《外国文学研究》2019年第6期主要论文摘要
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2019年第6期(总第200期)
中外学者访谈
Zheng Li & Carole Boyce Davies
Boundary Crossing: An Interview with Carole Boyce Davies
跨越边界：卡洛尔·波伊斯·戴维斯访谈录
Carole Boyce Davies is Professor of English and Africana Studies at Cornell University. In 2017, she received the Distinguished Africanist Award from the New York State African Studies Association and was honored with the Frantz Fanon Lifetime Achievement Award for her globally influential work as a scholar, educator, and activist. In the words of CPA (Caribbean Philosophical Association) President Neil Roberts, “Carole Boyce Daviesis a giant in the fields of Caribbean thought and African Diasporic studies.” She has been an integral part of how to talk about diaspora, decoloniality, black women’s histories and philosophies, and the black radical tradition. Davies has published many books, including the prize-winning Black Women, Writing and Identity: Migrations of the Subject (1994) and edited or co-edited several critical collections on African Diaspora literature. On behalf of Foreign Literature Studies, Dr. Zheng Li interviewed Davies on a series of questions, such as black women writing and identity, migrating subjects, spatial and temporal frame for the African Diaspora, the comparison between African writing and other minority groups, and women’s perspectives on cosmopolitanism and cultural identity in the context of globalization. In addition, Davies shares her view of how to realize one’s fullness and potentiality as a woman in today’s world. How to keep a balance between nationalism and cosmopolitanism? In her view, it’s a question not only for African people, but for all of us, regardless of our race, gender and nationality.卡洛尔·波伊斯·戴维斯是美国康纳尔大学英语和非洲文学研究教授，因其作为学者、教育家及社会活动家所具有的世界影响力, 于2017 年荣获纽约州非洲研究协会颁发的杰出非洲研究者奖与弗朗茨·法农终身成就奖。用加勒比哲学协会主席尼尔·罗伯茨的话来说：“卡洛尔·波伊斯·戴维斯是加勒比思想和非洲流散研究领域的巨人。”事实上, 谈及离散、去殖民化、黑人女性的历史和哲学、黑人激进传统等领域的研究，戴维斯不可或缺。目前她已发表多部著作，包括获得奖项的《黑人女性、书写与身份：主题的迁移》（1994），自编或与人合编了几部有关非洲离散文学的论文集。受《外国文学研究》委托，郑丽对戴维斯进行了专访，就一系列问题，如黑人女性写作和身份、主体迁移、非洲流散的时空架构、非洲书写及与其他少数族裔书写的异同、全球化背景下女性的世界主义视野和身份认同等等进行了热烈探讨。戴维斯分享了她有关当今世界女性如何充分实现自我和发挥潜力的观点。如何平衡民族主义与世界主义，不仅是非洲人民，而且是我们所有人，无论什么民族、性别或国籍，必须面对的问题。
中外学者对话：泰辛巴·杰斯诗歌研究
Zhang Dongying & Tyehimba Jess
“Emulating the Tradition of Innovation”: An Interview with Tyehimba Jess
“效仿创新传统”：泰辛巴·杰斯访谈录
泰辛巴·杰斯是当代美国非裔诗人的杰出代表，其诗集《奥利奥》（2016）获2017 年普利策诗歌奖，诗集《铅肚皮》（2005）入选2004 年美国国家诗歌丛书。杰斯现任教于纽约城市大学泰登岛学院。在杰斯教授于2018 年12 月6—7 日到访华中师范大学参加第七届中美诗歌诗学国际研讨会不久之后，华中师范大学讲师、美国文学专业博士生张冬颖于2019 年1 月对其进行了视频访谈。访谈围绕杰斯教授的诗歌创作、诗学观念及其对文学传统和文学影响的看法展开。杰斯教授不仅谈论了其两部诗集《铅肚皮》和《奥利奥》的文学主题和形式，其艺术创作动机和创作过程，而且就其诗歌的音乐性、跨文类跨学科的视角、美国非裔诗歌传统和不同代际的诗人、以及诗人在当今世界的角色等问题分享了他的观点。
Tyehimba Jess is one of the leading African American poets. He is the author of Olio (2016), winner of the 2017 Pulitzer Prize for Poetry, and leadbelly (2005), winner of the 2004 National Poetry Series. Jess now teaches at the College of Staten Island, City University of New York. In January 2019, Zhang Dongying, lecturer and PhD candidate in American literature at Central China Normal University, had an interview via Skype with Professor Jess, not long after he attended the 7th International Conference of Chinese/American Poetry and Poetics (December6-7, 2018) at Central China Normal University, Wuhan, China. This interview centers around Professor Jess’s poetry and poetics as well as his thinking on literary tradition and influence. Professor Jess not only talks about the themes and forms of his two collections, leadbelly and Olio, his artistic motivations and writing process, but also shares his views on the musicality of his poetry, on his multi-genre, interdisciplinary approach, on African American poetic tradition and poets of different generations, and on the role of poets today.
