美国文学评论杂志

美国文学评论杂志

由《外国文学研究》编辑部与长江文艺出版社联合主办的、具有七年历史的《世界文学评论》，自2013年第1期起改由世界图书出版公司主办与出版，暂定每年4期。《世界文学评论》是国内外学者发表原创性学术论文的园地，鼓励学术自由与学术创新，欢迎广大作者踊跃投稿。现对有关要求做如下约定。1．来稿采用Word文档格式，本刊收到作者发来的电子文本后，即开始审稿程序，并在一个月内通知审稿结果。2．为了便于审稿，来稿必须包括以下三个组成部分。 （1）中英文对照部分。内容依次为：论文标题、内容提要、关键词、作者简介以及上述四项的英文翻译。几点具体要求如下：①内容提要300字左右，主要概述论文研究的问题、运用的方法和得到的结论，不举例证，不叙述研究过程，不做自我评价。②关键词是用来检索文献资料的主题词，如人名、作品名、核心概念、关键术语等，一般3—5个。③作者简介内容包括作者姓名、学位、职称（职务）、工作单位以及主要研究领域（如英国小说、美国戏剧、古希腊悲剧）等。④英文译文应由专业人士撰写。（2）正文部分。内容依次为：标题、正文、注解、引用作品。注解为正文中引用的文献、应当解释的名词术语以及作者认为应当说明的其他内容。论文中的所有引文必须详细注明原始出处，详至具体页码及本文在刊物与论文集中的起止页码。如来稿属省部级以上科研立项成果，请以题注的形式提供该科研项目的有关信息。（3）作者联系方式。包括通信地址、邮编、电话及电子邮箱。3．关于注解和引用作品的格式要求。可统一用逗号连接各项信息，也可统一用下角圆点号连接各项信息，但须全文统一。示例如下：[1]金亚娜：《〈青铜骑士〉的象征和象征主义意蕴》，载《求是学刊》1999年第1期，第85页。[2][波兰]杨·柯特：《〈李尔王〉，最后一局》，载《莎士比亚评论汇编》（下），中国社会科学出版社1981年版，第89页。[3][英]安东尼·吉登斯.社会的构成[M].北京: 生活·读书·新知三联书店,1998:2.[4]Smith uction of The Pure Clear Word: Essays on the Poetry of James Wright. Contemporary Literary Criticism. Ed. Jean C Stine. Vol. 28. Detroit: Gale Research Company, 1984. pp.469-472.4．正文中需要括注作者名及对应页码的，请统一格式为“（作者名+空格半个字空+页码）”；对于全文引用某部作品的次数很多、需要适当省略的情况，可只括注对应页码，但另需在【注解】中交代清楚，含具体的参考文献版本信息。5．本刊特别提示。①交稿的电子文本统一命名方式为：年月日+作者姓名+论文标题。②请作者务必提供详细准确的引用作品的信息，凡缺少必要信息的来稿，不能进入本刊的审稿程序。6．本刊园地公开，中外学者皆可投稿，有关外国文学、比较文学、中国文学、文学理论、文学翻译、文学批评等方面的稿件都会容纳，也接受国内外学者用英文撰写的学术论文与文学批评。7．本刊在具有广泛学术影响力的基础上，力争早日成为国内核心学术期刊与权威国际学术期刊，因此欢迎广大中外文学研究者把最新力作投来本刊，也欢迎广大作者与读者随时提出意见，以便改进本刊的工作。8．限于财力，本刊暂不设稿酬，杂志出版后向作者寄送样刊两本。9．为了提高工作效率，来稿一律寄《世界文学评论》编辑部，不寄个人。

