本人2004年英語專業(yè)畢業(yè)，2012年5月底決定報(bào)考2013年南大英美文學(xué)的碩士研究生。2013、2014、2015都報(bào)考南大英美文學(xué)專業(yè)，文學(xué)分?jǐn)?shù)分別是：101、102、118。
我是邊工作邊復(fù)習(xí)，所以，除了最后一個(gè)月，其他月份的學(xué)習(xí)時(shí)間基本安排在早間和午后共2-3個(gè)小時(shí)，晚上2-3個(gè)小時(shí)（有時(shí)工作忙起來會(huì)一連幾天都沒有任何時(shí)間復(fù)習(xí)、或沒有任何多余的精力復(fù)習(xí)）。
出成績(jī)后，在南大2015英美文學(xué)的QQ群中曬了一下分?jǐn)?shù)，想了解大家的情況，不料有同學(xué)倡議我寫一篇經(jīng)驗(yàn)談。最開始我覺得其實(shí)自己的情況特殊，不知道要怎樣把自己的“特殊”加以“普遍化”后與大家做個(gè)交流。更何況目前排名與最后結(jié)果都未可知，現(xiàn)在來談，我會(huì)很不好意思，也不是很好的時(shí)機(jī)。但是，后來又想到肯定有像我當(dāng)初那樣對(duì)自己本次取得的結(jié)果不甘心決定再戰(zhàn)的同學(xué)，如果我能盡早整理出來，對(duì)這樣的同學(xué)來說，至少，（我個(gè)人覺得），也是心理上的一種鼓舞吧（單就成績(jī)提高方面而言——畢竟我還不知道自己最后是否能被順利錄取，所以這還不是真正意義上的“經(jīng)驗(yàn)談”）。同時(shí)，也是趁現(xiàn)在過年時(shí)有幾分空閑，假期后工作開始了就會(huì)很忙，所以，決定先這樣回顧一下。希望對(duì)有類似經(jīng)歷的同學(xué)（當(dāng)然還有要考這個(gè)專業(yè)的undergraduates）有所啟發(fā)。

一、歷年復(fù)習(xí)情況回顧
1. 2013年
1）開始準(zhǔn)備時(shí)間：2012年6月
2）具體執(zhí)行：
3）主要問題：
文學(xué)復(fù)習(xí)方面，最后階段花相對(duì)多的時(shí)間在文學(xué)史上，而且平時(shí)看很多文學(xué)評(píng)論和貌似“節(jié)外生枝”的內(nèi)容。這樣一來，占用了本應(yīng)用在復(fù)習(xí)指定參考書上的時(shí)間和精力。
同時(shí)，我最后一個(gè)月的復(fù)習(xí)狀態(tài)極差，心思不定，基本無法集中精力復(fù)習(xí)。
基礎(chǔ)英語基本沒有復(fù)習(xí)。夸張的是，我把基英和文學(xué)兩門的考試順序記反了，拿到基礎(chǔ)英語試卷時(shí)都愣住了，而且2013年1月初剛下完幾天的雪，極冷。最后只剩下不到20分鐘寫作文。此次基英發(fā)揮完全失常，92分。
所以，這次基英發(fā)揮失常分?jǐn)?shù)極低，是沒有進(jìn)入復(fù)試的最大原因。
同時(shí)，畢業(yè)七八年，我對(duì)應(yīng)試的狀態(tài)已十分陌生，心態(tài)、技巧各方面都沒有到位。我沒有看論壇，沒有近兩年的真題。沒有做真題。

2. 2014年
1）開始準(zhǔn)備時(shí)間：2013年9月中下旬
2）具體執(zhí)行：
3）主要問題：
文學(xué)復(fù)習(xí)方面，對(duì)2本選讀的熟悉程度雖然加深，但是因?yàn)榭傮w時(shí)間很緊，沒有做到分類分項(xiàng)歸納總結(jié)并在此基礎(chǔ)上根據(jù)真題做有針對(duì)性的練筆。
也就是說，針對(duì)文本的提問不夠、思考不夠、表達(dá)不夠。

