《外国文学研究》2023年第6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6期(总第224期)

学术访谈

Xiang Yujie & Michael Gardiner

标题：当代苏格兰文学研究的核心命题与主要趋势：麦克·加德纳访谈录

Title: Core Issues and Major Trends in Scottish Literature Studies Today: An Interview with Michael Gardiner

内容摘要：麦克·加德纳是华威大学英语比较文学系教授，其研究领域主要包括战后苏格兰文学和文化。加德纳是战后文学领域的领军学者之一，著述颇丰，包括《1960年以降苏格兰批评理论》（2006）、《苏格兰文学与后殖民文学》（2011）、《苏格兰公投时间与行动》（2015）、《苏格兰荒野写作的灭绝与独立》（2023）等。本访谈涉及苏格兰文学的发展脉络、现代苏格兰文学的语言、20世纪苏格兰文艺复兴运动及其影响、苏格兰文学与英格兰文学的关系。加德纳在现代苏格兰文学中发现了对英帝国“起源神话”态度上的转变，以及我们所理解的“英国性”联合和分裂的漫长过程。

Abstract: Gardiner is Professor of English and Comparative Literary Studies at University of Warwick, whose research interests include post-war Scottish literature and culture. He has been one of the leading scholars in post-war literature with extensive publications, such as Scottish Critical Theory since 1960 (2006), Scottish Literature and Postcolonial Literature (2011), Time and Action in the Scottish Independence Referendum (2015) and ‘Extinction and Independence in Scottish Wilderness Writing’ (2023). This interview addresses a series of issues, including the development of Scottish literature, the language of modern Scottish literature, the ongoing effects of long-twentieth-century ‘Scottish Renaissances,’ and the crucial connection between Scottish literature and English Literature as a field. Gardiner finds in modern Scottish literature shifting attitudes towards the founding mythologies of British Empire and a long process of making and un-making Britishness as we understand it.

中外学者对话：诗歌与诗学研究

Igor O. Shaytanov

标题：人类创造的诗歌反思：莎士比亚十四行诗中的反思缪斯

Title: Poetic Reflection in Creation of the Human: The Reflective Muse in Shakespeare’s Sonnets

内容摘要：从文化角度来讲，人类的进步已被展示为一种由传统向反思的进化，“传统”指的是整体思维及仪式/方式，而“反思”指的是个人自我的成长。在文学领域，或更准确地说，在言语艺术领域，这两者间的对立导致个人天赋的长进，将自己从体裁及其它约定俗成的标准权威里解放出来。通常在文艺复兴后期和早期浪漫主义之间，可以标出一条边界线，体裁的权限在线外明显地丧失自身约定俗成的标准权威，进而由个人才智取而代之。鉴于其在“现代思维起源”中所起的作用”（P·奥本海默），十四行诗就是一个鲜明的例子。它的作用是解答一个问题的唯一办法，即为什么一个死板的诗歌形式（似乎与小说的言语自由正好相悖）可以独统欧洲抒情诗长达三个世纪，从14世纪的彼特拉克到16世纪后期的莎士比亚。答案十之八九就是十四行诗有自我批评的能力及反思性的“双重性诗学”（J·布鲁克斯戴维斯），彼特拉克风格与反彼特拉克风格得以在一种巧妙的平衡中并存，而这种平衡早在伊丽莎白时代的诗歌里就已形成。

Abstract: The progress of the human in cultural terms has been memorably presented as an evolution from tradition to reflection where “tradition” stands for the collective mind and the ritual/norm, while “reflection” for the growth of the individual self. In the field of literature,or to be more precise – of verbal art, this opposition results in the progress of an individual talent liberating itself from the normative authority of generic and other prescriptions. The borderline, beyond which the power of genre visibly loses its prescriptive power and the individual talent takes over, is usually located somewhere between the late Renaissance and an early Romantic era. Sonnet is a glaring case with the role it played in “the origin of the modern mind” (P. Oppenheimer), the role that is the only way to answer a question – why could it happen that a rigid verse form (seemingly opposite to the verbal freedom of the novel) could dominate the domain of European lyrical poetry in three centuries – from Petrarch in the 14^th to Shakespeare in the late 16^th century. In all probability, the answer lies in the sonnet’s capability of self-criticism, its reflective “poetics of doubleness” (J. Brooks-Davies), where petrarchism /anti-pertrarcism could co-exist in a delicate balance reached in Elizabethan poetry.

