《外国文学研究》2022年第4期主要论文摘要

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2022年第4期(总第216期)

学术访谈

Li Feng & Ira B. Nadel

标题：书写菲利普·罗斯的生活与反生活——伊拉·纳代尔访谈录

Title: Writing about Philip Roth’s Life and Counterlife: An Interview with Ira B. Nadel

内容摘要：伊拉·纳代尔，不列颠哥伦比亚大学英语系教授、加拿大皇家学会院士，国际知名传记作家，已发表众多专著和传记，其新作《菲利普·罗斯：一种反生活》由牛津大学出版社在2021 年出版。在这篇由上海外国语大学李锋教授主持的访谈中，纳代尔认为要把握任何一名作家的本质，呈现其人生的不同版本（或者样态）是一个重要途径。对于罗斯而言，尽管其人生充满了各种悖论，但梳理这些矛盾，恰恰是书写其传记的吸引力所在。纳代尔还强调，传记作家应当避免全面性的概括，而要着力针对具体的细节，因为这当中的一大挑战就是如何将罗斯一生中最富代表性、具有典型意义的重要时刻筛选出来为之所用。

Abstract: Ira B. Nadel is Professor of English at the University of British Columbia, a Fellow of the Royal Society of Canada, and a world-renowned biographer. He has authored and edited numerous books, and his new biography, Philip Roth: A Counterlife, was published by Oxford University Press in 2021. In this interview by Li Feng, a professor at Shanghai International Studies University, Nadel argues that exploring versions of life, or variations, is an important way to grasp the nature of any writer. For Roth, though his life is full of paradoxes, addressing these contradictions is the very pull of writing biography. Nadel also emphasizes a biographer’s need to get away from generalizations and to deal with specifics since the major challenge is to select and use the most representative moments signaling patterns in Roth’s overall life.

文学跨学科研究

杨慧林

标题：思想链条上的《骰子一掷》——萨特、布朗肖、德勒兹、巴丢解读马拉美的一个诗句

Title:A Chain of Thought on “A Dice Throw”: The Interpretations of Mallarmé’s Poetic Line by Sartre, Blanchot, Deleuze and Badiou

内容摘要：马拉美《骰子一掷》始终受到欧陆哲学家的特别关注，萨特、布朗肖、德勒兹、巴丢都曾直接论说其中的一个关键诗句。以这些哲学家的相关解读为线索，或可通过“什么也没有发生”的“发生”、“不存在”从而“发生”、并非“因果逻辑”的“发生本身”等议题，解析马拉美对哲人的可能启发以及哲人从马拉美重构形而上学的努力。用布朗肖的话说：文学并不“存在”，却启发着没有任何对象形式的“发生”。

Abstract:Mallarmé’s poem, “A Dice Throw,” has always been the focus of attention from Continental philosophers, among whom Jean-Paul Sartre, Maurice Blanchot, Gilles Deleuze,and Alain Badiou all offered their interpretations of one particular line. With clues from their interpretations, the author attempts to analyze Mallarmé’s inspiration on these philosophers and their effort to reconstruct his concept of metaphysics by exploring ideas like “nothing will have taken place but the place,” something “in-exists but takes place,” and “taking place” contrary to the “cause-effect logic.” To borrow the words from Blanshot, literature does not “exist,” but it inspires a kind of “taking place” that is “not taking part in the form of any object that exists.”

刘 欣

标题：“伦理转向”的张力：列维纳斯与利科之争再审视

Title: The Tension of “Ethical Turn”: A Re-Examination of the Levinas-Ricoeur Debate

内容摘要：列维纳斯与利科在法国理论的“伦理转向”中角色迥异，两者的异同使“伦理转向”的细部充满张力：利科通过列维纳斯走向对死的内在学习，死亡在他看来是不可认知的事件，不存在海德格尔所谓的“筹划”或“先见”，也不会有“能动”或“自由”，更无人能够“承担”；列维纳斯将爱欲视为战胜死亡的超越性事件，利科则认为爱是通向正义的道路，它在对仇敌的爱与宽恕中超越敌我之分；列维纳斯主张的是自我与他者的“非对称性”结构，利科则在批判非对称性的基础上，提出“相互性”，并将其视为平等、正义的共同生活的前提；利科排除了列维纳斯的“人质”的神圣性，在自我与他者的交流中存在的是交互性的平等关系，列维纳斯则认为交流首先意味着在言语中将自己暴露给他人，言语直接就是甘冒牺牲之险的应承。回顾列维纳斯与利科之争，我们得以继续思考爱与死及文学叙述的伦理性。

