《外国文学研究》2018年第3期主要论文摘要

点击上方“外国文学研究”可以订阅哦

2018年第3期(总第191期)

中外学者访谈

Gu Mingsheng & Leland Poague

Art, Style and Modern Consciousness in the Work of Susan Sontag: An Interview with Leland Poague

苏珊•桑塔格作品的艺术、风格及现代性意识：利兰•伯格访谈录

Prof. Leland Poague, the editor of Conversations with Susan Sontag (1995) and co-author of Susan Sontag: An Annotated Bibliography 1948-1992 (2000), is one of the top scholars in the field of Sontag Studies. Dr. Gu Mingsheng, when working as a visiting scholar in the English Department at Iowa State University during the academic year 2016-2017, interviewed Prof. Poague on a wide range of issues concerning Sontag Scholarship. In this interview, Prof. Poague contrasts Sontag’s aphoristic, note-style constructions with her training in academic philosophy. Apart from elaborating Sontag’s ambivalent and complex relationships to Judaism and to Freud, he examines Sontag’s picture of the artist and the audience in Styles of Radical Will, and contends that her view of modern consciousness and its relation to language does not entail extreme cultural relativism. Prof. Poague compares Sontag’s films with her short fiction in their depiction of deadpan surrealism, and he discusses the unity of the short stories and the major thematic role of “will” in I, etcetera.In addition, Prof. Poague offers suggestions on relating Sontag’s self assessment of her fiction to her success as a writer.

利兰•波格教授是桑塔格研究领域的重要学者之一，编有《苏珊•桑塔格谈话录》（1995）、合著有《苏珊•桑塔格资料辑录：1948-1992》（2000）等著作。顾明生博士于2016-2017学年在爱荷华州立大学英语系访学期间采访了波格教授，访谈内容涉及桑塔格研究中的一系列重要论题。在访谈中，波格教授分析了桑塔格所受的哲学训练与其箴言式、笔记式行文风格的反差及其成因；探究了她与犹太文化、弗洛伊德遗产之间的矛盾、复杂关系，检视了她在《激进意志样式》中描绘的艺术家和受众之间的关系图谱，并指出她关于现代性意识及其与语言关系的观点并不涉及极端的文化相对主义；他还谈及了她的电影和短篇小说中的超现实主义具有冷幽默特征；探究了《我，及其他》中短篇小说的内在关联性，分析了“意志”统摄小说集主题的作用；最后他还就读者如何客观看待桑塔格对其作品的解释与评价以及如何准确理解和把握她的虚构作品的思想内涵和艺术品质阐明了自己的观点。

中西叙事传统比较研究

傅修延

问题、目标和突破口：中西叙事传统比较研究谫论

Problems, Aims and Breakthroughs: Beginning to Think about the Comparative Study of Chinese and Western Narrative Traditions

上世纪六十年代创立于法国的经典叙事学主要植根于西方的叙事实践，西方学者的引征举例极少越出西欧与北美的范围，在此情况下，中国学者应该回过头来梳理自身所属的本土叙事传统，在一个更为广阔的时空背景上展示中西叙事传统各自的形成轨迹以及相互之间的冲突与激荡。本研究的目标是通过比较来深化我们对中国叙事传统的认识，在此过程中发展和建设更具普适性的叙事理论。为了达到这一目标，需要突破中西分隔的治学格局，将主攻对象扩大到各个重要的叙事门类与分支，并从深层去发掘导致中西叙事传统差异的根本原因。

Developed in France in the 1960s, classical narratology is mainly rooted in Western narrative. Western scholars’ narrative theory and narrative practice are largely confined within the scope of Western Europe and North America. Against this backdrop, Chinese scholars need to retrospect and examine their national narrative traditions. In doing so, it is possible to map the developments of Chinese and Western narrative theories with their respective traditions on the one hand, and to reveal the conflicts and interactions of Chinese and Western narrative theories on the other hand. The project of comparing Chinese and Western narrative traditions attempts to help Chinese scholars to deepen their understandings of Chinese narrative tradition and to develop a more encompassing and universal narrative theory. To realize this overarching aim, this paper suggests breaking down the barriers between Chinese narratology and Western narratology, extending the scope of analysis to all sub-strands and categories of narrative, and exploring fundamental factors that produce differences between Chinese and Western narrative traditions.

