《外国文学研究》2019年第2期主要论文摘要
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2019年第2期(总第196期)
中外学者访谈
何成洲 Maria Shevtsova
Jerzy Grotowski and the Polish Theatre: An Interview with Maria Shevtsova
格洛托夫斯基与波兰戏剧:玛丽塔·谢福特索娃访谈录
Jerzy Grotowski (1933-1999), a Polish theatre director and theorist, was widely respected as one of the most in uential gures of experimental theatre and actors’ training in the world in the latter half of the 20th century. Among his most enthusiastic admirers,supporters and followers are such renowned theatre directors as Peter Brook, Richard Schechner and Eugenio Barba. This interview with Maria Shevtsova, Chair Professor of Theatre Arts from University of London and a specialist on Grotowski, addresses some key issues in Grotowski studies, such as the political and historical contexts of his theatre career, his concepts of “poor theatre” and “art as vehicle,” his cosmopolitan ethics, his indebtedness to the Oriental theatre and other different theatre and performance traditions, his influence on dramatists, actors and theatre directors, and his inspiring impact upon the theatre world today.
耶日·格洛托夫斯基(1933-1999)是波兰戏剧导演和理论家，被公认为 20世纪半后期在实验戏剧与演员训练方面最有影响的人物之一。其最虔诚的崇拜者、支持者和追随者包括著名戏剧导演彼得·布鲁克、理查德·谢克纳和尤金·巴尔巴。玛丽塔·谢福特索娃是伦敦大学戏剧学讲座教授、格洛托夫斯基研究专家，本文是与她的学术访谈，主要讨论格洛托夫斯基研究中如下问题:其戏剧生涯的政治与历史语境、“贫困剧场”观和“艺乘”观，世界主义伦理，对于东方戏剧等世界不同戏剧和表演传统的借鉴，对于其他戏剧家、演员和导演的影响，以及对于当下戏剧的启发意义等等。
张丽芬 刘思远
亚洲跨文化戏剧研究:刘思远教授访谈录
The Research of Cross-Cultural Theatre in Asia: An Interview with Professor Liu Siyuan
2018 年在美国加州大学戴维斯分校访学期间，张丽芬与加拿大英属哥伦比亚大学刘思远教授围绕亚洲跨文化研究进行了访谈。在访谈中，刘思远教授回忆了自己的学术成长历程，重点阐述了跨文化视野下的中日戏剧影响研究、亚洲戏剧研究。刘思远教授的研究主要从戏剧学出发，在方法上文本、剧场、历史、理论并重，在视角上将话剧和戏曲置于全球殖民化、现代化的框架中考察，兼顾亚洲特别是日本戏剧的发展及其对中国的影响。刘思远教授指出，文明戏的文化杂糅性使其成为东亚殖民主义现代性的戏剧艺术典型。刘思远教授认为随着亚洲戏剧经典文献建设的日益完善，亚洲戏剧在世界戏剧史上的地位日益提高。
In 2018, Zhang Lifen interviewed Professor Liu Siyuan at the University of British Columbia about the cross-cultural Asian theatre during her visiting study at the University of California, Davis. In this interview, Professor Liu Siyuan recalls his academic growth, and mainly expounds the influence between Chinese and Japanese theatre from the cross-culture perspective, and Asian theatre studies. The research of Professor Liu Siyuan starts with drama, and the text, theater, history and theory are emphasized equally in method. He puts spoken drama and traditional Chinese opera in the framework of global colonization and modernization in perspective. He also considers the development of Asian drama, especially Japanese drama and its influence on China. Professor Liu Siyuan points out that the cultural hybridity of civilized drama makes it a typical drama art of east Asian colonialism modernity. He thinks that with the development of the classical literature of Asian drama, Asian drama is playing an increasingly important role in the history of world drama.
Jean-Michel Rabaté
Beckett and Psychoanalysis
贝克特与精神分析
Facing psychoanalysis, Beckett’s position among other modernist authors is quite exceptional: not only did he undergo a psychoanalytic treatment for two years while living in London, but also his works are replete with references to psychoanalysis, to the point that a psychoanalyst like Didier Anzieu could say that his texts are a vast continuation of psychoanalysis by the means of writing. After having retraced what we can learn from Beckett’s letters about his cure, I will focus on the impact his psychoanalyst, W. R. Bion, kept having on him. I will also stress how an earlier encounter with Freud (about Descartes) had paved the way for such a deep immersion, and then follow the aftermath of the cure in a few later texts. Finally, it is Beckett’s entire philosophy that can appear as testifying to his struggle with the Freudian Unconscious.
