《外国文学研究》2020年第4期主要论文摘要

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2020年第4期(总第202期)

中外学者访谈

钱林森 阿尔诺·维维昂

标题：艾田蒲《中国之欧洲》：中法学者二人谈

Title: Étiemble’s Europe of China: A Dialogue between a Chinese Scholar and a French Scholar

内容摘要：2016年3月31日，钱林森教授应法国驻华使馆文化处之邀，与法国作家、批评家、文学政治批评杂志《查理》（Charles）主编阿尔诺·维维昂（Arnaud Viviant）先生就法国已故世纪学者艾田蒲与中国为中心话题，在北京法国文化中心对谈。谈兴未尽,翌日（4月1日）清晨，二人又在下榻的同一宾馆北京光明饭店接着这一话题聚谈，并一致商定：由钱林森依据两次交谈的内容，进行梳理，提炼出12个问题,再寄给他回答、补充。在杨振、全志刚和许玉婷的大力协助下，经几度往返互动，最终修订、成就了这篇法、中两个文本的对谈文稿。在这篇文稿中，钱林森教授与维维昂先生从学术贡献、学术理想与研究视角等几个方面回顾了艾田蒲教授的学术生涯，并以其著作《中国之欧洲》为切入点，就中国形象、西方中心主义、世界文化观、比较文学方法论以及中国文学的世界文学坐标等问题进行了深入交流。

Abstract: On March 31, 2016, at the invitation from the Cultural Affairs Office of the French Embassy in China, Professor Qian Linsen had a dialogue with Arnault Vivian, the French writer, critic, and editor-in-chief of Charles, a journal of literary and political criticism, about a series of issues related to the late French scholar, René Étiemble (1909-2002), and China at the Center of French Culture in Beijing. On the early morning of the following day (April 1), they met again at Guangming Hotel, where they stayed, for a second round of pleasant discussion about the topic. Also, they reached an agreement on the following: Qian would sort out 12 questions based on their two conversations and then send them to Vivian for response and feedback. With the great help from Yang Zhen, Quan Zhigang, and Xu Yuting, the transcript of their dialogue was produced, revised, and finalized both in Chinese and French after several consultations. In this text of their dialogue, Qian and Vivian reviewed Étiemble’s academic career based on his scholarly achievements, ideals, and perspectives. Also, taking his book L’Europe chinioise (Europe of China) as the starting point, they conducted an in-depth exchange of their views on a range of issues, such as the image of China, Eurocentrism, the concept of world culture, the methodology of comparative literature, and the Chinese literature’s coordinate of Weltliteratur (world literature).

中外学者对话：中东欧历史与文学书写

Vladimir Biti

Title:Past Empire(s), Post-Empire(s), and Narratives of Disaster: Joseph Roth’s The Radetzky March and Ivo Andrić’s The Bridge over the Drina

标题：前帝国、后帝国及灾难叙事：约瑟夫·罗斯的《拉德兹基进行曲》与伊沃·安德里奇的《德里纳河上的桥》

Abstract: The breakup of East-Central European empires generated various narratives of disaster. This article confronts two such novels, Joseph Roth’s The Radetzky March, which is written from the perspective of the Austro-Hungarian Empire’s ruling constituency, and Ivo Andrić’s The Bridge over the Drina, which is written from the perspective of the subjects of the Austro-Hungarian and Ottoman Empires. For Roth, who focuses on the private family, the Empire entered its disintegration when its children renounced their fathers. For Andrić, who departs from the political family, that took place when its authorities abandoned their subjects. In fact, an external force distorts the paternal relationship and sets its constituencies apart. The article analyses the two novels’ different answers to this trauma. Roth responds to it by establishing an “anachronous” epic narrator who permanently ironizes his protagonists because of their shortsightedness and naivety. Andrić for his part shapes his authorial self on the model of an impartial divine Judge, promising the presently antagonized protagonists future reconciliation and harmony. 

