奇幻小說(shuō)

內(nèi)容概要

《奇幻小說(shuō)》介紹了奇幻小說(shuō)的必要元素、發(fā)展過(guò)程和主要作家作品，并且詳細(xì)分析了《科學(xué)怪人》、“指環(huán)王”系列、“哈利·波特”系列等著名的奇幻小說(shuō)以及其他文學(xué)名著中包含的奇幻情節(jié)。書中還附有專有名詞解釋、重要參考書目，方便讀者對(duì)此類小說(shuō)作進(jìn)一步研究。全書脈絡(luò)清晰，內(nèi)容翔實(shí)，適合英美文學(xué)研究者、愛好者以及英語(yǔ)專業(yè)學(xué)生閱讀。

作者簡(jiǎn)介

作者：(英國(guó))Lucie Armitt

書籍目錄

Chapter One: What Is Fantasy Writing?  Introduction  Beyond the Horizon  Epic SpaceChapter Two: Fantasy as Timeline  Introduction  The Origins of Modern Fantasy  Early Modern Fantasy  'Tree' Versus 'Leaf': Reading the Present Through the Past  Phantasm Versus FantasiaChapter Three: How to Read Fantasy; or, Dreams and Their Fictional Readers  Introduction  Reading Dreams  Medieval Dream Vision  The World in/of the MirrorChapter Four: The Best and Best Known  Introduction  Play and Nonsense: Lewis Carroll and Edward Lear  Cartographies and Geographies of Fantasy: Animal Farm and Gulliver's Travels  J. R. R. Tolkien, The Lord of the Rings  Mary Shelley, Frankenstein: Discourses of Monstrosity  The Monsters of Middle Earth  Adolescent Monsters: Harry Potter  H. G. Wells: The First Men in the Moon and The Time Machine  'Other' Desires: Homoeroticism and the Feminine  Mothers and Mirrors: Harry PotterChapter Five: The Utopia as an Underlying Feature of All Major Modes of Fantasy  Introduction  Thomas More, Utopia  Jonathan Swift, Gulliver's Travels  Charlotte Perkins Gilman, Her/and  H. G. Wells, The First Men in the Moon and The Time Machine  Inter-Generic Texts: The Time Machine and A Connecticut Yankee at King Arthur's Court  Yann Martel, Life of Pi  George Orwell, Animal Farm  Technology Versus Magic: A Connecticut Yankee and Harry Potter  Jeanette Winterson, The PowerBook  William Gibson, NeuromancerChapter Six: One Key Question: Is There Life for Fantasy Beyond Genre?  Introduction  Ghosts and Their Readers  Charles Dickens, A Christmas Carol  Charles Dickens, 'The Signalman'  Henry James, The Turn of the Screw  Edith Wharton, 'The Eyes'Chapter Seven: Fantasy Criticism  Introduction  Interrogating the Boundaries of Fantasy: Todorov, Matin,and Tolkien  Determining Spaces: Tolkien, Bettelheim, and Zipes  Fantasy as (Dream-)Screen: Psychoanalytic Approaches  New Bodies/New Knowledge: Massey, Haraway, and BottingChapter Eight: A Glossary of TermsChapter Nine: Selected Reading ListIndex

章節(jié)摘錄

插圖：It is only once we have established this distinction that the ending of Tolkien's own Lord of the Rings trilogy makes any sense.   Towards the end of Volume III, The Return of the King, Gandalf leaves Frodo, Sam, Merry, and Pippin on the East Road close to the borders of the Shire. Merry turns to the others and observes, 'Well here we are, just the four of us that started out together... We have left all the rest behind, one after another. It seems almost like a dream that has slowly faded.' Frodo responds, 'Not to me... To me it feels more like falling asleep again.'22 To a contemporary reader, Merry's remark makes a great deal more structural sense than Frodo's. The epic journey that spans the trilogy becomes, in Merry's terms, a dream, the border between sleeping and waking seemingly locating itself on the borders of the Shire. In this sense, the journey into Middle Earth works in a structurally identical man- ner to the journey into Wonderland, and like Alice, these four trav- ellers immerse themselves fully into it and fully return again. For Frodo, the key dreamer of Tolkien's trilogy, this is clearly not the relationship he holds to dream by this stage. His journey into dream has functioned as a moment of enhanced enlightenment, resulting in him being more fully alive when 'dreaming' than when 'awake'; but also, and as with Drycthelm, for Frodo dream and death （or the threat of death） are never far apart.The fear of death or danger is, in fact, the key characteristic of Frodo's dreaming. The first instance of sleep overtaking him occurs in Volume I, The Fellowship of the Ring, as the travellers walk through the Old Forest prior to Pippin and Merry being attacked by the wil- low tree: 'Sleepiness seemed to be creeping out of the ground and up their legs, and falling softly out of the air upon their heads and eyes. The next dream sequence is perhaps the key one of the tril- ogy and takes place inside Tom Bombadil's house. Three of the four characters have nightmares here, in part inspired by their adven- tures in the wood; but while Pippin dreams he is back inside the wil- low, 'listening to that horrible dry creaking voice laughing at him again,' and Merry dreams he is being drowned, 'water streaming down gently, and then spreading, spreading irresistibly all around the house.., rising slowly but surely' （FR, 168）.

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《奇幻小說(shuō)》：“外教社原版文學(xué)入門叢書”以介紹文學(xué)理論和小說(shuō)類型及相應(yīng)的社會(huì)文化背景為主，勾勒出英美文學(xué)發(fā)展的概貌。本叢書文字簡(jiǎn)練、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)愛好者都有很高的參考價(jià)值。

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