第一篇：文學欣賞的主體條件與時代價值取向

看，文學欣賞的主體條件與時代價值取向

文學欣賞是讀者對文學作品進行感受、體驗、領悟、理解，從而獲得由淺入深、情理結合的審美把握。讀者在文學欣賞的過程中充當了欣賞主體這一角色，而欣賞主體生活經驗、文化基礎等的不同，對文學作品欣賞的審美角度、審美深度，自身獲取的審美體驗也會不同。在欣賞主體自身的條件影響下，由于時代的不同，欣賞主體都對文學作品的價值也會有不同的取舍趨向。總體上說，文學欣賞不僅要有欣賞主體的自身條件，還受到了時代價值取向的影響。

一、生活經驗與時代價值取向的共同作用：

文學作品是對社會人生的審美反映，只有具備一定的生活閱歷才能理解作品中的生活現象。欣賞主體若是沒有作品中所描述的生活經驗，在欣賞作品時只能是被作者單純的隨意的牽著鼻子走，無法通過自己已有的體驗與作品中的片段產生共鳴，欣賞主體也就無法進入到角色中，進而被藝術形象吸引、感染，和作品中人物同命運、共呼吸。而欣賞主體的生活經驗也反映了其所處的時代特點，就隨之帶著時代價值取向去欣賞一部作品。例如當王小波的《黃金時代》被不同時代的讀者閱讀、欣賞時，就會產生與欣賞主體不同的化學反應。

在《黃金時代》里，王二離開知青生活的主流，去跟陳清揚搞“破鞋”，從而在大批判、生產勞動之外，找到了自己的黃金時代。書中的“時代”是以文革時期為背景的二十世紀六七十年代，知識分子群體無能為力而極“左”政治泛濫橫行。生長于這個年代后期的讀者，在讀這部作品時，一開始會很不理解，為什么王二總是對“破鞋”很敏感？為什么陳清揚總是糾結于自己是不是“破鞋”？為什么王二會不顧他人的眼光，不顧組織上的調查繼續和陳清揚糾結不清？又或者生長于20世紀90年代后的讀者會認為“破鞋”真這么值得去探究嗎？所以，當這類讀者去欣賞《黃金時代》時會產生諸多的不解。他們有可能會將欣賞的角度移到作品中人物語言上，在面對大段大段的“性愛”描寫上，會認為其增加了作品的可讀性，將王小波看作了如當代某些商業化作家一樣，以此搏人眼球。這便是對王小波以及其作品的深深的誤解。

實際上，名叫“王二”的男主人公處于恐怖和荒謬的環境，遭到各種不公正待遇，但他卻擺脫了傳統文化人的悲憤心態，創造出一種反抗和超越的方式：既然不能證明自己無辜，便傾向于證明自己不無辜。于是他以性愛作為對抗外部世界的最后據點，對陳規陋習和政治偏見展開了極其尖銳而又包含幽默的挑戰。特別是王二和陳清揚被發現在一起后，每天都要做機械式的流水賬式的報告，更是充滿了對那個時代禁錮人自由的諷刺。當讀者生長于二十世紀六七十年代，他們對知青生活、文化大革命有著親身的體驗，對作品背景的了解是發自于內心的，當他們一讀到王二所生活的環境時，腦海中的記憶自然會和作品產生碰撞。此時，這類讀者對作品的審美是從作品所表達的主旨、精神上的，讀者似乎也可以在文字間找到自己的影子。他們不再對人物語言感到陌生或好玩，不再對“性愛”場景的描寫感到好奇驚嘆，書中的一切不正是那個時代的真實寫照么？所以，他們以他們的生活經驗，和那個他們所處時代的價值取向對《黃金時代》做出了最正確而客觀的評價。真正能夠欣賞到《黃金時代》的也正是他們這類有著同時代背景命運的讀者。

