文学欣赏的主体条件与时代价值取向

第一篇：文学欣赏的主体条件与时代价值取向

看，文学欣赏的主体条件与时代价值取向

文学欣赏是读者对文学作品进行感受、体验、领悟、理解，从而获得由浅入深、情理结合的审美把握。读者在文学欣赏的过程中充当了欣赏主体这一角色，而欣赏主体生活经验、文化基础等的不同，对文学作品欣赏的审美角度、审美深度，自身获取的审美体验也会不同。在欣赏主体自身的条件影响下，由于时代的不同，欣赏主体都对文学作品的价值也会有不同的取舍趋向。总体上说，文学欣赏不仅要有欣赏主体的自身条件，还受到了时代价值取向的影响。

一、生活经验与时代价值取向的共同作用：

文学作品是对社会人生的审美反映，只有具备一定的生活阅历才能理解作品中的生活现象。欣赏主体若是没有作品中所描述的生活经验，在欣赏作品时只能是被作者单纯的随意的牵着鼻子走，无法通过自己已有的体验与作品中的片段产生共鸣，欣赏主体也就无法进入到角色中，进而被艺术形象吸引、感染，和作品中人物同命运、共呼吸。而欣赏主体的生活经验也反映了其所处的时代特点，就随之带着时代价值取向去欣赏一部作品。例如当王小波的《黄金时代》被不同时代的读者阅读、欣赏时，就会产生与欣赏主体不同的化学反应。

在《黄金时代》里，王二离开知青生活的主流，去跟陈清扬搞“破鞋”，从而在大批判、生产劳动之外，找到了自己的黄金时代。书中的“时代”是以文革时期为背景的二十世纪六七十年代，知识分子群体无能为力而极“左”政治泛滥横行。生长于这个年代后期的读者，在读这部作品时，一开始会很不理解，为什么王二总是对“破鞋”很敏感？为什么陈清扬总是纠结于自己是不是“破鞋”？为什么王二会不顾他人的眼光，不顾组织上的调查继续和陈清扬纠结不清？又或者生长于20世纪90年代后的读者会认为“破鞋”真这么值得去探究吗？所以，当这类读者去欣赏《黄金时代》时会产生诸多的不解。他们有可能会将欣赏的角度移到作品中人物语言上，在面对大段大段的“性爱”描写上，会认为其增加了作品的可读性，将王小波看作了如当代某些商业化作家一样，以此搏人眼球。这便是对王小波以及其作品的深深的误解。

实际上，名叫“王二”的男主人公处于恐怖和荒谬的环境，遭到各种不公正待遇，但他却摆脱了传统文化人的悲愤心态，创造出一种反抗和超越的方式：既然不能证明自己无辜，便倾向于证明自己不无辜。于是他以性爱作为对抗外部世界的最后据点，对陈规陋习和政治偏见展开了极其尖锐而又包含幽默的挑战。特别是王二和陈清扬被发现在一起后，每天都要做机械式的流水账式的报告，更是充满了对那个时代禁锢人自由的讽刺。当读者生长于二十世纪六七十年代，他们对知青生活、文化大革命有着亲身的体验，对作品背景的了解是发自于内心的，当他们一读到王二所生活的环境时，脑海中的记忆自然会和作品产生碰撞。此时，这类读者对作品的审美是从作品所表达的主旨、精神上的，读者似乎也可以在文字间找到自己的影子。他们不再对人物语言感到陌生或好玩，不再对“性爱”场景的描写感到好奇惊叹，书中的一切不正是那个时代的真实写照么？所以，他们以他们的生活经验，和那个他们所处时代的价值取向对《黄金时代》做出了最正确而客观的评价。真正能够欣赏到《黄金时代》的也正是他们这类有着同时代背景命运的读者。

二、文化基础与时代价值取向的共同作用：

古代的神话，如中国的《女娲补天》、《后羿射日》，古希腊的《普罗米修斯》等，对处于童年时代的读者来说，他们希望从神话那里获得对于自然、社会的幼稚的认识。正如我们小时候听长辈讲看月食会被天狗咬掉耳朵的故事，我们会“自觉的”不去看月亮并且还捂住耳朵。我们会真正祈求神灵的保护，还会把神话中的英雄当做生活中的上帝来崇拜。当我们长大后，再来阅读古代神话，不是为了认识自然，而是感受古代

神话里那神奇的幻想，那人类童年的经验，从而获得审美的享受。

第二篇：课堂教学的有效性与价值取向

课堂教学的有效性与价值取向

王敏勤

新课程理念下怎样才算一堂好课，这是目前讨论比较多的一个问题。一般说来，评价一堂好课的标准除了要看教师的基本素质以外，主要有如下几点要求：1.在课程目标方面，师生是否明确并落实了三维的课程目标；2.在教学方式方面，教师是否转变了教的方式和学生是否转变了学的方式；3.在使用教材方面，教师是否能够做到用好教材并超出教材，能够开发课程资源；4.在教学效果方面，学生的收获是否大，课堂教学的效益是否高。实际上，在这四个方面，最主要的还是看课堂教学效果。但课堂教学的效果主要是指什么，这就涉及到课堂教学的有效性和价值取向问题。

