《外国文学研究》2022年第3期主要论文摘要
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2022年第3期(总第215期)
学术访谈
Yuan Yuan & Adeline Johns-Putra
标题：21世纪气候小说与人类世批评的语境化：阿德琳·约翰斯-普特拉访谈录
Title: Contextualizing Climate Change Fiction and Anthropocene Criticism in the 21st Century: An Interview with Adeline Johns-Putra
内容摘要：阿德琳·约翰斯-普特拉是西安交通-利物浦大学的文学教授，英国皇家艺术学会会士。她是最早开展气候小说研究的生态批评学者之一，在该领域著述颇丰。访谈聚焦两个部分：一是气候小说的叙事策略，二是跨学科气候小说研究方法谱系。约翰斯-普特拉指出在21世纪将气候小说与人类世批评历史化和语境化的重要性。她强调突破代际和物种界限，将人类与非人类、全球南方与全球北方融合进一种“批判性的幸福框架”。她还指出将中国的环境文学文本与西方文本进行比较研究的必要性,但她同时强调，在气候小说研究中，任何跨学科或比较研究均应重视文学阐释学的价值。
Abstract: Adeline Johns-Putra is Professor of English Literature at Xi’an Jiaotong-Liverpool University and Fellow of the Royal Society of Arts. She is one of the first ecocritics to focus on climate change fiction (cli-fi) and has published widely in this field. This interview consists of two parts, addressing the narrative strategies of cli-fis and the genealogy of various interdisciplinary methodologies in cli-fi studies. Johns-Putra points out the importance of historicizing and contextualizing cli-fis and Anthropocene criticism in the 21st century. She emphasizes an inter-generational and cross-species perspective to incorporate both the human and the non-human, both the Global North and the Global South, in a “Critical Eudaemonistic Framework.” Also, she suggests the necessity of putting Chinese environmental literature and Western texts in a comparative atlas. However, she insists that the hermeneutic interpretation of literary texts should be valued in any interdisciplinary or comparative cli-fi studies.
前沿理论与批评实践研究
吴娱玉
标题：构建一种全新的身体诗学——德勒兹对斯宾诺莎的理论改写
Title: Constructing a New Body Poetics: Deleuze’s Rewriting of Spinoza’s Theory
内容摘要：20世纪六十年代，法国思想界兴起了研究斯宾诺莎的热潮。斯宾诺莎认为上帝是一种无限的力量，并按照实体、属性、样态的模式把它分为复多的能、差异化、不均等诸多样式。样式即身体，故身体也是差异的、繁复的力量，德勒兹从斯宾诺莎那里获得思想资源，试图构建一种差异的、强度的、动态的身体诗学。于是，身体不再是堕落的、被灵魂组织的傀儡，而处于一种自行存在、自我增殖、不断游牧的状态，身体本身就拥有巨大且未知的潜能，在这种状态中，不同身体可以呈现自己的多重变化，彼此通融、相互影响、重新组合，形成一个不断解域的、块茎状的多元体。这样的身体已经不再是灵肉二元对立中那个被钳制的怪兽，而是一种不断生成、生生不息的欲力。
Abstract: In the 1960s, there was an upsurge for the study of Spinoza in French ideological circles. Spinoza regarded God as a kind of infinite power and divided it into multiple modifications of capacity, differentiation, and unevenness based on the modes of substance, attribute, and shape. As one of these modifications, body is also a force of differentiation and multiplication. Deleuze obtained the ideological resources from Spinoza and tried to construct a kind of different, intense and dynamic body poetics. Therefore, the body is no longer a degenerate puppet set up by the soul. In a state of self-existence, self-reproduction, and constant nomadizing, the body itself processes enormous but unknown potential. While staying in such a state, different bodies may demonstrate their own multiple changes and form a deterritorial and tuberous multiploid through mutual accommodation, mutual influence, and reorganization. A body like this is no longer that tamed beast in the conflict of body and soul. Instead, it is an ever generating and endlessly thriving force of desire.