罗良功

标题：跨艺术诗歌研究的中国理论建构与实践

Title: The Inter-Art Study of Poetry as a Chinese Theory: Its Construction and Practice

内容摘要：新时代中国外国诗歌的跨艺术研究取得了丰硕成果。从学术史和中西学术交流互鉴的视角对新时代中国外国诗歌跨艺术研究的理论探索与批评实践进行爬梳整理，可以勾勒出新时代中国跨艺术诗歌研究的理论构架及其特征。总体而言，跨艺术研究本质上是诗歌研究的方法论，以艺格符换诗歌为研究对象，以跨艺术为研究方法，以其对艺术间性、跨学科性、文本的流动性、文学性与文化性相融合的强调为主要特征，以诗歌的跨艺术机制及其背后的美学意义和文化意义探寻为旨归。新时代中国外国诗歌跨艺术研究所取得的丰硕成果不仅拓展了这一批评理论的应用疆界、进一步完善了跨艺术诗歌研究范式，而且彰显了跨艺术诗歌研究理论的学术价值及其在中国自主学术话语体系建构中的意义。

Abstract: The “inter-art study” of foreign poetry in China’s New Era has made some great accomplishment both in theoretical exploration and critical practice. This essay attempts to comb through its exploration and practice, in the context of the academic development and the scholarly exchange between China and the West, for a clear delineation of the theoretical framework of the China-based “inter-art study of poetry,” as well as its academic values and cultural implications. This essay argues that the research practice of foreign poetry in China’s New Era has already solidified its theoretical framework for inter-art studies. Broadly speaking, the “inter-art study” is, in essence, a methodology in poetic studies, which takes ekphrastic poetry as its object of research, uses the inter-art exploration as its approach, attaches major significance to inter-artisticality, inter-disciplinariness, intertextual fluidity and integration of literariness and culturality, and ultimately aims at exploring the inter-art mechanism in poetry and its aesthetic and cultural connotations. The rich accomplishment in the inter-art study of foreign poetry in China’s New Era, so far, has not only broadened the practical scope of such a theory and further perfected the paradigm for the inter-art study of poetry, but also highlighted the academic value of this theory and its significance in the construction of China’s academic discourse.

孙红卫

标题：北爱尔兰诗人德里克·马洪读画诗中的隐微书写与审美共同体建构

Title: Esoteric Writing and Construction of Aesthetic Community in Derek Mahon’s Ekphrastic Poems

内容摘要：北爱尔兰诗人德里克·马洪的读画诗既是一种跨媒介写作的创作选择，也是一种隐微的诗学策略，关乎到对艺术自律性、社会功能等诸多问题的思考。这种“疏离”的手法根植于上世纪六十年代以来北爱尔兰的社会危机，涉及到对共有的视觉文化资源的重新开掘与参差挪用，由此“当下”与“历史”、“此处”与“彼处”之间互搏与互嵌，以艺术的“有意义的形式”回应了社会的失序。它所达成的有共识的观看机制，构成了一种弥合社会分裂、孵育审美共同体的方式，同时也为理解读画诗的视觉性问题提供了另一思考路径。

Abstract: The poetry of ekphrasis by Northern Irish poet, Derek Mahon, is both a creative choice of intermedial writing and an esoteric poetic strategy, which is tied with his thoughts on the autonomy and social function and other related issues as well. This device of “alienation” can be attributed to the social woes in Northern Ireland since the 1960s. It amounts to a reuse and diversified transplantation of shared visual resources, thus “now” and “history”, “here” and “there” are juxtaposed and interlocked as a “significant form” of art to counter the breaking down of social norms. The common mechanism of viewing it accomplished in the process provides a way of mending social fissures and incubating an aesthetic community, while cultivating one more thinking path for understanding the visuality of ekphrastic poetry.

