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美国文学选读 版权信息
- ISBN：9787562443827
- 条形码：9787562443827 ; 978-7-5624-4382-7
- 装帧：暂无
- 册数：暂无
- 重量：暂无
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美国文学选读 本书特色
知名专家领衔，编写队伍精
英荟萃。
具有系统-隍，注重教材之间
的支撑和衔接。
具有完整·睦，覆盖大纲规定
的所有课程类型。
具有新颖性，理念、素材和
体例均大大突破传统教材。
具有开放-隍，可根据不同情
况灵活选择。
突出对学生基本技能和实际
应用能力的培养。
培养学生人文素质和跨文化
意识，强调全面发展。
注重与《普通高中英语课程
标准》的衔接。
适应大学英语教学基本要
求，大学英语学生可选修。
美国文学选读 节选
nbsp; 序
进入21世纪，我国高等教育呈现快速扩展的趋势。为适应社会、经济的快速发
展，人才的培养问题已经比我国任何一个历史时期都显得更为重要。当今，人才的能
力和素质妁衡量越来越多地采用国际标准，人才的外语水平自然地也越来越受到培
养单位和用人单位的重视，由此引发了对大学外语教学模式、教材和检测机制的新一
轮讨论，掀起了新一轮的大学英语教学改革。作为外语师资队伍和外语专业人才培
养的高等学校英语专业，相比之下，在教学改革思路、新教材开发和新教学模式探讨
等诸方面均显得滞后。尽管高等学校外语专业教学指导委员会英语组针对当前高校
发展的新形式和外语专业人才培养的新规格、新模式和新要求，修订出了新的《高等
学校英语专业英语教学大纲》，并结合21世纪外语人才培养和需求的新形势，制定
了由教育部高等教育司转发的《关于外语专业面向21世纪本科教育改革的若干意
见》，就英语专业的建设提出了指导性的意见，但在实际工作中这两个文件的精神尚
未落实。
为此，重庆大学出版社和外语教学界的专家们就国内高等学校英语专业建设所
面临的新形势作了专题讨论。专家们认为，把“大纲”的设计和“若干意见”的思想和
理念变为现实的一个*直接的体现方式，就是编写一套全新理念的英语专业系列教
材；随着我国教育体制的改革，特别是基础教育课程标准的实施，适合高等学校英语
专业教学需要的教材也应作相应的调整，以应对中小学英语教学改革的新要求；高等
学校学生入学时英语水平的逐年提高和就业市场对外语人才需求呈多元化趋势的实
际，对高等学校英语专业的人才培养、教学模式、课程设置、教材建设等方面也提出了
严峻挑战，应对这些挑战，同样可以通过一套新的教材体系来实现。
迄今为止，国内尚无一套完整的、系统的英语专业系列教材；目前已有的教材出
自不同的出版社，编写的思路和体例不尽相同；现有的教材因出版时间较早，内容、知
识结构、教学方法和手段已经不能适应新的发展要求；传统的教材设计多数基于学科
的内在逻辑和系统性，较少考虑学习者的全面发展和社会对人才需求的多元化。
自2001年开始，在重庆大学出版社的大力支持下，我们成立了由华中、华南、西
南和西北地区的知名专家、学者和教学一线教师组成的《求知高等学校英语专业系
列教材》编写组，确定了系列教材编写的指导思想和总体目标，即以《高等学校英语
专业英语教学大纲》为依据，将社会的需求与培养外语人才的全面发展紧密结合，注
重英语作为一个专业的学科系统性和科学性，注重英语教学和习得的方法与规律，突
出特色和系列教材的内在逻辑关系，反映当前教学改革的新理念并具有前瞻性；锤炼
精品，建立与英语专业课程配套的新教材体系，推动英语专业的教学改革，培养高素
质人才和创新人才。
系列教材力求在以下方面有所突破和创新：
**，教材的整体性。系列教材在课程类型上分为专业技能必修课程、专业知识
必修课程、专业技能选修课程、专业知识选修课程和相关专业知识课程等多个板块。
在考虑每一种教材针对相应课程的特性和特色的同时，又考虑到系列教材间相互的
支撑性。
第二，学生基本技能和实际应用能力的培养。在课程的设计上充分考虑英语作
为一个专业来培养学生的基础和基本技能，也充分考虑到英语专业学生应该具备的
专业语言、文学和文化素养。同时，教材的设计兼顾到社会需求中对英语专业学生所
强调的实际应用能力的培养，除考虑课程和英语专业的培养目的，课程或课程体系应
该呈现的学科基本知识和规范外，充分考虑到教材另一方面的功用，即学生通过教材
接触真实的语言环境，了解社会，了解文化背景，丰富学生的实践经验。在教材编写
中突出强调“enable”，让学习者在实践中学习语言、文学、文化和其他相关知识，更多
地强调学习的过程，强调学生的参与，以此提高学生的实际应用技能。
第三，学生的全面发展。对高等学校英语专业学生而言，英语不仅是一门工具，
更重要的是一个培养学生人文素质和跨文化意识的学科专业。系列教材强调合作性
学习、探索性学习，培养学生的学习自主性，加强学习策略的指导。通过基础阶段课
程的学习，使学生在语言知识、语言技能、文化意识、情感态度和学习策略等方面得到
整体发展；在高年级阶段则更多地注重学生的人文精神、专业理论素养、中外文学及
文化修养的培养。
第四，教材的开放性。一套好的教材不应该对课堂教学、老师的施教和学生的学
习拓展有所制约，应给使用教材的教师和学生留有一定的空间，要让学生感到外语学
习是一件愉快的事，通过学习让人思考，给人以自信，引导人走向成功。系列教材的
总体设计既考虑严密的学科系统性，也考虑独具特色的开放性。不同地区、不同类型
的学校，可以根据自己的生源和培养目标灵活地取舍、选用、组合教材，尤其是结合国
内高等学校中正在探讨的学分制，给教与学一个多维度的课程体系。
我们希望通过这套系列教材，来推动高等学校英语专业教学改革，探讨新的教学理
念、模式，为英语专业人才的培养探索新的路子，为英语专业的学生拓展求知的空间。
《求知高等学校英语专业系列教材》编委会
2008年1月
Cha~tcr ?
THE BLOOM OF MODERNISM 1910-1930
The Era of Modernism
The English novelist Virginia Woolf once said that" on or about December
1910, human nature changed." Of course human nature did not change, and Woolf
knew it. What she meant was that the perception of human nature and of the human
