《外国文学研究》2023年第2期主要论文摘要

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2023年第2期(总第220期)

学术访谈

Zhou Yi & Clark Blaise

标题：身份追寻、艾丽丝·门罗与加拿大文学：克拉克· 布莱茨访谈录

Title: The Search for Identity, Alice Munro and Canadian Literature: An Interview with Clark Blaise

内容摘要：克拉克·布莱茨是当代北美著名作家，著有虚构类、非虚构类作品逾 20 余部，包括长篇小说《月的诱惑》（1979）、短篇小说集《贫瘠的柏油路》（2011），以及回忆录《加尔各答的日与夜》（与巴拉蒂·穆克吉合著，1977）。布莱兹常年在哥伦比亚大学、加州伯克利大学等高校执教文学与创意写作，1990 年至 1998 年任爱荷华国际作家班项目主任。2009 年加拿大政府因其“作为作家、评论家、教育家为加拿大文学作出的重大贡献”授予其“加拿大官员荣誉勋章”。在本篇访谈中，布莱茨引述自身的写作经历和艾丽丝·门罗的作品，阐释一系列议题，尤其是加拿大文学的“看不见性”、加拿大作家的使命感、加拿大文学与美国南方文学的亲缘性、加拿大文学的自传性写作与身份追寻母题等。

Abstract: Clark Blaise is one of the leading figures in contemporary North American literature. He is the author of more than 20 books of fiction and non-fiction, including the novel, Lunar Attractions (1979), the short story collection, The Meagre Tarmac (2011) and the memoir, Days and Nights in Calcutta (1977, with Bharati Mukherjee ① ). He taught literature and creative writing at numerous universities for nearly half century, including Columbia University and University of California, Berkeley. From 1990 to 1998, he served as the Director of the International Writing Program at Iowa. In 2009, he was named an Officer of the Order of Canada “for his contributions to Canadian letters as an author, essayist, teacher.” ② In this interview, Blaise cites examples from his own life as a Canadian writer and the works of Alice Munro in discussing a range of issues, especially the “invisibility” of Canadian literature, the mission of Canadian writers, the literary heritages of Canadian literature and Southern American Literature, biographical writing and the theme of identity-searching in Canadian literature. 

中外文学的交流与互鉴

陶家俊

标题：论中国古典气韵论影响下罗杰·弗莱的性灵美学思想

Title: An Analysis of Roger Fry’s Aesthetics of Sensibility under the Influence of Chinese Theory of Rhythmic Vitality

内容摘要：从跨文化影响视角考察，中国古典气韵论影响了英国现代主义美学家罗杰·弗莱的性灵美学思想。20世纪初中国古典气韵论通过汉学话语、文物鉴评的专业和科学话语、现代主义美学话语与弗莱的现代主义美学融合，形成与他扎根西方现代美学传统的形式主义美学平行的性灵美学思想。弗莱的性灵美学以艺术家、艺术品、艺术审美为三维，统摄艺术家的精神生命、艺术品的自足生命和审美鉴赏中的审美情感，以艺术家内在精神生命的外化溢射和感知还原为双向生成结构。性灵美学为从比较文明视角研究世界文学和艺术提供了新的思想资源。

Abstract: Judging from the perspective of transcultural influence, the classical Chinese theory of rhythmic vitality clearly influenced the British modernist aestheticist Roger Fry’s thought of sensibility. In early 20th century, classical Chinese theory of rhythmic vitality was fused with Fry’s modernist aesthetics through the discourse of Sinology, the professional and scientific discourse of antique connoisseurship, and the discourse of modernist aesthetics, and thus facilitated the inception of his aesthetic thought of sensibility in parallel to his formalist aesthetics that was rooted in the modern aesthetic tradition of the West. Fry’s aesthetics of sensibility encompasses three dimensions, namely, artist, artwork, and artistic aesthetics, holistically meditates on the spiritual life of artist, the self-sufficient life of artwork, and the aesthetic emotion in aesthetic appreciation, and foregrounds the two-way generative structure purported by the external emanation of artist’s inner spiritual life and cognitive revivification. Aesthetics of sensibility offers new conceptual resources for the study of world literature and art from the perspective of comparative civilization.

