2020,年招收攻读硕士研究生考试题英语文学基础.docx

《2020,年招收攻读硕士研究生考试题英语文学基础.docx》由会员分享，可在线阅读，更多相关《2020,年招收攻读硕士研究生考试题英语文学基础.docx（14页珍藏版）》请在淘文阁 - 分享文档赚钱的网站上搜索。

1、2020,年招收攻读硕士研究生考试题英语文学基础 杭 州 师 范 大 学 2020 年招收攻读硕士探讨生考试题 考试科目代码： 826 考试科目名称： 英语文学基础 说明：考生答题时一律写在答题纸上，否则漏批责任自负。 该试卷全部用英文作答。留意有选做题；如全做以最低分计算。Part I Each of the statements below is followed by four alternative answers. Choose the one that would best complete the statement. (20x2) 1. About the Renaissanc

2、e humanists which of the following statements is true? A. They thought money and social status was the measure of all things. B. They emphasized the dignity of human beings and the importance of the worldly life. C. They couldnt see the importance of worldly happiness. D. They thought people were la

3、rgely subordinated to the ruling class without any freedom and independence. 2. Which of the following is not John Miltons works? A. Paradise LostB. Paradise RegainedC. Samson Agonistes D. The Pilgrims Progress 3. Jonathan Swifts Gullivers Travels gives an unparalleled_ depiction of the vices of his

4、 age. A. religiousB. romanticC. satiricalD. comic 4. William Blakes Songs of Experience paints a world of _ with a melancholy tone. A. misery, poverty, disease, war and repression B. happiness and love and romantic ideals C. misery, poverty mixed with love and happiness D. loss and institutional cru

5、elty with sufferings 5. Through his poems, Byron created the “Byronic hero” who is _. A. a brave and stubborn rebel figure of noble origin B. a proud, mysterious rebel figure of noble origin C. a proud, mysterious rebel figure of lower origin D. a brilliant, independent and romantic figure of his ti

6、me 6. Which of the following cant be included in the critical realists of the Victorian Period? A. Charlotte and Emily Bronte B. Charles Dickens and William M. Thackeray C. Thomas Hardy and George Eliot D. D. H. Laurence and James Joyce 7. “Ode on a Grecian Urn” shows the contrast between the_ of ar

7、t and the_ of human passion. A. glory，ugliness B. permanence, transience C. transience，sordidness D. glory，permanence 8. The term “metaphysical poetry” is commonly used to name the work of the 17th century writers who wrote under the influence of_. A. John Milton B. John Donne C. John Keats D. John

8、Bunyan 9. In The Pilgrims Progress Christian and Faithful come to the _where both are arrested as alien agitators and tried. A. Vanity Fair B. Doubting Castle C. Celestial City D. The Valley of Humiliation 10. Of the following poets, who is not regarded as “lake poet”? A. Samuel Taylor Coleridge B.

9、Robert Southey C. William Wordsworth D. John Keats 11. _, a Gothic novel written by Mary Shelley, is one of the triumphs of the Romantic movement due to its theme of alienation and its warning about the destructive power that can result when human activity is unfettered by moral and social concerns.

10、 A. Waverley B. Endymion C. Joan of Arc D. Frankenstein 12. Which of the following statements about the Romantic period in the history of American literature is NOT true? A. Most heroes and heroines in the writings of this period exhibited extremes of reason and rationality. B. In most of the writin

11、gs of this period there was a new emphasis upon the imaginative and emotional qualities of literature. C. There were a strong tendency to exalt the individual and the common man. D. The writers of this period placed an increasing emphasis on the free expression of emotions and displayed an increasin

12、g attention to the psychic states of their characters. 13. The common thread throughout American literature has been the emphasis on the_. A. revolutionism B. reason C. individualism D. rationalism 14. Although realism and naturalism were products of the 19th century, their final triumph came in the

13、 20th century, with the popular and critical successes of such writers as Edwin Arlington, William Cather, Robert Frost, William Faulkner and_. A. Edgar Allan Poe B. Sherwood Anderson C. Washington Irving D. Ralph Ellison 15. _, one of the essays in The Sacred Wood, is the earliest statement of T.S.

14、 Eliots aesthetics, which provided a useful instrument for modern criticism. A. “Tradition and Individual Talent” B. “Sweeny Agonistes” C. “A Primer of Modern Heresy” D. “Gerention” 16. The three poets Ezra Pound, T.S. Eliot and _ opened the way to modern poetry. A. O. Henry B. Henry David Thoreau C

15、. E.E. Cummings D. Robert Frost 17. Which writer best expressed the Puritan sense of the self? A. Jonathan Edwards B. Cotton Mather C. John Smith D. Thomas Hooker 18. Which is generally regarded as the Bible of New England Transcendentalism? A. Walden B. Nature C. “On Beauty” D. “Self-Reliance” 19.

