Second, the question and answer (12X5=60 points)

1, how to understand that comparative literature is not literary comparison?

2. On the similarities and differences between hermeneutics and hermeneutics.

3. From the perspective of "media research", discuss the role and contribution of Lin's translated novels to China's modern literature.

4. Take Literature and Psychology as an example to talk about your understanding of "interdisciplinary research" in comparative literature.

Three, essay questions (20 points)

On the basic development trend and main characteristics of the relationship between Chinese and foreign literature in the 20th century.

The preliminary examination questions of comparative literature and world literature in Nanjing Normal University in 2004.

Basis of subject comparative literature

Explanation of a noun (5X8=40 points)

1 "model" theory 2 baroque 3 chia 4 "whole literature" 5 "American school"

Question and answer (60 points)

1, try to explain the basic academic elements and their definitions contained in "comparative horizon".

2. Try to describe the similarities and differences between "impact research" and "acceptance research".

3. What are the main features of the development of comparative literature in China around the May 4th Movement?

4. Try to describe the basic theoretical elements of "elucidation research" and its formation process.

Three essay questions (50 points)

1, try to compare the iterative method of literary iconology to choose suitable works and images, and analyze and discuss them in turn.

2. How to understand that comparative literature is a cross-national, cross-linguistic, cross-cultural and interdisciplinary literary research?

The preliminary examination questions of comparative literature and world literature in Nanjing Normal University in 2005.

Basis of subject comparative literature

First, the noun explanation:

1 "linear origin" 2 "regression influence" 3 Kerry, Brothers Grimm

Second, short answer questions:

1, which affects the similarities and differences between research and parallel research.

2. Talk about the literariness of comparative literature.

3. What challenges and opportunities have comparative literature faced since the second half of the 20th century?

Third, the composition topic:

1, talk about the prospect of comparative literature?

2. From the perspective of interdisciplinary research, talk about the relationship between literature and natural science.

The postgraduate entrance examination of a famous university in Nanjing (2007-05-22 09:38:4 1)

1, combined with a famous European and American literature you like, talk about its artistic characteristics.

2. Talk about the achievements of ancient Greek tragedy.

3. Talk about the genre, stages and characteristics of European and American literature in the19th century.

4. Talk about the gains and losses of the Nankai Edition of the History of Literature edited by Zhu.

5. Talk about the differences between Dostoevsky and Tolstoy in psychological description.

6. Talk about the relationship between comparative literature and world literature.

Nanjing University Postgraduate Examination Questions

200 1 comparative literature and world literature major

Subject: History of European and American Literature

I. Explanation (20)

1, Pandora's box

2. Knight literature

3. Classicism

4. Psychological analysis of the novel

Second, briefly talk about your own deepest experience of the following works (20)

1, decameron.

2. Wuthering Heights

3,' brothers karamazov'

4,' Uncle Vanya'

Three (3 out of 460)

1, Pushkin is honored as "the father of Russian literature". Please talk about his contribution to Russian literature in the sense of "laying the foundation" and "creating". (20)

Mo Bosang and Chekhov are both masters of short stories. Try to analyze the different characteristics of their creation and briefly describe their contribution to the development of western short story art.

3. In the history of western literature, "Utopia" literature has formed a tradition. Please give an example.

Central China Normal University 2005 Postgraduate Entrance Examination Subject: Literary Theory (2007-03-24 10:48:27)

Explanation of terms (20 points)

1, typical figure 2, naturalism 3, implied reader 4, expressionless poem.

Two, the convergence problem (20 points)

1, imitating Schiller

2. The fate of Marx.

3. Baile Juyi Education

4, childlike innocence said Lu Ji

5. Susan Langer of Twenty-four Poems

6, "Nine Books Same Yuan" Horace

7, "Canglang Poetry" Li Zhi

8. "On Simple Poetry and Sentimental Poetry" Yan Yu

9, "1844 Economic Philosophy Manuscript" Si Kongtu

10, Emotion and Form Aristotle

Third, short answer questions

1, the aesthetic function of literary language layer

2. Aesthetic features of popular literature.

Fourth, analysis questions

1, Liu Xie: the theory of feeling things (based on the poet's feeling things ... wandering with the heart. )

2. Hegel: "The content is not his, that is, the form is transformed into the content; The form is not his, or the content is transformed into form. "

Five, essay questions (50 points)

1. Is there a contradiction between literary aesthetic taste and ugliness as the object of expression? Why?

2. The relationship between literature and politics

Examination questions of 2005 postgraduate entrance examination of Huazhong Normal University

Examination subject: Chinese and foreign literature history examination paper code: 449

fill (up) a vacancy

1, the most mythical value in China ancient books is ().

