《外国文学研究》2022年第1期主要论文摘要

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2022年第1期(总第213期)

中外学者对话：石黑一雄研究

（栏目主持人：尚必武）

Robert Eaglestone

标题：克拉拉与人：动因、汉娜·阿伦特和宽恕

Title: Klara and the Humans: Agency, Hannah Arendt, and Forgiveness

内容摘要：动因是石黑一雄所有小说中的一个重要议题。本文认为，石黑一雄的小说《克拉拉与太阳》比对了两个动因幻景。第一个是如同机器的计算型模式，由人工智能机器人克拉拉演示，这部分，还有克拉拉的故事，与柏拉图的洞穴寓言有异曲同工之处。第二个是更为人类的媒介幻景，由汉娜·阿伦特的行动说明交代得一清二楚。两个幻景围绕小说中一个重要议题即有关宽恕的观念和实践发生冲突。我觉得，对于宽恕的关注及其与动因形式的联系推动了石黑一雄小说中的一个重要主题。他先前的小说表明，我们都被困在自己所作的决定之中，这一点在《被掩埋的巨人》里最为有力地呈现为一个报复性种族灭绝暴行的连环套。《克拉拉与太阳》中的宽恕观念开启了逃脱此套的机会。

Abstract: Agency is a central issue in all of Kazuo Ishiguro’s fiction. This article argues that Ishiguro’s Klara and the Sun contrasts two visions of agency. The first is a machine-like, algorithmic model, demonstrated by the artificial intelligence robot Klara: this, as well as Klara’s story, parallels Plato’s allegory of the Cave. The second is a more human vision of agency which is clarified by Hannah Arendt’s account of action. Both visions collide over a key issue in the novel, the idea and practice of forgiveness. I argue that this focus on forgiveness and its relation to forms of agency advance a key issue in Ishiguro’s fiction. His previous novels suggest that we are trapped in the decisions we have made: in The Buried Giant, this is presented most forcefully in suggesting a chain of retributive genocidal atrocities. The concept of forgiveness in Klara and the Sun begins to offer an escape from that chain.

Adam Parkes

标题：太阳之下无新意：石黑一雄小说《克拉拉与太阳》中的计划性报废

Title: Nothing New under the Sun: Planned Obsolescence in Ishiguro’s Klara and the Sun

内容摘要：本文指出，石黑一雄的小说《克拉拉与太阳》（2021）表明，“报废”概念是其小说里处心积虑关注的议题。此外，“报废”概念不仅为石黑一雄的小说提供了素材，而且展现其小说的叙事结构和语言。简明扼要地回顾一下他早先的两部小说《浮世画家》（1986）和《长日留痕》（1989），就能揭示两位叙事者如何因为战后资本主义时期帝国制度重组导致，结果被非计划性的“报废”所困扰。然而，在《克拉拉与太阳》一书里，如同《别让我走》（2005）一样，叙事者经历的“报废”是计划性的，它是预想中运作于技术官僚生产线的当代社会制度的产物。在详细探讨《克拉拉与太阳》如何运用形式和文体技巧来阐释其包罗万象的主题之后，笔者想提示，石黑一雄的新著鼓励我们针对小说作为21世纪计划性“报废”文化中的一种文学体裁，探索性地质疑其现状与地位。所谓计划性“报废”文化指的是资本主义利用一系列手段来生产迟早必须要替换或更新的商品，进而创造、维持、甚至扩大消费者的需求。

Abstract: In this article, I argue that Kazuo Ishiguro’s Klara and the Sun (2021) reveals obsolescence to be a central preoccupation of his fiction. Further, I contend, obsolescence not only furnishes Ishiguro’s novels with content but also informs their narrative structures and language. A brief look at his two early novels, An Artist of the Floating World (1986) and The Remains of the Day (1989), shows how their narrators are overtaken by the unplanned obsolescence that results from realignments of imperial systems in the time of postwar capitalism. But in Klara and the Sun, as in Never Let Me Go (2005), the obsolescence experienced by Ishiguro’s narrators is planned, that is, it is the fully expected outcome of contemporary social systems run on technocratic lines. After exploring, in detail, the formal and stylistic means by which Klara and the Sun articulates its overarching theme, I suggest that Ishiguro’s new book encourages us to ask searching questions about the state and status of the novel as a literary genre in a 21st-century culture of planned obsolescence: the means by which capitalism generates, sustains, and even expands consumer demand by producing commodities that, sooner or later, must be replaced or updated.

