《外国文学研究》2021年第4期主要论文摘要
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2021年第4期(总第210期)
中外学者对话：殖民与后殖民研究
Huang Yiting & Elleke Boehmer
标题：移民、跨界及英国后殖民研究：艾略克·博埃默访谈录
Title:Immigration, Border Crossing, and the Postcolonial Studies in Britain: An Interview with Elleke Boehmer
内容摘要：博埃默是牛津大学英文系世界文学教授，英国殖民与后殖民研究创始人，以英国文学中的帝国和反帝国研究享誉世界。同时，她也是一名作家。她还是牛津大学出版社的《牛津后殖民研究系列丛书》总编辑。在后殖民研究最初推介到中国时，许多中国学者就是通过她的著作《殖民与后殖民文学：移民隐喻》（1995）来认识后殖民研究的。本次采访包括两个部分，分别完成于新冠疫情爆发前和爆发高峰期，梳理了英国后殖民研究的一些关键议题，包括英国后殖民研究的历史、英国学者关注的核心问题、殖民与后殖民研究之间的关系、族裔和移民作家对当代英国文学发展的影响、后殖民研究的前景以及新冠疫情对该领域研究的影响等。博埃默教授始终认为“移民”是核心议题，强调后殖民研究中“跨界”，以及完善跨学科研究方法的重要性。
Abstract: Elleke Boehmer is Professor of World Literature at the English Department, University of Oxford. She is a founding figure in the field of colonial and postcolonial studies, known internationally for her research in Anglophone literatures of empire and anti-empire, while also being a novelist and short-story writer. She is the general editor of the book series, Oxford Studies in Postcolonial Literatures (OUP). Many Chinese scholars came to understand the postcolonial studies through her book, Colonial and Postcolonial Literature: Migrant Metaphors (1995), when this field began to be introduced into China. This interview, conducted in two parts before and during the peak of the COVID-19 pandemic in 2020, addresses a number of important issues in postcolonial studies in the UK, such as the history of the postcolonial literary studies in Britain, the core issues the British scholars are currently concerning about, the relationship between colonial and postcolonial studies, the influence of the ethnic and immigrant writers on contemporary British literature, the prospects of the postcolonial studies, and the impact on it of the COVID-19 pandemic. While indicating “immigration” as the key topic all along, she emphasizes the importance of border-crossing in postcolonial studies and its methodological improvement on interdisciplinary studies.
刘立辉
Title: American Merchandise and the Discourse of Colonial Economy in Edmund Spenser’s The Faerie Queene
标题：斯宾塞《仙后》中的美洲物产与殖民经济话语
内容摘要：斯宾塞的史诗《仙后》设计了一个虚构的地理空间，然而诗歌的空间讽喻呈现却使其具有坚实的现实地理指涉性，其中的黄金、烟草、愈疮木等美洲物产传递出鲜明的新世界经济地理信息。斯宾塞的叙事显示黄金能增加宗主国的国民财富，海外植物能满足国内的消费和医疗需求，但是，对黄金的迷恋冲击着中世纪以降的基督教经济伦理观，消费海外奢侈物会导致英格兰财富流向西班牙，海外探险可能引发疾病跨地区传播。黄金、烟草、愈疮木涉及重商主义、消费经济、疾病经济等与海外拓殖相关的经济话题。《仙后》对殖民物产的含混、甚至矛盾的叙事方式揭示了殖民者既想消费殖民物产，又力图构建自身道德优势的殖民行为。
Abstract: Although Edmund Spenser devises a fictitious geographic space in his epic, The Faerie Queene, the allegorical representation of the place delivers an authentic reference to the geography in reality, a place where such American products as gold, tobacco, and guaiacum convey the clear information about the economy and geography in the New World. Spenser’s narrative demonstrates that gold can increase the national wealth of the suzerain, whereas plants and herbs can satisfy its domestic consumption and meet its medical demands, but the obsession with gold impinges upon the Christian economic ethics during the Medieval period, the consumption of luxuries from overseas could cause a quick flow of the English wealth to Spain, and overseas exploration might trigger a spread of diseases across continents. Gold, tobacco, and guaiacum involve some economic issues related to mercantilism, consumer economy, and disease economy. The ambiguous and even contradictory narrative about the colonial merchandise reveals the colonial conduct of the colonizers who not only wish to consume colonial merchandise, but also attempt to establish their own moral superiority at the same time.
