求有关英国文学的评论(英文的) 谢谢
"A Dream of Red Mansions" Du Hougan 2005-2-27 字数：1516 Author: Heart of the Ark Source: unknown entry: Anonymous date: 2005-2-27 Volume: 1516 Throughout human history of the evolution of intelligence Love, can be roughly divided into emotional history of prehistoric, ancient and modern history of emotional feelings history of three stages. If the literary history of human emotion is a reflection of the history of reproduction, "A Dream of Red Mansions," a book of the times in a position to more clearly. Like an arch bridge, just across her feelings in ancient history and the end of the beginning of modern history on emotion. In view of this, "A Dream of Red Mansions," a book of our time and the distance is more clear-cut. The classical works show a comprehensive picture so vivid in the past to preserve the impact of the times, so that we can from grade to the ancient and modern people in the area of great emotion and subtle similarities and differences. We Beixijiaojia to see that the history of human emotion and history as a rational move forward in the evolution, despite the evolution of the track is so heavy and slow, step by step, fought, including the cost of blood and life, Zhuanyan Jian burn, Ben things. Modern people still feel strongly from the destroyed in the Li Yumei, and we have to admit that such feelings of sympathy mixed with water Mochizuki Chiang Kai-shek, the Pioneer Press Baccalaureates told the alienation and divide. More than half of this era when men would choose Spouse Choosing Xue Baochai, as the madness Qingchi Yihong son, the loss of his illustrious door first, he more than half of women in the eyes of it is worthless. Modern tears certainly less and less, less than in the past at least one of the Yellow River water. This means that emotions do not know the barren drought or mental well-being of pleasure. People become emotionally intelligent volatile and more ignorance cunning. They are often insincerely, emotional and rational from the inconsistent state of mind is not ideal but obey the call of ideals. They have Qiqingliuyu, but often runs counter to sentiment. If the classical era of personal feelings of love from family and social tragedy, several non-adjustable, but is, after all, in a forward. Works within its power to complete the mission entrusted to the times, for the emotional history of classical zoned under a colorful close.
British culture. 英格兰，苏格兰，爱尔兰的文化都不太一样。
你说的“英国”大概是指 英格兰？
http://en.wikipedia.org/wiki/Culture_of_England
Culture of England
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The culture of England is sometimes difficult to separate clearly from the culture of the United Kingdom, so influential has English culture been on the cultures of the British Isles and, on the other hand, given the extent to which other cultures have influenced life in England.
Art
The Hay Wain by John Constable is considered an archetypal English paintingMain article: English art
English art is a term referring to a body of art originating from England. Nikolaus Pevsner attempted a definition in his 1956 book The Englishness of English Art.
It has developed over several millenia, to recent movements such as Brit Art, and now encompasses a variety of forms - painting, photography, sculpture and performance art.
It is often considered that English landscape painting typifies the tradition of English art, mirroring as it does the development of the country house and its landscaping.
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Cuisine
Main article: English cuisine
England being the first industrialised country in the world, urbanised workers were in many cases cut off from regional food traditions. Some consider that English cuisine has consequently suffered from a widespread image of blandness and lack of distinctiveness. The openness of English diners to exotic dishes has also meant that English cooking does not enjoy as high a profile as other nations' culinary traditions. More recently, a new style of cooking called Modern British has emerged that combines traditional British ingredients with foreign culinary influences.
The Full English breakfast remains an enduring tradition for many, despite the increasing popularity of the continental-style breakfast, or no breakfast at all, for busy workers. Tea and beer are typical drinks. Cider is produced in the West Country, and the south of England has seen the reintroduction of vineyards producing high quality white wine on a comparatively small scale.
England produces a range of cheeses in various regions, including:
Stilton cheese
Wensleydale cheese
Lancashire cheese
Dorset Blue Vinney cheese
Cheshire cheese
Double Gloucester cheese
Red Leicester
Other foods associated with England include:
Sunday roast
Lancashire Hotpot
Cornish pasty
Spotted Dick
Mince Pies
Fish and chips (and mushy peas)
Clotted cream from Devon and Cornwall
Yorkshire pudding
Sausage and mash
Eccles cake
Scones
Shepherd's Pie
Cumberland sausage
British Curries
Balti
Chicken Tikka Masala
Other typical British dishes
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Folklore
Morris dancing is one of the more visible English folk traditions, with many differing regional variations.Main article: English folklore
English folklore is the folk tradition which has evolved in England over a number of centuries. Some English legends can be traced back to their roots, even as far as before the Roman invasion of Britain, while the origin of others is fairly uncertain or disputed. England abounds with folklore, in all forms, from such obvious manifestations as the traditional semi-mystical Arthurian legends and semi-historical Robin Hood tales, to contemporary urban myths and facets of cryptozoology such as the Beast of Bodmin Moor.
