英美文學(xué)教程（英國卷）

前言

　　近幾十年來，中國的高等教育迅猛發(fā)展，英語專業(yè)的發(fā)展勢(shì)如破竹，發(fā)展之快如雨后春筍。全國近千所大學(xué)都設(shè)有英語系，與此同時(shí)，與英語有關(guān)的，或者說，脫胎于英語專業(yè)而另圖發(fā)展、更直接為社會(huì)經(jīng)濟(jì)發(fā)展服務(wù)的翻譯專業(yè)或翻譯方向以及商務(wù)英語專業(yè)也如火如荼。英語教學(xué)在中國的發(fā)展大有“前無古人，后無來者”之勢(shì)。　　近年來，相關(guān)部門和專家對(duì)高等教育的專業(yè)建設(shè)和課程建設(shè)進(jìn)行了調(diào)查，發(fā)現(xiàn)高校的英語專業(yè)建立和英語專業(yè)建設(shè)之間仍存在著差距。某些學(xué)校沒有完全按教育部英語專業(yè)教學(xué)大綱的規(guī)定開設(shè)必需的專業(yè)知識(shí)必修課，如語言學(xué)和英美文學(xué)。有的削減文學(xué)必修課的課時(shí)、簡(jiǎn)化課程，有的甚至不開設(shè)這些課程。一些學(xué)校的英語專業(yè)負(fù)責(zé)人認(rèn)為：美國的歷史太短，沒有必要學(xué)習(xí)美國文學(xué)。實(shí)際上，這些現(xiàn)象都暴露了英美文學(xué)師資的短缺，師資短缺其嚴(yán)重影響了課程建設(shè)和專業(yè)建設(shè)?！　∮⒚牢膶W(xué)教學(xué)歷來是我國英語教學(xué)的重要組成部分。過去，許多大學(xué)有“外文系”，而不是“外語系”，更不是現(xiàn)在統(tǒng)稱的“外國語學(xué)院”?！巴馕南怠边@一名稱充分體現(xiàn)了對(duì)文學(xué)的重視，至今，復(fù)旦大學(xué)仍保留“外文系”。有些學(xué)校的英語專業(yè)還開設(shè)歐洲文學(xué)或歐洲文學(xué)史，開設(shè)亞非文學(xué)講座、中國文學(xué)與文化大講堂以及世界文學(xué)簡(jiǎn)史。我國老一輩英語專家們都是通過閱讀文學(xué)原著掌握語言的精髓，都是在中西文學(xué)王國自由“徜徉”的學(xué)者。今天，我們要追逐前輩之偉大，恐極為不易，但我們應(yīng)當(dāng)掌握基本的文學(xué)知識(shí)。這是培養(yǎng)合格外語人才和建設(shè)者所必需的。因?yàn)槲膶W(xué)作品呈現(xiàn)了人類最美好的語言，呈現(xiàn)了豐富多彩的世界，呈現(xiàn)了多樣的人文素養(yǎng)。這也是英語專業(yè)教學(xué)大綱中要求的重要板塊。

內(nèi)容概要

　　《英美文學(xué)教程（英國卷）》運(yùn)用學(xué)界最新的研究成果和觀點(diǎn)，吸納現(xiàn)代教學(xué)理論和方法，結(jié)合現(xiàn)代文學(xué)批評(píng)理論，將文學(xué)史、作品選讀和文學(xué)知識(shí)納入同一《英美文學(xué)教程（英國卷）》?！队⒚牢膶W(xué)教程（英國卷）》按照文學(xué)式樣的不同劃分而采用了一種獨(dú)特的編寫體例，共包括四部分：按體裁劃分：詩歌、小說、戲劇和散文。各部分均有發(fā)展脈絡(luò)概說、作家生平與作品介紹、選文、注釋和思考題。同一作家根據(jù)其作品分類出現(xiàn)在不同體裁部分，但講解側(cè)重點(diǎn)有所不同?！队⒚牢膶W(xué)教程（英國卷）》按歷史時(shí)期劃分，其中文學(xué)史部分和作家生平部分文字淺顯，易讀易懂，可最大程度地幫助學(xué)生清晰文學(xué)發(fā)展的脈絡(luò)，領(lǐng)悟文學(xué)作品的內(nèi)涵，欣賞文學(xué)杰作的美韻?！　　队⒚牢膶W(xué)教程（英國卷）》既可作為高等院?；蛘咦詫W(xué)考試英語專業(yè)學(xué)生的教材，也可供英語專業(yè)研究生和廣大英語愛好者閱讀參考。

