《外国文学研究》2022年第5期主要论文摘要

点击上方“外国文学研究”可以订阅哦

2022年第5期(总第217期)

学术访谈

Feng Yi & Charles Bernstein

标题：中国道禅思想与回音诗学：查尔斯·伯恩斯坦访谈录

Title: Chinese Zen-Taoism and Echopoetics: An Interview with Charles Bernstein

内容摘要：查尔斯·伯恩斯坦是美国语言派诗歌的领军诗人，他的诗歌巳成为美国诗歌界最重要的声音之一。伯恩斯坦是宾夕法尼亚大学英语和比较文学荣休教授，美国艺术与科学学院院士。他的诗歌具有独特的后现代风格，体现了他的回声诗学和他所倡导的荒诞玄学探究。本次访谈是在 2021年11月进行，采用电子邮件的方式，重点探讨了中国道禅哲学与回声诗学的微妙关系，以及他的诗歌中虚、空、噪、寂的多重内涵。此外，就伯恩斯坦的最新作品，诗歌与视觉艺术的关系、幽默与反讽在后现代语言诗歌中的作用和荒诞诗学探究的诗歌概念等问题，展开了深入的探讨。他启发式的回答演示了他的美学与回音诗学观念，反思了东西诗学交融中差异的碰撞和暗合。

Abstract: Charles Bernstein is a leading American Language Poet, and his poetry has been one of the most important voices in American poetry. He is Professor of English and Comparative Literature, Emeritus, at the University of Pennsylvania and a fellow of the American Academy of Arts and Sciences. His poetry has a unique postmodern style, reflecting his echopoetics and the pataquerical inquiry that he advocates. Conducted in November 2021 via email, this interview focuses on the subtle relationship between Chinese Zen-Taoism philosophy and echopoetics, and the multiple connotations of nothingness,emptiness,noise,and silence in his poems. In addition, there is a thorough discussion of his latest works, the relationship between his poetry and visual art, the role of humor and irony in postmodern Language Poetry, and the poetic concept of the pataquerical. His illuminating answers demonstrate his concepts of aesthetics and echopoetics, ruminating not only the collision of the differences, but also the implicit resonance between the Eastern and Western poetics.

中外学者对话：后殖民批评

Joongul Paek

标题：麦尔维尔中篇小说《贝尼托·塞雷诺》中的奴隶贸易和人道主义

Title:The Slave Trade and Humanitarianism in Herman Melville’s Benito Cereno

内容摘要：本文追踪麦尔维尔中篇小说《贝尼托·塞雷诺》中很少被人研究过的奴隶贸易的含义。通过对人性和人道主义的历史和理论追踪溯源，本文指出德拉诺不仅认同南方不连贯的、类似人道主义的奴隶监护逻辑，而且拥护奴隶贸易的非人性化条款，以便克服因奴隶复活其人性施为而造成的精神危机。结果，尽管巴波精心致力于恢复人的个性，但奴隶叛乱者最终还是悲惨地困入由德拉诺和种族奴隶制度为自身之便而动用的人性与非人性这两个相悖的模式之中。

Abstract:This essay keeps track of the slave trade’s little examined implications in Herman Melville’s Benito Cereno. By unpacking the historical and theoretical archives of humanness and humanitarianism, the essay scrutinizes Delano’s racial unconscious. I point out that Delano not only subscribes to the South’s incoherent, quasi-humanitarian logic of slave caring, but also espouses the dehumanizing terms of the slave trade, in order to overcome psychic crisis caused by the reanimated human agency of slaves. Ultimately, despite Babo’s astute performance to reclaim the human personhood, slave mutineers end up tragically caught in the differing modalities of humanity and inhumanity deployed by Delano and racial slavery to their convenience.

高文惠

标题：古尔纳《海边》中跨国难民的身份叙事

Title:The Identity Narrative of Transnational Refugees in Abdulrazak Gurnah’s By the Sea

内容摘要：古尔纳的《海边》紧紧围绕逃离故国与抵达他乡这一难民问题的起始两端，集中探讨了跨国难民的身份问题。小说以两位非洲难民及与其相关的人的故事勾画出一幅难民全球迁徒地图。新旧家园的转换不仅仅是地理空间的迁移，还意味着文化边界的跨越。在古尔纳创造出的关于故乡的历史记忆空间里，难民不断地通过对过去的叙事，重塑自我形象。难民在接纳国的身份转换与自我调适，既关乎难民的自我重塑，也折射出欧洲普遍存在的对“他者”的文化排斥。欧洲人对非洲移居者的敌意反映了难民问题背后的道德平等、体系责任等复杂的伦理和政治问题。在古尔纳看来，由于欧洲对非洲掠夺性的殖民历史，失去家园的非洲人来到欧洲寻求庇护，完全符合道德正义原则。

