《外国文学研究》2019年第1期主要论文摘要

点击上方“外国文学研究”可以订阅哦

2019年第1期(总第194期)

中外学者访谈

Huang He     Fritz Senn  

James Joyce, Language and Translation: An Interview with Fritz Senn

詹姆斯·乔伊斯、语言与翻译——弗里茨·森访谈录

Fritz Senn is the founder and President of the Zurich James Joyce Foundation (1985- ), former European editor of James Joyce Quarterly (1963-1985), former President of the International James Joyce Foundation (1977-1982) and Visiting Professor at the State University of New York at Buffalo and Ohio State University. As one of the first-generation Joycean scholars, Fritz Senn has been playing an active and leading role in the Joycean circle in the West. Invited and sponsored by the Zurich James Joyce Foundation, Dr. Huang He went to Switzerland as a visiting scholar in 2018. During her stay, she interviewed Fritz Senn on issues concerning the history and development of Joycean studies in the West, the art of language in Joyce’s works, Joyce’s view on language and the translation of Joyce’s works. In this interview, Mr. Senn reflects on his early encounter with Joyce and explains his philological approach to Joyce’s texts with numerous interesting examples. Fritz Senn puts much emphasis on how he regards Joyce’s texts as a dynamic process and how he always approaches Joyce from the specific words on the pages, examining the life of words and Joyce’s idiosyncratic treatment of language.

弗里茨·森是苏黎世乔伊斯基金会的创始人和主席（1985-），曾任《乔伊斯季刊》欧洲编辑(1963-1985)、国际乔伊斯基金会主席(1977-1982)，纽约州立大学布法罗分校和俄亥俄州立大学等多所大学的客座教授。作为第一代乔伊斯研究学者，弗里茨·森一直活跃在西方乔伊斯学术研究圈，是乔伊斯研究的领军人物之一。在苏黎世乔伊斯基金会的邀请和资助下，黄荷博士于2018年赴瑞士进行访学，在此期间对弗里茨·森进行了面对面的学术专访，访谈内容主要涉及西方乔伊斯研究的历史和发展、乔伊斯小说语言艺术、乔伊斯的语言观及乔伊斯小说的翻译研究等重要议题。弗里茨·森回想起早年乔伊斯如何成为其学术研究对象的缘由，并运用乔伊斯小说中若干有趣的例子来解释其语文学解读方法。此外，他还强调了如何将乔伊斯小说文本视作一种动态过程及如何以具体字词作为研究的切入点，以此来考察文字的生命和乔伊斯独一无二的语言特征。

中外学者对话叙事、图像与文本研究

Jonathan Locke Hart

Introduction: Double Vision—Overt and Covert Dynamics, Chess and Space, Image and Text

主持人语：双重影像——明与暗的互动、棋局与空间、图像与文本

The editor of this key journal issued an intriguing invitation, which developed from one bilingual conversation in Chinese and English on image and text into two bilingual conversations including the one in this issue on double vision or doubleness concerning overt and covert dynamics, chess and space, image and text.

Doubleness can occur between plot and narrative in what appears openly and what is hidden. Shen Dan’s essay, “Interplay between Overt and Covert Dynamics: Single and Twofold Irony in ‘A Dill Pickle’,” argues that scholarship generally sees that Mansfield’s “A Dill Pickle” uses irony in relation to the egotistical male protagonist and that the author employs a feminist perspective with empathy toward the female protagonist, who experiences male domination. Shen Dan sees beneath the plot and observes a covert movement in signification. The female protagonist’s perspective embodies this trajectory and represents her own egotism, which is set off by the male protagonist’s discourse. Shen Dan notes a discovery of a dual or double dynamics in narrative. She maintains that the authorial irony changes from single to double.This twofold narrative creates the images of the protagonists that transform, to use E. M. Forster’s terminology (his was in connection to character), from flat to round. This transformation creates a tension that makes a richer work. Moreover, this uncovering of the double movement of signification allows for the perception of the intricate thematic significance of the work and the artistry of Mansfield. Shen Dan says that the unveiling of this dual dynamics explores the perception of the limitations of existing interpretations and the reasons for the limitations. The doubleness occurs in a dual narrative dynamics, a twofold irony and an interplay of the overt and the covert, and all of this is part of narrative studies and stylistics.

The next essay is another discussion of doubleness in narrative. In “Games of Chess and Space in History: The Covert Progression in Libra,” An Shuai argues that Don DeLillo’s Libra reconstructs the Kennedy assassination and does so with a dual narrative structure of space and time. The main plots are based on individuality and conspiracy, but there is a covert movement founded on the logic of chess games. For An Shuai, the author employs chess to balance fictional narrative and history writing. DeLillo transforms Oswald, the protagonist, from a chess player to an assassin, and he uses the same logic of chess games in his characterization of other key figures. This technique fills the ruptures in the plot and reveals the interactions between history and subjective agency. As in the previous article by Shen Dan, in this essay, An Shuai demonstrates that the relation between the overt and the covert, a duality, is key.

