《外国文学研究》2021年第5期主要论文摘要

点击上方“外国文学研究”可以订阅哦

2021年第5期(总第211期)

学术访谈

Zheng Li & Daniel R. Schwarz

标题：“人生如旅，何须匆忙”：人文主义、多元主义与犹太想象

Title:Humanism, Pluralism, and the Jewish Imagination: An Interview with Daniel R. Schwarz

内容摘要：丹尼尔·施瓦茨是康乃尔大学弗雷德里克·惠顿英文教授，被公认为一名教学名师、极具影响力的文学评论家和重要的公共知识分子。他丰硕的著述涵盖了广泛的主题，从约瑟夫·康拉德、詹姆斯·乔伊斯和华莱士·史蒂文斯到批评理论、大屠杀和纽约市文化。此外，他还定期为《赫芬顿邮报》撰写有关媒体和高等教育的博客，并在世界各地发表演讲，1993 年在北京大学以客座学者身份任教。郑丽代表《外国文学研究》对施瓦茨教授进行了访谈，话题包括他的人本主义和多元主义的批评方式、阅读的哲学、现代艺术和现代文学之间的联系、大屠杀研究和犹太研究。施瓦茨认为阅读是一种旅行，从中我们可以探索在我们自己的和不同的文化中，别人是如何生活和思考的。施瓦茨坚信，没有什么能比目前肆虐全球的新冠病毒更能说明，我们是休戚与共的“命运共同体”，互相依存。最后，施瓦茨感恩他的教师和学者生活给自己带来的机遇，并用自己喜爱的 C.P. 卡瓦菲的诗歌《伊萨卡》中的诗句给了我们一句忠告：“人生如旅，何须匆忙。”

Abstract: Daniel R. Schwarz, Frederic J. Whiton Professor of English Literature at Cornell University, has been regarded as a master teacher, an influential literary critic, and a leading public intellectual. His prolific publications cover a wide variety of subjects, from Joseph Conrad, James Joyce, and Wallace Stevens to critical theory, the Holocaust, reading and teaching of literature, and New York City culture. Also, he has blogged regularly on the media and higher education for Huffington Post, and lectured all over the world, including teaching as a guest scholar at Peking University in 1993. On Behalf of Foreign Literature Studies, Zheng Li interviewed Schwarz on a series of issues, such as his humanistic and pluralistic critical approach, his philosophy of reading, the connection between modern art and modern literature, Holocaust Studies, and Jewish Studies. Schwarz sees reading as a kind of travel in which we explore how others live and think in both our own and different cultures. He believes that nothing makes clearer than the worldwide pandemic, Covid-19, that we are all united in “a community of common destiny”, interdependent on one another. Finally, he expresses his gratefulness for the opportunities his life as teacher and scholar has presented and, with the lines from one of his favorite poems, C. P. Cavafy’s “Ithaka”, offers us a piece of advice, “Don’t hurry the journey at all.”

中外学者对话：文学跨学科研究

Rui Xiaohe & James English

Title: Literary Studies at the Intersection of Economics and Sociology: An Interview with James English

标题：基于经济学与社会学交叉点的文学研究——詹姆斯·英格利希访谈录

内容摘要：詹姆斯·英格利希是宾夕法尼亚大学约翰·威尔士百年英语教授、宾大普莱斯数字人文实验室的创始人兼主任 , 曾担任 2016 年度美国国家图书奖（小说类）评委会主席。他在专著《声誉经济》( 哈佛大学出版社 ) 中研究了文学和艺术奖项的历史、功能和影响，该书被《纽约杂志》评为 2005 年最佳学术书籍。英格利希提出的“声誉经济”理论在文学理论、文化社会学、文化经济学等领域中产生了广泛的影响。受《外国文学研究》委托，富布莱特访问学者芮小河在宾大访学期间（2019—2020），于 2020 年 1月对英格利希教授进行了专访。访谈涉及文学与经济学的跨学科研究，布迪厄和詹明信之后文学经济学理论的发展，以及数字人文等方法的具体运用。英格利希教授认为，文学与经济学的跨学科研究应把重点放在文学世界中文学价值的生产体系上。基于经济学与社会学交叉点的文学研究应重视文学经济学的非货币维度；在文学价值产生于整个社会领域的背景下，这就涉及到文化声誉和社会资本。此外，他还分析了当今文学奖所面临的挑战。

