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文学批评术语词典
文学批评术语词典是一本汇集了文学批评领域常用术语、概念和理论的专业工具书。
它可以帮助读者更好地理解文学批评的理论基础和实践应用，是文学研究者和爱好者必备的参考书。
以下是文学批评术语词典中收录的一些重要术语：
1. 文本（Text）：指文学作品本身，包括小说、诗歌、戏剧等。
2. 语境（Context）：指文学作品所处的历史、社会、文化背景等。
3. 意图（Intent）：指作者的创作意图，即作者在创作过程中想要表达的思想、情感或主题。
4. 读者反应（Reader Response）：指读者在阅读文学作品时所产生的感受、理解和评价。
5. 形式主义（Formalism）：指将文学作品视为独立自足的文本，忽略其历史、社会和文化背景等外部因素。
6. 符号学（Semiotics）：研究符号系统的科学，涉及语言、文字、图像等符号的生成、传播和解释。
7. 叙事学（Narratology）：研究叙事作品的形式、结构和技巧的科学。
8. 接受美学（Reception Aesthetics）：强调读者在阅读过程中的主体性和创造性，认为作品的意义是在读者的参与下生成的。
9. 结构主义（Structuralism）：将文学作品视为一个整体，研究其内在的结构、关系和规律。
10. 后结构主义（Poststructuralism）：对结构主义的批判和超越，强调个体主体性和文本的开放性。
这只是一小部分文学批评术语的示例，实际上，文学批评领域的术语极为丰富多样。
文学批评术语词典将会对深入理解文学批评的概念和理论提供极大的帮助。
中文文学术语
1.叙事-指文本中叙述故事的方式和手法，包括时间序列、情感表达、人物塑造等方面。
2. 描写 - 指文本中对人物、物品、场景等进行具体生动的描述，展现出视觉、听觉、嗅觉、味觉等方面的细节。
3. 意象 - 指文本中使用形象的语言表达出来的抽象概念，如比喻、拟人等手法。
4. 比喻 - 指通过对两个事物的相似点进行比较，以达到给读者新的感受或理解的修辞手法。
5. 拟人 - 指将无生命的事物赋予人类的特征和行为，来表达作者的情感或增强作品的艺术效果。
6. 反讽 - 指通过说出与实际相反的话，以表达出作者的反感、批评或嘲讽。
7. 对比 - 指通过对两个相似或不同的事物进行对照，来突出文本中的主题、情感等。
8. 押韵 - 指文本中出现两个或多个音节相同的词汇，以增强诗歌、歌曲等的韵律美感。
9. 音律 - 指文本中音节的节奏、语调、音量等方面的组合，以产生艺术效果。
10. 主旨 - 指文本中的核心思想和主题，是作者所要表达的意义和观点。
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文学术语Terms in English Literature1.Allegory (寓言)A tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities.寓言，讽喻：一种文学、戏剧或绘画的艺术手法，其中人物和事件代表抽象的观点、原则或支配力。
2.Alliteration (头韵)Alliteration is the repetition of the same initial consonant sound within a line or a group of words.头韵：在一组词的开头或重读音节中对相同辅音或不同元音的重复。
3.Allusion (典故)A reference to a person, a place, an event, or a literary work that a writer expects the reader to recognize and respond to.典故：作者对某些读者熟悉并能够做出反映的特定人物，地点，事件，文学作品的引用。
4.Analogy (类比)A comparison made between two things to show the similarities between them.类比：为了在两个事物之间找出差别而进行的比较。
5. Antagonist (反面主角)The principal character in opposition to the protagonist or hero or heroineof a narrative or drama.反面主角：叙事文学或戏剧中与男女主人公或英雄相对立的主要人物。
6. Antithesis (对仗)The balancing of two contrasting ideas, words, or sentences.对仗：两组相对的思想，言辞，词句的平衡。
文学理论名词解释文学作为一门综合性学科，涵盖了丰富的理论体系和名词术语。
以下是对几个常见文学理论名词的解释。
1. 传统文学：传统文学是指以传统为基础的文学作品，它包括具有历史悠久的文化传统和价值体系的文学作品。
传统文学是一个国家或地区文化的重要组成部分，它承载着丰富的民族智慧和文化传承。
2. 恐怖主义：恐怖主义是一种文学创作风格，以探索人类心灵的恐惧与邪恶为主题。
这种文学作品通常通过描述恐怖和可怕的场景，展示人类内心的黑暗面，引发读者的恐慌和恐惧。
3. 解构主义：解构主义是一种批评理论，旨在揭示文本的内部矛盾、不稳定和多义性。
它强调语言的不确定性和无法确定的意义，通过对文本进行分析和反思，揭示隐含的权力关系和主导意识形态。
4. 启示文学：启示文学是指通过对神秘、超自然和灵感的探索，提供人类教诲和指导的文学作品。
这种文学作品通常涉及到宗教、神话和奇迹等元素，以展现人类灵魂的拯救和超越。
5. 后现代主义：后现代主义是对现代主义的回应和批判，它强调多样性、相对性和破碎性。
后现代主义的文学作品通常采用碎片化的叙事结构、模拟和拼贴等技巧，反映了当代社会的混乱和无序。
6. 关联主义：关联主义是一种文学流派，强调文本中的意象、象征和隐喻。
通过将不同的意象相互联系，关联主义试图传递出文学作品深层次的主题和情感。
7. 同情文学：同情文学是一种以表达同情和共鸣情感为目的的文学作品。
它通常关注社会弱势群体的遭遇和苦难，通过展示人性的善良和人道主义的情感，呼吁读者关注社会的不公和不平等。
8. 文化研究：文化研究是对文化现象和文化表达的跨学科研究领域。
它关注文化的产生、传播和演变，并探讨文化与权力、性别、种族等因素的相互关系。
文化研究旨在揭示文化的意义和社会的文化动态。
以上是对几个常见文学理论名词的简要解释，每个名词都有其独特的含义和研究领域。
深入理解这些概念可以帮助我们更好地理解和分析文学作品，并提高对文学的欣赏和理解能力。
文学术语Terms in English Literature1. A llegory ( 寓言)A tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities.寓言，讽喻：一种文学、戏剧或绘画的艺术手法，其中人物和事件代表抽象的观点、原则或支配力。
2. A lliteration ( 头韵)Alliteration is the repetition of the same initial consonant sound within a line or a group of words.头韵：在一组词的开头或重读音节中对相同辅音或不同元音的重复。
3. A llusion ( 典故)A reference to a person, a place, an event, or a literary work that a writer expects the reader to recognize and respond to.典故：作者对某些读者熟悉并能够做出反映的特定人物，地点，事件，文学作品的引用。
4. A nalogy ( 类比)A comparison made between two things to show the similarities between them.类比：为了在两个事物之间找出差别而进行的比较。
5. Antagonist ( 反面主角)The principal character in opposition to the protagonist or hero or heroine of a narrative or drama.反面主角：叙事文学或戏剧中与男女主人公或英雄相对立的主要人物。
6. Antithesis ( 对仗)The balancing of two contrasting ideas, words, or sentences.对仗：两组相对的思想，言辞，词句的平衡。
英美文学常用术语及解释下面是店铺整理的一些英美文学常用术语及解释，希望对大家有帮助。
