《外国文学研究》2024年第3期主要论文摘要
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2024 年第 3 期(总第227期)
中外学者对话：文学伦理学批评与AI文学
W.J.T.米切尔 著 韦清琦 译
标题：从机械机器人到智能机器人：人工智能的图像学
Title: From Robots to iBots: The Iconology of Artificial Intelligence
内容摘要：智能机器人将人类带入了自原子弹、电灯或是印刷术以来最伟大的科技革命之中，同时智能机器也能走火入魔这一构思也向来是科幻作品的核心想象。纵观媒体发明的历史长河，对人工智能的恐慌并不新鲜，人们曾认为书写的发明和照相术将扼杀记忆和绘画，现在又照例指责数码正在毁灭模拟技术的独一性。人类应该冷静下来，采取对症下药的态度。有必要解构关于人与机器之差异的想象，而毋需躲避与智能机器人的交互谈话。人类物种虽然在作茧自缚，但同时又以进化与生态智能为基础，努力建设可持续全球体系。图像学研究的图像和文字同时包括了机器和人类的作品，因而相关的研究者应明确自己的任务：就文字与图像和智能机器人展开对话，在上述人类的生存努力中谋求与智能机器人携手合作。
Abstract: iBots are placing human beings in the midst of the greatest technological revolution since the atomic bomb, the electric light, or the printing press, while the idea that an intelligent machine can go mad has been a central fantasy of sci-fi. Seen within the long history of media invention, the panic over AI is nothing new, for similar to the inventions of writing and photography assumed to destroy memory and kill painting, the digital is routinely blamed for ruining the uniqueness of the analog. The humanities should calm down and approach this in a therapeutic mode. Our picture of the difference between humans and machines needs to be deconstructed, and there will be no avoiding or evading a talking cure. It is the task of iconologists, who study the generation of images and words by both machines and humans, to enter into word and image dialogue with the iBots, to see if we can be friends and collaborators in the project of the human species surviving its own endemic madness and evolving into a sustainable global system grounded in evolutionary and ecological intelligence.
聂珍钊
标题：科学选择与 AI 文学
Title: Scientific Selection and AI Literature
内容摘要：在文学伦理学批评的理论体系中，科学选择阶段在某种意义上说就是 AI（人工智能）阶段，是一个由 AIGC（人工智能生成内容）主导的阶段。随着人工智能技术的快速发展及广泛运用，AI 文学作为一种新型的文学类型诞生了。AI 文学就是人工智能生成的文学，即 AIGC文学。通过大规模数据集的预训练和后续的微调，AIGC具备了智能化处理自然语言的能力，既可以模仿人类生成类似传统文学的诗歌、小说、戏剧、故事、散文等不同文体的文本，也可以按照AI 时代的要求生成新的作为文学接受的文本。AI 时代的文学生成已经不满足于文学文本的生成，正在向 AIGC多模态文学转变，将催生虚拟的 AIGC数字作家的出现。仿真数字作家是仿真数字人中的一个类别，它支持基于采集、训练完成的数字作家建模，生成仿真的数字人形象，不仅具有真人一样的肢体动作和面部表情，而且还支持符合不同场景的服饰和背景变换，支持可调节语音接入、动作及表情驱动。仿真数字人是对以 ChatGPT 为代表的聊天机器人的更新迭代，不仅古典作家可以借助 AIGC 在当代复活，继续文学写作生命和生成作品，而且当代作家也可以借助 AIGC 技术虚拟（克隆）自己生成 AI 数字人形象，实现真人的数字分身并生成具有自己个性特点的作品。AIGC文学的出现，必将引发有关文学的形式、文学的内容、作者与作品、阅读与传播、理论与批评等问题的思考与讨论，进而引导文学观念的改变以及文学理论及批评的重构。
Abstract: In the theoretical system of Ethical Literary Criticism, scientific selection, in some sense, is AI (Artificial Intelligence) phase, which is dominated by AIGC (Artificial Intelligence Generated Content). With the rapid development and wide availability of AI technology, AI literature has emerged as a new literature genre. AI literature is the literature generated by AI, that is, AIGC literature. By way of pre-training dataset and subsequent fine-tuning, AIGC acquires the ability to process natural language in an intelligent way, being capable of both imitating human beings in terms of composing poetry, novels, plays, stories, essays, and other literary texts analogous to traditional literature, and generating new literary texts in accordance with the AI era. Literary generation in the AI era is not limited to the generation of literary texts, but is now transforming into AIGC multi-modal literature and will foster the emergence of virtual AIGC digital writers. A type of simulated digital humans, simulated digital writers, supporting digital writers modeling based on collection and training, create simulated digital human images which not only have human-like body gestures and facial expressions but also endorse clothes and background shifting according to varied settings, adjustable voice access, motion, and expression drive. Simulated digital human is the update version of chatbots represented by ChatGPT. Classical writers can be resurrected with the help of AIGC, continuing their literary writing career. In the meantime, contemporary writers can clone themselves and create their own AI digital images by using the technology, generating a digital self and produce literary works of their own features. Inevitably, the advent of AIGC will trigger rumination and discussion about literary forms, literary contents, writers and works, reading and communication, theories and criticism, so as to promote changes of literary ideas and reconstruction of literary theories and criticism.
