美国黑人文学
Langston Hughes
1.Life
General idea: James Mercer Langston Hughes was an American poet, social activist, novelist, playwright, and columnist. He was one of the earliest innovators of the then-new literary art form jazz poetry. Hughes is best known for his work during the Harlem Renaissance.
Life experience:Hughes was born February 1, 1902, in Joplin, Missouri. His parents divorced when he was a small child, and his father moved to Mexico. He was raised by his grandmother until he was thirteen, when he moved to Lincoln, Illinois, to live with his mother and her husband, before the family eventually settled in Cleveland, Ohio. It was in Lincoln, Illinois, that Hughes began writing poetry. Following graduation, he spent a year in Mexico and a year at Columbia University. During these years, he held odd jobs as an assistant cook, launderer, and a busboy, and travelled to Africa and Europe working as a seaman. In November 1924, he moved to Washington, D.C. Hughes's first book of poetry, The Weary Blues, was published by Alfred A. Knopf in 1926. He finished his college education at Lincoln University in Pennsylvania three years later. Langston Hughes died of complications from prostate cancer in May 22, 1967, in New York.
2.Works
(1) Poetry collections
?The Weary Blues, Knopf, 1926
?Fine Clothes to the Jew, Knopf, 1927
?The Negro Mother and Other Dramatic Recitations, 1931
?Dear Lovely Death, 1931
?The Dream Keeper and Other Poems, Knopf, 1932
?Scottsboro Limited: Four Poems and a Play, Golden Stair Press, N.Y., 1932
?Let America Be America Again, 1938
?Shakespeare in Harlem, Knopf, 1942
?Freedom's Plow, 1943
?Fields of Wonder, Knopf, 1947
?One-Way Ticket, 1949
?Montage of a Dream Deferred, Holt, 1951
?Selected Poems of Langston Hughes, 1958
?Ask Your Mama: 12 Moods for Jazz, Hill & Wang, 1961
?The Panther and the Lash: Poems of Our Times, 1967
?The Collected Poems of Langston Hughes, Knopf, 1994
(2) Novels and short story collections
?Not Without Laughter. Knopf, 1930
?The Ways of White Folks. Knopf, 1934
?Simple Speaks His Mind. 1950
?Laughing to Keep from Crying, Holt, 1952
?Simple Takes a Wife. 1953
?Sweet Flypaper of Life, photographs by Roy DeCarava. 1955
?Tambourines to Glory 1958
?The Best of Simple. 1961
?Simple's Uncle Sam. 1965
?Something in Common and Other Stories. Hill & Wang, 1963
?Short Stories of Langston Hughes. Hill & Wang, 1996
(3) Non-fiction books
?The Big Sea. New York: Knopf, 1940
?Famous American Negroes. 1954
?I Wonder as I Wander. New York: Rinehart & Co., 1956
? A Pictorial History of the Negro in America, with Milton Meltzer.
1956
?Famous Negro Heroes of America. 1958
?Fight for Freedom: The Story of the NAACP. 1962
(4) Major plays
?Mule Bone, with Zora Neale Hurston. 1931
?Mulatto. 1935 (renamed The Barrier, an opera, in 1950)
?Troubled Island, with William Grant Still. 1936
?Little Ham. 1936
?Emperor of Haiti. 1936
?Don't You Want to be Free? 1938
?Street Scene, contributed lyrics. 1947
?Tambourines to glory. 1956
?Simply Heavenly. 1957
?Black Nativity. 1961
?Five Plays by Langston Hughes. Bloomington: Indiana University Press, 1963.
?Jericho-Jim Crow. 1964
(5) Books for children
?Popo and Fifina, with Arna Bontemps. 1932
?The First Book of the Negroes. 1952
?The First Book of Jazz. 1954
?Marian Anderson: Famous Concert Singer. with Steven C. Tracy 1954
?The First Book of Rhythms. 1954
?The First Book of the West Indies. 1956
?First Book of Africa. 1964
?Black Misery. Illustrated by Arouni. 1969, reprinted by Oxford University Press, 1994.
3.Sample:The Negro Speaks of Rivers
(1)The Negro Speaks of Rivers
I've known rivers:
I've known rivers ancient as the world and older than the flow of human blood in human veins.
