《外国文学研究》2020年第2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2期(总第202期)

中外学者访谈

Chen Lizhen & David Damrosch

Title: Reconsidering Chinese Literature and World Literature :  An Interview with David Damrosch

标题：再论中国文学与世界文学：大卫·达姆罗什访谈录
Abstract: David Damrosch is Ernest Bernbaum Professor of Comparative Literature, Chair of the Department of Comparative Literature and Director of the Institute for World Literature,  Harvard University. His research fields include theory and methods of comparative literature and  world literary studies, Bible and ancient Near Eastern literatures, modern European and global Anglophone literatures. He has written widely on world literature and comparative literature.  Along with his numerous articles, his books include What Is World Literature? (2003), How  to Read World Literature (2009) and Comparing the Literatures: Literary Studies for a Global  Age (2020). His theory of circulation has a far-reaching influence on world literary studies. He  is interviewed by Chen Lizhen on the issues of world literature, Chinese literature and the recent  discussions of global literature in the intellectual community of China. In this interview, Professor Damrosch defends his idea of world literature and comments on the current critical inclinations of replacing “world literature” with “global literature” or “planetary literature”. Professor  Damrosch reiterates his stress on world literature. By paying more attention to the way in which world literature comes into a given national market, he tries to modify his earlier proposition  of taking world literature as a mode of circulation and reading as well as a process in the global  market.内容摘要：大卫·达姆罗什，哈佛大学厄内斯特·伯恩鲍姆比较文学讲席教授、比较文学系主任、世界文学研究所所长。他的研究涉及比较文学和世界文学研究的理论与方法、圣经与古代近东文学、现代欧洲与全球英语文学。他在世界文学与比较文学方面著述丰富，代表作包括《什么是世界文学？》（2003）、《如何阅读世界文学》（2009）、《比较多种文学：全球化时代的文学研究》（2020）等。他倡导的“流通说”极大地推动了世界文学研究。陈礼珍教授就世界文学、中国文学与全球文学的最新讨论等话题采访了达姆罗什教授。在访谈中，达姆罗什教授捍卫了自己有关世界文学的观点，并对现今批评界试图用“全球文学”和“星球文学”取代“世界文学”的构想进行了评论。达姆罗什教授重申了他的世界文学理念和立场，修正了自己早先将世界文学视为在全球市场内一种传播与阅读模式和一种过程的主张，更加关注世界文学如何走进一个特定国家的文学市场。

中外学者对话：空间批评前沿理论研究

（栏目主持人：刘英）

Robert T. Tally Jr.

Title: Sea Narratives as Nautical Charts: On the Literary Cartography of Oceanic Spaces

标题：作为航海图的海洋叙事：论海洋空间的文学绘图

Abstract: The ocean presents unique problems for the literary cartographer. Its vast watery expanse has no stable or distinctive toponyms, no places to record or landmarks to highlight,  and the only paths available are those carved through the waves by invisible currents. So much of the world’s surface is covered by this oceanic space, where so little can be seen or  mapped. And yet this space is also the site of one of the most fantastic of literary forms, the  sea narrative, a genre that seems to combine the journalistic reporting of the travel narrative with the high adventures of wild romance. From the late eighteenth century, at least, the development of the sea narrative accompanied radical transformations of the global economy, as the  oceanic spaces of mere trade became integral to the production processes of capital. The sea narrative was a crucial form in making sense of this changing world system, as the perspective of the shipboard individual at once connected the subjective experience of ocean space with the incomprehensible totality of the world system. Writers such as Herman Melville and Joseph Conrad struggled to represent this space even as the spaces resisted representation. In the  sea narrative, the interplay of nature, society, individuality, and textuality establishes a complex, dynamic set of coordinates upon which the literary cartography of oceanic spaces can  be attempted. This article discusses the challenge to literary cartography presented by oceanic spaces, and argues that the sea narrative as a genre functions as an effective way of mapping  these distinctively atopian and heterotopian zones.
内容摘要：海洋给文学制图者带来了独特的问题。它辽阔的水域没有稳定或精确的地名、可记录的地点或醒目的地标，滚滚波涛中的暗流是仅有的通道。地球如此之多的表面被海洋空间覆盖，但在这个空间能看见或者能被绘入地图的却是如此之少。然而，这里也是海洋叙事的场所。海洋叙事是最具奇幻色彩的文学形式之一，是一种结合了旅行叙事的新闻报道与狂野传奇的极度冒险的文类。至少从18世纪末开始，海洋叙事伴随着全球经济的根本性变革不断发展，因为纯贸易的海洋空间成了资本生产过程中不可或缺的一部分。海洋叙事是理解这一不断变化的世界体系的重要形式，因为船员的个体视角同时将海洋空间的主观经验与难以理解的世界体系的整体性联系在一起。尽管其抵制表征，但赫尔曼·麦尔维尔和约瑟夫·康拉德等作家都竭力表征这个空间。在海洋叙事中，自然、社会、个体性和文本性的相互作用建立了一组复杂的动态坐标，据此可尝试海洋空间的文学绘图。本文探讨海洋空间对文学绘图所构成的挑战，并认为作为一种文类的海洋叙事是绘制这些独特的敌托邦和异托邦的有效方式。

