《外国文学研究》2023年第3期主要论文摘要

点击上方“外国文学研究”可以订阅哦

2023年第3期(总第221期)

学术访谈

Zhou Yuanyuan & Peter Hunt

标题：英国儿童文学研究：彼得·亨特等学者的访谈录

Title: Children’s Literature Studies in the UK: Interviews with Peter Hunt, et al.

内容摘要：彼得·亨特是世界知名儿童文学研究专家，英国卡迪夫大学荣休教授，主要从事儿童文学理论与批评研究。撰写或编辑了36本专著和500余篇有关儿童文学的论文和评论性文章, 曾获安妮·德弗罗·乔丹儿童文学杰出贡献奖等。金伯利·雷诺兹是英国纽卡斯尔大学荣休教授，曾任国际儿童文学研究协会主席，并在一系列颇具影响的英国和国际组织任职。此外，访谈对象还包括英国雷丁大学儿童国际研究中心主任卡琳·莱斯尼克·奥伯斯汀、英国学术院儿童文学研究全球教授凯伦·桑兹·奥康纳，以及学者露西·皮尔逊与艾米丽·莫菲。她们研究领域主要涉及批判理论、英国黑人儿童与少数族裔儿童文学，儿童图书出版与奖项文化，以及美国儿童文学与童年研究等。本系列专访于2022年在纽卡斯尔大学访学期间完成，访谈内容聚焦儿童文学研究的发展、学科发展、批评与方法、跨国界儿童文学研究对话及发展趋势。学者们基于儿童文学研究的发展流变，认为儿童文学已成为严肃的学术领域，见证了“儿童中心”观念与研究范式的转型，呈现出多样化与国际化的发展态势。该领域本质上就是跨学科的，它与教育研究的关系从疏离重新走向紧密。

Abstract: Peter Hunt, a world leading figure in children’s literature studies and Professor Emeritus at Cardiff University, has written and edited 36 books and published more than 500 papers and reviews. He was awarded Anne Devereaux Jordan Award for Distinguished Service to the children’s literature. Kimberley Reynolds, Professor Emeritus at Newcastle University and the former President of the International Research Society for Children’s Literature, sits on a number of influential UK’s and international boards and committees. Other participants in the interviews include Karín Lesnik-Oberstein, the Director of the Centre for the International Study of Children at the University of Reading, Karen Sands-O’Connor, the Global Professor of Children’s Literature Studies at the British Academy, Lucy Pearson, and Emily Murphy. Their research areas range from critical theory, black British and minority ethnic children’s literature, publishing and medal culture, and American children’s literature and childhood studies. The interviews, which were conducted during Zhou’s visit at Newcastle University in 2022, focus on the development of children’s literature studies, its disciplinary history, criticism and approaches, and the international dialogue and current trends of children’s literature studies. Citing the fluidity of children’s literature, scholars agree that children’s literature has established itself as an academic field, witnessed a ‘child-centred’ shift in viewpoint and framework, and presented the features of diversity and internationalism. It is inherently interdisciplinary, and its relationship with educational study has swung back in scholarship. 

前沿理论与批评实践

章 辉

标题：论如画与道德

Title: On the Picturesque and Morality 

内容摘要：在如画美学的建构期，美学家主张审美和道德的隔离和相互独立；19世纪，罗斯金在绘画批评中引入道德维度，文学家在小说中批评如画趣味，回归道德意识。如画美学和艺术以独特的方式呈现了审美和道德的复杂关系。审美是否可能和应该独立于道德，是否促进了道德，如画美学以典型个案给出了答案。英国现代文艺中的这一问题给中国当代的文艺伦理学基本理论建设提供了参考和借鉴。

Abstract: During the constructional period of aesthetics of the picturesque, estheticians advocated isolation and independence between aesthetics and morality. In the 19th century, Ruskin introduced a moral dimension into painting criticism, while literary writers criticized the picturesque taste in novel writing, thus initiating a return to moral consciousness. Aesthetics and art of the picturesque present the complex relationship between aesthetics and morality in a unique way. For the questions whether aesthetics can and should be independent of morality and whether it promotes morality, aesthetics of the picturesque offers an answer with a typical case. Such an issue in modern English literature and art provides a useful reference and a good lesson for constructing the basic theory of ethics in contemporary Chinese literature and art.

