【正文】 12 請您刪除一下內(nèi)容， O(∩_∩)O 謝謝?。?！ 2021 年中央電大期末復(fù)習(xí)考試小抄大全，電大期末考試必備小抄，電大考試必過小抄 Shanghai’s Suzhou Creek has witnessed much of the city’s history. Zhou Wenting travels this storied body of water and finds its most fascinating spots. Some lucky cities can boast a great body of water, like London with the river Thames and Paris with the river Seine. Shanghai is privileged enough to have two great bodies of water: Huangpu River and Suzhou River became famous when colonists established clusters of grand buildings on its banks on what became known as the bund. Today, the bund overlooks the breathtaking skyline of Lujiazui financial district. Shanghai’s other body of water, however, Suzhou Creek, has been somewhat overshadowed. Suzhou Creek links the inland cities of Jiangsu province with Shanghai. When the British colonists, who arrived in the city after it was opened as a mercial port in 1843 found they could reach Suzhou, Jiangsu province, via the creek, they named it Suzhou Creek. Thanks to its location, a large amount of cargo and travelers were transported via the creek before rail links were established. But after a century of being utilized as a waterway to transport goods and labor, the creek grew dark and smelly. Industrial factories were established along the banks. In the 1990s it became a key task of the city government to clean the creek. Suzhou Creek, which snakes 17 km from the iconic Waibaidu Bridge downtown to the outer ring road in west Shanghai, maps the changing periods of the city’s history, including the imprints of the concessions, the beginning of industrialization and the improvement in people’s living conditions. Where the Bund began Inbetween the shopping street of East Nanjing Road and the Bund, are a cluster of streets that give me the illusion that I am no longer in modern Shanghai. The streets are narrow and old and crisscross each other. Any old residential house may turn out to be a former office of the British, constructed in the 1880s. Pawnshops and hardware stores that are hard to find elsewhere, are plentiful here. This area, at the confluence of Huangpu River and Suzhou Creek, is called the Bund Origin. Countless tour buses stop at the site every day and visitors from around the world get off to see this place, the starting point of the concessions in the city. It all started in 1872, when the former British Consulate General was constructed and the Bund began its transformation into an the financial street of the East. Now the site of the former consulate is called “No 1 Waitanyuan”, which translates to “the