文学考研术语翻译
1. Literature of the absurd: (荒诞派文学) The term is applied to a number of works in drama and prose fiction which have in common the sense that the human condition is essentially absurd, and that this condition can be adequately represented only in works of literature that are themselves absurd. The current movement emerged in France after the Second World War, as a rebellion against essential beliefs and values of traditional culture and traditional literature. They hold the belief that a human being is an isolated existent who is cast into an alien universe and the human life in its fruitless search for purpose and meaning is both anguish and absurd.
2. Theater of the absurd: (荒诞派戏剧) belongs to literature of the absurd. Two representatives of this school are Eugene Ionesco, French author of The Bald Soprano (1949) (此作品中文译名<秃头歌女>), and Samuel Beckett, Irish author of Waiting for Godot (1954) (此作品是荒诞派戏剧代表作<等待戈多>). They project the irrationalism, helplessness and absurdity of life in dramatic forms that reject realistic settings, logical reasoning, or a coherently evolving plot.
3. Black comedy or black humor: (黑色幽默) it mostly employed to describe baleful, naïve, or inept characters in a fantastic or nightmarish modern world playing out their roles in what Ionesco called a “tragic farce”, in which the events are often simultaneously comic, horrifying, and absurd. Joseph Heller’s Catch-22 (美国著名作家约瑟夫海勒<二十二条军规>) can be taken as an example of the employment of this technique.
4.Aesthetic Movement（唯美主义）: it began to prevail in Europe at the middle of the 19th century. The theory of “art for art’s sake” was first put forward by some French artists. They declared that art should serve no religious, moral or social purpose. The two most important representatives of aestheticists in English literature are Walt Pater and Oscar Wilde.
5. Allegory（寓言）: a tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities, such as John Bunyan’s The Pilgrim’s Progress. An allegory is a story with two meanings, a literal meaning and a symbolic meaning.
6. Fable（寓言）: is a short narrative, in prose or verse, that exemplifies an abstract moral thesis or principle of human behavior. Most common is the beast fable, in which animals talk and act like the human types they represent. The fables in Western cultures derive mainly from the stories attributed to Aesop, a Greek slave of the sixth century B. C.
7. Parable（寓言）: is a very short narrative about human beings presented so as to stress analogy with a general lesson that the narrator is trying to bring home to his audience. For example, the Bible contains lots of parables employed by Jesus Christ to make his flock understand his preach.
(注意以上三个词在汉语中都翻译成语言，但是内涵并不相同，不要搞混)
8.  Alliteration（头韵）: the repetition of the initial consonant sounds. In Old English alliterative meter, alliteration is the principal organizing device of the verse line, such as in Beowulf.
9. Consonance is the repetition of a sequence of two or more consonants but with a change in the intervening vowel, such as “live and love”.
10. Assonance is the repetition of identical or similar vowel, especially in stressed syllables, in a sequence of nearby words, such as “child of silence”.
11. Allusion （典故）is a reference without explicit identification, to a literary or historical person, place, or event, or to another literary work or passage. Most literary allusions are intended to be recognized by the generally educated readers of the author’s time, but some are aimed at a special group.
12. Ambiguity（复义性）: Since William Empson（燕卜荪） published Seven Types of Ambiguity（《复义七型》）, the term has been widely used in criticism to identify a deliberate poetic device: the use of a single word or expression_r to signify two or more distinct references, or to express two or more diverse attitudes or feeling.
 
13. Antihero（反英雄）：the chief character in a modern novel or play whose character is totally different from the traditional heroes. Instead of manifesting largeness, dignity, power, or heroism, the antihero is petty, passive, ineffectual or dishonest. For example, the heroine of Defoe’s Moll Flanders is a thief and a prostitute.
14. Antithesis（对照）：(a figure of speech) An antithesis is often expressed in a balanced sentence, that is, a sentence in which identical or similar syntactic structure is used to express contrasting ideas. For example, “Marriage has many pains, but celibacy（独身生活）has no pleasures.” by Samuel Johnson obviously employs antithesis.
15. Archaism（拟古）：the literary use of words and expression_rs that have become obsolete in the common speech of an era. For example, the translators of the King James Version of Bible gave weight and dignity to their prose by employing archaism.
16. Atmosphere（氛围）: the prevailing mood or feeling of a literary work. Atmosphere is often developed, at least in part, through descriptions of setting. Such descriptions help to create an emotional climate to establish the reader’s expectations and attitudes.
 