尚必武

标题：机器能否替代人类？——《克拉拉与太阳》中的机器人叙事与伦理选择

Title: Can Machines Replace Humans?: Robotic Narrative and Ethical Choice in Kazuo Ishiguro’s Klara and the Sun

内容摘要：在新作《克拉拉与太阳》中，石黑一雄巧妙地将图灵测试的经典命题“机器能否思考？”改写成“机器能否替代人类？”如何解读和评价机器人克拉拉拒绝替代人类的行为，成为学界在讨论该部小说时无法绕过的一个重要话题。从某种程度上来说，克拉拉之所以拒绝替代人类，主要受到其伦理顿悟的影响，即她意识到无法触及的“人心”是人与机器之间的一个重要差异。乔西的“人心”并不单纯是指她身体上的某个器官，而是指所有爱她的人在心中对其难以取代的感情。经历伦理顿悟后的克拉拉拒绝替代乔西，以积极的行动者姿态，竭尽所能拯救其于死亡的边缘，为人类对自身以及对非人类所理应承担的伦理责任提供了道德警示。由是说来，“机器能否替代人类？”并非是一个有待机器人回答的问题，而是一个人类在人工智能时代所必须应对的问题。对该问题的回答不仅是一个科学选择，更是一个伦理选择。

Abstract: In his most recent work, Klara and the Sun, Kazuo Ishiguro modifies, tactfully, the classic question about the Turing Test from “Can machines think?” to “Can machines replace humans?” How to understand and interpret the refusal by the robot, Klara, to replace humans has become a key issue that no scholar could avoid in discussing this novel. In a sense, Klara’s refusal is largely effected by her ethical epiphany, namely, her recognition that the unreachable “human heart” draws the fundamental difference between humans and machines. The “human heart” of Josie does not merely refer to the organ in her body, but rather accentuates the irreplaceable affections for Josie in the hearts of those who love her. In the wake of her ethical epiphany, Klara refuses to substitute Josie, plays an active role of “nonhuman actor,” and tries every means possible to keep Josie alive, thus delivering a moral warning about the ethical responsibilities that both humans and non-humans ought to bear. To some extent, “Can machines replace humans?” is not an issue for robots to deal with, but instead a problem for humans to confront and resolve. And its solution is not just a scientific choice, but rather an ethical one.  

前沿理论与批评实践

龚  璇

标题：约翰·班维尔《物性论》中的未叙述、假设叙述与双重叙事进程

Title: The Nonnarrated, the Disnarrated, and the Dual Progression in John Banville’s “De Rerum Natura”

内容摘要：约翰·班维尔的短篇故事《物性论》1974年首刊于《大西洋两岸书评》杂志，其修改版作为短篇故事集《长腿兰金》的压轴故事于1984年再次出版，《物性论》的情节发展围绕父亲对儿子的教诲与儿子对父亲的接纳展开，在对卢克莱修长诗的模仿中重申了伊壁鸠鲁关于灵魂救治的主张。值得注意的是，修改版运用未叙述与假设叙述暗示了紧张的父子关系，这一暗示与情节发展之间形成的张力为班维尔提供了建构隐性叙事进程的空间。这个隐蔽于情节之下与之并列前行的叙事进程将许多与情节无关的意象与可能串联起来，以蜗牛喻指儿子，讽刺了儿子对老父的遗弃与冷漠，揭露了儿子对父亲恶之欲其死的隐蔽心理。通过这种双重叙事机制，班维尔的故事在情感结构上同时呼应了以理性乐观为基调的启蒙长诗《物性论》和以不安恐怖为基调的黑色民谣《长腿兰金》，它就像一个精致的瓮，以精巧的结构与丰富的主题体现了班维尔对欧洲现代主义文学传统的继承与革新以及他对20世纪七八十年代爱尔兰社会特有的“时代精神”的捕捉与再现。

