《外国文学研究》2023年第4期主要论文摘要

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2023年第4期(总第222期)

中外学者对话：文学伦理学批评

William Baker

标题：汤姆·斯托帕德的《君臣人子小命呜呼》：伦理学批评及其他视角

Title: Tom Stoppard’s Rosencrantz and Guildenstern Are Dead: Ethical Criticism and Other Perspectives

内容摘要：迄今为止有关《君臣人子小命呜呼》的批评解读可谓众说纷纭，但一个显而易见的疏漏就是聂珍钊的文学伦理学批评学说。本文采用聂珍钊的主要概念，将斯托帕德的突破性的剧作作为一个历史时代的表述及伦理困境的分解进行审视。先结合莎士比亚的《哈姆雷特》探讨聂珍钊的中心思想，然后将其应用到对斯托帕德剧作的分析之中。

Abstract: Inevitably, there have been diverse critical interpretations of Rosencrantz and Guildenstern. Nie Zhenzhao’s ideas of Ethical Literary Criticism are a notable omission from these. This article utilizes Nie Zhenzhao’s key concepts to examine Stoppard’s breakthrough drama as an expression of a historical period, of an unpacking of ethical dilemmas. A discussion of Nie’s central ideas with reference to Shakespeare’s Hamlet is followed by an application to Stoppard’s play in the hope that he will himself apply them to other dramatic texts,including Rosencrantz and Guildenstern.

李银波

标题：文学伦理学批评在英国的传播与接受——以创新扩散理论为视角

Title: The Dissemination and Adoption of Ethical Literary Criticism in the UK: A Perspective from the Theory of Innovasion Diffusion

内容摘要：文学伦理学批评（简称ELC）理论在英国的传播与接受是一个较缓慢的过程，在第一阶段即认知阶段对英定向传播的大众媒介《泰晤士报文学增刊》起关键作用，在第二阶段即说服阶段聂珍钊与提哈诺夫间的人际交流及提哈诺夫与其英国伙伴间的群体交流起关键作用。目前ELC理论在英国的传播已进入第三阶段即决策阶段，韦塞利娜·朱姆贝娃和露西娅·博尔德里尼做出了重要尝试。

Abstract: The dissemination of Ethical Literary Criticism, aka ELC, in the UK is a key component of its oversea diffusion. Using the theory of innovation diffusion will help us look at the dissemination and adoption of ELC in the UK from a perspective of cross-cultural diffusion. Obviously, it has been a rather slow process. In the first stage, or the knowledge stage, The Times Literary Supplement, a major mass medium targeted at the British public, played a vital role, whereas in the second stage, or the persuasion stage, the personal relationship between Nie Zhenzhao and Galin Tihanov as well as the collaboration between Tihanov and his colleagues in the UK played a crucial role. Now, the process has reached its third stage, or the decision stage, in which Veselina Dzhumbeva and Lucia Boldrini have experimented with the ELC in their criticism of certain literary works.

拜占庭文学影响研究

刘建军

标题：拜占庭与阿拉伯文化关系的文学视角考论

Title: Literary Perspectives on the Relationship between Byzantine and Arab Cultures

内容摘要：从文学的角度来看，千余年的拜占庭与阿拉伯文化之间是既碰撞又交流的关系。二者共同构成了人类历史上东西方文化大规模交流的平台。两种文化间的碰撞、交流呈现出了具有不同特点的三个发展阶段。就拜占庭与阿拉伯两种文化之间的冲突而言，其性质并非是所谓的基督教与伊斯兰教之间“文明的冲突”，背后体现着更为复杂的经济和社会发展不平衡的原因。

Abstract: Viewed from the perspective of literature, the relationship between Byzantine and Arab cultures over a thousand years is characterized by collision and communication, both of which jointly constructed a platform for the large-scale exchange between Eastern and Western cultures in human history. The collision and communication between the two cultures went through three distinctive phases of development. The conflict between Byzantine and Arab cultures is, in essence, not necessarily the so-called “clash of civilizations” between Christianity and Islam, but it signifies a more complex factor behind it, namely, the imbalance in economic and social development.

