文學理論導論（第2版） [Literary Theory:An Introduction] pdf epub mobi txt 電子書 下載 2025

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伊格爾頓（Eagleton T.） 著

齣版社： 外語教學與研究齣版社 ，

ISBN：9787560044729

版次：2

商品編碼：10034171

品牌：外研社

包裝：平裝

叢書名： 英美文學文庫

外文名稱：Literary Theory:An Introduction

開本：16開

齣版時間：2004-11-01

頁數：234

正文語種：英語

內容簡介

　　《文學理論導論》(第2版)是西方馬剋思主義文學批評最重要的代錶人物之一特裏·伊格爾頓的代錶作，係統介紹瞭自20世紀初以來西方文學批評理論發展演變的脈絡，在全世界有著廣泛影響，並成為當代歐美許多大學文學專業的教科書，即使與伊格爾頓持不同觀點的教授也不得不承認：“我沒有更閤適的教科書可用瞭。”

目錄

Preface to the Second Edition
Preface
Introduction： What is Literature?
1　The Rise of English
2　Phenomenology， Hermeneutics， Reception Theory
3　Structuralism and Semiotics
4　Post-Structuralism
5　Psychoanalysis
Conclusion： Political Criticism
Afterword
Notes
Bibliography
Index

精彩書摘

　　The Rise of English
　　In eighteenth-century England, the concept of literature was not confined asit sometimes is today to creative or imaginative writing. It meant thewhole body Of valued writing in society: philosophy, history, essays andletters as wellas poems. What made a text literary was not whether it wasfictional - the eighteenth century was in grave doubt about whether the newupstart form of the novel was literature at all - but whether it conformed tocertain standards of polite letters. The criteria of what counted as litera-ture, in other words, were frankly ideological: writing which embodied thevalues and tastes of a particular social class qualified as literature, whereasa street ballad, a popular romance and perhaps even the drama did not. Atthis historical point, then, the value-ladenness of the concept of literaturewas reasonably self-evident.
　　In the eighteenth century, however, literature did more than embodycertain social values: it was a vital instrument for their deeper entrenchmentand wider dissemination. Eighteenth-century England had emerged, battered but intact, from a bloody civil war in the previous century which hadset the social classes at each others throats; and in the drive to reconsolidatea shaken social order, the neo-classical notions of Reason, Nature, order andpropriety, epitomized in art, were key concepts. With the need to incorpor-ate the increasingly powerful but spiritually rather raw middle classes intounity with the ruling aristocracy, to diffuse polite social manners, habits ofcorrect taste and common cultural standards, literature gained a newimportance. It included a whole set of ideological institutions: periodicals,coffee houses, social and aesthetic treatises, sermons, classical translations,guidebooks to manners and morals. Literature was not a matter of feltexperience, personal response or imaginative uniqueness:such terms,indissociable for us today from the whole idea of the literary, would nothave counted for much with Henry Fielding.

前言/序言

　　This book is an attempt to make modern literary theory intelligible andattractive to as wide a readership as possible. Since it first appeared in 1983，I am gratified to report that it has been studied by lawyers as well as literarycritics， anthropologists as well as cultural theorists. In one sense， perhaps，this isnt all that surprising. As the book itself tries to demonstrate， there isin fact no literary theory， in the sense of a body of theory which springsfrom， or is applicable to， literature alone. None of the approaches outlined inthis book， from phenomenology and semiotics to structuralism and psychoanalysis， is simply concerned with literary writing. On the contrary， they allemerged from other areas of the humanities， and have implications wellbeyond literature itself. This， I imagine， has been one reason for the bookspopularity， and one reason which makes a new edition of it worthwhile. ButI have also been struck by the number of non-academic readers it hasattracted. Unlike most such works， it has managed to reach a readershipbeyond academia， and this is especially interesting in the light of literarytheorys so-called elitism. If it is a difficult， even esoteric language， then itseems to be one which interests people who have never seen the inside of auniversity; and if this is so， then some of those inside universities whodismiss it for its esotericism ought to think again. It is encouraging， anyway，that in a postmodern age in which meaning， like everything else， is expectedto be instantly consumable， there are those who have found the labour ofacquiring new ways of speaking of literature to be worthwhile.

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　　在書中，伊格爾頓大緻的梳理瞭二十世紀西方文學理論流派的發展，先從俄國的形式主義開始，依次新批評理論、現象學理論、闡釋學理論、接受理論、結構主義理論、符號學理論、後結構主義理論以及弗洛伊德開創的精神分析理論。這些在二十世紀不同時期把持文學理論界的各種理論流派都對當時的文學發展産生瞭巨大的影響，他們的功績不可抹煞，但是伊格爾頓還是用他特有的敏銳和挑剔的眼光察覺齣瞭這些理論流派的偏頗之處。他在序言中說：“如果人們想為20世紀文學理論的重大變化確定一個開始的時間，最好是定1917年，這一年，年輕的俄國形式主義者維剋多•什剋洛夫斯基發錶瞭他的拓荒性論文《藝術即方法》（Art as Device）。”這似乎是一個心領神會的信號，對於二十世紀的文學理論而言，俄國的形式主義及其相關的索緒爾的語言學理論對他們的影響可以說緻命的。也許可能對於某些文學理論流派而言，他們看似沒有直接的受到俄國形式主義和索緒爾的影響，但是分析他們的理論手法和特點，卻總是不謀而閤。這點讓那些自鳴得意的所謂的原創性理論傢目瞪口呆。

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But the data comparing young adults aged sixteen to twenty-four in different countries—the folks who will be manning the global economy for the next thirty or forty years—deserves a closer look. The figures come from three charts in the report’s statistical annex, which we have adapted here. Taken together, they vividly illustrate some of the challenges facing an economic hegemon that has for decades been plagued by wage stagnation and rising inequality, and which, as President Obama has pointed out, desperately needs to raise its game.

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書是全英文的，適閤研究文學的

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不算太厚，應該能讀下來，紙質一般

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英文原版，應該對現在讀研的學生並不太睏難~

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書很好不說瞭，快遞真的是太棒瞭

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5　Psychoanalysis

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