马克思主义经典文艺思想当代化研究
（栏目主持人：段吉方）
段吉方
Title: Criticism of Capital Modernity: Cultural Capital and Its Value of Aesthetic Interpretation from Marx’s Perspective
标题：资本现代性批判——马克思视域中的文化资本问题及其审美阐释价值
内容摘要：马克思在他的历史唯物主义理论中提出并阐释资本问题，将资本问题视为决定和影响社会文化再生产关键问题。马克思在提出并阐释资本问题的过程中没有拒绝和遗忘感性，包括审美问题，而是强调在分析“资本运动规律”过程中关注人的感性和理性的融合。马克思对资本问题的阐释不但奠定了资本主义社会文化批判理论的基础，而且为后来的文化批判理论发展提供了理论和实践的契机。资本不完全是冰冷的现实的货币价值的一部分，而是社会文化生产和再生产交换领域重要的支配因素，以这种理论形式，资本现代性批判进入当代批判理论的视野之内并产生了重要的理论反响。
Abstract: Marx put forward and defined the problem of capital in his theory of historical materialism, and he regarded it as the key issue in determining and affecting the social and cultural reproduction. While putting forward and defining the problem of capital, Marx did not reject or forget sensibility, even aesthetics. Instead, he emphasized the need for the integration of human sensibility and rationality in the process of analyzing the “law of capital movement.” Marx’s interpretation of the problem of capital not only laid down the foundation of the critical theory on the capitalist society and culture, but also provided a theoretical and practical opportunity for the later development of cultural critical theory. Capital is not entirely a part of the cold and realistic monetary value. It is also an important dominant factor in the sphere of social and cultural production and reproduction. With this theoretical form, the criticism of capital modernity has come into the vision of contemporary critical theory and generated profound theoretical repercussions.
张 碧
标题：马克思主义政治经济学符号批评的范式转换
Title:The Paradigm Transformation of Semiotic Criticism in Marxist Political Economy
内容摘要：马克思主义的政治经济学符号批评有其漫长的发展历程。马克思本人业已在其政治经济学中，表达出关于符号现象的认识与探索，在此基础上，此后的诸多马克思主义者在进行政治经济学批评的过程中，先后援引了不同的现代符号学方法。以列斐伏尔等为代表的某些马克思主义者，将索绪尔二元论符号学运用于政治经济学批评中，却使批评工作受到了二元论符号学形而上学缺陷的影响；然而，洛塞—郎蒂等巴里学派成员则以皮尔斯逻辑符号学传统的三元论符号学方法，对政治经济学的符号学批评范式进行革新，由此使马克思主义政治经济符号批评体现出对意义延伸性的强调，从而更具历史唯物主义的价值向度。
Abstract: The semiotic criticism of Marxist political economy has gone through a long process of development. Marx himself denoted his understanding and exploration of signs and phenomena in his political economy. Since then, many Marxists built on that and invoked different modern Semiotic methods in delivering their critique on political economy one after another. Some Marxists, as represented by Lefebvre, applied the Saussurean dualist semiotics to their criticism of political economy and, yet, could not avoid the effect from its metaphysical defects. However, Rossi-Landi and other members of the School of Bari reformed the paradigm of Semiotic criticism on the political economy by using the triadic model of semiosis based on the tradition of the Piercean logic as semiotics and highlighted the emphasis that the semiotic criticism of Marxist political economy placed on the extension of meaning, so as to gain more valuable significance of historical materialism.
