《外国文学研究》2020年第1期主要论文摘要

点击上方“外国文学研究”可以订阅哦

2020年第1期(总第201期)

中外学者访谈

Shi Haiyu & Scott Slovic

Title: Nature Writing and Ecocriticism in an Era of Posthumanism: An Interview with Scott Slovic

标题：后人文时代的自然书写与生态批评：斯科特·斯洛维克访谈录

Abstract: Scott Slovic is a leading American ecocritic who served as the founding president of the Association for the Study of Literature and Environment (ASLE) from 1992 to 1995. Since 1995, he has been editing the journal, ISLE: Interdisciplinary Studies in Literature and Environment. His focus areas include ecocriticism, American and international environmental literature, literary nonfiction，environmental writing, Native American literature, and sustainability studies. Much of his current research and teaching focuses on “information management” (how information is collected, communicated, and received) in the contexts of humanitarian and environmental crises. This interview, which was conducted in the written form from April to June 2018, touches upon such topics as the fourth wave of ecocriticism, the influence of traditional Chinese culture on American nature writers, the role of ecofeminism, teaching practices in environmental literature, AI’s influence on the relationship between humans and nature, etc. Slovic pinpoints that there is a growing pragmatism in ecocritical practice ranging from climate change literature to examinations of the substance of ecopoetic language, which is a new mode of “applied ecocriticism” spawned from the “academic ecocriticism”.

内容摘要：斯科特·斯洛维克是著名的美国生态批评家，1992-1995年曾任美国文学与环境研究会创始会长，自1995年开始主编《文学与环境跨学科研究》期刊。他专注的领域包括生态批评、美国及世界环境文学、非虚构文学、环境书写、美国原住民文学以及可持续性研究。斯洛维克目前的研究和教学主要围绕人文与环境危机语境中的“信息管理”（信息如何被收集，交流和接收）。此次访谈于2018年4月至6月以笔录形式完成，内容涉及生态批评的第四次浪潮，中国传统文化对美国自然作家的影响，生态女性主义的作用，环境文学教学实践，人工智能对人与自然环境关系的影响等。斯科特指出，生态批评的实践，从气候变化文学到生态诗学语言实质的考察（后者是一种由“学术性生态批评”孵化而来的“实用性生态批评”的新范式），都越来越注重实用性。

中外学者对话：生态批评理论研究

（栏目主持人：王宁）

Scott Slovic

Title: New Developments in Chinese Ecocriticism: Toward a Global Environmental Dialogue

标题：中国生态批评的新发展：走向全球的环境对话

Abstract: Aside from the United States, China may have the largest number of scholars currently working in the field of ecocriticism (ecological literary studies) and in related fields such as ecoaesthetics. Reasons for this may include the practical need for Chinese intellectuals to address issues of environmental degradation and also the rich traditions of relevant ideas in classical Chinese philosophy, especially in Daoist and Confucian thought. Some key publications in recent Chinese ecocriticism, available to Western readers, include the special cluster coordinated by Wang Ning, which appeared in the Autumn 2014 issue of ISLE: Interdisciplinary Studies in Literature and Environment, and the 2017 English edition of Lu Shuyuan’s book, The Ecological Era and Classical Chinese Naturalism: A Case Study of Tao Yuanming, which originally appeared in Chinese as The Specter of Tao Yuanming in 2012. Increasingly, the tendency among younger Chinese ecocritics is to identify the influence of Chinese environmental thinking upon Western (or global) traditions of environmental and humanistic thinking rather than focusing on the influence of Western thought on Chinese culture. The growing availability of Chinese ecocriticism in English is helping to raise the profile of this scholarship for international audiences. I see this as a positive contribution to the global dialogue about human responsibility for overcoming ecological and humanitarian problems throughout the world.