叶玮玮

标题：“块茎性共生”：物质生态批评理论探析

Title: The Rhizomatic Coexistence: The Primers of Material Ecocriticism 

内容摘要：物质生态批评强调物质的叙事能力、施为能力与意义生成。该理论内部以 “块茎性共生”为主线，分化出了“政治生态学式”与“幽暗生态学式”两大研究思潮：政治生态学式研究对人与自然关系持积极态度，强调物质间的积极形塑意义，属于本体认识论范畴；幽暗生态学式研究则对人与自然关系持悲观态度，关注物质间性关系的不可知性，属于虚无本体论范畴。由此观之，物质生态批评以“物性”研究为根系，以物质的叙事性、生成性及流动性为枝叶，旨在建构一种块茎性共生式的本体认识论范式，传达了一种不分种族物种而共享物质能量的共同体愿景。

Abstract: Material ecocriticism lays its emphasis on the narrative and behavioral agencies of matter as well as the meaning generation. This new theory adopts the “rhizomatic coexistence” as its primer and branches off two major research trends, namely, “political ecology” and “dark ecology.” The former belongs to onto-epistemology, holding a positive attitude toward the man-nature relationship and concentrating on the positive significance of reconfiguration among matters; the latter is basically affiliated to nihil-ontology because of its pessimistic attitude toward the man-nature relationship and its concern with the unknown nature of the interconnection between matters. Consequently, by using “material” research as its foundation and the narrative, generation, and fluidity of matter as its branches, material ecocriticism attempts to build a rhizomatic onto-epistemological paradigm to present the vision of a community that can share the material energy regardless of races and species.  

文明互鉴与文学跨学科研究

王树福

标题：正向同构与反向悖立——白银时代俄国戏剧转型中的经济逻辑

Title:Positive Isomorphism and Reverse Paradox: The Economic Logos in the Transformation of Russian Theatre in the Silver Age

内容摘要：1890—1920 年代，受俄国总体经济态势的影响与市民职业经济状况的规约，白银时代俄国戏剧发生剧烈变化和明显转型，形成戏剧转型与经济态势之间既相互关联又彼此矛盾的交互特征。在剧院设施方面，白银时代剧团在艺术赞助者和文化庇护者的直接捐助下迅速创建崛起；在演员薪酬方面，白银时代戏剧演员薪酬收入高、社会地位高和工作环境好，吸引大批优秀从业者和后备艺术人才；在演出效益方面，白银时代戏剧以广大市民和知识阶层为主要受众，舞台演出效益与居民消费能力密切关联。三者与俄国经济态势息息相关，彼此呈现出正向效果与同构逻辑。然而，1918—1920 年前后，以革命庆典活动和先锋广场戏剧为代表的戏剧演出活动，从戏剧经济学的商业效益和经济诉求中悄然逸出，更多吻合戏剧政治学的革命诉求和革新精神，与俄国经济运行之间主要呈现出比较明显的反向效果与矛盾特征。由此，这构成白银时代戏剧转型中既正向同构又反向悖立，既交互合成又层叠溢出的经济逻辑。究其根源，这既有工业化浪潮与城市化进程的快速加剧，又有市民娱乐与大众文化消费的发展需要，更有十月革命和时代话语的急剧更迭。本质而言，白银时代俄国戏剧转型中的经济逻辑内嵌于戏剧经济学、戏剧艺术学和戏剧政治学的对话融合之中，是彼时俄国城市化浪潮中市场经济规律、个人利益诉求与国家政策话语合谋作用的综合结果。