condition changed, and that the new perceptions were often expressed in startling
and bewildering ways.
Life in the early 20th century seemed suddenly different. New inventions Virginia Woolf
allowed people to travel from place to place with a speed that was never before possible. The telephone,
the radio, and the widespread availability of books, newspapers, and magazines
all made people more aware of how others lived and thought. A person living in a
remote village learned more about the variety and complexity of life on this planet
than even a well-educated person living in a big city had known in the last
century. The modern mind found this new knowledge exciting, but it was also
bewildered by all the conflicting philosophies and ways of life.
The years from 1910 to 1930 are often called the Era of Modernism, for there seen~
to have been in both Europe and America a strong awareness of some sort of"break" with the past. Movements in
all the arts overlapped and succeeded one another with amazing speed -- Imagism, Cubism176, DadaismlT~,
In cubist artworks, obje<,ts are broken up, 'analyzed, and re-assembled in an abswacted form~instead of depicting objects
from one viewpoint, the artist depicts the subject ti'om a multitude of viewpoints to represent the subject in a greater context.
Often the sttrfaces intexrsect at seemingly random angles presenting no coherent sense of depth. The background and object
planes interpenetrate one another to create the ambiguous shallow space characteristic of cubism.
Dadaism or Dada is a cultural movement that began in World War I and peaked from 1916 to 1920. The mov,ement
s,~,
concentrated its anti-war politic through a rejection of the prevailing standards in art. Dada thought that reason, and
logic had led people into the horrors of war, so the only route to salvation was to reject logic and embrace anarchy
and irrationality.
Vorticism178, and many others. The new artists shared a desire to capture the complexity of modem life, to
focus on the variety and confusion of the 20th century by reshaping and sometimes discarding the ideas
and habits of the 19th century. The Era of Modernism was indeed the era of the New.
The Lost Generation
The pivotal event of the Modernist era was World War I (1914-1918). Before the war the attitude
toward the new century was one of great optimism. America was emerging from 19th-century isolation:
The Spanish-American War and the opening of the Panama Canal made America a world power; millions
of immigrants brought new ideas and ways of life to American shores. Improved communications and
transportation made Europe and the East more accessible, and American artists were able to exchange
views and share ideas with their colleagues abroad.
