隐喻与反讽的诗学
摘要
对美国新批评家克林斯·布鲁克斯来说，隐喻和反讽是两个非常重要的概念。
20世纪初，随着美国南北战争和一战的爆发，人类社会面临着前所未有的冲击和震荡。资本主义工业文明在改善社会生活的同时也取代了传统社会的价值观，人类在走向专业化和现代化的同时也成为被异化的动物。人们发现，他们面对这个世界的认知只能通过逻辑理性和科学法则，而逻辑是抽象的、科学也是有限的，它们显然不能处理所有的人类经验，就这样，西方世界和西方人的生活都分崩离析了。如何恢复自身的完整，回到那个感受力统一的世界，新批评家们提出了各自的看法。
兰瑟姆提出通过“意象”重新组织人类经验，因为意象比科学更为具体和生动可感，他的弟子布鲁克斯更进一步，提出将隐喻作为一种诗歌语言，诗人通过隐喻将意象呈现在文本之间，因此他们在诗歌创作时要重视奇思妙喻、机智的运用、想象力和幻想的结合、喻体和被喻体的异质性以及诗歌的张力。
布鲁克斯意识到，隐喻的使用脱离不开语境，在上下文的限定与修正作用下，被喻体和喻体并不是总能保持一对一的对应关系，它有时难免会偏离喻体，或者与喻体背道而驰，截然对立，这样就必然会造成一个结果，即诗人所讲的与其本意似是而非或似非而是，于是，悖论和反讽就不可避免地出现了。
由此，我们可以这样总结布鲁克斯的文学批评：隐喻是一种诗歌语言方式，而反讽是一种诗歌结构原则。诗人通过二者，将生动可感的意象呈现在读者面前，将最大量的诗歌经验传达给被科学理性占据头脑的读者，进而恢复感受力的统一。
Cleanth Brooks (1906-1994) is the most active and well-published academic inthe American New Critics. Not only writing books but also teaching practice, hiscontribution to promote the New Criticism, leaving his way ahead of other New Critics.This dissertation is focused on irony, which observes the source, the formation and thepractice of his theory. Generally, it is composed of the parts of the preface, the bodyand the epilogue. The specific contents as follows:
The preface starts from the life experience of Cleanth Brooks, leading to adiscovery of the internal and external factors, including the religious background, theeconomic and political atmosphere, the encounter with his respected teacher Ransom,the knowing with his bosom friend Warren, and the transfer of personal interest. In thesecond part of preface, it states the values, research status and design of this subject, onthis basis, it points out domestic scholars tend to consider Brooks as a member of theAmerican New Critics, an academic monograph has not been written yet. Besides themisunderstanding of his ironic poetry, domestic scholars usually focus on his mid-termcareer, hence overlook his later theory. For these problems, a chronological narrationof Brooks and a general overview of his terms have been presented through the closereading method. Take all these into consideration, the textual research way of thinkingis regarding the irony as a key word, concerning on the main points, drawing upoverall features of the issue, to clear up the misunderstanding and provides a genuinereflection and reconsideration of Cleanth Brooks’s ironic poetics.
This chapter traces the sources and background of Brooks’s ironic poetics. Firstly,it goes backward into his live background, as a conventional letter who born and growup in the South; his criticism must be influenced by the literary and culture there. withthe destroy of the pastoral ideal home by Scientific and industrial, and the impurity andembarrassment of reality, the sensibility unified world fall apart, at this moment,Cleanth Brooks put forward his own theory in order to save the whole literary tradition of western side and retrieve the lost faith. As the souce of his theory, the paper talksabout the German romantic tradition, such as the unity of opposites, the principle ofconsidering everything as ironic, and the supreme value of literature.
This chapter analyzes the relationship between Brooks and the New Criticism,especially the American New Criticism, including wit of T. S. Eliot, inclusive poetry ofI.A. Richards, and the Ambiguity by William Empson.
This chapter concretely analyzes the theoretical structure of Brooks’s ironicpoetics, which is woven with three aspects, as follows: the language theory, thestructure theory and the functional theory. In the aspect of language theory, Brooksreveals that the language, with the express qualification, uncertainty has ontologicalsignificance. Meanwhile, the poetry, with the most human experience, shows a perfectworld which infinite close to the truth. In the aspect of structure theory, as he writes,the dramatic principle, the organism and ironic poetics explain the structure of poetry.As he said, the text is a net with internal equilibrium. Through the details of paradox,irony and ambiguity, the poets achieve the effect of wonder and shock, and then showthe final meaning via conflicts of inharmonious factors.
This chapter analyzes the practice of Brooks’s poetic criticism. His criticism hasdistinct pertinence, with the focus on the metaphysical poets in17th century andBritish and American modernist poets in20th century, especially John Donne, AndrewMarvell and Robert Frost, Eliot and John Keats. From his poetic critical practices, itcan be seen that Brooks is rooted in the structure of literature and value of aesthetics,and pay attention on the poetry itself rather than poets or even readers. So the poetrywhich are full of metaphors and dramatic plots are been well liked by Brooks.Generally, there are two characters of his poetic criticism: the impact of metaphoricalor symbolical language on structure, and how the poetry shows the knowledge ofparticularity and commonality through ironic structure. Finally, Brooks’s criticalpractice and poetic theory correspond with each other soundly: criticism gainssufficient theoretical supports, and poetic theory is well examined and flexibly appliedin criticism, and thus the two aspects are combined into a lively, complete while opensystem of ironic poetry.
This chapter explains the enlightenments of Brooks’s criticism from the angles ofaesthetics and reality. We should take irony as an attitude of poetry is rather than a setof specified principles and methods. On one hand, the principles of Brooks could deepen the feelings of metaphors and the experience of organic unity on the aspect ofaesthetics, the other hand, it contributes to explore that when the words add words, thesentences add sentences, the paragraphs add paragraphs, and the reasons they are sovivid and attractive in the text after organized by irony as a structure. With suchthinking, the readers could find the narration hidden in the text, grasp the experience ofopposite sides, and then have a better understand of the world.
Finally, the dissertation summarizes the essential principles of Cleanth Brooks’scriticism: the object of literary criticism is the structure, and the structure is the organic,the irony is the principles of this structure, the metaphor is the technique of language.Though the structure and language, the text could provides a more complicated,mysterious and ambiguous reality.
20世纪初，随着美国南北战争和一战的爆发，人类社会面临着前所未有的冲击和震荡。资本主义工业文明在改善社会生活的同时也取代了传统社会的价值观，人类在走向专业化和现代化的同时也成为被异化的动物。人们发现，他们面对这个世界的认知只能通过逻辑理性和科学法则，而逻辑是抽象的、科学也是有限的，它们显然不能处理所有的人类经验，就这样，西方世界和西方人的生活都分崩离析了。如何恢复自身的完整，回到那个感受力统一的世界，新批评家们提出了各自的看法。
兰瑟姆提出通过“意象”重新组织人类经验，因为意象比科学更为具体和生动可感，他的弟子布鲁克斯更进一步，提出将隐喻作为一种诗歌语言，诗人通过隐喻将意象呈现在文本之间，因此他们在诗歌创作时要重视奇思妙喻、机智的运用、想象力和幻想的结合、喻体和被喻体的异质性以及诗歌的张力。
布鲁克斯意识到，隐喻的使用脱离不开语境，在上下文的限定与修正作用下，被喻体和喻体并不是总能保持一对一的对应关系，它有时难免会偏离喻体，或者与喻体背道而驰，截然对立，这样就必然会造成一个结果，即诗人所讲的与其本意似是而非或似非而是，于是，悖论和反讽就不可避免地出现了。
由此，我们可以这样总结布鲁克斯的文学批评：隐喻是一种诗歌语言方式，而反讽是一种诗歌结构原则。诗人通过二者，将生动可感的意象呈现在读者面前，将最大量的诗歌经验传达给被科学理性占据头脑的读者，进而恢复感受力的统一。
Cleanth Brooks (1906-1994) is the most active and well-published academic inthe American New Critics. Not only writing books but also teaching practice, hiscontribution to promote the New Criticism, leaving his way ahead of other New Critics.This dissertation is focused on irony, which observes the source, the formation and thepractice of his theory. Generally, it is composed of the parts of the preface, the bodyand the epilogue. The specific contents as follows:
The preface starts from the life experience of Cleanth Brooks, leading to adiscovery of the internal and external factors, including the religious background, theeconomic and political atmosphere, the encounter with his respected teacher Ransom,the knowing with his bosom friend Warren, and the transfer of personal interest. In thesecond part of preface, it states the values, research status and design of this subject, onthis basis, it points out domestic scholars tend to consider Brooks as a member of theAmerican New Critics, an academic monograph has not been written yet. Besides themisunderstanding of his ironic poetry, domestic scholars usually focus on his mid-termcareer, hence overlook his later theory. For these problems, a chronological narrationof Brooks and a general overview of his terms have been presented through the closereading method. Take all these into consideration, the textual research way of thinkingis regarding the irony as a key word, concerning on the main points, drawing upoverall features of the issue, to clear up the misunderstanding and provides a genuinereflection and reconsideration of Cleanth Brooks’s ironic poetics.
