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外國(guó)文學(xué)研究文庫(kù)莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)第3輯

外國(guó)文學(xué)研究文庫(kù)莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)第3輯

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外國(guó)文學(xué)研究文庫(kù)莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)第3輯 版權(quán)信息

外國(guó)文學(xué)研究文庫(kù)莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)第3輯 本書(shū)特色

適讀人群 ：學(xué)生,教師,一般讀者《莎士比亞與生態(tài)批評(píng)理論》是“外國(guó)文學(xué)研究文庫(kù)”系列第三輯的一本。該系列旨在將國(guó)外的文學(xué)學(xué)界的學(xué)術(shù)成果及時(shí)引進(jìn)和介紹給我國(guó)外國(guó)文學(xué)學(xué)者、學(xué)生及愛(ài)好者，反映外國(guó)文學(xué)研究領(lǐng)域在世界范圍的發(fā)展趨勢(shì)與前沿探索。 “外國(guó)文學(xué)研究文庫(kù)”英文書(shū)以原版的形式、非英文書(shū)以譯本的形式出版，并輔之以國(guó)內(nèi)這一領(lǐng)域的資深學(xué)者撰寫(xiě)的導(dǎo)讀，幫助讀者把握作品的脈絡(luò)，掌握其思想要點(diǎn)，更全面、更深入地理解作品要義。

外國(guó)文學(xué)研究文庫(kù)莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)第3輯 內(nèi)容簡(jiǎn)介

　　自21世紀(jì)初，生態(tài)批評(píng)的逐漸興起體現(xiàn)了人們?cè)诿鎸?duì)生態(tài)問(wèn)題時(shí)的深刻反思：我們（人類(lèi)）錯(cuò)了嗎？我們錯(cuò)在哪里？我們什么時(shí)候開(kāi)始錯(cuò)的？我們應(yīng)該怎么辦？　　《莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)·第三輯》將問(wèn)題的源頭定在了啟蒙運(yùn)動(dòng)，思考了啟蒙時(shí)代之前，英國(guó)文藝復(fù)興的產(chǎn)物——莎士比亞戲劇如何勾勒人與自然、人與其他生物的關(guān)系，如何呈現(xiàn)人在地球上及宇宙中的位置，以及如何構(gòu)建人與人、人與社群的關(guān)系。

外國(guó)文學(xué)研究文庫(kù)莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)第3輯 目錄

Introduction： Done and Undone
1 The Rise of Ecocriticism
2 Shakespeare and the Meaning of 'Life' in the Twenty-first Century
3 Animals in Shakespearian Ecocriticism
4 Crowds and Social Networks in
Shakespeare
Conclusion
Notes
Bibliography
Index
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外國(guó)文學(xué)研究文庫(kù)莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)第3輯 節(jié)選

　　《莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)·第三輯》：　　Questions of textual corruption （which the 1609 quarto shows）， and sexual corruption （which the play of Pericles is much concerned with）， can be interrelated in critical works. Wendy Wall studies the diagrams of lineal descent， called stemmata， that are used by bibliographers to represent the relationships between early texts， and she finds them rather like the lines of familial descent used to represent family trees in the study of genealogy. In both， Wall detects a patriarchal fixation that obscures the complex relationships of text and sex that cut across these lines.26 In fact Wall is wrong to deride bibliographical stemmata on these grounds， since the relationships between early printed editions of plays really can be thought about in genetic terms. The reason for this is that most commonly a reprint of a play （say， Q2） was made by using an exemplar of the previous edition （say， Q1） as the printer's copy text. Wall is wrong to think that such lines of descent are patrilineal and suppress the matrilineal possibilities， for in fact there really is only one ancestor text （not two） for each descendant. That is， printed editions are made by something like mitosis （cloning） of the parent rather than by meiosis （sexual cell division）. Meiosis， sexual reproduction， is a rather better metaphor for the reproductive creativity that happens in authors' minds， as described by Richard II in prison.　　Meiosis is what happens when Gower's creativity， fertilized by his sources-'mine Authors'-including Godfrey of Viterbo （c. 1120 to c. 1196）， was， in the minds of Wilkins and Shakespeare， combined with material from Laurence Twine's Pattern of Painful Adventures （1594）， which itself took material from the widely circulating collection of stories Gesta Romanorum from the late thirteenth and early fourteenth centuries. In the bibliographical stemmata of Shakespeare editions， a single text stands at the head of the monogenetic line of descent， and， by contrast， medieval works are more properly conceived as polygenetic， because the earliest versions are almost always multiple semi-independent manuscripts. In Shakespeare's time， however， Gower's reputation was that of standing alongside Chaucer at the creative head of the entire tradition of English Literature. As Philip Sidney puts it， '[first] wer Gower， and Chawcer， after whom， encouraged & delighted with their excellent foregoing， others haue folowed to bewtify our mother toong'. Of the two， Chaucer's reputation was arguably a little less secure than Gower's， as Ann Thompson shows， but importantly for our purposes Shakespeare only ever acknowledged as his artistic creditors this pair of literary predecessors. Shakespeare's debt to Gower is marked by his appearance in Pericles， and his debt to Chaucer by the prologue's notably sexualized reference to him as the work's 'noble breeder' in The Two Noble Kinsmen （Prologue， 10）.　　The recurrence of sexual imagery of artistic fertilization in Shakespeare's collaborative work gives credence to Masten's general claim that collaborative writing excited consciously and unconsciously sexualized descriptions， but it would be a mistake to think that the emergent concerns of singular authorship' were simply aligned with heterocentrism. In Shakespeare the contrast is clearly between solitary self-division of the faculties-making the brain female to the soul， in Richard IT's soliloquy-by which artistic conception remains monogenetic， and collaboration as a division of labour that in making the work polygenetic risks reducing the dramatist to a mere conduit for another's words and ideas. The abhorrence of incest at the start of Pericles， and the dramatization of its avoidance at the end， we can read as necessary self-justifications for a new way of working that Shakespeare adopted in his forties in order to appropriate 'the juice'， as Gary Taylor calls it， of younger， more successful men.　　……

外國(guó)文學(xué)研究文庫(kù)莎士比亞與生態(tài)批評(píng)理論/外國(guó)文學(xué)研究文庫(kù)第3輯 作者簡(jiǎn)介

作者，加布里埃爾·伊根（Gabriel Egan）是英國(guó)德蒙福特大學(xué)的莎士比亞研究教授和文本研究中心主任，撰有多部有關(guān)莎士比亞和生態(tài)批評(píng)方面的著作。 主編，金莉：北京外國(guó)語(yǔ)大學(xué)教授、博導(dǎo)，文學(xué)博士。研究領(lǐng)域?yàn)槊绹?guó)小說(shuō)與美國(guó)女性文學(xué)。目前擔(dān)任北外王佐良外國(guó)文學(xué)高等研究院院長(zhǎng)和《外國(guó)文學(xué)》雜志主編。主要著作包括《文學(xué)女性與女性文學(xué)》《20世紀(jì)美國(guó)女性小說(shuō)研究》《當(dāng)代美國(guó)女權(quán)文學(xué)批評(píng)家研究》，并發(fā)表論文多篇。

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