《外国文学研究》2021年第3期主要论文摘要

点击上方“外国文学研究”可以订阅哦

2021年第3期(总第209期)

学术访谈

Ning Yizhong & J. Hillis Miller

标题：耶鲁学派、解构主义及耶鲁学者——J. 希利斯·米勒先生访谈

Title: The Yale School, Deconstruction, and Yale Scholars: An Interview with J. Hillis Miller

内容摘要：J. 希利斯·米勒（1928—2021）是当今世界文学批评和文学理论研究领域里最重要的人物之一。其著作与学术生涯有着世界性的影响。他在哈佛大学获得博士学位，而后执教于约翰·霍普金斯大学，耶鲁大学和加州大学尔湾校区，2002 年荣退。1986 年他作为美国现代语言学会会长，为美国的学术和学术组织做出了重要贡献。作为耶鲁学派的重要代表人物，他与德里达、保罗·德曼、杰弗里·哈特曼和哈罗德·布鲁姆这些当代文学界的巨擘过从甚密。宁一中博士于 1997 至 1998 年在他指导下做博士后研究。本访谈就是当时他对米勒先生进行多次访谈的一部分。在这个访谈中，米勒对耶鲁学派做了总体评价，对保罗·德曼、哈罗德·布鲁姆以及法国哲学家加盟的耶鲁“五人帮”做了细致的阐述。诚然，作为同事和密友，他对这几位学者的人格魅力、学术活动等了解得更多更深。从对他的访谈中，我们得以了解解构主义之发轫以及所谓“解构主义宣言”写作之来由 ; 了解由德曼二战期间在纳粹报纸上撰写文章而引起的美国学界唇枪舌剑的辩论；得以知道布鲁姆传奇般的天赋，也让我们能窥他们之间友谊之一斑，这种友谊促成了美国耶鲁学派的建立。因此，访谈内容具有很高的史料价值，为我们了解美国文学理论和文学批评的历史发展提供了珍贵的资料，也为我们做文学研究提供了宝贵的背景资料。如今，这五位学界大师都已作古，这些出自米勒本人的资料便尤显珍贵。哲人其萎，这个访谈也权作对他们的庄严纪念吧。

Abstract: J. Hillis Miller (1928-2021) is one of the most prominent figures in literary criticism and theory of the world today. His works and academic career have had wide international influence. After receiving his Ph. D. from Harvard University, he taught at Johns Hopkins University, Yale University and the University of California at Irvine. He retired as professor emeritus in 2002. Miller was president of the Modern Language Association of America in 1986 and contributed significantly to professional academic institutions and organizations throughout his career. As an important representative of the Yale School, he had close relationships with Derrida, Paul de Man, Geoffrey Hartman and Harold Bloom, all were brilliant figures in the contemporary literary world. Dr. Ning Yizhong did postdoctoral research under his supervision at UCI from 1997 to 1998. This is part of his long interviews with Professor Miller during that time. In this interview, Miller talked about the Yale School in general, with the French philosopher Jacques Derrida joining them and forming the “Gang of Five”, and Jacques Derrida, Paul de Man and Harold Bloom in particular. As their colleague and close friend, Miller certainly knew more and deeper about them, their personality, their academic activities and what they were involved in. From these talks, we come to know the origin of the “Manifesto of Deconstruction”, the heated debate on the wartime writings by Paul de Man, Bloom’s legendary genius, their friendship which help to build the Yale School, to name just a few. Consequently, these talks are of great historical values as far as the history of western literary criticism and theory is concerned, and they are also of practical values for literary studies, for they can serve as a unique and significant background which Miller alone can provide, now that all the five of them have passed away. In this sense, this interview also serves a solemn memorial to them all.

中外学者对话：美国当代实验诗歌研究

Brian Reed 

Title: Palpable Stoppages: Rae Armantrout’s Poetics of Silence

标题：可感知的停顿：雷·阿曼特劳特的无声诗学

Abstract: Rae Armantrout is a Pulitzer Prize-winning American poet who, while often referred to as a founding member of the West Coast branch of Language Poetry, is also known as an early critic of some aspects of that movement. Her talk, “Poetic Silence” (1985), took a stand against the variety of prose poetry—called the New Sentence—that many of her peers were writing on the grounds that it tended toward an assertive, epigrammatic style that she characterizes as masculinist. She argues instead for a lineated, ruptured lyric that admits “silence.” This essay revisits “Poetic Silence” and reconstructs its intervention into the poetics of the Language group by reading it alongside the work of such contemporaries Ron Silliman and her own verse from the period. She invokes silence as a way to explain her efforts to interrupt the media barrage that overwhelms people’s abilities to think and act independently and authentically. One cannot, she insists, achieve such silence once and for all; one must perpetually labor to attain and sustain it, from poem to poem and line to line.