2. The earliest editor of Songs of the South (), the first one who made a note was () in the period of (), and the title was ().

3, known as the number one song is ()

4, gold trace is a ()

2004 World Literature and Comparative Literature Examination Paper P 1

Name explanation: ib{ukm

The dispute between ancient and modern LnO_? Au"R

47 social Xq|4.

Crazy sprint! XgE38+X 1

Ibsen's social drama (! tr @\ze

Short answer: 9 | >; #_3DBR

A comparison between ancient Greek literature and Roman literature

Singh's narrative theory Px/_Hb.eVV

Discussion: BKG8"$9]Hs

Combine Sherwood. Anderson on his creative characteristics

Tolstoy's Significance to the Exploration of Human Mind

Peking University comparative literature entrance examination in 2006 (2007-03-2410: 47: 01)

Peking University comparative literature entrance examination questions in 2006 [recommended]

Chinese and foreign literature

(1) Briefly describe the main contents of Dadaism. 10.

(2) Dictation of Li Shangyin's Notes on a Rainy Night to friends in the north to discuss the consciousness of time and space, 20 points.

(3) From the literary perspective of "East Asian Chinese Character Cultural Circle", talk about the difference between "China Literature" and "China Literature" in ancient China.

(4) Talk about the exotic imagination and its significance in The Mirror Flower Edge (25 points)

(5) Analyze the artistic features of Gothic novels with examples, 30 points.

(6) From the specific works, Lin Yutang's view of China culture is 50 points.

Chinese and foreign literary theories

(1) On the Rhetoric Connotation of Chunqiu Brushwork 10.

(2) There is a difference of 20 points between the "imitation theory" of ancient Greece and the "expression theory" of romanticism.

(3) Punctuate the next paragraph and score 25 points.

The beauty of poetry lies in its implication and infinity, its sustenance lies in the relationship between being able to say and not being able to say, and its reference lies in the encounter between being solvable and being unsolvable.

What this means here is that from the image point of view, there is no clue, no discussion, and the reason why poor thinking attracts people is the most important ("original poem").

(4) Try to briefly describe the western discourse on tragedy (30 points)

(5) Please briefly describe the characteristics of "beauty consciousness" in Tale of Genji (15).

(6) Talk about your understanding of literariness 50 points.

Comparative Literature and World Literature in 2004-2006 in Northeast Normal University (2007-03-24/kloc-0: 46:16)

History of Foreign Literature Volume 2004

First, explain the concept (5 points for each question, ***55 points)

1 Wessex novel: Thomas? Hardy (1840-1928)19 British critical realist novelist and poet at the end of the year. His hometown, Dorset, is his lifelong residence, which also provides an external blueprint for most of his novels.

Hardy's most accomplished works are a series of novels called "Wessex novels". Wessex is an ancient name for Dorset and its vicinity. His novels show a quiet scene in the English countryside.

The Novel of Wessex is the general name of Hardy's series of novels, including 14 novels. Wessex is an ancient place name in Hardy's hometown. Hardy combined many novels set in Wessex. All works are divided into three categories: romance fantasy, love conspiracy novel and character environment novel. The main content is to describe the decline of British patriarchal rural society in the second half of the19th century and show the tragic fate of the lower classes. The masterpiece is Tess of the D 'Urbervilles. Polyphonic novel: Polyphonic novel is a concept created by former Soviet scholar Bakhtin. Polyphony, also called polyphony, was originally a musical term. Bakhtin used this term to summarize the poetic features of Tosstorff's novels, which is different from "the established European novel mode which basically belongs to monologue (single melody)". Bakhtin believes that a prominent feature of "monologue" novels is that many personalities and destinies form a unified objective world, which is unfolded at different levels under the control of the author's unified will. In this kind of novels, all events are represented as objects, and the protagonist is also an objective figure, which is the object of the author's consciousness. Although these protagonists are also talking and have their own voices, their voices are broadcast after being "filtered" by the author's will. They only have limited universality to describe the characters and unfold the plot, but they can't shape many different voices, so they don't form their own independent "voices", which sounds like a chorus. The protagonist's will is actually unified with the author's consciousness, losing the possibility of his own independent existence.