Abstract: Levinas and Ricoeur played a different role in the “ethical turn” of French theory.The similarities and differences between them created a full tension for the “ethical turn” in all aspects. Ricoeur gained an internal learning about death through Levinas. In his view, death is an incomprehensible event, which defies any “planning” or “foresight,” as defined by Heidegger, has no “dynamic” or “freedom,” and allows no one to “undertake” it. Levinas perceives eros as a transcendent event, or a victory over death, while Ricoeur sees love as the path to justice, transcending the distinction between our foe and ourselves in our love and forgiveness for the enemy. Levinas advocates the “asymmetric” structure of the self and other, whereas, based on his criticism of such an asymmetry, Ricoeur proposes “reciprocity” and regards it as the premise of an equal and just common life. Ricoeur excludes the sanctity of Levinas’ “hostage” and insists that what exists in the communication between the self and other is an interactive equal relationship, but Levinas believes that communication means exposing oneself to others in words, and words are directly “responsible” at the risk of sacrifice. By re-examining the Levinas-Ricoeur debate, we may keep thinking about the ethics of love, death, and literary narrative.

诗歌与诗学研究

童 明

标题：从“应和”到“灵韵”：忧郁的理想所催生的美学经验

Title:From “Correspondence” to “Aura”: The Aesthetic Experience Inspired by Spleenful Ideals

内容摘要：波德莱尔在《恶之花》和《巴黎的忧郁》等诗篇中展示了“应和”与“忧郁的理想”的关联；本雅明则在解读波德莱尔诗作的基础上，形成以美学经验抵御现代异化的理论，并以“灵韵”作为这个美学经验的符号。本雅明的“灵韵”在物我相通的“应和”中补充了内心时间的维度，海德格尔和博尔赫斯则进一步阐述了艺术中的第四维度。本雅明在《论波德莱尔若干母题》中所论及的波德莱尔、孟福特、柏格森、普鲁斯特、梵乐西等现代哲学家和艺术家，都属于叙述这个美学经验的阵列。波德莱尔的“应和”、本雅明的“灵韵”、艺术中的第四维度、抗衡异化的美学经验，暗暗应和着“栩栩然胡蝶也，蘧蘧然周也”的庄周梦蝶。由此可见，世界的文明体系异中有通，不约而“通”。

Abstract: Charles Baudelaire’s poems such as Flowers of Evil and Paris Spleen demonstrate how the idea of “correspondence” enhances his expression of “spleenful ideal,” while Walter Benjamin, based on his interpretation of Baudelaire, advances the theory of an aesthetic experience as resistance to modern alienation for which he proposes “aura” as a new symbol. The Benjaminian idea of “aura” is a reinvention of the human-to-object “correspondence” with an added internal (psychological) time dimension, which might be called the fourth dimension in art and was further explicated by Heidegger and Borges. Benjamin, in his “On Some Motifs in Baudelaire,” shows that the scope of the aesthetic experience as resistance to alienation includes not only Baudelaire, but also other artists and philosophers such as Mumford, Bergson, Proust, Paul Valery. Thus Baudelaire’s “correspondence,” Benjamin’s “aura,” the fourth dimension in art, and the aesthetic experience of “resistance to alienation” revitalize Zhuangzi’s butterfly dream, suggesting a trans-civilizational “correspondence” which invites further inquiry.

谢 超

标题：论吉莲·克拉克生态诗歌中的“深时”与环境伦理

Title:“Deep Time” and Environmental Ethics in Gillian Clarke’s Ecological Poetry

内容摘要：“深时”的概念与“人类世”密切相关，广博的时空维度和巨大的抽象性使其陷入言说和表达的尴尬。“威尔士民族诗人”吉莲·克拉克通过在生态诗歌中描绘石头、动物以及气候等元素，将“深时”具象化。诗人作品中的地质历史与人类历史相互交织，人类的物种身份被置于漫长进化史中进行审视，气候危机通过历史时间与未来时间得以凸显。克拉克的生态诗歌呈现出深远的时空观念和广阔的行星意识，不仅演绎了言说“深时”的可行方式，还为我们在“人类世”的当下反思人与自然互赖共生的环境伦理提供了有益的启发。