内容摘要：除了美国之外，中国或许拥有最多的学者正在从事生态批评（生态文学研究）和生态美学之类的研究。究其原因，或许是中国知识分子有阐述环境恶化问题的实际需要，也或许是中国古典哲学中、尤其是道家和儒家思想中拥有丰富的相关理念。目前，西方读者可以看到的中国生态批评的重要论著包括王宁为《文学与环境跨学科研究》2014年秋季刊组稿的一系列文章和鲁枢元《生态时代与中国传统的自然论》2017年英文版（此书最初以《陶渊明的幽灵》为名于2012年在中国出版）。中国年轻的生态批评家们越来越趋向于鉴别中国环境思想对西方（或全球）的环境和人文思想的影响，而不是关注西方思想对中国文化的影响。越来越多的英语版中国生态批评资料正在帮助中国提升该项学术研究的国际声望。我认为，这是中国为全球对话、积极承担克服全球范围内生态与人文问题的责任所做出的积极贡献。

聂珍钊

标题：从人类中心主义到人类主体：生态危机解困之路

Title: From Anthropocentrism to Human Subjectivity: A Possible Solution to Ecological Crises

内容摘要：20世纪后半叶出现的从人类中心主义到自然中心主义的转向，把当前导致生态危机的责任推给了人类中心主义，试图通过对人类中心主义的清算来解决人类面临的生态危机。在蕾切尔·卡逊创作的《寂静的春天》里，可以看出当今世界日趋严重的生态危机是人类自己造成的。但是要解决这个问题只能依靠人类自己，人类需要明确自己的主体身份以及人类作为主体应负的责任。人类虽然不能成为大自然的中心，但是能够对大自然发挥人的主体性作用，从而作出正确的伦理选择，找到生态危机的解困之路。

Abstract: The discursive turn from anthropocentrism to nature-centrism in the second half of the 20th century put the blame squarely on the former for the current ecological crises in an attempt to avert the crises by condemning and cleansing anthropocentrism. In her Silent Spring (1962), Rachel Carson shows the reader that it is the humans who are responsible for the worsening ecological crises around the world today. Solutions to this problem, however, can only come from humans, ourselves. Mankind should clearly understand its subjective identity and its responsibilities as the subject. Despite our inability to be the centre of nature, human beings can still play a subjective role in nature, and, by making ethical choices wisely, find a way out of the ecological apocalypse.

王  宁

标题：当代生态批评的“动物转向”

Title: The “Animal Turn” in Contemporary Ecocriticism

内容摘要：在当今的“后理论时代”，伴随着生态批评和文学的生态研究的深入发展，一些原先仅关注人与自然生态环境之关系的研究者逐步将目光转向与人相伴共生于地球上的动物，这就是所谓的“动物研究”。应该说这是当代生态批评中的一个“动物转向”。实际上，人与地球上其他物种的关系已出现了微妙的变化，曾经不可一世的被认为是“地球的主宰”和“万物的灵长”的人类曾几何时演化成了“后人类”，人又回到了地球上万物之一种的地位，人与动物呈一种友邻和伴生的关系。因而人与动物的这种新的关系也开始成为作家和文学批评家愈益关注的一个主题。这一主题也是“后理论时代”的理论家所要探讨的一个话题，在这方面，对生态和动物研究有着重要启迪的后理论哲学家德里达、哈拉维、沃尔夫等均有诸多著述。笔者继续以往的生态文学研究，认为这种“动物的转向”的出现将预示着生态批评的一个新阶段。

Abstract: In the present “post-theoretical era”, along with the deepening of ecocriticism and ecological studies of literature, some scholars have gradually shifted their early focus on the relations between man, nature, and man’s living environment to animals, man’s con-existing companions on the earth, hence a sort of “animal studies”. This should be viewed as a sort of “animal turn” in contemporary ecocriticism. Actually, there has also appeared a subtle change in the relations between man and other species on the earth: man, once the “master of earth” and “primate of all things”, has evolved into a kind of “posthuman”, returning to his original status as just one of the species on earth. Man and animal should maintain a relationship of friends and companions. Such a new relationship between man and animal has become another topic that attracts more and more attention from both writers and literary critics. This is also one of the topics addressed by those theorists of the “post-theoretical era”. Post-theorists like Jacques Derrida, Dona Haraway, and Cary Wolfe, who have significantly illuminated ecocriticism and animal studies, have published a great deal on this topic. The author of this article intends to further his previous studies on ecocriticism and argue that this sort of “animal turn” does anticipate a new phase in ecocriticism.

