关注微信

推荐商品

    加载中... 正在为您读取数据...
分享到:
  • 奇幻小说[平装]
  • 共2个商家     20.00元~21.30
  • 作者:LucieArmitt(作者)
  • 出版社:上海外语教育出版社;第1版(2009年9月1日)
  • 出版时间:
  • 版次 :
  • 印刷时间:
  • 包装:
  • ISBN:9787544614634

  • 商家报价
  • 简介
  • 评价
  • 加载中... 正在为您读取数据...
  • 商品描述

    编辑推荐

    《奇幻小说》:“外教社原版文学入门丛书”以介绍文学理论和小说类型及相应的社会文化背景为主,勾勒出英美文学发展的概貌。本丛书文字简练、语言生动,对我国的外国文学及理论研究者、在校学生以及广大文学爱好者都有很高的参考价值。

    作者简介

    作者:(英国)Lucie Armitt

    目录

    Chapter One: What Is Fantasy Writing?
    Introduction
    Beyond the Horizon
    Epic Space

    Chapter Two: Fantasy as Timeline
    Introduction
    The Origins of Modern Fantasy
    Early Modern Fantasy
    'Tree' Versus 'Leaf': Reading the Present Through the Past
    Phantasm Versus Fantasia

    Chapter Three: How to Read Fantasy; or, Dreams and Their Fictional Readers
    Introduction
    Reading Dreams
    Medieval Dream Vision
    The World in/of the Mirror

    Chapter Four: The Best and Best Known
    Introduction
    Play and Nonsense: Lewis Carroll and Edward Lear
    Cartographies and Geographies of Fantasy: Animal Farm and Gulliver's Travels
    J. R. R. Tolkien, The Lord of the Rings
    Mary Shelley, Frankenstein: Discourses of Monstrosity
    The Monsters of Middle Earth
    Adolescent Monsters: Harry Potter
    H. G. Wells: The First Men in the Moon and The Time Machine
    'Other' Desires: Homoeroticism and the Feminine
    Mothers and Mirrors: Harry Potter

    Chapter Five: The Utopia as an Underlying Feature of All Major Modes of Fantasy
    Introduction
    Thomas More, Utopia
    Jonathan Swift, Gulliver's Travels
    Charlotte Perkins Gilman, Her/and
    H. G. Wells, The First Men in the Moon and The Time Machine
    Inter-Generic Texts: The Time Machine and A Connecticut Yankee at King Arthur's Court
    Yann Martel, Life of Pi
    George Orwell, Animal Farm
    Technology Versus Magic: A Connecticut Yankee and Harry Potter
    Jeanette Winterson, The PowerBook
    William Gibson, Neuromancer

    Chapter Six: One Key Question: Is There Life for Fantasy Beyond Genre?
    Introduction
    Ghosts and Their Readers
    Charles Dickens, A Christmas Carol
    Charles Dickens, 'The Signalman'
    Henry James, The Turn of the Screw
    Edith Wharton, 'The Eyes'

    Chapter Seven: Fantasy Criticism
    Introduction
    Interrogating the Boundaries of Fantasy: Todorov, Matin,and Tolkien
    Determining Spaces: Tolkien, Bettelheim, and Zipes
    Fantasy as (Dream-)Screen: Psychoanalytic Approaches
    New Bodies/New Knowledge: Massey, Haraway, and Botting
    Chapter Eight: A Glossary of Terms
    Chapter Nine: Selected Reading List
    Index

    文摘

    插图:


    It is only once we have established this distinction that the ending of Tolkien's own Lord of the Rings trilogy makes any sense. Towards the end of Volume III, The Return of the King, Gandalf leaves Frodo, Sam, Merry, and Pippin on the East Road close to the borders of the Shire. Merry turns to the others and observes, 'Well here we are, just the four of us that started out together... We have left all the rest behind, one after another. It seems almost like a dream that has slowly faded.' Frodo responds, 'Not to me... To me it feels more like falling asleep again.'22 To a contemporary reader, Merry's remark makes a great deal more structural sense than Frodo's. The epic journey that spans the trilogy becomes, in Merry's terms, a dream, the border between sleeping and waking seemingly locating itself on the borders of the Shire. In this sense, the journey into Middle Earth works in a structurally identical man- ner to the journey into Wonderland, and like Alice, these four trav- ellers immerse themselves fully into it and fully return again. For Frodo, the key dreamer of Tolkien's trilogy, this is clearly not the relationship he holds to dream by this stage. His journey into dream has functioned as a moment of enhanced enlightenment, resulting in him being more fully alive when 'dreaming' than when 'awake'; but also, and as with Drycthelm, for Frodo dream and death (or the threat of death) are never far apart.
    The fear of death or danger is, in fact, the key characteristic of Frodo's dreaming. The first instance of sleep overtaking him occurs in Volume I, The Fellowship of the Ring, as the travellers walk through the Old Forest prior to Pippin and Merry being attacked by the wil- low tree: 'Sleepiness seemed to be creeping out of the ground and up their legs, and falling softly out of the air upon their heads and eyes. The next dream sequence is perhaps the key one of the tril- ogy and takes place inside Tom Bombadil's house. Three of the four characters have nightmares here, in part inspired by their adven- tures in the wood; but while Pippin dreams he is back inside the wil- low, 'listening to that horrible dry creaking voice laughing at him again,' and Merry dreams he is being drowned, 'water streaming down gently, and then spreading, spreading irresistibly all around the house.., rising slowly but surely' (FR, 168).