张成华
标题：马克思主义艺术生产视域中文艺与现实关系的再思考
Title:Reconsidering the Relationship among Literature, Art and Reality in Light of Marxist Art Production
内容摘要：基于马克思主义艺术生产理论所取得的成果，我们可以对文艺与现实的关系做出进一步的思考与阐述。作为感性的人的文艺生产者所生产的文艺作品，呈现了一个文艺世界。这个文艺世界既与现实世界相分离，又与现实世界相通达并产生出一种真实性的效果。文艺作品以其独特的审美特性和结构，影响和建构着接受者的观念并促发接受者现实的行动。基于对接受者观念的影响和改变，文学艺术参与到现实世界的再生产进程中。
Abstract: Based on the achievements from the Marxist theory of art production, we may extend some further consideration of and elaboration on the relationship among literature, art and reality. The literary and artistic works produced by writers and artists, as sensual human beings, represent a literary and artistic world, a world that at once separates from and connects with the real world, generating an effect of authenticity. With their special aesthetic characteristics and structure, literary works affect and construct their recipients’ concepts, and inspire them to take realistic actions. By exerting their influence upon and facilitating changes in their recipients’ concepts, literature and art participate in the reproductive process in the real world.
文学跨学科研究
乔国强
标题：王尔德《雷丁监狱之歌》中的监狱、法律与叙事
Title: Prison, Law and Narrative in Oscar Wilde’s The Ballad of Reading Gaol
内容摘要：《雷丁监狱之歌》是一首思想内涵颇为独特的诗歌，即王尔德借自己在监狱中的经历，揭露了英国监狱践踏人性的野蛮化管理体制，提出了监狱及其法制体系应该如何对待犯人的现代性命题。这首诗除了在主题上具有尖锐的批判性和超前性之外，其所使用的艺术手法也具有超时代的意义。具体来说，在浪漫主义抒情热尚未消退之际，王尔德在这首诗中率先使用了反抒情的叙事手法，在完成与浪漫主义诗歌成功切割的同时，也与传统诗歌的叙事手法划清了界限。总之，这首看上去似乎直抒胸臆、平淡无奇的诗歌文本，其实包蕴了一系列超前的现代性诉求。从某种意义上说，正是这首《雷丁监狱之歌》为王尔德所处的那个时代的英国文学牢牢地嵌入了一个“现代性”的美学因子。
Abstract: The Ballad of Reading Gaol is a unique poem full of ideological connotations. By virtue of his own experience in prison, Oscar Wilde reveals the dehumanizing and barbaric management system of British prisons, and puts forward a modern proposition of how prisons and the legal system should treat prisoners. In addition to the critical acuteness and foresightedness in its theme, this poem also has the significance of transcendentality in its artistic techniques. Specifically, at a time when the lyrical trend of Romanticism had not yet subsided, Wilde took the lead to employ an anti-lyric mode of narrative in this poem to sever his tie with the Romantic lyricism successfully and, at the same time, draw a clear line against the narrative techniques of traditional poetry. In short, this poem, which seems to be straightforward and plain and, all along, has not attracted much attention from the academia, actually contains a series of pursuits of modernity ahead of his time. In a sense, it is The Ballad of Reading Gaol that firmly embeds an aesthetic factor of “modernity” into the British literature of Wilde's time.
于 雷
标题：泄密的声音：爱伦·坡小说中的视听之争
Title: The Tell-Tale Sound: The Conflict between the Visual and the Acoustic in Poe’s Fiction
内容摘要：坡的小说往往凸出听觉认知对视觉认知的消解或改造，以某种超前意识预设了麦克卢汉围绕人脑认知结构所做出的视听空间阐述。基于这一理论意义上的同构现象，拟考察女性气质与听觉空间在坡的笔下所产生的耦合效应，着重分析女性（乃至于某些情形下的象征性动物）如何挑战权力化的视觉认知空间，悄然将传统视觉思维的线性逻辑反转为以“去中心化”“去等级化”的听觉模式为认知内核的非线性逻辑，说明声音如何在坡小说的关键节点成为揭示文本社会政治内涵的独特通道。
Abstract: Poe’s fiction tends to highlight the disintegrative or reformative influence of the acoustic upon the visual, prophesying what Marshall McLuhan would elaborate on the acoustic and the visual spaces regarding the cognitive structure of the brain. Based on this theoretical isomorphism, this article intends to explore the coupling effect between femininity and the acoustic space in Poe’s fiction, and to analyze, in particular, how female characters (and even symbolized beasts under certain circumstances) challenge the empowered space of visual cognition, furtively turning the linear logic of the traditional visual cognition into the non-linear logic that has as its core the decentralized and dehierarchized acoustic mode, so as to illustrate how the sound functins as a unique channel, through which Poe brings to light, at certain crucial points in his fiction, the socio-political connotations of the text.