Brian Reed
Defying Gravity: Tyehimba Jess’s Syncopated Sonnets
反抗引力：论泰辛巴·杰斯的切分音商籁体诗
本文探讨泰辛巴·杰斯诗集《奥利奥》中一个引人注目的层面，即“切分音商籁体诗”，诗中的整行或半行可以任凭读者随心所欲地按照任何顺序来读，由下而上或由上而下，或对角斜穿。而且，这些诗，尤其是那些从连体孪生姐妹米莉·麦考尔和克里斯汀·麦考尔的视角写就的诗，含有双重或多重叙述的声音，时而吻合，时而分离，部分、但并非全部清晰可辨。《奥利奥》抵制前行的时间性（递进、叙事进展），相反允许捉摸不透、徘徊不定和反复迂回式的推进模式、片刻之间的滞留，以及超越美国白人至上历史和意识之外的共性。在诗集里，杰斯自始至终探究安东尼·里德所说的自由时间。这是黑人诗歌中坚持不懈的努力，为的是走出由白人殖民者一手制造、沿袭成规及督查维持的历史，进入一个充满极端可能的时间性，在此期间一切都能，或许已经能，成为截然不同的另类。
This essay explores one striking aspect of Tyehimba Jess’s Olio, namely, its “syncopated sonnets,” poems whose lines and half-lines can be read in any order, up or down or diagonally, as a reader wishes. Also, these poems, especially the ones written from the point of view the conjoined twins Millie and Christine McKoy, contain two or more voices that merge and separate, becoming partly but not wholly distinguishable. Olio opposes a temporality of forward movement — of progress, of narrative development — and licenses instead a wondering, wandering, and circling manner of movement, an inhabitation of a moment, and a collectivity outside the history and ideology of American white supremacy. Throughout, Jess explores what Anthony Reed has called freedom time, the recurrent effort in Black poetry to exit from history— as produced, codified, and policed by white colonizers — and enter into a temporality of radical possibility, where everything could be, and might have been, otherwise.
罗良功
诗歌实验的历史担当：论泰辛巴·杰斯的诗歌
Historic Responsibility in Poetic Experiment: Tyehimba Jess’s Poetry
美国普利策诗歌奖得主、非裔诗人泰辛巴·杰斯的《铅肚皮》《杂烩》等诗歌作品具有激进实验的特征，主要表现在文体杂糅、多维文本、诗体创新等方面，对诗歌的意义建构和阅读体验具有革命性意义。杰斯激进的诗歌实验以强烈的历史担当意识为动力，又是杰斯表现美国非裔文化历史复杂性的策略；诗人延续并书写了以对话和反抗为特征的美国非裔文化创新传统，表现出开放的历史观。
The poetry collections, leadbelly and Olio, written by Tyehimba Jess, an African American poet and a winner of the Pulitzer Prize for Poetry, contain some characteristics of radical experiments, such as hybridity of genres, multi-dimensional text, and innovation in poetic form, all of which have revolutionary significance on the construction of meaning in and the reading experience of poetry. This paper argues that Jess’s radical poetic experiment is driven by his fully-charged sense of historic responsibility and explored as his strategy to represent the complexity of the history of African American culture. Jess emulates and writes about the African American tradition of cultural innovation that has been consistently focused on dialog and rebellion, while demonstrating his open view of history.
