《外国文学研究》2022年第2期主要论文摘要

Original 《外国文学研究》外国文学研究 2022-12-15

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2022年第2期(总第214期)

中外学者对话文学中的疾病书写

Yang Yang & Michael Bérubé

标题：残疾研究、文学与人文：迈克尔·贝鲁贝访谈录

Title: Disability Studies, Literature, and Humanities: An Interview with Michael Bérubé

内容摘要：迈克尔·贝鲁贝是前美国现代语言协会主席，英语文学、残疾研究和文化政治领域的著名学者。他对残疾现象、残疾的社会接受以及残疾的文学研究有着深刻见解。他的主要学术著作包括《杰米了解的生活：特殊儿童的成长》（2016）、《故事的秘密生命：从唐吉诃德到哈利波特，智力残疾如何转变我们的阅读之道》（2016）等，他的“再现”“残疾、民主和新的基因学”及“残疾和叙事”等文章收录在著名的残疾研究著作和A&HCI 来源期刊当中。在2020 年现代语言协会年会上，贝鲁贝接受了四川大学博士生阳洋的采访。访谈涉及残疾和残疾研究的界定、贝鲁贝基于自身家庭经历的残疾生命书写、西方20 世纪残疾文学生成的社会环境、文学的残疾研究的方法和未来趋势等议题。文学的残疾研究将文学作品中残疾人与残疾现象置于考察的焦点，在拓宽文学研究的人文广度与丰富文学批评的伦理关怀方面具有重要的意义。

Abstract: Michael Bérubé is the former president of Modern Language Association of America and a renowned scholar in English literature, Disability Studies, and cultural politics. He has profound understandings about the phenomenon of disability, the acceptance of disability in society, and the literary studies of disability. His major works include Life as Jamie Knows It: An Exceptional Child Grows Up (2016), The Secret Life of Stories: From Don Quixote to Harry Potter, How Understanding Intellectual Disability Transforms the Way We Read（2016）and so on. His articles, such as “Representation,” “Disability, and Democracy, and the New Genetics,” and “Disability and Narrative,” are included in famous Disability Studies works and A&HCI journals. At the 2020 Modern Language Association convention, Bérubé accepted the invitation of Yang Yang, a doctoral candidate of Sichuan University, to do an interview. The interview touches upon the definition of disability and Disability Studies, the life writing of disability based on Bérubé’s own family experience, the generating social environment of disability literature in the West in the 20th century, the approaches and future trends of literary disability studies, etc. Literary disability studies investigates disabled characters and the issues of disability in literature, thus playing an important role in expanding the humane width of literary studies and enriching the ethical care of literary criticism.

陶久胜

标题：英国大瘟疫时代的政治共同体想象——《乌托邦》中的瘟疫管控、养生法与和谐身体

Title: Political Community Imagination in English Plague Era: Plague Control, Regimen and Harmonious Body in Utopia

内容摘要：英格兰在16 世纪初多次遭受瘟疫袭击，政府采取隔离与其他管控措施但未能阻止疾病蔓延。为此，医生建议国民制定个性化的养生法以防治自然身体疾病，同时政府依据古典医学和谐理念发挥不同阶层功能以确保政治身体健康，再现了政治共同体尊重差异与追求和谐的思想。《乌托邦》同名岛国公民在自家花园种植草药，在城市建立一套管控瘟疫的完美医疗体系，与作者莫尔作为代理执政官处理瘟疫时所经历的伦敦医疗惨状形成鲜明对比，而莫尔参与公共事务与书写理想国度彰显了他捍卫处于瓦解中的民族共同体的决心。岛国人痴迷作者好友带去的古希腊医学典籍; 实践体液理论的健身、养生与和谐思想; 追求自然身体、政治身体与宇宙身体的健康，派遣官员援助邻国健康发展; 尊重对方异样的文明道路，这都投射出大瘟疫时代英格兰的全球（欧洲）共同体想象。