Abstract: The concept of “deep time,” which is closely tied to the Anthropocene, falls into a predicament of discourse and expression due to its wide temporo-spatial scale and overwhelming abstraction. Gillian Clarke, the National Poet of Wales, concretizes “deep time” by means of depicting rocks, animals, and climate in her ecological poetry. In her poetry, the geological history is interwoven with human history, human identity is scrutinized against the long evolutionary history, and climate crises are foregrounded through the times both in history and the future. Clarke’s ecological poems, in which a profound temporo-spatial concept and a broad planetary consciousness are well-manifested, not only exemplify a feasible way of extrapolating “deep time,” but also offer us some helpful inspirations as we reflect, in the current Anthropocene era, on the ethics regarding the environment in which man and nature depend on each other for coexistence.

欧洲文学研究

王丽丹

标题：从特写集《西伯利亚》看拉斯普京的历史意识

Title: V. G. Rasputin’s Historical Consciousness: His Book of Sketches, Siberia, Siberia

内容摘要：当代俄罗斯经典作家瓦·拉斯普京的创作具有鲜明的历史意识，西伯利亚对其历史意识的形成具有特殊的文化意义。作家晚年的特写集《西伯利亚，西伯利亚》多维呈现了其以自然哲学为基础的历史意识。作家力图凭借历史记忆凝聚民族精神，主张以批判反思意识对待历史与现实。作家融唯物史观与神学自然哲学观为一体的历史观，表明其反对历史虚无主义的坚定立场。《西伯利亚》中的悲情历史叙事，揭示出拉斯普京作为创作主体所具有的历史意识和历史批判精神，彰显作家融历史记忆、现实反思与未来想象为一体的历史情结。

Abstract: The writings of V. G. Rasputin, a leading contemporary author in Russia, are characterized by a distinct historical consciousness. Siberia, a place full of special cultural significance, looms large in the formation of Rasputin’s consciousness. Siberia, Siberia, the book of sketches written in his later years, presents his historical consciousness based on natural philosophy in a multi-dimensional manner. The author tries to strengthen the national spirit by virtue of historical memories, advocating a critical and reflective approach in confronting history and reality. His concept of history, which integrates historical materialism with theological and natural philosophy, shows his firm opposition to historical nihilism. The tragic historical narrative in Siberia, Siberia reveals Rasputin’s historical consciousness and historical critical spirit as the author and fully illustrates a kind of historical complex that intermixes historical memories, realistic reflections, and future imaginations.

胡玉明

标题：雪莱《奥兹曼迪亚斯》批评史上的“谎言”

Title: The “Fallacy” in the Critical History of Shelley’s “Ozymandias”

内容摘要：“文物窃取与文物所有权”是《奥兹曼迪亚斯》中一个非常重要的主题，但这一主题在诗歌批评史上却长期处于遮蔽状态。这种情况是由批评史上所展现的价值取向决定的，即诗歌批评在为大英博物馆服务。雪莱创作《奥兹曼迪亚斯》的时间与参考史料均显示，诗歌所指并非大英博物馆中的拉美西斯二世雕像，但是诗歌批评史却试图构建一个二者“文史互证”的“谎言”。究其原因，主要是雪莱的诗歌赋予了博物馆雕像重新阐释的语境，契合了大英博物馆为其殖民时期非法所得的雕像做正当性辩护的需要，诗歌意欲探讨的“文物所有权”问题也因为这层关系被遮蔽了。

Abstract: “The theft and ownership of cultural relics” is a salient theme in Shelley’s sonnet “Ozymandias,” but it has long been concealed in the history of poetry criticism. This situation seems to have been dictated by the value orientation exhibited in the critical history. In other words, the criticism of the sonnet provides a service for the British Museum. Although both the time of Shelley’s writing of “Ozymandias” and the relevant historical records indicate that the sonnet actually does not refer to the statue of Ramesses II in the British Museum, the critical history attempts to fabricate a “fallacy” about the connection between the two with a socalled “reciprocal verification between the text and history.” The main reason for this is that Shelley’s “Ozymandias” presents a new context for a reinterpretation of the statue in the museum and meets the British Museum’s need to defend its illicit acquisition of the statue during the colonial period. To this end, the ownership of cultural relics, a theme the sonnet intends to explore, is concealed.

