《外国文学研究》2019年第5期主要论文摘要
点击上方“外国文学研究”可以订阅哦
2019年第5期(总第199期)
中外学者访谈
Chen Junsong & Martin Puchner
The Opportunities and Challenges of World Literature: An Interview with Martin Puchner
世界文学的机遇与挑战：马丁 • 普赫纳访谈录
Martin Puchner is Byron and Anita Wien Professor of Drama and of English and Comparative Literature at Harvard University, and general editor of The Norton Anthology of World Literature. Puchner has published extensively on drama, modernism, philosophy, and world literature. He also co-teaches a HarvardX MOOC—Masterpieces of World Literature. Chen Junsong, a Fulbright visiting scholar at Harvard University (2018—2019), interviewed Puchner on a wide range of topics, including world literature, comparative literature, canon, literary anthology, literary theory, translation, etc. Puchner ascribes the rise of world literature in the 1990s to globalization, immigration, and the restructuring of universities, which brought opportunities for the current revival of world literature in North America. As for the relationship between world literature and comparative literature, Puchner argues that while traditional Eurocentric comparative literature gradually languished due to its narrow perspective, postcolonial studies which meant to challenge the former, limited in both its scope (focus on former colonies) and period (focus on the period of European colonialism). With its broader perspective and deeper sense of the history of literature, world literature presents itself as an alternative or a correction to these two paradigms.
马丁 • 普赫纳是哈佛大学拜伦和安妮塔 • 维也纳戏剧、英语与比较文学讲席教授，在戏剧、现代主义和哲学等领域著述颇丰。自《诺顿世界文学选集》第三版 （2012）起，普赫纳一直担任该书的主编。2018 年 ,《诺顿世界文学选集》推出第四版。除在课堂上讲授世界文学，普赫纳教授还是哈佛大学慕课《世界文学名著》的主讲教 师，是目前世界文学的主要推动者之一。陈俊松利用在哈佛大学担任富布赖特访问学者（2018—2019）的机会，对普赫纳教授进行了专访。本次访谈涉及世界文学、比较文学、文学经典、文学选集、文学理论、翻译等众多重要问题。普赫纳教授认为全球化、移民和高校的结构调整是世界文学于 1990 年代在北美兴起的主要原因，它们共同为世界文学在北美的兴盛创造了机遇。关于世界文学与比较文学之间的关系，普赫纳教授认为，传统以欧洲为中心的比较文学因为其狭窄的研究视野逐渐丧失活力，而以挑战者姿态在上世纪八九十年代崛起的后殖民研究也存在研究范围（聚焦前殖民地）和历史时期（关注欧洲殖民时期）两方面的局限。因此，世界文学以其更广阔的视野和对文学史更深层次的再现，可看作是对这两种研究范式的继承和纠错。
文学伦理学批评
张连桥 聂珍钊
文学伦理学批评与道德哲学：兼论在中国召开的第24届世界哲学大会——聂珍钊教授访谈录
Ethical Literary Criticism, Moral Philosophy, and Observations on the 24th World Congress of Philosophy: An Interview with Prof . Nie Zhenzhao
在广大中外学者的积极参与、研究和推动下，文学伦理学批评经过十余年的发展，已经成为在国际学术界产生广泛影响的文学批评原创前沿理论。2018 年 8 月，第 24 届世界哲学大会在北京大学召开，“ 聂珍钊的道德哲学 ”（Ethical Philosophy of Nie Zhenzhao）被列入“哲学与文学”分会讨论议题并发布论文征集通知。中外学者围绕着该议题展开了多方面的讨论。在大会期间 , 张连桥对文学伦理学批评的创立者聂珍钊教授做了专访，就文学伦理学批评与道德哲学等相关问题进行了探讨。在这篇访谈中，聂珍钊教授对世界哲学大会“学以成人”的主题、道德哲学的含义、文学伦理学批评的哲学价值、自由选择与伦理选择、脑文本与斯芬克斯因子等内容作了精彩阐释。
Thanks to the active participation, research and promotion by numerous scholars both at home and abroad, Ethical Literary Criticism has, in the past ten or so years, developed into a pioneering and innovative theory of literary criticism with an extensive influence within the international academic circle. In August 2018, The 24th World Congress of Philosophy was held at Peking University. “Ethical Philosophy of Nie Zhenzhao” was listed as a discussion topic for the “Philosophy and Literature” panel, and a “call-for-papers” notice was issued. Scholars from different parts of China and beyond discussed different aspects of this issue. During the congress, Zhang Lianqiao interviewed Professor Nie Zhenzhao, the founder of Ethical Literary Criticism, for a discussion on a series of issues related to Ethical Literary Criticism and Ethical Philosophy. In this interview, Prof. Nie Zhenzhao offered his brilliant observations on the theme of “Learning to be Human”, the meaning of Ethical Philosophy, the philosophical value of Ethical Literary Criticism, free choice vs. ethical choice, brain text, sphinx factor, and so on.