書籍目錄

PoetryPort One Early and Medieval PeriodChapter 1 Anglo-Saxon PoetryChapter 2 Anglo-Norman PoetryChapter 3 Poetry in the Age of ChaucerChapter 4 The Fifteenth Century PoetryPart Two The Sixteenth CenturyChapter 1 The Renaissance in EnglandChapter 2 Sir Thomas WyattChapter 3 Henry Howard， Earl of SurreyChapter 4 Sir Philip SidneyChapter 5 Edmund SpenserChapter 6 Sir Walter RaleghChapter 7 Christopher MarloweChapter 8 William ShakespeareChapter 9 Ben JonsonPart Three The Seventeenth CenturyChapter 1 Revolution and RestorationChapter 2 Metaphysical PoetsChapter 3 Cavalier PoetsChapter 4 John MiltonPart Four The Eighteenth CenturyChapter 1 General View of the 18th-century English PoetryChapter 2 Alexander PopeChapter 3 Thomas GrayChapter 4 William CollinsChapter 5 Oliver GoldsmithChapter 6 William BlakeChapter 7 Robert BurnsPart Five The Romantic PeriodChapter 1 The English Romantic MovementChapter 2 William WordsworthChapter 3 Samuel Taylor ColeridgeChapter 4 George Gordon ByronChapter 5 Percy Bysshe ShelleyChapter 6 John KeatsPart Six The Victorian AgeChapter 1 General View of the English PoetryChapter 2 Elizabeth Barrett BrowningChapter 3 Alfred TennysonChapter 4 Robert BrowningChapter 5 Matthew ArnoldChapter 6 Dante Gabriel RossettiPart seven The Twentieth CenturyChapter 1 General View of the English PoetryChapter 2 Thomas HardyChapter 3 Gerard Manley HopkinsChapter 4 A. E. HousmanChapter 5 William Butler YeatsChapter 6 Thomas Stearns EliotChapter 7 Rupert BrookeChapter 8 Robert GravesChapter 9 Wystan Hugh AudenChapter 10 Philip LarkinChapter 11 Dylan ThomasChapter 12 Ted HughesChapter 13 Seamus HeaneyNovelPart Eight Evolution of the English NovelChapter 1 The Rise of the English NovelChapter 2 Aphra BehnPart Nine The Eighteenth Century English NovelChapter 1 The Rapid Growth of the English NovelChapter 2 Daniel DefoeChapter 3 Jonathan SwiftChapter 4 Samuel RichardsonChapter 5 Henry FieldingChapter 6 Oliver GoldsmithPart Ten The Nineteenth CenturyChapter 1 The Prosperous Period in Novel WritingChapter 2 Jane AustenChapter 3 Walter ScottChapter 4 Charles DickensChapter 5 William Makepeace ThackerayChapter 6 Charlotte BronteChapter 7 Emily BronteChapter 8 George EliotChapter 9 Thomas HardyPart Eleven The Twentieth CenturyChapter 1 The Development of the English NovelChapter 2 John GalsworthyChapter 3 Joseph ConradChapter 4 E. M. ForsterChapter 5 Virginia WoolfChapter 6 James JoyceChapter 7 D. H. LawrenceChapter 8 George or WellDramaPart Twelve Molar English Dramatists and Selected PlaysChapter 1 General view of the English DramaChapter 2 Major English DramatistsChapter 3 Selected Plays William ShakespeareEssayPart Thirteen Major Essayists and Selected EssaysChapter 1 General view of the English EssayChapter 2 Major EssayistsChapter 3 Selected Essays

章節(jié)摘錄

　　In the storm of the Civil War， the Puritans dispossessed him.Then he came toLondon and published his poems in 1648.For the secular poem~ he entitled them asHesperides， and for the sacred ones Noble Numbers. Because of the fatness of this volumecontaining 1200 poems， it was neglected， not to be restored to English literature till the19th century. When King Charles 11 came to power in 1660， his religious position wasrestored， which brought him back to Dean Prior， where he first went and finally lived outhis last years quietly until his death at the age of 83.　　He invented dozens of imaginary mistress， hectic， bewitching creature with exoticnames. But the maid who kept house for him was prophetically named Prudence.　　For him as well as Ben Jonson， life was a sacrament.Herrick brought to thatsometimes portentous view of things a modesty and sense of proportion that are uniquelyhis own.Herrick was not directly concerned with the deeper questions of life.Hecustomarily took up a light， even whimsical subject， and articulated his response to it witha delicate warmth and sureness of touch. The refinement of his poetic craftsmanship alwaysreminds one of his early association with the art of the jewler and the goldsmith. His bestpoems are like richly worked miniatures-they give us that special pleasure of contemplatingthe small thing incomparably well.

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