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A.Song
B.Drama
C.Poetry
D.Fiction
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更多“________ is typical literary form of Yuan dynasty.”相关的问题
Which of the following statements is NOT correct？
A．An Unsocial Socialist is typical of Shaw's novels.
B．Shaw left 51 plays for his readers.
C．Shaw first worked as a dramatic critic for his literary career.
D．Shaw took a strong stand against the trend of "art for art's sake".
A.Romantic writing tends to represent life according to the author’s imagination.
B.Romantic writing is mostly author-centered and subjective.
C.Romantic writers use romantic love as its theme.
D.Romantic writing favors the author’s expression of emotion or aspiration.
The passage supports which one of the following statements about detective fiction？
A．Detective fiction has been largely ignored by literary critics.
B．There is very little agreement among critics about the basic elements of typical detective novel.
C．Writers of detective fiction have customarily followed certain conventions in constructing their novels.
D．There are as many different detective-novel conventions as there are writers of crime novels.
The making of classifications by literary historiabs can be a somewhat risky enterprise.
When Black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may result. This reminder is particularly relevant in an assessment of the differences between Black poets at the turn of last century (1900-1909) and those of the generation of the 1920s. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness. It should be remembered, though, that comparable differences also existed for similar generations of White poets.
When poets of the 1910s and 1920s are considered together, however, the distinctions that literary historians might make between "conservative" and "experimental" would be of little significance in a discussion of Black poets, although these remain helpful classification for White poets of these decades. ①Certainly differences can be noted between "conservative" Black poets such as Countee Cullen ,and Cluade McKay and "experimental" ones such as Jean Toomer and Langston Hughes. But Black poets were not battling over old or new styles; rather, one accomplished Black poet was ready to welcome another. whatever his or her style, for what mattered was racial pride.
However, in the 1920s Black poets did debate with specifically racial subjects. They asked whether they should only write about Black experience for a Black audience or whether such demands were restrictive. It may be said, though, that virtually all those poets wrote their best poems when they spoke out of racial feeling, race being, as James Johnson rightly put it "inevitably the thing the Negro poet knows best".
At the turn of the 20th century, by contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague, emotions in their poetry. These poets were not unusually gifted, though Roscoe Jamision and G. M. McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown has suggested, "meant a rejection of stereotypes of Nero life." and they refused to write only about racial subjects. This refusal had both a positive and a negative consequence. As Brown observes, "Valuably insisting that Negro poets should not be confined to issues of race, these poets committed (an) error they refused to look into their hearts and write." These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States at the time. They, too, often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of nature.
What is the author's attitude toward the classification as a technique in literary history'？
A．Sarcastic.
B．Indifferent.
C．Cautious.
D．Critical.
When poets of the 1910s and 1920s are considered together, however, the distinctions that literary historians might make between "conservative" and "experimental" would be of little significance in a discussion of Black poets, although these remain helpful classification for White poets of these decades. Certainly differences can be noted between "conservative" Black poets such as Countee Cullen, and Cluade McKay and "experimental" ones such as Jean Toomer and Langston Hughes. But Black poets were not battling over old or new styles; rather, one accomplished Black poet was ready to welcome another, whatever his or her style, for what mattered was racial pride.
However, in the 1920s Black poets did debate with specifically racial subjects. They asked whether they should only write about Black experience for a Black audience or whether such demands were restrictive. It may be said, though, that virtually all those poets wrote their best poems when they spoke out of racial feeling, race being, as James Johnson rightly put it "inevitably the thing the Ne gro poet knows best" .
At the turn of the 20th century, by contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague, emotions in their poetry. These poets were not unusually gifted, though Roscoe Jamision and G.M. McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown has suggested, "meant a rejection of stereotypes of Nero life," and they refused to write only about racial subjects. This refusal had both a positive and a negative consequence. As Brown observes, Valuably insisting that Negro poets should not be confined to issues of race, these poets committed (an) error.., they refused to look into their hearts and write. "'These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States at the time. They, too, often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of nature.
What is the author's attitude toward the classification as a technique in literary history？
A．Sarcastic.