Abstract: John Banville’s short story, “De Rerum Natura,” was first published in The Transatlantic Review in 1974 and its revised edition was published, once again, as the concluding piece in his collection of short stories, Long Lankin, in 1984. The story unfolds its plot around the father’s instructions for his son and the son’s acceptance of his father, and reiterates Epicurus’s idea about the salvation of souls through its imitation of Lucretius’s long poem, “De Rerum Natura.” What is worth noting is that the revised version employs the nonnarrated and disnarrated strategies to implicate the estranged father-son relationship. The tension generated between such an implication and the plot development creates a space for Banville to construct a covert narrative progression that hides beneath the plot and advances in parallel. Such a narrative progression connects many images and probabilities, all of which seemingly have nothing to do with the plot, such as comparing the son to a snail, satirizing the son’s neglect of and indifference toward his father, and revealing the son’s hidden excitement over the old man’s death. With this dual narrative progression, Banville’s story echoes, emotionally, both the enlightening long poem, “De Rerum Natura,” which takes rationality and optimism as its main key, and the old English ballad, “Long Lankin,” whose main key builds on restlessness and fear. Like a well-wrought urn, the story explores its superb structure and profound theme to represent Banville’s inheritance and renovation of the literary traditions of European Modernism, and to touch the sensitive nerves of the “historical readers” by insinuating the reality of the Irish society in the 1970s and 1980s as well.

段颖杰

标题：德·昆西的重写羊皮纸模型与脑文本

Title: De Quincey’s Palimpsest Model and Brain Text

内容摘要：德·昆西的《重写羊皮纸》一文认为，人的诸多经历就像重写羊皮纸上累加的文字一样储存在大脑中，成为记忆。这一比喻既反映了19世纪英国浪漫主义文学与脑科学的耦合关系，又体现了解剖学意义上人脑的微观构造。聂珍钊近年提出的“脑文本”概念为德·昆西构想的人脑的重写羊皮纸模型提供了更开阔的阐释空间。储存在重写羊皮纸上与记忆有关的想法、形象和感受形成一种特殊的脑文本，必须经过编辑和加工转变成文学脑文本并见于纸上后，才能被读者看到和理解。德·昆西在写作中用“离题”的技法表明他所写的自传性内容来自他头脑中记忆的重写羊皮纸。在把文学脑文本述诸笔端的过程中，德·昆西赋予重写羊皮纸模型独特的伦理价值，借此他试图消除他个人和英帝国的负罪感。

Abstract: In his essay, “The Palimpsest”, De Quincey contends that a man’s various experiences are stored as memories in his mind just as the texts are accumulated on the palimpsest. This simile not only reflects the nexus between the British Romantic literature and brain science in the 19th century, but also embodies the anatomical microstructure of the human brain. The concept of “brain text”, proposed by Nie Zhenzhao in recent years, could open up much broader room in interpreting De Quincey’s palimpsest model of human brian. The ideas, images, and feelings that are related to certain memories and inscribed on the palimpsest formulate a special kind of brain text, which must be edited and processed into a literary brain text and shown in the written form before they can be seen and understood by the reader. De Quincey’s use of the “digression” technique in his writing indicates that the autobiographical content he relies on comes from his palimpsest of memory in the brain. In the process of transcribing his literary brain texts through writing, De Quincey endows the palimpsest model with unique ethical values, through which he attempts to eliminate both his personal and the British Empire’s sense of guilt.

