文学理论导论
2004-11
外语教学与研究出版社
伊格尔顿
234
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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 isn't 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 book'spopularity, 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 literarytheory's 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.
《文学理论导论》(第2版)是西方马克思主义文学批评最重要的代表人物之一特里·伊格尔顿的代表作，系统介绍了自20世纪初以来西方文学批评理论发展演变的脉络，在全世界有着广泛影响，并成为当代欧美许多大学文学专业的教科书，即使与伊格尔顿持不同观点的教授也不得不承认：“我没有更合适的教科书可用了。”
Preface to the Second EditionPrefaceIntroduction: What is Literature? 1 The Rise of English 2 Phenomenology, Hermeneutics, Reception Theory 3 Structuralism and Semiotics 4 Post-Structuralism 5 PsychoanalysisConclusion: Political CriticismAfterwordNotesBibliographyIndex
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 well'as 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 'embody'certain 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 other's 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 of'correct' 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.
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这本书是伊格尔顿文学思想的代表作，另一部是《审美意识形态》。这本书相对容易点，国内译本比较多的是伍晓明的《二十世纪西方文学理论》，翻译水平还行。还有一个译本是中国社科院的，据说比伍晓明版好。对于文学理论或者文学专业打算进一步深造的，建议研究生阶段好好研读一下这本书。博士阶段可以研读《审美意识形态》英文版。
伊格顿书，很适合初学文学理论者。
先有了中文译本，再买这英文原版，物超所值。
理论学习本身就是很枯燥的一个过程，这一本书籍的编纂过程中对于同一种流派有许多大师不同的见解。而且更加丰富了理论本身的魅力。
她上课要用的书。据说很好。
方方
读了3年的哲学书，这本才终于让我入门！
和中文版对照一起读，很有帮助
还没开读
质量很好了。英文印的太小，不好阅读
伊格尔顿此书写得挺好的，观点分析逻辑清晰、论点精辟，从马克思主义文论视角指出其他几个流派的优点与不足尤其是不足，我觉得可以借以了解伊格尔顿，而不是全面了解相关理论。不过，西方文艺学、美学史论可能都是这种个人观点上的梳理，其他流派成为材料，如鲍桑葵《美学史》、韦勒克等《文学理论》。 我所知道的特里·伊格尔顿的《二十世纪西方文论》一共有三个版本，《现象学，阐释学，接受理论——当代西方文艺理论》中国社会科学出版社1988年版，王逢振译；《文学原理引论》(文化艺术出版社1987年版，刘峰等译)；另外一本就是这个版本了。个人觉得几个版本差别不大。伊格尔顿是当代西方马克思主义的代表人物之一，师从威廉斯并身受其影响，与美国的另一位马克思主义理论家詹姆逊分居当今西方马克思主义理论界的两极。他的书通俗流畅，是西方文论大师的众多著作中，比较好读的书目之一。他的著作中多体现了马克思主义理论的批判方面，很少建构自己的宏大的理论体系，而且无庸讳言，他的批判多是辛辣尖锐，但不乏理论的深度和学识。是一本值得细读的书。
和香港的那个黑色封面的原版是一样的，页码也对得上，但和更早的那个版的页码似乎就对不上了，价格没得说了，唯一不足的是墨比较容易掉，如果用铅笔划了线写了字，用橡皮擦擦一下原来印刷的字也明显淡了很多，不知道是不是影印版的缘故
书本身很精美，内容刚看，应该很不错
1.编排、书的内容都让我很满意。2.纸张质量也很好，没有问题。3.书中内容很受用。主要是文学理论的介绍。
有包装保证了产品的质量，送货较快
20世纪的文学理论，阐释学，ETC
考研的一定要看看
学文学的同学应该读的
不错，以前看过，也买过，后来丢了，现在再次买一本。
包装破了，导致五十页书破损！！！全新的书啊！！！能不要那么随便么？！买了五本书给我分成三包！！！装成一箱就不会破了好么？明明选择了配送齐再发货这个选项，这是无视客户的要求么！！！来回三趟跑十五层楼，三次穿越校区去拿包裹，逗我玩么这是。。。
书不错，正版，好好细读一下
书好，包装也好，送货很快。
纸张质量需要改进。这本书可以配合伍晓明的中文版一起看。
之前从来没有看过文论，这是一部经典书籍
书本身的质量很好外语教学与研究出版的这套书内容很专业，这本伊格尔顿的文学理论导读是学习文学理论课程必读的经典了。有点难，不过可以配上翻译过来的《二十世纪西方文学理论》一起看
导师推荐，很好的，既有理论，又有应用，值得一看。看不完，当字典用也行，什么时候想查某个流派，就翻翻
上课需要买的，书页质量很好，印刷也不错。。
很经典的一本书，值得一看
书不错，很好，导师推荐的，建议还是看英文版的比较好~！