同時(shí)，和2013年一樣，戲劇、詩(shī)歌沒有專門準(zhǔn)備。對(duì)戲劇考題Pagmalion的回答既有常識(shí)性的錯(cuò)誤、又無法對(duì)主題的理解展開討論；詩(shī)歌考到WaltWhitman和/或RobertFrost（因?yàn)榭梢远x一），我之前沒有對(duì)重要詩(shī)人進(jìn)行集中梳理，沒有對(duì)英語詩(shī)歌的藝術(shù)技巧及審美特點(diǎn)進(jìn)行鞏固，也沒有練筆，所以考場(chǎng)上詩(shī)歌審題及答題時(shí)間花費(fèi)較多。

個(gè)人感覺2014年文學(xué)試卷最后的Essay并不難，我是選取realism和modernism進(jìn)行比較。但是最后所剩時(shí)間不多，感覺有一半的話沒時(shí)間說。所以感覺非常一般。
2014年文學(xué)102分。基英考前稍有準(zhǔn)備，117分，屬正常發(fā)揮。
政治只有58分。總分346。所以，2014年以幾分之差與復(fù)試機(jī)會(huì)失之交臂。

3. 2015年
1）開始準(zhǔn)備時(shí)間：2014年4月底
2）具體執(zhí)行：
3）主要問題：
7、8月因?yàn)榻恿艘粋€(gè)大項(xiàng)目，沒多余精力勻出復(fù)習(xí)，所以這兩月的復(fù)習(xí)幾乎完全中斷。9月和10月初狀態(tài)不佳，決心稍有動(dòng)搖，但10月中旬調(diào)整了過來，后面階段基本未出現(xiàn)個(gè)人情緒問題。
除此之外，實(shí)際執(zhí)行雖不時(shí)與計(jì)劃有些差距，但因及時(shí)調(diào)整，計(jì)劃與實(shí)際的差距沒有持續(xù)擴(kuò)大。（有時(shí)可能“欲上則中”，條件所限時(shí)就不要對(duì)自己太苛求，能保持在“中”的狀態(tài)，心緒平穩(wěn)、細(xì)水長(zhǎng)流，相信最后總不會(huì)太差。）

2015年我的各科成績(jī)是：政治65，德語80，基英114，英美文學(xué)118。總分377。

總結(jié)：（心態(tài) +計(jì)劃執(zhí)行）
總結(jié)三次備考的過程，我覺得對(duì)我來說，復(fù)習(xí)時(shí)的心態(tài)以及決心最重要。

我2012決定考南大時(shí)，已滿30周歲，所以前面兩次備考，我都是在考與不考之間反復(fù)掙扎，浪費(fèi)了很多時(shí)間，更可怕的是，這種狀態(tài)下根本不可能集中注意力去深入地想問題、把問題想得更周全。包括我在內(nèi)的很多人，最后總會(huì)說時(shí)間不夠，其實(shí)是沒有調(diào)整好心態(tài)，沒有“定神”，所以即便有成段的時(shí)間可以利用，到后來回首時(shí)，發(fā)現(xiàn)都被自己虛度了。2015年的這次，我因?yàn)橛X得對(duì)2014年的結(jié)果太心有不甘，而且想到自己為備考已經(jīng)付出那么多、放棄那么多，如果再不好好利用這次機(jī)會(huì)，便是更大的浪費(fèi)。我現(xiàn)在不知道最后的結(jié)果如何，但是想到Hemingway的這句話，就不會(huì)覺得自己是個(gè)loser: “The true nobility is in being superior to your previous self.”