Wang Ning
标题：面对 ChatGPT 的挑战：呼唤文学翻译中的伦理转向
Title: Confronting the Challenge of ChatGPT: Call for an Ethical Turn in Literary Translation
内容摘要：在目前所有饱受热议的话题中，ChatGPT 可能是最受关注的一个。有人可能会提出这样的问题：ChatGPT 到底是什么？它对我们的工作和生活意味着什么？这是否意味着一切迟早都会被 ChatGPT 或 AI 所取代？如果这是真的，那么我们人类应该如何应对这种情况呢？人类的伦理道德是否仍然有效和必要？以上都是我们面临的问题。本文试图从伦理学的角度来回答这些问题。它侧重于文学翻译和理论翻译。在本文作者看来，一般的写作无疑可由人工智能完成，甚至包括一般的翻译。但对于文学创作和翻译，人工智能不一定能够胜任。优秀的译者只能相对忠实地表达其理论的基本要义，但对其微妙而有争议的深层含义则无法用另一种语言准确地再现。因此，作者呼吁在当前的文学翻译中出现一种“伦理转向”，这样可以恰如其分地评价人工翻译者的工作和角色，避免从一个极端走向另一个极端。
Abstract: Among all the topics being heatedly discussed at present, ChatGPT is perhaps the very topic that continues to grow in popularity. One might raise these questions: What exactly is ChatGPT? What does it mean for our work and lives? Does it mean that everything will sooner or later be replaced by ChatGPT or AI? If that should be true, what shall we human beings do toward this situation? Will human ethics still be effective and necessary? All the above are issues confronting us. The present article attempts to respond to them and tries to reply to some of the questions from an ethical perspective. It focuses on literary and theoretical translation. To the present author, ordinary writing will no doubt be done by AI, including translation. But for literary creation and translation, AI will not necessarily be able to do satisfactory jobs. Good translators can only render the basic meaning of their theories in a relatively faithful way, but their subtle and controversial deeper meanings cannot be accurately reproduced in another language. The author, therefore, calls for a sort of “ethical turn” in current literary translation, for it will adequately evaluate human translators’ job and role, avoiding the tendency of going from one extreme to the other.
中外学者对话：重访现实主义（栏目主持人：王守仁）
Ottmar Ette
标题：摹仿：再现西方和非西方之世界的文学中活的现实
Title: Mimesis: The Representation of Lived Reality in Western and Non-Western Literatures of the World
内容摘要：埃里希·奥尔巴赫的《摹仿：西方文学中的现实再现》无疑是研究现实主义领域中长期以来最有影响力的出版物之一。在他逃离纳粹德国期间所著的这部书中，奥尔巴赫以跨历史的方式展开群岛式的写作，从希腊罗马古典时代到中世纪再到二十世纪，对“摹仿”概念进行了一系列的研究。他区分了西方文学中两种不同的现实再现形式，我们可以称之为大陆式和群岛式。本文旨在研究西方及非西方文学中两种书写现实的模式，聚焦于从 18 世纪到当今，特别是在无固定栖所的文学作品中所呈现的活的现实。当我们讨论现实主义时，关于生活和活的现实，认识论上发生了哪些变化与转化呢？
Abstract: Erich Auerbach’s book Mimesis: The Representation of Reality in Western Literature is certainly, in the long run, one of the most influential publications in the field of studies on realism. In his book written in exile from Nazi Germany, Auerbach investigates the concept of “mimesis” in a transhistorical series of studies, organized as an archipelagic writing, from Greek and Roman Antiquity through the Middle Ages until the 20th Century. He distinguishes two different modes of representations of reality (dargestellte Wirklichkeit) in Western literatures that we could qualify as continental and archipelagic. This paper aims to study these two modes of writing realism in Western and non-Western literatures, focusing on the representations of lived reality specially in Literatures with no fixed Abode from the 18th century until our day. What are the epistemic changes and transformations when we talk about life and lived reality when dealing with realism?
