英语小说导读
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品牌: 袁宪军
基本信息·出版社：北京大学出版社
·页码：428 页
·出版日期：2004年
·ISBN：730106800X
·条形码：9787301068007
·包装版本：1版（英语）
·装帧：平装
·开本：32/0开
·正文语种：英语
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内容简介本书是英语专业高年级和研究生的文学教材，其编写打破了传统的英语文学编写模式。本书由引论、情节、叙事角度、人物、背景、风格、主体、象征、长篇小说、如何写小说的评论文章等章节和附录构成。在每一章节重点论述其涉及的范畴、概念，并选择二至三篇小说进行典型分析，附以思考题。在论述各相关概念时，不但涉及其内涵和外延，还就相磁的文学术语和理论给予简要的讨论，并用具全实例佐证。有的作品还提供了英美批评家的评论。“如何写小说的评论文章”一章，旨在指导中国学生写小论文和毕业论文，讲述了如何选题、做笔记、列提纲、起草论文、用引语、做注释、写书目等，有助于学生写出优秀的、规范的学术论文。
媒体推荐PREFACE
For Chinese students majoring in English language and literature, English literature is one of the compulsory and most important courses. However, the English literature courses offered at most universities and colleges are taught merely at the level of learning general information and developing literal understanding.Admittedly, such courses help them a lot in their acquisition of the
English language. But the function of English literature reaches far beyond that. In reading English literature, a student should have the power to discern how human beings translate their experience into artistic expression and representation; how writers, through their creative impulses, convey to us their insights into human destiny and human life; and how social concern is involved in a specific form of human imagination. In addition, students should elevate to the level of cultivating a curiosity for the unknown,thinking cogently and logically, expressing themselves clearly and concisely, and observing the world around them critically and objectively. But most students are still at a loss as to how they can effectively analyze a literary work by themselves in any of these respects, even though they have read plenty of excerpts from representative works in the British and American literary canon.And they tend to have little idea what role the beginning part plays in the whole story, how the plot develops and comes to resolution,in what way point of view determines a reader's understanding of the story, and how the images and symbols are related to the theme. Upon consideration of these factors, we have compiled this book with the intention of cultivating both students’ literary sensibilities and their critical power when reading English short stories and novels. This book, intended for senior university students and postgraduate students,not only discusses the essential structural elements of fiction but also enlightens students as to the basic concepts and principal terms in literary criticism with regard to fiction. With a cherished ambition to compile the best book available in China in this area and to make it of true benefit to students, the compiler has carefully selected fictional works of various styles and in different categories of subject matter,nd has referred to many an authoritative work ofcriticism,assimilating important ideas from them.The bibliography at the end of this book can serve as a source for
students' reference in further research work on fiction as well as an acknowledgment of my sources. Special thanks are extended to X.J.Kennedy and Dana Gioia (Literature,1995);to C.Hugh Holman and William Harmon (A Handbook to Literature, 1986)；to Cleanth Brooks, John Thibaut Purser, and Robert Penn Warren
(An Approach to Literature, 1964)： and to the Beijing Municipal Committee of Education for many of the valuable ideas, literary concepts and comments, and financial assistance received in compiling and publishing this book.
Yuan Xianjun
October 26,2003
目录
Intorduction Reading a Story
Chapter One Plot
A & P
by John Updike
A Retrievde Reformation
by O. Henry
A Rose Four Emily
by William Faulkner
Chapter Two Point of View
The Tell-Tale Heart
by Edgar Allan Poe
Araby
by James Joyce
Chapter Three Character
The Jilting of Granny Weatherall
by Kathering Anne Porter
Everyday Use
by Alice Walker
Chapter Four Setting
The Storm
by Kate Chopin
The Three Strangers
by Thomas Hardy
Chapter Five Style
A Clean, Well-Lighted Palce
by Ernest Hemingway
Barn Burning by Wiliam Faulkner
Chapter Six Theme
Young Goodman Brown
by Nathaniel Hawthorne
The Horse Dealer’s Daughter
by D. H. Lawrence
Chapter Seven Symbol
The Lottery
by Shirley Jackson
The Chrysanthemums
by John Steinbeck
Chapter Eight Reading Long Stories and Novels
The Metamorphosis
by Franz Kafka, translated by
Wila and Edwin Muir
Chapter Nine Writing about a Story
Appendix Ⅰ
Why Do We Read Fiction?
by Robert Penn Warren
Appendix Ⅱ
Nathaniel Hawthorne’s “Young Goodman Brown”
Historical Imaging and Critical Responses
AppendixⅢ
Samples of MLA Style “Works Cited” in
Research Papers
Bibliography
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文摘书摘
Whether a narrator is reliable or unreliable, according to Wayne Booth depends upon how the narrator argues for, and how near the attitude and opinion of the narrator are to, the moral codes of the work (including those of the author). We distinguish an unreliable narrator by the extent to which he or she diverges from the author's attitude and opinion, and by the violations he commits against the author's moral codes. (The Rhetoric of Fiction, 1961)Rimmon-Kenan discusses the reliable narrator and the unreliable narrator as a relationship between the narrator and the reader: a reliable narrator is characterized by the fact that his narrative is always regarded by the reader as the authoritative description of fictional truth. An unreliable narrator is characterized by the fact that his description of and/or comment on the story always makes the reader plausibly suspicious, whether because the narrator is limited in his knowledge or he himself is involved in the event or there is something wrong with his value system. (Narrative Fiction,1983) However, we may find that in many literary works it is difficult to determine whether their narrators are reliable or unreliableand, of the "reliable" ones, the true degree of their reliability.Modern writers have been particular fond of narrtors of unknown reliability, as though they are attempting to communicate a sense of uncertainty of the modern world.
Antony insisted, in his oration over the dead Caesar, that“Brutus is an honorable man. ” But the audience detected that the statement contained an imprint of irony. This is verbal irony (a distinct feature of the style of a writer which is talked about in Chapter Five in this book), the most familiar kind, in which the actual intent is expressed in words that carry the opposite meaning. Verbal irony, then, implies a contrast or discrepancy between what is said literally and what is meant actually. Its presence is marked by a sort of grim humour a
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