文学伦理学批评
陈后亮
伦理认同、文学想象与公共生活：评玛莎·纳斯鲍姆的伦理批评思想
Ethical Identification, Literary Imagination, and Public Life: A Review of Martha Nussbaum’s Ethical Criticism
玛莎·纳斯鲍姆强调文学创作和阅读活动的伦理功能，认为文学在描述道德生活的细腻性和伦理抉择的复杂性方面有着道德哲学所不及的特殊作用。文学阅读激起的情感反应和道德想象应该成为公共理性的有益补充，它们可以弥补经济学功利主义在指导公共生活方面的不足，为我们规划和设计更好的公共生活发挥有益作用。纳斯鲍姆试图恢复文学阅读在建构美好人类生活方面的潜能，但实际上，文学的真正价值并不在于它可以让普通人在道德上变得更完美，而在于复活一种早已消解的公共话语模式，让文学阅读和批评再次成为代表多元价值的多种声音进行对话协商的公共开放领域。
Martha Nussbaum highlights the ethical function of literary writing and reading. In her view, literature can do much more than moral philosophy in representing the subtlety of morality and the complexity of ethical particularities. Nussbaum argues that the emotional response and moral imagination initiated by the reading of literature can be supplementary for public rationality because they can cover the deficiency of economic utilitarianism in guiding public life and make positive contributions to our vision and plan for a better public life. Nussbaum tries to retrieve the potential function of literary reading in constructing a wonderful human life, but the true value of literature should not be measured by whether or not it could make ordinary people more perfect in morality, but by whether or not it could revive a long-gone public discourse that will turn literary reading and criticism into an open public sphere, once again, for free conversations and consultations between multiple voices representing different values.
罗钱军 赵永健
无罪之罪与伦理责任：阿瑟·米勒大屠杀戏剧中“同谋者”形象的伦理解读
Crimeless Guilt and Ethical Responsibility: An Ethical Interpretation of the“Conspirators’ Image” in Arthur Miller’s Holocaust-Themed Plays
与许多犹太作家不同，美国戏剧巨擘阿瑟·米勒在其大屠杀戏剧中并没有刻意凸显纳粹的罪恶，而是集中笔力书写置身其中或置身其外的犹太人的反应和行动，创造出一种“同谋者”的人物范式。米勒戏剧中的“同谋者”通常以受害者或旁观者的面目出现，均是普通意义上的“无罪之人”。但在米勒看来，受害者的软弱和旁观者的冷漠均是姑息暴行的“同谋之恶”，是“无罪之罪”；伦理身份的迷失必然导致对道德规范的无所适从，进而是普遍伦理责任的缺失，最终导致对恶行的旁观。通过对“同谋者”参与作恶而不自知的“同谋情境”的构建和呈现，作者揭示了“同谋罪”的普遍性、隐蔽性和深刻性，鼓励世人勇于承担伦理责任，积极行动起来，反抗世间的各种恶行，以获得真正意义上的救赎。
Unlike many other Jewish writers, Arthur Miller, a great master in American drama, does not intently highlight Nazi evils in his Holocaust-themed plays. Instead, he focuses on depicting the actions and reactions of Jewish figures either involved in the Holocaust or not, thus creating a paradigm of “conspirators”. The conspirators in Miller’s plays usually appear as victims or bystanders, who are, in a general sense, “crimeless people”. But in Miller’s view, the recreance of the victims and the apathy of the bystanders may still be defined as the “evil of conspiracy” or the “crimeless guilt” that condones atrocities. Meanwhile, the confusion about one’s own ethical identity will inevitably lead to the bewilderment about the code of morality, which in turn leads to the lack of universal ethical responsibility, thus ultimately leading to nonfeasance while beholding evil deeds. Through the construction and presentation of the “conspiracy situation” in which the “conspirator” participates，unconsciously，in evil doings, Miller reveals the universality, invisibility and profundity of the “evil of conspiracy”, encouraging the people of the world to take on their ethical responsibility and act conscientiously in their resistance against various evils for real redemption.