Abstract: In his novel, By the Sea, Gurnah puts a focus on exploring the identity of transnational refugees by revolving his story around two ends of migration - fleeing from homeland and arriving in a foreign country. Through a story about two African refugees and the people associated with them, the novel outlines a map of refugee migration around the globe. The transition from the old home to a new one is not only a relocation in geographical space, but also an action of crossing cultural boundaries. Gurnah creates a space of historical memories about native places, in which refugees constantly reconstruct their self-images through the narrative of the past. The identity conversion and self-adaptation of refugees in host countries seem really essential to their self-reinvention and reflect the widespread cultural exclusion of the “other” in Europe as well. Europeans’ hostility towards African immigrants reveals the complex ethical and political issues, such as moral equality and institutional responsibility, behind the refugee problem. Given the predatory history of European colonization in Africa, as Gurnah states it implicitly in the novel, the actions taken by homeless Africans to seek asylum in Europe are completely in line with the principle of moral justice.

前沿理论与批评实践

刘 阳

标题：理论中的文学：乔纳森·卡勒“能动”结构观的虚空论置换

Title:The Literary in Theory: The Replacement of Jonathan Culler’s View of “Agency” Structure with the Theory of Void

内容摘要：乔纳森·卡勒运用史蒂文·纳普的“文学兴趣”概念来激活理论研究，将作为指涉物的文学插入与理论表述一体的新脚本，使文学通过“能动”结构，从理论对象变为理论自身的性质。“能动”一词来自纳普及其述行立场，因此不能被译为“代理”。但将文学纳入述行时又因语境性等始源残余，回避了他者的冲击。由于述行中这种始源残余，立足于它的“能动”结构并未根除对象与结构的界限，阻断了理论中的文学。用基于事件思想的“虚空”结构置换卡勒的“能动”结构，以主体趋向语言限度的潜能运动来根除对象与结构的界限，才解开了理论与文学的融合难题。主体在此虚空化进程中，呈现出与“泰然任之”的本质区别。这一置换揭示出理论中的文学在后理论定位上有别于经验感悟之处，并已初步得到实例的演示。

Abstract: Jonathan Culler uses Steven Knapp’s concept of “literary interest” to activate theoretical research and puts forward a new script that integrates literary insertion and theoretical expression as a reference, so as to change literature from the object of theory into the nature of the theory itself through the “agency” structure. The word “agency” comes from Knapp and his performative position, so it cannot be interpreted as “agent.” However, when literature is included in the performative, it avoids the impact from others because of the original remnants such as contextuality. Given the residual origin in performative, the “agency” structure based on it does not eradicate the boundary between object and structure and, therefore, blocks the literature in theory. Only by replacing Culler’s “agency” structure with the “void” structure based on the idea of event and eradicating the boundary between object and structure with the potential movement of the subject tending to the limits of language can the problem of the integration between theory and literature be resolved. In this process of void, the subject presents an essential difference from “Gelassenheit”. Such a replacement reveals that the post-theoretical orientation of “the literary in theory” is different from that of experience, and it has been preliminarily demonstrated by examples.

李 石

标题：希利斯·米勒与美国解构主义批评的“伦理转向”

Title:J. Hillis Miller and the “Ethical Turn” of American Deconstructive Criticism

内容摘要：20世纪六十年代以来，法国后结构主义的“他者伦理”与美国社会平权运动产生合流，形成声势浩大的反正统、尊重多元差异的文化思潮，也极大影响了美国解构主义批评以及新历史主义、后殖民主义、女性主义乃至各种文化研究潮流。然而，他者伦理的绝对化也导致文本被赋予过度的政治阐释，造成理论话语的分裂和泛滥。米勒的批评伦理转向就是对“他者伦理”的反思。他试图回到康德的绝对道德律令，强调叙述的确定性法则，建构一种尊重文本的阅读伦理。但是，对于如何建构确定的阅读规范这一关键问题，米勒始终显得犹疑不决，显示了他的局限性。对于国内学界而言，米勒的批评伦理转向有必要的知识意义，启示了从跨文化批评领域进一步拓展“强制阐释论”的反思潜能。