刘    英

标题：流动性研究：文学空间研究的新方向

Title: Mobility Studies: A New Direction in Spatial Literary Studies

内容摘要：如果说20世纪九十年代社会科学的“空间转向”催生了文学空间研究的爆发，21世纪的“流动性转向”也同样引发了文学研究对流动性的热切关注。从空间转向中孕育、萌芽、成长起来的流动性转向强调空间的关系性和动态性以及流动性在空间生产中的重要作用。文学对流动性的表征以身体―空间―流动性的三相关联为主要模式，以流动性媒介（交通技术和交通基础设施）和流动性政治为两个基本维度展开。文学流动性的研究意义在于：在微观层面，聚焦流动性的具身性，视流动性为发生在身体上的空间实践；在宏观层面，揭示流动性与文学之间的相互作用：一方面，流动性技术和基础设施的变革影响叙事结构和文学类型的衍变，另一方面，文学见证流动性变迁，揭露流动性政治， 参与流动性话语，影响流动性实践。
Abstract: If the “Spatial Turn”of the social sciences in the 1990s triggered the quick rise of Spatial Literary Studies, the “Mobility Turn” that occurred in the early years of the 21st century  may have also drawn enthusiastic attention to the issue of mobility in literary studies. The “Mobility Turn,” whose inception, budding, and growth are deeply indebted to the “Spatial Turn,”  stresses the connectivity and dynamics of space and the crucial role mobility plays in the construction of space as well. Literary representation of mobility is mainly executed through an integrated body-space-mobility model and laid out with mobility medium (transport technology  and transport infrastructure) and mobility politics as the two basic dimensions. The significance of Mobility Literary Studies is: on the micro level, it focuses on the embodiment of mobility  and sees mobility as spatial practice of the body; on the macro level, it reveals the interplay between mobility and literature, namely, the changes in narrative structure and literary genre  impacted by the transformation of mobility technology and infrastructure on the one hand and,  on the other, a series of ways in which literature functions, such as observing mobility evolution, revealing mobility politics, participating in mobility discourse, and intervening mobility  practice.

方    英

标题：文学绘图：文学空间研究与叙事学的重叠地带

Title: Literary Cartography: An Overlapping Territory of Spatial Literary Studies and Narratology