On Tolstoy's Monologue Novel. The people described by Tuo are a broken whole. There are many independent voices and consciousness in the works, and each voice and consciousness has the same important position and value. These polyphones should not be developed layer by layer under the unified consciousness of the author, but express their opinions equally. Every voice is the subject, and the discussion is not limited to the function of portraying characters or unfolding plots. It is also regarded as another person's consciousness, that is, the consciousness of others, but it has not been objectified, limited to itself, and has not become a simple object of the author's consciousness. Tuo's world is basically a personal world. This novel is conversational. 3 lost generation: lost generation.

A school of literature that appeared in the United States after World War I. It is not an organized group with the same program. This term comes from Gertrude, an American woman writer living in Paris. Stein pointed to Hemingway and others and said, "You are all a lost generation." Hemingway took this sentence as the inscription of his novel The Sun Also Rises, so "The Generation of Fans" became the name of a literary school. The similarity of the "lost generation" writers is that they hate the imperialist war, but they can't find a way out. When World War I broke out, most of them were young people around the age of 20. They were bewitched by the slogan of "saving world democracy" of the American government and went to the European battlefield with democratic ideals. They witnessed the unprecedented massacre of mankind and found that war was far from their heroic cause. The so-called "democracy", "glory" and "sacrifice" are all deceptive things. They experienced all kinds of hardships in the war and learned about the anti-war sentiment among ordinary soldiers. This left an incurable wound in their hearts. Their works reflect these thoughts and feelings. Like John? Dos？ Three soldiers of Pazos, love? Cummings' big room, William Faulkner's The Reward of Soldiers and Sartor Rees. Ernest. Hemingway is the representative writer of the "lost generation". He fought in Europe and was seriously injured. Hemingway's attitude towards war at that time, like other anti-war writers, was limited to disgust, evasion and cursing. He had no hope for a peaceful life after the war, so he felt confused and pessimistic in his works. The "lost generation" refers not only to writers who participated in the European war, but also to writers who did not participate in the war but were confused and hesitant about the future, such as Scott? Fitzgerald, Joe? Is it? Eliot and Toto? Mas? Wolves and so on. The "fan generation" mainly flourished in the1920s; After 1930s, their creative tendencies, including Hemingway, have changed. 4 Meitang School:1A naturalistic literary group headed by Zola in France in the late 9th century, named after the short story collection Night in Meitang. /kloc-in the summer of 0/879, naturalist writers Leckie, Silas, Ajnik, You Hysmans and Maupassant met at the Meitang Villa in Zola one night and agreed to write a novel with the Franco-Prussian War as the background and publish it under the name of Night in Meitang. In April of the following year, Meitang Nighttalk was published. Maupassant, the most obscure of the six people at that time, was unanimously praised for his suicide ball. Since then, Zola and other six people have been called "Meitang Group". Art for Art's sake Lapholm metaphor

The fourth wall of Arthurian legend system: dramatic terms. On the mounted stage, there are only three walls in the general realistic indoor scenery, and the wall that does not exist along the platform entrance is regarded as the "fourth wall".

On the frame stage, people imagine that there is a nonexistent "wall" at the entrance of the stage. It is produced by the association of three-dimensional space entities of the stage, which is related to the "three walls" of the box set. Its function is to try to separate the actor from the audience, so that the actor can forget the existence of the audience and only admit the existence of the "fourth wall" in his imagination.

