想和你们一起讨论，我也考这个呢，还有几门了
我也是2014年4月份考自考。你别给我分，我不需要那东西，只是和你讨论一下，一起学习。我已经过了七门了。你刚提到的几门课，和我有一门相同。那就是英美报刊选读。我也不知道是不是我自己的问题，每次考试我几乎都是裸考，裸考的都过了，看书的反而过不了。英汉翻译教程，我没看过书，也没做过试卷，过了，我连印象都没有了，所以应该不难吧。因为我们大学开的有英汉互译这门学科。我们也有英美文学这门课，但是自考的时候我发现试卷比我想象的难一点，有些知识我都不知道。英美文学，后面的大题目不难，自己临场发挥就好，但是选择题占得分值比较高，而且容易失分。大多数都是考作家和作品，各个时期代表的浪漫主义文学啦，古典文学啦等等，有什么特点，有哪些作家，有什么代表作，有些著名的作家有什么观点，代表着什么文学的诞生。就像是中国的文学历史一样。这些繁琐的基础知识很重要，要记牢固。用笔勾画一下书上的重点，背一背。英美文学的大题目，基本都是简答题，比如给你一首诗，问你是谁写的，作品叫什么名字，他的作品用的什么修辞手法，表达了什么，代表了什么时期的文学。其他的我记不清了，太久了。最最重要的就是，在放假前买试卷啊。 英汉翻译教程（不用看书）和英美文学你一定要买试卷做，英美文学和报刊选读，一定要弄到书看。 英美报刊选读是我的痛，我第一次裸考，54分，第二次在学校的图书馆看了一些英美报刊，考试59分。现在又报了第三次了，而且这次还报考了日语（二外）。英美报刊的题型，我记忆比较清楚的是第一题好像不是20分就是40分，后面大题目简单，就是前面又是一些基础知识。比如第一题词语解释，什么是Time,（不是时间，是报刊名）；什么是The Times,美国的小报有哪些，解释什么是Pentagon Papers,等等一些报刊的专业术语，很短，但是我有的真的不认识。所以要看书。后面的大题目 比较简单，就是给你文章，你去回答问题，一般文章看懂了，就可以回答了。比如我那次考到了关于英国女王的文章。后面就有问题问英国女王有什么权利，什么是君主立宪制等等。 其实没有什么计划，每个人水平不一样，但是无非就是看书，做试卷。有时间我们可以探讨一下怎么过英美报刊，说不定你的方法可以让我这次通过呢。
你有多少积分？嘿嘿！纯属语言学习给你交个朋友！这样，我分2个角度分析你的个人问题。第一那3个试题都侧重点，文学史肯定是作者作品还有思想内容为重！你要做的是迅速划分作者与作品年代，把好的段落多看看。其次是报刊远读，建议你放在阅读上！阅读明白吧？就是文章啊还有内容所涉及的一些问题一起看看！最后是翻译，你看看自考以前题目啊！翻译如果多考理论那你看理论，如果是实际操作的话，自己把你那书的所有文章翻译一次，然后对比你和人家的区别！汉译英重要的语言习惯和汉式英语！英译中注意别带让人很难理解的句子，还有课文中出现过的背景
考试科目有高级英语、口译与听力、英语写作、英美文学选读、英语翻译等。考生在复习时主要学习词汇和语法知识，自考生要重点学习，打好基础，学会如何运用语法。
自考英语专业并不难，因为自考英语专业的考察科目并没有太多，且不用考察高数，所以相对于其他自考专业而言并不难。
自考英语专业主要检测考生英语的听、说、读、写基本语言技能，所以自考英语专业考试题型基本是单选、完形填空、阅读、翻译、写作，考生可根据自己薄弱的地方做针对性的学习，层层突破，考试难度也会大大降低。基础较差的考生，还可以报读自考助学班，做系统的学习，在名师的指导下，快速地提升。
第一个!!! 你仔细看一下,应该对你有所帮助, 00602 口译与听力 南京师范大学编 （高纲号 0694） 一、考试说明 1．高级听力考试 1）高级听力考试为水平考试，考试方式为考生听录音磁带，同时答题目。答卷分试题和答题纸两部分。考试全长约70分种，其中前60分钟为考生听录音答题时间（具体时值以录音实际长度为准）。录音结束后，考生有10分钟额外的时间把答案誊写到答题卡上。 2）考试题型 高级听力考试共有四个部分（Section）。其中前两部分为客观题，形式为单项选择，即A、B、C、D四项中选一项。后两部分为主观题，形式为书面回答。总分值为50分。 3）题型说明 这一部分 简要新闻理解（14分） 这部分由7段简要新闻(news in brief)级成。主要为国际主要英语媒体如BBC、VOA、CNN、NPR、MSNBC等的简要新闻报道。每段新闻相应在试题中有两个单项选择题。每段新闻的录音播放两遍，然后考生有30秒时间答题。 第二部分 详细报道理解（10分） 第一部分由两段较长的录音构成。形式不一，一般是国际主要英语媒体的对新闻事件的详细报道（news in detail），也可能是国外广播电视英语节目的节选。每段报道相应在试题中有五个单项选择题。每段报道录音播放两遍，然后考生有一分钟时间答题。 第三部分 详细报道内容摘要（20分） 这一部分由两段较长的录音构成，性质同第二部分相同。针对每一段录音，考试卷面上将给出有关该录音内容的两或三个关键词组，要求考生根据所听内容写出和关键词组相关的信息。录音播放两遍，每一遍后留有一分钟间隙供考生书写答案。 第四部分 听写（6分） 在这一部分考生将听到一篇150-200词的录音。录音的文字印在卷面，上面有六处空白，要求考生把空白处的文字听写出来。每个空的文字量5词左右。录音连续不间断地播放三遍。 2．口译考试 1）口译考试为水平考试。形式考官司面试。从考试的客观公平出发，每位考生必须同时接受至少两位考官司的测评。口译的内容事先录制在磁带上，届时为考生播放，考生做即席口译。 2）考试程序 口译考试分为两部分，汉译英和英译汉。 汉译英部分 汉译英部分分两个阶段进行。 第一阶段是单句口译，总计15分。考生将听到4句话，每句中文30字左右。内容涉及日常生活、外事安排、中国国情、中国文化等。每一句的录音播放之后，考生应在30秒内译出该句。 第二阶段是段落口译，计10分。考生将听到1分钟左右的讲话录音。录音共播放两遍。第一遍不间断从头播到尾，第二遍录音播放时，在每一句播放过后考生有30秒时间口译该句。这一阶段的考试考生可以做笔记。 英译汉部分 英译汉部分分两个阶段进行。 第一阶段是单句口译，总计15分。考生将听到4句话，每句英语30词左右。内容涉及日常生活、外国人在华生活、国际事务等。每一句的录音播放之后，考生应在30秒内译出该句。 第二阶段是段落口译，计10分。考生将听到1分钟左右的讲话录音。录音共播放两遍。第一遍不间断从头播至尾，第二遍录音播放时，在每一句播放过后考生有30秒时间口译该句。这一阶段的考试考生可以做笔记。 3）口译总体要求 全部或绝大部分信息被译出，译法准确得当，重点词汇翻译准确，语音地道，语流顺畅，基本上一次完成，允许有少许自然停顿。 三、学习方法 由于客观条件的限制，加上广大自考生不能像在校重建了样有很多时间投入到外语实践这一情况，学好“高级听力与口译”对他们来说有着相当的难度。高级听力和口译要求学习者有很大的语言输入和语言实践，仅仅依靠课本，显然是不够的。课本只是给学生提供了一个学习的框架，真正水平的提高要靠平时的自学。 要想提高听力理解能力，首先钉保证语言素材的大量输入。本科段的高级听力给考生提出了更高的要求，既在实践层次上的要求——听真实材料。考生不能把目光只盯在教科书上，翻来覆去地听课本所配磁带是不会有大长进的。尽管对绝大多数考生来说不存在平时使用英语的环境，但这并不是说就没有办法了。应该说虽然英语在中国的使用从总体来讲还是相当有限，但今天的改革开放和信息社会已经使英语无处不在。世界上主要媒体如BBC、VOA、CNN、NPR、CCTV-9等的播音节目都可能通过电视或互联网上获得。英语国家的大报如Washington Post、New York Times 等都在互联网上提供新闻广播或录象服务。国内目前有大量的各种英语原声杂志和琳琅满目的英语原版电影的DVD光盘。这些都是练习听力的上好原材料。在练习听的时候，要注意方法，讲求收效。练习听力要保持从材料中索取信息的兴趣和兴奋度，保证定时定量，把握难易度，根据不同的材料性质决定精听和泛听。听时最好有录音原文的文字稿，这样可以对照地学习，搞清楚是什么地方没有听懂，没有听懂的原因，这样才有所积累。才能逐步地提高听力水平。 在口译学习上，考生需要付出的劳动更多。口译是一种复杂的综合的语言技能，它对大多数英语学习者来说是陌生的，有挑战性的。练习口译注意抓住几个方面。一是英语水平的培养。口译几乎可以说是包括全部语言技能在内的一种综合技能。平时口译的机会很少，学习者可以多做一些笔译练习，打下扎实的外语语言基本功。经常注意英汉两种语言在表达法甚至两种文化在思维定势上的差异，逐渐摆脱中式英语，向地道的英语迈进。二是口译工作带有鲜明的时代特点。随着社会的发展，新的语汇和新的表达法不断地涌现，这就要求学习者在平时注意观察和积累。把对同一事件的中英文两种报道对照地学习，不失为一种好办法。三要注意口译工作自身的特点，即译员必须及时地且独立地完成口译。这就意味着掌握好准确性和灵活性的结合。实质性的内容性必须准无误地译出。而一些诗句、成语、俚语、俗语、个人习惯用语等则要灵活处理，译成对方文化易于理解的接受的内容。 四．考试指定教材 高级听力：《英语高级听力》，何其莘等编著，外语教学与研究出版社 口译：基础阶段《高级口译教程》，梅德明编著，上海外语教育出版社 提高阶段：《实用英汉汉英口译教程》，徐海铭 季海宏编著，南京师范大学出版社 第二个!!! 00593和00594 英语听力 -------------------------------------------------------------------------------- 南京师范大学编 （高纲号 0544） 课程内容及考核目标 一、课程内容 本课程的学习内容主要围绕本课程的指定教材《英语中级听力》（ Listen to This:2）。全书共36课，每课由三个部分组成。每一课的主要学习内容包括生词表、文化背景注释和配套练习等三个部分。 二、考核目标 本课程是一门训练听力的单项技能课，其考核目标为；听懂英语国家人士关于日常生活和社会生活的交谈以及难度相当于TOEFL中的Mini-talk等中等难度的听力材料，理解中心大意，抓住主要论点，并能就所给的材料进行问答、复述和讨论。 Ⅲ、有关说明与实施要求 一、关于课程内容和考试目标 以上列出的课程学习内容和考核目标，将作为考生学习和考试命题的主要依据。考生应围绕本课程的指定教材，按要求全面系统地学习和掌握全书每一课的主要学习内容。听力考试是对应试者英语听力技能的综合测试。考生应通过英语听力自学考试教材的学习和训练，完成教材中的练习，循序渐进地提高听力理解能力。考试命题范围将主要围绕教材里的训练技能，如辨音、单句理解、对话理解并回答问题、短文理解、获取住处及回答问题、短文理解及判断正误等。命题应根据考核目标来把握试题的知识能力层次和难易程度，题型从点到线到面，即从词汇、到单句、小对话、较长的对话、短文，从易到难，循序渐进。 二、关于自学教材和学习方法 本课程所指定的教材为《英语中级听力》（ Listen to This:2），何其莘等编，外语教学与研究出版社。 本课程包括生词表、文化背景注释和配套练习三个部分。考生学习时应事先熟悉生词表中列出的词汇，并阅读文化背景注释。书中某些课文含有根据上下文推测、记笔记和整理讲座提纲等学习方法训练的内容，还包括对这些练习的示范说明，考生在做这部分练习时应熟悉这些训练的目的和要求。此外，考生应处理好听力课与其他课程的关系。应该知道，除了多听录音、多做练习之外，对语音语调的正确把握、丰富的词汇和语汇、宽阔的文化背景知识面等，对于提高英语听力技能是极其重要的，而这些综合的语言知识和语言技能的学习和掌握，与其他课程（中英语口语、阅读、语法、写作、英语国家概况等）的学习是分不开的。 三、关于考试形式、内容和成绩评定 英语听力考试的形式是笔试。题型均为多项选择类的客观题。考试分五大部分。 第一部分：辨音。（占20％。共10题，每题2分。） 要求考生听完一句录音后，从卷面上所给的四个读音类似的单词中找出一个录音句子中含有的单词。录音句子读两遍。 第二部分：单句理解（占20％。共20题，每题1分。） 要求考生听完一句录音后，从卷面上所给的四个句子中选出一句意思最为接近的句子。录音句子读两遍。 第三部分：对话理解、回答提问（占20％。共20题，每题1分。） 要求考生听完一男一女的两人小对话后，回答第三人的一句提问，答案从卷面所提供的四个句子中选择。对话及提问的录音放两遍。 第四部分：短文理解、回答提问（占20％。共10题，每题2分。） 要求考生听完一篇约200个单词的短文后，回答3－4个问题。问题列在卷面上，答案从卷面所提供的四个句子中选择。共三篇短文。短文录音放两遍。 第五部分；短文理解、判断正误（占20％。共10题，每题2分。） 要求考生听完一篇约600个单词的短文后，就短文内容判断10个句子的正误。10个句子均列在卷面上。短文录音放两遍。 整个听力考试约为60分钟。要求考生边听录音、边读试卷，同时在答题卡上做答。采用标准答体卡答卷，机器阅卷。满分为100分，60分为及格。 