英語(yǔ)小說(shuō)與散文

內(nèi)容概要

《英語(yǔ)小說(shuō)與散文》通過(guò)分析、解讀不同時(shí)期的英美文學(xué)作品，比較全面、系統(tǒng)地介紹了不同流派的英美小說(shuō)與散文的起源、發(fā)展和演變；本書(shū)同時(shí)也涉及相關(guān)的文學(xué)批評(píng)理論。全書(shū)言簡(jiǎn)意賅，脈絡(luò)清晰，適合英美文學(xué)研究者、愛(ài)好者及英語(yǔ)專(zhuān)業(yè)學(xué)生閱讀。

作者簡(jiǎn)介

作者：(英國(guó))阿米戈尼 (Amigoni.D.)

書(shū)籍目錄

AcknowledgementsPreface: the scope of the book and how to read it1  Introduction: straightforward discourse and novel transactions  1.1  Literature and non/literature?　1.2  Prose　1.3  Narrative　1.4  Narrative in context: the novel, mimesis and poetics　1.5  The novel and prose narrative in literary/critical argument: formalism and old and new historicisms　1.6  Studying the novel and prose narrative: historicism, culture and rhetoric　1.7  The novel and prose narrative: from 'literature' to 'intettextuality'　1.8  The novel and prose narrative as 'forms of discourse'　1.9  The novel and 'culture' revisited: 'cukure' as learning,'self, culture', 'culture' as a field of conflict2 The elements of narrative analysis and the origins of the novel: reading Jane Austen's Emma and Samuel Richardson's Pamela　2.1  The novel and formalist criticism　2.2  Reading the form of narrative fiction: Jane Austen's Emma　2.3  Implied reader, real reader: narrator, implied author　2.4  Events: story and discourse　2.5  Character and point of view in Emma　2.6  Limitations of the formal approach: social spaces and voices   in narrative, from free indirect speech to social contexts　2.7  What happens in Richardson's Pamela'.　2.8  First,person narration and the epistolary form:the dramatised narrator, rhetoric and the narratee　2.9  The narratee and writing as an 'event' in Pamela　2.10  Pamela, print culture and debates about genre: the familiar letter, criticism and 'the novel'　2.11  The debate about the origins of the novel　2.12  The rise of the novel: Ian Watt and the tradition of formal realism　2.13  Contested fields of cultural discourse and the rise of the novel: Lennard J. Davis and Michael McKeon　2.14  Gender and the rise of the novel: the domestic woman and the production of subjectivities　2.15  Re,reading Emma: letters, standards and intertextual allusion3  Bildung and belonging: studying nineteenth.century narrative and 'self/culture'　3.1  The bildungsroman　3.2  Biography and autobiography in the nineteenth century　3.3  The viewpoint of youth: bildung in nineteenth,century history　3.4  Reading Jane Eyre: the critical reception; romance and 'self, culture'　3.5  Romantic autobiography and character classification in Jane Eyre　3.6  Space, time and subjectivity in Jane Eyre　3.7  Where does Jane Eyre belong.　3.8  Reading Samuel Bamford's Early Days: the common narrative strategies of autobiography and novel　3.9 'Reality is always romantic, though the romantic is not always real': the truth of autobiography　3.10  Reading Elizabeth Gaskell's The Life of Charlotte Bronte: the rhetoric of biography　3.11  Biography, gender and the public position of the woman writer: negotiating 'realism' and 'romance'　3.12  Reading George Eliot's The Mill on the Floss: culture as 'incarnate history'　3.13  'Writing the history of unfashionable families': the workings of Eliot's 'realism'　3.14  Testing 'self, culture': 'eddication' and the role of the reader in Eliot's realism4  Innovative stories and distinctive readers　4.1  The art of prose narrative　4.2  Charles Dickens's Bleak House: reading the estranging poetry of prose　4.3  'Reading' in context: journalism and fiction　4.4  Nuggets for the masses: newspaper stories　4.5  Reading the 'sacred nugget': distinctive narrative art in James's The Spoils of Poynton and its 'Preface'　4.6  James's narration and the discriminating reader　4.7  Contesting 'The Future of the Novel': Henry James's 'delicate organism' and H. G. Wells's 'right to roam'　4.8  Reading H. G. Wells's Ann Veronica　4.9  The short story　4.10  Thomas Hardy's 'The Withered Arm': the epical tale　4.11  Katherine Mansfield's 'The Garden Party': the lyrical story　4.12  The experimental novel: reading for voice and consciousness in Virginia Woolf's Mrs Dalloway　4.13  Thenovelistic scope of Mrs Dalloway　4.14  Woolf's narrative experimentation in context5 History, intertextuality and the carnivalised novel: postmodern conditions and postcolonial hybridities　5.1  Playful narratives　5.2  The novel as history, and the postmodern novel as metafiction　5.3  Midnight's Children as postmodern 'historiographic metafiction': sniffy incredulity towards metanarratives　5.4  The novel as national fiction: postcolonial concerns　5.5  The discourse of Midnight's Children in 'long' cross,cultural history: Laurence Sterne's Tristram Shandy as eighteenth,century metafiction　5.6  Bakhtin's 'carnivalised' narrative: a 'second line of development' for the novel　5.7  Camivalised narrative, postcolonialism and the debate about 'hybridity': Midnight's Children revisked　5.8  Conclusion: long live postcolonial realism, the bildungsroman and leakageSelect bibliography and suggested further reading Index

章節(jié)摘錄

Narrative is generally classified as a mimetic medium.‘Mimesis’is a termused to describe hterary modes which aim to‘imitate’human thoughts。speech，action and the world in which they take place：drama and narrativewould be more readily recognised as mimetic than would lyric poetry.Giventhe mimetic impulses of narrativ.and Johnson's recognition of the way inwhich narrative presents US with‘History’。it is understandable that studentsexpect to study novels and short stories in ways which accentuate theirrelation to the worldly situations which they dramatise.For instance.It would appear that such novelsreflect their historical contexts almost transparently.However,approaches to the novel and its contexts which assume that anarrative imitates or simply reflects the times in which it was made encounterobvious difficulties when confronted by certain narrative strategies.Thesechallenging，self,conscious narrative strategies are explored in Chapter 5through Laurence Sterne’s Tristram Shah#（an eighteenth-century novel），John Fowles’s The French Lieutenant's Woman，Paul Auster’s City of Glass，and Salman Rushdie’s Midnight's Children（twentieth，century novels）.Thesenarratives playfully expose the limits of mimesis.Although I shall argue thateven playful，sceptical narrative strategies lead the reader back to worldlyinsights into societies and histories——in the case of Midnight's Children tocolonial domination and its resistance——it will be important to demonstratehow these contexts have to be traced through narrative as a complex medium.This remains the case even when narratives appear to be transparentlymlmetle.

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《英語(yǔ)小說(shuō)與散文》言簡(jiǎn)意賅，脈絡(luò)清晰，適合英美文學(xué)研究者、愛(ài)好者及英語(yǔ)專(zhuān)業(yè)學(xué)生閱讀。本叢書(shū)語(yǔ)言生動(dòng)，對(duì)我國(guó)的外國(guó)文學(xué)及理論研究者、在校學(xué)生以及廣大文學(xué)愛(ài)好者都有很高的參考價(jià)值。

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