《外国文学研究》2019年第4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4期(总第198期)

中外学者访谈

焦鹏帅 顾明栋  

中西“大人文”融通的思想、理路与方法

——顾明栋教授访谈录

Ideas, Orientations and Methods in the Fusion of Chinese and Western Horizons in “Greater Humanities”: An Interview with Prof. Mingdong Gu

美国达拉斯德州大学艺术人文学院顾明栋教授以其近四十年的学术经历，提出了“大人文”的观念，并一直身体力行。本文从学术生涯、学术理路、学术思想和学术回顾与展望等四个方面对顾教授进行了访谈，他以其自身的经历和视野，分享了他对英美两国研究生培养机制的差异、学术训练与学术研究的关系、中国典籍英译评价的复杂性、“汉学主义”的来龙去脉、中国古典文论及思想的现代化、学术研究的概念性和原创性、中国文化“走出去”以及中国外语教学等问题的深刻见解，体现了一个华裔学者兼纳中西的国际视野和家国情怀，更体现了他治学理念中的问题意识、批判意识和创新精神。其中的一些观点能为从事中西文学、文化比较的学者带来启示，也能为中国文化走出去，中国外语教学水平的提高提供一些参考。

With an academic career of nearly 40 years, Professor Mingdong Gu in the Schoolof Arts and Humanities, University of Texas at Dallas, has proposed the idea of “Greater Humanities” and dedicated himself to practicing it in his teaching and research. This articlegrows out of an interview with him, covering his academic career, research approaches, scholarly concepts, and the past and future orientations of the academia. Based on his own career and vision, he shares with us his views on the similarities and differences in graduate education between British and American universities, the relationship between education and scholarship, the intricacies in evaluating the English translation of Chinese classics, the genesis of Sinologism, the modernization of classical Chinese literary theory and philosophy, and some conceptual issues concerning originality and creativity in scholarship. He has also offered his insights on how Chinese culture can go beyond China and how foreign language education in China can be enhanced to the next level. The interview shows an overseas Chinese scholar’s global perspective on and love for Chinese culture, and testifies to his inquisitiveness, critical sensibility, and creative spirit in academic pursuit. Some of his ideas will not only inspire scholars working on China-West studies and comparative culture, but also facilitate the promotion of Chinese culture abroad and help improve foreign language teaching in China.

中外学者对话：图像与文本研究

Jonathan Locke Hart

Introduction：Image and Text

Image and word, as expressed in pictures and works or texts, is an old relation in East and West. In this dialogue, we move from the general theoretical context, more expressed in the article by J. Hillis Miller (University of California, Irvine), to matters concerning the Renaissance and Béroalde de Verville, Le Voyage des princes fortunez, as set out by Tom Conley (Harvard), and Shakespeare and Tang Xianzu, as explored by Liu Hao (Tsinghua). Whereas the relation between verbal and visual signs seems to go back thousands of years in East and West, our discussion is mainly focused on the past five hundred years or so. The contributors facilitate an implicit dialogue among their essays and, while their articles are selfsufficient, help the readers to explore implications as a whole as well.

J. Hillis Miller’s “Image and Text Today” explores the topic of the cross-cultural dialogue or issue, which is “image and text.” Miller argues that the “and” in the phrase “image and text” is ambiguous because it may mean a harmonious intertwining of the two or “a juxtaposition of incommensurables.” He also notes that it may indirectly refer to a faulty assumption about media history that image or text is dominant in a given period and country. Miller states that all texts have a dimension of images and all images have a textual component. For Miller, from ancient manuscripts through medieval ones and works of the print era to the most recent video games, image and text have both mixed. Miller asks whether print culture matters any more because of four factors. Global warming has been rapidly accelerating. The dominant media is transforming quickly and globally from print to digital. There has been a recent shift from global thinking to nationalist, racist, xenophobic and anti-immigrant thinking. Colleges and universities in the United States are changing, including a tendency in weakening and marginalizing the study and teaching of literature and literary theory.