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turned all golden in the sunset.
I've known rivers: Ancient, dusky rivers.
My soul has grown deep like the rivers.
(2) Analysis: “The 1920s were the years of Manhattan’s black Renaissance. . . .White people began to come to Harlem in droves. For
several years they packed the expensive Cotton Club on Lenox Avenue. But I was never there, because the Cotton Club was a Jim Crow club for gangsters and monied whites. They were not cordial to Negro patronage, unless you were a celebrity like Bojangles. So Harlem Negroes did not like the Cotton Club and never appreciated its Jim Crow policy in the very heart of their dark community. Nor did ordinary Negroes like the growing influx of whites toward Harlem after sundown, flooding the little cabarets and bars where formerly only colored people laughed and sang, and where now the strangers were given the best ringside tables to sit and stare at the Negro customers—like amusing animals in a zoo.
(3) His style: Unlike other notable black poets of the period, Hughes refused to differentiate between his personal experience and the common experience of black America, he wanted to tell the stories of his people in ways that reflected their actual culture, including both their suffering and their love of music, laughter and language itself.He would also use humor, loneliness, and despair, to imitate the sound of blues and jazz music with words.
4. Conclusion
(1) Hughes famously wrote about the period that "the negro was in vogue" which was later paraphrased as "when Harlem was in vogue".
(2) In his memory, his residence at 20 East 127th Street in Harlem, New Y ork City, has been given landmark status by the New Y ork City Preservation Commission, and East 127th Street has been renamed "Langston Hughes Place."
(3) Hughes is also known for his engagement with the world of jazz and the influence it had on his writing, as in "Montage of a Dream Deferred." His life and work were enormously important in shaping the artistic contributions of the Harlem Renaissance of the 1920s.
美国黑人批评文学概述
美国黑人女性主义文学批评综述 摘要：美国黑人女性主义批评在20世纪70年代崛起并迅速发展，成为当代西方文学与批评领域的新思潮。它引入了性别、种族、阶级等共时性话语，并借鉴其它当代文学批评理论，建构了自己独特的文学特色，丰富了女性主义的内涵，不仅推动了当代女性主义文学批评、美国黑人文学批评的发展, 也是美国文学批评中不可或缺的一部分。 关键词：黑人女性主义；文学批评；性别；种族；阶级 （一） 女性主义运动在历史上经历了很长一段发展、成熟的过程。早在文艺复兴时期，薄迦丘、乔叟等人文主义者已开始呼吁家庭婚姻中的“男女平等”。1729年，英国的克雷弗特(Mary Wollstone Craft)发表了题为《女性权利》的论著。19世纪出现妇女解放运动的萌芽。20世纪初开始了更积极争取男女平等和选举权的运动，被称为西方女性主义运动的“第一次浪潮”。在这期间也出现了女性主义批评的声音。以弗吉尼亚·沃尔夫的《一间自己的屋子》(1929)为先声，西蒙．德．波伏娃（Simone de Beauvoir）1949年出版了《第二性》，大大深化了女性主义思想，这对以后的西方女性主义思潮产生了重要的引导作用。 20世纪60、70年代，西方的女性主义运动进入“第二次浪潮”，主要以反对男性在家庭的统治为核心，强调男女平等，鼓励妇女走出家庭，参加工作，实现经济独立。这个时期的女性运动主要是争取白人妇女的权利，白人女性主义者成为所有女性的代言人，她们把自己的生活经历和观点普适化，而忽略了黑人女性和其它第三世界女性的差异性。莫汉蒂在《在西方注视下：女性主义学术研究与殖民话语》一书中指出，西方女性主义者在提到“妇女”这个范畴时，不约而同的把它看作一个先验的、统一的、有一致利益和欲望的整体，而有意忽略它内部包含阶级、种族、文化等差异。美国的白人妇女很难将黑人妇女视为平等的姐妹，甚至很难视她们为女人，这就导致了白人女权主义者不可能真正站在黑人妇女的立场上为她们谋求福利。 20世纪60、70年代正值美国黑人民权运动的高潮，它强调黑人的团结，旨在唤起黑人大众的民族意识和自豪感，最终解放黑人种族，但事实上它所关注的对象主要是黑人男性，忽略了存在于种族内部的性别歧视和性别压迫，忽视了黑人妇女的存在和要求。在这两次运动中，“黑人”成了黑人男性的代名词，而“妇女”一词则成为白人妇女的专利，“所有的女性都是白人，所有的黑人都是男性” 黑人女性地位一直处于双重边缘状态。 早在19世纪30、40年代，美国黑人女性就开始了争取女性权利的斗争。主要代表有；