束少军

标题：马丁·艾米斯《时间箭》中的时间倒置与“显现真实”

Title:Time Inversion and “Real Point” in Martin Amis’s Time’s Arrow

内容摘要：英国作家马丁·艾米斯在《时间箭》中以时间倒置叙述大屠杀的做法尽管受到学界诟病，但可视为一种书写真实的有益尝试。时间倒置创造了两种观看关系：叙述者“我”对主人公安沃多本倒置生活的观看，以及读者对“我”的观看的观看。前者不仅揭示导致大屠杀发生的真实原因之一——纳粹种族主义幻象，还以此制造视差，再现大屠杀在历史中真实的本体存在状态；后者意在邀请读者在表层阅读中回应大屠杀的两种历史真实，启发他们想象与反思自身在相同生命政治语境下的真实处境。在对这三种真实的呈现中，时间倒置不再是一场追求戏谑的后现代游戏，而是艾米斯对文学如何有效表征历史真实所做的严肃思考，也是他从历史角度审视现实人类生存困境的责任体现。

Abstract: Even though Martin Amis’s use of time inversion to recount the Holocaust in Time’s Arrow has been denigrated by scholars, it could still be considered as a meaningful attempt at writing about truth. Time inversion creates two kinds of observations: the “I” (aka the narrator) observes the inverted life of the protagonist, Unverdorben, and readers observe the observation presented by the “I”. The former not only reveals the Nazi racial fantasy, one of the real causes of the Holocaust, but also generates a parallax to reconstruct the Holocaust’s real ontological state in history. The latter aims to invite readers to respond to the two kinds of historical truth about the Holocaust and inspire their imagination and reflection about their own real situation in the similar bio-politics context. In the representation of these three kinds of truth, time inversion is no longer a postmodern game of pleasant banter. Instead, it is both Amis’s serious reflection on how literature should effectively represent the truth of history and his responsible inquisition of the plight of mankind in reality from a historical perspective.

奚 茜

标题：马丁·艾米斯《夜间列车》中的声音现象学

Title: Sound Phenomenology in Martin Amis’s Night Train

内容摘要：当代英国作家马丁·艾米斯的小说《夜间列车》拟写了侦探迈克追随天文学家詹妮弗的案件而进行调查和探索的故事。与典型的侦探小说不同的是，《夜间列车》并没有过多精彩的推理场景，而将笔墨转向大量的心理描写和氛围烘托。小说呈现的死亡母题书写、心理描写策略以及碎片化的拼贴手法建构了一种后现代侦探情境，其中贯穿的想象场景被人的听觉经验渗透；这种经验与小说中的（声音）想象互相融合，也与马丁·艾米斯“想象理性”的创作理念相契合。从声音现象学的角度审视《夜间列车》，可以发现，小说蕴含的声音现象在“客体声音”的经验转向、“相关性”构造的意识活动以及自言自听的声音形式都有所体现，小说中涉及意识层面的细节映射了声音客体与听觉主体的互动，展现出马丁·艾米斯深入到文本肌理内部的敏锐笔触。

Abstract: Night Train, a novel by the contemporary British writer, Martin Amis, tells a story of Detective Mike’s investigation and probe into the case of the astronomer Jennifer. Unlike other typical detective novels, Night Train does not present the exciting scenes of reasoning excessively, but rather puts a lot of emphasis on depicting the inner workings of the mind and illuminating the ambience. The novel relies on a series of tactics, including the motif of death, the strategies of psychological description, and the device of fragmented collage, to build up a postmodern detective scenario through which an imaginary scene is penetrated by auditory experience that integrates with the imagination (of sound) in the novel and corresponds to Martin Amis’s writing concept of “imaginative reason” as well. From the perspective of sound phenomenology, this article intends to analyze the various sound phenomena in Night Train, from the experienced turn of “the object voice” to the consciousness triggered by “aboutness” and the soliloquy-like vocal form, and to argue that the details concerning consciousness in the novel not only reflect the interaction between the object voice and the acoustic subject, but also exhibit Amis’s subtle strokes inside its textuality.