This chapter traces the sources and background of Brooks’s ironic poetics. Firstly,it goes backward into his live background, as a conventional letter who born and growup in the South; his criticism must be influenced by the literary and culture there. withthe destroy of the pastoral ideal home by Scientific and industrial, and the impurity andembarrassment of reality, the sensibility unified world fall apart, at this moment,Cleanth Brooks put forward his own theory in order to save the whole literary tradition of western side and retrieve the lost faith. As the souce of his theory, the paper talksabout the German romantic tradition, such as the unity of opposites, the principle ofconsidering everything as ironic, and the supreme value of literature.
This chapter analyzes the relationship between Brooks and the New Criticism,especially the American New Criticism, including wit of T. S. Eliot, inclusive poetry ofI.A. Richards, and the Ambiguity by William Empson.
This chapter concretely analyzes the theoretical structure of Brooks’s ironicpoetics, which is woven with three aspects, as follows: the language theory, thestructure theory and the functional theory. In the aspect of language theory, Brooksreveals that the language, with the express qualification, uncertainty has ontologicalsignificance. Meanwhile, the poetry, with the most human experience, shows a perfectworld which infinite close to the truth. In the aspect of structure theory, as he writes,the dramatic principle, the organism and ironic poetics explain the structure of poetry.As he said, the text is a net with internal equilibrium. Through the details of paradox,irony and ambiguity, the poets achieve the effect of wonder and shock, and then showthe final meaning via conflicts of inharmonious factors.
This chapter analyzes the practice of Brooks’s poetic criticism. His criticism hasdistinct pertinence, with the focus on the metaphysical poets in17th century andBritish and American modernist poets in20th century, especially John Donne, AndrewMarvell and Robert Frost, Eliot and John Keats. From his poetic critical practices, itcan be seen that Brooks is rooted in the structure of literature and value of aesthetics,and pay attention on the poetry itself rather than poets or even readers. So the poetrywhich are full of metaphors and dramatic plots are been well liked by Brooks.Generally, there are two characters of his poetic criticism: the impact of metaphoricalor symbolical language on structure, and how the poetry shows the knowledge ofparticularity and commonality through ironic structure. Finally, Brooks’s criticalpractice and poetic theory correspond with each other soundly: criticism gainssufficient theoretical supports, and poetic theory is well examined and flexibly appliedin criticism, and thus the two aspects are combined into a lively, complete while opensystem of ironic poetry.
This chapter explains the enlightenments of Brooks’s criticism from the angles ofaesthetics and reality. We should take irony as an attitude of poetry is rather than a setof specified principles and methods. On one hand, the principles of Brooks could deepen the feelings of metaphors and the experience of organic unity on the aspect ofaesthetics, the other hand, it contributes to explore that when the words add words, thesentences add sentences, the paragraphs add paragraphs, and the reasons they are sovivid and attractive in the text after organized by irony as a structure. With suchthinking, the readers could find the narration hidden in the text, grasp the experience ofopposite sides, and then have a better understand of the world.
Finally, the dissertation summarizes the essential principles of Cleanth Brooks’scriticism: the object of literary criticism is the structure, and the structure is the organic,the irony is the principles of this structure, the metaphor is the technique of language.Though the structure and language, the text could provides a more complicated,mysterious and ambiguous reality.
引文
1Cleanth Brooks, Community, Religion, and Literature, University of Missouri Press,1995, pp.146-147.
1Cleanth Brooks, Community, Religion, and Literature, University of Missouri Press,1995, pp.146-147.
2Mark Royden Winchell, Cleanth Brooks and the Rise of Modern Criticism, University of Virginia Press,1996,p.33.
3Cleanth Brooks, Community, Religion, and Literature, University of Missouri Press,1995, p.149.
泰特等人编辑出版了“重农派”的第二部论文集《谁占有美国?》(1936)。
1沃尔顿·利茨：《美国当代文学》，董衡巽译，见史亮编《新批评——20世纪西方文学批评丛书》，四川文艺出版社，1989年，第295页。
1该章节以最早发表于1941年，后收录于《精致的瓮》。
2布鲁克斯：《悖论语言》，赵毅衡译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第313页。
3此文于1948年同时发表于The English Journal, Vol.37, No.2(Feb.,1948), pp.57-63.后由Zabel编入LiteraryOpinion in American(1951年修订版)时，又改名为Irony as a Principle of Structure，中译名为《反讽——一种结构性原则》，并先后收入各种文集。
4布鲁克斯：《反讽——一种结构性原则》，袁可嘉译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第335页。
1罗里·赖安，苏珊·范·齐尔：《当代西方文学理论导引》，李敏儒等译，四川文艺出版社，1986年。
2雷纳·韦勒克：《近代文学批评史》，杨自伍译，上海译文出版社，2009年。
3莫瑞·克里格：《批评旅途：六十年代之后》，李自修等译，中国社会科学出版社，1998。
4拉曼·塞尔登：《文学批评理论：从柏拉图到现在》，刘象愚、陈永国译，北京大学出版社，2000年。
5保罗·德曼：《美国新批评的形式与意向》，《外国文学》，2001年，第2期。
1萨科文·伯科维奇：《剑桥美国文学史》（第八卷），杨仁敬等译，中央编译出版社，2008年。
2史亮：《新批评》，四川文艺出版社，1989年。
3李卫华：《价值评判与文本细读——“新批评”之文学评判理论研究》，中国社会科学出版社，2006年。
4赵毅衡：《重访新批评》，百花文艺出版社，2009年。
5雷纳·韦勒克：《近代文学批评史》（第五卷·导论），杨自伍译，上海译文出版社，2009年，第13页。
1吴兴华：《现代诗与传统》，《西洋文学》，1940年，第4期。
2程亚林：《布鲁克斯和“精致的瓮”及“硬汉”》，《读书》，1992年，第12期。
3蒋道超，李平：《克林斯·布鲁克斯的反讽诗学》，《外国文学评论》，1993年，第2期。
4李嘉娜：《重审布鲁克斯的“反讽”批评》，《外国文学评论》，2008年，第1期。
1Robert Penn Warren,“A Conversation with Cleanth Brooks”, in Simpson ed., The Possibilities of Order, vol.124,pp.3-4.
2Cleanth Brooks,“Regionalism in American Literature”, in The Journal of Southern History, vol.26, No.,1(Feb.,1960), p.35.
1Cleanth Brooks, Southern Literature: the Wellsprings of Its Vitality,转引自Grant Webster, The Republic ofLetters: A History of Postwar American Literary Opinion, The Johns Hopkins University Press,1979, pp.88-89.
1Lewis P. Simpson, ed., the Possibilities of Order: Cleanth Brooks and His Work, Louisiana State University Press,1976, p.69.
2Cleanth Brooks,“Regionalism in American Literature”, in The Journal of Southern History, vol.26, No.1(Feb.,1960), p.40.
3Grant Webster, The Republic of Letters: A History of Postwar American Literary Opinion, The Johns HopkinsUniversity Press,1979, p.101.
4布鲁克斯：《乡下人福克纳》，陆凡译，见李文俊编：《福克纳的神话》，，上海译文出版社，2008年，第211页。（注：本文系《威廉·福克纳：约克纳帕塔法县镇》的第一章。）
1转引自刘小枫：《诗化哲学》，华东师范大学出版社，2011年，第15页。
2同上，第16页。
3同上，第40页。
1Willam K. Wimsatt&Cleanth Brooks, Literary Criticism: A Short History, Knopf,1957, p.601.
