大家来帮帮忙 关于英国文学史的名词解释
The Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem The Faerie Queene. Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'Alexandrine' line in iambic hexameter. The rhyme scheme of these lines is "ababbcbcc."
A ballad is a form of verse, often a narrative and set to music. Ballads were particularly characteristic of British and Irish popular poetry and song from the later medieval period until the 19th century and used extensively across Europe and later North America, Australia and North Africa. Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century it took on the meaning of a slow form of popular love song and the term is now often used as synonymous with any love song.
The sonnet is one of the poetic forms that can be found in lyric poetry from Europe. The term "sonnet" derives from the Occitan word sonet and the Italian word sonetto, both meaning "little song". By the thirteenth century, it had come to signify a poem of fourteen lines that follows a strict rhyme scheme and specific structure. The conventions associated with the sonnet have evolved over its history. The writers of sonnets are sometimes referred to as "sonneteers," although the term can be used derisively. One of the best-known sonnet writers is William Shakespeare, who wrote 154 of them (not including those that appear in his plays). A Shakespearean, or English, sonnet consists of 14 lines, each line containing ten syllables and written in iambic pentameter, in which a pattern of an unemphasized syllable followed by an emphasized syllable is repeated five times. The rhyme scheme in a Shakespearean sonnet is ababcdcdefef gg; the last two lines are a rhyming couplet.
Traditionally, English poets employ iambic pentameter when writing sonnets. In the Romance languages, the hendecasyllable and Alexandrine are the most widely used metres.
Romanticism is a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Western Europe, and gained strength in reaction to the Industrial Revolution.[1] In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature,[2] and was embodied in the visual arts, music, and literature.
The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as trepidation, horror and terror and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.
Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative perceived to be authentically medieval, in an attempt to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the exotic, unfamiliar, and distant in modes more authentic than chinoiserie, harnessing the power of the imagination to envision and to escape.
The modern sense of a romantic character may be expressed in Byronic ideals of a gifted, perhaps misunderstood loner, creatively following the dictates of his inspiration rather than the mores of contemporary society.
Although the movement is rooted in the German Sturm und Drang movement, which prized intuition and emotion over Enlightenment rationalism, the ideologies and events of the French Revolution laid the background from which Romanticism and the Counter-Enlightenment emerged. The confines of the Industrial Revolution also had their influence on Romanticism, which was in part an escape from modern realities; indeed, in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism.[3] Romanticism elevated the achievements of what it perceived as heroic individualists and artists, which would elevate society. It also legitimized the individual imagination as a critical authority which permitted freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a zeitgeist, in the representation of its ideas.
The word carol is derived from the Old French word carole, a circle dance accompanied by singers (in turn derived from the Latin choraula). Carols were very popular as dance songs from the 1150s to the 1350s, after which their use expanded as processional songs sung during festivals, while others were written to accompany religious mystery plays (such as the Coventry Carol, written in 1591).[1]
Following the Protestant Reformation (and the banning of many religious festivities during the British Puritan Interregnum), carols went into a decline due to Calvinist aversion to "nonessential" things associated with Roman Catholicism. However, composers such as William Byrd composed motet-like works for Christmas that they termed carols; and folk-carols continued to be sung in rural areas. Nonetheless, some famous carols were written in this period, including 'The Holly and the Ivy' and they were more strongly revived from the nineteenth century and began to be written and adapted by eminent composers.[2]
In modern times, songs that may once have been regarded as carols are now classified as songs (especially Christmas songs), even those that retain the traditional attributes of a carol - celebrating a seasonal topic, alternating verses and chorus, and danceable music.
Some writers of carols, such as George Ratcliffe Woodward who wrote Ding Dong Merrily on High and William Morris who wrote Masters in this Hall, reverted to a quasi-mediaeval style; this became a feature of the early twentieth century revival in Christmas Carols.