菲利普·杜福尔 著 张贝 译 曹丹红 校
标题：现实主义小说或现代讽刺
Title:Realistic Novels or Modern Satire
内容摘要：19世纪法国现实主义可以被定义为某种语调：嘲讽。巴尔扎克认为这种语调是历史的要求。现实主义作家并不将自己视作启发读者、描画未来蓝图的先知。1830年革命后，当资产阶级自由主义民主试图强加自己的模型时，现实主义作家指出了现实的困境。现实主义式嘲讽与启蒙时代伏尔泰的反讽有根本差别，后者奠基于真理与谎言的截然区分之上，是好战的，以确定性的名义行事，为进步而斗争。前者则属于某种彻底的怀疑主义。小说的对话性不应理解为对民主精神（通过视角的多元化来关注多样性）的赞扬，而应理解为对社会话语的总体讽刺，这一社会话语是种巨大的众生喧哗。本论文意图界定的，正是这一“抽离”美学。
Abstract:The French realism of the 19th century could be defined by one tone: mockery. According to Balzac, it was determined by history. The realist writer did not see himself as a romantic mage destined to enlighten his reader or chart the paths of the future. Instead, he pointed out the dead ends of the present, while the bourgeois liberal democracy sought to impose its model after the revolution of 1830. This mockery differs greatly from Voltaire’s irony during the Enlightenment, which was combative, exercised in the name of certainties, with a clear distinction between truth and lies, and militant for progress. Realist mockery is paired with radical skepticism. The very dialogism of the novel is not to be understood as a celebration of democratic spirit (acknowledging plurality through diverse points of view), but as a global satire of social discourse, a vast cacophony. This aesthetic of disengagement is what we seek to characterize.
徐 蕾
标题：加尔各特的布克奖小说《承诺》与全知叙事者的“归来”
Title: Damon Galgut’s Booker Prize-Winning Novel The Promise and the “Return” of the Omniscient Narrator
内容摘要：当代南非作家达蒙·加尔各特 2021 年布克奖小说《承诺》的叙事者充分发挥了19世纪现实主义小说中全知叙事者作为“鉴史人”的经典作用，既能基于外叙事层 - 异叙事者的立场探究南非从种族隔离时代向“彩虹之国”转型的历史变迁，又可以借助自由间接引语切入人物或施事者的内心世界。更具鲜明特色的是，小说的叙事者在挪用传统全知叙事的认知与叙事权威之时，也在暗中挑战与颠覆这种权威，即一面摹仿维多利亚小说全知叙事对中产阶级群体意识的表征，一面借助文本内部的“沉默”或 “空白”以召唤读者对南非白人的种族主义无意识进行反动与解构。因此，这一具有高度自反性的全知叙事者在《承诺》中的“归来”可以视为加尔各特面对当代南非文学在现实主义与（后）现代主义之间该何去何从的独特回答。
Abstract:Contemporary South African writer Damon Galgut’s Booker Prize-winning novel The Promise fully taps into the nineteenth-century realist convention of omniscience and creates an extradiegetic-heterodiegetic narrator as a histor to investigate the transformation of South Africa from Apartheid to the Rainbow Nation as well as to penetrate the inner worlds of characters and agents mainly via free indirect discourse. What is stylistically striking about Galgut’s employment or appropriation of omniscience is that the epistemic and narrative authority rendered by conventional omniscience is posed as a central target for challenge and subversion. On one hand, it sets out to imitate the collective mind of the white South Africans in the typical vein of the Victorian novel, while on the other hand, it calls upon the reader to react to and deconstruct the racist unconscious laid bare by way of a purposeful silence or blank within the text. Therefore, the highly self-reflexive narrator in The Promise can be seen as the author’s individualistic response to the call of contemporary South African literature at the crossroads of realism and (post)modernism.