尚必武

非自然叙事的伦理阐释

——《果壳》的胎儿叙述者及其脑文本演绎

An Ethical Interpretation of Unnatural Narrative: The Foetus Narrator and Its Brian Text in Ian McEwan’s Nutshell

本文聚焦麦克尤恩新作《果壳》的非自然叙事，从文学伦理学批评视角对其作出阐释，试图籍此回应安斯加尔·纽宁等人关于加强以形式研究为主的叙事学和以内容研究为主的文学伦理学批评之间对话的倡议。在这部戏仿莎士比亚《哈姆雷特》的作品中，麦克尤恩极尽其非自然叙事之能事，成功建构了一个关于弑亲、乱伦和复仇的不可能的故事世界。文章在从非自然叙述者、非自然心理两个层面来考察《果壳》的非自然叙事的基础上，引入文学伦理学批评，尤其是从脑文本概念入手，解读该小说的非自然性，由此挑战当前西方叙事学界关于非自然叙事阐释的两大主导模式——自然化解读和非自然化解读，开辟非自然叙事阐释的新进路。

Taking Ian McEwan’s Nutshell as its central concern, this article attempts to investigate the unnaturalness of the novel and offers an ethical interpretive option. In doing so, it attempts to respond to Ansgar Nünning’s proposal for bringing narratology into dialogue with ethical literary criticism. As a parody to Shakespeare’s classical drama Hamlet, Nutshell, in the form of unnatural narrative, presents an impossible storyworld of kinslaying, incest, and revenge. Apart form examining the unnatural narrative strategies of Nutshell from such aspects as unnatural narrator and unnatural mind, it resourcefully interprets the work from the perspective of ethical literary criticism, and the concept brain text in particular, which promises to challenge the naturalizing readings and unnaturalizing readings in the current conceptual framework of unnatural narratology, and thus opens up a new interpretive option to unnatural narrative.

赵炎秋

要素与关系：中西叙事差异试探

Elements and Their Correlations: On the Differences between Chinese Narrative and Western Narrative

叙事作品的内容可以从两个方面考察。一是这些内容所包含的人物、情节、环境、事件、场景、细节等要素以及这些要素的多寡，一是这些要素之间的相互联系与组织。西方叙事侧重要素的具体呈现，中国叙事侧重要素之间的关系。这表现在三个方面。其一，从内容上看，西方叙事文学侧重要素的细度，中国叙事文学侧重要素的密度。其二，从形式方面看，西方叙事技巧主要是围绕要素的呈现而设置与展开的，中国叙事技巧则主要围绕要素的关系而设置和展开。其三，从内容与形式的关系看，相比而言，中国古代叙事作品内容对形式的影响与制约程度要高许多，而西方叙事文学形式对内容的影响与选择则更为突出。

The content of narrative works can be examined from two aspects: the elements of characters, plots, environments, events, settings, details and the total number of the elements, and the connection and organization of elements. Western narrative lays particular emphasis on the detailed demonstration of elements, while Chinese narrative focuses on the interrelationship of elements. Specifically, in terms of content, Western narrative literature pays attention to the details of elements, while Chinese narrative literature pays attention to the thickness of elements. As for the form, Western narrative strategies serve for the presentation of element, while Chinese narrative techniques work for the relationship of elements. Given the correlation between content and form, the form of traditional Chinese narrative works is conditioned by their content, while Western novels enjoy more freedom in form.

张开焱

中西神话构形特征与叙事传统

The Configurational Charateristics and Narrative Tradition of Chinese and Western Myths

《山海经》与《神谱》在叙事话语和内容组织上，分别呈现出强化空间性和时间性的明显差别，这一差别也体现在中国与希腊上古其它神话传说和史诗文本之中。总体上看，中国神话叙事话语和内容组织偏重于空间形态，西方神话叙事话语和内容组织偏重于时间形态。两个民族神话叙事形态中积淀着不同的时空优势构形心理，这种构形心理深刻地影响了各自后世文学、尤其是叙事文学构形传统。西方叙事文学经历了一个漫长的以时间为主、以时统空的形态转化为以空统时的形态，而中国叙事文学则经历了一个从以空间为主、以空统时的形态转化为以时间为主、以时统空的形态的发展过程。但即使在以时统空阶段，中国文学叙事中，空间要素依然具有重要的结构性作用。

In terms of narrative discourse and content organization, there exist striking differences between Shan Hai Ching and the Theogony. The former lays particular emphasis on space, while the latter on time. This difference can also be found in other myths and epics in ancient China and Greece. The space-based Chinese mythology and the time-spaced Western mythology reflect the respective psychological mapping of the two cultures. The difference, in turn, has a great impact on the two narrative traditions. Western culture and literature, especially narrative literature, experiences the transformation from the time-dominant narrative to the space-dominant narrative, while Chinese culture and literature undergoes an opposite change from the space-dominant narrative to the time-dominant narrative, although space still remains important in its narrative configuration.

