《外国文学研究》2024年第1期主要论文摘要

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2024 年第 1 期(总第225期)

学术访谈

黄  荭  安妮·埃尔诺

标题：“我写作不求‘再现现实’，而要追寻现实”：安妮·埃尔诺访谈录

Title: “No to ‘Represent Reality’ but to Pursue Reality”: An Interview with Annie Ernaux

内容摘要：2022 年诺贝尔文学奖得主安妮·埃尔诺一直强调她写作的“非虚构”之维，她始终如一地书写生活，尽可能地贴近现实，从自我出发、从个人和集体的记忆出发去揭露和反思现实种种。现实主义之于她就是求实抵真，开创新的语言、新的文体，塑造新的文学形象，在阶级和女性这两大领域表达她强烈的社会介入和现实关怀。

Abstract: Annie Ernaux, the 2022 Nobel Prize laureate in Literature, has consistently emphasized her “non-fiction” writing style. She persistently delves into life experiences in her writings, striving to adhere closely to reality. Drawing from her own self as well as personal and collective memories, her works uncover and reflect upon various aspects of reality. For Ernaux, realism entails the pursuit of truth, the innovation of new language and literary styles, and the shaping of new literary images, through which she articulates a strong societal engagement and concern for reality, particularly within the domains of class and gender.

中外学者对话：重访现实主义

（栏目主持人：王守仁）

Svend Erik Larsen

标题：冲突式本体论视域下的现实主义

Title: A Realism of Conflicting Ontologies

内容摘要：19 世纪时，现代现实主义从欧洲传播至其他大陆。现实主义与异域文学传统的相遇打破了原本不容置疑的单向轨迹。通过不同国家与大陆之间单向的或是双向的交流，现实主义成为了一种多向度的文学与美学进程。这一进程发生于一个开放的全球文化与文学的交流背景之下。不同的作家、文本、翻译、媒体间的互动挑战了此前建立的中心与边缘的单一观念，展示了更为复杂的全球网络系统。在跨文化与杂糅的文化背景中，各种相互冲突的有关何为现实的观念亟需得到讨论。本文尝试通过解读不同地域的小说来探查这一本体论问题。文章认为，不论是古老抑或是新近的现实主义都超越了物质真实，展示了现代社会与物质世界的本体论不确定性。

Abstract: As modern realism travelled from Europe to other continents during the nineteenth century, the encounter with literary traditions in foreign places broke the otherwise unquestioned unidirectional trajectory. From a one-way or maybe a two-way traffic across countries and continents realism became a multi-directional literary and aesthetic enterprise. This process happened in an open global cultural and literary exchange between writers, texts, translations and media that relativized pre-established monolithic ideas about centers and peripheries and showed the existence of more complex global networks. In such cross-cultural and hybrid contexts the conflicting perspectives on what is regarded as real becomes a pressing issue. In this paper I will take issue with this ontological problem through brief readings of a number of novels from different continents. I will argue that realism, old or recent, first of all exposes the ontological uncertainty of the modern social and material world, beyond any reference to its material reality.

Tatjana Jukić

标题：跨艺术诗歌研究的中国理论建构与实践

Title: Tragic Realism

内容摘要：“悲剧现实主义”由埃里希·奥尔巴赫提出，总结了他对“模仿”以及语文学的理解。奥尔巴赫主要使用悲剧现实主义来描述 19 世纪小说的智识要求，但这一概念所反映的正是 19 世纪现代性在法国大革命后对维系及探查世界的激进历史性的迫切需求。因此，奥尔巴赫在《模仿论》（1946）中强调了对日常生活的重点关注。奥尔巴赫于 1941 至 1942 年间在伊斯坦布尔的演说中对现实主义的阐释体现了悲剧现实主义早已主导他的思维：“悲剧”意味着现代现实主义包含希腊悲剧的睿智。同希腊悲剧一样，现代现实主义介入了世界的激进历史性，而民主的概念体系正是通过这一历史性得到商榷。鉴于此，本文聚焦奥尔巴赫在伊斯坦布尔的演说，探讨悲剧现实主义的三个层面。此三个层面奥尔巴赫皆有谈及，但未曾得到深层解释：第一，悲剧现实主义是一种用作解释历史的灾难结构，第二次世界大战即为证明；第二，19 世纪英语小说乃一种迂回的现实主义；第三，影视在 20 世纪成为现实主义的载体。这三个层面勾勒出悲剧现实主义的隐性理论。这一理论不仅对《模仿论》进行了补充，而且指向具有普遍意义的现代性理论。