Abstract: From 1890 to 1920, due to the impact from Russia’s overall economic situation and the constraint from citizens’ occupational development, the Russian theatre in the Silver Age went through significant changes and conspicuous transformations, thus generating some interactivities， characterized by both interconnections and mutual contradictions, between dramatic turn and economic conditions. With the direct contributions from art sponsors and cultural patrons, it did not take long for the Russian theater to build up the theater facilities and rise in performing business. As to the actors’ salary, the theatre offered actors a high salary, a prestigious social status, and a good working environment to attract a large number of outstanding performers and extra artistic talents. To ensure its revenue from performance, the Silver Age theatre mainly targeted citizens and intellectuals as its primary audience and carefully monitored the close correlation between the profit from stage performance and the consumption ability of citizens. All three groups, which were closely tied to Russian economy, engaged themselves in interactivities with positive effects and isomorphic logic. Starting from 1918-1920, however, theatre performance, once represented by revolutionary celebration activities and avant-garde square theatre, quietly retreated from the commercial benefits and economic demands of drama economics. Instead, the theater catered more toward the revolutionary demands and innovative spirit of drama politics and apparently revealed some reverse effects and paradoxical characteristics in its involvement with the operation of Russian economy. Consequently, what occurred in the transformation of Russian theatre in the Silver Age was the inception of an economic logos that was positive, isomorphic, and paradoxical on the one hand and, on the other, negative, intermingling, and overlapping. To trace its origin, there are several worth-noting factors, such as the accelerating pace of industrialization and urbanization, the developmental needs of citizens’ entertainment and mass cultural consumption, and more importantly the October Revolution and the change of the mainstream discourse. In essence, such an economic logos was embedded in the dialogue and integration of the economics, art, and politics associated with drama. It was also the culminating outcome of the collusion between the laws of market economy, the demands of individual interest, and the discourse of national policy amid the waves of urbanization.

游雨泽

标题：但丁与奥维德的“取材”及其对文学传统的挑战

Title: The Inventio of Ovid and Dante and Their Challenge to Literary Traditions

内容摘要：《变形记》与《神曲》之间的联系并不止于但丁对奥维德笔下神话的引用与改写，这两部史诗在内容与叙事风格层面分别创造了整全的宇宙。这种整全性在内容上体现为完整的时间与空间，在叙事风格上体现为对不同流派的兼容并蓄：但丁实践了奥维德的“变形”概念，即吸收、改造其文学范本与模仿对象的能力。两位诗人分别通过与各自在文学创作上的借鉴与模仿对象的对比，尝试定义自身的诗学身份。但丁通过“取材”这一方式实现了对文学传统的挑战，继承并发展了奥维德叙述中的诗学革新，进而创建了属于自己的文学传统。

Abstract:The connection between Metamorphoses and The Divine Comedy is not merely limited to Dante’s citation and adaptation of Ovidian myths as both epics create their own complete universe in content and narrative style. Such a concept of completeness is reflected by the integrity of time and space in content and by the inclusion of different modes in narrative style: Dante put in practice Ovid’s concept of “metamorphosis,” that is, the ability to assimilate and transform his literary models and objects of imitation. Both poets attempt to define their poetic identities by contrasting their literary borrowings and imitations in their respective literary writings. Launching his challenge to literary traditions by means of inventio, Dante inherited and developed Ovid’s poetic innovation of epic narrative and, therby, established his own literary tradition. 

温兆海

标题：论朝鲜古典小说《谢氏南征记》中的中国元素

Title: The Chinese Elements in the Classic Korean Novel The Southern Journey of Xie

内容摘要：《谢氏南征记》对中国历史、文学和地理进行了比较准确的观照和描述，表现出鲜明的中国元素。小说将故事背景设置为中国特定的历史阶段，通过静态与动态两种形式让人物与历史进行一系列互动；运用中国神话传说、历史典故、文学作品观照小说中的人物，为其在中国文化中寻求某种“典型性”；地理元素与《明一统志》中的记载几乎完全相符，且与地域文化保持一致性，具有较强的真实性。中国元素在跨语境的传播与接受过程中也产生了一定的“非中国”内涵。小说在中国历史背景下表达本土的政治诉求，将明朝纳入朝鲜民族的叙事当中；在佛教人物形象的处理上，反映了朝鲜朝文人对佛教复杂的态度与认知；又将中国地理空间转换成了朝鲜民族的情感空间。