心思定了，按計(jì)劃執(zhí)行這個(gè)過程，便是很自然的事，因?yàn)榧幢惝?dāng)中遇到學(xué)習(xí)上的各種實(shí)際問題，只要有決心，都能積極地去尋求解決方法。暫時(shí)無法解決的，也不必太耿耿于懷，要著眼于全局。

二、2015考研英美文學(xué)復(fù)習(xí)——針對(duì)（近幾年）真題的分項(xiàng)具體計(jì)劃

	參考資料（及主編/作者）	復(fù)習(xí)特點(diǎn)
1. 文學(xué)史 (10’)	《英國(guó)文學(xué)簡(jiǎn)史》（常耀信）   《美國(guó)文學(xué)簡(jiǎn)史》（常耀信）   A History of American  Literature  (Toming)	由于之前對(duì)文學(xué)史的整個(gè)框架已比較熟悉，所以針對(duì)這幾本書，此次只是計(jì)劃從頭到尾順一遍（其實(shí)沒看完），做了簡(jiǎn)要的筆記，思路基本是：period – authors – list of works – major works –  characteristics of literary creation
	《文學(xué)術(shù)語匯編》（Abrams）	需要時(shí)查閱
	《20世紀(jì)英國(guó)文學(xué)史》（王守仁）	這本參考書很重要，盡量多看，看得細(xì)一點(diǎn)（尤其是和指定的兩本選讀有銜接的、相關(guān)的部分）。   后面的問答題要盡量耐心地自己動(dòng)手寫一寫。
	《文學(xué)導(dǎo)論》（楊金才）	我是集中在10-11月份看這本書的，利用零碎時(shí)間摘錄要點(diǎn)。   我與之前一些已被錄取的同學(xué)同感：這本書非常重要，能多看幾遍就多看幾遍。至于例文，個(gè)人覺得需要分析思路，提煉框架，摘錄一些結(jié)構(gòu)性、論述性的表達(dá)。   各文學(xué)體裁及其要素的概述部分、附錄中的術(shù)語以及文學(xué)史部分非常重要，需要認(rèn)真做好筆記，最重要的是自己要消化，能在腦中復(fù)現(xiàn)、能用筆至少寫出一個(gè)大體的框架。
2. 選段辨析 (20’)	《英國(guó)文學(xué)選讀》（王守仁）   《美國(guó)文學(xué)選讀》（陶潔）   根據(jù)最新招生目錄的要求，選擇正確版本。（后文簡(jiǎn)稱“《選讀》”）	2-5這四部分考核都以兩本選讀為基礎(chǔ)。   有效閱讀次數(shù)：至少認(rèn)真閱讀4遍左右（綜合本人以及其他同學(xué)的經(jīng)驗(yàn)），才有把握在這部分盡量不失分，才能算是對(duì)3、4、5項(xiàng)考核內(nèi)容有較充分的準(zhǔn)備。   考前要根據(jù)目錄對(duì)作家和作品進(jìn)行默寫，反復(fù)多次，直至沒有任何誤差。
3. 戲劇 (20’)	《選讀》、《文學(xué)導(dǎo)論》（楊金才）、《英美戲劇》（劉海平）、Literature: Reading, Reacting, Writing (Stephen Mandell, Candice Fertile Laurie Kirszner)（戲劇部分）	綜合歷年真題分析，南大的戲劇主要還是考查對(duì)劇情以及主題的理解，個(gè)人認(rèn)為目前為止尚未有關(guān)于戲劇要素以及表現(xiàn)手法方面的考查（我認(rèn)為這點(diǎn)恰恰與小說的相反——不管是短、中、長(zhǎng)篇小說，以考查小說各要素/寫作技巧為主（point of view, symbolism, irony…））。