一、什么是课堂教学的有效性

现在我们都知道：教学是一门科学也是一种艺术。其实对这个问题的认识有一个漫长的过程。在20世纪以前，在西方的教育理论中占主导地位的教学观是“教学是艺术”，持这种观点的人认为：影响教学过程的因素是复杂的多方面的，每个教师的情况不同，每个班学生的情况不同，所以教学是无规律可循的，是难以用科学的方法进行研究的。教学只能是一种教师个性化的、没有“公共的方法”的行为，是一种“凭良心行事”的、“约定俗成”的行为。

但是，随着20世纪以来科学思潮的影响，以及心理学特别是行为科学的发展，人们才逐步意识到，教学也是科学。也就是说，教学不仅有科学的基础，而且还可以用科学的方法来研究，教学是一种有规律的行为，教学的结果是可以测量的。所以人们才提出：教学不尽是一种艺术，也是一门科学。有效教学（effective teaching）的理念正是源于20世纪上半叶西方的教学科学化运动，它是“教学是艺术还是科学”之争的产物。有效教学的核心问题就是教学的效益问题，即什么样的教学是有效的?是高效的、低效的还是无效的? 所谓“有效”，主要是指通过教师在一段时间的教学之后，学生所获得的具体的进步或发展。也就是说，学生有无进步或发展是教学有没有效益的唯一指标。比如，一个教师承担了一个班的数学教学任务，在期末考试和总结的时候，人们看这个班是进步了还是退步了，是进步幅度大还是幅度小，以此衡量教师教学效益的大小。

但在日常教学中，我们更多的是看一堂课的教学效果。具体到一节课，所谓课堂教学的有效性是指：在规定的课堂教学时间内，师生对既定教学目标的达成情况。这个定义有两方面的规定性： 1.强调课堂教学时间的规定性

我们提出向课堂要质量是指向40分钟（小学）或45分钟（中学）要质量，就是说，在规定的教学时间内教师要完成既定的教学任务，学生要实现既定的学习目标，而不是随意的把时间前伸和后延，如果学生在课前预习占用太多的时间也是增加学生的负担，如果学生在课后布置很多作业更是增加学生的负担。我曾经提出评价教师教学水平的标准：高水平的教师向课堂要质量，低水平的教师向课下要质量。这几年我研究了许多名教师的案例，他们的教学质量高、升学率高，而学生的负担却很轻，其奥妙就是向课堂要质量，所有的问题都在课堂上解决，很少留课后作业甚至没有作业。如辽宁的魏书生、北京的孙维刚、马芯兰等。我们在日常教学中也经常发现这样的现象：对桌办公的两个老师教平行班，一个老师整天忙得晕头转向，不是批作业就是给学生个别辅导，工作非常敬业，但师生的负担都很重，是以牺牲师生的身心健康为代价取得成绩的。而另一个老师可能课后作业很少，也很少给学生个别辅导，课后主要是研究教法，师生都不累，教学成绩却很好。其关键就是抓住了课堂教学这个环节，力争所有的问题都在课堂解决，不把问题和作业推向课后。

2.强调教学目标的规定性

在课堂教学的开始，教师是否应该把课程目标告诉学生（书面的或口头的），这个问题争论了多少年没有定论。有的老师说：我在教案中有课程目标，但我不能告诉学生。为什么？因为我的课堂教学设计是很艺术的，事先学生不知道一堂课的教学目标，有一种神秘感，愿意听我的课。如果学生一开始就知道了一堂课的教学要求和目标，就不愿听课了。教学固然需要艺术性，但更要注重教学效果。在课程改革之前教师不告诉学生教学目标是可以理解的，因为过去是先教后学、以教定学，学生围着教师转，教师教什么、学生学什么，所以课前教师是否告诉学生教学目标并不重要，只要教师知道就行了。但课程改革提出要转变教与学的教学方式，要先学后教、以学定教，教师的教为学生的学服务，在这种情况下学生事先不知道一堂课的课程目标，就没法发挥主动性和积极性，就很难转变学习方式。另外如果一堂课没有具体的教学目标，很难评价这堂课效率的高低。美国的教育学家布卢姆说：“有效的教学始于知道希望达到的目标是什么。”

二、什么是课堂教学的价值取向

一堂课怎样才算是有效？有效的标准是什么？这里有一个价值取向问题。离开了价值取向讨论课堂教学的有效性是很模糊的。所谓课堂教学的价值取向就是教学目标的方向性问题。也就说，在一节课上，在有限时间内，师生做什么最有价值。做有价值的事才是有效的，价值越大效益越大。比如，在数学课上，教师带着学生做游戏，虽然数学知识没有学到多少，但学生很开心，有利于他们的身心健康发展。但这节课的主要任务是什么，在有限的时间内师生做什么最有价值？这就是价值取向问题。

再比如：目前谈论比较时髦的课堂教学的“预设与生成”问题。其实这个问题在过去就有：教师的备课就是预设，教师在课堂教学灵活变通就是生成，并不深奥。我听过这样一节课：有个老师正在上数学课，讲一元二次方程组的解法，突然教室里来了一只猫，老师话题一转，引导学生讨论起了对动物的保护问题。有人觉得这是一堂自然生成的好课，是创新，是一堂跨学科的综合课。我认为：什么时候讨论动物的保护问题都有价值，但具体到这一节数学课，教学的主要目的是什么，这堂课要完成的主要任务是什么，在这里讨论动物的保护问题虽然也有价值，但却脱离了教学目标，是无效的或低效的。