Abstract: At the beginning of the 16th century, England was hit by plague several times. The government adopted some preventive measures like quarantine, but still could not stop the disease from spreading. Therefore, physicians advised that people should follow an individualized regimen to prevent and treat the disease in natural body, and that, simultaneously, the government should prompt all institutions at different levels to function well in accordance with the harmony concept in classical medicine, so as to ensure the health of political body. What all this embodies is the political community’s ideal of respecting difference and pursuing harmony. In Utopia, the citizens of the namesake island country plant herbs in their family garden and establish a perfect medical system to contain the plague in their cities. This constitutes a sharp contrast to the miserable medical situations in London that More, the author of the story, experienced when he was dealing with the plague as the acting administrator. More’s participation in public affairs and his writing about a utopian nation display his determination to protect the collapsing national community. The Utopians read, with avidity, the books about the ancient Greek medicine, brought by More’s good friend, and practice the ideas of bodybuilding, regimen, and harmony in pursuit of the good health of natural body, political body, and global body. Also, they send officials to help neighboring countries’ healthy development while still respecting their different ways of civilization. All this reflects England’s imagination of the global (European) political community during the plague era.

诺贝尔奖获奖作家古尔纳研究

蒋晖

标题：从“后殖民”到“后文明”——古尔纳《海边》中的世界主义

Title: From Postcolonialism to Post-Civilization: Cosmopolitanism in Gurnah’s By the Sea

内容摘要：古尔纳的小说《海边》是21 世纪非洲文学中最为雄心勃勃的作品。它以两个小人物的命运为线索，在一个十分广阔的历史视野中反思了桑给巴尔的现代民族国家运动史，其中涉及由于西方殖民导致的印度洋阿拉伯商贸帝国的衰败、社会主义东德对于坦桑尼亚现代化道路的影响以及英国如何以“世界主义”伦理精神重构与前殖民地的关系等重大问题。古尔纳《海边》并不是一部单纯的文学作品，而是努力介入1990 年代由民主化浪潮推动的对桑给巴尔历史的再叙述。《海边》以一种“世界主义”话语来替代非洲文学中久已形成的民族国家叙事传统，显示非洲文学开始从“后殖民”模式转向“后文明”模式，或者也可称为“后帝国”模式。

Abstract: Abdulrazak Gurnah’s By the Sea is, probably, the most ambitious novel in the 21st-century African literature. By tracing the fate of two insignificant figures, it reflects on the history of the modern nation-state movement in Zanzibar from a broad historical perspective and touches upon a series of major issues, such as the collapse of the Indo-Arabian commercial empire due to the Western colonialization, the impact upon Tanzania’s path of modernization from the socialist East Germany, and the way in which England changes its relationship with its former colonies through the ethical spirit of cosmopolitanism. With an analysis of how, both in Gurnah’s writings and the studies of him in the West, the discourse of cosmopolitanism has become a mainstream paradigm for understanding the modern history of Africa, this article argues that Gurnah’s By the Sea is not just a simple piece of literature, but rather an all-out attempt to take part in recounting the history of Zanzibar in the wake of democratization during the 1990s. Also, the article contends that Gurnah is changing the direction of African literary writing, from a mode of postcolonialism to that of post-civilization or, perhaps, post-empire.

黄晖

标题：古尔纳《多蒂》中的伦理身份重构与共同体想象

Title: Ethical Identity Reconstruction and Community Imagination in Gurnah’s Dottie

内容摘要：作为当代流散文学的代表人物，古尔纳在小说创作中重点关注流散群体的伦理身份重构议题。他的早期小说《多蒂》以多蒂姐弟三人在多元文化语境中的伦理身份错位与伦理困境为主线，揭示了流散者对主体地位的渴望和少数族裔群体共同的伦理身份诉求。同时，古尔纳通过考察英国战后严重的保守排外和种族歧视思想对流散群体造成的心理创伤与伦理困境，探讨了黑人女性在历史记忆与社会现实的双重挤压下进行伦理选择的心路历程，并对多元文化语境下的伦理共同体进行了想象和追寻。

Abstract: As a representative figure of contemporary diasporic literature, Gurnah has been focusing on the issue of ethical identity reconstruction among diasporic groups in his fiction writing. Taking Dottie’s and her two siblings’ displacement of ethical identity and ethical dilemma in a multicultural context as the main thread, Gurnah’s early novel, Dottie, reveals the diaspora’s yearning for subject status and minority groups’ common pursuit of ethical identity. At the same time, by examining diasporic groups’ psychological trauma and ethical dilemma due to the severe conservative xenophobia and racial discrimination in Postwar Britain, Gurnah not only explores black women’s heart-wrenching experience of making ethical choices under the double pressure from historical memories and social realities, but also illustrates their imagination of and search for an ethical community in a multicultural context.