草原丝路上的自然与生态书写

（栏目主持人：梁坤）

梁  坤 

标题：俄蒙树木崇拜的多神教和萨满教渊源

Title: The Origin of Polytheism and Shamanism in Russian and Mongolian Tree Worship

内容摘要：在以俄蒙为主体的草原丝路带上葆有深厚的树木崇拜传统。俄蒙交互重叠的历史文化地层决定了多神教、萨满教等原始信仰对俄罗斯民族精神的深刻影响。“世界树”及其衍生出的“生命树”、“人类树”、“谱系树”、“萨满树”等诸多变体共同寄寓着人类对自然母亲的感恩和敬畏，这是人类至真至纯的精神底色。无论是现实生活文本，还是神话、史诗等民间口头创作和文学文本中的种种树木崇拜，都呈现出多神教、萨满教的观念与佛教、东正教、伊斯兰教相互渗透、相互融合的态势。原始文化超越时空的价值为现代人提供了借鉴，欧亚北方大地上的多神教和萨满教是森林树木乃至整个大自然的守望者，向这些原始信仰回归或许是解决现代生态危机的一个有效途径。

Abstract: There is profound tradition of tree worship on the grassland Silk Road with a focus on Russia and Mongolia. The overlapping historical and cultural layer between Russia and Mongolia provides a deep influence from primitive beliefs, such as polytheism and shamanism, on the national spirit of Russia. “World Tree” and its derivative forms, “Life Tree”, “Human Tree”, “Family Tree”, “Shaman Tree” and many other variants, embody human gratitude and reverence toward the Mother Nature, reflecting the most true and pure spiritual core of human beings. The various kinds of tree worship, either in real life or in myths, epics, and literary texts, have shown the evidence of mutual penetration and assimilation between the concepts of Polytheism and Shamanism and those of Buddhism, Orthodox Church, and Islam. The value of primitive culture that transcends time and space offers a lesson for modern people. Polytheism and Shamanism in northern Eurasia are the guardians of forest trees and even the whole nature. A return to these primitive beliefs might be an effective way to resolve the ecological crisis of modern times.

阿布德克里姆·穆拉托夫著

王孝冉译  梁坤校

 王孝冉译  梁坤校

标题：《白轮船》中“鹿母”传说的生态道德与民族教育观念

Title: The Ideas of Ecological Moral and Ethnic Education in the Myth of the “Mother-Deer” of The White Ship

内容摘要：神话学家认为，神话的作用始终是教化人们，将人们引入正途。现代作家经常在作品中涉及的古老神话，是现代人对古代道德理解的镜像反映。艾特玛托夫的中篇小说《白轮船》中的鹿母神话，来源于吉尔吉斯的一个大部落，这是关于该部落人的起源的传说。艾特玛托夫教育思想的高度、对照范围的广度和联想的哲学深度是独一无二的。在其作品中，神话不止是神话，还构成了作家艺术意识中一个完整的抛物线系统。艾特玛托夫描写了一个民族的真实生活，提出了当代和20世纪人类的基本问题。这也构成了他作品中的民族教育思想：自幼接受古老传说教化的男孩无法应对新的文明；全球化时代因人们不断突破道德底线，最终不幸和灾难降临人类。这里的神话情节扮演着教育人的角色。吉尔吉斯的民间传说并不仅仅是那些现成的故事，而是一个向大地母亲痛下杀手的人类悲剧。这是对后代的警示。

Abstract: Mythologists believe that myth has always been intended to educate people and lead them in the right direction. The fact that modern writers often touch upon ancient myths may serve as a clear reflection of modern people’s understanding of the ancient moral concepts. The myth of the mother-deer in the novella by Chingiz Aitmatov, The White Ship, originated from a legend about the origin of the people from a large tribe in Kyrgyz. Aitmatov’s educational thought is known to be quite unique for its high standard, its range of comparisons, and its depth of philosophical musings. In his work, a myth functions much more than just a mere myth because it also constitutes a whole parabolic system in the artistic consciousness of the writer. Aitmatov depicts the real life of a small nation and raises the fundamental issue of humanity at present and in the 20th century. This is the ethnopedagogical idea he proposed in his work: a boy brought up with the ideas from the old fairy tales is unable to confront the new civilization; as people living in the era of globalization breach the moral boundaries constantly, misfortune and disaster will fall on humankind eventually. Here, the details in the myth are intended to educate people. The Kyrgyz folk dastans-legends are not just ready-made plots; instead, they represent the tragedy of a man who raised his hands to the mother earth. It is a stern warning to later generations.