Abstract: James English is the John Welsh Centennial Professor of English and founding Faculty Director of the Price Lab for Digital Humanities at the University of Pennsylvania. He served as Chair of Judges for the National Book Award for Fiction in 2016. His book, The Economy of Prestige (Harvard UP), a study of the history, functions, and effects of prizes in literature and arts, was named Best Academic Book of 2005 by New York Magazine. His economic theory of cultural prestige has exerted extensive influence in the fields of literary theory, cultural sociology and cultural economics. On behalf of Foreign Literature Studies, Rui Xiaohe, a Fulbright visiting scholar at the University of Pennsylvania (2019—2020), interviewed English in January 2020 on issues of interdisciplinary studies of literature and economics, the development of theories of literary economics after Bourdieu and Jameson, and the application of Digital Humanities as well as other methods. English points out that interdisciplinary studies of literature and economics should center on the system of production of literary value. Intersecting with economics and sociology, literary studies should focus on non-monetary dimensions of literary economics, which involve cultural prestige and social capital in the context of the whole social field, where literary value is produced. In addition, he analyzes the challenges facing literary prizes today.

吴  笛

Title: “Legal Literary Criticism” vs “Law and Literature”

标题：文学法律批评 vs 法律与文学

内容摘要：“文学法律批评”与“法律与文学”同属跨学科研究，但是有着不同的研究目的和研究范畴。前者属于文学跨学科研究，后者属于法律跨学科研究。风靡欧美的“法律与文学”学术运动主要产生于法学界，在法学研究中使用文学素材，其着眼点是借鉴文学要素的法律研究，所探讨的是法律方面的相关命题，多半属于法学研究的范畴；而“文学法律批评”是我国学者所使用的学术话语，属于文学研究的范畴，以文学为本体，所强调的是文学批评中法律视野的介入，即借鉴法律视野和恰当的研究方法来审视文学作品。尤其是审视文学作品中的法律事件、法律主题、作家的法学思想以及法律要素在文学作品的措辞、风格、结构等方面的体现，从而加深我们对作家及其作品的理解和认知。

Abstract: Both “legal literary criticism” and “law and literature” are interdisciplinary studies, but they have different purpose and scope. The former is an interdisciplinary study of literature, while the latter is an interdisciplinary study of law. The “law and literature” study, an academic movement prevailing in America and Europe, mainly has emerged in the legal field and used literary materials in legal research with an objective of drawing on literary elements to further the exploration of relevant legal issues, most of which come within the scope of legal studies. In contrast, “legal literary criticism”, the academic discourse used by Chinese scholars, belongs to the realm of literary studies. It is a study that addresses literature as subject with an objective of adopting certain legal perspective in literary criticism, i.e., drawing on the legal perspective and appropriate research methods in assessing literary works. In particular, we should examine the legal events, legal themes, legal thoughts of writers, and legal elements in the wording, style, and structure of literary works, so as to deepen our understanding and cognition of the writers and their works.

“文学趣味”研究

（栏目主持人：殷企平）

殷企平

标题：趣味即文化：阿诺德对文学批评的贡献

Title:Taste as Culture: Mathew Arnold’s Contribution to Literary Criticism

内容摘要：在贬损阿诺德的声音中，有两种观点最具影响：1. 阿诺德是精英主义者，他的文学批评思想只为统治阶级服务；2. 与其说阿诺德是批评家，不如说他是文学批评的宣传家。我们有必要多角度地从事阿诺德研究，进而说明上述观点为何有失偏颇。欲熟谙阿诺德文学批评的精髓，须着眼于作为他文化蓝图中枢的趣味观。他主张建立一个“趣味中心”，主张“集体标准和理想”，这不仅是为了防止个人趣味的盲目性和武断性，更是为了防止整个国家妄自尊大。我们可以借用阿甘本的“完美点”一说，来形容阿诺德的批评实践。理由是阿诺德虽然没有用这一概念表述他的标准，但实际上正是依循是否具备“完美点”来评价文学作品，从而展示“完美点”所体现的趣味。