Bund Origin”, to honor its beginnings. The entire plex of this historical site prises of five buildings, the former British Consulate General, the official residence of the consul, the former Union Church, the church apartments and the former Shanghai Rowing Club. The size of the courtyard is equivalent to that of four standard soccer fields. The building of the former consulate is a twostorey masonry building on an Hshaped plan in typical English renaissance style. The building is designed with a fivearch verandah on the ground floor with a raised terrace facing the garden, while the facade features an entry portico beneath a colonnaded loggia. It has been turned into a caf233。它的人物語言能準(zhǔn)確地顯示人物的身份和地位，能形神兼?zhèn)涞乇憩F(xiàn)出人物的性格特征，具有高度的個性化。它以當(dāng)時北方口語為基礎(chǔ)，融匯了古典書面語言的精粹，經(jīng)過作者苦心營構(gòu)，窮力 追新，形成了簡潔純凈、洗練自然、準(zhǔn)確精美、具有濃厚生活氣息和強(qiáng)烈感染力的文學(xué)語言。在敘事角度問題上，作品創(chuàng)造性地運(yùn)用敘述人多角度復(fù)合敘述，取代了說書人單一的全知角度的敘述，這樣既使敘述視角靈活多變，又有利于多層次、多角度地刻劃人物。 轉(zhuǎn)換靈活的敘事視角。同時書中的每個事件無不百面貫通，筋絡(luò)相連，都有它的來龍去脈；各個事件互為因果，連環(huán)勾牽，毫不間斷。《紅樓夢》徹底突破了古代長篇小說單線結(jié)構(gòu)的方式，采用了多條線索齊頭并進(jìn)、交相連結(jié)又互相制約的網(wǎng)狀結(jié)構(gòu)。《紅樓夢》是一部偉大的寫實(shí)小說，又是一部表意性很強(qiáng)的詩體小說，它既顯示 了生活的原生態(tài)又充滿詩意朦朧的甜美感，既是高度的寫實(shí)又充滿了理想的光輝，從而形成了其獨(dú)特的敘事風(fēng)格，即寫實(shí)與詩化的完美融合。 二、《紅樓夢》工于敘事，徹底擺脫了說書體通俗小說的模式，極大地豐富了小說的敘事藝術(shù)，為小說能真實(shí)地反映豐富復(fù)雜的社會生活和生動地刻劃眾多的人物性格，找到了理想的藝術(shù)形式。有時是直接以內(nèi)心獨(dú)白的形式將人 物的所思所想剖析得細(xì)致入微；有時是將人物的心理活動外化為具體可感的、確定性的動作、語言和景物，以之來間接地傳達(dá)人物的心理；有時還將筆觸深入到夢境和潛意識的層面，使心理寫實(shí)和主觀表意相結(jié)合。 在《紅樓夢》之前，中國古代小說的心理描寫相當(dāng)薄弱，《紅樓夢》在人物內(nèi)心世界的開掘上卻最見功力。作者不僅使那些性格不同的人物在對比中顯得異常分明，而且能使那些性格相似的人物顯出各自的獨(dú)特性。第一，打破以往 小說的傳奇性特征，通過日?，嵭嫉纳罴?xì)節(jié)，對主要人物的獨(dú)特性格反復(fù)皴染。書中所寫多為年輕女性，年齡、身份、 11 教養(yǎng)、生活環(huán)境相近，作者以其精湛的技巧塑造了一批同中有異的藝術(shù)典型。作者嚴(yán)格依照生活的本來面目進(jìn)行創(chuàng)作， “ 敢于如實(shí)描寫，并無諱飾 ” ，他筆下的人物往往 “ 正邪兩賦，善惡相兼 ” ，大都是多側(cè)面、多棱角、多變化的圓形人物，真正打破了 “ 惡則無往不惡，美則無一不美 ” 的傳統(tǒng)人物描寫模式。 一、《紅樓夢》對中國古典小說的形象塑造進(jìn)行了一次歷史性的總結(jié)，塑造出一大批高度個性化的藝術(shù)典型，從而完成了具有中國古代民族特色的現(xiàn)實(shí)主義人物藝術(shù)的發(fā)展歷程。 答案：《紅樓夢》在藝術(shù)上取得了輝煌的成就。但由于歷史的局限，作者在寫出封建大家族沒落的同時，也流露出惋惜和感傷的情緒，蒙有一層宿命論和虛無主義的色彩。 答案：《紅樓夢》以賈寶玉、林黛玉、薛寶釵之間的戀愛婚姻悲劇為主線，描寫了以賈家為代表的四大家族的興衰，揭示了封建大家庭的各種錯綜復(fù)雜的矛盾，表現(xiàn)了封建的婚姻、道德、文化、教育的腐朽、墮落，塑造了一系列貴族、平民以及奴隸出身的女子的悲劇形象，展示了極其廣闊的封建社會的典型生活環(huán)境，曲折地反映了那個社會必然崩潰、沒落的歷史趨勢。（ 3）作者善于對人物的最富特 征的細(xì)節(jié)進(jìn)行夸張的描寫，即把某種需要的東西延伸放大，以揭示出這個人物的真實(shí)面目。（ 1）它讓人物用自己的行動去否定自己的謊言，使冠冕堂皇的言辭與卑鄙齷齪的行為，成鮮明的對照，從而將深藏于人物心靈深處的卑污揭示出來，造成強(qiáng)烈的諷刺效果。從而將諷刺的藝術(shù)提升，達(dá)到升華。諷刺不是簡簡單單的喜劇，簡簡單單的喜劇就只是小 丑的把戲了。吳敬梓筆下的人物或許沒有實(shí)實(shí)在在的存在過，但是那些事情卻是實(shí)實(shí)在在的存在過，平時我們或許會覺得這些事情司空見慣，但是一旦被作家用藝術(shù)的筆法了寫出來，我們就會突然覺得這些事情是那么的