中外文学的交流与互鉴

李成坚

标题：“李白抱月”——论爱尔兰剧作《黄河中的月亮》中的中国意象

Title: “Li Po’s Embrace of the Moon”: The Chinese Image in the Irish Play The Moon in the Yellow River 

内容摘要：《黄河中的月亮》是爱尔兰剧作家丹尼斯·詹斯顿1931年创作的剧本，剧中的核心意象“李白抱月”一直为学界所忽视。一方面，经由英美新诗运动的跨文化传播， “李白抱月”是20世纪初“中国风”在爱尔兰的延续例证；另一方面，“李白抱月” 更是詹斯顿以东方意象隐喻其政治态度和文化主张的借力，是1930年代爱尔兰文化政治语境下的变异接受。李白的政治失意和沉醉放浪的浪漫气质与爱尔兰激进民族主义者的政治失意、悲情失控的暴力行为形成虚妄和徒劳的共情呼应，使该剧成为詹斯顿对爱尔兰民族主义政治表达的一首挽歌。

Abstract: The Moon in the Yellow River is a play written by Irish playwright Dennis Johnston in 1931. The key image in the play, “Li Po’s Embrace of the Moon,” has long been neglected by scholars. On the one hand, the image proves the sustaining presence of Chinoiserie, through the cross-cultural propagation in the Anglo-American New Poetry Movement, in the early 20th-century Ireland and, on the other, indicates not only Johnston’s use of the Eastern image as a metaphor of his political attitude and cultural proposition, but also a disguised acceptation in the context of the Irish culture and politics in the 1930s. The fact that Li Po’s political failure and romantic temperament, as indicated by his indulgence in alcoholism and vagrant behavior, had a resonance, though delusional and futile, with the radical Irish nationalists’ political disappointment and their tragic and incontrollable violent behavior seems to have turned the play into Johnston’s elegy for the Irish nationalistic politics. 

胡  鹏

标题：“伯爵小姐是个中国人”——《第十二夜》与伊丽莎白时代的“中国追寻”

Title: “My lady’s a Cataian”: The Twelfth Night and Elizabeth I’s “Search for China”

内容摘要：莎士比亚的作品中涉及到中国及中国人的地方屈指可数，但在其同时代，上至王公贵族，下至贩夫走卒，包括科学家、航海家、地理学家、戏剧家、诗人等等，都对拓展海外贸易、发现新大陆、开辟新航线有着极大兴趣，其中特别对与中国接触有着强烈的欲望。研究发现，莎士比亚的《第十二夜》与伊丽莎白时代英国对中国的渴求和构建密切相关，王室对华信件、英国贸易与外交、新航线开辟及新地图的绘制、塞西尔的乔迁宴上的表演等都证明了这一点，作为剧作家的莎士比亚受到了伊丽莎白一世“契丹/中国探险”的影响。

Abstract: There are only a handful references to China or Chinese people in Shakespeare’s works. However, the people in his era, from the monarchs at the top to the peddlers and porters at the bottom of the society, plus scientists, navigators, geographers, dramatists, and poets, were keenly interested in expanding overseas trade, discovering new continents, opening up new sea routes, and establishing contact with China in particular. Studies show that Shakespeare’s Twelfth Night is closely related to the British desire for and construction of the contact with China during the Elizabethan era, as evidenced by the royal family’s letters to the Chinese emperor, British trade and diplomacy, the opening of new sea routes and the drawing of new maps, the performance in Cecil’s house warming and so on. As a playwright, Shakespeare was influenced by Elizabeth I’s “Cathy Venture” plan in search for “China”.

一带一路沿线国家文学研究

侯传文

标题：文化身份与伦理表达——《罗摩衍那》中的罗刹王罗波那形象研究

Title: Cultural Identity and Ethical Expression: The Image of Rakshasa King Ravana in Rāmayāna

内容摘要：印度大史诗《罗摩衍那》通过罗摩与罗波那的斗争表现了印度雅利安文明与非雅利安文明之间的矛盾。罗波那领导的罗刹族是被雅利安人征服的印度土著的代表，由征服者雅利安人书写的史诗《罗摩衍那》，对被征服者进行了对立设定，对罗刹王罗波那进行了妖魔化的形象塑造。在蚁垤创作的史诗主体部分，罗波那作为失败的英雄还受到一定的尊重，在后补的第一和第七篇，罗波那成了无恶不作的十首魔王。罗波那形象的妖魔化塑造既是对立设定的结果，也是作品伦理表达的需要。作为善的代表的罗摩，需要一个作为恶的代表的罗波那作为反衬，既树立了典范，也进行了警示，从而使作品所要表现的以“达磨”为核心的伦理体系得以确立。