样题 一、试卷题型举例： STan dARD LISTEING TESTFOR SELF - TAUGHT STUDENTS IN JIANGSU PROVINCE GENERAL DIRECTIONS This is a test of your ability to understan d spoken English. It is divided into five sections. Each section of the test begins with a set of specific directions. Be sure you understan d what you are to do before you begin to work on a section. The tape will tell you when to strat each section an d when to go on to the next section. You must follow the recording all the time an d work quickly but carefully. Do not spend too much time on any one question. If you finish a section early, you may review your answer on that section only. You may not go on to the next section an d you may not go back to a section you have already worked on. You may find that some of the questions are more difficult than others,but you should try to answer every one. Your score will be based only on the number of questions you answer correctly. Therefore, if you are not sure of the answer to a question, make the best gues that you cna. It is to your advantage to answer every question, even if you have to guess the answer. Do no mark your answers in this TEST BOOK. You must mark all your answers on the separate ANSWER SHEET. Be careful to mark only one answer to each question. If you change your mind about an answer after you have marked it on the ANSWER SHEET, clear it completely withan eraser an d then mark your new answer. Section One Directions:In this section of the test, you will hear tensentences. Each sentence will be read twice an d it contains one of the four words given below. You must listen carefully an find out the word you hear in the sentence. Then, on your answer sheet, find the number of the question an d fill in the space that corresponds to the letter of the answer you have chosen. (20％) Here is an example: On the recording,you hear: The boy bit the man on the arm. In your test book you read: (A)beat (B)bit (C)bite (D)beast You learn from the speaker that the word in the sentence is(B),"bit".Therefore,the correct answer is(B).Now,let’s begin with NO.1 1.(A)cha rged (B)trained (C)challenged (D)changed 2.(A)called (B)cold (C)cooked (D)good 3.(A)exhaustion (B)extraction (C)exhibition (D)exhibit ... ... Section Two Directions:For each question in Section Two, you will hear a sentence in the form of a statement or a question. Each sentence will be spoken twice. When ou hear a sentence, read the four choices an d decide which of them is the chlosest interpretation of the statement or the best answer to the question you have heard. Then, on your answer sheet, find the number of the question an d fill in the space that corresponds to the letter of the answer you have chosen.(20％) 1.(A)The story is very enjoyable. (B)Is tha one of the stories? (C)I wonder which story it is. (D)Is that a wonderful story? 2.(A)The deans’ offices are located jus over the theater. (B)The dean is in the other office. (C)The offices are on the same floor as the theater. (D)The officers are on the stage. 3.(A)Laura had to take the cake upstairs. (B)Laura put on makeup before the exam. (C)Laura must take the test. (D)Laura knows the flag of every nation ... ... Section Three Directions: For each question in Section Three, you will hear a short conversation between two speakers. You will be given a question to answer about each conversation. Each conversation will be read twice. You must listen carefully to understan d what each speaker says. After you hear a conversation, read the four choices an d decide which of them is the best answer to the question. Then,on your answer sheet, find the number of the question an d fill in the space that corresponds to the letter of the answer you have chosen. (20％) 1.What does the woman mean? (A)The train will be heavily loaded. (B)The Capitol Building is made of stone. (C)The Capitol building is near the train station. (D)The train had already departed for Washington. 2.What does the man mean? (A)He doesn’t think they are allowed to speak. (B)He doesn’t know what’s happening outside. (C)He is only talking to himself. (D)He thinks it’s too noisy to talk now. 3.What does the man mean? (A)He can read for a long time when he’s interested. (B)He’s also amazed at how much he reads. (C)He reads the same amount as he woman does. (D)He finds it difficult to sit still to read. ... ... Secton Four Directions:In this section of the test, you will hear short talks an d converstations. After each talk or conversation, you will be given some question. Each talk or conversation will be read twice. You must read the questions an d the four possible answers carefully an d choose the best answer. Then, on your answer sheet, find the number of the question an d fill in the space that corresponds to the letter of the answer you have chosen. (20％) 1.What trouble did the pigeons have? (A)The cobra cheated them. (B)The cobra occupied their home. (C)They blst their valuable necklace. (D)The cobra often ate the pigeons’ young babies. 2.Whom did the pigeons go to for help? (A)A hare. (B)A snake. (C)A queen. (D)Their servant. 3.Why did the pigeon drop the necklace? (A)Because it was too heave. (B)Because he wanted to trick the cobra. (C)Because he wanted to please the cobra. (D)Because he wanted the servants to run after him. 4.What is the point of this passage? (A)When you are in trouble, better to go an d ask a clever friend for help. (B)bathing with a necklace left on the shore is foolish. (C)It is better to be clever than strong. (D)It’s foolish to eat young pigeons. ... ... Section Five Directions: This section is designed to measure your comprehension of a passage. You are going to hear the passage twice. It will not be written out for you. Therefore,you must listen carfully in order to understan d the passage completely. After you hear the passage, read each statement in your test book an d decide whether it is TRUE or FALSE according to what you have heard on the tape. Then on your answer sheet, if it is TRUE find the number of the question an d blacken the letter"A";if it is FALSE, find the number of the question an d blacken the letter"B".Now, please get ready to listen to the passage.