《外国文学研究》2019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

2019年第3期(总第197期)

中外学者访谈

Yuan Yuan & Robert T. Tally Jr.

Doing and Teaching Spatial Literary Studies: An Interview  with Robert T. Tally Jr.

文学空间研究与教学：罗伯特·塔利访谈录

Robert T. Tally Jr., Professor of English at Texas State University, is one of the leading figures in Spatial Literary Studies. He is the chief editor of Palgrave Macmillan’s Geocriticism and Spatial Literary Studies book series. He has published extensively in Literary Cartography, Marxist criticism and World Literature. Dr. Yuan Yuan, while working as a visiting scholar at UC, Berkeley (2018—2019), interviewed Professor Tally at the 2019 Modern Language Association of America Convention in Chicago and sought his opinions on some of the major issues in Spatial Literary Studies: 1) theoretical genealogy; 2) possibility of dialogue between Chinese and Western scholars in this academic field; 3) pedagogy; and 4) tendencies in future development. Tally emphasizes the inborn interdisciplinarity of Spatial Literary Studies. He believes that place-mindedness prevails on three different levels: writing, reading, and criticism. He points out the problem with Bertrand Westphal’s geocentric approach and argues against the negative influence of digital humanities represented by Stanford Literary Lab. However, he sees possible interfaces among Spatial Literary Studies and AI studies, Narratology, Ecocriticism, and so on. Literature teachers can arrange field trips and adopt other approaches to Affective Geography in their courses. The interview thus inspires a reemphasis of the Marxist approach which is interdisciplinary, comprehensive, dialectical, and full of humanity in its essence.

美国德克萨斯州立大学英语系教授罗伯特·塔利是文学空间研究领域重要学者之一，现任帕尔格雷夫·麦克米伦出版社“ 地理批评与文学空间研究” 丛书主编。近年来在文学绘图、马克思主义批评及世界文学研究方面著述颇丰。采访者袁源博士,在加州大学伯克利分校访学期间，于2019 年美国现代语言协会芝加哥年会间隙对塔利教授进行了专访，探讨有关文学空间研究的以下重要议题：一、理论渊源及发展脉络；二、中外学者在这一学术领域对话的可能性；三、相关教学研究；四、发展趋势展望。塔利强调空间文学研究固有的跨学科特性，认为空间意识广泛存在于写作、阅读及批评三个层面。他指出，波特兰·威斯特法尔以地理为中心的研究方法存在的问题，并分析了以斯坦福文学实验室为代表的数字人文研究带来的负面影响。然而，他认为文学空间研究可以和人工智能、叙事学及生态批评等各领域形成交集，在文学教学中可以进行实地考察旅行，并采用多种情感地理学教学方式。访谈促使我们进一步认识马克思主义研究方法的跨学科性、全面性、辩证性，以及其中所蕴含的人文精神。

中外学者对话：美国诗歌中的中国哲学传统

Josephine Nock-Hee Park

The Nature of Internment Aesthetics

囚禁美学的性质

This article reconsiders a generational division that has come to define Japanese American understandings of their wartime incarceration during the Pacific War. The Nisei, or second-generation, activists who testified against their incarceration and struggled for redress spoke for and sometimes against their first-generation Issei parents, instituting assumptions of Issei silence and an attendant political quietism. Literary renderings of Japanese internment by Nisei authors, Hisaye Yamamoto and John Okada, present disturbing portrayals of Issei authority, but the wartime art of Chiura Obata, a prominent Japanese American artist, demonstrates a profound consolation and draws strength from the natural landscape that surrounded the internment camp. Reconsidering Obata’s aesthetic discipline and tutelage in this period of political crisis, this article elaborates on the legacy of Issei resilience and Nisei despondence, in which the former became a political liability for the latter.

本文重新考量太平洋战争期间两代居美日裔之间的分歧，进而阐释他们各自对战时横遭监禁的感受。居美日侨第二代（Nisei）的活动分子为自己的囚禁申诉，力争平反补偿。他们既为居美第一代的父母（Issei）代言，又时常批评他们，揣测第一代甘于沉默和随之而来的一种政治寂静无为主义。日裔第二代作家，如山本久惠和约翰·冈田，在描写日裔囚禁经历的文学作品里针对第一代的威严塑造了种种令人不安的形象。然而，杰出的日裔艺术家小圃千浦在其战时创作的作品里展示出一种含意深邃的安慰，从环绕监禁营地四周的自然景观中汲取力量。本文通过重估小圃在这场政治危机期间的美学修炼和示范，来阐述滋生日裔第一代的韧性和第二代的沮丧、并使前者成了后者的政治负担的这段历史缘由。

