌声无处不在，是大地众生的希望，美的事物是万事永存的。 本首诗想象丰富，情感强烈，并在对比中显示出艺术魅力。诗人善于运用现实与理想的尖锐对立来展示诗人内心那无法克制的矛盾冲突；善于创造半虚半实的幻境和似梦非梦的情

骑士文化

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女性跳爵士舞的9大好处

女性跳爵士舞的9大好处 学爵士舞的好处1. 长期学习爵士舞可以强化肌肉及关节灵活性。 学爵士舞的好处2. 可培养练习者音乐节奏感及对舞蹈艺术的兴趣：通过热身及动作组合，以配合强劲的节拍，舞蹈的动感和音乐的节奏，使练习者在轻松欢快的气氛中学习。 学爵士舞的好处3. 训练学生手脚与大脑之间的配合：以简单的动作配合音乐，编成舞蹈动作练习，使练习者的肢体得到充分舒展和活动。 学爵士舞的好处4. 训练耐性，增加自信：爵士舞不止帮助骨骼成长，练习过程中亦可培养练习者的专注耐性，建立自信。 学爵士舞的好处5. 训练肢体的协调性：爵士舞是一项全身的活动，包括头、肩、手、腰、胯及腿，身体任何部分都充分运用，如练习伸展动作，就可提高练习者的柔韧度和协调性。

学爵士舞的好处6. 通过不断练习来培养自己的恒心。 学爵士舞的好处7. 可以增强女性自信，提升气质：如今，很多女性已经不满足于单纯塑造身材，她们更注重提升个人气质。爵士舞有别于其他加入了大量有氧操成分的健身舞，爵士舞艺术感很强，主要是锻炼个人的表现力，着重培养一种感觉，一种姿态。而且，协调性在爵士舞中非常重要，除了手和脚的配合，还有头、和四肢的动作配合。学了爵士舞后，一举手一投足都会更加协调，进退之间愈发时尚妩媚，可以大大增强个人社交魅力。 学爵士舞的好处8. 可以健身塑身：爵士舞可以雕塑你的腰部、腿部，收腹九招快乐塑身集中营也是一种收腹妙法；而时髦紧腿术则简单轻松地带给你美丽又紧实的双腿！手臂臀部都能得到全面锻炼。 学爵士舞的好处9. 可以减缓生活工作压力：对于长期伏案工作学习导致的腰肩劳损等有非常大的预防及改善作用，可以有效的改善肩、颈部的劳损。