王 佳
佩罗童话中的“伪装”艺术与伦理教育
The Art of “Disguise” and Ethical Education in Charles Perrault’s Fairy Tales
夏尔·佩罗的童话集《鹅妈妈的故事》在对17 世纪之前的民间故事继承与改编中突出了童话的伦理教育功能，“伪装”是故事主人公人际交往与斗争的重要手段。童话中虚构的故事再现了伪装在现实社会生活中的意义与影响，童话对伪装策略及其后果的展示有助于读者更好地理解和掌握这一社会生存工具。伪装分为形象伪装、行为伪装与语言伪装，以动机为标准则有善恶之分。伪装承载的伦理信息具有隐蔽性，对伪装的理解需要个体在成长中不断学习。佩罗童话通过“伪装”主题教育儿童如何做出正确的伦理选择，成长为符合社会伦理规范的人。Charles Perrault’s collection of fairy tales, The Story of Mother Goose, puts an emphasis on the effect of ethical education in the inheritance and adaptation of folktales before the seventeenth century. Disguise is an important means for the protagonist’s interpersonal communication and struggle. The strategies of “disguise” and their consequences, as demonstrated in the fairy tales, might help readers better understand and master this tool for their social survival. The form of “disguise” includes image disguise, behavioral disguise and language disguise. Disguise could be good or evil, depending on its motive. The ethical information carried by disguise is implicit. Therefore, the understanding of disguise requires individuals to learn continuously while growing up. The fictional story in the fairy tale represents the significance and influence of “disguise” in real life. Addressing “disguise” as one of the major themes, this collection aims to teach children how to make correct ethical choices and become a person who conforms to social ethics.
西方诗歌研究
罗国祥
圣- 琼·佩斯《远征》的史诗性及艺术策略
The Epic Quality and Artistic Strategies of The Expedition by Saint-John Perse
法国诗人、外交家圣- 琼·佩斯是1960 年诺贝尔文学奖获得者，代表作是其在北京西山完成的诗作《远征》。诗人将自己在中国北方大漠的考察游经历、在北京西山所见所闻所思、特别是记忆中的古希腊历史学家的军事历史著作《远征》、《圣经》中以色列人逃亡埃及的故事和中国神话史诗叙事片段和亲历“素材”，以独具匠心的佩斯式“灵忆”转喻、“类型”隐喻等诗法建构成一部“极为晦涩”的伟大史诗。
The French Poet cum diplomat was awarded the Nobel Prize in Literature in 1960. His representative work, The Expedition, which he completed during his stay in the Western Hill Taoist Temple, might have been a major factor. The poet created this great but “extremely obscure” epic by exercising his poetic genius in recording what he witnessed while traveling in the vast desert of northern China, integrating what he observed at the Western Hill Taoist Temple, and, particularly, weaving the stories he remembered from the military and historical namesake work, Expedition, by ancient Greek historians, the Jewish Exodus in The Bible, the narrative fragments of ancient Chinese mythologies and his real experience in life as well. Through a close reading of The Expedition by Saint-John Perse, the author attempts to offer an in-depth analysis of his writing process, his poetic techniques, such as Perse’s unique style of reminiscences (réminiscences persiennes), typological metaphors(typologie de la métaphore persienne) and aesthetic features, so as to decode this profound work of poetry.
张亚婷
《奥菲厄爵士》中的图景和声景
Landscape and Soundscape in Sir Orfeo
The Middle English lay Sir Orfeo retains the mythological tradition of Orpheus and Eurydice in the European classical narratives and highlights the close relationship between the senses and self-perception. After the abduction of his queen, Sir Orfeo chooses to understand the world around him by “looking” and “listening” selectively, experiencing intermittent blindness and deafness while moving through alternating visual and auditory spaces, and eventually coming out of his seclusion to re-take his crown. The minstrel not only emphasizes the dominant role of landscape and soundscape in Sir Orfeo’s body performance and self-definition, self-perception and his outlook of the world, but also demonstrates the strategy of cultural translation in addressing the ancient European cultural heritage and the target audience as well.
