《外国文学研究》2018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

2018年第5期(总第193期)

中外学者访谈

 汪余礼  王 阅  弗洛德·海兰德

当代易卜生研究的问题与方法

——奥斯陆大学弗洛德·海兰德教授访谈录

Issues and Methods of Contemporary Ibsen Studies: An Interview with Professor Frode Helland

2018年3月，海兰德教授应邀来武汉大学讲学，其间接受了汪余礼、王阅的专访，双方就易卜生与莎士比亚、易卜生与德国思想、易卜生与力量、易卜生与数字人文研究等一系列问题交换了看法。汪余礼认为，易卜生的力量跟他深广的文化根脉是密切相关的；作为一名“欧洲人”，易卜生的文化根脉深深扎进了古希腊戏剧、莎士比亚戏剧、北欧神话传说、基督教传统及德国思想中，而他又对当时欧洲的时代问题非常敏感，在剧作中进行了深入的探讨，引起了人们广泛的共鸣或争论，这使他既“根深”又“叶茂”，成了戏剧领域的一棵参天大树。海兰德认为，易卜生的力量确实跟他善于提出问题、引发争论有关；不过，易卜生之所以能够取得全球性成功的一个重要原因，在于其剧作既具有很高的艺术品位，又具有很高的商业价值。此外，在海兰德看来，“易卜生与德国思想”是易卜生研究领域一个特别值得深入探讨的话题，从中还可以挖出许多很有价值的思想宝藏；而数字人文与跨学科研究方法的运用，则将给易卜生研究领域带来持久的活力。

In March 2018, Professor Frode Helland was invited to have a lecture tour at Wuhan University, where he was interviewed by Wang Yuli and Wang Yue. In this interview, Helland and Wang exchanged views on such issues as Ibsen and Shakespeare, Ibsen and German thoughts, Ibsen and Power, Ibsen and digital humanities research. Wang argues that Ibsen’s theatrical achievement, rooted in Western intellectual and cultural tradition ranging from ancient Greek tragedy, Shakespeare’s plays, the Nordic myth and legend to the Christian tradition and German thoughts, is largely contributed by his concerns about social issues of his time in Europe. In his response, Helland adds that Ibsen’s global popularity is also attributed to his artistic achievements and the commercial value of his works. Helland points out that the topics such as Ibsen and Shakespeare, and Ibsen and German thought are also worth exploring. Furthermore, he claims that the digital humanities and inter-disciplinary studies will bring new inspiration and energy to contemporary Ibsen studies.

中外学者对话“世界文学”

Vladimir Biti

Goethe’s Weltliteratur as a Trauma Narrative

歌德作为创伤叙事的“世界文学”观

The recent comparatist celebration of literature in the shape of “planetary system,” which is on the rise in the last two decades of the discipline’s development, promoted Goethe to the status of its chief engineer. Disregarding important differences between Goethe’s and our age, recent interpreters placed his idea of world literature at the service of their particular geopolitical projections. In order to avoid such “nationalism masquerading as globalism” (Spivak), I will focus on both personal and collective traumatic constellations, which generated Goethe’s “project” of world literature. He felt stranded in his present as both a writer and German. This is why he, in both capacities, envisioned transborder alliances as the best method of coping with these frustrations. The paper investigates this personal and national investment in his idea of world literature in more detail.

比较文学界近来所推崇的“行星系”形态的文学在该学科过去二十年的发展中一直处于升温态势，并由此将歌德推至总工程师的位置。当下，部分学者忽略了歌德所处的时代与当今时代的重要差异，用歌德关于世界文学的思考来推断其特定的地缘政治。为了避免这种“伪装为全球主义的民族主义”，有必要讨论促使歌德提出世界文学“课题”的个人与集体的创伤因素。无论是作为一名作家还是作为一名德国人，歌德在当时都面临困境。这是他为什么在两种身份下都视跨越边界的结盟为处理困境的最佳方式的原因，我们也有必要详细探讨歌德的世界文学思想中诸如此类的个人与国家因素。