Many American writers of this period lived in Europe for part if not all of their lives. Ezra Pound
went to London in 1908; Robert Frost visited England a few years later; Gertrude Stein settled in Paris;
poet Langston Hughes and playwright Eugene O' Neill traveled the world as merchant seamen. In part
because of their widening experience--and in part because of their extraordinary talents--Americans for
the first time were in the vanguard of the arts: Pound and T. S. Eliot shaped the poetry of the Modernist
era; Stein fostered the early careers of Pablo Picasso and other modem painters.
The European and American artistic communities drew closer together. Pound acted as the London
representative of Poetry: A Magazine of Verse, an experimental publication begun in Chicago by Harriet
Monroe in 1912. The Imagist poems that Pound sent back to Chicago had their effect on Carl Sandburg in
the Midwest and Amy Lowell in New England, and in Chicago poets such as Sandburg, Edgar Lee
Masters, and Vachel Lindsay now had an influential magazine in which their voices could be heard.
O'Neill returned to New York City's Greenwich Village to see his experimental plays performed. Hughes
became a leading figure in the burst of creativity called the Harlem Renaissance. Pound encouraged
Frost, influenced John Crowe Ransom, and exchanged views with his old college friend William Carlos
Williams. Hilda Doolittle published the first volume of Marianne Moore's poetry. Stein assisted Sherwood
Anderson and the young Ernest Hemingway. 'Artists writers taught one another, lean, ed from one another,
paid one another's bills, and helped one another bring new works before the public. The travelers came
home from Europe and spread the Modernist message throughout America.
It was not simply going abroad, however, that made greatest difference to Americans in Europe: It
was the outrage the war itself. World War I was the key event in early 20th century experience, an event
that had a profound effect on the optimism that had preceded it. World War I was war on a scale that the
world had had never seen, war that destroyed a generation in Europe and led tens of thousands of
Americans to early graves. To many, World War I was a tragic failure of old values, of old politics, of old
ideas. Now more than ever people felt they must cast off the traditions of the nineteenth century: the need
for change was deep, and the mood was often one of confusion and despair. The task of the Modernist
writers was, however, not only to express the waste and futility they experienced, they took up the burden
of attempting to make some sense of that experience.
Modernist Literature
When we speak of Modernist literature, we speak of a broad range of artists and movements all
seeking, in varying degrees, to break with the style, form, and content of the 19th century. Old ways of
seeing, old ways of making sense of experience, just did not seem to work anymore for 20thocentury
writers. "Make it new" was the cry of Ezra Pound, and most other writers of the time worked vigorously
and self-consciously to make their poems, plays and novels new and different.
Modern psychology had a profound impact on the literature of the early 20th century. It brought
about important concepts like "stream of consciousness" to Modernist writers and made them interested in
the workings of the human mind. Gertrude Stein tried to capture this" stream" through such devices as
repetition and run-on sentences. Eugene O'Neill uses a number of experimental devices to reveal the flow
of his characters' thoughts on stage. Ernest Hemingway opens most of his stories in the middle of the
"stream," revealing background information as it comes up naturally and not in the long expository
sections standard in 19th-century fiction. In"The Love Song of J. Alfred Prufrock" T. S. Eliot attempts
to duplicate the"stream" of Prufrock's thoughts in a dramatic monologue. The result is a series of
fragments that the reader must piece together.
Modernist literature is often experimental in form and in content. Poetry usually discards the 19th-
century traditions of meter and rhyme. Free verse is the tool of most Modernist poets, and even if a poem
retains some rhymes, the poet rarely puts them in the usual places. The visual appearance of poetry is
also a significant factor, another means of breaking with traditions. The poems of E. E. Cummings, for
example, are noted for lowercase letters in strange places and words spaced oddly on a page. For his
poems William Carlos Williams chooses everyday subjects that would seem highly unusual by 19th-century
standards--a raid on the refrigerator, for instance, or a red wheelbarrow.
Modernist literature is often fragmentary, reflecting not only the"stream of consciousness" but the
Modernist perception of the 20th century as a jumble of conflicting ideas. Sometimes we are presented
with only one fragment, the manner of presentation implying that there is no larger whole; the fragment" is
what it is." This is true of Ezra Pound's and Doolittle's Imagist poetry, and of most of the poems of
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