济慈《夜莺颂》的意象手法对主题的诠释

济慈《夜莺颂》的意象手法对主题的诠释 吴艳萍张明悦 （辽宁工业大学外国语学院辽宁锦州121001） 摘要： 约翰·济慈是19世纪英国著名的浪漫主义诗人，他在《夜莺颂》中运用各种感官意象把夜莺的欢乐境界描写成五彩缤纷的、令人向往的梦幻世界。诗人借助这种意象手法表达了自己心中强烈的思想感情和对自由世界的向往。 关键词：济慈；夜莺颂；意象；主题 中图分类号: I106. 2 文献标识码:A 在《夜莺颂》中，诗人通过夜莺的歌声阐述了其对美好世界的追求，不难看出他试图脱离尘世的痛苦与忧愁。读者亦能看出在梦幻般的美妙世界和残酷的现实面前，诗人又无法永远停留在夜莺的境界，于是他只能借助诗歌的力量，在诗的世界里达到心愿。这是他热爱生活，珍惜生命的体现，也能看出他在短暂而又痛苦的人生中对美的向往和追求。济慈在表达这样的主题时，采用了多种意象的表现手法，本文通过对诗人的写作手法的研究进一步探究诗人的心境。 济慈（1795—1821），19世纪英国著名的浪漫主义诗人。他出生于伦敦的一个普通的农民家庭，由于出身贫寒，济慈一生穷困潦倒。幼年时期生活悲惨至极。八岁时父亲去世，十四岁时母亲去世。由于生活窘迫，再加上先天遗传因素不好，济慈的身体每况愈下，二十四岁的时候就染上了可怕的不治之症-肺痨。疾病的困扰使他不得不与自己相恋多年的未婚妻分手。然而身体和精神双重打击却没有让诗人一蹶不振。因为济慈知道只要追求美，才能洞察美，感悟美。这样的信念一直激励着济慈勇敢地走完人生，敏锐高雅的心态是诗人前进的动力，同时也点燃了世人的希望之路。21岁时开始诗歌创作，1817年出版了第一本诗集。《伊莎贝拉》、《圣亚尼节前夜》、《许佩里恩》等长诗是他的巅峰之作，《夜莺颂》、《希腊古瓮颂》、《秋颂》是广为流传的脍炙人口的佳作。1818年，23岁的济慈爱上了邻居范妮·布恩小姐，但是那个时候济慈得了严重的肺病，尽管处于热恋中的济慈憧憬着美好的未来，但是寒酸的经济条件加上病入膏肓的身体状况，诗人只能把美好的憧憬寄托于诗歌当中去。一个春天的早晨济慈坐在花园里的树下，用心体会着春天的气息，温暖的阳光和美妙的夜莺的歌声让诗人回味着自己和未婚妻曾有的幸福，济慈为这样的美好生活而陶醉，诗人的创作激情也被燃烧起来。于是《夜莺颂》诞生了。《夜莺颂》正是在这种悲愤与渴望中创作出来的。1821年，济慈在朋友的资助下前往意大利治疗休养，但是不幸的是此后不久，由于病情恶化，济慈病逝于罗马，年仅25岁。约翰·济慈在自己短暂的一生中创作了大量的诗歌，这是他对诗歌艺术的孜孜以求和无私奉献。济慈的诗歌是唯美的代表。尽管济慈出身卑微，穷困潦倒，疾病缠身，但是他从来没有放弃对艺术的追求。济慈把自己有生之年无法实现的愿望寄予诗歌，他希望自己的梦想能在诗歌中实现。《夜莺颂》中一系列意象手法的运用源于他对真实世界的仔细品味。这种对自然世界的感知和热爱正是诗人对生活的憧憬。因此《夜莺颂》也是浪漫主义和现实主义的结合与统一。 济慈运用意象的手法构造了一个美好的梦幻般的世界。首先诗人被夜莺的歌声打动，因为“你的幸福使我太欢欣”。夜莺的歌声代表着诗人内心向往的欢愉，夜莺的欢乐境界正是诗人要找寻的，于是济慈借助美酒来到

英国文学简史期末考试复习要点资料

英国文学简史期末考试复习要点

一、中世纪文学（约5世纪—1485） ?《贝奥武甫》（Beowulf） ?《高文爵士和绿衣骑士》（Sir Gawain and the Green Knight ) 杰弗利·乔叟（Geoffrey Chaucer) “英国诗歌之父”。（Father of English Poetry） 《坎特伯雷故事》（The Canterbury Tales） 二、文艺复兴时期文学（15世纪后期—17世纪初） ?托马斯·莫尔（Thomas More ） 《乌托邦》（Utopia） ?埃德蒙·斯宾塞（Edmund Spenser） 《仙后》（The Faerie Queene) ?弗兰西斯·培根（Francis Bacon） 《论说文集》（Essays) 克里斯托弗·马洛 Christopher Marlowe ?《帖木儿大帝》（Tamburlaine） ?《浮士德博士的悲剧》（The Tragical History of the Life and Death of Dr. Faustus） ?《马耳他岛的犹太人》（The Jew of Malta） 威廉·莎士比亚William Shakespeare ） 《哈姆莱特》（Hamlet） SONNET18 三、17世纪文学 约翰·弥尔顿 John Milton 《失乐园》（Paradise Lost） ?约翰·班扬（John Bunyan） 《天路历程》（The Pilgrim’s Progress） 四、启蒙时期文学（17世纪后期—18世纪中期） 18世纪初，新古典主义成为时尚。新古典主义推崇理性，强调明晰、对称、节制、优雅，追求艺术形式的完美与和谐。 亚历山大·蒲柏（Alexander Pope）是新古典主义诗歌的代表。 ?乔纳森·斯威夫特 Jonathan Swift 《格列佛 ?丹尼尔·笛福 Daniel Defoe 英国小说之父 《鲁滨孙漂流记》（Robinson Crusoe） ?亨利·菲尔丁 Henry Fielding 《汤姆·琼斯》（Tom Jones） ?乔纳森·斯威夫特 Jonathan Swift 《格列佛游记》Gulliver’s Travels ?亨利·菲尔丁 Henry Fielding 《汤姆·琼斯》（Tom Jones） 托马斯·格雷 Thomas Gray 《墓园哀歌》（Elegy Written in a Country Churchyard） 五、浪漫主义时期文学（1798-1832） ?罗伯特·彭斯 Robert Burns ?威廉·布莱克 William Blake ?威廉·华兹华斯 William Wordsworth ?塞缪尔·泰勒·柯勒律治 Samuel Taylor Coleridge 《抒情歌谣集》（Lyrical Ballads）