(完整版)美国文学课后答案
1.Why did Franklin write his Autobiography? Franklin says that because his son may wish to know about his life, he is taking his one week vacation in the English countryside to record his past. He also says that he has enjoyed his life and would like to repeat it 2.What made Franklin decide to leave the brother to whom he had been apprenticed? His brother was passionate, and had often beaten him. The aversion to arbitrary power that has stuck to him through his whole life .After a brush with the law, Franklin left his brother. 3.How did he arrive in Philadephia? First he set out in a boat for Amboy, the boat dropped him off about 50 miles from Burlington, the next day he reached Burlington on foot, in Burlington he found a boat which was going towards Philadelphia, he arrived there about eight or nine o’clock, on the Sunday morning and landed at the Market Street wharf. 4.What features do you find in the style of the above selection? It is the pattern of Puritan simplicity, directness, and concision(言简意赅). The narrative is lucid(易懂的), the structure is simple, the imagery is homely(朴素的). 二、Questions 1.How many characters does Poe include in The Cask of Amontillado? What are these names? Montresor, Fortunato and Luchesi 2. What drink are the French most famous for? Wine 3.Does Montresor have something of great value to him which we might consider to be his treasure? His pride and the pride of his French family heritage. Perhaps his devious plot of revenge. 4.Does Montresor seem to have much respect for Italians? Montresor does not have much respect for Italians. He feels the French are superior, especially with respect to wine. 5.What was Fortunato's insult? Poe does not tell us directly, but only implies it in the third paragraph 6.Which wine does Montresor use to lure Fortunato into the catacombs? "Amontillado" (the Spanish wine; Montresor's ruse to lead Fortunato down into the catacombs. 7.Why does Montresor entertain Fortunato with wines from his collection? Montresor wants to get Fortunato drunk enough to be able to trap him in his plan of vengeance. 8.In what two ways does Montresor imprison Fortunato? He fetters (chains and locks) Fortunato to the wall of the catacombs. He builds a wall to close Fortunato off in a small corner of the catacombs, where Montresor will leave him to die. 9.In what ways is The Cask of Amontillado grotesque? First, which of Montresor's actions are abnormal? The whole obsessive plot of vengeance. The fettering and entombment of Fortunato. Montresor's sick sense of humor. 10.Is there anything grotesque about Fortunato? His obsession with alcohol. His drunkenness. His tendency to berate Luchesi (he may have been drunk and may have insulted Montresor in a similar