刘茂生

萧伯纳戏剧叙事中的伦理传统

The Ethical Tradition in Bernard Shaw’s Theatrical Narrative

萧伯纳社会问题剧是社会问题的集中表现，涉及社会矛盾的方方面面。萧伯纳戏剧叙事的范式始终遵循西方戏剧的传统，强调戏剧的题材必须是现实的社会生活，需要在创作中阐明新的思想、道德及其社会意义。萧伯纳创作的各个阶段始终没有偏离以社会问题为核心，以道德伦理为基本遵循的主线。论文同时以《华伦夫人的职业》、《鳏夫的房产》、《卖花女》等三部作品的创作为例，集中阐释了其戏剧叙事的伦理传统。萧伯纳的戏剧是维多利亚文学与那一时期伦理道德观念互动交流的最直接表现。萧伯纳以戏剧这一独特的艺术方式丰富了英国维多利亚时期伦理思想的内涵，凸显了英国社会、文化观念流变中的伦理道德传统。

Known as the master of problem plays, George Bernard Shaw relates his works to almost all aspects of social problems. Inheriting the Western theatrical tradition, Shaw seeks to write about social problems and deal with them from an ethical perspective. Social problems and ethical concerns constitute the kernels of his dramas. Taking Mrs. Warren’s Profession, The Widower’s Houses and Pygmalion as its central concern, this paper examines the interaction between morality and artistic pursuits in Shaw’s works. Feeling obliged to conduct moral instruction, Shaw plays a significant role in enhancing the ethical tradition of the Victorian period.

文学前沿问题研究

顾明栋

论“后文学”时代传统文学的出路

——从科幻文学、电子游戏与乔伊斯的小说谈起

On the Way Out for Traditional Literature in the Post-Literary Era: Science Fiction, Digital Games, and Joycean Novels

在电子革命和STEM（科学、技术、工程、数学）学科的重压之下，全世界的文学系都面临一个惨淡的现实：社会上，阅读文学的人数萎缩，高校里，文学专业的学生锐减。呼应德里达关于文学之死的预言，西方众多学者和思想家反思精英文学的窘境，提出两个实际问题：（1）在STEM学科主导大学课程的今天，如何才能重新让文学教学焕发新的活力、吸引更多学生选择文学课程？（2）在新媒体和电信技术占统治地位的全球化时代，如何重振大众对经典文学的阅读兴趣？针对这两个问题，通过审视C.P.斯诺的“两种文化”和当前大众对科幻作品的浓厚兴趣，探索电子游戏和诸如乔伊斯的小说这样的经典文学作品的关系，考察科幻作品和电子游戏在大众文学兴趣复兴中的可能作用，思考电讯时代传统文学的出路，提出走向“后文学”时代的“大文学”观念。

Under the heavy pressures of digital revolution and STEM (science, technology, engineering, mathematics),literature departments around the globe are facing a bleak reality: the dwindling of reading public and shrinking literature majors in colleges. In response to Derrida’s prophecy about the death of literature, numerous scholars and thinkers in the West have contemplated the awkward situation of refined literature and raised two practical questions: (1) In colleges today where STEM courses predominate, how can literary teaching re-energize itself? (2) In the world dominated by new media and telecommunications, how can we revive the public’s interest in reading classic literary works? With these two questions in mind, this article, by examining C. P. Snow’s idea of “Two Cultures” and the public’s strong interest in science fiction, explores the connections between digital games and James Joyce’s fiction, investigates the possible function of science fiction and digital games in resuscitating the public interest in literature, reflects on the way out for traditional literature pressurized by telecommunications, and proposes the concept of “greater literature” in preparation for the coming of a post-literary era.