Images are in texts, so, in a sense, it is a matter of two in one. In “Shakespeare in Image and Text,” after discussing theoretical work, including that by W. J. T. Mitchell, Jonathan Locke Hart maintains that Shakespeare uses images in his text or word pictures. This feature has long been observed as part of his power as an artist. Early theatregoers and readers of Shakespeare may well have sensed the images in his poems and plays like those of Homer and the Greek dramatists. Image and text are something Plato and Aristotle thought about deeply and Horace considered an important part of poetry — the relation of picture to word, painting to poetry. Philip Sidney later argued, contra Plato and Aristotle, that poetry is more universal than philosophy because it combines the general truths of philosophy and the particular examples of history. For Sidney, poetry moves people through its images to virtue. Shakespeare, in his narrative poetry, sonnets, comedies, histories and tragedies, uses the word “image” in such ways in his text that it calls attention to a larger imagery in the poetry or on the stage. These images are particulars of a wider web or nexus, a double image at least, in which the verbal and the visual reinforce each other. In the poems and plays, Shakespeare associates the word “image” with love, lust, painting, art, mimesis, appearance and reality, death, reflection and much else. In Venus and Adonis and The Rape of Lucrece (narrative poems), the Sonnets, Twelfth Night, 1 and 2 Henry IV, Hamlet, King Lear and Macbeth, Shakespeare uses “image” as a verbal sign to show the complexity of image and imagery as a visual space the words represent. In the plays, there is another layer as the stage is visual and has stage images that the verbal images, including the word “image,” reinforce. Hart argues that the image in the text can sometimes also be the image beyond the text, in the world or the theatre, that is the theatre of the world and the world of the theatre.

The double and multiple levels of works by Mansfield, DeLillo and Shakespeare suggest that a singularity would be not rich enough in the interpretation of the narrative in fiction and non-fiction and of image and text in narrative and lyric poems and in plays. The three articles explore different dimensions beneath the surface, the language within the language, the image of the word in the text or of the image in the image in the words. The double or multiple movement in these works suggests something rich to explore in the interpretations.

本刊编辑发出一个耐人寻味的邀请，就图像和文本展开一次中英双语讨论，结果发展成一个双语讨论栏目。本期刊载的讨论事关明与暗的互动、棋局与空间、图像与文本的双重影像或双重性。

双重性或明或暗存在于情节与叙事之间。申丹在《明暗相映的双重叙事进程——<莳萝泡菜>单轨反讽背后的双轨反讽》一文中指出，学界一般认为曼斯菲尔德的短篇小说《莳萝泡菜》运用反讽来刻画妄自尊大的男主人公，作者秉承女权主义的观念，对受制于男性霸权的女主人公深表同情。申丹透过情节看到了其背后意义的隐秘运动。女主人公的视角体现了这一轨迹，代表了她本身的自负，也引出了男主人公的话语。申丹发现叙事行文中有双轨或者双重性活力。她认为作者的反讽由单轨变成了双轨并行。借用E. M.福斯特的说法（有关人物的论述），这种双轨叙事所塑造的主人公形象已经由扁平单一变成圆形多面，而这一变化使整部作品亦更具张力，更为丰满。挖掘双重意蕴的叙事进程有助于我们审视作品复杂的主题含义和曼斯菲尔德的匠心独运。申丹说，揭示这一双轨相映的活力也能探索现有相关研究的局限及成因。于此，双重性出现在双轨叙事活力、双轨反讽以及明暗交叉之中，而这一切都是叙事研究和文体研究的一部分。

下一篇论文依然围绕叙事的双重性展开。安帅在《历史的棋局、空间的游戏—— <天秤星座>中的隐性进程》一文中“继W.J.T.米切尔等的相关理论探讨之后，”提出，唐·德里罗的《天秤星座》重新构建了肯尼迪遇刺案，所用的就是空间和时间的双轨叙事模式。主线情节依据的是“个体”与“阴谋”，但是背后有一条基于棋弈逻辑发展的隐性叙事进程。在安帅看来，作者借用棋局寻求虚构叙事与历史书写之间的平衡。德里罗将主人公奥斯瓦尔德由一名棋弈玩家演变为暗杀凶手，并将相似的棋弈逻辑用于其他关键人物的塑造之中。这一叙事技巧填补了情节发展中的裂痕，揭示了历史与主观行为之间的相互作用。正如上篇文章一样，安帅在他的论文里阐明了明暗（即双轨）叙事之间的至关重要关系。

