牛津英國(guó)文學(xué)百科全書（5卷本）

前言

最早接觸牛津大學(xué)出版社的文學(xué)工具書是在20世紀(jì)80年代初。記得在美國(guó)讀學(xué)位的第一學(xué)年（1981-1982）上了一門文學(xué)專業(yè)研究生的必修課：Bibliography and Literary Research。幾乎所有美國(guó)大學(xué)的英文系都把這門課列為碩士研究生的必修課（我就讀的那所大學(xué)英文系有3門碩士生必修課，另外兩門是“喬叟”和“莎士比亞”）。如果直譯，課程的題目應(yīng)該被稱為“目錄學(xué)和文學(xué)研究”。其實(shí)，那實(shí)際上是一門方法論的課程。而從內(nèi)容來看，課程的宗旨就是教會(huì)學(xué)生如何使用圖書館的工具書。給我們上課的是一位資歷頗深的老教授。記得有兩次課是在大學(xué)圖書館上的，停留時(shí)間最長(zhǎng)的是圖書館的工具書庫(kù)，由他在現(xiàn)場(chǎng)為我們逐一介紹不同工具書的類別、用途和特點(diǎn)。有趣的是，這門課的期末考試也是在圖書館進(jìn)行的：每個(gè)學(xué)生用抽簽的形式拿到一份“任務(wù)書”，上面有10個(gè)小問題，要求我們?cè)?個(gè)小時(shí)內(nèi)從圖書館查找到這些問題的答案。美國(guó)大學(xué)的圖書館是我在美國(guó)讀書五年半后覺得最值得留戀的地方。雖然，中國(guó)的許多大學(xué)近年來蓋了不少非常漂亮、甚至堪稱奢華的圖書館，但是，似乎沒有一家中國(guó)大學(xué)的圖書館在實(shí)際的館藏上能與美國(guó)大學(xué)圖書館相比，特別是在工具書方面，因?yàn)樵墓ぞ邥毡閮r(jià)格較高，許多中國(guó)大學(xué)圖書館缺乏這方面的資金。正是在這門課上我第一次使用了牛津大學(xué)出版社的文學(xué)工具書，The Oxford Companion to English Literature（《牛津英國(guó)文學(xué)詞典》）。記得期末“任務(wù)書”中的一道題“yahoo'’也是從這本工具書中找到了答案。當(dāng)時(shí)大學(xué)圖書館收藏的是1967年出版的（第4版），我1986年底回國(guó)時(shí)，帶了一本從舊書店淘來的《牛津英國(guó)文學(xué)詞典》，一直珍藏在手邊隨時(shí)翻閱，覺得非常方便和實(shí)用。直到幾年前才從亞馬遜購(gòu)書網(wǎng)上訂了一本2000年推出的《牛津英國(guó)文學(xué)詞典》（第6版）。這也許就是我與牛津大學(xué)出版社文學(xué)工具書結(jié)緣的開始吧。1998年我去美國(guó)克利弗蘭市參加美國(guó)莎士比亞學(xué)會(huì)第26屆年會(huì)。因?yàn)闀?huì)上有一個(gè)名為“莎士比亞在中國(guó)”的小型討論會(huì)，我應(yīng)邀擔(dān)任這一專題討論會(huì)的評(píng)論員。共有來自世界各地的8位學(xué)者提交了論文，所有對(duì)這一議題感興趣的人都在會(huì)前通過互聯(lián)網(wǎng)閱讀了這些文章。討論會(huì)上首先由我對(duì)8篇文章逐一做了點(diǎn)評(píng)，然后就是與會(huì)者與文章的作者自由交換意見。討論會(huì)結(jié)束后，一位坐在后排的中年學(xué)者走了過來，他自我介紹說他叫麥克·道布森（Michael Dobson），是正在編寫中的《牛津莎士比亞詞典》（The Oxford Companion to Shakespeare）的主編，他問我是否有興趣參加他的編寫團(tuán)隊(duì)。就這樣，我成了2001年出版的《牛津莎士比亞詞典》的編撰者之一。2006年由牛津大學(xué)出版社推出的5卷本《牛津英國(guó)文學(xué)百科全書》雖然也屬于牛津大學(xué)出版社的文學(xué)工具書系列，但是，與詞典系列叢書（companion）相比，它有著兩個(gè)明顯的特點(diǎn)：1.信息量大。與詞典系列叢書相比，《牛津英國(guó)文學(xué)百科全書》收入的詞條數(shù)量不大，但是，每個(gè)詞條下的內(nèi)容非常豐富。以A為例：《牛津英國(guó)文學(xué)詞典》收入了455個(gè)詞條，共55頁。