Tom Conley notes in his article, “A Cartographic Fiction: Béroalde de Verville’s Le Voyage des princes fortunez (1610),” that in 1593 Maurice Bouguereau, a printer on the rue de Scellerie in Tours, hired Gabriel Tavernier to help him complete an atlas designed and destined for Henry IV of Navarre. Le Théatre François, ou sont comprises les chartes generales et particulieres de la France — the atlas — would remind its first and best reader that its maps, born of the “theater” of war and strife, were political objects and the volume “ would show the king the sum, substance and virtue of his kingdom.” There is, according to Conley, an anamorphic character of the writing, whose presence had been seen in the details of the frontispiece to Maurice Bouguereau’s Théâtre françoys, where a map of the France is displayed in anamorphic perspective. Conley says that anamorphosis is related to systematic aberration, and that projection of the globe or its parts on a flat surface is an aberration, which Béroalde calls steganography, and is related to cartography. This novel, according to Conley, “offers bent reflections and mappings of itself at every juncture and in every passage.” Conley states that this novel is a cartographic fiction and that “it may have no equal or likeness in the Baroque or other canons.”

In “Visual Images and the Enrichment of Meaning in the Cross-Cultural Productions of Shakespeare and Tang Xianzu,” Liu Hao argues that Shakespeare and Tang Xianzu represent two source traditions of drama in both print and stage and examines the cross-cultural reception of these writers. She does so with instances of visual effects and stage images from six cross-cultural productions, seeing how Shakespeare and Tang are reframed in each other’s culture. Moreover, Liu Hao maintains that the visual effects and images in the cross-cultural productions have enriched the meanings of the plays while suggesting new interpretive perspectives. Liu Hao argues this while admitting that this enrichment is so even if the adaptations eclipse some of the original subtleties. Finally, Liu Hao argues for an appreciation of Shakespeare’s and Tang Xianzu’s works — on a cross-cultural stage — as national canons and sources for creativity.

This East-West dialogue, or cluster, or focused special issue, like my own article on image and text in theory and practice and in regard to the case of Shakespeare across the genres in the preceding cross-cultural dialogue or issue (split in two at the request of the editor of the journal), is intended to permit the reader to think about image and word or text, an ancient connection, in terms of theory and practice, various genres and media, from novels, maps to plays and the internet. These articles speak for themselves in and of themselves, but they also create a cluster and configuration here for the readers of the journal. Images are in texts and texts in images. In any age, including hundreds of years ago and certainly in our own period, images and words may have distinctive features, but they also overlap and perform together in plays, novels and other texts as well as in the internet itself.

J. Hillis Miller

Image and Text Today

当今的图像与文本

An image is usually in one way or another a visual representation or “image” of something, as in “photographic image,” but sometimes an image may be a “stand alone,” a picture without any referent. A text is usually a set of meaningful words in comprehensible order. This essay investigates the effects on reading of recent media changes, especially ubiquitous digitalization. Examples of texts with images are drawn from Botticelli and Warhol. An argument is made for the need to transform so-called “rhetorical reading” in order to apply it to new digital combinations of text and image such as video games.

图像通常是这样或那样的视觉展现，要不就是某样东西的“图像”，如同“摄影图像”。不过，有时候一个图像也许是“单一体”，一幅不带任何相关意义的图像。文本通常是一系列富有意义的词语，按照可以理解的顺序排列而成。本文探索新近媒体的变化尤其是无所不在的数字化对阅读的影响。文章以波提切利和沃霍尔的图像文本为例，认为我们需要改变所谓的“修辞阅读”，以便解读文本与图像的新数码化组合，如电子游戏。

Tom Conley

A Cartographic Fiction: Béroalde de Verville, Le Voyage des princes fortunez

一部地图小说：贝罗阿尔德·德·韦尔维勒的《幸运王子之旅》

Maurice Bouguereau hired Gabriel Tavernierto to help him complete an atlas designed and destined for Henry IV of Navarre. The atlas would bring before the eyes of the King the sum of the provinces, regions, cities and rivers and, no less, a sense of the nation.Henry would have at his behest an instrument vital for tactical maneuvers to counter the massive forces of the Holy League. Were he to win the wars and ascend to the throne, the same object could facilitate taxation, administration, commerce, and management of the nation. The atlas would remind its first and best reader that its maps, born of the “theater” of war and strife, were political objects. Recalling the encyclopedic project that Abraham Ortelius had launched with his sumptuous Theatrum orbis terrarium, the book would show the King the sum, substance and virtue of his kingdom. To enhance and launch the atlas, Bouguereau obtained prefatory matter praising its virtue and giving good cause and reason to the local magistrates and dignitaries. Among these writers of praise was Béroalde de Verville, whose cartographic fiction, Le Voyage des princes fortunez (1610), a novel of more than 700 pages, is the main focus of this essay, especially in terms of the relation between image and text.