Abstract: Since the 1960s, the “ethics of the other” of French poststructuralism and the American civil rights movement have converged to form a strong anti-orthodox and pro-diversity cultural trend that exerted a great impact on American Deconstructive Criticism, New Historicism, Postcolonialism, Feminism and various cultural studies. The absolutization of the “ethics of the other,” nonetheless, has led to a practice of imposing excessive political interpretation on the text as well as a randome division and proliferation of theoretical discourse. Miller’s ethical turn is clearly a reflection on the “ethics of the other.” He tried to return to Kant’s absolute moral law, emphasizing the certainty of narration, and constructing a reading ethics that respects the text. However, as to how to construct a certain reading standard, Miller seemed quite hesitant all along and showed his limitations. For the domestic academic circles, it is necessary to understand the significance of Miller’s ethical turn in criticism because it illustrates the need for a further reflection on “imposed interpretation” in the field of cross-cultural criticism.

李孟奇

标题：论世界文学观念起源的后殖民因素

Title:Postcolonial Factors in the Origin of the Concept of World Literature

内容摘要：作为比较文学研究的重要分支，世界文学观念的起原伴随着殖民进程的开启与东方文本的欧洲流通，但是以卡萨诺瓦为代表的理论家在对世界文学观念进行理论溯源时，并没有对后殖民因素予以足够重视。将殖民历史、文本流通、东方主义机制等多重因素纳入世界文学观念的历史谱系，从而把歌德与马恩的世界文学观念还原至特定的后殖民语境之中，则可以在重新认识世界文学观念起源的基础上重塑 19 世纪世界文学的空间。此外，从比较文学学科与后殖民视角出发，将波斯奈特的世界文学观念列为与歌德、马恩并重的源头性文献，深入探计其世界文学观念的价值中立原则与去中心化追求，则能够在新的视野下对波斯奈特的世界文学观念予以重新解读。

Abstract: The concept of world literature, as an important branch of comparative literature studies, was originated along with the beginning of colonization and the circulation of Oriental texts in Europe, but theorists like Casanova, Moretti, and Damrosch did not pay enough attention to the postcolonial factors in their theoretical tracing of the concept of world literature. If we incorporate multiple factors, such as colonial history, textual circulation, and the mechanism of Orientalism, into the historical genealogy of the concept of world literature and, thereby, restore Goethe’s, Marx and Engels’ concept of world literature in a specific postcolonial context, we can reconstruct the space of the 19^th-century world literature by reconsidering the origin of the concept of world literature. In addition, we can also reinterpret Posnett’s concept of world literature in a new context if we not only explore his concept, along with that of Goethe, Marx, and Engels, as part of the origin, through a disciplinary approach of comparative literature and a postcolonial perspective, but also have an in-depth discussion about the two focal points in his concept, namely, the value-neutral principle and the decentering pursuit.

双重叙事进程研究

金 冰

标题：超越经典与后经典之争——国际学术视野下的双重叙事进程理论

Title:Transcending the Polemic: The Theory of Dual Narrative Progression within the International Academic Context

内容摘要：申丹教授在“隐性进程”理论基础上，通过融合理论与实践，并结合其在叙事学、文体学与翻译领域的理论成果，进一步建构了“双重叙事进程”理论模式，实现了理论范式与批评实践的双重演进，超越了经典与后经典叙事学之同围绕“诗学”与“语境”展开的论争。在其最新力作《双重叙事进程研究》一书中，申丹教授选取欧美近百年来的经典短篇小说作为分析实例，兼顾情节发展与隐性进程两个表意轨道，阐述“隐性进程”与情节之同的互动关系，突破叙事研究的单向维度，揭示“双重叙事进程”对作品认知重构所起到的关键作用。该理论模式的建立挑战了自亚里士多德以来的西方叙事学传统，极大地丰富了经典叙事诗学的理论范畴，同时为后经典叙事学提供了新的阐释工具，从而实现了经典与后经典的融合，不仅为全球叙事学领域做出重大理论贡献，更彰显了国际学术视野下的中国智慧。