Eun-Gwi Chung

Emptiness, Thingness, and the Poetics of “Thought Pause”

空、实和“思维停顿”的诗学

By rereading some meaningful texts in contemporary Korean American poetry, this essay aims to address, on several fronts, the critical notion of emptiness in Buddhism and Daoism in the interplay of words and space. Sun Yung Shin’s experiments with Korean alphabets in her poems stand out in the way that they become the aesthetic field where emptiness and thingness actively take part in the process of creating a thought pause. Here, emptiness is not just a blank space on a page. It forms a temporal-spatial site for thought as an alternative space where readers are invited to see how every singular thing is related to every other thing. This essay connects the various uses of grammatical and structural ellipsis and paratactical construction in Korean American Experimental Poetics with the notion of “emptiness, kong, 空.” As a web of interpenetrated all things, the typographical space in Sun Yung Shin’s poems forces the reader to experience the thought pause and to intuitively perceive things-as-they-are and the embodiment of ontological possibilities of any-(no)-thing.

通过重温一些当代美国韩裔意味深长的诗歌作品，本文试图从多方面论证文字和空间之间的互动中所显现的佛教与道教有关空这一重要概念。申善英诗歌里对韩语字母所做的实验引人注目，因为这些实验筑成了一个审美场域，使空和实积极参与了创建思维停顿的过程。在这里，空不仅仅是书页上的空白, 它为思维构成了一个时—空场所，作为一种替代的空间，让读者了解一物如何与另一物连接在一起。本文将美国韩裔实验诗学中各种语法、句型结构的省略和衍生创新与“空”（kong, emptiness)的概念对接。申善英诗歌中的排印空间犹如一个万物渗透的网络，迫使读者体验思维停顿，并直觉地认清物的原貌及任何（或无）实物本体可能性的体现。

冯 溢

语言的“妙悟”：查尔斯• 伯恩斯坦回音诗学的道禅意蕴

The Epiphany of Language：The Connotation of Taoism-Zen in Charles Bernstein’s Echopoetics Abstract: As a prominent

美国语言诗歌的杰出代表人物查尔斯• 伯恩斯坦的诗歌融入了大量“无”的主题。不同于西方哲学传统上把“无”的概念视为无意义、不可知，在伯恩斯坦的诗学中，“无”被赋予了深刻的诗学意义和美学内涵。伯恩斯坦早年就学习过道禅哲学的著作，解读“无”的道禅意蕴是解读伯氏回音诗学的一个重要的崭新维度。伯恩斯坦将道禅哲学和道禅美学中的反传统和美国先锋诗歌创作结合，“虚实相生”的力量、“无言”之美和“陌生化”的表达彰显了语言的“妙悟”和“自性”。中国传统道禅哲学是蕴含于伯恩斯坦的回音诗学中的一个重要组成部分。

As a prominent representative figure of American Language poetry, Charles Bernstein has incorporated a large number of themes concerning “nothingness” in his poetry. Contrary to the traditional Western philosophy that defines the concept of “nothingness” as meaninglessness and agnosticism,“nothingness” in Bernstein's poetics is endowed with profound poetic and aesthetic implications. Bernstein studied the works of Taoist and Zen philosophy in his early years. Understanding the Taoist-Zen connotations of “nothingness” is an important new dimension in interpreting Bernstein's echopoetics. Bernstein integrates the anti-traditional ideas in Taoist and Zen philosophy and aesthetics with the experiment of American avant-garde poetry. “The transformation between Xu (emptiness) and Shi (Being), ”the beauty of“speechlessness” and the expression of “Defamiliarization” show the “epiphany” of language and the “nature”of language. The Chinese traditional Taoist and Zen philosophy is an important part of Bernstein's echopoetics.