(20％) 1.Chaplin was born an d had grown up in London’s poor area an d experienced hardships of life. 2.Chaplin’s parents had been successful actor an d actress in Englan d. 3.Chaplin had the same dream as his parent’s------to be film stars. ... ... THIS IS THE END OF THE LISTENING TEST. 样题录音文字及标准答案： Section One 1.The controller cha rged Amy too much.(A) 2.Mike’s coffee was cold.(B) 3.His art was appreciated by the younger people at the exhibi- tion. (C) Section Two 1.What a wonderful story!(A) 2.On the floor above the theatre are the deans’ offices.(A) 3.Laura has to make up the examination.(C) Section Three 1.M.While I’m in Washington,I want to see the Capitol Building. W.You will. It’s only a stone’s thrown away from the train station. Q.What does the woman mean?(C) 2.W. I’m sorry. What did you say? M. Oh, nothing. I was just thinking out loud. Q. What does the man mean?(C) 3.W. How you can read so much in one sitting is amazing. M. When the subject is interesting enough, it’s easy. Q. What does the man mean?(A) Section Four Once upon a time a pair of pigeons were continually upset by a cobra. Every year the snake crawled into their home to eat the young pigeons before they learned to fly.They asked their clever friend, the hare, what to do. "Do not be disappointed,"he told them,"We cannot stop the cobra by force, as we are not strong enough. We will have to use craft to destroy that cruel beast. Just do what I tell you an d you will be safe." The pigeon then flew off to the river where a queen was bating, guarded by all her servants. He snatched up the most beautiful necklace left on the shore an d flew away just out of reach of the angry servants. Once they were running straight for the cobra’s home he flew quickly ahead an d settled at the window pretenfing not to know what to do. The cobra rushed towards the pigeon at once."Stupid pigeon," he thought. He only just managed to fly away, but dropped this valuable necklace in his haste."What will his wife say? Now I will be the most magnificent cobra in the world." However, no sooner had he put it on than the servants appeared an d killed him to take the expensive thing back. The year the pigeon’s family grew up healthy an d safe. Questions: 1.What trouble did the pigeons have?(D) 2.Whom did the pigeons go to for help?(A) 3.Why did the pigeon drop the necklace?(B) 4.What is! the point of this passage?(C) Section Five cha rles Chaplin In 1911, a penniless young man left Englan d for America. His future was uncertain, but he did not believe it could be worse than his past. He had grown up among the poor in London’s East End an d experience great poverty. His mother’s life had been so hard that she had finally gone mad. an d his father died of drink. Both parents had been on the stage an d lived in the hope that they would one day be "stars". Their son dreamed that he could succeed where they had failed. By 1914, his dream had come true. His name, cha rlie, was widely talked about in America. He was admired as the king of silent films. How did he reach the top of the film world an d make a huge success in such a short time? It was not at one single stroke. His early efforts to copy other famous stars at that time were a failure. However, he gradually began to develop the cha racter of a tramp, which is always connected with his name. He often borrowed ideas an d even "stole" most of his clothes from others, but he developed his own way to go with them. He used a black hat to pass secret messages, an d the walking stick allowed him to make fun of his enemies or to punish them from a distance. He got the idea for his famous walk from a London driver who had a wound in his foot. ... ... Questions: 1.Chaplin was born an d had grown up in London’s poor area an d experienced hardships of life.(A) 2.Chaplin’s parents had been successful actor an d actress in Englan d.(B) 3.Chapin had the same dream as his parent’s---- to be film stars.(A) (执笔：南京师范大学外国语学院 李霞 等)南师大有自考补习班的!你没找找??看有你英语专业的补习班还有你可以咨询一下这方面在师范大学的老师,我也在帮你找,这是能买到高级英语阅读教程的书,你看一下,我也不知道是不是,能不能买到,我再帮你查,查到英美文学选读的资料了,给你个网站你看一下
四川自考英语专业考试科目一共有6门，分别是英语（一）、英语（二）、英语文学、英美文化、英语语言学、翻译理论与实践。各科目的考试内容如下：1. 英语（一）和英语（二）主要考核英语能力的基础和进阶知识，包括英语听、说、读、写的能力。其中，英语（一）考察的内容比较基础，重点在于基本语法、词汇和基本交际。而英语（二）则涉及更多的高难度语言知识、应用和交际策略，需要考生掌握更高的英语水平。2. 英语文学主要考查对英美文学史的了解、文学名著的阅读和理解能力，以及对文学批评和文化解读的理解与掌握。3. 英美文化主要考察了解和掌握西方文化的核心内容，包括文化发展历史、社会制度、宗教信仰、文化符号、群体心理等方面的内容。4. 英语语言学主要考查对英语语言学理论的理解和掌握，具体涉及音系、词汇、语法、语义和语用等方面的知识和应用。5. 翻译理论与实践主要考查翻译的基本理论和方法，包括对翻译概念、翻译分类、翻译流程和翻译技巧的掌握。同时还需要具备一定的翻译实践能力，能够实际运用翻译技巧进行翻译。需要注意的是，四川自考英语专业的考试难度较大，需要考生具备扎实的英语水平和文化素养。建议学生在备考过程中，积极查阅相关的教材、辅导资料、信息和实际案例，提前制定恰当的学习计划和复习计划，认真研究典型样卷和遗留考卷，通过系统化和科学化的学习和复习，提升自己的英语实战能力和应试能力。
四川自考英语专业本科考试课程00087英语翻译、00600高级英语、03709马克思主义基本原理概论、00795综合英语（二）、00831英语语法、00836英语科技文选、05844国际商务英语、00832英语词汇学、00833外语教学法、00839第二外语（俄语）、00840第二外语（日语）、03708中国近现代史纲要、00603英语写作、00604英美文学选读
是有点难，我第一次考了50多分，伤心啊(但我只看了1个多月)．但方法好的话，还是可以拿到不错的分数的．经过我近一年的复习，发现一些不错的方法，你就参考一下吧． 1.英美文学中有48位作者和他们将近100篇选读,你要把这48位作者和这些选读作品,一一对号,识记一下,这是最基本的 2.概括作者的写作手法和写作风格,你可以先独立地去认识每一位作家的特点,但不要忘记要总结,哪些作家的风格相似,但区别又在哪里?(历年考卷中都出现过这种题型,而且分值都很大) 3.每一位作者的代表作品的主题,主人公的名字. 4.每一段选读前都有一段小字是简述故事或总结概要的,要熟记(去年的考试里就有考过) 5.选读文章的最后都或多或少有一些文字的注释,最好熟悉一下,因为往年的考题中也有涉及. 6.不要去做所谓的模拟考卷,根本就没有用!因为考试根本就不会出模拟里题.
哈哈,我考过.一开始头痛,现在是喜欢.和上外的一位学生聊过这本教科书,他觉得最大的收获是里面修饰作者文采的形容词很有使用性.我的外教老师说这本书的难度是属于"TOP"了.所以,如果真的想把英语学好,看熟这本书是绝对有意义的!书里的节选文章中,英国文艺复兴的几篇诗歌有点难,因为有很多的古英语单词,现在很多已经不用了,都成了废词,但还是要求能看懂大致意思的,但好在量不大(和现代英语生词比起来),所以要坚持看完哦.我有一些学习方法,是专门对付考试的,但如果是抱着提高自身的文学修养去看这本书,我建议最好花上整整一年的时间去好好琢磨一下精选文章以及书中的精彩点评,而不是很功利去背诵:1.英美文学中有48位作者和他们将近100篇选读,你要把这48位作者和这些选读作品,一一对号,识记一下,这是最基本的 2.概括作者的写作手法和写作风格,你可以先独立地去认识每一位作家的特点,但不要忘记要总结,哪些作家的风格相似,但区别又在哪里?(历年考卷中都出现过这种题型,而且分值都很大) 3.每一位作者的代表作品的主题,主人公的名字. 4.每一段选读前都有一段小字是简述故事或总结概要的,要熟记(去年的考试里就有考过) 5.选读文章的最后都或多或少有一些文字的注释,最好熟悉一下,因为往年的考题中也有涉及. 6.不要去做所谓的模拟考卷,根本就没有用!因为考试根本就不会出模拟里题.