黄永林

标题：“求好运”类故事的人类共同价值与人类命运共同体构建

Title: The Common Value of Mankind in “Seeking Good Luck” Stories and the Building of a Community with a Shared Future for Mankind 

内容摘要：“求好运”类故事是一个在世界范围内流传千年的经典故事类型，目前已搜集到相关异文 700 多篇。在国际通用的民间故事 AT 分类体系中的编号为 461，它共有 1 个主型——【三根魔须】（AT461）和 3 个亚型——【问活佛型】（461A）、【寻宝聘妻型】（461B）和【幸运儿型】（461C）。它讲述的是一个穷人与命运抗争，通过不懈努力奋斗，在帮助他人时，自己最终获得幸福的故事。故事表现了人类希望通过奋斗获得好运的重要主题，体现了全人类共同精神和价值理念，对当今构建人类命运共同体具有借鉴意义。该故事中所体现的拼搏奋斗是人类命运共同体构建的精神基础；互助互赢是人类命运共同体构建的价值取向；共同价值是人类命运共同体构建的思想之魂；这些精神、价值和思想为人类命运共同体建设奠定了重要基础。

Abstract: The “seeking good luck” story that has been widespread around the world for thousands of years is a classic story type. So far, more than 700 relevant variants have been collected. In the internationally accepted Aarne-Thompson Index of folk stories, it is listed as Story Type 461, which has one main type – “Three Hairs of the Devil” (AT461) and three subtypes – “Ask the living Buddha” (461A), “Seek Treasure for a Wife” (461B) and “The Lucky One” (461C). It tells a story about a poor man’s struggle against fate and his ultimate discovery of happiness after his unremitting efforts to help others. The story addresses the important theme of how mankind wishes to seek good luck through tenacious effort, exemplifying mankind’s common spirit and values, and offering a meaningful reference for the building of a community with a shared future for mankind today. The idea of striving for greatness depicted in the story is the spiritual foundation for the current construction of a community with a shared future for mankind. Mutual benefit and win-win result represent the value orientation in our construction of such a community, while the common value is the key to our belief in all this. The spirit, value, and belief lay an important foundation for the construction of this community.

前沿理论与批评实践

殷振文

标题：德里达的《蒂迈欧》“空间”诗学诠释

Title: Jacques Derrida’s Poetical Interpretation of Khōra in Timaeus

内容摘要：空间是德里达最重要的哲学概念之一。“空间”是《蒂迈欧》讨论创造与起源所用的奇特词语。德里达在元语言和元诠释层面，聚焦空间的名字、空间作为第三种类、空间的本性与力量、文本嵌套等议题，通过对《蒂迈欧》的解构式阅读，揭示错时性、混杂/分类、接受/给予、起源或开端等空间悖论或疑难哲思。《蒂迈欧》解构阅读与空间诠释是创造、生成、起源的诗学之思。德里达的空间诗学诠释是关于诠释、书写（文本）或叙述的本质与功能的解构主义批判反思。

Abstract: Khōra is one of Derrida’s most important philosophical concepts. “Khōra” is a peculiar term used by Plato in Timaeus for the discussion of the cosmos’ creation and origin. In the aspects of meta-language and meta-interpretation, Derrida focuses his interpretation on topics, such as the names of khōra, khōra as a third genus, the phusis and dynamis of khōra, and mise-en-abyme, or “a story within a story” technique. Also, through a deconstructive reading of Timaeus, he explores spatial paradoxes or philosophical aporias, including anachronism, hybrid/classification, receiving/giving, the origin or beginning. Such a deconstructive reading of Timaeus and his interpretation of khōra constitute a poetic consideration on creation, generation, and origin. Evidently, Derrida’s poetical interpretation of khōra is a Deconstructionist critical reflection on the nature and function of writing (text), interpretation, and narrative.