余  丹

标题：论艾特玛托夫小说的乌托邦与反乌托邦叙事

Title: The Utopian and Dystopia Narrative in Aitmatov’s Novels

内容摘要：在艾特玛托夫的小说中，乌托邦与反乌托邦并行不悖，这既与作家的成长土壤、生活经历有关，也与其后期的宗教思想、艺术导向关系密切。苏联改革时期，艾特玛托夫在“从根本上重估每一件事情”的反思中，逐步让自己的宗教思想摆脱了政治话语的阈限，“基督”、“上帝”在其作品中占据了更重要的位置。从艺术角度看，他的作品更多是对官方创作规则的适度反拨。与此相应的是，其作品摧毁了歌功颂德式的社会主流话语，代之以反乌托邦式的真实建构。与宗教思想转变相关的是，作家以科幻为依托，开始追寻另类“彼岸”：完美的精神境界、发达的科学技术、行将消失的国家机器，这一切承载了作家的乌托邦理想。

Abstract: In Aitmatov’s novels, utopia and dystopia could go hand in hand. This was related to not only his early upbringing and life experience, but also his religious thoughts and artistic orientation in his later years. In his reflection upon the need to “fundamentally reassess everything” during the reform of the Soviet Union, Aitmatov gradually shook his religious thoughts off the constraint of political discourse, hence “Jesus Christ” and “God” took up more important positions in his works. Judging from an artistic perspective, what his works present is more like a moderate reversal of official rules. Accordingly, his works destroyed the flattering mainstream discourse and replaced it with a dystopian construction of reality. What was associated with the transformation of his religious thoughts was the writer’s reliance on science fiction for his pursuit of an alternative “other side”: a perfect spiritual realm, the advanced science and technology, the vanishing state apparatus -- all these constitute the core of the writer’s Utopian ideal.

阿丽玛·阿尤西扎布著

阿丽雅译

标题：蒙古民间文学与现代诗歌中的自然与生态书写

Title: Natural and Ecological Writing in Mongolian Folklore and Modern Poetry

内容摘要：蒙古人对自然平衡的守护植根于传统中的精神信仰。相较于掠夺性地使用自然资源，传统的蒙古生态中心论，即对大地、山川以及树木的尊重与保护，应能激发我们对价值进行重估并回到一些基本的问题上来。当代蒙古文学确立了生态批评的方向。蒙古民间文学拥有一种将自然界作为生灵来理解与回应的底色。蒙古现代诗歌在继承传统的基础上深化了自然与生态主题。蒙古诗人及其创作的诗歌无一不提及蒙古地区自然风景中“人与自然”的关系，向读者展现自然的世界以及他们在世界上的位置，提出了自然同文明和谐共存的主张，并强烈呼吁世人爱护环境。他们不仅从事创作，还发起了环境保护的实践：通过斗争阻止了在库苏古尔湖畔兴建化工厂的计划；在蒙古国北部图津松林遭受破坏之际，通过大量诗作向公众发出“长此以往，我们将一无所有”的沉痛警告，引领了松林复植行动。

Abstract: The Mongols’ determination to preserve the balance in nature is rooted in their traditional spiritual belief. Contrary to a predatory use of natural resources, the traditional concept of the Mongolian ecocentrism, namely, their respect for and preservation of the land, mountains, rivers, and trees, may inspire us to reassess our values and revisit some of the basics issues. The contemporary Mongolian literature has established a direction of ecocriticism; Mongolian folklore fosters a sustained practice of understanding and treating nature as living creatures; modern Mongolian poetry has deepened the theme of nature and ecology based on traditions. All the Mongolian poets and their poems, without exception, touch upon the relationship between “man and nature” in the natural landscape of Mongolia, revealing to the reader the world of nature and their place in this world, articulating their insistence on the harmony and coexistence between nature and civilization, and issuing a strong appeal to the common people for environmental protection. In addition to their literary writing, they also have initiated real actions in environmental protection: their resistance blocked a plan for the construction of a chemical plant at Lake Hövsgöl; when the pine forest “Tuzin Nars” in northern Mongolia was damaged, their numerous poems sent a painful warning to the public that “in the long run, there will soon be nothing left,” thus initiating an operation for the restoration of pine forest.