内容摘要：“文学绘图”是美国“文学空间研究”领军学者罗伯特·塔利提出的重要概念，以地图绘制喻指文学写作，尤其是通过“叙事”完成的创造性表征，揭示了写作等文学活动乃绘制主体与更宏大的时空整体的关系，并探究文学如何表征并建构这一整体性。文学绘图不仅是文学空间研究的核心概念，也是叙事研究的重要开拓。首先，文学绘图体现了绘图、叙事和存在的根本性联系；其次，文学绘图研究重视叙事地图和叙事绘图，既包括“真实”可见的地图，也指以语言符号绘制叙事地图，涉及绘图模式、话语、视角等问题；第三，文学绘图可用于对特定作品和作家创作、特定时期或特定文类的叙事形式/模式及其绘图特征的讨论。文学绘图理论在方法论、认识论乃至本体论层面讨论并揭示了叙事空间性的意义和价值，强调了叙事形式/模式乃至叙事本身的意识形态性。
Abstract: “Literary Cartography” is an important concept advocated by Robert T. Tally  Jr., a leading scholar in the field of spatial literary studies in the US. Using the making of  maps as a metaphor for literary writing, especially the creative representation accomplished through narrative, this concept reveals that writing and other literary activities attempt to not  only map the connection between subjectivity and a broader spatiotemporal totality, but also explore how literature represents and constructs the totality. Literary cartography is both the core of Spatial Literary Studies and a major expansion in Narratological studies. Firstly, it embodies the fundamental connection between mapping, narrative, and human existence; secondly, the studies of literary cartography stress narrative maps/mapping, including the  “real” tangible maps and the narrative mapping with words, which may involve various  modes, discourses, and points of view of mapping; thirdly, it can be employed to explore the  narrative form/mode and the mapping characteristics of a certain text, author, time period or genre. The theory of literary cartography not only discusses and discloses the methodological, epistemological, and ontological significance and value of narrative spatiality on the one hand and, on the other, stresses the ideology of narrative forms/modes and even narrative itself.

空间与文学

（栏目主持人：陆扬）

陆    扬

标题：身体与空间：18 世纪英国小说中女性的衣着分析

Title: Body and Space: Female Dress Analysis of English Novel in the 18th-Century

内容摘要：玛格丽特·伊格内认为空间理论的流行给当代女性主义批评提供了丰富素材，不光意味着物理空间、社会空间和政治空间的交叠纠缠，更将身体推向前台。伊娃·斯塔特勒对英国18世纪小说女主角的服饰分析，由是观之便是分隔和打通男性和女性、公共和私人空间的一个标记。笛福的《摩尔·弗兰德斯》通过衣着和性别角色转换，搅乱社会阶层，被认为是启迪了女性意识的觉醒。《帕美拉》中，衣着不但是帕美拉社会地位的象征，而且紧贴着她的身体和写作。这一切在当代女性主义批评看来，不但揭示了18世纪阶级和性别空间的流动特征，也预演了现代性的亮相。
Abstract: In Margaret Higonnet’s view, the increasing popularity of “the spatial turn” provides  richer material for contemporary Feminist criticism. What this entails is not only interlocking the  physical, social, and political spaces, but also pushing the body to the front. Eva Stadler’s analysis of the heroines’ dress in the 18th-century English novel cites what they wear as a distinction  in separating and opening the spaces bewteen male and female, public and private. Defoe’s Moll  Flanders has been viewed as a novel that awoke women’s consciousness with a dressing style, a reversal of gender roles, and a dismantlement of social hierarchies. In Pamela, Pamela’s dress is a symbol of her social status, but it is closely tied to her body and writing as well. Judging from the contemporary Feminist criticism, all this not only shows the shifting characteristics of the class and gender spaces in the 18th century, but also anticipates the prelude of modernity.

张    蔷

标题：论韦斯特法尔的空间隐喻与世界文学观 ——从《子午线的牢笼》谈起

Title: Westphal’s Spatial Metaphor and His View of World Literature: A Discussion of La  Cage des méridiens and More