2弗雷德·弗兰克：《德国早期浪漫主义美学导论》，聂军等译，吉林人民出版社，2006年，第323页。
1Ernst Behler, Irony and the Discourse, University of Washington Press,1990, pp.77-78.
1李伯杰：《弗·施莱格尔的“浪漫反讽”说初探》，见《外国文学评论》，1993年，第1期，第19-20页。
2李永平：《通向永恒之路》，见《外国文学评论》，1999年，第1期，第119页。
1Willam K. Wimsatt&Cleanth Brooks, Literary Criticism: A Short History, Knopf,1957, p.747.
1兰瑟姆：《新批评·前言》，王腊宝，张哲译，江苏教育出版社，2006年，第3页。
2同上，第4页。
1赵毅衡：《重访新批评》，百花文艺出版社，2009年，第4-8页。
2同上，第9页。
3Vincent B. Leitch, American Literary Criticism from the Thirties to the Eighties, Columbia University Press,1988, p.25.
4魏曼：《“新批评”和资产阶级文学批评的发展》，韩耀成译，见赵毅衡编选《“新批评”文集》，中国社会科学院出版社，1988年，第570页。
1W.K. Wimsatt＆M.C. Beardsley,“The Affective Fallacy”, in W.K. Wimsatt, The Verbal Icon, University ofKentucky Press,1954, p.21.
1布鲁克斯：《形式主义批评家》，龚文祥译，见赵毅衡编选《“新批评”文集》，中国社会科学院出版社，1988年，第212页。
1布鲁克斯：《形式主义批评家》，龚文祥译，见赵毅衡编选《“新批评”文集》，中国社会科学院出版社，1988年，第486-487页。
2沃尔顿·利茨：《当代美国文学》，董衡巽译，见史亮编《新批评》，四川文艺出版社，1989年，第292页。
1Frank Lentricchia, After the New Criticism, Methuen,1983, p.ⅹⅲ.
2Vincent B. Leitch, American Literary Criticism from the Thirties to the Eighties, Columbia University Press,1988, p.26.
3Paul A. Bove,“Cleanth Brooks and Modern Irony: A Kierkegaardian Critique”, in Boundary, Vo1.4, No.3(Spring,1976), p.728.
4William J. Spurlin and Michael Fischer, The New Criticism and Contemporary Literary Theory: Connections andContinuities, Garland Publishing, Inc.,1995.
1Paul de Man,“Semiology and Rhetoric”, in Allegories of Reading: Figural Language in Rousseau, Nietzsche,Rilke, and Proust, Yale University Press,1979, p.4.
2Shuli Barzilai and Morton W. Bloomfield,“New Criticism and Deconstructive Criticism, Or What's New?” inNew Literary History, Vol.18, No.1, Studies in Historical Change.(Autumn,1986), p.151.
3Ibid., p.153.
1Jewel Spears Brooker,“In Conclusion: Literature and Culture in the Last Essays of Cleanth Brooks”, in SouthAtlantic Review, Vol.60, No.4(Nov.,1995), pp.129-136.
1休姆：《浪漫主义与古典主义》，刘若端译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第17页。
2同上，第22页。
3Lewis P. Simpson, ed., The Possibilities of Order: Cleanth Brooks and His Work, Louisiana State UniversityPress,1976, pp.19-20.
4艾略特：《批评批评家》，见《艾略特文集论文》，李赋宁，杨自伍等译，上海译文出版社，2012年，第16页。
1艾略特：《传统与个人才能》，见《艾略特文集论文》，卞之琳，李赋宁等译，上海译文出版社，2012年，第11页。
2同上，第8页。
1艾略特：《批评批评家》，见《艾略特文集论文》，李赋宁，杨自伍等译，上海译文出版社，2012年，第153页。
2Cleanth Brooks,“T.S. Eliot: The Thinker and Artist”, in Praising it New: the Best of the New Criticism. Garricked., Ohio University Press,2008, p.248.
3Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.1947, p.211.
1艾略特：《哈姆雷特》，见《艾略特文集论文》，卞之琳，李赋宁等译，上海译文出版社，2012年，第180页。
2布鲁克斯：《反讽——一种结构原则》，袁可嘉译，见赵毅衡编选选《“新批评”文集》，中国社会科学出版社，1988年，第334页。
1艾略特：《玄学派诗人》，裘小龙译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第34页。
2同上，第42页。
3Cleanth Brooks, A Shaping Joy: Studies in the Writers’ Craft, Harcourt, Brace＆World, Inc.,1971, p.331.
4Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, pp.11-12.
5William Barrett, A Present Tendency in American Criticism, in The Kenyon Review,1949, Winter, No. l, Vo1.ⅹⅰ,p.2.
1兰瑟姆：《新批评》，王腊宝，张哲译，江苏教育出版社，2006年，第3页。
1I. A. Richards, Principles of Literature Criticism, Routledge and Kegan Paul,1924, p.267.
2注：亚历山大·塞尔凯克是一名苏格兰水手，鲁滨逊的原型。
3I. A. Richards, Principles of Literature Criticism, Routledge and Kegan Paul,1924, p.212.
4兰瑟姆：《新批评》，王腊宝，张哲译，江苏教育出版社，2006年，第192页。
1Cleanth Brooks, Community, Religion, and Literature, University of Missouri Press,1995, p.426.
1雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第344页。
2Matthew Arnold,“The Study of Poetry”, in M.H. Abrams ed., The Norton Anthology of English Literature, vol.2,W.W. Norton&Company,Inc.,1962,p.948.
3Willam K. Wimsatt&Cleanth Brooks, Literary Criticism: A Short History, Knopf,1957, p.449.
4雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第344页。
5Cleanth Brooks,“The Primacy of the Author”, in Community, Religion, and Literature, University of MissouriPress,1995, p.174.
6雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第335页。
1I. A. Richards, The Philosophy of Rhetoric, Oxford University Press,1936, p.40.
1泰特：《论诗的张力》，姚奔译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第116-117页。
2雷纳·韦勒克：《近代文学批评史》（第五卷），杨自伍译，上海译文出版社，2009年，第394页。
3Mark Royden Winchell, Cleanth Brooks and the Rise of Modern Criticism, University Press of Virginia,1996,p.115.
1兰瑟姆：《诗歌：本体论札记》，蒋一平译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第50页。
1兰瑟姆：《诗歌：本体论札记》，蒋一平译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第49-50页。
2同上，第60页。
1注：该诗所选片段，若无特殊说明，均为卞之琳译。
2兰瑟姆：《诗歌：本体论札记》，蒋一平译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第63页。
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.11.
2Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.193.
1John Crowe Ransom, Selected Letters of John Crown Ransom, Thomas Daniel Young and George Core ed.,Louisiana State University Press,1985, p.233.
2Mark Royden Winchell, Cleanth Brooks and the Rise of Modern Criticism, University Press of Virginia,1996,p.104.
3Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.13.
1C.T.Lndra,“Cleanth Brooks on Metaphor and Cognition in Poetry”, in R.S. Singh ed., Cleanth Brooks: HisCritical Formation, Harman Publishing House,1991, p.83.
2Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.16.
3布鲁克斯：《反讽——一种结构原则》，袁可嘉译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第377页。
1兰瑟姆：《新批评》，王腊宝，张哲译，江苏教育出版社，第193页。
1Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.11.
1Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.17.
2Ibid., p.3.
1华兹华斯：《抒情歌谣集1815年版序言》，曹葆华译，见刘若端编《十九世纪英国诗人论诗》，人民文学出版社，1984年，第49页。
2同上。
3Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.5.
1柯勒律治：《文学生涯》（第十三章），刘若端译，见刘若端编《十九世纪英国诗人论诗》，人民文学出版社，1984年，第61-62页
1Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.7.
2Ibid., p.45.
1兰瑟姆：《新批评》，王腊宝，张哲译，江苏教育出版社，第56页。
2T.S. Eliot, Andrew Marvell, in Selected Essays, Faber and Faber Limited,1932, p.293.
3Ibid., p.296.
4Ibid.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.9.
2Ibid., p.193.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.195.
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.13.
3赵毅衡：《重访新批评》，百花文艺出版社，2009年，第69页。
4Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, pp.203-204.
1T. S. Eliot,“the Metaphysical Poets”, in Selected Essays, Faber and Faber Press,1932, p.289.