世界文学评论的期刊目录

《世界文学评论》2013年第1期（总第15辑）目录中外学者与名家访谈天涯每惜此心清——苏炜访谈录　江少川（1）亚裔美国文学研究　　跨国研究语境下华美文学研究的几点思考　赵文书（9）　　不应忽视的声音——评美国亚裔戏剧三作家及其作品　陈爱敏（13）　　论亚裔美国文学之族裔批评范式的形成——以1970年代为观照　蒲若茜（21）文学翻译研究　　当代翻译研究热点评析　祝朝伟（26）　　论翻译审美心理机制的建构颜　林　海（33）　　论许渊冲“中国学派的文学翻译理论”　向　琳（39）欧洲文学研究　　论费特诗歌的艺术美　林明理（42）　　《伊戈尔出征记》中罗斯大地的象征意蕴　杜国英　秦怡（47）　　《鞑靼人的沙漠》：存在的抽象演示　贾晶（52）　　《等待戈多》：对话主义的典范之作　侯春林（57）美国文学研究　　“神经症与宗教”的辩证统一——对美国现当代经典诗歌的文化透视　张士民（61）　　《谁害怕弗吉尼亚·沃尔夫》的仪式化形式与荒诞性主题解读　樊晓君（71）　　论《纳粹高徒》中的隐形监狱　仇云龙　关　馨（75）　　论《黛妈妈》中的乌托邦书写　武玉莲（78）　　《拯救溺水鱼》与电影化叙事策略　邹建军　周亚芬（84）　　论福克纳《野棕榈》的地理空间对位　张　静　陈海容（90）　　《宠儿》中的身体书写与黑人女性主体建构　许庆红　杨　梅（96）英国文学研究　　曼斯菲尔德《毒药》的文体形式与双层主题意义　贺赛波（102）　　《查特莱夫人的情人》中的庄子生态哲学思想　李　璐（106）　　多角度认识和评价《苔丝》中的亚雷·德伯　郑长发（111）　　人内心深处之原始之地:人性中怪异又黑暗之角落——劳伦斯《菊花的幽香》的象征和　　自然主义手法新析　汪志勤（117）　　新女性的“新”与“悲”——《占有：一部传奇》中的女诗人拉摩特形象解读　张　璐（123）　　精神分析视角下普鲁弗洛克的焦虑　于元元（128）　　少数族裔女性身份与殖民话语的阴霾——对小说《砖巷》评论的探讨　张珊珊（133）　　生态批评视野下的《云图》　刘文如（139）　　反本质人文主义批评——论多利默对《李尔王》的解读　许勤超（142）日本文学研究　　《星座》中的三重地理空间　谭杉杉（149）　　文化“边缘人”视角与新女性的“神秘”气质——以夏目漱石小说《三四郎》为例　陈　雪（155）　　对话自我理论视角下的《浮世画家》解读　郭　欣（160）　　论《河雾》中的回乡悲剧　吴　辻（164）中国文学研究　　高建群与《最后一个匈奴》的文化原型　张祖群（169）　　乡土规范视野下的史诗建构——《新安家族》解读　张宏国　汪　杨（177）　　汉语视域下的诗语光辉　陈仲义（181）　　融通与新创：惟山汉语十四行抒情诗之“美”的境界　李志艳（187）比较文学研究　　艾米莉·狄金森与英国巴罗克文学传统　刘立辉（191）　　那一段穿越古今的回响——白居易与詹姆斯·赖特　李广寒（198）　　英雄倒地空扼腕，骑士精神不复存——莎翁对《伊利亚特》的反拨　田朝绪（202）　　同性恋电影刻板形象——戴尔对电影再现政治的研究与发现探源　赵　伟（207）　　玛格达消解时间和历史 弥补身份缺失　孙晓蕾（212）　　《黎明之屋》中的印第安文化及其生态启示　张　林（216）　　身份的漩涡：《J·阿尔弗莱德·普鲁弗洛克的情歌》的现代主义叙事视角　　——与莎士比亚《爱人的怨诉》对比　傅　悦（223）研究综述与图书述评　　历史文化的深度解读——读任蒙散文集《反读五千年》　卢锡铭（230）　　女性解放的身体寓言——评杨秀芝、田美丽《身体·性别·欲望——20世纪八、九十年代　　小说中的女性身体叙事》　常　芳（233）　　马修·阿诺德在中国的译介与研究述评　吕佩爱（236）　　文心所寄，如切如磋——《文学创作论》编后记　宋　焱（241）　　2000年以后国内外关于《洛丽塔》的研究综述　李　莹（243）　　“期刊编辑与中外文学史的构成”研讨会综述　刘玉杰（251）　　爱在青山白云间——评赵文“人本主义”现代诗　居　北（255）