Abstract: Of all the voices that denigrate Mathew Arnold, two are most influential: a) the claim that Arnold was an elitist, whose views on literary criticism merely served the interests of the ruling classes; b) the assumption that Arnold was rather a propagandist for literary criticism than a critic. We need to conduct the studies of Arnold from multiple perspectives and thereby pinpoint the erroneousness of the fore-going views. We need to proceed from taste, which constitutes the pivotal part of Arnold’s cultural blueprint, if we want to thoroughly understand the quintessence of his literary criticism. Arnold called for “the centre of taste” and advocated “collective standards and ideals” with the aim not only to prevent individual taste from becoming blind and arbitrary, but also to guard the whole state against growing arrogant. It seems appropriate for us to describe Arnold’s critical practice with a term from Giorgio Agamben, namely “the point de perfection”. The reason is that although Arnold did not use this term to indicate his standards, he actually evaluated literary works based on whether or not they reached “the point de perfection”, thus revealing the taste as embodied in it.

陆建德

标题：论趣味的演变与延续性

Title:“End Your Groan and Come Away”: A Note on the Change and Continuity of Taste

内容摘要：任何文明、国家和地区的文学趣味都是在历史进程中形成的，与价值观念、宗教信仰和风俗习惯有着盘根错节的联系，不能用一成不变的本质主义语言来解释，但是开放形态的趣味也有其延续性。狄更斯《老古玩店》出版百年之间的浮沉就折射出英国读书界趣味的演变。小说中关于耐儿之死的描写当初打动无数读者，对于现代读者而言就有滥情之嫌。然而这种对于滥情笔法的反感也反映了英国文化中偏爱幽默和喜剧风格的特点。针对小说、诗歌中滥情的批评还见诸于伍尔夫和利维斯笔下。受莱斯利·斯蒂芬的影响，两位作者的观点中蕴含着克己去我的道德力量，代表了英国文学中趣味的延续性。

Abstract:Taste in literature of any civilization, nation or region is all formulated in historical process. It is interwoven with values, beliefs and manners, and cannot be literally interpreted in essentialist terms. But a tast in open form has its continuity. The ups and downs that Dickens’ The Old Curiosity Shop (1841) has gone through for more than a century since its publication reflect the change of taste in British readership. The description of Little Nell’s death in the novel touched countless readers deeply at that time, whereas it might seem, to readers today, excessively sappy. However, such a resentment to overly sentimental writing also indicates the partiality for humor and comedy in British culture. The criticism of oversentimentality in novel and poetry can be easily found in writings by Virginia Woolf and F. R. Leavis. Due to the influence from Leslie Stephen, their view contains a moral power for self-restraint and impersonality and, therefore, embodies the continuity of taste in British literature.

何  畅

标题：“言不由衷”的艾迪生：《旁观者》中的“趣味”观

Title: The “Insincere” Addison: The Concept of “Taste” in The Spectator

内容摘要：“趣味”话题一直是《旁观者》的聚焦所在。艾迪生认为，人拥有感知“趣味”的感官，它不仅有大脑的特性，也有灵魂的特性。从其对“文雅写作”的讨论来看，他的“趣味”观旨在从符号层面实现语言的同质化，并由此增进传统贵族阶层与新兴商业阶层之间的文化共识。但从其笔下的中国园林来看，他对“趣味”的讨论则另有深意。聚焦《旁观者》中的“趣味”观，我们发现艾迪生一方面推崇理性的力量，寻求文化共识背后的政治联盟，另一方面却又转而讨论不规则的、让想象自由驰骋的感性之美。艾迪生的言论虽看似自相矛盾，却预示着与 18 世纪主流古典审美理想相区别的趣味变革，并在张力中折射出英国中产阶层在阶级融合中谋求自身文化身份的复杂心态。可以说，艾迪生的“趣味”观再现了 18 世纪英国兼具共性与特性、理性与感性的独特意识形态景观。