阎 伟
标题：萨特的报刊媒体实践与文学风格的嬗变
Title:Sartre’s Practices in News Media and Journals and His Changing Literary Style
内容摘要：1945 年以后，萨特为践行“实践文学”的主张，高度介入媒体，从而形成“媒体实践文学”。其中在报刊媒体的实践活动极大地影响了他的文学创作。通过采取比较研究方法，对比分析同时期萨特的新闻文本与文学文本，可以发现萨特的报刊媒体实践活动拓展了其文学创作题材，强化了新的文体意识，激进的新闻立场催生了语言暴力修辞，最终导致其文学风格的嬗变。萨特的“媒体实践文学”从理论到实践都存在瑕疵，但从实际效果来看它实现了其介入社会、改变世界的初衷。
Abstract: After 1945, Sartre was highly involved in the media in order to practice the idea of “literature of praxis” and thereby form his “media literature of praxis.” His practices in newspapers and periodicals greatly influenced his literary writings. An analysis based on a comparative reading of Sartre’s journalistic and literary texts during this time period may reveal that Sartre’s practices in the press expanded the range of subjects for his literary writing, strengthened his new stylistic consciousness, and his radical journalistic standpoints precipitated the violent rhetoric in his language, which ultimately triggered a constant change in his literary style. Sartre’s “media literature of praxis” is flawed both in theory and practice, but in terms of its actual effect it did accomplish its initial intent to engage in the society and change the world.
王希翀
标题：“音乐之网”：论哈代小说对瓦格纳交响配乐的模仿
Title: “The Musical Web”:The Imitation of Wagner’s Symphony in Thomas Hardy’s Novels
内容摘要：“音乐之网”是有关托马斯·哈代小说审美特征的评价概念。它所依赖的媒介本位是文学艺术，体现了一种运用语词模仿音乐的跨媒介的叙事技巧。“音乐之网”在肯认瓦格纳之于叔本华音乐哲学创作实践的基础之上，从形式和内容两方面实现了对瓦格纳音乐戏剧交响配乐的跨媒介叙事。从形式上“音乐之网”模仿了瓦格纳交响配乐中的序曲与主导动机；从内容上模仿了交响配乐中的音响结构“特里斯坦和弦”与“语言与音乐共生的结构”。
Abstract: “The musical web” is a concept of evaluation that defines the aesthetic features in Thomas Hardy’s novels. The basic media it relies on is the craft of literature, which embodies a cross-media narrative technique that uses words to imitate music. While acknowledging Wagner’s creative practice based on Schopenhauer’s musical philosophy, the “musical web” appears to accomplish, both in form and content, a cross-media narrative reinforced by symphonic music in Wagner’s music drama. In form, “the musical web” imitates the “prelude” and “leitmotif” in Wagner’s symphonic music; in content, it imitates its sound structure of “Tristan chord” and “symbiotic structure of language and music.”
