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发布时间：2022-01-07
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Style in literature means the typical way a writer presents his language.
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更多“Style in literature means the typical way a writer presents his language.”相关的问题
第1题
The Neo-classical literature imitates the style of the ancient Greek and Roman, which is passionate and imaginative.
第2题
_______, as a very important thought in the colonial period, influences the development of American literature and contribute to the shaping of its style and the national character.
第3题
Ernest Hemingway, whose own style is based on Twain's, once said, "All modern American literature comes from ________".
第4题
"Proletarian" literature is ______.A．written for and read by the great masses of peopleB．d
"Proletarian" literature is ______.
A．written for and read by the great masses of people
B．distinguished by its devotion to pornography
C．distinguished by its elegant style
D．written for, but not actually read by, most people
第5题
Bernald DeVoto comments: “_________ wrote one of the great styles of American literature, he helped develop the modern American style, he was the first writer who ever used the American vernacular at
A、Benjamin Franklin
B、Mark Twain
C、Ralph Waldo Emerson
D、Walt Whitman
第6题
Montaigne's hold on his readers arises from many causes. There is his frank and curious se
lf-delineation. That interests, because it is the revelation of a very peculiar nature. Then there is the positive value of separate thoughts imbedded in his strange whimsicality and humor. Lastly, there is the perennial charm of style, which is never a separate quality, but rather the amalgam and issue of all the mental and moral qualities in a man's possession, and which bears the same relation to these that light bears to the mingled elements that make up the orb of the sun. And style, after all, rather than thought, is the immortal thing in literature. In literature, the charm of style. is indefinable, yet all-subduing, just as fine manners are in social life. In reality, it is not of so much consequence what you say, as how you say it. Memorable sentences are memorable on account of some irradiating word. "But Shadwell never deviates into sense, for instance." Young Roscius, in his provincial barn, will repeat you the great soliloquy of Hamlet, and although every word may be given with tolerable correctness, you find it just as commonplace as himself. The great actor speaks it, and you "read Shakespeare as by a flash of lightning". And it is in Montaigne's style, in the strange freaks and turnings of his thought, his constant surprises, his curious alternations of humor and melancholy, his careless, familiar form. of address, and the grace with which everything is done, that his charm lies, and which makes the hundredth perusal of him as pleasant as the first.
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Literature lives because of the author's ______.
A．ideas
B．humor
C．surprises
D．style
第7题
听力原文：The Nobel Prize in Literature for 2005 is awarded to the English writer, Harold P
听力原文： The Nobel Prize in Literature for 2005 is awarded to the English writer, Harold Pinter. He is regarded as Britain's greatest living playwright. Mr. Pinter has written more than 30 works, and he is best known for his sparse style, dubbed "Pinteresque," which takes full advantage of the pauses and silences that build the dramatic effect. He is widely acknowledged to have influenced an entire generation of British writers. Mr. Pinter also has never shied away from fierce political debate. This human rights campaigner and anti-war activist has in recent years been an outspoken critic of the war in Iraq.
Which of the following is NOT true about Harold Pinter？
A．He is famous for his plays,
B．He sets up a new writing style.
C．He is concerned about human rights.
D．He is an active political figure.
第8题
Architecture Architecture is to building as literature is to the printed worD．The bes
Architecture
Architecture is to building as literature is to the printed worD．The best buildings are often so well constructed that they outlast their original use. They then survive not only as beautiful objects, but as documents of the history, of cultures. These achievements are never wholly the work of individuals. Architecture is a social art.
The renaissance brought about an entirely new age not only in philosophy and literature but in the visual arts as well. In architecture, the principles and styles of ancient Greece and Rome were brought back to life and reinterpreted, They remain dominant until the 20th century. Many kinds of stone are used as building materials. Stone and marble were chosen for important monuments because they are not burnable and can be expected to endure. Stone architecture was often blended with stone sculpture. The use of stone has declined now, because a number of other materials are more adaptable to industrial use. The complexity of modern life calls for a variety of buildings. More people live in mass housing and go to work in large office buildings; they spend their income in large shopping centers, send their children to many different kinds of schools, and when they are sick they go to specialized hospitals and clinics. All these different types of buildings accumulate experiences needed by their designers. By the middle of the 20th century, modern architecture, which was influenced by new technology and mass production, was dealing with increasingly complex social needs. Important characteristics of modern architectural works are expanses of glass and the use of reinforced concrete. Advances in elevator technology, air conditioning, and electric lighting have all bad important effects.
第 23 题 Paragraph 2_________
A．Building materials
B．Need of greater building varieties in modern life
C．Restoration of ancient Civilizations
D．Evolution in style
E．Factors affecting modern architecture
F．A social art
第9题
Feminist critics have long debated the extent to which gender plays a role in thecreation
Feminist critics have long debated the extent to which gender plays a role in the
creation and interpretation of texts. Androgynist poetics, rooted in mid-Victorian
women's writing, contends that the creative mind is sexless, but
Line from the 1970s on, many feminist critics rejected the idea of the genderless
(5) mind, finding that the imagination cannot evade conscious or unconscious
structures of gender which is part of culture-determination where separating
imagination from the self is impossible.
The Female Aesthetic, expressing a unique female consciousness in
literature, spoke of the "female vernacular, the Mother Tongue, a powerful but
(10) neglected women's culture. "Virginia Woolf discusses how a woman writer
seeks within herself "the pools, the depths, the dark places where the largest
fish slumber," inevitably colliding against her own sexuality to confront
"something about the body, about the passions. " Accessible to men and women
alike, but representing female sexual morphology, this method sought a way of
(15) writing which literally embodied the female, thereby fighting the
subordinating, linear style. of classification or distinction.
It must be admitted that there are problems with the Female Aesthetic that
feminist critics themselves recognized. For instance, they avoided defining
exactly what constituted their writing style, as any definition would then
(20) categorize it and safely subsume it as a genre under the linear patriarchal
structure-its very restlessness and ambiguity defied identification as part of its
identity. Some feminists and women writers could feel excluded by the
surreality of the Female Aesthetic and its stress on the biological forms of
female experience, which also bear close resemblance to essentialism. Men may
(25) try their hand at writing woman's bodies, but according to the feminist
critique, only a woman whose very biology gave her an edge could read these
texts successfully-a position which, worst of all, risked marginalization of
women's literature and theory.
Later, Gynocritics attempted to resolve some of these problems, by
(30) agreeing that women's literature lay as the central concern for feminist
criticism but rejecting the concept of an essential female identity and style,
while simultaneously seeking to revise Freudian structures by emphasizing a
Pre-Oedipal phase wherein the daughter's bond to her mother inscribes the key
factor in gender identity. Matriarchal values dissolve intergenerational conflicts
(35) and build upon a female tradition of literature rather than the struggle of
Oedipus and Lais at the crossroads. Lastly and most promising in its
achievement of a delicate balance are developments of an over-arching gender
theory, which considers gender, both male and female, as a social construction
built on biological differences. Gender theory proposes to explore ideological
(40) inscription and the literary effects of the sex/gender system, opening up the
literary theory stage
A．A Historical Overview of Feminist Literary Criticism
B．Oedipus and Lais: The Struggle between Masculine and Feminine Texts
C．The Precarious Feminist Compromise in Politics and Art
D．A New Theory of Literary Criticism
E．Establishing New Feminist Concepts of Gender