二、文化基礎與時代價值取向的共同作用：

古代的神話，如中國的《女媧補天》、《后羿射日》，古希臘的《普羅米修斯》等，對處于童年時代的讀者來說，他們希望從神話那里獲得對于自然、社會的幼稚的認識。正如我們小時候聽長輩講看月食會被天狗咬掉耳朵的故事，我們會“自覺的”不去看月亮并且還捂住耳朵。我們會真正祈求神靈的保護，還會把神話中的英雄當做生活中的上帝來崇拜。當我們長大后，再來閱讀古代神話，不是為了認識自然，而是感受古代

神話里那神奇的幻想，那人類童年的經驗，從而獲得審美的享受。

第二篇：課堂教學的有效性與價值取向

課堂教學的有效性與價值取向

王敏勤

新課程理念下怎樣才算一堂好課，這是目前討論比較多的一個問題。一般說來，評價一堂好課的標準除了要看教師的基本素質以外，主要有如下幾點要求：1.在課程目標方面，師生是否明確并落實了三維的課程目標；2.在教學方式方面，教師是否轉變了教的方式和學生是否轉變了學的方式；3.在使用教材方面，教師是否能夠做到用好教材并超出教材，能夠開發課程資源；4.在教學效果方面，學生的收獲是否大，課堂教學的效益是否高。實際上，在這四個方面，最主要的還是看課堂教學效果。但課堂教學的效果主要是指什么，這就涉及到課堂教學的有效性和價值取向問題。

一、什么是課堂教學的有效性

現在我們都知道：教學是一門科學也是一種藝術。其實對這個問題的認識有一個漫長的過程。在20世紀以前，在西方的教育理論中占主導地位的教學觀是“教學是藝術”，持這種觀點的人認為：影響教學過程的因素是復雜的多方面的，每個教師的情況不同，每個班學生的情況不同，所以教學是無規律可循的，是難以用科學的方法進行研究的。教學只能是一種教師個性化的、沒有“公共的方法”的行為，是一種“憑良心行事”的、“約定俗成”的行為。

但是，隨著20世紀以來科學思潮的影響，以及心理學特別是行為科學的發展，人們才逐步意識到，教學也是科學。也就是說，教學不僅有科學的基礎，而且還可以用科學的方法來研究，教學是一種有規律的行為，教學的結果是可以測量的。所以人們才提出：教學不盡是一種藝術，也是一門科學。有效教學（effective teaching）的理念正是源于20世紀上半葉西方的教學科學化運動，它是“教學是藝術還是科學”之爭的產物。有效教學的核心問題就是教學的效益問題，即什么樣的教學是有效的?是高效的、低效的還是無效的? 所謂“有效”，主要是指通過教師在一段時間的教學之后，學生所獲得的具體的進步或發展。也就是說，學生有無進步或發展是教學有沒有效益的唯一指標。比如，一個教師承擔了一個班的數學教學任務，在期末考試和總結的時候，人們看這個班是進步了還是退步了，是進步幅度大還是幅度小，以此衡量教師教學效益的大小。

但在日常教學中，我們更多的是看一堂課的教學效果。具體到一節課，所謂課堂教學的有效性是指：在規定的課堂教學時間內，師生對既定教學目標的達成情況。這個定義有兩方面的規定性： 1.強調課堂教學時間的規定性