 再比如：在一节语文课上，老师让学生表演一个小品，虽然这个小品与课文的关系不大，但也能锻炼学生的表演能力和表达能力。对这样的课如何评价？特别在当前的课程改革中，有些教师只注重形式的活跃，堂堂都有分组讨论，堂堂都有表演和抢答。这就涉及到课堂教学的价值取向问题。师生一定要明确：一堂课的主要任务是干什么，在有限的时间内首先要完成主要任务，主要任务完成了，课堂教学的效率才能提高。

美国哈佛商学院经常给学生讲述一种很有效的做事方法：80对20的法则。即任何工作，如果按价值顺序排列，那么总价值的80％往往来源于20％的项目。简单地说，如果你把所有必须干的工作，按重要程度分为10项的话，那么只要把其中最重要的两项干好，其余的8项工作也就自然能比较顺利地完成了。课堂教学也是如此。在一堂数学课上，有价值的事很多，比如让学生唱歌，可以增加他的音乐素养；让学生表演，可以增强他的表演能力。但教师要清楚这节课的主要任务是什么，这节课主要是围绕什么来开展活动，评价一堂课的标准不是看搞了什么活动，而是完成了什么任务。

三、课程目标的价值取向与长效和短效问题

新课程提出了三维的课程目标：知识与技能、过程与方法、情感态度价值观。有的老师一直感到困惑：这三维的课程目标在课堂教学中是什么关系，应以什么为主？这实际上也是一个价值取向问题。对于三维的课程目标，我认为应以知识和技能为主线，过程与方法和情感态度价值观都是以知识为载体来实现的。其关系图示如下：

所谓过程与方法，是学生在获得知识和技能的过程中运用了什么方法，是教师灌输获得的还是自主探究获得的，其价值不同；所谓情感态度价值观是指：学生在学习的过程中是以什么样的情感和态度来参与的，是积极主动还是消极被动？是富有兴趣还是厌学乏味？通过一节课的学习学生的价值观、人生观、环保观等价值观念会发生什么样的变化。这一些都以知识为载体。所以在课堂教学中不能淡化知识的教学。建国后我们进行了八次课程改革，有成功的经验，有失败的教训，但基础知识和基本技能的教学（双基教学）是一条基本的经验，所以不能淡化。

一堂课的价值取向也有长效和短效的问题。具体到一节课，满堂灌的方法可能是最好的方法。有的老师说：如果让学生自学，可能十分钟还搞不明白，我给学生讲，三分钟学生就明白了。这就如同钻山洞，让学生自己钻，会在黑暗中探索很多时间，甚至会碰头磕腿，如果老师领着学生钻山洞，很快就出去了，因为老师“学道在先，术业有专攻”。具体到一节课来讲可能会如此。但从长远来讲，特别是从学生的终生发展来讲就不是如此。现在提出了终身学习的概念，学生走向社会后还要不断的自学才能适应不断发展的社会，而这种自学能力不是走向社会后才培养，而是在学校里，甚至从小学一年级就要培养。另外，学生在初始阶段，自学可能会花费很多时间，不如老师讲授学得快，但经过一个阶段甚至半年、一年的时间，学生的自学能力一旦形成，会成倍的提高学习的效率。正是从这些意义上，新课程提出转变学生的学习方式，为学生的一生发展奠基。所以课堂教学还有长效和短效的问题。我们在课堂教学中不能只图一时的效果而忽视学生终生发展的问题。

第三篇：当代礼仪与价值取向

 中华礼仪与当代价值取向

今日中国，惩治腐败，端正党风，培育和践行社会主义核心价值观，政治生态环境正在发生深刻变化，敬老崇文蔚然成风。衷心祝愿各位馆老坚持传承、弘扬中华传统文化，笔耕不辍、丹青不断，岁增身益健，菊酒对晚霞，妙笔传往事，清韵颂中华。

第五届敬老崇文论坛以“中华礼仪与当代价值取向”为题，明示中华礼仪就是中华民族文化基因，阐释礼以载德、仪彰文明的渊源真谛。紧扣时代脉搏，意义深远。

总书记在北师大与师生共度教师节时，交谈中，对小学课本删除古诗词“很不赞成”，对“去中国化”感到“很悲哀”。他的直言卓见，彰显了对经典的爱，对民族的爱，对国家的爱，社会热议，群众拥护。对总书记的观点，我非常赞成。

实现中国梦，要坚持改革开放、转型发展，更要扎根铸魂、传承基因。传承中华文明，践行核心价值观，是全社会的责任，我们各位馆员更是义不容辞。

烈士暮年壮心不已。衷心期盼各位馆员，利用各种机会，各种场合，挥如椽笔，泼五彩墨，吟诗词歌赋，书经典文章，向孩子，向社会，传播中华文化精粹。祝论坛圆满成功！祝各位馆老、各位嘉宾身体健康、阖家欢乐！

传统礼仪文化的传承与创造性转化

□燕爽（中共上海市委宣传部副部长、市文明办主任）

自2010年至今，敬老崇文论坛已连续举办了五届。我们本次敬老崇文论坛的主题是“中华礼仪与当代价值取向”，就是从礼仪文化的角度探索思考，既有理论借鉴，又有实践意义。我在这里谈三点想法：