莫里斯·布格罗雇了盖布利尔·塔温尼尔托来帮他完成一幅为纳瓦赫亨利四世所设计、特备的地图册，该地图册将使各省、各个地区、城市、河流乃至整个国家的概貌展现在国王眼前。亨利将拥有一件任他支配的工具，这对于他形成用战术策动来制约神圣联盟的庞大力量至关重要。假如他能赢得战争的胜利、荣登王座，这件东西就能帮他处理国内的征税、运作、商贸和治理。地图册会提醒其最先、也是最佳的读者其中展现的地图诞生于战争和纷争“区域”，是政治工具。该地图册使人想起亚伯拉罕·奥特利乌斯以他奢华的世界地图来开启的百科全书项目，将向国王显示他王国的全部、要点和优势。为了加强并发布这本地图册，布格罗刻意亲自撰写序言，赞扬它的实质功能，并向地方官员和知名人士详尽说明它前所未有的价值。贝罗阿尔德·德·韦尔维勒是赞赏该地图册的作家之一，他的地图小说《幸运王子之旅》（1610），一部长达700 多页的巨著，将是本文论述图像与文本相互关系的重点。

刘 昊

莎士比亚和汤显祖戏剧跨文化改编中的“象”与“意”

“Image” and “Meaning” in the Cross-Cultural Adaptations of Shakespeare’s and Tang Xianzu’s Plays

在当代的传播中，莎士比亚作品为中文语境的观众所熟悉，而汤显祖作品逐渐进入英文语境中的观众视野。分析六个改编实例可见，汤莎经典在跨文化舞台上都经历了变形，以适应对方的语境，其精妙之处可能难以传达，致使改编言不尽意，或改变本意。然而，在舞台上，直观可感的形象是阐释原作或赋予作品新视角的手段，跨文化改编版的舞台之“象”常给观众深刻的印象。当言不尽意时，舞台作品可以“立象”以“尽意”，甚至“立象以生新意”。“象”与“意”的互补带来经典作品传播中原意的损失和新意的增加，进而引向传统文本在世界舞台上如何阐释与评判的问题。对经典本意的把握和当下的跨文化流传不是非此即彼的选择, 而应超越单一标准。

In today’s circulation, the audience in Chinese-speaking regions are quite familiarwith Shakespeare’s plays, while Tang Xianzu’s plays have gradually come into the sight ofthe English-speaking audience. An analysis of six adaptations shows that the masterpieces byShakespeare and Tang have gone through some variations on cross-cultural stages in order toadapt themselves into a different language environment. Often, since some of their subtleties may not be properly conveyed, an adaptation may not fully articulate the meaning or even drift away from the intended message. On stage, however, the direct and sensible image could become a good instrument for interpreting the original text or approaching the text from a fresh perspective. The “images” in the cross-cultural stage productions leave the audience a deep impression frequently. Whenever words are inadequate to convey all the implications, stage productions could “create images” for a “full expression of meanings,” or even “set up images to generate new meanings.” The interplay between “image” and “meaning” is closely tied to the loss of the original flavors and the addition of new implications in the adaptation of classics, thus helping us tackle the issue of how to understand and assess traditional texts on  the world stage. When it comes to the accurate comprehension of the classics and their cross-cultural circulation at present, it doesn’t make sense to stick to an either-or option; we should go beyond a single standard instead.