张峰

标题：古尔纳《赞赏沉默》中的多重叙事策略与主题意蕴

Title: The Multiple Narrative Strategies and Thematic Implications in Abdulrazak Gurnah’s Admiring Silence

内容摘要：阿卜杜勒拉扎克·古尔纳的第五部小说《赞赏沉默》讲述了一位桑给巴尔难民在英国流亡20 年后得以返乡但随即又回到英国的故事。作品将故事情节置于20世纪六十年代和八十年代桑给巴尔与英国之间不断切换、相互交织的叙事时空中，借助双重叙事、嵌套叙事、沉默等多重叙事策略，在言说与沉默之间以及作为受述者的人物与读者之间建立了一种动态的平衡，并借此表达了对种族主义和殖民主义的批判、对后殖民社会黑暗面的抨击、对移民生存困境和身份焦虑的同情与反思等丰富的主题意蕴。

Abstract: Admiring Silence, the fifth novel of Abdulrazak Gurnah, tells the story about a Zanzibari refugee who visits his hometown after 20 years of exile in Britain, but returns to Britain shortly afterwards. By setting its plot in the space and time of the narrative that alternates and interweaves between Zanzibar and Britain during the 1960s and 1980s, the novel relies on multiple narrative strategies, such as dual narration, embedded narration, and silence, to establish a dynamic balance between speech and silence and between characters and readers as narratees for the sake of delivering a series of thematic implications, from the criticism of racism and colonialism to the attack on the dark side of postcolonial society and the sympathy with and reflection on immigtants’ plight and identity anxiety.

卢敏

标题：古尔纳《天堂》中的商旅叙事

Title: The Narrative of Trading Safari in Gurnah’s Paradise

内容摘要：阿卜杜勒拉扎克·古尔纳的《天堂》通过少年优素福的成长和参与的商旅活动生动，再现了19 世纪下半叶到第一次世界大战前东非复杂的社会、经济、政治、文化状况。古尔纳从东非两千多年商旅活动的传统性、目的性、运动性、反思性特征出发，发展出嵌套式的叙事结构和不断深入的叙事层次，以《古兰经》《圣经》故事和诸多斯瓦希里旅行文本为基础，描绘了人物形象众多、人物关系复杂、时空跨越度大的广阔商旅世界图景，引领读者随商旅队从印度洋到非洲内陆，从蒙巴萨到俄罗斯，进行跨越时空的精神旅行，并对东非贸易、奴隶制、欧洲殖民、伊斯兰和印度文化遗产进行全面反思，展示了高超的叙事艺术。

Abstract: Abdulrazak Gurnah’s Paradise vividly represents the complexity of East African society, economy, politics, and culture between the second half of the 19th century and the start of World War I through young Yusuf’s growth and participation in the trading safaris. Gurnah relies on the traditional, purposeful, nomadic, and reflective characteristics of trading safaris that have lasted in East Africa for more than 2,000 years in developing an embedded narrative structure with layers of ever-deepening narration. Based on the stories from The Koran, The Bible, and many Swahili travelogues, he creates a wide world of trading safaris that not only features numerous images of characters and complicated relationships among them, but also transcends a broad realm of time and space. While taking the readers along for a spiritual journey, across time and space, with the trading safaris from the Indian Ocean to African interior and from Mombasa to Russia, Gurnah reflects, comprehensively, on East African trade, slavery, European colonization, and Islamic and Indian cultural heritage, and demonstrates his superb narrative craft as well.