艾士薇

标题：真理伦理对自由伦理困境的回应——评巴迪欧论萨特的《阿尔托纳的隐居者》

Title: The Response of Ethic of Truths to the Dilemma of Liberal Ethics: Badiou’s Critical Review of Sartre’s Les Séquestrés d’Altona

内容摘要：巴迪欧从家庭情节剧、社会道德寓言、个人与历史关系三个维度探讨萨特的戏剧《阿尔托纳的隐居者》，这既是对剧作的解读，也是对萨特伦理思想的拓展、诘问与回应。巴迪欧通过拉康的精神分析符号学拓展萨特将父子简化为自我与他人关系的理解，对萨特的自由选择、自欺及选择标准展开苏格拉底式诘问，最终用真理伦理回应自由伦理带来的虚无主义困境。真理伦理指保持对真理的忠诚，它不是普遍性的，而是诸多独特真理的伦理。它寻找既有伦理规范中的突破口，旨在培养主体的辨识力、勇气和忍耐、适度和克制。真理伦理不仅回答了萨特作品中、创作时的伦理问题，也给巴迪欧所处时代陷入危机的法国提供了一剂药方，且对当下依旧有效。

Abstract: Badiou explores Sartre’s play, Les Séquestrés d’Altona, in three dimensions: a family melodrama, an allegory of social morality, and the personal-historical relationship. What he attemts to deliver is not only an interpretation of the play, but also an expansion, inquiry, and response all targeted at Sartre’s ethical ideas. Through Lacan’s psychoanalytic semiotics, Badiou expands Sartre’s understanding of father and son as reduced to the relationship between self and others, launches a Socratic inquiry into Sartre’s free choice, self-deception, and the criteria of choice, and ultimately respond to the nihilistic dilemma posed by the liberal ethics with the ethic of truths. The Ethic of truths, which means remaining faithful to truths, is not an ethic in general, but an ethic subordinate to the particularity of a truth. It seeks a breakthrough in ethical standards so as to develop a sense of discernment, courage and endurance, moderation and restraint of a subject. The ethic of truths not only answers Sartre’s ethical questions in the play and at the time of his writing, but also provides a remedy for the crisis-stricken.

文学伦理学批评

李云竹

标题：论原始伦理观的审美维度：从伦理起源到审美建构

Title: The Aesthetic Dimension of Primitive Ethics: From the Origin of Ethics to the Construction of Art

内容摘要：在原始社会初期，伦理意识、巫术意识与审美意识作为社会意识的重要组成部分杂糅相生，有力地推动着原始伦理观的生成与建构。巫术意识，作为包孕原始社会伦理意识的高级形态，唤醒先民对审美意识的明晰认知和觉察体悟。审美意识将原始社会伦理观念具象化在原始艺术的诸种形式之中。原始艺术，因其独具感染力的象征性、情感性将抽象的伦理精神具象化为观念现实，成为诠释和巩固原始伦理的理想方式和有力载体，并在精神生产的过程中，映射出先民神秘的文化心理结构，原始艺术也因此被刻上了深厚的伦理基因。原始艺术与社会伦理以情感为契合点，在诠释与被诠释的交互作用中形成了互文性耦合关系，培育出原始审美伦理观的萌芽，并影响至今。人类通过原始艺术完成史前伦理思想的审美建构与初民道德品格的养成。

Abstract: As a major component of social consciousness in the early stage of primitive society, ethical consciousness, witchcraft consciousness, and aesthetic consciousness mixed and evolved synchronously and provided a strong impetus for the generation and construction of the concept of primitive ethics. The witchcraft consciousness, the advanced state in the inception of the ethical consciousness in the primitive society, brought to its people a clear perception, sense, and understanding of aesthetic consciousness, which leads to a concretization of the ethical concepts in the primitive society through the various forms of primitive art. With its symbolic and emotional features that are uniquely appealing, primitive art not only turns abstract ethical spirit into specific conceptual reality and becomes an ideal method and a powerful medium to interpret and consolidate primitive ethics, but also reflects the ancestors’ mysterious cultural and psychological structure during the process of spiritual production. Consequently, primitive art has been marked with strong ethical genes. Amid the interplay of interpretation and being interpreted, using emotion as their convergence point, primitive art and social ethics formulated an intertextual coupling relationship that cultivated the germination of primitive aesthetic ethics with a sustaining influence to this day. It is through primitive art that mankind accomplished the aesthetic construction of prehistoric ethics and the cultivation of early people’s moral character.

