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英国文学史简介

英国文学史简介
英国文学史简介

英国文学史简介

谁给我说说英国文学史大致分为哪几个时期,每个时期的代表作家或诗人,他们的代表作是什么,是哪个派别的,大概归纳一下,快要考试了,考外研社出版的《英国文学史及选读》,一二册全考。回答有用追加100分

一、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。

二、文艺复兴时期文学(15世纪后期-17世纪初)相对于欧洲其他国家来说,英国的文艺复兴起始较晚,通常认为是在15世纪末。文艺复兴时期形成的思想体系被称为人文主义,它主张以人为本,反对中世纪以神为中心的世界观,提倡积极进取、享受现世欢乐的生活理想。托马斯·莫尔(thomas more,1478-1535)是英国最主要的早期人文主义者,他的《乌托邦》(utopia)批评了当时的英国和欧洲社会,设计了一个社会平等、财产公有、人们和谐相处的理想国。《乌托邦》开创了英国哲理幻想小说传统的先河。文艺复兴时期诗歌创作繁荣,埃德蒙·斯宾塞(edmund spenser,1552-1599)的长诗《仙后》(the faerie queene)歌颂女王,宣扬人文主义思想。他创造的"斯宾塞诗体"每节诗有九行,韵律复杂,具有柔和动听、萦绕耳际的音乐性。弗兰西斯·培根(francis bacon,1561-1626)是这一时期最重要的散文家,他对文学的主要贡献是《论说文集》(essays),共58篇。英国文艺复兴时期最杰出的作家是威廉·莎士比亚,他的全部作品包括两首长诗,154首十四行诗和38部(一说39部)戏剧。

三、17世纪文学约翰·弥尔顿(john milton,1608-1674)的长诗《失乐园》(paradise lost)和《复乐园》(paradise regained)、诗剧《力士参孙》(samson agonistes)。这些作品反映了王政复辟后弥尔顿内心的痛苦以及对资产阶级革命始终不渝的态度,文体雄伟庄严。17世纪英国诗歌另外的一支是玄学派诗歌,代表诗人有约翰·邓恩(john donne,1572-1631)和安德鲁·马韦尔(andrew marvell,1621-1678)。这一时期出现的风俗喜剧是当时戏剧的最高成就。17世纪下半叶,约翰·德莱顿(john dryden,1631-1700)驰骋文坛,集桂冠诗人、散文家、剧作家于一身。

四、启蒙时期文学(17世纪后期-18世纪中期)亚历山大·蒲柏(alexander pope,1688-1744)是新古典主义诗歌的代表,他模仿罗马诗人,诗风精巧隽俏,内容以说教与讽刺为主,形式多用英雄双韵体,但缺乏深厚感情。乔纳森·斯威夫特(jonathan swift,1667-1745)是英国文学史上最伟大的讽刺散文作家,他的文风纯朴平易而有力。斯威夫特的杰作《格列佛游记》(gulliver's travels)是一部极具魅力的儿童故事,同时包含着深刻的思想内容。18世纪被称为"散文世纪"的另一个原因是小说的兴起。丹尼尔·笛福(daniel defoe,1660-1731)的《鲁滨逊漂流记》(robinson crusoe)采用写实的手法,描写主人公在孤岛上的生活,塑造了一个资产阶级开拓者和殖民主义者形象,具有时代精神。现实主义小说在亨利·菲尔丁(henry fielding,1707-1754)的笔下得到进一步发展。他的《汤姆·琼斯》(tom jones)故事在乡村、路途及伦敦三个不同背景下展开,向读者展现了当时英国社会风貌的全景图。

五、浪漫主义时期文学(1798-1832)18世纪末、19世纪初,英国诗风大变。苏格兰农民诗人罗伯特·彭斯(robert burns,1759-1796)给英国诗坛带来一股新鲜的气息。1798年,

威廉·华兹华斯(william wordsworth,1770-1850)与塞缪尔·泰勒·柯勒律治(samuel taylor coleridge,1772-1834)合作出版了一本小诗集《抒情歌谣集》,标志着英国浪漫主义文学的真正崛起。乔治·戈登·拜伦(george gordon byron,1788-1824)和波西·比希·雪莱(percy bysshe shelley,1792-1822)属于革命诗人。约翰·济慈(john keats,1795-1821)一生追求美,是创造艺术美的天才诗人。