内容摘要：贝尔唐·韦斯特法尔是当代西方地理批评的奠基者和领军人物。在获得巴黎-列日文学奖的新著《子午线的牢笼》一书中，韦斯特法尔大量使用隐喻，引领读者从多种维度重新审视全球化语境中文学空间与真实空间之间的互动关系。其中两则举足轻重的隐喻引人注目：示播列和群岛。韦斯特法尔以示播列映射西方与其他世界之间不合理的边界，以群岛隐喻反思中心/边缘的二元对立。他进而以越界性作为贯穿两则隐喻的隐含线索。在韦斯特法尔看来，作为全球化时代的重要特征，越界性模糊了国别文学的边界和作家身份，消解了文学经典的权威性。综上可见，韦斯特法尔的地理批评思想与法语“世界文学”概念具有很高的契合度。Abstract: Bertrand Westphal is the founding and pioneering theorist of the contemporary Western geocriticism. In his La Cage des méridiens, a winner of Paris-Liège Literature Prize,  he uses a lot of metaphors to guide readers through a multi-dimensional reexamination of the  interaction between the literary space and the real space within the global context. Among them, two important metaphors are worth noting in particular: shibboleth and archipelago. Westphal uses the former to delineate the irrational boundary between the West and the rest of  the world, whereas he metaphorizes the latter into a reflection on the binary opposition of center and margin, thereby relying on transgressivity as a connection between the implicit threads  of the two metaphors. In Westphal’s view, as an important feature of the era of globalization, transgressivity blurs the boundaries of national literatures and the identities of writers, and undermines the authority of literary canons. In a word, Westphal’s theory of geocriticism is highly compatible with the concept of “littérature-monde” in French.

张广奎

标题：莱辛《拉奥孔》中的时空观

Title: Space and Time in Lessing’s Laocoon

内容摘要：莱辛在《拉奥孔》中关于诗画界限的观点，打破了当时传统的欧洲诗画一致说。通过诗人维吉尔等在诗中关于拉奥孔的描述和作为绘画群雕“拉奥孔”的比较，诗画各自对情绪的不同处理，以及诗画内容和时空摹仿的讨论，莱辛较为全面地论述了诗 画的界限和交互影响。从索雅的后现代空间理论出发，重新观照莱辛在《拉奥孔》中的诗画时空观，在媒体科技高度发达和后现代艺术及视觉诗歌蓬勃发展的背景下，莱辛诗画观仍具有一定的理论和实践意义；诗与画不仅具有最基本的物理空间和精神空间，同时也可以具有索雅开放的第三空间。索雅的空间理论为我们重新审视莱辛的诗画观提供 了一个新的视角。

Abstract: Gothold Ephraim Lessing’s Laocoon breaks the traditional theory of consistency of painting and poetry. He thinks there should be limits between the two. Comparing Laocoon  in poets’ eyes, such as the description in Virgil’s Aeneid, with marble sculpture “The Laocoon and His Sons”, Lessing explores passion’s expression in the space of painting and poetry, as  well as space’s and time’s “copy” from each other. Re-examining Lessing’s theory of space  and time in painting and poetry from the point of Soja’s post-modern theory of “Third Space”,  Laocoon still has great significance in theory and practice against the background of the development of media technology and the prosperity of postmodern arts and visual poetry. Either poetry or painting has both physical and spiritual space, while having Soja’s open “Third Space”. Soja’s spatial theory offers a new perspective and dimension to re-scrutinise Lessing’s  theory in poetry and painting.

英美文学研究

蒋洪新

标题：道德批评的选择：艾略特与白璧德

Title: The Choice of Moral Criticism: Eliot and Babbitt

内容摘要：T. S. 艾略特师承欧文·白璧德。艾略特一方面承继了老师白璧德对浪漫主义的批判，沿袭白璧德对道德和古典主义问题的关注，主张白璧德对教育实用化趋势的看法等学术思想；另一方面，又坚持“追求和怀疑”“吸收和抛弃”并存的姿态，与白璧德围绕宗教本质、人文主义与宗教关系等问题展开了学术争论，表达了人文主义只有具备开放性和包容性，方可在美国社会落地生根、茁壮成长。艾略特试图在人文主义的信条和纪律与基督教的同情和宽容之间寻求一个可能的平衡点，这一主张在当时看来颇有新意，也颇具前瞻性。在文学批评史上演绎了近现代版“吾爱吾师，也爱真理”的学术传奇，艾略特为推动西方乃至世界文学批评发展作出了重要贡献。Abstract: T. S. Eliot was a disciple of Irving Babbitt. On the one hand, he inherited Babbitt’s critical stance toward Romanticism, carried on Babbitt’s concern with issues related to morality and Classicism, and advocated Babbitt’s academic views about the trend of pragmatic education. On the other hand, however, Eliot insisted on adopting, side by side, the strategies of “pursuit and doubt” and “absorption and abandonment,” thus launching a series of scholarly  debates with Babbitt on the nature of religion, the relationship between Humanism and religion, and other issues, and claiming that only through openness and inclusiveness could Humanism take root and grow sturdily in American society. Eliot attempted to strike a probable  balance between the doctrine and discipline of Humanism and the empathy and tolerance of  Christianity. At the time, such a concept appears to be novel, but certainly forward-thinking.  Eliot reenacted a modern-day academic legend of “Teacher is dear to me, but dearer still is truth” in the history of literary criticism and made important contributions to the development  of literary criticism in the West and in the world as well.