Chapter 5The Modern Period Ⅰ。学习目的和要求 通过本章的学习，了解20世纪批判现实主义文学和现代主义文学产生的历史、文化背景。认识该时期文学创作的基本特征、基本主张，及其对现当代英国文学乃至文化的影响；了解该时期重要作家的文学创作思想、艺术特色及其代表作品的主题结构、人物刻画、语言风格、思想意义等；同时结合注释，读懂所选作品，了解其思想内容和写作特色，培养理解和欣赏文学作品的能力。 Ⅱ。本章重点及难点 1. 英国现代文学的特征 2. 主要作家的创作思想、艺术特色及其代表作品的主题结构、人物刻画和语言风格 3. 名词解释：现代主义 4. 应用：选读作品的主题结构、艺术特色、人物刻画和语言风格，如 （1）叶芝和艾略特诗歌（所选作品）的主题、意象分析 （2）小说《儿子与情人》的主题和主要人物的性格分析 （3）意识流小说的主要特色分析 （4）萧伯纳戏剧的特点与社会意义分析 Ⅲ。考核知识点和考核要求 （一）现代时期概述 1.识记： A. 20世纪英国社会的政治、经济、文化背景 B.英国20世纪批判现实主义文学 C.现代主义文学的兴起与衰落 2.领会： A. 现代主义文学创作的基本主张 B.英国现代主义文学思潮 （1）诗歌 （2）小说 （3）戏剧 3.应用： A.名词解释：现代主义 B.英国现代主义文学的特点 C.现代主义文学对当代文学的影响 （二）现代时期的主要作家 A.萧伯纳 1.一般：萧伯纳的生平与文学生涯。 2.识记： A.萧伯纳的政治改革思想和文学创作主张 B.萧伯纳的戏剧创作 （1）早期主要作品：《鳏夫的房产》、《华伦夫人的职业》、《康蒂坦》、《凯撒和克莉奥佩特拉》 （2）中期作品：《人与超人》、《巴巴拉少校》、《皮格马利翁》 （3）晚期作品：《伤心之家》、《回到麦修色拉》、《圣女贞德》、《苹果车》 3.领会： A.萧伯纳戏剧的特点与社会意义 B.萧伯纳的戏剧对20世纪英国文学的影响 4.应用： A.《华伦夫人的职业》的故事梗概、情节结构、人物塑造、语言风格、思想意义 B.选读：所选作品的主要内容、人物塑造、语言特点、艺术手法等 B.约翰。高尔斯华绥 1.一般识记：高尔斯华绥的生平与文学生涯 2.识记：高尔斯华绥的文学创作 （1）戏剧：《银盒》、《正义》、《斗争》 （2）小说：《福赛特世家》（《有产业的人》、《骑虎》、《出租》）、《现代喜剧》 3.领会： A.高尔斯华绥的创作思想 B.高尔斯华绥批判现实主义小说的主要特点及社会意义 4.应用： 选读：所选作品的主要内容、人物性格。语言特点、叙述手法等 C、威廉。勃特勒。叶芝 1.一般：叶芝的生平及文学生涯 2.识记：叶芝诗歌的代表作品 （1）早期诗歌：《茵尼斯弗利岛》、《梦见仙境的人》、《玫瑰》 （2）中期诗歌：《新的纪元》、《1916年的复活节》 （3）晚期诗歌：《驶向拜占廷》、《丽达及天鹅》、《在学童们中间》 3.领会： A.叶芝的诗歌创作思想 B.叶芝诗歌的特点及思想意义 C.叶芝诗歌的艺术成就 D.叶芝的诗歌对当代英国文学的影响 E.叶芝的戏剧创作 4.应用：选读：、所选作品的主题思想、语言风格、艺术特色等 D、T.S.艾略特 1.一般识记：艾略特的生平及创作生涯 2.识记：艾略特的主要诗歌作品 （1）《普鲁弗洛克的情歌》 （2）《荒原》 （3）《灰星期三》 （4）《四个四重奏》 3.领会： A.艾略特的文学理论与文艺批评观 B.艾略特诗歌的艺术特色及社会意义 C.艾略特的戏剧 D. 文略特的艺术成就 E.艾略特的文学创作及文艺批评思想对现当代英国文学的影响 4.应用： A.《荒原》主题、结构、神话、象征、语言特色及社会意义 B.选读：所选作品的主题结构、思想内容、语言特点、艺术手法等 E.戴维。赫伯特。劳伦斯 1.一般识记：劳伦斯的生平及文学生涯 2.识记：劳伦斯的主要小说 （1）《儿子与情人》 （2）《虹》 （3）《恋爱中的女人》 3.领会： A. 劳伦斯的创作思想 B. 劳伦斯小说的主要艺术特色及社会意义 . C. 劳伦斯的小说对现当代英国文学的影响 4.应用： A.《儿子与情人》的故事梗概、情节结构、人物塑造、语言风格、思想意义 B.选读：所选作品的主要内容、人物性格、语言特点、艺术手法等 F.詹姆斯。乔伊斯 1.一般识记：乔伊斯的生平与创作生涯 2.识记：乔伊斯的主要作品简介 （1）《都柏林人》 （2）《青年艺术家的肖像》 （3）《尤利西斯》 3.领会： A. 乔伊斯的文学创作主张与美学思想 B. 乔伊斯小说的主要艺术特色及思想意义 C.乔伊斯的艺术成就 D.乔伊斯的作品对现当代世界文学的影响 4.应用： A. 意识流小说的主要特色分析 B. 选读：所选作品的主题思想、人物塑造、语言特色、艺术手法等 Chapter 5 The Modern Period 一。识记： 1. The social， ideological background of the modern English literature： （1） The influences of the two World Wars on English literature： Modernism rose out of skepticism and disillusion of capitalism. The First World War and the Second World War had greatly influenced the English literature. The catastrophic First World War tremendously weakened the British Empire and brought about great sufferings to its people as well. Its appalling shock severely destroyed people's faith in the Victorian values； The postwar economic dislocation and spiritual disillusion produced a profound impact upon the British people， who came to see the prevalent wretchedness in capitalism. The Second World War marked the last stage of the disintegration of the British Empire. Britain suffered heavy losses in the war： thousands of people were killed； the economy was ruined； and almost all its former colonies were lost. People were in economic， cultural， and belief crisises. （2） Ideologically， the rise of the irrational philosophy and new science greatly incited modern writers to make new explorations on human natures and human relationships. （a） In the mid-19th century， Karl Marx and Friedrich Engels put forward the theory of scientific socialism， which not only provided a guiding principle for the working people， but also inspired them to make dauntless fights for their own emancipation. （b） Darwin's theory of evolution exerted a strong influence upon the people， causing many to lose their religious faith. The social Darwinism， under the cover of "survival of the fittest，" vehemently advocated colonialism or jingoism. （c） Einstein's theory of relativity provided entirely new ideas for the concepts of time and space. （d） Freud's analytical psychology drastically altered our conception of human nature. （e） Arthur Schopenhauer， a pessimistic philosopher started a rebellion against rationalism， stressing the importance of will and intuition. （f） Having inherited the basic principles from Schopenhauer， Friedrich Nietzsche went further against rationalism by advocating the doctrines of power and superman and by completely rejecting the Christian morality. （g） Based on the major ideas of his predecessors， Henry Bergson established his irrational philosophy which put the emphasis on creation， intuition， irrationality and unconsciousness. All these irrationalist philosophers exerted immense influence upon the major modernist writers in Britain. So， after the First World War， all kinds of literary trends of modernism appeared： symbolism， expressionism， surrealism， cubism， futurism， Dadaism， imagism and stream of consciousness. Towards the 1920s， these trends converged into a mighty torrent of modernist movement， which swept across the whole Europe and America. After the Second World War， a variety of modernism， or post-modernism， like existentialist literature， theater of the absurd， new novels and black humor， rose with the spur of the existentialist idea that "the world was absurd， and the human life was an agony." 2. The development of English poetry in the 20th century： The 20th century has witnessed a great achievement in English poetry. In the early years of this century， Thomas Hardy and the war poets of the younger generation were important realistic poets. Hardy expressed his strong sympathies for the suffering poor and his bitter disgusts at the social evils in his poetry as in his novels. The soldiers-poets of World War I revealed the appalling brutality of the war in a most realistic way. The early poems of Pound and Eliot and Yeats's matured poetry marked the rise of "modern poetry，" which was， in some sense， a revolution against the conventional ideas and forms of the Victorian poetry. The modernist poets fought against the romantic fuzziness and self-indulged emotionalism， advocating new ideas in poetry- writing such as to use the language of common speech， to create new rhythms as the expression of a new mood， to allow absolute freedom in choosing subjects， and to use hard， clear and precise images in poems. The 1930s witnessed great economic depressions， mass unemployment， and the rise of the Nazis. Facing such a severe situation， most of the young intellects started to turn to the left. And therefore the period was known as "the red thirties." A group of young poets during this period expressed in their poetry a radical political enthusiasm and a strong protest against fascism. With the coming of the 1950s， there was a return of realistic poetry again. By advocating reason， moral discipline， and traditional forms， a new generation of poets started "The Movement，" which explicitly rejected the modernist influence. There was no significant poetic movement in the 1960s. A multiplicity of choices opened to both the poet and the reader. Poets gradually moved into more individual styles. 3. Realism in the 20th century English literature： The realistic novels in the early 20th century were the continuation of the Victorian tradition， yet its exposing and criticizing power against capitalist evils had been somewhat weakened both in width and depth. The outstanding realistic novelists of this period were John Galsworthy， H. G. Wells， and Arnold Eennett. The three trilogies of Galsworthy's Forsyte novels are masterpieces of critical realism in the early 20th century， which revealed the corrupted capitalist world. In his novels of social satire， H. G. Wells made realistic studies of the aspirations and frustrations of the "Little Man；" whereas Bennett presented a vivid picture of the English life in the industrial Midlands in his best novels. Realism was， to a certain extent， eclipsed by the rapid rise of modernism in the 1920s. But with the strong swing of leftism in the 1930s， novelists began to turn their attention to the urgent social problems. They also enriched the traditional ways of creation by adopting some of the modernist techniques. However， the realistic novels of this period were more or less touched by a pessimistic mood， preoccupied with the theme of man's loneliness， and shaped in different forms： social satires by Aldous Huxley and George Orwell comic satires on the English upper class by Evelyn Waugh； and Catholic novels by Graham Greene. Another important group of young novelists and playwrights with lower-middle-class or working-class background in the mid-1950s and early 1960s known as "The Angry Young Man." They demonstrated a particular disillusion over the depressing situation in Britain and launched a bitter protest against the outmoded social and political values in their society. Kingsley Amis， John Wain， John Braine and Alan Sillitoe were the major novelists in this group. They portrayed unadorned working-class life in their novels with great freshness and vigor of the working-class language. Amis was the first to start the attack on middle-class privileges and power in his novel Lucky Jim （1954）。 The term "The Angry Young Man" came to be widely Having been merged and interpenetrated with modernism in the past several decades， the realistic novel of the 1960s and 1970s appeared in a new face with a richer， more vigorous and more diversified style. 二。领会： 1.Modern English poetry： It is， in some sense， a revolution against the conventional ideas and forms of the Victorian poetry. The modernist poets fought against the romantic fuzziness and self-indulged emotionalism， advocating new ideas in poetry- writing such as to use the language of common speech， to create new rhythms as the expression of a new mood， to allow absolute freedom in choosing subjects， and to use hard， clear and precise images in poems. 