第一，传统礼仪文化是涵养社会主义核心价值观的重要源泉。中华民族素以“礼义之邦”自豪，传统礼仪文化积淀着中华民族的精神追求，包含着中华民族的精神基因，代表着中华民族独特的精神标识。我们不仅要在形式上延续传统礼仪礼节，更要在本质上传承礼法礼数的道德内涵。孔子所说：“博学于文，约之以礼”，就是既要博览经典，更要以德育人，以礼化人，使人遵德守礼，和谐相处。在全面深化改革的新形势下，在上海创新驱动、转型发展的攻坚阶段，在思潮多元、观念碰撞的今天，我们要挖掘优秀礼仪文化蕴含的思想道德资源，弘扬传统礼仪文化中的处世智慧和道德准则，构筑共同的精神家园。

第二，传统礼仪文化要回归百姓家庭、融入日常生活。加强传统礼仪教育，是社会主义核心价值观日常化、具体化、形象化、生活化的有效载体。今年以来，市文明办围绕培育和弘扬传统礼仪文化，与市妇联等相关部门密切配合，在全市开展了中华优秀传统文化礼仪大赛和“征集好家训、评议好家风、寻找好家庭”主题宣传等系列活动，广泛开展媒体宣传、网络评议、微信互动、专家访谈、档案展览等活动，得到了社会各界和广大市民的热烈反响。

第三，加强传统礼仪文化的创造性转化和创新性发展。贯穿于中国传统社会的“仁、义、礼、智、信”，是一个以德治为核心的伦理性社会的基本准则。“礼”的内容十分庞杂，既包括国家典章制度，也包括宗教仪式、社会习俗、礼仪规范，对维护社会秩序和稳定、协调人际关系和睦、倡导言谈举止礼貌具有重要的正面作用，影响到社会领域和个人生活的方方面面。但不可否认，随着时代变迁和社会发展，以往礼仪规范中存在着一些繁文缛节和个别不合时宜的内容，需要在顺应民主政治、先进文化、技术革命等新形势中与时俱进、创新发展。

创造富有时代性和民族性的中华礼仪

□郝铁川（上海市文史研究馆馆长）

道德建设的历史经验告诉我们，一个重要的价值观念要想具有普遍性、持久性和权威性，主要靠四种东西来实现。一靠一个通俗易懂和较高权威的教义读本；二靠政府、制度的支撑；三靠社会化的礼节仪式；四靠一支体现价值观念的人格化示范队伍。今天，我们在去年举办弘扬中华民族尊老传统敬老崇文论坛之后，举办以“中华礼仪与当代价值取向”为主题的论坛，目的在于推进一些中华民族优秀道德观念的礼节仪式化，融入大众的日常生活中。

我觉得，推进中华民族优秀道德观念的礼节仪式化，需要把握三个问题：

第一，注意弘扬中华民族礼仪传统中的热情、责任、敬老精神。一要注意弘扬中华民族热情好客精神，正如孔子所说：“有朋自远方来，不亦乐乎？”二要弘扬中华民族社会责任心精神。三要弘扬中华民族尊老敬贤精神。

第二，注意借鉴现代西方礼节仪式中的科学、平等、人权精神。一要注意弘扬西方礼节仪式中的科学精神。二要注意弘扬西方礼节仪式中的平等精神。三要注意弘扬西方礼节仪式中尊重私权精神。

第三，融通古今中外，推出具有时代性、民族性的中华礼仪。一是不要盲目崇拜西方，妄自菲薄。二是要注意兼取中西礼仪之长。

为了在促进中华礼仪民族性、时代性方面做深、做实、做细，上海文史馆成立礼仪研究中心，将对中华传统礼仪逐个研究，借鉴西方，推陈出新，为中国特色社会主义精神文明大厦的建设增砖添瓦。

弘扬孝文化践行核心价值观

□唐国才（上海市老年基金会副理事长）

我们的传统礼仪，本指人与人、国与国之间交往的一种礼仪，同时也逐步成为规范和强化社会秩序的一种手段。我国古代推崇的礼治，则是在此基础上的升华。礼仪就范围而言，包罗万千，纷繁复杂。从历史实践来看，最为核心的就是推崇“孝道”，所谓“百善孝为先”。梁濑溟称中国文化为“孝的文化”，将忠孝原则推行发展到设身处世、推己及人，所谓“老吾老以及人之老，幼吾幼以及人之幼”，“己欲立而立人、己欲达而达人”，“己所不欲，勿施于人”等等。

改革开放造就了我们中华民族经济腾飞的伟大时代，互联网时代的大门开启，东西方各种新旧文化观念的碰撞出不仅仅是灿烂的火花，也带给我们各种意想不到的病源与隐忧，如信仰缺失、拜金主义、物欲横流、贪污腐败等等。要实现中华民族的真正复兴，必须寻找振奋本民族的文化基因，牢固形成我们民族特有的信仰体系和精神价值观念，这是民族崛起的关键。

今天，面对全球人口老龄化以及我国特有的日趋严重的社会养老问题，我们应该意识到从传统“孝道”延伸出的“家家有老人，人人都会老”、“老人的今天就是我们的明天”、“关爱老人就是关爱自己”的敬老养老的道德理念，不仅易入人心，且切实可行。它集中体现了政府有责、社会有责、家庭有责的共识。这是解决我国养老问题的重要理念和保障。

