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首页 Chapters 21-22

Chapters 21-22.ppt

Chapters 21-22

红尘乱之小小
2013-09-26 0人阅读 举报 0 0 暂无简介

简介:本文档为《Chapters 21-22ppt》,可适用于外语资料领域

KeyPointsinChapterKeyPointsinChapterDHLawrenceWilliamButlerYeatsImagismTSEliotDHLawrence()DHLawrence()IntroductionIHecamefromaworkingclassfamilyHisfatherwasacoalminer,inarticulatebutwarmandintimate,whilehismotherwasaschoolteacher,differentintemperandbehaviorHiscloseattachmenttohismotherledhimtothecomplexitiesofhumanlove,andhispaternalbackgroundsettherealistictoneinhisrepresentationoflifeInadditiontothenovelsforwhichheismainlyrenowned,healsoexcelledintheshortstoryandpoetryDHLawrenceDHLawrenceIntroductionIILawrencewasoneofthegreatmodernmasterstocomeoutoftheperiodHewasheavilyinfluencedbyFreudianismHeplacedemphasisonthedepictionoftheinnerworldandtheirrationalandcalledfortheemancipationoftheidTohim,thegreatandthebeautifulcomefromwithintheinnersoul,notfromtheprogressofsocietyandscienceLawrencecallsfortherestorationofman’strueselfhoodtoitspristinepurityHefeelsthemostsacredthingislove,andthesacredcanberealizedonlyinthelovebetweenamanandawomanDHLawrenceDHLawrenceMajorworksSonsandLoversWomeninLoveTheRainbowLadyChatterley’sLoverAaron’sRodKangarooTheManWhoDiedWilliamButlerYeats()WilliamButlerYeats()IntroductionHewasborninDublinYeatshadahugesenseofmissionAllhisworksareaffirmativeinattitudeandebullientwithasenseofpridewhichendowstragedywithmeaningandchaoswithorderYeatsisarecognizedworldpoetandoneofthetwoorthreegreatestpoetsofthethcenturyHewasawardedtheNobelPrizeinYeatsseestheworldgovernedbyaGreatWheelwhichrunsaroundonceevery“twentycenturies,”whenoneageendsandanewonebeginsWilliamButlerYeatsWilliamButlerYeatsWorksTheTowerTheWindingStair“TheLakeIsleofInnisfree”“September”“Easter”“LedaandtheSwan”“TheSecondComing”“Byzantium”The“CrazyJane”groupofpoemsImagismImagismIntroductionIThepoeticsceneintheswasdominatedbyTSEliotandWilliamButlerYeatsThefirstImagistpoets,TEHulme,suggeststhatmodernartdealswithexpressionandcommunicationofmomentaryphasesinthepoet’smind“Eachwordmustbeanimageseen”“Eachsentenceshouldbealumpapieceofclay,avisionseen”Hulmesaidthattheimagemustenableone“todwellandlingeruponapointofexcitement,toachievetheimpossibleandconvertapointintoaline”ImagismImagismIntroductionIIEzraPounddefinedanimageas“avortexorclusteroffusedideas”“endowedwithenergy”SomethinglikeanImagistmanifestocameininwhichPoundandFlintlaiddownthreeImagistpoeticprinciples:Directtreatmentofthe“thing,”whethersubjectiveorobjectiveTouseabsolutelynowordthatdoesnotcontributetothepresentationandAsregardingtorhythm,tocomposeinthesequenceofthemusicalphrase,notinthesequenceofametronomeImagismImagismIntroductionIIIAnImagistpoem,therefore,oftencontainsasingledominantimage,oraquicksuccessionofrelatedimagesItseffectismeanttobeinstantaneousItslimitationsareapparentAdominantimagecansupplyenergyforashortpoem,butitishardlycapableofsustainingalongerpoeticeffortItisthismovementthathelpedtoopenthefirstpagesofmodernEnglishandAmericanpoetryTSEliot()TSEliot()poet,dramatist,andcriticMajorworks:TheLoveSongofJAlfredPrufrock,TheWasteLand,AshWednesday,FourQuartets,MurderintheCathedral,ThesacredWoodTSEliotTSEliotHewasborninMissouri,USAHestudiedatHarvard,wherehewasinfluencedbytheNewHumanistscholarandcritic,fromwhomhederivedanattitudeofoppositiontothcenturyRomanticismTSEliotTSEliotThenhewenttoEuropeandstudiedatOxfordandtheSorbonneinParis,wherehemadehimselffamiliarwiththeSymbolistpoetsDuringhisstudieshemasteredFrench,ItalianandEnglishLiterature,aswellasancientIndianphilosophyandliteratureAftersettlinginEngland,heassociatedwithYeatsandEzraPound,whoencouragedhimtowritepoetry,TheWasteLand,hisbestknownpoem,publishedinTSEliotTSEliotIn,HebecameaBritishsubjectandjoinedtheChurchofEnglandHedeclaredthathewas“classicistinliterature,royalistinpolitics,andAngloCatholicinreligion”Asadramatist,hewroteverseplays,andMurderintheCathedralisthemostfamousamongthemTSEliotTSEliotTheprominentpoeticalinfluenceonEliot’screationwereDante,Frenchsymbolists,earlythcenturydramatistsandmetaphysicalpoets,especiallyJohnDonneTheWasteLandTheWasteLandaAlongpoemoflines,mainlyfreeversewithoccasionalsnatchesofrhymeandwithmanyquotedlinesinGerman,French,ItalianandreferencesandallusionstoEnglishwritersbItwasalandmarkinEnglishpoetry,endingtheRomanticperiodandsignifyingtheemergenceofModernismTheWasteLandTheWasteLandcThepoemisdividedintofiveparts:dAsawhole,itgaveapictureofthespiritualruinsinEuropeshortlyaftertheendofWWI,andexpressedthedisillusionmentofagenerationofintellectualseSymbolstakenfromancientmythsareusedinthepoemtodescribethedecayandfragmentationofwesterncultureEliotasacritic“Agiveroflawsandthearbiteroftaste”Eliotasacritic“Agiveroflawsandthearbiteroftaste”Thebasicthemesofhiscriticismconcernedtherelationshipbetweentraditionandindividualtalent,andbetweenthepast,thepresentandthefutureHeemploystheterm“depersonalization”forthecriticalnotionPoetryisnotaturninglooseofemotion,butanescapefromittoachieveuniversalapplicabilityTheworkofanartisanindependententityEliotasacritic“Agiveroflawsandthearbiteroftaste”Eliotasacritic“Agiveroflawsandthearbiteroftaste”HewasoneofthefirstifnotthefirsttosensethefutilityandfragmentationofmodernlifeandseemodernsocietyatitsmostdisgustingButhissearchfororder,formanddisciplineledhimtowardconservatismandtoreligionforsalvationHewontheNobelPrizeinliteratureinKeyPointsinChapterKeyPointsinChapterPoetryofthesWHAudenTheAudenicgroupDylanThomasWilliamEmpsonPoetryofthesPoetryofthesIntroductionThedecadeoftheswasoneof“crisisanddismay”EnglandandEuropebothexperiencedturmoilandchaosFascismappearedTheimpersonalanddisjunctivestylewasgivingway,alongwiththevisionithadembodied,tosomethingdifferentModernism,thoughstilllingeringandhaunting,wasnolongerbindingThenewgenerationofpoetsdidnotapproveoftheprevailingpessimisticviewoflifeanmanTheybelievedintheamelioratingcapacityofartWHAuden()WHAuden()IntroductionIHewasthemostimportantpoetofthepostTSEliotgeneration,orthendgenerationmodernists,anditsacknowledgedleaderandspokesmanHewasaninfluenceoverAmericanpoetryofthesandsThetoneofAuden’searlypoetrywasthatofayoungprophet’shesawanEnglandwhere“nobodyiswell,”anddemandedactionandattentiontomeettheexigenciesofhistimeWHAudenWHAudenIntroductionIIAudenbecameconservativelaterinhislife,wrotereligiouspoetryandwasregardedbysomeasaLostLeaderHemerelyswitchedhisfocustoanalysisofhumanfoibles,butstillmanagedtoretainhisquestforideallifeinhispoetryThebestofAudenisimpersonal,viewingthehumanconditionindistanceLaterinlifeAudenseemedtothinkthatpoetrywanineffectualtomakethingshappenTheintertwiningoftheChristianwiththepoliticalandthesocialelementsissosubtle,soimperceptible,andsotypicalofthebestofAudenWHAudenWHAudenMajorworksPoemsOratorsOnthisIslandAnotherTimeNonesAbouttheHouseCitywithoutWallsTheDryer’sHand“Spain”“MusedesBeauxArts”“AsIwalkedOutOneEvening”TheAudenicGroupTheAudenicGroupIntroductionIForEnglishpoetry,theswaspredominantlyMarxistdecadeTheAudenicgroupStephenSpender,DayLewis,LouisMacneiceandtheirassociatesfeltinspired,embracedtheLeftiststance,andexpressedtremendoushopeinfaceoftheadversityoflifeThesewerebrilliantandanxiousyoungmenwithahugesenseofmissiontohelpchangetheirsociety,beingallofthemacutelyselfconsciousthattheyhadinsightstoofferTheAudenicGroupTheAudenicGroupIntroductionIITheyusedordinaryspeechtowriteapoetrythatvergedonpropagandaandplacedtheirartattheserviceofanewlifeDylanThomas()DylanThomas()IntroductionIAlthoughAudenrebelledagainstHighModernism,hehasbeenseenasrepresentingthendgenerationoftheNewCriticismThefreshvoiceofDylanThomasburstoutinthemidstothesurpriseandtothejoyofthereadersaswellascriticsThishascometobeknownastheRomanticrevivalofthesTheRomantictraditionsincludetheconceptofnatureassacredandmystical,pastorallyricism,emotionaloutburst,meditation,theself,thesubconsciousandirrational,theintuitiveandvisionarypowersofthemind,andpowerofimaginationDylanThomasDylanThomasIntroductionIIThomaswasoneofthemostcontroversialpoetsinrecentmemoryTohim,mangetsbornfromthemother’swombandbeginsdyingattheverymomentSohederivesconsolationfromtheunityofmanwithnature,presentwithpast,andlifewithdeathOnethematicconcernwithThomaswastherepresentationofthechaoticworldinwhichheandhisfellowmenhavetofacethedestructivepowerstryingtocontrolthemDylanThomasDylanThomasIntroductionIIISomeofhisoftenanthologizedpoemsinclude“PoeminOctober,”“ARefusaltoMourntheDeathbyFire,ofaChildinLondon,”“FernHill,”and“DoNotGoGentleintoThatGoodNightWilliamEmpson()WilliamEmpson()IntroductionHewrotemainlyaNewCriticalkindofpoetry,exemplifyingthemajorfeaturesoftheNewCriticalpoemThiskindofpoetrykeptthebasicModernistvaluessuchaseconomy,wit,irony,impersonality,andmeticulouscarewithform,butitabandonedortoneddownotherModernistfeaturessuchasextremefragmentation,paratacticsyntax,ellipsis,symbolismandmyth,crossculturalism,andallusionsEmpsonwasaNewCriticHisfamouscriticalworkisSevenTypesofAmbiguity

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Chapters 21-22

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