Igor Shaytanov

World Literature as a Challenge and Ethical Problem

作为挑战和伦理问题的世界文学

Since 1827, when Goethe coined the term “world literature” on the model of Herder’s Welgeschichte, it has provoked a polemical discussion with a strong ethical emphasis. Why should Goethe, while heralding the epoch of world literature, belittle national literature as “now an unmeaning term?” The possible answers might be either he with his historical foresight was apprehensive of natioanalism in its late romantic version, or that his attitude was due to his classical taste with the ancient Greek ideal universal for culture always and everywhere. His great contemporary and countryman Wilhelm von Humboldt, in immediate response to Goethe, took issue on the side of national culture emphasizing the fact that the world, seen through the windows of different languages, could not represent a universal picture. After two centuries, the conflicting issues of world and national cultures regain critics’ attention. The concept of “world history” becomes problematic. Franco Morretti, for example, states that “World literature is not an object, it’s a problem, and a problem that asks for a new critical method; and no one has ever found a method by just reading more texts.” His view is echoed by many as a new way to approach world literature now. The “death of a discipline,” i.e. comparative study, is inevitable if we live in the global world “after nations,” but how could it be when old Babylon is still multilingual? Literature (world and national) -culture-language-territory are the key notions involved now in a dynamic relationship in the comparative study. As such, comparative literature study is not an object but a problem with a wide range of implications: political-cultural-ethical. They ask for a critical method to be transformed and updated. Could “historical poetics,” as it was laid out by Alexander Veselovsky, serve as a productive tradition in view?

1827年，歌德参照赫尔德的世界史模式，提出了“世界文学”这一概念。此后，“世界文学”引发了学界的激烈讨论，其中不乏对伦理的重视与强调。问题是，开启世界文学纪元的歌德为什么把民族文学贬为“一个无意义的术语”？答案一方面可能在于歌德的历史远见，他惧怕晚期浪漫主义意义上的民族主义，另一方面也可能在于他把自己对古希腊文学理念的喜恶放置于所有时期和所有地方的文化。与歌德同时期的德国学者威廉·冯·洪堡立即表达了其对民族文化的不同意见。洪堡认为，民族文化强调从不同语言视角看到的世界不可能呈现一幅普遍性的画卷。两个世纪之后，世界文化和民族文化之间的对立问题再次引发批评界的关注。“世界历史”也成了一个有争议的概念。例如，弗兰科·莫莱蒂指出“世界文学不是对象，而是一个问题，需要新批评方法，而且没有人能通过阅读更多文本找到一种方法”。莫莱蒂的这个观点作为现行研究世界文学的新路径得到了很多人的认同和响应。如果我们生活在“后民族”的全球化世界，那么如比较研究的“学科之死”固然是不可避免的，但若古巴比伦仍然使用多种语言时，情况又将如何？文学（世界的和民族的）—文化—语言—领土现在是比较研究的动态关系里至关重要的概念，比较研究不是一个对象，而是具有广泛政治—文化—伦理影响力的问题，它们要求批评方法的变革和更新。就此而言，亚历山大·维谢洛夫斯基提出的“历史诗学”又能否对传统起到推陈出新的作用呢？

王 宁

作为问题导向的世界文学概念

World Literature as an Issue-driven Concept

“世界文学”这一概念自歌德于1827年正式提出并加以阐发以来，已经历了一百九十多年的曲折历史。正如美国学者莫雷蒂所言，这一概念不能只是文学，还应该范围更广大些，也即它应该能引发人们围绕这个问题展开讨论甚至争论。实际上，世界文学正是作为这样一个问题导向的理论概念，至少向学界提出了这样几个不断引发人们讨论甚至争论的话题：文学经典的建构与重构；文学史的写作；世界文学的评价标准等等。此外，世界文学也可以作为文学研究的一种方法，起到简单地聚焦民族/国别文学所起不到的作用。总之，作为中国的比较文学和世界文学学者，我们还有另一个独特的任务，也即借助于世界文学这一开放的概念，从中国的立场和视角出发重新审视世界文学的既有地图，为世界文学的重新绘图注入中国的元素并提供中国的解决方案。