內(nèi)容概要

　　進(jìn)入21世紀(jì)以來，上海外語教育出版社相繼出版了《MIT認(rèn)知科學(xué)百科全書》、《不列顛簡(jiǎn)明百科全書》（英文版）、《語言與語言學(xué)百科全書》（第2版），受到廣大讀者的熱烈歡迎，獲得了良好的社會(huì)效益。　　英國(guó)文學(xué)在世界文學(xué)中的地位不言而喻，追溯其起源，把握其發(fā)展的脈搏，為海內(nèi)外世代學(xué)子共同的心聲。牛津大學(xué)出版社于2006年推出《牛津英國(guó)文學(xué)百科全書》這一力作。為滿足國(guó)內(nèi)讀者研習(xí)的需要，上海外語教育出版社現(xiàn)引進(jìn)出版這套百科全書。本套全書共分5卷，含有約500篇學(xué)術(shù)論文，對(duì)英國(guó)文學(xué)史上的重要作家進(jìn)行深度評(píng)析，闡述其生平、作品、學(xué)術(shù)和政治觀點(diǎn)等；同時(shí)對(duì)英國(guó)文學(xué)的流派、作品體裁、當(dāng)時(shí)的社會(huì)運(yùn)動(dòng)、對(duì)文學(xué)產(chǎn)生重大影響的事件以及其他重要主題也做了深入的記述和探討；每篇論文后面附有學(xué)界對(duì)該主題的研究和評(píng)論文章書目，涵蓋了該領(lǐng)域的最新研究成果。5卷本的卷首有按照時(shí)間順序編排的作家或者文學(xué)事件列表，5卷的末尾是涵蓋全書的索引。全書內(nèi)容翔實(shí)，條理清晰，作者均為在相關(guān)領(lǐng)域中卓有成就的著名專家。對(duì)于英語專業(yè)教師、學(xué)生，英國(guó)文學(xué)的研究人員以及對(duì)英國(guó)文學(xué)感興趣的讀者來說，《牛津英國(guó)文學(xué)百科全書》是一部不可多得的工具書?！　”兄皞鞑W(xué)術(shù)經(jīng)典，支持外語研究”的出版理念，外教社將繼續(xù)推出百科系列項(xiàng)目，以滿足國(guó)內(nèi)外讀者更深層次和更高目標(biāo)的科研與教學(xué)需求。

作者簡(jiǎn)介

編者：(英國(guó))卡斯坦(David Scott Kastan)

書籍目錄

牛津英國(guó)文學(xué)百科全書：1　List of Articles　Preface　Chronology　THE OXFORD ENCYCLOPEDIA OF　BRITISH LITERATURE　Directory of Contributors volume 　Index  volume 牛津英國(guó)文學(xué)百科全書：2牛津英國(guó)文學(xué)百科全書：3牛津英國(guó)文學(xué)百科全書：4牛津英國(guó)文學(xué)百科全書：5

章節(jié)摘錄

插圖：POETRY, POLITICS, FRIENDSHIP,AND THE NEOCLASSICAL IDEALAlthough the Spectator overshadows his other writing, in the eighteenth century Addison had a significant role as a literary critic who focused contemporary attention on the importance of style. In his time he was considered an influential, if minor, poet and an impressive classical scholar. These talents, in combination with his literary posture of objective perspective and balanced judgment, manifested in learning lightly worn, helped to define the social and literary ideal of neoclassicism. Early in his life he was renowned for his Latin verses, which won him the attention of Dr. William Lancaster, a fellow （and soon to be provost） of his Oxford College, Queen's. He rapidly obtained a demyship （scholarship） at Magdalen College, which led to a fellowship that he held from 1698 until 1711. These, and his continual Latin compositions, stamped him as a literary professional, but his social skills also deeply shaped his success.He first won public attention with his poem "To Mr. Dryden" （1693）, a panegyric on the poet's classical translations that appeared in the important Examen Poeticum, which was itself edited by the sometime poet laureate, John Dryden. The third of a multivolume series of poetical miscellanies, this collection established the taste for heterogeneous, light verse that shaped taste for the next half century. It was a coup for Addison to publish in such a collection, but the conglomeration of ballads, prologues, satire, translations, and light verse in these volumes also made them an apt venue for Addison's poetry. His poems characteristically elide genres, merging panegyric with description, and wit with reverence while addressing a diverse range of subjects. He wrote not only on politics and divinity, but also penned verses on a barometer, a puppet-show, and a mock-heroic battle between pygmies and cranes. Four more of his poems, all infusing classical forms with conversational lightness, appeared in subsequent volumes of Tonson's Miscellany Poems, including "An Account of the Greatest English Poets" and "Poem to His Majesty." This blend of tact, politics, and classical learning characterized the literary man of the time, but Addison's contribution was greater. His concern for stylistic questions, manifested in his translations as well as his essays, helped to make aesthetic technique a central criterion for literary evaluation.In his prose works, too, Addison had an important talent for showing how immersion in classical culture could enrich the perception of contemporary life, even as he also saw all culture and history in a political light. While traveling on the Continent from 1699 to 1703 with the aid of a government grant, he published the verse Letter from Italy, and probably composed Dialogues upon the Usefulness of Ancient Metals, published posthumously. Fusing history, politics, and social observation, Addison's popular travelogue exemplified intellectual reflection and an enthusiastic sense of the power of learning to elucidate experience, features that also appear in his discussion of medals as illustrated by Latin verse. His comments on Italy, nonetheless, are saturated with his advocacy of progress, republicanism, and trade. This ability to infuse political perception into entertaining literary fare was pre- cious in the early eighteenth century. Upon his return in 1703, Addison's political cronies urged him to compose a celebration of Marlborough's victory at Blenheim. The resuit, The Campaign, written in heroic couplets, and published in December 1704, was so successful that Tonson immediately published Addison's Remarks on Several Parts of Italy, which itself quadrupled in price before the second edition of 1718. In The Campaign, Addison heroicizes Marlborough while retaining a good portrait of his real character. The poem is also an accurate narrative of the battle. Like the Spectator, this blend of fact and fiction demonstrated the emerging technique of literary realism.

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