吕洪灵

标题：反思感伤：《重情者》中的商业经济与道德观念

Title: Self-Reflection of Sentimentality：Commerce and Morality in The Man of Feeling

内容摘要：在启蒙运动时代的苏格兰文学中，亨利·麦肯齐的《重情者》因其感伤的成分而曾被解读为滥情的感伤小说。实际上，这部作品在18世纪苏格兰商业发展的大背景下，应和了苏格兰启蒙思想家相关情感道德的论说，借助感伤小说的形式将情感表现、商业发展和道德观念并置于被审视的位置。小说成为对感伤进行自我反省的文本，在利用人物对土地租赁和殖民经济等商业活动进行感伤批判的同时，又在文本内部对之进行再审视，人物的道德典范作用也因此受到质疑。小说以此表现出苏格兰商业社会化的必然，从而深化了对于文学道德教育意义和社会功能的思考。

Abstract: Henry Mackenzie’s The Man of Feeling, once derided as an oversentimental novel,  is actually a self-reflective text set against the Scottish commercial development in the 18th century in response to some theoretical discussions on sentiment and morality during the Scottish Enlightenment. Taking the advantage of the form of sentimental novel, it attempts  to turn issues like sentimental expression, commercial development, and moral concept into subjects of scrutiny. Thereby, the novel becomes a self-reflective text on sentimentality, in which the characters release their sentimental criticism toward the commercial activities,  such as land leasing and colonial economy, but their criticism is reexamined and their role  as the model of morality is questioned. The novel shows the inevitable commercialization in  the Scottish society and inspires an in-depth reflection over literature’s significance in moral  education and social function.

非洲文学研究

张    燕

标题：用神话书写被遮蔽的历史记忆 ——《棕榈酒酒徒》和《我在鬼林中的生活》主题新论

Title: Representing the Veiled Historical Memory in Mythological Writing: The Themes of  The Palm-Wine Drinkard and My Life in the Bush of Ghosts Reconsidered

内容摘要：学界在分析图图奥拉长篇代表作《棕榈酒酒徒》和《我在鬼林中的生活》中的民间神话元素时，已意识到其神话书写不乏对殖民主义的批判。如果从历史、民俗、性别等角度切入文本可以发现，图氏是一位颇具历史意识并关注非洲女性命运的作家，他在这两部小说中不仅真实再现了前殖民时期尼日利亚社会对奴隶贸易的恐惧心理，而且也较客观地反映了历史上尼日利亚女性曾享有较高社会地位的生活状况。图氏虽未在这两部作品中进行有意识和系统的历史建构，但他的神话书写对尼日利亚乃至非洲民族主义作家的历史建构是一种有意义的偏离，因为它不仅让那些民族主义作家有意遮蔽的创伤历史记忆浮出水面，同时也批判了在他们的历史建构中明显的男权主义倾向。
Abstract: In their studies of A. Tutuola’s masterpieces The Palm-Wine Drinkard and My Life  in the Bush of Ghosts, scholars have noticed that mythological writing is full of the writer’s  criticism of colonialism. With a close reading of the two novels from other perspectives such as history, folklore, and gender studies, this article further argues that Tutuola, was a writer with acute historical consciousness and a keen concern about the fate of African women. In  these two novels, he offered both a realistic representation of the fear within the precolonial  Nigerian society toward the slave trade and an objective depiction of the living conditions of  the Nigerian women who used to enjoy a relatively high social status in early years. Although  Tutuola did not attempt at a conscious and systematic of history construction, his mythological  writing is a significant deviation from the construction of history by Nigerian and even by African nationalist writers, for it not only resurfaces the historical traumatic memory that has been deliberately veiled by them, but also repudiates the explicit patriarchal inclination in their construction of history.