我們提出向課堂要質量是指向40分鐘（小學）或45分鐘（中學）要質量，就是說，在規定的教學時間內教師要完成既定的教學任務，學生要實現既定的學習目標，而不是隨意的把時間前伸和后延，如果學生在課前預習占用太多的時間也是增加學生的負擔，如果學生在課后布置很多作業更是增加學生的負擔。我曾經提出評價教師教學水平的標準：高水平的教師向課堂要質量，低水平的教師向課下要質量。這幾年我研究了許多名教師的案例，他們的教學質量高、升學率高，而學生的負擔卻很輕，其奧妙就是向課堂要質量，所有的問題都在課堂上解決，很少留課后作業甚至沒有作業。如遼寧的魏書生、北京的孫維剛、馬芯蘭等。我們在日常教學中也經常發現這樣的現象：對桌辦公的兩個老師教平行班，一個老師整天忙得暈頭轉向，不是批作業就是給學生個別輔導，工作非常敬業，但師生的負擔都很重，是以犧牲師生的身心健康為代價取得成績的。而另一個老師可能課后作業很少，也很少給學生個別輔導，課后主要是研究教法，師生都不累，教學成績卻很好。其關鍵就是抓住了課堂教學這個環節，力爭所有的問題都在課堂解決，不把問題和作業推向課后。

2.強調教學目標的規定性

在課堂教學的開始，教師是否應該把課程目標告訴學生（書面的或口頭的），這個問題爭論了多少年沒有定論。有的老師說：我在教案中有課程目標，但我不能告訴學生。為什么？因為我的課堂教學設計是很藝術的，事先學生不知道一堂課的教學目標，有一種神秘感，愿意聽我的課。如果學生一開始就知道了一堂課的教學要求和目標，就不愿聽課了。教學固然需要藝術性，但更要注重教學效果。在課程改革之前教師不告訴學生教學目標是可以理解的，因為過去是先教后學、以教定學，學生圍著教師轉，教師教什么、學生學什么，所以課前教師是否告訴學生教學目標并不重要，只要教師知道就行了。但課程改革提出要轉變教與學的教學方式，要先學后教、以學定教，教師的教為學生的學服務，在這種情況下學生事先不知道一堂課的課程目標，就沒法發揮主動性和積極性，就很難轉變學習方式。另外如果一堂課沒有具體的教學目標，很難評價這堂課效率的高低。美國的教育學家布盧姆說：“有效的教學始于知道希望達到的目標是什么。”

二、什么是課堂教學的價值取向

一堂課怎樣才算是有效？有效的標準是什么？這里有一個價值取向問題。離開了價值取向討論課堂教學的有效性是很模糊的。所謂課堂教學的價值取向就是教學目標的方向性問題。也就說，在一節課上，在有限時間內，師生做什么最有價值。做有價值的事才是有效的，價值越大效益越大。比如，在數學課上，教師帶著學生做游戲，雖然數學知識沒有學到多少，但學生很開心，有利于他們的身心健康發展。但這節課的主要任務是什么，在有限的時間內師生做什么最有價值？這就是價值取向問題。

再比如：目前談論比較時髦的課堂教學的“預設與生成”問題。其實這個問題在過去就有：教師的備課就是預設，教師在課堂教學靈活變通就是生成，并不深奧。我聽過這樣一節課：有個老師正在上數學課，講一元二次方程組的解法，突然教室里來了一只貓，老師話題一轉，引導學生討論起了對動物的保護問題。有人覺得這是一堂自然生成的好課，是創新，是一堂跨學科的綜合課。我認為：什么時候討論動物的保護問題都有價值，但具體到這一節數學課，教學的主要目的是什么，這堂課要完成的主要任務是什么，在這里討論動物的保護問題雖然也有價值，但卻脫離了教學目標，是無效的或低效的。

? 再比如：在一節語文課上，老師讓學生表演一個小品，雖然這個小品與課文的關系不大，但也能鍛煉學生的表演能力和表達能力。對這樣的課如何評價？特別在當前的課程改革中，有些教師只注重形式的活躍，堂堂都有分組討論，堂堂都有表演和搶答。這就涉及到課堂教學的價值取向問題。師生一定要明確：一堂課的主要任務是干什么，在有限的時間內首先要完成主要任務，主要任務完成了，課堂教學的效率才能提高。

美國哈佛商學院經常給學生講述一種很有效的做事方法：80對20的法則。即任何工作，如果按價值順序排列，那么總價值的80％往往來源于20％的項目。簡單地說，如果你把所有必須干的工作，按重要程度分為10項的話，那么只要把其中最重要的兩項干好，其余的8項工作也就自然能比較順利地完成了。課堂教學也是如此。在一堂數學課上，有價值的事很多，比如讓學生唱歌，可以增加他的音樂素養；讓學生表演，可以增強他的表演能力。但教師要清楚這節課的主要任務是什么，這節課主要是圍繞什么來開展活動，評價一堂課的標準不是看搞了什么活動，而是完成了什么任務。

三、課程目標的價值取向與長效和短效問題?