朱雯琤
标题：“福柯反弗洛伊德”？——一项从个体生命到时代背景的心理考察
Title: “Foucault’s Opposition to Freud?”: A Psychological Study from Individual Life to Zeit-geist
内容摘要：考察福柯不同生命阶段对弗洛伊德精神分析的评价，可发现福柯对待弗洛伊德的态度并非单一的拒斥，而是经历了动态的“依恋—反叛—和解”的过程。早年福柯拥护弗洛伊德的释梦理论，批判则集中在精神分析论的阶级性与其对现代家庭结构的影响上，而后期福柯对自我技术的考察又回归到弗洛伊德对现代文明的诊断。接着聚焦于两人所处的时代背景，论证福柯所处的六十年代法国在“人的发展”问题上所进行的实践性探索，是弗洛伊德那个“世纪末”时代精神的一次轮回，以此为福柯和弗洛伊德之间的关联寻到更深的可能。
Abstract: This article attempts to figure out the intellectual relation between Freud and Foucault. A review of Foucault’s critique on Freudian psychoanalysis at the different stages of his life shows that Foucault’s attitude toward Freud was not simply one of rejection, but one that went through a dynamic process “from attachment to rebellion and, eventually, reconciliation.” In his early years, Foucault supported Freud’s theory on the interpretation of dreams, while his critiques of Freud focused on the class nature of psychoanalysis and its influence on modern family structures. Later on, however, Foucault’s examination of the technologies of the self went back to Freud’s diagnosis of modern civilization. By focusing on their respective social milieu, the article also intends to argue that the practical probe into the issue of “man’s development,” conducted in France during Foucault’s time, the 1960s, was a reincarnation of that fin-de-siècle zeitgeist, so as to further cultivate the relation between Foucault and Freud.
罗贻荣
标题：戴维·洛奇对后现代主义的反思和批判
Title: David Lodge’s Reflection and Critique on Postmodernism
内容摘要：戴维·洛奇对后现代主义话语模式、叙事特征的分析和他创作中后现代主义手法的运用在国内外学界研究较多，后现代主义成为戴维·洛奇研究中的一个重要话题。然而，长期以来，洛奇对后现代主义所做的反思和批判却没有受到足够关注。戴维·洛奇不仅在文论中从文学审美价值、文学与现实的关系、人的“自我”概念、作者-读者-文本关系、文本意义生产、作者地位等方面对后现代主义进行了反思与批判，而且其应用后现代主义手法的小说创作也具有对后现代主义的反思和批判功效。从英国哲学传统和戴维·洛奇美学思想等角度探讨其后现代主义问题的复杂性，可发现戴维·洛奇的多元主义美学决定了他亲后现代主义的一面，其自由人文主义思想决定了他反思和批判后现代主义的一面，而巴赫金的对话主义除了为他反思和批判后现代主义提供更多理论依据之外，还帮助他探索了对后现代主义虚无主义的超越道路。
Abstract: David Lodge’s analysis of postmodernist discourse modes and narrative features and his use of postmodernist techniques in novel writing have attracted a fair amount of scholarship within the academic circles both at home and abroad. Also, postmodernism has become an important topic in Lodge studies. All along, however, scholars haven’t paid adequate attention to Lodge’s reflection and critique on postmodernism, which may be found not only in his literary criticism regarding a series of issues, such as the aesthetic value of literature, the relationship between literature and reality, the concept of one’s “self”, the author-reader-text relationships, the production of textual meaning, and author’s subjectivity, but also in his use of postmodernist techniques in novel writing. An exploration of Lodge’s complex involvement with postmodernism from the perspectives of British philosophical tradition and Lodge’s aesthetic concepts may reveal that Lodge’s pluralistic aesthetics determined his pro-postmodernist inclination on the one hand and, on the other, his ideas of liberal humanism prompted his reflection and critique on postmodernism. Bakhtin’s concept of dialogism offered more theoretical support for his reflection and critique on postmodernism, and helped him probe into the transcendence of postmodernist nihilism as well.
