英國文學與文化

前言

　　歷時一年半，本書的編寫終于完結(jié)?；厥拙幘捅緯钠鯔C，機緣有二。一是電-子科技大學為通過英語四級考試的非英語專業(yè)本科生開設(shè)了豐富的英語選修課，“英國文學與文化”為其中之一，且報選者眾；二是目前國內(nèi)市場上，缺乏適合非英語專業(yè)學生使用的理想教材，以提升大學生對外國文學作品的欣賞能力，幫助其較系統(tǒng)地了解西方I垂I家的文化特征?！　∪珪譃樯稀⑾聝善?。上篇分別從《圣經(jīng)》、希臘神話和英國社會三個方面進行講解，以增進學生對英國文學作品和英國社會進程的理解?！妒ソ?jīng)》和希臘神話，作為西方重要的精神產(chǎn)品和文學文本，不僅對西方社會和文化形成影響至深，同時也影響著后世眾多文學作品的創(chuàng)作。英國許多經(jīng)典文學作品，如彌爾頓的《失樂園》、雪萊的《解放了的普羅米修斯》和喬伊斯的《尤里西斯》等，都烙刻著《圣經(jīng)》故事或希臘神話故事的痕跡。這些后世經(jīng)典文學作品對《圣經(jīng)》故事和希臘神話故事或借用、或顛覆、或戲擬，盡管產(chǎn)生不盡相同的美學效果，但新舊（前后）文本間的互文指涉，使新（后）文本得以搭建起跨越時空的偌大空間，文學文本的審美意義也得以放大。上篇的第三章 英國社會與英國文學包含八個小節(jié)，形成了英國從16世紀到20世紀八個主要文學史階段的線性串結(jié)。但該章的目的并非在此，而旨在引導學生透過文學現(xiàn)象，洞悉產(chǎn)生現(xiàn)象的社會文化動因。思維的訓練乃重之要義。下篇則按照文學的三大主要文類，細分詩歌、小說和戲劇的基本要素，引領(lǐng)學生欣賞具體的文學作品。　　全書各章由導讀、文本和思考題組成。導讀部分主要介紹該章的內(nèi)容、基本概念；文本部分提供精選的文學片段和注釋；每章最后還配有思考題或練習題，以幫助學生更好地理解和消化教材的內(nèi)容。

內(nèi)容概要

本書由上篇文化篇和下篇文學篇組成。上篇著重從圣經(jīng)、希臘神話和英國社會的角度，來解讀英國文學作品和文學史發(fā)展特征；下篇按文學的三大主要文類編排，旨在指導學生欣賞英國詩歌、英國小說和英國戲劇?！　∶空掠蓪ёx、文本和思考題組成，既有總體引導，又有文本例釋，配以練習題，以深化理解。教材內(nèi)容豐富、選材廣泛，可作為高校非英語專業(yè)選修課程的教材或外語學院英語專業(yè)英國文學課程的參考書，也是廣大英語自學者和英國文學愛好者的可選讀物。