图像存在于文本中，从某种意义上来说，这是二合一的问题。在《图像与文本中的莎士比亚》一文中，乔纳森·洛克·哈特认为莎士比亚在文本或者精彩生动的语言描述中使用图像。这一特质早已被视为其身为艺术家的魅力之一。早期的莎士比亚戏剧观众及读者也许已经在他的诗歌和戏剧中感知到荷马及其他古希腊剧作家所运用的图像。柏拉图与亚里士多德都曾深思熟虑过图像与文本问题，贺拉斯认为两者是诗歌重要的一部分——即图与文、画与诗之间的关系。后来，菲利普·西德尼不认同柏拉图与亚里士多德的观点，声称诗歌比哲学更具普世意义，因为它融合了哲学的普遍真理和历史的具体事例。在西德尼看来，诗歌可借由图像授人以德。莎士比亚在其叙事诗、十四行诗、喜剧、历史剧及悲剧的文本中，都曾用过“图像”（“image”）一词，其独到之处足以引起人们关注诗歌中或舞台上更大的图像。这些图像是一种更为宽广的脉络或连接的细节，至少是一种能使言语与视觉相反相成的双重图像。在他的诗歌和剧作里，莎翁将“图像”一词与爱（love）、欲（lust）、画（painting）、艺术（art）、模仿（mimesis）、表象（appearance）、现实（reality）、死亡（death）、反思（reflection）等相联。在《维纳斯与阿多尼斯》、叙事诗《露易丝受辱记》、十四行诗、《第十二夜》、《亨利四世》（上下篇）、《哈姆雷特》、《李尔王》和《麦克白》中，“图像”一词被用作一种语言符号，以示图像与意象作为文字描绘的视觉空间所具有的复杂性。在剧作中，还有更深的层次，因为舞台本身具有视觉性，以及由言语图像（包括“图像”一词）叠加的舞台意象。哈特认为，文本中的图像有时亦可超越其文本，存在于世界或剧院，即剧院的世界与世界的剧院。

曼斯菲尔德、德里罗与莎士比亚作品的双重或多重性表明，无论是赏析虚构与非虚构叙事，还是阐释叙事诗、抒情诗与剧作中的图像和文本，单一的解读总难免囿于片面。本期的三篇论文深入表象之下的多重空间，探究语言中的语言，文本中语言之图像，或语言中图像之图像。这些作品中的双重或多重叙事进程为我们展示了解读中可以深挖的内涵极其丰富。

申 丹 

明暗相映的双重叙事进程

——《莳萝泡菜》单轨反讽背后的双轨反讽

中外学界对曼斯菲尔德的《莳萝泡菜》有一种共识：这是反讽自我中心、自私自利的男主人公的作品，作者从女性主义立场出发，对受到男主人公话语压制的女主人公充满同情。这确实是情节发展的走向。然而，在情节背后，存在并列前行的另一条隐蔽的表意轨道，通过女主人公自己的视角，暗暗表达出她自身的自我中心、自私自利，男主人公的话语对其起到反衬作用，作品的单轨反讽变成双轨反讽。看到这明暗相映的双重叙事进程之后，人物形象由扁平单一变得圆形多面，作品由简单明了变得富有张力。只有通过考察作品的双重表意轨道，我们才能真正看到作品意义的丰富复杂，才能真正欣赏曼斯菲尔德天才的创作手法。此外，在看到双重叙事进程之后，还能看到以往批评的局限性和造成局限的主要原因。

There is a critical consensus among scholars both at home and abroad that Mansfield’s “A Dill Pickle” directs irony only at the egotistical male protagonist, and that the author, with a feminist stance, is very sympathetic towards the female protagonist, who is subject to masculine domination. This is a justifiable interpretation of the plot development. Behind the plot development, however, there exists a covert trajectory of signification which, through the female protagonist’s perspective, implicitly conveys her own egotism, set off by the male protagonist’s discourse. With the discovery of the dual narrative progression, the authorial irony changes from single to twofold, the images of the protagonists transform from more or less flat to much rounder, and the tension of the work increases greatly. Only by uncovering the dual trajectory of signification can we perceive the rich and complex thematic significance of the work and fully appreciate the ingenious artistry of Mansfield. Moreover,the unveiling of the dual dynamics leads to the perception of the limitations in existing interpretations and the main reasons underlying the limitations.

安 帅

历史的棋局、空间的游戏

——《天秤星座》中的隐性进程

Narrative History as Games of Chess and Space: The Covert Progression in Libra

唐·德里罗的《天秤星座》以空间－时间双轨并行的叙事模式重现了肯尼迪刺杀案，但在基于“个人”和“阴谋”的双层情节进程背后，还存在着另外一种围绕象棋游戏的逻辑展开的隐性进程。象棋是作者平衡历史书写和虚构叙事的一个切入点，对主人公奥斯瓦尔德的建构始于象棋玩家，并且用相同的游戏逻辑统摄这一事件中的其他关键人物，将肯尼迪刺杀案塑造为一系列棋局的接龙游戏，赋予个人棋子和玩家的双重身份，令其不断寻求外部力量与内部动因之间的动态平衡，从而填补了情节发展中的断裂，昭示出主观能动性与历史进程间复杂的互动关系。