Morris dance and related practices such as the Abbots Bromley Horn Dance preserve old English folk traditions, as do Mummers Plays. The utopian vision of a traditional England is sometimes referred to as Merry England.
English mythology is no longer widely believed. Whereas some folklore legends were formerly believed nationally across the whole of England, most can generally be divided into regional areas of England.
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Heritage
In recent years, Stonehenge has become a focus for modern summer solstice celebrationsStonehenge holds an iconic place in the culture of England. Other built structures like cathedrals and parish churches are associated with a sense of Englishness. The English country house and the lifestyle associated for centuries with an élite minority now forms an interest among many people in England as typified by visits to properties managed by English Heritage or the National Trust.
Landscape gardening as developed by Capability Brown set an international trend for the English garden. Gardening and visiting gardens are also a facet of the culture of England for many people.
Historic houses in England
English Heritage Properties in England
List of National Trust properties in England
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Literature
William Hogarth's depiction of a scene from Shakespeare's The Tempest is an example of how English literature influenced English painting in the 18th centuryMain article: English literature
The term English literature refers to literature written in the English language, or literature composed in English by writers who are not necessarily from England. Writers noted for expressing Englishness, or associated particularly with regions of England, include William Shakespeare, Charles Dickens, Thomas Hardy (Wessex), A. E. Housman (Shropshire), Rupert Brooke, Jane Austen, Arnold Bennett and the Lake Poets (Lake District).
But Joseph Conrad was Polish, Robert Burns was Scottish, James Joyce was Irish, Edgar Allan Poe was American, Salman Rushdie is Indian: all have enriched English literature.
List of English novelists
Anglo-Saxon literature
Elizabethan theatre
Big six in the romantic literature of England
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Music
Main article: Music of England
England has a long and rich musical history. The United Kingdom has, like most European countries, undergone a roots revival in the last half of the 20th century. English music has been an instrumental and leading part of this phenomenon, which peaked at the end of the 1960s and into the 1970s.
The achievements of the Anglican choral tradition following on from 16th century composers such as Thomas Tallis, John Taverner and William Byrd have tended to overshadow instrumental composition. The semi-operatic innovations of Henry Purcell did not lead to a native operatic tradition, but George Frederick Handel found important royal patrons and enthusiastic public support in England. The rapturous receptions afforded by audiences to visiting musical celebrities such as Haydn often contrasted with the lack of recognition for home-grown talent. However, the emergence of figures such as Edward Elgar and Arthur Sullivan in the 19th century showed a new vitality in English music. Ralph Vaughn Williams and others collected English folk tunes and adapted them to the concert hall. Cecil Sharp was a leading figure in the English folk revival.
Finally, a new beat out of Liverpool emerged in 1962. The Beatles: John Lennon, Paul McCartney, George Harrison, and Ringo Starr, became the world's most popular musicians of all time. The "Fab Four" opened the doors for British acts such as The Rolling Stones, The Who, Queen, Iron Maiden and Led Zeppelin to the globe.
Some of the leading contemporary artists include Kaiser Chiefs, The Arctic Monkeys, Robbie Williams and Coldplay.
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Religion
The Church of England functions as the established church in England. Other churches which have started in England include the Methodist church, the Quakers and the Salvation Army.
See also Religion in England.
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Sport and leisure
Cricket, football and rugby union are generally considered the national games. In recent years, more specifically after the 2003 Rugby World Cup, rugby union has become increasingly popular; as has cricket, following England's success in regaining the Ashes in 2005.
Football in England
Cricket in England
Rugby union in England
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Culture
William Shakespeare.Main article: Culture of England
The culture of England is sometimes difficult to separate clearly from the culture of the United Kingdom, so influential has English culture been on the cultures of the British Isles and, on the other hand, given the extent to which other cultures have influenced life in England. It has also been spread over large parts of the globe due to the British Empire.
