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英国文学简史 版权信息
- ISBN：9787310023981
- 条形码：9787310023981 ; 978-7-310-02398-1
- 装帧：一般胶版纸
- 册数：暂无
- 重量：暂无
- 所属分类：>>
英国文学简史 内容简介
本书为南开英美文学精品教材之一，为全英文读物，是英美文学研究专家常耀信先生为广大读者奉献的又一力作。可满足学生学习与考研、教师授课与科研，以及一般性大众阅读等多种需要；它不仅在章节中设置了详细讨论题目，而且在书后配有“注释与参考资料”，列出重点研究成果问世情况，方便查索，有助于构思研究课题，该书适合从事相关研究工作的人员参考阅读。
英国文学简史 目录
Foreword
Chapter 1 The Old English （Anglo-Saxon） Period ·Beowulf ·The Middle English Period
Chapter 2 Chaucer ·The Pre Elizabethan Period ·More
Chapter 3 The Elizabethan Age ·Spenser ·Sidney ·Marlowe
Chapter 4 Shakespeare ·Bacon ·Jonson ·King James' Bible
Chapter 5 The 17th Century ·Donne ·Milton ·Dryden ·Bunyan ·The Restoration Theater
Chapter 6 The Classic Age ·Pope ·Johnson ·Gray ·Goldsmith ·Sheridan
Chapter 7 Movement toward Romanticism ·Thomson ·Young ·Cowper， Crabbe ·Blake ·Bums
Chapter 8 18th-Century Fiction ·Swift ·Defoe ·Richardson ·Fielding ·Sterne ·Smollett
Chapter 9 The Romantic Period ·Wordsworth ·Coleridge ·Scott ·Austen
Chapter 10 Byron ·Shelley ·Keats
Chapter 11 The Victorian Period ·Victorian Prose ·Carlyle ·Mill ·Newman
Chapter 12 Victorian Fiction ·Dickens ·Thackeray
Chapter 13 Charlotte and Emily Bronte ·Meredith
Chapter 14 George Eliot ·Trollope ·Butler
Chapter 15 Hardy ·Gissing ·Moore ·Wilde ·Stevenson
Chapter 16 Victorian Poetry ·Tennyson ·Browning ·Arnold
Chapter 17 Clough ·Hopkins ·Edward Fitzgerald's Rubaiyat ·The Aesthetic Movement
Chapter 18 Victorian Drama ·Shaw ·Wilde
Chapter 19 The Early 20th Century ·The Edwardians ·The Georgians ·The War Poets
Chapter 20 The 1920s ·Woolf ·J
Chapter 21 Lawrence ·Yeats ·Imagism ·T． S． Eliot
Chapter 22 Poetry of the 1930s ·Auden ·The Audenic Group ·Thomas ·Empson
Chapter 23 Fiction of the 1930s ·Huxley ·OrweU ·Waugh ·Greene ·Isherwood
Chapter 24 Postwar Poetry
Chapter 25 Postwar Fiction
Chapter 26 Postwar Drama
Notes and References
Index
Chapter 1 The Old English （Anglo-Saxon） Period ·Beowulf ·The Middle English Period
Chapter 2 Chaucer ·The Pre Elizabethan Period ·More
Chapter 3 The Elizabethan Age ·Spenser ·Sidney ·Marlowe
Chapter 4 Shakespeare ·Bacon ·Jonson ·King James' Bible
Chapter 5 The 17th Century ·Donne ·Milton ·Dryden ·Bunyan ·The Restoration Theater
Chapter 6 The Classic Age ·Pope ·Johnson ·Gray ·Goldsmith ·Sheridan
Chapter 7 Movement toward Romanticism ·Thomson ·Young ·Cowper， Crabbe ·Blake ·Bums
Chapter 8 18th-Century Fiction ·Swift ·Defoe ·Richardson ·Fielding ·Sterne ·Smollett
Chapter 9 The Romantic Period ·Wordsworth ·Coleridge ·Scott ·Austen
Chapter 10 Byron ·Shelley ·Keats
Chapter 11 The Victorian Period ·Victorian Prose ·Carlyle ·Mill ·Newman
Chapter 12 Victorian Fiction ·Dickens ·Thackeray
Chapter 13 Charlotte and Emily Bronte ·Meredith
Chapter 14 George Eliot ·Trollope ·Butler
Chapter 15 Hardy ·Gissing ·Moore ·Wilde ·Stevenson
Chapter 16 Victorian Poetry ·Tennyson ·Browning ·Arnold
Chapter 17 Clough ·Hopkins ·Edward Fitzgerald's Rubaiyat ·The Aesthetic Movement
Chapter 18 Victorian Drama ·Shaw ·Wilde
Chapter 19 The Early 20th Century ·The Edwardians ·The Georgians ·The War Poets
Chapter 20 The 1920s ·Woolf ·J
Chapter 21 Lawrence ·Yeats ·Imagism ·T． S． Eliot
Chapter 22 Poetry of the 1930s ·Auden ·The Audenic Group ·Thomas ·Empson
Chapter 23 Fiction of the 1930s ·Huxley ·OrweU ·Waugh ·Greene ·Isherwood
Chapter 24 Postwar Poetry
Chapter 25 Postwar Fiction
Chapter 26 Postwar Drama
Notes and References
Index
展开全部
英国文学简史 节选
