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常耀信
常耀信，河北 沧州人。 毕业后留校，同时被公派去英国留学，大约一年后因“文革”中断学习，回国。 "文革”期间曾参加中国援助阿富汗和巴基斯坦工程队，任翻译。 文革后赴美国Temple University留学，获美国文学博士学位。回国后任外文系教授，副系主任，系主任，博士生导师。 定居美国关岛，任关岛大学英文系教授，同时兼任南开大学外国语学院博导。
毕业照前排左起第二人为常耀信，1965
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 1965 |
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主要著作：
《美国文学选读》 （上下册；主编之一） |
《美国文学简史》  ·出版社：南开大学出版社 ·页码：654 页 ·出版日期：2008年 ·ISBN：9787310002900 |
《英国文学简史》 (普通高等教育十一五国家级规划教材)  ·出版社：南开大学出版社 ·页码：587 页 ·出版日期：2008年 ·ISBN：7310023986 |
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《漫话英美文学》-英美文学史考研指南 ·出版社：南开大学 ·页码：362 页 ·出版日期：2006年 ·ISBN：7310020715 |
《精编美国文学教程》(中文版)  ·出版社：南开大学出版社 ·页码：465 页 ·出版日期：2005年 ·ISBN：731002169X |
《美国文学批评名著精读》(上下) ·出版社：南开大学 |
《英国文学大花园》 ·出版社：湖北长江出版集团,湖北教育出版社 ·页码：262 页 ·出版日期：2007年 ·ISBN：9787535147257 |
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附卓越亚马逊网常耀信简介：教授，博士生导师，任教于中国南开大学及美国关岛大学．研究方向为英美文学。著有《希腊罗马神话》、《漫话英美文学》、《美国文学简史》（英文版）、《美国文学史（上）》（中文版）；主编有:
《美国文学选读》（上、下）、《美国文学研究评论选》（上、下）及《自选评论文集--文化与文学中的比较研究》等。
此外，还在国内外刊物上发表过多篇论文，阐述中国文化对美国文学的影响。1988年被选人英国国际传记中心编纂的《远东及太平洋名人录》，后亦被选入《美国名师录》。
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English Poet Robert Browning (1812-1889) |
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Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose mastery of dramatic verse, especially dramatic monologues, made him one of the foremost Victorian poets. Browning’s fame today rests mainly on his dramatic monologues, in which the words not only convey setting and action but also reveal the speaker’s character. Unlike a soliloquy, the meaning in a Browning dramatic monologue is not what the speaker directly reveals but what he inadvertently "gives away" about himself in the process of rationalizing past actions, or "special-pleading" his case to a silent auditor in the poem. Rather than thinking out loud, the character composes a self-defense which the reader, as "juror," is challenged to see through. Browning chooses some of the most debased, extreme and even criminally psychotic characters, no doubt for the challenge of building a sympathetic case for a character who doesn't deserve one and to cause the reader to squirm at the temptation to acquit a character who may be a homicidal psychopath. One of his more sensational dramatic monologues is Porphyria's Lover. The opening lines provide a sinister setting for the macabre events that follow. It is plain that the speaker is insane, as he strangles his lover with her own hair to try and preserve for ever the moment of perfect love she has shown him.
Yet it is by carefully reading the far more sophisticated and cultivated rhetoric of the aristocratic and civilized Duke of My Last Duchess, perhaps the most frequently cited example of the poet's dramatic monologue form, that the attentive reader discovers the most horrific example of a mind totally mad despite its eloquence in expressing itself. The duchess, we learn, was murdered not because of infidelity, not because of a lack of gratitude for her position, and not, finally, because of the simple pleasures she took in common everyday occurrences. She is reduced to an object d'art in the Duke's collection of paintings and statues because the Duke equates his instructing her to behave like a duchess with "stooping," an action of which his megalomaniacal pride is incapable. In other monologues, such as Fra Lippo Lippi, Browning takes an ostensibly unsavory or immoral character and challenges us to discover the goodness, or life-affirming qualities, that often put the speaker's contemporaneous judges to shame. In The Ring and the Book Browning writes an epic-length poem in which he justifies the ways of God to humanity through twelve extended blank verse monologues spoken by the principals in a trial about a murder. These monologues greatly influenced many later poets, including T. S. Eliot and Ezra Pound, the latter singling out in his Cantos Browning's convoluted psychological poem about a frustrated 13-century troubadour, Sordello, as the poem he must work to distance himself from. Ironically, Browning’s style, which seemed modern and experimental to Victorian readers, owes much to his love of the seventeenth century poems of John Donne with their abrupt openings, colloquial phrasing and irregular rhythms. But he remains too much the prophet-poet and descendant of Percy Shelley to settle for the conceits, puns, and verbal play of the Metaphysical poets of the seventeenth century. His is a modern sensibility, all too aware of the arguments against the vulnerable position of one of his simple characters, who recites: "God's in His Heaven; All's right with the world." Browning endorses such a position because he sees an immanent deity that, far from remaining in a transcendent heaven, is indivisible from temporal process, assuring that in the fullness of theological time there is ample cause for celebrating life. Browning's is assuredly at once the most incarnate and dynamic of visions of Deity, in
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