张  越

标题：古罗斯对拜占庭文学的接受路径与变异重建

Title: The Reception Path and Variant Reconstruction of Byzantine Literature in the Old Rus

内容摘要：古罗斯在大量汲取拜占庭文学传统的同时，凝结出植根于本土文学发展的三条接受路径：从审美起始的教义阐释路径，以建构国家意识和民族精神为目的的接受路径，以通俗性文字为载体的写作路径。在此基础上衍生出古罗斯对拜占庭文学和文化遗产的接受变异，主要表现在对积淀于拜占庭帝国千年历史中的功利性实用主义态度和强人崇拜等精神文化理念的承袭，从而深层次影响了俄罗斯民族化的世界观、人生观和价值体系的重建。

Abstract: The Byzantine Empire has a crucial and enduring influence on the formation and development of Old Rus’ literature. Old Rus’ absorbed the Byzantine literature in a specific historical context mainly because it was moving from its primitive clan system to the feudal society, turning from polytheism to Christianity, and creating and promoting the Slavic script. While drawing heavily from the Byzantine literary traditions, the old Rus settled on three reception approaches premised on the development of its own literature: making doctrinal interpretation based on aesthetics, serving the purpose of constructing national consciousness and national spirit, and using the popular text as the medium of writing. In consequence, its variant reception of the Byzantine literature and cultural heritage has, by and large, shaped up its attitude and acceptance toward the utilitarian pragmatism and the worship of strongman accumulated in the millennium-long history of the Byzantine Empire, thus deeply affecting the reconstruction of the nationalized outlook on world, life, and values in Russia.

全球本土化写作与新世界文学研究

郝  岚

标题：《红发女人》“全球本土化”写作的非历史化问题

Title: The Dehistoricization of “Glocalization” Writing in The Red-Haired Woman

内容摘要：帕慕克的《红发女人》作为新世界文学中“全球本土化”的代表，具有非历史化倾向：它借用东西方传统中的图文经典编织了当代的“寻父”故事，刻意省略了“父子相残”主题里西方也曾存在的“噬子”神话与艺术史，用先入为主的西方话语构筑了“有选择的过去”；而红发女人三十年容颜不老，成为超时间的存在。这类写作常常在现象学意义上看似包容与开放，较上一代作家更具世界眼光 , 甚至也对本民族的传统怀有脉脉温情，但事实上其选择性的表述和叙事取消了时间的纵深感，没有聚焦，可能使人忽略历史深度、社会现实，落入“自我东方化”的困境。这是新世界文学“全球本土化”写作应该特别引起注意的问题。

Abstract: As a representative work of “glocalization” in the new world literature, Pamuk’s The Red-Haired Woman has the inclination of dehistoricization: it weaves together a modern day story about “searching for the father” by adapting the graphic classics in the Eastern and Western traditions, but deliberately omitting the history of myth and art surrounding the act of “eating the son,” which has long existed in the Western theme of the “father-son fratricide,” thus configuring a “selective past” based on the preconceived Western discourse. At the age of 30, the red-haired woman has no sign of aging in her appearance, almost like a being beyond time. This kind of writing seems inclusive and open in the phenomenological sense as if the author has a greater world vision and more tender feelings toward national traditions than the previous generation, but in fact its selective expression and narrative obliterate the depth of time, remove the focus, and cause people to neglect historical profoundity and social reality till they fall into the dilemma of “self-orientalization.” This is the issue that the “glocal” writing in the new world literature should look into more attentively.