19世纪西方文学思潮

曾繁亭

浪漫派之“孤独”：从“忧郁”到“荒诞”

“Solitude” of Romanticism: from “Melancholy” to “Absurdity”

经由忧郁成性的“世纪儿”形象，“人群中的孤独”这一现代人的命运在浪漫派这里第一次得到正面表达，个人与社会、精英与庸众的冲突从此成了西方现代文学的重要主题。将“人群中的孤独”与艺术家独特的命运相关联，浪漫派作家制造了诗人被冷酷无情的社会和庸众所毁灭的悲情传说。正是以浪漫主义作家笔下那些忧郁成性、充满悖论的古怪形象为基础，作为个体本质或命运的“孤独体验”在克尔凯郭尔的哲学探究中才终于发酵成为构成“荒诞”观念的核心要素；也正是经由对孤独个体之精神矛盾和情感悖论的关注，浪漫主义文学才为存在主义哲学进一步阐发“非理性的人”做好了准备。

“Solitude in the crowd”, which is considered as the fate of modern man, was positively representd by Romanticists for the first time through the melancholy image of “Child of the Century”. Henceforth, the conflicts between individual and society and between elite and mediocrity became a major subject of the modern literature in the West. With a probe into the connection between the notion of “solitude in the crowd” and the unique fate of artists, Romantists produced tragic legends about the obliteration of poets by the relentless society and the mediocrity that surrounds them. It is based on the Romanticists’ portrayal of eccentric characters, who appear to be both melancholy and paradoxical, that Kierkegaard redefined the notion of “solitary experience” as the individual essence or fate in his philosophical inquiry and developed it into a core element in the concept of “Absurdity”. Also, thanks to its persistent concern over the mental conflict and emotional paradox of the solitary individual, the Romantic literature clearly paved the way for the Existentialist philosophy to further elucidate the nature of “irrational man”.

杨希 蒋承勇

西方颓废派文学中的“疾病”隐喻发微

Illness as Metaphor in Western Decadent  literature

19 世纪中叶以降，在由浪漫主义自由理念衍生出的“反自然”和“反道德”观念的引导下，西方作家对各类“反常”话题的热情持续升温，而“疾病”则处于此种美学兴趣的中心。与借助科学的客观视角审视、刻画病理学层面上的“疾病”的自然主义文学不同，波德莱尔、于斯曼等颓废派作家将更多精力用于发掘与彰显“疾病”在构筑新的美学理念和精神主题等方面的独特潜质和优势。颓废派作家以迷恋“疾病”的颓废者形象建构了颓废派文学最为鲜明独特的标识。他们通过确立“疾病”之于布尔乔亚式“健康”的优越地位，彰显其蔑视、疏离和反叛平庸化的布尔乔亚大众审美观与价值观的个人主义精英立场；他们在逾越常规的非理性生命状态中探索和创造崭新的美，带来了开启“反思”的“震惊”效应，由此彻底颠覆了古典主义的审美范式；他们将从浪漫派的“忧郁”发展而来的神经质的“怨怒”作为颓废主人公的情感底色，以精神分裂作为其常见的病理学症状，以“反自然”的行为与心理作为其唯美—颓废生活的特征，精确地描绘出以啜饮自由感为唯一生存理想的颓废者形象。

Since the mid-19th century, the enthusiasm of western writers upon various “abnormal” topics have continued to thrive under the guidance of the “anti-natural” and “anti-moral” concepts derived from the idea of “freedom” of Romanticists, and “illness” is at the center of this aesthetic interest. Decadent writers such as Baudelaire and J.K.Huysmans devoted more energy to exploring and highlighting the unique potentials and advantages of “illness” in constructing new aesthetic ideas and spiritual themes, which was quite different from Naturalism that examined and depicted “illness” at the pathological level under the objective perspective of science. Decadent writers constructed the most distinctive mark of Decadent literature with the image of a Decadent who was infatuated with “illness”. They demonstrated their individualistic elite position of contempt, alienation and rebellion against the bourgeois aesthetic standards and values by establishing the superior status of “illness” to the bourgeois “health”. They explored and created new kind of beauty in an irrational state of life, which brought the so-called “Shock” effect which inspired introspection, thus thoroughly overturning the classical aesthetic paradigm. They set neurotic “Spleen”— which was developed from Romantic “Melancholy”— as the emotional impression of decadent protagonists, and set schizophrenia as common pathological symptom, and, at the same time, depicted “anti-natural” behavior and mind as the main feature of their aesthetic-decadent life, thereby accurately created the image of a Decadent whose sole pursuit of life is “free sensitivity”.