4. 短篇小說 (20’)	《選讀》	1）“賞析”部分精讀，提取要點(diǎn)，做好筆記。其實(shí)根據(jù)各要點(diǎn)都可自己提出問題，自問自答，或者找其他資料補(bǔ)充，甚至自己動(dòng)手翻譯成英文。   2）針對(duì)考題中需要提供的 “textual evidence”，熟記自己認(rèn)為重要的詞句，考前要抽出時(shí)間專門溫習(xí)一下。   3）課后題近幾年不再考，但是最好都動(dòng)筆寫一寫，想到了就寫，以后再看時(shí)不停擴(kuò)充修改。
	《英美短篇小說》（王守仁）	根據(jù)各要素分章節(jié)講解賞析的這本書，包含《選讀》中的幾個(gè)短篇，這當(dāng)然有借鑒意義。有余力時(shí)可看看其他短篇以及賞析和提問，積累知識(shí)，鍛煉分析能力。沒有多余時(shí)間時(shí)不要強(qiáng)求。囫圇吞棗只會(huì)浪費(fèi)時(shí)間，無端加重緊張情緒。
	Literature: Reading, Reacting, Writing（短篇部分）	這本大書有合集，也有分冊(cè)，但是合集以及分冊(cè)中的“小說卷”現(xiàn)在市面上基本買不到，圖書館有得借的話可以借來，有選擇地看看。
5. 中長(zhǎng)篇小說 (20’)	《選讀》	1）“賞析”部分精讀，提取要點(diǎn)，做好筆記。各要點(diǎn)可自己提出問題，自問自答，或者找其他資料補(bǔ)充，甚至自己動(dòng)手翻譯成英文。   2）結(jié)合《文學(xué)導(dǎo)論》深入理解小說各要素。建議找另外一兩本類似的書看，將對(duì)各要素的闡述加以比較補(bǔ)充，深化認(rèn)識(shí)。   3）網(wǎng)絡(luò)資源：sparknotes,  cliffsnotes, education portal, 愛課程（南大英美文學(xué)）。資源渠道太多有時(shí)反而會(huì)看花眼，選擇一兩個(gè)適合自己深入學(xué)習(xí)的最好。
	相關(guān)原著	根據(jù)自己的情況適當(dāng)安排原著閱讀。選取有代表性的著作細(xì)讀。
	相關(guān)評(píng)論文（選自己容易看懂的）	摘抄自己特別感興趣而且與考試范圍相關(guān)的內(nèi)容。   我個(gè)人認(rèn)為針對(duì)研究生入學(xué)考試，沒必要看太深?yuàn)W的論文，重在對(duì)自己有所啟發(fā)，并使自己保持對(duì)文學(xué)賞析批評(píng)的興趣——自己在這個(gè)過程中感受到發(fā)自內(nèi)心的愉悅。
6. 詩(shī)歌 (30’)	《選讀》、《英美詩(shī)歌》（楊金才）	詩(shī)歌不太會(huì)考到書上的原文。   結(jié)合《選讀》、《英美詩(shī)歌》以及其他一兩本比較權(quán)威的詩(shī)歌賞析著作，理出一個(gè)英美詩(shī)歌史框架，再填充進(jìn)去各階段各流派的重要作家及其代表詩(shī)作，重要作家的詩(shī)歌創(chuàng)作特點(diǎn)和理論要熟記，能夠用英文準(zhǔn)確而熟練地表達(dá)。   個(gè)人認(rèn)為《英美詩(shī)歌》第一部分關(guān)于詩(shī)歌要素的介紹需要細(xì)看（可結(jié)合《文學(xué)導(dǎo)論》中的相關(guān)章節(jié)）。考題中詩(shī)歌部分必然會(huì)考查考生對(duì)詩(shī)歌要素/創(chuàng)作技巧的把握。
7. 論述文 (30’)	《文學(xué)導(dǎo)論》、文學(xué)史、《選讀》，等等	這部分很難講具體是怎么做的、具體要怎么做。   我想，前面各部分都能完成90%左右，這部分的答題應(yīng)該不會(huì)差到哪里去。   我在后文附了兩篇自己寫的小文（一篇差不多是思考過程的記錄，另一篇是成文）。   我曾猶豫是否要將自己的整篇成文放到網(wǎng)絡(luò)上來，但想到同學(xué)們看了或許會(huì)提出各種意見，對(duì)我自己也是種提高。只是希望大家一定要以批判的眼光來看我寫的東西；因?yàn)槭橇?xí)作，有些觀點(diǎn)未必正確，我不希望誤導(dǎo)了別人。