内容摘要：雷·阿曼特劳特是一位荣获普利策奖的美国诗人。尽管时常被人称之为语言诗西海岸分支的一位创立人，她还被公认为该创作运动某些方面的早期批评者。她的发言，“诗的无声”（1985），表明了反对不同散文诗（名为新句）种类的立场，认为她的许多同行写作时只为了趋附一种断然的、警示性的风格，她将此风格划归阳刚的范畴。相反，她力荐一种线性、断裂但又容纳“无声”的抒情诗。通过阅读阿曼特劳特同时代诗人朗·斯利曼的作品，以及她本人当时的诗歌，本文重温“诗的无声，”并重构其针对语言诗流派诗学的介入。她启用无声来设法解释她为截断媒体连绵不断的攻击而所作的努力，而这样的攻击制约着人们独立、真诚地思考和行动的能力。她坚信，人们不能一劳永逸地获得这样的无声；人们必须持之以恒地去努力获取、延续它，从诗到诗，一行又一行。

Patrick Pritchett

Title: “Take nothing as yours”: Eurydice and the Scene of Writing in Michael Palmer’s “Baudelaire Series”

标题：“别把任何东西占为己有”：迈克尔·帕默的“波德莱尔组诗”中的欧莉迪丝与场景书写

Abstract: Michael Palmer’s 1988 poem, “Baudelaire Series,” is often read as an elegy for the history of the Western lyric from Hölderlin to Eliot. Replete with allusion and quotation, it creates a mise en abyme effect which both embodies and negates what lyric is capable of. However, it can also be read as a poem grappling with the conundrum articulated by Theodor Adorno about poetry after Auschwitz. In this essay, I explore how Palmer comes to terms with Adorno through his use of the figure of Eurydice. In particular, I examine how he engages with Rilke’s famous poem, “Orpheus. Eurydice. Hermes,” which dramatizes her fatal disappearance back into Hades at the very threshold to the upper world, thereby creating the conditions necessary for the song of Orpheus to unfold amid a world of loss and catastrophe but only as trace.

内容摘要：迈克尔·帕默 1988 年发表的诗作，“波德莱尔组诗”，常被人读作一首为西方抒情诗从霍尔德林到艾略特的历史而写的挽歌。此诗引经据典，大有诗中诗的效果，即展现、又否定抒情诗的功能。然而，换种读法就会发现，此诗竭力揣摩西奥多·阿德诺有关写于奥斯维辛之后的诗歌而明言释定的难题。本文试图探索帕默如何运用欧莉迪丝的形象来与阿德诺的见解达成一致，并着重于检视他如何涉猎瑞尔克的名诗，“奥菲厄斯、欧莉迪丝、赫耳墨斯”,把她虽已临近上层世界之门、却致命地消失在哈德斯（地狱）的细节加以戏剧化，从而创造出奥菲厄斯之歌在一个失落和灾难的世界里仅仅作为痕迹而赖以延续的必要条件。

冯 溢

标题：别样的语言调性——查尔斯·伯恩斯坦诗歌中的声音美学

Title: The Unique Tonality of Language: The Acoustic Aesthetics in Charles Bernstein’s Poetry

内容摘要：诗歌声音与意义有密切的关系，然而长久以来，诗歌声音一直被学术研究所忽视。总体上，诗歌声音可分为“文本声音”和“表演声音”两个层面；其中，文本声音包括“外部的声音”，“内部的声音”和“语言的调性”三种声音。美国语言诗人查尔斯·伯恩斯坦把自己的诗歌定位为有声写作，他的回音诗学基于声音，在很大程度上展现了一种声音美学。通过对伯恩斯坦的诗歌文本层面上的分析，可见他的诗歌的主要声音模式为“声音碎片”、“声音空白”和“声音重复”，而“谐音翻译”是翻译的声音，也是声音重复的代表。总体而言，伯恩斯坦的诗歌声音有时与语义相应和，强化意义；有时与语义相悖，重构意义，形成了意义的多元和悖论。伯恩斯坦诗歌中的声音美学显示了后现代的崇高，体现了伯恩斯坦所提倡的“荒诞玄学探究”和中西思想的融合，扩容了传统诗学。

