批評(píng)的剖析

前言

改革開(kāi)放30年以來(lái)，我國(guó)的圖書(shū)出版業(yè)發(fā)展迅速，日新月異。近10年，國(guó)內(nèi)一些出版社經(jīng)授權(quán)直接印行外版文學(xué)批評(píng)與理論的著作，并以國(guó)內(nèi)同類(lèi)產(chǎn)品的價(jià)格標(biāo)價(jià)，受到大學(xué)師生和研究者由衷的歡迎。在這些圖書(shū)中，上海外語(yǔ)教育出版社從劍橋大學(xué)出版社引進(jìn)的“劍橋文學(xué)指南叢書(shū)”尤其成功，它們大大推進(jìn)了我國(guó)英語(yǔ)文學(xué)的教學(xué)與研究。20世紀(jì)下半葉是眾多文學(xué)理論各領(lǐng)風(fēng)騷的50年，文學(xué)研究的面貌大大改觀(guān)，理論家和批評(píng)家取得了與詩(shī)人、作家?guī)缀跗狡鹌阶牡匚?。正是各種文論使我們意識(shí)到，我們不能一直處于一種天真的狀態(tài)，對(duì)主導(dǎo)批評(píng)活動(dòng)的或明或暗的方法、預(yù)設(shè)和前提不加追問(wèn)。上世紀(jì)70、80年代開(kāi)始，歐美大學(xué)文學(xué)系對(duì)理論課程的需求迅速增長(zhǎng)，一些文論選本和文論導(dǎo)讀、入門(mén)也應(yīng)運(yùn)而生，有的還被譯成了中文，在大學(xué)師生中很受歡迎。這些輔助性的指南固然有其用處，但是要了解文論的精髓，我們還是應(yīng)該暫時(shí)把二手譯作放在一邊，回到原著。在一些學(xué)者的大力推薦下，外教社決定再推出“西方文論叢書(shū)”，首批五種。這些著作堪稱(chēng)文學(xué)與哲學(xué)研究的經(jīng)典，其影響不必由我在此贅述。

內(nèi)容概要

　　《批評(píng)的剖析》是神話(huà)原型批評(píng)的巔峰之作。20世紀(jì)50年代，加拿大學(xué)者弗萊(Northrop Frye)從文化和文學(xué)角度對(duì)“原型”作進(jìn)一步深入闡釋?zhuān)l(fā)展出一套更加系統(tǒng)完整的原型理論。在書(shū)中，他揭示了文學(xué)對(duì)應(yīng)于神話(huà)的內(nèi)在結(jié)構(gòu)，試圖給予文學(xué)批評(píng)以獨(dú)立的地位，使文學(xué)批評(píng)具有方法論原則和自然科學(xué)的連貫性，并多層面地研究了西方文學(xué)的原型圖式結(jié)構(gòu)。

作者簡(jiǎn)介

作者：(加拿大)弗萊(Northrop Frye)

書(shū)籍目錄

ForewordPrefatory Statements and AcknowledgmentsPOLEMICAL INTRODUCTIONFIRST ESSAY. Historical Criticism: Theory of ModesFictional Modes: IntroductionTragic Fictional ModesComic Fictional ModesThematic ModesSECOND ESSAY. Ethical Criticism: Theory of SymbolsIntroductionLiteral and Descriptive Phases: Symbol as Motif and as SignFormal Phase: Symbol as ImageMythical Phase: Symbol as ArchetypeAnagogic Phase: Symbol as MonadTHIRD ESSAY. Archetypal Criticism: Theory of MythsIntroductionTheory of Archetypal Meaning (1):Apocalyptic ImageryTheory of Archetypal Meaning (z):Demonic ImageryTheory of Archetypal Meaning (3):Analogical ImageryTheory of Mythos: IntroductionThe Mythos of Spring: ComedyThe Mythos of Summer: RomanceThe Mythos of Autumn: TragedyThe Mythos of Winter: Irony and SatireCONTENTSFOURTH ESSAY. Rhetorical Criticism: Theory of GenresIntroductionThe Rhythm of Recurrence: EposThe Rhythm of Continuity: ProseThe Rhythm of Decorum: DramaThe Rhythm of Association: LyricSpecific Forms of DramaSpecific Thematic Forms (Lyric and Epos)Specific Continuous Forms (Prose Fiction)Specific Encyclopaedic FormsThe Rhetoric of Non-Literary ProseTENTATIVE CONCLUSIONNOTESGLOSSARYINDEX

章節(jié)摘錄

插圖：The first step in developing a genuine poetics is to recognize and get rid of meaningless criticism, or talking about literature in a way that cannot help to build up a systematic structure of know. edge. This includes all the sonorous nonsense that we so often find in critical generalities, reflective comments, ideological perorations, and other consequences of taking a large view of an unorganized subject. It includes all lists of the "best" novels or poems or writers, whether their particular virtue is exclusiveness or inclusiveness. It includes all casual, sentimental, and prejudiced value judgments, and all the literary chit-chat which makes the reputations of poets boom and crash in an imaginary stock exchange. That wealthy investor Mr, Eliot, after dumping Milton on the market, is now buying him again; Donne has probably reached his peak and will begin to taper off; Tennyson may be in for a slight flutter but the Shelley stocks are still bearish. This sort of thing cannot be part of any systematic study, for a systematic study can only progress: whatever dithers or vacillates: or reacts is merely leisure-class gossip. The history of taste is no more a part of the structure of criticism than the Huxley-Wilberforce debate is a part of the structure of biological science.I believe that if this distinction is maintained and applied to the critics of the past, what they have said about real criticism will show an astonishing amount of agreement, in which the outlines of a coherent and systematic study will begin to emerge. In the history of taste, where there are no facts, and where all. truths have been, in Hegelian fashion, split into half-truths in order to sharpen their cutting edges, we perhaps do feel that the study of literature is too relative and subjective ever to make any consistent sense. But as the. history of. taste has no organic connection with criticism, it can easily be separated. Mr. Eliot's essay The Function of Criticism begins by laying down the principle that the existing monuments of literature form an ideal order among themselves, and are not simply collections of the writings of individuals.

編輯推薦

《批評(píng)的剖析》：外教社西方文論叢書(shū)

圖書(shū)封面

圖書(shū)標(biāo)簽Tags

無(wú)

評(píng)論、評(píng)分、閱讀與下載

---

    批評(píng)的剖析 PDF格式下載

---