B．Indifferent.
C．Cautious.
D．Critical.
The revisionist views of Williams and Erkkila are useful corrections of the prevailing mode of feminist theories that "romanticize, maternalize, essentialize, and eternalize women writers and the relationships among them." Neither, however, asks if women writers may not sometimes exhibit, rather than either revise or escape, the Bloomian model of literary rivalry. It is a prospect, perhaps, that we would prefer not to entertain. But it is a prospect that, while clearly not typical, may be less atypical than feminist critics may have supposed in our times too idealizing and essentializing theories.
An instance of such a female adoption (and adaptation) of the Bloomian model of male writers' anxiety is Katherine Anne Porter's anxious and artfully duplicitous essay on a literary elder sister, "Reflections on Willa Cather." Operating in the loosely narrative fashion that characterized not only Porter's nonfiction but her very mode of thought, the essay purports to pay retrospective tribute to one of the preeminent women writers of the early and mid-twentieth century, but in fact asserts Porter's own stature in the world of letters. In the story of her essay, the protagonist is not Cather, as one would expect from the title, but Porter herself. The essay is cast in a pervasive first-person mode in which the observing or commenting "I" becomes the active principle and its putative topic a passive reflector, a mirror ref
A．Freud and Bloom: Father and Son
B．Erkkila and Williams: Mother and Daughter
C．Fathers and Sons: The Limits of Literary Theory
D．Mothers and Daughters: The Limits of Literary Theory
Critics today, it is also claimed, are too cozy behind the ivied walls of academe, content to employ a prose style. that is decipherable only to a handful of the cognoscenti. The deadly dive of Uniersity critics into the shallow depths of popular culture, moreover, reveals the unwillingness of these critics to uphold standards. Even if the reasons offered are contradictory, these Jeremiahs huddle around their sad conclusion that serious cultural criticism has fallen into a morass of petty bickering and bloated reputations.
Such narratives of declension, a staple of American intellectual life since the time of the Puritans, are misplaced, self-serving, and historically inaccurate, so difficult to prove. Has the level of criticism declined in the last 50 years？ Of coarse the logic of such an opinion depends on the figures that are being contrasted with one another. Any number of cultural critics thriving today could be invoked to demonstrate that cultural criticism is alive and well.
But many new and thriving venues for criticism and debate exist today, and they are not limited solely t6 the discussion of literary works. Actually, they became so entrusted with their own certitude and political judgments that they beacme largely irrelevant. Today the complaint is that literary culture lacks civility. We live in an age of commercialism and spectacle. Writers seek the limelight, and one way to bask in it is to publish reviews that scorch the landscape, with Dale Peck as the famous, but not a typical case in point. Heidi Julavits, in an essay in The Believer, lamented the downfall of serious fiction and reviewing. She surveyed a literary culture that had embraced "snark", her term for hostile, self-serving reviews.
The snark review, according to Julavits, eschews a serious engagement with literature in favor of a sound-bite approach, an attempt to turn the review into a form. of entertainment akin to film reviews or restaurant critiques. A critic found cultural criticism to be in "critical condition". For him, the postmodern turn to theory, in its questioning of objectivity, cut the critical, independent ground out from under reviewers. The rise of chain bookstores and blockbuster best sellers demeaned literary culture, making it prey to the commercial values of the market and entertainment.
The criticism does not seem discontinuous. Nor should we forget that civility rarely reigned in the circles of New York intellectuals. The art critic Clement Greenberg physically pummeled the theatre critic Lionel Abel after Abel rejected the view that Jean Wahl, the French philosopher, was anti-Semitic. Though Robert Peck has the reputation of a literary hatchet man, so far as I know his blows thus far have all been confined to the printed page.
Cultural criticism has certainly changed over the years. The old day's of the critic who wielded unchallenged authority have happily passed. Ours is a more pluralistic age, one not beholden to a narrow literary culture. The democratization of criticism— as in the Amazon system of readers' evaluating books—is a messy affair, as democracy must be. But the solution to the problems of criticism in the present is best not discovered in the musty basements of nostalgia and sentiment for the cultual criticism of a half-century gone. Rather the solution is to recognize, as John Dewey did almost a century ago, that the problems of democracy demand more democracy, less nostalgia for a golden age that never was, and a spirit of openness to what is new and invigorating in our culture.