文学跨学科研究
郭 雯
标题：黑客、拟感与赛博：《零伯爵》网络空间共同体想象
Title: Hackers, Simstim, and Cyber: An Imagined Cyberspace Community in Count Zero
内容摘要：威廉·吉布森的《零伯爵》故事围绕生物芯片展开，特纳、波比和玛丽三条叙事线看似失焦，却书写了人类如何突破实在的物理空间而逐步走进网络空间，形成全新的共同体。借助德勒兹的“根茎”“解域”“生成”等概念可以发现，黑客、拟感和赛博的三重维度解释了网络空间共同体的生成脉络及特点：虚拟技术解域了身体共同在场的空间，使网络空间成为黑客与各个层级人物交互的场所；网络中的自我与他者、主体与客体之间伦理关系及情感则需依靠拟感技术，生成同等真实的共在体验，而非先验的再现；赛博技术重新辖域化了虚实地理空间，使赛博空间生成新的国家与世界概念，但由于控制论本质特征，网络空间共同体也存在人性异化与道德危机。因此，《零伯爵》在对后人类网络空间超前想象之下，仍蕴含着人文主义思想。
Abstract: The story of William Gibson’s Count Zero unfolds around biochips. The three interlocking narrative threads that follow Turner, Bobby, and Marly respectively might seem to be out of focus, but they describe how humans break through the real physical space, enter the cyberspace gradually, and construct a new community eventually. With the help of Deleuze’s concepts, such as “rhizomes,” “deterritorialization,” and “becoming,” we may find out that the three dimensions of hackers, simstim, and cyber expound the becoming patterns and characteristics of cyberspace community: virtual technologies deterritorialize the space of bodily co-presence and establishes places for the interaction between hackers and people from all levels of hierarchy; the ethical relationships and emotions between self and others, subjects and objects in cyberspace need simstim to generate an equally authentic experience of togetherness, rather than a transcendental representation; cyber-technologies reterritorialize the virtual and real geographic spaces, enabling the cyberspace to construct new concepts of nation and world. Given the essence of cybernetics, however, the alienation of human nature and moral crisis also exist in the cyberspace community. Therefore, the prevision of a posthuman cyberspace in Count Zero is still imbued with sentiments of humanism.
刘云飞
标题：《奥特兰托堡》中美学趣味与道德寓意的矛盾及分离
Title: The Contradiction and Dissociation between Aesthetic Taste and Moral Implication in The Castle of Otranto
内容摘要：霍勒斯·沃坡尔的《奥特兰托堡》是第一部哥特小说，体现了作者偏向中世纪的美学趣味。在哥特复兴的浪潮中这种美学趣味隐含了与英国民族主义绑定在一起的道德寓意。然而，作者急于复兴旧时传奇中的幻想与崇高，同时又不得不考虑当下道德规范中的自由与理性，于是小说中的美学趣味和道德寓意产生了矛盾。为了调和此矛盾，作者在情节设置上将宗教迷信与超自然力量分离；在伦理结构上将封建社会关系与现代家庭关系分离；在人物塑造上将理想人格与现实人格分离。此种解决办法构成了该作品的特性，为后来更加成熟的现代小说提供了参照，因此有重要的文学史意义。
Abstract: Horace Walpole’s The Castle of Otranto, the first Gothic novel, reflects the author’s predilection towards the medieval aesthetic taste. In the trend of the Gothic Revival, this kind of aesthetic taste connoted a moral implication bound with British nationalism. However, the fact that the author was so anxious to restore the fantasy and sublime in the old legends, but still had to consider the freedom and rationality of the moral norms at the time brought about a contradiction between the aesthetic taste and its moral implication in the novel. To reconcile this contradiction, the author dissociates religious superstition from supernatural power in plot arrangement, dissociates feudal social relations from modern family relations in ethical structure, and dissociates ideal personality from real personality in characterization. Such a solution sets up the characteristics of the work, provides a reference for the subsequent and more mature modern fiction and, therefore, has a major significance in literary history.