内容摘要：东―中欧帝国的分崩瓦解滋生了种类繁多的灾难叙事。本文直面两部此类的小说：一是约瑟夫·罗斯从奥匈帝国统治阶层的视角写成的《拉德兹基进行曲》，二是伊沃·安德里奇从奥匈及奥特曼帝国子民的视角写成的《德里纳河上的桥》。罗斯注重的是私人家庭，认为这家孩子们背弃自己的父亲之时，就是帝国分崩瓦解之始。安德里奇与政治家庭分道扬镳，认为一旦权贵们抛弃自己的子民，帝国的崩溃也就发生了。事实上，一种外在的力量扭曲了父系关系，并使其属下四分五裂。本文剖析这两部小说针对这一创伤所作的不同回应。罗斯的回应是，通过确立一个“时代交错”的史诗级叙述者，不停地嘲讽书中的人物，因为他们实在是目光短浅、幼稚可笑。安德里奇所做的是，将作者的自我塑造成一个公正不阿的神圣法官，向眼下遭以敌视的人物许诺未来会实现的和解与和谐。

吴 笛

标题：古罗斯的终结：17世纪俄罗斯文学的历史性转型

Title:The End of Old Rus’: The Historical Transformation of Russian Literature in the 17^th Century

内容摘要：自公元10世纪至17世纪，俄罗斯文学一直独立于世界文学进程之外。17世纪则标志着“古罗斯文学”（古代俄罗斯文学）的终结，是俄罗斯文学从古代向近代文学转型的一个世纪。然而俄罗斯近代文学是否如普希金所说，没有祖先没有谱系呢？本文主要就俄罗斯文学在17世纪的富有历史意义的文化转型入手，对这一问题做出呼应，并探索古罗斯文学终结的历史特性，认为俄罗斯文学的转型既与俄国社会历史语境以及俄罗斯传统文化密切相关，同时也与世界文学的进程，尤其是西欧文学中的大量世俗性作品在俄国的译介具有一定的关联。正是这两个方面的作用，引发俄罗斯文学创作逐渐背离宗教题材以及反抗异族战争的英雄题材，开始贴近日常生活，并向社会现实题材转向，为其后的俄罗斯近现代文学的发展和繁荣打下了坚实的基础。

Abstract: Russian literature was consistently independent from the advancement of world literature from the 10^th century to the 17th century A.D. The 17^th century marked the end of “the old Rus’ literature” (old Russian literature), and it was a century in which Russian literature went through its transition from antiquity to modern literature. But did the modern Russian literature, as Aleksandr Pushkin said, develop without ancestors and genealogies? By taking the historical cultural transformation of Russian literature in the 17^th century as a point of departure, this essay tries to respond to this issue and explore the special historical reasons for the end of old Rus’ literature, arguing that the transformation of Russian literature is closely related not only to the Russian socio-historical context and its traditional culture, but also to the advancement of world literature and, particularly, the Russian translation of a large number of secular works from Western European literature. It was these two factors that prompted Russian literature to shift gradually away from the religious themes and the heroic themes about wars against foreign nations. Consequently, it began to stick close to the daily life and extract its subject matter out of social realities, thus laying a solid foundation for the subsequent development and prosperity of the modern Russian literature.

文学伦理学批评

陈彦旭

标题：她为何不恸哭?——《古德隆恩的第一首歌》中的伦理与情感问题解析

Title: Why Didn’t She Weep? The Ethical and Emotional Issues in “The First Poem of Gudrún”

