二十世纪西方文论选读

《二十世纪西方文论选读》是《西方古典文论选读》（外研社2000） 的续篇。本书的对象是大学本科生和研究生，特别是攻读文学专业且掌握了英语的学生。尚未完全掌握英语的读者，也同样可以以本书的中文部分为起点，学到20世纪西方批评理论的概貌和基本知识。本书的特点如下：
一、精选材料，压缩篇幅。从每一家重要理论流派中选名家名篇；过长的名篇只选其精华，略去可读可不读的段落，使学生掌握某一篇文论的主要论点。
二、简要介绍20世纪西方文论的主要理论流派，对于一些入选的文章提供导读性的简介，以利学生读懂原文。
三、注释难点。
第一章中所列的参考书目，既是编写过程中参阅的主要文献，也是深入研究西方文论的读者所必读的。

《二十世纪西方文论选读》是《西方古典文论选读》（外研社2000） 的续篇。本书的对象是大学本科生和研究生，特别是攻读文学专业且掌握了英语的学生。尚未完全掌握英语的读者，也同样可以以本书的中文部分为起点，学到20世纪西方批评理论的概貌和基本知识。

前 言
导 言
第一章 俄国形式主义
第二章 新批评
第三章 原型批评
第四章 结构主义
第五章 精神分析批评
第六章 接受美学与读者反应理论
第七章 后结构主义
第八章 西方马克思主义的文学理论
第九章 女权主义
第十章 后现代主义
第十一章 新历史主义
第十二章 后殖民主义
第十三章 文化研究

书摘
We laymen have always been intensely curious to know—like the cardinal who put a similar question to Ariosto1—from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capa-ble. Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satis-factory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. 2
If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing! An exami-nation of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indeed, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does.
Should we not look for the first traces of imaginative activity as early as in childhood? The child's best-loved and most intense occupa-tion is withhis play or games. Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or,rather, rearranges the things of his world in a new way which pleases him? It wouldbe wrong to think he does not take that world seriously;on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his
world of play, the child distinguish
……