從文類(lèi)劃分看以流派定位作家的傳統提綱
論文摘要: 作為諾貝爾文學(xué)獎獲得者和暢銷(xiāo)書(shū)作家,斯坦貝克自然成為眾多評論家研究的對象,成為20世紀（略）家之一,他的聲譽(yù)也隨之經(jīng)歷了美國文壇上少有的大起大落.有些評論家認為斯坦貝克屬于20世紀30年代的社會(huì )抗議或無(wú)產(chǎn)階級作家,應劃歸現實(shí)主義行列,他的藝術(shù)生命和影響隨著(zhù)那個(gè)年代的結束而終結;有些將他劃入自然主義流派,作品中把人類(lèi)動(dòng)物化的傾向將他推入了最拙劣的自然主義作家一類(lèi),其聲譽(yù)也（略）還有人將他歸入浪漫主義、象征主義或地方主義等流派.這種簡(jiǎn)單化的分類(lèi)使得斯坦貝克在當代文學(xué)語(yǔ)境中處于一種非常尷尬的境地.斯坦貝克實(shí)（略）在傳統和現代交匯時(shí)期的作家,既恪守傳統的現實(shí)主義基本創(chuàng )作原則,又勇于借鑒現代主義的新興藝術(shù)形式和技巧,矢志不渝地進(jìn)行革新和試驗,其核心就是各種藝術(shù)流派技巧的越界和融合. （略）現象引起了我的思考:文學(xué)流派的理論和運用是否建立在這樣一個(gè)前提上,即每個(gè)作家必定屬于一個(gè)流派?如果回答是肯定的,那么向斯坦貝克這樣多元化的作家應（略）流派?如果回答是否定的,那么文學(xué)流派這種分類(lèi)方法是否已經(jīng)失效? 帶著(zhù)這個(gè)疑問(wèn),我從評論家對文類(lèi)劃分的思考中找到了理論框架.文類(lèi)問(wèn)題和流派問(wèn)題實(shí)際上是...
As a Nobel laureate and best-selling author, Steinbeck naturally become th（omitted） subject of many literary critics and is considered as one of the（omitted）roversial writer of 20~(th) century, his literary reputation undergoing （omitted）wns rarely seen in the American literary history. Some critics regarded Steinbeck as a proletarian writer or writer o（omitted）rotests in 1930s and should be classified to realism, thus his artistic career and influence ended with that h（omitted）period. Others grouped h...
目錄:Acknowledgements 第4-5頁(yè)
Abstract in Chinese 第5-7頁(yè)
Abstract in English 第7-9頁(yè)
1. Introduction 第12-26頁(yè)
·Theoretical foundation of the research 第12-19頁(yè)
·The classical origins of genre study 第12-15頁(yè)
·Modern genre study: Critical reflections on generic categories 第15-17頁(yè)
·The functions of genre and its limitations 第17-19頁(yè)
·Rethinking the issue of classifying writers by literary schools 第19-26頁(yè)
·The significance and defects of classifying writers by literary schools 第20-22頁(yè)
·Steinbeck: Which literary school to be fixed in 第22-26頁(yè)
2. Literary Schools and the Writers 第26-35頁(yè)
·The historical dimension of literary school 第26-30頁(yè)
·The structure and formation of literary school 第26-28頁(yè)
·Literary school: A link between history and writer 第28-30頁(yè)
·Dialectical relationship between literary school and writers 第30-32頁(yè)
·Writers: Conformists or innovators 第30-31頁(yè)
·Classic writer: All-exclusiveness of diversified literary schools 第31-32頁(yè)
·Steinbeck's views on novel experiment and his multifaceted styles 第32-35頁(yè)
3. Complexity of the Classification of Literary Schools 第35-49頁(yè)
·Literary genres: Dynamic entities 第35-39頁(yè)
·Factors that cause generic change 第36-38頁(yè)
·The modes of generic change 第38-39頁(yè)
·The fluidity of literary school 第39-44頁(yè)
·The transformation of literary school 第40-43頁(yè)
·The individual styles within artistic commonness 第43-44頁(yè)
·Cultural context of the formation of Steinbeck's unsettled place 第44-49頁(yè)
4. Reevaluation of Writer's Identity in Contemporary Literary Context 第49-64頁(yè)
·Writer's sensitivity to the subtle differences between literary schools 第49-56頁(yè)
·The coexistence of similar literary schools 第50-53頁(yè)
·Complementary functions of naturalism and realism in Steinbeck's works 第53-56頁(yè)
·Writer's integration of artistic devices of multiple literary schools 第56-64頁(yè)
·The relationship between realism and modernism 第56-59頁(yè)
·Steinbeck's pluralistic creative methods and the modernity of his literary identity 第59-64頁(yè)
5. Conclusion 第64-65頁(yè)
Bibliography 第65-68頁(yè)
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