中外文学的交流与互鉴
占才成
标题：日本记纪黄泉国神话中的中国元素
Title: The Chinese Elements in the Japanese Myth of Yomi-no-kuni
内容摘要：日本记纪黄泉国神话多被认为与希腊俄耳甫斯的冥界寻妻神话有关。然而，分析黄泉国神话的文学形象、情节结构可以发现，日本记纪黄泉国神话与希腊俄耳甫斯冥界寻妻神话不仅存在情节结构上的不同，也存在冥界空间构造及思维认知的不同。进一步比较分析可知：日本记纪黄泉国神话的情节结构受《搜神记》“汉谈生”故事的影响；黄泉国神话中的“桃辟鬼邪”思想源于中国；“黄泉”一词来自中国古代典籍文献；黄泉国神话的空间构造与中国古代横穴式墓葬结构有关。日本记纪黄泉国神话的溯源研究不应一味地将视角投向印欧神话，更应聚焦东亚文化圈的中心——中国。
Abstract:The Japanese myth of Yomi-no-kuni is generally believed to have a relation to the Greek myth of Orpheus. However, by analyzing the literary image and plot structure of the Japanese myth, we find that there are differences not only in plot, but also in the spatial structure and cognitive thinking of the underworld between the Japanese myth of Yomi-no-kuni and the Greek myth of Orpheus. A further comparative analysis can deliver several revelations: the mythological structure of the Japanese myth of Yomi-no-kuni is deeply influenced by the “Han Tan Sheng” story in Sou Shen Ji; the thought of “peach to ward off ghosts and evil” in the myth of Yomi-no-kuni originates from ancient China; the word “Yomi” comes from ancient Chinese classics; the spatial structure of the myth of Yomi-no-kuni is related to the structure of ancient Chinese tombs. To trace the origin of the Japanese myth of Yomi-nokuni, we should not simply dwell on the Indo-European myth; instead, we should attach more attention to the center of East Asian culture – China.
贾 岩
标题：瑟格塞纳《乡村蛇舞》与鲁迅《社戏》故乡书写的互文性
Title: The Intertextualities between Saxena’s Homeland Writing in “Village Snake Dance” and Lu Xun’s in “Village Opera”
内容摘要：20 世纪八十年代，在鲁迅影响下产生的印度本土文学书写显著增多，此类文本标志着鲁迅文学在长达半个世纪的印度接受史中，从阅读对象向美学资源的实质性转化，相较于翻译和评论，它们更能反映印度文学对中国文学的接受程度，也更能展现现当代中印文学交流的活力、深度和多样性。瑟格塞纳《乡村蛇舞》与鲁迅《社戏》的故乡书写存在多种互文联系：化用了《社戏》“怀念故土”和“批判现世”的二重主题设定与“寓乡于戏”的主题表现方法；在形式上创造性地借用了《社戏》中的关键意象，并仿效了鲁迅以具体地标象征故乡经验的叙事技巧；借预设手法塑造了鲁迅作为批判者和启蒙者的文学形象，从而构建起《乡村蛇舞》与鲁迅文学的整体关联，反映出瑟格塞纳与鲁迅的思想互动。
Abstract: In the 1980s, the number of Indian writings produced under the influence of Lu Xun increased considerably. Such texts signify the substantial transformation of Lu Xun’s literature in the half-century-long history of its reception in India, shifting from being subjects of reading to becoming aesthetic resources. In comparison to translations and critiques, these writings more effectively reflect the extent to which Indian literature embraces Chinese literature and showcases the vitality, depth, and diversity of modern and contemporary Sino-Indian literary exchanges. The homeland writing in Saxena’s “Village Snake Dance” shares various intertextual connections with that in Lu Xun’s “Village Opera.” It appropriates the dual thematic setting of “nostalgia for the homeland” and “critique of the present world” as well as the method of embedding the homeland in a dramatic performance. It also creatively borrows the key imageries of “Village Opera” and emulates Lu Xun’s narrative technique of using specific landmarks to symbolize the homeland experience. In addition, it employs the device of presupposition to shape Lu Xun’s literary image as a critic and enlightener, thereby establishing an overall connection between “Village Snake Dance” and Lu Xun’s oeuvre, which reflects the ideological interaction between Saxena and Lu Xun.