周和军

标题：古尔纳《海边》中去“本土化”书写与新世界文学愿景

Title: The Writing of Delocalization and Vision of New World Literature in Gurnah’s By the Sea

内容摘要：古尔纳的《海边》体现了对非洲民族主义创作倾向的背离，揭示了新政府的专制统治、政治腐败、东非内部的种族主义、阶级压迫以及伊斯兰文化出现的伦理失范等问题。同时，小说对欧洲中心主义进行了批判，展现了欧洲人对黑人根深蒂固的种族歧视、欧洲白人至上、文化优越的具体表现以及受殖者的自我殖民与自我迷失。古尔纳还探索了全球化时代新世界文学愿景，对“世界文学”概念及世界文学创作与研究中产生的问题、全球化时代新世界文学未来发展作了深入思考，认为只有扬弃狭隘的本土意识和民族主义，突破其“本土化”与片面性，才能重建新世界文学主体精神与人文价值。古尔纳开辟了一条通向多元、开放、平等的新世界文学通衢大道。

Abstract: Abdulrazak Gurnah’s By the Sea presents a departure from the tendency of the nationalistic writing in Africa and reveals the autocratic rule and political corruption of the new government, the internal racism and class oppression in East Africa, and the ethical anomie emerged in Islamic culture. At the same time, the novel criticizes Eurocentrism and lays out the specific details about not only the deeply-rooted racial discrimination of blacks by the Europeans and the European sense of white supremacy and cultural superiority, but also the self-colonization and self-nihilism of the colonized. Also, Gurnah explores the vision of the new world literature in the age of globalization, reflects on the concept of “world literature,” the problems arising from the writing and studies of world literature, and the future development of the new world literature, and advocates on the need to discard the narrow sense of nativism and nationalism and transcend the partiality of “localization” as the only way to reconstruct the subjective spirit and humanistic value of the new world literature. Gurnah has pioneered a great path toward a pluralistic, open, and equal new world literature.

王春景

标题：《章西女王》中本土化历史叙事与世界话语的对话

Title: A Dialogue between Local History Narrative and the Global Discourse in The Queen of Jhansi

内容摘要：西方的历史叙事成为世界话语主宰了世界对印度的看法，遮蔽了印度本土的历史经验。马哈斯维塔的《章西女王》通过民众中流传的故事、歌谣等口传材料，再现殖民之前的印度社会及章西女王与西方的互动关系，对殖民主义和民族主义叙事都构成了补充和对话；小说展示了章西女王反抗性和主体性的形成过程，补充了主流的民族主义叙事；作者通过民众记忆呈现的章西女王及王公形象，不是被西方人评判的客体，而是具有改变历史意愿和行动的主体；作品本土化的历史叙事，揭露了西方人“文明”面纱背后的野蛮。马哈斯维塔的历史书写有助于建构印度文化的主体性，并提示了思考全球问题时本土视角的重要性。

Abstract: The Western historical narrative has become a global discourse that seems to have dictated the world perception of India and obscured India’s own local historical experiences. Through the stories circulated among people and oral tradition sources like ballads, Mahasweta Devi’s novel, The Queen of Jhansi, not only represents the interaction that the Indian society and the Queen of Jhansi used to have with the West before the colonization, but also offers a dialogic supplementation to colonist and nationalist narratives. By tracing how the Queen of Jhansi obtains her revolting inclination and sense of subjectivity, the novel complements the mainstream nationalist narrative. The images of Raja and Queen presented by the author based on people’s memories are not objects to be judged by Westerners, but subjects with the will and action to change history. The localized historical narrative in the novel exposes the savage nature of the Westerners behind the veil of “civilization.” Mahasweta’s historical writing helps to construct the subjectivity of Indian culture and reiterates the importance of local perspectives when thinking about global issues.

俄罗斯诗学研究

吴 笛

标题：18世纪俄罗斯诗歌中的启蒙伦理与艺术革新

Title: The Enlightenment Ethics and Artistic Innovation in 18th-Century Russian Poetry

内容摘要：对于俄罗斯文学的发展进程，18世纪俄罗斯诗歌的艺术成就主要是以古典主义和感伤主义来体现的。俄罗斯古典主义文学是对西欧古典主义和启蒙主义两种文学思潮的融合。古典主义诗歌不仅弘扬启蒙精神，而且在俄罗斯诗歌作诗法以及重音—音节韵律体系建构等方面，做出了独特的贡献。感伤主义诗歌则激发人们人道主义的怜悯与同情,体现了文学的伦理教诲功能以及典型的感伤主义伦理思想。无论是古典主义还是感伤主义，在诗歌理论探索以及创作实践方面，都勇于革新，为19世纪俄罗斯诗歌的繁荣以及黄金时代的产生，发挥了重要的奠基作用。