批评理论与比较文学

顾明栋

标题：论“文化无意识”——一个批评理论的概念性构建和实用性检验

Title: “Cultural Unconscious”: The Conceptual Construction and Practical Verification of a Critical Theory

内容摘要：“文化无意识”是文化研究和文艺批评领域一个模糊的概念，虽然一些西方理论家使用过这一概念，但并没有做过较为深入的概念性研究，其性质和工作逻辑尚需要从纯理论的视角深入探讨，其在全球化语境下的内容和形式也仍然有待于进一步阐明。后殖民时代的文化无意识不是“文化”和“无意识”的简单叠加，而是文化和无意识通过历史、心理、话语等因素的互动而建立的文化心理机制和认识论。通过从精神分析和符号学相结合的视角分析无意识和文化是如何在概念层面产生文化无意识，并对文化无意识的内在逻辑进行概念性探索，可以将一个语焉不详的概念构建成具有一定实用价值的文化研究理论。在构建了文化无意识的内在机制和运作模式以后，通过以该理论揭示的文化无意识的运作原理分析一些文化现象和文学作品，似可证明该理论不仅有助于认识个人和社会意识的深层逻辑，也可以建立文化研究和文艺批评的深层方法论，为一些文化理论和批评理论提供基础性理论支撑。

Abstract: “Cultural Unconscious” is a vague concept in cultural and literary studies. Although it has been used by Western theorists before, it has not yet been explored in depth conceptually. Moreover, its nature and logic require further exploration from a theoretical perspective, and its subject matter and form in the global context need to be further clarified. In the postcolonial age, cultural unconscious is not a concept that simply combines “culture” and “unconscious,” but refers to the mechanism of cultural psychology and epistemology generated by culture and the unconscious through the interaction of history, psychology, discourse, and other factors. By investigating how culture and the unconscious generate cultural unconscious on the conceptual dimension from the integrated approach of psychoanalysis and semiotics and conducting a conceptual inquiry of its operating mechanism, this article aims to turn the vague concept into a new theory with practical applicability for cultural studies. After outlining the internal mechanism and operating mode of cultural unconscious, the article applies the working rationale suggested by this theory to the analysis of some cultural phenomena and literary texts so as to confirm that this cultural theory may not only help understand the deep logic of personal and social consciousness, but also establish an in-depth methodology for cultural studies and literary criticism, thus providing foundational theoretical support for some cultural and critical theories.

周星月

标题：阿罗多·德坎波斯对汉语古诗的“再想象”

Title: Haroldo de Campos’s “Reimagination” of Classical Chinese Poetry

内容摘要：巴西具象诗人、学者、译者阿罗多·德坎波斯对汉语古诗进行了长期的阅读和创造性翻译，对西方“象意文”诗学作出了重要的理论发展，是一个尚未被中文学界充分关注的独特案例。在相关的具象诗学、语言符号学、创译理论等思想的影响下，阿罗多发展出自己对汉语古诗的翻译标准，实践了对汉诗节奏、意境、声音、意象等方面的“再想象”。通过《锦瑟》《摽有梅》《菩萨蛮·黄鹤楼》等创译文本示例，可见阿罗多译作与其阅读、创作、语言理论和翻译理论之间的关联，其中亦提出了汉语古诗基础性的美学和翻译问题。

Abstract: The Brazilian Concretist Poet, scholar, and translator, Haroldo de Campos, was long engaged in reading and transcreating, creatively, classical Chinese poetry, and made some major contributions to the theoretical development of the Western ideogrammic poetics. What he did is a singular case that has not been fully cultivated by Chinese literary scholars so far. Under the influence of Concretist Poetics, Linguistic Semiotics, and the theory of transcreation (transcriação), Haroldo developed his own criteria for the translation of classical Chinese poetry and practiced his “re-imagination” of the rhythm, artistic conception, sound, and imagery in Chinese poetry. An illustration based on his transcreations of Li Shangyin’s “Jin Se,” “Ode 20” from Shijing, and Mao Zedong’s “Yellow Crane Tower” may not only provide a glimpse into the correlation between Haroldo’s translation and his reading, creative works, and theories of language and translation, but also reveal several fundamental issues about the aesthetics and translation of classical Chinese poetry.