我们上海市老年基金会要进一步动员广大爱心企业和公民，自觉履行社会公德和社会责任，关爱老人，奉献爱心，积极应对我国“未富先老”的问题。我们将引导和组织广大公民进一步弘扬和丰富中华民族的“孝文化”，牢固确立和实践社会主义核心价值观。我们要逐步扩大老年基金的规模，并坚持公开透明、从严管理、合理分配、科学使用，更好地发挥“拾遗补缺，雪中送炭”的积极作用。配合政府，团结爱心企业，依靠民众在“老有所养，老有所医”的前提下，推进“老有所乐，老有所学，老有所为”的计划，提升老年人的幸福指数。近年来，我们和电视台合作的《精彩老朋友》栏目，以及“金色广场”、“九九关爱小剧场”、老年人大合唱和旗袍大赛、“心悦夕阳”网络等活动，因切合社会实际和老年人的具体需求，丰富了老年人的文化娱乐生活，得到了社会的好评。

第四篇：人文关怀和历史理性：文学价值取向的交合

人文关怀和历史理性：文学价值取向的交合在文学创造中，人文关怀是古往今来一切以文学作品的总主题，并与历史理性共同筑起文学的真善美功能的价值体系。作者从人的需要出发，坚持以人为本把自己对社会生活的体验以及社会现实的认识用文字表达出来，使人文关怀寄寓在对社会规律的认识和描述中，即同历史理性密切的联系在一起，两者你中有我，我中有你，实现了人文与历史两种文学价值的交合。文学创造是作家对社会生活的反映。作者根据现实生活的实际，在历史理性中展现人文精神。例如英国作家狄更斯的小说以高度的艺术概括、生动的细节描写、妙趣横生的幽默以及细致入微的心理分析，广泛地描写英国十九世纪中期的社会生活，塑造了众多的“小人物”形象，对社会下层阶级表现极大的同情，批判资产阶级社会的自私、伪善和冷酷，小说《双城记》最为突出。它以法国的革命为背景，描写玛耐特医生妇女的遭遇，揭露贵族的荒淫残暴，表现法国大革命的必然性和人民革命的热情。小说写得是两个男人和他们的爱，以及围绕这场爱发生的无法回避的冲突。玛耐特医生放下自己的不幸，看在查尔斯憎恶家族的作恶多端放弃了贵族爵位与财产自食其力的份上，为了女儿露西的幸福，把女儿嫁给了他，而卡顿为了自己刻骨铭心深爱着的露西的幸福献出了自己的生命。小说以个人的欢乐和悲哀反映了整个国家的兴盛与悲惨，作者艺术描写中无形的加入了自己的情感评价，是小说不仅蕴含着丰厚的人文关怀的价值意义，而且也体现了深刻的历史理性。

然而，文学创作并不存在规范化的模式。文学作为审美创造的自由空间，使作家能够在不同的历史理性观点上展现人文精神。例如茅盾的《子夜》主要对都市生活中各个阶级和阶层人物进行描写，通过这些人物的生活和命运，大规模地反映中国的社会现象，提出尖锐的社会问题，体现了鲜明的革命现实主义色彩。而与茅盾处于同一时期的作家沈从文的《边城》则是通过湘西边地乡村人物的性格、命运的发展变化来展示湘西下层人民的悲欢离合，是人道主义现实主义的代表作。他们把历史理性的视点放到不同的侧面，各有各自的局限性，但他们在刻画描写中吧人文关怀与历史理性血肉般地联系在一起，在对当时中国社会的现实生活的实际反映中实现了人文与历史价值的交会，体现了作家在文学审美创作中的自由度，展现了自己的艺术个性。

当然，在文学创造中，我们不能违背社会发展的规律，也不能违背艺术创作的规律。如果违背，则会导致对人文精神的破坏。社会在其发展进程中，会不可避免地损害某个阶层的利益，但如果一味片面强调某一历史观点就意味着人文关怀与历史理性的脱离。因此，作家在文学创作中应该把握好一个“度”：在肯定社会发展的前提下，以艺术的方式揭露苦难与罪恶，从而让人文与历史两种价值相交会，使文学实现对着生命的追求。

第五篇：文学阅读与欣赏200507

中央广播电视大学2004—2005学第二学期“开放本科”期末考试

英语专业 文学阅读与欣赏 试题

2005年7月

注 意 事 项

一、将你的学号、姓名及分校(工作站)名称填写在答题纸的规定栏内。考试结束后，把试卷和答题纸放在桌子上，试卷和答题纸均不得带出考场。监考人收完考卷和答题纸后才可离开考场。

二、仔细读懂题目的说明，并按题目要求和答题示例答题。答案一定要写在答题纸的指定位置上，写在试卷上的答案无效。

三、用蓝、黑圆珠笔或钢笔答题，使用铅笔答题无效。Information for the examinees: This examination consists of three sections.They are: Section Ⅰ: Listening Test(40 points, 40 minutes)Section Ⅱ: Reading Test(40 points, 50 minutes)Section Ⅲ: Writing Test(20 points, 30 minutes)The total marks for this examination are 100 points.Time allowed for completing this examination is 2 hours(120 minutes).Section Ⅰ: Literary Fundamentals [25 points] Part 1.Multiple Choice(10 points).Questions 1-10 are based on this part.Choose the best answer from A, B, C and D.Circle your answers on the Answer Sheet.1.In the poem, The Reverie of Pour Susan, Wordsworth set out to avoid literary language and to use the English of ordinary conversation among educated people, what he called “the language of men”.A.true B.real C.good D.kind 2.A narrator who observes the events like a camera is called a(n)_______narrator.A.subjective B.active C.objective D.passive 3.Shakespeare's play Hamlet was written in_______.A.epic B.ballad C.sonnet D.blank verse 4.The poem “A Day” was written by the American poet Emily Dickinson.The title ,“A Day ” metaphorically refers to_______.A.a life B.a holiday C.a date D.a love 5.The famous tale of the little ugly duckling by Hans _______ tells the story of a wretched little “duck” who was knocked about and eventually deserted by everyone.A.Johnson B.Jackson C.Anderson D.Robinson 6.In_______, Shakespeare arranges the three witches to meet in the foul weather to suggest a sense of danger and evil.A.Macbeth B.Hamlet C.As You Like It D.Tzuelfth-Night 7.In the novel Jane Eyre, Jane is a _______to a little girl in Thornfield.A.supervisor B.governess C.hostess D.advisor 8.Which of the following books was written by Mark Twain? A.The Red Badge of Courage B.Life on the Mississippi C.Who's Afraid of Virginia Wolf el D.Emma