金怀梅

标题：库切作品中的素食伦理意蕴

Title: The Implications of Vegetarian Ethics in J. M. Coetzee’s Works

内容摘要：诺贝尔文学奖得主 J. M. 库切的素食主义者身份紧密关联其创作实践。素食主义不仅是库切的生活方式，也是其重要的创作思想。库切将其选择茹素的价值观和伦理观用个性化的艺术手法呈现于作品中，传达其伦理信仰，实践其伦理向导者的角色。其素食伦理既聚焦动物关怀，又饱含对性别他者和种族他者的关切。他在作品中不仅揭露了动物在食肉主义文化中所遭遇的血腥暴力和痛苦，为其生命权利和道德权益伸张，而且戳穿了父权文化下食肉行为所隐匿的性别和政治话语，对与食肉主义纠结合谋的性别压迫和种族暴力严厉抵制和鞭挞。库切期望其作品中内蕴的素食伦理能引起读者对人与动物、人与人之间关系的深刻反思，对人性的扪心叩问，从而达到伦理教诲和道德警示的旨归。然而，他对食肉行为的道德批判及其素食立场本身不免存在伦理悖论，需要我们审慎看待。
Abstract: The identity of Nobel laureate J. M. Coetzee as a vegetarian is closely tied to his literary writing. Vegetarianism is not only Coetzee’s lifestyle, but also his major creative idea.  Coetzee presents his values and ethics of vegetarianism in his work by means of personalized  artistic techniques, expressing his ethical beliefs, and playing out his role as an ethical guide.  His vegetarian ethics demonstrates both the care for animals and the concern for the victims of gender bias and racism. What he does in his work is to expose the bloody violence and atrocity  inflicted on animals in carnivorous culture in defense of their basic and ethical right for survival  on the one hand and, on the other hand, debunk the gender-based and political discourse hidden  in the carnivore diet in patriarchal culture as a fierce resistance to and relentless denunciation of  the gender oppression and racial violence conspired with carnivorism. Coetzee hopes that the vegetarian ethics represented in his work will inspire his readers to reflect on their relationships  with animals and with other people, probe into the true nature of human being, and thereby  benefit from the ethical instructions and moral admonitions. However, there seems to be some inevitable ethical paradoxes in his moral criticism on carnivore behavior and his vegetarian  attitude, which we need to consider in earnest.

中外文学的交流与互鉴

张旭春

标题：“以诗证史”与“形而上学的慰藉” ——以华兹华斯《康伯兰的老乞丐》为例

Title: “Verifying History with Poetry” and “Metaphysical Solace”: A Case Study of Wordsworth’s “The Old Cumberland Beggar”

内容摘要：陈寅恪先生所创立的“以诗证史”研究方法堪称20世纪中国文史研究方法论领域的一座丰碑。但由于该方法过分注重诗歌的史料价值，反而遮蔽了诗歌的艺术价值。另外，陈寅恪先生认为该方法不适用于西方诗歌研究，这也是对西方诗歌的误解。华兹华斯《康伯兰的老乞丐》的分析个案表明：第一，“以诗证史”法同样适用于西方诗歌研究；第二 ,“以诗证史”法具有很高的史学研究价值，但无法揭示伟大诗歌所具有的“形而上学的慰藉”之艺术价值。Abstract: The methodology of “yi shi zheng shi” (verifying history with poetry) established by Chen Yinque has been acclaimed as a monumental achievement in the Chinese literary and historical studies in the 20th century. Due to its undue emphasis on the historical allusions in poems, however, this methodology inadvertently overlooks the aesthetic value of their poetics. In addition, Chen Yinque’s argument that “yi shi zheng shi” cannot be applied to the study of Western poetry seems to be a misconception of Western poetry. An analysis of Wordsworth’s “The Old Cumberland Beggar” shows: first, “yi shi zheng shi” can be, and has been, applied  to the study of Western poetry; second, this methodology might be quite imperative in historical studies, but it can hardly lay bare the aesthetic value of “metaphysical solace” in great  poetry.