王素英
标题：《石神》中的关系式爱情与人机共在想象
Title: Relational Love and Imagination of Human-Machine Being-with in The Stone Gods
内容摘要：珍妮特·温特森的小说《石神》描写了智人种比莉·克鲁索与机器人种斯派克之间的跨种之爱故事，表达了以爱干预人类对世界的重复性毁灭的希望。小说中的人机跨种之爱以自我与他者的关系性形式体现了让-吕克·南希意义上在距离中接近的共在关系。一方面，比莉与斯派克之间的人机之爱作为一个不可能的可能性事件, 其本身的独一无二性决定了人机之间不可通约的他者性；另一方面，比莉与斯派克通过在人机界面这个“我们之间”的间隔或距离中的触碰和分联，形成人机之间的他异性共享。小说通过对关系性跨种之爱故事的描写，呈现了一种人机共在的和谐后人类生态共同体的想象。
Abstract: Jeanette Winterson’s novel, The Stone Gods, depicts the story of a cross-species love affair between Billie Crusoe, a homo sapien, and Spike, a robo sapien, expressing the hope of intervening, with love, the repeated destruction of the world by human beings. The trans-species love between human and machine in the novel embodies the concept of being-with in Jean-Luc Nancy’s sense of proximity in distance through a relational form of self and other. The sheer singularity of the human-machine love between Billie and Spike, obviously an event of impossible possibility, predetermines the incommensurable otherness between human and machine on the one hand and, on the other, the touching and articulation through the human-machine interface between Billie and Spike in the so-called “between-us” spacing or distance facilitate the sharing of otherness between human and machine. By featuring an inter-species relational love story, the novel presents an imagination of a harmonious post-human ecological community of the human-machine being-with.
高建荣
标题：《同情者》中的记忆伦理与身份重构
Title: Ethics of Memory and Identity Reconstruction in The Sympathizer
内容摘要：美国越南裔作家阮清越的小说《同情者》从一个越共双面间谍的视角讲述越战经历和越南移民在美国的流散 , 呈现越南移民通过唤醒记忆并对其进行伦理审视而重构身份的努力。越南移民通过选择性记忆对自我加以审视，确立自己的身份，体现了记忆之伦理机制的运作。他们基于记忆的伦理选择，将遗忘的内容重新纳入记忆中，实现了记忆伦理对自我身份的重塑。他们在伦理选择的基础上，通过记忆的文本化对越战记忆进行了重构，记起了战争话语中被他者化的越南人，从而对他者身份加以认同，这体现出叙述的伦理性，也是记忆伦理的功能性表达。阮清越借由《同情者》打破了越战以来美国国家话语运用越战记忆对越南移民个体记忆和集体记忆的操控，表达了对越战和难民政策的重新审视和深入思考。
Abstract: Viet Thanh Nguyen’s novel, The Sympathizer, depicts the experience of the Vietnam War and Vietnamese immigrants’ diaspora in the United States from the perspective of a Viet Cong double agent, and represents Vietnamese immigrants’ effort to reconstruct their identity by jogging their memories for an ethical scrutiny. The way in which Vietnamese immigrants execute their self-scrutiny through selective memory and establish their own identity embodies the operating mechanism of the ethics of memory. By restoring whatever has been forgotten in memory based on their ethical choices of memory, they manage to regenerate their self-identity through the ethics of memory. In accordance with their ethical choices, they rebuild their memories of the Vietnam War by textualizing what they have remembered and recall the Vietnamese who were perceived as the other in the discourse of the war, hence recognizing them as such. What is reflected here is the ethics of narrative and the function of the ethics of memory as well. Through The Sympathizer, Nguyen not only breaks the manipulation of Vietnamese immigrants’ individual and collective memories by the American national discourse of war recollections since the war ended, but also presents his reconsideration of and deep insights into the Vietnam war and refugee policies.
中外文学和文化的交流与互鉴
崔雄权
标题：心象风景：韩国文人笔下的“桃源图”诗文题咏
Title: Mental Landscape: Korean Literati’s Poetic Inscriptions of “Peach Blossom Spring” Paintings
内容摘要：高丽中期中国唐代兴起的“桃源图”创作及其诗文题咏传入韩国后，开启了绵延一千余年的“桃源图”诗文题咏传统。韩国文人承袭了中国“桃源图”与题画诗文所蕴含的对生命自由境界的追求、对人生如梦的感慨、对理想治世思想内涵的承袭，同时，他们为了不落窠臼，在书写与接受过程中表现出对传统主题的回避与延展，深化了大同世界高尚主题的宣示性书写，开拓了入世精神的现实意义，体现出鲜明的民族特色与独特的审美个性。韩国文人创作的“桃源图”诗文题咏蕴藉着他们对于高尚人格和中国文化的膜拜与向往。从陶渊明的《桃花源诗并记》衍生出来的“桃源图” 与诗文题咏给韩国文人提供了想象中国文化的中介物，形成了其独特的心象风景。
Abstract: After the paintings known as “Peach Blossom Spring” and their poetic inscriptions, which emerged in China during the Tang Dynasty, were introduced to Korea in the middle of the Goryeo Dynasty, a tradition of writing poetic inscriptions for these paintings started in Korea and lasted over a thousand years. Korean literati carried on a series of notions insinuated in the Chinese paintings of “Peach Blossom Spring” and their poetic inscriptions: such as pursuing the free realm of life, perceiving life as a dream, and adopting the ideological connotation of ideal governance. However, they did not follow the beaten track. While writing and assessing those inscriptions, they evaded and extended traditional themes, enhanced their declarative writing about the noble theme of pantisocracy, and explored the practical significance of “integrating into society,” thus demonstrating their distinctive national characteristics and unique aesthetic sensibilities. In Korean literati’s poetic inscriptions, there seems to be some deep worship and yearning for noble character and Chinese culture. The paintings and their poetic inscriptions derived from Tao Yuanming’s “The Poem of Peach Blossom Spring and Notes” served as the medium, through which Korean literati imagined Chinese culture and visualized their unique mental landscape.