Abstract: Tragic realism is a concept outlined by Erich Auerbach; in many ways, it summarizes his understanding of mimesis and, by extension, his understanding of philology. While Auerbach employs it mainly to describe the intellectual stakes of the novel in the nineteenth century, what it captures is no less than the imperative of nineteenth-century modernity, in the wake of the French Revolution, to sustain and investigate the radical historicity of the world; hence Auerbach’s emphatic concern with the everyday in Mimesis (1946). By then, however, tragic realism has already dominated Auerbach’s thinking, most pointedly perhaps in his Istanbul lecture on realism in 1941-1942: “tragic” suggesting that modern realism entails the intelligence of Greek tragedy, invested as Greek tragedy was in engaging the world’s radical historicity, against which the conceptual apparatus of democracy was negotiated. With a focus on the Istanbul lecture, I propose to discuss tragic realism against three points that Auerbach makes, but does not pursue: first, that tragic realism serves to explain history as a structure of catastrophe, as evidenced by the Second World War; second, that the nineteenth-century English novel sidesteps realism; and third, that cinema takes over as a foothold of realism in the twentieth century. Taken together, these three claims seem to chart a tacit theory of tragic realism that supplements Mimesis and invites a general theory of modernity.

蒋承勇

标题：西方文学典型塑造“三模式”论——以现代现实主义为中心的比较辨析

Title: On the “Three Patterns” of Typical Characterization in Western Literature: A Comparative and Discriminative Analysis Centered on Modern Realism

内容摘要：19 世纪以前，西方文学中的人物形象通常是某种观念的承载者，其性格非环境之产物，属“观念 - 性格”模式的典型。19 世纪现代现实主义注重刻画人物性格，性格与环境密切关联，环境描写服务于丰富复杂性格的展示，其人物形象属“环境 - 性格”模式的典型。20 世纪现代主义反叛性地消解人物性格，淡化人物与环境之关系，其人物形象属“抽象 - 象征”模式的典型。相较而言，“观念 - 性格”和“环境 - 性格”模式的典型更贴近读者，尤其是后者因其更注重性格、环境和历史之演变的立体化互动而更富有人文内涵和审美意蕴。对不同“模式”典型的体认旨在深化对丰富繁杂之典型人物的深度理解，并在开放性接纳人类文学之人物描写优长基础上促进本土文学研究、文学创作与文学鉴赏。

Abstract: Before the 19th century, literary figures in Western literature were usually the carriers of certain ideas, with their personalities not being products of their environment, adhering to the “idea-character” pattern. In 19th-century modern realism, there was an emphasis on depicting character traits closely linked to the environment, with the portrayal of the environment serving to enrich the display of complex personalities, thus falling under the “environment-character” pattern. In 20th-century modernism, characters were rebelliously dissolved, with their traits and their relationship with the environment being downplayed, rendering them as typical examples of the “abstract-symbol” pattern. Relatively, typical characters in the “idea-character” pattern and the “environment–character” pattern are more relatable to readers, especially the latter, which possesses richer humanistic implications and aesthetic connotations due to its emphasis on the three-dimensional interaction of characters, environment, and historical evolution. Recognizing the characteristics of different “patterns” aims to deepen the understanding of the rich and diverse typical characters and to promote the study, creative writing, and appreciation of local literature on the basis of embracing the strengths of character portrayal in open-ended acceptance of human literature.

文学伦理学批评

潘碧华

标题：文学伦理学批评在马来西亚的传播与接受

Title: Dissemination and Acceptance of Ethical Literary Criticism (ELC) in Malaysia

内容摘要：聂珍钊教授于2004年提出具有中国特色的文学伦理学批评，经过20年的发展已逐步成熟。当具有中国特色的文学批评引进到马来西亚学术界时，得到该国学界的接受，并且充分运用到当地的文学与文化研究，取得很好的成效。本文尝试梳理文学伦理学批评在马来西亚的传播、接受与实践的过程，分析其传播途径与当地学者的接受态度。通过研究与发表，马来西亚学术界对文学伦理学批评展现出高度包容且开放的接受态度，并试图将其融入到马来西亚的文化语境中，以提高其在大马文学研究上的适用性。

