文學(xué)批評方法手冊

內(nèi)容概要

本書是一本文學(xué)批評方法的普及讀本，既有批評方法的闡述，又有實踐應(yīng)用的例證。第一版于20世紀60年代中期出版，此后我次修訂再版，并被譯成西班牙文、葡萄牙文、日文、朝鮮文等多種文字。此次出版的是1999年修訂的第四版，既包含了傳統(tǒng)的批評方法，也囊括了20世紀60年代以后的新的批評方法，如：讀者反應(yīng)批評、文化批評、女性主義批評，等等。對于初學(xué)文學(xué)批評的人來說，這是一本極好的參考書。

書籍目錄

Preface 1.Getting Started:The Precritical Response   Ⅰ.Setting   Ⅱ.Plot   Ⅲ.Character  Ⅳ.Structure  Ⅴ.Style  Ⅵ.Atmosphere  Ⅶ.Theme2.Traditional Approaches  Ⅰ.Nature and Scope of the Traditional Approaches    A.textual Scholarship:A Prerequistite to Criticism   B.Types of Traditional Approaches  Ⅱ.The Traditional Approaches in Practice   A.traditional Approaches to Marvell's "To His Coy Mistress"   B.Traditional Approaches to Hamlet   C.Traditional Approaches to Adventures of Huckleberry Finn   D.Traditional Approaches to "Yong Goodman Brown"   E.Traditional Approaches to "Everyday Use:for your grandmama"3.The Formalistic Approach  Ⅰ.Reading a Poem:An Introduction to the formalistic Approach  Ⅱ.The Process of Formalistic Analysis:Making the Close Reader  Ⅲ.A Brief History of Foumalistic Criticism  Ⅳ.Constants of the Formalistic Approach:Some Key Concepts ,Terms,and Devices  Ⅴ.The Formalistic Approach in Practice  Ⅵ.Limitations of the Formalistic Approach4.The Psychological Approach:Freud5.Mythological and Archetypal Approaches6.Feminist Approaches7.Cultural Studies 8.Additional ApproachesAppendises Index

章節(jié)摘錄

　　The framework of the plot is， then， a journey -a journey from north to south， a journey from relative innocence to hor-rifying knowledge. Huck tends to see people for what they are， but he does not suspect the depths of evil and the per- vasiveness of sheer meanness， of man's inhumanity to man， until he has completed his journey. The relative harmlessness of Miss Watson's lack of compassion and her devotion to the letter rather than the spirit of religious law or of Tom's incur-able romanticism does not become really sinister until Huck reenters the see nungly good world at the Phelps farm， a world that is really the same as the "good" world of St. Petersburg-a connection that is stressed by the kinship of Aunt Sally and Aunt Polly. Into that world the values of Tom Sawyer are once more injected， but Huck discovers that he has endured too much on his journey down the river to become Tom's foil again.　　Only the great， flowing river defines the lineaments of other-wise elusive freedom； that mighty force of nature opposes and offers the only possible escape from the blighting tyranny of towns and farm communicates. The Mississippi is the novel's major symbol. It is the one place where a person does not need to lie to him self or to others. Its ceaseless flow mocks the static， stultifying society on its banks. There are lyrical passages in which Huck communicates， even with all his colloquial limita-tions， his feelings about the river， its symbolic functions， as in the image-packed description that follows the horrors of the Grangerford-Shepherdson carnage （ch. 19）. In that memorable passage Huck extols the freedom and contemplation that the river encourages. In contrast to the oppressive places on land， the raft and the river promise release： "We said there warn't no home like a raft， after all. Other places do seem so cramped up and smothery， but a raft don't. You feel mighty free and easy and comfortable on a raft."　　Like the river， Huck's narrative flows spontaneously and ever onward. Around each bend lies a possible new adventure； in the eddies， a lyrical interlude. But the river always carries Huck and Jim out of each adventure toward another uncertain try for freedom. That freedom is never really achieved is a major irony， but the book's structure parallels the river's flow. The separate adventures become infinite variations upon （repetitive forms of） the quest for freedom. That the final thwarting of freedom is perpetrated by the forces of St. Peters-burg， of course， is no fault of the river or its promise of free-dom； it simply seems that membership in humanity generates what we have elsewhere called the crcular pattern of flight and captivity.　　……

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