Don DeLillo’s Libra reconstructs the Kennedy assassination with its dual narrative structure of space and time. However, apart from the major plot threads based on individual and conspiracy respectively, there is a covert progression based on the logic of chess games. Chess seems to be the breakthrough point that enables the author to strike a balance history writing and fictional narrative. Initially, his portrayal of Oswald, the protagonist, attempts to characterize him as a chess player, and he uses the same logic of chess games in characterizing other key figures in the event. He has thus reimagined the Kennedy assassination as a sort of solitarie game consisting of a series of consecutive chess games, in which individuals oscillate between their dual identities of chess pieces and chess players in order to find a moving balance between external forces and internal motivations. It is in this way that the ruptures in the novel’s plot development are patched up and the complex interactions between subjective agency and history are revealed.

Jonathan Locke Hart 

Shakespeare in Image and Text

图像与文本中的莎士比亚

After discussing the image in Plato, Aristotle, W. J. T. Mitchell and others, the article examines Shakespeare’s use of images in his text or word pictures, a feature that has long been observed as part of his power as an artist. Henry Norman Hudson, G. Wilson Knight, Caroline Spurgeon, Wolfgang Clemen and others did important early work in this field. Rather than trace this way of looking at Shakespeare past 1977, the article analyzes Shakespeare’s use of the word “image,” sometimes in connection with images of art, reflection and the theatre. Image and text are something Plato and Aristotle thought about deeply and Horace considered an important part of poetry—the relation of picture to word, painting to poetry. Poetry, for Philip Sidney, moves people through its images to virtue. Shakespeare, in his narrative poetry, sonnets, comedies, histories and tragedies, uses the word “image” in such ways in his text that it calls attention to a larger imagery in the poetry or on the stage. These images then are particulars of a wider nexus, a double image at least, in which the verbal and the visual reinforce each other. What the article is doing that is different from earlier studies of Shakespeare’s images, as best exemplified by Spurgeon and Clemen, is to look at the use of “image” itself as a verbal sign related to the visual. In the poems and plays, Shakespeare associates the word “image” with love, lust, painting, art, mimesis, appearance and reality, death, reflection and much else.

继探讨柏拉图、亚里士多德、W. J. T. 米切尔等对于图像的解读后，本文着重探究莎士比亚在文本、尤其是翔实生动的描绘中对于图像的应用。这一久为共识的特质，是莎士比亚作品艺术魅力的重要组成。关于莎士比亚作品中的图像，学界已有不少研究，亨利·诺曼·哈德逊、G·威尔逊·奈特、卡罗琳·司布真、沃尔夫冈·克莱门等学者都曾于早期发表重要的相关论著。本文有意跳出1977年后莎士比亚作品相关研究的范式，分析莎士比亚对于“图像”一词的运用，及其与艺术形象、反思、戏剧形式的关联。柏拉图与亚里士多德都曾论及图像与文本的问题，贺拉斯亦直言图像之于诗歌的重要性，并探讨了图与文、画与诗之间的关系。菲利普·西德尼则认为，诗歌可借由图像授人以德。莎士比亚在其叙事诗、十四行诗、喜剧、历史剧及悲剧中，都曾用过“图像”一词，以在诗句中或舞台上构建一种更大的图像。这些图像具有更广泛的联系，至少是一种双重形象，在语言和视觉上得到相互强化。本文有别于以往莎士比亚作品中的图像研究，探究“图像”一词作为语言符号与视觉表征的关系。在莎士比亚的诗歌与戏剧中，“图像”一词与爱、欲、画、艺术、模仿、表象、现实、死亡、反思等均有关联。

英国文学研究

肖锦龙 

回到历史存在本身

——拜厄特《论历史与故事》中的真理论历史观发微

Back to the Existence of History Itself: An Investigation into the Historical View of Truth in On Histories and Sones by A.S. Byatt

英国小说家拜厄特于2000年推出的《论历史与故事》是西方当代历史小说批评领域里的一部重要论著。至今学术界还未对它展开充分的研究。联系该论著的思想文化背景，细读文本内容则发现，它不仅有力反驳了当代法美派的后现代主义叙事论历史观，充分阐发了与之相反的英国派的真理论历史观，而且详细论述了历史小说具体如何拥抱历史事实、揭示历史真理的路径和方法，为人们昭示了一条全新的历史书写路线。不言而喻，《论历史与故事》是一部具有先锋引领作用的重要批评著作。

On Histories and Sones, written by the distinguished British novelist A.S. Byatt in 2000, is an exceedingly important work in the criticism of contemporary Western historical novels. It has not been fully investigated by scholar so far. A close reading of the text in connection with its ideological and cultural backdrop reveals that the book not only forcefully refutes the French and American schools’ historical view toward postmodernist narrative and fully expounds the opposite historical view toward truth held by the British school, but also discusses in detail the approach and method in which historical novels embrace historical facts and reveal historical truths, thus showcasing a brand new mode of history writing. Obviously, On Histories and Sones is a major pioneering work of criticism on this subject.