Abstract:The Southern Journey of Xie presents a relatively accurate observation and depiction of Chinese history, literature, and geography while showing quite a few distinctive Chinese elements. Set during a specific historical period of China, the novel facilitates a series of interplay between its characters and history in both static and dynamic ways. It employs Chinese myths and legends, historical allusions, and literary works to shed light on its characters in hope of imbuing them with some “typical features” from the Chinese culture. That the geographical elements in the novel are almost completely consistent with the records in Ming Yi Tong Zhi and the regional culture as well highlights the strong authenticity of the novel. In the meantime, the Chinese elements retain certain “non-Chinese” connotations in the process of cross-context dissemination and reception. The novel chooses to expresse the local political demands in a Chinese historical background and incorporates the Ming Dynasty into a narrative about the Korean nation. Its treatment of Buddhist characters reflects the complex attitude and cognition of Korean literati towards Buddhism. Its narrative turns the Chinese geographical space into the emotional space of the Korean nation.

英国文学研究

程丽蓉

标题：战俘经历、利维斯传统与“世纪中叶”场域——论伊恩·瓦特小说批评的生成

Title: POW Experience, Leavis’ Tradition and “Mid-Century” Field: The Formation of Ian Watt’s Novel Criticism

内容摘要：伊恩·瓦特的“二战”战俘经历对他小说理论批评的影响一直为人所忽视，近年新发现档案以及玛丽娜·麦凯的研究才引发学界关注。瓦特承传利维斯人文传统，以自己一代人的战争创伤体验融入学术研究之中，与文学世界中的人物和他所研究的作家对象达成深度共情。他反对理论技术主义和“伪现实主义”，倡导“形式现实主义”并非注重技巧层面，而是指向文学精神层面。瓦特的小说批评对于他本人具有修复战争创伤的意义，又具有世界性和“世纪中叶”文化特性。麦凯的瓦特研究以对“世纪中叶”的“再启蒙”研究方式迭代了利维斯-瓦特的人文学术传统。

Abstract: The impact of Ian P. Watt’s experience as a POW in World War II on his novel criticism has long been neglected by scholars until the new discovery of archives and Marina MacKay’s study on them in recent years. By carrying forward Leavis’ humanistic tradition, Watt integrated the traumatic war experience of his generation into his scholarly studies and developed a deep empathy toward the characters in the literary world and the writers he studied. He opposed theoretical technicism and “pseudo-realism”. His advocacy of “formal realism” does not mean that his priority is on techniques, but literary spirit instead. Watt’s novel criticism has not only the therapudic effect on his personal trauma from war, but also the cosmopolitan and “mid-century” cultural significance. McKay’s study on Watt iterates the Leavis-Watt humanistic tradition in scholarship based on the “Re-Enlightenment” approach of the “mid-century.”

张亚婷

标题：树之语：中世纪英国文学中的植物启示

Title: The Language of Trees: Phytognosis in Medieval English Literature

内容摘要：中世纪英国文学中出现了许多对树木的描写或指涉，彰显出人们从中获得的启示和特定树木的不同含义。从善恶树的书写、十字架的组成和人- 树一体化等方面分析探讨相关树木的再现方式、优势树种出现的原因，可挖掘出其在文化传承和情感表达方面的作用。中世纪英国作家通过挖掘人和树的关系展现出树木本身具备的语言特征和人类相应的回应和交流过程，进行文化代码的转换时展示了“植物启示”的内涵和文化的流动性特点。

Abstract: In medieval English literature, there exist many descriptions about or references to trees, which highlight people’s sense of “phytognosis” and different implications of certain trees. Through an analysis of the writings about “the Tree of Good and Evil,” the formation of the Holy Cross, and the man-tree unity, this article aims to explore the ways in which the relevant trees are represented, the reasons for the popularity of superior trees, and their roles in cultural inheritance and emotional expressions. By delving into the man-tree relationship, medieval English writers not only decode the trees’ own language characteristics and the process in which humans respond to and communicate with them, but also unveil the connotation of “phytognosis” and the mobility of culture while converting the cultural code.