姚婷婷

标题：文学伦理学批评的自然文本阐释

Title: The Interpretation of Nature-Text in Ethical Literary Criticism

内容摘要：从文学文本的内容与形式相融合的维度，文学伦理学批评的自然文本阐释以爱沙尼亚裔德国符号学家雅克布·冯·乌克斯库尔的生态符号学为基础，不仅仅把文学创作视为对社会生活的反映，更将其视为返回生活和自然（即回到环境界）的文本载体。这种返回反映在作家不断克服自我理性的局限，从左半球理性向右半球情感转移的过程之中。在自然文本阐释中，艺术形式向读者不断敞开，赋予读者无限自由的可阐释空间，文学的伦理性则蕴含在这一自由阐释之中。由此，自然文本阐释可以让作品回归自然、敞开形式、阅读自由，调和伦理教诲与文学审美的关系，融合伦理化的文明进程与自然的生命机制。

Abstract: By integrating the content and form of literary texts, the interpretation of nature-text in Ethical Literary Criticism, which depends on Jakob von Uexküll’s ecosemiotics as its base, regards literary writing not only as the reflection of social life but also as the text carrier for a return to life and nature (or the umwelt). Such a return is manifested in the process in which the writer constantly overcomes the limits of self-rationality and shifts his/her creative writing from the left hemisphere’s rationality to the right hemisphere’s sensibility. In the interpretation of “nature-text,” the artistic form is continually open to the readers and gives them unlimited space for free comprehension, which in turn fully highlights the ethical nature of literature. Thus, it can be seen that the interpretation of “nature-text” may facilitate a literary work’s return to nature, open forms, free reading, a reconciliation between ethical instruction and literary aesthetics, and an integration between the progress of ethical civilization and the mechanism of natural life.

欧洲文学研究

杜 娟

标题：观看之道与福楼拜的文学革新——从艾玛·包法利的瞳色说起

Title: Ways of Seeing and Flaubert’ s Literary Innovation: The Color of Madame Bovary’s Eyes

内容摘要：19 世纪后期，随着照相机的发明与光学色彩学的发现，西方视觉艺术也发展到了一个新的阶段。受这些科学成就的影响，福楼拜笔下艾玛·包法利的瞳色变化体现了介质色彩学对人物视觉观感的影响；同时作为文学家，福楼拜也细致描写了心理感觉这一关键因素对客观真实的界定与重塑。与之相匹配的叙事方式的革新，不仅改变了文学建构世界的方式，而且突破了传统现实主义的文学观念。简言之，福楼拜的观看之道与文学革新，实际上是作家在同时代科学成就感召下，对于人们认知方式的质询与反思——艾玛的瞳色之变，意味着在现代视觉艺术的“观看”下，人们已不能完全相信视觉形象的真实。人物观感相对于客观现实的视觉偏差，是福楼拜以文学审美所表达的一种现代性的认知困惑。

Abstract: With the invention of camera and the discovery of optics, the development of Western visual arts entered a new era in the late 19th century. Due to the effect of these scientific achievements, the way in which Gustave Flaubert describes the change of Emma Bovary’s eye color reflects the influence of Medium Chromatics on characters’ visual perception as well as the writer Flaubert’s meticulous description of their psychological feelings, a key factor that redefines and re-presents objective reality. The matching innovation of narrative mode not only changes the way literature constructs the world, but also breaks the traditional concept of realist literature. In a word, what we may actually discern from Flaubert’s ways of seeing and literary innovation is how the author was inspired by the scientific achievements in his time to inquire and reflect on people’s cognitive approach. The change of Emma’s eye color indicates that people no longer fully believe in the authenticity of visual images simply through a “seeing” of modern visual art. The visual deviation of characters’ perception from objective reality reveals a kind of modern cognitive perplexity delineated by Flaubert through his literary aesthetics.

曾艳兵

标题：“火炬”悄然变“利剑”——卡夫卡《美国》中的暴力与预言

Title: The Torch Turns into a Sword Quietly: Violence and Prophecy in Kafka’s America

内容摘要：《美国》是卡夫卡于1912至1914年间创作的第一部长篇小说。在小说开头，纽约港举世闻名的雕像自由女神手持火炬，在卡夫卡的笔下悄然变成了手持利剑。这绝不是作者的失误，作者必另有深意。美国持剑而生，然后仗剑而行，最后剑指天下。卡夫卡似乎早有预言，《美国》创作百年之后，当年的美国已经不复存在，以光明与自由为象征的火炬渐渐演变成以霸权和武力为象征的利剑。利剑替代火炬，与其说是对当时美国的真实写照，毋宁说是对美国以及西方未来的焦虑和预测，而在今天我们似乎见证了卡夫卡的预言。