《英国文学简史/南开英美文学精品教材，普通高等教育“十一五”国家级规划教材》： The shepherd poet in Matthew Arnold's elegy， Thyrsis， Clough was one ofArnold's closest friends in temperament and sensitivity. The two of themexperienced the same dilemma： religious doubt which was actually affecting manysimilar sensitive spirits of the time such as John Ruskin， Kierkegaard， and EmilyDickinson. Clough's poetry was in fact a footnote to his oscillating mind. Therewas， however， a noticeable difference between his position and that of Arnold's.Whereas "Dover Beach" reveals a spiritual bleakness and almost despair， Clough'sworks such as "Easter Day I Naples 1846，" "Easter Day II，" Dipsychus （1850） and"Say Not the Struggle Nought Availeth" （1849）， shine forth a glimmer of hope andconviction， however faint and tenuous those might be. Clough was independent inhis opinions， and there is a good deal of humor in his works that helps relieve thegloom hanging over his poetic world. And he wrote the best kind of hexameters inEnglish poetry. All his life Clough was torn between faith and doubt. Throughout his careeras a poet， he did not commit himself to a clear position of "yes or no." Thishovering between belief and disbelief is well demonstrated in his two "Easter Day" poems. These show him bogged down in the theological dead center of his day. In "Easter Day I" he says， "From the cursed world which is one tomb， Christ is not risen." The people are hopeless and belief-less. There is no heaven or hell.So "Eat， drink， and die." Don't set one's affections on things above because He is dead and there is no life above. But the tone and mood of "Easter Day II" is drastically different. It tells people not to despair and not to feel hopeless."Though dead， not dead，" "Christ is yet risen." In other words， there is life in Heaven after all. The very title of the long poem Dipsychus is sufficient to showcase the poet'sapparent dilemma. In fact， Dipsychus is the name of the major character in the poem. He is in Venice， looking around and talking to a companion by the name of Mephisto. The scenario seems to be one similar in nature to Goethe's Faust with this difference that Dipsychus is questing for faith and Mephisto is not quite a devil. This young man has， as his name implies， two souls， two selves. His is a veritable divided personality. One part of him is idealistic， gazing upward and anxious to believe， while the other part is worldly， eager to commit himself to the here and now. The two parts of the self keep watching and analyzing one another.Dipsychus has his own standards： he is afraid to sin or commit doctrinal errors.These prove so exacting and make him so scrupulous that he is spiritually sick.For instance， he wants sex and yet his inhibitions hold him back. He makes a move and then draws back. Mephisto says of him： "You're this and that，/ And here and there...." His advice to the young man is to see things as they simply are. In matters of faith Dipsychus wants to believe， yet he knows well that faith does not address all the problems. The dialogues that he carries on with Mephisto are actually his interior monologues that reflect his inner struggle. Thus Mephisto is in fact one part of Dipsychus' self and his adviser in a sense. In the end Dipsychus decides to say goodbye to his "dreams" and embrace the world for what it is.Probably the reading of the poem leaves the impression that the young man's affirmative attitude is not strenuously final， his dilemma is not thoroughly resolved， but he manages to win through to a measure of peace of the mind.Dipsychus is more than one way Clough's self-portrait. Clough's "Say Not Struggle Nought Availeth" ends with the famous line，"But westward， look， the land is bright，" made famous by Winston Churchill who，in the midst of World War II， quoted it to Roosevelt. Clough's "war" in the poem is an inner war， the "enemy" is probably religious skepticism， and the "comrades"are the sources of one's inner spiritual strength to win faith back. So it is like a winning Dipsychus speaking. The poem is a good contrast in tone with "Dover Beach." ……
英国文学简史 作者简介
常耀信，教授、博士生导师，任教于中国南开大学及美国关岛大学，研究方向为英美文学。著有《希腊罗马神话》《美国文学简史》《英国文学简史》《精编美国文学教程》《美国文学史（上）》《漫话英美文学》《研究方法与论文写作》等；主编有《美国文学批评名著精读（上、下）》《美国文学选读（上、下）》《文化与文学比较研究论文集》等。在国内外刊物上发表过多篇论文，阐述中国文化对美国文学的影响。先后被选入《远东及太平洋名人录》及《美国名师录》。
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