英美小说要素解析-复习(共5页).doc

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1、精选优质文档-倾情为你奉上The Bride Comes to Yellow Sky新娘来到黄天镇Stephen Crane 斯蒂芬克莱恩Christmas Day in the Morning在圣诞节的早上Pearl.S.Buck 赛珍珠The Catbird Seat胜券在握James Thurber 詹姆斯瑟伯Two kinds喜福会Amy Tan 谭恩美To Build a Fires生火Jack London杰克伦敦A Horseman in the sky空中骑士Bierce Ambrose 比尔斯A Clean，Well-lighted Place一个干净而明亮的地方Ernest

2、 Hemingway 海明威The Broken Globe残破的世界Henry Kreisel亨利Yellow Woman黄女人Leslie Silko莱斯利Rain 雨W.Somerset Maugham 毛姆My Oedipus Complex我的恋母情结Frank OConnor奥康纳Haircut 剪发Ring Lardner拉德纳The Horse Dealers Daughter马贩子的女儿D.H.Lawrence劳伦斯Luck好运气Mark Twain 马克吐温The Chrysanthemums菊花John Steinbeck约翰斯坦贝克The Egg 蛋Sherwood A

3、nderson安德森Old Rogaumand His Theresa老罗格姆和他的特里萨西奥多Everything That Rises Must Converge上升的一切必将汇合Flannery OConnor奥康纳Plot: A Sequence of Interrelated Actions or Events. Plot, or the structure of action, it generally refers to the scheme or pattern of events in a work of fiction. A plot is a plan or ground

4、work for a story, based on conflicting human motivations, with the actions resulting from believable and realistic human response.Types of Conflict: External Conflict: Man and nature, man and society, and man and man. Internal Conflict: It focuses on two or more elements contesting within the protag

5、onists own character.Exposition(情节交代): It is where everything is introduced is the beginning section in which the author provides the necessary background information, sets and scene, establishes the situation, and dates the action. It usually introduces the characters and the conflict, or at least

6、the potential for conflict.Complication(纠葛): Which is sometimes referred to as the rising action, develops and intensifies the conflict. The rising action(起始行动) is when things begin to escalate. It takes the reader from the exposition and leads them towards the climax. This part tends to be dramatic

7、 and suspenseful.Climax(高潮)： When you finally take a breath after holding it in suspense. This is the most emotional part of the book.Crisis(关子)： It( also referred to as the climax) is that moment at which the plot reaches its point of greatest emotional intensity; it is the turning point of the plo

8、t, directly precipitating the resolution. It is the reversal or” turning point”.Falling action(下降行动)： Once the crisis, or turning point, has been reached, the tension subsides and the plot moves toward its conclusion. It is when everything tends to slow down, and the climax is over.Resolution(冲突解开)：

9、 It is the final section of the plot which records the outcome of the conflict and establishes some new equilibrium. The resolution is also referred to as the conclusion, the end or the denouement. This is the final part of the story when everything is wrapped up. Sometimes the story is finished off

10、 completely, answering every readers question. Sometimes authors leave mysterious, to intrigue the reader. Or sometimes authors leave hints of a sequel.Catastrophe: Applied to tragedy only.Denouement： Applied to both comedy and tragedy.The ordering of plotChronological plottingFlashback: It is inter

11、polated narratives or scenes( often justified, or naturalized, as a memory, a reverie, or a confession by one of the characters) which represent events that happened before the time at which the work opened.Character： They are the persons represented in a dramatic or narrative work, who are interpre

12、ted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it the dialogueand from what they dothe action. A character may remain essentially“ stable,” or unchanged in outlook and dispos

13、ition, from beginning to end of a work, or may undergo a radical change, either through a gradual process of development, or as the result of a crisis. Whether a character remains stable or changes, the reader of a traditional and realistic work expects “consistency”- -the character should not sudde

14、nly break off and act in a way not plausibly grounded in his or her temperament as we have already come to know it.Motivation: The grounds in the characters temperament, desires, and moral nature for their speech and actions.Types of charactersprotagonist: The chief character in a plot, on whom our

15、interest centers.(or alternatively, the hero or heroine) It is the major, or central, character of the plot.Antagonist: If the plot is such that he or she is pitted against and important opponent, that character is called the antagonist. It is his opponent, the character against whom the protagonist

16、 struggles or contends.Flat characters: they are those who embody or represent a single characteristic, trait, or idea, or at most a very limited number of such qualities. Flat characters are also referred to as type characters, as one-dimensional characters, or when they are distorted to create hum

17、or, as caricatures.Stock characters: Flat characters have much in common with the kind of stock characters who appear again and again in certain types of literary works. A flat character (also called a type, or “two-dimensional”), Forster says, is built around “a single idea or quality” and is prese

18、nted without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence.Round characters: They are just the opposite. They embody a number of qualities and traits, and are complex multidimensional characters of considerable intellectual and emotional

19、 depth who have the capacity to grow and change. A round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is as difficult to describe with any adequacy as a person in real life, and like real persons, is capable of surprising

20、 us.Dynamic characters: They exhibit a capacity to change; static characters do not. As might be expected, the degree and rate of character change varies widely even among dynamic characters.Static characters: They leave the plot as they entered it, largely untouched by the events that have taken pl

21、ace.Methods of characterization- Telling: It relies on exposition and direct commentary by the author. In telling, the author intervenes authoritatively in order to describe, and often to evaluate, the motives and dispositional qualities of the characters. Characterization through the use of names,

22、through appearance, and by the author.Showing: It involves the authors stepping aside, as it were, to allow the characters to reveal themselves directly through their dialogue and their actions. In showing(also called“ the dramatic method”), the author simply presents the characters talking and acti