9.The novel, Com With The Wind, written by Margaret Mitchell, was set against the historical background of the _______Civil War.A.French B.American C.British D.Russian 10.The metaphor is a figure of_______—used to describe something by referring to something else.A.place B.scene C.speech D.action Part 2: Blank-Filling(15 points).Choose a proper word or phrase from the following box to complete each sentence.Write your answers on the Answer Sheet.Sour Grapes, King, Fox, Wilde, Shelly play, comedy, money, fable, play-house, poem rich, friendless, wooden, circular 11.“Ozymandias” written by P.B.is a about a called “King of Kings”

12.Theatre in Elizabethan time was very different from theatre today.First of all, the Elizabethan ________ was a _______building, usually ________or octagonal.13.The________, The Importance of Being Ernest, is a ________by Oscar_______ which was first performed in 1895.14.We are probably familiar with some of the traits of a miserly person.In literary works, the miser is often a________ man, who is keen on collecting and storing _______ and wealth.He would grudge every penny he spends and is always mean with people and even with himself.So a miser is almost always________.15.A _______ is a story meant to leach a normal.Actually, we heard many similar allegorical stories when we were young children.In Aesop's “Sour Grapes” the_______ tries in vain to get a, some grapes, but when he finds that they are beyond his reach, he goes away saying, “I see they are sour”.So, the phrase _______ is used to allude something disparaged only because it is out of one's reach.Section Ⅱ: Poem Analysis [16 points] Read the following poem by Scottish poet Robert Burns carefully and answer Questions 16-19 that follow.Write your answers on the Answer Sheet.O My Luve's like a red, red rose, That's newly sprung in June;O my luve's like the melodie, That's sweetly played in tune.As fair art thou, my bonie lass, So deep in luve am I;And I will luve thee still, my dear, Till a' the seas gang dry.Till a' the seas gang dry, my dear, And the rocks melt wi' the sun;And I will luve thee still, my dear, While the sands o'life shall run.And fare thee weel, my only luve，And fare thee weel a while;And I will come again, my luve, Tho' it were ten thousands mile!16.What is the poetic form of the poem? What is the rhyme scheme of the first four lines of the poem?(4 points)17.Find(and name)two examples of figures of speech used in the poem.(4 points)18.Point out two well-known lines which have a similar expression in Chinese(海枯石烂).(4 points)19.What is the poem mainly about?(4 points)

Section Ⅲ : Drama Analysis [14 points] Part 1.Questions 20-23(8 points).Here's an excerpt from the play Jane Eyre.Read it and answer the questions that follow.Write your answers on the Answer Sheet.(Note: A few parts of the following excerpt are shortened or simplified.)(Mr.Rochester and Blanche are taking a walk in the garden.)B：It is a beautiful place, your Thornfield.R: As a dungeon it serves its purpose.B: Dungeon, why, it's paradise' Though of course, if one lived here, one would really have to have a house in London„.Wouldn't one? R: Unquestionably, A little apartment in Paris, perhaps a villa in the Mediterranean.B: Delightful that would be.But Thornfield would always be there as a retreat from the world.A green haven of peace and love.R: Love, who's talking of love? All a fellow needs is a bit of distraction.A house full of beautiful women every now and then to keep him from brooding on his walls.Peering too closely into the mysteries of his heart.B: That if he has a heart.And sometimes I wonder if you really do have one.R: Have I ever done or said anything to make you believe that I have? If so, I assure you that it was quite unintentional.B: I never said„

R: Never more than at this moment except perhaps when I'm eating my dinner.B: Really Edward, you can be revoltingly coarse, at times.R: It's a very nice point, Blanche.Would you or would you not? Let's begin by considering the significant facts of the case first.Mr.Rochester is revoltingly coarse and is ugly as sin.B：Edward, I„

R: Allow me, my dear Blanche, I repeat as ugly as sin.Second, he flirts sometimes but is careful never to talk about love or marriage.However, this is the third point.Lady Ingrain is somewhat impoverished whereas the revolting Mr.Rochester has an assured income of 8000 a year, and I knew all this.What is the attitude that Miss Blanche may be expected to take, from my experience of the world, I'd surmise that she'd ignore the coarseness etc., until such time„