Abstract: America is Franz Kafka’s first novel written between 1912 and 1914. As Kafka’s narrative unfolds at the beginning of the novel, the torch in the hand of the Statue of Liberty, a world-famous statue at the New York Harbor, quietly turns into a sword. It is by no means an inadvertent mistake by the author, but rather a move with deep implications. Figuratively speaking, it is with sword that America has come into being, expanded over the centuries, and dominated the entire world today. Kafka seems to have predicted that a century after the publication of the novel, America, the same old country would not exist anymore. The torch, once a symbol of light and liberty, would gradually turn into a sword epitomizing hegemony and force. The substitution of a sword for the torch is not so much a truthful portrayal of America at that time as an anxiety and prediction about the future of America and the West. Now, we seem to have witnessed everything that Kafka had foreseen.

美国文学研究

解友广

标题：论尤多拉·韦尔蒂作品中的服饰政治

Title: The Politics of Clothing in Eudora Welty’s Work

内容摘要：在韦尔蒂的文学世界，帽饰不仅是日常生活的身体装饰，更承载深刻而复杂的性别、阶级与文化意义。本文借镜麦克卢汉与罗兰·巴特关于服饰的理论思考，探绎帽子在韦尔蒂笔下的叙事与主题意义。论文指出，帽饰既是南方社会规约性淑女文化的隐喻，以揭露出家庭、婚姻甚至共同体统一身份对女性身体的建构与规训，也是男权面对女性欲望之“暗恐”心理乃至女性作家黑暗的文学写作史之象征。韦尔蒂亦以帽子展演资本主义现代性给南方人民带来的精神危机，从而构建其关于自然与女性气质的现代主义救赎理想。重识韦尔蒂笔下物的媒介性是拆解（南方）现实生活政治文化建构的现象学实验。

Abstract: In Welty’s literary world, hats are not only bodily ornaments in everyday life, but take on profound and complex significance of gender, class, and culture. This essay attempts to draw from Marshall McLuhan’s and Roland Barthes’s theories on clothing in exploring hats’ narrative and thematic functions in Welty’s writing. Then, it argues for the need to read headwear as a metaphor for normative Southern lady culture, thus unveiling the construction and discipline of women’s bodies by family, marriage, and unitary community, and highlighting both the patriarchy’s “uncanny” ambivalence towards feminine desire and the dark history of literary writing by female writers. In addition, Welty’s use of hats also reveals the Southerners’ spiritual crisis caused by capitalist modernity as well as her redemptive ideal through nature and femininity. Reconsidering the mediality of things in Welty’s writing constitutes a phenomenological experiment to take apart the cultural and political construction of the ordinary life in the South.

秦 轩

标题：迈克尔·夏邦小说中的犹太乌托邦建构及其当代诠释

Title: The Construction and Contemporary Interpretation of Jewish Utopia in Michael Chabon’s Fiction

内容摘要：无论依赖“肉身救赎”，生命从短暂跨入永恒，还是依赖“终极救赎”，实现自然万物天国永生的最高期盼，存续千年的犹太传统信仰——犹太人终将在弥赛亚到来之际得到救赎——很难撼动。这种充斥着神性的传统信仰是新世纪犹太作家迈克尔·夏邦建构犹太乌托邦的源泉。通过分析其笔下犹太乌托邦的学脉渊承、文化表征、当代建构及其背后的历史宿命，可以发现：一则，他既在流散的犹太历史中寻求开放包容的文化体验，又在当代镜头的推拉中突破性地诠释规训犹太民族的“三条誓约”；二则，他重申了当代犹太人对犹太神秘主义既虔诚又迷狂的心态以及对弥赛亚既期待又恐惧的立场。

Abstract: Whether relying on “physical salvation” to transform life from temporality to eternity or relying on “ultimate salvation” to realize the highest hope of eternal life in heaven for all creatures in nature, the traditional Jewish belief for thousands of years -- Jews will eventually be saved when Messiah comes -- is hard to be shaken. This traditional faith in Jewish theology is the source of inspiration for the Jewish utopia constructed by the Jewish writer Michael Chabon in the new millennium. By analyzing the academic origin, cultural representation, contemporary construction, and historical destiny of his Jewish utopia, we can see that he is attempting to accomplish two things: first, he not only seeks an open and inclusive cultural experience in the history of Jewish diaspora, but also breaks fresh ground in interpreting the “three covenants” that have disciplined the Jewish people by making his tracking shot with a contemporary camera lens; second, he reiterates contemporary jews’ dedication and fanaticism toward Jewish mysticism as well as their expectation and fear toward Messiah.