美国文学研究

李宛霖

标题：《埃德加·亨特利》中夜游症的隐喻与布朗的民族文学主张

Title: Sleepwalking as Metaphor in Edgar Huntly and Brown’s Notion of National Literature

内容摘要：作为查尔斯·布劳克登·布朗的代表作之一，《埃德加·亨特利》的现代研究经历了从心理批评到新美国主义历史批评的转型。尽管心理批评学者与新美国主义者都关注该作品对美国民族文学传统的贡献，但很少有人将这部作品作为布朗对美国文学应该如何实现本土化的元评论加以解读。联系18 世纪末、19 世纪初美国印刷文化，尤其是杂志文化的大背景考察夜游症的历史意义，就能揭示出夜游症作为美国文学的隐喻，如何体现了布朗对民族文学的困境与出路的省察。这一研究思路不仅可以将心理视角与历史视角有机结合，展现二者之间的内在联系，也有助于我们更全面、深刻地认识布朗的民族文学立场与主张。

Abstract: The modern studies on Edgar Huntly, one of the representative works by Charles Brockden Brown, shifted its focus from psychoanalytic criticism to the historical criticism of New Americanism. Even though the critics from both groups paid close attention to the novel’s contribution to the tradition of American national literature, few scholars attempted to analyze the novel as Brown’s metacommentary on how American literature should be localized. A probe into the historical significance of sleepwalking in the context of the American print culture, especially its periodical culture, in the late 18th century and early 19th century may reveal how sleepwalking, as a metaphor for American literature, reflects Brown’s contemplation on the dilemma and future development of national literature. Such a critical approach not only integrates the psychological and historical perspectives in a way that reveals their inner connection, but also helps us understand, comprehensively and deeply, Brown’s position and notion toward national literature.

张逸旻

标题：安妮·塞克斯顿主体书写的自反性

Title: Self-Reflexivity in Anne Sexton’s Writing of Subject

内容摘要：安妮·塞克斯顿主体书写中的抵牾之处颇值得关注：诗人一方面将生平素材纳入以言说者为主体的诗体框构，给人以明晰可读的阅读预设；另一方面却极力消解言说者作为抒情诗之叙事主体的传统地位，其语言织体所呈现的闭合、晦暗等特征也都与上述预设背道而驰。这种自反性书写的动因及价值指归源于对弗洛伊德精神分析话语的吸收。诗人在创作中奉行梦与潜意识的运行法则，其具体路径表现为对“自动写作”原则的诉诸，即强调词语的自律自足而将言说者降级为被动的“中介”。这动摇了主体书写的核心立足点，并由此对自传式批评提出了挑战。这些方面与巴特“作者之死”的相关论点恰成呼应，在后者的观照下，塞克斯顿反思主体性的诗学立意获得彰显，促使我们对传统自白话语模式做出重新界定。

Abstract:A contradiction in Anne Sexton’s writing of subject is worth exploring: on the one hand, the poet brings autobiographical elements into a poetic structure, centered around the speaker as subject, to induce the reader to expect clarity and readability; on the other hand, though, she undermines as much as possible the speaker’s traditional position as the subject of lyric narrative with various textual features, such as closure and obscurity, a move that seems to run counter to the reader’s expectations. The motive and value of such kind of self-reflexive writing were originated from the appropriation of Freud’s psychoanalytical discourse. In her writing, the poet adopts the practice of interpreting dream and subconsciousness with a specific approach that relies on the principle of “automatic writing,” namely, stressing the autonomy of words while downgrading the speaker’s role to a passive “intermediary.” Such subversion undercuts the foundation of subjective writing and thereby challenges autobiographical interpretation.Sexton’s moves on these aspects resonate with Barthes’ notions in “The Death of the Author.” With reference to Barthes, Sexton’s innovation in rethinking subjectivity may be thrown into sharp relief, thus compelling us to reconceptualize the mode of the traditional confessional discourse.

东方文学研究

任宏智

标题：《夜信》：迷宫叙事与阿拉伯民族的迷宫之境

Title:The Night Mail: Labyrinth Narrative and the Labyrinth Situation of the Arab Nations

内容摘要：胡黛·巴莱卡特的书信体小说《夜信》以五封缺头少尾的神秘信件勾勒出濒于社会边缘的当代阿拉伯流散者的生活原貌。作者仿构迷宫迂回多歧的建筑形态，借助“叙事要素的空白”和“记忆的不可靠性”搭建迷宫结构，通过参照物的设置引导“探行者”在迷宫中反复游走与兜绕，以闭环式迷宫实现对阿拉伯民族迷宫之境的映照，并通过迷宫叙事策略巧妙地将不同人物的流散经历与边缘体验进行串联，让读者在选择通往迷宫出口不同路径过程中探寻文本的现实意义，在聆听信件主人自白的过程中自觉地对阿拉伯民族迷宫般的生存境遇进行评述与审思。

