北京航空航天大学821英语语言文学考研真题及辅导用书

考研真题

1. 北京航空航天大学外国语学院《821英语语言文学》（英语语言文学专业）历年考研真题

2. 北京航空航天大学外国语学院《821英语语言文学》（外国语言学及应用语言学专业）历年考研真题

3. 全国名校英汉互译考研真题

4. 全国名校英语语言学考研真题

5. 全国名校英美文学考研真题

考研指导书

1. George Yule《语言研究》（第4版）配套题库【课后练习＋章节题库（含名校考研真题）＋模拟试题】

2. 胡壮麟《语言学教程》（第5版）笔记和考研真题

3. 胡壮麟《语言学教程》（第5版）配套题库【考研真题精选＋章节题库】

4. 叶子南《高级英汉翻译理论与实践》（第3版）配套题库（含考研真题）

5. 郭著章《英汉互译实用教程》（第4版）配套题库（含考研真题）

6. 刘炳善《英国文学简史》（第3版）笔记和考研真题

7. 刘炳善《英国文学简史》（第3版）配套题库【考研真题精选＋章节题库】

8. 杨岂深《英国文学选读Book 1》笔记和考研真题

9. 常耀信《美国文学简史》（第3版）笔记和考研真题

10. 常耀信《美国文学简史》（第3版）配套题库【考研真题精选＋章节题库】

北京航空航天大学外国语学院《821英语语言文学》（英语语言文学专业）历年考研真题AI讲解

书籍目录

部分内容

2012年北京航空航天大学822英美文学考研真题及详解

I. Define and exemplify the following terms (20／150，5×4)

1 Symbol

2 Tragedy

3 Aesthetic distance

4 Ambiguity

5 Paradox

II. Essay Questions and Literary Analysis (30／150，3×10)

1 In Shakespeare’s Hamlet, the tragic hero Hamlet seems to be delaying his revenge. Why?

Please give your

explanations by in-depth analysis with textual evidences.

2 How do

you understand the Enlightenment Spirit? Please illustrate your points by

analyzing at least two literary works from the English eighteenth century.

3 How do you understand the nature of the American

Dream? Please analyze the theme of American Dream as revealed in literary works

with at least two examples.

Ⅲ. Literary

Translation(40／150, 2×20)

1 Translate

the following English into Chinese.

No woman can be too rich

or too thin. This

saying often attributed to the late Duchess of Windsor embodies much of the odd

spirit of our times. Being thin is deemed as such a virtue. The

problem with such a view is that some people actually attempt to live by it. I

myself have fantasies of slipping into narrow designer clothes. Consequently, I

have been on a diet for the better—or worse—part of my life. Being

rich wouldn’t be bad either, but that won’t happen unless an unknown relative

dies suddenly in some distant land,

leaving me millions of dollars.

2 Translate

the following Chinese into English.

人有时非常矛盾。本来活得好好的，各方面的环境都不错，然而当事者却常常心存厌倦。对人类这种因生命的平淡和缺少激情而苦恼的心态，有时是不能用不知足来解释的。我曾对住在森林的一对夫妻羡慕不已，因为森林里有清新的空气，有大片的杉树、竹林，有幽静的林间小道，有鸟语和花香。然而，当这对夫妇知道有人羡慕他们的住所时，却神情诧异。他们认为这儿没有多少值得观光和留恋的景致，远不如城市丰富有趣。

IV. Literary

Selections and Analysis (60／150，6×10)

1

WHEN the sweet showers

of April fall and shoot,

Down throw the drought

of March to pierce the root,

Bathing every vein in

liquid power

From which there

springs the endangering of the flower,

When also Zephyrus with

his sweet breath

Exhales an air in every

grove and heath

Upon the tender shoots, and

the young sun

His half-course in the

sign of the Ram has run,

And the small fowl are

making melody

That sleep away the

night with open eye

Then people long to go

on pilgrimages.

a. Identify

the author and the work from which the passage is selected.

b. Why

is the work regarded as a masterpiece?

c. Comment

on the language style of the writer.

2

And yet nothing had

changed since the moments when he had been kissing her: or rather, nothing

in the substance of things. But the essence of things had changed.

…

These and other of his

words were nothing but the perfunctory babble of the surface while the depths

remained paralyzed. He turned away, and bent over

a chair. [She] followed him to the middle of the room where he was,

and stood there staring at him with eyes that did not weep. Presently

she slid down upon her knees beside his foot, and from this

position she crouched in a heap.

‘In the name of our

love, forgive me!’ she whispered with a dry mouth. ‘I

have forgiven you for the same!’