2. Modern English novels： The first three decades of 20th century were golden years of the modernist novel. In stimulating the technical innovations of novel creation， the theory of the Freudian and Jungian psycho-analysis played a particularly important role. With the notion that multiple levels of consciousness existed simultaneously in the human mind， that one's present was the sum of his past， present and future， and that the whole truth about human beings existed in the unique， isolated， and private world of each individual， writers like Dorothy Richardson， James Joyce and Virginia Woolf concentrated all their efforts on digging into the human consciousness. They had created unprecedented stream-of-consciousness novels such as Pilgrimage by Richardson， Ulysses （1922） by Joyce， and Mrs. Dalloway （1925） by Woolf. One of the remarkable features of their writings was their continuous experimentation on new and sophisticated techniques in novel writing， which made tremendous impacts on the creation of both realistic and modernist novels in this century. James Joyce is the most outstanding stream-of-consciousness novelist； in Ulysses， his encyclopedia-like masterpiece， Joyce presents a fantastic picture of the disjointed， illogical， illusory， and mental- emotional life of Leopold Bloom， who becomes the symbol of everyman in the post-World-War-ⅠEurope. In the works of E. M. Forster and D. H. Lawrence， old traditions are still there， but their subject matter about human relationships and their symbolic or psychological presentations of the novel are entirely modern. Forster's masterpiece， A Passage to India （1924）， is a novel of decidedly symbolist aspirations， in which the author set up， within a realistic story， a fable of moral significance that implies a highly mystical， symbolic view of life， death， human relationship， and the relationship of man with the infinite universe. D. H. Lawrence is regarded as revolutionary as Joyce in novel writing； but unlike Joyce， he was not concerned with technical innovations； his interest lay in the tracing of the psychological development of his characters and in his energetic criticism of the dehumanizing effect of the capitalist industrialization on human nature. He believed that life impulse was the primacy of man's instinct， and that any conscious repression of such an impulse would cause distortion or perversion of the individual's personality. In his best novels like The Rainbow （1915） and Women in Love （1920）， Lawrence made a bold psychological exploration of various human relationships， especially those between men and women， with a great frankness Lawrence claimed that the alienation of the human relationships and the perversion of human nature in the modern society were caused by the desires for power and money， by the shams and frauds of middle-class life， and， above all， by the whole capitalist mechanical civilization， which turned men into inhuman machines. After the Second World War， modernism had another upsurge with the rise of existentialism which was reflected mainly in drama. 3. The development of 20th century English drama： The most celebrated dramatists in the last decade of the 19th century were Oscar Wilde and George Bernard Shaw， who， in a sense， pioneered the modern drama， though they did not make so many innovations in techniques and forms as modernist poets or novelists. Wilde expressed a satirical and bitter attitude towards the upper-class people by revealing their corruption， their snobbery， and their hypocrisy in his plays， especially in his masterpiece， The Importance-of Being Earnest （1895）。 Shaw is is considered to be the best-known English dramatist since Shakespeare whose works are examples of the plays inspired by social criticism. John Galsworthy carried on this tradition of social criticism in his plays. By dramatizing social and ethical problems， Galsworthy made considerable achievements in his plays such as The Silver Box （1906） and Strife （1910）， in which Galsworthy presents not only realistic pictures of social injustice， but also the workers' heroic struggles against their employers. W. B. Yeats， a prominent poet of the 20th century， was the leader of the Irish National Theater Movement. He was a verse playwright who desired to restore lyrical drama to popularity. With the heroic portrayal of spiritual truth as his main concern， Yeats wrote a number of verse plays， introducing Irish myths and folk legends； but the plot in his plays was seldom very dramatic. The 1930s witnessed a revival of poetic drama in England. One of the early experimenters was T. S. Eliot who regarded drama as the best medium of poetry. Eliot wrote several verse plays and made a considerable success. Murder in the Cathedral （1935）， with its purely dramatic power， remains the most popular of his verse plays， in spite of its primarily religious purpose. After Eliot， Christopher Fry gained considerable successes in poetic drama. His exuberant though poetically commonplace verse drama. The Lady's Not For Burning （1948）， attracted delighted audience. The English dramatic revolution， which came in the 1950s under various European and American influences， developed in two directions： the working-class drama and the Theater of Absurd. The working-class drama was started by a group of young writers from the lower-middle class， or working class， who presented a new type of plays which expressed a mood of restlessness， anger and frustration， a spirit of rebelliousness， and a strong emotional protest against the existing social institutions. John Osborne's play， Look Back in Anger （1956）， in a fresh， unadorned working-class language， angrily， violently and unrelentingly condemned the contemporary social evils. With an entirely new sense of reality， Osborne brought vitality to the English theater and became known as the first "Angry Young Man." The most original playwright of the Theater of Absurd is Samuel Beckett， who wrote about human beings living a meaningless life in an alien， decaying world. His first play Waiting for Godot （1955） is regarded as the most famous and influential play of the Theater of Absurd.
Chapter II The Neoclassical Period 一。新古典主义时期概述 1. 识记：（1）新古典主义时期的界定 （2）政治经济背景 （3）启蒙运动的意义与影响 2. 领会：（1）启蒙运动的主张与文学的特点 （2）新古典主义时期文学的艺术特点 3. 应用：启蒙运动，新古典主义，英雄双行诗，英国现实主义小说等名词的解释 1. 识记Definitions of literary terms 1） The Enlightenment Movement The 18th-century England is known as the Age of Enlightenment or the Age of Reason. The Enlightenment Movement was a progressive intellectual movement which flourished in France & swept through the whole Western Europe at the time. The movement was a furtherance of the Renaissance of the 15th & 16th centuries. Its purpose was to enlighten the whole world with the light of modem philosophical & artistic ideas. The enlighteners celebrated reason or rationality， equality & science. They called for a reference to order， reason & rules & advocated universal education. Famous among the great enlighteners in England were those great writers like John Dryden， Alexander pope & so on. 2） Neoclassicism In the field of literature， the Enlightenment Movement brought about a revival of interest in the old classical works. This tendency is known as neoclassicism. According to the neoclassicists， all forms of literature were to be modeled after the classical works of the ancient Greek & Roman writers （Homer， Virgil， & so on）& those of the contemporary French ones. They believed that the artistic ideals should be order， logic， restrained emotion & accuracy， & that literature should be judged in terms of its service to humanity. This belief led them to seek proportion， unity， harmony & grace in literary expressions， in an effort to delight， instruct & correct human beings， primarily as social animals. Thus， a polite， urbane， witty， & intellectual art developed. 3） The heroic couplet It means a pair of lines of a type once common in English poetry， which rhyme & are written with five beats each…… 4） the Realistic Novel The mid-century was， however， predominated by a newly rising literary form， the modern English novel， which， contrary to the traditional romance of aristocrats， gives a realistic presentation of life of the common English people. This-the most significant phenomenon in the history of the development of English literature in the eighteenth century - is a natural product of the Industrial Revolution & a symbol of the growing importance & strength of the English of the growing importance & strength of the English middle class， Among the pioneers were Daniel Defoe ，Samuel Richardson， Henry Fielding， Laurence Sterne， Tobias Creorge Smollott， & Oliver Goldsmith. 2. 领会Characteristics of Neoclassical Literature According to the neoclassicists， all forms of literature were to be modeled after the classical works of the ancient Greek & Roman writers （Homer， Virgil， Horace， Ovid， etc，）& those of the contemporary French ones. Neoclassicists had some fixed laws &rules for almost every genre of literature， prose should be precise， direct， smooth & flexible. Poetry should be lyrical， epical， didactic， satiric or dramatic， & each class should be guided by its own principles. Drama should be written in the Heroic Couplets （iambic pentameter rhymed in two lines）； the three unities of time， space & action should be strictly observed； regularity in construction should be adhered to & type characters rather than individuals should be represented. 二。该时期的重要作家 1，一般识记：重要作家的创作生涯 2，识记：重要作品及主要内容 3，领会：重要作家的创作思想，艺术特色其代表作的主题结构，人物刻画，语言风格，艺术特色，社会意义等。 4，应用：（1）《天路历程》中“名利场”的寓义。 （2）蒲伯的文学（诗歌）批评观及其诗歌特色。 （3）《格列佛游记》的社会讽刺。 （4）菲尔丁的“散文体史诗”。 （5）格雷诗歌的主题与意象。 I. John Bunyan 1. 一般识记His life English author & preacher， born in Elstow， England， probably Nov.28， 1628，and died in London， England， Aug， 31， 1688. 2. 识记His major works John Bunyan’s The Pilgrim’s Progress （1678） is the outstanding 17th-century English religious literature. For more than 200 years this book was second in popularity only to the Bible. Bunyan did not attempt to portray the political confusion & social upheaval of 17th-century England. His concern was rather the study of man’s spiritual life. Bunyan chiefly wrote four prose works - Grace Abounding to the Chief of Sinners （1666）， The Life & Death of Mr. Badman （1680）， The Holy War （1682） & The Pilgrim’s Progress， part II （1684）。 3. 领会Characteristics of his works Bunyan’s style was modeled after that of the English Bible. With his concrete &living language & carefully observed & vividly presented details， he made it possible for the reader of the least education to share the pleasure of reading his novel & to relive the experience of his characters. 4. 应用Selected Reading "The Vanity Fair"， an excerpt from Part I of The Pilgrim’s Progress. （1） Theme： The Pilgrim’s Progress is the most successful religious allegory in the English language. Its purpose is to urge people to comply with Christian doctrines & seek salvation through constant struggles with their own weakness & all kinds of social evils. It is not only about something spiritual but also beats much relevance to the time. Its predominant metaphor-life as a journey-is simple & familiar. （2） "Vanity Fair" is the most famous part of The Pilgrim’s Progress. It tells how Christian & his friend Faithful come to Vanity Fair on their way to heaven，" a fair where in should be sold all sorts of vanity & that it should last all the year long： therefore at this fair all such merchandise sold， as houses， lands， trades， places， honors， preferments， titles， countries， kingdoms， lusts， pleasures & delights of all sorts as harlots， wives， husbands， children， masters， servants， lives， blood， bodies， souls， silver， gold， pearls， precious stones & what not." As they refuse to buy anything but truth， they are beaten & put in a cage & then taken out & led in chains up & down the fair. They are sentenced to death-to be put to the most cruel death that can be invented." Vanity Fair" is a satirical picture of English society， law & religion in Bunyan’s day.