The concept of "the fourth wall" came into being in order to meet the requirements of drama to show the lives of ordinary people and truly show the living environment. During the Renaissance, it was suggested that if the indoor environment was displayed on the stage and the room lacked the fourth wall, it would not be true. /kloc-Diderot, the representative of the enlightenment in the 0/8th century, also involved the concept of the fourth wall. He mentioned in "On Drama Art": Imagine that there is a wall on the edge of the stage to separate you from the audience in the pool seat. /kloc-In the second half of the 9th century, with the setting form of "three walls" becoming more and more stereotyped, this nonexistent "wall" at the entrance of the platform became the section of the fourth wall of the box-type landscape room, so it was called "the fourth wall". The term "the fourth wall" was coined by the French playwright Jean? Joulian. 1887, he suggested that actors should act as if they were at home, regardless of the audience's reaction, which made him applaud or dislike. There should be a fourth wall in front of the stage, which is transparent to the audience and opaque to the actors.

Zola believes that art is a true copy of life, which is directly related to the emergence of the concept of the fourth wall. However, its development and dissemination are closely related to the performance practice of critical realism and realism in the second half of19th century. /kloc-The drama theory formed in the 20th century under the influence of democratic aesthetics thought holds that art is a reflection of real life, and requires drama to truly reflect life on the stage, gradually forming the drama concept of creating the illusion of real life on the stage. The fourth wall is the concrete embodiment of this drama concept in performance practice. The dramatic creations of Ibsen, Chekhov, Gorky and Bernard Shaw had an important influence on the development of the concept of the fourth wall on the stage. The "fourth wall" used by stanislavski in "On Performance and Director" embodies this view of watching drama. In the performance practice, in order to help the actors create such a strong illusion of real life, sometimes some props, such as tables, chairs, vase holders and so on, are arranged along the curtain line of the platform, which can cause the illusion of the fourth wall. And these props are used to arrange the stage scheduling of some actors with their backs to the audience. Song of dawn three uniforms

Two, short answer questions (each question 10, ***50 points)

1, Oedipus complex; 2. Basic features of educational novels; 3. The innovative ideas of Balzac's Preface to Human Comedy: 4. The outlook on fate in ancient Greek tragedies: 5. The creative characteristics of the "new novel school".

Three. Briefly describe the following questions (each question 15, ***45)

1, on the delay of Hamlet in Shakespeare's tragedy Hamlet;

2. On the social historical view of the novel Red and Black by French writer Stendhal;

3. On Hemingway's iceberg principle.

History of Foreign Literature Volume 2005

First, explain the concept (5 points for each question, ***55 points)

The legendary novel in the gilded age-Strong's epic drama Worship for Art: a plane hero; University genius; Dead sea scrolls; Kabuki; Ahmet school.

Two, short answer questions (each question 10, ***50 points)

1, the relationship between Dionysian spirit and Apollo spirit; 2. Aristotle's view of tragedy; 3. Differences between legends and modern novels; 4. The basic characteristics of folk epic; 5. Analyze the artistic ideal of the ancient Indian poet Kalidatu's drama Shagondaro.

Three. Briefly describe the following questions (each question 15, ***45)

1, on the aesthetic basis of William Shakespeare's creation;

2. The theme of Robin Delanat Tagore's poems:

3. On the role of absurd plot in Kafka's novels.

History of Foreign Literature Volume 2006

First, explain the concept (5 points for each question, ***55 points)

Animism: the theory that primitive people first appeared the concept of animism before forming religion. It was first put forward by British scholar Taylor, and later supplemented by German scholar Feng Te in psychological sense. This theory points out that primitive people produced the concept of immaterial independent soul through their understanding of dreams, hallucinations, sleep, diseases, shadows, images, echoes and breathing. And think that whether the soul stays in objects determines the existence of these objects. Taylor named it after the Latin anima (meaning soul, life or breath), and thought that primitive people believed that Anima could exist in all things, so they called everything animism. However, its theory is based on the theory of religious evolution, that is, it is concluded that religion has experienced the evolution and development of soul view, ghost view and god view. Since then, marlett, a British scholar, has revised the animism, thinking that before the formation of animism, primitive people had the idea of believing that the whole material world has life, so his theory is also called animism. Because animism and pre-animism lack historical confirmation, they are no longer adopted by religion. Ballads in Odin Robin Hood, Lord God and the Old Testament —— On the tragic performance of the poet Ada

The anti-hero role of magical realism in Soviet unfreeze literature

Two, short answer questions (each question 10, ***50 points)

1. What are the characteristics of love description in Song of Songs? 2. What is the theme of Orestes by Aeschylus? 3. What is the opening of Moliere's The Hypocrite? ; 4. What kind of female view did Ibsen express in A Doll's House? 5. What's the difference between Byron's and Shelley's poetic styles?