曾 巍
英美当代女性诗歌对童话《小红帽》的改写及其主题异变
The Rewriting and Thematic Variation of “Little Red Riding Hood” in Female Contemporary British and American Poetry
历经几百年的变迁，童话《小红帽》在不同国家出现了许多不同面貌的异文。本文从当代英美诗歌中选取安妮·塞克斯顿、格温·斯特劳斯、卡罗尔·安·达菲三位女诗人以“小红帽”故事原型改编的三首诗歌，综合运用互文性理论、故事母题与故事类型研究、女性主义批评方法切入文本分析，从三首诗对故事中“狼”的角色的颠覆性重塑入手，指出诗歌以形象改造、细节扩容、语调突转等戏仿的方式对“元故事”进行了重写，并在新语境中“再生产”出全新的主题和意义：女诗人笔下的“小红帽”变得独立、聪慧、具有辨识力和自省意识，大胆挑战父权制度，并渴望重建属于自己的文学传统。
The past centuries witnessed various revisions of the fairy tale “Little Red Riding Hood” in many countries. This article intends to offer a textual analysis of three poems, which were all adapted from the prototype of this tale by Anne sexton, Gwen Strauss, and Carol Ann Duffy respectively, by using the theory of intertextuality, exploring the original theme and genre of the story, and integrating the critical approach of feminism. Beginning with a careful assessment on the subversive reinvention of the fairy tale’s character, Wolf, in these three poems, this article also tries to point out how the poets basically rewrote the “original story” with changes of images, expansion of plot, abrupt shift in tone, and other forms of mockery, thus “reproducing” brand new themes and implications: the “little red riding hood” portrayed by these female poets become independent, intelligent, discerning, introspective, courageous enough to challenge the patriarchal system, and anxious to re-establish her own literary tradition.
卢 炜
新历史主义方法论与《秋颂》研究——论济慈诗歌文本阐释的一个基本原则
New Historicism and “To Autumn”: A Principle in Interpreting Keats’s Poetry
从上世纪七十年代末开始，新历史主义逐渐成为济慈诗歌研究领域一支重要的学术力量，极大地推动了济慈研究的发展。但是，新历史主义理论对济慈《秋颂》的阐释原则可能导致评论界在分析和解读文本时产生两个重要的理论局限：过度强调社会现实性和忽略想象力的作用。以《秋颂》等多个济慈诗歌文本为例，新历史主义理论在济慈诗歌研究领域应该恪守一个基本原则：即在重构社会历史语境时可以充分发挥作用，但要控制进入文本解读和阐释领域的欲望。美国文学研究
胡碧媛
《管家》中的个体与共同体
Individual and Community in Housekeeping
共同体叙事的争议焦点在于共同体的“共同性”如何协调个体的差异性。美国女作家玛丽莲·罗宾逊的小说《管家》被誉为当代新经典，学界主流评价重在分析作品的女性主体性却忽视了对小说共同体与个体关系模式的探究。罗宾逊的《管家》叙事立足白人主流阶层的文化逻辑，从血缘、地缘等内部属性出发，强调共同性建构的精神现实。小说以女性化的个体书写批判同质化、标准化的压制性话语，但并不排斥将个人历史置于民族建构的语境之中，在叙事层面展现审慎的共同体建构与解构之思，再现包容异质性的共同体文学虚构。
The key issue in the controversy concerning community narrative is how commonality coordinates with individuality. The novel Housekeeping by Marilynne Robinson, an American novelist and essayist, is hailed as a new addition to the contemporary literary canon. The mainstream literary criticism stresses feminine subjectivity, but neglects the exploration of the relation mode between community and individuals. Based on the cultural logic of the mainstream white race, the narrative in Robinson’s Housekeeping starts from internal attributes like bloodline and locality and puts an emphasis on the spiritual reality in constructing community. Meanwhile, the novel critiques the oppressive discourse of homogeneity and standardization in community through a writing of femine individuality without the denial of self-placement in national construct. What her narrative demonstrates is a careful consideration over the construction and deconstruction of community and are presentation of a fictionalized community that accommodates heterogeneity.