Abstract: The topic of “taste” had always been the focus of The Spectator. In Addison’s belief, man had the faculty of “taste”, which was both the “faculty of the mind” and the “faculty of the soul”. Based on his discussion on “polite writing,” his concept of “taste” aimed to symbolically implement the linguistic homogenization so as to enhance the cultural consensus between the traditional elite and the emerging commercial class. In his writings on Chinese gardens, however, his discussion of “taste” seems to have other deep implications. With a careful perusal of his views on “taste” in The Spectator, we may find that Addison advocated the power of reason and sought political alliance through cultural consensus on the one hand and, on the other, he discussed the perceptual beauty that favors irregularity and the freedom of imagination. Addison’s opinions might seem self-contradictory, but they not only foreshadowed the forthcoming conceptual revolution of taste that differs from the mainstream classical aesthetic ideals in the 18^th century, but also reflected the complex mentality of the British middle class in their pursuit of cultural identity amidst the class integration. It can therefore be said that Addison’s concept of “taste” represented the unique ideological landscape of the 18^th century England, characterized by an equilibrium between universality and individuality, sense and sensibility.

文学理论前沿

何辉斌

标题：戏剧世界之情绪的认知研究

Title: Cognitive Study of the Emotions in Drama

内容摘要：从效价的角度看，消极情绪比积极情绪容易引起注意力和认知能力的聚焦；从动机强度和唤醒度的方面来说，高强度的和高唤醒度的情绪更容易促使注意力和认知能力集中于一点；目标实现前注意力与认知能力更容易专注于一点；与这三种情况相反的情景则使注意力和认知能力具有更大的宽度、弹性和创造性。戏剧倾向于选择高动机强度高唤醒度的消极情绪，并聚焦于目标实现之前，以便能够死死地将观众吸引住，但在戏剧性强的情景中，认知的灵活性、创造性、多样性会大大降低。

Abstract: In terms of valence, negative emotions tend to attract more attention and focalize more cognition than positive emotions. Emotions of high motivational intensity and arousal may focus attraction and cognition on one point more easily. During the pre-goal phase, our attention and cognition incline to have a narrow focus. In a situation that is contrary to the above-mentioned cases, our attention and cognition could have more breadth, flexibility, and creativity. Drama favors choosing negative emotions with high motivational intensity and arousal and focusing its maneuvering on the pre-goal phase in order to engage the audience closely, but such highly dramatic situations will allow much less cognitive flexibility, creativity, and diversity.

赵  淳

标题：拉康的精神分析伦理学：一种批判的姿态

Title:Lacan’s Ethics of Psychoanalysis: A Critical Stance

内容摘要：精神分析伦理学是整个伦理学知识谱系中不可或缺的一环，也是文学伦理学批评的理论支撑之一。通过对亚里士多德、边沁、康德、萨德、弗洛伊德的伦理观进行清理和质疑，拉康敏锐看到，亚里士多德那种带有强烈等级属性的“善”不可能属于多数人，人们也无法如启蒙哲学家呼吁的那样“爱邻犹爱己”。精神分析的伦理要求主体遵从自身欲望，而主体欲望来自于体现为象征秩序的大他者的欲望。虽然囿于认知局限，拉康从未从社会、历史、文化的角度对伦理的内容进行过填充，但他却撼动了此前西方几乎所有关于善的认知。貌似空洞的精神分析伦理学，实则将某种对传统伦理思想进行全面重审、修正、甚至颠覆的诉求铭刻到了自身的内在逻辑之中。这种否定的动因恰如其分地呈现了精神分析伦理学的批判姿态，批判的目标乃是权力话语之下的主人伦理和宣称为了所有人福祉的虚伪道德。