And, as

he did not answer, she said again—

Forgive me as you are

forgiven! I forgive you, Angel. ‘

‘You—yes, you

do. ‘

But you do not forgive

me?’

‘O […], forgiveness

does not apply to the case! You were one person: now you are

another. My God—how can forgiveness meet such a

grotesque—prestidigitation as that!’

He paused, contemplating

this definition: then suddenly broke into horrible laughter—as

unnatural and ghastly as a laugh in hell.

‘Don’t—don’t! It kills

me quite, that!’ she shrieked. ‘O have mercy

upon me—have mercy!’

He did not answer: and, sickly

white, she jumped up.

a. Identify

the author and the work from which the passage is selected.

b. Analyze

the significance of the book’s subtitle.

c. Analyze

the personality of the heroine and hero.

3

She became aware of something about her. With

an effort she roused herself to see what it was that penetrated her

consciousness. The tall white lilies were reeling in the

moonlight, and the air was charged with their perfume, as

with a presence. Mrs.

Morel gasped slightly in fear. She

touched the big, pallid flowers on their petals, then

shivered. They seemed to be stretching in the moonlight. She

put her hand into one white bin: the gold scarcely showed on her fingers by

moonlight. She bent down to look at the binful of yellow pollen：but

it only appeared dusky. Then she drank a deep draught of the scent. It

almost made her dizzy.

Mrs. Morel leaned on the garden gate, looking

out, and she lost herself awhile. She did not

know what she thought. Except for a slight feeling of sickness, and

her consciousness in the child, herself melted out like scent into the shiny, pale

air. After a time the child, too, melted

with her in the mixing-pot of moonlight, and she

rested with the hills and lilies and houses, all swum

together in a kind of swoon.

a. Identify

the author and the work from which the passage is selected.

b. Define

the author’s realism with the analysis of the above text.

c. What

is theme of his work? Also explain the author’s understanding of sexuality.

4

The founders of a new colony, whatever

Utopia of human virtue and happiness they might originally project, have

invariably recognised it among their earliest practical necessities to allot a

portion of the virgin soil as a cemetery, and another

portion as the site of a prison. In accordance with this rule, it

may safely be assumed that the forefathers of Boston had built the first prison-house

somewhere in the vicinity of Cornhill,

almost as seasonably as they marked

out the first burial-ground, on Isaac Johnson’s lot, and round

about his grave, which subsequently became the nucleus of all the

congregated sepulchres in the old churchyard of King’s Chapel. Certain

it is that, some fifteen or twenty years after the

settlement of the town, the wooden jail was already marked with weather-stains

and other indications of age, which gave a yet darker aspect to its beetle-browed

and gloomy front. The rust on the ponderous iron-work of its oaken

door looked more antique than anything else in the New World. Like

all that pertains to crime, it seemed never to have known a youthful era. Before

this ugly edifice, and between it and the wheel-track of the street, was

a grass-plot, much overgrown with burdock, pig-weed, apple-peru, and

such unsightly vegetation, which evidently found something congenial in the

soil that had so early borne the black flower of civilised society, a

prison. But, on one side of the portal, and

rooted almost at the threshold, was a wild rose-bush, covered, in

this month of June, with its delicate gems, which might

be imagined to offer their fragrance and fragile beauty to the prisoner as he

went in, and to the condemned criminal as he came forth to his doom, in

token that the deep heart of Nature could pity and be kind to him.

This rose-bush,

by a strange chance, has

been kept alive in history: but whether it had merely survived out of the

stern old wilderness, so long after the fall of the gigantic pines and

oaks that originally overshadowed it-or whether, as there is

fair authority for believing, it had sprung up under the footsteps of the

sainted Ann Hutchinson, as she entered the prison-door—we shall not take

upon us to determine. Finding it so directly on the threshold of our

narrative, which is now about to issue from that inauspicious portal, we

could hardly do otherwise than pluck one of its flowers, and present

it to the reader. It may serve, let us hope, to

symbolise some sweet moral blossom,

that may be found along the track, or

relieve the darkening close of a tale of human frailty and sorrow.

……

But the point which drew all eyes, and, as

it were, transfigured the wearer,—so that both men and women, who

had been familiarly acquainted with Hester Prynne, were now

impressed as if they beheld her for the first time,—was that scarlet letter, so

fantastically embroidered and illuminated upon her bosom. It

had the effect of a spell, taking her out of the ordinary relations with

humanity, and inclosing her in a sphere by herself.

a. Identify

the author of the work from which the passage is selected.

b. What is the structure of the story?

c. What

are the symbolic meanings of the letter borne by the heroine?

d. What

are the symbolic meanings of the four major protagonists?

e. Comment

on the selected passages.