中外学者对话：文学伦理学批评

Sandro Jung

标题：《威克菲尔德牧师传》中查尔斯·普里姆罗斯博士的伦理解读

Title: An Ethical Reading of Dr. Charles Primrose in The Vicar of Wakefield

内容摘要：本文试图纠正将奥利弗·哥德史密斯针对查尔斯·普里姆罗斯博士的描述视为讽刺或戏仿牧师唯物主义的解读。相反，通过从牧师在《威克菲尔德牧师传》（1766）中显露并表现出的伦理身份来解读他性格中的矛盾。牧师的道德困境与其缺乏经验有关，根源在于他无法有效地维护自己的家长权威。一旦叙述者揭示了怪异的伯切尔先生的真实身份是威廉·桑希尔爵士，并在小说结尾将他推介为救世之神，准男爵就被提升为牧师伦理身份的逆反模式：他将为了自己的公共和私人形象，设定唯一的伦理标准，进而掌控困扰普里姆罗斯博士的伦理混乱。

Abstract: This article offers a corrective to interpretations that have focused on Oliver Goldsmith’s characterization of Dr. Charles Primrose as ironic or as a parody of clerical materialism. Instead, it investigates the contradictions in the clergyman’s character by reading them in terms of the ethical identity he manifests and performs in The Vicar of Wakefield (1766). The vicar’s ethical dilemma is related to his lack of experience, and it is rooted in his inability to assert his authority effectively as pater familias. Once the narrator reveals the idiosyncratic Mr. Burchell’s true identity as Sir William Thornhill and introduces him as deus ex machina at the end of the novel, the baronet is advanced as a counter-model to the vicar’s ethical identity: he will be shown to have mastered the ethical chaos that enveloped Dr. Primrose by having reached a single ethical standard, both for his public and private personae.

吕洪灵

标题：《佐罗科》的道德情感：以哈奇森的思想为参照

Title: Moral Sentiments in Zeluco: An Analysis in Terms of Hutcheson’s Theory

内容摘要：弗朗西斯·哈奇森等苏格兰启蒙文人热衷于道德情感的哲学讨论，约翰·摩尔则在小说《佐罗科》里借助处于道德伦理极端的人物故事参与其中，呼应道德哲学对于德性的探究。已有研究在挖掘该小说与哈奇森道德观念的关系方面留有探讨空间，从小说鲜明的善恶人物塑造着眼，着重结合哈奇森关于错误的自爱为恶行的常见根源、仁爱为德性基础情感的道德动机论，可探析小说对道德情感的体现与思考，发掘出小说如何在对哥特与感伤小说元素的借用与疏离中强化了道德感官培养的表达。理解摩尔小说创作与哈奇森德性思想之间的联系，有助于明晰当时虚构文学与哲学观念间的交往关系，及其对于社会道德体系的共同构建。

Abstract: Francis Hutcheson and other literati during the Scottish Enlightenment were passionate about philosophical discussion of moral sentiments. John Moore joined them through his novel, Zeluco, in which he presents the story of characters caught in extreme moral ethics in his response to the philosophical probe about virtue. Given the fact that previous studies have more or less neglected the relation between Zeluco and Hutcheson’s moral concepts, this essay focuses on the novel’s apparent portrayal of good and evil characters and Hutcheson's ideas about moral motives, such as “a mistaken Self-Love” as the ordinary springs of vice and “Benevolence” as that of virtue, on the one hand and, on the other, explores how the novel represents and reflects on moral sentiments and even reinforces the expression of moral sensibilities by either tapping into or distancing from the elements from the Gothic and sentimental novels. Revealing the connection between Moore’s novel and Hutcheson’s views of virtue may lead to a clarification of the reciprocal relation between fictional writing and philosophical concept at that time, as well as their joint effort to construct a social moral system.