England has produced many famous authors including William Shakespeare, arguably the most famous in the history of the English language. This tradition has continued with the likes of Jane Austen, Charles Dickens and Virginia Woolf, who are all often considered among the greatest writers of their time[citation needed]. Among these, stand the likes of many great English poets such as Lord Byron, John Keats, Samuel Taylor Coleridge and many others. Also, Britain remained a central figure of literacy excellence throughout the past few centuries, notably Romanticism and Modernists.
Composers from England did not achieve the same recognition in comparison to their literary counterparts and were often overshadowed by European composers. However, in popular music English bands such as The Beatles and The Rolling Stones have achieved success only rivaled by U.S. music. England is also credited for being the birth place of many pop culture movements, notably punk and acid house.
http://www.britainexpress.com/History/english-culture.htm
http://en.wikipedia.org/wiki/England
http://en.wikipedia.org/wiki/Scotland
Pride and Prejudice -
Inversion and Criticism of the Romantic Novel
To what extent is Pride and Prejudice an inversion and criticism of conventional romantic-novel expectations?
To a great extent, Jane Austen satirises conventional romantic novels by inverting the expectations of "love at first sight" and the celebration of passion and physical attractiveness, and criticising their want of sense. However, there are also elements of conventional romance in the novel, notably, in the success of Jane and Bingley's love.
The first indication of Austen's inversion of accepted romantic conventions is Elizabeth and Darcy's mutual dislike on first sight. However, Jane and Bingley fall in love almost immediately, and the development of their romance follows conventional romantic-novel wisdom, down to the obstacles in the form of Darcy's and Bingley's sisters' disapprobation (the typical disapproval of the Family) and the attraction between the rich young man and the middle class maid. Their Cinderella story ends in happily-ever-after, as does Elizabeth's and Darcy's. Elizabeth's defiance of Lady Catherine recalls Meg's defiance of her aunt in Little Women, and Darcy's willingness to accept Elizabeth despite the inferiority of her connections is a triumph of conventional romantic-novel expectations.
One of the most striking examples of Austen's satire is her emphasis on reason, as opposed to the wanton passion lauded into the bulk of romantic novels. Lydia and Wickham's marriage is seen as a triumph of their "passions" over their "virtue", and she is certain that "little permanent happiness" can arise from such a union. This is exemplified by Wickham's continuance of his extravagant habits, and the degeneracy of any feelings between them to indifference. The indifference Mr Bennet has for his wife, and the unsatisfactoriness of his marriage, is another warning against unthinking passion.
Elizabeth rejoices in her freedom from Wickham. Austen shows the development of Elizabeth's love for Darcy, from "gratitude and esteem" after the letter to the certainty of love she realises at the onset of the Lydia episode. Even Jane and Bingley's happiness are accounted for by the presence of an "excellent understanding in Jane and the superexcellent disposition, and a general similarity of character in both." Elizabeth sees the mutual benefit that must arise from her marriage with Darcy; from her liveliness "his mind would have been softened, his mind improved" and she would benefit from his "judgment" and "knowledge of the world".
However, the emphasis on the need for reason does not preclude all passion; Jane Austen does not, as she has been accused of, forsake passion for "consciousness". The rationale behind Elizabeth's love is sound; yet there exists another element of passion and love and care, that causes her to be embarrassed and apprehensive and eager in Darcy's presence, and that moves Darcy to propose to her despite the inferiority of her connections and the disapprobation of his aunt. Austen, unlike her Romantic counterparts, advocates a balance between passion and reason in romance. Elizabeth's and Jane's marriages are seen as the "happiest, wisest, most reasonable end" -- with the emphasis equally on "happest" as well as "reasonable".
That Austen does not wholly invert romance-novel conventions and reject passion entirely is seen in Charlotte's marriage. Charlotte is the antithesis of the conventional romantic heroine, she declares herself that she "never was" a romantic, and that "happiness is entirely a matter of choice". Her marriage to Mr Collins is for the "pure and disinterested desire of an establishment".