2Cleanth Brooks,“Irony as a Principle of Structure”, in Hazard Adams ed., Critical Theory Since Plato, Harcourt,Brace Jovanovich, Inc.,1971, p.1043.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.195.
2Ibid., pp.206-207.
1布鲁克斯：《形式主义批评家》，龚文庠译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第487页。
2同上。
3C.T. Indra,“Cleanth Brooks on Metaphor and Cognition in Poetry”, inR.S.Singh ed., Cleanth Brooks: HisCritical Formulations, Harman Publishing House,1991, p.83.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World,1947, p.206.
2雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第374页。
3注：“irony”一词，赵毅衡译为“反讽”，杨自伍译为“滑稽或讽刺”，朱光潜译为“滑稽或暗讽”，刘象愚译为“嘲讽或冷嘲”，为统一行文，本文涉及此词时，皆译为“反讽”。
4Jonathan Tittler,“Approximately Irony”, in Modern Studies,1985, Vol.15, p.32.
1Willam K. Wimsatt&Cleanth Brooks, Literary Criticism: A Short History, Knopf,1957, p.747.
2布鲁克斯：《反讽——一种结构原则》，袁可嘉译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第335页。
3同上，第337页。
1注：“wit”一词，赵毅衡译为“理趣”，李赋宁译为“才气”，颜元叔、杨自伍、王恩衷译为“机智”，裘小龙译为“巧智”。为统一行文，本文涉及此词时，皆译作“机智”。
2艾略特：《安德鲁·马伏尔》，李赋宁译，见《艾略特文学论文集》，李赋宁译，百花文艺出版社，1994年，第46页。
3理查兹：《文学批评原理》，杨自伍译，百花洲文艺出版社，1992年，弟227页。
4赵毅衡：《重访新批评》，百花文艺出版社，2009年，第159页。
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.5.
2柯勒律治：《文学生涯》，刘若端译，见刘若端编选:《十九世纪英国诗人论诗》，人民文学出版社，1984年，第63页。
1Cleanth Brooks,“Irony and ‘Ironic’ Poetry”, in College English, Vol.9, No.5(Feb.,1948), pp.233. NationalCouncil of Teachers of English.
1雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第331页。
1David Lodge,20thCentury Literary Criticism: A Reader, Longman,1972, p.291.
2沃尔顿·利茨：《美国当代文学》，董衡巽译，见史亮编《新批评——20世纪西方文学批评丛书》，四川文艺出版社，1989年，第295页。
1雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第338页。
2同上。
3Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.1947, p.22.
4Ibid., p.23.
1注：关于莎士比亚的评价和生平介绍，可以参阅：哈罗德·布鲁姆：《西方正典》，江宁康译，译林出版社，2011年，第35-58页。另有，斯蒂芬·格林布拉特：《俗世威尔》，辜正坤译，北京大学出版社，2007年。
2Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.1947, p.24.
3注：image在文学理论术语中，一种观点认为它是“意象”，即“意中之象”，意味着名物处于抒情主体的观照中，是对象化了的知觉呈现，这是一个意识层面上的概念；一种观点认为它是“语象”，即“语言之中的象”，它只呈示自身，不表明任何与己无关的意义或事物，这是一个语言层面上的概念。（见赵毅衡《重返新批评》，第117页。）布鲁克斯曾经明确指出：“手严重烧伤的感觉是诗中任何的感觉都无法承受的，诗存在于词语中，而不是感觉中，它通过对事物、人物或事件中的戏剧性表现来激发我们的想象。”（见Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, pp.41-70.）两种译法的分歧源自讨论这个词的出发点，若从image的作用来看，布鲁克斯认为，它的真正作用不是力图超过感觉印象的世界，而是通过对事物的人物的戏剧表现来激发我们的想象。这看起来的确超出了意象的感觉重现功能，但事实上，在意象以它命名的时期，就已经脱离了这一单纯的功能，庞德就指出意象是“一种在瞬间呈现的理智与感情的复杂经验”，意象派也期望意象能够表现出理性与感性的统一而不仅仅是“感觉的残留”。可见，从功能上看，意象派与新批评对于image的定义是一样的。由此，在本文中，仍旧将布鲁克斯语境下的image译作“意象”。
4Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.1947, p.24.
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.221.
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.230.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.34.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.26.
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.206.
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.200.
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.577.
2“紫罗兰”源自华兹华斯的《它栖居在人际罕见的小道边》。“玫瑰”源自瓦勒的《去吧，可爱的玫瑰》：“我正是把她同你（玫瑰）来比配，她看来是多么可爱，多么娇美！”
3Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.581.
1艾略特：《批评批评家》，见《艾略特文集论文》，李赋宁，杨自伍等译，上海译文出版社，2012年，第18页。
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.269.
1Cleanth Brooks,“T. S. Eliot: Thinker and Artist”, in Garrick Davis ed., Praising it New: the Best of the NewCriticism, Ohio University Press,2008, p.248.
2T.S. Eliot, Baudelaire, in Selected Essays, Faber and Faber Limited,1932, p.391.
2Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.137.
1Cleanth brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.169.
2Ibid.
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.307.
2Cleanth brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.144.
1Nancy K Gish, Time in the Poetry of T. S. Eliot, Macmillan,1981, p.57.
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.310.
3Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.172.
4Mark Royden Winchell, Cleanth Brooks and the Rise of Modern Criticism, University Press of Virginia,1996,p.166.
5Cleanth Brooks, the Community, Religion, and Literature, University of Missouri Press,1995, p.112.
1Cleanth Brooks, the Community, Religion, and Literature, University of Missouri Press,1995, p.110.
2雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第340页。
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.308.
1理查兹：《实用批评·序言》，罗少丹译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第367-368页。
2布鲁克斯：《新批评与传统学术研究》，盛宁译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第472页。
1雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2009年，第332页。
1R.S. Crane,“the Critical Monism of Cleanth Brooks”, in Critics and Criticism, University of Chicago Press,1952,pp.83-107
1米克：《论反讽》，周发祥译，昆仑出版社，1992年，第14页。
1注：玄学派诗人之一，在《精致的瓮》中，布鲁克斯详解过他的作品《克里娜前往五朔节》。
2伊格尔顿：《理论之后》，商正译，商务印书馆，2009年，第5页。
3雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2009年，第332页。
4布鲁克斯：《反讽——一种结构原则·编者按》，赵毅衡译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第333页。
1雷纳·韦勒克：《新批评：是与非》，见史亮编《新批评》，四川文艺出版社，1989年，第333页。。
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[2] Barthes, Roland. Criticism and Truth [M]. London and New York: Continuum,1987.
[3] Brooks, Cleanth. Facets: An Anthology of Verse [M]. Nashville, Tenn.: Calumetclub of Vanderbilt,1928.
[4] Brooks, Cleanth. The Relation of the Alabama-Georgia Dialect to the ProvincialDialects of Great Britain [M]. Baton Rouge: Louisiana State Univ. Press,1935.
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[19] Brooks, Cleanth. The Hidden God: Studies in Hemingway, Faulkner, Yeats, Eliot,and Warren [M]. New Haven: Yale Univ. Press,1963.
[20] Brooks, Cleanth. William Faulkner: The Yoknapatawpha Country [M]. NewHaven: Yale Univ. Press,1963.
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[22] Brooks, Cleanth. American Literature: The Makers and the Making [M]. WithR.W.B. Lewis and Robert Penn Warren.2vols. New York: St. Martin’s Press,1973.
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[24] Brooks, Cleanth. William Faulkner: The Encounters [M]. New Haven: Yale Univ.Press,1983.
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[27] Brooks, Cleanth. On the Prejudices, Predilections, and Firm Beliefs of WilliamFaulkner [M]. Baton Rouge: Louisiana State Univ. Press,1987.
[28] Brooks, Cleanth. Historical Evidence and the Reading of Seventeenth-CenturyPoetry [M]. Columbia: Univ. of Missouri Press,1991.
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[30] Colebrook, Claire. Irony [M]. London: Routledge,2004.
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[1] Bové, Paul A. Cleanth Brooks and Modern Irony: A Kierkegaardian Critique[J].Boundary, Vol.4, No.3(spring,1976), pp.727-760. Duke Univ. Press.
[2] Bové, Paul A. Modern Irony and the Ironic Imagination[J].ContemporaryLiterature, Vol.23, No.2(Spring,1982), pp.244-253. Univ. of Wisconsin Press.