就精神分析而言，贝克特所处的位置与其他现代主义作家相比无疑是独一无二的。这不仅因为他住在伦敦时接受了两年心理治疗，还因为他的著作广泛涉及精神分析，以至于像迪迪埃 • 安齐厄这样的精神分析学家都认为贝克特的作品以写作来延续拓宽了精神分析领域。首先，本文通过回顾贝克特的日记来了解有关他的治疗情况，探讨心理治疗师W.R.贝恩对他的持续影响力。接着，本文着重分析早期(因笛卡尔)与弗洛伊德的接触如何奠定了他与精神分析如此之深的关系，厘清他的治疗对其后期的一些作品所产生的影响。最后，本文试图阐明贝克特整体的哲学证明他一直在与弗洛伊德的无意识理论进行抗争。
陶久胜
英国大瘟疫时期的外来商品焦虑:《狐狸》的经济病理学
Anxiety Toward Foreign Commodities in the Plague Era: Economic Pathology in Volpone, or The Fox
英国 16、17 世纪是瘟疫频发和国际贸易额迅猛增长的时期，经济学与病理学话语互为构建，疾病被想象为一种在个人身体之间或国家政治身体之间迁移的类似外来商品的实体。从国际贸易引发财政危机的语境出发，可发现本 • 琼森戏剧《狐狸》使用了灵魂转世的幕间剧暗指商品流通，并借助外来药品药性与毒性共存的含混叙事呈现商品入侵身体的经济伦理意义。本剧与当时经济学文献互动，让各种进口药品与个人身体和政治身体疾病发生联系，暗示海关唯有通过有效监管商品在外港的流通才能确保王国健康，表达了英国前商业时代的外来商品焦虑。
During the 16th and 17th centuries, Britain witnessed the frequent outbreaks of plague and the rapid increase in international trade. Pathology and economics became “interconstitutive domains of discourse” in early modern England, disease was imagined as something originating externally like foreign commodities and circulating between individual bodies and the political bodies of the nation. Judging from the discourse, which claimed that financial crises were triggered by international trade, one may discover that in Volpone, or The Fox, Ben Johnson employs the interlude of Transmigration to hint at the circulation of merchandise and present the implication of the economic ethics with a murky narrative of the foreign drugs’ curing but poisoning effects on human bodies. In response to the statements on economics at that time, this play connects various imported medicines with the diseases ofindividual bodies and political bodies. And it implies that only by monitoring the circulation of merchandise before its entry through the harbor effectively can the custom ensure the health of the kingdom. All this shows the anxiety toward the imported merchandise in England during the pre-business era.
汪奕君
从“安提戈涅”到“希涅”:精神分析伦理学对文学的“使用”
From “Antigone” to “Sygne”: The Use of Literature in the Ethics of Psychoanalysis
通过对索福克勒斯的“安提戈涅”和克洛岱尔的“希涅·库封丹”之伦理抉择的解读，拉康建立和丰富了精神分析伦理的现代维度，并强调新的伦理诉求:涉及欲望不让步。欲望之“美”代替道德之“善”，重新定义了主体的伦理之维。思考伦理即是思考主体，拉康伦理主张的阐发依托于对文学主体的“使用”，这种使用本身也许同时意味着阐释/遮蔽；理应重新回到文学文本来反思这一“使用”，探讨精神分析伦理学在破除善之神话后如何同文学共处，从而避免将主体建构为一种机械的欲望模型，再度回归人本身。
Through analyzing Sophocles’ Antigone and Paul Claudel’s The Hostage, Lacan develops and enriches a new dimension of modern ethics, and he did so by replacing the moral “service of goods” with the “beauty of desire” and redefining the central concept of his psychoanalytic ethics. It should be noted that thinking about ethics is not much different from thinking about texts. Lacan’s interpretation of ethics depends on the use of literary texts (in this case, these two tragedies) which suggests a suspicious act of “reconstituting” or “concealing” of the nature of literature. It is therefore necessary to come back to the literary texts and reflect upon the use of them in order to explore how psychoanalytical ethics may coexist with literature after breaking up the mystery of goodness, avoid a conversion of the text into an in exible desire-model, and return to humans once again.