The concept of world literature, formally put forward and interpreted by Goethe in 1827, has undergone, during the past 190 years or more, a zigzag experience. As American scholar Moretti puts, this concept should not be limited within the domain of literature, but rather, it should be “larger”. That is, it should stimulate scholars to carry out discussion and even debate on this topic. Actually, world literature as an issue-driven concept has put forward disputable issues such as, literary canon formation and reformation, literary historiography, and the standard for evaluating world literature. World literature studies could also be used as a method playing an irreplaceable function in our literary studies. As Chinese scholars of comparative and world literature studies, we should re-examine the established mapping of world literature from a Chinese perspective and, in an effort to bring in Chinese elements, offer our proposal for the remapping of world literature.

文学伦理学批评

苏 晖 熊 卉

从脑文本到终稿：易卜生及《社会支柱》中的伦理选择

From Brain Text to the Final Draft: On Ibsen’s Ethical Choices in Pillars of Society

脑文本是文学伦理学批评的重要术语之一。从文学伦理学批评视角来看，易卜生的戏剧《社会支柱》的四个稿本是作家脑文本的体现，而四个稿本之间的变化是易卜生在把脑文本解码成书写文本过程中进行的伦理选择的外化；戏剧主人公卡斯腾·博尼克的理性意志与非理性意志进行了剧烈的博弈，其伦理选择亦与脑文本有着密切的联系；脑文本的动态变化及其与伦理选择之间的关系体现出易卜生的伦理意识，他在剧中探讨了关于个人与社会的伦理关系、社会普遍伦理道德观念以及两性伦理关系和女性地位这三个伦理问题，表达了个人追求自由的重要性，揭示了社会发展的丑陋面，肯定了女性的重要作用，从而揭示了戏剧的道德教诲本质。

The paper reads the four drafts of Henrik Ibsen’s play Pillars of Society as his “brain texts” (a key term of Ethical Literary Criticism). Through discussing the revisions in each draft, the paper investigates Ibsen’s ethical choices in “decoding” his brain text into written text. The dynamic interconnection between ethical choice and brain text is also embodied in characters’ development, such as Kasten Bernick’s inner conflict between his rational will and irrational will. The purpose of this paper is to sort out Ibsen’s ethical concerns in each revision, including the relationship between the individual and the society, the concept of the public, and the status of women in the relationship between men and women.

刘兮颖

空间表征、身份危机与伦理选择——《卢布林的魔术师》中雅夏形象解读

Spatial Representation, Identity Crisis and Ethical Choice: An Interpretation of Yasha Mazaur in The Magician of Lublin

诺贝尔文学奖得主、美国著名犹太作家艾萨克·辛格的长篇小说《卢布林的魔术师》出色地展示了17世纪波兰犹太人雅夏寻求身份认同而遭遇失败，最后皈依宗教终获救赎的艰辛历程。雅夏的多重伦理身份随着他在不同空间——小城镇卢布林和大都市华沙之间转换，交织在一起，产生了深重的身份认同危机，共同构成了他复杂的伦理困境，导致了艰难的伦理选择。空间的生产与身份的建构这二者之间是互为表征的。从卢布林到华沙再复归卢布林，这是祛魅化而后又复魅的过程。雅夏所面临的错综复杂的伦理困境终究经由犹太会堂中的宗教仪式而得以摆脱。犹太会堂从空间和道德两方面为雅夏找到了自省和救赎之路。而雅夏最后的伦理选择和伦理身份的确认是在所谓“神圣空间”中铸就的。

As the winner of the 1976 Nobel prize in literature, Jewish American writer Isaac Bashevis Singer, in his masterpiece The Magician of Lublin, tells a tale of the 17th Polish Jewish Yasha Mazaur’s initial failure in his pursuit of identity and his final redemption by way of conversion to Judaism. The geographical movement from Lublin to Warsaw coincides with the experiences of his identity crisis and ethical dilemma. The way from Lublin to Warsaw and then back to Lublin, however, symbolizes a journey of disenchantment and re-enchantment. Religious rituals extricate Yasha from the ethical dilemma. In Jewish Synagogue, a space of religious significance,Yasha finds redemption through the introspection of morality and reaffirms his ethical identity.

