Пособие по домашнему чтению к практическому - My

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В
ПРАКТИКУМ
ДЛЯ ВУЗОВ
А.В. Куценко
ПОСОБИЕ ПО ДОМАШНЕМУ ЧТЕНИЮ
К ПРАКТИЧЕСКОМУ КУРСУ
АНГЛИЙСКОГО ЯЗЫКА
ПОД РЕДАКЦИЕЙ В.Д. АРАКИНА
4–5 курс
Москва
2006
УДК
ББК
К96
811.111(075.8)
81.2Англ-923
К96
Куценко А.В.
Пособие по домашнему чтению к «Практическому
курсу английского языка» под ред. В.Д. Аракина.
4—5 курс / А.В. Куценко. – М. : Гуманитар. изд.
центр ВЛАДОС, 2006. — 95 с. – (Практикум для вузов).
ISBN 5-691-01520-6.
Агентство CIP РГБ.
В книгу включены отрывки из английской художественной литературы и упражнения, способствующие активному,
углубленному изучению текстов. Предлагаемая система заданий включает подтекстовые упражнения, задания на
проверку общего понимания прочитанного; вопросы, связанные с лексико-стилистическими особенностями текста;
творческие задания, направленные на пополнение активного и пассивного словаря устной речи.
Пособие предназначено для студентов 4—5 курса факультетов английского языка, будет интересно учащимся школ
и гимназий с углубленным изучением английского языка.
УДК 811.111 (075.8)
ББК 81.2 Англ-923
ISBN 5-691-01520-6
© Куценко А.В., 2006
© ООО «Гуманитарный издательский
центр ВЛАДОС», 2006
© Серия «Практикум для вузов»
и серийное оформление.
ООО «Гуманитарный издательский
центр ВЛАДОС», 2006
© Макет. ООО «Гуманитарный издательский центр ВЛАДОС», 2006
Содержание
Contents
Preface Предисловие . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Francis Scott Fitzgerald. Biography . . . . . . . . . . . . . . . . . 8
Influences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Jazz Age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Guidelines for the Students . . . . . . . . . . . . . . . . . . . . . . . 15
The Great Gatsby
Chapters I–II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapters III–IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Chapters V–VI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Chapters VII–VIII . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Chapter IX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Subjects for Final Discussions or Writing . . . . . . . . . . . . 45
Tender Is the Night
Book One
Chapters I–X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Chapters XI–XVII . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Chapters XVIII–XXV . . . . . . . . . . . . . . . . . . . . . . . . . 63
Book Two
Chapters I–X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Chapters XI–XVII . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Chapters XVIII–XXIII. . . . . . . . . . . . . . . . . . . . . . . . . 77
Book Three
Chapters I–V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Chapters VI–XIII . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Subjects for Final Discussions or Compositions . . . . . . . . 93
Preface
Предисловие
Настоящее издание предназначено для использования
на занятиях по домашнему чтению на старших курсах факультетов иностранных языков (английский язык) педагогических вузов.
Романы Фрэнсиса Скотта Фицджеральда «Великий Гэтсби» и «Ночь нежна» являются величайшими произведениями американской художественной литературы XX века. В
них звучит тема «американской мечты» и ее вырождения,
тема оскудения духовной жизни американцев в «век джаза»,
в них дается широкий социальный охват этой эпохи. Автор
ведет поиск человеческого идеала. В романах явно ощущается влияние философских идей того времени. Вместе с тем,
Фицджеральд мастерски изображает внутренний мир своих
героев. Авторский замысел раскрывается через деталь, авторское отступление, символ, ритм композиции и т.д. К числу используемых автором приемов относятся ирония, парадокс. Все сказанное выше делает прочтение этих романов нелегким для студента и требует руководства чтением,
каковым является данная методическая разработка.
Система заданий, представленных здесь, нацелена на
развитие речевых навыков студентов, на всесторонний ана-
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лиз текстов, раскрытие социальной значимости романов, их
стиля. Задания рассчитаны на самостоятельную работу студентов, однако, они могут прорабатываться и в аудитории
без предварительной подготовки (часть из них), что определяет сам преподаватель в зависимости от установки на интенсивное или экстенсивное чтение, степень подготовки студентов и т.п. При интенсивной проработке материала средний объем прочитанного составляет 30–35 страниц в неделю.
В материалах к каждой главе содержится список слов и
выражений из романов, отобранных с таким рассчетом,
чтобы стимулировать обогащение словарного запаса студентов, развивать у них умения и навыки адекватно отражать содержание произведений, четко выражать свои мысли, правильно вести дискуссию по вопросам, связанным с
художественным отображением действительности.
В работу включены дополнительные материалы, способствующие более глубокому проникновению в проблематику романов, а также направленных на повышение общеобразовательного уровня студентов.
6
FRANCIS SCOTT
FITZGERALD
THE GREAT GATSBY
TENDER IS THE NIGHT
7
FRANCIS SCOTT
FITZGERALD
Biography
1. Here is the outline of Scott Fitzgerald’s life. Put flesh on
the skeleton by adding some facts from the text below.
What other details from his background do you know?