23、ng and leaves the reader to infer the motives and dispositions that lie behind what they say and do. The author may show not only external speech and actions, but also a characters inner thoughts, feelings, and responsiveness to events; for a highly developed mode of such inner showing, see stream o

24、f consciousness. Characterization through dialogue, and action.Setting: The stage against which the story unfolds.( Place and objects in fiction) The overall setting of a narrative or dramatic work is the general locale, historical time, and social circumstances in which its action occurs; the setti

25、ng of a single episode or scene within such a work is the particular physical location in which it takes place.Types of settingNatural and ManufacturedThe language used in description of settingThe functions of setting: Setting as a background for action, antagonist, a means of creating appropriate

26、atmosphere, a means of revealing character, and a means of reinforcing theme.Point of view: The events of a story may be told as they appear to one or more participants or observers. In first-person narration the point of view is automatically that of the narrator. More variation is possible in thir

27、d-person narration, where the author may choose to limit his or her report to what could have been observed or known by one of the characters at any given point in the action- or may choose to report the observations and thoughts of several characters. The author might choose to intrude his or her o

28、wn point of view.Narrator: It is the speaker or the voice of the literary text, the agent who does the narration. The narrator, like any character in fiction, only exists in a narrative, and he cannot be identified with anything of the real-life author of a literary work.Various points of viewFirst

29、person: Advantages: First, he creates an immediate sense of reality. Second, the writer has a ready-made principle of selection. Difficulties: It may only strike us when we try to write stories ourselves.Second personThird person: There are three variants: omniscient, limited omniscient, and objecti

30、ve or dramatic.Mingling of points of view: It is because for the purpose of sustaining interest or creating suspense.A brief summary: 1. First person( I): All these first-person narrators may have(1) complete understanding,(2) partial or incorrect understanding, or(3) no understanding at all. Major

31、participant telling his or her story as a major mover, telling a story about others and also about herself or himself as one of the major inter-actors, telling a story mainly about others; this narrator is on the spot and completely involved but is not a major mover. Minor participant, telling a sto

32、ry about events experienced and/ or witnessed. Uninvolved character, telling a story not witnessed but reported to the narrator by other means. 2. Second person( you): Occurs only when speaker has more authority on a characters action than the character himself or herself. Occurs only in brief passa

33、ges when necessary. 3. Third person( she, he, it, they): Omniscient. Omniscient speaker sees all, reports all, knows inner workings of minds of characters. Limited omniscient. Action is focused on one major character. Dramatic or third-person objective. Speaker reports only actions and speeches. Tho

34、ughts of characters can be expressed only as dialogue.Theme: It is the central idea or a statement about life that unifies and controls the total work.Points of theme:1. A theme does not exist as an intellectual abstraction that an author superimposes on the work like icing on a cake.2. The theme ma

35、y be less prominent and less fully developed in some works of fiction than in others.3. It is entirely possible that intelligent readers will differ, at times radically, on just what the theme of a given a work is.4. The theme of a given work need not be in accord with the readers particular beliefs

36、 and values. As a general rule, then, we should assume that the ideas of authors grow out of their values, and that values are embodied in their stories along with the ideas. But we must remember that although literature is full of ideas that may strike us, at least initially, as unpleasant, controv

37、ersial, or simply wrongheaded, literary sophistication and plain common sense should warn us against dismissing them out of hand.Identifying theme:1. It is important to avoid confusing a works theme with its subject or situation.2. We must be as certain as we can that our statement of theme does the

38、 work full.3. The test of any theme we may propose is whether it is fully and completely supported by the works other elements.4. The title an author gives the work often suggests a particular focus or emphasis for the readers attention.Style: It has traditionally been defined as the manner of lingu

39、istic expression in Prose or verse-as how speakers or writers say whatever it is that they say. TheWord style, derived from the Latin word stilus, is understood to mean the way in which writers assemble words to tell the story, develop the argument, dramatize the play, or compose the poem. Style is

40、to be judged on the degree of its adaptability.Elements of styleDiction: Choice of words, and Syntax: Construction of sentences.Oedipus complex: It is a term coined by Sigmund Freud to designate a sons subconscious feeling of love toward his mother and jealousy and hatred toward his father. D.H. Law

41、rences Sons and Lovers is a case in point.Tone: It refers to the methods by which writers convey attitudes, it refers not to attitudes but to those techniques and modes of presentation that reveal or create these attitudes. It is a means of creating a relationship or conveying an attitude.Types of i

42、rony:1. Verbal irony: It is a statement in which one thing is said and another is meant.2. Situational irony: It or irony of situation, refers to conditions that are measured against forces that transcend and overpower human capacities.3. Dramatic irony: It is a special kind of situational irony; it

43、 applies when a character perceives a situation in a limited way while the audience, including other characters, may see it in greater perspective.1.1 The Bride Comes to Yellow SkyStephen Crane 1.2 Christmas Day in the MorningPearl S. Buck 2.1 The Catbird SeatJames Thurber 2.2 Two kindsAmy Tan 3.1 T

44、o Build a FireJack London 3.2 A Horseman in the SkyAmbrose Bierce 4.1 A Clean, Well-lighted PlaceErnest Hemingway 4.2 The Broken GlobeHenry Kreisel 5.1 Yellow WomanLeslie Silko 5.2 RainW. Somerset Maugham 6.1 My Oedipus ComplexFrank OConnor 6.2 HaircutRing Lardner 7.1 The Horse Dealers DaughterD.H. Lawrence 7.2 LuckMark Twain专心-专注-专业