Some composers have written extended works based on carols. Examples include Benjamin Britten (A Ceremony of Carols), Ralph Vaughan Williams (Fantasia on Christmas Carols) and Victor Hely-Hutchinson (Carol Symphony).
In the philosophy of perception, critical realism is the theory that some of our sense-data (for example, those of primary qualities) can and do accurately represent external objects, properties, and events, while other of our sense-data (for example, those of secondary qualities and perceptual illusions) do not accurately represent any external objects, properties, and events.
Contemporary critical realism most commonly refers to a philosophical approach associated with Roy Bhaskar. Bhaskar's thought combines a general philosophy of science (transcendental realism) with a philosophy of social science (critical naturalism) to describe an interface between the natural and social worlds. Critical realism can, however, refer to several other schools of thought, such as the work of the American critical realists (Roy Wood Sellars, George Santayana, and Arthur Lovejoy). The term has also been appropriated by theorists in the science-religion interface community. The Canadian Jesuit Bernard Lonergan developed a comprehensive critical realist philosophy and this understanding of critical realism dominates North America's Catholic Universities.
英雄双韵体的概述
英雄双韵体（Heroic Couplet）英雄双韵体由第一位桂冠诗人约翰 德莱顿首创并命名，并领导了英国17-18世纪的诗风。有很多相关资料认为，最早广泛使用英雄双韵体的作家是乔叟，因此英雄双韵体是乔叟创造的，这一回答并不全面，且有失偏颇。英雄双韵体不是简单的韵律概念，还是个风格与格式概念。乔叟确实写过双行体，却从来没有写过英雄双行体的诗。当时流行十音步双行体decasyllbic couplet，在乔叟的诗中，经常能看到这种双句押尾韵的形式，但这还不是英雄双行体，只是十音步双行体的句子而已。英雄双韵体的发展和形成经历了很长时间，到德莱顿时基本定型，文学评论界对英雄双韵体的界定是有严格定义的。一般来说需满足以下几个条件。1、五音步抑扬格 2、押尾韵对偶句 3、韵尾为AA BB CC DD......不重复。4、风格简洁。当一首诗中仅有几个满足以上条件的对偶句，其余大部分诗句都无法满足上述条件时，这首诗就不能称之为英雄双韵体。正如李白写的长诗中碰巧有两句七言诗，你不能说整首长诗就是七言绝句，也从没有人会把《将进酒》之类的长诗称作绝句。简单来说，德莱顿之前的诗句，不应该称之为英雄双行体，因为他是第一个创作这种体裁诗作的作家。德莱顿之前的诗句，包括乔叟所创作的诗句在内，应称之双行体，与英雄双行体形式和风格相近的诗句，应称为十音步双行体。事实上，双行体是英国诗歌的主要表现形式，各种韵律格式都有，乔叟时代属于百花齐放时代，乔叟不仅写过十音步双行体，还写过其他音步的双行体，但乔叟并没有将十音步双行体当做一种体裁来写，而是作为诗中的元素穿插其间。不管是乔叟，还是莎士比亚，都没有听说过英雄双行体这个名词，也意识不到这会是未来一种统治诗坛的文学体裁的萌芽。
对联用英语怎么说?