01. Allegory(寓言)Allegory is a story told to explain or teach something. Especially a long and complicated story with an underlying meaning different from the surface meaning of the story itself.2>allegorical novels use extended metaphors to convey moral meanings or attack certain social evils. characters in these novels often stand for different values such as virtue and vice.3>Bunyan’s Pilgrim’s Progress, Melville’s Moby Dick are such examples.02. Alliteration(头韵)Alliteration means a repetition of the initial sounds of several words in a line or group.2>alliteration is a traditional poetic device in English literature.3>Robert Frost’s Acq uainted with the Night is a case in point:” I have stood still and stopped the sound of feet”03. Ballad(民谣)Ballad is a story in poetic from to be sung or recited. in more exact literary terminology, a ballad is a narrative poem consisting of quatrains of iambic tetrameter alternating with iambic trimester.(抑扬格四音步与抑扬格三音步诗行交替出现的四行叙事诗)2>.ballads were passed down from generation to generation.3>Coleridge’s The Rime of the Ancient Mariner is a 19th century English ballad.04. epic(史诗)Epic, in poetry, refers to a long work dealing with the actionsof goods and heroes.2>Epic poems are not merely entertaining stories of legendary or historical heroes; they summarize and express the nature or ideals of an entire nation at a significant or crucial period of its history.3>Beowulf is the greatest national Epic of the Anglo-Saxons.05. Lay(短叙事诗)It is a short poem, usually a romantic narrative, intended to be sung or recited by a minstrel.06. Romance(传奇)Romance is a popular literary form in the medic England.2>it sings knightly adventures or other heroic deeds.3>chivalry is the spirit of the romance.07. Alexandrine(亚历山大诗行)The name is derived from the fact that certain 12th and 13th century French poems on Alexander the Great were written in this meter.2>it is an iambic line of six feet, which is the French heroic verse.08. Blank Verse(无韵诗或素体广义地说)Blank verse is unrhymed poetry. Typically in iambic pentameter, and as such, the dominant verse forms of English dramatic and narrative poetry since the mid-16th century.09. Comedy(喜剧)Comedy is a light form of drama that aims primarily to amuse and that ends happily. Since it strives to provoke smile and laughter, both wit and humor are utilized. In general, the comic effect arises from recognition of some incongruity of speech, action, or character revelation, with intricate plot.10. Essay(随笔)The term refers to literary composition devoted to the presentation of the writer’s own ideas on a topic and generally addressing a particular aspect of the subject. Often brief in scope and informal in style, the essay differs from such fomal forms as the thesis, dissertation or treatise.11. Euphuistic style(绮丽体)Its principle characteristics are the excessive use of antithesis, which is pursued regardless of sense, and emphasized by alliteration and other devices; and of allusions to historical and mythological personages and to natural history drawn from such writers as Plutarch(普卢塔克), Pliny(普林尼), and Erasmus(伊拉兹马斯).2>it is the peculiar style of Euphues(优浮绮斯)12. History Plays(历史剧)History plays aim to present some historical age or character, and may be either a comedy or a tragedy. They almost tell stories about the nobles, the true people in history, but not ordinary people. the principle idea of Shakespeare’s history plays is the necessity for national unity under a mighty and just sovereign.13. Masques or Masks(假面剧)Masques (or Masks) refer to the dramatic entertainments involving dances and disguises, in which the spectacular and musical elements predominated over plot and character. As they were usually performed at court, often at very great expense, many have political overtones.14. Morality plays(道德剧)A kind of medic and early Renaissance drama that presents the conflict between the good and evil through allegorical characters. The characters tend to be personified abstractions of vices and virtues, which can be named as Mercy. Conscience, etc. unlike a mystery or a miracle play, morality play does notnecessarily use Biblical or strictly religious material because it takes place internally and psychologically in every human being.15.Sonnet(十四行诗)It is a lyric poem of 14 lines with a formal or recited and characterized by its presentation of a dramatic or exciting episode in simple narrative form.2>it is one of the most conventional and influential forms of poetry in Europe.3>Shakespeare’s sonnets are well-known.16. Spenserian Stanza(斯宾塞诗节)Spenserian Stanza is the creation of Edmund spenser.2>it refers to a stanza of nine lines, with the first eight lines in iambic pentameter(五音步抑扬格) and the last line in iambic hexameter(六音步抑扬格),rhyming ababbcbcc. 