三、活頁(yè)本的使用
針對(duì)2015年考復(fù)習(xí)，我特地采用活頁(yè)本作為記錄的主要工具。B5的頁(yè)面夠自己在上面隨意涂鴉。我總共用了四五本（每本應(yīng)該是200張吧），所有科目的筆記都記在上面，隨時(shí)隨性記錄、適時(shí)分類整理、不斷補(bǔ)充更新、最后提煉重點(diǎn)難點(diǎn)（也便于臨考前鞏固/心理安慰）。大半年用下來，我覺得自己用得挺順手的，決定以后除了大書的筆記和專門的日記本外，其他記錄都采用這種本子，讓“記幾頁(yè)丟一本”的壞習(xí)慣成為歷史。



Appendix 1 - Example of How toAppreciate a Short Story (or a Novel)
EdgarAllan Poe (1809-1849), “The Cask of Amontillado”

1. Plot	Exposition:	Poe  sets the story as Montresor's memory. We discover the main characters and,  more importantly, that Montresor has vowed to seek revenge for Fortunato's  insult.
	Major conflict:	Montresor  wants to seek revenge, but he's not quite sure how. His problem? He wants to  seek revenge once and for all! He has a plan that begins as soon as he  encounters Fortunato at the carnival.
	Rising action:	As  Montresor and Fortunato descend into the catacombs, each step is bringing  Fortunato closer to his death (of course, he doesn't know that).
	Climax:	Montresor  is successful in chaining Fortunato to the wall. At this point, there is no  escape.
	Falling action:	As  Montresor bricks up the wall, we know it's all over for Fortunato, no matter  how much noise he makes.
	Resolution:	We  learn that Montresor is old, and the events he described happened fifty years  before. We know he was successful.
2.  Characters & Characterization	Montresor,  Fortunato, both of whom have defects in personality   Poe’s  characters are often placed in a special situation so that their  psychological status can be detailed and sharply delineated. Also, many of  characters have an alter ego or a double.   按照他的理論，小說應(yīng)當(dāng)著力展示人的內(nèi)心世界，尤其是人格中以往被忽視的病態(tài)或者陰暗的方面   Indirect characterization ???
3.  Setting	Somewhere  in Italy.   “It  was about dusk, one evening during the supreme madness of the carnival season…”  Montreso leading Fortunato “into the inmost recesses of the catacombs” of the  Montresors.   The  atmospheric mood is quite gloomy and spooky.
4.  Narrator +Point of view	Told  by Montresor, the avenger         Often,  Poe’s stories gain added complexity and sophistication because of Poe’s use  of complex narrators.   The  narrator has committed a murder and is confessing the crime to someone he  trusts, after 50 years. A narrator who is a self-righteous killer trying to  relate and justify how and why he killed Fortunato half a century ago not  only complicates his truth, but makes us wonder how his truth and his psyche  are interwoven. Poe’s ability to manipulate narrative point of view was quite  new in Poe’s time.
5.  Thematic topics / Themes	Revenge ???
6.  Symbols / Irony	1)  the name of “Fortunato”;   2)  the “carnival season,” the festive atmosphere which is taken advantage of by  Montresor for carrying out his revenge plan;   3)  Fortunato’s jester outfit, “and his head was surmounted by the conical cap  and bells.” At the end of the story, the reader may come to know that the  bells are actually some indicator for Montresor to judge whether Fortunato is  buried dead or not by defining the bell sounds.   4)  As leading Fortunato into the recesses of the catacombs, Montresor says to  him, “your health is precious…You are a man to be missed. For me it is no  matter”, which is a big irony when these words are addressed to someone he is  going to kill.   5)  Fortunato, while passing the “piled skeletons” in the catacombs, drinks “to  the buried that repose around us”, not knowing that he will be joining the  dead.
7.  Style	小說追求一種短小而節(jié)奏很快的敘事風(fēng)格，從而使故事迅速達(dá)到高潮。作者為此采取了許多巧妙而有效的方法。削減背景信息，全篇只有開頭一句話交待背景 “The thousand  injuries of Fortunato I had borne as I best could, but when he ventured upon  insult I vowed revenge.”   (the  following from Education Portal)   “The  Cask of Amontillado” has almost been universally referred to as Poe’s most  perfect short story:   It  conforms and illustrates perfectly many of Poe’s literary theories about the  nature of the short story:    ?    It  is short and can be read at one sitting.    ?    It  is a mood piece with every  sentence contributing to the total effect. Every  line and comment contributes to the totality or unity of effect that Poe  sought to achieve.    ?    It  is a completely unified work.    ?    While  it is seemingly simple, it abounds in ironies.