丁林棚

后人类的警示：《羚羊与秧鸡》中的语言哲学

A Posthumanist Admonition: Language Philosophy in Margaret Atwood’s Oryx and Crake

加拿大当代作家玛格丽特·阿特伍德在其小说《羚羊与秧鸡》中对后人类未来作出了描绘，通过聚焦人与非人的边界地带，探讨了语言对人性的决定性作用，为从语言哲学视角检视人性与文明本质提供了独特的文本基础。这部作品透过科幻故事的表象呈现出三个重要的深层语言哲学议题：小说首先凸显了语言和言语的双重属性，借用主人公的语言无能刻画出人与非人的语言临界状况；其次，通过详细描写新生人类的语言游戏暗指能指的不间断延异和对不在场的召唤和操控；第三，能指符号进一步指向符号象征体系和话语网络的建构，并最终指向艺术、人文等元素。这三个层次的思考对探索人性本质作出了深层、立体的尝试。《羚羊与秧鸡》所涉及的人类学、哲学和语言学思想为审视语言在人类主体构建中的作用以及对后人类状况进行理论管窥提供了不可或缺的思考素材。

The paper elucidates the posthuman thought in Margaret Atwood’s novel Oryx and Crake, and presents reflections on the essence of language and its interconnection to humanity. Focusing on the human/inhuman boundary, the novel provides insights into the nature of humanity and civilization. There emerge three major philosophical concerns in this speculative fiction. Calling attention to the dual properties of langue and parole as well as the status of “infancy” located between the human and the inhuman, the novel depicts Crakers’ language games and alludes to the ceaseless chain of signifiers along with its perpetual différance and its manipulation of absence. In addition, it also investigates the interrelation between discursive network and its quintessential construction of humanity. Oryx and Crake thus serves as a site for hermeneutical reflection on the role of language in the formation of the human subject and humanity on the whole. A reading of the philosophy of language embodied in the novel, in connection with contemporary theories in anthropology, philosophy and linguistics, offers a few theoretical glimpses of the posthuman condition.

文学伦理学批评

陈 军

新教伦理景观图

——济慈《圣亚尼节前夜》的修辞伦理批评

The Landscape of Protestant Ethic: A Critique of Rhetorical Ethic in John Keats’s The Eve of St. Agnes

济慈常被误认为一位对社会现实漠不关心的浪漫主义诗人。本文从修辞伦理视角阐释济慈的长篇叙事诗《圣亚尼节前夜》，援引韦伯关于新教伦理的论述，说明诗人将新教伦理融入诗歌，试图赋予社会生活以新教伦理，以此积极介入社会。通过考察诗歌中的修辞伦理，本文从三个方面说明济慈倡导的新教伦理观：以苦修作为职业的苦行僧象征新教的职业伦理观，普菲洛与玛德琳的爱情故事寓意新教调和平衡的情爱伦理观，对奢侈品消费的克制意旨新教的消费伦理观。济慈标举新教伦理的目的在于摧毁冲动性享乐，使社会生活变得更加有秩序。诗歌中的人物、事件、意象等元素呈现了一幅新教伦理景观图，彰显了诗人以文学影响读者伦理观的书写策略。

Though often misunderstood as showing little concern for social reality, John Keats demonstrates a strong sense of social engagement. From the perspective of the rhetorical ethic, and Max Weber’s theory of the Protestant ethic in particular, this article offers a new reading of Keats’s narrative poem “The Eve of St. Agnes,” illuminating how Keats attemps to impose the Protestant order upon the world depicted. The article elaborates the Protestant ethic proposed by the poet from three aspects: the Protestant ethic of occupation, the Protestant ethic of love, and the Protestant ethic of consumption. For Keats, the purpose of proposing such an ethic is to destroy the irrational impulse for pleasure and to make the social life more orderly. The characters, events, and images in the poem shape the landscape of the Protestant ethic, displaying the poet’s strategy of writing that influences the reader.

张 欣

“白娘子”和“美人鱼”的斯芬克斯之谜与伦理选择

The Sphinx Riddle and Ethical Selection in the Images of the White Snake and the Mermaid