Abstract:  By integrating theory and practice, along with her theoretical findings in narratology, stylistics, and translation, Shen Dan went one step further in constructing the theoretical model of “dual narrative progression” based on her concept of “covert progression” and making a double progress in theoretical paradigm and critical practice. What she achieved here transcends the polemic between classical and postclassical narratologies over “poetics” and “context.” In her latest book, A Study of Dual Narrative Progression, she explores some European and American classic short stories in the last century as case studies for the two tracks of narration, namely, plot development and “covert progression,” expounding the relationship between the two, breaking through the one-dimensional approach in narrative studies, and revealing the critical role that the theory of “dual narrative progression” could play in reshaping the understanding of literary works. Her construction of this theoretical model is nothing short of a challenge to the Western narratological tradition since Aristotle because it has greatly expanded the theorical scope of classical narratology while facilitating a new interpreting mechanism for postclassical narratology and, thereby, an integration between the two. What Shen Dan has done is not just making a major contribution to the narratological studies both at home and abroad, but more importantly showcasing the Chinese wisdom within the international academic context.

周楚汉

标题：时代冲突背后的超验主义——菲茨杰拉德《赦罪》中的隐性叙事进程

Title:Transcendentalism behind the Conflict of Times: The Covert Narrative Progression in Fitzgerald’s “Absolution”

内容摘要：美国作家菲茨杰拉德的短篇小说《赦罪》情节明朗，围绕主人公鲁道夫的宗教忏悔展开，展现了美国20世纪二十年代的时代冲突。小说中频现的自然象征看似与情节发展无关，却暗指情节之外以爱默生超验主义思想为核心的“隐性叙事进程”。隐性进程揭示了人物言行和心理转变的深层原因，为情节发展中的时代冲突提供了一条超验救赎之路。小说的双重叙事进程契合了菲茨杰拉德以书写矛盾思想为核心的创作旨趣，表现了作家对“迷惘的一代”生存境遇和阶级身份的保守思考，对 20 世纪初美国天主教改良运动的观照。双重叙事进程连接了 19 世纪超验主义时期和 20 世纪初爵士时代的历史语境，实现了小说叙事形式与内容的高度统一。

Abstract: “Absolution”, a short story written by American writer, F. Scott Fitzgerald, presents a clear and straight plot that revolves around the religious confession of the protagonist, Rudolf, and delineates the conflict of times in America during the 1920s. Although the recurrent natural symbols in the story seem utterly irrelevant to the plot development, they implicitly lead out a “covert narrative progression” centered around the ideas of Emersonian Transcendentalism. This covert progression uncovers the fundamental causes for characters’ behavior and mental shifts, thus offering a way of transcendental salvation for the conflict of times in the overt plot. The dual narrative progression, which coincides well with Fitzgerald’s proclivity for presenting opposing ideas simultaneously, reflects his conservative deliberations over the existential conditions and class identity of “the Lost Generation” as well as his observations on the Catholic reform in the early 20^th-century America. Also, such a dual narrative progression not only connects the historical contexts of both Transcendentalism in the 19^th century and the Jazz Age in the early 20^th century, but also creates a great unity between the narrative form and content in this short story.

欧洲文学研究

龙瑜宬

标题：“大改革”时期陀思妥耶夫斯基的英法书写

Title: Dostoevsky’s Representation of Britain and France during the Period of the “Great Reforms”

内容摘要：“大改革”时期，陀思妥耶夫斯基通过对英、法两个重要他者的书写来探寻俄罗斯发展道路。他在《冬天记的夏天印象》中将伦敦与巴黎描绘为堕落欧洲的代表，挑战了关于历史进步的乐观想象。但俄法之间的思想文化渊原让作家对法国持有更为复杂的态度。之后，在极端情境下完成的小说《赌徒》罕见地塑造了一位英国好人阿斯特列，体现出陀思妥耶夫斯基对一个常识化世界最大限度的敬意；然而对普遍、确定之物，也即所谓“伟大”的追求让他终究更能理解法国唯理性主义传统的诱惑所在。随着俄罗斯社会日益分裂，陀思妥耶夫斯基在创作中与激进话语展开激烈搏斗，同时又提供了自己的乌托邦方案。相较于持续给作家带来佳虑的法国传统，被认为将幸福置于伟大之上的英国经验并未引发其深层共鸣。

Abstract: During the period of the “Great Reforms,” F. M. Dostoevsky explored the way of Russia’s development through his representation of Britain and France as the other. In his Winter Notes on Summer Impressions, he depicts London and Paris as the embodiment of the degenerate Europe, a move that challenged the optimistic imagination of historical progress. However, Dostoevsky seems to have a more complicated attitude toward France due to its intellectual and cultural relation to Russia. Later, The Gambler, the novel that he wrote under extreme circumstances, demonstrates his maximum respect to a common-sense world with an extremely rare portrayal of a good Englishman, Astley. His pursuit of something universal and definitive, or the ideal of “greatness,” eventually offered him a better understanding of what the French rationalist tradition was so appealing about. As the split in Russian society was increasingly widening, Dostoevsky fights fiercely against the radical discourse and, at the same time, puts forward his own utopian model in his works. As compared to the French tradition that brought the writer so much anxiety persistently, the British experience that seems to have valued “happiness” way over “greatness”, never resonated deeply with him.