[3] Brooker, Jewel Spears.In Conclusion: Literature and Culture in the Last Essaysof Cleanth Brooks [J]. South Atlantic Review, vol.60, no.4(Nov.,1995),pp.129-136. South Atlantic Modern Language Association.
[4] Brooks, Cleanth. Saturn’s Daughter [J]. Modern Language Notes, Vol.49, No.7(Nov.,1934), pp.459-461. The John Hopkins Press.
[5] Brooks, Cleanth. The Christianity of Modernism [J]. American Review, vol.6(Feb.1936), pp.435-446.
[6] Brooks, Cleanth. Irony and “Ironic”Poetry [J].College English, Vol.9, No.5(Feb.,1948), pp.231-237. National Council of Teachers of English.
[7] Brooks, Cleanth. Milton and Critical Re-Estimates [J]. PMLA, Vol.66, No.6(Dec.,1951), pp.1045-1054. Modern Language Association.
[8] Brooks, Cleanth. Regionalism in American Literature [J]. Journal of SouthernHistory, Vol.26, No.1(Feb.,1960), pp.35-43. Southern Historical Association.
[9] Brooks, Cleanth. The Present State of Literary Scholarship [J]. South AtlanticBulletin, Vol.44, No.3, Program: Atlanta, November1-3,1979(Sep.,1979), pp.49-56. South Atlantic Modern Language Association.
[10] Brooks, Cleanth.“Because Richness Is the Point.” A Conversation withCleanth Brooks [J]. The Journal of Aesthetic Education, Vol.17, No.2(summer,1983), pp.47-55. Univ. of Illinois Press.
[11] Brooks, Cleanth. A Tribute to Richard Eberhart [J]. South Atlantic Review,Vol.50, No.4(Nov.,1985), pp.21-23. South Atlantic Modern LanguageAssociation.
[12] Crane, R.S. Cleanth Brooks; Or, the Bankruptcy of Critical Monism [J]. ModernPhilology, Vol.45, No.4(May,1948), pp.226-245. The Univ. of Chicago Press.
[13] Dillard, J.L. The Unconscious Brooksians [J]. American Speech, Vol.63, No.4(winter,1988), pp.376-380. Duke Univ. Press.
[14] Guillory, John. The Ideology of Canon-Formation: T.S. Eliot and Cleanth Brooks[J]. Critical Inquiry, Vol.10, No.1, Canons (Sep.,1983), pp.173-198. The Univ.of Chicago Press.
[15] Lentricchia, Frank. The Place of Cleanth Brooks [J]. The Journal of Aestheticsand Art Criticism, Vol.29, No.2(winter,1970), pp.235-251. BlackwellPublishing on Behalf of The American Society for Aesthetics.
[16] Miles, Josephine. The Well Wrought Urn by Cleanth Brooks [J]. The Journal ofAesthetics and Art Criticism, Vol.6, No.2(Dec.,1947), pp.185-186. BlackwellPublishing on Behalf of the American Society for Aesthetics.
[1][丹]克尔凯郭尔．论反讽概念[M]．汤晨溪，译．北京：中国社会科学出版社，2005．
[2][德]沃尔夫冈·伊瑟尔．怎样做理论[M]．朱刚，等，译．南京：南京大学出版社，2008．
[3][加]诺斯罗普·弗莱．批评的剖析[M]．陈慧，等，译．天津：百花文艺出版社，2008．
[4][美]艾布拉姆斯．镜与灯：浪漫主义文论及批评传统[M]．郦稚牛，张照进，童庆生，译．王宁校．北京：北京大学出版社，2004．
[5][美]艾布拉姆斯．文学术语词典（第7版）（中英对照）[M]．吴松江，等，译．北京：北京大学出版社，2009．
[6][美]艾布拉姆斯．以文行事：艾布拉姆斯精选集[M]．赵毅衡，周劲松，等，译．北京：译林出版社，2010．
[7][美]布鲁克斯，维姆萨特．西洋文学批评史[M]．颜元叔，译．北京：中国人民大学出版社，1987．
[8][美]布鲁克斯，沃伦．小说鉴赏：双语修订（第3版）[M]．冯亦代，等，译．北京：世界图书出版公司北京公司，2009．
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[20][美]乔治·桑塔耶纳．美感[M]．缪灵珠，译．北京：中国社会科学出版社，1985．
[21][美]瑞恰慈．文学批评原理[M]．杨自伍，译．南昌：百花洲文艺出版社，1997．
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[27][英]拉曼·塞尔登，彼得·威德森，彼得·布鲁克．当代文学理论导读[M]．刘象愚，译．北京：北京大学出版社，2006．
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[30][英]米克．论反讽[M]．周发祥，译．北京：昆仑出版社，1992．
[31][英]特雷·伊格尔顿．二十世纪西方文学理论[M]．伍晓明，译，北京：北京大学出版社，2007．
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[35]李欧梵．中国现代作家的浪漫一代[M]．北京：新星出版社，2005．
[36]李卫华．价值评判与文本细读——“新批评”之文学评判理论研究[M]．北京：中国社会科学出版社，2006．
[37]刘燕．现代批评之始：T.S.艾略特诗学研究[M]．桂林：广西师范大学出版社，2005．
[38]盛宁．二十世纪美国文论[M]．北京：北京大学出版社，1993．
[39]史亮，编．20世纪西方文学批评丛书：新批评[C]．成都：四川文艺出版社，1989．
[40]王佐良．英国浪漫主义诗歌史[M]．北京：人民文学出版社，1991．
[41]王佐良．英国散文的流变[M]．北京：商务印书馆，1994．
[42]王佐良．英国诗史[M]．南京：译林出版社，1997．
[43]伍蠡甫．欧洲文论简史[M]．北京：人民文学出版社，1987．
[44]杨冬．文学理论：从柏拉图到德里达（第2版）[M]．北京：北京大学出版社，2012．
[45]杨周翰，编选．莎士比亚评论汇编[M]．北京：中国社会科学出版社，1981．
[46]杨周翰．十七世纪英国文学[M]．北京：北京大学出版社，1985．
[47]章安祺，编订．缪灵珠美学译文集（第四卷）[M]．北京：中国人民大学出版社，1991．
[48]赵一凡，等，主编．西方文论关键词[M]．北京：外语教学与研究出版社，2007．
[49]赵毅衡，编．新批评文集[C]．北京：中国社会科学出版社，1988．
[50]赵毅衡．重访新批评[M]．天津：百花文艺出版社，2009．
[51]朱光潜．诗论[M]．南京：江苏文艺出版社，2008．
[52]朱光潜．西方美学史[M]．北京：人民文学出版社，2004．
[1][美]保罗·德曼．美国新批评的形式与意向[J]．周颖，译．外国文学，2001（2）：51-63．
[2]陈浩．论现代反讽形式[J]．浙江大学学报，1997（3）：83-87．
[3]程亚林．布鲁克斯和“精致的瓮”及“硬汉”[J]．读书，1992（12）：116-119．
[4]姜飞．从“淡入”到“淡出”——英美新批评在中国的传播历程简述[J]．社会科学研究，1999（1）：122-126．
[5]蒋道超，李平．克林斯·布鲁克斯的反讽诗学[J]．外国文学评论，1993（2）：17-24．
[6]李嘉娜．重审布鲁克斯的“反讽”批评[J]．外国文学评论，2008（1）：20-28．
[7]罗义华．中国的形式批评与文化批评——赵毅衡先生访谈录[J]．外国文学研究，2004（4）：1-4．
[8]吴兴华．现代诗与传统[J]．西洋文学，1940（4）：12-14．
[9]杨冬．韦勒克的启示——《近代文学批评史》研究方法述评[J]．文艺争鸣，2012（1）：9-14．
[10]杨冬．西方文学批评史研究的百年历程[J]．文艺理论研究，2005（4）：70-77．
[11]杨冬．新批评派与有机整体论诗学[J]．吉林大学社会科学学报，2008（6）：49-56．
[12]杨冬．一段令人缅怀的批评史——重读1967至1949年的戏仿文论经典[J]．吉林大学社会科学学报，2007（5）：118-125．
[13]杨冬．英美现代诗论的“经文”——从柯勒律治的想象力理论说起[J]．吉林大学社会科学学报，2011（3）：88-93．
[14]杨周翰．新批评派的启示[J]．国外文学，1981（1）：6-11．
[15]张隆溪．作品本体的崇拜——论英美新批评[J]．读书，1983（7）：104-111．
[16]赵毅衡，姜飞．英美“新批评”在中国“新时期”——历史、研究和影响回顾[J]．学习与探索，2009（5）：201-205．
[1]孔帅．瑞恰兹文学批评理论研究[D]．济南：山东大学文学院博士学位论文，2011．
[2]臧运峰．新批评反讽及其现代神话[D]．北京：北京师范大学文学院博士学位论文，2007．
[3]张燕楠．兰瑟姆“本体论批评”研究[D]．沈阳：辽宁大学文学院博士学位论文，2012．
1Cleanth Brooks, Community, Religion, and Literature, University of Missouri Press,1995, pp.146-147.