古老的“斯芬克斯之谜”使中国传统神话中的白娘子与安徒生笔下的美人鱼显现出高度共生互文的伦理起源和伦理旨归，进而成为中西文学探索人性与伦理建构的经典形象。通过文学伦理学批评的视角和方法对二者进行对比研究，可以赋予“异类恋”文学母题更深刻的伦理意蕴。女主人公“成为人”的伦理诉求在其“去兽形、得人性”的伦理选择过程中，彰显了人类成长历经的伦理混沌和伦理启蒙。白娘子折损千年道行换得“为人”、“为妻”、“为母”的伦理身份，皈依中国传统家庭伦理；美人鱼“弃尾”、“割舌”换取了以“失语”为象征的残缺的人性，最终演绎了其在“得人性”的征程上殉道式的伦理悲剧。婚姻作为爱情神话中两性走向道德共同体最神圣的伦理归宿，体现了白娘子弃恶从善，修炼为人的伦理选择，也使美人鱼再现了希腊文学中自我牺牲的“殉情”情节，成为其追求人性之路的“殉道”之举。她们对天性的抑制和对人性的追求展现了在伦理启蒙中的人性至善。

The ancient Greek riddle of the Sphinx underwrites an intertextual perspective on the White Snake in Fang Chengpei’s The Legend Leifeng Tower and the Mermaid in Hans Christian Andersen’s Little Mermaid, both of which are generally seen as classic and symbiotic female images and metaphors of human desires, life purport, and ethical paradoxes. Viewed in the light of ethical literary criticism, the two protagonists’ pursuit of human forms and human nature can be interpreted as their efforts to make a balance and a choice between animal factor and human factor. In the name of metamorphosis and love, the two female protagonists try to solve their own riddles of the Sphinx by sacrificing their magic power and sweet voice respectively. Though their efforts in vein, their suppression of natural will and pursuit of human benevolence is much adored and is suggestive of human beings’ ultimate pursuit of goodness.

雷登辉

论苏珊•桑塔格“反对阐释”的伦理关怀与话语实践

Ethical Concern and Discourse Practice in Susan Sontag’s “Against Interpretation”

苏珊·桑塔格以“反对阐释”的激进口号蜚声中外学界，然而“反对阐释”的观点却屡遭误读，甚至被贴上了审美主义的标签。本文透过哲学与文学研究伦理学转向的历史背景，重探“反对阐释”的理论意涵。“反对阐释”不是拒绝任何意义上的阐释，而是用“新感受力”来批判庸俗与僵化的道德批评，因此它不仅仅是一种注重形式的理论倡导，还体现了深刻的人本主义和伦理关怀。桑塔格将审美与道德置于富有张力的文化结构中，以持续的文学创作、文化批评和社会活动实践呼应其伦理诉求，这对我们进行理论批评和价值选择有着重要的启示意义。

Susan Sontag’s proposal “anti-interpretation”, although often misunderstood and even simply dismissed as the reassertion of aestheticism, has a profound influence on literary criticism. This essay re-examines Sontag’s argument against the background of ethical turn in philosophy and in literary studies, claiming that what Sontag argues against is not interpretation but dogmatic rules of moral judgment. Therefore, interpretation, in Sontag’s conceptual system, is not only about literary form but also about humanism and ethics. To concretize her appeal for ethical criticism, Sontag places aesthetics and ethic into culture and engages with them through her creative writing, literary criticism and social activities.

欧洲文学研究

王树福

当代俄罗斯新现实主义的兴起

The Rise of New Realism in Contemporary Russia

作为当代俄罗斯重要文学主潮之一，新现实主义在当代俄罗斯自由化的文化语境和多元化的文化转型中渐次兴起，有其新的现实、新的方法和新的理念。它通过借用白银时代新现实主义的文学遗产、各种先锋现代思想和后现代主义思想，形成既区别与传统现实主义和后现代主义，又部分介乎二者之间或之外的独特文学态势。其特点主要表现为美学观念的哲理倾向、艺术手法的综合趋势和叙事策略的多样态势。其中，对社会现实的合成表现，对真实诗学的变异诉求，对人物形象的多样塑造，则是新现实主义的诗学核心。这种思潮特点与诗学特色，部分呼应当代俄罗斯文学的整体风貌和艺术的宏观特点。正因区别于传统现实主义和后现代主义，新现实主义文学思潮既保留着现实主义的美学内涵，部分借鉴现实主义的创作基本原则，又吸收包括后现代主义在内的各种先锋技巧，其本质应属于现代主义美学范畴；正因介乎现实主义和后现代主义之间或之外，随着后现代主义在俄罗斯的合法化和蔚为大观，新现实主义文学思潮在1990年代逐渐实现与后现代主义的不断合流和多样对话。