林少晶
标题：《弗兰啃斯坦：一个爱情故事》中的后人类技术与身体
Title:Posthuman Technology and Body in Frankissstein: A Love Story
内容摘要：假肢技术作为人类增强技术之一存在着两种截然不同的观点，即提升功能或治疗性的医学干预，这两种观点也指涉赛博格形象的两种不同内涵。对这一问题的探讨涉及人类增强技术的伦理考量，有助于我们理解（人类增强技术）对人类的意义，在最新出版的小说《弗兰啃斯坦：一个爱情故事》中，珍妮特·温特森为我们提供思考二者关系的方式。通过分析赛博格的由来，可见赛博格产生的技术背景（控制论技术）和社会背景（战争）对当代流行文化中的赛博格形象表征产生了决定性的影响；在假肢的修辞隐喻中，假肢成为时髦的装备，受损的身体消失在背景中，只有强调假肢的物质现实，假肢佩戴者具身化的身体才能恢复可见性。这些佩戴假肢者不是使用身体技术，而是生活在身体技术中，他们的身体和假肢协同进。只有具备这种伦理意识，才能避免身体在人类增强技术中消失的命运。
Abstract: As one of human enhanced technologies, there are two distinctly opposing views on prosthetic technology, that is, enhancing intervention or therapeutic medical intervention, and these two views also refer to two different connotations of cyborg image. A probe into this issue, which may involve the ethical consideration of human enhanced technology, could help us understand what it means to human beings. In her latest novel, Frankissstein: A Love Story, Jeanette Winterson provides us with a way to think about the relationship between the two. By analyzing the origin of cyborg, we can see not only its technological background (cybernetic technology) and social background (war), but also its decisive impact on the representation of cyborg images in contemporary popular culture. In the rhetorical metaphor of prosthetics, protheses become fashionable equipment while damaged bodies fade into the background. Only by emphasizing the materiality of protheses can the prosthesis wearers restore the visibility of their embodied bodies. These wearers do not usesomatechnologies, but live in them instead., and their bodies coevolve with their protheses. With this ethical consciousness, it might be possible for our bodies to avoid the fate of fading away in human enhanced technology.
文学伦理学批评
武 静
标题：科学伦理反思——《浮士德博士》以来的西方“科学戏剧”传统
Title:Reflections on Scientific Ethics: The Tradition of “Science Play” since Doctor Faustus
内容摘要：“科学戏剧”在当代西方戏剧舞台上占据重要一席，它伴随着西方现代科学的兴起而诞生，其源头可以追溯至克里斯托弗·马洛的《浮士德博士的悲剧》，发展至今已有四百多年的历史。自诞生以来，科学戏剧始终以审慎的态度批判和反思现代科学中存在的问题，伴随着三次科学革命经历了三次创作高峰，并在这个过程中形成了以反思科学伦理为重点的创作传统：第一次科学革命后，以《浮士德博士》为代表的科学戏剧对现代科学的怀疑与伦理担忧；1945 年日本遭受原子弹轰炸后，以《伽利略传》为代表的科学戏剧对科学潜在危险性和伦理困境的反思，以及 1980 年代后兴起的涵盖现代科学各学科的第三次创作热潮，囊括了更广泛和细致的伦理探讨。纵观科学戏剧的发展历史，从早期对广义上“科学”的伦理担忧，到后来深入具体学科的伦理探讨，科学戏剧确立了以反思科学伦理为核心的创作传统。
Abstract: “Science Play” holds a key place in contemporary Western drama. Up to now, it has a history of more than four hundred years because its origin, which conincided with the rise of modern science in the West, may be traced back to Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus. Ever since its appearance, Science Play has always maintained a prudent attitude in critiqueing and reflecting upon the issues concerning modern science, experiencing three creative peaks along with the three scientific revolutions, and, during the process, establishing a creative tradition that is focused on the reflection upon scientific ethics: In the wake of the First Scientific Revolution, science plays like Doctor Faustus expressed some doubts and ethical concerns about modern science; after the nuclear bombing in Japan in 1945, science plays like Life of Galileo reflected upon the potential risk and ethical dilemma posed by science; the third creative upsurge, which has gotten underway since the 1980s and covered all the disciplines of modern science, initiated a more expansive and meticulous ethical probe. Juding from its long history of development, we see that, from its early ethical worries about “science” in broad sense to its in-depth ethical probe into specific disciplines later on, Science Play has established a creative tradtion that relies on the refection upon the scientific ethics as its core.