亚非文学研究

孙鲁瑶

标题：在地全球性：古尔纳《最后的礼物》中的文学绘图与身份政治

Title: Glocality: Literary Cartography and Identity Politics in Gurnah’s The Last Gift

内容摘要：坦桑尼亚小说家古尔纳在《最后的礼物》中借由绘图探讨流散群体的身份问题。通过将空间关系带入叙事，古尔纳绘制了桑给巴尔岛的地方性地图和印度洋沿岸行程地图，并将二者叠加重构，完成了对个体与全球空间关系的认知测绘，提出了兼具地方精神和世界视野的“在地全球”身份理想。经由绘图，古尔纳不仅重构了流散群体的方位感与归属感，更通过地图的呼应与同构实现了地方意识与世界精神的整合，彰显了“在地全球”身份的创新与超越。

Abstract: In The Last Gift, Tanzanian novelist, Abdulrazak Gurnah, explores the issue of diasporic identity through literary cartography. By bringing the spatial relation into the narrative, Gurnah draws up the local map of Zanzibar Island and the itinerary map along the Indian Ocean Coast. Moreover, he overlaps and reconstructs both maps to complete a cognitive mapping on the spatial relation between the individual and the globe and, thereby, propose an ideal identity of “glocality” with both local spirit and global vision. By taking advantage of cartography, Gurnah not only reestablishes the sense of place and belonging of the diasporic communities, but also integrates local awareness with global spirit through the correspondence and isomorphism between maps, thus innovating and transcending the essence of the “glocal” identity.

侯春林

标题：犹大卖主事件的经济伦理重释

Title: Reconsidering the Economic Ethics Concerning the Judas’ Seller Event

内容摘要：犹大卖主事件对西方文学文化史影响深远而争议颇多。据文本记载，加略人犹大为三十块银钱出卖耶稣，直接导致耶稣受难复活等一系列历史叙事随之展开。然而，原文语境和诠释史对这一事件的描述皆存在诸多疑点，如犹大出卖耶稣的动机、其他门徒在事件中的反常表现、犹太当权者决定谋杀耶稣的时机等。经济伦理或许可以作为解释以上叙事症候的门津，由此可以发现，该事件既潜隐着耶稣运动内部不同经济伦理主张之间的冲突，也揭示了耶稣与外部犹太当权者之间的经济伦理冲突。在内外冲突交织之中生发出的犹大卖主事件，实则是文学与经济等多种元素合力建构的戏剧性叙事。

Abstract: The Judas’ Seller Event has a profound and controversial influence on the history of the Western literature and culture. According to the written records, Judas Iscariot betrayed Jesus for thirty pieces of silver, which directly led to the crucifixion of Jesus, and a series of historical narratives ensued. However, in the context of the original text and in the history of interpretation, there are many questionable points about the description of this event, such as Judas’ motive to betray Jesus, the abnormal behavior of other disciples in the event, and the timing for the Jewish authorities’ decision to murder Jesus. Perhaps, economic ethics can be used as a gateway to reconsider the abovementioned complications in the narratives, so as to show that this event not only insinuates the conflict between different propositions of economic ethics within the Jesus movement, but also reveals the conflict of economic ethics between Jesus and the external Jewish authorities. The Judas’ Seller Event, which took place amid the intertwined internal and external conflicts, is actually a dramatic narrative constructed by the combination of various literary and economic elements.