欧美文学研究
谷 裕
标题：修辞学与德国巴洛克戏剧
Title: Rhetoric and German Baroque Drama
内容摘要：修辞学亦称演说术，是 17 世纪德国巴洛克诗学的核心要素。巴洛克修辞学继承古典和人文主义传统，不只限于语言层面的修辞格，而是围绕书面言辞和演说实践形成的一整套原理。古典修辞学 - 演说术就其产生和分类（诉讼演讲、政治演讲、典礼演讲），与公共生活密切相关。而巴洛克的政治历史剧，或以宣扬君主德性、讨论政体形式为题，或演绎国家理性与政治伦理的关系，其在人文中学上演，旨在通过戏剧表演，促进学生的语言和修辞学习，培养未来治国理政人才，在公共性上与古典修辞学 - 演说术相互契合。文章拟以巴洛克修辞学原理为经纬，以新近翻译出版的三部在文学审美意义上具有代表性的政治历史剧为例，以由外及内、由宏观及微观的路径，从不同侧面探讨修辞学与巴洛克戏剧的共生关系，尤其分析指出修辞学如何影响和规定巴洛克戏剧演出和戏剧诗学，修辞格又如何成为增强戏剧语言表现力的有效手段。
Abstract: Rhetoric was a central element of German baroque poetics of the 17th-century. Inheriting the classical and humanist traditions, baroque rhetoric extends beyond to the rhetorical tropes and figures at the semantic level to encompass a system of principles developed from the practice of written text and oratory. Classical rhetoric in terms of its production and categorization (litigious speeches, political speeches, ceremonial speeches) is closely intertwined with public life. The baroque political-historical dramas, whether propagating monarchical virtues, discussing the forms of government, or elucidating the relationship between the reason of state and political ethics, are staged in gymnasiums to facilitate students’ language and rhetoric skills and cultivate future leaders in governance through theatre performances, which is mutually compatible with the public nature of classical rhetoric. This paper takes the principles of baroque rhetoric as the theoretical framework, and the three newly translated and published political-historical dramas that are representative of the literary-aesthetic significance of this epoch as examples. From the macroscopic to the microcosmic level and from historical phenomena back to their intrinsic cause, this paper aims to explore the symbiotic relationship between rhetoric and baroque drama, particularly highlighting how rhetoric influences and prescribes the Baroque drama performances and poetics, and how rhetorical tropes and figures become an effective means to enhance the expressive power of the dramatic language.
罗贻荣
标题：戴维·洛奇小说诗学在巴赫金影响下的转向与焕新
Title:The Turn and Revitalization of David Lodge’s Poetics of Fiction under the Influence of Bakhtin
内容摘要：戴维·洛奇早期小说语言论让他作为小说批评家一举成名，相比之下“巴赫金之后”的洛奇小说理论发展没有受到应有关注。然而，洛奇在巴赫金影响下所做的最重要的事情，恰恰是对前者进行反思。戴维·洛奇小说诗学在“巴赫金之后”发生了小说文体观从“纯一”到“杂语”、批评方法论从“语言一元”到“对话批评”、创作起源论从“语言初始”到“选择先在”的转向；在作者之辩、文学审美“纯粹性”坚守、批评实践、小说话语类型学研究等方面得到焕新。洛奇小说诗学的转向和焕新有其内在逻辑，伴随着对一些具有普遍意义的当代文学理论重大问题走出困境途径的探索，它赋予戴维·洛奇的巴赫金研究以独特性和原创性，也带给我们在当今中国语境下文学和文学批评有关问题诸多启示。对上述问题的探讨，将有助于我们更好地理解被视为形式主义小说理论代表人物的戴维·洛奇的小说诗学理论发展全貌和整体特征，并由此了解巴赫金在欧美文论发展中所产生影响的一个尚未被充分认知和评估的方面。
Abstract: Compared with David Lodge’s early theory of “language of Fiction,” which catapulted him to fame as a critic of the novel in China and abroad, the development of Lodge’s poetics of fiction “after Bakhtin” has not received due attention. However, the most important thing that Lodge did under the influence of Bakhtin was precisely to reflect on the former. “After Bakhtin,” David Lodge’s poetics of fiction has undergone turns from “pure unity” to “heterogrossia” in stylistics, from “linguistic monism” to “dialogic criticism” in critical methodology, and from “language initiation” to “choice preexisting” in his perspective on the origin of creation, along with revitalization in the debate of authorship, the insistence on literary aesthetics, the practice of criticism, and the exploration of the typology of fictional discourse. The turn and revitalization of Lodge’s poetics of fiction have an inherent logic, exploring ways out of the dilema of major contemporary literary theoretical issues of universal significance, endowing David Lodge's Bakhtin studies with uniqueness and originality, and providing many insights into issues related to literature and literary criticism in the current Chinese context. The discussion of the above issues will help us better understand the overall development and characteristics of David Lodge’s poetic theory of fiction, which is regarded as a representative figure of formalist fiction theory, and thus understand an aspect of Bakhtin’s influence in the development of European and American literary theories that has not yet been fully acknowledged and assessed.