李国辉

人格解体与象征主义的神秘主义美学

Depersonalization and Symbolist Mysticism

波德莱尔、马拉美、兰波这三位象征主义诗人都有人格解体的经历，他们通过冥想、异常的感觉或者麻醉品达到这种精神状态。人格解体的体验使他们的幻觉写作具有实证性，这让他们的诗歌创作和理论在虚构之外，拥有真实感受的基础，在正常的想象力之外，拥有病态的心理内容。人格解体给象征主义神秘主义美学带来了新的理解，象征主义美学虽然主要是唯心主义的，但它并不完全是自然主义的反动，它本身具有现实主义的特征。

The three Symbolist poets, Charles Baudelaire, Stéphane Mallarmé, and Arthur Rimbaud all had experienced depersonalization disorder, and they went through such a mental state by means of meditation, abnormal sensation, or drugs. The feeling of depersonalization gave their hallucinatory writings a substratum of reality, which in turn ensures that their poems and theories can convey actual feelings despite their fictionality and celebrate morbid sensations beyond normal imagination. A close look at the issue of depersonalization could generate a new understanding of the Symbolist mysticism: although Symbolism is mainly regarded as an exemplar of Idealism, it was not totally a reaction against Naturalism, and it had in itself some elements of Realism.

欧美文学研究

王卓

论《诗章》中的黑人形象隐喻与美国历史书写

On the Trope of Black Images and American Historical Writing in Pound’s Cantos

黑人形象最早出现在《诗章》第21 章，而这一章恰恰是首次引入美国历史主题的章节。庞德在这个美国历史时刻开始的部分，书写了一种颇有悲喜剧意味的“非洲性在场”。事实上，庞德不但在《诗章》中书写了黑人，而且打造了一条“黑人的后廊”，把各种黑人形象齐聚在包罗万象的《诗章》文本空间。黑人形象之所以能够走进庞德的诗歌，和庞德试图书写一部美国“秘密历史”的理想密切相关。这部“秘密历史”是个人的、边缘的、多元的。黑人形象在庞德的诗歌中是奴隶制和种族主义的提喻，是白人黑暗的自我投射，是边缘人的复杂身份的象征，也是现代人矛盾身份的隐喻。黑人作为心理、社会、政治和文学符号对庞德的现代主义叙述视野和文学成就至关重要。

Black images first appear in Cantos XXI, the very Canto in which the motif of American history is presented for the first time. In this part of The Cantos where his reference to American history surfaces, Pound delineates a tragicomic “Africanist Presence.” In fact, Pound not only wrote about blacks in The Cantos, but also created “the back corridors” for them, so that different types of blacks crowded into the vast space of this inclusive poetic text. The reason that black images could find their way into Pound’s poems has a lot to do with his ideal of writing a “secret history” of America that would be personal, marginal, and multiple. In The Cantos, black image is the synecdoche for slavery and racism, the self-reflection of the darkness of the White, the symbol of the complex identity of the marginal man, and the metaphor of modern man’s conflicting identity. Therefore, as psychological, social, political and literary signs, blacks are essential to Pound’s modernist narrative perspective and literary accomplishment.

赵英晖

科尔代斯戏剧独白的跨体裁性

The Cross-Generic Nature of Koltès’s Monologues

独白历来被认为是戏剧中不那么“戏剧性”的因素，科尔代斯却对这种边缘的戏剧话语形式情有独钟，在剧作中大量使用独白，并创造性地发展了独白的戏剧性、叙事性、抒情性。戏剧的与非戏剧的文学体裁属性在科尔代斯的戏剧独白中交织、碰撞，改变了戏剧冲突的方式、戏剧展示的方式和戏剧人物的存在方式，戏剧因而成为了包容异质因素又不乏统一性的现代“行吟诗”，具有跨体裁的无限可能性的独白蕴含着戏剧突破自身旧有框架而实现自我解放的可能性。

Monologue has always been considered as a less dramatic element in drama. But Koltès has a keen interest in monologue and uses it heavily in his plays. Moreover, he is quite creative in maximizing its dramatic, narrational and lyric effect. The immersion and collisions between dramatic and non-dramatic attributes in Koltès’s monologues brought about a clear change in the representation of dramatic conflict, the development of plot, and the existence of dramatic characters, thus turning drama into a modern “rhapsody” that contains heterogeneous elements but still retain its uniformity. Thanks to its unlimited cross-generic possibilities, Koltès’s use of monologues shows that drama does have a great potential to break through its old conventions for a full self-liberation.