Abstract: The great Indian epic, Rāmayāna, represents the contradiction between the Aryan civilization and the non-Aryan civilization through the struggle between Rama and Ravana. The Rakṣasas led by Ravana are the representatives of the indigenous Indians conquered by the Aryans. The epic, Rāmayāna, written by the conquering Aryans, sets the conquered up as the designated opponent and demonizes image of Rakshasa king Ravana. In the main part of the epic created by Vālmīki, Ravana was treated with certain respect as a defeated hero. But in the First and Seventh Chapters that were supplemented subsequently, Ravana is presented as the evil King. The demonization of Ravana’ s image is not only the result of portraying an opponent, but also the need of ethical expression. As a representative of good, Rama needs Ravana, a representative of evil, for a contrast, which not only sets up a role model, but also issues a warning, thus establishing what the epic intends to advocate, namely, the ethical system with “Dharma” as its core. 

杨  建

标题：《次经》智慧文学对《新约》的影响

Title:The Influence of Wisdom Literature of The Apocrypha on The New Testament

内容摘要：《旧约》智慧文学对《新约》的影响明显，相比而言，《次经》智慧文学对《新约》的影响较为隐晦，《新约》没有对《次经》智慧话语的直接引用，但有借用、改写、仿写。《次经》中的智慧文学名篇《便西拉智训》和《所罗门智训》极大地吸收了《旧约》、尤其是《箴言》智慧文学传统，并在希腊化语境下与希腊哲学结合起来，提出“智慧为师”“智慧为道”“智慧为灵”观念，对《新约》智慧观产生了直接影响。从《次经》智慧观对《新约》的影响既可以看到希腊化时期犹太教智慧观的发展，也可以看到作为异端教派的基督教智慧观的嬗变。《次经》在犹太教与基督教智慧文学之间的的过渡性及桥梁作用应得到充分肯定。

Abstract: The influence of wisdom literature of The Old Testament on The New Testament is quite obvious, whereas, in contrast, the influence of wisdom literature of The Apocrypha on The New Testament is somewhat obscure. The New Testament does not have any direct quote from the wisdom discourse in The Apocrypha, but it does borrow, rewrite and parody part of it. The famous sections of wisdom literature in The Apocrypha, The Wisdom of Ben Sira and The Wisdom of Solomon, draw heavily from the tradition of wisdom literature in The Old Testament, especially The Proverbs. Moreover, through a combination with Greek philosophy in the context of Hellenization, they bring up the concepts of “wisdom as teacher,” “wisdom as way,” and “wisdom as spirit,” thus exerting a direct influence on the notion of wisdom in The New Testament. The influence that the notion of wisdom in the Apocrypha exerts on The New Testament manifests both the development of the notion of wisdom in Judaism during the Hellenistic period and the evolution of the notion of wisdom in Christianity as a heretical sect. The transitional nature of The Apocrypha and its role as a bridge between Jewish and Christian wisdom literature should be fully recognized.

莎士比亚研究

王  雯 

标题：福斯塔夫与“铭记死亡”传统

Title: Falstaff and the Tradition of Memento Mori

内容摘要： 在莎士比亚三部历史剧《亨利四世·上篇》《亨利四世·下篇》和《亨利五世》中，福斯塔夫是一个令人印象深刻的喜剧人物。然而，其台词及相关剧情常常涉及基督教意义上的罪与罚，尤其是中世纪与文艺复兴时期的“铭记死亡”理念。对于周围各色人等对他的宗教训诫和道德说教，福斯塔夫不是嘲讽，就是逃避；他唯一在乎的就是尘世享乐，而不关心宗教信仰或灵魂救赎。福斯塔夫的执迷不悟导致了他最终的毁灭——不仅凄凉离世，而且剧本在字里行间巧妙地隐含了其灵魂之死。由此，中世纪与文艺复兴的“铭记死亡”传统可以揭示莎士比亚时代的观众如何理解和评判福斯塔夫；同时，莎士比亚对该戏剧人物的塑造也能够形象地证明“铭记死亡”理念在文艺复兴时期英国社会的流行程度。