爵士舞教材

爵士舞理论知识教材

教学大纲 1、爵士舞的名称来源 2、爵士舞的起源及发展 3、爵士舞的特征 4、爵士舞的种类 5、爵士舞的风格 6、爵士舞的编舞技巧

自1917年有位叫班顿·欧尔斯崔写了一首The Jazz Dance后，这就成了爵士舞蹈的永久代名词,什么是爵士舞呢？在全世界每个流行歌坛可以看到许多知名艺人，美国歌手布兰妮、韩国歌手李孝利、台湾歌手蔡依琳的ＭＴＶ中，涌现各种舞蹈动作，频频轰炸年轻人的视觉，这就是爵士的一种——流行爵士舞。 2、爵士舞的起源及发展 爵士舞起源于美国,美国的流行舞蹈可以用一个名字来代替:他就是"爵士舞",美国流行舞蹈百年来的发展就可以看作是爵士舞的发展变迁,只是在不同的阶段和时期,爵士舞呈现了不同的风貌.即不同年代爵士舞的含义是有区别的,每个年代的爵士舞都包含了那个年代最流行的时尚元素. 爵士舞出现于二十世纪中期的五十年代，由黑人的社交舞，配上爵士乐的音乐而演进下来的，爵士舞蹈虽渊源于非洲，但却在美国成长，并在舞台上大放光芒，成为最受欢迎的舞蹈，在美国逐渐演变成一种本土化、大众化舞蹈。

爵士舞主要是追求愉快、活泼、有生气的一种舞蹈，它是随着爵士乐的产生在美国五十年代末期，六十年代初兴起的一种舞蹈形态，不拘泥于形式，伴随着富有动感和节奏的音乐自由的舞动，让人从身体到心灵上都获得充分的释放。新的爵士舞把老一代的爵士舞步和以后各时代风靡一时的新舞步掺杂一起，吸收了芭蕾舞、现代舞、表演舞、剧场舞、社交舞、黑人舞蹈和黑人民族舞蹈等元素。 爵士舞动作的本质是一种自由而纯朴的表现，直接把内心的感受用身体的颠、抖、扭动等肢体的动作表达出来，就像人们一旦听到喜欢的音乐，从内心自然地流露出感情，身体不由自主地随着音乐节奏而手舞足蹈，时而兴奋激烈，时而缓慢优柔地溶入到动人心弦的音乐之中。爵士舞是一种急促又富有动感的节奏型舞蹈，它的表演主要体现在动作和旋律两方面。爵士舞蹈是追求愉快、活泼、有生气的一种舞蹈，相对于比较枯燥的一般的雕塑身形的健美操，它的特征是可以自由自在地跳，讲究随意性，务求完完全全地释放身心，已为广大舞蹈爱好者接受。

最新整理济慈名诗夜莺颂中英对照欣赏

济慈名诗夜莺颂中英对照欣赏 约翰济慈，他遗下的诗篇誉满人间，他的诗被认为完美体现了西方浪漫主义诗歌特色。今天学习啦小编在这里为大家介绍济慈的名诗《夜莺颂》，欢迎大家阅读！ 济慈名诗夜莺颂中英对照O d e t o a N i g h t i n g a l e 《夜莺颂》 M y h e a r t a c h e s,a n d a d r o w s y n u m b n e s s p a i n s 我的心在痛,困顿和麻木 M y s e n s e,a s t h o u g h o f h e m l o c k I h a d d r u n k,刺进了感官有如饮过毒鸩 O r e m p t i e d s o m e d u l l o p i a t e t o t h e d r a i n s 又像是刚把鸦片吞服 O n e m i n u t e p a s t,a n d L e t h e-w a r d s h a d s u n k 於是向列斯忘川下沉 T i s n o t t h r o u g h e n v y o f t h y h a p p y l o t,并不是我忌妒你的好运 B u t b e i n g t o o h a p p y i n t h i n e h a p p i n e s s,-- 而是你的快乐使我太欢欣 T h a t t h o u,l i g h t-w i n g e d D r y a d o f t h e t r e e s