苏亚娟
标题：职场表演的自由与规范——《中国娃娃》的社会表演学解读
Title: Freedom and Norm in Workplace Performance: An Analysis of China Doll from the Perspective of Social Performance Studies
内容摘要：《中国娃娃》通过美国华裔女演员黄柳霜的演艺经历再现了20世纪美国少数族裔演员面临的困境。以社会学和表演的双重视角来观照剧中人物黄柳霜的职场表演，能够从自由、规范和面具三个层面展示她的职业选择和困境背后错综复杂的关系。自由表演是个人按照自己意愿进行的社会表演，注重人的个性。黄柳霜通过自由表演突破传统，实现了演员梦想。规范强调角色背后的各种社会关系制约，使得黄柳霜进入职场后不得不遵循美国主流社会规范，借助面具保障其社会表演的顺利进行。这折射出美国少数族裔演员饰演刻板角色的深层原因——社会规范限制少数族裔演员的自由表演，使其成为反衬美国主流文化中心地位的参照物，误导了观众对他们演艺事业的认知。
Abstract: Through the performing experience of an Chinese American actress, Anna May Wong, China Doll represents the dilemma faced by American minority actors in the 20th century. Analyzing Wong’s workplace performance in a broader scope based on freedom, norm, and mask, namely, the three dimensions outlined in the theory of Social Performance Studies, we may unfold, from the dual perspectives of sociology and performance, the complex relations behind her career choice and her dilemma. Free performance is an individual’s social performance at one’s own will with an emphasis on one’s personality. It is through free performance that Wong breaks through traditions and realizes her dream as an actress, but the norms that emphasize the various social constraints behind the roles force Wong to comply to the conventions of the American mainstream society after entering the workplace, so that she could resort to mask to ensure a smooth presentation of her social performance. All this re-flects the underlying reasons why minority actors in America have to play stereotypical roles.
美国文学研究
程 心
标题：“性别之物”：1895—1896 年美国自行车热潮中的新女性叙事
Title: “Gendered Object”: The New Woman Narratives in the 1895-1896 Bicycle Craze in America
内容摘要：在19世纪末的美国，新女性和自行车热潮相互成就了对方。女性消费者帮助自行车获得巨大的市场占有率，推动热潮的形成；而当时的美国社会对自行车的优势赞叹不绝，让自行车成为新女性最为大众所接受的标签。在这种互动关系中，作为物的自行车和具有特定社会身份的人以空前密切的方式结合在一起。在1895—1896年间，《轮子中的轮子：我是怎样学会骑自行车的》《不可预料》和《汤米：务实的女人》相继发表。这些创作于美国自行车热潮中的新女性叙事从不同侧面反映了性别和物的互动。首先，自行车为社会关系所建构和影响，成为“性别之物”。其次，新女性创造自行车“自由机器”的现代神话，将挑战性别局限的主张具化于“自由机器”之中。最后，自行车影响性别的建构和体验，塑造了充满力量和智慧的新女性。
Abstract:In the late 19th-century America, the emergence of the New Woman and the craze for bicycle riding brought each other to the center of public attention. The female consumers helped the bicycle manufacturers gain a huge market share and facilitated a craze for cycling. At that time, bicycle became the mostly readily accepted symbol of the New Woman because the American society was totally amazed by its superiority. Through their interactive dynamics, the bicycle, an object, and the human, with a specifically designated social identity, integrated with each other in an intimate way. During 1895-1896, A Wheel within a Wheel: How I Learned to Ride the Bicycle, “The Unexpected,” and “Tommy, the Unsentimental” were published one after another. These New Woman narratives, which came out during the Bicycle Craze, reflect on the interplay between gender and object from different perspectives. First, bicycle became “a gendered object” due to the construction and impact of social relationships; secondly, the New Woman turned the bicycle into a modern myth of “freedom machine” and, in doing so, materialized their challenge to the gender restrictions; finally, the bicycle affected the construction and experience of gender and created a new woman full of vigor and wisdom.