1.  考研真題	(2015)  What are Edgar Allan Poe’s literary theories about the nature of the short  story? How are the theories reflected in “The Cask of Amontillado”? Explain  with textual evidence from the story. (回憶版，大概是這樣子，有心的同學(xué)可以提出修改意見并補(bǔ)充，謝謝！)
2.  課后問題	1.  Describe briefly how Poe characterizes Montresor and Fortunato as contrasts?
3.  其他資料	1.  Compare Poe with Emerson on their views on nature, the human mind, symbolic representation  and romanticism. Review the section related to Emerson in Chapter 6.   2.  Compare Poe with Hawthorne on their different perceptions of the human mind.   3.  With Poe’s stories as examples, argue that Poe’s thinking and writing  anticipated some of the insights in 20th century psychoanalysis.

Appendix 2 - Example of How to Write aCritical Essay (1)
關(guān)于2015年英美文學(xué)最后一道大題，考后幾天我向大學(xué)時(shí)的一位老師請(qǐng)教：



Appendix 3 - Exampleof How to Write a Critical Essay (2)
(2014)(Excerpt from Fredric Jameson’s 2013 book TheAntinomies of Realism)
“Realism,for or against: but as opposed to what? At this point the list becomes at leastrelatively interminable: realism vs. romance, realism vs. epic, realism vs.melodrama, realism vs. idealism, realism vs. naturalism, (bourgeois orcritical) realism vs. modernism. As is inevitably the case with such a play ofopposites, each of them becomes inevitably invested with political and evenmetaphysical significance…Most of these binary pairs will therefore arouse apassionate taking of sides, in which realism is either denounced or elevated tothe status of an ideal (aesthetic or otherwise).”
ChooseONE of the binary pairs from Jameson’s list to write a short essay discussingrealism and ONE of its antinomies. The essay should show your understanding andevaluation of both sides of the opposition. Support your argument with examplesfrom British and American literature.

（2014年12月23日將下文發(fā)給老師，請(qǐng)她提個(gè)大概的意見：）

Literary realismemphasizes to represent reality in minute detail and holds the principle ofverisimilitude. Realists are mostly concerned with “What is reality.” Modernistwriters, however, are more concerned with “How reality is narrated.” Realistworks, therefore, differ from modernist works primarily in plot structure,characterization, point of view, and theme. For the purpose of such comparison,Great Expectations by Charles Dickensis selected as representative of realism, and Mrs. Dalloway by Virginia Woolf as representative of modernism.