内容摘要：“哭泣的古德隆恩”是北欧中世纪诗体《埃达》中著名的女性悲剧形象。其哭泣行为之延宕，有着深刻的文化解读空间，隐藏着独特的伦理观念与情感结构。作为“埃达挽歌”之代表，《古德隆恩的第一首歌》颠覆了《埃达》神话诗中强有力的女性刻板印象，塑造了新型的善感女性形象，在此基础上形成了以“同情”为特征的北欧女性情感共同体。这与罗曼司与基督教的文化影响有关，也与社会进步而发生的个人观念的觉醒以及对死亡的认识有关。《古德隆恩的第一首歌》中细腻的抒情叙事有助于我们摆脱对北欧文化野蛮、尚武的刻板印象，从而对北欧中世纪文学产生更加深刻与全面的认识。

Abstract: The “weeping Gudrún” is a well-known female tragic figure in the medieval Nordic Poetic Edda. Her delayed weeping offers plenty of wiggle room for profound cultural elucidation and conceals unique ethical concepts and emotional structures. As a representative piece of “eddic elegies”, “The First Poem of Gudrún” subverts the stereotype of powerful women in the mythical poems of Edda and creates a brand new image of sentimental women, thereby establishing an emotional community of Nordic women characterized by “sympathy”. All this has a lot to do with not only the cultural influence from romance and Christianity, but also the awakening sense of individuality and the reckoning with death in the wake of social progress. The exquisite lyric narrative in “The First Poem of Gudrún” helps us renounce our stereotypes of the Old Norse culture as something savage and bellicose, thus developing a deeper and fuller understanding of the Old Norse literature in the Middle Ages.

蒋文颖

标题：双重隐喻与道德诉求——易卜生戏剧《群鬼》的伦理内涵

Title: The Double Metaphor and Moral Appeal: The Ethical Connotations of Ibsen’s Ghosts

内容摘要：《群鬼》是易卜生继《玩偶之家》创作的又一部重要的社会问题剧。“群鬼”是剧中最重要的女性人物阿尔文太太使用的修辞，具有丰富的伦理内涵。在生理层面和伦理层面，“群鬼”的隐喻意义生动诠释了曼德牧师代表的伦理传统对她产生的不可抗拒的作用，招致了一系列悲剧性后果。曼德牧师代表的伦理传统是以理想替代伦理、只讲义务不讲权利的伦理价值取向。这种伦理传统不能实现劝人向善和规范个人行为的基本功能，但是它名义上仍然是衡量和评价个人道德品质和言行的标准，并且迫使个人采用不道德的手段制造道德的假象。通过“群鬼”的双重隐喻，易卜生揭示了真理与理想无法两全的伦理难题所导致的个人生存困境，批判了过于理想化而否定人具有斯芬克斯因子的基本属性、违背自然规律的伦理价值取向，表达了自我解放的道德诉求。

Abstract: Ibsen wrote another major play on social issues, Ghosts, after the publication of his A Doll’s House. The word, “ghosts”, a rhetoric used by Mrs. Alving, the heroine in the play, carries rich ethical connotations. Its metaphorical implication illustrates, from both physical and ethical perspectives, that the ethical conventions represented by Pastor Manders have had an irresistible impact on her and triggered a series of tragic consequences. The ethical conventions advocated by Pastor Manders are a set of ethical values that aim to replace ethics with ideals and choose duties over rights. These conventions cannot perform their basic function in entreating everyone to be good or regulating individual behavior, but nominally they still serve as the criteria for meansuring and judging individuals’ morality, words, and deeds, and they even force individuals to adopt unethical means to create fake ethical appearance. Ibsen uses the double metaphor of “ghosts” to reveal the dilemma of individual survival caused by the ethical problem of our inability to pursue both truth and ideal at the same time, denounces the ethical values that are so idealistic as to negate the basic attributes of humans’ existence as the Sphinx factor and violate natural laws, and expresses a moral appeal for self-emancipation.