龙 丹
标题：《达洛维夫人》中的年龄危机与老年镜像认同
Title: The Age Crisis and Imaginary Identification of Old Age in Mrs. Dalloway
内容摘要：伍尔夫在《达洛维夫人》中用大量笔墨书写达洛维夫人的年龄表征及其变老体验，从文学老年学的视角观之，小说呈现了人物的年龄危机及其老年镜像认同，表现出对老年的积极想象。具体而言，由于战后英国社会的年龄歧视及其双重性别标准，50 岁的达洛维夫人对即将来临的老年充满恐惧。身患“恐老症”的她拒绝认同老年镜像，表现为将老年镜像归为他者，并坚持老去的仅仅是身体、而非心灵。达洛维夫人对老年镜像的否定事实上是对“衰退叙事”和“包袱叙事”等老年话语的拒绝，她通过邻居老妇重新想象积极的老年镜像。貌似被社会隔绝的老妇对其孤寂、独立的老年生活感到自洽，同时与大本钟象征的伦敦社会保持半隐退式认同，从集体文化中寻求其生命的价值。受此鼓舞，达洛维夫人在阁楼象征的老年空间中探索积极的变老方式，重新认识年岁增长带来的智慧和自由。
Abstract: Woolf extensively portrays the ageing process and experiences of Mrs. Dalloway, presenting the character's age crisis and her imaginary identification with the mirror image of old age and demonstrating a positive imagination of ageing, if studied from the perspective of literary gerontology. Due to ageism and double gender standards in post-war British society, the 50-year-old Mrs. Dalloway is filled with fear of impending old age. Afflicted with “gerontophobia,” she refuses to identify with the mirror image of old age, regarding it as the other and insisting that only the body, not the soul, ages. This denial is, in fact, a rebuttal of the ageing discourse including the “decline narrative” and the “burden narrative”. Instead, she reimagines the mirror image of old age through her imagination of an elderly neighbor, a seemingly socially isolated old woman who finds solace in her solitude and independent life in old age and seeks value in her life from collective culture, while maintaining a semi-retired identification with London society symbolized by Big Ben. Inspired by her, Mrs. Dalloway explores positive ways of aging in the attic, a symbol of old age, and reinterprets the wisdom and freedom brought by ageing.
钱激扬
标题：《安然事件》跨媒介剧场的审美与叙事分析
Title: An Analysis of the Aesthetics and Narrative in Enron’s Intermedial Theatre
内容摘要：当代剧场的美学取向出现了两个不可思议的悖谬：一是肉身性与媒介化的对立互生，二是在召唤感知的剧场内寻找意义。英国剧作家露西·普雷布尔的《安然事件》巧妙实现了肉身性与媒介性、感官与思考的关联。这部集话剧、音乐剧、舞蹈为一体的制作将美国安然公司财务造假丑闻构作成活泼的跨媒介作品。新闻影像与身体表演形成的跨媒介指涉暗示了荣耀的迷惑性。数字技术打造的动态剧场传递了金融泡沫的上升快感。歌舞、文献片与肉身表演组成的社会动作剧场以间离 - 情动方式嘲讽了西方胜利者叙事。普雷布尔讲故事与新技术相结合的独特才华完成了跨媒介性与故事的交流。当新媒介元素以博弈的真实闯入肉身表演时，其中包含的游戏式“冒险美学”触发观众审慎思考科技与社会互动中的意义系统重构和定位技术伦理的重要性。
Abstract:The aesthetic orientation in contemporary theatre involves two implausible paradoxes：the opposition and cooperation between corporeality and mediatization, and the quest for meaning in an experiential theatre. British playwright Lucy Prebble ingeniously intertwines corporeality with mediatization and the sensory with the intellectual in her play Enron, a reimagining of the scandalous collapse of an American mega corporation. Through a delightful intermedial production incorporating drama, music, and dance, Prebble presents a harmonious juxtaposition of news images and live performances, revealing the deceptive nature of ostentatious honor. The kinetic theatre, enhanced by digital technologies, effectively conveys the mesmerizing allure of financial bubbles to the audience. Furthermore, the gestic theatre, characterized by A-Affect and constructed through archived videos, song-and-dance, and corporeal movement, satirizes Western narratives of success. Prebble’s unique talent of combining storytelling with new technology achieves a seamless exchange between intermediality and narrative. When medial elements as the contesting real intrude into corporeal performances, the resulting playful “aesthetics of risk” prompt spectators to reflect critically on restructuring the system of meaning addressed to the social relations of science and technology and the importance of tech-ethical orientation.