Abstract: In five mysterious letters without headings and endings, The Night Mail, an epistolary novel by Hoda Barakat, outlines the life of contemporary Arab diasporas who have been marginalized by society. By imitating the circuitous multipath, a standard feature in the architectural form of the labyrinth, the author builds the labyrinth structure with “the blankness of narrative elements” and “the unreliability of memory,” guides the maze traders to walk and circle in the labyrinth repeatedly through the pre-set reference objects, and sets up the circular labyrinth as a contrast to the labyrinthine situation of the Arab nations. Also, the diasporic and marginal experiences of different characters are subtly interwoven through the labyrinth narrative strategy, so that readers can not only explore the realistic ramifications of the text while choosing the different paths to the exit of the labyrinth, but also consciously comment and reflect on the Arab nations’ labyrinthine existence as they read through the confessions of the letter writers.

黄建香

标题：川端康成作品中的镜像与审美

Title: Mirror Image and Aesthetics in the Works of Yasunari Kawabata

内容摘要：镜像描写是川端康成作品中的常用手法，镜像主体大多是美丽纯真却命运多舛的女子，虚幻的镜像象征了她们的徒劳与不幸。川端往往塑造互为镜像的人物，在主体建构过程中彼此受到对方的影响和关涉。镜像总是伴随着凝视，川端文学中普遍存在男性对女性的凝视现象，女性在男性的注视下存在，没有自我意识，而在经历了自我凝视之后女性获得了自我认识和成长。川端笔下的镜像具有美与哀、虚与明、凝视与被凝视等高度统一的关系，并具有独特的审美功能和凝视功能。正是通过虚无悲哀的女性镜像描写，川端的哀伤美理念得以具象化。

Abstract: The description of mirror image is a usual technique in the works of Kawabata Yasunari. By and large, the subjects of mirror images are women, who are beautiful, pure, humble or ill fated. The illusory mirror image symbolizes the futility and misfortune in their life. Kawabata often portrays characters who are not only mirror images of each other, but also conditioned by their reciprocal influence and involvement in the process of subject construction. Mirror image is always paired with gaze. In Kawabata’s literary writings, there is a ubiquitous scene of male gazing at women. Women exist under the gaze of men without any self-consciousness. After experiencing mirror gazing, however, women gain self-awareness and growth. The mirror images in Kawabata’s works reveal the highly unified relations, such as beauty and sorrow, emptiness and brightness, staring and being stared, through their unique aesthetic and staring functions. It is through the description of the female images of nihility and sadness that Kawabata’s concept of sorrowful beauty is defined specifically.

比较文学研究

郭勇健

标题：加藤周一的三元比较诗学

Title: The Tripartite Comparative Poetics of Shūichi Katō

内容摘要：日本学者在比较研究上往往以“三元比较”而展开，主要是在日本、中国、西方之间进行比较。加藤周一是这种比较方法的佼佼者。综观20 世纪，二元研究方法是比较文学/ 诗学的常用方法，但它具有笼统性、静态性和对立性，三元比较有可能走出二元研究的困境。加藤周一的比较诗学有两个意图，一是确立日本特色，二是探寻普遍标准。前期加藤周一认为日本特色是“杂种文化”，后期加藤周一认为日本特色是“现在= 此处”文化，后者是对前者的具体化、深入化和学理化。在时间和空间问题上，加藤周一都实施了三元比较方法。“确立日本特色”之后，还要“超越日本特色”。因为文化特色往往就是作为过去时和完成体的传统文化的特色。加藤周一的比较诗学却要走出传统，走向现代。进入20 世纪之后，世界一体化，传统文化的特殊性与现代文化的普遍性存在冲突。文学和艺术的普遍标准何以可能？比较诗学不能预设普遍人性论，必须经验性地探寻普遍标准。现代和国际是外部条件，语言（的普遍有效性）是内部条件。现代、国际、语言三者缺一不可。世界一体化裹挟着“艺术只有一个”的思维观念。既然如此，艺术普遍标准的存在便是理所应当的了。