一带一路沿线国家文学研究

杨  建

标题：《次经》末世论对《新约》的影响

Title: The Influence of the Eschatology in Apocrypha on the New Testament

内容摘要：《次经》末世论集中于两约间启示文学经典之作《以斯拉下》，散见于《以斯帖补篇》、《所罗门智训》、《巴录书》、《彼勒与大龙》。通过希腊化时期犹太启示文学作品比较可以发现，《次经》中的末日意象，如《以斯帖补篇》、《彼勒与大龙》中的“大龙”，《巴录书》中的“巴比伦的倾倒”，《以斯拉下》中的“苦刑坑”、“火刑狱”、“封印”、“书卷”，《巴录书》、《所罗门智训》、《以斯拉下》中“上帝的军装”，对《新约》、特别是《启示录》和保罗书信有直接影响；《以斯拉下》中的审判死者观念、两个世代观念、天堂地狱观念对《新约》末日审判观念有直接影响；《以斯拉下》中“我的儿子弥赛亚”、“从海中出来的男子”、神的儿子的死对《新约》弥赛亚形象有直接影响。

Abstract: The eschatology is mainly recorded in 2 Ezras from Apocrypha which is an apocalyptic literary classic in the period between the Old and New Testament, and it is also scattered in Additions to Esther, Wisdom of Solomon, Baruch, and Bel and the Dragon. By comparing the Jewish apocalyptic literary works during the Hellenistic period, we can discover that the images of Judgement Day in Apocrypha, such as “the dragon” in Additions to Esther and Bel and the Dragon, “the fall of Babylon” in Baruch, the “torture pit”, “the stake prison”, “the seal” and “the scroll” in 2 Ezras, the “military uniform of God” in Baruch, Wisdom of Solomon, and 2 Ezras, have direct influence on the New Testament, especially Revelation and Pauline Epistles. The concepts of judgement of the dead, two generations, and heaven and hell in 2 Ezras have a direct influence on the concept of the Final Judgement in the New Testament. Besides, “My son Messiah”, “man out of the sea”, and the death of God’s son in 2 Ezras have a direct influence on the image of Messiah in the New Testament.

池明宙

标题：印度古代文学中“女神为妻”婚姻模式嬗变研究

Title: The Transmutation of the Nuptial Practice of “Marrying Goddess” in Ancient Indian Literature

内容摘要：在印度古代文学史上，“女神为妻”婚姻模式的形成有着漫长的发展演变历史，可以分为雏形、成形和定型三个阶段。该模式在吠陀时期（前1500—前500年）已具雏形，为国王与女神的夫妻关系做了铺垫；史诗时期（前4—后3世纪）成形，为“女神为妻”融入帝王婚姻奠定了基础；梵语古典文学时期（公元1—12世纪）定型，确定了大地女神和吉祥女神与君王的婚恋关系，经过马鸣和迦梨陀娑的加工改造，该模式成为梵语古典文学中一大写作程式，在“英雄喜剧”类作品中尤其凸显。此后，涉及帝王传记或传奇故事的梵语文学作品和铭文均沿袭了此种婚姻模式。蕴藏于“女神为妻”婚姻模式中的王权女性化及其性情的构想，与印度先民的神话传说、宗教信仰、王权观念、审美情趣均有关联。

Abstract: In the history of ancient Indian literature, the nuptial practice of “marrying goddess” has gone through a long history of development and evolution, which could be largely divided into three -- embryonic, fledgling and maturing -- stages. Such a practice had already been embryonic during the Vedic period (1500-500 BC), laying the foundation of the marital bond between king and goddess. During the Epic period (400 BC-300 AD), the practice was at its fledgling stage, incorporating the ritual of “marrying goddess” into king’s marriage. It became formally defined during the classical period of Sanskrit literature (100-1200 AD), hence establishing the king’s marital relationship with the goddess of earth and the goddess of fortune. Thanks to the modification and improvement by Aśvaghoṣa and Kālidāsa, this practice has become a major writing formula in the classical Sanskrit literature, especially in “heroic comedy” works. Since then, the Sanskrit literary works and inscriptions related to imperial biographies or romances have carried on this nuptial practice all along. The feminization of the kingship and the imagination of the king’s disposition metaphorized by the practice of “marrying goddess as wife” corresponded to the myths, legends, religious beliefs, views of kingship, and aesthetic tastes of the Indian ancestors.