华裔美国文学中的翻译问题
华裔美国文学中的翻译问题 摘要：自从上世纪八十年代开始，我国便开始开展对华裔美国文学的译介工作，并且伴随着的时间的推移，对华裔美国文学作品翻译的数量不断增加，与华裔美国文学研究的相关理论也在不断的增加，同时伴随着国内研究者对华裔美国文学研究的不断深入，逐渐形成了一些人们特别关注的重点和翻译过程中比较明显的问题。为此，笔者要对华裔美国文学中出现的相关翻译问题进行研究和分析。 关键词：华裔美国文学翻译问题 华裔美国文学是亚裔美国文学的重要组成部分，是特定历史时期的产物。在长期的发展中，我们在西方社会和美国人眼中往往被称为“东方人（oriental）”，直到上世纪的六十年代加州大学的市岗勇次教授发明了“亚裔美国人（Asia American）”，改变了传统的称谓，并且伴随着之后发生的美国民权运动，诞生了华裔美国人、日裔美国人和菲裔美国人等称谓。虽然早在十九世纪亚洲人就已经到了美国，但是与其相对应的亚裔美国文学的发展却迟到了一个世纪之久，甚至对基本的“亚裔美国人”和“亚裔美国文学”之间的界定还没有达成共识。因此，对华裔美国文学翻译中存在的问题进行研究具有重要的现实意义。 1 Chinese American Literature翻译问题分析 1.1Chinese American Literature译名认识 早在上世纪八十年代中国内地对华裔文学进行译介时，往往是按照汉语表达的习惯进行翻译，即把涵盖面积范围广的词语放在翻译的前面，则对“Chinese American Literature”的翻译就是“美国华裔文学”，与当时的“美国犹太文学（Jewish American Literature）”、“美国印第安文学（Indian American Literature）”的翻译方式是一致的。但是随着后期国内翻译中华裔美国文学的普及，以及台湾学者在文章中大量使用“华裔美国文学”，人们将逐渐接受了“华裔美国文学”，笔者认为使用“华裔美国文学”是具有一定道理的，因为这种翻译语序与汉语语序是一致的，用Chinese American对Literature进行修饰，表达的意思就是“华裔美国人创作出来的文学”。正如在汉语中我们习惯说“华裔美国人”却不习惯说“美国华裔人”，因此往往采用华裔美国人的说法。另外，在目前国内两种用法都是可行的，毕竟二者各有存在的道理，比如当将“美国”放在前面时，就可以翻译成“美国华人文学”，一样是符合我们汉语的表达习惯。 1.2对“华裔美国人”的认识思考 所谓的“华裔美国人”是指具有华人血统和美国国籍的人，其中既包括土生土长的华人后裔，也包括拥有美国国籍的华人，但是在许多华裔作家和评论家往往将后者排除在“华裔美国人”之列，因为他们认为自身已经被主流社会所认同已经成为一名真正的美国人，而后者的出现使其自身的社会地位受到影响，故对后者
5. 二十世纪黑人文学
The Twentieth-Century Black American Literature二十世纪黑人文学 I. The Rise of Black American Literature The literary achievement of African-Americans was one of the most striking literary developments of the post-Civil War era. In the writing of Booker T. Washington, Charles Waddell Chesnutt, Paul Laurence Dunbar, and others, the roots of black American writing took hold, notably in the forms of autobiography, protest literature, sermons, poetry, and song. 1. 华盛顿B.T. Washington Profile (1856.4.5,美国弗吉尼亚州富兰克林县～1915.11.14,亚拉巴马州塔斯基吉) born April 5, 1856, Franklin county, Va., U.S. died Nov. 14, 1915, Tuskegee, Ala. U.S. educator and reformer. 美国教育家和黑人领袖。出生于一个奴隶家庭，在黑奴解放后举家迁往西弗吉尼亚州。9岁
起即开始工作，后就学于弗吉尼亚州汉普顿师范和农业技术专科学校(1872～1875)，并在该校工作过。1881年获选担任塔斯基吉师范学校校长，这是一所新设的黑人师范学校。他成功地使该校成为著名的学院(参阅塔斯基吉大学[Tuskegee University])。在当时他可能是最突出的黑人领袖。他认为其黑人同胞借由受教育以改善经济状况，比争取全面公民权及政治力量更能替黑人赢得平等的公民待遇。这个颇受争议的论点即著名的《亚特兰大种族和解声明》。他的著作有自传《出身奴隶》(1901)。 Born into slavery, he moved with his family to West Virginia after emancipation. He worked from age nine, then attended (1872–75) and joined the staff of the Hampton (Va.) Normal and Agricultural Institute. In 1881 he was selected to head the Tuskegee Normal and Industrial Institute, a new teacher-training school for African Americans, and he successfully transformed it into a thriving institution (later Tuskegee University). He became perhaps the most prominent African American leader of his time. His controversial conviction that African Americans could best gain equality in the U.S. by improving their economic situation through education rather than by demanding equal rights was termed the Atlanta Compromise. His books include Up from Slavery(1901). Major Works Up from Slavery (1901)《出身奴隶》, autobiography 2. 