高 冀

标题：高乃依《西拿》和《庞培之死》中的“国家理性”话语

Title: The Discourse of “Reason of State” in Pierre Corneille’s Cinna and La Mort de Pompée

内容摘要：在17世纪上半叶的法国，绝对君主制得以逐步确立，马基雅维利开创的“国家理性”学说受到广泛关注，并引发热烈讨论。高乃依也受到马基雅维利主义的影响。在他的众多剧作中，《西拿》和《庞培之死》较为集中地探讨了君主如何获取和保持权力的问题。这两部作品的“国家理性”话语与时代语境有着密切关联。通过对剧作的文本细读，可以更清晰地认识到高乃依对马基雅维利“国家理性”学说的接受和批判，并理解这种双重姿态何以成为高乃依崇高美学的一部分。

Abstract:Absolute monarchy was gradually established in France during the first half of the 17^th century. Machiavelli’s doctrine of “reason of state” attracted widespread attention and sparked heated discussions. Pierre Corneille was also under the influence of Machiavellism. Among his many plays, Cinna and La Mort de Pompée run a fairly intensive probe into the issue of how monarchs acquire and maintain their power. The discourse of “reason of state” in these two works is closely related to their historical background. A close reading of the two plays may help us better understand not only Corneille’s acceptance and critique of Machiavelli’s doctrine of “reason of state,” but also how this ambivalent posture would later become an integral part of his aesthetics of the sublime.

毛卫强

标题：《生命的层级》中的聚合式书写与叙事身份建构

Title:Narrative Fusions in Levels of Life and the Construction of Narrative Identity

内容摘要：朱利安·巴恩斯的《生命的层级》采用聚合式书写策略，将历史与现实、虚构与非虚构、自我与他者等异质成分聚合起来，借此探讨叙事在认知科学进步、发展自我身份、重构生存范式方面的作用。巴恩斯的这种书写契合了保罗·利科叙事身份理论中的论断：《生命的层级》中的三种叙事不仅在时间维度上与利科提出的过去、现在和将来三种时间观对应，在叙事模式、情节结构及诗学功能上也与其探讨的历史叙事、虚构叙事和非虚构叙事这三种情节配置吻合；每个层级的叙事都是下一层级的前文本，后面层级则是前面层级叙事的重塑与理解。借助聚合式书写，巴恩斯重构了丧妻之痛生存空间中的自我身份及生存范式，重新确认了叙事艺术的功能，强调自我对他者的道德责任，而这与查尔斯·泰勒叙事身份理论强调的道德向善不谋而合。

Abstract:Through the strategy of narrative fusions, Julian Barnes’ Levels of Life puts together factors as heterogeneous as history and reality, fiction and nonfiction, self and other in an attempt to analyze the functions of narrative in understanding the advancement of science, developing self-identity, and reconstructing patterns of life. Barnes’ narrative fusions coincide with the assumptions in Paul Ricoeur’s theory of narrative identity. The three layers of narratives that make up Levels of Life not only conform to the three concepts of time Ricoeur has postulated about past, present, and future respectively, but also bear the clear compatibility of their narrative mode, plot scheme, and narrative poetics with the three types of plot configuration Ricoeur has explored, namely, the historical narrative, fictional narrative, and non-fictional narrative. Each level of narrative is the pre-narrative text of the next level, which, in turn, functions as the refiguration and interpretation of the previous one. Through his narrative fusions, Barnes reconstructs his self-identity and patterns of life in the space of mourning over the death of his wife, reconfirms the function of narrative art, and reasserts one’s moral obligation towards others, which matches the very notion of moral goods emphasized by Charles Taylor in his theory of narrative identity.

