《當(dāng)代西方文論（第2版）》的特點是內(nèi)容新穎，資料翔實，理論與實踐相結(jié)合，實用性強(qiáng)，層次、條理分明，對于從事文藝?yán)碚�、文藝批評研究的專業(yè)工作者也有重要參考價值。
Introduction
What Is Literary Theory
What Is Literary Criticism
Chapter 1 The History of Westem Literary Theory and Criticism
Classical Criticism
Neoclassical Criticism
Romantic Criticism
Modem Criticism
Chapter 2 RussianFormalism
Introduction
General Principles
Major Formalist Critics
Formalist Approach to Poetry and Prose
What Russian Formalists Do
Russian Formalism in Practice
A Question for Further Practice
Reading
Chapter 3 New Cnticism
Introduction
General Principles
Major New Critics
What New Critics Do
New Criticism in Practice
Questions for Further Practice
Reading
Chapter 4 Psychoanalytic Criticism
Introduction
Freudian Criticism
What Freudian Psychoanalytic Critics Do
Freudian Psychoanalytic Criticism in Practice
Lacanian Criticism
What Lacanian Critics Do
Lacanian Criticism in Practice
Carl G Jung （1875-1961）
Questions for Further Practice
Reading
Chapter 5 Marxist Criticism
Fundamental Premises of Marxism
General Principles
Major Marxist Critics
What Marxist Critics Do
Marxist Criticism in Practice
Questions for Further Practice
Reading
Chapter 6 Reader-Response Criticism
General Introduction and Principles
Major Reader-Response Critics
Some Approaches of Reader-Response Criticism
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Chapter 7 Structuralism
Chapter 8 Poststructuralism and Deconstruction
Chapter 9 New Historical and Cultural Criticism
Chapter 10 Feminist Criticism
Chapter 11 Queer Theory and Criticism
Chapter 12 Postcolonial Criticism
Selected References
The novels which are most fruitful for the psychologist are those in which the author has not already given a psychological interpretation of his characters， and which therefore leave room for analysis and explanation， or even invite it by their mode of presentation. Good examples of this kind of writing are the novels of Benoit， and English fiction in the manner of Rider Haggard， including the vein exploited by Conan Doyle which yields that most cherished article of mass-production， the detective story. Melville's Moby Dick， which I consider the greatest American novel， also comes with in this class of writings. An exciting narrative that is apparently quite devoid of psychological exposition is just what interests the psychologist most of all. Such a tale is built upon a ground work of implicit psychological assumptions， and， in the measure that the author is unconscious of them， they reveal themselves， pure and unalloyed， to the critical discernment. In the psychological novel， on the other hand， the author himself attempts to reshape his material so as to raise it from the level of crude contingency to that of psychological exposition and illumination-a procedure which all too often clouds the psychological significance of the work or hides it from view. It is precisely to novels of this sort that the layman goes for "psychology"; while it is novels of the other kind that challenge the psychologist，for he alone can give them deeper meaning.
I have been speaking in terms of the novel， but I am dealing with a psychological fact which is not restricted to this particular form of literary art. We meet with it in the works of the poets as well， and are confronted with it when we compare the first and second parts of the Faust drama， The love-tragedy of Gretchen explains itself; there is nothing that the psychologist can add to it that the poet has not already said in better words， The second part， on the other hand，calls for explanation. The prodigious richness of the imaginative material has so overtaxed the poet's formative powers that nothing is self-explanatory and every verse adds to the reader's need of an interpretation. The two parts of Faust illustrate by way of extremes this psychological distinction between works of literature.
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