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是有点难，我第一次考了50多分，伤心啊(但我只看了1个多月)．但方法好的话，还是可以拿到不错的分数的．经过我近一年的复习，发现一些不错的方法，你就参考一下吧． 1.英美文学中有48位作者和他们将近100篇选读,你要把这48位作者和这些选读作品,一一对号,识记一下,这是最基本的 2.概括作者的写作手法和写作风格,你可以先独立地去认识每一位作家的特点,但不要忘记要总结,哪些作家的风格相似,但区别又在哪里?(历年考卷中都出现过这种题型,而且分值都很大) 3.每一位作者的代表作品的主题,主人公的名字. 4.每一段选读前都有一段小字是简述故事或总结概要的,要熟记(去年的考试里就有考过) 5.选读文章的最后都或多或少有一些文字的注释,最好熟悉一下,因为往年的考题中也有涉及. 6.不要去做所谓的模拟考卷,根本就没有用!因为考试根本就不会出模拟里题.
教材是必须要看的 结合着教辅书 也要练习做题
【北京市自考办 - 北京自学考试(自考)指南】：专业名称：英语（2008年起执行） 专业代码：01C1502序号 课程代码 课程名称 学分 备注 1 03708 中国近现代史纲要 2 必考课共10门 2 03709 马克思主义基本原理概论 4 3 00600 高级英语 12 4 00087 英语翻译 6 5 10064 口译与听力（口译部分） 3 10065 口译与听力（听力部分） 3 6 00603 英语写作 4 7 00604 英美文学选读 6 8 00831 英语语法 4 9 00832 英语词汇学 4 10 10017 欧洲文化入门 4 1 00839 第二外语（俄语） 6 选考课任选1门 2 00840 第二外语（日语） 6 3 00841 第二外语（法语） 6 4 00842 第二外语（德语） 6 10055 毕业论文
今天教务老师给大家收集整理了自考03709新教材，03709自考真题2023的相关问题解答，还有免费的自考历年真题及自考复习重点资料下载哦，以下是全国我们为自考生们整理的一些回答，希望对你考试有帮助！英语专业自考本科段教材专业代码：01C1502专业名称：英语课程代码课程名称教材名称出版社版本作者00087英语翻译英汉翻译教程外语教学与研究出版社1999年版庄绎传00600高级英语高级英语外语教学与研究出版社2000年版王家湘张中载00603英语写作英语写作辽宁大学出版社1999年版杨俊峰00604英美文学选读英美文学选读外语教学与研究出版社1999年版张伯香00795综合英语综合英语外语教学与研究出版社2000年版徐克容00831英语语法现代英语语法外语教学与研究出版社2000年版李基安00832英语词汇学英语词汇学外语教学与研究出版社1999年版张维友00839第二外语大学俄语简明教程高等教育出版社1995年版张宝岑钱晓惠00840第二外语初级日语\初级日语教与学北京大学出版社2006年版\2007年版赵华敏00841第二外语简明法语教程商务印书馆1990/1年版孙辉00842第二外语新编大学德语外语教学与研究出版社2002年版朱建华03708中国近现代史纲要中国近现代史纲要2008年版王顺生李捷03709马克思主义基本原理概论马克思主义基本原理概论2008年版卫兴华赵家祥10014水平考试水平考试自学辅导航空工业出版社2006年版余志远10015水平考试英语听力上、下册外语教学与研究出版社1999年版何其莘王敏金利民夏玉和10016水平考试英语口语自学教程外语教学与研究出版社95年版96年版余志远10017欧洲文化入门欧洲文化入门外语教学与研究出版社1992年版王佐良祝珏李品伟高厚10064口译与听力现代汉译英口译教程外语教学与研究出版社2004年版吴冰10065口译与听力英语高级听力外语教学与研究出版社1992年版何其莘王敏金利民俞涓(高分)求最新自考英语本科教材现代英语语法-自学考试指定教材同步配套题解(天一自考通)作者:张冬梅出版社:光明日报出版社出版日期:2005年9月页数:427装帧:平装开本:32版次:2商品编号:1167060ISBN:780145450建议你还是去学生书店买吧，有打折的。自考办没有优惠，网上可信度还不是很高。考试内容肯定都来自书上的。课程代码课程名称教材名称出版社版本作者00087英语翻译英汉翻译教程外语教学与研究出版社1999年版庄绎传00600高级英语高级英语外语教学与研究出版社2000年版王家湘张中载00603英语写作英语写作辽宁大学出版社1999年版杨俊峰00604英美文学选读英美文学选读外语教学与研究出版社1999年版张伯香00795综合英语综合英语外语教学与研究出版社2000年版徐克容00831英语语法现代英语语法外语教学与研究出版社2000年版李基安00832英语词汇学英语词汇学外语教学与研究出版社1999年版张维友00839第二外语大学俄语简明教程高等教育出版社1995年版张宝岑钱晓惠00840第二外语初级日语\初级日语教与学北京大学出版社2006年版\2007年版赵华敏00841第二外语简明法语教程商务印书馆1990/1年版孙辉00842第二外语新编大学德语外语教学与研究出版社2002年版朱建华03708中国近现代史纲要中国近现代史纲要2008年版王顺生李捷03709马克思主义基本原理概论马克思主义基本原理概论2008年版卫兴华赵家祥10014水平考试水平考试自学辅导航空工业出版社2006年版余志远10015水平考试英语听力上、下册外语教学与研究出版社1999年版何其莘王敏金利民夏玉和10016水平考试英语口语自学教程外语教学与研究出版社95年版96年版余志远10017欧洲文化入门欧洲文化入门外语教学与研究出版社1992年版王佐良祝珏李品伟高厚10064口译与听力现代汉译英口译教程外语教学与研究出版社2004年版吴冰10065口译与听力英语高级听力外语教学与研究出版社1992年版何其莘王敏金利民俞涓谁能给我高中英语新教材的新增单词表？我要复读，但是下届是新教材啊你到 上去找找自考会计制度设计的新教材和老教材有什么区别？差别有点大，因为教材是8年变化一次，因为8年里发生太多的事了!我也10月25日 考试，你不用慌，赶快换成模拟题做吧!不要看老教材了!自考/成考有疑问、不知道自考/成考考点内容、不清楚当地自考/成考政策，点击底部咨询官网老师，免费领取复习资料：
Chapter 3 The Modern Period Ⅰ。本章学习目的和要求 通过本章的学习，了解20世纪初期至中叶美国现代文学产生 的历史、文化背景，认识该时期文学创作的基本特征、基本主张，及其对当代美国文学发展的影响；了解该时期主要作家的文学生涯、创作意图、艺术特色及其代表作品的主题结构、人物刻画和语言风格等；同时结合注释，读懂所选作品，了解其思想内容和写作特色，培养理解和欣赏文学作品的能力。 Ⅱ。本章重点及难点 1. 美国现代文学的特征 2. 主要作家的创作思想、艺术特色及其代表作品的主题结构、人物刻画和语言风格 3. 名词解释：“迷惘的一代”，意象派诗歌，象征主义，表现主义，意识流 4. 选读作品的主题结构、艺术特色、人物刻画和语言风格 Ⅲ。 考核知识点和考核要求 （一）现代时期美国文学概述 1. 识记： A.两次世界大战期间美国文学产生的历史及文化背景 （1）两次世界大战 （2）移居国外的美国人 （3）马克思主义理论和弗洛伊德学说 （4）欧洲现代派艺术 B.战后美国文学产生的历史及文化背景 2. 领会： A. 两次世界大战期间的美国文学 （1）诗歌：意象派诗人；象征主义 （2）小说；“迷恫的一代” （3）戏剧：表现主义 B.战后美国文学 （1）诗歌：“垮掉的一代”等 （2）小说：黑人小说、*人小说、实验小说（荒诞派 小说）等 （3）美国现代文学多元化的现象 C.美国现代文学写作手法的创新 3.应用 A.名词解释：“迷惘的一代”，意象派诗歌，象征主义，表现主义，意识流 B.“荒原”意识在美国20世纪文学中的反映 C.分析选读作品的主题结构、艺术特色、人物刻画和语言风格 （二）美国现代时期的主要作家 A.埃兹拉。庞德 1.一般识记：庞德的生平和创作生涯 2.识记：庞德的诗歌 （1）短诗：《地铁站一瞥》 （2）长诗：《诗章》 3. 领会： （1）庞德与意象主义 （2）庞德与中国文化 （3）庞德的诗歌理论及艺术特色 4.应用：《地铁站一瞥》《盟约》《河商的妻子》：主题、意象、语言 B.罗伯特。弗洛斯特 1.一般识记：弗洛斯特的生平及创作生涯 2.识记：弗洛斯特的诗歌：田园诗；自然诗 3.领会： （1）弗洛斯特诗歌的艺术特色 （2）弗洛斯特的诗论 4.应用： （1） 弗洛斯特的自然诗 （2）《摘苹果后》《未选择的路》《雪夜停马在林边》：主题、 象征与比喻、语言 C.尤金。奥尼尔 1.一般识记：奥尼尔的生平及创作生涯 2.识记：奥尼尔的戏剧 （1）早期作品：独幕剧；多幕剧《天外边》 （2）中期作品：《琼斯皇帝》《伟大之神布朗》《毛猿》 ——表现主义和象征主义的力作 （3）后期作品：《直到夜晚的漫长一天》 一 自传体戏剧 剧 3.领会： （1）奥尼尔戏剧的悲观主义和神秘主义色彩 （2）奥尼尔戏剧的艺术特色 4.应用：选读《毛猿》第八场：主题结构、表现主义和象征主义手 法、语言特色 D.司各特。菲兹杰拉德 1.一般识记：菲兹杰拉德的生平及创作生涯 2.识记： （1）菲兹杰拉德与“爵士时代” （2）主要作品：短篇小说集：《爵士时代的故事》 中、长篇小说：《人间天堂》《了不起的盖茨比》《夜色温柔》《最后一个巨头》 3.领会： （1）《了不起的盖茨比》与“美国梦” （2）菲兹杰拉德的小说艺术 4.应用：《了不起的盖茨比》第三章：主题结构、人物刻画、语言风格 E.欧内斯特。海明威 1.一般识记：海明威的生平及创作生涯 2.识记：海明威的主要作品 （1）短篇小说集：《在我们的时代里》-一涅克的故事 （2）长篇小说：《太阳照样升起》《永别了，武器》《丧钟为谁而鸣》《老人与海》 3.领会：海明威与“迷惘的一代” 4.应用： （1）海明威小说的艺术特色：“硬汉”形象、“重压下的风 度”、“冰山”原则等 （2）《在我们的时代里》选篇：主题结构、人物刻画、语言 风格 F.威廉。福克纳 1.一般识记： 福克纳的生平及创作生涯 2.识记： （l）福克纳的主要作品：中、短篇小说：《给艾米莉小姐的玫瑰》《老人》《熊》等；长篇小说：《喧嚣与骚动》 《八月之光》《我弥留之际》《押沙龙，押沙龙！》 （2）福克纳的“约克纳帕塔法”神话王国 3.领会： （1）福克纳小说的艺术特色：“意识流”、“内心独白”、“时序颠倒”、“对位式结构”、“象征隐喻”等 （2）福克纳的文体 （3）福克纳与美国南方文学 4.应用：《给艾米莉小姐的玫瑰》：主题结构、人物刻画、语言风格
Chapter 5The Modern Period Ⅰ。学习目的和要求 通过本章的学习，了解20世纪批判现实主义文学和现代主义文学产生的历史、文化背景。认识该时期文学创作的基本特征、基本主张，及其对现当代英国文学乃至文化的影响；了解该时期重要作家的文学创作思想、艺术特色及其代表作品的主题结构、人物刻画、语言风格、思想意义等；同时结合注释，读懂所选作品，了解其思想内容和写作特色，培养理解和欣赏文学作品的能力。 Ⅱ。本章重点及难点 1. 英国现代文学的特征 2. 主要作家的创作思想、艺术特色及其代表作品的主题结构、人物刻画和语言风格 3. 名词解释：现代主义 4. 应用：选读作品的主题结构、艺术特色、人物刻画和语言风格，如 （1）叶芝和艾略特诗歌（所选作品）的主题、意象分析 （2）小说《儿子与情人》的主题和主要人物的性格分析 （3）意识流小说的主要特色分析 （4）萧伯纳戏剧的特点与社会意义分析 Ⅲ。考核知识点和考核要求 （一）现代时期概述 1.识记： A. 20世纪英国社会的政治、经济、文化背景 B.英国20世纪批判现实主义文学 C.现代主义文学的兴起与衰落 2.领会： A. 现代主义文学创作的基本主张 B.英国现代主义文学思潮 （1）诗歌 （2）小说 （3）戏剧 3.应用： A.名词解释：现代主义 B.英国现代主义文学的特点 C.现代主义文学对当代文学的影响 （二）现代时期的主要作家 A.萧伯纳 1.一般：萧伯纳的生平与文学生涯。 2.识记： A.萧伯纳的政治改革思想和文学创作主张 B.萧伯纳的戏剧创作 （1）早期主要作品：《鳏夫的房产》、《华伦夫人的职业》、《康蒂坦》、《凯撒和克莉奥佩特拉》 （2）中期作品：《人与超人》、《巴巴拉少校》、《皮格马利翁》 （3）晚期作品：《伤心之家》、《回到麦修色拉》、《圣女贞德》、《苹果车》 3.领会： A.萧伯纳戏剧的特点与社会意义 B.萧伯纳的戏剧对20世纪英国文学的影响 4.应用： A.《华伦夫人的职业》的故事梗概、情节结构、人物塑造、语言风格、思想意义 B.选读：所选作品的主要内容、人物塑造、语言特点、艺术手法等 B.约翰。高尔斯华绥 1.一般识记：高尔斯华绥的生平与文学生涯 2.识记：高尔斯华绥的文学创作 （1）戏剧：《银盒》、《正义》、《斗争》 （2）小说：《福赛特世家》（《有产业的人》、《骑虎》、《出租》）、《现代喜剧》 3.领会： A.高尔斯华绥的创作思想 B.高尔斯华绥批判现实主义小说的主要特点及社会意义 4.应用： 选读：所选作品的主要内容、人物性格。语言特点、叙述手法等 C、威廉。勃特勒。叶芝 1.一般：叶芝的生平及文学生涯 2.识记：叶芝诗歌的代表作品 （1）早期诗歌：《茵尼斯弗利岛》、《梦见仙境的人》、《玫瑰》 （2）中期诗歌：《新的纪元》、《1916年的复活节》 （3）晚期诗歌：《驶向拜占廷》、《丽达及天鹅》、《在学童们中间》 3.领会： A.叶芝的诗歌创作思想 B.叶芝诗歌的特点及思想意义 C.叶芝诗歌的艺术成就 D.叶芝的诗歌对当代英国文学的影响 E.叶芝的戏剧创作 4.应用：选读：、所选作品的主题思想、语言风格、艺术特色等 D、T.S.艾略特 1.一般识记：艾略特的生平及创作生涯 2.识记：艾略特的主要诗歌作品 （1）《普鲁弗洛克的情歌》 （2）《荒原》 （3）《灰星期三》 （4）《四个四重奏》 3.领会： A.艾略特的文学理论与文艺批评观 B.艾略特诗歌的艺术特色及社会意义 C.艾略特的戏剧 D. 文略特的艺术成就 E.艾略特的文学创作及文艺批评思想对现当代英国文学的影响 4.应用： A.《荒原》主题、结构、神话、象征、语言特色及社会意义 B.选读：所选作品的主题结构、思想内容、语言特点、艺术手法等 E.戴维。赫伯特。劳伦斯 1.一般识记：劳伦斯的生平及文学生涯 2.识记：劳伦斯的主要小说 （1）《儿子与情人》 （2）《虹》 （3）《恋爱中的女人》 3.领会： A. 劳伦斯的创作思想 B. 劳伦斯小说的主要艺术特色及社会意义 . C. 劳伦斯的小说对现当代英国文学的影响 4.应用： A.《儿子与情人》的故事梗概、情节结构、人物塑造、语言风格、思想意义 B.选读：所选作品的主要内容、人物性格、语言特点、艺术手法等 F.詹姆斯。乔伊斯 1.一般识记：乔伊斯的生平与创作生涯 2.识记：乔伊斯的主要作品简介 （1）《都柏林人》 （2）《青年艺术家的肖像》 （3）《尤利西斯》 3.领会： A. 乔伊斯的文学创作主张与美学思想 B. 乔伊斯小说的主要艺术特色及思想意义 C.乔伊斯的艺术成就 D.乔伊斯的作品对现当代世界文学的影响 4.应用： A. 意识流小说的主要特色分析 B. 选读：所选作品的主题思想、人物塑造、语言特色、艺术手法等 Chapter 5 The Modern Period 一。