金 琼

19世纪英国女性小说疾病叙事及其伦理选择

Disease Narrative in British Female Novels in the 19th Century and Its Ethical Choices

19世纪英国女性小说中出现不少疾病叙事现象，疾病叙事是作家铺展故事伦理线索、建构复杂人物关系与情感扭结的有效手段。这些女性作家的疾病叙写和艺术实践，与古希腊亚里士多德的“中值理论”、中世纪奥古斯丁等人的宗教伦理学、新教改革派伦理学以及英国功利主义伦理学思想理念等具有一定的渊源关系。疾病叙事可以见出女性作家伦理意识与伦理选择的时代性、混融性与交互性,亦可反观19世纪伦理观念及伦理实践之明显局限，在性别、阶级、宗教、科技等层面，具有悖反性、双重性、神秘性、自反性等特征。

There are many disease narrative phenomena in British female novels in the 19th century. Disease narratives is an effective means for writers to spread the story ethical clues and construct complex relationships and emotional kink. The disease narratives and artistic practice of these female writers established a certain relationship with ancient Greek Aristotle’s Nicomachean ethics (namely, the “median theory”), the ethics of medieval Augustine and others religious ethics, Protestant reformist ethics, and the British utilitarian ethical ideas. The ethical awareness and ethical choices of female writers are characterized by epoch, blending and interactivity through disease narratives. Furthermore, it can also observe the obvious limitations of its ethical concepts and ethical practice in the reverse direction in the 19th century, such as the characteristics of rebelliousness, duality, mystery and reflexivity in the aspects of gender, class, religion, science and technology.

徐 红

论《杯酒留痕》中的伦理混乱与秩序重构

Ethical Confusion and Reconstruction of Ethical Structure in Last Orders

英国重要作家格雷厄姆·斯威夫特擅长用多元的叙事手法来探究传统主题，注重主旨思想和艺术效果的完美呈现。在小说《杯酒留痕》中，他虽采用多种后现代叙事技巧，但没有回避功利性和政治性的伦理内容，以高超的叙事手法、明暗互动的多层次伦理线，不但凸显人物的叙事功能，而且展现普通个体的伦理反思。小说的解构叙事不仅呈现了当代英国社会的伦理结构，而且通过人物在现代社会中的身份困境和伦理混乱，以及人物伦理身份和伦理关系重构的过程，体现出对文学的伦理价值和教诲功能回归的期待。

Graham Swift is well known for exploring traditional themes in narrative representation. In Last Orders, Swift employs various postmodern narrative techniques to address the questions of ethics and politics. By denying the closure and linear nature of traditional narrative, and weaving the complex narration with ethical threads interacting explicitly and implicitly, Swift leaves room for discussion of ethical issues. From the perspective of literary ethical criticism, this paper, through analyzing the characters’ identity crisis as embodied in ethical confusion, aims to reflect on the rupture and revision of the ethical structure in contemporary British society, and to comprehend Swift’s anticipation of ethical value and edification function in literature.

文学理论研究

张旭春

“绿色浪漫主义”：浪漫主义文学经典的重构与重读

Green Romanticism: A Remapping of Romanticism Studies

作为浪漫主义研究中一种新兴的批评范式，“绿色浪漫主义”（浪漫主义文学研究中的生态批评范式）在理论上明确批判新历史主义—新马克思主义批评中的人类中心主义和非唯物论倾向，在实践中注重从当代生态问题入手重读或重构浪漫主义文学经典——后者典型地体现在以贝特对华兹华斯《湖区指南》的经典重构和莫顿对雪莱《麦布女王》的经典重读之中。在当代全球化生态危机的背景之下，“绿色浪漫主义”研究的重大意义在于它不仅丰富了浪漫主义的研究图谱，而且对于当今文学批评从空洞的语言—符号研究和偏执的意识形态批判重新转向现实关怀和社会担当也具有重要的启示作用。