英国文学研究
胡振明
《拉赛拉斯》:文学公共领域与公共性
Literary Public Sphere and Publicness in Rasselas
《拉赛拉斯》是 18 世纪英国文坛领袖塞缪尔 • 约翰逊个人最爱的作品之一，也是他所写的唯一一部小说。这部小说聚焦“幸福”、“人生选择”这两个具有公共性的普世命题。约翰逊在这部可谓自传的小说中阐述了自己在社会共识及道德关怀方面的思考。他的观点启发了广大读者，促使读者从自身的认知角度参与相关命题的讨论，在由此而生的公众舆论中，“文学公共领域”得以成形。可以说，《拉赛拉斯》为我们提供了一个解读文学公共领域与公共性互动关系、了解约翰逊如何将个人思考提炼为社会共识、建构公共性的理想文本，而这一过程也正是 18 世纪启蒙思想得以传播的主要途径。
Rasselas, one of Samuel Johnson’s own favorite works, is the only novel he has ever written. It is focused on two universal and public issues of “happiness” and “the choice of life.” Johnson explicates his own thinking concerning social consensus and moral concerns in this autobiographical novel. It immediately generated a wide discussion on its concerns among the readership. In the ensuing public opinion, literary public sphere came into being. Evidently, Rasselas offers us an ideal text, in which we may not only investigate the interaction between literary public sphere and publicness, but also explores how Johnson manages to transcend his personal thought into social consensus and construct publicness. This process embodies the main channel through which the Enlightenment ideas were disseminated.
周彦渝 王爱菊
对抗的道德，融合的生命
——论尼采的道德哲学与戈尔丁的《继承者》
Confrontational Morality and Integrated Life: A Study on Nietzsche’s Moral Philosophy and The Inheritors by William Golding
威廉·戈尔丁的小说《继承者》讲述了原始社会新人部落对尼安德特人部落的屠杀和灭绝。在尼采道德哲学的观照下，尼安德特人的爱、福乐和无辜体现了基督教道德，带来了生命意志的消亡；新人的主体建构性、能动性和侵略性，代表了主人道德对生命的保存和赞助。新人对尼安德特人的角逐和杀戮，体现了充盈强大生命力的主人道德对软弱服从的基督教道德的征服。不仅如此，《继承者》超越了尼采对两种道德的阐释，通过新人收养尼安德特人“小家伙”这一举动，指出了新人和尼安德特人共同建构人类命运共同体的愿景。
The Inheritors by William Golding represents the New Men’s brutal slaughter and genocide of the Neanderthals during the prehistoric period. Nietzsche’s moral philosophy seems to have reinforced the view that love, comfort and innocence, the three basic principles of Christian morality, bring an end to the Neanderthals’ life; conversely, the New Men’s self-construction, initiative, and aggressiveness epitomize the preservation and endorsement of lifefrom master morality. The New Men’s rivalry with and massacre of Neanderthals embody the conquest of the “vulnerable and subservient” Christian morality by the extremely vigorous “master morality”. In addition, The Inheritors offers much more beyond Nietzsche’s analysis of these two kinds of moralities. Through the New Men’s adoption of “little Neanderthal baby”, the novel advocates their joint effort to construct a future for the mankind with a shared destiny.
苏明鸣 朱安博
无意识记忆与遗传
——论巴特勒《众生之路》中的进化论思想
Unconscious Memory and Heredity: Evolutionary Ideas in Samuel Butler’s The Way of All Flesh
塞缪尔·巴特勒曾是达尔文最激烈的反对者之一，对进化论的探讨是巴特勒小说创作的动机与源泉。无意识记忆理论是巴特勒对拉马克“获得性遗传”学说的独特贡献，也是巴特勒进化论的核心。通过对小说《众生之路》(1903)与巴特勒四部进化论专著之间的关联性的论证，寻找小说与达尔文著作的联系，尤其是与《动物与植物在家养下的变异》(1868) 之间的联系，进而对巴特勒作品进行整体性的研究，可以更全面理解巴特勒在小说创作中所展现的进化论思想。
Samuel Butler was once one of Darwin’s ercest opponents. The exploration of the theory of evolution is the motive and source of Butler’s novels. The theory of unconscious memory is not only Butler’s unique contribution to Lamarck’s “inheritance of acquired characteristics”, but also the core of Butler’s theory of evolution. By demonstrating the relationship between the novel, The Way of All Flesh (1903), and Butler’s four books about evolution, and finding the connection between the novel and Darwin’s works, especially The Variation of Animals and Plants Under Domestication (1868), we may conduct a comprehensive study of Butler’s works and gain a holistic understanding of his evolutionary ideas.