帮忙找美国文学评论~谢谢了

　　The Last of the Mohicans is set in upstate New York, in the area bordering Canada, during the French and Indian War in the mid- eighteenth century. The setting changes rapidly from one scene to another throughout the novel, moving from Fort Edward to the wilderness around Lake George to Fort William Henry to Indian settlements.
　　Protagonists
　　In The Last of the Mohicans, no single person can be identified as the protagonist, not even the actual last of the Mohicans, Uncas. It is rather the entire party of good characters. Duncan, Hawkeye, Cora, Alice, Uncas, Chingachgook and even David have all the characteristics of heroes. They are brave, practical, and very loyal. They face many hardships, yet remain determined and firm. They fight their enemies with courage and shrewdness and that is why the entire group of these brave men and women can be termed as the protagonists.

　　Antagonist
　　The antagonist is none other than Magua. He is determined to take revenge on Munro by marrying his daughter Cora and making her his wife. He is extremely courageous and, despite many setbacks, continues to attack the protagonists. He is a man who is not loyal to anybody. When he does pledge his loyalty to any side, it is purely for his own selfish reasons. He uses his remarkable oratory skills to whip up the passions of his people, but he does so in order to serve his own purposes.

　　Climax
　　The climax of The Last of the Mohicans occurs in Chapter 32. After a fierce battle in which the protagonists and the Delawares defeat Magua and the Hurons, Magua and two of his men escape with Cora and are tracked to the edge of a cliff. Cora refuses to continue on, and Magua demands that she choose between his wigwam and his knife. As he hesitantly raises the blade, Uncas leaps at him. Meanwhile, a Huron stabs Cora in the bosom, Uncas kills Cora's assailant before being killed by Magua. Magua leaps away, jumping from one cliff to another and mocking his enemies. He loses his step and nearly falls off one cliff, but manages to hang onto a shrub on its edge. Just as he is recovering, however, Hawkeye raises the muzzle of his gun and shoots Magua, who slips to his death.

　　Outcome
　　The outcome is tragic, for although the treacherous Magua is vanquished by Hawkeye, both Cora and Uncas die. Cora is killed by her assailant and Uncas, the last of the Mohicans, is killed by the evil Magua.

　　PLOT (Synopsis)
　　The Last of the Mohicans is an action packed, romantic and adventurous drama, set during the peak of the French and Indian War in America. The English had managed to vanquish most of the native Indians, but there were still some tribes who attempted to maintain their independence. After setting the scene, Cooper begins the story proper. Cora and Alice, Commander Munro's daughters, are escorted by Major Duncan Heyward out of Fort Edward to visit their father at Fort William Henry. An Indian runner, Magua, acts as their guide, but treacherously leads them onto the wrong path. He wishes to capture the women and make one of them, Cora, his wife, in order to get revenge on Munro, who had previously mistreated him. In the course of their journey, they meet David Gamut, Hawkeye, Chingachgook and Uncas, the latter two being the only two survivors of the Mohican tribe. When Hawkeye identifies Magua as a possible traitor, Magua escapes into the forest. The party realizes that Magua will seek out his companions and search for them, and from then, the chase is on.

　　The entire plot then revolves around the clash between these two parties. The chase continues through picturesquely described forests, swirling waters, caves, and Indian villages. Magua chases the group and captures Duncan, Cora, Alice, and David. Uncas, Chingachgook, and Hawkeye rescue them and later unite the girls with their father. They then face the danger of the French, who have captured Fort William Henry. When the English women and children are being taken to safety, Magua strikes again. He kills all the women and children except Cora and Alice, whom he captures, along with David, who had been acting as their escort.