周小川 朱宾忠

康拉德小说的英雄母题新探——以《吉姆爷》和《诺斯托罗莫》为中心

A New Probe into the Hero Motif in Conrad’s Novels: Lord Jim and Nostromo

英雄是文学作品亘古不变的母题，而受难是英雄完成神圣使命和人格升华的关键。康拉德将其对英雄之人神两性的哲思融入其小说创作中。《吉姆爷》和《诺斯托罗莫》这两部作品通过对经历创伤磨难的英雄基于人神两性的伦理观照，共同描绘了“神性—人性—神性”由此及彼循环往复的英雄成长图谱，而这其中“受难”（受创）是引发循环的关键。从这个意义上说，康拉德英雄是人性受创和神性修创的结合体，而小说所诠释的关于英雄人性和神性的思辨则成为康拉德小说创伤书写的重要组成部分。

“Hero” is the eternally immutable motif in literary works, and suffering is the key to the hero’s accomplishment of his mission and his personal sublimation. Conrad infiltrates into his novels his philosophical contemplation about the hero’s humanity and divinity. Both Lord Jim and Nostromo rely heavily on the ethical reflection of the hero’s traumatic ordeal in depicting a recurrent “divinity-humanity-divinity” cycle of heroic growth that is triggered and sustained by “suffering”. A typical Conradian hero is, in this sense, an integrated embodiment of both the trauma of humanity and the recuperation of divinity, whereas the exploration of the hero’s humanity and divinity seems to have become an important component of Conrad’s trauma narrative in his novels.

邹萍

《盲目的向日葵》中的记忆书写与伦理意义

Memory Writing and Ethics in Los Girasoles Ciegos

2005 年同时获得国家文学奖和文学批评奖的《盲目的向日葵》彰显了西班牙作家阿尔贝托·门德斯对内战记忆的追溯和对人类世界中伦理道德问题的探究。作者有意消解人们对西班牙内战的既有认知，淡化政治因素，转而利用记忆书写重返人物所处的伦理现场，聚焦其遭遇的伦理困境和身份危机，揭示战争对人类造成的巨大精神创伤；并通过不同叙事层面上的叙事者和被叙事者、作者和读者在面对记忆命题时做出的伦理选择，实现作者的伦理意图，即劝说读者承担过去，而不是忽略或遗忘。《盲目的向日葵》不仅通过记忆书写实现了对历史的多元化阐释，更为今天的读者从伦理道德角度反思历史和理解当下提供了新的典范。

Los Girasoles Ciegos, which won both the National Literature Award and the Literary Criticism Award in Spain in 2005, reveals how the Spanish writer Alberto Méndez traces the memories of the Spanish Civil War and explores the ethical issues in the human world. The author intends to dispel the common stereotypes towards the war, play down factors of politics, and recreate the ethical scenes for the characters through memory writing in order to underscore the ethical dilemmas and identity crises that the characters encountered and to unveil the great psychic trauma that the war inflicted upon humankind. Moreover, by analyzing the ethical choices made by various narrators and narratees, authors and readers at different narrative levels while confronting memory propositions, the author manages to achieve his ethical intention, namely, persuading his readers to bear the burden of the past, rather than ignore or forget it. Los Girasoles Ciegos not only presents a diversified interpretation of history through memory writing, but also provides a new model for today’s readers to reflect on history and comprehend the present from the perspective of ethics.

批评与批评研究

刘锐 刘建军

拜占庭“文人剧场”的生成

The Formation of Byzantine “Theatron”

“文人剧场”是拜占庭文学中一个独有的现象。它既是一个戏剧术语的语义演变问题，也是一个拜占庭政治语义场问题。它最初指发生在竞技场或剧场等公共场合上的任何一种表演或奇特景观，随后逐渐演变成一个集交流、辩论、演说、娱乐和文学发表等多重功能于一体的文人群体平台。它具有空间性、表演性和互动性的内涵特征。“文人剧场”作为拜占庭文人们施展才华和实现抱负的重要平台，弥补了业已消亡的古希腊剧场的舞台功能。在这样的文化氛围中，文人的创作环境得以优化，作品的创作产量得以提升。同时，它也提供了精英文人的晋升渠道，将帝国社会生活仪式化，起到凝聚民心、引导舆论的积极作用。

“Theatron” is a unique phenomenon in the Byzantine literature. It is an issue of both the semantic evolution of theatrical terms and Byzantine political semantic field. Originally, it referred to any kind of performance or wonders which occurred in the hippodrome, theatre or other public places. Then, it gradually evolved into a platform of literati with multiple functions, such as communication, debate, oration, entertainment, and literary publication, a platform that has the connotational characteristics of spatiality, performativity, and interactivity. As an important platform where the Byzantine liberati could display their talents and realize their aspirations, the “Theatron” made up for the stage function of the extinct ancient Greek theater. Within such a cultural atmosphere, the creative environment of literati was optimized, and the number of creative works rose up steadily. Meanwhile, it facilitated the channel for the promotion of the elite literati and ritualized the social life of the empire, which played a positive role in uniting the people and guiding the public opinion.