杜波伊斯W.E.B. Du Bois (1868.2.23,美国马萨诸塞州大巴灵顿～1963.8.27,加纳阿克拉) born Feb. 23, 1868, Great Barrington, Mass., U.S. died Aug. 27, 1963, Accra, Ghana U.S. sociologist and civil-rights leader. He received a Ph.D. from Harvard University in 1895. Two years later he accepted a professorship at Atlanta University, where he conducted empirical studies on the social situation of African Americans (1897–1910). He concluded that change could be attained only through agitation and protest, a view that clashed with that of Booker T. Washington. His famous book The Souls of Black Folk appeared in 1903. In 1905 Du Bois founded the Niagara Movement, the forerunner of the NAACP. In 1910 he left teaching to become the NAACP's director of research and editor of its magazine, Crisis (1910–34). He returned to Atlanta University in 1934 and devoted the next 10 years to teaching and scholarship. After a second research position with the NAACP (1944–48), he moved steadily leftward politically. In 1951 he was indicted as an unregistered agent of a foreign power (the Soviet Union); though a federal judge directed his acquittal, he was by then completely disillusioned with the U.S. In 1961 he joined the Communist Party, moved to Ghana, and renounced his U.S. citizenship. 美国社会学家和黑人民权领袖。获哈佛大学博士学位后，开始深入美国黑人环境领导实地的
美国的黑人文化
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美国文学题_答案
III Multiple choice (20%) 1. Anne Bradstreet was a Puritan poet. When her poems were published in England, she became known as the “______” who appeared in America. A Ninth Muse B Tenth Muse C Best Muse D First Muse 2. ______ is the sometimes exaggerated use of local language, characters and customs in regional literature. A purple prose B waste-land imagery C local color D symbolism 3. The Fitzgeralds lived so extravagantly that they frequently spent more money than F. Scoot Fitzgerald earned for parties, liquor, entertaining their friends and traveling. It was this living style that nicknamed the decade of the 1920s as _______. A The Jazz Age B The Gilded Age C The Glorious Age D The Beat Age 4. ___________ was a reaction to the ideas of the Age of Reason and the Enlightenment. A Romanticism B Realism C Naturalism D Modernism 5. Although only few of her poems were published in her lifetime and a complete collection of them didn’t appear until the 1950’s, _____ had a major impact on 20th century poetry. A Anne Bradstreet B Gertrude Stein C Emily Dickinson D Amy Lowell 6. Who of the following is NOT a 20th century American poet? A Henry Wordsworth Longsfellow B Amy Lowell C Ezra Pound D Robert Frost 7. Mark Twain, one of the greatest 19th century American writers, is well known for his ______. A International theme B Waste-land imagery C Local color