Abstract: In 2004, Nie Zhenzhao introduced the theory of Literary Ethical Criticism with a Chinese touch, which has gradually matured after 20 years of development. As this theory enters Malaysia’s academic circles, this study explores how local scholars can expand its universality and applicability in the context of Malaysian literary research. The study focuses on the dissemination, acceptance, and practical applications of Literary Ethical Criticism in Malaysia, analyzing its channels of dissemination and local scholars’ attitudes. The findings reveal that Malaysian scholars have demonstrated a welcoming and open-minded attitude towards this theory and have attempted to integrate it into the cultural context of Malaysia to enhance its applicability in Malaysian literary research.

苏学林

标题：契约伦理与伦理选择——关于文学伦理学批评的跨学科思考

Title: Contract Ethics and Ethical Choice: An Interdisciplinary Reflection on Ethical Literary Criticism

内容摘要：作为一种影响深广的伦理类型，契约伦理不仅奠定了现实伦理秩序的基础，而且形成了脉络贯通的伦理书写传统。契约伦理的文学书写表明，契约伦理与伦理选择的双重涵义之间具有密切的关联：当伦理选择作为具体选择活动时，契约伦理通过伦理身份、伦理关系和伦理秩序等因素影响作家和人物的伦理选择，而作品通过伦理选择传达出独特的人文思考，反过来能够促进现实契约伦理的建构、优化和重塑；当伦理选择指称人类文明的发展阶段时，契约伦理作为科学伦理的规约机制和动力机制，在时刻经历转型的“后伦理选择时代”发挥着重要作用。基于其文学表征和理论特性，可以将契约伦理作为文学伦理批评跨学科研究的问题域，在一定程度上推动文学伦理学批评的理论拓展和实践深化。

Abstract: As a profoundly influential ethical type, contract ethics not only lays the foundation for the practical ethical order, but also forms a coherent tradition of ethical writing. The literary writing of contract ethics indicates a close connection between contract ethics and the dual implications of ethical choice: when ethical choice is a specific choice activity, contract ethics affects the ethical choices of writers and characters through various factors, such as ethical identity, ethical relationships, and ethical order. Through their ethical choices, the works convey their unique humanistic thinking, which in turn promote the construction, optimization, and reshaping of realistic contract ethics. When ethical choices refer to the developmental phases of human civilization, contract ethics, as the regulatory and driving mechanism of scientific ethics, plays an important role in the “post-ethical selection era” that undergoes constant transformations. Given the characteristics of its literary representation and theory, contract ethics can be addressed as an issue for the interdisciplinary research on Ethical Literary Criticism, which will advance, to some extent, theoretical expansion and practical dissemination of Ethical Literary Criticism.

戏剧研究

何辉斌

标题：峰终定律与悲剧审美心理

Title: Exploring the Classical Western Tragedy in Terms of the Peak-End Rule

内容摘要：峰终定律揭示了经验的世界与记忆的世界的不同：在经验之中人们实际感觉到的十分钟剧痛，自然少于同样的痛苦再外加十分钟逐渐减弱的痛苦，但在记忆的世界中，人们却觉得后者更好受，因为记忆首先聚焦于峰值和终值。悲剧摹仿的主要是记忆的世界，聚焦于一个具有整一性的行动，往往一开始就触动观众的心，然后痛苦节节攀升，在接近尾部的地方达到高潮，让峰值尽量后置，使峰终定律发挥到极致，容易获得观众和批评家的好评。人对痛苦的感知敏感度高，持续性强，所以能够在两个小时左右始终保持兴奋，关注力度可以逐步升级一直到高潮。与其他作品相比，悲剧审美的强度、长度和整一性都明显胜出，所以历来受到评论家的青睐。

Abstract: The peak-end rule reveals the differences between the world of experience and the world of memory: in the world of experience, the pain that people actually sensed in ten minutes is naturally much less than the same amount of pain plus additional ten minutes of decreasing pain, but in the world of memory, people believe that the latter is more endurable, because memory concentrates on the peak and end evaluation. As an imitation of the world of memory, tragedy always focuses on a unified action and usually touches the audience’s heart at the outset. Then, it gradually escalates the pain until it reaches the climax near the end of the play, but it tries to sustain the climax as long as possible in order to maximize the peakend effect, thus easily securing the high praise from the audience and the critics as well. Given their high but sustainable sensitivity toward pain, people can easily remain in an excited state for approximately two hours and hype up their interest until the climax. As compared to other genres, tragedy may offer an aesthetic experience that is clearly much more superior in intensity, duration, and unity. Therefore, it has been favored by critics all along.