识记： 1. The social， ideological background of the modern English literature： （1） The influences of the two World Wars on English literature： Modernism rose out of skepticism and disillusion of capitalism. The First World War and the Second World War had greatly influenced the English literature. The catastrophic First World War tremendously weakened the British Empire and brought about great sufferings to its people as well. Its appalling shock severely destroyed people's faith in the Victorian values； The postwar economic dislocation and spiritual disillusion produced a profound impact upon the British people， who came to see the prevalent wretchedness in capitalism. The Second World War marked the last stage of the disintegration of the British Empire. Britain suffered heavy losses in the war： thousands of people were killed； the economy was ruined； and almost all its former colonies were lost. People were in economic， cultural， and belief crisises. （2） Ideologically， the rise of the irrational philosophy and new science greatly incited modern writers to make new explorations on human natures and human relationships. （a） In the mid-19th century， Karl Marx and Friedrich Engels put forward the theory of scientific socialism， which not only provided a guiding principle for the working people， but also inspired them to make dauntless fights for their own emancipation. （b） Darwin's theory of evolution exerted a strong influence upon the people， causing many to lose their religious faith. The social Darwinism， under the cover of "survival of the fittest，" vehemently advocated colonialism or jingoism. （c） Einstein's theory of relativity provided entirely new ideas for the concepts of time and space. （d） Freud's analytical psychology drastically altered our conception of human nature. （e） Arthur Schopenhauer， a pessimistic philosopher started a rebellion against rationalism， stressing the importance of will and intuition. （f） Having inherited the basic principles from Schopenhauer， Friedrich Nietzsche went further against rationalism by advocating the doctrines of power and superman and by completely rejecting the Christian morality. （g） Based on the major ideas of his predecessors， Henry Bergson established his irrational philosophy which put the emphasis on creation， intuition， irrationality and unconsciousness. All these irrationalist philosophers exerted immense influence upon the major modernist writers in Britain. So， after the First World War， all kinds of literary trends of modernism appeared： symbolism， expressionism， surrealism， cubism， futurism， Dadaism， imagism and stream of consciousness. Towards the 1920s， these trends converged into a mighty torrent of modernist movement， which swept across the whole Europe and America. After the Second World War， a variety of modernism， or post-modernism， like existentialist literature， theater of the absurd， new novels and black humor， rose with the spur of the existentialist idea that "the world was absurd， and the human life was an agony." 2. The development of English poetry in the 20th century： The 20th century has witnessed a great achievement in English poetry. In the early years of this century， Thomas Hardy and the war poets of the younger generation were important realistic poets. Hardy expressed his strong sympathies for the suffering poor and his bitter disgusts at the social evils in his poetry as in his novels. The soldiers-poets of World War I revealed the appalling brutality of the war in a most realistic way. The early poems of Pound and Eliot and Yeats's matured poetry marked the rise of "modern poetry，" which was， in some sense， a revolution against the conventional ideas and forms of the Victorian poetry. The modernist poets fought against the romantic fuzziness and self-indulged emotionalism， advocating new ideas in poetry- writing such as to use the language of common speech， to create new rhythms as the expression of a new mood， to allow absolute freedom in choosing subjects， and to use hard， clear and precise images in poems. The 1930s witnessed great economic depressions， mass unemployment， and the rise of the Nazis. Facing such a severe situation， most of the young intellects started to turn to the left. And therefore the period was known as "the red thirties." A group of young poets during this period expressed in their poetry a radical political enthusiasm and a strong protest against fascism. With the coming of the 1950s， there was a return of realistic poetry again. By advocating reason， moral discipline， and traditional forms， a new generation of poets started "The Movement，" which explicitly rejected the modernist influence. There was no significant poetic movement in the 1960s. A multiplicity of choices opened to both the poet and the reader. Poets gradually moved into more individual styles. 3. Realism in the 20th century English literature： The realistic novels in the early 20th century were the continuation of the Victorian tradition， yet its exposing and criticizing power against capitalist evils had been somewhat weakened both in width and depth. The outstanding realistic novelists of this period were John Galsworthy， H. G. Wells， and Arnold Eennett. The three trilogies of Galsworthy's Forsyte novels are masterpieces of critical realism in the early 20th century， which revealed the corrupted capitalist world. In his novels of social satire， H. G. Wells made realistic studies of the aspirations and frustrations of the "Little Man；" whereas Bennett presented a vivid picture of the English life in the industrial Midlands in his best novels. Realism was， to a certain extent， eclipsed by the rapid rise of modernism in the 1920s. But with the strong swing of leftism in the 1930s， novelists began to turn their attention to the urgent social problems. They also enriched the traditional ways of creation by adopting some of the modernist techniques. However， the realistic novels of this period were more or less touched by a pessimistic mood， preoccupied with the theme of man's loneliness， and shaped in different forms： social satires by Aldous Huxley and George Orwell comic satires on the English upper class by Evelyn Waugh； and Catholic novels by Graham Greene. Another important group of young novelists and playwrights with lower-middle-class or working-class background in the mid-1950s and early 1960s known as "The Angry Young Man." They demonstrated a particular disillusion over the depressing situation in Britain and launched a bitter protest against the outmoded social and political values in their society. Kingsley Amis， John Wain， John Braine and Alan Sillitoe were the major novelists in this group. They portrayed unadorned working-class life in their novels with great freshness and vigor of the working-class language. Amis was the first to start the attack on middle-class privileges and power in his novel Lucky Jim （1954）。 