Abstract: In the development of Russian literature, the artistic accomplishments of the 18th-century Russian poetry are primarily manifested by Neoclasicism and Sentimentalism. The Russian Neoclassical Literature is actually a fusion of two literary trends in Western Europe: Neoclasicism and the Enlightenment. Neoclassical poetry not only championed the spirit of the Enlightenment, but also made distinctive contributions to the Russian poetry writing and the establishment of its accentual-syllabic meter system. Sentimentalist poetry, in contrast, inspired humanistic empathy and compassion among people, thus encapsulating literature’s function of ethical instruction and typical ethical ideas of Sentimentalism as well. Both Neoclasicism and Sentimentalism were quite innovative in their exploration of poetics and creative practice. Also, they both played a groundbreaking role in facilitating the prosperity and the Golden Age of the 19th-century Russian poetry.

萧净宇

标题：当代俄罗斯文学阐释学莫斯科学派的跨界诗学

Title: The Transboundary Poetics of the Moscow School in Contemporary Russian Literary Hermeneutics

内容摘要：作为一个重要的发展方向和学术流派，莫斯科学派在当代俄罗斯文学阐释学的形成与发展中发挥着重要作用。该学派以俄罗斯本土阐释学传统为基础，借鉴西方阐释学和现象学理论，既从俄罗斯凝视西方学界，又从西方回望俄罗斯学界，大致呈现出介乎俄罗斯和西方学术之间的间性特征。莫斯科学派在学术路径上倡导文学阐释与哲学思辨的跨界协同，在方法根基上立足阐释学-现象学与体裁诗学的共融并举，在阐释视域上注重俄罗斯传统与德国阐释学的交融互鉴，由此形成具有文本间性和交往理性倾向的跨界诗学。宏观而论，莫斯科学派的跨界诗学不仅构成兼具普遍性和独特性的当代俄罗斯诗学话语和理论表征，而且形成与当代西方阐释学和文艺学有机交互和彼此对话的关系，在很大程度上彰显出当代俄罗斯文学理论融入世界文论的力度与效度、对话世界文论的广度与深度。

Abstract: As an important trendsetter and academic school, the Moscow School plays a key role in the formation and development of contemporary Russian literary hermeneutics. Building upon Russia’s own tradition of hermeneutics, it draws inspiration from Western hermeneutics and phenomenological theories and substantially presents the intersecting features between the Russian and Western academia by looking closely at the Western scholarship from the Russian perspective, and vice versa. In its scholarly pursuit, the Moscow School initiates a cross-border collaboration between literary interpretation and philosophical speculation, adopts the concurrent inclusion of hermeneutics–phenomenology and genre poetics as a methodological base, and emphasizes on the integration and mutual learning between Russian tradition and German hermeneutics for its interpretive perspective, so as to establish a sort of cross-border poetics inclined toward intertextuality and communicative rationality. From a macro perspective, the Moscow School’s cross-border poetics has not only established a universal yet unique discourse and theoretical representation of contemporary Russian poetics, but also facilitated an organic interaction and dialogue with contemporary Western hermeneutics and literary studies, which to a large extent highlights how dynamically and effectively contemporary Russian literary theory has integrated into world literary theory and how broadly and deeply it has engaged world literary theory in dialogue.

英国文学研究

李伟昉

标题：来源文献视域中的《哈姆莱特》研究

Title: A Study on Hamlet from the Perspective of Source Literature

内容摘要：《丹麦史》和《哈姆莱特史》是莎士比亚创作《哈姆莱特》两个重要的来源文献。从素材来源视域将《哈姆莱特》与这两个历史文献进行互文解读，有助于重新审视这部经典悲剧在传承与创新方面的不朽价值和意义，进而探寻一个可能更为接近剧中实际的哈姆莱特形象。莎士比亚通过对哈姆莱特延宕特征及其思想内涵的揭示，塑造出了文明与野蛮新旧交替的文艺复兴时期一个颇为矛盾复杂且具些微现代思想理念、更有别于历史故事的新意蕴的王子形象，客观上反映了英国从封建国家向现代民族国家转变过程中对文明、和谐、稳定与公正的社会政治秩序的理性诉求。