文学叙事研究

穆 杨

对真理的“删除保留” ——当代英美小说改写与求真叙事的转变

“Sous Rature” of Truth: Rewriting in Contemporary British and American Fiction and the Turn of the Truth-Seeking Narrative

批评界针对当代英美小说的总体特征已经提出了诸多概念，其中威廉·加斯的“元小说”、弗雷德里克·詹明信的“后现代拼贴”、琳达·哈钦的“后现代戏仿”和“历史编纂元小说”最具代表性和影响力。但上述概念存在显见的矛盾：当代小说的总体特征到底是偏重内容（“后现代戏仿”）还是偏重形式（“元小说”“后现代拼贴”）亦或是兼而有之（“历史编纂元小说”）？实际上，这些概念有一个重要的交叉点——改写，而改写既可以针对前文本的内容也可以针对前文本的形式或兼而有之。本文提出具有先锋性和代表性的当代英美小说的共同特征是通过改写重新审视小说与真理之间的关系，这种对真理的内容的反思以及对小说本身作为真理叙事形式的自省，标志着小说作为求真叙事在当代发生的最根本的转变，而改写的具体形式是对真理的“删除保留”（Sous Rature, 海德格尔），即把前文本中的真理置于小说创作的核心地位，运用改写的方式为其划上删除线（真理），改写的结果是真理既被质疑也被保留甚至被凸显，目的是揭示前文本隐含的真理和前文本运用的真理叙事形式的不合理性、矛盾性、自我消解性、不稳定性。此种改写与20 世纪六十年代以来的后结构主义思潮一脉相承。

In terms of the general feature of contemporary British and American fiction,critics have put forward a number of definitions, among which William Gass’s “metafiction,”Fredric Jameson’s “postmodern pastiche,” and Linda Hutcheon’s “postmodern parody” and “historiographic metafiction” are the most representative and influential. However, there exists an obvious dispute in the above notions: Does the general feature lie in content as in parody, or in form as in metafiction and pastiche, or in both as in historiographic metafiction? Among these notions, however, there is actually an intersection—rewriting, which could be focused on either the content of the pretext or its form, or both. This essay argues that it is through rewriting that the most pioneering and most representative contemporary British and American fiction reassesses the relationship between truth and fiction, reflecting on the truthful content in fiction and the form of fiction as a truth narrative. Such reflections mark the most radical turn of fiction writing as a truth-seeking discourse in contemporary literature, whose more specific representation in rewriting can be defined as “Sous Rature” (Martin Heidegger) of truth (truth), namely, to give the truth in the pretext a strikethrough while still retaining it as the focus. Consequently, by questioning, or preserving, or even foregrounding the truth, rewriting may reveal the irrationality, self-contradiction, self-disintegration, and instability of not only the truth implied in the pretext, but also the truth narrative form used in its representation. Such kind of rewriting has developed with the post-structuralist intellectual movement since the 1960s.

胡秋冉

乔伊斯《伊芙琳》中的叙事空白新解

A New Reading of the Narrative Gaps in Joyce’s “Eveline”

在乔伊斯的短篇小说《伊芙琳》的现有批评中，围绕其男友弗兰克的空白一度引起过度阐释，与乔伊斯的美学精神相去甚远。而文本世界理论可以审查小说中更可察、更有意义的叙事空白，即伊芙琳在私奔的全面权衡中安全和伦理参数的缺失。在列维纳斯理论的烛照下，这两处空白勾连出晕船恶心这个看似不值一提的细节，及隐晦然一以贯之的疲惫主题，从而使伊芙琳的悲剧获得哈姆雷特式的深意。《伊芙琳》表面上是对19 世纪末爱尔兰女性移民的警示，深层却呈现出围绕疲惫、努力、延宕、恶心与存在之间的错综关系。

In the scholarship on James Joyce’s “Eveline,” there have been a host of overinterpretations of the narrative gap concerning Frank, Eveline’s boyfriend, which are far from Joyce’s aesthetics. Text World Theory, however, may help us examine more workable and meaningful gaps, such as the absence of the parameters of security and ethics when Eveline thoughtfully weighs up the pros and cons of her elopement. In the light of Emmanuel Levinas’s philosophy, these two gaps help us with new understandings of nausea, a seemingly insignificant detail, and fatigue, an implicit but recurrent motif throughout the text, both of which contribute Hamletian connotations to Eveline’s tragedy. While on the surface a warning to Irish female emigrants at the end of the nineteenth century, the story in its depth renders the complex interconnections between fatigue, effort, delay, nausea, and existence.