Abstract: In poetry, sound is closely related to meaning, but the sound of poetry has been overlooked, all along, in academic studies. Generally speaking, the sound of poetry can be divided into “text sound” and “performance sound.” Text sound includes three types of sounds: “external sound,” “internal sound,” and “pitch of poetic language.” Charles Bernstein, an American Language Poet, defines his poetry as sound writing. His echopoetics, which is sound-based, largely sets forth a kind of acoustic aesthetics. Through an analysis of the text sounds in Bernstein’s poems, one may find out that the main sound modes of his poetry are “sound fragmentation,” “sound blanks,” and “sound repetition,” whereas his “homophonic translation” is literally the sound of translation, which in turn functions as an embodiment of sound repetition. Overall, the sound in Bernstein’s poetry sometimes corresponds to the semantics, reinforcing its implications, but sometimes it contradicts the semantics, reconstructing its implications with pluralities and paradoxes. The acoustic aesthetics in Bernstein’s poetry demonstrates the sublime of Postmodernism, embodies the “pataquerical inquiry” and the fusion of Chinese and Western thoughts that he advocated, and enriches the traditional poetics.

中外文学的交流与互鉴

朴哲希

标题：朝鲜朝中期“唐宋诗之争”研究

Title: “The Dispute between Tang and Song Poetry” in the Mid-Joseon Dynasty

内容摘要：高丽朝中后期至朝鲜朝初期，诗坛以崇尚宋诗为主。随着中朝文人的广泛交流，朝鲜文人在反思宋诗之弊的同时，积极接受明朝前后七子“诗必盛唐”理论，加上唐诗选本及中国诗学典籍在朝鲜的流传，诗风逐渐向宗唐转变。至朝鲜朝中期，“唐宋诗之争”正式形成。文人通过论证唐诗正宗地位、宋诗变唐之罪、唐风自然而宋诗雕琢及文人尚唐的审美取向，确立了以学唐为主的诗坛格局。但纵观朝鲜朝中期诗作，无论在用韵、拟作、诗风还是取法对象等方面，都表现出不专学一家的特点。究其原因，朝鲜作为域外国家其“唐宋诗之争”的核心是学唐与学宋的选择，因此出现宗唐理论与唐宋兼备的创作实践相矛盾的现象。

Abstract: From the mid- to late Goryeo Dynasty to the early Joseon Dynasty, the poetry circle mainly advocated Song poetry. With the extensive exchanges between Chinese and Korean literati, Korean scholars reflected upon the shortcomings of Song poetry, but still enthusiastically accepted the theory, “Poetry must conform to the style of Tang Dynasty,” proposed by the Seven scholars in the early Ming Dynasty and the Seven scholars in the late Ming Dynasty. What’s more, as Tang poetry anthologies and classic works of Chinese poetics circulated in Korea, the style of Korean poetry gradually conformed to the tradition of Tang poetry. By the mid-Joseon Dynasty, “the dispute between Tang and Song poetry” was formally under way. Scholars established the structure of the poetry circle that was keen on advocating Tang poetry as a main learning model not only by demonstrating the authentic status of Tang poetry and the sin of transforming Song poetry to Tang poetry, but also proving the naturalness of Tang poetry, the contrivance of Song poetry, and writers’ aesthetic orientation towards Tang Dynasty. Looking at the poems written in the mid-Joseon Dynasty, however, one may discover a phenomenon that no poet learned from a single model in using rhyme, analogy, poetic style or learning object. The reason behind this is that, as a foreign country, the core of “the dispute between Tang and Song poetry” in Korea is whether to learn from Tang poetry or Song poetry. That’s the reason why there was a contradictory phenomenon that writers advocated Tang poetry in theory but integrated elements from both Tang and Song poetry in creative practice simultaneously.