王瑞雪

标题：后殖民视角下的欧里庇得斯批评史与古典学术话语流变

Title: A Postcolonial Perspective on the Critical History of Euripides and the Evolution of Classical Discourse

内容摘要：古希腊悲剧家欧里庇得斯的批评阐释历程深度参与了西方从殖民主义到后殖民主义的认识论变化。重新审视西方古典学术对于欧里庇得斯剧中的希腊身份及其文化他者的研究，将为殖民主义意识形态的批判提供有效的古典维度。首先，欧里庇得斯在东方主义话语的发展中呈现出多样的面相；其次，欧里庇得斯批评中的希腊人与“野蛮人”问题与古典学术话语的变革持续相关。这些学术批评中的诗学话语实践，尤其是对希腊性、人性、普遍性等概念的反思，体现了后现代西方文化之重构的一个侧面。欧里庇得斯悲剧的批评接受中的悖谬表征着后殖民与后现代文化生态之困境，也反映了多元文化语境中的文化赋值之难题。回观这一历程未完成的问题也有助于我们当下研究的主体性视角及文化身份的重思。

Abstract: The criticism and interpretation of the ancient Greek tragedian, Euripides, has been deeply involved in the Western epistemological evolution from colonialism to postcolonialism. Re-examining the Western classical studies on the Greek identity and its cultural other in Euripides’ plays may provide an effective classical dimension for the critique of colonial ideology. First, Euripides shows his various facets in the development of the Orientalist discourse; second, the issue of the Greeks and “barbarians” in Euripidean criticism is consistently related to the transformation of classical academic discourse. The discursive practice of poetics in these criticisms, especially its reflection on the notions of Greekness, humanity, and universality, reveals an aspect of the reconstruction of Western culture in postmodern times. The ambivalence and paradoxes in the critical reception of Euripidean tragedy represent the impasse of postcolonial and postmodern cultural ecologies and the problem of valorization of cultures in a multicultural context as well. Looking back at the unresolved issues in this process will also help us reconsider the subjective perspective and cultural identity in our current research.

欧美文学研究

乔修峰

标题：《黑暗的心》中的幽闭空间与风景的“再发现”

Title: Claustrophobic Space and the Rediscovery of Landscape in Conrad’s Heart of Darkness

内容摘要： 风景在康拉德的《黑暗的心》中并不是一个突出的因素，但在马洛非洲之行的最后一段旅程中，热带丛林风景构成的幽闭空间却对视觉形成了明显的挑战。马洛不断受挫的观景体验，既抵制了制图学对非洲大地的“绝对”控制，凸显了非洲丛林风景的崇高感，也颠覆了欧洲以透视法为基础的风景再现方式。马洛在观看非洲风景时，放弃了鸟瞰的方式，采用了甲虫的视角。这种有限的视角反而使他摆脱了认知层面的幽闭空间，从非洲丛林的“黑暗”中感受到了崇高的意味。马洛对非洲风景的这种“再发现”，不仅有助于重估小说中与殖民和帝国相关的话题，也有助于反思现代人的风景观看方式。

Abstract: Natural landscape is not prominent in Joseph Conrad’s Heart of Darkness, but in the last part of Marlow’s upriver journey, the claustrophobic space formed by the African jungle repeatedly frustrates his vision of the landscape. This frustration can be viewed as a challenge to the dominance of cartography over the African land, a cause for the sublimity of the African jungle, and a denial of the European perspective-based representation of landscapes. By forcing Marlow to take a beetle’s rather than a bird’s-eye view of the “Dark Continent”, the claustrophobic space helps him to find out “another image of Africa”, which not only sheds new light on postcolonial interpretations of this novella, but also provokes a reconsideration of our modern ways of sightseeing.