王二磊

标题：爱伦·坡文学批评的道德困境与美学出路

Title: Moral Predicament and Aesthetic Solution of Edgar Allan Poe’s Literary Criticism

内容摘要：自19世纪以来，爱伦·坡因其文学作品缺乏对社会伦理道德的显性观照而备受责难。爱伦·坡批判和抵制在美国19世纪主流文学中大行其道的道德主义说教，应和了现代艺术审美范式的演进。爱伦·坡坚守艺术自律的美学原则，以追寻艺术的和谐形式和理想之美为目标，让美与道德（善）在更高的层面上再次产生更为密切的关联，将审美精神提升到道德高度。同时，爱伦·坡褒扬文学作品中隐在的道德寓意和道德关怀，并在文学创作中躬身力行。重构爱伦·坡文学批评理念的道德内核，有助于昭示其文学思想的社会价值与伦理意义，从而为全面把握其文学作品中艺术的审美价值与道德教谕的关系提供一种新的认知。

Abstract: Since the 19^th century, Edgar Allan Poe has been harshly admonished for his lack of explicit concern with social ethics in his literary works. Poe criticized and resisted the moralistic preaching that prevailed in the mainstream of the 19^th-century American literature, working in concert with the evolution of modern aesthetic paradigm. In adherence to the aesthetic principle of artistic autonomy, Poe set the pursuit of the congruous form and ideal beauty of art as his goal, generating, on a much higher level, a more intimate connection between beauty and morality (goodness) once again, and elevating the aesthetic spirit to a moral height. Meanwhile, Poe not only offered his endorsement for the implicit moral implications and concerns in literary works, but also practiced what he endorsed in his own literary writings. Reconstructing the moral core of Poe’s literary criticism helps uncover the social value and ethical significance of his literary thought and, thereby, provides a new cognitive perspective on a comprehensive grasp of the relationship between the aesthetic value and the moral instruction from the art of his literary works.

英国文学研究

尹兰曦

标题：“悲伤的时辰似乎如此漫长”——《罗密欧与朱丽叶》中的“钟表时间”

Title: “Sad Hours Seem Long”: Clock Time in Romeo and Juliet

内容摘要：《罗密欧与朱丽叶》中存在大量的时间表述用语，莎士比亚通过区分戏剧人物对不同计时方式的使用，既在还原历史语境的意义上展现了文艺复兴时期新旧时间观念的碰撞，也在超越历史现实的层面上对时间修辞进行了整体性反思。细致考察该剧如何征用文艺复兴文化结构之中的“钟表时间”可以发现，在彰显“钟表”所象征的强烈个体主义意识、信息的高度精确性以及科学自信力这三重文化内涵的同时，莎士比亚亦超脱出由钟表意象衍生出的、以“机械”和“循环”为特征的“机械隐喻”模式，通过保留人物丰富的时间官能感受和肯定“此在性”生存内涵的方式对抗理性时代迫近而导致的人的异化，从而开拓了有关时间修辞的美学想象空间。

Abstract: Romeo and Juliet contains a great many time references. By distinguishing his characters’ different measurement of time, Shakespeare demonstrated, in the context of history, the conflict between the old and new concepts of time during the Renaissance period, while reflecting on the time rhetoric as a whole beyond historical realities. A careful exploration of how the “clock time” within the cultural construct of Renaissance is used in this play may lead us to a discovery that while highlighting the triple cultural implications symbolized by the “clock”, namely, the strong sense of individualism, the great precision of information, and the confidence in science, Shakespeare goes beyond the mode of “mechanical metaphor”, which is generated through the image of the clockwork and characterized by “mechanical” and “circular” motions, to confront the human alienation due to the fast-approaching era of reason by preserving his characters’ rich sensibilities toward time and confirming “Dasein”, the meaning of existence, thus opening up the space of aesthetic imagination for the time rhetoric.