哈罗德·布鲁姆研究

曾洪伟

标题：哈罗德·布鲁姆的“世界文学”观

Title: Harold Bloom’s View of World Literature

内容摘要：布鲁姆的“世界文学”观萌芽于20世纪八、九十年代。在作品/文本层面，他认为，世界文学意味着一种泛化的、经典性的文本；在模式/机制层面，他一方面从其误读理论出发，探掘文本之间的世界性“影响”、“误读”机制，另一方面，在后期的经典普及和大众美育中，他积极推动文学的“世界文学化”，使文本的“世界文学性”得到进一步提升。同时，他还特别重视翻译在世界文学建构过程中的重要作用。而从内在意涵上讲，通过对布鲁姆的世界文学文本目录和话语分析，可以确证其“世界文学”观具有突出的西方中心主义倾向。其“西方独白，东方失语”的“世界文学”图景既破坏了世界文学生态多样性与平衡性，危及了东西方文化与社会和谐，又抹煞了东方文化在西方文化建构中之重要作用。“美国”、“美学”、“莎士比亚”构成了布鲁姆世界文学观的核心和架构。其关于中国文学世界化过程中翻译问题的论述，对当下中国文学的全球化传播与世界性建构具有重要的指导意义。

Abstract: Harold Bloom’s view of world literature originated between the 1980s and 1990s. In his critical and editorial work on literary texts, he asserted that world literature included both generalized works and classic texts. In his studies of literary patterns and correlations, he relied on his “theory of misreading” in exploring the mechanism of the worldwide “influence” and “misreading” between different texts on the one hand and, on the other, actively promoted the “cosmopolitanism” of literature in his later push for the popularization of classics and the aesthetic education of the populace, thus further enhancing the “cosmopolitan literariness” of texts. Meanwhile, he placed a very high value on the significance of translation in the construction of world literature. However, an analysis of the implication from his proposed booklist of and comments on world literature may reveal a clear tendency of Eurocentrism in his view on world literature. The picture he painted for “world literature,” the one with “the West monologue and the East aphasia,” not only harmed the diversity and equilibrium of the literary ecology in the world and the cultural and social harmony between the West and the East, but also obliterated the important role of Eastern culture in the construction of Western culture. Three elements, namely, “America”, “aesthetics” and “Shakespeare,” constitute the core and framework of Bloom’s view on world literature. His discussion on issues concerning the role of translation in the globalization of Chinese literature has guiding significance to the current global outreach and internationalization of Chinese literature.

翟乃海

标题：哈罗德·布鲁姆的文学理论与犹太神秘主义

Title: Harold Bloom’s Literary Theory and Jewish Mysticism

内容摘要：当代文学理论家哈罗德·布鲁姆并不信奉正统犹太教，但他积极地把犹太文化融入了当代文学批评。他通过犹太神秘主义喀巴拉与犹太传统文化建立了联系，为自身的犹太认同找到了文化源头。同时，布鲁姆把喀巴拉神话融入其文学理论和批评话语，赋予其“影响的焦虑”、“误读”、“事实性”等文学观、批评观以鲜明的犹太特色。布鲁姆的影响诗学也是犹太文化与浪漫主义文学观和美国个人主义共同作用的结果。

Abstract: Harold Bloom, though not an orthodox Jew, is a theorist who tried actively to incorporate the traditional Jewish culture into his literary theory and criticism. Through Kabbalah, a form of Jewish mysticism, instead of normative Judaism, he connected with the traditional Jewish culture and discovered the cultural origin of his Jewish self-identity. In addition, Bloom integrated the Kabbalah myth into his literary theory and critical discourse, endowing his literary concepts, such as “anxiety of influence,” “misreading,” and “facticity,” with distinctive Jewish characteristics. Bloom’s poetics of influence seems to have resulted from the interplay between Jewish culture and the ideas of Romanticism and American individualism.