因为在林间嘹亮的天地里 I n s o m e m e l o d i o u s p l o t 你呵,轻翅的仙灵 O f b e e c h e n g r e e n,a n d s h a d o w s n u m b e r l e s s,你躲进山毛榉的葱绿和荫影 S i n g e s t o f s u m m e r i n f u l l-t h r o a t e d e a s e. 放开了歌喉,歌唱著夏季 O,f o r a d r a u g h t o f v i n t a g e!t h a t h a t h b e e n 唉,要是有一口酒,那冷藏 C o o l d a l o n g a g e i n t h e d e e p-d e l v e d e a r t h, 在地下多年的清醇饮料 T a s t i n g o f F l o r a a n d t h e c o u n t r y g r e e n,一尝就令人想起绿色之邦 D a n c e, a n d P r o v e n c a l s o n g, a n d s u n b u r n t m i r t h! 想起花神,恋歌,阳光和舞蹈 O f o r a b e a k e r f u l l o f t h e w a r m S o u t h,要是有一杯南国的温暖 F u l l o f t h e t r u e,t h e b l u s h f u l H i p p o c r e n e, 充满了鲜红的灵感之泉 W i t h b e a d e d b u b b l e s w i n k i n g a t t h e b r i m,

爵士舞有哪些风格

【郑州专业爵士舞培训班】皇家舞苑教授的爵士舞风格：power jazz、sexy jazz、hiphop jazz、la jazz 、lyrical jazz(抒情爵士舞）、欧美风格、日韩风格。。。皇家舞苑的舞蹈更新特别快，差不多都是市场最流行的爵士舞风格。 古典爵士(CLASSICAL JAZZ):传统的爵士舞，在歌舞剧里面常见。 爵士芭蕾(BALLET JAZZ):就是融合芭蕾舞。但是这种爵士，并不是由爵士乐来的,而是因舞蹈潮流而结合在一起。因爵士舞本身较芭蕾有爆发性，像是pose的定格，跳跃，踢腿等，是芭蕾所没有的。 拉丁爵士(LATIN JAZZ):其实这个流派是分的很不明显的，但是拉丁爵士，一开始是跟国际标准舞有关，像是森巴什么的。不管男生女生，跳起来都有一种热情奔放，充满诱惑的感觉。 街舞爵士(HIP HOP JAZZ):有hiphop律动在里头的爵士舞。 新潮爵士(NEW JAZZ):就是现在我们一般在跳的爵士，pose点比较多，以前可能是有了舞蹈，再找音乐，但是新潮爵士则是有音乐再配合去编舞，像各式音乐MTV。NEWJAZZ 早期是在美国纽约由芭蕾所演化过来，但是它是透过JANETJAKCSON的「IF」MTV中，才逐渐让人发现芭蕾融合HIP- HOP的街舞魅力。NEW JAZZ的特色可以说是JAZZ加上HIP-HOP的一种舞蹈，可是NEW JAZZ并不归类於HIP-HOP里的其中一门。它的特色是：身体的延展。NEW JAZZ的每个动作都有固定的角度跟摆的方式，当你在作手的动作时会有无限延伸的感觉，这种感觉就像是有人正在拉你的手一样。 其他还有acid jazz，是和爵士乐里面的该曲风有关；street jazz则也是和街舞融合的一例。早期跳jazz风比较盛，现在跳hiphop的人比较多，所以jazz要求新求变，最快的路就是像新潮流学习。要说hiphop jazz 和street jazz 有什么不同可能有点难，但总之就是时代的产物！ 爵士舞的种类有哪些 踢跶舞 踢跶舞可说是爵士舞的始祖。早在1800年代中期已有踢跶舞的出现，它承接了非洲舞蹈中复杂及分割节奏的特色。在1920至1940年代这个爵士舞的黄金时段，基本上爵士舞就等同踢跶舞，踢跶舞就是爵士舞。专业踢跶舞者在这个时候和大型爵士乐团常常一起表演。后来因着潮流的转变和爵士舞流派分支的发展，踢跶舞渐渐被看成爵士舞以外的一种舞蹈。 舞台式爵士舞 高帽和手仗是初期舞台式爵士舞常用的道具，但舞台式爵士舞也不只局限于这样。舞台式爵士舞有一种炫耀的风格，随着切分的爵士音乐伴奏显出摇摆的特