2Mark Royden Winchell, Cleanth Brooks and the Rise of Modern Criticism, University of Virginia Press,1996,p.33.
3Cleanth Brooks, Community, Religion, and Literature, University of Missouri Press,1995, p.149.
泰特等人编辑出版了“重农派”的第二部论文集《谁占有美国?》(1936)。
1沃尔顿·利茨：《美国当代文学》，董衡巽译，见史亮编《新批评——20世纪西方文学批评丛书》，四川文艺出版社，1989年，第295页。
1该章节以最早发表于1941年，后收录于《精致的瓮》。
2布鲁克斯：《悖论语言》，赵毅衡译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第313页。
3此文于1948年同时发表于The English Journal, Vol.37, No.2(Feb.,1948), pp.57-63.后由Zabel编入LiteraryOpinion in American(1951年修订版)时，又改名为Irony as a Principle of Structure，中译名为《反讽——一种结构性原则》，并先后收入各种文集。
4布鲁克斯：《反讽——一种结构性原则》，袁可嘉译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第335页。
1罗里·赖安，苏珊·范·齐尔：《当代西方文学理论导引》，李敏儒等译，四川文艺出版社，1986年。
2雷纳·韦勒克：《近代文学批评史》，杨自伍译，上海译文出版社，2009年。
3莫瑞·克里格：《批评旅途：六十年代之后》，李自修等译，中国社会科学出版社，1998。
4拉曼·塞尔登：《文学批评理论：从柏拉图到现在》，刘象愚、陈永国译，北京大学出版社，2000年。
5保罗·德曼：《美国新批评的形式与意向》，《外国文学》，2001年，第2期。
1萨科文·伯科维奇：《剑桥美国文学史》（第八卷），杨仁敬等译，中央编译出版社，2008年。
2史亮：《新批评》，四川文艺出版社，1989年。
3李卫华：《价值评判与文本细读——“新批评”之文学评判理论研究》，中国社会科学出版社，2006年。
4赵毅衡：《重访新批评》，百花文艺出版社，2009年。
5雷纳·韦勒克：《近代文学批评史》（第五卷·导论），杨自伍译，上海译文出版社，2009年，第13页。
1吴兴华：《现代诗与传统》，《西洋文学》，1940年，第4期。
2程亚林：《布鲁克斯和“精致的瓮”及“硬汉”》，《读书》，1992年，第12期。
3蒋道超，李平：《克林斯·布鲁克斯的反讽诗学》，《外国文学评论》，1993年，第2期。
4李嘉娜：《重审布鲁克斯的“反讽”批评》，《外国文学评论》，2008年，第1期。
1Robert Penn Warren,“A Conversation with Cleanth Brooks”, in Simpson ed., The Possibilities of Order, vol.124,pp.3-4.
2Cleanth Brooks,“Regionalism in American Literature”, in The Journal of Southern History, vol.26, No.,1(Feb.,1960), p.35.
1Cleanth Brooks, Southern Literature: the Wellsprings of Its Vitality,转引自Grant Webster, The Republic ofLetters: A History of Postwar American Literary Opinion, The Johns Hopkins University Press,1979, pp.88-89.
1Lewis P. Simpson, ed., the Possibilities of Order: Cleanth Brooks and His Work, Louisiana State University Press,1976, p.69.
2Cleanth Brooks,“Regionalism in American Literature”, in The Journal of Southern History, vol.26, No.1(Feb.,1960), p.40.
3Grant Webster, The Republic of Letters: A History of Postwar American Literary Opinion, The Johns HopkinsUniversity Press,1979, p.101.
4布鲁克斯：《乡下人福克纳》，陆凡译，见李文俊编：《福克纳的神话》，，上海译文出版社，2008年，第211页。（注：本文系《威廉·福克纳：约克纳帕塔法县镇》的第一章。）
1转引自刘小枫：《诗化哲学》，华东师范大学出版社，2011年，第15页。
2同上，第16页。
3同上，第40页。
1Willam K. Wimsatt&Cleanth Brooks, Literary Criticism: A Short History, Knopf,1957, p.601.
2弗雷德·弗兰克：《德国早期浪漫主义美学导论》，聂军等译，吉林人民出版社，2006年，第323页。
1Ernst Behler, Irony and the Discourse, University of Washington Press,1990, pp.77-78.
1李伯杰：《弗·施莱格尔的“浪漫反讽”说初探》，见《外国文学评论》，1993年，第1期，第19-20页。
2李永平：《通向永恒之路》，见《外国文学评论》，1999年，第1期，第119页。
1Willam K. Wimsatt&Cleanth Brooks, Literary Criticism: A Short History, Knopf,1957, p.747.
1兰瑟姆：《新批评·前言》，王腊宝，张哲译，江苏教育出版社，2006年，第3页。
2同上，第4页。
1赵毅衡：《重访新批评》，百花文艺出版社，2009年，第4-8页。
2同上，第9页。
3Vincent B. Leitch, American Literary Criticism from the Thirties to the Eighties, Columbia University Press,1988, p.25.
4魏曼：《“新批评”和资产阶级文学批评的发展》，韩耀成译，见赵毅衡编选《“新批评”文集》，中国社会科学院出版社，1988年，第570页。
1W.K. Wimsatt＆M.C. Beardsley,“The Affective Fallacy”, in W.K. Wimsatt, The Verbal Icon, University ofKentucky Press,1954, p.21.
1布鲁克斯：《形式主义批评家》，龚文祥译，见赵毅衡编选《“新批评”文集》，中国社会科学院出版社，1988年，第212页。
1布鲁克斯：《形式主义批评家》，龚文祥译，见赵毅衡编选《“新批评”文集》，中国社会科学院出版社，1988年，第486-487页。
2沃尔顿·利茨：《当代美国文学》，董衡巽译，见史亮编《新批评》，四川文艺出版社，1989年，第292页。
1Frank Lentricchia, After the New Criticism, Methuen,1983, p.ⅹⅲ.
2Vincent B. Leitch, American Literary Criticism from the Thirties to the Eighties, Columbia University Press,1988, p.26.
3Paul A. Bove,“Cleanth Brooks and Modern Irony: A Kierkegaardian Critique”, in Boundary, Vo1.4, No.3(Spring,1976), p.728.
4William J. Spurlin and Michael Fischer, The New Criticism and Contemporary Literary Theory: Connections andContinuities, Garland Publishing, Inc.,1995.
1Paul de Man,“Semiology and Rhetoric”, in Allegories of Reading: Figural Language in Rousseau, Nietzsche,Rilke, and Proust, Yale University Press,1979, p.4.
2Shuli Barzilai and Morton W. Bloomfield,“New Criticism and Deconstructive Criticism, Or What's New?” inNew Literary History, Vol.18, No.1, Studies in Historical Change.(Autumn,1986), p.151.
3Ibid., p.153.
1Jewel Spears Brooker,“In Conclusion: Literature and Culture in the Last Essays of Cleanth Brooks”, in SouthAtlantic Review, Vol.60, No.4(Nov.,1995), pp.129-136.
1休姆：《浪漫主义与古典主义》，刘若端译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第17页。
2同上，第22页。
3Lewis P. Simpson, ed., The Possibilities of Order: Cleanth Brooks and His Work, Louisiana State UniversityPress,1976, pp.19-20.
4艾略特：《批评批评家》，见《艾略特文集论文》，李赋宁，杨自伍等译，上海译文出版社，2012年，第16页。
1艾略特：《传统与个人才能》，见《艾略特文集论文》，卞之琳，李赋宁等译，上海译文出版社，2012年，第11页。
2同上，第8页。
1艾略特：《批评批评家》，见《艾略特文集论文》，李赋宁，杨自伍等译，上海译文出版社，2012年，第153页。
2Cleanth Brooks,“T.S. Eliot: The Thinker and Artist”, in Praising it New: the Best of the New Criticism. Garricked., Ohio University Press,2008, p.248.
3Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.1947, p.211.
1艾略特：《哈姆雷特》，见《艾略特文集论文》，卞之琳，李赋宁等译，上海译文出版社，2012年，第180页。
2布鲁克斯：《反讽——一种结构原则》，袁可嘉译，见赵毅衡编选选《“新批评”文集》，中国社会科学出版社，1988年，第334页。
1艾略特：《玄学派诗人》，裘小龙译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第34页。
2同上，第42页。
3Cleanth Brooks, A Shaping Joy: Studies in the Writers’ Craft, Harcourt, Brace＆World, Inc.,1971, p.331.
4Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, pp.11-12.
5William Barrett, A Present Tendency in American Criticism, in The Kenyon Review,1949, Winter, No. l, Vo1.ⅹⅰ,p.2.
1兰瑟姆：《新批评》，王腊宝，张哲译，江苏教育出版社，2006年，第3页。
1I. A. Richards, Principles of Literature Criticism, Routledge and Kegan Paul,1924, p.267.
2注：亚历山大·塞尔凯克是一名苏格兰水手，鲁滨逊的原型。
3I. A. Richards, Principles of Literature Criticism, Routledge and Kegan Paul,1924, p.212.
4兰瑟姆：《新批评》，王腊宝，张哲译，江苏教育出版社，2006年，第192页。
1Cleanth Brooks, Community, Religion, and Literature, University of Missouri Press,1995, p.426.
1雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第344页。
2Matthew Arnold,“The Study of Poetry”, in M.H. Abrams ed., The Norton Anthology of English Literature, vol.2,W.W. Norton&Company,Inc.,1962,p.948.
3Willam K. Wimsatt&Cleanth Brooks, Literary Criticism: A Short History, Knopf,1957, p.449.
4雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第344页。
5Cleanth Brooks,“The Primacy of the Author”, in Community, Religion, and Literature, University of MissouriPress,1995, p.174.
6雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第335页。
1I. A. Richards, The Philosophy of Rhetoric, Oxford University Press,1936, p.40.
1泰特：《论诗的张力》，姚奔译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第116-117页。
2雷纳·韦勒克：《近代文学批评史》（第五卷），杨自伍译，上海译文出版社，2009年，第394页。
3Mark Royden Winchell, Cleanth Brooks and the Rise of Modern Criticism, University Press of Virginia,1996,p.115.
1兰瑟姆：《诗歌：本体论札记》，蒋一平译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第50页。
1兰瑟姆：《诗歌：本体论札记》，蒋一平译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第49-50页。
2同上，第60页。
1注：该诗所选片段，若无特殊说明，均为卞之琳译。
2兰瑟姆：《诗歌：本体论札记》，蒋一平译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第63页。
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.11.
2Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.193.
1John Crowe Ransom, Selected Letters of John Crown Ransom, Thomas Daniel Young and George Core ed.,Louisiana State University Press,1985, p.233.
2Mark Royden Winchell, Cleanth Brooks and the Rise of Modern Criticism, University Press of Virginia,1996,p.104.
3Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.13.
1C.T.Lndra,“Cleanth Brooks on Metaphor and Cognition in Poetry”, in R.S. Singh ed., Cleanth Brooks: HisCritical Formation, Harman Publishing House,1991, p.83.
2Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.16.
3布鲁克斯：《反讽——一种结构原则》，袁可嘉译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第377页。
1兰瑟姆：《新批评》，王腊宝，张哲译，江苏教育出版社，第193页。
1Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.11.
1Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.17.
2Ibid., p.3.
1华兹华斯：《抒情歌谣集1815年版序言》，曹葆华译，见刘若端编《十九世纪英国诗人论诗》，人民文学出版社，1984年，第49页。
2同上。
3Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.5.
1柯勒律治：《文学生涯》（第十三章），刘若端译，见刘若端编《十九世纪英国诗人论诗》，人民文学出版社，1984年，第61-62页
1Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.7.
2Ibid., p.45.
1兰瑟姆：《新批评》，王腊宝，张哲译，江苏教育出版社，第56页。
2T.S. Eliot, Andrew Marvell, in Selected Essays, Faber and Faber Limited,1932, p.293.
3Ibid., p.296.
4Ibid.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.9.
2Ibid., p.193.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.195.
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.13.
3赵毅衡：《重访新批评》，百花文艺出版社，2009年，第69页。
4Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, pp.203-204.
1T. S. Eliot,“the Metaphysical Poets”, in Selected Essays, Faber and Faber Press,1932, p.289.
2Cleanth Brooks,“Irony as a Principle of Structure”, in Hazard Adams ed., Critical Theory Since Plato, Harcourt,Brace Jovanovich, Inc.,1971, p.1043.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.195.
2Ibid., pp.206-207.
1布鲁克斯：《形式主义批评家》，龚文庠译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第487页。
2同上。
3C.T. Indra,“Cleanth Brooks on Metaphor and Cognition in Poetry”, inR.S.Singh ed., Cleanth Brooks: HisCritical Formulations, Harman Publishing House,1991, p.83.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World,1947, p.206.
2雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第374页。
3注：“irony”一词，赵毅衡译为“反讽”，杨自伍译为“滑稽或讽刺”，朱光潜译为“滑稽或暗讽”，刘象愚译为“嘲讽或冷嘲”，为统一行文，本文涉及此词时，皆译为“反讽”。
4Jonathan Tittler,“Approximately Irony”, in Modern Studies,1985, Vol.15, p.32.
1Willam K. Wimsatt&Cleanth Brooks, Literary Criticism: A Short History, Knopf,1957, p.747.
2布鲁克斯：《反讽——一种结构原则》，袁可嘉译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第335页。
3同上，第337页。
1注：“wit”一词，赵毅衡译为“理趣”，李赋宁译为“才气”，颜元叔、杨自伍、王恩衷译为“机智”，裘小龙译为“巧智”。为统一行文，本文涉及此词时，皆译作“机智”。
2艾略特：《安德鲁·马伏尔》，李赋宁译，见《艾略特文学论文集》，李赋宁译，百花文艺出版社，1994年，第46页。
3理查兹：《文学批评原理》，杨自伍译，百花洲文艺出版社，1992年，弟227页。
4赵毅衡：《重访新批评》，百花文艺出版社，2009年，第159页。
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.5.
2柯勒律治：《文学生涯》，刘若端译，见刘若端编选:《十九世纪英国诗人论诗》，人民文学出版社，1984年，第63页。
1Cleanth Brooks,“Irony and ‘Ironic’ Poetry”, in College English, Vol.9, No.5(Feb.,1948), pp.233. NationalCouncil of Teachers of English.
1雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第331页。
1David Lodge,20thCentury Literary Criticism: A Reader, Longman,1972, p.291.
2沃尔顿·利茨：《美国当代文学》，董衡巽译，见史亮编《新批评——20世纪西方文学批评丛书》，四川文艺出版社，1989年，第295页。
1雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第338页。
2同上。
3Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.1947, p.22.
4Ibid., p.23.
1注：关于莎士比亚的评价和生平介绍，可以参阅：哈罗德·布鲁姆：《西方正典》，江宁康译，译林出版社，2011年，第35-58页。另有，斯蒂芬·格林布拉特：《俗世威尔》，辜正坤译，北京大学出版社，2007年。
2Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.1947, p.24.
3注：image在文学理论术语中，一种观点认为它是“意象”，即“意中之象”，意味着名物处于抒情主体的观照中，是对象化了的知觉呈现，这是一个意识层面上的概念；一种观点认为它是“语象”，即“语言之中的象”，它只呈示自身，不表明任何与己无关的意义或事物，这是一个语言层面上的概念。（见赵毅衡《重返新批评》，第117页。）布鲁克斯曾经明确指出：“手严重烧伤的感觉是诗中任何的感觉都无法承受的，诗存在于词语中，而不是感觉中，它通过对事物、人物或事件中的戏剧性表现来激发我们的想象。”（见Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, pp.41-70.）两种译法的分歧源自讨论这个词的出发点，若从image的作用来看，布鲁克斯认为，它的真正作用不是力图超过感觉印象的世界，而是通过对事物的人物的戏剧表现来激发我们的想象。这看起来的确超出了意象的感觉重现功能，但事实上，在意象以它命名的时期，就已经脱离了这一单纯的功能，庞德就指出意象是“一种在瞬间呈现的理智与感情的复杂经验”，意象派也期望意象能够表现出理性与感性的统一而不仅仅是“感觉的残留”。可见，从功能上看，意象派与新批评对于image的定义是一样的。由此，在本文中，仍旧将布鲁克斯语境下的image译作“意象”。
4Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.1947, p.24.