5

There was, of

course, a catch.

“Catch-22?” inquired Yossarian.

“Of course,”Colonel Korn

answered pleasantly, after he had chased the mighty M. P. s

out with an insouciant flick of his hand and a slightly contemptuous—most

relaxed, as always, when he could be most cynical. His

rimless square eyeglasses glinted with sly amusement as he gazed at Yossarian. “After

all, we can’t simply send you home for refusing to fly more

missions and keep the rest of the men here, can we? That

would hardly be fair to them.”

a. Identify

the author from which the passage is selected.

b. What is the absurd rule or regulation in the novel?

c. What

writing technique is the novel famous for?

6

The Apparition of these

faces in the crowd: Petals on a wet, black bough.

a. Identify

the author and the work from which the passage is selected.

b. What

literary school does the poet belong to? Please give a definition of that

school.

c. Please

analyze the poem.

参考答案及解析

I. Define and exemplify the following terms

1 A symbol is an object that represents, stands

for, or suggests an idea, visual image, belief, action, or material entity.

Symbols take the form of words, sounds, gestures, or visual

images and are used to convey ideas and beliefs. For example, a red octagon may

be a symbol for “STOP”. On a map, a picture of a tent might represent a

campsite. Numerals are symbols for numbers. Personal names are symbols

representing individuals. A red rose symbolizes love and compassion.

2 Tragedy is a form of drama based on human

suffering that invokes in its audience an accompanying catharsis or

pleasure in the viewing. While many cultures have developed

forms that provoke this paradoxical response, the term tragedy often refers to

a specific tradition of drama that has played a unique and important role

historically in the self-definition of Western civilization. That tradition has

been multiple and discontinuous, yet the term has often been used to invoke a

powerful effect of cultural identity and historical continuity—“the Greeks and

the Elizabethans, in one cultural form; Hellenes and Christians, in a common

activity,” as Raymond Williams puts it.

3 Aesthetic distance refers to the gap between a

viewer’s conscious reality and the fictional reality presented in a work

of art. When a reader becomes fully engrossed in

the illusory narrative world of a book, the author has achieved a close

aesthetic distance. If the author then jars the reader from the reality of the

story, essentially reminding the reader they are reading a book, the author is

said to have “violated the aesthetic distance.” The notion of aesthetic

distance derives from an article by William Bullough published in 1912. In that

article, he begins with the image of a passenger on a ship observing fog at

sea. If the passenger thinks of the fog in terms of danger to the ship, the

experience is not aesthetic, but to regard the beautiful scene in detached

wonder is to take legitimate aesthetic attitude. One must feel, but not too

much. Bullough writes, “Distance … is obtained by separating the object and its

appeal from one’s own self, by putting it out of gear with practical needs and

ends. Thereby the ‘contemplation’ of the object becomes alone possible.

Authors of film, fiction, drama, and poetry

evoke different levels of aesthetic distance. For instance, William Faulkner

tends to invoke a close aesthetic distance by using first-person narrative and

stream of consciousness, while Ernest Hemingway tends to invoke a greater

aesthetic distance from the reader through use of third person narrative.

4 Ambiguity is an attribute of any concept, idea,

statement or claim whose meaning, intention or interpretation cannot be

definitively resolved according to a rule or process consisting

of a finite number of steps.

The concept of ambiguity is generally contrasted

with vagueness. In ambiguity, specific and distinct interpretations are

permitted (although some may not be immediately apparent), whereas with

information that is vague, it is difficult to form any interpretation at the

desired level of specificity.

Context may play a role in resolving ambiguity.

For example, the same piece of information may be ambiguous in one context and

unambiguous in another.

5 A paradox is a statement that apparently contradicts itself

and yet might be true. Most logical paradoxes are known to

be invalid arguments but are still valuable in promoting

critical thinking.

Some paradoxes have revealed errors in

definitions assumed to be rigorous, and have caused axioms of mathematics and

logic to be re-examined. One example is Russell’s paradox, which questions

whether a “list of all lists that do not contain themselves” would include

itself, and showed that attempts to found set theory on the identification of

sets with properties or predicates were flawed. Others, such as Curry’s

paradox, are not yet resolved.

Examples outside logic include the Ship of

Theseus from philosophy (questioning whether a ship repaired over time by

replacing each of its wooden parts would remain the same ship). Paradoxes can

also take the form of images or other media. For example, M.C. Escher featured

perspective-based paradoxes in many of his drawings, with walls that are

regarded as floors from other points of view, and staircases that appear to

climb endlessly.