马 特

论加里·斯奈德的后现代城市建构与生态叙事

Gary Snyder’s Postmodern Urban Construction and Ecological Narratives

面对后现代城市空间的生态焦虑与碎片化的自然经验，加里·斯奈德在后现代城市叙事中编织起一张因陀罗网式的城市生态网络，将自然存在与人造产物平等地纳入其中，解构文明与自然之间的二元对立，指出一切都属于“一个世界”，形成了一种“无自然”的自然观。在此基础之上，斯奈德提出以生态实践的方式在城市中实现和平的重新栖息，指出只有回归地方，在生态社区中“扎根”，才能重建大地，建构起“真正的城市”。

Faced with the ecological anxieties over and fragmented natural experiences within the postmodern urban space, Gary Snyder’s postmodern urban narratives weave an urban ecological web resembling the Indra’s net, in which the natural beings and artificial products co-exist equally, deconstructing the dichotomy between nature and civilization. Snyder contends that everything belongs to “one world” and forms a natural view with “no nature”. Furthermore, Snyder proposes a peaceful reinhabitation in cities through ecological practices, claiming that only by returning to the local place and staying rooted in the ecological community can we rebuild the land and construct the “real city”.

英美文学研究

陈 兵

英国维多利亚时代历险小说中的异域风景与英国性建构

The Exotic Landscape in the Victorian Adventure Fiction and the Construction of Englishness

风景的再现是一种意识形态的建构，涉及到性别、阶级、民族和种族等诸多因素。维多利亚时代历险小说对于异域风景的描写就蕴含着英国性的建构。《加拿大居民》中对于北美荒野的描写表现了英国人的勤勉与自律，《珊瑚岛》里南太平洋岛屿风情反映了英国的文明、理性与教化异域的精神，而《所罗门王的宝藏》中的女性化非洲大陆风景则讴歌了英国人的男性气概。它们都是特定英国社会文化语境的产物，代表着不同时代英国民族特性的建构。

As an ideological construct, landscape representation involves various elements, such as gender, class, nation and race. The depiction of the exotic landscape in the Victorian adventure fiction embodies the construction of Englishness. The North American wilderness in Settlers in Canada reflects the English industry and self-discipline, the island landscape of the South Seas in The Coral Island represents the English civility, reason and spirit in civilizing exotic regions, and the feminized landscape in King Solomon’s Mines eulogizes the English manliness. As the specific products of different social and cultural contexts, these novels construct different versions of Englishness during different times.

王旭峰

论《鲁滨孙漂流记》中的疾病

The Disease in Robinson Crusoe

疾病在《鲁滨孙漂流记》中扮演着重要角色。笛福在小说中叙述了两种类型的疾病，即身体疾病和精神疾病。小说中，痛风和瘟热这样的身体疾病具有强烈的隐喻色彩。在鲁滨孙的海外冒险经历背后隐伏着一个疾病叙述的文本，在其巴西及随后的经历中,“不在场的疾病”成为推动小说情节发展的内在动力，岛上患病的故事促成了经典鲁滨孙形象的形成。最后，笛福还描述了鲁滨孙的精神疾病症状。笛福的疾病叙述蕴含了他的殖民思想和帝国意识，同时也反映了笛福和他所处时代的疾病认知。

Disease seems to be an essential part in Robinson Crusoe. Defoe addresses two kinds of disease: physical disease and mental disease. Two physical diseases, gout and distemper, are strongly metaphorical in this novel. There is a hidden text of disease narrative behind Robinson’s overseas adventure. And the “unpresented disease” implied in the narrative about his experience in Brazil and afterwards is the inner power to propel the plot of the novel forward. Defoe’s narrative about Robinson’s suffering from disease on the island shapes up the classic image of Robinson. Lastly, Defoe describes the symptoms of Robinson’s mental disease. Defoe’s disease narrative not only connotes his colonial mentality and imperial aspiration, but also reflects the cognitive response to diseases from Defoe and his time.