3>Spenser’s the Faerie Queen was written in this kind of stanza.17. Stanza(诗节)Stanza is a group of lines of poetry, usually four or more, arranged according to a fixed plan.2>the stanza is the unit of structure in a poem and poets do not vary the unit within a poem.18. Three Unities(三一原则)Three rules of 16th and 17th century Italian and French drama, broadly adapted from Aristotle’s Poetics<诗学>:2>the unity of time, which limits a play to a single day; the unity of place, which limits a play’s setting in a single location; and the unity of action, which limits a play to a single story line.19. Tragedy(悲剧)In general, a literary work in which the protagonist meets an unhappy or disastrous end. Unlike comedy, tragedy depicts the actions of a central character who is usually dignified or heroic.20.Conceit(奇特比喻)Conceit is a far-fetched simile or metaphor, a literary conceit occurs when the speaker compares two highly dissimilar things.2>conceit is extensively employed in John Donne’s poetry.21.Metar(格律)The word”meter” is derived from the Greek word”metron” meaning”measure”.2>in English when applied to poetry, it refers to the regular pattern of stressed and unstressed syllables.3>the analysis of the meter is called scansion(格律分析)22. University Wits(大学才子)University Wits refer to a group of scholars during the Elizabethan Age who graduated from either oxford or Cambridge. They came to London with the ambition to become professional writers. Some of them later became famous poets and playwrights. They were called” University Wits”23.Foreshadowing(预兆)Foreshadowing, the use of hints or clues in a novel or drama to suggest what will happen next. Writers use Foreshadowing to create interest and to build suspense.method used to build suspense by providing hints of what is to come.24. Soliloquy(独白)Soliloquy, in drama, means a moment when a character is alone and speaks his or her thoughts aloud..2>the line“to be, or no t to be, that is the question”, which begins the famous soliloquy from Shakespeare’s Hamlet.25.Narrative Poem(叙述诗)Narrative Poem refers to a poem that tells a story in verse,2>three traditional types of narrative poems include ballads,epics, metrical romances.3>it may consist of a series of incidents, as John Milton’s paradise lost.26.Robin Hood(罗宾.豪)Robin hood is a legendary hero of a series of English ballads, some of which date from at least the 14th century.2>the character of Robin Hood is many-sided. Strong, brave and intelligent, he is at the same time tender-hearted and affectionate.3>the dominant key in his character is his hatred for the cruel oppression and his love for the poor and downtrodden.4>another feature of Robin’s view is his reverence for the king, Robin Hood was a people’s hero.27. Beowulf(贝奥武甫)Beowulf, a typical example of old English poetry, is regarded as the greatest national epic of t he Anglo-Saxons. 2>the epic describes the exploits of a Scandinavian hero, Beowulf, in fighting against the monster Grendel, his revengeful nother, and a fire-breathing dragon in his declining years. While fight against the dragon, Beowulf was mortally wounded, however, he killed the dragon at the cost of his life, Beowulf is shown not only as a glorious hero but also as a protector of the people.28. Baroque(巴罗克式风格)This is originally a term of abuse applied to 17th century Italian art and that of other countries. It is characterized by the unclassical use of classical forms, in a literary context; it is loosely used to describe highly ornamented verse or prose, abounding in extravagant conceits.这原本是用来指17世纪的意大利艺术和其他国家艺术滥用的一个术语.这种风格主要是指对古典形式的非古典运用.