王  凯

标题：跨界书写与脑文本传递：《胡桃夹子》的双重伦理旨向

Title: Cross-Writing and Brain Text Transmission: The Dual Ethical Function in The Nutcracker and the Mouse King

内容摘要：儿童文学领域存在大量跨越儿童文学与成人文学边界的“跨界书写”现象，考察脑文本的传递和加工则是探讨其机理的有效路径。创作《胡桃夹子》时，E.T.A.霍夫曼双重性的脑文本造就了两种文学模式复合的书写文本，为儿童和成人读者在各自原有脑文本基础上构建截然不同的新脑文本提供了可能，作品由此具有双重伦理旨向。儿童聚焦于书写文本中的传统童话模式，构建出以“好人”战胜“坏蛋”的过程为核心的脑文本；抽象概念尚不完备的儿童将朴素的情感好恶附着到胡桃夹子、老鼠等物象概念之上，由此得到伦理启蒙。成人则难以忽视作品中虚实变幻的叙事模式，其建构的脑文本可指向儿童主人公的内心冲突和人性因子逐渐控制兽性因子的伦理选择过程，从而得以观照和反观儿童和自己的内心。面对跨界书写，研究者须在不同隐含读者间切换身份并激活自己脑文本库相应部分，方能接近其精神内涵。

Abstract: The mechanism of “cross-writing,” a writing practice in children’s literature that frequently transcends the boundary between children’s literature and adult literature, can be effectively explored through a probe into the transmission and processing of brain text. While writing The Nutcracker and the Mouse King, the duality of E. T. A. Hoffmann’s brain text created a written text that is a composite of two literary modes, thus enabling children and adults to construct, based on their original ones, new and distinctively different brain texts with a dual ethical function. Children focus on the traditional fairy tale mode in the written text and formulate a brain text with the process of “good people” defeating “bad guys” as the core. Those with incomplete abstract concepts would attach simple likes and dislikes to their concrete brain concepts, such as the nutcracker and the mice, and gain their ethical enlightenment. Adults, however, can hardly ignore the interplay between reality and imagination in the narrative patterns, and the brain text they construct can point to the inner conflicts of the child protagonist and the process of ethical selection in which the human factor gradually controls the animal factor, so that they can observe, review, and reflect on the children’s mind and their own. To understand cross-writing, scholars should switch between different implied readers and activate the corresponding parts of their brain text bank for the the access to its real essence.

周丽秋

标题：巴恩斯《唯一的故事》中的叙事策略与性别伦理

Title: The Narrative Strategy and Gender Ethics in Barnes’ The Only Story

内容摘要：朱利安·巴恩斯的最新力作《唯一的故事》将性别伦理叙事作为作品书写和呈现的焦点，关注和思考背后隐含的文化与伦理意义。叙事策略与性别伦理之间存在着错综复杂的关系：一方面非线性叙事并置回忆与现实、过去与现在，彰显了多元文化冲突背后对传统性别伦理观念的反叛；另一方面，多重叙述声音成为作家凸显女性受难史以及在传统性别伦理的认同中构建男性气概的主要方式；叙述人称的转换还有助于还原叙述者伦理选择背后的真实形象。巴恩斯在《唯一的故事》中试图将性别伦理叙事还原于1960年至1970年间英国的历史语境，揭示了英国社会新旧伦理价值观的转变、理想两性模式的变迁及其社会发展的时代特征。