書籍目錄

Part One　　Chapter One The Bible and British Literature　　Introduction to the Bible　　Section One：Important Biblical Characters　　Selected Reading：Paradise Lost by John Milton　　Section Two：Important Biblical Themes——Christian Virtues　　Selected Reading：The Merchant of Venice by William Shakespeare　　Section Three：Biblical Imagery　　Selected Reading：Tess of the d'Urbervilles by Thomas Hardy　Chapter Two Greek Mythology and British Literature　　Introduction to Greek Mythology　　Greek Mythology in British Literature　　Selected Readings　　　Pygmalion by George Bernard Shaw　　　Sonnet XXXIII：Methought I Saw My Late Espoused Saint by John Milton　　　The Garden by Andrew Marvell　Chapter Three British Society and British Literature　　Section One：English Renaissance and Humanism　　Selected Reading：Sonnet 18 by William Shakespeare　　Section Two：Metaphysical Poetry and English Society in the Early 17 Century　　Selected Reading：A Valediction：Forbidden Mourning by John Donne　　Section Three：Literature in English Revolution and Restoration Period　　Selected Reading：Pilgrim's Progress by John Bunyan　　Section Four：Neo-Classicism　　Selected Reading：Epigrams by Alexander Pope　　Section Five：English Romanticism　　Selected Reading：The Isles of Greece by Lord Byron　　Section Six：Critical Realism　　Selected Reading：Oliver Twist by Charles Dickens　　Section Seven：Aestheticism　　Selected Reading：The Picture of Dorian Gray by Oscar Wilde　　Section Eight：British Modernism　　Selected Reading：Araby by James JoycePart Two　Chapter Four British Poetry　　Key Questions to the Art of Poetry　　Sample Analysis ：The Lake Isle oflnnisfree by William Butler Yeats　　Selected Readings　　　The Passionate Shepherd to His Love by Christopher Marlowe　　　Sonnet 43 by William Shakespeare　　　Death, Be Not Proud by John Donne　　　A Red Red Rose by Robert Bums　　　I Wandered Lonely as a Cloud by William Wordsworth　　　When We Two Parted by George Gordon Byron　　　Ozymandias by Percy Bysshe Shelley　　　The Eagle：A Fragment by Alfred Tennyson　　　Do Not Go Gentle into that Good Night by Dylan Thomas　Chapter Five British Fiction　　Key Questions to the Art of Fiction　　Selected Readings　　　Robinson Crusoe by Daniel Defoe　　　Pride and Prejudice by Jane Austen　　　Jane Eyre by Charlotte Bronte　　　Sons and Lovers by D. H. Lawrence　Chapter Six British Drama　　Key Questions to the Art of Drama　　Selected Readings　　　Hamlet by William Shakespeare　　　The Merchant of Venice by William Shakespeare　　　The Importance of Being Earnest by Oscar Wilde　　　Waiting for Godot by Samuel Beckett參考文獻

章節(jié)摘錄

　　II， Origins， Sources and Development of Greek Mythology　　2.1 The Origin of Greek Mythology　　Linguists have concluded that some names of Greek deities， including Zeus， can　be traced back to gods worshiped by speakers of the Proto-Indo-European language，　the common ancestor of the Greek， Latin， and Sanskrit languages. However， it would be misleading to regard the people who may have spoken this language as the only contributors to Greek mythology， for many other elements were added later.　　Archaeologists have shown that many of the places where mythical events presumably took place correspond to sites that had historical importance during the Mycenaean period of Greek history （second half of the 2nd millennium BC）.　　Scholars thus consider it likely that the Mycenaeans made a major contribution to the development of the stories， even if this contribution is hard to demonstrate in detail. Some scholars have argued that the Minoan civilization of Crete also had a formative influence on Greek myths. The myth of the Minotaur confined in a labyrinth in the palace of King Minos， for example， might be a memory of historical bull-worship in the labyrinthine palace at Knossos on Crete. However， there is little evidence that Cretan religion survived in Greece. Moreover， ancient inscriptions have not confirmed thatMinos ever existed outside of myth.　　Scholars have shown that Middle Eastern influences were more influential to ancient Greek mythology than Cretan myths. Greek mythology owed much to cultures in Mesopotamia and Anatolia， especially in the realm of cosmogony （origin of the universe） and theogony （origin of the gods）. To take one example， a clear parallel exists in an early Middle Eastern myth for Greek poet Hesiods story about the castration of Uranus by his son Cronus and the subsequent overthrow of Cronus by his son Zeus.　　The Middle Eastern myth tells of the sky god Anu who was castrated by Kumarbi， father of the gods. The weather and storm god Teshub， in turn， displaced Kumarbi. Scholars continue to bring to light more and more similarities between Greek and Middle Eastern mythologies.　　2.2 The Sources and Development of Greek Mythology　　Our knowledge of Greek myths comes from a mixture of written texts， sculpture， and decorated pottery. Through inference and guesswork， scholars have reconstructed stories that circulated orally.

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　　《英國文學與文化》是“高級英語選修課系列教材”之一，全書分為上、下兩篇。分別從《圣經(jīng)》、希臘神話和英國社會三個方面進行講解，以增進學生對英國文學作品和英國社會進程的理解。上篇的第三章英國社會與英國文學包含八個小節(jié)，形成了英國從16世紀到20世紀八個主要文學史階段的線性串結(jié)。下篇則按照文學的三大主要文類，細分詩歌、小說和戲劇的基本要素，引領(lǐng)學生欣賞具體的文學作品。

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