谌晓明

标题： “门”里的身份政治：论福克纳作品中的阈境嬗变

Title: Identity Politics in “Doors”: Liminal Transmutation in Faulkner’s Fiction

内容摘要：作为呈现故事情节和深化主题的重要手段，“门”这一阈限空间也是文学钟爱的人物身份建构途径，福克纳笔下形制各异的门在表征阈限人物的伦理、性别和阶级身份嬗变方面卓有成效。南方的大宅豪门既见证了巴耶德单挑仇敌的伦理侠义，也倾诉着康普生兄妹的伦理沉沦；厨房之门既展现了迪尔西平凡真挚的女性关爱，也经历了乔的男性气概的覆灭；天真与经验之门既是成长与顿悟的必经之路，又造就了萨德本与沃许间难以弥合的阶级鸿沟。从前后之别到开合之分，门的伦理、性别和阶级本质主义让天真者遵从其秩序，让顿悟者思想跃迁，在个人身份嬗变中展现独特的阈限空间文化、政治和美学。

Abstract: As an important means to present plots and sublimate themes, the liminal space of doors is also a favored avenue in literature for constructing character identities. In Faulkner’s works, the diverse shapes and forms of doors effectively symbolize the ethical, gender, and class transmutation of the liminal personae. The grand mansion doors witness Bayard’s chivalrous ethics in confronting adversaries, while also reflecting the ethical degradation of the Compson siblings. The kitchen doors showcase Dilsey’s sincere feminine care and Joe’s misadventure of masculinity identity. And the doors of innocence and experience serve as pathways for maturity and epiphany, yet also accentuate the unbridgeable class chasm between Sutpen and Wash. From the distinction between front and back doors to the difference of opening and closing them, the ethical, gender, and class essentialism of doors subjugate the innocent to their order and prompt enlightenment for the emphatic, which demonstrates unique cultural, political, and esthetical qualities in the liminal space.

谢敏敏

标题： T.S. 艾略特与乔治·桑塔亚纳文学思想比较研究

Title: A Comparative Study of Literary Thoughts between T. S. Eliot and George Santayana

内容摘要：集哲学家、美学家和诗人多重身份于一体的乔治·桑塔亚纳是 T.S. 艾略特在哈佛求学时的老师，也是其早期文学创作的领路人之一。桑塔亚纳不仅启发艾略特摆脱了在本体论认知上的纠缠困境，还很好地促进了艾略特早期诗风的转变以及创作视野的成熟。艾略特继承了桑塔亚纳部分文学遗产，在诗歌哲学意蕴的生产、客体化诗学的成型以及对但丁诗歌艺术的借鉴上等方面都与自己的老师保持了诸多的一致性。与此同时，艾略特在借鉴、吸收这些桑塔亚纳文学理念的同时，亦进行了个性化转化和超越。简而言之，桑塔亚纳为艾略特走向现代主义运动的舞台中心发挥了重要却易被忽略的贡献。

Abstract: George Santayana, a philosopher, aesthete, and poet, was T.S. Eliot’s teacher at Harvard and one of his early mentors in literature. Santayana not only helped Eliot out of the dilemma in ontological cognition but also greatly contributed to the change of Eliot’s early poetic style and the maturation of his creative vision. Eliot inherited part of Santayana’s literary legacy, aligning with his mentor in producing philosophical connotations in poetry, developing the objectification of poetry, and borrowing from Dante’s poetic art. At the same time, Eliot creatively incorporated and surpassed Santayana’s literary ideas while assimilating them. In short, Santayana made an important yet often overlooked contribution to Eliot’s emergence as a central figure in the modernist movement.

唐   微

标题：多克托罗《纽约兄弟》中的物叙事

Title:On the Narrative of Things in E. L. Doctorow’s Homer and Langley

内容摘要：在 E. L. 多克托罗的小说《纽约兄弟》中，主人公通过囤积物品打造出一座由文明的剩余物组成的家庭博物馆。小说呈现了一个鲜活的物质场境，通过把 20 世纪美国历史编码到层出不穷的物品当中，传达出一种基于物的历史认识论：历史可被视作一种物品化的过去，是人类主体与无生命的物之间细微而具体的互动性建构。物承担起特殊的叙事功能，它们支撑起小说对于 20 世纪美国的物质想象，凝聚了个人生活和集体记忆的真相，也揭示了国家的历史轨迹与主人公身份命运的悖反关系。

Abstract: In E. L. Doctorow’s Homer and Langley, the protagonists build a family museum of the remnants of civilization by hoarding things. The novel creates a vibrant material environment by encoding 20th-century American history into endless objects, conveying a historical epistemology based on things - history can be regarded as a materialized past, a subtle and mutual constitution of human subjects and inanimate objects. Things bear distinctive narrative functions and contribute to the novel’s material imagination of 20th-century America. They not only crystallize the truth of individual experience and collective memory, but also reveal the paradoxical relationship between the rise of American history and the protagonists’ fateful fall.