郭 巍
标题：《利比里亚》与美国殖民空间生产
Title: Liberia and the Spatial Production of U. S. Colonization
内容摘要：为了将美国自由黑人送回非洲，美国殖民协会于1822年在西非的谷物海岸创建利比里亚殖民地。斯托夫人在《汤姆叔叔的小屋》（1852）的结尾将几乎所有幸存下来的黑人送到了非洲的利比里亚，美国著名女性编辑、作家萨拉·约瑟法·赫尔在翌年出版的小说《利比里亚》中对斯托夫人的主张进行了积极回应，号召美国自由黑人尽快向利比里亚移民。在殖民主义语境中应用列斐伏尔的空间理论，资本主义国家殖民地可以被视为一种殖民（社会）空间。赫尔用圣经预表法表征美国殖民空间，将利比里亚比作上帝为黑人准备的“应许之地”，掩盖美国人通过殖民地占领对国家内部种族矛盾进行“空间修复”的真实目的，无视美国殖民者在利比里亚实施的领土侵占、资源掠夺和劳动压榨的帝国主义殖民空间实践。
Abstract: In order to send the freed black slaves in the U. S. back to Africa, the American Colonization Society founded Liberia Colony on the Grain Coast in West Africa in 1822. At the end of Uncle Tom’s Cabin (1852), Harriet Beecher Stowe sends almost all of the surviving black characters to Liberia. Sarah Josepha Hale, a renowned American editor and writer, responded fervently to Stowe’s proposition in her own novel, Liberia, the next year, encouraging the free blacks to emigrate to Liberia without delay. Applying Lefebvre’s space theory in the context of colonialism, one may realize that the colony of a capitalist country could be regarded as a sort of colonial (social) space. By using biblical typology to represent America’s colonial space and equating Liberia with the “Promised Land” that God has prepared for the blacks, Hale attempts to cover up Americans’ real purpose of enacting a “spatial fix” for its domestic racial problems through occupying the colony, while ignoring the American colonists’ spatial practices for the sake of its imperialistic colonization in Liberia, such as territorial occupation, plunder of resources, and labor exploitation.
卢一欣
标题：塞林格小说与艾略特《荒原》的互文性探究
Title: Exploring the Intertextuality between Salinger’s Fiction and Eliot’s “The Waste Land”
内容摘要：1947年与1948年之交，塞林格连续发表了两篇重要的短篇小说《倒生的密林》与《抓香蕉鱼最好的日子》，其中均援引了诗人艾略特的作品《荒原》。尽管对艾略特诗作（尤其是《荒原》）的互文指涉常见于塞林格的小说，但在这两篇几乎同时发表的作品中，塞林格对“荒原”意象的阐发却互相矛盾，很值得注意。事实上，两篇小说对《荒原》看似对立的指涉既根源于塞林格的反战思想，也源自其对二战后美国冷战思维下“同一性”社会主张的反感。此外，这两篇小说还宣示了塞林格二战后写作风格的丕变，他不仅热衷于书写作为局外人的诗人，还确立了将诗歌的创作手法融于小说创作的独特风格。
Abstract: At the turn of 1947 and 1948, J. D. Salinger published two important short stories, “The Inverted Forest” and “A Perfect Day for Bananafish,” both of which quote T. S. Eliot’s “The Waste Land.” The intertextual references to Eliot’s poems, “The Waste Land” in particular, may be easily seen in Salinger’s fiction, but Salinger’s interpretation of the images of “waste land” in these two stories, published almost simultaneously, seems to be contradictory and therefore worth noticing. In fact, the seemingly opposing references to “The Waste Land” in these two stories are rooted in Salinger’s opposition to war and his resentment to the societal assertion of “conformity” under America’s Cold War mentality after World War II as well. Also, the two stories indicate a drastic change in Salinger’s writing style after World War II. He not only became keenly interested in writing about poets as “outsiders,” but also established his unique style for integrating the craft of poetry writing with fiction writing.