杜  磊

标题：重构历史与演述文明 ——17 世纪下半叶英国戏剧之中国书写

Title: Reconstructing History and Performing Civilization: The Chinese Writing about British  Plays during the Late 17th Century

内容摘要：17世纪下半叶，英国戏剧文学中出现中国题材和中国元素乃是中西交流不断扩大与英国戏剧发展的必然产物。《鞑靼人之征服中国》以中国历史为表现对象，通过“雌雄同体”的书写创造了“阿玛梵歌”这一突破英雄剧传统的中国女英雄形象，对崇祯之死的叙演激活了民众对于查理一世之死的集体民族记忆，乌托邦式的结局构设更将中国史转变为了英国政治文化资源。《祭献》将中国地理拓展为名谶预言与国家存亡兴败的哲思，其围绕中国“四大发明”对社会阶层流动的探讨则是西方早期对中国科举原理的戏剧情境化阐释，体现的是英国知识界对中英国家权力结构问题的横向比较与探索。两剧的中国书写分别呈现了重构历史与演述文明的轨迹，都含有深层的政治自我指涉。Abstract: During the late 17th century, “China” emerged in British theatrical literature in the wake of both the ever-widening China-West exchanges and the development of British theater. Taking the contemporary Chinese history as its subject matter, The Conquest of  China by the Tartars broke away from the tradition of British heroic play in its androgynic creation of Amavanga, a valiant Chinese Heroine. In performing the demise of Chongzhen,  the play activated the British people’s collective memory of the execution of Charles I. Its  denouement was a utopian rewriting that translated the Chinese history into British political  and cultural resource. In Sacrifice, its author expanded Chinese geographical knowledge into name-implying prophecies and philosophical reflections on the rise and fall of the empire.  Its discussion of social mobility on the basis of China’s Four Inventions offered a dramatic  interpretation of the Chinese rules for the imperial examination and evinced the British  intelligentsia’s attempt to compare and explore the power structures of both nations. The  “Chinese Writing” about these two plays followed the trajectories of “reconstructing history” and “performing civilization” respectively and registered in-depth political self-reflections.

涂    慧

标题：罗曼·罗兰思想在民国时期的阐释演变

Title: The Evolving Interpretation of Romain Rolland’s Thought during the Period of the Republic of China