“Green Romanticism”, a burgeoning critical paradigm in English romanticism studies, takes issues with new historicist-new Marxist anthropomorphism and anti-materialism in theory, and focuses its critical attention on re-reading and recharging the Romantic canon in practice. The present paper opens with a brief analysis of Green Romanticism’s theoretical premises, which is followed by a case study of re-canonization of Wordsworth and the re-reading of Shelley by Bate and Morton respectively. In conclusion, the paper argues that the significance of “Green Romanticism” lies in enriching Romanticism studies and re-directing literary criticism from formalist textualism and ideological critique into a new social criticism.

陶家俊

现代性的生死断裂——1976年福柯与鲍德里亚视野中的生死边界

The Rupture of Life and Death in Modernity: A Critique of Michel Foucault and Jean Baudrillard’s Mapping of the Boundary between Life and Death in 1976

1976年米歇尔·福柯在法兰西学院的系列讲座“必须保卫社会”与让·鲍德里亚同一年问世的《象征交换与死亡》分别探讨了规训/调节权力技术论和宏大象征交换逻辑论，他们各自在权力与象征交换层面对生命与死亡边界进行了反思重构。福柯与鲍德里亚立足于生命与死亡的现代性批判，阐述了西方哲学的现代性话语与种族、文化、社会、历史意义上的他者之间挪用与排斥的矛盾关系，由此揭示了制约福柯与鲍德里亚现代性哲学话语的双重束缚死局，同时反思了内在的跨文化转化过程涉及到的文化边界重构必要性问题。

Both Michel Foucault’s serial lectures “Society Must Be Defended” (1976) in the Collège de France and Jean Baudrillard’s Symbolic Exchange and Death (1976) deal with disciplinary/regulatory power techniques and the macro-logic of symbolic exchange. Though discursively re-forming the boundary between life and death on the level of power and that of symbolic exchange, Foucault and Baudrillard’s investigate modernity in the throes of life and death, which illuminates the ambivalent relationship of appropriation and repulsion between Western discourse of philosophical modernity and the Other in its ethnical, cultural, social and historical sense. Revealing the double bind methodologically confining both Foucault and Baudrillard’s discursive formations of modernity in this way, one can not help reflecting on the necessity to reconstruct the boundary of culture concerning inter-cultural translation internal to theoretical formulations.

方 英

绘制空间性：空间叙事与空间批评

Mapping Spatiality: Spatial Narrative and Spatial Criticism

文学的“空间转向”已逐渐发展为“文学空间研究”，该研究以空间、空间性、地方和绘图为核心概念，其中詹姆逊的“认知绘图”和罗伯特·塔利的“文学绘图”理论极具影响力。对这两种理论的考察和借鉴揭示了空间叙事和空间批评（近年来国内文学研究的两个热点）的核心特征与根本关联——绘制空间性。“绘图/绘制”本义为绘制地图，喻指对空间和空间性元素的表征与建构；“绘制空间性”指对文学空间性因素的强调，可发生于作者和读者两个层面：在作者写作层面为空间叙事，广义而言指空间/空间性在叙事中的功能和意义，狭义乃一种叙事模式，即以空间秩序和逻辑统辖作品，以空间性为叙事重心；在读者阅读与批评层面为空间批评，即以空间性为研究视角和问题域的核心。这两者都是对存在空间性的绘制，对文学意义的新探索。

The “spatial turn” in literature has developed into a field of Spatial Literary Studies centering around such key concepts as space, spatiality, place and mapping. Drawing on Jameson’s notion of Cognitive Mapping and Robert Tally’s theory of Literary Cartography, this paper examines the currently disputable issues of Spatial Narrative and Spatial Criticism, and aims to sort out the fundamental connection of mapping spatiality between them. Here, mapping refers metaphorically to the representation and construction of space and spatial elements. As such, the concept of Mapping Spatiality puts an emphasis on spatial elements in literature, and is meaningful in the processes of writing and reading. In writing, the concept of Spatial Narrative refers to the function and meaning of space and spatiality in text and in a more narrow sense, to a narrative model in which the spatial sequence and logic govern the narrative. In the aspect of reading/criticism, spatiality becomes the perspective and focus of Spatial Criticism.