黄 靖

标题：《还乡》中的倾听与共同体想象

Title: The Listening and Imagination of Community in The Return of the Native

内容摘要：J. 希利斯·米勒对《还乡》中共同体观念的哲学式阐发并未追溯其思想来源。结合哈代文学笔记、散文等资料分析《还乡》对于共同体成员听觉的描写，可以发现听觉是村民和主要人物想象共同体的方式之一，倾听引导人物重新想象彼此的情感联结。听觉中的共同体想象指涉法国大革命后思考共同体的两种思路：一种基于孔德实证主义关于“人性宗教”的设想，以游苔莎的气氛式倾听为典型，代表了视个人为‘抽象观念’的情感中介的共同体想象方式；另一种基于华兹华斯以倾听来思考同情、构想个体关系的书写传统，以乡民们同情克林的“人生故事”并由此倾听其布道为典型，代表了从真实、具体的人类情感出发的共同体想象方式。

Abstract: J. Hillis Miller’s philosophical elaboration on the concept of community in The Return of the Native hardly touches upon its ideological origin. An analysis of the depiction regarding listening among the members of the community in The Return of the Native, in connection with Thomas Hardy’s literary notebooks, essays, and other documents, may reveal that listening functions as a sort of communal imagination for the villagers and the leading characters, and that it leads them to reimagine the emotional connection between each other. The auditory imagination of community might refer to two trains of thought on community after the French Revolution: one is the assumption based on the “Religion of Humanity” of the Comtean positivism and exemplified by Eustacia Vye’s “atmospheric listening,” representing an imagination of community that perceives individuals as an emotional medium for abstractions; the other is the tradition based on Wordsworth’s writing, namely, using listening as a way of reflecting on sympathy and the relation between individuals, and exemplified by the villagers’ sympathy toward Clym’s “life story” and their willingness to listen to his sermon, delineating an imagination of community based on real and concrete human emotions.

陈 红

标题：马维尔笔下割草人形象中的农事理想

Title:The Georgic Ideal in the Image of Marvel’s Mower

内容摘要：17世纪玄学派诗人安德鲁·马维尔在英国内战期间创作了多首貌似与时政无关、大有逃避现实之嫌的田园诗歌，其中最著名的当数割草人组诗。有学者指出，马维尔利用割草人这一非传统田园形象实现了农事诗歌与田园牧歌的糅合，不仅表达了对劳动的尊重，更有对现实的思考和关怀。割草人形象实际上反映出英国早期现代化进程中人与土地之间的现实关系，蕴含着诗人对农业改革的审慎态度，更揭示出诗人以良心为准绳，以消解矛盾、敬畏自然为基本内容的农事理想。

Abstract: During the English Civil War, Andrew Marvell, a metaphysical poet in the seventeenth century, wrote quite a few pastoral poems that, seeminly, had nothing to do with current affairs but, instead, created a perception of evading realities. Among them, the mower poems are certainly the best-known. Some scholars claim that Marvell integrates georgic poetry with eclogue by featuring the mower as a non-conventional pastoral figure, a creative move that not only acknowledges the value of labor, but also shows so much reasoning and concern over the reality. In fact, the figure of the mower reflects man’s relationship with the land in reality, implies the poet’s cautious attitude toward the Agricultural Revolution, and reveals, in particular, his georgic ideal, which sets “conscience” as its criteria and keeps the aims of resolving conflict and revering nature at its core.

雷武锋

标题：在过去与未来之间：《10½章世界史》中的历史话语

Title: Between Past and Future: The Historical Discourse in A History of the World in 10½ Chapters

内容摘要：朱利安·巴恩斯《10½章世界史》中的10章故事通过对过去之“真”的拆解，展现了星丛化的历史结构。这一历史结构将过去与未来汇聚“当下”并使之相互映照，解构了总体性历史书写的叙事成规和话语形态，颠覆了其中所蕴涵的意识形态机制。当无名之辈和异质性因素得以呈现，10章历史故事又与半章插曲中爱的活力形成一种内在呼应，以冲破自我中心主义观念的辖制，使未来的救赎内嵌于流动的“当下”，一种兼容共在、面向未来的世界史才会成为可能。

Abstract: In Julian Barnes’ A History of the World in 10½ Chapters, ten chapters present the clustering structure of history by deconstructing the “truth” of the past. Such a historical structure, which coalesces the past and the future into “the present” and makes them reflect each other, deconstructs the narrative conventions and discourse forms in the writing of totalized history and subverts its hidden ideological mechanism. A compatible and future-oriented world history will become possible when the subalterns and the heterogeneous factors are properly represented and, furthermore, the historical stories in the ten chapters and the vitality of love in the half-chapter interlude generate an innate response, breaking up the bondage of egocentrism and embedding the future redemption in the flowing “present”.