六、现实主义时期文学(19世纪30年代-1918)罗伯特·布朗宁(robert browning,1812-1889)早年从事过戏剧创作,后来专门写戏剧独白。《傲慢与偏见》(pride and prejudice)、《爱玛》(emma)等作品涉及婚姻、爱情、门第和财产,小说结构精巧,人物对话机智,语言幽默含蓄,耐人寻味。勃朗特三姐妹在19世纪英国文学史上占有独特地位。夏洛蒂·勃朗特(charlotte bronte,1816-1855)的《简·爱》(jane eyre)是一部关于女主人公克服男性统治社会对女性的种种压制最后取得自主独立的成长小说,浪漫爱情故事的背后包含着严肃的思想内容,受到20世纪女性主义批评家的青睐。艾米丽·勃朗特(emily bronte,1818-1848)想象奇特,《呼啸山庄》(wuthering heights)采用间接叙述手法讲述一段刻骨铭心的恋情,小说中野性与文明、浪漫与现实反差强烈,具有神秘恐怖色彩。查尔斯·狄更斯(charles dickens,1812-1870)是19世纪英国最伟大的小说家,其作品的深度和广度超过了同时代的任何作家。狄更斯的著名小说《雾都孤儿》(oliver twist)、《大卫·科波菲尔》(david copperfield)、《远大前程》(great expectations)等均以孤儿为主人公,这与作家的不幸童年经历有关。《荒凉山庄》(bleak house)揭露了英国司法制度的腐败与黑暗。《双城记》(a tale of two cities)以法国大革命为背景,生动再现了当时伦敦和巴黎的局势,情节跌宕起伏。威廉·麦克皮斯·萨克雷(william makepeace thackray,1811-1863)是19世纪另一位出色的小说家,曾一度与狄更斯在文坛上平起平坐。《名利场》(vanity fair)通过女主人公丽贝卡·夏普不择手段跻身上流社会的故事,对势利者进行了无情的揭露和嘲讽。萨克雷的《亨利·埃斯蒙德》(the history of henry esmond)是英国文学史上一部杰出的历史小说。最为典型的是托马斯·哈代(thomas hardy,1840-1928)。他的《德伯家的苔丝》(tess of the d'urbervilles)和《无名的裘德》(jude the obscure)讲述了英格兰南部农村青年男女走投无路、陷于绝望的悲剧故事。与此相对照,以海外为题材的小说作为英国当时海外扩张的折射,基调并不那样灰暗,如拉迪亚德·吉卜林(rudyard kipling,1865-1936)的《吉姆》(jim)宣扬了英雄主义的可能性,带有帝国主义色彩。威廉·萨默塞特·毛姆(william somerset maugham,1874-1965)的创作也深受法国自然主义影响,他的长篇小说《人性的枷锁》(of human bondage)展现了主人公摆脱精神枷锁的过程。约翰·高尔斯华绥(john galsworthy,1867-1933)在《福尔赛世家》(the forsyte saga)中以批判的眼光揭示了资产阶级的家庭、社会关系。

19世纪末迎来英国戏剧的复兴。英国戏剧在18世纪除了哥尔德斯密斯的《屈身求爱》(she stoops to conquer)与理查德·布林斯利·谢里登(richard brinsley sheridan,1751-1816)的讽刺喜剧《造谣学校》(the school for scandal)之外,没有太多的建树。到了19世纪90年代,在易卜生等欧洲大陆剧作家的影响下,英国发生了新戏运动,戏剧才摆脱了衰退、委顿的状况,呈现欣欣向荣的景象。喜剧天才奥斯卡·王尔德(oscar wilde,1854-1900)的风俗喜剧对上层社会进行揶揄讽刺,妙语连珠,充满似非而是的怪论、机智诙谐的俏皮话。萧伯纳(george bernard shaw,1856-1950)以易卜生为榜样,倡导一种有思想的"问题剧",将社会问题引入剧坛,使戏剧走向现实。萧伯纳一生写了许多优秀的剧本,如《皮格马利翁》(pygmalion)、《圣女贞德》(saint joan)等。他擅长表现舞台对话,

人物语言锐利、简洁、风趣。王尔德和萧伯纳是戏剧复兴的里程碑,他们的戏剧创作活动使英国剧坛发生根本的变化,一改英国戏剧百年不振的局面。

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班级_________________学号姓名考试科目英美文学史及作品选读【(1)】B卷闭卷共 5 页 学生答题不得超过此线····································密························封························线································

班级_________________学号姓名考试科目英美文学史及作品选读【(1)】B卷闭卷共 5 页 学生答题不得超过此线····································密························封························线································

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