批评与批评研究
丁 瑶
标题：《海斯米尼与海斯米尼阿斯》中的“爱欲”意象转型
Title: The Transformation of “Eros” Image in Hysmine and Hysminias
内容摘要：12世纪拜占庭罗曼司是科穆宁王朝复兴的文化成果，彰显了古希腊文学遗产的社会、文化价值以及拜占庭宫廷精英阶层的文化需求。其中，《海斯米尼与海斯米尼阿斯》以“爱欲”为叙事核心，强化爱神厄洛斯对人物行动的作用以及主人公由此而生的自我意识。“厄洛斯”的内涵从破坏理性与贞洁转向生成自由与奇迹，这冲破了古希腊罗曼司中对忠贞观念的保守态度。忠贞和激情在《海斯米尼与海斯米尼阿斯》中不断碰撞并最终和解，昭示着异教文化介入到主流基督教文化中，带有个人主义色彩的思想观念登上历史舞台，此种观念伴随着个性的解放和自我的张扬。这深刻地影响了意大利文艺复兴运动的兴起与发展。
Abstract: Byzantine romance in the 12th century is one of the cultural achievements in the Komnenian Dynasty’s revival, representing both the social and cultural values of the ancient Greek literary heritage and the cultural needs of Komnenian elites. Among these works, Hysmine and Hysminias takes “Eros” as its narrative core and bolsters the impact of Eros on characters’ actions and protagonists’ self-consciousnesses as well. The connotation of “Eros” has shifted from destroying reason and chastity to generating freedom and miracles, thus breaking through the conservative attitude toward the concept of fidelity in ancient Greek romance. In Hysmine and Hysminias, chastity and passion collide incessantly and reconcile eventually. It shows that pagan culture found its way into the mainstream Christian culture, and that the ideological concepts with individualistic tendencies stepped onto the stage of history, concepts that were accompanied by the liberation of individuality and the display of personality. All this exerted a profound effect on the rise and development of the Italian Renaissance.
谢敏敏
标题：外国文学研究中的中国话语建构与创新呈现——评《T. S. 艾略特文学思想研究》
Title: The Construction and Innovative Presentation of Chinese Discourse in Foreign Literature Studies: A Review on T. S. Eliot’s Literary Thoughts
内容摘要：蒋洪新教授的《T. S. 艾略特文学思想研究》是近年来我国外国文学研究领域的力作。该著作突破了传统的学术轨范，创新性地引入了文学思想这一架构，从而开辟了更为广阔、更为深层的文学研究空间。该著作坚持历史唯物的视角，通过涵泳文本、史料细察、辩证审视、跨文化对读等方法，不仅重构了艾略特思想及作品的艺术魅力与恒久价值，更是从共同体的层面展现了人类思想领域中的共鸣与激荡。该著作充分地彰显了中国学者的理论创造力，对新时代我国哲学社会科学事业发展具有积极的推动作用。
Abstract: Professor Jiang Hongxin’s T. S. Eliot’s Literary Thoughts is an important book in the field of foreign literature studies in recent years. Breaking away from the traditional scholarly paradigm, this book introduces, innovatively, the framework of literary thoughts to facilitate a much broader and deeper scope for literary studies. By using a series of methods, such as analyzing text, looking into historical materials, scrutinizing everything dialectically, and adopting cross-cultural readings, from a persistent perspective of historical materialism, the book not only reconstructs the artistic charm and enduring value of Eliot’s thoughts and works, but also displays the resonance and reverberation in the sphere of human thought from the community level. Also, this is a book that fully exemplifies Chinese scholars’ theoretical creativity and may offer an enhancing impetus to the development of China's philosophy and social sciences in the new era.
往期精彩文章回顾：
周星月 | 阿罗多·德坎波斯对汉语古诗的“再想象”
会讯 | 第四届“文学与经济跨学科研究”学术研讨会——暨湖北省外国文学学会2022年会一号通知
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