In common usage, the word “paradox” often refers

to statements that are ironic or unexpected, such as “the paradox that standing

is more tiring than walking”.

II. Essay Questions and Literary Analysis

1 There are many

reasons as to why Hamlet might be delaying the revenge. One of Hamlet’s many

reasons could be that

he is afraid of

the consequence after killing. He worries that the killing will cause

turbulence to his country. He can not decide to take such revenge. Hamlet is

quite religious seeing that he fears his fait if murdering Claudius during his

prayer, “Now might I do it pat, now he is a-praying, and now I’ll do’t – and so

goes to heaven, and am I reneged. That would be scanned. A villain kills my

father, and for that, I his sole son do this same villain send to Heaven.” This

shows the audience that Hamlet is religious and that he fears the result of

killing, Hamlet knows that if he kills Claudius while he prays, Claudius will

go to heaven, and Hamlet will have to suffer the sin of killing. Another reason

as to why Hamlet postponed the revenge, could be that he didn’t want to hurt

his mother Gertrude, especially after his father warned him not to hurt her in

any way “I will speak daggers to her but use non”, this indicates Hamlets

protection over his mother, he will “speak in daggers” talk to her with a sharp

tone but “use non” to hurt his mother. It could be said that Hamlet didn’t want

to kill Claudius because he didn’t want to see his mother suffer a loss of another

loved one.

2 Enlightenment refers to a progressive

intellectual movement beginning in France and then spread throughout Europe. It

is an expression of struggle of the then progressive class of bourgeoisie

against feudalism. The phrase was frequently employed by writers of the period

itself, convinced that they were emerging from centuries of darkness and

ignorance into a new age enlightened by reason, science, education and a

respect of humanity. The enlighteners fought against class inequality, stagnation,

prejudice, and other survivals of feudalism. They attempted to place all

branches of science at the service of mankind by connecting them with the

actual deeds and requirements of the people. They accepted bourgeois

relationships as rightful and reasonable relationships among people. As to

works, Defoe’s Robinson Crusoe and Swift’s Gulliver’s Travels are

representative works of Enlightenment. They fully reveal the enlightenment

spirit of that age.

3 American Dream means that America is a place

full of opportunities to be successful and if people work hard and are diligent

enough, they can get the wealth and fame that they want; wealth, material

possession and power are the core values of American Dream. Gatsby in The

Great Gatsby and Willy in Death of a Salesman are two representatives

of the victims of American Dream. Gatsby gets money by doing illegal business

and lives luxurious life which makes him lonely and meaningless, finally, he

was killed; thus, his American dream is shattered. While Willy is a salesman

and he is eager to be successful, but he is frustrated by the environment and

people around him, being not able to stand such reality, he commits suicide;

his American dream is shattered as well.

Ⅲ. Literary

Translation

1 Translate

the following English into Chinese.

女人钱再多也不多，女人再瘦也不瘦。这句常被认为是已故温莎公爵夫人说的话，很大程度上体现了时代精神的怪异———瘦被视为难得的优点。此观点的问题在于有些人实际上力图身体力行。我自己就幻想能轻松套上瘦小的时装，结果不管对自己生活有无好处，一味节食。有钱也不是什么坏事，但这种情况不会落在我身上———除非某个遥远国度有个不认识的亲戚突然死了，留给我几百万美元遗产。

2 Translate

the following Chinese into English.

People are forever in a dilemma. They live a fairly good

life and their circumstances are as good as can be, but from time to time they

grow tired of all this. One can hardly attribute this mentality, arising from

life’s monotony and lack of passion, to insatiability on the part of humans. I

used to envy a married couple who lived in a forest, where groves of fir trees

and bamboos flourished, with quiet and secluded cobble stone paths meandering

through the woods, birds chirping beautifully and flowers permeating fragrance.

Yet when they realized that they had unwittingly become an object of admiration

owing to the unique location of their house, they were truly perplexed. In

their eyes, there was little in the forest which deserved to be seen or made such

a fuss about when compared to the fun and abundant life a metropolis can

provide!

IV. Literary

Selections and Analysis

1

a. The author is

Geoffrey Chaucer, and the work is selected from The Canterbury Tales.

b. Because in this work, Chaucer shows a true-to-life

panorama of his then time. Taking from the stand of rising

bourgeoisie, Chaucer affirms men and opposes the dogma of

asceticism preached by the church. He praises man’s energy, intellect, quick

wit and love for life. His tales expose and satirize the evils of his time,

attack degeneration of the noble and the corruption of the church. This work is

full of beautiful thoughts and language, so it is regarded as a masterpiece.

c. Chaucer’s language is vivid and exact. His

verse is among the smoothest in English literature. Chaucer’s contribution

to English poetry is that he introduced from France the

rhymed stanza of various types, especially the heroic couplet to English

poetry. He did much in making the London dialect the standard for the modern

English speech. He is good at the terza rima, which makes his language a high

style. Chaucer is a master of language.