16、Which is regarded as the “Declaration of Intellectual Independence” in the history of American Literature? A. The American Scholar B. English Traits C. The Conduct of Life D. Representative Men 20. Imagism was equivalent to _ in fiction in a sense. Imagist never stated the emotion in the poem, but j

17、ust presented an image: concrete, firm and definite in picture. A. modernism B. romanticism C. naturalism D. surrealism Part II Identify the source of each of the following quotation and write out the TITLE of which the passage comes from.(20x1) 1. Whan Zephirus eek with his sweete breeth/Inspired h

18、ath in every holt and heeth/The tender croppes, and the Yonge sonne/Hath in the Ram his half coursy ronne, 2. The quality of mercy is not strained;/It droppeth as the gentle rain from heaven/ Upon the place beneath. It is twice blest: 3. If they be two, they are two so/As stiff twin compasses are tw

19、o:/Thy soul, the fixed foot, makes no show/To move, but doth if thother do; 4. All is not lost-the unconquerable will,/ And study of revenge, immoral hate,/And courage never to submit or yield: 5. These people are most excellent mathematicians, and arrived to a great perfection in mechanics by the c

20、ountenance and encouragement of the Emperor, who is a renowned patron of learning. 6. True wit is Nature to advantage dressed,/What oft was thought, but neer so well expressed; 7. So here have I lived above sixteen years in virtue and reputation; and all at once, when I come to know what is good, an

21、d what is evil, I must renounce all the good, all the whole sixteen years innocence, which, next to Gods grace, I owed chiefly to my parents and to my ladys lessons and example. 8. As fair art thou, my bonnie lass,/So deep in luve am I;/ And I will luve thee still, my dear,/ Till a the seas gang dry

22、. 9. No Nightingale did ever chaunt/ More welcome notes to weary bands/ Of travelers in some shady haunt,/ Among Arabian sands: 10. It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife. 11. Wild Spirit, which art moving everywhere;/ Dest

23、royer and Preserver; hear, O hear! 12. He listened. The wind, playing upon the edifice, produced a booming tune, like the note of some gigantic harp. 13. What a handsome little Oriental he was, and no doubt his wife and children were beautiful too, for people usually get what they already possess. 1

24、4. This train of thought, she perceives, is threatening mere waste of energy, even some collision with reality, for who will ever be able to lift a finger against Whitakers Table of Precedency? 15. He hated her bitterly at that moment because he made her suffer. Love her! She knew he loved her. He r

25、eally belonged to her. This about not loving her, physically, bodily, was a mere perversity on his part. 16. They were all running, all crying out madly. He could hear them crashing in the undergrowth and on the left was the hot, bright thunder of the fire. 17. “I sometimes have a queer feeling with

26、 regard to you-especially when you are near me, as now; it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame.” 18. This grew; I gave commands;/ Then all smiles stopped together. 19. Al

27、though schoolmistresses letters are to be trusted no more nor less than churchyard epitaphs; yet, as it sometimes happens that a person departs this life, who is really deserving of all praises the stone-cutter carves over his bones; 20. Yet all experience is an arch wherethrough/ Gleams that untrav

28、eled world whose margin fades/ Forever and forever when I move. Part III In this part, you are free to choose Any TWO of the following three literary terms, and define them. (20x2) 1. Stream of consciousness 2. Conceit 3.Transcendentalism Part IV. Choose ONE of the two topics and elaborate your view

29、s. (25x1) 1. In 1954, William Golding(1911-1993) published his first novel Lord of the Flies after nearly 21 rejections of various publishers. This fiction,since its publication, has been considered as a dystopian allegory indicative of vast aspects of the human condition, in terms of human evil and

30、 society.Elaborate your view on this novel. 2. Eugene ONeill(1888-1953) was the first American dramatist to regard the stage as a literary medium and the only American playwright ever to receive the Nobel Prize for Literature. Through his efforts, the American theatre grew up during the 1920s, devel

31、oping into a cultural medium that could take its place with the best in American fiction, painting, and music. Elaborate your view on his works. Part V. Read the following two commentaries carefully and choose ONE topic to write out your own ideas in any relationship to the passage. (25x1) 1. Poetry