What is the possible connecti
A．Cultural critics attack postmodernism and commercialization cherished by publications and institutions.
B．Postmodernism and commercialization are attacked by the serious publications and institutions.
C．Cultural criticism is short of judgments and will not exist without the support of publications and institutions.
D．Publications and institutions show almost no interest in serious cultural criticism.
For the naturalist, man is controlled by basic urges and can do very little to determine his own destiny. Forces of environment and biological instinct combine to control man's life. These basic and elemental urges place man in a position similar to that of animals. But O'Neill also accepted the psychological urges as a part of man's basic driving force.
In his plays, O'Neill shows characters being driven by forces which they cannot understand or conquer. A man born in one type of environment is influenced accordingly, to a point where his basic actions in life are governed by these environmental forces. Carried to an extreme, this view leads to determinism, that is, the idea that man can do nothing for himself and is constantly at the mercy of forces outside himself. A typical image used by the naturalist is that of a person being trapped or being in a cage. In his earlier works, O'Neill often used the physical image of the cage (as in The Hairy Ape) to suggest the position of man caught or trapped in an alien and hostile universe.
Which one of the following is most suitable for the title of the passage？
A．O'Neill as a famous playwright.
B．Naturalism as a dramatic form.
C．O'Neill as a realist playwright.
D．The tragedy of being a man.
In 1885 Owen Wister (1850～1938) recorded that "it won't be a century before the West is simply the true America, with thought, type, and life of its own" and he wanted "to be the hand that once, for all, chronicled and laid bare the virtues and the vices of this extraordinary phase of American social progress." He never became that self-envisioned Tolstoi of the old West, but in 1902 The Virginian was published. It won instant success and skyrocketed its author to fame. It is still the most popular "Western" novel ever published and the master design for the fiction of the Wild West.
The Virginian established a literary form, a formula popularly known as "horse opera", whose conventions, cliches, and values have reappeared in novels and short stories, in movies and television serials, ever since. The romantic cowboy is the hero and gentleman, one of those "good men in the humbler walks of life", who sees through shams, defends justice and a lady's honor, shoots it out with the villain and conquers evil. Because of The Virginian, Wister created a character who is the original type for the Western folk hero. He represents the embodiment of certain American ideals--a man who is equal to all occasions, who shows independence of action, a man who keeps his word who is "a broad-guage fellow living among narrow-guage folk". But the literary device and cowboy code which Wister established dictated that the hero must kill the bad man. This necessity for sanctioning murder and romanticizing of the cowboy as a gentleman prohibited The Virginian and the genre it created from becoming serious fiction, or even an authentic product of the western experience. Instead of achieving his ambition, therefore, Wister gave us a sort of American folk epic, the cowboy story.
Owen Wister believed ______.
A．the way of life in the West in 1885 was a passing phase
B．the cowboy in 1885 symbolized the typical American male.
C．the West would be always isolated from the rest of the country by its moral code.
D．none of these.
For the naturalist, man is controlled by basic urges and can do very little to determine his own destiny. Forces of environment and biological instinct combine to control man's life. These basic and elemental urges place man in a position similar to that of animals. But O'Neill also accepted the psychological urges as a part of man's basic driving force.
In his plays, O'Neill shows characters being driven by forces which they cannot understand or conquer. A man born in one type of environment is influenced accordingly, to a point where his basic actions in life are governed by these environmental forces. Carried to an extreme, this view leads to determinism, that is, the idea that man can do nothing for himself and is constantly at the mercy of forces outside himself. A typical image used by the naturalist is that of a person being trapped or being in a cage. In his earlier works, O'Neill often used the physical image of the cage (as in The Hairy Ape) to suggest the position of man caught or trapped in an alien and hostile universe.
Which one of the following is most suitable for the title of the passage？
A．O'Neill as a famous playwright.
B．Naturalism as a dramatic form.
C．O'Neill as a realist playwright.
D．The tragedy of being a man.
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