David Lodge《小說的五十堂課》，原書名叫《小說的藝術》。
洛奇（Lodge, David）：《小說的藝術》（The Art of Fiction），王峻岩等譯，. 北京：作家出版社，1997。
此书中把《麦田里的守望者》的叙事语言风格称为“少年侃”（Teenage Skaz）。
The Art of Fiction is a book of literary criticism by the British novelist David Lodge. The chapters of the book first appeared in 1991-1992 as weekly columns in The Independent on Sunday and were eventually gathered into book form and published in 1992. The essays as they appear in the book have in many cases been expanded from their original format.
Lodge focuses each chapter upon one aspect of the art of fiction, comprising some fifty topics. Every chapter also begins with a passage from classic or modern literature that Lodge feels embodies the technique or topic at hand. Some of the topics Lodge analyzes are Beginning (the first chapter), The Intrusive Author, The Epistolary Novel, Magic Realism, Irony and Metafiction. Among the authors he quotes in order to illustrate his points are Jane Austen, J. D. Salinger, Henry James, Virginia Woolf, Martin Amis, F. Scott Fitzgerald and even himself.
[edit] Chapters
- Beginning Jane Austen Emma, Ford Madox Ford, " Emma Woodhouse, handsome, clever and rich ..."
- The Intrusive Author George Eliot, E. M. Forster
- Suspense Thomas Hardy
- Teenage Skaz J. D. Salinger
- The Epistolary Novel Michael Frayn
- Point of View Henry James
- Mystery Rudyard Kipling
- Names David Lodge, Paul Auster
- The Stream of Consciousness Virginia Woolf
- Interior Monologue James Joyce
- Defamiliarisation Charlotte Brontë
- The Sense of Place Martin Amis
- Lists F. Scott Fitzgerald
- Introducing a Character Christopher Isherwood
- Surprise William Makepeace Thackeray
- Time-Shift Muriel Spark
- The Reader in the Text Laurence Sterne
- Weather Jane Austen, Charles Dickens
- Repetition Ernest Hemingway
- Fancy Prose Vladimir Nabokov
- Intertextuality Joseph Conrad
- The Experimental Novel Henry Green
- The Comic Novel Kingsley Amis
- Magic Realism Milan Kundera
- Staying on the Surface Malcolm Bradbury
- Showing and Telling Henry Fielding
- Telling in Different Voices Fay Weldon
- A Sense of the Past John Fowles
- Imagining the Future George Orwell
- Symbolism D. H. Lawrence
- Allegory Samuel Butler
- Epiphany John Updike
- Coincidence Henry James
- The Unreliable Narrator Kazuo Ishiguro
- The Exotic Graham Greene
- Chapters etc. Tobias Smollett, Laurence Sterne, Sir Walter Scott, George Eliot, James Joyce
- The Telephone Evelyn Waugh
- Surrealism Leonora Carrington
- Irony Arnold Bennett
- Motivation George Eliot
- Duration Donald Barthelme
- Implication William Cooper
- The Title George Gissing
- Ideas Anthony Burgess
- The Non-Fiction Novel Thomas Carlyle
- Metafiction John Barth
- The Uncanny Edgar Allan Poe
- Narrative Structure Leonard Michaels
- Aporia Samuel Beckett
- Ending Jane Austen, William Golding
《小說的五十堂課》是當代文學評論大家，英國首席現代文學作家大衛．洛奇為讀者量身開設的小說解析課程。他用淺顯的言詞做深入的分析，以經典作 品進行最完整的舉例，在嚴謹的學術邏輯下娓娓道來，把文學史上最常出現在小說創作裡的文學技法逐一拆解。讀者閱畢後，不但會看小說，會評小說，還有可能會 寫小說。
《小說的五十堂課》內有五十個簡短篇章，編排輕鬆又容易吸收。每個篇章介紹一個小說技巧，包含「開頭」、「觀點」、「神秘」、 「意識流」、「陌生化」、「驚奇」、「角色介紹」、「寓言」、「異國風」、「諷刺」等等，完整涵蓋過去兩個世紀以來，小說創作者常用的寫作手法與技巧。
每個篇章的一開始，作者擷取一部或者多部經典小說的片段，包含《此情可問天》、《尤里西斯》、《麥田捕手》、《蒼蠅王》等作品，作為該篇章之例示。然後 再用該篇章的主題（也就是招式）來分析小說，告訴讀者這個技巧是如何出現在小說裡，作者的手法如何，顯示的效果如何。除了開頭經典小說的例示，每個篇章裡 面還提到其他很多作品，環繞著該篇章的主題招式，全面而徹底拆解小說內容，讓小說的創作、內容及意義，變得清晰透明。
本書原本是為英國《獨立報》撰寫的每週專欄，目標就是一般讀者，目的就是讓讀者瞭解小說是什麼東西，把小說加以解密，把小說還給讀者。作者後來將專欄內容全部整理更新，添加更精闢的素材，更貼近讀者的需求。
得獎與推薦記錄
★作者曾獲之文學與影視獎項：英國豪森登獎、約克夏郵報書獎、惠布瑞特年度最佳好書獎、兩度布克獎入圍決選、週日快報年度好書獎、作家協會獎、大英國協作家獎、影視獎項：皇家電視協會最佳戲劇類獎、蒙地卡羅國際電視影展銀翼獎
★「（洛吉的這本書）內容實用又平實，容易閱讀，《小說的五十堂課》會使人沈浸著迷，展開一連串的思考與討論。」——著名作家拜雅特（A. S. Byatt）在週日泰晤士報上撰文表示