内容摘要：根据社会状况和阅读期待的不同，罗曼·罗兰思想在民国时期的阐释演变，大致可分为三个特色鲜明的阶段。1920年代中国知识界赞赏罗曼·罗兰的独立精神，认同其和平主义思想；1930年代高扬作家的战斗精神，反思其和平主义思想；1940年代则开始质疑其个人主义和英雄主义，挖掘其普罗大众思想。就宏观态势而言，三个阶段之间有一脉相承的一致性和前后关联的逻辑性，即人道主义关怀与和平主义诉求是罗兰贯穿至终的思想内核，是作家自由独立、战斗精神和个人主义思想的底色和基础。三个阶段之间又有细微隐蔽的差异性和前后转化的变异性，即罗兰思想具有丰富性和多样性，自由独立、战斗精神和个人主义是作家思想的三个向度。罗曼·罗兰思想在民国时期的阐释演变，受到20世纪上半期中国社会思潮和时代话语的直接影响与强力规训，显示出比较明显的政治批评功能和意识形态倾向，具有比较强烈的功利主义和实用主义色彩。Abstract: Given the difference in social conditions and reading expectations, the cognitive interpretation of Romain Rolland’s thought during the time of Republic of China can be roughly divided into three distinct stages. In the 1920s, Chinese intellectuals appreciated Rolland’s spirit of independence and shared his belief in pacificism; in the 1930s, they advocated Rolland’s fighting spirit and reflected on his idea of pacificism; in the 1940s, they began  to question Rolland’s thought on individualism and heroism and explored his ideas about the populace. When considered as a whole, one may see a sort of consistency and logicality throughout the three different stages. In other words, humanitarian care and yearning for peace  seem to be not only the core of Rolland’s thought from beginning to end, but also the nature and foundation of the author’s belief in freedom, independence, fighting spirit, and individualism. Between the three different stages, though, there are some minute and implicit differences and transitional variations that accentuate the obvious richness and diversity in Rolland’s  thought and indicate freedom and independence, fighting spirit, and individualism as its three dimensions. The evolving interpretation of Rolland’s thought during the time of Republic of  China was directly influenced and strongly disciplined by the thoughts and discourses within  the Chinese society in the first half of the 20th century, so it had a fairly obvious function of political criticism and ideological trend, tinged with a quite strong touch of utilitarianism and  pragmatism.

批评与批评研究

姜    磊

标题：《萨哈林旅行记》与契诃夫的远东印象

Title: A Journey to Sakhalin and Chekhov’s Impression of the Far East

内容摘要：契诃夫的萨哈林之行是体力劳动加上脑力劳动的总和，也是一次寻求精神突围的救赎之旅。作家想象中的“东方天府之国”与现实中目睹的“人间炼狱”发生了激烈的对撞。契诃夫在《萨哈林旅行记》和亲友信件中对于远东的书写存在显性的差异，这种有偏见性书写不仅是作家的个体印象，也是19世纪末20世纪初整个俄罗斯知识界东方偏见的显影。
Abstract: A. P. Chekhov’s trip to Sakhalin is the sum total of physical and mental labor, as well as a journey of redemption to seek for a spiritual breakthrough. There is a violent collision between the “Oriental Land of Abundance” in the author’s imagination and the  “Living Hell” he witnessed in reality. Chekhov’s writing about the Far East in A Journey to Sakhalin and in his letters to family and friends shows an obvious discrepancy. This kind  of biased writing is not only a personal impression of the author, but also a reflection of the prejudice toward the East within the entire Russian intelligentsia in the late 19th and early 20th centuries.

程    斌

标题：史料性·多样性·指南性 ——评《英国犹太写作：参考及批评指南》

Title: Historicity, Variety and Guidance: A Review on Jewish Writing: A Reference and  Critical Guide to Jewish Writing in the UK

内容摘要：英国犹太写作逐渐被学术界重视，威廉·贝克和珍妮特·罗伯茨·舒马克两位教授对此问题有着持续的关注，他们合著的《英国犹太写作：参考及批评指南》一书向我们介绍了自19世纪以来的英国犹太写作。该书填补了当前研究中的空白，呈现了英国犹太写作的特征和价值，对英国犹太写作的身份认同也有独特论述。作为一部指南类的著作，对于之后的相关研究具有很强的参考价值以及丰富的启示。Abstract: Anglo-Jewish writing has gradually started to garner a lot of attention from the academia. Jewish Writing: A Reference and Critical Guide to Jewish Writing in the UK, coauthored by William Baker and Jeanette Roberts Schumaker, who have kept a keen interest in  the subject all along, introduces us to Anglo-Jewish writing since the 19th century. This book  fills in the gaps in current studies, pluralistically represents the characteristics and values of  Anglo-Jewish writing, and offers a unique illustration of the identity of Anglo-Jewish writing. As a guidebook, it is extremely valuable as a reference and a source of inspiration for the  relevant research in the future.

往期精彩文章回顾：

聂珍钊 | 从人类中心主义到人类主体：生态危机解困之路

王宁 | 当代生态批评的“动物转向”

梁坤 | 俄蒙树木崇拜的多神教和萨满教渊源

石海毓 | 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

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