適讀人群 ：學生,教師,一般讀者

《漫長的革命》是“外國文學研究文庫”繫列第二輯的一本。該繫列旨在將國外的文學學界的學術成果及時引進和介紹給我國外國文學學者、學生及愛好者，反映外國文學研究領域在世界範圍的發展趨勢與前沿探索。

該繫列以英文原文的形式出版，並輔之以國內這一領域的資深學者撰寫的導讀，幫助讀者把握作品的脈絡，掌握其思想要點，更全面、更深入地理解作品要義。

本書首先比較繫統地論述作者文化理論的原則與方法，然後對各種文化現像和文化制度進行具體分析和闡釋，最後對20世紀60年代英國的文化和社會狀況作出總體分析，為一部研究戰後英國社會與文化變遷的觀點精闢的論著。

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Foreword by Anthony Barnett
Note by Raymond Williams
Notes
Introduction by Raymond Williams

PART ONE
1 The Creative Mind
2 The Analysis of Culture
3 Individuals and Societies
4 Images of Society

PART TWO
1 Education and British Society
2 The Growth of the Reading Public
3 The Growth of the Popular Press
4 The Growth of Standard English
5 The Social History of English Writers
6 The Social History of Dramatic Forms
7 Realism and the Contemporary Novel

PART THREE
Britain in the 1960s

Notes
Index

Sophisticated modern thinking about art， in a century whichhas seen a great variety and confusion of styles， has evolved aposition which can be stated as follows. One kind of art， whichwe call representational or realistic or naturalistic， offers anordinary description or reproduction of reality， in the mostcommon and objective terms. Another kind， less easily labelledbut sometimes called romantic， offers not merely a representation of reality， but this representation modified by the artist'ssubjective emotional reactions to it-reality has been organised，selected， idealised， caricatured， by the artist's personal vision. Athird kind， most commonly called abstract， is neither the reproduction of reality nor the subjective modification of reality， butthe direct expression of purely 'aesthetic' experience， the representation in art， not of reality， but of the artist's vision. Somesuch classification as this was obviously necessary， as anattempt to come to terms with the observable difference inmodern artistic methods. But again we can now see that it isbasically inadequate， because again it is based on the assumedduality： the separation of art and reality， or of man and theworld he observes.
The crucial importance of what we now know about perception is that it opens the way to ending this duality， and thustransforming our thinking about art. The new facts aboutperception make it impossible for us to assume that there is anyreality experienced by man into which man's own observationsand interpretations do not enter. Thus the assumptions of naiverealism-seeing the things as they really are， quite apart fromour reactions to them-become impossible. Yet equally， thefacts of perception in no way lead us to a late form of idealism；they do not require us to suppose that there is no kind of realityoutside the human mind； they point rather to the insistence thatall human experience is an interpretation of the non-humanreality. But this， again， is not the duality of subject and object the assumption on which almost all theories of art are based.We have to think， rather， of human experience as both objectiveand subjective， in one inseparable process. As Caudwell put it：Body and environment are in constant determining relations. Perceptionis not the decoding of tappings on the skin. It is a determining relationbetween neural and environmental electrons. Every part of the body notonly affects the other parts but is also in determining relations with therest of reality. It is deternuned by it and determines it， this interchangeproducing development-the constandy changing series of interlockingevents... Of this multitude of relations... we distinguish a certain group，changing as the world changes， not with it or separately from it but inmutually determining interaction with it. This selection， rich， highlyorganized and recent， we call the consciousness， or our ego. We do notselect it out. In the process of development it separates out， as lifeseparated out， as suns and planets and the elements separated out fromthe process of becoming. Separated out， and still changing， it isconsciousness， it is us in so far as we regard ourselves as conscious egos.But in separating out， it does not completely separate out， any more thanany element did. It remains like them， in determining relation with therest of the Universe， and the study of the organization of this developedstructure， of its inner relations and the relations of the system with allother systems in the Universe， is psychology.
The difficulty of this conception hardly needs stressing， and tograsp it in any substantial way needs long effort， Yet it is interesting to see that we have approached this conception， not onlythrough the science of perception， but also through some of ourtraditional thinking about art as creation'.
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前言

由北京外國語大學王佐良外國文學高等研究院策劃、外語教學與研究出版社出版的“外國文學研究文庫”就要與讀者見面了。近年來，我國外國文學學界同仁一直在積極探索有效途徑，引進國外學者的學術著作，以提升我國的學術研究水平，增強我國學者的國際學術話語權。但由於國外文學研究領域發展迅猛，以及國內出版經費缺乏等一繫列問題，國外文學研究領域許多經典的和最新的研究成果無法得到及時傳播與出版。為了弘揚我國老一輩學者外國文學研究的優秀傳統，促進我國外國文學研究的深入開展，我們組織策劃了這套“外國文學研究文庫”，旨在將國外文學學界的學術成果及時引進和介紹給我國外國文學學者、學生及愛好者，反映外國文學研究領域在世界範圍的發展趨勢與前沿探索，使我國學界更好地與國際學界接軌與對話，以此推進我國外國文學研究的發展。

“外國文學研究文庫”定位於對國外文學研究重要成果展開的引介，將采用購買原作版權、組織國內該領域有影響的學者撰寫導讀的方式進行。這些導讀將有助於讀者把握作品的脈絡，掌握其思想要點，更全面、更深入地理解作品要義。鋻於英語之外其他語種作品的受眾問題，除以英語撰寫的著作以原文的形式出版之外，我們擬將其他語種的國外學者著作翻譯成漢語，並附以專家導讀。該“文庫”是一套開放性的繫列叢書，我們將陸續推出國外具有影響力的學術著作，內容範圍包括以下四個方向：外國文學理論、外國文學批評、比較文學理論與批評，以及文化批評研究。

北京外國語大學王佐良外國文學高等研究院邀請到了我國重要學者參加編委會，推薦挑選國外學界具有影響力的研究著作。國內這一領域的資深學者將為著作撰寫導讀，並為非英語著作確定譯者。我們希望通過這套“文庫”，為拓展和深化我國的外國文學研究，為幫助我國外國文學學者拓寬批評視野、開拓研究思路，盡我們的微薄之力。

這套“文庫”的出版，得到了我國外國文學研究領域眾多學者的鼎力相助和大力支持，也得到了外語教學與研究出版社的全力配合，特此表示衷心感謝！

金莉

北京外國語大學教授

王佐良外國文學高等研究院院長