苏 晖
学术影响力与国际话语权建构：文学伦理学批评十五年发展历程回顾
Academic Influence and the Construction of International Discourse Power: The Development of Ethical Literary Criticism in the Past Fifteen Years
文学伦理学批评是中国学者在借鉴西方伦理批评和中国道德批评的基础上创建的文学批评方法。自 2004 至 2019 年，文学伦理学批评走过了十五个春秋，从理论的提出及体系的建构，到理论的推广和丰富及批评实践运用，再到理论的拓展和深化及批评实践的系统化，文学伦理学批评日益发展成熟，已经建构了独特的理论体系和话语体系，并拥有大量的批评实践成果，学术影响力日益扩大；同时，文学伦理学批评团队积极响应国家“走出去”战略号召，致力于该理论的国际传播及国际学术话语权的建构，在国际学术发表、成立国际学术组织、举办国际会议等方面成果斐然，吸引了众多外国学者加盟，也获得了众多国际同行的高度评价。文学伦理学批评作为具有很高学术价值和现实意义的批评理论和方法，在未来的发展中，有必要在与其它理论的对话中整合新的理论资源；同时，继续拓展文学伦理学批评的实践研究，尤其需要大力开展对于包括中国文学在内的东方文学的伦理学批评实践，并尝试建构针对小说、戏剧、诗歌等不同体裁的伦理批评话语体系。
Ethical Literary Criticism is a paradigm of literary criticism established in 2004 by Chinese scholars based on Western ethical criticism and Chinese moral criticism. In the past fifteen years, from the initial introduction and the construction of its theoretical structure to the promotion, enrichment, and application of its critical approaches, the expansion and consolidation of its theoretic principles, and hence the systematization of its critical practice, Ethical Literary Criticism has gone through a long journey of development before reaching its full maturity and broad recognition today. So far, it has built a unique paradigm of theory and discourse, made numerous achievements in the application of its critical approaches, and garnered an ever-growing academic influence. Meanwhile, in an active response to the nation’s strategic call of “Go-Abroad”, the team of Ethical Literary Criticism scholars has dedicated itself to promoting this new theory of literary criticism and pursuing the power of academic discourse in the world by seeking scholarly publications in international journals,setting up international academic associations, and organizing international conferences. As a result, many scholars around the world have joined us for collaboration and offered us a high praise for what we have accomplished. As a critical theory and approach of tremendous academic value and practical significance, Ethical Literary Criticism needs to explore new theoretical resources through its engagement with other literary theories in the future. Moreover, it should continue to expand its critical practice, particularly its application in the study of Oriental literature, including Chinese literature. Endeavors should also be made for an attempt to construct a special systematic discourse of ethical criticism for the study of various literary genres, such as novel, drama, poetry, etc.