Three. Briefly describe the following questions (each question 15, ***45)

1. On the artistic characteristics of the characters in Dickens' novels;

2. On theodore dreiser's Realistic Creation Achievements;

3. How to understand Balzac's literary creation thought?

Xi schleswig-holstein

Marx in "Go to Fiji? La Salle (London, April 1859, 19) said: "In this way, you have to be more Shakespearean, and I think your greatest shortcoming is that Xi Schleswig successfully turned the individual into a simple mouthpiece of the spirit of the times. "It can be clearly seen from Marx's original words that the so-called' ‘Xi· Schleswig' mainly means that his works lack the authenticity of real life, and he only pursues the abstract spirit of the times, so that the characters become the pure mouthpiece of this spirit. There are both the exposure of the shortcomings of Schiller's plays and the criticism of wrathall's vicious development of such shortcomings. Marx insisted on the artistic expression law of realism and opposed the idealistic tendency of conceptualization.

Schiller was a German romantic poet, playwright and famous aesthetician in the18th century. His plays have a great influence. Engels said that his play The Robber, "praising a chivalrous young man who declared war on the society openly" and "Conspiracy and Love" were "the first drama with political inclination in Germany", and they all gave positive comments. However, Schiller's plays also have obvious shortcomings, mainly because his plays are illogical to life, allowing characters to publicize the author's political ideals, lacking real personality and so on. This performance is obvious in the above two scripts, in Tang? Carlos is more prominent. This creative achievement is the inevitable product of Schiller's aesthetic thought. In Simple Poems and Sentimental Poems, he thinks: "In a civilized country, harmonious competition is only an idea because of human nature, and the poet's task must be to raise the reality to the ideal or express the ideal." Schiller emphasized the expression of ideal ideas and subjective writing, which enhanced the lyrical color and emotional effect of his works, but sometimes affected the authenticity of social history.

Of course, "Xi Schleswig" does not refer to all the characteristics of Schiller's works, but only to a bias in creation. When contacting Schiller's works, Schiller still has a lot of experience to learn from if he doesn't particularly like this bias. However, Lasalle, the author of Ji Jingen, who was criticized by Marx and Engels, has a special liking for Schiller, flaunting the shortcomings of "the pure mouthpiece of the spirit of the times" in his plays as successful artistic experience and becoming the guiding principle of his own script writing, so that he finally wrote Ji Jingen, which is more like Schiller than Schiller. Therefore, the "Xi Schleswig" pointed out by Marx is not so much to reveal the shortcomings of Schiller's drama. When Lassard wrote Jijingen, he regarded Jijingen as the "incarnation" of the "universal spirit" and described this abstract concept, so he wrote the declining reactionary knight class, which was bound to perish, as a representative of the "spirit of the times", in an attempt to compare the failure of the knight uprising in 1848- 1849 with the revolution. In La Salle's "Xi Schleswig" tendency, his "tragic concept" is the ideological basis of the example. La Salle thinks: "The power of revolution lies in the fanaticism of revolution and the direct trust in the power and infinity of the concept itself." According to his explanation, "fanaticism" means "ignoring limited means of implementation and complicated difficulties in reality", so the key issue is that "fanaticism" must go deep into complicated reality and be transformed into action with limited means. La Salle also believes that "fanaticism" is easily confused with "limited means" when it is transformed into action, and he is committed to this means. At this time, "fanaticism" will be "shattered". La Salle regards "cunning" as an extremely important factor in "limited means". He concluded: "Most failed revolutions-any real historical expert should agree with this-collapsed because of this cunning, or at least all revolutions that tried to rely solely on this cunning failed." In fact, La Salle's view of tragedy is a tragic model fabricated out of thin air by giving up his scientific analysis of historical movements, and its nature belongs to the guiding ideology of idealism. However, La Salle's fallacy lies not only in his wrong guiding ideology about writing, but also in his clinging to this concept when facing the revolutionary movement of historical reality, adapting history and reality to his tragic concept, and explaining his concept with distorted images at the expense of reality-in fact, in order to interpret his "first" tragic theme. Because of this, Marx affirmed the contradictions and conflicts in La Salle's plays, but denied the theme. Because, in the/kloc-6th century, the lower-class aristocratic uprising led by chivalry and the peasant war at that time, these two "national movements", the former opposed the church and vassals, and the latter opposed the feudal system in an all-round way, which formed a wide range of social contradictions with the feudal class. As Engels said, the results of these two struggles were: "Both uprisings failed, mainly due to the indecision of the most beneficial group, that is, the urban citizens." Although Marx affirmed the "tragic conflict" of the script, he thought that the "chosen theme" for the author was not suitable for expressing this conflict. That is to say, although La Salle described the plot setting of the intricate feudal social contradictions and struggles in the 16th century, which is beyond reproach, the problem is that the script did not extract the theme of the situation from this realistic social contradiction, but took his tragic concept of super-history and surreal logic as the leading thought. Lalaingen thinks that illustrations show that "revolutionary fanaticism" is devoted to "cunning wisdom", "fanaticism is shattered" and "dialectical contradiction between infinite purpose of ideas and limited cunning wisdom of compromise" is the central point of all revolutions, which makes people admit this idealistic purpose of scripts. In Marx's view, this is not only the theme contained in the facts of social contradictions and conflicts in the16th century, but also the theme that can be excavated in the history of the failure of the German revolution from 1848 to 1849. This is entirely La Salle's "fantasy". Marx criticized La Salle's "theme" determined against historical logic, and pointed out that La Salle used the characters in the play to trigger the theme. He thought that if Bauhinia Root held a rebellion in the form of knight dispute, but raised the banner against imperial power and openly waged war against princes, he would surely win, which was an illusion that did not conform to the historical law. In fact, Schiller's ideal tendency is a more conceptual expression.