詹春花

标题：“向内转”与“向东方”：黑塞早期创作与表现主义

Title: “Turning Inward” and “Turning Eastward”: Hermann Hesse’s Early Writings and Expressionism

内容摘要：在 20 世纪头二十年里，黑塞以画家、诗人和评论家等身份与表现主义艺术家有着广泛交往并置身于该运动，他接受表现主义的影响浓缩在早期最具“革新性”的小说《克林格梭尔最后的夏天》中。该小说不仅用文字打通视觉、听觉，表达其强烈内心张力，探索战后由群体责任到个体责任的内在反省之道，体现了黑塞所认定的“向内转”这一表现主义“新精神”，而且与转向东方思想相连，使一个“痛苦”“忧郁”的变异李白形象成为一种表现主义的表达方式。

Abstract: As a painter, poet, and critic, Hermann Hesse had extensive contacts with Expressionist artists and got involved in their movement during the first two decades of the 20^th century. The influence he had received from Expressionism is reflected, in a focalized way, in Klingsors letzter Sommer, the most “innovative” novella written in the early period of his career. The work not only uses synaesthesia to express the strong inner tension and explore the post-war shift of the internal introspection from collective duty to individual responsibility in a way that embodies “turning inward” —the “new spirit” of Expressionism endorsed by Hesse, but also embraces the idea of turning eastward, thus transforming the image of the “miserable,” “melancholy,” and aberrant Li Bai into a kind of representational mode of Expressionism.

陆怡玮

标题：从《走向深渊》在中国的译介与热映看第三世界国家间的文化传播

Title: The Translation, Interpretation, and Sensational Screening of “Ascend to the Abyss” in China: An Observation on the Cultural Diffusion among the Third World Countries

内容摘要：埃及电影《走向深渊》上世纪七八十年代在中埃两国均广受欢迎，其跨文化旅行的成功，一方面得益于电影顺应时代语境对小说做的改编，另一方面亦与受众文化中的传统资源相契合 , 在建国以来反特片传统的基础上呈现了更为人性化的人物塑造范式。影片在展示现代都市文化时隐含的警惕与反省体现了当时中埃两国相似的文化心理，显示出第三世界国家在借用第一世界文化符号时的反思意识及第三世界文本共有的民族寓言特性。这一跨文化传播的经典案例体现了文化全球化背景下第三世界国家间文化流动的独特意义。

Abstract: Since the 1970s and 80s, the Egyptian film, “Ascend to the Abyss,” has been quite popular both in China and Egypt. The success of its cross-cultural journey is indebted to its adaptation from the original novel in the context of the times on the one hand, and on the other hand, to its presentation of a paradigm for a more humanistic characterization, which appears to have worked well with the traditional resources in the target culture and the spy film tradition established since the founding of the People’s Republic of China. The vigilance and introspection implicated in the film’s representation of modern urban culture reflect the similar cultural psychology of China and Egypt during those years, thereby revealing both the introspective consciousness among the Third World countries in their adoption of the cultural symbols from the First World and the similar national and allegorical characteristics of the Third World texts. Such a classic case of cross-cultural communication shows the unique significance of cultural flow among the Third World countries against the backdrop of cultural globalization.

英国文学研究

王丽亚

标题：《黑暗之心》的目标读者与康拉德的“理想读者”

Title: Heart of Darkness’s Target Reader and Conrad’s Ideal Reader

内容摘要：康拉德的《黑暗之心》在 20 世纪的批评与阐释中已是评论家和理论家们的“战场”和“试验地”。作品在新世纪以后依然引发新的议题：集中于马洛的叙述风格，一部分评论家们认为作品为“精英读者”而创作，意味着康拉德有意疏远大众文化和“普通读者”；侧重于题材上的“帝国罗曼司”特点，不少评论家指出，作品的“目标读者”恰恰是当时英国文学市场上的“普通读者”。不过从出版语境反观，通俗题材以及相应的读者仅仅是他用于构建“理想读者”的障眼法。以马洛作为主要叙述者，将故事中的聆听场景作为一个邀约机制，康拉德引导读者从“普通读者”的阅读立场深入关于故事意义的象征阅读；这一形式策略以及相应的阅读进程暗含了康拉德寄寓于“普通读者”中的“理想读者”：即，以通俗题材吸引普通读者进入故事世界，通过“嵌套结构”、“聆听场景”、“延缓解码”、象征叙述等一系列手法引导读者超越起初囿于通俗故事和出版语境的阅读期待。