Abstract: Falstaff is an impressive comic character in Shakespeare’s three histories, Henry IV, Part 1, Henry IV, Part 2, and Henry V. Nevertheless, his lines and the scenes related to him often imply the sin and punishment in the Christian sense, especially the idea of memento mori during the Middle Ages and the Renaissance. As for the religious admonitions and moral preachings from the various people around him, Falstaff either sneers at them or evades them altogether. The only thing he cares about is his earthly enjoyment rather than any religious faith or salvation of his soul. Falstaff’s obstinacy results in his final destruction – not only a desolate physical demise, but also a spiritual death as subtly implied between the lines of the play. Accordingly, the tradition of memento mori during the Middle Ages and Renaissance reveals how Falstaff was understood and judged by the audience in Shakespeare’s time. Meanwhile, Shakespeare’s portrayal of Falstaff vividly demonstrates the immense popularity of memento mori in England during the Renaissance.

王  晶

标题：论理查三世畸形身体中的动物他性和国体隐喻

Title: The Animality and National Allegory in Richard III’s Deformity

内容摘要：莎士比亚的历史剧《理查三世》是英国早期现代社会对畸形身体探究的一个经典文本。在剧中，理查三世的畸形身体被政敌贬损为动物他者，不仅是邪恶和非道德的表征，而且作为修辞载体，隐喻了玫瑰战争时期失序和病态的国体。具有颠覆性的是，理查三世打破了人们对畸形身体的刻板印象，他对身体政治的能动性操演反映出早期现代理性主义和平等主义对等级秩序的破坏和现代主体意识的觉醒。理查三世的复杂形象是政治、宗教、历史和社会偏见共同形塑的结果。

Abstract: William Shakespeare’s history play, Richard III, is a classical text that explores physical deformity in early modern England. In the play, Richard III’s deformed body is debased not only as the animal other that embodies evil and immorality, but also as a rhetorical carrier for the disordered and sickly state during the War of the Roses. What is subversive is that Richard III destructs the stereotypes toward deformed body. His dynamic performance of body politics reflects the dismantling of the hierarchical order by the early modern rationalism and egalitarianism on the one hand and, on the other, the awakening of modern subjective consciousness. The complex image of Richard III is constructed, jointly, by politics, religion, history, and social prejudice.

英美文学研究

冯  伟

标题：霍罗尼莫的悲恸与愤怒——《西班牙悲剧》的悲剧内涵

Title: Hieronimo’s Grief and Wrath: The Tragic Connotation of The Spanish Tragedy

内容摘要：由托马斯·基德首创的“基德式复仇剧”对《哈姆雷特》等早期现代英国悲剧作品产生了难以磨灭的影响。基德在《西班牙悲剧》中以“戏中戏”的方式，生动展现了一个复仇者如何从无辜受害者蜕变为马基雅维利主义式恶棍的全过程。然而单纯将复仇解读为“野生的裁判”、理性失控，或片面强调早期现代的复仇伦理困境，都在相当程度上低估和忽略了情感因素在早期现代英国剧场所扮演的重要角色。复仇的目的不仅在于“以牙还牙”式的惩罚，而是要让仇敌“感同身受”到复仇者本人曾经经历的巨大悲恸和绝望。《西班牙悲剧》在早期现代英国剧场所取得的巨大轰动效应与该剧对于悲剧主人公的悲恸和愤怒两种人类基本情感的表述再现密不可分。

Abstract: The “Kydian revenge tragedy”, initiated by Thomas Kyd, had a profound impact upon Hamlet and the other early modern English tragedies. By adopting the “play within the play” mode in The Spanish Tragedy, Kyd reveals, vividly, the entire process of how a revenger degenerates gradually from an innocent victim into a Machiavellian villain. However, if we either simply define revenge as “wild justice” and the loss of rationality or place a one-sided emphasis on the ethical dilemma of revenge in early modern period, we would, to a great extent, underestimate and overlook the key role of the emotional factors in the early modern English theater. The sensational effect of The Spanish Tragedy on the early modern English stage can be ascribed to its representation of the tragic hero’s grief and wrath, the two basic emotions of humankind.