万晓蒙
标题：大卫·华莱士的当代“城市病”书写
Title: The Contemporary “Urban Disease” in David Foster Wallace’s Works
内容摘要：随着城市化进程的迅速推进，人们在享受现代化生活的同时，也面临着新的危机与困境。这一点在大卫·华莱士的城市文学中得到了充分体现。华莱士的城市文学观颇具前沿性，贴近当下社会。其城市书写主要从城市空间中的身体隐喻、病态的群体价值观、小说文本对城市生活心理的模仿三方面展开，揭露当代大众普遍面临的娱乐至死、工作压力、信息过载等身心健康问题及与之相关的反智主义、功利主义等道德伦理危机。同时，从华氏“城市病”书写的写作观念与创新手法中，亦可管窥城市文学这一分支在当代发展出的新形态。
Abstract: The fast growth of urbanization provided people with the convenience of modern lifestyle as well as newly-emerged crises and problems, which is fully manifested in David Foster Wallace’s urban fictions. Wallace’s cutting-edge perspective of urban fiction is evident in three aspects: the body metaphor in city space, distorted collective values, and textual imitation of urban mindset. His observation of contemporary urban life discloses the pervasive physical and psychological problems of the masses, including entertainment addiction, high pressure at work, and information overload, which also indicates moral and ethical crises like anti-intellectualism and utilitarianism. Meanwhile, Wallace’s creative ideas and innovative techniques in writing “urban disease” represent the new development of urban fiction in the new era.
张沁园
标题：《萨拉米斯的士兵》中内战记忆的现时化阐释
Title: The Presentization of Spanish Civil War Memory in Soldiers of Salamis
内容摘要：哈维尔·塞尔卡斯的《萨拉米斯的士兵》被学界认为是西班牙“新内战小说”的里程碑式作品，它标志内战记忆书写由“写什么”到“谁在写”以及“如何写”的转向，对内战集体记忆的构建产生重要影响。小说突破单一线性的传统叙事结构，将对内战记忆的探寻与重构巧妙地嵌套在当代人身份危机的自我言说中，形成历史与现在两种视域的多维融合。小说聚焦被宏大历史叙事排斥的个体化、微观化记忆碎片，运用虚实交互的叙事手法实现“真实的虚构故事”的创作初衷。这种记忆书写的跨界与创新并非单纯的审美追求，同时体现创作主体强烈的自我意识和对内战记忆以及内战记忆文化的问题式探究与现时化阐释，继而赋予过去与现在、历史与自我丰富深远的意蕴。
Abstract:Regarded by academia as a milestone work in Spain’s “New Civil War Novel,” Soldiers of Salamis by Javier Cercas marks a significant shift in the writing of civil war memories from “what to write” to “who is writing” and “how to write”, which had a profound impact on the construction of the collective memory of the civil war. The novel breaks through the traditional linear narrative, embedding the exploration and reconstruction of civil war memories within the self-narration of contemporary identity crises, thus forming a multidimensional fusion of history and present perspectives. Focusing on the individualized and microscopic fragments of memory excluded from the grand historical narrative, the novel utilizes combines the reality and fiction to achieve its original intention of creating a “real and fictional story”. This interdisciplinary and innovative approach to memory writing reflects not only an aesthetic pursuit but also underscores the strong self-awareness of the writer as well as the probing and presentization of civil war memories. Consequently, it imbues the past and the present, history and the self, with rich and profound implications.
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