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.221.
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.230.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.34.
1Cleanth Brooks, The Well Thought Urn, Harcourt, Brace＆World, Inc.,1947, p.26.
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.206.
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.200.
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.577.
2“紫罗兰”源自华兹华斯的《它栖居在人际罕见的小道边》。“玫瑰”源自瓦勒的《去吧，可爱的玫瑰》：“我正是把她同你（玫瑰）来比配，她看来是多么可爱，多么娇美！”
3Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.581.
1艾略特：《批评批评家》，见《艾略特文集论文》，李赋宁，杨自伍等译，上海译文出版社，2012年，第18页。
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.269.
1Cleanth Brooks,“T. S. Eliot: Thinker and Artist”, in Garrick Davis ed., Praising it New: the Best of the NewCriticism, Ohio University Press,2008, p.248.
2T.S. Eliot, Baudelaire, in Selected Essays, Faber and Faber Limited,1932, p.391.
2Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.137.
1Cleanth brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.169.
2Ibid.
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.307.
2Cleanth brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.144.
1Nancy K Gish, Time in the Poetry of T. S. Eliot, Macmillan,1981, p.57.
2Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.310.
3Cleanth Brooks, Modern Poetry and the Tradition, the University of North Carolina Press,1939, p.172.
4Mark Royden Winchell, Cleanth Brooks and the Rise of Modern Criticism, University Press of Virginia,1996,p.166.
5Cleanth Brooks, the Community, Religion, and Literature, University of Missouri Press,1995, p.112.
1Cleanth Brooks, the Community, Religion, and Literature, University of Missouri Press,1995, p.110.
2雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2005年，第340页。
1Cleanth Brooks&Robert Penn Warren, Understanding Poetry, Foreign Language Teaching and Research Press,2004, p.308.
1理查兹：《实用批评·序言》，罗少丹译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第367-368页。
2布鲁克斯：《新批评与传统学术研究》，盛宁译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第472页。
1雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2009年，第332页。
1R.S. Crane,“the Critical Monism of Cleanth Brooks”, in Critics and Criticism, University of Chicago Press,1952,pp.83-107
1米克：《论反讽》，周发祥译，昆仑出版社，1992年，第14页。
1注：玄学派诗人之一，在《精致的瓮》中，布鲁克斯详解过他的作品《克里娜前往五朔节》。
2伊格尔顿：《理论之后》，商正译，商务印书馆，2009年，第5页。
3雷纳·韦勒克：《近代文学批评史》（第六卷），杨自伍译，上海译文出版社，2009年，第332页。
4布鲁克斯：《反讽——一种结构原则·编者按》，赵毅衡译，见赵毅衡编选《“新批评”文集》，中国社会科学出版社，1988年，第333页。
1雷纳·韦勒克：《新批评：是与非》，见史亮编《新批评》，四川文艺出版社，1989年，第333页。。
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[2] Barthes, Roland. Criticism and Truth [M]. London and New York: Continuum,1987.
[3] Brooks, Cleanth. Facets: An Anthology of Verse [M]. Nashville, Tenn.: Calumetclub of Vanderbilt,1928.
[4] Brooks, Cleanth. The Relation of the Alabama-Georgia Dialect to the ProvincialDialects of Great Britain [M]. Baton Rouge: Louisiana State Univ. Press,1935.
[5] Brooks, Cleanth. An Approach to Literature: A Collection of Prose and Versewith Analyses and Discussions. With Robert Penn Warren and John ThibautPurser [M]. Baton Rouge: Louisiana State Univ. Press,1936. Rev. ed. New York:F.R.Crofts.,1939,1952,1964. Englewood Cliffs, N.J.:Prentice-Hall,1975.(edited).
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[9] Brooks, Cleanth. Understanding Drama [M]. With Robert B. Heilman. NewYork: Holt,1945. Rev. Ed.,1948.
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[14] Brooks, Cleanth. The Poems of Mr. John Milton: The1645Edition with Essaysin Analysis [M]. With John Edward Hardy. New York: Harcourt BraceJovanovich,1951.
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[19] Brooks, Cleanth. The Hidden God: Studies in Hemingway, Faulkner, Yeats, Eliot,and Warren [M]. New Haven: Yale Univ. Press,1963.
[20] Brooks, Cleanth. William Faulkner: The Yoknapatawpha Country [M]. NewHaven: Yale Univ. Press,1963.
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[22] Brooks, Cleanth. American Literature: The Makers and the Making [M]. WithR.W.B. Lewis and Robert Penn Warren.2vols. New York: St. Martin’s Press,1973.
[23] Brooks, Cleanth. William Faulkner: Toward Yoknapatawpha and Beyond [M].New Haven: Yale Univ. Press,1978.
[24] Brooks, Cleanth. William Faulkner: The Encounters [M]. New Haven: Yale Univ.Press,1983.
[25] Brooks, Cleanth. The Rich Manifold: The Author, the Reader, the LinguisticMedium [M]. Columbia: Missouri Review,1983.
[26] Brooks, Cleanth. The Language of the American South [M]. Athens: Univ. ofGeorgia Press,1985.
[27] Brooks, Cleanth. On the Prejudices, Predilections, and Firm Beliefs of WilliamFaulkner [M]. Baton Rouge: Louisiana State Univ. Press,1987.
[28] Brooks, Cleanth. Historical Evidence and the Reading of Seventeenth-CenturyPoetry [M]. Columbia: Univ. of Missouri Press,1991.
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[30] Colebrook, Claire. Irony [M]. London: Routledge,2004.
[31] Cowan, Louise. The Southern Critics: An Introduction to the Criticism of JohnCrowe Ransom, Allen Tate, Donald Davidson, Robert Penn Warren, CleanthBrooks, and Andrew Lytle [M], Irving: The Univ. of Dallas Press,1972.
[32] Eagleton, Terry. Literary Theory: An Introduction [M], Beijing: ForeignLanguage Teaching and Research Press,2007.
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[35] Krieger, Murray. The New Apologists for Poetry [M], Minneapolis: Univ. ofMinnesota Press,1956.
[36] Leitch, Vincent B. American Literary Criticism: from the Thirties to the Eighties[M].New York: Columbia Univ. Press,1988.
[37] Muecke, D.C. Irony and Ironic [M]. London: Methuen,1986.
[38] Newton, K.M. Twentieth-Century Literary Theory [M]. Basingstoke: MacmillanEducation,1988.
[39] Ransom, J.C. The New Criticism [M]. Westport: Greenwood Press,1979.
[40] Ransom, J.C. The World’s Body [M]. Charles Scribner’s Sons,1938.
[41] Richards, I.A. Coleridge on Imagination [M]. London: Harcourt,1935.
[42] Richards, I.A. Practical Criticism [M]. London: Routledge,1987.
[43] Richards, I.A. Principles of Literary Criticism [M].London: Routledge,1976.
[44] Richards, I.A. The Philosophy of Rhetoric [M]. New York: Oxford Univ. Press,1979.
[45] Tate, Allen. Literature as Knowledge, in Hazard Adams ed., Critical Theorysince Plato [C]. Harcourt Brace Jovanovich, Inc.,1971.
[46] Wimsatt, W.K. The Verbal Icon [M].Univ. of Kentucky Press,1954.
[47] Winchell, Mark Royden. Cleanth Brooks and the Rise of Modern Criticism [M].Charlottesville: Univ. Press of Virginia,1996.
[1] Bové, Paul A. Cleanth Brooks and Modern Irony: A Kierkegaardian Critique[J].Boundary, Vol.4, No.3(spring,1976), pp.727-760. Duke Univ. Press.
[2] Bové, Paul A. Modern Irony and the Ironic Imagination[J].ContemporaryLiterature, Vol.23, No.2(Spring,1982), pp.244-253. Univ. of Wisconsin Press.
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