美国文学研究

段  波

标题：《白鲸》与麦尔维尔的“太平洋帝国”想象

Title: Moby Dick and Melville’s Imagination of the American “Pacific Empire”

内容摘要：赫尔曼·麦尔维尔的《白鲸》是审视美国争夺太平洋地缘政治版图的经典文本：麦尔维尔通过19世纪美国辉煌的捕鲸叙事来描绘美国“太平洋商业帝国”开掘的历史路径，并借助南太平洋“空白”的地图空间表征来绘制美国在太平洋地区的地缘政治版图与权力图景。麦尔维尔的“太平洋书写”同美国思想文化中根深蒂固的“太平洋迷思”有着深厚的渊源，麦尔维尔正是通过《白鲸》来生动展示美国的“太平洋帝国”和太平洋“边疆”拓殖的历史轨迹。

Abstract: Herman Melville’s Moby Dick is a classic text that examines the geopolitical map of the American expansion across the Pacific. Through the narrative of the glorious American whaling, Melville delineates the historical route of constructing the American “Pacific Commercial Empire” and presents the American cartography of its aspiring geopolitical presence and power in the Pacific by mapping out the “blank space” across the South Pacific. In fact, Melville’s “Pacific writings” are closely tied to the “Pacific Myth” deeply ingrained in American thought and culture. His Moby Dick reveals, with great clarity, the historical traces of the American “Pacific Empire” and its colonization of the Pacific “frontiers”.

郭  雯

标题：一场身份诉求之旅：《神经漫游者》的赛博空间叙事与记忆建构

Title: A Journey of Identity Pursuit: The Cyberspace Narrative and Memory Construction in Neuromancer

内容摘要：赛博朋克科幻小说《神经漫游者》中的赛博空间不仅是核心叙事空间，也是主人公凯斯虚实记忆、建构记忆以及人工智能虚构记忆的表征载体。虽然小说的虚构情节挑战了读者的认知，却将记忆呈现于虚拟网络，聚焦于诸如身份焦虑、自我认知、情感人性等现实问题。空间和记忆对个体寻根归家至关重要，凯斯的网络漫游实则是身份诉求之旅。赛博空间作为特殊的伦理环境，为凯斯与他者建立伦理关系和诉求自我提供了场所，而虚实切换的碎片式记忆则体现了身份的不确定性与诉求的艰难。最终，凯斯重新进入赛博空间与人工智能博弈，实际上是重新踏上寻根之旅，不仅标志着身份重构，更是一次寻找人类家园、思索人性的旅程。

Abstract: In Neuromancer, a cyberpunk science fiction, the cyberspace is not only the central space of the narrative, but also the representative carrier of Case’s false and true memory, the construction of memory, and the artificial memory of artificial intelligence. Although it challenges the reader’s cognition, the fictional plot presents memory in the cyberspace and focuses on the realistic issues, such as identity anxiety, self-cognition, emotion, and humanity. Therefore, this article argues that space and memory are essential to tracing one’s roots and seeking one’s homecoming, so Case’s space trip is actually a trip of his identity pursuit. As a special ethical space, the cyberspace provides a place for Case to establish an ethical relationship with others and to pursue his identity. The fragmented memory in the oscillation of false and true memory indicates the uncertainty of identity and the difficulty in identity pursuit. In the end, Case re-enters the cyberspace to fight against the artificial intelligence, embarking once again on a quest of tracing his roots, a quest that entails not only reconstructing his identity, but also finding a home for mankind and contemplating humanity.

批评与批评研究

梁中贤

标题：以文济世：伊丽莎白·乔利的文学创作观

Title: Literature for the Sake of the World: Elizabeth Jolley’s Views on Literary Writing

内容摘要：创作与世界、创作与意志、创作与爱和创作与自我疗伤四对关系，构成了伊丽莎白•乔利以探索内心世界为创作对象、以情感意志为创作动力、以疗愈社会为目的的“以文济世”创作观，突破了澳大利亚当时文学现实主义创作思想关于征服外部世界、塑造丛林英雄和文学政治化的局限。乔利认为，创作是对人内心世界的探索，作家在描写外部世界的同时，更应关注人的内心，体验人的精神困苦，从而更好地认识真实的自己。创作是意志行为，意味着作家不是独立于世界的天才，而是凭借意志不断调节自我和世界关系的智者，通过认识世界而提升自我。创作是爱的行为施与，以爱为出发点进行创作，既要表现宏大的“丛林英雄”题材，更要再现小人物的生存困境，化解人的痛苦，以爱的力量润泽小人物的生命尊严。创作是自我疗伤，揭示了创作可以释放人的内心苦楚，滋养人类心灵和匡正社会微恙。乔利的创作观全方位浸透了作家的社会责任担当和人文内涵。