周雪松
从异化的生命到“文艺复兴人”——薇拉·凯瑟《教授之屋》中的解辖域化与再辖域化
From Alienated Life to “Renaissance Man”— Deterritorialization and Reterritorializationin Willa Cather’s The Professor’s House
薇拉·凯瑟在《教授之屋》中刻画了颇具空间动感的人物：于现实中离开家门前往密歇根湖、在写作中神游于美国西南的圣彼得教授以及放牧四野、秘境探险、造屋定居的汤姆。对此，以往评论倾向于将这些空间运动定性为消极的逃避主义之举。本文借助于德勒兹与瓜塔里的解辖域化与再辖域化理论，认为这些空间运动具有不可被简单化约的复杂性，实为“先破后立”的系列运动，始终贯穿着作家为20 世纪二十年代美国异化危机谋求出路的动因。其中对梭罗去往瓦尔登湖之原型的挪用，意味着部分空间运动旨在冲出困局、唤醒“邻人”，是打破资本主义运转机制的解辖域化运动，折射出凯瑟力图挣脱出生命异化状态的积极意向。而解辖域化运动之后，还有从游牧到定居的再辖域化运动，是人物通过学习与教育来实现蜕变或“再生”的过程，寄寓着作家试图重塑“文艺复兴人”式现代人的主张。
Willa Cather’s The Professor’s House depicts some characters on frequent spatial movements, such as Professor St. Peter who, in reality, leaves home for Michigan Lake and, in his writing, travels spiritually in American Southwest and Tom who tends his herd all over the pastures, explores secret places, and settles down in a cabin he built. In the past, critics preferred to define the spatial movements in the text as a means of escapism. Using the theories of Deleuze and Guattari on deteeritorialization and reterritorialization, this paper argues that these spatial movements are full of complications that cannot be simplified. Instead, they are actually a series of the so-called “destruction-before-construction” movements sustained persistently by the writer’s active momentum to seek a way out of the American predicament of alienation in the 1920s. For instance, some spatial movements, as we may see in her exploration of Thoreau’s moving to Walden Pond, are intended as attempts to break free from alienation, wake up “neighbors”, launch a campaign of deterritorialization to disrupt the operational mechanism of capitalism, and reflect Cather’s strong will to rid break away from the condition of alienated life. But the movement of deterritorialization is followed by a movement of reterritorialization from nomadic lifestyle to settlement. It is not only a process in which characters transform and “reinvent” themselves through learning and education, but also a process that represents the author’s proposition of reshaping modern Americans into “Renaissance Men”.
蒋天平
殖民医学视角下《梦想之城》中的外科医生
The Surgeon in The City of Dream in Light of Colonial Medicine
殖民医学是西方医学的变体，也是殖民主义在医学领域的反映，成为西方国家殖民扩张的重要方式之一。殖民地医学是本土医学和殖民医学的杂糅体。本文从后殖民主义角度、以外科医学的发展史为主线研究贝弗利·斯沃林的《梦想之城》，发现作品人物通过杂糅、模仿、抗争等策略，颠覆了荷、英两国以爱丁堡医学为代表的殖民医学统治，实现了从殖民医学向殖民地医学再至民族医学的转换，这一过程也是民族独立和纽约城市重建的过程。因此，小说中的外科医学、草药医学发展史也见证了家族的分裂与融合、城市的毁坏与重建、民族的灾难和国家的新建。
Colonial medicine, a variant of Western medicine and a reflection of colonialism in the field of medicine, became one of the important ways of colonial expansion for Western countries. The medicine on a colony is a mixture of native medicine and colonial medicine. This article offers a study of Beverly Swerling’s The City of Dreams from the perspective of postcolonial medicine with a focus on the developmental history of the surgical medicine and explores how, through such strategies as hybrid, imitation, and opposition, the characters in the novel subvert the dominance of the colonial medicine represented by the Edinburgh medicine in Netherland and England and complete the transformational process from the colonial medicine to the medicine of colony and back to native medicine again, a process that coincides with the national independence and the reconstruction of the New York City. Therefore, the history of surgical medicine and herbal medicine also witnesses the division and integration of the family, the destruction and reconstruction of the city, the national disaster, and the new construction of the nation.
