成長(zhǎng)小說(shuō)與自傳

內(nèi)容概要

本書以成長(zhǎng)小說(shuō)的界定為突破口，一反傳統(tǒng)的批評(píng)套路，把成長(zhǎng)小說(shuō)的批評(píng)視點(diǎn)從對(duì)其虛構(gòu)性的過(guò)度專注而轉(zhuǎn)到其具有的高度自傳真實(shí)性方面：即不再把成長(zhǎng)小說(shuō)置于小說(shuō)這種虛構(gòu)文類的框架中研究，而是把其放于自傳的新語(yǔ)境中來(lái)進(jìn)行研究。另一方面，自傳也因其本身具有描述傳主自身經(jīng)歷的高度真實(shí)性特點(diǎn)而成為歷來(lái)自傳批評(píng)家所關(guān)注的中心；本書則通過(guò)對(duì)具體現(xiàn)代自傳敘事作品的分析，揭示出自傳本身具有一定的虛構(gòu)性，為傳主的敘事政治所服務(wù)，因而可以視為一種自傳式小說(shuō)，從而把自傳的討論從歷史和事實(shí)論的束縛中解放出來(lái)。

書籍目錄

AbstractAcknowledgementsIntroduction Bildungsroman-Toward a New DefinitionChapter 1 Bildungsroman and Autobiography: a Study of Their Relationship  1.1 Autobiography: Toward a New Definition  1.2 Bildungsroman: a Novel-form Autobiography  1.3 Bildungsroman Vs. Autobiography-form novelChapter 2 Autobiography into Autobiograph: David Copperfield as One Version of the Growing Dickens  2.1 Dickens and his David Copperfield: an Introduction  2.2 David Copperfield: an Autobiography of David Copperfield  2.3 David Copperfield and the Young Dickens: a ComparisonChapter 3 Life out of Life: Stephen Dedalus as a Serf Portrait of the Young Joyce 57  3.1 James Joyce and his A Portrait of the Artist as a YoungMan  3.2 Stephen: a Recreation of the Young Joyce as the Artis  3.3 Stephen the Artist andJoyce the Artist: a Comparison  3.4 David CopperfieM Vs. Portrait of the Artist as a Young ManChapter 4 China Narratives, Mediation and the Problematic of Readership in Fifth Chinese Daughter and The Woman Warrior  4.1 The Authors and Context  4.2 Literature Review  4.3 Mediation of ReadershipChapter 5  The Growing Up of the Self and the Politics of Narration in Douglass's Autobiographies of 1845 and 1855  5.1 The Author and Context  5.2 Comparison and Contrast: Autobiographies of 1845 Vs. 1855Conclusion Bildungsroman and autobiography: Toward a New Conception  1 Change de role: Bildungsroman Vs. Autobiography  2 Bildungsroman and Autobiography Reconsidered  3 An Ending and a New BeginningBibliographyIndex

章節(jié)摘錄

插圖：In the previous two chapters，the foCUS 0f discussion has been on the autobiographical features of two bildungsromane David Copper field and A Portrait of the Artist as Young Man．Though failing into the sanle category of the bildungsroman，they have nluch in colnnlon，still a specific conlparison concerning theme，material，and narration will reveal that，despite various similarities they share，each bears its own distinctive features which markedly distinguish them from each other。First，in terms of therne，though both have the searching for self-qden-tification as their central motif,the processes．focnses and results of the central heroes’development are quite different．David Copper field gradually achieves his maturity and eventually finds a suitable place for himself primarily through first what he experiences（as in the first half of David Coppelfiekt）then what he observes（the latter part）-he learns and grows up as both a doer and an obsewer；while Stephen grows up and devotes himself to art prilnarily through his self-awareness and inner-realization-he is not SO much a seer，hearer，and doer as an indulged thinker．David in the process of development is eventually reconciled with the suflbcating society,or rather is absorbed into it and lives quite complacently as a much respected upper middle class gentleman（an artist）；while Stephen in his development toward mararity gradually grows disillusioned with the society he lives in and in the end chooses to be a devoted artist at the COSt of remaining a willing exile for about 3 7 years．The focuses of the two heroes’growing- up are also different：while David Copperfiehl concentrates on describing David's general development from childhood into early manhood， A Portrait ofthe Art#t as a Young Man focuses its attention on depicting Stephen's peculiar growth of artistic awareness．To see the differences more clearly；one may refer to the following table。

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