在文学领域,这种风格松散地用来指十分雕饰的,大量运用奇思妙想的诗歌或散文.29. Cavalier poets(骑士派诗人)A name given to supporters of Charles I in the civil war. These poets were not a formal group, but all influenced by Ben Jonson and like him paid little attention to the sonnet. Their lyrics are distinguished by short lines, precise but idiomatic diction, and an urbane and graceful wit.30. Elegy(挽歌)Elegy has typically been used to refer to reflective poems that lament the loss of something or someone, and characterized by their metrical form.31. Restoration Comedy(复辟时期喜剧)Restoration Comedy, also the comedy of manners, developed upon the reopening of the theatres after the re-establishment of monarchy with the return of Charles II.. Its predominant tone was witty, bawdy, cynical, and amoral. Standard characters include fops, bawds, scheming valets, country squires, and sexually voracious young widows and older women. The principle theme is sexual intrigue, either for its own sake or for money.复辟时期的喜剧,又称社会习俗讽刺喜剧,是在查理二世君主复辟后剧院重新开业的基础上发展起来的,其主要的基调是诙谐,淫秽,挖苦和非道德.标准的角色包括花花公子,鸨母,诡计多端的仆人,乡绅,性欲旺盛的年轻寡妇和老女人.主要的主题是奸情,有的是为了性,有的是为了钱.。
文学名词解释文学名词是用来描述文学作品、文学现象或文学理论的专门术语。
以下是一些常见的文学名词的解释：1. 小说：一种长篇故事性的文学作品，通常包含人物、情节和背景设置。
2. 诗歌：一种利用韵脚、节奏和意象等修辞手法表达思想和情感的文学形式。
3. 戏剧：一种通过角色的对话和行动来表达情节、观点和主题的文学作品，也可以指演出的艺术形式。
4. 散文：一种不使用诗歌形式的散文作品，以叙事、描写和议论为特点。
5. 史诗：一种叙述英雄传奇或重大历史事件的叙事诗歌形式。
6. 寓言：一种通过虚构的故事来传递道德或寓意的文学形式，常常包含人物化的动物或物体。
7. 韵文：一种使用韵脚的诗歌形式。
8. 抒情诗：一种表达作者个人情感和体验的诗歌形式。
9. 叙事诗：一种通过叙述来讲述故事或事件的诗歌形式。
10. 渲染：一种通过描写细节和氛围来表达情感或场景的文学技巧。
11. 刻画：一种通过描写人物的外貌、个性、思想和情感来使其栩栩如生的文学技巧。
12. 比喻：一种通过将一个事物与另一个事物进行类比来传递意义的修辞手法。
13. 暗示：一种通过暗示或间接暗示来传递意义或创造悬念的修辞手法。
14. 反讽：一种通过用词或语气的反差来传递愤怒、嘲笑或讽刺的修辞手法。
15. 典型：一种具有普遍性和代表性的文学人物、情节或主题。
16. 悬念：一种通过悬而未决的情节发展来引发读者的紧张感和好奇心的文学技巧。
17. 主题：一种作品中表达的基本思想、观点或价值观。
18. 道德：一种在作品中传递的道德准则或价值观。
19. 简洁：一种通过言简意赅地表达思想和情感的文学风格。
20. 风格：作家独特的写作方式，包括词语选择、句法结构和修辞手法等。
这些文学名词的解释可以帮助读者更好地理解和欣赏文学作品，同时也可以用于文学研究和批评中。
An Introduction to Old and Medieval English Literature(450—1066)Definitions of Literary Terms(名词解释与文学术语)1. Couplet 对句( 指两行尾韵相谐的诗句) A couplet is two consecutive lines of poetry that rhyme. The couplet composed of two iambic pentameter lines (五音步抑扬格诗行)—more commonly known as the heroic couplet ( 英雄偶句诗)—--is the most favored form.2. Elegy哀歌、挽歌 A poem of mourning, usually over the death of an individual. It may also be a lament over the passing of life and beauty or a meditation on the nature of death. An elegy is a type of lyric poem, usually formal in language and structure.3. Epic 史诗An epic is a long narrative poem telling about the deeds of a great hero and reflecting the values of the society from which it originated. Many epics were drawn from an oral tradition and were transmitted by song and recitation before they were written down.4. Exodus 《出埃及记》The second book of the Old Testament, containing an account of the departure of the Israelites from Egypt under the leadership of Moses.5. Genesis A：《创世纪》The second book of the Old Testament, containing an account of the departure of the Israelites from Egypt under the leadership of Moses.6. Homer 荷马Greek epic poet, probably of the 8th century BC, to whom are ascribed the Iliad ( 《伊利亚特》) and Odyssey (《奥德赛》). Nothing is known about his life, nor even of the genesis of the poems.7. Iambic pentameter 五音步抑扬格：英诗的韵律主要包括两方面的内容: 1) 每个音步中轻重音节的排列形式, 即格律。
高二英语文学作品分析术语表1. 幽默（Humor）：用于在文学作品中创造笑料和引起观众开心的技巧或手法。
2. 叙述（Narration）：将事件或情节以一定的方式进行组织和呈现的行为。
3. 描写（Description）：使用生动的语言和艺术手法来刻画人物、情节、地点等的行为。
4. 比喻（Metaphor）：通过将一个事物与另一个看似不相关的事物进行类比，以便传达一种隐喻意义的修辞手法。
5. 暗示（Foreshadowing）：用于提前暗示或预示故事中将要发生的事情的技巧，常常给读者留下悬念。
6. 反讽（Irony）：意指事与愿违的情况，或言外之意与表面意思相反的修辞手法。
7. 对比（Contrast）：通过展示两个或多个事物之间的差异，以突出其中之一的技巧。
8. 转折（Plot twist）：在故事中出现的出人意料的事件或情节发展，能够给故事增添戏剧性和悬念。
9. 水墨（Ink wash）：一种以水和墨汁为主要材料的绘画技巧，常用于描绘中国山水画或传统人物画中。
10. 反派角色（Antagonist）：故事中与主人公发生冲突或是主要阻碍主人公实现目标的角色。
11. 意象（Imagery）：通过艺术化的文字描述，使读者能够感觉到故事中的画面、声音、味道、触感等。
12. 主题（Theme）：文学作品或故事中探讨的中心思想、观点或教训。
13. 隐喻（Symbolism）：使用一个事物来代表另一个或多个更深远的含义的修辞手法。
14. 直喻（Simile）：通过明确地使用“像”或其他比较性词语来进行比较的修辞手法。
15. 快节奏（Fast-paced）：用来描述故事发展迅速，情节紧凑，节奏感强的作品。
16. 指代（Reference）：通过使用代词或其他词语来指代先前已提及的事物。
17. 情感描写（Emotional description）：描述人物内心感受或情绪状态的文学技巧。
18. 反英雄（Anti-hero）：具有明显缺点或矛盾性格的主人公角色。
文学批评术语词典全文共四篇示例，供读者参考第一篇示例：文学批评术语词典是文学批评领域中的重要工具，用来解释和定义文学批评中常见的术语和概念，帮助读者更好地理解文学作品的含义和背景。
本文将介绍一些常见的文学批评术语，并给出详细的解释和示例。
一、文学批评的基本概念1.文学批评（Literary Criticism）：是对文学作品的分析和评价，旨在揭示作品的内涵、结构和意义，帮助读者更好地理解和欣赏作品。
3.文学评价（Literary Evaluation）：是评价文学作品的价值和质量，包括对作品的美学、道德和文化价值的评价。
二、常见文学批评术语1.主题（Theme）：作品所表达的中心思想或主旨，是贯穿作品始终的核心内容。
《红与黑》的主题是爱情与权力的冲突。
2.情节（Plot）：作品的故事情节或情节结构，包括情节的开端、发展和高潮。