批评与批评研究

张生珍

标题：后人文主义视域下近三十年英美儿童文学中人与动物关系的重构

Title: A Posthumanist Study of the Reconstruction of the Human-Animal Relationship in Anglo-American Children’s Literature in the Last Three Decades

内容摘要：人与非人的关系是后人文语境中的重要议题，动物又是非人形象的典型代表。在英美儿童文学中，会说话的动物与跨物种变形在某种程度上暗含着动物对人类权力的反抗，但大多遵循的仍是人类中心主义理念。从后人文主义理论视角出发，考察后人文语境下人与非人动物关系的重构，审视当代英美儿童文学如何颠覆人与动物二元对立关系，形成多元主体动物观，可以为建构去人类中心主义理念的实现提供参考路径。在英美当代儿童文学代表性作品中，如《地海传奇》系列的后三部作品，动物与人之间的跨物种变形构建起相互依存的生命共同体，使得跨物种交流成为可能。在《黑暗物质》三部曲中，作者菲利普·普尔曼并未预设动物的他者属性，而是设立人与动物的伴生状态，将动物置于与人平等的主体地位。动物在与人平等交流的同时，还被赋予了影响和主导人类主体生成的能力。然而，后人文主义的一系列变革又带来了新的挑战，传统人文主义自我与后人文主义身份之间形成一种新的二元对立关系，仍有待研究者进一步解决。

Abstract: The relationship between humans and nonhumans is a major issue in posthumanist criticism, and animals are typical representatives of nonhuman images. To some extent, talking animals and trans-species metamorphosis in children’s literature imply animals’ resistance to human power, but still most of them follow the concept of anthropocentrism. A study from the perspective of posthumanist theory, with the aim to examine the reconstruction of the relationship between human and nonhuman animals in posthumanist context, explore how contemporary Anglo-American children’s literature subverts the binary opposition between human and animals, and formulate a multi-subject view of animals, may provide a significative approach to effectuating the concept of de-anthropocentrism. In some of its representative works, such as the last three books in the Earthsea Cycles series, the trans-species deformation between animals and humans constructs an interdependent life community, which makes trans-species communication possible. In His Dark Materials trilogy, Philip Pullman does not presuppose the otherness of animals, but creates a companion relationship between humans and animals, in which animals take up a subject position equal to humans. While conducting an equal communication with humans, animals are endowed with the ability to influence and even dominate the generation of human subjectivity. However, a series of changes initiated by posthumanism have posed some new challenges. For instance, a new binary opposition that has been formed between the traditional humanist self and the posthumanist identity has yet to be resolved by scholars.

汪若然

标题：“重写文学史”的崭新学术资源——评六卷本《19世纪西方文学思潮研究》

Title:A New Scholarly Resource for Rewriting the History of Literature: A Review on The Nineteenth-Century Western Literary Trends Studies

内容摘要：蒋承勇教授主持的国家社科基金重大项目最终成果《19世纪西方文学思潮研究》（六卷本，以下简称《思潮研究》）以反思为基点，对19世纪西方文学史上具有承先启后意义的浪漫主义、现实主义、自然主义、唯美主义、象征主义、颓废主义等六大文学思潮做了深入、全面、系统的研究，不仅对正确认识19世纪西方文学思潮以及西方现代文学演进等诸多方面有着正本清源的重大作用，更是在综合性层面上填补了本土学界西方文学思潮研究的薄弱环节。该书为外国文学史的“重写”提供了崭新的资源，主要体现在以下三个方面：一、澄清偏见，拨乱反正；二、直面时弊，返璞归真；三、系统把握，修复“断裂”。

Abstract: The Nineteenth-Century Western Literary Trends Studies (6 volumes), a project led by Jiang Chengyong and sponsored by the National Social Science Fund of China, takes a reflective approach in its in-depth, comprehensive, and systematic study on six interrelating literary trends in the history of the 19th-century Western literature, including Romanticism, Realism, Naturalism, Aestheticism, Symbolism, and Decadentism. This multi-volume book series not only sets things straight in understanding the Western literary trends in the 19th century and the evolution of modern Western literature, but also comprehensively strengthens the weak links in the scholarly study of Western literary trends at home, thus providing a new resource for rewriting the history of foreign literature through the following three functions: first, clarifying prejudices and setting the record straight; second, confronting current issues and restoring truthfulness; third, exploring systematically and repairing the fractures.

往期精彩文章回顾：

程爱民 | 论美国华裔文学中的“中国叙事”——以汤亭亭和谭恩美的小说为例

林斌 | 福克纳《寓言》中的文本含混与伦理悖论

何卫华 | 《血的本质》中的世界主义与流散共同体构建

徐彬 | 流散文学溯源及其中人类命运共同体的基本范式

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