新課程提出了三維的課程目標：知識與技能、過程與方法、情感態度價值觀。有的老師一直感到困惑：這三維的課程目標在課堂教學中是什么關系，應以什么為主？這實際上也是一個價值取向問題。對于三維的課程目標，我認為應以知識和技能為主線，過程與方法和情感態度價值觀都是以知識為載體來實現的。其關系圖示如下：

所謂過程與方法，是學生在獲得知識和技能的過程中運用了什么方法，是教師灌輸獲得的還是自主探究獲得的，其價值不同；所謂情感態度價值觀是指：學生在學習的過程中是以什么樣的情感和態度來參與的，是積極主動還是消極被動？是富有興趣還是厭學乏味？通過一節課的學習學生的價值觀、人生觀、環保觀等價值觀念會發生什么樣的變化。這一些都以知識為載體。所以在課堂教學中不能淡化知識的教學。建國后我們進行了八次課程改革，有成功的經驗，有失敗的教訓，但基礎知識和基本技能的教學（雙基教學）是一條基本的經驗，所以不能淡化。

一堂課的價值取向也有長效和短效的問題。具體到一節課，滿堂灌的方法可能是最好的方法。有的老師說：如果讓學生自學，可能十分鐘還搞不明白，我給學生講，三分鐘學生就明白了。這就如同鉆山洞，讓學生自己鉆，會在黑暗中探索很多時間，甚至會碰頭磕腿，如果老師領著學生鉆山洞，很快就出去了，因為老師“學道在先，術業有專攻”。具體到一節課來講可能會如此。但從長遠來講，特別是從學生的終生發展來講就不是如此。現在提出了終身學習的概念，學生走向社會后還要不斷的自學才能適應不斷發展的社會，而這種自學能力不是走向社會后才培養，而是在學校里，甚至從小學一年級就要培養。另外，學生在初始階段，自學可能會花費很多時間，不如老師講授學得快，但經過一個階段甚至半年、一年的時間，學生的自學能力一旦形成，會成倍的提高學習的效率。正是從這些意義上，新課程提出轉變學生的學習方式，為學生的一生發展奠基。所以課堂教學還有長效和短效的問題。我們在課堂教學中不能只圖一時的效果而忽視學生終生發展的問題。

第三篇：當代禮儀與價值取向

? 中華禮儀與當代價值取向

今日中國，懲治腐敗，端正黨風，培育和踐行社會主義核心價值觀，政治生態環境正在發生深刻變化，敬老崇文蔚然成風。衷心祝愿各位館老堅持傳承、弘揚中華傳統文化，筆耕不輟、丹青不斷，歲增身益健，菊酒對晚霞，妙筆傳往事，清韻頌中華。

第五屆敬老崇文論壇以“中華禮儀與當代價值取向”為題，明示中華禮儀就是中華民族文化基因，闡釋禮以載德、儀彰文明的淵源真諦。緊扣時代脈搏，意義深遠。

總書記在北師大與師生共度教師節時，交談中，對小學課本刪除古詩詞“很不贊成”，對“去中國化”感到“很悲哀”。他的直言卓見，彰顯了對經典的愛，對民族的愛，對國家的愛，社會熱議，群眾擁護。對總書記的觀點，我非常贊成。