批评与批评研究

王   佳

标题： 寓言定义的重审：文学体裁与思维方式的共构

Title: Revisiting the definition of fable: Co-construction of Literary Genre and Modes of Thoughts

内容摘要：仅从体裁特征入手无法获得对寓言概念的全面认知，古希腊时期的寓言只是亚里士多德眼中的“例证”形式，而 17 世纪拉封丹寓言已迈入上流文学的殿堂，在寓言认知发展的过程中，寓言定义者都试图尽可能简洁地描述寓言作为文学体裁的排他性特征。对寓言描述与定性的依据远不止于其文学性特征，寓言从交流方式演化为文学体裁，进而成为能被广泛认可的文化概念，本质上所体现的是一种思维方式，寓言从叙事到寓意的演绎规律是其作为概念的意义内核。寓言文本是寓言思维下具有可翻译性的“寓指”，寓意是寓指“机制化翻译”的结果，寓言是在创作者与接受者共有思维方式的前提下实现有效传播的。

Abstract: It is impossible to obtain a comprehensive understanding of the concept of fable only from the characteristics of genre. The fable in ancient Greece was merely considered an “exemplary” form by Aristotle, while by the seventeenth century, La Fontaine’s fables had ascended to the realm of high literature. In the course of the cognitive development of fable, definers have attempted to characterize succinctly the exclusivity of fable as a literary genre. However, the basis for describing and qualifying fables extends far beyond their literary characteristics. Evolving from a mode of communication to a literary genre, and eventually becoming a widely recognized cultural concept, fables fundamentally embody a mode of thought. The deductive law of fable from narrative to moral is the core of its meaning when it is perceived as a concept. In fable thinking, the text of the fable is a translatable “allegory”, whereas the moral is the outcome of the “mechanized translation” of the allegory. Fables, therefore, facilitate effective dissemination under the precondition of shared modes of thought between creators and recipients.

王   航

标题：历史意识、多元主体与经济人文转向——《剑桥文学与经济研究指南》述评

Title: Historical Consciousness, Multiple Economic Subjects, and a Turn to Economic Humanities: A Review of The Cambridge Companion to Literature and Economics

内容摘要：经过 21 世纪的勃兴与发展，文学经济学批评主要通过文学的经济表征和经济的文学修辞探讨经济知识的理论范式和物质现实。保罗·克罗斯维特等教授主编的《剑桥文学与经济研究指南》（2022）便是文学经济学批评的最新研究成果。通过分析文学和经济学的近缘关系、文学话语和经济话语之间的张力、异质多元的经济主体和经济人文的跨学科想象等四个层面，《剑》表明了文学经济学批评的历史意识、多元主体和经济人文转向，拓宽了文学经济学批评的研究视野。经济人文致力于构建文学与经济学的平等对话，丰富彼此的理论话语，共同提升人们对社会经济生活的认知想象。

Abstract: After years of rise and development in the 21st century, economic literary criticism has mainly examined economic representations of literature and literary rhetoric of economics to explore conceptual paradigms and material realities in relation to economic language. Edited by Professor Paul Crosthwaite and others, The Cambridge Companion to Literature and Economics (2022) is one of the latest research achievements in this critical field. Analyzing the relationships between literature and economics, the tensions between literary and economic discourses, the heterogeneous and diverse economic subjects, and the interdisciplinary imaginations of economic humanities, it demonstrates historical consciousness, multiple subjects, and the shift towards economic humanities, broadening the research perspectives of economic literary criticism. Economic humanities aim to construct an equal dialogue between literature and economics, enrich each discipline’s theoretical discourses, and enhance people’s cognitions and imaginings of social economic life.

往期精彩文章回顾：

黄 荭 安妮·埃尔诺 | “我写作不求‘再现现实’，而要追寻现实”：安妮·埃尔诺访谈录

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