华裔美国小说的成长主题分析
民营科技98MYKJ 文化教育 华裔美国小说的成长主题分析 于陆一 （哈尔滨师范大学公共英语教研部，黑龙江哈尔滨150000） 小说文类一直是华裔美国文学艺术表现的中心。一大批耳熟能详的华裔美国作家，如汤亭亭（Maxine Hong Kingston）、赵建秀（Frank Chin）、谭恩美（Amy Tan）、任碧莲（Gish Jin）等，无不以小说盛名。可以说，几乎在任何一本综合性的亚裔美国文学评论集里，华裔美国小说都无法缺席，国内外诸多相关批评性杂志和期刊中，相比之于戏剧、诗歌等其他文类，关于华裔美国小说的评述和研究总是备受关注。从某种意义上说，小说这一文类支撑和见证了整个亚裔/华裔文学史的发展和变迁。1文化身份与认同问题 在多种文化交织造成的文化错位和话语权缺失的状态下生存的华裔美国人，其身份既与种族、阶级、性别、性和民族密切相关，也因社会文化政治环境的变化而不断变异。在创作方面，文化身份和认同成为此类作品不可或缺的重要主题，围绕其创作是亚裔族群探索成长中自身文化身份的有效途径。所以它也成为亚裔学者小说批评中密切关注的焦点。关于文化身份主题的书写和讨论在华裔美国小说中逐渐形成了两种认同视角:本土视角和全球视角/离散视角。 探讨华裔文化身份的最早重要研究成果之一，要数斯坦利·苏和德拉德·苏（Stanley Sue，Derald W.Sue）1971年发表的论文《华裔美国人的性格和精神健康》（Chinese-American Personality and Mental Health，1971）。从心理学的角度出发，作者们认为理想的华裔美国人应建立自己的“自豪感”，理想的认同是“建立在抛弃中华文化的前提下形成的文化和族群认同”。斯坦利·苏和德拉德·苏从心理学和社会学角度研究华裔美国人的身份问题，拉开了身份探讨的序幕，但是他们的观点存在很多问题，如研究对象的局限、研究方法的狭隘，导致把复杂的问题简单化、整一化的趋势。随着文化民族主义关怀的退热和亚洲人与亚裔美国人身份的互渗，亚裔美国文化批评的视角也从本土向离散转移。例如，黄秀玲（Sau-ling Cynthia Wong）在《“去国家化”在思考》（Denationalization Re－considered:Asian American Cultural Criticism at a Theoretical Cross－roads，1995）中将研究重点放在全球化进程中出现的“去国家化”趋势下对亚裔美国文化批评的宏观思考。黄秀玲看到亚裔美国这个概念在离散的视野下越显局限，呼吁拓展亚裔美国文学的领域到囊括书写亚洲和亚裔美国历史经验和文化表达的移民文学，她认为对亚裔美国文学批评的“全球化过程”应进行历史化和语境化分析。 2美国化/同化 同化原为生理学概念，指食物在体内的消化过程。社会学借用此概念，指不同文化单位融合成一个同质文化单位的渐进或缓慢的过程，主要指“语言或文化的同化或融合”即归化。美国化就是与美国主流文化同化的趋势，就是“移民来到美国后成为‘美国人’的过程”，目的是“为进入主流文化而奋斗，以及谋求在美国社会中的立足之地”。对于华裔美国人来说，同化与美国化是同义词，因为同质文化单位即为美国主流文化。长期以来，美国主流总认为华人移民是“不可同化”者，“来自彼岸的陌生人”。他们总被认为是暂居美国，等待赚足美国的钱后衣锦还乡，颐养天年。除此不良经济动机之外，文化传统、信仰与美国主流的隔阂也使华人被排除在可同化者之外。学者们就同化的可能性、同化的代价和意义以及不同性别主体的同化差异提出看法。 同化主义与民族主义之间的对立遭到亚裔美国批评家丽莎·刘（Lisa Lowe）的瓦解，同化的诸多可能性被逐渐认识。她在提倡策略性本质主义的前提下，通过探讨法国后殖民主义批评家法农（Frantz Fanon）的著作《大地上的受苦者》（The Wretched of the Earth1961）中的身份政治，指出法农认为资产阶级同化论和民族主义都服从同一种逻辑，都是对殖民主义的回应，他们都复制了统治阶级的相同结构，所以同化主义与民族主义并非对立，而同是对旧制度的照搬。这就瓦解了以赵建秀为代表的民族主义批评者批判汤亭亭“同化主义作品”的汤赵之争。同时，丽莎·刘又指出同化主义与民族主义又存在于亚裔美国文学之中，深刻地表现在叙事作品的代际冲突之中，凸显出成长中社会化的多重而复杂的影响因素。 3性别/性 性别与族裔问题相互交织，不可分割。在亚裔美国文学中，关于性别问题的讨论，众多著名亚裔学者皆有相似论点:“从一开始，种族与性别就与亚裔美国历史和文学交织在一起。”“任何性别/性主题的出现和变迁及持久性总是与具体的历史条件相连。”“族裔身份从某种意义上来说，本身就是性别化的，性别总是族裔化的。在所有的社会关系中，劳动力本身就是性别化的，性种族化，种族也与阶级紧密相连。”汤亭亭二十世纪六十年代后出版的作品《女勇士》被认为是战后里程碑式的作品而被纳入经典：“该书有意识地将亚裔美国女性主义的异见视角注入了以男性为主导的亚裔美国文学话语”。 结语 华/亚裔美国文学中主人公在建构文化、族裔、性别自我的同时，对于生命和成长有了更深刻的生命意识体悟。除了对社会、文化具有深刻思考之外，还夹杂了对精神价值、情感、人性等思考，以追求本真生存。所以，真正探讨和挖掘华裔美国文学的价值和意义，就必须注重作品的文学性，而关注文学中的成长主题在华裔美国文学中如何作为一个美学呈现，有何特殊的表现方式和审美意义，与族裔经验有何联系，对研究华裔美国文学的文学特点和文化价值具有重要意义和价值。 参考文献 [1]程爱民.美国华裔文学研究[M].北京：北京大学出版社，2003. [2]褚孝泉.拉康选集[M].上海：上海三联书店，2001. [3]单德兴.“开疆”与“辟土”—— —美国华裔文学与文化：作家访谈录与研究论文集[C].天津：南开大学出版社，2006. [4]胡勇.文化的乡愁：论美国华裔文学的文化认同[M].北京:中国戏剧出 版社，2003. [5]黄秀玲.从必须到奢侈:解读亚裔美国文学[M].詹乔等，译.北京：中国 社会科学出版社，2006. 摘要：成长是人类社会和文学发展的永恒话题。从华裔美国文学肇始以来，成长主题就贯穿其发展的始终。在此研究华裔美国小说中的成长主题，参照成长小说理论，将华裔美国小说成长主题研究置于20世纪和21世纪初世界离散文化语境中，探讨华裔美国作家笔下的少数族裔主人公在美国多元文化社会中如何建构独立自我、确立自我身份的成长过程。 关键词：华裔美国小说;成长主题;社会化成长;族裔化成长; 个体化成长
当代美国黑人女权主义文学批评理论.