戏剧研究

罗峰

标题：欧里庇得斯《美狄亚》中的修辞与伦理

Title: Rhetoric and Ethics in Euripides’ Medea

内容摘要：在欧里庇得斯最著名的悲剧《美狄亚》中，诗人以一种独特的女性视角质疑了传统英雄主义。美狄亚俨然传统英雄原则最坚定的捍卫者，却吊诡地彻底否定了荷马以降的英雄主义。通过钩沉智术师修辞术与雅典民主制结合带来的“启蒙的自利”，诗人批评了智术师启蒙给政治带来的恶果。雅典民主制鼓励民众对自由和爱欲的普遍追求，为个人主义和爱欲的解放提供了沃土和合法性。而由智术师修辞术带来的价值相对主义，最终也必然由自利的个人主义遁入道德虚无。雅典民主制内含的悖谬也通过“赫利俄斯的龙车”意象昭然若揭：大胆追逐爱欲的个体犯下罪行，却能以神圣之名逃之夭夭。个人主义与道德虚无堪称雅典民主制下奋不顾身追逐爱欲结出的并蒂“恶之花”。

Abstract: In his best-known tragedy, Medea, Euripides questions the notion of traditional heroism from a unique feminine perspective. Medea is presented as the staunchest defender of the principle of traditional hero, but paradoxically she completely rejects the notion of heroism that became commonly acknowledged after Homer. Through a survey of the “enlightened self-interest,” effected by the integration of the sophistic rhetoric with the Athenian democracy, Euripides criticizes the disastrous consequences brought by the Enlightenment of the sophists. The Athenian democracy encourages people to pursue freedom and eros, thereby providing the fertile soil and legitimacy for individualism and the liberation of eros. In the end, the value relativism brought by sophists’ rhetoric inevitably shifts from self-concerned individualism to moral nihilism. The paradox, which is implicit in the Athenian democracy, is vividly shown in the image of “Helios’ Chariot”: the individual who commits a crime while boldly pursuing eros may still evade a punishment under a sacred excuse. As it were, individualism and moral nihilism may very well be perceived as the two “flowers of evil” in the wake of embracing, recklessly, eros in the Athenian democracy.

陈星

标题：台上仅见理查”——18、19 世纪美国舞台上的《理查三世》

Title: “Richard, Solus”: Richard III on the American Stage in the 18th and 19th Centuries

内容摘要：《理查三世》是18、19 世纪美国舞台上最走红的一部莎剧。学界对其中原因的探索多以莎士比亚原著为研究文本，忽视了当时美国舞台上演出的并非莎本，而是科利·西伯于17 世纪末推出的改编本。西伯本摒弃了莎本的历史主题，将理查变成剧中绝对中心，从而把历史剧换成了个人悲剧。这样的改写虽并非针对美国舞台所作，却恰好迎合了美国人价值观中的个人主义精神，并与18、19 世纪美国剧场的运作模式以及当时观众审美情趣合拍，因此风靡一时。西伯的改编虽自身文学价值有限，但其在美国的流行给当代读者提供了一个探索早期现代文学文本生产与传播过程中意图增殖机制的机会，因此仍值得研究。

Abstract: Richard III was the most popular Shakespearean play on the American stage in the 18th and 19th centuries. So far, scholarship on this popularity has been mostly centered around the original play by Shakespeare, overlooking the fact that the stage performance at that time was actually based on a script adapted by Colley Cibber in the late 17th century. By removing the historical theme from Shakespeare’s play, Cibber’s version places Richard at the very center of the play and converts the history play to a personal tragedy. Although Cibber had not the American stage in mind at the time of the adaptation, his Richard III nevertheless appealed to the spirit of individualism in American values, and corresponded well to the operational mode of the American stage and the aesthetic taste of its audience in the 18th and 19th centuries, making it a sensational success at the time. While Cibber’s adaptation is admittedly of limited literary value in itself, it is still worth studying because its popularity in the US offers contemporary readers a chance to observe the multiplication of intentions in the production and dissemination of early modern literary texts.