《小王子》的情节围绕着小王子和狐狸之间的友谊展开。
3.人物（Character）：作品中的角色或人物形象，包括主角、配角和背景人物。
《简·爱》中的简是一个勇敢、坚强而又独立的女性形象。
4.象征主义（Symbolism）：作品中运用象征符号来表达和暗示深层含义和思想。
《老人与海》中的海洋象征着生命的无穷力量和挑战。
5.意象（Imagery）：作品中通过形象、视觉感受和情感感受来塑造作品的意境和氛围。
《百年孤独》中的繁华热闹的马孔多镇是一个充满奇幻和奇迹的幻想之地。
6.叙事者（Narrator）：讲述作品故事的角色或者视角，包括第一人称叙述和第三人称叙述。
《了不起的盖茨比》中的叙述者尼克是一个第一人称叙述者，观察并叙述了盖茨比的故事。
7.调性（Tone）：作品的语言和态度,体现了作者的主观情感和态度。
《白鲸》的调性严肃庄重，充满宏大的氛围。
8.风格（Style）：作者在作品中使用的语言、结构和表现手法，体现了作者的个人风格和创作特点。
《唐吉可德》的风格是幽默夸张，充满讽刺意味。
① A term applied to a number of works in drama and prose fiction which have in common the sense that Human condition is essentially absurd which can be represented in works of literature that are themselves absurd.②After the 1940s,there was a widespread tendency,especially prominent in the existential philosophy of letters such as Sartre and Albert Camus to view a human being as isolated existent who is cast into alien universe which conceive no inherent truth,value or meaning to represent human life --in its fruitless search for purpose and meaning.③Samuel Beckett in his Waiting for Godot project the irrational ,helpless,absurdity of life in dramatic form that reject realistic setting,logic reasoning or a coherent evolving plot.1)In his Epic Theater,the German dramatist Brecht adapted theRussian Formalist concept of defamiliarization into what he called alienation effect.2)This effect Brecht said is to make the familiar aspect of present socialreality seem strange so to prevent the emotional identification and involvement of the audience with the character and their actions into a play.aim was to evoke a critical distance and attitude in thespectators,in order to arose them to take action against, rather than simply to accept the state of society and behavior represented on the stage.①The term Canon was used in literary application to signify the list of secular works accepted by experts as genuinely written by a particular author.②The factors in the process of canon formation are complex and disputed. However, it seems clear,that the process involve , among other conditions ,concurrence of critics,scholars and authors with diverse viewpoints and sensibilities,the persistent influence,the frequent reference to an author or work within the discourse of a cultural community,and the widespread assignment of an author or text in school and college curricula. Such factors are mutually interacted and need to be sustained over a period of time.③At any time, the boundaries of literary canon remain indefinite,while inside those boundaries some authors are central and others more marginal since the 1970s ,the nature of canon formation and opposition to establishing literary canons, have become a leading concern among critics of diverse viewpoints whether deconstructive, feminist ,postcolonial or new historicist.④ A wild spread change is that the standard canon of great bookshas been determined less by artistic excellence,but by its politics of power ,that is the canon has been formed in accordance with the ideology ,political interest and value of elite class that was white,male and European. The demand is “to open the canon”so as to make it multicultural and make it represent the achievement of a large of writers.1) A term developed in psychoanalysis to describe a continualfluctuation between wanting one thing and wanting its opposite.Adapted into colonial discourse theory by Homi Bhabha,it describes the complex mix of attraction and repulsion that characterizes the relationship between colonizer and colonized.2)Ambivalence disrupts the clear-cut authority of colonialdomination.As the colonial discourse wants to produce compliant subjects who reproduce its assumption ,habits and values. But ambivalent subject whose mimicry is never far from mockery produced a profound disturbance of the authority of colonial discourse in the fluctuating existence .3)Both Bhabha and Robert.Young think it is not a simply reversal ofbinary,for both colonizing and colonized subjects are implicated in the ambivalence of colonial discourse. The concept is related to hybridity, because just as ambivalence decenters authority form its position of power,so that authority may also become hybridized whenplaced in a colonial context in which it finds itself dealing with and often inflected by other culture.