Examination questions of comparative literature major in Peking University in 2003 (2007-03-24 10:44:23)

Chinese and foreign literature:

Fill in the blanks: What is the name of The Book of Songs?

What are the parts of Empresses in the Palace?

Three Nobel Prize in Literature laureates and their works in Asia.

A: According to a poem by Wang Wei (hibiscus flowers with broken red calyx in the mountains. On the aesthetic features of China's poetic language.

The Symbolic Meaning of Yuan Ye.

Discussion: Lu Xun's evaluation of traditional literature.

The Influence of "Faust Spirit" on Modern and Contemporary Literature in China.

How to understand Flaubert's saying: "I am Madame Bovary".

Chinese and foreign literary theories:

Fill in the blanks: Give some writers their representative works. Benjamin Bakhtin Foucault Wang Jide,

Noun explanation: three unifications

Short answer: Briefly describe a passage by Aristotle (that is, a passage describing what has happened and may happen in history and poetics).

Give a passage of classical Chinese translated into modern Chinese and explain it. (It is the understanding of "thinking innocently" by Han Confucianism. )

Discussion: The influence of foreign literary theories on China's modern and contemporary literary theories.

Examination questions of comparative literature in Peking University in 2004 (2007-03-24 10:43:32)

Chinese and foreign literature:

1, through the analysis of China's ancient Fuxi Nuwa legend, Japanese creation myth and North Korea's "Dangen" myth, analyze the myth of East Asian civilization (formation? ) characteristics. (You can choose a starting point from mythological anthropology and other aspects. )

2. Describe the theme of Gulliver's travels.

3. Analyze Falstaff's character through Shakespeare's plays.

4. Analyze the characters in Fortress Besieged.

5. Analyze the images in Moonlit Night on a Spring River, and explore the time consciousness in China's traditional poems.

Chinese and foreign literary theories

1, a passage in the preface of the poem ("Poetry has three meanings ..."), punctuation, translation and brief description.

2. Preface the Collection of Poems by Mao Zedong and the Collection of Ancient and Modern Harmony Songs, and discuss the similarities and differences of "beauty consciousness" between Chinese and Japanese classical poems through the above introduction.

3. Analyze the meaning of "poetry" in Aristotle's Poetics (category? )

4. On the connection between Wang Guowei's realm and me.

5. Combining the historical facts of Chinese and foreign literary theories, talk about the understanding of the category of "certainty of understanding"

Sichuan University Comparative Literature and World Literature