Abstract: Heart of Darkness has been a “battlefield” and “testing ground” for critics and theorists in different lines of inquries throughout the 20^th century. Still, it seems to have triggered discussions over new issues since the start of the new millennium. As far as Marlow’s narrative style is concerned, some critics contend that the novella was written for “elite readers,” which implies that Conrad deliberately attempts to distance himself from popular culture and “common readers.” With regard to its emphasis on “imperial romance” in subject matter, many critics point out that the novella’s “target readers” are exactly the “common readers” on the British literary market at that time. A retrospective look at the context of the novella’s serial publication, however, shows that Conrad merely used its popular subject and intended audience as a ploy in grooming his “ideal readers.” By using Marlow as the principal narrator and setting up the listening scene as an invitational event, Conrad guides his readers through a reading of “common readers” into a symbolic reading of the story’s aesthetic and thematic implications. Such a stylistic strategy and the relevant reading progression are implicitly intended for the “ideal readers” among “common readers.” In other words, all he wants to accomplish is using popular subject to lure “common readers” into the world of the story and, then, orienting them, with a series of devices, such as “embedded structure,” “listening scene,” “delayed decoding,” and symbolic narration, to go beyond their initial reading expectations conditioned by popular stories and the context of serial publication.

戴鸿斌

标题：空间批评视域下斯帕克小说中的苏格兰民族性建构

Title: Exploring the Construction of the Scottish National Character in Spark’s Fiction from the Perspective of Spatial Criticism

内容摘要：缪里尔·斯帕克被誉为苏格兰近一百年以来最成功的作家，其创作以隐性或显性的方式呈现出苏格兰民族特征和构建苏格兰的民族想象空间。斯帕克的创作遵循了双重性创作原则，折射出苏格兰民族文学在人物塑造上典型的双重性特征，同时借鉴了苏格兰民谣体裁的各种创作艺术，并且以苏格兰的主要教派加尔文教为创作灵感和理念的重要源泉，在小说中凸显了加尔文教在苏格兰民族中举足轻重的地位。斯帕克的小说体现了苏格兰的重要民族特性，为这个民族留下宝贵的文化遗产，彰显出她与苏格兰民族间的写作渊源。

Abstract: Muriel Spark is regarded as the most successful writer in Scotland in the past century. Her writing displays, both implicitly and explicitly, the Scottish national characteristics and creates the space for the Scottish national imagination. Spark’s writing adheres to the “nevertheless principle” and reflects the Scottish literature’s typical duality in characterization. In the meantime, she draws so much from the various creative crafts in Scottish ballads and relies on Calvinism, the dominant religion in Scotland, as a key source of her inspirations and ideas, thereby highlighting the pivotal position of Calvinism among the Scottish people. Spark’s fiction demonstrates typical properties of the Scottish people and has made valuable contributions to their cultural legacy. All this shows the close connection between her writing and the Scottish people.

罗 灿

标题：卫生改革、流行病和《荒凉山庄》

Title: Sanitary Reform, Epidemic Diseases and Bleak House

内容摘要：狄更斯在《荒凉山庄》中对伦敦贫民恶劣生活环境的描写，与当时很有影响的“疠气致病说”有相当关联。这一学说将污浊的空气当作“流行病”的来源，从而推动了维多利亚时代城市卫生系统的改革。狄更斯是这一运动的积极参与者，《荒凉山庄》里弥散的“疠气”切实提醒着人们亟待解决的城市清洁问题。小说表现了卫生的生活环境、人们的身体健康与他们的道德问题不可分割的关系，并以“流行病”为线索，思考了伦敦这个现代化大都市里人们之间的联系和共同命运。

Abstract: Charles Dickens’s depiction of the filthy environment of London’s slums in Bleak House is closely related to the “miasma theory” that was quite influential at that time. This theory identified the polluted air as the primary culprit for the “epidemic diseases” and, therefore, promoted the reform of the urban sanitary system during the Victorian era. As an active participant in this reform, Dickens wrote extensively about miasma in Bleak House, aiming to alert the citizens to the urgency of resolving the issues related to urban sanitation. The novel not only delineates the inseparable connection between sanitary living conditions, public health, and moral standards, but also uses “epidemic diseases” to explore the interconnectedness and the common destiny among the London residents.