金 佳

“花园”赋格：拜厄特小说《尤金尼娅蝴蝶》中的文化反思

“Garden” Fugue: A Cultural Reflection in Byatt’s“Morpho Eugenia”

长期以来，中外学者对拜厄特文化观念的研究主要集中在历史叙事和女性主义视角，作者对他者（对他人、社会、民族、自然环境）的关怀意识却没有引起学界足够的重视，尤其是作品中反复出现的“花园”意象，至今少有学者问津。其实，“花园”不仅承载了英国民族的历史想象和文化认同，还有机地融合了作者对社会、艺术、自然、科学的整体文化思辨。在《尤金尼娅蝴蝶》中，拜厄特通过对“理想的英格兰花园”和“忧郁的热带丛林”双重花园的推敲，谱写了一曲围绕英格兰特性展开的“花园”赋格。“忧郁”与“理想”如同其中的对位声部，在不断的复现与变奏中实现了对生命价值和文化观念的追问与反思。由此，作者揭示了负面美学对个体蜕变和民族重生的重要意义。

The academics at home and abroad have long been focusing on the historical and feminist perspectives in the study of Byatt’s cultural ideas, while overlooking the writer’s great concern over the “other” (the other people, society, nation, and nature), and in particular, showing little interest in the recurrent garden image in Byatt’s work. This image, in effect, not only bears English historical imagination and cultural identity, but integrates the writer’s cultural reflection on society, art, nature and science. This article therefore aims to explore the cultural connotation of the garden image in Byatt’s novella “Morpho Eugenia.” In her critique of the garden duet between the “ideal English garden” and the “triste tropical jungles”, Byatt composes a piece of “Garden Fugue” on Englishness in two contrapuntal voices of “ideal” and “triste”, thus constructing an inquiry and a reflection of life values and cultural ideas and revealing the impact of the negative aesthetic experience upon individual metamorphosis and national rejuvenation.

胡 鹏

香气的隐喻：《安东尼与克莉奥佩特拉》的身体政治

The Metaphor of Perfume: The Body Politics in Antony and Cleopatra

嗅觉是人类身体认知世界的五种基本感官之一。在西方文化中，气味有着特殊的文化意义，特别是香气能激起梦幻、幻想和渴望等美好意味。而在莎士比亚的时代，香水及香气不但是人们日常生活中的使用物品，同时在舞台表演中也是一种重要道具。在悲剧《安东尼与克莉奥佩特拉》中，莎士比亚通过埃及艳后的“异香”探讨了香气所代表的身体政治，暗示出克莉奥佩特拉异国芳香的女性身体特质与伊丽莎白一世的相似性，同时也表明香气在戏剧中重要而复杂的文化意义。

Olfaction is one of the five basic human senses (sight, hearing, touch, taste, smell) to understand and perceive the world. In the Western culture it contains specific cultural connotations. Perfume, in particular, evokes dreams, fantasies and desires. During the time of Shakespeare, perfume was not only a necessity in daily life, but also a crucial prop on stage. In his tragedy, Antony and Cleopatra, Shakespeare explores the body politics through the metaphor of Cleopatra’s “Invisible, strange perfume” and implies that Cleopatra’s female body feature of aromatic exotica is quite similar to that of Elizabeth I, thus revealing the important but complex cultural implications of perfume in the play.

姜 原

哲学与信仰的有机结合

——谈柯尔律治对康德思想的折衷吸收

An Organic Combination of Philosophy and Faith: Coleridge’s Eclectic Assimilation of Kantian Philosophy

塞缪尔·泰勒·柯尔律治在思想上深受伊曼努尔·康德的形而上学影响，而根据《文学传记》中的表述，可看出他对康德思想的接受实际上是一种“折衷吸收”。他在这里彻底否定了自己以往的雅各宾主义激进思想，而将康德唯心主义中的道德神学与自己的信仰相结合。这一折衷导致他在宗教思考上回归了英国国教，继而形成了自己的“同一性”理念，对英国浪漫主义运动乃至美国超验主义思想都产生了重要影响。

As an initiator of Romantic movement in Britain, S. T. Coleridge’s aesthetics was deeply influenced by Kant’s philosophy. What we can see in the Biographia Literaria, however, is merely an eclectic assimilation. Coleridge thoroughly negates his own radical thought of Jacobinism and integrates Kant’s metaphysical principles of moral theology with his own faith. Such an electic assimilation leads him back to the Church of England and formulates his own notion of “oneness,” which became a strong influence on the Romanticism in England and the Transcendentalism in America.