刘茂生
标题：《真相毕露》中的身份错位与伦理选择
Title: Misplaced Identity and Ethical Choice in Bernard Shaw’s Too True to Be Good
内容摘要：萧伯纳戏剧《真相毕露》以“政治狂想曲”为副标题，暗示了该剧与政治有难以分割的联系。在以虚伪和欺诈为生存基础的社会环境中，剧中不同人物面临各自的伦理选择与身份选择。人物之间关系的反转，进而引发了伦理身份的变化与混乱，新的伦理身份使其陷入了生活与精神的伦理困境，这是当时英国社会伦理道德标准混乱的真实写照。怀有政治理想诉求的萧伯纳巧妙地设计了一条旷野中的“路”，为精神荒原上的人们提供了变革社会的希望，同时也表达了他对重建战后西方社会伦理秩序的渴望。
Abstract: The subtitle of Too True to be Good, “Political Rhapsody,” implies an inseparable connection between the play and politics. Living in a social environment, in which one’s survival depends on hypocrisy and fraud, different characters in the play face their own ethical choices and identity choices. The transformation of the relationships among characters, there by, leads to the changes and confusions of their ethical identities. Then, new ethical identities plunge them into an ethical dilemma both in life and spirit. This is a true portrayal of the chaos of the ethical and moral standards in the British society at that time. Motivated by the pursuit of his political ideal, Bernard Shaw skillfully designs a “path” in the wilderness, offering the people on the spiritual wasteland a hope of social reform and, at the same time, expressing his own strong desire to reconstruct the ethical order in the post-war Western society.
王青璐
标题：《别名格雷斯》中的空间表征与爱尔兰移民的伦理选择
Title:The Spatial Representation and the Irish Immigrants’ Ethical Choice in Alias Grace
内容摘要：加拿大作家玛格丽特·阿特伍德在小说《别名格雷斯》中虚构了历史人物爱尔兰移民格雷斯·马克思移民北美的经历。小说的空间既是各种社会关系的表征，也承载了相应的伦理规范。格雷斯在移民船中陷入伦理冲突，在殖民地雇佣空间中受到伦理禁忌的约束，在全景敞视监狱遭受他人凝视的控制，同时也做出相应的伦理选择，化解各类危机。小说还原了加拿大前殖民地上存在的针对底层移民与弱势边缘人群的空间暴力，批判围绕族裔、阶级、性别产生的不平等现象。阿特伍德借格雷斯的伦理选择反思了加拿大与前宗主国英国的关系，用格雷斯的苦难历程隐喻加拿大在英国殖民统治下受到的伤害。
Abstract: The novel, Alias Grace, by the Canadian writer, Margaret Atwood, fictionalizes the experience of a historical figure and an Irish immigrant, Grace Marx, who emigrated to North America. In this novel, space not only represents various social relations, but also facilitates certain corresponding ethical norms. Grace was caught in the ethical conflict aboard the immigrant ship, restricted by ethical taboos in the space of colonial employment, and stared at by others in a panopticon prison. She made the corresponding ethical choice to resolve various conflicts. The novel re-presemts the spatial violence against the low-level immigrants as well as the vulnerable and marginalized groups in the former colonies of Canada. Also, it criticizes the phenomenon of inequality due to ethnicity, class, and gender. Atwood reflects on the relationship between Canada and its former suzerain, UK, by analyzing Grace’s ethical choice and turns her arduous experience into a metaphor of the damage that Canada had suffered under the British colonial rule.
