主题: GRE文章之小讲(4)--终结篇
结论说明型：
特征：在首句或开始不远处给出TS，后面全是解释说明。
例文：
1. Roger Rosenblatt’s book Black Fiction, in attempting to apply literary rather than sociopolitical criteria to its subject, successfully alters the approach taken by most previous studies. As Rosenlatt notes, criticism of Black writing has often served as a pretext for expounding on Black history. Addison Gayle’s recent work, for example, judges the value of Black fiction by overtly political standards, rating each work according to the notions of Black identity which it propounds.
Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories primarily as instruments of ideology circumvents much of the fictional enterprise. Rosenblatt’s literary analysis discloses affinities and connections among works of Black fiction which solely political studies have overlooked or ignored.
Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the racial identity of the authors, to group together works by Black authors? Second, how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous? Rosenblatt shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels written by Blacks over the last eighty years, he discovers recurring concerns and designs independent of chronology. These structures are thematic, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly White culture, whether they try to conform to that culture or rebel against it.
Black fiction does leave some aesthetic questions open. Rosenblatt’s thematic analysis permits considerable objectivity; he even explicitly states that it is not his intention to judge the merit of the various works—yet his reluctance seems misplaced, especially since an attempt to appraise might have led to interesting results. For instance, some of the novels appear to be structurally diffuse. Is this a defect, or are the authors working out of, or trying to forge, a different kind of aesthetic? In addition, the style of some Black novels, like Jean Toomer’s Cane, verges on expressionism or surrealism; does this technique provide a counterpoint to the prevalent theme that portrays the fate against which Black heroes are pitted, a theme usually conveyed by more naturalistic modes of expression?
In spite of such omissions, what Rosenblatt does include in his discussion makes for an astute and worthwhile study. Black fiction surveys a wide variety of novels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnson’s Autobiography of an Ex-Colored Man. Its argument is tightly constructed, and its forthright, lucid style exemplifies levelheaded and penetrating criticism.
2. Whether the languages of the ancient American peoples were used for expressing abstract universal concepts can be clearly answered in the case of Nahuatl. Nahuatl, like Greek and German, is a language that allows the formation of extensive compounds. By the combination of radicals or semantic elements, single compound words can express complex conceptual relations, often of an abstract universal character. The tlamatinime ("those who know")were able to use this rich stock of abstract terms to express the nuances of their thought. They also availed themselves of other forms of expression with metaphorical meaning, some probably original, some derived from Toltec coinages. Of these forms the most characteristic in Nahuatl is the juxtaposition of two words that, because they are synonyms, associated terms, or even contraries, complement each other to evoke one single idea. Used as metaphor, the juxtaposed terms connote specific or essential traits of the being they refer to, introducing a mode of poetry as an almost habitual form of expression.
4. Islamic law is a particularly instructive example of "sacred law." Islamic law is a phenomenon so different from all other forms of law—notwithstanding, of course, a considerable and inevitable number of coincidences with one or the other of them as far as subject matter and positive enactments are concerned—that its study is indispensable in order to appreciate adequately the full range of possible legal phenomena. Even the two other representatives of sacred law that are historically and geographically nearest to it, Jewish law and Roman Catholic canon law, are perceptibly different.
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