Abstract: The History of the Danes and The Hystorie of Hamblet are two important sources of Shakespeare’s Hamlet. An intertextual study between Hamlet and the two historical texts as its sources will help us reexamine the enduring value and signifcance of this classic tragedy in its preservation of tradition and innovation, so as to search for an image of Hamlet that is much closer to what he really is in the play. With a revelation of Hamlet's inner delay and its ideological connotations, Shakespeare not only creates an unprecedented and consequential image of prince, who is torn between complications, contradictions, and slightly modern ideas during the Renaissance, a time of transition from barbarism to civilization and from the old to the new, but also objectively refects Britain’s rational pursuit for a civilized, harmonious, stable, and just social and political order as it was transforming itself from a feudal country to a modern nation state.

姜 峰

标题：巴拉德《摩天楼》中的“高层公寓”：城市空间书写与现代性批判

Title: High-Rise Apartment in Ballard’s High-Rise: Urban Space Writing and Modernity Criticism

内容摘要：当代英国作家詹姆斯 • 格雷厄姆 • 巴拉德的小说《摩天楼》以一幢高层公寓建筑为媒介考察晚期资本主义城市空间中的现代性弊病与危机。小说中的“高层公寓”既是现代性的象征，也是一面将现代性祛魅的镜子。“高层公寓”对环境的排斥原子化了社区和居民，摧毁了地方感，增加了匿名性，造成现代人精神层面的无根状态和道德伦理滑坡；“高层公寓”的空间等级区隔建构了新的阶层区分和身份差异，维护、巩固并再生产等级化的社会空间，引发阶级斗争的空间化；“高层公寓”奉行功能至上的同时与消费主义耦合，将居所异化为生活机器和属物空间，不断侵蚀人的主体性。小说揭示了现代性对城市空间的宰制，批判了晚期资本主义城市空间的非人性化和不公正，对现代化进程中的线性进步观提出质疑，并对城市空间的未来发出警示。

Abstract: High-Rise, a novel by contemporary English writer, James Graham Ballard, examines the ills and crises of modernity in the urban space of late capitalism through a high-rise apartment building. The “high-rise apartment” in the novel is not only a symbol of modernity, but also a mirror that refects its disenchantment. The disregard of environment by the “high-rise apartment” atomizes the community and residents, destroys the sense of place, increases anonymity, and leads to the spiritual rootlessness and moral decline of modern man. Its hierarchical distinction constructs new class stratifcations and identity differences. Also, it maintains, consolidates and reproduces a hierarchical social space, thus triggering the spatialization of class struggle. Its pursuit of function primacy is coupled with consumerism, alienating the residence into a living machine and a materialized space that constantly erode human subjectivity. By revealing the domination of modernity over urban space, the novel criticizes the dehumanization and injustice in the urban space of late capitalism, questions the notion of linear progress in the process of modernization, and issues a warning for the future of urban space.

杨依依

标题：华兹华斯自然文本的符号学阐释

Title: A Semiotic Interpretation of Wordsworth’s Nature-Text

内容摘要：华兹华斯笔下的自然是富含文化属性的且可以被文本化的自然。在自然与文化互动过程中形成的意义单元可称之为自然文本。自然文本不仅指涉自然环境，同时也指涉文学创作本身。从这个意义上说，自然不仅是人类意识的延伸或寄托感情的工具，而且是独立、自足的存在，是一个拥有符号潜力的主体，亦是文学创作过程中的动态参与者。因此，华兹华斯对自然的刻画和描摹也可视为“转码”的艺术行为，旨在还原自然与人类文化符号的双向交流。与传统浪漫主义诗学观不同，从符号学视角来看，这一双向交流即是诗人如何运用自然与直觉思维，从而实现自然文本的诗化过程。