陈西军

标题：《罪魁蒙恩记》：精神自传、经验与班扬的个人主义

Title:Grace Abounding: Spiritual Autobiography, Experience, and Bunyan’s Individualism

内容摘要：清教精神自传在继承奥古斯丁《忏悔录》的内省模式的同时，也吸纳了英国17世纪的经验主义成分。清教经验包括身体经验（恩典的外在标志）和精神经验（恩典的内在标志）。在精神自传《罪魁蒙恩记》中，班扬试图通过将《圣经》和信仰置于个人经验之下的方式来彰显个人的主体性。但是，这种尝试在以《圣经》为中心的清教观念中是无法接受的。因此，班扬惶惶不可终日，只好重新屈从于《圣经》的权威，没能形成现代个人主义所必需的自主性。基于个人经验和《圣经》，班扬批评了浮嚣派的反律法倾向，同时又批评了贵格派将个人经验置于《圣经》之上的教义。相较之下，班扬对《圣经》表现出的是一种叛逆式的顺从，他的个人主义也只是《圣经》束缚意义上的个人主义。

Abstract: The Puritan spiritual autobiographies, following the inward reflection of Augustine’s Confession, absorbed English Empiricism in the 17^th century. The Puritan experience includes physical experience, i.e., outer signs of grace, and spiritual experience, i.e., inner signs of grace. In his spiritual autobiography, Grace Abounding, John Bunyan tries to reveal his subjectivity by framing the Bible and his faith through his experience. However, this attempt is unacceptable in puritanism with the Bible as the ultimate authority. Bunyan, therefore, is so frightened that he finally gives up this attempt, and returns to his submission to the Bible, and fails to achieve the indispensable subjectivity, which is essential to modern individualism. Based upon his experience and the Bible, Bunyan criticizes the antinomian inclination of the Ranters, and the Quakers’ doctrine which attaches more importance to experience than the Bible. Bunyan’s is a rebellious submission to the Bible, and his is not the modern individualism in the real sense.

批评与批评研究

宋志明

标题：索因卡《反常的季节》中的社会政治想象

Title: The Sociopolitical Imagination in Soyinka’s Season of Anomy

内容摘要：尼日利亚作家沃莱·索因卡的长篇小说《反常的季节》描绘了一个公社制的乌托邦，并把神话结构和季节的周期性循环嵌入文本叙事，但这种创造性的叙事方式没有很好地与小说的政治主题相融合，政治理想的稀薄、抽象与丰富的宗教、神话、仪式以及从传统中抽象出的“再生哲学”等因素相分离，理想社会的建构最终消解为一种象征性的神话拯救，社会再生的力量寄托于大自然的周期性循环。尽管被批评为一部“失败之作”，但这部左翼小说表明马克思主义的意识形态和共产主义曾经是非洲社会道路的选项之一，展示了非洲知识分子为寻求社会变革而进行探索的另一种方向。

Abstract: Nigerian writer Wole Soyinka’s novel, Season of Anomy, depicts a communal utopia and embeds the mythical structure and seasonal cycle into the textual narrative, but such a creative narrative mode fails to blend well with the political theme of the novel. The political ideals are flimsy and abstract, separated from other ample factors, such as religion, mythology, ritual, and the “philosophy of regeneration” extracted from traditions. The construction of an ideal society is eventually dissolved into a symbolic mythical salvation. The power of social regeneration hinges upon the cycle of nature. Despite being criticized as a “work of failure”, this left-wing novel not only shows that Marxist ideology and communism used to be one of the options for the social development in Africa, but also reveals another direction in which African intellectuals could explore and pursue their social reform.