美国文学研究

孙胜忠

言说无法言说的恐怖主义：论厄普代克的《恐怖分子》

Speaking the Unspeakable Terrorism: On John Updike’s Terrorist

恐怖主义本身是一种言说行为，但恐怖主义对受害方来说往往是不可言说的。厄普代克的《恐怖分子》言说不可言说的恐怖主义，从而招致西方学界的有意无视乃至恶评。形成鲜明对照的是，它在中国评论界却得到了一致好评，但往往将主人公艾哈迈德误读为一个“弃恶扬善”、“回归理性”的恐怖分子。从西方恐怖主义小说的书写传统以及中西双方对恐怖主义的不同体认来探究缘由，厄普代克既非像西方论者所说的“同情恐怖分子”，也非国内学人所言描写了一个迷途知返的羔羊，而是旨在批判美国的物质主义和消费文化。恐怖主义产生的原因复杂，小说表明它既源于美国主流社会信仰丧失对族裔青年造成的冲击，又因为边缘群体深切的异化感和孤独感使他们渴望认同，从而在伊斯兰教之类宗教组织中寻求归属感。对《恐怖分子》误读的原因可能在于没有用“诗性的思考”来对待厄普代克“诗性的思维”。

Terrorism itself is an act of speaking, but it is unspeakable for the victims or the potential ones. John Updike’s Terrorist speaks the unspeakable terrorism, thus incurring intentional neglects, even abuses, in the Western academia. In contrast, the novel enjoys almost unanimously positive appraisals in China, among which, however, exists misreading, regarding the protagonist Ahmad as a terrorist who “goes from evil to good”, and “returns to the rational” finally. Observed from the conventions of writing terrorism novels in the West and different experiences of both Westerners and Chinese people, by writing Terrorist Updike neither “empathizes with a potential suicide bomber” as some Western critics claim, nor describes a stray lamb who retracts from the wrong path. Instead, he intends to criticize the materialism and consumerism in American society as he usually does, and explore the possible reasons for terrorism from the perspectives of both American mainstream society and Muslim community. Terrorist demonstrates the complicated reasons, among which are the impact of the loss of belief in American mainstream society on minority groups, the profound sense of alienation and isolation of the marginal communities, and their craving for identity, thus seeking for the sense of belonging in such religious organization as Islam. The misinterpretations of Terrorist may result from failure in thinking poetically about Updike’s “poetic thinking” in the novel.

刘齐平

谭恩美《奇异山谷》中的绘画诗学

The Poetics of Ekphrasis in Amy Tan’s The Valley of Amazement

华裔美国作家谭恩美的小说《奇异山谷》在展现母女三代沧桑经历的过程中，着力再现了一幅名为“奇异山谷”的画作。小说中的不同人物对该画作进行了多样化的文字描述，由此便可管窥谭恩美对“视觉再现之语言再现”这一古希腊修辞手法——“绘画诗”（Ekphrasis）的熟练运用。小说中人物对画作的文字描述贯穿于所有情节，这体现了绘画诗学的叙事功能。在描述画作中的景象时，小说人物将视觉艺术与文字艺术相结合，以实现塑造人物形象、刻画人物内心并推动故事情节发展的功能。小说中人物对画作的文字再现亦体现了绘画诗学的艺术功能与审美功能。具体而言，人物对画作的描述与评论透露出作家谭恩美对文字与图像以及原画作与仿制品之间关系的思考，进而揭示其小说创作艺术与艺术批评观。文章以绘画诗学这一独特视角切入谭恩美的小说，以向读者展现蕴含于其中的文学性及艺术内涵。

Amy Tan’s latest novel, The Valley of Amazement, takes great pains to delineate a painting entitled “the valley of amazement” while depicting the vicissitudes in the lives of three generations of women. As various characters offer their diverse descriptions of this painting, it is easy to see Tan’s skillful use of verbal “ekphrasis,” a Greek rhetorical device defined by Heffernan as “the verbal representation of graphic representation”. The way in which the characters’ comments on the painting are seamlessly integrated into all the key details of the novel’s plot speaks volumes about the narrational function of Ekphrasis. The characters’ description of the landscape in the painting appears to be a combination of visual and verbal arts for the need to create the characters’ images, capture the inner workings of their minds, and move the plot forward. Moreover, the characters’ verbal representations of the painting demonstrate the artistic and aesthetic value of Ekphrasis. Specifically speaking, these representations may be perceived as Amy Tan’s own considerations of the interplay between words and images and the relation between the original and the copy of the painting as well. They also reflect her views on the art of novel writing and novel criticism. By using Ekphrasis as a unique perspective, this study aims to delve into Amy Tan’s novel for a thorough revelation of its literary and artistic signification.