王海萌

标题：《米德尔马契》中的礼物、伦理与经济

Title: Gifts, Ethics, and Economics in George Eliot’s Middlemarch

内容摘要：乔治·爱略特在《米德尔马契》中再现了维多利亚社会经济个人主义思想对“礼物”一词的改造。作为私有财产的一部分，礼物以个人利益最大化为目标，表现出“控制”和“联系”两个含混特征。小说通过施与受、买与卖之间的冲突，探讨了 19 世纪英国市场经济关系中礼物所体现的“回报”困境。礼物经济有时是一种债务经济，有时又无异于蒙上面纱的等价交换，以自利为基础的礼物经济附带着痛苦乃至死亡的高额成本。在此背景下，爱略特从伦理学角度重新挖掘“礼物”的内涵，将伦理经济中礼物的纽带功用引入小说，对经济个人主义思想进行反思，并力图借用乡村共同体文化以期对国家经济现实进行建构。

Abstract: George Eliot represents a remolding of the word, gift, by Victorian economic individualism in Middlemarch. As a part of private property, gifts aim at maximizing personal interests, exemplifying two ambiguous characteristics of “control” and “connection”. By unfolding the conflicts between giving and receiving, or selling and buying, the novel explores the dilemma of “reciprocity” caused by gift circulation among various relationships within the 19^th -century British market economy. The gift economy is, at times, a sort of debt economy, but sometimes it is nothing different from a veiled exchange at equal values. It is based on self-interest, and it comes with a high cost of pain, or even death. It is against this backdrop that Eliot redefines the implications of “gifts” from the ethical perspective and integrates the bonding function of gifts from the ethical economy into the novel, reflecting upon the ideas of economic individualism and making a serious attempt at building the national economy through a reliance on the culture of rural community.

刘明录

标题：暴力、身体、记忆——品特戏剧中的刑罚书写与公平正义政治观

Title: Violence, Body, and Memory: The Writing of Criminal Penalties and Political Viewpoints of Equality and Justice in Harold Pinter’s Plays

内容摘要：在英国戏剧家哈罗德·品特的戏剧中，刑罚意象极其丰富，既有不明组织对个人的私刑惩戒；也有国家权力机构对个人的处罚；还有个人滥用权力对他人的刑讯。剧中的刑罚只是作用于弱者身上，罪行的认定具有随意性，无明显罪行的个人身体受到刑罚的摧残，与刑罚公平正义的自然属性以及法律实施的普遍性和程序性相背离，展现出极其荒诞的一面。由于刑罚的施行体现了统治阶级的意志，属于国家暴力手段，因而剧中任意滥用的刑罚现象彰显了剧作家对于西方统治阶级强权政治的辛辣讽刺和对普通民众的关切，从侧面展现了他的刑罚认知和公平正义政治观。品特戏剧中的刑罚书写主要是突出了其暴力性，打上了二战及冷战时期的特别时代烙印，与品特的身份属性、人生体验和记忆相关。

Abstract: In British playwright Harold Pinter’s plays, the image of criminal penalties is represented in a great variety, ranging from the illegal retributions imposed upon individuals by unknown organizations to the punishments inflicted upon individuals by national authorities and the torture of others through the abuse of one’s own power. As revealed in his plays, criminal penalties are merely levied on the vulnerable, conviction is randomly determined, and individuals are subject to physical torment without committing a true crime, which clearly deviates, to the extent of extreme absurdity, from the nature of criminal justice and the universality and procedure of law enforcement. Since the execution of criminal penalties embodies the ruling class’s will and functions as violent measures by the state, the willful reliance on criminal penalties in his plays reveals Pinter’s pungent sarcasm towards the power politics of the Western ruling class and his concern with the common people. Moreover, it represents from the side his perception of criminal penalties and his political viewpoints of equality and justice. The writing of criminal penalties in Pinter’s plays mainly puts a stress on its violent nature and leaves a historical mark for the special eras of WWII and Cold War, a mark that is related to Pinter’s own identity, life experiences, and memories.

批评与批评研究

陈  方

标题：当代俄罗斯女性作家创作的三个维度

Title: The Three Dimensions in the Contemporary Russian Women Writers’ Writings

内容摘要：当代俄罗斯女性作家创作自 20 世纪八十年代中期以来，呈现出三个不同维度，对此进行考察，有助于我们深入探究女性创作群体在性别意识、两性关系、女性自我、女性角色等问题上呈现出来的总体特质，并以此来概括女性作家创作这一现象在近三十年来俄罗斯文学语境中的发展与变化。当代俄罗斯女性创作大致经历了从主张与男性抗争的“女权”立场到表达女性欲望的“女性”书写、再到跨越性别政治的“超性别”叙事的发展过程，这一总的发展走向并非一个简单的线性过程，而是充满各种变化和转化，甚至交叉和重叠。当代俄罗斯女作家们分别从属于这三个创作维度，或同时跨越多个维度，通过倡导与男性世界的对峙表达了她们的性别愿望，用具有鲜明性别特色的女性书写改变了人们传统的女性观和性别观，最后通过超越性别的文学叙事彰显自信，确立自我认同 , 体现出了当代俄罗斯女性文学的强大存在。