欧美戏剧研究

陈红薇 李长利

《布雷伯夫的幽灵》：基于莎剧叙述的印第安史诗戏剧

Shakespearen Narrative in Brébeuf’s Ghost

在《布雷伯夫的幽灵》中，印第安剧作家丹尼尔·大卫·摩西将莎剧《麦克白》的幽灵叙事引入北美印第安历史和仪式文化之中，构建了一部基于莎剧结构的印第安史诗叙述。透过传教士布雷伯夫的幽灵、部族中“食人魔”的传说及“休伦大逃亡”事件，该剧不仅揭露了欧洲殖民者宗教狂热背后的“食人性”，同时也通过仪式文化，再现了印第安人的精神世界及诗学信仰——剧中的休伦人大迁移不仅是一次生死攸关之际的亡命之旅，更是一部通过口述故事讲述部落延存的印第安版“出埃及记”。

Written by Native American playwright Daniel David Moses, Brébeuf’s Ghost, a tale of the history and ritual culture of American Indians, is a unique epic play based on the narrative structure of the ghost in Macbeth. Through the depictions of Brébeuf’s ghost, Windigo in Algonquin folklore and Hurons’ great journey of escape in 1649, the play reveals the cannibalistic nature of Jesuit missionaries in the colonialization of North American natives, and celebrates the shaman faith reflected in their tribal rituals. The great journey of Hurons is more than a journey of escape from the massacre of Iroquoians, like the Exodus, it is a poetic story of the survival of the indigenous culture in the face of colonial oppression.

王丽丹

伊·维雷帕耶夫剧作的非理性成分

Irrationality in the Plays of Ivan Vyrypaev

作为当代俄罗斯实验派剧作家，维雷帕耶夫从剧作形式的表达到内容的书写，均体现其创作的求新求变。维雷帕耶夫的剧本不仅有诠释生命过程的舞蹈仪式，也有饱含悲剧意识的宗教仪式；在其非戏剧性倾向的戏剧结构中，梅尼普体起着主导作用；剧作家戏剧的仪式化及梅尼普体狂欢化形式与暴力行为与“卑贱”哲学密不可分；剧作家创作形式与内容上的非理性成分均反映作家的存在主义宗教意识。维雷帕耶夫以悖论的剧本展示暴力横行、圣经戒律庸俗化的当今世界，其非理性戏剧成分不仅说明其特有的艺术思想与哲学观念，也反映当代俄罗斯人的文化心理与价值取向。

As a contemporary Russian experimental playwright, IvanVyrypaev makes bold innovations both in form and content. His theatre includes dance routines symbolizing the process of life and religious rituals of tragic elements. The Menippean style plays a significant role in the anti-dramatic inclination of Vyrypaev’s theatre. On the one hand, the ritualization and the carnivalization of his plays are closely related to the philosophy of “abjection.” On the other hand, the irrlational elements reflect the playwright’s association with the tenets of existentialism. In his absurd plays, Vyrypaev depicts the contemporary reality of violence and secularization of religion. The irrational elements, as the most important feature of his plays, provides a perspective to proble into the cultural psychology and value orientation of modern Russian people.