对联的英语：couplet，读音：英 [ˈkʌplət]，美 [ˈkʌplət]。例句：1、This antithetical couplet is my father's handwriting.这幅对联是父亲的亲笔。2、House decoration One of the house decorations is to post couplets on doors.房屋装饰房屋装饰之一就是在门上贴对联。重点词汇：house 房屋 ; 房子 ; 住宅 ; 住在一所房子里的人 ; 全家人 ; 某种用途的建筑物 ; 大厦，大楼 ; 公司，机构 ; 餐馆 ; 议院 ; 下议院，上议院 ; 参与辩论的人 ; 观众席 ; 英国某些学校为进行体育比赛或按宿舍将学生分成的）社，舍 ; 名门世家 ; 给提供住处 ; 是的贮藏处 ; 收藏 ; 安置。decorations 装饰品 ; 装饰图案 ; 装饰风格 ; decoration的复数。post 邮递 ; 邮政 ; 邮寄 ; 邮寄的信函 ; 邮件 ; 收集邮件的时间 ; 邮班 ; 职位 ; 哨所 ; 柱 ; 终点，终点标志 ; 寄 ; 把投入邮筒 ; 投递 ; 把…放入 ; 派驻 ; 使驻守 ; 张贴 ; 发布，公布，宣布 ; 交付。couplets 对句 ; 对联 ; couplet的复数。doors 门 ; 出入口 ; 门口 ; 门边 ; 门旁 ; door的复数。
贴对联的英语怎么写
贴对联的英语怎么写 贴对联是过年的一个习俗，那么大家知道怎么用英语介绍贴对联这个习俗吗？以下是我精心准备的贴对联的英语介绍，大家可以参考以下内容哦！ 春节习俗英语介绍中英对照【1】 贴春联 Pasting Spring Couplets “The Spring Couplet”, also called “couplet” and “a pair of antithetical phrases”, is a special form of literature in China. The Spring Couplet is composed of two antithetical sentences on both sides of the door and a horizontal scroll bearing an inscription, usually an auspicious phrase, above the gate. The sentence pasting on the right side of the door is called the first line of the couplet and the one on the left the second line. On the eve of the Spring Festival, every household will paste on doors a spring couplet written on red paper to give a happy and prosperous atmosphere of the Festival. In the past, the Chinese usually wrote their own spring couplet with a brush or asked others to do for them, while nowadays, it is common for people to buy the printed spring couplet in the market. “春联”也被称为和“对联”对立的一对短语，在中国是一种特殊的文学形式。春联是由贴在门口两侧两组对立的句子组成，在门上面的横批通常是一个吉祥的短语。贴在门右侧的句子被称作对联的上联，左侧的为下联。除夕那天，每家都会在门上贴上红纸写的春联，传递出节日喜庆和热闹的气氛。在过去，中国人通常用毛笔自己写春联或者请别人写春联，而现在，人们普遍在市场上买印刷好的'春联。 贴对联的英语介绍【2】 Spring scrolls and New Year paintings are always stuck on the doors and walls of a family. The content of the spring scrolls are various. Generally, the scrolls stuck on the door is to show the family status and the happiness to welcome the New Year; walking in, you will see the scroll about luck, such as "Raise your head and see happiness (Tai Tou Jian Xi)" and "Everything looks fresh and gay"; on the door of the room, there are always scrolls about longevity and blessing; on the door of shops always write wishes for prosperous business; beside the kitchen god's portrait, the scroll with earnest hope is stuck; on the grain bin, wishes for good harvest are written... 春联和年画通常会贴在家中的门上和墙上，内容丰富各异。通常，门上的春联会代表着这家人的地位，以及对新年的期盼。你会发现和“运气”相关的春联，比如“抬头见囍”或是“事事如新”;房门上贴着和长寿祝愿相关的春联;商店里会贴着生意兴隆的春联;厨房灶神旁贴着诚挚的祝愿;粮仓里贴着来年丰收的愿望…… But the families could not stick New Year scrolls for three years if some of their relatives has/have passed away. The most popular contents of the New Year paintings are mainly chicken, fish, children, flowers and the god of wealth. In some places, red paper-cuts are posted to the window. 不过当家中有亲人过世，则三年不能贴春联。最受欢迎的年画内容包括鸡、鱼、小孩、花和财神。在有的地方剪贴画也会贴在窗上 。 英语对联【3】 1、 上联：Great peace great wealth and great luckily.(大顺大财大吉利) 下联：New year new joys and new century.(新春新喜新世纪) 横批： Everything goes well.(万事如意) 2、 上联：The old year leaves amidst the falling snow. (瑞雪纷飞辞旧岁) 下联：The new spring comes with the shining glow. (旭日东升迎新春) ;