Abstract: Usually, Japanese scholars conduct their comparative studies, with “a tripartite approach”, between Japan, China, and the West. Shūichi Katō is an outstanding representative in this practice. Throughout the twentieth century, the binary approach was pretty common in comparative literature/poetics, but it often came with some general, static, and opposing tendencies. However, the tripartite approach might be able to break out of the dilemma of the binary approach. Shūichi Katō’s comparative poetics has two intentions: one is to establish Japanese characteristics; the other is to explore universal standards. At first, Shūichi Katō regarded the Japanese characteristics as a “mixed culture”; later he defined them as the concept of “present=here” culture. The latter is an attempt at making the former more concrete, in-depth, and academic. Shūichi Katō adopted the “tripartite approach” in dealing with the issues of time and space. After “establishing Japanese identity,” it is necessary to “go beyond Japanese identity” for cultural identity is often the identity of traditional culture in past tense and completion. Shūichi Katō’s comparative poetics, however, goes beyond tradition toward modernity. The globalization in the twentieth century has brought about a conflict between the specificity of traditional culture and the universality of modern culture. How could a universal standard of literature and art be possible? Comparative poetics cannot presuppose a theory of universal humanity, but it must explore, empirically, universal standards. Modernity and internationalization are external conditions, language (its universal effectiveness) is the internal one. Modernity, inter-nationality and language are all indispensable. If the notion of globalization includes the idea that “there is only one kind of art,” then, the existence of a universal standard for art is definitely justified.

涂 慧

标题：从他者凝视到主体建构——加拿大英语文学动物书写在当代欧美的接受阐释

Title:From Other’s Gaze to Subject Construction: The Acceptance and Interpretation of Animal Writing in Canadian Literature in English in Contemporary Europe and America

内容摘要：伴随1980 年代兴起的“动物转向”，加拿大英语文学动物书写在当代欧美备受关注，呈现出从边缘依附到综合独立的演变态势。在接受态势上，当代欧美对加拿大英语文学动物书写的接受态势主要以肯定认同、接纳欢迎和质疑反思为主，呈现出关注社会性与注重思想史的宏观特征。在接受作家上，当代欧美对动物书写的接受阐释具有均衡性、广泛性和多样性，既关注西顿、罗伯茨和莫厄特等经典作家，也瞩目桑德斯、博兹沃斯和柯伍德等知名作家。在阐释观点上，当代欧美对动物书写的阐释认知勾连加拿大殖民主体性、物种歧视、族裔消亡和身份建构等重要话题，牵涉加拿大肉食消费、生态伦理、性别秩序、大众文化等权力话语。在阐释路径上，当代欧美普遍将对弱势动物的关注与对少数族裔的同情和对女性群体的关心予以关联，关注其中的社会多元化、动物伦理学和文化差异性等热点问题。由此，加拿大英语文学动物书写在当代欧美的接受阐释至少表现出三个宏观特点，即鲜明的跨学科性与综合性特征、强烈的泛政治化与泛文化倾向、明显的他者想象与主体间性趋势。

Abstract: Along with the prevailing “animal turn” in the 1980s, animal writing in Canadian literature in English has caught a lot of attention in contemporary Europe and America and undertaken an evolutionary process from marginal dependence to comprehensive independence.The contemporary European and American acceptance of the animal writing in Canadian literature in English may be mainly defined as approving, embracing, and questioning, showing a microfeature that lays a stress on sociality and ideological history. As to specific writers, the acceptance and interpretation of animal writing in contemporary Europe and America are characterized by balanceability, extensiveness, and diverseness, that is, foucing on well-established writers like Ernest Seton, Charles Roberts, and Farley Mowat while keeping an eye on popular writers like Margaret Saunders, Fred Bodsworth, and Cowood. The interpretation of animal writing connects its perception with a series of important topics, such as the colonial subjectivity in Canada, species discrimination, ethnic extinction, and identity construction, and involves the power discourse related to the Canadian meat consumption, ecological ethics, gender order, and mass culture. As a consistent approach in their interpretation, both Europe and America today tend to coordinate their concern over vulnerable animals with their sympathy for ethnic minorities and women, and to dwell on hot issues like social diversity, animal ethics, and cultural differences. Simply put, the acceptance and interpretation of animal writing in Canadian literature in English in contemporary Europe and America have exhibited three macrofeatures, namely, a distinctly interdisciplinary and comprehensive attribute, a strong pan-political and pan-cultural tendency, and an obvious inclination of other imagination and inter-subjectivity.

往期精彩文章回顾：

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