一带一路沿线国家文学研究

杨建军

标题：中亚东干诗歌中的列宁形象比较研究

Title: A Comparative Study of Lenin’s Image in Central Asian Dungan Poetry

内容摘要：中亚东干文学，是丝绸之路沿线中亚三国华裔族群创作的文学，已引起多国学者关注。东干诗歌中的列宁形象与俄苏诗歌、中国诗歌中的列宁形象共时存在，三者之间有或显或隐的影响关系。东干诗歌中的列宁形象书写多采用自然意象，常把列宁比作春天和太阳，也常把列宁比作父亲，列宁的革命者人格还被东干诗人升华为民族精神的象征。东干诗歌与俄苏诗歌中的列宁形象有一致性，自然意象采用和人道主义关怀是两者共性，但在诗歌话语、自然情感、精神内涵等方面，东干诗歌有自身特性。东干诗歌与中国诗歌都受到俄苏文化影响，两者都致力表现列宁对革命建设带来的重要变革，中国诗歌偏向表现精神层面影响，东干诗歌偏重表现物质生活影响。东干诗歌中的列宁形象书写在海外华语文学中的启示性意义有四个方面：文学资源、文学互动、身份认同、读者接受。

Abstract: Central Asian Dungan literature, created by the Chinese ethnic groups living in the three countries along the Silk Road, has attracted the attention of scholars from several countries. Lenin’s image appeared in Dungan poetry almost at the same time as it did in Russian poetry and Chinese poetry. Its presence in all three might have some implicit or explicit mutual influence. The portrayal of Lenin’s image in Dungan’s poems mostly uses natural imagery, often comparing him to spring, sun, and a father as well. Lenin’s character as a revolutionary was sublimated by Dungan poets as a symbol of their national spirit. Lenin’s image in Russian poetry seems homolous and compatible with that in Dungan poetry. The use of natural imagery and humanitarian care appear to be the common interests they share. However, in poetic language, natural sentiments, and spiritual connotations, Dungan poetry has its own characteristics. Given the influence from the Russian and Soviet culture, both Dungan poetry and Chinese poetry were committed to showing the major reforms that Lenin had initiated in revolutionary construction. Chinese poetry gave more coverage on his spiritual influence, whereas Dungan poetry paid more attention to his influence on material life. For overseas Chinese literature, the portrayal of Lenin’s image in Dungan poetry displays its enlightening significance in four aspects: literary resources, literary interaction, identity, and readers response.

杜莉莉

标题：《我脑袋里的怪东西》中“窗”的隐喻与城市书写

Title: Window Metaphors and Urban Writing in A Strangeness in My Mind by Orhan Pamuk

内容摘要：对于自称为“视觉性作家”的帕慕克而言，从工作室的窗户望向城市是其一生保持写作意愿的神奇按钮，也是其所有故事的原点。在第九部小说《我脑袋里的怪东西》中，帕慕克首次突破了自身西化富裕阶层的身份，以一个伊斯坦布尔游街小贩的视角，建构了一部半个多世纪的城市编年史。伊城的各类窗户作为贯穿整部小说的建筑元素，在主人公长达一生的审视之下呈现出多重隐喻，是理解其城市经验与人生体悟的关键。本文以“窗”作为考察视角，重点解读“窗”在城市空间所呈现的多重隐喻这一叙事暗线，集中分析“窗”作为城市历史与当下、城市孤独解药以及都市家宅这三大隐喻，以期揭示城市所特有的可视性对帕穆克城市书写的造就。

Abstract: For Orhan Pamuk, a self-proclaimed “visual writer,” looking over the city from his studio’s windows is always both a magic button of his lifelong urge for writing and the starting point for all his stories. In his ninth novel, A Strangeness in My Mind, Pamuk bypasses his Westernized and affluent class identity, for the very first time, and adopts the perspective of an Istanbul street peddler in constructing an urban chronicle over half a century. Various windows in the city are portrayed as building elements throughout the novel, but under the constant gaze of the protagonist all his life, windows seem to have taken on multiple metaphorical connotations and become so essential to understanding urban experiences and perceptions of life. With a focus on the windows as three metaphors, such as a reflection on the past and present of Istanbul, a remedy for urban solitude, and an image of urban home, this article aims to reveal how the unique visibility of the city has turned Pamuk’s urban writing into a huge success.