Abstract: The ethics of psychoanalysis is both an indispensable branch of ethical knowledge and one of the theoretical bearing points of Ethical Literary Criticism. While combing through and questioning the ethical concepts of Aristotle, Bentham, Kant, Sade, and Freud, Lacan keenly realized that Aristotle’s “Goodness” with strong hierarchical attributes could not belong to the majority of people and, therefore, they would not be able “to love one’s neighbor as oneself” as Enlightenment philosophers called for. The ethics of psychoanalysis requires a subject to obey his own desire, which originates from the desire of the Other represented as a symbolic order. Due to his cognitive limitation, Lacan never supplemented any ethical content from social, historical, and cultural perspectives, but he shook up almost all previous cognitions about the Good. The ethics of psychoanalysis, though seemingly hollow, actually engraves a certain demand for a comprehensive review, amendment, and even subversion of traditional ethics into its own internal logic. The dynamics of this negation appropriately presents a critical posture for the ethics of psychoanalysis, targeting the master’s ethics under the power discourse and the hypocritical morality that claims to be for the welfare of all.

陈后亮

标题：理论缘何衰退？——对理论发生的物质条件及制度因素的考察

Title: Why Has Theory Run Out of Steam?: A Reflection on Its Material and Institutional Factors

内容摘要：学界已经讨论了很多有关理论兴起的社会政治语境，但高等教育的市场化因素对理论的刺激作用并未受到足够关注。理论的发生和发展与西方学术体制所提供的物质条件有着密不可分的关系，这些条件主要包括既有知识传统、学术惯例、经济状况以及文化氛围等。某些发展看上去像是理论自身内在演变的结果，但也可能更多受到外界制度性因素变化所致。理论的发展并非仅是理论家们的思想接力，它不仅产生在理论家的头脑中，也发生在现实的学术体制之内，受到诸多外部因素的影响。理论的制度化、市场化和过度的技术—职业化趋势是它当下面临的主要挑战。

Abstract: There have been a lot of discussions on the socio-political context of the rise of theory, whereas the impact on theory from the market-oriented high education has not garnered enough attention. The inception and development of theory are closely related to the material conditions provided by the Western academia, such as intellectual traditions, academic practices, economic conditions, and cultural atmosphere. Some theoretical developments seem to have been prompted by the internal evolution of a theory itself, but they may also be initiated by external and institutional factors. The development of theory is not simply an ideological relay among theorists because it occurs not only in the minds of theorists, but also in the academic institution in reality under the effect of many external factors. The institutionalization, marketization and overindulgence in technology are the main challenges for theory today.

东方文学研究

朱春发

标题：互文与延展：论帕慕克“博物馆系列”中的跨媒介叙事

Title:Intertextuality and Extension: Transmedia Storytelling in Orhan Pamuk’s “Museum Series”

内容摘要：帕慕克创作了包括小说《纯真博物馆》、实体博物馆、目录文本《纯真物品》和电影《纯真记忆》在内的四件作品，构成了“博物馆系列”。在这系列中，帕慕克首先在小说中利用传统小说的叙事优势，讲述了一个融爱情和物品为一体的别致故事，构建了一个故事内核。其它三个随后出现的文本，则在互文性引用内核元素的基础上，分别利用实物、图片、文字、摄影等媒介形式延展了物品叙事和城市叙事。借由互文和延展，帕慕克最终构建了“博物馆系列”这一跨媒介故事世界。这种新颖独特的尝试，一方面凸显出帕慕克文学创作的多样性和丰富性，另一方面，也为跨媒介叙事领域的研究提供了新的范本。

Abstract: Orhan Pamuk created a “Museum Series” composed of four pieces of creative work, including the novel, The Innocence of Museum, the museum itself, the catalogue, The Innocence of Objects, and the movie, The Innocence of Memories. In this series, Pamuk first takes advantage of the traditional novel’s narrative mode to tell a unique story that integrates love and objects and sets such an integration up as its story core. The other three parts, which appeared subsequently, extended the storytelling about objects and city respectively, using various media, such as objects, pictures, words, and cinematography, based on the exploration of intertextuality and the core of the story. By means of intertextuality and extension, Pamuk eventually constructed a transmedia storyworld in the “Museum Series.” Such a new and original experiment accentuates the diverseness and richness in Pamuk’s literary writing on the one hand and, on the other, provides us with new exemplary texts for the studies in transmedia storytelling.