Abstract: The nature in Wordsworth’s poetry is culturally-loaded, but it can also be textualized. The units of meaning formulated in the interplay between nature and culture can be called Nature-Text. Nature-Text refers to the natural environment and literary writing itself as well. In this sense, nature is not only an extension of human consciousness or a tool for expressing feelings, but also an independent and self-suffcient existence. In other words, it is both a subject with symbolic potential and a dynamic participant in the process of literary writing. Therefore, Wordsworth’s portrayal and description of nature can also be perceived as an artistic performance of “transcoding,” aiming at restoring the two-way communication between nature and the cultural signs of humankind. Different from the traditional concept of Romantic poetics, this two-way communication can be interpreted from a semiotic perspective as a process where the poet adopts natural and intuitive thinking to complete the versifcation of Nature-Text.

美国文学研究

魏玉洁

标题：《夜林》：犹太人的忧郁和现代性批判

Title: The Jewish Melancholia and Critique of Modernity in Nightwood

内容摘要：美国作家朱娜·巴恩斯在其现代主义代表作《夜林》中用极具诗意且乖张的意象书写忧郁并对现代性进行批判思考。小说从忧郁的个人形象、忧郁的缘由以及利用忧郁进行批判性思考和救赎这三个方面，描写了犹太人在现代性进程中承受的宿命般的忧郁。小说以犹太人最终救赎失败为结局表明，对忧郁的反思并无法带来根本转变，并以此来批判现代性进程的残酷。巴恩斯对犹太人无法摆脱的忧郁命运的书写投射出来的是对人类普遍苦难的承认与反思。

Abstract: In her modernist masterpiece, Nightwood, the American writer, Djuna Barnes, employs poetic yet grotesque imagery to represent melanchoia and refect critically on modernity. The novel describes the deterministic melancholia suffered by Jewish people in the wake of modernist progress in three key aspects: the image of Jews’ melancholia, the underlying causes of their melancholia, and addressing melancholia for critical refection and redemption. By showing the Jewish people’s ultimate failure in redemption, the novel not only asserts that the introspection on melancholia would not bring about any fundamental changes, but also denounces the harsh realities during the progress of modernity. What Barnes’ representation of Jewish people’s inescapable melancholy destiny shows us is the recognition and rumination of the universal suffering in human existence.

郭利云

标题：霍桑作品中关于信仰与理性关系的艺术图谱

Title: The Artistic Atlas of the Relationship between Faith and Reason in Hawthorne’s Works

内容摘要：长期以来被定义为“清教作家”的霍桑的信仰，实际上有着深刻的内涵和重要的思想文化价值。他在作品中以“戏仿”手法传达出对上帝所代表的崇高精神的尊崇，又表现了清教罪恶及商业文明下人被异化的现实关切；用隐喻方式揭示出宗教信仰对人的异化，以及由此而引发的社会道德意识的混乱；用“加尔文主义幽默”呈现出以工具理性代替宗教信仰的过程如何扭曲人性，催生着道德堕落，进而探讨实现自我的本质与价值的路径；以“整合式象征”艺术表达了对民族自我意识的凝思与重塑，并显示出返归真我的“此岸”信仰意识。可见，霍桑始终注目于现代人的本己关切，主张在宗教情感与人性本身的内在因素层面，实现信仰与理性间的和谐愿景。

Abstract: The faith of Hawthorne, who has been long defined as a “Puritan writer,” actually has profound connotations and reflects important ideological and cultural values. In his works, he uses “parody” to convey his reverence for the noble spirit represented by God and expresses his practical concern with the sins of puritanism and human alienation in commercial civilization. By means of metaphor, he reveals how religious beliefs instigate alienation among people and stir up the confusion of social and moral consciousness. With a touch of “Calvinist humor,” he brings to light how the process of replacing religious belief with instrumental rationality distorts human nature and expedites moral degradation, so as to explore the path to self-essence and self-worth. Through the art of “integrated symbolism,” he represents his contemplation and reconstruction of the national self-consciousness and illustrates the belief in “this shore” of consciousness that returns to one’s true self. It can be seen that Hawthorne always attached great attention to the original concerns of modern people and advocated a vision of harmony between faith and reason at the level of religious emotions and the internal factors of human nature.

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