Abstract: Since the mid-1980s, the contemporary Russian women writers’ writings have presented three different dimensions. A look at these dimensions will help us not only probe deeply into the general characteristics in these women’s writings regarding their representation of issues like gender consciousness, sexual relations, women’s identity, and gender roles, but also epitomize the developments and changes of women’s writings in the context of the Russian literature during the past 30 years. Roughly speaking, the contemporary Russian women’s writing has gone through a developmental process, transitioning from putting forth a “Feminist” standpoint that calls for a revolt against male dominance to producing “feminine” writings that express women’s desires and creating “gender-neutral” narratives that go beyond gender politics. Such a developing course is by no means a simple linear process; instead, it is full of various changes and transformations, even intersections and overlaps. The contemporary Russian women writers are affliated with the three dimensions respectively, and some are even affliated with multiple dimensions simultaneously. By calling for a confrontation with the patriarchal world, they express their gener desires, change people’s traditional concepts of femininity and gender through feminine writings, and, ultimately, create the gender-neutral literary narratives to showcase their self-confidence and fulfill their self-identity, hence verifying the powerful existence of the contemporary women’s literature in Russia.

徐怀静

标题：《安妮儿的鬼魂》中的身份认同与佛教“缘起”论

Title: Self-Identification and the Buddhist Idea of Interdependent Origination in Anil’s Ghost

内容摘要：翁达杰作品中的长篇小说《安尼尔的鬼魂》具有作家诸多作品的共同元素：考古学家、尸体、悬疑、暴力、战争等。这些元素都服务于人物对自我身份的探求。以联合国法医身份返回祖国斯里兰卡的安尼尔，肩负调查斯里兰卡内战大屠杀真相的使命。她的具体任务是识别一具骷髅的身份、塑造它的面貌。这一过程也是安尼尔对自己“根”的探寻和对身份的思考，折射斯里兰卡的佛教文化，展现了佛教“缘起”理论。《安尼尔的鬼魂》通过构建骷髅的身份，微妙、深入地揭示了人物身份问题中佛教“缘起”理论的“我”与“无我”。翁达杰认为，唯有抛弃对自我身份中“我”的执着，达到“消融冲突与对立”的“无我”，斯里兰卡的内战与暴力才可能结束。翁达杰相信佛教艺术能帮助斯里兰卡人民重拾信仰并获得和平。

Abstract: Michael Ondaatje’s novel, Anil’s Ghost, carries some common elements often seen in many of his works: archeologist, corpse, suspense, violence, and war. All these elements contribute to the protagonist’s pursuit of self-identity. Coming back to her mother country as a UN forensic expert, Anil’s mission is to seek the truth about the massacres during Sri Lanka’s Civil War. Specifically speaking, her job is to identify a skeleton and reconstruct its face. The process of fulfilling her task somehow turns into a process of Anil’s search for her own “roots” and her cogination on self-identity, a process that reflects the Buddhist culture in Sri Lanka and demonstrates the Buddhist idea of “interdependent origination.” Through the construction of the skeleton’s identity, the way in which Anil’s Ghost tackles the issue of the character’s identity reveals, subtlely and profoundly, the concepts of “self” and “selflessness” in the Buddhist theory of “interdependent origination.” In Ondaatje’s view, only by giving up the fixation on the “self” in pursuing self-identity and achieving the kind of “selflessness” that “dissolves all conflicts and oppositions” can the Civil War and violence in Sri Lanka come to an end. Ondaatje believes that Buddhist art can help the people of Sri Lanka regain their faith and attain peace.

往期精彩文章回顾：

王一平 | 《神经漫游者》的三重空间书写与批判

徐彬 | 想象“他者”与“他者”想象——现当代英国流散文学与英国国家身份构建

唐伟胜 | 为物所惑：济慈颂歌中的复魅叙事

郝运慧 塞缪尔斯 | 美国内战文学中的种族、性别与文类 ——雪莉•塞缪尔斯教授访谈录

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