1896—
1920—
1922—
1925—
1934—
1940—
F. Scott Fitzgerald (1896–1940) was born in Staint Paul,
Minnesota, and even as a schoolboy in Saint Paul he was writing. After he entered New Jersey’s socially prestigious
Princeton University he tried to eradicate his origins though
he was unhappy at college in many ways and felt keenly his
inferiority to all those who were born rich.
When the United States entered World War I, he enlisted
in the Army, and in a training camp in Alabama he met Zelda,
the Southern belle who became his wife and who was his model
for most of the beautiful, gay heroines of his fiction. He
became a writer in order to earn enough money to marry her,
and his life with her furnished his greatest happiness as well
as his greatest misery and pain.
His first novel, This Side of Paradise, was published
in 1920. It concerns the world of youth, excited though somewhat cynical, and the parties and love affairs of the rich and
the would-be rich. Fitzgerald was the spokesman for youth; he
sensed the romantic yearnings of the Jazz Age, and he put
them into fiction.
The Great Gatsby (1925) alone would assure F. Scott
Fitzgerald’s place among the writers of major stature. By then
Fitzgerald was rich, though his earnings could never keep
pace with his and Zelda’s extravagance. He had attained undeniable success as a writer, a serious novelist, and a prolific
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producer of pot-boilers – short stories for slick magazines. He
also knew that between the peaks of joy were periods of sorrow. T h e G r e a t G a t s b y reflects Fitzgerald’s deeper knowledge, his recognition that wanting to be happy does not insure
one’s being so and that pursuit of entertainment may only
cover a lot of pain. Fitzgerald gives a perfect example of the
Jazz Age, its superficiality and tawdriness and its equally
powerful sweetness and charm.
He wrote three other novels: The Beautiful and Damned
(1922), Tender is the Night (1934) and The Last Tycoon,
his last unfinished work and four volumes of short stories.
2. Read the text below and say who and how influenced
Fitzgerald’s outlooks and his creative activities.
Influences
J . K e a t s stands back of the imagery of Fitzgerald’s
books. A. Turnbull writes: “Sensitive as a young leaf, he trembled to all his surroundings. He registered every emotion,
noticed every change of manners, and put it in his fiction
which he wrote almost like journalism with a dash of poetry
added. He was a born romancer and illusionist, whose everbeautiful, ever-witty young people did not exist outside his
pages although later they seemed to typify the age”.
Joseph Conrad had a major literary influence on
Fitzgerald. Like Fitzgerald, J. Conrad saw youth as a moment
of illusion – of promise and expectancy – which is often
betrayed by experience. His hero was usually the victim of
cruel and careless people. Fitzgerald depicted the idealist in
conflict with the materialist, and conveyed his sense of loss at
the hands of heartless people. He came to believe that these
personal themes had their parallel in history; and he often
extended meaning in his novels through metaphor and allusion, until the story of his hero related to the story of
America – the idealism of democracy in conflict with ruthless
materialism.
Another influence was The Brothers Karamazov.
Fitzgerald was also inspired by decadents of the late – 19th
century phrase of the Romantic movement, such as Ernest
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Dowson. Dowson’s poetic characters become victims of their
own imagination, the desire to arrest time and enjoy for ever
the splendour of youth.
Oswald Spengler (1880–1936) provided a historical and
philosophical underpinning for Fitzgerald. Spengler believed
that the laws of biology were also the laws of history. Each culture was an organism which had a pattern of birth, growth
maturity and decay. He concentrated only on the three stages of
Western history – (1) the Apollinian or classical period; (2) the
Magian or medieval realm; and (3) the Faustian or modern age.
The first finds man generally s e l f - s a t i s f i e d , his art and
literature show an interest in body and form and a belief that
the meaning can be circumscribed and truths clearly defined.
The second begins to emerge in the decades before the
birth of Christ, finds man torn between forces of good and evil
and interested in the power of magic.
The third – the tenth century with papal reform – finds
man longing for the unattainable.
Spengler believed that the shift from the countryside to
the city after the Reformation marked the loss of Faustian
man’s youth – the passing of his cultural spring and summer;
that the 18th century was the autumn of the Faustian age, and
that the 19th century was the beginning of western man’s wintry decline. During the decline there would be the rise of the
megapolis (like New York and Berlin), a growing uniformity
as the machine age relegated man to a routine of dull tasks,
and the triumph of money over aristocracy.
Spengler dreaded the coming of the “moneyed thugs”, who
would destroy the last Faustian men. In England and America,
where the main distinction is between rich and poor, “the new
Caesar” would be a cruel materialist – a millionaire, a banker,
a man of wealth and success. In Germany, where the main distinction is between command and obedience, the new Caesar
would be a dictator – for example, a general.
After the rise and triumph of such figures, they could in
turn be overthrown by the rise of the coloured races – Negroes
and Chinese and also Russians (whom he considered to be part
of the Orient)– races that would use the technology of the
West to destroy its inventors.
Fitzgerald worked a surprising number of these
Spenglerian elements into his novels.
Spengler’s historical perspective in his “Decline of the
West” could give Fitzgerald a context for the decline of the
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