高级英语(上册)(超越概念——高等院校英语专业系列教材)

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《超越概念·高级英语(上册)》：高等院校英语专业系列教材

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Screen fiction is intense on account of its immediacy and ephemeral in terms ofeffect: it captivates us and then releases us almost instantly. Literary fiction holds uscaptive for life. To say that the works of the authors I have mentioned are entertainingwould be to insult them. For, while they are usually read in a state of high excitement,the most important effect of a good book is in the aftermath, its ability to fire memoryover time. The afterglow is still alive within me because without the books I have read,I would not be who I am, for better or worse, nor would I believe what I believe, withall the doubts and certainties that keep me going. Those books shaped me, changedme, made me. And they still keep on changing me, in step with the life I measure themagainst. In those books I learned that the world is in bad shape and that it will always beso——-which is no reason to refrain from doing whatever we can to keep it from gettingworse. They taught me that in all our diversity of cultures, races and beliefs, as fellowactors in the human comedy, we deserve equal respect. They also taught me why weso rarely get it. There is nothing like good literature to help us detect the roots of thecruelty human beings can unleash.Without a committed literature it will become even more difficult to contain allthose outbreaks of war, genocide, ethnic and religious strife, refugee displacement andterrorist activity, which threaten to multiply and which have already smashed the hopesraised by the collapse of the Berlin Wall. The stupor with which the EU witnessed theBalkan tragedy——200,000 dead and ethnic cleansing now legitimized by electionsmprovides dramatic evidence for the need to rouse the lethargic collective will from thecomplacency which holds it down. Removing blindfolds, expressing indignation in theface of injustice and demonstrating that there is room for hope under the most tryingcircumstances, are all things literature has been good at, even though it has occasionallybeen mistaken in its targets and defended the indefensible.The written word has a special responsibility to do these things because it is betterat telling the truth than any audiovisual medium. These media are by their naturecondemned to skate over the surface of things and are much more constrained in theirfreedom of expression. The phenomenal sophistication with which news bulletins cannowadays transport us to the epicentre of events on all five continents has turned usall into voyeurs and the whole world into one vast theatre, or more precisely into amovie. Audiovisual information——so transient, so striking and so superficial——makes ussee history as fiction, distancing us by concealing the causes and context behind thesequence of events that are so vividly portrayed. This condemns us to a state of passiveacceptance, moral insensibility and psychological inertia similar to that inspired bytelevision fiction and other programs whose only purpose is to entertain.

作者简介

编者：张勇先 王晓露 （美国）陈融 等 丛书主编：何其莘 （美国）杨孝明何其莘，博士，北京外国语大学教授，博士生导师。1994年——2005年任北外副校长，现为中国人民大学外国语学院院长、清华大学双聘教授、广东外语外贸大学等29所院校的客座教授、教育部高校英语专业教学指导委员会主任、全国翻译硕士专业学位教育指导委员会副主任、全国英国文学学会会长、全国有突出贡献的中青年专家。主要成果包括：Listen to This，《新概念英语》，《文化透视英语教程》，《英国文艺复兴时期文学史》，《英国戏剧史》，《英国中古时期文学史》，《中国学者眼中的英国文学》等。杨孝明，博士，教授。毕业于西安外国语大学，后获英国诺丁汉大学英语硕士学位、美国鲍陵格林州立大学英语博士学位。在俄亥俄州鲍陵格林州立大学和新泽西州海洋郡学院任教二十余年，教授英文写作、英美文学和语言学等课程，现为新泽西州海洋郡学院英语系终身教授。主要成果包括：The Rhetoric of Propaganda，Error of Creativity A Hundred Flowers Blossoming，《中国式英语错误分析》，《文学批评理论的运用》等。