沃尔夫冈·G. 穆勒 著  张俊萍 译

运动与情感：感觉—运动理念在文学作品情感表现中的应用

Motion and Emotion：The Application of Sensory-Motor Concepts to the Representation of Emotion in Literature

本文试图结合文学中见解精辟的实例，来探究“感觉和运动”过程作为认知体验的必要组成部分的作用，聚焦于文学作品中的情感表现。本项研究的的起点是如下事实：文学中的情感表现——如同真实生活中的情感——主要由运动和其他身体或生理显示构成。本文所作的探索得助于当前认知和神经科学在情感和运动方面相辅相成的关系上所开展的研究。有例证表明，在大量的文学文本中，情感体验往往被描绘成认知体验，其中还带有十分投入的肢体动作。

This article attempts to relate to literature insights on the role of sensory and motor processes as essential constituents of cognition. It concentrates on the representation of emotion. The starting-point of the investigation is the fact that the representation of emotion in literature is-analogous to emotion in actual life-essentially constituted by motion and other physical or physiological manifestations. The investigation is supported by cognitive research and by neuroscientic research concerning the interdependence of emotion and motion. Evidence is adduced that emotional experiences are in a great quantity of literary texts represented as cognitive experiences with a strong participation of kinesthetic activities of the body.

何 宁

历史变迁与文学再现——评《战后世界进程与外国文学进程研究》

Historical Development and Literary Representation: A Review of Post-WWII World History and the Development of Foreign Literature

四卷本专著《战后世界进程与外国文学进程研究》聚焦历史变迁与文学再现，关注战后外国文学发展中的关键问题，对现实主义文学、后现代主义文学、全球化和新世纪文学从理论和实践两个层面来加以探讨，将战后世界发展的各种社会因素与文学之间的互动加以条分缕析，透彻探讨重要文学流派和作家作品，为理解战后历史和文学提供了全新的视角。

The four-volume scholarly book, Post-WWII World History and the Development of Foreign Literature, focuses on the relationship between historical development and literary representation since WWII and explores vital issues in postwar foreign literature. It addresses literature of Realism, Postmodern literature, globalization and literature in the new millennium, probes into the interplay between various societal factors and literature in the world development, examines major literary movements, writers and works, and provides a new perspective on the history and literature since WWII.

高静

立体多维的文学史书写——评朱振武等著《美国小说：本土进程与多元谱系》

A Stereosopic Insight: A Review on Zhu Zhenwu’s American Fiction: The Process of Localization and Multivariate Genealogies

朱振武等著的《美国小说：本土进程与多元谱系》对美国小说的源与流和本土化进程进行了多维审视和立体解剖，对美国小说的多元因素和复杂谱系逐一跟踪和透析，对美国小说的独特样貌、别样形态、文化蕴涵、美学表征、交互影响及其成功要素进行了逐一把脉和揭橥，体现出作者宽广的学术视野、跨界的研究力度、敏锐的洞察能力和不同凡响的写作技巧。作者作为中国学者的话语建构能力、文化自觉意识和学术创新思维，是值得当下学界提倡的。

The book written by Zhu Zhenwu, et al., American Fiction: The Process of Localization and Multivariate Genealogies, offers a multi-dimensional examination of the origin and flow of American fiction and the process of its location. It also traces its diverse components and multiplex genealogies. The way in which its unique appearances, different forms, cultural implications, aesthetic representations, reciprocal influences, and secrets of success are respectively represented and evaluated demonstrates a wide range of expertise of the authors: the broad scope of their scholarly vision, the depth of their transboundary research, the power of their perception, and the extraordinary skills in their writing. As Chinese scholars, their capability of discourse construction, their sense of cultural consciousness, and their innovative thinking in scholarship are really commendable and worth promoting in our academia today.

往期精彩文章回顾：

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

何庆机 | 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

吴娟 | 拟态、演化与叙事：纳博科夫《天赋》对进化论的文化反思

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

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