塞繆爾·貝克特

前言

為了幫助廣大讀者特別是英語(yǔ)專業(yè)學(xué)生學(xué)習(xí)英國(guó)文學(xué)，上海外語(yǔ)教育出版社從國(guó)外引進(jìn)了這套“劍橋文學(xué)名家研習(xí)系列”叢書。正如封底文字所說(shuō)，本系列叢書旨在向?qū)W生介紹英美經(jīng)典作家，而普通讀者如果想進(jìn)一步了解自己所喜愛(ài)的作家作品，也會(huì)發(fā)現(xiàn)這套叢書富有吸引力。英國(guó)文學(xué)是英國(guó)人民在漫長(zhǎng)的歷史發(fā)展進(jìn)程中創(chuàng)造的英國(guó)文化與文明的精華，是世界文學(xué)宋庫(kù)中一顆璀璨的明珠。文學(xué)是語(yǔ)言的藝術(shù)，英國(guó)文學(xué)是英語(yǔ)語(yǔ)言藝術(shù)的結(jié)晶。英語(yǔ)表意功能強(qiáng)，文體風(fēng)格變化多，或高雅，或通俗，或含蓄，或明快，或婉約，或粗獷，其豐富的表現(xiàn)力和獨(dú)特的魅力在英國(guó)作家作品里得到了最為淋漓盡致的發(fā)揮。要真正掌握英語(yǔ)，必須閱讀和了解優(yōu)秀的英國(guó)文學(xué)作品，英國(guó)文學(xué)因此成為高校英語(yǔ)專業(yè)課程設(shè)置不可或缺的組成部分。英國(guó)文學(xué)源遠(yuǎn)流長(zhǎng)，經(jīng)歷了長(zhǎng)期、復(fù)雜的發(fā)展演變過(guò)程。在這個(gè)過(guò)程中，文學(xué)本體以外各種現(xiàn)實(shí)的、歷史的、政治的、文化的力量對(duì)文學(xué)發(fā)生著影響，文學(xué)也遵循自身規(guī)律，歷經(jīng)了盎格魯一撒克遜、文藝復(fù)興、新古典主義、浪漫主義、現(xiàn)實(shí)主義，現(xiàn)代主義、后現(xiàn)代等不同歷史階段?！皠蛭膶W(xué)名家研習(xí)系列”叢書（英國(guó)卷）是開(kāi)放式的，首批推出莎士比亞、奧斯丁、康拉德、葉芝、T.S.t艾略特、喬伊斯，伍爾夫、貝克特等8位名家，他們均為英國(guó)文學(xué)史上的里程碑式人物，對(duì)推動(dòng)英國(guó)文學(xué)的發(fā)展作出了重要貢獻(xiàn)。8位名家的創(chuàng)作領(lǐng)域涵蓋了小說(shuō)、詩(shī)歌和戲劇，而葉芝、T.S艾略特和貝克特分別為1923、1948、1969年度諾貝爾文學(xué)獎(jiǎng)得主，這也從一個(gè)側(cè)面說(shuō)明了本系列叢書人選名家的經(jīng)典性。

內(nèi)容概要

貝克特是20世紀(jì)最重要的作家之一。這本導(dǎo)讀文字生動(dòng)，深入淺出，是一本難得的貝克特及其時(shí)代的綜述之書。該書將指導(dǎo)讀者更好地理解《等待戈多》、《終局》、《啊，美好的日子》等以晦澀著稱的荒誕派喜劇。

作者簡(jiǎn)介

作者：(英國(guó))麥克唐納 (McDonald R.) 合著者：王嵐

書籍目錄

AcknowledgementsNote on editionsIntroductionChapter 1 Beckett's lifeChapter 2 Cultural and intellectual contextsChapter 3 Plays  Waiting for Godot  Endgame  Radio plays: All That Fall and Embers  Krapp's Last Tape  Happy DaysChapter 4 Prose works  More Pricks than Kicks  Murphy  Watt  The Trilogy: Molloy, Malone Dies, The Unnamable  How It IsChapter 5 Beckett criticismNotesGuide to further readingIndex

章節(jié)摘錄

Samuel Beckett was a reluctant biographical subject. Though friends and acquaintances recollect a kind and generous man, he guarded his privacy with intense vigilance, seldom granting interviews and always claiming that his work should speak for itself. However, when his authorised biographer,James Knowlson, pointed out the recurrences of images from the Ireland of his childhood in his writing, he agreed. "They're obsessional," he said, and went on to add several othersfl In early prose works, like More Pricks than Kicks (1934) or Murphy (1938), the correspondences of character and event with Beckett's own life are very explicitf In his post-Second World War work,the biographical allusions become more submerged and less readily identifiable, just as the settings become more detached from a recognisable reality.Yet Beckett's imagination is saturated in his life experiences, even if the directreferences to these experiences become rarer. Indeed, examination of the various drafts of Beckett's drama demonstrates what one critic has called the 'intent of undoing': the connections to a recognisable, and biographical, world become more attenuated as the drafts proceed.3 The events in Beckett's life leave their traces in the shape of his work, without necessarily leaving an inventory in its content.

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