First, their plotstructures are greatly different. GreatExpectations is narrated chronologically. A typical Bildungsroman, the story starts with the protagonist Pip’schildhood, develops along with his coming of age, reaches its climax whenMagwitch returns and informs Pip that he is Pip’s benefactor, and resolves withMagwitch’s death and finally Pip’s reunion with Estella. This Victorian novelfeatures a clear plotline and follows the conventional structure of:exposition-complications-climax-falling action-resolution. However, themodernist novel Mrs. Dalloway isalmost plotless. In the very opening, the protagonist Mrs. Dalloway is in herfifties. The central event of the story is her evening party that day. Physically,things happen within one single day, from the morning when Clarissa Dallowaygoes out to buy flowers to the evening when her party is held; and the clocktime is marked by the chimes of the Big Ben during the day. In this novel,however, it is the psychological time of the character that is dominant, andthe consciousness of the character builds the structure in a real sense. Freeassociation, one of the efficient agents for the writer to employ the techniqueof stream of consciousness, unfolds the pictures of the psychological realityto readers, either about Mrs. Dalloway’s recollections of her relationship withPeter Walsh, her fear of death, or Septimus Smith’s disillusion and loss of theself.

Second, in characterization,a typical realist fiction explores the relationship between characters and theexternal world they are put in, while a modernist work strives to tap the innerworld of characters. Mostly influenced by the kind-hearted Joe, Pip has goodconscience in nature. However, his ambition for being a gentleman grows afterhis visits to Satis House, and living a London life as a gentleman whenfinanced by the mysterious benefactor, he balloons his sense of vanity so bigthat he even despises Joe, with whom, however, he finds home and hearth when hefinally loses all. In Mrs. Dalloway,there is no such close linkage between the external world and the character. Theexternal details recede to foreground mental activities of characters. Thus,readers are allowed to enter the hearts and minds of the characters to piece upa world they live in and their values in and attitudes towards such a world.

Third, a realiststory, that of the high Victorian period in particular, is typically narrated from a fixed point of view, while amodernist fiction normally features shifts in point of view and is sometimestold from multiple perspectives. GreatExpectations is told by pip in the first person throughout the novel. Mrs. Dalloway is a third-personnarrative, but by following the “stream of consciousness” of characters,readers are from now and then brought to the narrative tones of differentcharacters directly and may find them themselves busy with discerning theshifting point of view, from Mrs. Dalloway, to Septimus Smith, to Peter Walsh, andsome others.

The fourth point isbriefly about the different categories of themes reflected by these tworepresentative works. Like many other realist, especially Victorian, novels, Great Expectations stresses the moralconcerns and aims to inform readers to tell the good from the evil. A modernistwork like Mrs. Dalloway focuses onsuch modern concerns as change of values, the attitude towards death, inabilityto communicate, etc.

老師的評(píng)價(jià)：
形式與內(nèi)容俱佳
只是覺得關(guān)于point of view這一點(diǎn)，現(xiàn)實(shí)主義小說的敘述視角也并不是單一的一成不變的

我的反饋：
其實(shí)，關(guān)于敘述視角，自己也覺得第三點(diǎn)講得有點(diǎn)絕對(duì)，但是也在措辭上盡量強(qiáng)調(diào)是指多數(shù)現(xiàn)實(shí)主義小說而且主要就維多利亞小說而言，但總的來講，視角這段的闡述相對(duì)不全面且不夠convincing
  
  
P.S. 老師平時(shí)很忙，所以為了趕出來讓老師盡量在考前有時(shí)間看一下，就在考前1個(gè)星期的晚上10點(diǎn)半以后了趕出這篇文章。漸入深夜，已有幾分倦意，思路有點(diǎn)飄忽。這是我寫作這篇短文時(shí)的大體狀態(tài)。600多字，1個(gè)半小時(shí)不到吧。考場(chǎng)上應(yīng)該留不出這么多時(shí)間寫的，而且，應(yīng)該也不要求寫很多。如果要點(diǎn)提及、結(jié)構(gòu)完整、言之有理有據(jù)，語言質(zhì)量和卷面也不太差，應(yīng)該不會(huì)得分很低吧（這個(gè)具體怎樣我還真的不敢說，因?yàn)檎l都沒見過主觀題自己到底都得了多少分，只是根據(jù)幾次比較以及老師的評(píng)價(jià)這么綜合地評(píng)估一下而已，僅供參考）。