①In hoticulture, the term refers to the cross-breeding of two species. It also takes many forms in language as “pidgin”,in cultural ,political area.etc. In “The Dialogic Imagination” Bahkin uses it to suggest the disruptive and transfiguring power of multivocal language.②It is a wildly used but disputed term in post-colonial theory. It refers to the creation of new transcultural forms within the contact zone produced by colonization. The term has been most recently associated with the work of Homi. Bhabha. Bhabha contends that all cultural statements and systems are constructed in a space that he calls “The Third Space”.Cultural identity also emerge in this contradictory and ambivalent space which makes the claim to hierarchical purity of cultures untenable.It is the in-between space that carries the burden and meaning of culture,and this is what makes the notion of hybridity so important.③This term has also been criticized as it usually implies negating and neglecting the imbalence and inequality of the power relations it references.Robert Young warns us to avoid the unconscious process of hybridity, when talking about hybridity ,the contemporary cultural discourse can not escape the connection with the racial categories of the past in which hybridity had such a clear racial meaning.④Theories of hybrid nature of post-colonial culture assert a different mode of resistance,locating this in the subversive counter-discursive practices implicit in colonial ambivalence and so undermining the vary basis on which imperialist and colonialist discourse raises its claims of superiority.1)An increasingly important term in post-colonial theory,because it hascome to describe the ambivalent relationship between colonizer an colonized. When colonial discourse encourages the colonized subject to “mimic”the colonizer,by adopting its cultural habits,assumptions,intuitions and values,the result is never a simple reproduction of those traits. Rather,the result is a “blurred copy”of the colonizer that can be quite threatening.2)Mimicry reveals the limitation in the authority of colonialdiscourse ,almost as though colonial authority inevitably embodies the seeds of its own destruction.Mimicry therefore locates a crack in the certainty of colonial dominance,an uncertainty in its control of the behavior of the colonizedAgency①Agency refers to the ability to act or perform an action. In contemporary theory,it hinges on the question of whether individual can freely and autonomously initiate action, or the things they do are in somesense determined by the ways in which their identity has been constructed.②It is particularly important in post-colonial theory because it refers to the ability of post-colonial subjects to initiate action in engaging or resisting imperial power.Since human subjectivity is constructed by ideology,language and discourse ,any action performed by that subject must also be to some extent a consequence of those things.It may be difficult for subject to escape the effects of those forces that construct them.1)It refers to the rejection by post-colonial writers of a normativeconcept of “correct’ or “standard” English used by certain classes or groups,and of the corresponding concepts of inferior “dialect”“marginal variants’2)This concept,like appropriation which describes the processes ofEnglish adaptation itself,is an important component of post-colonial assumption that all language use is a ‘variant”of one kind of another.3)Abrogation offers a counter to the view that “you can’t dismantle themaster’s house with the master’s tools”.In fact, rather the master’s house is always adaptable and that the same tools offer a means of conceptual transformation and liberation.① A term used to describe the ways in which post-colonial societies take over those aspects of the imperial culture--language, forms of writing ,film, theater, even modes of thought and argument such as rationalism, logic and analysis --that may be of use to them in articulating their own social and cultural identities.