庞好农 薛璇子

从《街》探析佩特里笔下的心理叙事

An Analysis of the Psychological Narrative in Ann Petry’s The Street

佩特里在《街》里通过对微妙心理的刻画，营造出斑驳迷离的心理空间，开创了一个独具特色的心理叙事风格。她以一个冷静旁观者的心态，写下她所能够看到和体悟到的哈莱姆社会现实和人间百态，通过记忆表象再现的方式来展现人的心灵轨迹。在佩特里笔下的视觉心象、听觉心象和运动心象里，生理欲望和金钱欲望的相互纠结使人的心理变得矛盾怪异，以此揭示了种族主义社会的荒谬性和非理性。情境心理中的恋物癖、事与愿违心理、心理冲突和臆想的相互作用，解构了美国黑人的情感心理状态、意志心理状态和动机心理状态，揭露了黑人在种族主义环境里的生存危机，阐释了情境力量场对人格和人性的强大影响力和制约力。

With a masterful depiction of her characters’ subtle psyche, Ann Petry creates acomplex and changing psychic space and invents a unique style of psychological narrative in The Street. As a sober onlooker, she jots down all the social realities and human conditions she has witnessed and experienced in Harlem and exhibits the psychic paths of her characters through the representation of memory images. What the visual, auditory, and motion mental imagery in her work reveals is that the interlocking of physical and monetary desires makes people’s psyche seem contradictory and abnormal, thus disclosing the absurdity and irrationality of a racist society. The interplay between the four aspects of the situational psyche, namely, fetishism, the adverse-fortune mentality, psychological conflicts, and delusions, deconstructs the mental state of the emotion, will and motivation of the black people in America, revealing their survival crisis in the racist environment, and articulating the tremendous influence and restrictive power of situational forces upon human dignity and human nature.

谢 梅

哈莱姆文艺复兴时期非裔女性小说中的非裔美妆文化研究

Cosmetic Culture in African American Women Novels during the Harlem Renaissance

都市生活构成了美国哈莱姆文艺复兴时期非裔女性小说的“风景线”，其中极具女性性别特征的美妆消费、美妆仪式展现了黑白文化在都市空间的互动与融合，美妆书写蕴含着哈莱姆文艺复兴时期女性小说致力于塑造新黑人女性形象的创作动机。主流社会的大众消费文化和非裔女性塑造城市化新形象的美妆需求一起推动了非裔美妆文化的产生，广告则为它的迅猛发展起到了重要宣传作用。非裔美妆文化带来的影响主要包括两方面：一方面，非裔女性迎合消费主义文化盛行的时代潮流，开启了主动参与时尚文化生产之路，美妆呈现的身体意识与身体美学符合主流社会期待，为她们提供了更好的就业、社交、婚姻等生存机遇；另一方面，非裔社区流行的美妆文化明显呈现出“以白为美”的白人审美标准，形成了与“以黑为美”的黑人种族审美标准之间的冲突，造成了非裔女性的“黑人性”认同危机。

The representation of urban life is a highlight in African American women novels during the Harlem Renaissance. Cosmetic consumption and rituals, which fully embodied the unique feminine traits, exemplified the interaction and integration between African American culture and the mainstream culture in cities. What the writing of cosmetics connotes is these writers’ creative impulse to portray a new image of the Black woman in their novels. It isthe mass consumer culture and the African American women’s desire for a new urbanized image through cosmetics that generated the cosmetic culture among African Americans. Also, advertisement played a key promotional role for its rapid development. The African American cosmetic culture had a two-fold impact. On the one hand, African American women followed the popular trend in the culture of consumerism and took an active part in the production of fashion industry because they learned that the use of cosmetic products could enhance their body consciousness and soma aesthetics, which in turn would help them meet the expectation of the mainstream society and get more opportunities for employment, social life and marriage. On the other hand, the cosmetic culture prevailing within the African American community clearly adhered to the “white is beautiful” aesthetic criteria of the white America, contradicting the “black is beautiful” belief among African Americans, and creating an identity crisis for African American women who tried to come to terms with their “blackness”.