2003年12月学术交流Dec.,2003 总第117期第12期Academic Exchange Serial No.117No.12 当代美国黑人女权主义文学批评理论 修树新 (东北师范大学外国语学院,吉林长春130024 [摘要]美国黑人女权主义文学批评理论自20世纪70年代开始蓬勃发展。这一时期涌现了一批优秀的批评家。芭芭拉?史密斯、奥吉?劳德、爱丽斯?沃克、芭芭拉?克里斯汀等代 表人物各自从不同的侧重点阐发了黑人女权主义批评的理论和方法。她们的理论、观点体现 了黑人女权主义批评的两大任务———寻找、建构一个内涵丰富的黑人女性文学传统;考察并 消除文学作品中有关黑人女性气质和黑人女性神话中的女性形象的刻板模式。 [关键词]当代;美国黑人;女权主义;文学批评 [中图分类号]I106[文献标识码]A[文章编号]1000-8284(200312-0165-03 20世纪70年代,美国黑人女权主义文学批评异军突起,成为评论界一支不可忽视的力量,和英美派、法国派并驾齐驱。黑人女权主义批评的崛起有着必然的历史原因。首先,黑人妇女遭受着双重压迫,即来自白人世界的种族歧视和黑人世界的男性压迫。出于这种特殊体验而写出的黑人文学作品必然和白人女性及男性的作品存在着显著的差异。其次,在男权中心社会中,黑人女性文学一直被忽视、曲解或视为异端。直到20世纪70年代,黑人女性形象在评论中仍被歪曲、排斥;甚至到了70年
代末期,各类版本的文选选集要么对黑人女作家的作品闭口不谈,要么就对像佐拉?尼尔?赫斯顿(Z ora Neale Hur2 ston这样的黑人女性文学史上重要的先驱轻描淡写,几笔带过。即使大多数当代的女权主义文学批评对黑人女性作品的关注也不够。“由于黑人女批评家和作家意识到白人男性和女性,黑人男性都在将自己的经验作为标准而视黑人妇女的经验为异端,这就促成了黑人女权主义批评的诞 生。”[1](P3561974年在美国文学界发生了两大标志性的事件。一是《黑人世界》(Black W orld特刊上发表了朱恩?乔丹(June Jor2 dan和玛丽?海伦?华盛顿(Mary Helen Washington的文章,封面登有佐拉?尼尔?赫斯顿的照片;另一件是爱丽斯? 沃克(Alice Walker的《寻找我们母亲的花园》(In Search of Our M other s’G ardens在MS杂志上的发表。这两件事为黑人女权主义批评的蓬勃发展拉开了序幕。芭芭拉?史密斯、奥吉?劳德、爱丽斯?沃克、芭芭拉?克里斯汀等代表人物从不同的侧面,系统地研究并阐述了黑人女权主义批评理论。 黑人女权主义批评最重要的代表人物之一芭芭拉?史密斯(Barbara Smith在《黑人女性主义批评的萌芽》(T oward a Black Feminist Criticism开篇便指出,没有一个黑人女权主义批评角度,黑人女性作品不但会被误读,长此以往,这些作品终将被毁掉。黑人女权主义批评方法必须承认这样一个前提:在黑人女性作品中,性政治以及种族、阶级的政治是相互交织、密不可分的。其次,黑人女权主义批评家应致力于探求黑人女性作品没有体现的与黑人女性身份未曾感受到的性与种族的政治。再次,女权主义文学批评必须承认黑人妇女悠长的历史,还应旨在发掘黑人女作家的“不同”。史密斯强调黑人女权主义批评理论的立足点应是“自治”但不是“隔离”;应该是和各种女性主义理论的对话和结合。她通过对大量的黑人女作家作品的分析,揭示了她们在文本、主题、意象等方面形成的不同于白人、男性作家的共性, [收稿日期]2003-09-17 [基金项目]吉林省哲学社会科学规划研究资助项目(2003088 [作者简介]修树新(1969-,女,吉林德惠人,东北师范大学外语学院讲师,妇女研究中心成员,硕士,从事英美文学研究。
爱党青年和谐版美国文学答案
Literary terms这部分的答案均来自星火《英美文学》一书，质量高 1.Transcendentalism: is literature，philosophical and literary movement that flourished in New England from about 1836 to1860. It originated among a small group of intellectuals who were reaching against the orthodoxy of Calvinism and the rationalism of the Unitarian Church, their own faith centering on the divinity of humanity and the natural world instead. Transcendentalism derived some of its basic idealistic concepts from romantic German philosophy, and from such English authors as Carlyle，Coleridge, and Wordsworth. The ideas of transcendentalism were most eloquently expressed by Ralph Waldo Emerson in such essays as Nature and Self-Reliance and by Henry David Thoreau in his book Walden. 