吴 笛
论布尔加科夫“魔幻三部曲”中的科技伦理与科学选择
A Study of the Scientific Ethics and Scientific Selection in Mikhail Bulgakov’s “The Fantasy Trilogy”
本文以俄罗斯著名作家布尔加科夫1920 年代创作的被视为“魔幻三部曲”的《魔障》《不祥之蛋》《狗心》等三部中篇小说为研究文本，探究其作品中所体现的科技伦理意识。布尔加科夫的作品不仅凸显卓越的讽刺艺术，而且进行严肃的伦理警示。他的作品中的令人启迪的独特之处在于强调科学精神和伦理道德的一致性。科学的探索要经得起伦理道德的监督和审视，科技生产和科技实验以及相应的科学研究，一定要遵循科技伦理。随着时代的发展和科学的进步，科学选择成为必然。但是，在科学选择中，如果没有科技伦理的制约，必然造成“伦理违背”。布尔加科夫通过生物实验、器官移植等具体事例告诫我们，如果科学研究以及科技成果的运用中没有科技伦理的制约，那么人类的灾难在所难免，其中的警示意义是极为深刻的。
Using “The Fantasy Trilogy”, Diaboliad, The Fatal Eggs, and The Heart of a Dog, the three novellas written by the great Russian novelist Mikhail Bulgakov, as the primary sources, this article tries to probe into the scientific ethical consciousness reflected in his literary works. The short novels by Bulgakov are characteristic not only for his superb art of satire, but also for his serious ethical warning. What is uniquely inspiring in Bulgakov’s works is a great stress on the oneness between the scientific spirit and the idea of morality. Scientific activities must stand up to the close supervision and scrutiny of the morality; scientific and technical experiments, as well as the relevant scientific studies, must follow the guidelines of scientific ethics. With the rapid progress of society and the development of sciences, scientific selection is inevitable. However, without the constraint of the scientific ethics, “ethicalviolations” would be hard to avoid. Through various specific examples, such as biological tests and the transplantation of organs, Bulgakov offers us a stern warning that the humankind would inevitably suffer a great deal of disasters if the research in sciences and the application of technologies were conducted without the constraint of scientific ethics. Obviously, such a warning has a profound significance in his works.
尚必武
科学选择与伦理选择的冲突：麦克尤恩《像我这样的机器》中的人工智能与脑文本
The Conflict between Scientific Selection and Ethical Selection: Artificial Intelligence and Brain Text in Ian McEwan’s Machines Like Me
麦克尤恩在其新作《像我这样的机器》中，以人工智能为噱头，极尽人物叙述之能事，生动刻绘了机器人介入人类生活所引发的冲突与矛盾，适逢其时地提出了“机器人的本质是什么？”“人与机器人之间的关系如何？”以及“人工智能是否可以超越或替代人脑？”等一系列发人深省的问题。本文基于机器人亚当与女主人公米兰达“偷吃禁果”和亚当之死两个叙事片段之文学伦理学分析，试图对上述问题加以回应。文章认为，人是自然选择和伦理选择的产物，机器人是科学选择的产物。亚当只有存储相关信息和指令的电子文本，不具有人类特有的生物性脑文本，缺乏区别善恶观念的伦理意识；人工智能在本质上属于电子文本，无法替代承载伦理意识的脑文本，由此导致它难以应对人类世界的伦理问题。在某种程度上来说，以亚当为代表的机器人与以查理和米兰达为代表的人类之间的矛盾隐喻了科学选择和伦理选择的冲突，而亚当的毁灭则揭示了机器人之于人类道德生活介入的失败。
With the gimmick of artificial intelligence and the tricks of character narration,McEwan’s newly released novel, Machines Like Me, tells a realistic story about conflicts and contradictions in the wake of a machine’s engagement with the life of humans and, timely, raises a number of thought-provoking questions, such as “What is the nature of the machine?” “How is the relationship between the machine and humans?” and “Can artificial intelligence surpass or replace human brain?” This article attempts to explore the above mentioned questions by analyzing, within the conceptual framework of Ethical Literary Criticism, two episodes of the story, namely, the tasting of the “Forbidden Fruit” by Adam, the robot, and Miranda, the heroine, and the destruction of Adam. It contends that human beings are products of natural selection and ethical selection, while machines are products of scientific selection. As a machine, Adam has no biological brain text like humans, but only an electronic text used for storing and processing information and commands. Therefore, he has no ethical consciousness to tell the good from the evil. To a large degree, artificial intelligence is a type of electronic text in nature and cannot replace the brain text armed with ethical consciousness, which accounts for Adam’s failture to deal with ethical issues in the world of humans. In a way, the conflicts between robots like Adam and humans like Charlie and Miranda can be seen as the conflicts between scientific selection and ethical selection, and the death of Adam signals the failure of machines’ engagement with ethical issues of the humans.