郭晓霞

《福根斯与鲁克丽丝》的元戏剧特征

The Meta-theatrical Features of Fulgens and Lucrece

《福根斯与鲁克丽丝》是英国15世纪末期剧作家亨利·默德沃创作的一部间插剧，也是英国现存的第一部世俗戏剧。该剧充分利用了当时的戏剧语境和舞台环境，并通过戏中戏、对文学和真实生活的参照、自我意识、戏剧/文化复合体等手法，在艺术上进行了新的探索，使戏剧具有了“元戏剧”特征。在从中世纪宗教剧向文艺复兴人文主义戏剧转型过程中，该剧的艺术探索为英国戏剧的发展指出了一种新的发展方向，为莎士比亚戏剧艺术的成熟奠定了基础。

The play Fulgens and Lucrece was an interlude of English dramatist Henry Medwall at the end of the 15th century, and the first secular drama that was survied. The play made full use of drama context and stage environment of the day, and explored some artistic methhods that named metadrama which contained play within play, literary and real-life reference, self reference, and drama/culture complex etc. This artistic exploration pionted out a new direction for English drama’s development, and laid the foundation for the maturation of Shakespeare’s dramatic art in English transitional period from medieval religious drama to renaissance humanist drama.

批评与批评研究

徐阳子 彭青龙

《河道导游之死》中的文化记忆与身份建构

Cultural Memory and Identity Construction in Richard Flanagan’s Death of a River Guide

澳大利亚作家理查德•弗拉纳根的《河道导游之死》讲述了一个塔斯马尼亚古老家族的百年传奇故事，展现了少数族群追寻独特文化身份的艰苦历程。弗拉纳根借河流叙事的手法进入历史豁口，通过书写少数族群集体身份认同的演变，揭示个体想象与集体记忆之间的对立统一关系。小说透过家族记忆、河流叙事与杂糅身份之间的辩证张力，彰显出弗拉纳根对澳大利亚文化记忆传承以及民族身份建构的深刻理解与艺术创造。

In his first novel Death of a River Guide, Richard Flanagan tells a tale of the century-old family saga of Tasmania with a focus on the root-searching journey of a local river guide. Employing the narrative technique of “river writing”, Flanagan aims to reveal the painstaking pursuit of Tasmania’s minority group for its unique cultural identity evident in the dynamic and conflicting relationship between individual memory and collective memory. Through the dialectical tension between family memory, river narrative and hybrid identity demonstrated in the novel, Flanagan attempts to reconstruct the national identity through the re-writing of history, i.e. calling up the untold cultural memory of an oppressed past and giving voice to the forgotten.

张秀丽

创伤、遗忘与宽恕——论《威弗利》的记忆书写

Trauma, Forgetting and Forgiveness: On Waverley’s Memory Writing

苏格兰作家沃尔特·司各特在其第一部苏格兰历史小说《威弗利》中以1745年詹姆士二世党人事件为历史背景，书写了苏格兰的民族文化创伤，唤起了19世纪英格兰与苏格兰人的共同记忆。司各特选择遗忘暴力冲突，记住苏格兰高贵的民族精神遗产，重塑了苏格兰文化记忆，使之走向崇高。同时，司各特还以善意的宽恕使受伤的记忆得以平息，过去与现在达成和解，但他同时也批判了轻率宽恕对民族记忆的威胁。司各特在《威弗利》中的记忆书写为我们理解如何对待受伤的民族记忆提供了参考。

In his first Scottish historical novel Waverley, the Scottish writer Walter Scott explores the cultural trauma of Scotland in the historical background of the 1745 Jacobite event, attempting to interrogate the collective memory of the Scottish and the English in the 19th century. Emphasizing on the remembrance of the spiritual heritage of Scotland other than violence, Scot reconstructs the cultural memory of Scotland. He reconciles the past with the present by treating the traumatic memory with the “pardon de bienveillance.” Nevertheless, he cautions the Scottish against the idea of “oubli facile” for its damage to the integrity of ethnic memory. Scott’s memory writing in Waverley provides an example of how to deal with traumatic ethnic memory.

---

往期目录、摘要回顾：

END

关注《外国文学研究》官方微信平台

《外国文学研究》

官方微信平台

投稿网址：http://fls.ccnu.edu.cn

联系电话：[phone]

联系邮箱：[e-mail]

版权所有。欢迎个人转发，媒体转载请联系授权