张 婷

标题：漫游的诗人与日常的真理——从《隐士》探讨华兹华斯的“现代哲理诗”理念

Title: The Wandering Poet and Commonplace Truths: Exploring Wordsworth’s Ideas of“Modern Philosophical Poetry” through The Recluse

内容摘要：未完成的《隐士》是否表明华兹华斯的“现代哲理诗”计划失败？1797至1815年的《隐士》创作手稿显示出“漫游诗人”华兹华斯意图以“日常的真理”疗治18、19世纪英国人累于“褊狭之役”的心灵。诗人抵制煽情文风，教导人们以明智超越悲苦；他突破体系哲学和信仰，展示漫游于天地人间的心灵如何感受“一体生命”的爱和喜悦；他洞悉心物分离之苦的源头——对私己情感或思想的固持，推崇扎根于大地的生活和行走。华兹华斯的“现代哲理诗”虽未完成，但其理念具有远见卓识：哲理诗不以玄言论道，它应启发心灵与广博的自然、人类和社会联姻。

Abstract: Does the incompletion of The Recluse suggest that Wordsworth’s plan of writing his “modern philosophical poetry” failed? His manuscripts of The Recluse between 1797-1815 indicate that Wordsworth, the “wandering poet,” attempted to heal English people’s soul, exhausted by a “partial bondage,” with “commonplace truths” during the 18th and 19th centuries. The poet resisted sentimental writing style and taught people to transcend suffering with wisdom. Breaking away from the systematic philosophy and belief, he showed how a soul wandering between heaven and earth could experience the love and joy of “one life.” He clearly understood the source of pain due to the soul’s alienation from the world, namely, the insistence on one’s own emotions and ideas, and attached great significance to indulging oneself in the life and excursion on the earth. Though unfinished, the ideal of Wordsworth’s “modern philosophical poetry” is quite visionary: a modern philosophic poem is supposed to inspire the soul to unite with the vast nature, humankind, and society instead of expounding certain ideas with metaphysical rhetoric.

张 浩

标题：彼得·阿克罗伊德小说《伦敦烈火》的“地域之令”与监狱书写

Title: The “Territorial Imperative” and the Prison Writing in Peter Ackroyd’s Novel The Great Fire of London

内容摘要：彼得·阿克罗伊德作为当代伦敦心理地理学复兴运动的主要推动者，在小说处女作《伦敦烈火》中将其玄秘主义“地域之令”的哲学理念与监狱书写深度融合，伦敦社会形形色色人物的行为和命运无不受制于“地域之令”的宰制。小说中指涉的狄更斯小说《小杜丽》同一场景马夏尔西监狱被赋予了新的意涵，是揭秘伦敦城市空间历史书写和文化身份的核心文化代码，构成了其心理地理学主题小说的空间叙事形态。在小说中,监狱成为建构英国文化共同体的核心空间形象：首先，监狱是召唤伦敦书写的回声母题；其次，监狱是小说的心理地理空间主体；再次，监狱是伦敦文化与社会衰落的情感地理转喻，表明历史无法逾越，从未终结。可见，小说中监狱具有作为互文写作隐喻主题和作为无法逃避的历史影响隐喻的两层玄秘含义，它是作者试图倡导复兴的英国文化共同体的核心文学母题。

Abstract: As a major facilitator of the contemporary psychogeography renaissance of London, Peter Ackroyd deeply integrates the prison narrative with his occult notion of territorial imperative in his debut novel, The Great Fire of London. The behavior and destiny of all the characters from all walks of life in the London society are all subject to the dominance of “territorial imperative.” In Ackroyd’s novel, the reference to the Marshalsea prison in Dickens’ Little Dorrit takes on a new implication, namely, a cultural core code that exposes the historical narrative and cultural identity of the urban space in London, and constructs the spatial narrative pattern for his psychogeographically concerned novel. Also, the prison becomes a primary spatial image in the revival of the British cultural community: first, it is a recalling motif of London writing tradition; second, it is the subject of the psychogeographical space in the novel; third, it is an emotional and geographical trope of the cultural and social decline in London. It thus proves that history is insurmountable and it has never ended. So the prison carries two layers of mysterious connotation in the novel: as an image of the inter-textual theme of free writing, and as a metaphorical image of the unavoidable historical impact. It is the principal motif by which Ackroyd explores to revive the British cultural community.