As one of the main trends of contemporary Russian literature, new realism comes into being in the context of Russian cultural liberalization and cultural transformation, containing new realities, new strategies and new ideas. Inheriting the heritage of Russian neo-realism in the Silver Age, it also makes use of postmodernist conceptions. However, unlike traditional realism and postmodernism, Russian new realism has such different features as philosophical orientation of aesthetic concepts, hybridity of artistic techniques, and diversity of narrative strategies. The tenets of Russian new realist poetics can be best summarized as synthesis of social reality, variety of poetic expression, and diversity of characterization, all of which go in accordance with the style and the macroscopic characteristics of contemporary Russian literature. Sharing the same aesthetic features and basic principles with modernism, Contemporary Russian new realism still falls into a broad aesthetic category of modernism. Occupying a liminal space between realism and postmodernism, Russian new realism began to merge into postmodernism in the 1990s when postmodernism was on its high tide in Russia.

陈 方

乌利茨卡娅长篇小说中的“家庭中心论”

The Family in Lyudmila Ulitskaya’s Novels

家庭是柳·乌利茨卡娅几乎全部创作的中心主题。本文以作家20世纪九十年代以来的长篇小说为分析对象，探讨其创作中存在着的“家庭中心论”。在作家笔下，家庭是其叙述20世纪历史的载体，蕴含着丰富的历史意义和隐喻意义，高度浓缩了特定历史时期的社会景观，同时也体现着作者对社会、政治、文化等问题的主观态度和价值取向。作家依托家庭题材表达独特的美学观，建立起与古希腊文学、神话故事以及俄罗斯文学经典文本的互文关系。她凭借与传统文学文化及诗学的联系，在当代俄罗斯文学反思家庭形式、弱化家庭功能的总体语境下，建立起自己独特的“家庭诗学”，即家庭中心论，并藉此在当代俄罗斯文坛获得稳固的一席之地。

Family life is a central theme in almost all of L.E. Ulitskaya’s novels. Focusing on Ulitskaya’s representative novels of the 1990s, this paper attempts to examine the family issues in her works and to reveal their historical and metaphorical implications. Ulitskaya’s portrayal of family life reflects her thoughts on social, political, and cultural issues and her value judgment. As for the aesthetic form, she draws an intertextual connection of her texts on domestic life with classical texts such as Greek mythology and classical Russian literature. Relying on traditional literature and culture, and going against the current tendency of belittling the function and role of family life, Ulitskaya establishes her literary reputation for writing about domestic life.

包慧怡

中世纪文学中的触觉表述：《高文爵士与绿衣骑士》及其他文本

Haptical Representation in Medieval Literature: Sir Gawain and the Green Knight and Other Texts

从早期教父时代到中世纪晚期的基督教感官文化史中，触觉长久以来都位于感官金字塔的底部，被看作对基督徒的灵魂具有最大潜在威胁的官能，并与自然元素中最沉重的“土”相连。与此同时，美德、神圣性、祝福和奇迹治愈的能力亦能通过触觉传递，触觉因而在许多神学与文学文本中被赋予积极的道德内涵。中世纪罗曼司中充满细致的感官描绘，生动地反映出人物的情感模式、社会礼仪、文化禁忌和宗教观念。本文通过细读14世纪中古英语罗曼司代表诗作《高文爵士与绿衣骑士》，并将它置于“高文”诗人其他作品的文本背景中，考察典型中世纪俗语文学中的触觉表述及其宗教与文化内涵。

Touch, associated with the heaviest element of earth, was viewed in the Middle Ages as the coarsest and most corporeal senses, posing most danger to the welfare of Christian souls. On the other hand, virtues and sanctity, as well as benediction and miraculous healing, can also be transferred by touch. The genre of medieval romance features elaborate sensual description and dynamic exploration of the abstract qualities of physical senses. The representation of haptical perception, in particular, helps to depict the protagonists’ morality, spirituality, ideas of social propriety and taboos, courtly etiquettes and amorous adventures in Sir Gawain and the Green Knight. This paper will focus on the representation of tactile experience in SGGK and other works by the Gawain-Poet, relating the argument to the traditional depiction of human sensorium, and to its religious and cultural connotations in medieval vernacular literature.