任远
面具、谎言、诱惑
——论阿芙拉·贝恩在《奥汝努克》中的作者构建
Masques, Lies and Seduction: Aphra Behn’s Authorial Construction in Oroonoko
17 世纪英国女作家阿芙拉·贝恩在《奥汝努克》中具有悖论性的女性作者权威构建与复辟时期戏剧文化和早期小说话语密切相关。其作者形象的悖论性首先体现在复辟时期舞台上戴面具的交际花形象中，这一人物既被市场所物化，又有着制造自我形象的力量。其次，在早期小说真实/虚构混杂的范式内，贝恩揭示了虚构与女性的密切关联。小说作者不仅仅是真相记录者，也是诱惑与说谎者，女人的面具是其文本诱惑机制的隐喻。与此同时，女性/小说家伤感而没有行动力，但这却正是让作者同时做到共情和客观写作的合适位置。现实中的无法介入激发她发愤著书的愿望，但她在抒情之下仍充满对于文本虚构性的反思。
Aphra Behn’s construction of the paradoxical female writing authority in Oroonoko is closely related to the Restoration stage and the discourse of the early novel. This paradoxical nature is rst revealed in the image of the masqued courtesan on the Restoration stage. This figure is objectified while still possessing the power of producing self-images. Then, within the pattern of the fact/fiction ambiguity of the early novel, Behn reveals the intimate relationship between ction and the feminine. The novelist is not only a truth recorder but also a seducer and liar. The image of the masqued woman is a metaphor of the text’s mechanism of seduction. Also, as a woman/novelist, she is sentimental and lacks capacity in action. This, however, offers her a proper position of emotional participation and writing. Her inability to secure her footing in reality only instigates her ambition in writing. But in spite of her lyrical elements in the narrative, there is still re ection upon the texts’ ctionality.
美国文学研究
何庆机
真诚、客观性与玛丽安·摩尔的精确美学
Authenticity, Objectivity and Marianne Moore’s Aesthetic of Precision
美国诗人玛丽安·摩尔的诗歌最为突出的特点是具体性与客观性，这与现代主义诗歌总体趋势相吻合。真诚是摩尔诗歌的核心，精确则是其外在表现，是抵达诗歌真诚之途径。摩尔的精确，从诗歌形式上主要体现在其音节诗形式的精确的重复上，而内容上则体现在极端客观性的事实呈现上。然而，摩尔的诗歌往往在呈现科学、客观的精确的同时，悄悄地否认这种精确的绝对性。摩尔对科学、客观性以及精确的青睐，一方面是科学与哲学发展、现代主义诗人适应新的现实和新的认知方式的必然结果。与此同时，这也是在现代话语语境下，以权威话语模式为诗歌、艺术辩护，争得一席之地的策略。摩尔的精确美学，强调客观，然而这种客观性却绝不是简单、纯然的客观，而是融合着客观性与主观性的综合体。
Marianne Moore distinguishes her poetry with particularity and objectivity, which seems to be compatible with the general trend of modernist poetry. Authenticity is the core of Moore’s poetics, with precision as its outward manifestation and a way to poetic authenticity. Her precision or aesthetic of precision illustrates itself in the precise repetition of syllabic stanzaic form and the radically objective presentation of facts. Even though Moore’s poetry boasts of scientific and objective precision, the absoluteness of this precision is quietly yet firmly denied at the same time. Moore’s predilection for science, objectivity and precision is a necessary outcome from not only the development of science and philosophy, but also modernist poets’ adaptation to new reality and new ways of cognition on the one hand, and on the other it serves as her strategy to use authoritative discursive mode of discourse in advocating poetry and art and securing their place in the modernist context. Moore’s aesthetic of precision emphasizes objectivity, yet her objectivity is by no means simplistic or pure; instead it is a composite integrating objectivity and subjectivity.