东方文学研究

穆宏燕

《菩提树》：伊朗现代历史进程中的双重“物崇拜”隐喻

The Banyan: The Dual Metaphor of “Material Worship ” in the Process of Modern History in Iran

在伊朗作家阿赫玛德·马赫穆德的长篇小说《菩提树》（2000年）中，菩提树崇拜作为一种“物崇拜”，隐喻了伊朗在现代历史进程中出现的宗教狂热和全盘西化两种极端情况。小说描述了宗教狂热使宗教从个人内心的信仰转变为外在的“物崇拜”，揭示了宗教狂热背后实际上是政治权力的角逐。同时，全盘西化带来的物质主义“物崇拜”犹如菩提树的疯狂生长，成为掌控伊朗社会的新殖民手段。小说展示了由物质欲望建筑起来的“菩提树城”背后实际上是社会伦理道德的完全崩溃。像伊朗这样的东方文明古国，在传统与现代之间，如何既现代化又不西方化，如何既保持传统宗教文化的生命力，又不陷入宗教狂热，这的确是一道十分复杂的命题。小说表现出作家对伊朗现实政治和人类命运的深度关怀与观照。

In the novel, The Banyan (2000), written by Iranian writer Ahmad Mahmud, the banyan is considered as a kind of “material worship”, which is a metaphor of the two extreme cases in the process of modern history in Iran—the religious fanaticism and the wholesale Westernization. The novel describes that the religious fanaticism has converted the religion from an internal belief to an external “material worship”, which reveals that behind the religious fanaticism is the fierce angling of political powers. Meanwhile, the material worship brought by the wholesale Westernization is like the wild growth of the banyan tree, which becomes the new colonial tactic to control the Iranian society. The novel demonstrates that what happens behind the “Banyan City” built by material desires actually is the complete collapse of social ethics and morality. For an ancient civilization in the East like Iran, it is indeed a complicated challenge to figure out how to strike a balance between tradition and modernity, how to achieve modernization without succumbing to Westernization, and how to maintain the vitality of traditional religious culture without a slip into religious fanaticism. The novel shows the author’s deep concern for and perspective on the current politics in Iran and the destiny of humanity.

朱春发

诗意和记忆：论帕慕克文学作品中的废墟书写

Poetics and Memory: The Writings on Ruins in Pamuk’s Literary Works

城市废墟是帕慕克诸多文学作品中的重要书写意象。有关伊斯坦布尔等城市中的废墟书写，是帕慕克在面对强势西方文化时立足于土耳其本土、从其内部寻找不同写作内容和题材的重要尝试。在书写中，与18、19世纪西方浪漫主义废墟美学的相关观点相似，帕慕克强调废墟的审美价值，同时着重突出基于特殊历史背景之下的忧伤情感。正是在这些废墟书写之中，帕慕克找到了创作上的一种诗意，赋予其作品忧伤浪漫主义写作风格。同时，作为一位关切土耳其社会现实的作家，帕慕克力图在内容丰富的废墟书写中，通过召唤包含多个历史时期和多个民族族群在内的多元历史文化记忆，表达其内心的现代性忧虑，从而抵抗土耳其现代化进程中有意割弃历史传统的观点和行为。因此，帕慕克的废墟书写，体现了他的部分创作理念、美学及其多元文化主义主张，是理解其本人及文学作品的重要途径。

City ruins are among the most important images in Orhan Pamuk’s writings. His representation of ruins in cities, such as Istanbul, is Pamuk’s important attempt to root his writing in Turkey’s own culture and seek different contents and topics while facing powerful Western culture. Similar to the 18th and 19th century Romantic view on the aesthetics of ruins, Pamuk highlights the aesthetic value of ruinsand the melancholic sentiments in special historical contents. It is in such writings that Pamuk finds a kind of poetics and imbues his writings with a style of melancholic Romanticism. Meanwhile, as a writer who is greatly concerned with Turkish social reality,Pamuk attempts,in his diverse ruin writings, to recall the rich and varied cultural memories about different historical periods and ethnic communities, express his serious concerns about modernity, and counteract the opinions and actions aimed at abolishing historical traditions during the process of Turkish modernization. Hence, Pamuk’s writings on ruins, which showcase some of his writing concepts, aesthetics, and multicultural propositions, are essential to understanding him as an author and his writings.

占才成

盘古“日月眼生”神话与日本神话

The Pangu Myth and Japanese Mythology

盘古“日月眼生”化生神话与日本神话的影响关系虽早在千余年前便被提及，但日本学界一直存疑，时至今日质疑之声仍不绝于耳。日本学者多借“日月眼生”神话的普遍性以及盘古“日月眼生”神话出典是否在日本记纪神话成书之前就已传至日本等问题，来质疑盘古神话对日本神话的影响。盘古“日月眼生”神话与日本神话均属情节、结构完整的典型的化生神话，不可与简单的文学比喻等同；梳理盘古神话传播的底本，分析日本古文献中遗留的盘古神话研究痕迹，并考察日本古文献中研究资料里暗含的信息和两国神话之间的神话学关系，可驳日本学者质疑之声，证中国神话与日本神话之间的亲缘关系。