17. Ballad（民谣）：it is a song, transmitted orally, which tells a story. It originated and was communicated orally among illiterate or only partly literate people. It exists in many variant forms. The most common stanza form, called ballad stanza is a quatrain in alternate four- and three-stress lines; usually only the second and fourth lines rhyme. Although many traditional ballads probably originated in the late Middle Age, they were not collected and printed until the eighteenth century.
18. Climax：as a rhetorical device it means an ascending sequence of importance. As a literary term, it can also refer to the point of greatest intensity, interest, or suspense in a story’s turning point. The action leading to the climax and the simultaneous increase of tension in the plot are known as the rising action. All action after the climax is referred to as the falling action, or resolution. The term crisis is sometimes used interchangeably with climax.
19. Anticlimax（突降）：it denotes a writer’s deliberate drop from the serious and elevated to the trivial and lowly, in order to achieve a comic or satiric effect. It is a rhetorical device in English.
20. Beat Generation（垮掉一代）：it refers to a loose-knit group of poets and novelists, writing in the second half of the 1950s and early 1960s, who shared a set of social attitudes – antiestablishment, antipolitical, anti-intellectual, opposed to the prevailing cultural, literary, and moral values, and in favor of unfettered self-realization and self-expression_r. Representatives of the group include Allen Ginsberg, Jack Kerouac and William Burroughs. And most famous literary creations produced by this group should be Allen Ginsberg’s long poem Howl and Jack Kerouac’s On the Road.
 
21. Biography（传记）：a detailed account of a person’s life written by another person, such as Samuel Johnson’s Lives of the English Poets and James Boswell’s Life of Samuel Johnson.
22. Autobiography（自传）：a person’s account of his or her own life, such as Benjamin Franklin’s autobiography.
24. A parody（模仿）imitates the serious manner and characteristic features of a particular literary work, or the distinctive style of a particular author, or the typical stylistic and other features of a serious literary genre, and deflates the original by applying the imitation to a lowly or comically inappropriate subject
25. Celtic Revival also known as the Irish Literary Renaissance （爱尔兰文艺复兴）identifies the remarkably creative period in Irish literature from about 1880 to the death of William Butler Yeats in 1939. The aim of Yeats and other early leaders of the movement was to create a distinctively national literature by going back to Irish history, legend, and folklore, as well as to native literary models. The major writers of this movement include William Butler Yeats, Lady Gregory, John Millington Synge and Sean O’Casey and so on.
26. Characters（人物）are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from the dialogues, actions and motivations. E. M. Forster divides characters into two types: flat character, which is presented without much individualizing detail; and round character, which is complex in temperament and motivation and is represented with subtle particularity.
27. Chivalric Romance (or medieval romance) （骑士传奇或中世纪传奇）is a type of narrative that developed in twelfth-century France, spread to the literatures of other countries. Its standard plot is that of a quest undertaken by a single knight in order to gain a lady’s favor; frequently its central interest is courtly love, together with tournaments fought and dragons and monsters slain. It stresses the chivalric ideals of courage, loyalty, honor, mercifulness to an opponent, and elaborate manners.
28. Comedy:（喜剧）in general, a literary work that ends happily with a healthy, amicable armistice between the protagonist and society.
29. Farce （闹剧）is a type of comedy designed to provoke the audience to simple and hearty laughter. To do so it commonly employs highly exaggerated types of characters and puts them into improbable and ludicrous situations.
30. Confessional poetry（自白派诗歌） designates a type of narrative and lyric verse, given impetus by Robert Lowell’s Life Studies, which deals with the facts and intimate mental and physical experiences of the poet’s own life. Confessional poetry was written in rebellion against the demand for impersonality by T. S. Elliot and the New Criticism. The representative writers of confessional school include Robert Lowell, Anne Sexton and Sylvia Plath and so on.