吴娟
拟态、演化与叙事:纳博科夫《天赋》对进化论的文化反思
Imitation, Evolution and Narrative: Cultural Re ection on Evolution in Nabokov’s The Gift
纳博科夫将文学批评有机地融入到《天赋》的叙述与情节之中，在文本中用戏仿、拼贴、暗指、变位词、意象、人物对话、作者闯入等方式对达尔文进化论进行批评，演绎出其独特的拟态观与进化观。小说中所指涉的生物学家和文学人物众多，因此被认为是纳博科夫对进化论历史的戏仿，一幅文学批评的全景画。探究纳博科夫在小说中对达尔文进化论的批评是研究其创作思想与叙述艺术的不可或缺的步骤。论文从戏仿、拼贴、暗指、变位词、意象、人物对话、作者闯入等方面来探讨纳博科夫怎样将文本作为文学批评，怎样将科学构想融入诗性语言，对达尔文进化论进行兼具科学思辨性与艺术审美性的文化反思。
Nabokov incorporates, naturally and organically, literary criticism into the narrative and plot of The Gift, critiquing Darwin’s theory of evolution through parodies, pastiches, allusions, anagrams, symbols, dialogues and authorial intrusions, and expounding his unique views on imitation and evolution. Given its extensive coverage of numerous biologists and literary figures, The Gift has been regarded as a parody of the evolution history and a panorama of Nabokov’s literary criticism. A look into Nabokov’s critique of Darwin’s theory of evolution is an inevitable step in the study of his literary views and narrative art. By analyzing his use of various rhetorical devices, narrative voice, and authorial direct comment, this article attempts to explore how Nabokov converted the text of The Gift into a literary critique and integrated scienti c ideas with poetic language all for the purpose of delivering a cultural reflection on Darwin’s theory of evolution reinforced by scientific inquiries and aesthetic deliberations.
秦轩
城市边缘的守望:马拉默德的犹太店主情结
The Watchman on the Edge of the City: Malamud’s Complex about Jewish Shopkeeper
马拉默德塑造了诸多经典的犹太店主形象，他们大多为生计所迫挣扎在城市边缘。他的犹太店主情结源自他父亲身为杂货店的店主，也是为了在超级市场冲击传统零售业、犹太人饱受欺凌的时代坚守犹太精神，进而使小人物的英雄主义情怀得以回归。通过归纳四部小说中的犹太店主在城市边缘语境和城市转型背景下的身份建构、商业文化表征和英雄叙事模式，可以领略他们对犹太大屠杀历史事件的身体经历、情感联结的深刻记忆以及不敢触碰又无法逃避的矛盾心理。
Malamud created many classic images of Jewish shopkeepers, most of whom were struggling on the edge of the city for the sake of livelihood. His complex about Jewish shopkeeper was rooted in his father’s experience as a grocer, in his desire to preserve the Jewish spirit at a time when supermarkets were disrupting traditional retail and Jews were constantly victims of bullying, and in his attempt to restore the heroism of the little man. By examining the Jewish shopkeepers identity construction in four of his novels, within the context of their marginal status in the city and the city transformation, the characteristics of commercial culture, and heroic narrative mode, we can get a glimpse of their personal experience of Jewish Holocaust, their deep and emotional memories of the event, and the ambivalent feelings that they dare not confront on the one hand but cannot avoid altogether on the other.