實現中國夢，要堅持改革開放、轉型發展，更要扎根鑄魂、傳承基因。傳承中華文明，踐行核心價值觀，是全社會的責任，我們各位館員更是義不容辭。

烈士暮年壯心不已。衷心期盼各位館員，利用各種機會，各種場合，揮如椽筆，潑五彩墨，吟詩詞歌賦，書經典文章，向孩子，向社會，傳播中華文化精粹。祝論壇圓滿成功！祝各位館老、各位嘉賓身體健康、闔家歡樂！

傳統禮儀文化的傳承與創造性轉化

□燕爽（中共上海市委宣傳部副部長、市文明辦主任）

自2010年至今，敬老崇文論壇已連續舉辦了五屆。我們本次敬老崇文論壇的主題是“中華禮儀與當代價值取向”，就是從禮儀文化的角度探索思考，既有理論借鑒，又有實踐意義。我在這里談三點想法：

第一，傳統禮儀文化是涵養社會主義核心價值觀的重要源泉。中華民族素以“禮義之邦”自豪，傳統禮儀文化積淀著中華民族的精神追求，包含著中華民族的精神基因，代表著中華民族獨特的精神標識。我們不僅要在形式上延續傳統禮儀禮節，更要在本質上傳承禮法禮數的道德內涵。孔子所說：“博學于文，約之以禮”，就是既要博覽經典，更要以德育人，以禮化人，使人遵德守禮，和諧相處。在全面深化改革的新形勢下，在上海創新驅動、轉型發展的攻堅階段，在思潮多元、觀念碰撞的今天，我們要挖掘優秀禮儀文化蘊含的思想道德資源，弘揚傳統禮儀文化中的處世智慧和道德準則，構筑共同的精神家園。

第二，傳統禮儀文化要回歸百姓家庭、融入日常生活。加強傳統禮儀教育，是社會主義核心價值觀日常化、具體化、形象化、生活化的有效載體。今年以來，市文明辦圍繞培育和弘揚傳統禮儀文化，與市婦聯等相關部門密切配合，在全市開展了中華優秀傳統文化禮儀大賽和“征集好家訓、評議好家風、尋找好家庭”主題宣傳等系列活動，廣泛開展媒體宣傳、網絡評議、微信互動、專家訪談、檔案展覽等活動，得到了社會各界和廣大市民的熱烈反響。

第三，加強傳統禮儀文化的創造性轉化和創新性發展。貫穿于中國傳統社會的“仁、義、禮、智、信”，是一個以德治為核心的倫理性社會的基本準則。“禮”的內容十分龐雜，既包括國家典章制度，也包括宗教儀式、社會習俗、禮儀規范，對維護社會秩序和穩定、協調人際關系和睦、倡導言談舉止禮貌具有重要的正面作用，影響到社會領域和個人生活的方方面面。但不可否認，隨著時代變遷和社會發展，以往禮儀規范中存在著一些繁文縟節和個別不合時宜的內容，需要在順應民主政治、先進文化、技術革命等新形勢中與時俱進、創新發展。

創造富有時代性和民族性的中華禮儀

□郝鐵川（上海市文史研究館館長）

道德建設的歷史經驗告訴我們，一個重要的價值觀念要想具有普遍性、持久性和權威性，主要靠四種東西來實現。一靠一個通俗易懂和較高權威的教義讀本；二靠政府、制度的支撐；三靠社會化的禮節儀式；四靠一支體現價值觀念的人格化示范隊伍。今天，我們在去年舉辦弘揚中華民族尊老傳統敬老崇文論壇之后，舉辦以“中華禮儀與當代價值取向”為主題的論壇，目的在于推進一些中華民族優秀道德觀念的禮節儀式化，融入大眾的日常生活中。