②Appropriation may describe acts of usurpation in various cultural domains, but the most potent are the domains of language and textuality. Achebe noted that the language so use “can bear the burden of another experience”.By appropriating the imperial language,its discursive forms and its modes of representation,post-colonial societies are able to③cultural realities, or use that dominant language to describe those realities to a wide audience of readers.①Form “binary” means the combination of two things, a pair ,two duality.The concern with binarism was first established by French structural linguist, Saussure,who held that signs have meaning not by a simply reference to real objects,but by their opposition to other sign.Each sign in itself the function of signifer and sifnified, so the binary opposition is the most extreme form of difference. Sun and moon ,man and woman, birth and death such opposition is very common in the cultural construction of reality.②Feminist and postcolonial studies demonstrated such binariesentail a violent hierarchy in which one term of the opposition is always dominant and the binary opposition itself exists to confirm that dominance.Much of the contemporary postcolonial theory has been directed at breaking down various kinds of separation in the analysis of imperialism and colonialism ,while the danger for anti-colonial resistance comes when the binary opposition is simply reversed, which should be cautioned.1) A term coined by Edward Said to describe a way of reading the textsof English literature so as to reveal their deep implication in imperialism and colonial process. Borrowed from music ,the term suggests a responsive reading that provides a conterpoint to the text thus enabling the emergence of colonial implications that might otherwise remain hidden.2)By stressing the affiliations of the text, its origin in social and culturalreality rather than its filiative connections with English literature and canonical criteria, the critic can uncover cultural and political implications that may seem only fleetingly addressed in the text itself.①This pair of terms was brought to prominence by Edward Said to suggest filiation as the lines of descent in nature, affiliation as a process of identification through culture.Said promotes affiliation as ageneral critical principle because it sends the critical gaze beyond the narrow confines of the European and canonically literary into a cultural texture.②The concept of affiliation is useful for describing the ways in which colonized societies replace filiative connections to indigenous cultural traditions withe affiliations to the social ,political and cultural institutions of empire.③Affiliation invokes an image of the imperial culture as a parent , linked in a filiative relationship with the colonized ‘child”. Said links the concept to Gramsci’s notion of hegemony by suggesting that the affiliative network itself is the field of operation of hegemonic control, and this may be particularly evident in the case of the control of imperial culture.1)The idea of frontier , a boundary or a limiting zone to distinguish onespace or people from another ,has been appeared in the early American history studies. According to Tuner, American development could be explained by the existence of a vast area of free land into which American settlement advanced westward.Frontier was seen as the essential guarantor of American democratic freedoms, because whenever social conditions put pressure on employment or when political restraints tended to impede freedom ,individuals couldescape to the free conditions of the frontier.2)Frontier is perceived as a shaping force on the westward expandingsettler population. It has been central to self-perceptions of identity in the United States as a result of its ubiquity in mass culture. In its more recent use within post-colonial cultures, colonial frontiers were created as imperial discourse sought to define and invent the entities it shaped from its conquests.The frontier or boundary that limited the space was a crucial feature in imagining the imperial self ,and in creating and defining those others by which that “self”could achieve definition and value.