东西方文学的交流与互鉴
钱兆明
标题：从“眷留”理念看斯奈德的禅诗《牧溪的柿子》
Title:From “Delay in Glass” to Snyder’s Chan Poem “Mu Chi’s Persimmons”
内容摘要：斯奈德的《牧溪的柿子》再现了牧溪《六柿图》“色空相即”的参禅开悟之旅。对照牧溪 13 世纪的《六柿图》细读斯奈德 21 世纪的《牧溪的柿子》，我们会发现该诗采用了禅门公案“绕路说禅”的模式，其激发开悟的手法却似法国艺术家杜尚 100 年前尝试打开第四维度的《大玻璃》。《大玻璃》诱发遐想靠的是杜尚所谓“玻璃中的眷留”。《牧溪的柿子》激发开悟则是通过在词语、音韵上做文章，让读者“眷留”，捉摸“弦外之音”。美国评论家帕洛夫指出，21 世纪诗人“更欣赏杜尚的玻璃中的‘眷留’”。脱离文学艺术作品，很难讲清楚什么是“眷留”。用“眷留”理念阐释斯奈德 21 世纪的禅诗却可以一举两得——在讲清该诗禅意识的同时，弄明白杜尚提升“陌生化”诗学并将之用于探索第四维度的前卫理念。
Abstract: Gary Snyder’s “Mu Chi’s Persimmons” represents what Mu Chi depicts in his Six Persimmons, namely, a journey of enlightenment through Chan about the concept of “form and emptiness as interbeings.” Through a careful reading of Snyder’s poem, written in the 21st century, in comparison to Muqi’s painting, Six Persimmons, created in the 13th century, we will discover that the poem adopts the mode of Zen koans to insinuate the multi-layered implications of Chan, and that its strategy to prepare for the enlightenment, however, seems quite similar to the French artist Duchamp’s attempt to open the fourth dimension in his The Large Glass one hundred years ago. While The Large Glass depends on what Duchamp terms “delay in glass” to let the imagination fly, “Mu Chi’s Persimmons” relies on words and sounds to provoke enlightened readings, urging readers to “delay” in reading and ascertain “undertones.” Poets in the 21st century, as Marjorie Perloff, an American critic, points out, seem “much more attuned to the ready-mades, the ‘delays’ in glass and verbal enigmas of Marcel Duchamp.” It is hard to define what this “delay” means without engaging any works of literature and art. Analyzing Snyder’s Chan poem in the 21st century based on the concept of “delay” may kill two birds with one stone: While clarifying the essence of Chan, we can also figure out Duchamp’s avant-garde idea about enhancing the poetics of “strangeness” and applying it in probing into the fourth dimension.
李 丹
标题：非洲英语文学在西方的生成和他者化建构
Title:The Formation and Otherization of African English Literature in the West
内容摘要：非洲英语文学是西方非洲文学研究的核心，但常常被视为英美文学特别是英国文学的附属，贴上“英联邦”“后殖民”和“新英语”等文学的标签。相关研究更是从西方视阈、文化认同和审美情趣出发，始终笼罩在西方话语之中。在后殖民理论等西方批评话语的掌控下，西方学者定义、圈划、剔筛、诠释进而建构非洲英语文学，过度关注非洲英语文学的政治因素、历史成因和文化内涵，并在阐释过程中构建出“黑人属性”和“非洲特性”等实际上是以他者文化为考量的单一想象。弄清这一点，对于我们跳出西方话语的藩篱，以中国文学文化视野平等观照非洲英语文学的内涵与外延，还原非洲文学文化的真实面貌和精神内核，具有重要意义。
Abstract: African English Literature, viewed as the core of Western studies of African literatures, has often been treated as the auxiliary part of British and American literature, especially the former, and labelled as part of “Commonwealth,” “Postcolonial,” and “New English” Literature. Moreover, the relevant studies have always been confined to the Western perspective, cultural identity, and aesthetic sentiments and enshrouded in the Western discourse. Under the sway of various Western critical discourses, such as postcolonial theory, Western scholars define, demarcate, filter, interpret and hence construct African English literature, expressing too much concern about the political factors, historical causes, and cultural implications in its literary works, and weaving a single imagination about “blackness” and “Africanness” virtually based on their own notion of Otherness. A clear understanding of this point is essential to our effort in breaking the bonds of Western discourse, observing, fairly and objectively, the denotation and connotation of African English literature from the perspective of Chinese literature and culture, and restoring the real style and spirit of African literature and culture.
往期精彩文章回顾：
目录 | 《外国文学研究》2021年第4期
胡 俊 | 裘帕·拉希莉《同名人》中的操演之家
戴鸿斌 | 空间批评视域下斯帕克小说中的苏格兰民族性建构
朴哲希 | 朝鲜朝中期“唐宋诗之争”研究
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