我覺得，推進中華民族優秀道德觀念的禮節儀式化，需要把握三個問題：

第一，注意弘揚中華民族禮儀傳統中的熱情、責任、敬老精神。一要注意弘揚中華民族熱情好客精神，正如孔子所說：“有朋自遠方來，不亦樂乎？”二要弘揚中華民族社會責任心精神。三要弘揚中華民族尊老敬賢精神。

第二，注意借鑒現代西方禮節儀式中的科學、平等、人權精神。一要注意弘揚西方禮節儀式中的科學精神。二要注意弘揚西方禮節儀式中的平等精神。三要注意弘揚西方禮節儀式中尊重私權精神。

第三，融通古今中外，推出具有時代性、民族性的中華禮儀。一是不要盲目崇拜西方，妄自菲薄。二是要注意兼取中西禮儀之長。

為了在促進中華禮儀民族性、時代性方面做深、做實、做細，上海文史館成立禮儀研究中心，將對中華傳統禮儀逐個研究，借鑒西方，推陳出新，為中國特色社會主義精神文明大廈的建設增磚添瓦。

弘揚孝文化踐行核心價值觀

□唐國才（上海市老年基金會副理事長）

我們的傳統禮儀，本指人與人、國與國之間交往的一種禮儀，同時也逐步成為規范和強化社會秩序的一種手段。我國古代推崇的禮治，則是在此基礎上的升華。禮儀就范圍而言，包羅萬千，紛繁復雜。從歷史實踐來看，最為核心的就是推崇“孝道”，所謂“百善孝為先”。梁瀨溟稱中國文化為“孝的文化”，將忠孝原則推行發展到設身處世、推己及人，所謂“老吾老以及人之老，幼吾幼以及人之幼”，“己欲立而立人、己欲達而達人”，“己所不欲，勿施于人”等等。

改革開放造就了我們中華民族經濟騰飛的偉大時代，互聯網時代的大門開啟，東西方各種新舊文化觀念的碰撞出不僅僅是燦爛的火花，也帶給我們各種意想不到的病源與隱憂，如信仰缺失、拜金主義、物欲橫流、貪污腐敗等等。要實現中華民族的真正復興，必須尋找振奮本民族的文化基因，牢固形成我們民族特有的信仰體系和精神價值觀念，這是民族崛起的關鍵。

今天，面對全球人口老齡化以及我國特有的日趨嚴重的社會養老問題，我們應該意識到從傳統“孝道”延伸出的“家家有老人，人人都會老”、“老人的今天就是我們的明天”、“關愛老人就是關愛自己”的敬老養老的道德理念，不僅易入人心，且切實可行。它集中體現了政府有責、社會有責、家庭有責的共識。這是解決我國養老問題的重要理念和保障。

我們上海市老年基金會要進一步動員廣大愛心企業和公民，自覺履行社會公德和社會責任，關愛老人，奉獻愛心，積極應對我國“未富先老”的問題。我們將引導和組織廣大公民進一步弘揚和豐富中華民族的“孝文化”，牢固確立和實踐社會主義核心價值觀。我們要逐步擴大老年基金的規模，并堅持公開透明、從嚴管理、合理分配、科學使用，更好地發揮“拾遺補缺，雪中送炭”的積極作用。配合政府，團結愛心企業，依靠民眾在“老有所養，老有所醫”的前提下，推進“老有所樂，老有所學，老有所為”的計劃，提升老年人的幸福指數。近年來，我們和電視臺合作的《精彩老朋友》欄目，以及“金色廣場”、“九九關愛小劇場”、老年人大合唱和旗袍大賽、“心悅夕陽”網絡等活動，因切合社會實際和老年人的具體需求，豐富了老年人的文化娛樂生活，得到了社會的好評。