东方文学研究

余玉萍

《弗兰肯斯坦在巴格达》中怪物形象的多重意蕴

The Multiple Implications of the Monster’s Image in Frankenstein in Baghdad

伊拉克新锐作家艾哈迈德• 萨达维的小说《弗兰肯斯坦在巴格达》是“阿拉伯之春”之后涌现出的一部力作。小说以2003 年伊拉克战争之后的社会动乱为总体背景，构拟了巴格达市拜塔温老区发生的一桩奇异案件，通过挪用西方哥特文学经典形象并进行深度再创造，成功塑造了一个复合型的怪物形象。怪物“无名氏”在从“救世者”向“毁灭者”演变历程中所经历的伦理困境，是复杂的人性与乱象丛生的社会现实相交织的结果。曾以“和平城”闻名于世的巴格达城，因失却往昔开放兼容的文化精神，加之外来强权武力干涉引发社会失衡，而像怪物一般为恐怖的阴霾所笼罩。巴格达城内的芸芸众生也是怪物形象的种种变体，在这座欲望都市里上演着一幕幕令人啼笑皆非的故事。小说围绕复合型的怪物形象，揭露了伊拉克战争后满目疮痍的社会现状，并对宗派主义、集权主义、族群中心主义等阿拉伯传统社会积弊进行了有力批判。

Frankenstein in Baghdad by the newly emerged and talented Iraqi writer, Ahmed Saadawi, is regarded as a masterpiece produced after “Arab Spring”. Using the post-Iraq War social turmoil as its backdrop, the novel delineates a strange case which occurred in the old neighborhood of Bataween in Baghdad. It successfully represents a composite image of monster by imitating and reconstructing one of the classical images in the Western Gothic literature. The ethical morass experienced by the monster, “whatsitsname,” during its transformation from a “savior” to a “destructor” is consequent upon the intermixing of the complicated human nature and the chaotic social reality. The city of Baghdad, once a world-renowned “City of Peace”, is now shrouded in the haze of horror like the monster due to its loss of the cultural spirit of openness and inclusiveness as well as its social imbalance triggered by the military intervention of foreign powers. The people living in Baghdad become the variants of the monster and produce a series of ridiculous stories within this city of desire. Revolving around the composite image of the monster, the novel discloses a devastated society after the Iraq War and strongly criticizes some of the age-old Iraqi social issues, such as sectarianism, authoritarianism and ethnic centralism.

蔡圣勤 吕曰文

论库切“耶稣系列”小说中乌托邦社会的建构

The Construction of Utopia in J. M. Coetzee’s “Jesus Novel Series”

库切的“耶稣系列”小说《耶稣的童年》和《耶稣的学生时代》以主人公大卫的童年和小学阶段的成长经历为轴心，塑造了一个没有剥削和压迫的乌托邦社会。本文以恩斯特·布洛赫的希望哲学为理论基础，从教育乌托邦、婚姻乌托邦和宗教乌托邦等三个维度，对“耶稣系列”中的乌托邦世界进行分析，发现作者通过小说中乌托邦社会的建构，反思并批判了当前西方社会存在的种种弊端，而其对乌托邦社会建构的目的在于唤醒人们内心的乌托邦理想，鼓励人们超越现存世界的种种桎梏，成为自由而全面发展的个体，从而实现人的解放。

J.M. Coetzee’s “Jesus Series” novels, The Childhood of Jesus and The Schooldays of Jesus, take the protagonist David’s childhood and growing experience in primary school as the axis in creating a utopian society without exploitation and oppression. Based on Ernst Bloch’s philosophy of hope, this paper attempts to analyze the utopian world constructed in the “Jesus Series” from three perspectives: educational utopia, marital utopia, and religious utopia. Also, we wish to share our conclusion that Coetzee’s construction of the utopia society in his novels is intended as a reflection and critique of various problems in the Western societytoday, and that he aims at arousing people’s inner utopian ideal and encourage them to break through various shackles of the present world for a chance to not only become free and wellrounded individuals, but also accomplish the liberation of the mankind.