美国文学研究

顾明生

标题：玩家艺术模式与日常生活批判：桑塔格小说创作再审视

Title: A Player’s Artistic Mode and Critique of Everyday Life: A Re-Examination of Sontag’s Fiction Writing

内容摘要：书信体小说《书信场景》是美国作家苏珊·桑塔格的玩家艺术代表作品，它借助戏剧符号化用柴可夫斯基歌剧《尤金·奥涅金》中著名唱段为其核心情节，利用指称词异指现象书写独立于原歌剧的人物前传，提取原歌剧脚本的书信叙述模式并构筑出四层次证词式书信叙述，借鉴歌剧咏叹调套曲结构打造独特的情节空间和音乐空间，巧用对话式并置见证各式创伤事件、思考广阔社会生活。桑塔格的《书信场景》等玩家艺术实践是她小说创作的重要组成部分，展现出她一如既往的日常生活批判立场以及对文学遗传与演化议题的关注。

Abstract: “The Letter Scene,” an epistolary short story by the American writer Susan Sontag, is her representative work as a player of arts. With the help of theatrical symbols, it appropriates the famous aria in Tchaikovsky’s opera, Eugene Onegin, as its core plot and portrays a character prequel independent of the opera with the same referring expressions in addressing different individuals. By taking advantage of the opera’s epistolary narrative mode in building up its own four-layer epistolary narrative that looks more like testimonies in content, it draws on the cyclic form of aria in the opera not only to create its unique story space and musical space, but also to lay out various traumatic events and reflect on the broad social life by means of dialogic juxtaposition. As an important component of her fiction writing, “The Letter Scene,” along with Sontag’s other practices as a player of arts, demonstrates her consistent critique of everyday life and her concern with the inheritance and evolution of literature.

杨 丽

标题：杰克·伦敦“北疆”和“南海”小说中的土著人书写与帝国意识

Title: Jack London’s Description of Natives and Imperial Consciousness in His Northland and South Sea Stories

内容摘要：“北疆”和“南海”是19世纪末20世纪初美国开拓的两个“新边疆”。杰克·伦敦以其为地理语境并作为主要取材背景的小说被称为“北疆小说”和“南海小说”。伦敦在“北疆”和“南海”小说中都有对土著人的书写。这些土著人在“北疆”小说中是当地的印第安人，在“南海”小说中主要是太平洋岛屿上的原居民。美国新边疆的开拓过程其实是对当地土著人进行殖民掠夺的过程。“北疆小说”大多是杰克·伦敦的早期作品，他的“白人优越论”与美国推崇的“天定命运论”极为契合，对土著人的书写映射了美国当时开拓“新边疆”的帝国思维，其帝国话语及政治意识是美国殖民霸图的文本再现。而“南海小说”大多是伦敦后期的作品，随着其思想的日渐成熟，政治意识也随之发生了转变，“南海小说”中对土著人的书写也变成了对美国殖民扩张的忧虑和反思。

Abstract: Northland and South Sea used to be the two frontiers exploited by America around the turn of the 20th century. Jack London’s stories that draw materials from these two geographical contexts are called “Northland stories” and “South Sea stories,” in which there are a lot of descriptions of the indigenous people, namely, the Native Americans in Northland stories and the aborigines on the Pacific Islands in South Sea stories. The American cultivation of the frontiers is virtually the process of colonial plundering from the indigenous people. In the Northland stories, mostly written in London’s early years, his idea of “white superiority” is a perfect echo of America’s belief in Manifest Destiny. His description of the natives in Northland stories reflects the American imperial attitude toward its expansion of “new frontiers,” while his imperial discourse and political consciousness construct a textual representation of America’s great ambition for colonization. However, his South Sea stories, mostly written in his late years, seems to have shifted in its political consciousness due to the maturity of his thoughts, and its description of the aborigines reveals London’s concern and reflection regarding the colonial expansion of America.