B: How dare you!R: Now, now, now, horseplay!B: I've never been so grossly insulted in all my life!R: Insulted? I merely paid you the enormous compliment of being completely honest.B: Mr.Rochester, you are a boor and a cur.(In the evening Jane is wandering in the garden, when Rochester comes to her.)J: I thought you'd gone.R: I changed my mind.Or rather the Ingram family changed theirs.Why are you crying? J: I was thinking about having to leave Thornfield.R: You've become quite attached to that foolish little Adele, haven't you? To that simple old Fairfax.You'd be sorry to part with them.J: Yes, sir!R: It's always the way in this life.No sooner have you got settled in a pleasant resting place than you are summoned to move on.J: I told you sir, I shall be ready when the order comes.R: It has come now!J: Then it's settled.R: All settled.Even about your future situation.J: You've found a place for me? R: Yes, Jane.I have„ er„ West of Ireland.You'll like Ireland, I think.There are such warm-hearted people there.J: It's a long way off, sir.R: From what, Jane? J: From England and from Thornfield.R;Well? J: And from you，sir.R: Yes, Jane.It's a long way.When you get there I'll probably never see you again.We've been good friends, Jane, haven't we? J: Yes, sir.R: Even good friends may be forced to part.Let's make the most of what time is left to us.Let us sit here in peace.Even though we should be destined never to sit here again.Sometimes I have a queer feeling with regard to you, Jane.Especially when you are near me as now.It is as if I had a string somewhere under my left rib.Tightly and inextricably knotted to a similar string situated in a corresponding corner of your little frame.And if we should have to be parted, that cord of communion will be snapped.Kind of a nervous notion I should take to bleeding inwardly.As for you, you'd forget me.J: That I never will, sir.You know that.I see the necessity of going but it's like looking on the necessity of death.R: Where do you see that necessity? J: In your bride.R: What bride? I have no bride.J: But you'll have.R: Yes, I will.I will.J: You think I could stay here to become nothing to you.Do you think because I'm poor and obscure and plain that I'm heartless? I have as much soul as you and fully as much heart.And if God had gifted me with wealth and beauty, I should have made it as hard for you to leave me as it is now for me to leave you.There, I've spoken my heart now, let me go.R: Jane, Jane...you strange almost unearthly thing.You that I love as my own flesh.J: Don't mock...R: I'm over with Blanche.It's you I want.Answer me Jane, quickly.Say, “Edward.I'll marry you”.Say it, Jane.Say it.J: I want to read your face.R: Read quickly.Say, “Edward.I'll marry you.” 20.Has Mr.Rochester ever been in love with Lady Ingram? How do you know that? 21.Do you think both Jane and Lady Ingrain love Thornfieid? Are their feeling towards Thornfield the same? Give reasons to support your view.22.Mr.Rochester speaks to both Blanche and Jane teasingly, vet to Jane, his words are full of emotions, to Lady Ingram, satire.Write down two sentences respectively from what Mr.Rochester says to Lady Ingram and that to Jane to illustrate this point.Rochester to Lady Ingram:

Rochester to Jane: 23.What do you think Jane will say after Rochester asks her to say that she will marry him? Write down Jane's words and Rochester's reply to give an ending of this scene.Part 2: Questions 24—26(6 points).The following is an extract from Shakespeare's play Hamlet.Read it and paraphrase the underlined parts.Write your answers on the Answer Sheet.24.To be or not to be — that is a question.Whether it's nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? to die, to sleep-No more;-and by a sleep to say we end The heartache, and thousand natural shocks That flesh is heir to.'Tis a consummation Devoutly to be wished.To die, to sleep;To sleep, perchance to dream.Ay, there's the rub;For in that sleep of death what dreams may come, When we shuffled off this mortal coil, Must give us pause.25.There's the respect That makes calamity of so long life;For who would bear the whips and scorns of time, Th' oppressor's wrong, the poor man's contumely, The pangs of disprized love, the law's delay The insolence of office, and the spurns

eThat the patient merit of th unworthy takes.When he himself might his quietus make With a bare bodkin? Who would these fardels bear, To grunt and sweat under a weary life But that the dread of something after death — The undiscover'd country, from whose bourn No traveler returns —puzzles the will.And makes us rather bear those ills we have Than fly to others that we know not of? And thus conscience does make cowards of us all And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, 26.And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action.Section Ⅳ:Short Story Analysis [25 points] Here is a complete short story, My Wonderful Lousy Poem , written by Budd Schulbery.Read it and answer Questions 27-34.Write your answers on the Answer Sheet.(Note: This reading task will be relevant to the writing task in Section V.)