巩晓琳

标题：符码游戏与悖论空间：论麦克尤恩小说《立体几何》的反逻各斯中心主义

Title: Symbol Game and Paradox Space: The Anti-Logocentrism of McEwan’s “Solid Geometry”

内容摘要：伊恩·麦克尤恩早期创作的短篇小说《立体几何》书写了一个恐怖的谋杀故事。小说中一组隐藏的颠倒符码M与W，以及作为叙事线索的“无表面的平面”的空间概念，共同揭示出作者反逻各斯中心主义的意图；但小说的叙述者利用叙事话语权和所谓的知识权威企图驱逐一切符码异延构成的自由创造性，其膨胀的个人主体想要将多元世界的可能压缩回逻各斯中心主义的宰制之下。小说通篇性的反讽策略揭示出麦克尤恩对逻各斯中心主义复辟的深层担忧，小说又通过双重颠覆重返“反逻各斯中心主义”之途。

Abstract:Ian McEwan’s early short story, “Solid Geometry,” tells a horrible story about murder. Within the story, a pair of hidden inverted symbols, M and W, and the spatial concept of “the plane without a surface” that functions as its narrative thread, jointly reveal the author’s intention to subvert logocentrism. However, the narrator of the story attempts to expel all the free creativity from code differentiation with the narrative discourse power and the so-called knowledge authority. And his expansive individual subject wants to suppress the possibilities of a pluralistic world well within the domination of logocentrism. While the strategy of structural irony, which runs throughout the story, reveals McEwan’s deep concern about the restoration of logocentrism, the story returns to the path of “anti-logocentrism” through a double subversion.

美国文学研究

李 晶

标题：爱德华·阿尔比《三个高个子女人》中的老年叙事

Title:Narrative of Aging in Edward Albee’s Three Tall Women

内容摘要：美国当代剧作家爱德华·阿尔比在其晚期代表作《三个高个子女人》中，以剧作者、观察者和剧中人多重叙事身份的外在对话性，模糊了年龄传记真实性与虚构性的界限；以动态而开放的人生多个阶段间的内在对话性叙事结构反思以死亡为终点的衰老过程对个体的不同认知意义；以众声喧哗的叙事环境对“老年”的后现代存在意义进行挖掘。这种多维对话性老年叙事给予该戏剧对话性及高度能动性，重新定义了老年的社会、文化以及自我意义。

Abstract: Edward Albee, an American playwright, relies on the external dialogization of his multiple roles as a narrator, observer, and character in Three Tall Women, a representative play in the late period of his writing career, to blur the boundary between actuality and fictionality in Age Biography. Through a dynamic, open, and internal dialogizing narrative about the phases of life, he reflects upon varied individuals’ recognition of the aging process with death as its termination. Within such a context of narrative heteroglossia, Albee scrutinizes what “old age” means as a part of postmodern existence. Such a multi-dimensional narrative of aging bestows the play with dialogicality and high subjectivity, thus redefining the social, cultural, and personal significance of aging.

田 静

标题：《千穗谷》中的身体意象与主体性重构

Title:Body Image and the Reconstruction of Subjectivity in Love-Lies-Bleeding

内容摘要：美国作家唐·德里罗的剧本《千穗谷》以安乐死为话题，叩问了现代医学背景下的生命权问题。表面上看，植物人艾利克斯的身体不过是情节展开的背景。实际上，从身体意象出发可以析出该剧的后人文式解读。德里罗将不同时空下艾利克斯的身体置于同一舞台空间中，强化了身体的在场性，进而消解了身体与意识、自我与世界的二元对立。曾在现代社会中身心失衡的艾利克斯不顾他人的质疑与否定，主动选择回归、触摸、感知自然。基于具身体验，他在与其他非人类物种建立的地球生命共同体中获得了归属感并重构了主体性。

Abstract: DeLillo’s play, Love-Lies-Bleeding, dwells on the topic of euthanasia and probes into the issue of biopower in the context of modern medicine. Ostensibly, the body of Alex, the man in a persistent vegetative state, is merely the backdrop against which the plot unfolds. Actually, an analysis of the body image may offer a posthuman interpretation of the play. By situating Alex’s body from different space and time in the same space on stage, DeLillo reinforces the presence of his body, thereby deconstructing the body-mind and self-world dichotomies. Despite other characters’ doubt or repudiation, Alex, who has lost mind-body balance in modern society, chooses to return to nature, so he could touch and feel it once again. Through his embodied experience, he acquires a sense of belonging and reconstructs his subjectivity in the Earth community for human and non-human species.

往期精彩文章回顾：

谢超｜论吉莲·克拉克生态诗歌中的“深时”与环境伦理

童明｜从“应和”到“灵韵”：忧郁的理想所催生的美学经验

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