简介
"Since the earliest days," writes Richard Chase in this classic study, "the American novel, in its most original and characteristic form, has worked out its destiny and defined itself by incorporating an element of romance." In his detailed study of works by Charles Brockden Brown, James Fenimore Cooper, Nathaniel Hawthorne, Herman Melville, Mark Twain, Henry James, Frank Norris, George Washington Cable, William Dean Howells, F. Scott Fitzgerald, and William Faulkner, Chase identifies and traces this tradition through two centuries of American literature.</P>
The best novelists, he argues, have found uses for romance beyond the escapism, fantasy, and sentimentality often associated with it. Through romance, these writers mirror the extremes of American culture -- the Puritan melodrama of good and evil, or the pastoral idyll inspired by the American wilderness.</P>
目录
Introduction p. vii
The Broken Circuit p. 1
A Culture of Contradictions p. 1
Novel vs. Romance p. 12
The Historical View p. 13
James on the Novel vs. the Romance p. 21
Brockden Brown's Melodramas p. 29
Wieland p. 29
Edgar Huntly p. 35
A Note on Melodrama p. 37
The Significance of Cooper p. 43
Satanstoe p. 47
The Prairie p. 52
Hawthorne and the Limits of Romance p. 67
The Scarlet Letter p. 67
The A vs. the Whale p. 80
The Blithedale Romance p. 82
Melville and Moby-Dick p. 89
How Moby-Dick Was Written p. 93
An Epic Romance p. 100
The Meaning of Moby-Dick p. 105
A Note on Billy Budd p. 113
The Lesson of the Master p. 117
The Portrait of a Lady p. 117
Mark Twain and the Novel p. 139
Huckleberry Finn p. 139
Pudd'nhead Wilson p. 149
Three Novels of Manners p. 157
The Great Gatsby p. 162
Cable's Grandissimes p. 167
The Vacation of the Kelwyns p. 177
Norris and Naturalism p. 185
McTeague p. 188
The Octopus p. 193
Norris Historically Viewed p. 198
Faulkner--the Great Years p. 205
As I Lay Dying p. 207
Light in August p. 210
The Sound and the Fury p. 219
Appendix I p. 237
Sanctuary vs. The Turn of the Screw p. 237
Appendix II p. 243
Romance, the Folk Imagination, and Myth Criticism p. 243
Works Cited p. 247
Index p. 249
The Broken Circuit p. 1
A Culture of Contradictions p. 1
Novel vs. Romance p. 12
The Historical View p. 13
James on the Novel vs. the Romance p. 21
Brockden Brown's Melodramas p. 29
Wieland p. 29
Edgar Huntly p. 35
A Note on Melodrama p. 37
The Significance of Cooper p. 43
Satanstoe p. 47
The Prairie p. 52
Hawthorne and the Limits of Romance p. 67
The Scarlet Letter p. 67
The A vs. the Whale p. 80
The Blithedale Romance p. 82
Melville and Moby-Dick p. 89
How Moby-Dick Was Written p. 93
An Epic Romance p. 100
The Meaning of Moby-Dick p. 105
A Note on Billy Budd p. 113
The Lesson of the Master p. 117
The Portrait of a Lady p. 117
Mark Twain and the Novel p. 139
Huckleberry Finn p. 139
Pudd'nhead Wilson p. 149
Three Novels of Manners p. 157
The Great Gatsby p. 162
Cable's Grandissimes p. 167
The Vacation of the Kelwyns p. 177
Norris and Naturalism p. 185
McTeague p. 188
The Octopus p. 193
Norris Historically Viewed p. 198
Faulkner--the Great Years p. 205
As I Lay Dying p. 207
Light in August p. 210
The Sound and the Fury p. 219
Appendix I p. 237
Sanctuary vs. The Turn of the Screw p. 237
Appendix II p. 243
Romance, the Folk Imagination, and Myth Criticism p. 243
Works Cited p. 247
Index p. 249
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