The Chinese creation myth has it that the first-born semidivine human Pangu creates Heaven and Earth and his eyes become the sun and the moon. Although it was documented more than a thousand years ago that the Pangu myth hads a great influence on Japanese mythology, such a claim has always been disputed in Japanese academia, and it is still very much so today. Some Japanese scholars based their dispute on the universality of such creation myth, while others suspected that before the Pangu myth was introduced into Japan, there were similar myth recorded. Both Pangu myth and the Japaneses myth are typical creative myth with plot and close-knit structure. Therefore, they are not exactly comparable to literary metaphors. By tracing the early spread of the Pangu myth, analyzing the research records on the Pangu myth in early Japanese writings, and examining all the relevant materials that might shed any light on the connection between the mythologies of both countries, we may be able to refute the suspicions from Japanese scholars and verify the close kinship between the Chinese and Japanese mythologies.

批评与批评研究

赵晓彬

西方文学中面具理论的产生及发展管窥

Origins and Development of the “Persona” Theory in Western Literature: A Brief Review

“面具”源自古代希腊神话及中世纪狂欢文化。古代和中世纪的表演仪式实际上就是“面具”的派生物。而文学中的“面具”，形成于16世纪的假面喜剧和假面舞会，在18—19世纪的浪漫主义怪诞艺术中得到进一步发展，在20世纪以来的现当代文学中发生了“人格面具化”与“面具去人格化”的裂变，特别是在后现代主义文学中被极大地繁化了起来；而由此生发的“作者面具”成为后现代主义文学中最合法而不可或缺的叙事策略之一。伴随着面具在功能上从道具到社会角色的不断演变，文学面具经历了人类从“原型”到“变形”、从“面目缺失”到回归“真我”或“本我”等意义上的认知历程，从怪诞、讽刺、暗示、隐喻到叙事策略等艺术上的审美进化，至今已然成为文学家和文艺批评家都极为关注的重要概念之一。

Masks can be traced back to ancient Greek mythology and medieval carnival culture. In effect, masks are derived from the ancient and medieval performances. The literary “persona” from originated from masque comedies and masquerades in the 16th century, evolved in the romantic grotesque between the 18th and 19th centuries. Since the 20th century, a fission between “persona-fication of personality” and “impersonification of persona” has occurred in modern literature, and it has blossomed extensively in Postmodernism literature. The author’s mask, arising from the literary persona, has become one of the most legitimate and indispensable narrative strategies in Postmodernism literature. As the functions of the mask/persona are ever-changing from props to the present social role, the literary persona has experienced the mankind’s cognitive processes from “archetype” to “metamorphosis” and from “the missing of one’s true personality” to “the return to one’s id or true self”. Moreover,it has completed its aesthetic evolution from grotesque, irony, allusion, and metaphors to narrative strategies, etc. The literary persona, as a significant concept, has drawn earnest attention from writers and art critics alike.

晏 奎

从多恩派到玄学派：18世纪的多恩研究

From the School of Donne to the Metaphysical Poets: John Donne Studies in the Eighteenth Century

学界普遍认为，多恩在18世纪是一个被人忽视的诗人。但多恩在18世纪非但没有被人遗忘，反而激发了人们的深入探究，形成了两个对立的阵营，走过了一条从“多恩派”到“玄学派”的百年历程。其间既有多恩诗的再三出版和对多恩诗的引用、仿拟与改造，也有从“共生说”与“等级说”角度对多恩的研究，更有针对多恩的“才”和“律”而展开的激烈交锋。这一切都为后世留下了丰富的宝贵遗产。而蒲伯和约翰逊等对多恩的学理构建则是多恩批评史上的第一座理论高峰，既在宏观上推动了诗学的发展，也在微观上深化了对多恩诗的认识，使多恩研究从此踏上了严肃的学术探究之路。

John Donne is generally believed to be long disparaged during the 18th century. This paper, however, argues that Donne was never completely pushed into oblivion in that century, but conversely his work inspired more in-depth studies and even debates among Donne schoars in two opposing camps. The Donne studies shifted its focus from “the School of Donne” to “the Metaphysical Poets”. The 18th century witnessed the phenomena of republication, quotation, adaptation and modification of Donne’s poems. Scholars conducted their research from varying perspectives, such as “the Mutuality Theory” and “the Ranking Theory,” and they even debated heatedly over the issues regarding Donne’s wit and versification. All this has left a great influence on Donne studies by later generations. Scholars such as Alexander Pope and Samuel Johnson are credited with the establishment of Donne’s aesthetic principles, which has been considered the first major theoretical accomplishment in the history of Donne criticism because it not only promoted the study of poetics in general, but specifically provided an insightful observation of Donne’s poetry and turned the Donne studies into a rigorous scholastic discipline.

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