Abstract: The four relationships that writing has with the world, will, love, and self-healing make up the main contents of Elizabeth Jolley’s view on literary writing, a view that demands literary writing to treat the probe into the inner world as its task, the motion and will as its motive, and healing society with “literature for the sake of the world” as its purpose. Such a view went beyond the narrow scope of Australian Realist literature, during her time, that focused on the conquer of the external world, the heroes in the jungle, and the politicization of literature. Jolley believes that writing is a probe into human heart, and that, while depicting the external world, a writer should pay more attention to characters’ spiritual world, experience their spiritual pains, and discover his/her true self by understanding the inner workings of their mind. Writing is an act of will, which means that a writer is not a genius independent of the world, but a wise man who can constantly regulate, at will, his relationship with the world and empower him/herself by discovering the world. Writing is an act of love, namely, if love is the standpoint for writing, the writer should not only take on a grand theme like “the hero in the jungle”, but also represent ordinary people’s dilemmatic existence, relieve their pains, and nourish, with the power of love, the dignity of ordinary people’s lives. Writing is self-healing because it may serve as an outlet for one’s deep distress, nurture one’s mind, and rectify social mishaps. Jolley’s view on literary writing fully discloses her sense of social responsibility and humanistic sensibility as a writer.

李 晋

标题：叙事权威的建构  ——亨利·詹姆斯的《天鹅绒手套》与伊迪丝·华顿的《天鹅绒耳套》比较研究

Title: The Construction of Narrative Authority: A Comparative Study of Henry James’s “The Velvet Glove” and Edith Wharton’s “Velvet Ear-Pads”

内容摘要：亨利·詹姆斯的《天鹅绒手套》与伊迪丝·华顿的《天鹅绒耳套》中的作家形象及叙事策略，呈现出文学场中性别与阶级等诸要素间的复杂、动态的联系。《天鹅绒手套》与《天鹅绒耳套》，分别塑造了不同的男女作家形象，反映出詹姆斯与华顿对作家身份建构主题的思考。《天鹅绒手套》讲述了文学权威约翰·贝里奇如何限制女性作家埃米进入文学场的过程，《天鹅绒耳套》再现了女性剧作家贝齐颠覆希巴特教授的权威的过程。《天鹅绒手套》中贝里奇的男性中心意识和阶级偏见昭然若揭，《天鹅绒耳套》则通过聚焦女主人公和巧妙套用《天鹅绒手套》的叙事框架及话语，解构了男性中心意识，从而建构了叙事权威。

Abstract: The portrayal of the protagonist as a writer and the narrative strategies employed in Henry James’s “The Velvet Glove” (1909) and Edith Wharton’s “Velvet Ear-Pads” (1926) represent the complex and dynamic interconnections among gender, class, and other factors in the literary field. “The Velvet Glove” and “Velvet Ear-Pads” create, respectively, the different images of both male and female writers and present the authors’ reflections upon the theme of writers’ identity construction. “The Velvet Glove” recounts how John Berridge, a figure of literary authority, imposes restrictions on Amy, a female writer, who attempts to seek her entry into in the literary field. “Velvet Ear-Pads” represents how a female playwright, Betsy, subverts Professor Hibbart’s authority. James’s story offers a thorough revelation of Berridge’s belief in androcentrism and class bias, whereas Wharton’s story, through its focus on Betsy and its subtle deployment of the Jamesian narrative frame and discourse, deconstructs the concept of androcentrism, thereby constructing its own narrative authority.

往期精彩文章回顾：

END

关注《外国文学研究》官方微信平台

《外国文学研究》

官方微信平台

投稿网址：http://fls.ccnu.edu.cn

联系电话：[phone]

联系邮箱：[e-mail]

版权所有。欢迎个人转发，媒体转载请联系授权