My Wonderful Lousy Poem By Budd Schulbery When I was eight or nine years old, I wrote my first poem.At that time my father was a Hollywood tycoon, head of Paramount Studios.My mother was a prime mover in various intellectual projects, helping to bring “culture” to the exuberant Hollywood community of the 1920's.My mother read the little poem and began to cry.“Buddy, you didn't really write this beautiful, beautiful poem!” Shyly, proud-bursting, I stammered that I had.She poured out her praise.Why, this poem was nothing short of genius!I glowed.“What time will Father be home?” I asked.I could hardly wait to show him.I spent the best part of that afternoon preparing for his arrival.First, I wrote the poem out in my finest flourish.Then I crayoned an elaborate border around it that would do justice to its brilliant content.As seven o'clock drew near, I confidently placed it on my father's plate on the dining room table.But my father did not return at seven.Seven-fifteen came.Seven-thirty.The suspense was exquisite.1 admired my father.I like to go to the studio and watch the cuts of his new pictures in his big projection room.He had begun his motion-picture career as a writer.He would be able to appreciate this wonderful poem of mine even more than my mother.But this evening when my father burst in, his mood seem even more thunderous than usual.An hour late for dinner, he could not sit down but circled the long dining room with a Scotch highball in his hand, calling down terrible oaths on his employees.1 can see him now, a big Havana cigar in one hand, highball in the other, crying out against the Fates that had sentenced him to the cruel job of running a Hollywood studio.“Imagine, we would have finished the picture tonight,” my father was shouting.“Instead that moron(stupid person)suddenly gets it into her beautiful, empty little head that she can't play the last scene.So the whole company has to stand there at $ 1000 a minute while this silly little blank, who's lucky she isn't behind the counter of a five-and-ten, walks off the set!And now I have to beg her to come back on Monday!” He wheeled in his pacing, paused and glared at his plate.There was a suspenseful silence.“What is this?” He was reaching for my poem.“Ben, a wonderful thing has happened,” my mother began.“Buddy has written his first poem!And it's beautiful, absolutely amaz—” “If you don't mind, I'd like to decide that for myself,” Father said.I kept my face lowered to my plate as he read that poem.It was only ten lines.But it seemed to take hours.I remember wondering why it was taking so long.I could hear my father breathing.Then I could hear him dropping the poem back on the table.Now came the moment of decision.“I think it's lousy,” my father said.I couldn't look up.My eyes were getting wet.“Ben, sometimes I don't understand you,” my mother was saying.“This is just a little boy.You're not in your studio now.These are the first lines of poetry he's ever written.He needs encouragement.” “I don't know why.” My father held his ground.“Isn't there enough lousy poetry in the world already? No law says Buddy has to become a poet.” They quarreled over it, and I still remember my father's self-defense: “Look, I pay my best writers $ 2000 a week.All afternoon I've been tearing apart their stuff.I only pay Buddy 50 cents a week.And you're trying to tell me I don't have a right to tear apart his stuff if I think it's lousy!” I couldn't stand it another second.I ran from the dining room bawling.Up in my room I threw myself on the bed and sobbed.That may have been the end of the anecdote, but not of its significance for me.Inevitably the family wounds healed.My mother began talking to my father again.My father asked me whether I would like to go to a prizefight-his favorite recreation.I even began committing poetry again, though of course f dared not expose it to my father.A few years later I took a second look at that first poem-, it was a pretty lousy room.After a while, I worked up the courage to show him something new, a primitive short story written in what 1 fancied to be the dark Russian manner.My father thought it was overwritten but not hopeless.I was learning to rewrite and my mother was learning that she could criticize me without crushing me.You might say we were all learning.I was going on 12.But it wasn't until years later that the true meaning of that painful “first poem” experience dawned on me.As I became a professional writer, doing books and plays and films, it became clearer and clearer to me how fortunate I had been to have a mother who said, “Buddy, did you really write this? I think it's wonderful!” and a father who shook his head no and drove me to tears with, “I think it's lousy.” A writer — in fact every one of us in life needs that loving-mother force from which all creation flows;and yet alone it is incomplete, even misleading, finally destructive, without the father force to caution, “Watch.Listen.Review.Improve.” Sometimes you find these opposing forces personified in associates, friends, loved ones.But finally you must counter-poise these opposites within yourself;first, the confidence to go forward, to do, to become;second, the tempering of rampant self-approval with hardheaded, realistic self-appraisal, the father discipline.Those conflicting but complementary voices of my childhood echo down through the years wonderful„lousy„ wonderful„ lousy — like two powerful, opposing winds buffeting me.I try to navigate my little craft so as not to capsize before either.Between the two poles of affirmation and doubt, both in the name of love, I try to follow my true course.27.What do you think the title means? Who considered the writer's poem wonderful? Who considered it lousy? 28.Why did the author's mother cry when she read the poem? 29.Why did the boy think that his father would be able to appreciate his poem even more than his mother? 30.Was his father in a good mood when he returned? What did he do in the dining room? 31.What had happened at the studio? 32.How did the boy feel when his father said the poem was lousy? What did the boy do when his parents began to quarrel over it? 33.What were they all learning? 34.What did the author realize as he became a professional writer?

Section Ⅴ: Writing [20 points] In the story of Section IV, the author argues that all of us need “the mother force” and “the father force”.Please write an article of about 150 words to illustrate how you think you should counterpoise these forces within yourself.Give your article a topic and write it on the Answer Sheet.中央广播电视大学2004—2005学第二学期“开放本科”期末考试

英语专业 文学阅读与欣赏 试题答案及评分标准

(供参考)

2005年7月

Section Ⅰ: Literary Fundamentals [25 points] Part 1.(10 points* one point each.)1．B 2.C 3.D 4.A 5.C 6．A 7.B 8.B 9.B 10.C Part 2.(15 points, 1 point for each correct answer)11.Shelley, poem, King 12.playhouse, wooden, circular 13.play, comedy, Wilde/comedy, play, wilde 14.rich, money, friendless 15.fable, Fox, Sour Grapes

Section Ⅱ: Poem Analysis [16 points] 16.(4 points, 2 points each): 1)The poem is written in ballad metre.2)The rhyme scheme is a, b, c, b.17.(Award a maximum of 4 points, 2 points for any of the following): 1)My luve's like a red, red rose/my luve's like the melodie — simile;2)Till a' the seas gang dry/the rocks melt wi' the sun/Tho' it were ten thousands mile — hyperbole;3)while the sands o'life shall run — metaphor 18.(4 points, 2 points each):

1)Till a'the seas gang dry, my dear, 2)And the rocks melt wi' the sun.19.It's about a person's love for a pretty girl.(4 points)

Section Ⅲ: Drama Analysis [14 points]