第四篇：人文關懷和歷史理性：文學價值取向的交合

人文關懷和歷史理性：文學價值取向的交合在文學創造中，人文關懷是古往今來一切以文學作品的總主題，并與歷史理性共同筑起文學的真善美功能的價值體系。作者從人的需要出發，堅持以人為本把自己對社會生活的體驗以及社會現實的認識用文字表達出來，使人文關懷寄寓在對社會規律的認識和描述中，即同歷史理性密切的聯系在一起，兩者你中有我，我中有你，實現了人文與歷史兩種文學價值的交合。文學創造是作家對社會生活的反映。作者根據現實生活的實際，在歷史理性中展現人文精神。例如英國作家狄更斯的小說以高度的藝術概括、生動的細節描寫、妙趣橫生的幽默以及細致入微的心理分析，廣泛地描寫英國十九世紀中期的社會生活，塑造了眾多的“小人物”形象，對社會下層階級表現極大的同情，批判資產階級社會的自私、偽善和冷酷，小說《雙城記》最為突出。它以法國的革命為背景，描寫瑪耐特醫生婦女的遭遇，揭露貴族的荒淫殘暴，表現法國大革命的必然性和人民革命的熱情。小說寫得是兩個男人和他們的愛，以及圍繞這場愛發生的無法回避的沖突。瑪耐特醫生放下自己的不幸，看在查爾斯憎惡家族的作惡多端放棄了貴族爵位與財產自食其力的份上，為了女兒露西的幸福，把女兒嫁給了他，而卡頓為了自己刻骨銘心深愛著的露西的幸福獻出了自己的生命。小說以個人的歡樂和悲哀反映了整個國家的興盛與悲慘，作者藝術描寫中無形的加入了自己的情感評價，是小說不僅蘊含著豐厚的人文關懷的價值意義，而且也體現了深刻的歷史理性。

然而，文學創作并不存在規范化的模式。文學作為審美創造的自由空間，使作家能夠在不同的歷史理性觀點上展現人文精神。例如茅盾的《子夜》主要對都市生活中各個階級和階層人物進行描寫，通過這些人物的生活和命運，大規模地反映中國的社會現象，提出尖銳的社會問題，體現了鮮明的革命現實主義色彩。而與茅盾處于同一時期的作家沈從文的《邊城》則是通過湘西邊地鄉村人物的性格、命運的發展變化來展示湘西下層人民的悲歡離合，是人道主義現實主義的代表作。他們把歷史理性的視點放到不同的側面，各有各自的局限性，但他們在刻畫描寫中吧人文關懷與歷史理性血肉般地聯系在一起，在對當時中國社會的現實生活的實際反映中實現了人文與歷史價值的交會，體現了作家在文學審美創作中的自由度，展現了自己的藝術個性。

當然，在文學創造中，我們不能違背社會發展的規律，也不能違背藝術創作的規律。如果違背，則會導致對人文精神的破壞。社會在其發展進程中，會不可避免地損害某個階層的利益，但如果一味片面強調某一歷史觀點就意味著人文關懷與歷史理性的脫離。因此，作家在文學創作中應該把握好一個“度”：在肯定社會發展的前提下，以藝術的方式揭露苦難與罪惡，從而讓人文與歷史兩種價值相交會，使文學實現對著生命的追求。

第五篇：文學閱讀與欣賞200507

中央廣播電視大學2004—2005學第二學期“開放本科”期末考試

英語專業 文學閱讀與欣賞 試題

2005年7月

注 意 事 項

一、將你的學號、姓名及分校(工作站)名稱填寫在答題紙的規定欄內。考試結束后，把試卷和答題紙放在桌子上，試卷和答題紙均不得帶出考場。監考人收完考卷和答題紙后才可離開考場。

二、仔細讀懂題目的說明，并按題目要求和答題示例答題。答案一定要寫在答題紙的指定位置上，寫在試卷上的答案無效。

三、用藍、黑圓珠筆或鋼筆答題，使用鉛筆答題無效。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(海枯石爛).(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.中央廣播電視大學2004—2005學第二學期“開放本科”期末考試

英語專業 文學閱讀與欣賞 試題答案及評分標準

(供參考)

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]