金  琼

标题：19世纪英国女性小说家的阅读旨趣与书写策略

Title: Reading Purposes and Writing Strategies of British Women Novelists in the 19th Century

内容摘要：19世纪英国女性小说家的阅读活动与其时的历史文化语境、创作批评语境以及自身的身份与阅历息息相关。从女性小说家的传记、日记、书信集、回忆录、小说题记以及小说文本中提供的阅读信息，可以了解女性小说家们的阅读视域、知识结构与阅读旨趣。由此切入，可以发现女性小说家们的阅读视域在一定程度上影响了她们的小说题材选择与创作旨趣，左右了小说互文性世界的构建，彰显了女性小说创作的智性力量与艺术追求。可以说，正是借助阅读，女性小说家才使其小说创作与英国文学传统根脉相连，成为英国伟大文学传统的重要组成部分。

Abstract: In the 19th century, British women novelists’ readings had much to do with the historical and cultural background, the context of writing and criticism, and their personal identities and experiences at that time. The information about their readings, gleaned from their biographies, diaries, letters, memoirs, and the prefaces to and actual texts of their novels may help us learn about their reading horizons, knowledge structures, and reading purposes. From this perspective, we could find out that women novelists’ reading horizons affected, to some extent, the choice of their subjects and their writing purposes, controlled the construction of their novels’ intertextuality, and highlighted the intellectual power and artistic pursuit in women’s novel writing. Thus, it is through reading that women novelists were able to connect their novel writing with the roots of the British literary tradition and became an important component of the British literature.

谷  伟

标题：乔纳森·弗兰岑《纯洁》中对重振数字时代行动潜能的探索

Title: Revitalizing the Potential for Action in the Digital Age: Jonathan Franzen’s Purity

内容摘要：美国作家乔纳森·弗兰岑的《纯洁》再现了萧条的公共政治，笔触从社会空间转向个人生活，引发学界对其政治意识退缩的批判。这一衰微再现与视角收缩，实际关涉小说从心理机制入手，探究公共政治缘何在数字时代走向崩解。援引斯蒂格勒的个性化理论，可以洞悉《纯洁》对数字资本封闭公共空间的反思，揭示资本操控持存信息阻断个性化的霸权宰制：首先，资本宣导废弃式的消费生活，破坏了欲望循环结构，摧毁对友爱共同体的欲求；其次，资本共时生成牧群意识，阻断“我”与“我们”延异的跨个性化，导致暴力因爱的能力丧失充斥社会。为激活公共政治的行动潜能，弗兰岑从异域空间揭示数字资本权力机制，通过终止权力维系的对立框架，打破网络“纯洁”的幻象，进而重启个性化，敞开友爱共同体的空间。

Abstract: Jonathan Franzen’s Purity represents the gloominess of public politics and shifts its narrative perspective from social space to individual life, a move that has stirred up the criticism on his weakened political consciousness from the academia. However, the representation of such a gloominess and the adoption of a narrowing perspective are actually intended by the author of the novel to explore, through a psychological approach, the reason why public politics is heading toward a collapse in the digital age. Using Bernard Stigler’s theory of individuation in analyzing Purity may enable us to see its reflection on the closure of public sphere by digital capital and its revelation of how the capital destroys individuation through its hegemonic control over the informationalized retention. First, it advocates a lifestyle of consumption with a high-rate abandonment, which devastates the circular structure of desire and annihilates the yearning for a community of philia; secondly, it synchronizes the diversified consciousness like a herd and blocks the transindividuation where “I” and “We” continue to defer while remaining different, thus allowing violence to overwhelm the society due to the loss of the capacity for love. In order to revitalize the potential for action in public politics, Franzen reveals the power mechanism of digital capital from foreign space. By terminating the opposing framework that power relies on, he shatters the illusion about cyber “purity,” renews individuation, and expand the space for a community of philia.

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