Abstract: Julian Barnes’ latest masterpiece, The Only Story, takes the gender ethics narrative as the focus of its writing and presentation, paying attention to and contemplating the cultural and ethical implications behind it. There is a complex relationship between narrative strategies and gender ethics in the novel. On the one hand, non-linear narrative juxtaposes memories with reality, past and present, highlighting the rebellion against traditional gender ethics behind multicultural conflicts; On the other hand, multiple narrative voices have become a may way for writer to highlight the history of women’s suffering and construct masculinity in the recognition of traditional gender ethics. In addition, the transformation narrative person helps to restore the true image behind the narrator’s ethical choices. In The Only Story, Barnes tries to restore the narrative of gender ethics to the historical context of Britain between 1960 and 1970,revealing the transformation of old and new ethical values in British society, the transformation of ideal gender models, and the characteristics of the times in social development.

美洲文学研究

戚  涛

标题：疏远的亲近感——美国文学现代怀旧叙事模式的多元建构

Title: Distant Intimacy: The Multiple Construction of Modern Nostalgic Narrative Patterns in American Literature

内容摘要：现代性对归属感的载体——社会纽带与共同体造成了系统性的破坏，而美国性放大了上述负面效应。由此造成的归属感危机，促使许多美国作家在远离现实的时空找寻象征性的精神家园。在此过程中，主流的竞争性自治范式迫使他们规避传统的怀旧叙事模式，转而依靠朦胧的共情和抽象的价值认同来重塑归属感的边界，演化出了分离型恋情、漂泊型友情、松散同质型志趣共同体等三种主要的现代怀旧叙事模式。其核心特征是自治、混沌、易维护、可持续，有助于个体在不依赖他人的情况下，获得相对稳定的想象性归属感，弥补现实中归属感的缺失。此类怀旧叙事模式在美国文学中的重复再生产，说明它们高度适应现代美国社会，也令怀旧成为美国文学中的一个重要母题。

Abstract: While modernity has caused systematic damages to the carriers of sense of belonging, namely, social ties and communities, the notion of Americanness has made things even worse. Consequently, this crisis in the sense of belonging prompted many American writers to seek a symbolic spiritual home in spaces and times far from reality. In doing so, the mainstream paradigm of competitive autonomy forces them to evade traditional nostalgic narrative patterns, but instead rely on a liminal state of empathy and abstract value identification in reconstructing the boundaries in their sense of belonging, hence evolving through three major modern nostalgic narrative patterns: Separated Romance, Friendship in Adventures, and Loose-Homogenous Interest Community. Their core characteristics are autonomy, liminality, low maintenance, and high sustainability, which could help individuals acquire a relatively stable sense of belonging and make up for the lack of belonging in reality without relying on others. The recurrence of such a nostalgic narrative pattern in American literature not only shows their high adaptability to modern American society, but also turns nostalgia into a major motif in American literature.

刘成富

标题：爱德华·格里桑“世界性”文化身份理论探寻

Title: Theoretical Exploration about the “Cosmopolitan” Cultural Identity in Edouard Glissant’s Works

内容摘要： 在法国本土以外的法语作家中，加勒比地区马提尼克作家爱德华·格里桑的文化身份是耐人寻味的。从符号学的角度来把握他对加勒比文化乃至整个世界的认知，尤其从“群岛思想”“安的列斯性”与“克里奥尔化”“多元世界”等不同视角来把握其笔下“世界性”文化身份，具有十分重要的意义。

Abstract: Among the writers writing in French outside of France, the cultural identity concept presented by the Caribbean Martinique writer, Edouard Glissant, is thought-provoking. It makes great sense to adopt a perspective of semiotics in probing into his perception of the Caribbean culture and even the entire world, especially his representation of the “cosmopolitan” cultural identity based on a range of ideas, such as “archipelago thought,” “antillanity” and “creolisation,” and “plural world.”