批评与批评研究
李伟昉
朱东润《莎氏乐府谈》价值论
On the Value of Zhu Dongrun’s Talks on Tales from Shakespeare
朱东润 20 世纪初在上海《太平洋》杂志发表的四篇《莎氏乐府谈》，是中国学界细腻贴近莎士比亚戏剧文本开展批评的开始。这四篇《莎氏乐府谈》洋洋洒洒两万余言，充分显示了作者对莎士比亚的专业认知，是现存篇幅最长、论述最细致、最早独立成章的完整的莎士比亚评论。其评论范围涉及到莎士比亚的简约生平、创作成就与不足、著作权、演员、戏剧布景等方面，既有对《罗密欧与朱丽叶》和《裘利斯·凯撒》等名剧精彩细腻的文本分析 , 又有自觉的中西文学比较层面的真知灼见，首次让当时读者对莎士比亚的基本面貌有了较之以往更具体、更详细的了解。朱东润是最早通过翻译引用莎士比亚戏剧原著进行莎评的莎学专家，他的评论注重艺术魅力的探讨，彰显了文本细读的可贵品格，又不失对作品思想价值内涵的揭示，体现出了客观务实、稳健执着的理性精神，对于读者以戏剧的形式管窥、认知莎士比亚具有重要价值，不仅标志着近现代中国学界从学术学理层面接受和研讨莎士比亚的开始，而且较早地探寻了文学创作不同体裁的差异特征与跨文化翻译接受规律，在中国莎士比亚接受史上具有开拓性和里程碑式的学术意义。
The publication of Zhu Dongrun’s Talks on Tales from Shakespeare in Pacific Journal in Shanghai in the early years of the 20th century marked the beginning of the criticism on Shakespeare’s dramatic texts in the Chinese academia. The four articles of Talks on Tales from Shakespeare, which exceed over 20,000 words and fully demonstrate the author’s professional knowledge about Shakespeare, turn out to be the longest existing, the most elaborate, and the earliest independent and comprehensive Shakespearean commentaries. They touch upon various aspects of Shakespearean studies, such as his life, the achievements and shortcomings of his literary works, authorship, actors in his plays, and stage setting; they offer not only superb and meticulous textual analysis on well-known plays like Romeo and Juliet and Julius Caesar, but also conscientious and perspicacious insights into the comparison between the Chinese and Western literature; and for the rst time they provided the readers at that time with a more specific and detailed understanding of Shakespeare’s basic features than ever before. Zhu Dongrun is the first Shakespearean expert who conducted his studies on Shakespeare by translating and citing the original texts of Shakespeare’s plays. His criticism focuses on the discussion of artistic charm, stresses the importance of the close reading of texts, and reveals the implication of ideological values in various plays. What we can learn from his articles is an objective, pragmatic, steady, persistent, and rational approach that has proven to be extremely valuable in helping the readers discover and understand Shakespeare through the art of drama. Evidently, the value of Zhu’s articles goes beyond merely signifying the initial acceptance of and scholarship on Shakespeare within the modern Chinese academia, because his articles also explore the different characteristics of genres in literature and the reception patterns in cross-cultural translation. In a word, the scholastic signi cance of Zhu’s articles is de nitely pioneering and monumental in the history of Shakespeare’s reception in China.
王洋
如画风景与历史空间的垦殖:19 世纪爱尔兰历史小说研究
Picturesque Landscape and Cultivation of Historical Space: A Study on the Irish Historical Novel Writing in the 19th Century
在19 世纪爱尔兰历史小说中，如画风景以历史场景的空间架构为基础，形成了新古典主义主导的风格流变。这种风格流变在赋予如画美爱尔兰性的同时，也开启了对历史空间的自反性探索。关于风景叙述，爱尔兰如画美采用地志研究的话语形态。这使土地的培育、生产关系、制度沿革成为核心议题，从而有效揭示了爱尔兰历史动荡不安的根源。在资本主义建制的浪潮席卷下，怪诞的城镇景观兴起于爱尔兰历史小说。通过创造性地移用“和谐的不和谐”这一美学原则，爱尔兰如画美与怪诞进行了双向地吸收和同化，共同垦殖出统摄城乡的历史空间。
In the 19th century Irish historical novel, writers used picturesque landscape based on the spatial fabric of historical scenes and developed a changing style that was dominated by Neoclassicism as its primary in uence. The evolution of such a style not only endowed the Picturesque with Irishness, but also opened the way to assessing historical space self- reflexively. Irish Picturesque adopted some patterns of topographical discourse for the representation of landscape. This made core issues of land cultivation, production relation, and institutional evolution, thus effectively revealing the root cause for the turbulent Irish history. Also, under the sweeping in uence of the capitalist system, grotesque urban landscape started to appear in the Irish historical novel. By adopting the aesthetic principle of “concordia discors” creatively, writers managed to facilitate a reciprocal assimilation between Picturesque and Grotesque in order to cultivate the uni ed historical space for the country and city as well in Irish historical novel.
往期精彩文章回顾：
勒克莱齐奥 | 想象与记忆
许钧 高方 | 试论勒克莱齐奥小说叙事中的“记忆” ——基于《寻金者》的分析
张杰 | “万物统一”的美学探索：白银时代东正教神学思想与俄罗斯文论
尚景建 | “神圣的欺骗”——论克尔凯郭尔的作者伦理学
赵晓彬 | 西方文学中面具理论的产生及发展管窥
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