占才成

标题：日本国生神话中“女人先言不良”观念新解

Title:A New Explanation of “It’s not good for a woman to speak first” in Japanese kuniumi sinwa

内容摘要：日本国生神话中“女人先言不良”观念历来被学界认为是中国儒家“夫唱妇随”“男尊女卑”思想影响的结果。然而，仔细分析可知其疑点颇多，应重新讨论。回归到日本上古社会，并结合《周易》及其注释书阐释的古代婚姻“男下女”仪礼，可以得出：日本国生神话中的“女人先言不良”并非只是“夫唱妇随”“男尊女卑”思想影响的结果，该观点与日本上古社会现实不吻合，也可能是《周易》“男下女”婚姻仪礼及占卜之术影响的结果。对日本国生神话中“女人先言不良”的重新解读，可为我们探索日本上古时代婚嫁习俗、讨论中日文学文化的交流与影响关系，提供一个新的研究视角和方向。

Abstract: The concept, “It’s not good for a woman to speak first,” in Japanese kuniumi sinwa has always been considered by scholars to be the result of the influence from the Chinese Confucian thoughts, “A wife is her husband’s echo” and “man is superior to woman”. However, more careful analysis may discover that many doubts still exist and should be discussed again. If we back at the ancient Japanese society and re-examine the ancient marriage rituals of “the man humbly woos under the woman” defined in I Ching, we can conclude that the concept, “It’s not good for a woman to speak first,” in Japanese kuniumi sinwa is not merely the result of the influence from the ideas, “A wife is her husband’s echo” and “man is superior to woman” because they are not consistent with the reality of ancient Japanese society. It may also be the result of the influence from the marriage ritual, “The man humbly woos under the woman,” and divination in I Ching. A re-interpretation of this concept in Japanese kuniumi sinwa can offer us a new research perspective and direction in exploring the customs of marriage in ancient Japan and discussing the exchange and mutual influence between Chinese and Japanese literature and culture.

欧洲文学研究

王  微

标题：歌德叙事谣曲中的死亡书写——以《柯林斯的未婚妻》和《死者之舞》为例

Title: The Writing about Death in Goethe’s Ballads: Die Braut von Korinth and Der Totentanz

内容摘要：诗人歌德在《柯林斯的未婚妻》和《死者之舞》两首叙事谣曲中赋予了死亡声音和形象，具象地描写了死亡的在场，也展现了死亡独特的“生命活力”。这样的死亡书写打破了不可逆转的自然规律，在奇幻的虚拟语境中实现了生与死的通约，让死亡被遮蔽的本质坦然敞开，让丰盈旺盛的生命力得以自由绽放，让“魔性”与理性的辩证关系得以清晰呈现，从而也彰显出诗人泛神主义的生死观。歌德将死亡进行了“生命化”的独特书写，也从认识论的层面丰富和充实了死亡的概念，并在奇妙而神异的想象中将死亡的美学价值和哲学意境展现得淋漓尽致。

Abstract: Goethe depicts death with voice and image in his two ballads, Die Braut von Korinth and Der Totentanz, vividly describing the presence of death and displaying the unique “vitality” of death. Such kind of writing about death breaks the irreversible natural law, facilitates the agreement between life and death in the fantastic virtual context, opens up the hidden essence of death, allows the rich and strong force of life to flow freely, defines the dialectical relationship between “devilishness” and rationality with great clarity, and hence underscoring the poet’s pantheistic view of life and death. Goethe’s unique writing about death as life not only enriched and solidified the concept of death from the level of epistemology, but also illustrated, incisively and vividly, the aesthetic value and philosophical significance of death in his wonderful and fantastic imagination.