①“The state of being other, different ,diversity, otherness.”It shows the change of the conceptualization of identity from self-contained consciousness located in the individual mind based on the proposition “I think therefore I am “to subjectivity located in social context that are discursively and ideologically constituted.②Other is inseparable involved in the formation of the self for it is only through the discursive construction of this other that the self can be defined as an identity.The other is determined by series of cultural,economical, political and moral difference.It is deeply implicated within the Self.This is particularly marked in postcolonialism, which seeks to deconstructthe “Othering’ process. To use the term Other in this context is to run the risk of reinscribing this Othering process instead of dismantling the very binaries on which such discourse rests. Alterity offers the opportunity to see colonial discourse and its Others in a relational manner, each constituting the other whilst simultaneously respecting difference, thereby avoiding the trap of collapsing all distinctions into an abstract homogeneity.1)Discourse originally used from about the sixteenth century to describeany kind of speaking ,talk or conversation. More recently, it has been used in technical sense by linguists to describe any units of speech longer than a sentence.2)For Foucault, it is a system of statements within which the world canbe known. The world is not simply there to be talked about ,it is through discourse itself that the world is brought into being . There are certain unspoken rules controlling which statement can be made and which cannot within the discourse.3)Discourse is important because it joints power and knowledgetogether. Those who have power have control of what is known and the way it it known and those who have such knowledge have power over those who do not.4)Said in his Orientalism stress the importance of writing and literarytexts in the process of constructing representations of other. While Foucault’s concern is more on a variety of social institutions.Foucault’s view of the role of discourse is even wider since he argues that discourse is the crucial feature of modernity. It is a system of statements by which dominant groups in society constitute the field of truth by imposing specific knowledge ,discipline and values upon dominated groups.The subject is in love with himself rather than with another person. It was later extended to include any form of self love.When a person is ill, physically or mentally ,he becomes more self-absorbed and less capable of emotional involvement with others.Social realism , an international art movement, refers to the work of painter ,photographers and filmmakers who draw attention to the everyday conditions of the working class and the poor and who are critical of the social structures that maintain these conditions. While the movement’s artistic styles vary from nation to nation, it almost utilizes a form of descriptive or critical realism.Socialist realism is a style of realistic art that was developed in Soviet Union and became a dominant style in other socialist countries. It has its purpose and furtherance of goals of socialism and communism. Itespecially glorifies the roles of the working class and the struggle for its emancipation.A term that is invoked in modern critical discourse in two distinct but related ways.First , it refers to the use of mechanical aids in the analysis of literary texts and the influence of such technology upon both the subject matter and the method of literary criticism. For example ,a research can discover relatively and quickly how frequently Shakespeare employs a certain word or phrase or metaphor.Second, use of cybercriticism refers to analysis which focuses upon the developing interaction of human life and the great variety of mechanical technology which humans have employed throughout history. By focusing upon the absolute interpenetration of the human and mechanical, cybercriticism claims to represent an assault upon all the catogories which have traditionally exercised the critical imagination.。
