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美國文學(xué)簡史(第四版) 版權(quán)信息
- ISBN：9787310063741
- 條形碼：9787310063741 ; 978-7-310-06374-1
- 裝幀：一般膠版紙
- 冊數(shù)：暫無
- 重量：暫無
- 所屬分類：>
美國文學(xué)簡史(第四版) 內(nèi)容簡介
本書精述17世紀(jì)早期至當(dāng)今時(shí)代的美國文學(xué)發(fā)展史，評介主要作家及其代表作品，解析引領(lǐng)時(shí)代風(fēng)氣或主導(dǎo)作家創(chuàng)作的重要文學(xué)思潮和流派等。新版吸收了近年來美國文學(xué)研究的新發(fā)現(xiàn)、新成果，增補(bǔ)了近50位作家的小說、詩歌的評介，論述了后現(xiàn)代主義特征在戰(zhàn)后美國文壇特別是詩歌、小說、戲劇創(chuàng)作當(dāng)中的表現(xiàn)；收入了近幾十年來評論界對美國文學(xué)的新定義、新解釋，增加了對少數(shù)民族作家（如黑人作家、印第安作家、亞裔作家、拉丁裔作家等）的介紹，這些群體的崛起使美國文學(xué)凸現(xiàn)了多樣化格局，增添了藝術(shù)背景的真實(shí)性。
美國文學(xué)簡史(第四版) 目錄
1．ColonialAmerica2．Edwards·Franklin·Crevecoeur3．AmericanRomanticism．Irving．Copper4．NewEnglandTranscendentalism．Emerson．Thoreau5．Hawthorne．Melville6．Whitman．Dickinson7．EdgarAllanPoe8．TheAgeofRealism．Howells．James9．LocalColorism．MarkTwain10．AmericanNaturalism．Crane．Norris．Dreiser．Robinson
11．The1920s．Imagism．Pound12．T．S．Eliot·Stevens·Williams13．Frost．TheChicagoRenaissance．Sandburg．Cummings．HartCrane．Moore14．Fitzgerald??Hemingway15．TheSouthernRenaissance．WilliamFaulkner16．Anderson．Stein．Lewis．Cather．Wolfe17．The1930s．DosPassos．Steinbeck
18．Porter．Welty．McCullers．West．TheNewCriticism19．AmericanDrama20．PostwarPoetry．SomeOlderPoetsofthe1940sGeneration21．TheConfessionalSchool．TheBeatGeneration．22．TheNewYorkSchool．MeditativePoetry．TheBlackMountainPoets23．PostwarAmericanNovel(I)24．PostwarAmericanNovel(II)
11．The1920s．Imagism．Pound12．T．S．Eliot·Stevens·Williams13．Frost．TheChicagoRenaissance．Sandburg．Cummings．HartCrane．Moore14．Fitzgerald??Hemingway15．TheSouthernRenaissance．WilliamFaulkner16．Anderson．Stein．Lewis．Cather．Wolfe17．The1930s．DosPassos．Steinbeck
18．Porter．Welty．McCullers．West．TheNewCriticism19．AmericanDrama20．PostwarPoetry．SomeOlderPoetsofthe1940sGeneration21．TheConfessionalSchool．TheBeatGeneration．22．TheNewYorkSchool．MeditativePoetry．TheBlackMountainPoets23．PostwarAmericanNovel(I)24．PostwarAmericanNovel(II)
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美國文學(xué)簡史(第四版) 節(jié)選
《美國文學(xué)簡史（第四版）》： Here is a good illustration of the Oversoul at work. It is "the currents of the Universal Being," of which the individual soul transcends the limits of individuality to become a part. Emerson sees spirit pervading everywhere, not only in the soul of man, but behind nature, throughout nature. Emerson's doctrine of the Oversoul is graphically illustrated in such famous statements： "Each mind lives in the Grand mind," "There is one mind common to all individual men," and "Man is conscious of a universal soul within or behind his individual life." In his opinion, man is made in the image of God and is just a little less than Him. This is as much as to say that man is divine. The divinity of man became a favorite subject in his lectures and essays. This naturally led to his emphasis on self-reliance. This was a subject he never stopped talking about all his life. Emerson states that each man should feel the world as his, and the world exists for him alone. Man should determine his own existence. Everyone should understand that he makes himself by making his world, and that he makes the world by making himself. "Know then that the world exists for you..." he says. "Build therefore your own world." "Trust thy self！" and "Make thyself！" Trust your own discretion and the world is yours. Emerson is noted for his notion of "the infinitude of man." He sees man as he could be or could become; he was optimistic about human perfectibility. The regeneration of the individual leads to the regeneration of society. Hence his famous remark, "I ask for the individuals, not the nation." The possible negative effect of Emerson's self-reliance on his time might have been that it provided a good explanation for the conduct and activities of an expanding capitalist society. His essays such as "Power," "Wealth," and "Napoleon" (in his The Representative Men） reveal his ambivalence toward aggressiveness and self-seeking. Thirdly, Emerson is noted for his symbolic mode of perception. To his Transcendentalist eyes, the physical world, or nature, was vital and symbolic of God. "Nature is the vehicle of thought," and "particular natural facts are symbols of particular spiritual facts." "Nature is the symbol of spirit." That is probably why he called his first philosophical work Nature. The sensual man, Emerson feels, conforms thoughts to things, and man's power to connect his thought with its proper symbol depends upon the simplicity and purity of his character： "The lover of nature is he... who has retained the spirit of infancy even into the era of manhood." To him nature is a wholesome moral influence on man and his character. A natural implication of Emerson's view on nature is that the world around is symbolic. A flowing river indicates the ceaseless motion of the universe. The seasons correspond to the life span of man. The ant, the little drudge, with a small body and a mighty heart, is the sublime image of man himself. This mode of perception had a significant effect on Emerson's aesthetics, the basis of which is contained in this Nature, "The Poet," "The American Scholar," and some other essays. Emerson's poet is no ordinary person. He is a complete man, an eternal man, one whose birth is the principal event in history. He should be able to see into the deeps of infinite time, comprehend the path of things and the divine unity of the Universe by intuition, and communicate the feelings of contact with nature to his fellowmen. True poetry and true art should be ennobling. It should serve as a moral purification and a passage toward organic unity and higher reality. It is evident that the Romantic organic principle was the governing factor in Emerson's aesthetics. ……
美國文學(xué)簡史(第四版) 作者簡介
常耀信，教授、博士生導(dǎo)師，任教于中國南開大學(xué)及美國關(guān)島大學(xué)，研究方向?yàn)橛⒚牢膶W(xué)。著有《希臘羅馬神話》《美國文學(xué)簡史》《英國文學(xué)簡史》《精編美國文學(xué)教程》《美國文學(xué)史（上）》《漫話英美文學(xué)》等；主編有《美國文學(xué)批評名著精讀（上、下）》《美國文學(xué)選讀（上、下）》《文化與文學(xué)比較研究論文集》等。在國內(nèi)外刊物上發(fā)表過多篇論文，闡述中國文化對美國文學(xué)的影響。先后被選入《遠(yuǎn)東及太平洋名人錄》及《美國名師錄》。
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