LOVE IS A FALLACY

LoveisaFallacy--byMaxShulmanTeachingObjectives1Tohaveabasicknowledgeofthetermsinlogic.2Toappreciatethehumorinthestory3Toanalyzethestructureofthestory4Toappreciatethelanguage5TounderstandlovebetterTeachingContents1.AdditionalBackgroundKnowledge2.Detailedstudyofthetext3.TextAnalysis4.Exercises5.Test!.AdditionalBackgroundInformation1.MaxShulman(14March1919--28August1988)HisCaricatureAsoneoftheAmericanbest-knownhumorists,hehaswrittennovels,stories,Broadwayplays,moviescenarios,andtelevisionscripts.ThepresenttextistakenfromTheManyLovesofDobieGilles(1951).DobieGilles,thenarratorisatypicalAmericanyouthwhofrequentlysuffersfromromanticangst焦虑.Thecharacterappearedonapopulartelevisionsitcomduringthe1950sandwasinafeaturefilm故事片in1953.AdditionalBackgroundInformationAdditionalBackgroundInformation马克斯·夏尔曼(MaxShulman)当年是明尼苏达大学的学生会主席，校刊记者。在校时就写了不少小说，颇有名气。毕业后继续从事写作，但反而不如上大学时出名。他的小说风趣活泼，结尾有欧.亨利的风格，出人意料。1）Anargumentinlogicpresentsevidenceinsupportofsomethesisorconclusion.2)components:aconclusion--thethesisarguedforcertainpremises--theconsiderationsadduced(提出,举出)onbehalfoftheconclusion.Theconclusionissaidtobedrawn,orinferredfromthepremises.2.ThemeaningofLogicalfallacies2.ThemeaningofLogicalfallaciesAnargumentisdeductivelyvalid/logical/reasonablewhenitspremisesprovideconclusive(决定性的,令人信服的)evidencefortheconclusion.Anargumentthatfailstobeconclusivelydeducedisinvalid;itissaidtobefallacious,orafallacy.II.IntroductiontothePassage1.Typeofliterature:apieceofnarrativewriting--protagonist/antagonists--climax--denouement2.Themainidea---thetheme3.Structuralorganization(154paragraphs)PartI.Paras1-3PartII.Paras4-5PartIII.Paras6–154(6-59)(60-125)(126-154)IntroductiontothePassage4.Style:employingavarietyofwritingtechniquestomakethestoryvivid,dramaticandcolorful--averyfastpacewitharacy(vivid)dialoguefullofAmericancolloquialismandslang;--formallearnedtermsofthenarratorvsinformalvulgarformsofPollyEspy;--inversionforemphasis;--lotsofrhetoricaldevices;III.RhetoricalDevices:1.metaphor2.antithesis3.transferredepithet4.hyperbole5.metonymy6.litotes7.allusion8.ellipsis9.synecdoche10.simile11.mixedmetaphor12.rhetoricalquestionsIV.SpecialDifficulties1.Uunderstandingsthemeaningsoffallacies2.Understandingcolloquialexpressionsandslangs3.Allusions:--Frankenstein(anovelcharacter)--Pygmalion(akinginreallife)V.Detailedstudyofthetexttitle--humorous/wellchosen1.Whenfallacyistakeninitsordinarysense,thetitlemeans:Thereisadeceptiveanddelusivequalityaboutlove.Detailedstudy2.Whenfallacyishavinglogicalsense,itmeans:Lovecannotbededucedfromasetofgivenpremises.Lovecannotfollowthegivenrules.Loveisanerror,adeceptionandanemotionthatdoesnotfollowtheprinciplesoflogic.CharlesLamb(London,10February1775–Edmonton,27December1834)wasanEnglishessayist,bestknownforhisEssaysofEliaandforthechildren'sbookTalesfromShakespeare,whichheproducedwithhissister,MaryLamb(1764–1847).LambhasbeenreferredtobyE.V.Lucas,hisprincipalbiographer,asthemostlovablefigureinEnglishliterature..unfetter--setfree,letsthgofreely/becompletelyoutofcontrollimp--drooping,lackingfirmnessflaccid--soft,flabbyspongy--soft,fullofholes,notfirmThesearethespecificcharacteristicsofhiswriting(essay).Heisjoking,notseriousThomasCarlyle(1795-1881)ThomasCarlyle:Englishauthor,ScottishwriterHedevelopedapeculiarstyleofhisown----Carlylese\Carlyleism.卡莱尔风格Hisstyle:acompoundofbiblicalphrases,colloquialisms,Teutonictwists,hisowncoining,arrangedinunexpectedsequences.*Teutonicnations条顿民族：includingAnglo-Saxon,German,Dutch.ThomasCarlyle(1795-1881)Hisworks:TheFrenchRevolution法国革命Chartism宪章运动OnHeroes,HeroWorshipandtheHeroicinHistory论英雄，英雄崇拜和历史英雄行为JohnRuskin(1819—1900)JohnRuskin:EnglishcriticandsocialtheoristHewastherealdictatorofartisticopinioninEnglandduringthemid-19thcentury,thatistheVictorianAge.In1843,hiswork“ModernPainters”indicateshisprinciplesthatartisbasedonnationalandindividualhonestyandmorality,andartisa“universallanguage.”JohnRuskinHisworks:SesameandLilies芝麻与百合TimeandTide时与潮Hissuggestedprograms：Oldagepensions老年救济金Nationalizationofeducation普及全国教育OrganizationofLabor劳动分工ImplicationofPara1-3Mywritingisevenmoreinformal.Icandobetterthanthem.Notice:Hesaysthisonlywithhistongueincheek(saysththatdoesn'tintendtobetakenseriously非认真地说话).ThePurposeofthisessayHecomparedlogictoalivingthing(ahumanbeing).Logicisnotatalladrylearnedbranchoflearning.Itislikealivinghumanbeing,fullofbeauty,passionandpainfulemotionalshocks.trauma–aterminpsychologymeaningadamagetothemindcausedbythebodyhavingbeenwound,orbyasuddenshockorterribleexperience.心灵创伤Theimplicationoftheauthor’snote1)HisownideaabouthisownessayFromhispointofview,hisessayissomethinglimp,spongy,soitisveryinformal.2)ThepurposeofthatessayLogicisnotadrybranchoflearning,butlikeahumanbeing.Para4Introductionofthenarrator(protagonist)---DobieGillis,alawstudent(Heboastinglyintroducedhimself.)Notice:Ateveryconceivablechancehesingspraisesofhimself.Heemploysallthebeautifulwordsofpraisehecanthinkoftodescribehimself.keen---(ofthemind)active,sensi