批评与批评研究

王东风

历史拐点处别样的风景：诗歌翻译在中国新诗形成期所起的作用再探

A Different Scenery at the Historical Turning Point: Rethinking the Influence of Poetry Translation upon the Development of Chinese New Poetry

学术界普遍认为中国新诗是在西方诗歌的影响下产生的，胡适是中国白话新诗或自由诗的第一人，但细读历史文献，不难发现，胡适和其他诗人的白话新诗发表之前，胡适本人和其他译者所翻译的西方诗歌大多是格律诗, 而不是自由诗，他们采用归化式的译法，把西方格律诗译成中国的旧诗体，因此原诗的诗体和译诗的诗体都不具备促发以自由体为特征的白话新诗的条件。而且，有证据表明，白话新诗实际上在白话自由体的诗歌翻译之前就已经出现了。此外，白话新诗产生之后，由于诗歌翻译界采用了“废律”的翻译方法，因此西方诗歌的诗体在翻译中遭到了系统性的破坏，不同的诗体都被译成了分行散文体。这些都表明，白话新诗并非是在西方诗歌的影响下发生的，相反，正是在胡适的“八不主义”思想和他白话新诗创作的双重作用下，中国的诗歌翻译的传统才在白话新诗出现之后由旧诗化翻译的传统迅速转向了白话自由诗体的翻译。

It is a consensus in the Chinese academia that Chinese New Poetry came into being under the influence from its Western counterpart, and Hu Shi is the first poet of Chinese New Poetry, i.e. vernacular free verse. A close reading of historical records, however, will lead us to an easy discovery that before Hu and other poets published their vernacular or baihua new poems, the Western poems they translated were almost all metrical ones, rather than free verses, and the translators used the method of domestication in translating the Western metrical poems into traditional Chinese poems. Therefore, neither the form of the original Western poems nor the form of their Chinese translations could have provided the right condition for the emergence of vernacular new poems, which are characterized by free verse. And it has been proven that vernacular new poetry had appeared way before the translation of free verses in vernacular. Moreover, after the emergence of the vernacular new poems, the translators adopted a “de-metricalized” approach in translating the Western poems. As a result, the metrical form of the Western poems was deformed systematically in translation and poems written in different forms were all translated in prose style. All this shows that it is not the Western poems that triggered the movement of the Chinese vernacular new poems, but, conversely, it is the double influence of Hu’s “eight-don’ts” theory and the new poems he wrote that quickly changed the norms of poetic translation in China from traditional metrical form into free verse after the appearance of vernacular free verse.

张 军

当西方走向东方, 当后现代遭遇禅宗

——评邱紫华近著《禅宗精神与后现代精神的“家族相似”》

When the West Turns to the East, When Postmodernism Encounters Zen: Reading Zen Spirit and the “Family Resemblance” of Postmodern Spirit by Qiu Zihua

邱紫华教授的著作《禅宗精神与后现代精神的“家族相似”》，把后现代和禅宗思想视为人类一种普遍性的精神现象，以中西印三方哲学美学思想交流沟通，多有发明识见。其对当代中国美学研究的反思，对悖论思维的解读，对后现代艺术的分析，对中国当代学术思维方式的批评，都具有高度的启发性和创见。本文认为，后现代和禅宗基于文化传统和理论品格，具有显著的差异性；对后现代和禅宗的研究，应深入到其对现代人生活所具有的意义和价值层面。

Professor Qiu Zihua’s book regards Postmodernism and Zen thought as a universal spiritual phenomenon of humankind and offers quite a few innovative ideas about the philosophical and aesthetic exchanges and communications among China, the West, and India. His reflections on the study of contemporary Chinese aesthetics, his interpretation of paradoxical thinking, his analysis of postmodern art, and his criticism of contemporary Chinese academic thinking are highly creative and enlightening. This paper argues that Postmodernism and Zen differ significantly because of their cultural traditions and theoretical features. The study of Postmodernism and Zen should be deepened into their implications for modern life and values.

往期精彩文章回顾：

尚必武 | 被误读的母爱:莫里森新作《慈悲》中的叙事判断

王卓 | 论《诗章》中的黑人形象隐喻与美国历史书写

刘悦 刘建军 | 拜占庭“文人剧场”的生成

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》

目录 | 《外国文学研究》2019年第4期

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