美国文学研究

王　薇

标题：同质见证与异质记忆：美国“9·11”小说的两次“言说”

Title:Homogeneous Witness and Heterogeneous Memory: The Two Narrative Discourses in American 9/11 Novels

内容摘要：2001 年以降，以想象、再现“9·11”恐怖袭击事件为题材的美国“9·11”小说层出不穷。美国“9·11”小说以不断发展的虚构方式，对这一历史事件进行想象性“言说”：美国“9·11”小说的初次“言说”主要呈现出言说对象、言说内容、言说模式相对单一的同质化特征，再次“言说”则选取异视角观察言说对象、呈现差异化言说内容、注重言说模式多样性等异质化特征。就两次“言说”嬗变的效用来看，以见证为主要功能的初次“言说”呼应了记录创伤危机、谴责恐怖主义的现实主义叙事诉求，而以记忆为书写框架的再次“言说”重在思索“求同存异”的后“9·11”时代文学意义。

Abstract: Since 2001, the American 9/11 novels that are focused on imagining and re-presenting the 9/11 terrorist attacks as the theme have appeared one after another. These novels seem to have delivered, in an ever-developing pattern, a sort of imaginary “narrative discourses” on this historical event. The first one mainly shows some relatively homogeneous features, such as the target, content, and mode of the discourse, but the second one dwells on some heterogeneous features, adopting a different perspective in observing the target, diversifying the content, and emphasizing the variation of the mode. Judging from the effect of the changes between the two “narrative discourses,” we may conclude that the initial “discourse,” which functions mostly as a way of witnessing, responds to the need for realistic narratives to document the traumatic crisis and condemn terrorism, whereas the second “discourse,” which relies on memory as the writing frame, puts extra emphasis on reflecting on the significance of “seeking common ground while shelving differences” in the post-9/11 literature.

佘军

标题：处所意识、社区复兴与后田园想象——论贝瑞书写家庭农场的三个维度

Title: Place, Rural Community, and Post-Pastoral Vision: The Three Dimensions of Wendell

内容摘要：美国作家温德尔·贝瑞的创作以书写家庭农场为切入点，批评美国农业企业化，描绘生态田园风景，表达新型重农主义主题。其威廉港镇系列小说中的家庭农场书写凸显了处所意识、乡村社区复兴与生态田园想象等三个主要维度，分别在个体依附、社区情感维系和后田园主义理想三个层面渐次推进并形成有机统一。家庭农场是连接贝瑞笔下农民、农耕、社区和后田园主义理想的中间纽带。细考贝瑞笔下的家庭农场书写，有助于反思现代工业文明进程造成的农业发展传统失轨，深入理解贝瑞的新型重农主义思想。

Abstract: American writer, Wendell Berry, uses family farm writing as an entry point to criticize the agribusiness in America, depict the ecological pastoral landscape, and address the theme of new agrarianism in his novels. Berry’s family farm writing in his Port William novel series foregrounds three main dimensions, including the sense of place, the revival of rural community, and the envisioning of ecological pastoral, all of which progress gradually and formulate an organic unity in three aspects, namely, individual attachment, the preservation of community affection, and the post-pastoral ideal. In Berry’s writing, family farm is the pivot that connects farmers, farming, community, and post-pastoral ideals. A close study of Berry’s family farm writing may help us reflect on the loss of agricultural tradition in the wake of modern industrial civilization and deepen our understanding of Berry’s thoughts of new agrarianism.

往期精彩文章回顾：

目录 | 《外国文学研究》2022年第2期

李成坚 | “李白抱月”——论爱尔兰剧作《黄河中的月亮》中的中国意象

段颖杰 | 德·昆西的重写羊皮纸模型与脑文本

龚璇 | 约翰 • 班维尔《物性论》中的未叙述、假设叙述与双重叙事进程

Adam Parkes | 太阳之下无新意：石黑一雄小说《克拉拉与太阳》中的计划性报废

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