吴雅凌

标题：俄耳甫斯祷歌中的黑夜和宇宙起源传统

Title:Night and Cosmogony in the Orphic Hymns

内容摘要：托名俄耳甫斯的 88 首希腊文祷歌成形于罗马帝国初期，而在神话谱系和词句风格上沿袭古希腊传统，既大量援引赫西俄德和荷马的神谱说法，又保留俄耳甫斯神谱的若干典型特征。在三大希腊神话传统中，荷马神谱和赫西俄德神谱分别将大洋和大地奉为奥林波斯诸神的始祖，俄耳甫斯神谱古版本则将黑夜视为诸神的起源。88首祷歌中的夜神形象兼有宇宙神和城邦神两种特质，既是宇宙起源叙事中的最初的神，又在神权神话中扮演不可或缺的角色。祷歌中的夜神和宇宙起源叙事呈现出多重谱系并置、诸神混同和修饰语混用等现象，表现出祷歌作者对早期神话诗人的仿效和翻转，对彼时通行的诸种俄耳甫斯神谱版本的借鉴，对罗马帝国初期多样化的宗教影响和哲学思潮的整合努力。

Abstract: The Orphic Hymns came into being in the early Roman Imperial age, but their mythological genealogy and verbal style inherited the ancient Greek traditions, namely, relying heavily on the citations from Hesiod and Homer while maintaining certain typical features of the orphic theogonies. Within the three major traditions of the Greek mythology, Homer and Hesiod regarded respectively Oceanus and Gaia as the ancestor of the Olympian gods, whereas the orphic eudemian theogony saw the goddess of the night (Nyx) as the origin of all gods. The image of Nyx in the orphic hymns carries the characteristics of both the creator deity and the city-state patron deity. Nyx is the primordial goddess in the narrative of cosmogony, and plays an indispensable role in the theocratic myths as well. The fact that Nyx is presented in these hymns in a hybrid of multiple mythological genealogies, the assimilation to several other deities, and a mixed use of the epithets demonstrates how the anonymous author of the orphic hymns understood the tradition and innovation in Hellenistic poetry, and strove to integrate diverse religious influences and philosophical trends during the early period of the Roman Empire.

郭　然

标题：《辛格顿船长》中的金子与 18 世纪英国国家身份的悖论

Title:The “Gold” in Captain Singleton and the Paradox of English National Identity in the 18^thCentury

内容摘要：笛福的小说《辛格顿船长》讲述了英国商人辛格顿在非洲等地通过海盗式贸易掠夺金子并带回国储藏的经历，由此揭示了 18 世纪英国晚期重商主义货币政策的两幅面孔。晚期重商主义一方面重视在国内缔造货币和商业秩序，另一方面又鼓励英国商人在海外从事掠夺性贸易，使得这一时期的英国国家身份在现代普惠式商业国家与海盗式帝国之间游移。辛格顿结束其海外探险以商人面目回归英国的过程可以理解为英国净化自身形象，凸显其现代商业社会特征的象征。小说并不止步于勾连货币政策与国家身份的建构。更为重要的是，笛福借助一种糅合传奇和写实的新的虚构体裁解构了 18 世纪英国人所宣扬的英国推动了全球经济发展的观点，强调了 18 世纪英国国家身份挥之不去的阴暗面。总的来说，《辛格顿船长》对金子的描写揭示了 18 世纪英国国家身份悖论的经济根源，具有鲜明的文化批判功能。

Abstract: Defoe's novel, Captain Singleton, tells the story of the English merchant Singleton's experience of plundering gold in Africa and other places through piratical trade and bringing it home for storage, thus revealing the double faces of the English late mercantilist monetary policy in 18^th century. On the one hand, late mercantilism emphasized establishing monetary and commercial order at home; on the other hand, however, it encouraged English businessmen to engage in predatory trade overseas. All this made English national identity vacillate between a modern patronizing commercial country and a piratical empire. The process of Singleton's return to England as a businessman after putting his overseas exploration to an end can be understood as an embodiment of England's efforts to purify its image and highlight its characteristics as a modern commercial society. The novel does not stop at combining monetary policy with the construction of national identity. More importantly, Defoe deconstructed, by using a new fictional genre that blends romance and realism, the English claim in the 18^th century that England promoted the global economic development and underscored the lingering dark side of the English national identity in the 18^th century. Generally speaking, the description of “gold” in Captain Singleton reveals the economic origin of the paradox of English national identity in the 18^th century and, therefore, has a distinctive function of cultural criticism.

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