2

a. The author is Thomas

Hardy, and the passage is selected from Tess of the D’Urbervilles.

b. The subtitle of the book is A Pure Woman

which shows the great sympathy of Thomas Hardy. And from this subtitle

we can see that Hardy confirms the inner purity of Tess, at

the same time, he criticizes people’s hypocrisy and the harsh reality.

c. Tess is a beautiful young woman who is intelligent,

naïve, passionate and kind-hearted. She is trapped into her fate and

can not get out. She is unfortunate and deduced by Alec,

who is the evil representative in the book and killed by Tess desperately in

the end. As a result, Tess is sentenced to death.

Angel is the very man that Tess loves, but he

does not cherish her love for him, and he abandons Tess when he knows that Tess

is deduced by Alec. Although he is a freethinking young man and a typical 19^th-century

progressive, believing in the nobility of man, he sticks to the traditional

values firmly, which make him mean, selfish, narrow-minded and unable to

forgive.

3

a. The author is D. H.

Lawrence, and the passage is selected from Sons and Lovers.

b. D. H. Lawrence was one of the heirs of the genre

of realism, especially psychological realism. Through out this novel, Lawrence

reflects the reality, criticizes the reality and fully embodies the realist

thoughts of his. In the above text, Lawrence shows the realistic depiction of

Mrs. Morel’s actions and feelings, which is true to life.

c. This work is taken as a typical example and

lively manifestation of Oedipus complex in fiction, as the result of

Lawrence’s long-range study of psychoanalysis theories of

Sigmund Freud. But the theme of the novel is usually said to concern the effect

of maternal love on the development of a son. At the same time, Lawrence

criticizes the dehumanization caused by industrialization, under which

spiritual love and physical love can not be integrated with each other.

4

a. The author is

Nathaniel Hawthorne, and the passage is selected from The Scarlet Letter.

b. The author employs a kind of circular

narrative structure（环形叙事结构）and gives people a kind of completeness.

c. The scarlet letter “A” has several symbolic

meanings through out the story. At the beginning, it symbolizes “adultery”

which indicates the sin that the heroine has committed; later, it becomes “able”,

because of the heroine’s ability and goodness; at last, it symbolizes “angel”,

which confirms the heroine’s inner morality and purity.

d. Hester Prynne symbolizes truth, beauty and goddess;

Arthur Dimmesdale symbolizes the inner darknees of human beings; Roger

Chillingworth symbolizes the evil, ruthlessness and revenge; Pearl symbolizes

the treasure of her mother, the living scarlet letter, the code of ethics, and

a kind of spiritual and moral burden of Hester and Dimmesdale. 

e. These passages are a

description of condition and environment in which the protagonist confront.

Hawthorne likes to

depict the environmental conditions around the characters,

which help readers to grasp the atmosphere of his story and get a better

understanding of it. His language is vivid and full of symbolic images.

5

a. The author is Joseph

Heller, and the passage is selected from Cthch-22.

b. The absurd rule is a paradoxical trap for the

soldiers. It stipulates that only a madman can be free from the flight

mission, but if you say that you are mad, it turns out that

you are not, so you must perform your flight task, etc.

c. The novel is famous for its writing technique

of using of black humor. And it becomes the most representative work of black

humor.

6

a. The author is Ezra

Pound, and the poem is “In a Station of the Metro”.

b. The poet belongs to

Imagism School. Imagism is a literary movement which

came into being in Britain and U. S.

around 1910 as a

reaction to the traditional English poetry to express the sense of

fragmentation and dislocation. The imagists hold that the most effective means

to express these momentary impressions is through the use of one dominant

image. Imagism is characterized by the following three poetic principles: i)

direct treatment of subject matter; ii) economy of expression; iii) as regards

rhythm, to compose in the sequence of the musical phrase, not in the sequence

of metronome.  

c. This is a classic

example of the Imagist poetry. Pound was once in a Paris subway station and was

struck by the faces

of a few pretty

women and children hurrying out of the dim, damp, and somber station. So

impressed was he by the spectacle that he resolved to bring it out in poetic

language. The result was, of course, the poem. “The object” to be treated is

the faces in that dim and damp context. The impression is brought out most

vividly by the simple, dominant image of flower petals on a wet, black bough,

which serves as the most concise, direct, and definite metaphor for the “faces

in the crowd.”

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