学术动态

刘知萌 王永凯

第三届马克思主义文学批评的中国形态国际学术研讨会暨马克思诞辰200周年并《共产党宣言》发表170周年纪念会议综述

A Summary of the Third International Symposium on Chinese Form of Marxist Literary Criticism, the Commemoration of the 200th Anniversary of Marx’s Birth, and the 170th Anniversary of The Communist Manifesto

2018年5月5-6日，第三届“马克思主义文学批评的中国形态国际学术研讨会暨马克思诞辰200周年并《共产党宣言》发表170周年纪念”在华中师范大学隆重举行。与会学者们围绕经典马克思主义文学批评理论问题再探讨，中国马克思主义文学批评的历史进程，国外马克思主义文学批评借鉴性研究，马克思主义文学批评中国形态的理论建构四个议题展开了热烈而深入的研讨。此次会议的召开将有助于我们在全球视野中深刻认识马克思主义文艺理论、文艺批评的思想精髓，进一步推进马克思主义文学批评中国形态的建构，彰显马克思主义文学批评理论的当代生命力。

On May 5th and 6th, 2018, the Third International Symposium on Chinese Form of Marxist Literary Criticism & the Commemoration of the 200th Anniversary of Marx’s Birth and the 170th Anniversary of The Communist Manifesto was held at Central China Normal University. There are four main topics in this conference: rethinking theoretical issues of classical Marxist literary criticism, the historical development of Chinese Marxist literary criticism, overseas studies of Marxist literary criticism, and the theoretical construction of the Chinese form of Marxist literary criticism. The conference approaches the essence of Marxist literary theory and criticism from a global perspective, in addition to promoting the theoretical construction of the Chinese form of Marxist literary criticism and theory, and highlighting the exuberant vitality of Marxist literary criticism and theory in the contemporary era.

张 驰

“中国外国文学期刊发展历程与国际化战略”研讨会综述

A Summary of the Symposium on Development of Foreign Literature Journals in China and the Strategies for Internationalization

2018年6月8日，“中国外国文学期刊发展历程与国际化战略”研讨会在武汉雄楚国际大酒店隆重举行。本次会议由华中师范大学文学院《外国文学研究》编辑部主办，华师文学院“一流学科”建设小组、华师外国语学院、国际文学伦理学批评研究中心和湖北文学理论与批评研究中心共同协办。来自全国各地的近五十位专家和文学期刊主编莅临参会，总结和交流四十年来外国文学学术期刊的办刊成就与经验，力图提高学术期刊的办刊质量与学术平，并提升我国学术期刊的国际影响力和学术声誉。在中国学术国际化的宏观背景下，此次会议着眼于期刊发展与国际化战略，有利于总结近四十年中国外国文学学术期刊的办刊成就与经验，促进外国文学期刊之间的交流与合作，提高外国文学期刊的国际化程度，扩大外国学术期刊的国际影响力，切实履行学术期刊的社会责任与国家义务。此次会议的成功召开，对提高外国文学期刊的办刊质量与学术水平，加强外国文学学科的规划建设、提升我国外国文学研究的国际性声誉，都起到重要的推动作用。

胡怡君

文学与经济学的对话

——“首届文学与经济跨学科研究专题学术研讨会”综述

Dialogue between Literature and Economics: A Summary of the First Symposium on the Interdisciplinary Studies of Literature and Economics

2018年6月2日至3日，“首届文学与经济跨学科研究专题学术研讨会”在上海对外经贸大学隆重召开。本次会议由上海对外经贸大学主办，上海对外经贸大学国际商务外语学院承办，《外国文学研究》编辑部、上海市外国文学学会、上海对外经贸大学外国文学研究所、华中师范大学英语文学研究中心、上海外语教育出版社协办。来自中国大陆与台湾地区高校及研究机构的百余名专家学者参加了为期两天的学术研讨会。本次会议讨论了文学与经济跨学科研究理论溯源及学科走向、文学中的经济书写与商业伦理、文学对商业主义或消费社会的反思与批判、文学与文学出版市场之间的互动关系、文学中的经济殖民主义、文学与经济身份尤其是女性经济身份建构的关系等六个议题，并对文学与经济跨学科研究的发展前景及相关成果出版规划进行了展望。

往期精彩访谈回顾：

何成洲 李淑玲 | 世界文学还是全球文学：西奥多·德汉教授访谈录

尚必武 | 当代世界文学与比较文学研究的主要命题与批评争议： 托马斯·奥利弗·比比教授访谈录

王玉括 | 故事发现自己的声音：珀西瓦尔·埃弗雷特访谈

李敏锐 | 非自然叙事学新动态与当代文学批评：布赖恩·理查森教授访谈录

解友广 | 当下的创伤理论：凯茜·凯鲁斯访谈录

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