★「容易親近又高度知性，最佳的讀物。」——週日電訊報
★ 「學術內涵，人性呈現！本書是自（作家）E. M. 佛斯特完成《小說面面觀（Aspects of Novel）》以來，最適合大眾讀者的小說研究作品。」——英國金融時報
本書特色
看完本書，等於看完五十餘部經典作品。不管是亨利．詹姆士、EM佛斯特還是費茲傑羅，不管是《黑暗之心》、《蒼蠅王》還是《尤里西斯》，在本書的解析下 這些作家及作品才能真正讓普通讀者領略。看完本書，從此小說變簡單了，讓你輕鬆走進文學世界，從此變成一個有文化，有修養，有水準，令人愛慕的「文藝復興 人」。從此，無論在課堂，在社交圈，在兩人約會的甜蜜世界，在辦公室，在會議呈報等各種場合，你都能針對小說侃侃而談，提出精闢而正確的觀點，讓其他人目 瞪口呆，佩服不已。
讀完這本書，看透人生！
★為何世界上有人要寫《紅衣彼得潘》？為何江澤民在演講中多次提及中國經典詩文？參見本書「文本互換」一章。
★狄更斯為自己的哪一本書取了十四個名字，最後才選定其中一個？參見本書「書名」一章。
★網路流行把陸遊的〈臥春〉改為〈我蠢〉：參見本書
★你認為九把刀的文字特殊？參見本書「少年史卡茲」一章
★勞勃．瑞福的電影〈叛將風雲〉裡面，為何男主角名叫爾文？為何反派男主角名叫溫特？參見本書「名字」一章。
★馬施熱線，決定驅離紅衫軍？參見本書「電話」一章；施明德先死，還是陳水扁先死，參見本書「懸疑」一章。
為何懸掛國旗國父遺像總統玉照？參見本書「象徵主義」一章
作者簡介
大衛．洛吉（David Lodge）
一九三五年出生於倫敦。伯明罕大學博士，曾任教於加大柏克萊校區、伯明罕大學等校，現為伯明罕大學現代英語文學榮譽教授，並專事寫作。
集小說家、劇作家、文學批評家、影視劇本編寫專家諸多頭銜於一身，大衛．洛奇是當代英語文學世界中，最受注目、著作最豐的學者之一，迄今已經出版十四部 小說，十餘部文學評論、分析及學術論文集。他的成就在英國及歐洲大陸的學術圈、出版界普遍獲得肯定，更因此獲頒大英帝國三等爵士勳位（CBE），以及法國 政府頒贈的藝術及文學騎士勳章（Chevalier de l’Ordre des Arts et des Lettrres）。
他的小說寫作緊扣社會脈動，從自身經驗出發，筆調風趣幽默，又有辛辣的諷刺意味。作品先後獲得Whitbread等十餘個重要文學獎的肯定，也曾入圍英國布克獎多次，另擔任布克獎小說類的評審。
大衛．洛奇認為，藝術的本質就是要娛人，要給人喜悅。他的文學評論以新批評主義為起點，更能從符號學、結構主義的觀點清楚闡明現代主義與後現代評論運動的觀點。《小說的五十堂課》就是他的文學批評代表作。
譯者簡介
李維拉
大學畢業於外文系後赴美取得語言學碩士，現旅居美國，從事翻譯工作。譯作有《我嫁了一個共產黨員》、《垂死的肉身》
skazA literary term originally defined as "orientation toward oral speech" in prose fiction, can also indicate a type of oral folk narrative.
Boris Eikhenbaum first described skaz, derived from the verb skazat ("to tell"), in a pair of 1918 articles as a kind of "oral" narration that included unmediated or improvisational aspects. Formalists and other critics developed this analytical tool during the 1920s, including Yuri Tynianov (1921), Viktor Vinogradov (1926), and Mikhail Bakhtin (1929). Tynianov analyzed the effect of skaz, arguing that it enabled the reader to enter the text, but did not really clarify the mechanism through which it worked.
Vinogradov and Bakhtin helped refine the concept of skaz as a stylistic device. Vinogradov developed the idea that skaz comprised a series of signals that aroused in the reader a sense of speech produced by utterance, not writing. Bakhtin placed skaz within his own larger theory of narration, defining it as one kind of "double-voiced utterance" (the others being stylization and parody) in which two distinct voices - the author's speech and another's speech - were oriented toward one another within the same level of conceptual authority. The effect of oral speech is, therefore, not the primary characteristic of skaz for Bakhtin.
Since the 1920s skaz has been identified both as a distinctive characteristic of Russian literature (in the work of Gogol, Zamiatin, Zoshchenko, and others) and as a narrative device present in most world literatures. Since the beginning of the 1980s and the rediscovery of Bakhtin's work, his concept of skaz has served as a starting point for further debate: for instance, over whether the relationship between author and narrator is mutual and interactive.
Bibliography
Hodgson, Peter. (1983). "More on the Matter of Skaz: The Formalist Model." In From Los Angeles to Kiev: Papers on the Occasion of the Ninth International Congress of Slavists, Kiev, September, 1983, ed. Vladimir Markov and Dean S. Worth. Columbus, OH: Slavica Publishers.
Terras, Victor, ed. (1985). Handbook of Russian Literature. New Haven, CT: Yale University Press.
Titunik, I. R. (1977). "The Problem of Skaz (Critique and Theory)." In Papers in Slavic Philology, ed. Benjamin A. Stolz. Ann Arbor: Michigan Slavic Publications.
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