英国文学-名词解释&作品要点

名词解释 1．Romance: a long composition, in verse or in prose, describing the life and adventures of a noble hero, especially for the knight. The most popular theme employed was the legend of King Arthur and the round table knight. 2．Ballad: a story told in song, usually in four-line stanzas, with the second and fourth lines rhymed. 3．Heroic Couplet: a couplet consisting of two rhymed lines of iambic pentameter, and written in an elevated style. 4．Renaissance: a revival or rebirth of the artistic and scientific revival which originated in Italy in the 14th century and gradually spread all over Europe. It has two features: a thirsting curiosity for the classical literature and keen interest in activities of humanity. 5．Sonnet: 14-line lyric poem, usually written in rhymed iambic pentameter. 6．Blank verse: poetry written in unrhymed iambic pentameter. 7．Enlightenment: a revival of interest in the old classical works, logic, order, restrained emotion and accuracy. 8．Neoclassicism: the Enlightenment brought about a revival of interest in Greek and Roman works. This tendency is known as Neoclassicism. 9．Sentimentalism: it was one of the important trends in English literature of the later decades of the 18th century. It concentrated on the free expression of thoughts and emotions, and presented a new view of human nature which prized feeling over thinking, passion over reason. 10．Romanticism: imagination, emotion and freedom are certainly the focal points of romanticism. The particular characteristics of the literature of romanticism include: subjectivity and an emphasis on individualism; freedom from rules; solitary life rather then life in society; the beliefs that imagination is superior to reason; and love of and worship of nature. 11．Lake Poets: the English poets who lived in and drew inspiration from the Lake District at the beginning of the 19th century. 12．Byronic Heroes: a variant of the Romantic heroes as a type of character( enthusiasm, persistence, pursuing freedom), named after the English Romantic Poet Gordon Byron. 13．Realism: seeks to portray familiar characters, situations, and settings in a realistic manner. This is done primarily by using an objective narrative point of view and through the buildup of accurate detail. 14．Aestheticism: an art movement supporting the emphasis of aesthetic values more than socio-political themes for literature, fine art, music and other arts. 15．Stream-of-Consciousness: it is a literary technique that presents the thoughts and feelings of a character as they occur without any clarification by the author. It is a narrative mode. 16．Dramatic Monologue: a kind of narrative poem in which one character speaks to one or more listeners whose replies are not given in the poem. 17．Iambic Pentameter: a poetic line consisting of five verse feet, with each foot an unstressed syllable followed by a stressed syllable, that is, with each foot an iamb. 18．Epic: a long narrative poem telling about the deeds of a great hero and reflecting the values of the society from which it originated. 19．Elegy: a poem of mourning, usually over the death of an individual; may also be a lament over the passing of life and beauty or a meditation of the nature of death; a type of lyric poem.

英国文学简史期末考试复习要点-刘炳善版(英语专业大三必备)

英国文学史资料British Writers and Works 一、中世纪文学（约5世纪—1485） ?《贝奥武甫》（Beowulf） ?《高文爵士和绿衣骑士》（Sir Gawain and the Green Knight ) 杰弗利·乔叟（Geoffrey Chaucer) “英国诗歌之父”。（Father of English Poetry） 《坎特伯雷故事》（The Canterbury Tales） 二、文艺复兴时期文学（15世纪后期—17世纪初） ?托马斯·莫尔（Thomas More ） 《乌托邦》（Utopia） ?埃德蒙·斯宾塞（Edmund Spenser） 《仙后》（The Faerie Queene) ?弗兰西斯·培根（Francis Bacon） 《论说文集》（Essays) 克里斯托弗·马洛Christopher Marlowe ?《帖木儿大帝》（Tamburlaine） ?《浮士德博士的悲剧》（The Tragical History of the Life and Death of Dr. Faustus）?《马耳他岛的犹太人》（The Jew of Malta） 威廉·莎士比亚William Shakespeare 喜剧《仲夏夜之梦》（A Midsummer Night’s Dream）、《威尼斯商人》（The Merchant of Venice） 悲剧《罗密欧与朱丽叶》（Romeo and Juliet）、《哈姆莱特》（Hamlet）、《奥赛罗》（Othello）、《李尔王》（King Lear）、《麦克白》（Macbeth） 历史剧《亨利四世》（Henry IV） 传奇剧《暴风雨》（The Tempest） 本·琼生Ben Johnson ?《人人高兴》（Every Man in His Humor） ?《狐狸》（V olpone） ?《练金术士》（The Alchemist） 三、17世纪文学 约翰·弥尔顿John Milton 《失乐园》（Paradise Lost） 《复乐园》（Paradise Regained）