南京大学英美文学2018真题
发布时间:2018-01-29

一、填空题(以下空格用X表示,作品全大写)
1.X is a device of stream-of-consciousness, a narrative mode focused exclusively on the mind and perceprtions of a character, as exemplified by James Joyces ULYSSES and Xs MRS. DALLOWAY. 
2. The X bovel is a type of prose fiction which flourished through the early nineteenth century.The term has also been extended to a type of fiction, such as Mary Shellys X and Emily Brontës X, which developes a brooding atmosphere of gloom and terror, represents events that are uncanny or macabre or melodramaticaly violent, and often deals with aberrant psychologival states.
3. X signifies an identification of oneself with an observed person or object which is so close that one seem to participate in the posture, motion and sensations that observes. The following passage, for instance, evokes from the readers such sense of participation:"The snail, whose tender horns being hit,/ shrinks backward in his shelly cave with pain.

4.The poetry written in the vernacular Anglo-Saxon, known also as old English, include X(eighth century), the greates of Germanic epic poems.
5. X was a European phenomenon during later part of the 19th century. Some writers belived that the end of the work of art is simply to exist in its formal percection, that is, to be beautiful and to be contemplated as an end in itself. Their slogan was the phrase "X". 
6. A typical X poem is written in X verse and undertakes to render as precisely, vividlyand tersly as possible, and without comment and generalization, the writers impression of a visual object or scene. The impression is often rendered by means of metophor, or by juxtaposing, without indicating a relationship, the description of one object with that of a second and diverse object. 
7.The regional novel emphasize the setting, speech and social structure and customs of a particular localty. Instance of such localties are "X" in Thomas Hardys novels, and "Yoknapatanpha County" in Xs novels. 
8. Before the rise of the realist theatre, the X used to be a popular stage device, in which a character express to the audience his or her thought or intention in a short speech which, by convention, is inaudible to the other characters on the stage. 
9. X typically centers on the sustained, analytic investigation by an amateur or professional detection oa a serious crime, usually murder. The standard form of this type of plot was given by X in his short story such as "Murder in the Rue Morgue".

 

10. Autobiography is a biography written by the subject about himself or herself. It is to be distinguished from the X, in which the emphasis is not on the authors deceloping self but on the people and events that the author has known or witnessed. X was a pioneer of two fromer genre in American literature. 
11. X is strongly evident in modern American fiction from Nathanneal Wests A COOL MILLION (1934) to Xs CATCH-22(1961) and Kurt Vonneguts SLAUGHTERHOUSE-FIVE (1969).

 

二、简答题。每题100/150字,记不清不确定
1. Whats the dramatic function of the ghost in Shakerpeares HAMLET?
2. Choose one of Kazuro Ishiguros novels to discuss his narrative strategies. 
3. Interpret the title of the following plays: WHOS AFRAID OF VIRGINIA WOOLF? THE ICEMAN COMETH.  A STREETCAR NAMED DESIRE. 

三、诗歌分析。要求分析诗歌的Theme和Style。300字
诗歌是Phillip Larkin 的THE IMPORTANCE OF ELSEWHERE 
四、题目:In his influential article "Tradition and the Individual Talent" (1919), T.S. Eliot discussed the relationship between individual poets and the literary tradition which precedes them. Write an argumentative essay of more than 400words in response to the following exerpt taken fro that article. Illustrate your point with specific examples from the history of British and/or American literature. 
Article:
"One of the facts [...] is our tendency to insist, when we praise a poet, upon those aspects of his work in which least resembles anyone else. In this aspects or parts of his work we pretend to find what is individual, what is peculiar essence of the man. We dell with satisfaction upon the poets difference from his predesesors, especially his imediate predesessors; we endeavor to find something that can be isolated in order to be enjoyed. Whereas if we approache a poet without this prejudice we shall often find that not only the best, but the most individual parts kf his work maybe those in which the dead poets, his ancestors, assert their immortality most vigorously. And I do not mean the impressionable period of adolescence, but thr period of full maturity.

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