许志强

标题：《曼哈顿中转站》中的摩天大楼书写与现代城市生活批判

Title: Skyscrapers Writing and Criticism of Modern Urban Life in Manhattan Transfer

内容摘要：在多斯·帕索斯的小说《曼哈顿中转站》中，商业性的摩天大楼不仅锻造了纽约城市的天际线，它所彰显的物质上的非凡成就及其所暗含的攀升理念，也建构了一整套“成功”话语，吸引野心家们不顾一切地向上爬。但对于普通人来说，高耸的摩天大楼无休止地注视着他们的生活，使其不得不调整身心以适应，在这一过程中，摩天大楼所隐含的拜物主义和消费文化也渗透到他们的意识之中，由此参与了人的异化。此外，还有一些既蔑视物质成功、又抵制平庸生活的年轻人，他们试图变革或摧毁摩天大楼，他们的失败显示出人在城市空间内所遭受的矮化。多斯·帕索斯通过揭示摩天大楼对不同群体的影响，将巴别塔化的纽约描绘为一个欲望之都、规训之所和毁灭之城，对现代城市生活方式提出了质疑，并表达出逃离城市的愿想。

Abstract: In Dos Passos’s novel, Manhattan Transfer, commercial skyscrapers forge the skyline of New York City, but the materialistic splendor the cityscape embodies and the notion of ascension it implies have constructed a whole discourse of “success” that lures ambitious people to climb the social ladder at all cost. For ordinary people, however, the towering skyscrapers are ceaselessly watching their lives and forcing them to adapt to it by adjusting their bodies and minds. In due course, the notion of materialism and consumer culture as symbolized by the skyscrapers also penetrate into people’s consciousness and thereby take part in their alienation. In addition, some young people, who despise material success but reject a life of mediocrity at the time, attempt to transform or destroy skyscrapers, but their failure shows the downgrading position of citizens within the urban space. By revealing the impact of skyscrapers on different groups of people, Dos Passos depicts the Babelized New York as a city of desire, discipline, and destruction, questions the modern urban lifestyle, and expresses a hope to escape from the city.

王丽菲

标题：时尚女士的寓言：戏剧《比照》中的奢侈与信用

Title: Fables of Fashion Ladies: The Luxury and Credibility in The Contrast

内容摘要：美国独立革命后，人民自主消费的热情伴随着时尚和奢侈的风潮席卷而来，并与教养、礼仪和品味相关联。在新成立国家的政治和经济氛围影响下，“第一部美国戏剧”《比照》试图在跨大西洋的视野下重新定义“美国人的时尚”，通过性别角色的塑造和戏剧性的创造、运用，对比英欧式的腐败和美国性的节俭。作者罗耶尔·泰勒以一场流行性消费价值观的文化辩论，探索18世纪英美“消费社会”的诞生和普遍奢侈的消费风尚的成因，为修正国家发展初期公民不当的奢侈行为和恢复新兴共和国在国际上的公共信用提供了解决方案。这一议题对于管窥美国民族文学与国家政治经济的互动有重要的参考性意义。

Abstract: After the American Revolutionary, people’s enthusiasm for independent consumption spread everywhere along with a wave of fashion and luxury, which reflected a close connection with education, etiquette, and taste. Under the influence from the political and economic atmosphere within the newly established nation, The Contrast, arguably “the first American drama,” tries to redefine the “American fashion” from a transatlantic perspective and compare British-European corruption to the American-style frugality with its representation of gender roles and its dramatic innovation and experimentation. Through a cultural debate over the values of popular consumption, the author, Royall Tyler, explores the inception of the “consumer society” in the 18^th-century Britain and U.S. and the causes of the widespread luxurious consumer fashion in an attempt to provide solutions aimed at rectifying the improper extravagant behaviors of citizens during the early stages of national development and restoring the public credibility of the emerging republic in the world. A probe into this issue has a great reference value on analyzing the interaction between American national literature and its national politics and economy.