　　The men track Magua to a Huron settlement, where they find David. He is a prisoner of the Indians, but is allowed to wander freely as he is considered insane and harmless due to his continual singing of hymns. David leads Duncan to the village where Alice is imprisoned. She is supposed to marry an Indian brave, but is saved by Major Heyward, who dons Indian paint to disguise himself. Both are rescued by Hawkeye, who disguises himself as a bear. Duncan and Hawkeye tie up Magua and escape with Alice. After helping Duncan and Alice flee, Hawkeye returns to the village and with the help of David, rescues Uncas.

　　In the meantime, another Indian group, a village of Delawares, is holding Cora captive. Uncas and Hawkeye go to rescue her, but are captured. Magua goes to the tribe to retrieve the prisoners. His plans to capture Hawkeye and Uncas are foiled when it is revealed that Uncas is the last of the Mohicans and a lost chief of the tribe, but since by the laws of the tribe Cora is truly Magua's captive, he is allowed to take her away.
　　The Delawares and the protagonists, now joined by Munro and Chingachgook, follow, and a fierce battle ensues between them and the Hurons, whom they defeat. Magua escapes, but is trailed by Uncas, Hawkeye, David, and Duncan. Near a large cliff, Magua asks Cora to choose between being his wife and being killed by his knife. At this moment, Uncas manages to catch up with them. As Magua is momentarily distracted by Uncas, his companion stabs Cora. Uncas kills her assailant but is in turn stabbed and killed by Magua.
　　Hawkeye chases Magua, who leaps from one cliff to another. He soon misses his step and slips, but manages to clutch on to a shrub. Hawkeye shoots Magua, who falls to his death.
　　The next day the dead are mourned and praised, and Cora and Uncas are buried in an elaborate ceremony. Hawkeye tells Chingachgook that he is not alone, for he is still there with him. Tamenund laments the decline of the Indians and the death of the last of the Mohicans.
　　PLOT (Structure)

　　The Last of the Mohicans, written by James Fenimore Cooper, does not have a traditional plot structure, as the plot revolves around action. None of the characters are developed, for the tale is action-oriented.

　　In this novel, Cooper brings in his two favorite characters from the Leatherstocking tales, Natty Bumppo (Hawkeye) and Chingachgook, to play major roles in the book. However, both these characters are merely a part of the adventure saga and do not have the plot revolving around them. Uncas, the man after whom the book is named, also fits into the story as part of the action, though, again, he is not the center of the tale. Although the characters are brave and virtuous, they are not epic heroes, but ordinary mortals involved in an adventure saga. Action is the essence of the novel and the characters are merely incidental.