高莉敏

标题：英格兰德短篇小说中的共情研究

Title:  Empathy in Englander’s Short Stories

内容摘要：共情不仅是情感传导与认知理解的过程，也是道德认同的过程。在英格兰德的三篇短篇小说中，他从情感、认知与道德三个层面出发阐发对共情的理解：情感层面的共情在民族矛盾的激化下易引发以暴力复仇为代表的共情过激行为，认知层面的共情在极权体系的作用下会产生共情非正义问题，而道德层面的共情有利于建立基于正义与爱的共同道德体系，形成良知共识，为当今世界避免出现类似大屠杀的极端族群暴力事件、创建和谐人类社会提供借鉴。英格兰德对共情问题的探讨一方面体现了他对犹太人大屠杀事件的深度思考；另一方面彰显了其意图使犹太文明与美国社会接轨的主观愿望。

Abstract: Empathy is a process of affective transmission and perception, but one of moral identification as well. Englander expresses his understanding of empathy from affective, cognitive and moral dimensions in his three short stories: affective empathy may easily breed empathic violence due to the intensification of racial conflict; cognitive empathy may cause the problem of empathic injustice under the rule of totalitarian system; moral empathy helps construct a common moral system based on justice and love to reach a conscience consensus, which can be perceived as a reference for avoiding extreme ethnic violence, e.g. the Holocaust, and creating a harmonious human society in the world today. Englander’s probe into the issue of empathy shows his deep reflection on the Holocaust on the one hand and, on the other, highlights his desire to integrate the Jewish civilization with the American society.

谢 梅

标题：《愤怒的葡萄》中的危机叙事与团结重构

Title: The Crisis Narrative and Solidarity Reconstruction in The Grapes of Wrath

内容摘要：苦难遭遇、团结危机和团结重构是小说《愤怒的葡萄》的重要主题。斯坦贝克以乔德一家的西迁进程为叙事线索，描写了20世纪三十年代美国中部地区佃农被迫离开土地后的生活惨状。一方面，小说呈现农民因失去土地而面临的生存危机，及由此引发的农民群体内部、沦为流民的俄克佬与加州本地人之间、农民与大产业主之间的利益冲突和团结撕裂。另一方面，逃荒历程中农民个体对危机的反思、团结意识的觉醒、同处危难中的流民家庭之间的互相帮扶，也表征着人类团结的希望。团结重构正是重新定义“我”和“我们”的过程，讲述团结失而复得的故事提升了人们对苦难的感受力和同理心，引导人类思考团结的作用，有助于共同体的构建。

Abstract: Suffering, solidarity crisis, and solidarity reconstruction are important themes in the novel, The Grapes of Wrath. Using the westward migration of the Joad family as a narrative thread, John Steinbeck depicts the tragic life of sharecroppers after they were forced to leave their land in the central region of the United States during the 1930s. On the one hand, the novel presents the survival crisis faced by farmers, due to their loss of land, as well as the resulting conflicts of interest and the fracture of solidarity within farmers groups, between the Oklahoma migrants and the native Californians, and between farmers and industrialists. On the other hand, the novel captures individual farmers’ reflection on the crisis and their awakening consciousness of solidarity during their flee from famine and the mutual assistance among the migrant families while struggling in the same crisis, thus expressing a hope for the solidarity of mankind. The reconstruction of solidarity is a process of redefining what “I” and “we” stand for. A story about the lost and regained solidarity enhances people’s sensitivity and empathy for suffering, prompts people to think about the role of solidarity, and contributes to the construction of community.

往期精彩文章回顾：

解友广 | 论尤多拉·韦尔蒂作品中的服饰政治

隋亚男 | 飞机、空中舷窗视角与美国现代主义文学

END

关注《外国文学研究》官方微信平台

《外国文学研究》

官方微信平台

投稿网址：http://fls.ccnu.edu.cn

联系电话：[phone]

联系邮箱：[e-mail]

版权所有。欢迎个人转发，媒体转载请联系授权