亚非文学研究

朴哲希

标题：朝鲜文坛“唐诗三大家”概念由来及诗学价值

Title: The Origin of the Concept of “Three Masters of Tang Poetry” in the Korean Literary Circle and Its Poetic Value

内容摘要： 随着学宋之弊日显及明代复古思潮的影响，朝鲜朝中期的文坛重新掀起了学唐的热潮。在众多可供选择的唐代师法对象中，韩愈凸显了出来，金堉等文人率先将其与李白、杜甫同尊为学诗典范，李杜韩并称“唐诗三大家”的提法由此逐渐经典化并得到当时及后世文人的广泛认可。这一诗学现象实际上引出了三个值得深入思考的问题：“唐诗三大家”概念的提出及形成轨迹；“唐诗三大家”概念出现的原因；“唐诗三大家”在文坛的地位及蕴含的诗学价值。最终可以发现，“唐诗三大家”提法的产生根植于朝鲜文人学诗的实际需要。朝鲜古代文人群体对中国文学的接受早已不满足于浅层次阅读和照搬，已有了积极谋求自身诗学发展的判断与选择。

Abstract: Due to the increasing disadvantage in the study of the Song Dynasty and the impact from the retro ideology of the Ming Dynasty, there was a resurging interest in studying the Tang Dynasty within the Korean literary circle right in the middle of the Joseon Dynasty. Among so many worth studying Tang masters, Han Yu stood out. Jin Yu and other literati were the first to rank him as an exemplary model in studying Tang poetry along with Li Bai and Du Fu. Hence, the three poets became known as the “Three Masters of Tang Poetry,” a concept that was gradually canonized and widely recognized by the literati at that time and in later generations as well. This poetic phenomenon raises three issues worthy of in-depth consideration: first, the introduction and formation trajectory of the concept; second, the reason of its emergence; third, the status and potential poetic value of the “Three Master of Tang Poetry” in the literary circle. Finally, we can conclude that the concept of the “Three Masters of Tang Poetry” originated from the actual needs of the Korean literati in their study of poetry. The reception of Chinese literature by the literati group Joseon had long exceeded superficial reading and imitation, because they preferred to make their own judgment and choice in the active pursuit of their poetic development.

杜志卿

标题：《目的地比亚弗拉》对尼日利亚内战史的重构

Title: Destination Biafra: A Reconstruction of the History of the Nigerian Civil War

内容摘要：艾米契塔的《目的地比亚弗拉》是一部糅宏观战争政治和微观战时生活体验为一体、旨在重构尼日利亚内战史的历史小说。小说中的人物形象塑造、情节设置以及相关场景描写体现了作家的历史观和性别立场及其新历史主义写作意图。一方面，小说通过对一些真实历史事件的重构颠覆了男性内战书写中的传统英雄形象；另一方面，作品通过描写内战中妇女的创伤及成长经历赋予其主体性地位，表明女性也能在苦难中完成自我实现。另外，小说还通过塑造一位性格模糊的英国白人形象格雷来喻指独立后尤其是内战期间英国人对待尼日利亚的立场和态度，彰显了作家自觉的后殖民批评意识。

Abstract: B. Emecheta’s Destination Biafra is a historical novel that blends macro war politics with micro life experience during the war in an attempt to reconstruct the history of the Nigerian Civil War. The characterization, plot development, and depiction of scenes in the novel reflect the author’s view of history, her stance on gender, and her intent to write in light of New Historicism. On the one hand, the reconstruction of certain factual historical events in the novel subverts the traditional image of heroes commonly seen in books on the Civil War by male writers; on the other hand, its representation of women’s traumatic experiences and their growth during the war, which is clearly featured as a dominant part of the narrative, implies that women can also achieve self-realization in hardships. Moreover, its portrayal of Grey, a white Englishman with an ambiguous personality, alludes to the British standpoint and attitude toward Nigeria after its independence, especially during its Civil War, and highlights the author’s keen postcolonial consciousness.

往期精彩文章回顾：

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