2.American naturalism：this term was created by Emile Zola. Charles Darwin’s evolutionary theory played an important role in naturalism. In the works off naturalism，characters were conceived as complex combinations of inherited attributes and habits conditioned by social and economic forces. At the end of the 19th century，this pessimistic form of realism appeared in America. Naturalism attempted to achieve extreme objectivity and frankness. Characters in the works of naturalism were dominated by their environment and heredity. Naturalism emphasized：the world was around；men had no free will；religious “truth” were illusory；the destiny of human beings was misery in life and oblivion in death. The dominant figures in naturalism were Stephen crane，Frank Norris, Jack London and Theodore Dreiser. 3.The lost generation: included the young English and American expatriates as well as men and women caught in the war and cut from the old value and yet unable to come to terms with the new era when civilization had gone mad. These writers adopted unconventional style of writing and reacted against the tendencies of the older writers in the 1920s. The term came from Gertrude Stein who said in Hemingway's presence that “you are all a lost generation.” 4.Jazz age: the novelist F. Scott Fitzgerald coined the term "Jazz Age" retroactively to refer to the decade after World War I and before the stock market crash in 1929, during which Americans embarked upon what he called "the gaudiest spree in history". Jazz Age is inextricably associated with the wealthy white "flappers" and socialites immortalized in Fitzgerald's fiction. 5.Free verse: is a poetry that has an irregular rhythm and line length and that attempts to avoid any predetermined verse structure, instead, it uses the cadences of natural speech. While it alternates stressed and unstressed syllables as stricter verse forms do, free verse does so in a looser way. Whitman's poetry is an example of free verse at its most impressive. It has since been used by Ezra Pound, T.S. Eliot and other major American can poets of the 20th century. 6. The iceberg analogy: The Iceberg Theory is a writing theory by American writer Ernest Hemingway, as follows：if a writer of a prose knows enough about what he is writing about he may omit things that he knows and the reader，if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. 这部分来自星火的为：3,7,8, 来自课本为：1,4,9 来自网络为：2,5,6大家自取之 1.Poe's Poetic Ideas A.His conviction that the function of poetry is not to summarize and interpret earthly experience, but to create a mood in which the soul soars toward supernal beauty. B.He insists that poetry must be disembarrassed of that moral sense. C.Poe believes that the elevation of excitement of the soul should be “the poetic principle” thus poetry must concern itself only with “supernal beauty”. D.Poe defines poetry as “the rhythmical creation of beauty” a definition gi ving unexampled emphasis upon the importance of the rhythmical or musical element in poetry.