　　The plot is woven into a unique structure, in which there is spiraling action leading to a dramatic resolution, followed by a brief period of calm, after which the same chain of events takes place all over again. The action spreads over a number of chapters, culminating in a breathtaking climax in the penultimate chapter. The suspense is almost unbearable as it spirals to its zenith point, and then there is a brief respite comprising essentially of a single chapter describing the calm.
　　There are three progressive series of action or "chases" in the novel. The first starts almost from the Chapter 1 and builds through Chapter 11. The protagonists discover Magua's treachery and make a desperate attempt to escape from him and his associates. Cora, Alice and Duncan are captured, however. The climax of this chase takes place in Chapter 11, when Hawkeye and Uncas begin their rescue. This is followed by a period of strange calm. The second progressive action encompasses Magua's capture of Cora and Alice in Chapter 17 and continues through Chapter 25, when Alice is rescued. Peace takes place in Chapter 26. Chapter 27 deals again with the kidnapping of Cora, which leads to the climax in Chapter 32, in which both Cora and Uncas die. This definitively concludes the action.
　　THEMES
　　Major Theme
　　Heroism is the main theme of this book. In the native, wild, virginal country of America, where life is uncertain at all times, the characters stand out for their inherent bravery. Nearly all of the members of the group display astonishing levels of bravery in spite of all the hardships that they face.
　　Duncan Heyward acts as the protector of the women in their journey to meet their father. When he is urged by Cora to leave after the gunpowder has run out, he refuses and stays back with her and Alice. When the Hurons later trap him, he fights like a caged animal. Throughout the saga, he displays amazing levels of bravery, whether in the battles with the Hurons or protecting the women. When Uncas is trapped, he rushes to help him without giving any thought to his own life.
　　Hawkeye is more practical but nonetheless brave. He offers to lead the girls to their father and stays on till the very end to protect their lives. He stays calm when their gunpowder runs out, even though he knows that the Hurons will soon attack. At Cora's request, he leaves, not to flee but to get more gunpowder and possibly help. At every turn of the book, when Magua kidnaps some member of the group, Hawkeye immediately rushes to help. He also uses disguise to achieve his objective. For instance, he dresses as a bear when he goes to rescue Uncas from the Hurons.
　　Cora shines through as brave and courageous. She continually defies Magua and acts cool-headedly throughout the novel. She is admired for her actions by both Hawkeye and Uncas. While Alice often seems to have little to do but faint and be rescued, she does deal with her circumstances as best as she can within the confines of her role.
　　David Gamut displays bravery too, although for much of the book he is an object of ridicule. He takes the place of Uncas when the latter is being held prisoner and later takes part in the battle against the Hurons.
　　Chingachgook, though old, supports Hawkeye throughout the book. He too displays courage through the various clashes with the Hurons. But his heroism stands out especially in the last chapter of the book. Although he loses his son Uncas, he bears the loss with dignity and courage.
　　Uncas displays extreme courage throughout the novel, whether in battle or in rescuing the women. He looses his life trying to save Cora, but does so with such courage that the reader cannot help but marvel at his heroism.
　　In the hard frontier life that Cooper depicts, bravery appears as a matter of course. Men such as Hawkeye stand out as superheroes, and women such as Cora can boast of being made of the same mettle and strength.
　　Minor Theme
　　James Fenimore Cooper has woven the theme of romanticism into The Last of the Mohicans at several levels. In his description of the land, Cooper displays the spirit of a lover. Reams and reams of space have been filled in his book by his special love for the extraordinarily hard but beautiful life of the frontier. Indeed, Cooper so romanticizes this hard frontier life that it seems that the brutal destruction and killing of men does not hamper, but, in fact, enhances the joy of living this kind of life.
　　Romance among the characters also infuses a kind of subtle spirit to the general feeling of the book. Rather than emphasizing this aspect, however, Cooper willingly underplays it, teasing the reader with "wistful looks" and "longing sighs." While the feelings that Duncan and Alice have for each other are eventually made explicit, the relationships between the other characters are especially subtle. The reader can actually sense Uncas being drawn to Cora, or even Magua's strange and harsh desire for Cora. Indeed, Magua and Cora's relationship can almost termed as some kind of magnetic attraction, in which the players are equally attracted and repulsed.
　　Romanticism is a special theme added to enhance the ambience (atmosphere) of the book. It gives a very soft yet subtle touch to the happenings. Yet the undercurrents felt throughout the book are almost crackling with pent-up desires and longings. Between Cora and Uncas, this tension is most apparent. There is a vast difference in their backgrounds, yet there is a unique bond that brings them closer together. In life they cannot fulfill the spirit of romanticism -- nor the fictional conventions of the day -- but in death they bridge the gap.
　　STYLE
　　James Fenimore Cooper's style of writing is very picturesque. His language is vivid and straightforward without any overuse of similes or metaphors. His colorful descriptions add to the varied hues in The Last of the Mohicans. Cooper also has a very keen eye for detail.
　　In the beginning of the book, Cooper starts out describing the characters in the third person and at a distance. He even delays in giving their names. As the book a progress, the author starts addressing his characters more familiarly.
　　Cooper's style of writing is direct, almost as if he is addressing or talking to the readers personally. Though Cooper's language is very simple and direct without any obvious symbolism, his sentences are generally long. They are usually very descriptive, filled with adjectives and adverbs, creating definite visual imagery throughout the novel.