谢敏敏

标题：乔治·桑塔亚纳对自然主义哲学的诗学实践

Title: George Santayana’s Poetic Practice of Naturalistic Philosophy

内容摘要：桑塔亚纳身兼哲学家、诗人、小说家等多重身份，在多个领域都取得了杰出成就。他的思想体系宏大，具有多样性和丰富性的特征。他一直致力于诗学和哲学的贯通与融合，为哲学诗歌的发展做出了积极的贡献。作为本体论自然主义的推崇者，桑塔亚纳将自然视为知识的根本来源和思维的起点，反对人类权威凌驾于自然之上，并否定超自然实体。同时，桑塔亚纳的诗学也表现出了经验和理性的调和，这不仅赋予了诗歌稳定的情感框架和深刻的意蕴，也有效地避免走入经验主义和唯理主义的极端。在19世纪向20世纪转型时期，桑塔亚纳自然主义哲学的诗学实践为当时沉闷的诗歌创作环境和哲学氛围带来了新风。

Abstract: George Santayana had multiple identities as a philosopher, poet, and novelist, who made great achievements in several fields. His system of thought is profound and characterized by diversity and richness. He dedicated himself, all along, to initiating the integration and fusion between poetics and philosophy and made a positive contribution to the development of philosophical poetry. As a proponent of ontological naturalism, Santayana regarded nature as the fundamental source of knowledge and the starting point of thinking, opposed the supremacy of human authority over nature, and dismissed the verifiability of supernatural entities. In the meantime, Santayana’s poetics exhibits a reconciliation between experience and reason, which not only endows his poetry with a stable emotional framework and deep implication, but also effectively prevents it from going to the extremes of empiricism and rationalism. During the transitional period from the 19^th century to the 20^th century, Santayana’s poetic practice of naturalistic philosophy brought some fresh air to the dreary environment of poetic writing and philosophical atmosphere at that time.

胡 俊

标题：裘帕·拉希莉《同名人》中的操演之家

Title:The Performed Home in Jhumpa Lahiri’s The Namesake

内容摘要：印度裔美国作家裘帕·拉希莉在她的代表作《同名人》中对家提出了新的理解：那就是家不是一个有着固定内核、永恒不变的抽象概念，而是可以不断被生成和建构的具体实践，属于家的归属感可以在操演中生成。一方面，印度裔美国移民通过对文化习俗的操演保持和传统种文化的关联或者进入到新的文化，从而获得归属感；但是另一方面，他们又打破传统的家的模式，让家总是处在流动和建构的过程中。拉希莉笔下的家不是扎根于一处，而是往返于不同地方，新的家园能够吸收原来家园的养分，但是又将触角伸向新的土壤不断延展。拉希莉因而拒绝本质主义下的家园，她欢迎的是开放的家园。

Abstract: Jhumpa Lahiri, the Indian American writer, presents a new understanding of home in her representative work, The Namesake, that is, home is not an unchanging abstract concept with its fixed inner core, but a concrete practice that could be incessantly generated and constructed. Moreover, the sense of belonging pertaining to home may be achieved in performativity. On the one hand, by performing cultural customs, Indian American immigrants try to maintain their connection with the traditional culture or assimilate themselves into the new culture so as to gain a sense of belonging, but on the other hand they break up the traditional mode of home and put home in a process of perpetual motion and construction. The home depicted by Lahiri does not take root in one place, but moves between different places instead. A new home can absorb the nutrition from the old one, but it would reach out into the new soil for its unremitting extension. Therefore, Lahiri rejects the essentialist vision of home. What she welcomes, instead, is an open home.

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