批评与批评研究
章 辉
当代西方“虚构的悖论”的三种解决途径
Three Solutions to the “Paradox of Fiction” in the West Today
“虚构的悖论”关系到三个相互冲突但似乎都可信的观点：一、读者或观众常常经历了诸如恐惧、同情、向往、羡慕等指向他们知道是虚构的事件或人物的情感；二、经历诸如恐惧、同情、向往等情感的必要条件，是那些经历了这些情感的人相信他们情感的客体是存在着的；三、面对虚构的读者或观众不相信这些客体是存在着的。“虚构的悖论”关系到三个问题，西方学界提出了多种方案解答这些问题：一、概念问题。在欣赏虚构的时候，缺乏虚构之物存在的信念，我们的生理心理症状是否是真正的情感。二、原因问题。当我们欣赏虚构的时候，这些症状是如何出现的。三、性质问题。在欣赏虚构的时候，我们的反应是否是非理性的行为。虚构的情感反应，关系到对传统情感认知理论的反思、我们对虚构之物的反应的界定、现实情感与虚构情感的异同等问题。从当代西方学界歧义纷纭的思路看，在反思传统情感理论的基础上，对我们的情感、信念、认知、非理性等重新界定并达成共识，是深入探索这一悖论的基础。
The “paradox of fiction” relates to three conflicting but plausible ideas: first, readers or viewers often experience emotions, such as fear, sympathy, longing, and admiration about a certain event or character they know to be fictional; second, the necessary condition for experiencing these emotions entails a belief by these people that the object of their emotions actually exists; third, fictional readers or audiences do not believe that these object sexist. The “paradox of fiction” involves three questions, to which Western scholars have adopted different approaches. (1) The question about concept: when we appreciate fiction, do we believe that fictional things exist, or are we sure our physiological and psychological symptoms are really emotional? (2) The question about cause: how do these symptoms appear when we appreciate fiction? (3) The question about nature: when people appreciate fiction, is our reaction an irrational behavior? Fictional emotional response is related to the reflection of traditional emotional cognitive theory, the definition of our response to fictional things, the similarities and differences between real and fictional emotions. Judging from the different ideas in the contemporary Western academic circle, the author believes that in order to explore this paradox, we ought to reconsider the traditional theory of emotions first, and then redefine and seek a consensus on our emotion, belief, cognition, and irrationality.
陈 芬
走向跨学科研究和东西方对话的文学伦理学批评——“第九届文学伦理学批评国际学术研讨会”综述
The Move of Ethical Literary Criticism toward Interdisciplinary Studies and East-West Dialogue: An Overview of the 9th International Symposium on Ethical Literary Criticism
历经十五个春秋，文学伦理学批评在广泛吸收各种思想理论资源并不断应对新问题、新挑战的过程中，理论体系逐渐完善，研究队伍也日益壮大。在“第九届文学伦理学批评国际学术研讨会”上，与会学者围绕文学伦理学批评在跨学科发展中的理论建构和批评实践、不同文类的批评实践、科技伦理和环境伦理、全球化时代比较文学与世界文学的研究前沿，以及文学伦理学批评视阈下的经典重释与国别文学研究等多个议题展开热议。此次会议的跨国界、跨学科、跨文类特征更为突出，其中，东方文学的伦理批评以及诗歌、戏剧等体裁的伦理批评实践和理论话语建构等方面取得的进展尤为瞩目，显示了文学伦理学批评在阐释东西方文学作品和推动东西方对话时的独特力量。
In the past 15 years, Ethical Literary Criticism has gradually perfected its theoretical paradigm and steadily built up its research team while absorbing extensively various theoretical resources and confronting new issues and challenges. At the 9th International Symposium on ELC, scholars conducted heated discussions concerning such broad topics as theoretical construction and critical practice of ELC in interdisciplinary studies, the critical practice of different genres, scientific and technological ethics, environmental ethics, frontiers of comparative literature and world literature in a global age, ethical approach to the rereading of literary classics and the study of national literatures, etc. A salient feature of the conference is its emphasis on trans-national, cross-disciplinary, and trans-genre approaches. What is most noticeable is the new progress in ethical criticism of Oriental literature as well as the critical practice and the construction of theoretical discourse in the study of poetry and drama, which shows the unique impact of ELC upon the interpretation of world literature and the promotion of the East-West dialogue.
往期精彩文章回顾：
尚必武 | 科学选择与伦理选择的冲突：麦克尤恩《像我这样的机器》中的人工智能与脑文本
林精华 | 现代俄国自信始于何处：“19 世纪俄罗斯文学”起源考
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