32、, as we have since learnt, has other tasks than that of imparting psychological values to the visible world. Had Wordsworth turned his attention toward these, his genius might not have atrophied so soon. It remains to indicate briefly, in conclusion, what gave Wordsworth his initial direction toward

33、s “Nature” as the inevitable raw material for his creative sensibility. Here we met, I think, with two other groups of beliefs current in his age, which may be said to have conditioned his poetic experience: postulates (doctrines-felt-as-facts) without which his poetry would not have been what it ac

34、tually is. The first was the product of the deistic tradition of the seventeenth and eighteenth centuries, to which I have already alluded in passing. Ever since the Renaissance the Creation had been steadily gaining in prestige as the art of God, the universal divine Scripture which liesexpansd unt

35、o the eyes of all. The emotion of the numinous, formerly associated with super-nature, had become attached to Nature itself; and by the end of the eighteenth century the divinity, the sacredness of nature was, to those affected by this tradition, almost a first datum of consciousness. Wordsworth, th

36、en, did not have to construct this belief wholly out of his experience; much of it was given to him. Much the same is true of the second of these fundamental beliefs, the belief in the grandeur and dignity of man, and the holiness of the hearts affections. This, too, was the products of forces origi

37、nating (for our purposes) in the Renaissance; it had arisen out of the ruins of the theological view of man. As the Fall receded further and further into the region of fable, man was increasingly regarded as a creature not only made in, but retaining, Gods image; and Wordsworth could acknowledge, wi

38、thout misgiving, a grandeur in the beatings of the heart, and speak in good faith of man and his noble nature. In Wordsworths lifetime this humanism had taken a colouring from Rousseau, and the special nobility of man was therefore only to be looked for in huts where poor men lie. The higher grades

39、of society, in which the culture of the Renaissance had been exclusively fostered, were now “A light, a cruel, and vain world, cut off/From the natural inlets of just sentiment,/From lowly sympathy, and chastening truth.” From “On Wordsworth and the Locke Tradition” by Basil Willey 2. Poetic influen

40、ce is a labyrinthine process, and at its deepest is remote from echo and allusion, though it does not exclude themWhen Whitman tallies he takes measures of all things, implicitly including the measure of his own poetry. In his very different way, Whitman is as formalist a poet as were our late conte

41、mporaries James Merrill and Anthony Hecht, who usefully may be contrasted to the late A. R. Ammons and to John Ashbery, both of them strongly influenced by the poet of Leaves of Grass. Ammons and the versatile Ashbery can be far freer in form than Whitman ever is. The King James Bible is the largest

42、 influence upon Whitmans style, and the Hebrew parallelism breaks through in the strongest of the translators, William Tyndale and Miles Coverdale. There is no single measure to Whitmans song, just as his huge enlargements transcend all previous notions as to what can constitute materiapoetica. To h

43、old together the vastness of his topics and the fluid dissolves of his tropes Whitman had to discover a master metaphor and found it in the tally, at once his confession sprig and his incanted warbles for lilac-time. The Whitmanian tally is the binding agent for “When Lilacs last in the Door-yard Bl

44、oomd,” the sonorous elegy for the martyred Abraham Lincoln. Together with “As I Ebbd with the Ocean of Life,” “Lilacs” is the most formally measured of Whitmans peoms. I have a passion for “Lilacs,” though the epic “Song of Myself” is certainly the center of the Whitmanian poetic cosmos. Henry and W

45、illiam James, T. S. Eliot(belatedly), and Wallace Stevens all associated “Out of the Cradle Endlessly Rocking” with “Lilacs” because there is a clear affinity between the mockingbirds song and the song of death warbled by the hermit thrush. The boy Whitman first beholds the mockingbird “when the lil

46、ac-scent was in the air.” The crucial difference between “Out of Cradle” and “Lilacs” seems to me that the sea in the first poem lisps the low and delicious word death, which becomes the burden of hermit thrushs song in “Lilacs.” In the earlier poems, the male mockingbird sings of bereavement but no

47、t of death, though that is implied. Why did Whitman choose the word tally for what I judge to be his comprehensive vision of poetic voice? The word has a curious history. It derives from the Latin talea, which means a cutting, rod, or stick, on which you record payments and the sum still owed. In En

48、glish, it transmuted into the idea of a duplicate or other half. It then became associated with illicit love. To live “tally” was to dwell together without marriage. In time the word expanded to become tally-whacking, tally woman, and tally-wags. From The Anatomy of Influence: Literature as a Way of Life by Harold Bloom