The term "The Angry Young Man" came to be widely Having been merged and interpenetrated with modernism in the past several decades， the realistic novel of the 1960s and 1970s appeared in a new face with a richer， more vigorous and more diversified style. 二。领会： 1.Modern English poetry： It is， in some sense， a revolution against the conventional ideas and forms of the Victorian poetry. The modernist poets fought against the romantic fuzziness and self-indulged emotionalism， advocating new ideas in poetry- writing such as to use the language of common speech， to create new rhythms as the expression of a new mood， to allow absolute freedom in choosing subjects， and to use hard， clear and precise images in poems. 2. Modern English novels： The first three decades of 20th century were golden years of the modernist novel. In stimulating the technical innovations of novel creation， the theory of the Freudian and Jungian psycho-analysis played a particularly important role. With the notion that multiple levels of consciousness existed simultaneously in the human mind， that one's present was the sum of his past， present and future， and that the whole truth about human beings existed in the unique， isolated， and private world of each individual， writers like Dorothy Richardson， James Joyce and Virginia Woolf concentrated all their efforts on digging into the human consciousness. They had created unprecedented stream-of-consciousness novels such as Pilgrimage by Richardson， Ulysses （1922） by Joyce， and Mrs. Dalloway （1925） by Woolf. One of the remarkable features of their writings was their continuous experimentation on new and sophisticated techniques in novel writing， which made tremendous impacts on the creation of both realistic and modernist novels in this century. James Joyce is the most outstanding stream-of-consciousness novelist； in Ulysses， his encyclopedia-like masterpiece， Joyce presents a fantastic picture of the disjointed， illogical， illusory， and mental- emotional life of Leopold Bloom， who becomes the symbol of everyman in the post-World-War-ⅠEurope. In the works of E. M. Forster and D. H. Lawrence， old traditions are still there， but their subject matter about human relationships and their symbolic or psychological presentations of the novel are entirely modern. Forster's masterpiece， A Passage to India （1924）， is a novel of decidedly symbolist aspirations， in which the author set up， within a realistic story， a fable of moral significance that implies a highly mystical， symbolic view of life， death， human relationship， and the relationship of man with the infinite universe. D. H. Lawrence is regarded as revolutionary as Joyce in novel writing； but unlike Joyce， he was not concerned with technical innovations； his interest lay in the tracing of the psychological development of his characters and in his energetic criticism of the dehumanizing effect of the capitalist industrialization on human nature. He believed that life impulse was the primacy of man's instinct， and that any conscious repression of such an impulse would cause distortion or perversion of the individual's personality. In his best novels like The Rainbow （1915） and Women in Love （1920）， Lawrence made a bold psychological exploration of various human relationships， especially those between men and women， with a great frankness Lawrence claimed that the alienation of the human relationships and the perversion of human nature in the modern society were caused by the desires for power and money， by the shams and frauds of middle-class life， and， above all， by the whole capitalist mechanical civilization， which turned men into inhuman machines. After the Second World War， modernism had another upsurge with the rise of existentialism which was reflected mainly in drama. 3. The development of 20th century English drama： The most celebrated dramatists in the last decade of the 19th century were Oscar Wilde and George Bernard Shaw， who， in a sense， pioneered the modern drama， though they did not make so many innovations in techniques and forms as modernist poets or novelists. Wilde expressed a satirical and bitter attitude towards the upper-class people by revealing their corruption， their snobbery， and their hypocrisy in his plays， especially in his masterpiece， The Importance-of Being Earnest （1895）。 Shaw is is considered to be the best-known English dramatist since Shakespeare whose works are examples of the plays inspired by social criticism. John Galsworthy carried on this tradition of social criticism in his plays. By dramatizing social and ethical problems， Galsworthy made considerable achievements in his plays such as The Silver Box （1906） and Strife （1910）， in which Galsworthy presents not only realistic pictures of social injustice， but also the workers' heroic struggles against their employers. W. B. Yeats， a prominent poet of the 20th century， was the leader of the Irish National Theater Movement. He was a verse playwright who desired to restore lyrical drama to popularity. With the heroic portrayal of spiritual truth as his main concern， Yeats wrote a number of verse plays， introducing Irish myths and folk legends； but the plot in his plays was seldom very dramatic. The 1930s witnessed a revival of poetic drama in England. One of the early experimenters was T. S. Eliot who regarded drama as the best medium of poetry. Eliot wrote several verse plays and made a considerable success. Murder in the Cathedral （1935）， with its purely dramatic power， remains the most popular of his verse plays， in spite of its primarily religious purpose. After Eliot， Christopher Fry gained considerable successes in poetic drama. His exuberant though poetically commonplace verse drama. The Lady's Not For Burning （1948）， attracted delighted audience. The English dramatic revolution， which came in the 1950s under various European and American influences， developed in two directions： the working-class drama and the Theater of Absurd. The working-class drama was started by a group of young writers from the lower-middle class， or working class， who presented a new type of plays which expressed a mood of restlessness， anger and frustration， a spirit of rebelliousness， and a strong emotional protest against the existing social institutions. John Osborne's play， Look Back in Anger （1956）， in a fresh， unadorned working-class language， angrily， violently and unrelentingly condemned the contemporary social evils. With an entirely new sense of reality， Osborne brought vitality to the English theater and became known as the first "Angry Young Man." The most original playwright of the Theater of Absurd is Samuel Beckett， who wrote about human beings living a meaningless life in an alien， decaying world. His first play Waiting for Godot （1955） is regarded as the most famous and influential play of the Theater of Absurd.