《英語(yǔ)散文：鑒賞與寫(xiě)作》的另一目標(biāo)是通過(guò)培養(yǎng)學(xué)生的2C（Critical & Creative）能力，激發(fā)其親手嘗試英語(yǔ)散文創(chuàng)作的興趣。每課之后的“寫(xiě)作指南”結(jié)合本篇課文的寫(xiě)作特點(diǎn)、篇章結(jié)構(gòu)、行文風(fēng)格、創(chuàng)作技巧等，為學(xué)生梳理、總結(jié)英語(yǔ)散文創(chuàng)作的要點(diǎn)，然后再通過(guò)每課最后設(shè)計(jì)的開(kāi)放或半開(kāi)放式的寫(xiě)作任務(wù)，讓學(xué)生有機(jī)會(huì)嘗試英語(yǔ)散文的創(chuàng)作，并在這樣的嘗試中感受散文之美、追求散文之美、創(chuàng)造散文之美。 《英語(yǔ)散文：鑒賞與寫(xiě)作》編者長(zhǎng)期擔(dān)綱大學(xué)本科學(xué)生的文學(xué)課教學(xué)，對(duì)文學(xué)鑒賞教學(xué)有著自己獨(dú)到的見(jiàn)解和體會(huì)。 《英語(yǔ)散文：鑒賞與寫(xiě)作》在編者所在學(xué)校面向選修文學(xué)類通識(shí)課程的非英語(yǔ)專業(yè)學(xué)生試用，受到學(xué)生的廣泛好評(píng)。有同學(xué)反映，英語(yǔ)散文鑒賞課讓他們領(lǐng)略到了英語(yǔ)原汁原味的音韻美、修辭美和意境美，英語(yǔ)不再作為獲取信息的工具而學(xué)得那么功利、無(wú)趣，而是作為審美的對(duì)象而學(xué)得那么感性、生動(dòng)；也有學(xué)生反映，通過(guò)大學(xué)英語(yǔ)四級(jí)或六級(jí)考試之后，自己的英語(yǔ)學(xué)習(xí)似乎進(jìn)入了一個(gè)進(jìn)步遲緩、成效不彰的漫長(zhǎng)時(shí)期，即人們常說(shuō)的“高原現(xiàn)象”，英語(yǔ)散文鑒賞課課時(shí)雖少，但內(nèi)容豐富，涉及詞匯、句法、修辭、語(yǔ)篇，以及閱讀、寫(xiě)作等方方面面的知識(shí)和技能，學(xué)習(xí)強(qiáng)度很大，所傳授的學(xué)習(xí)方法也非常獨(dú)特，能幫助學(xué)習(xí)者有效地克服英語(yǔ)學(xué)習(xí)的“高原現(xiàn)象”，對(duì)進(jìn)一步提高自己的英語(yǔ)能力和人文素養(yǎng)大有裨益。
Unit One "On Doors"
Unit Two "On Going a Journey"
Unit Three "A Piece of Chalk"
Unit Four "A Relic"
Unit Five "On Lying Awake at Night"
Unit Six "Rude Am I in My Speech"
Unit Seven "About Face"
Unit Eight "La Paz"
Unit Nine "Grieving"
Unit Ten "Trivia"
Unit Eleven "Thomas Hobbes"
Unit Twelve "Disaster Always Waits on Early Wit"
Appendix
《英語(yǔ)散文：鑒賞與寫(xiě)作》：
There is a strange and profound and unknowable reality to these abandoned houses where jealously guarded, even prized possessions have become mere trash: windowpanes long ago smashed, and the spaces where they had been festooned with cobwebs, and cobwebs brushing against your face, catching in your hair like caresses. The peculiar, dank smell of wood rot and mildew, in one of the houses I most recall that had partly burned down, the smell of smoke and scorch, in early summer pervading even the lyric smell of honeysuckle - these haunting smells, never, at the time of experiencing, given specific sources, names.
Where a house has been abandoned - unworthy of being sold to new tenants, very likely seized by the county for default on taxes and the property held in escrow - you can be sure there has been a sad story. There have been devastated lives. Lives to be spoken of pityingly. How they went wrong. Why did she marry him, why did she stay with him? Just desperate people. Ignorant. Poor white trash. Runs in the family. A wrong turn.
Shall I say for the record that ours was a happy, close-knit, and unextraordinary family for our time, place, and economic status? Yet what was vividly real in the solid-built old farmhouse that contained my home (my family consisted of my father, mother, younger brother, grandfather, and grandmother, who owned the property - a slow-failing farm whose principal crop had become Bartlett pears by the time I was a girl) was of far less significance to me than what was real elsewhere. A gone-to-seed landscape had an authority that seemed to me incontestable: the powerful authority of silence in houses from which the human voice had vanished. For the abandoned house contained the future of any house - the lilac tree pushing through the rotted veranda, hornets' nests beneath eaves, windows smashed by vandals, human excrement left to dry on a parlor floor once scrubbed on hands and knees.
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