Austen does not advocate going to the extent that Charlotte does and marrying entirely for "disinterested" purposes; Elizabeth was clearly right in refusing Mr Collins' proposal as she married Darcy in the end. Mr Benneth confirms this by remarking at Charlotte's silliness in securing a marriage that he doubted would allow her happiness. However, Jane Austen's depiction of Charlotte's "contentment" and Elizabeth's tribute to Charlotte's management of her house and marriage, that "it was all done very well" suggests a respect for Charlotte in following her own principles. Austen's frank acknowledgment of the necessity for intelligent young women to marry as a "preservative from want" and her constant mention of the futures of the parties concerned (seen in Mrs Gardiner's reminder to Elizabeth of the impropriety of marrying Wickham as he is impoverished) illustrate a truth about the society then and the state of womanhood. Doing so makes her unique among many conventional novelists who deride the wealth of detail she provides and the pragmatism which she acknowledges. Austen satirises the general unreality and fairy-tale quality of conventional romances.
In Elizabeth herself can be seen an inversion of conventional romantic-novel expectations. The heroine is generally expected to be more vapid and pliable. Elizabeth's physical attractiveness, "next to Jane in birth and beauty", is a genuflection to the accepted conventions of romance, but her appeal lies more in her "wit and vivacity". Her liveliness, which she terms "impertinence", and which leads her to tease Darcy; her moral integrity in exhorting Jane not to "change the meaning of principle and integrity" for a friend, and in standing up to Lady Catherine; her intellectual strength, in sparring with Darcy and in realising the contractions inherent in certain social norms; her level of self-awareness, often expressed with some self-deprecation, as in asking Charlotte not to wish her such an "evil" as finding agreeable "a man whom (she is) determined to hate"; and her capacity for reflection and growth, in contrast to the rest of her sisters, set her apart from the generality of romantic heroines.
Darcy, on the other hand, is first portrayed as the typical Romantic hero; dark, handsome, "of noble mien", mysterious, brooding, arrogant, clearly superior. Austen inverts typical romantic wisdom by allowing him to grow. He comes to realise and repent of his arrogance in disdaining Elizabeth and her family. The humility with which they approach each other is a criticism of the general thoughtlessness of the love portrayed in conventional romance novels.
Austen satirises the romantic form in her insistence on reason and reflection to balance passion. While she decries Lydia's wanton thoughtlessness and allows Mr Bennet one piquant moment of regret that he cannot "respect (his) partner in life", she does not celeebrate Charlotte's lack of passion and love. Austen inverts accepted romantic conventions by having Elizabeth maintain her dislike of Darcy right up to and including the time when he proposed. Her change of sentiment, while not lacking in the emotions that make her "the happiest creature on earth" are entirely justified by her perception of the "goodness" and moral strength of Darcy's character. The ludicrousness of Mr Collins' proposal to Elizabeth reflects the ridiculousness in adhering strictly to feelings and forms celebrated by conventional romantic wisdom (the necessity to profess the "violence of (his) affections" and his insistence that Elizabeth's refusal is but the coquetry of "elegant females").
Furthermore, the emphasis on moral integrity, mutual respect and need for a knowledge of each other's character and understanding is an invasion of conventional romantic-novel expectations and a criticism of the heedlessness and unthinking passion glorified in prevailing romantic sentiment. However, the fairy-tale element of the ending, with Darcy defying family pride, entrenched prejudice and previous rejection to win Elizabeth's heart, and Bingley returning to Jane despite his sisters' efforts, is in order with romantic-novel expectations, as is Jane's and Bingley's romance. Austen has taken the best of accepted conventions, the love that can redeem a man, and incorporated into her novel, while criticising the want of sense and reality of the other conventions.
Jane Austen’s Pride and Prejudice is the best classic book, according to a poll of Times readers. One in ten ranked the novel, published in 1813, as their favourite work to have been written more than 100 years ago.
Jane Austen was born at Steventon on December 16, 1775, the youngest of seven children. She received her education—scanty enough, by modern standards—at home. She has a gift of telling a story in a way that has never been surpassed. She rules her places, times, characters, and marshals them with unerring precision. Her machinery is simple but complete; events group themselves so vividly and naturally in her mind that, in describing imaginary scenes, we seem not only to read them but to live them, to see the people coming and going—the gentlemen courteous and in top-boots, the ladies demure and piquant; we can almost hear them talking to one another. No retrospects; no abrupt flights, as in real life.
In this paper, the characteristics of language using and writing styles in Pride and Prejudice were presented.
2 THE CHARACTERISTICS OF LANGUAGE USING
In “pride and prejudice”, there is no twist polt as well heartquaking scene, reverse, as if the author only write it casually. But her lofty narrate technique is attracting many readers and essayists. The graceful dialog in the book plays an important role in the depiction of the characters
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