欧洲文学研究
林精华
现代俄国自信始于何处：“19 世纪俄罗斯文学”起源考
Where Did the Russian Confidence Start?: A Study on the Origin of the 19th Century Russian Literature
彼得一世改革肇始了俄国大规模效仿现代欧洲文明之风，以东正教信仰和东斯拉夫民间美学为主体的古罗斯文学，1740 年代之后加速让位于翻译文学和模仿欧洲文学的现代俄罗斯文学。但 18—19 世纪之交，伴随着强调民族国家认同的欧洲浪漫主义运动波及到俄国，尤其是拿破仑以武力推广法国启蒙主义在俄国的失败、试图践行欧洲政治制度的十二党人起义不成功，以及审查制度加强，引发俄国知识界和文坛反思欧洲文明和崇拜欧洲的历史，激发文学艺术家以主体性意识对待欧洲文学，面向俄国市民重新书写历史、想象帝俄不同于欧洲的伟大性，使受法国宫廷影响的贵族审美趣味影响力下降，世俗化流行文学生命力勃发。就这样，文学艺术的生产、流通和消费机制得以重建，并在重建过程中日益彰显俄罗斯帝国之神奇、培育国民对帝俄的认同和文学自信，出现了所谓“19 世纪俄罗斯文学”。
The reform of Peter initiated an imitation of the modern European civilization on a massive scale in Russia. After 1749, the Old Rus literature, which was mainly characterized by the Russian Orthodox faith and the East Slav folk aesthetics, rapidly yielded its dominance to literature of translation and the modern Russian literature imitated from the European literature. Toward the end of 1900, however, as the European Romanticist movement, which advocated national identity, quickly spread to Russia and, particularly, Napoleon failed in his promotion of French Enlightenment in Russia through military force, the Russian Decembrists, who attempted to install the European political system, were defeated in their revolt and the system of censorship was further intensified. All this made Russian intelligentsia and literarycircle to reconsider European civilization and their history of worshiping Europe and inspired Russian writers and artists to treat European literature with subjective consciousness, rewrite history for the Russian people, and imagine the Russian Empire’s greatness as compared to Europe. Soon, the aristocratic aesthetics, which was heavily influenced by the French court, lost its steam, but the secular popular literature gained its great vitality. From then on, the mechanism for literary production, circulation, and consumption was reconstructed with a growing emphasis on displaying the wonder of the Russian Empire, nurturing Russians’ identification with the nation and confidence in its literature, and hence creating the so-called “19th-century Russian literature.”
王卫新
“我们干脆在银行里等他”：《化身博士》与信用经济
“we have nothing to do but wait for him at the bank”: Dr. Jekyll and Mr. Hyde and the Credit Economy
史蒂文森《化身博士》中的双重并不仅仅是双重人格的图解，它是维多利亚时期信用经济的产物。《化身博士》中海德使用杰基尔签名的支票支付赔偿金是破解小说种种谜团的金钥匙。虽然杰基尔可以通过神奇的药物在杰基尔和海德之间切换，但银行支票上的签名却意外地将杰基尔和海德的同一关系暴露无遗。正是签名这个信用经济的游戏规则，让杰基尔永远都无法摆脱海德的阴影。双重性和同一性的张力无法调和，最终导致了杰基尔悲剧的发生。
Stevenson’s use of the double in his Dr. Jekyll and Mr. Hyde is more a product of credit economy during the Victorian period than a mere illustration of double personalities. Hyde’s unwitting use of the cheque with Jekyll’s signature to pay the ransom is the golden key to various puzzles of the novel. Jekyll is able to transfigure between Jekyll and Hyde by drinking the magical potion, but the signature on the cheque inadvertently reveals the doubling transformation between Jekyll and Hyde. It is the signature, one of the ground rules for credit economy, that makes it impossible for Jekyll to discard Hyde’s shadow once for all. The irreconcilable tension between duality and oneness results in the tragic end of Jekyll’s life.
徐 彬
《野草在歌唱》中帝国托拉斯语境下的农场“新”秩序
The “New Orders” of Farm in the Context of Imperial Trust in The Grass Is Singing
20 世纪二十至四十年代，以不列颠南非公司为代表的帝国托拉斯将南罗德西亚白人定居者的农场纳入全球经济产业链，改变了农场里的经济与种族秩序；前者涉及从传统粮食作物 ( 玉米 ) 种植到经济作物（烟草）种植模式的转变，后者涉及白人农场主与土著黑人之间种族关系的改变。《野草在歌唱》中，迪克破产和玛丽之死是南罗德西亚农场经济与种族关系“新”秩序共同作用下的结果。
From 1920s to 1940s, the imperial trust represented by the British South Africa Company brought the South Rhodesian white settlers’ farms into the chain of global economy and industry. As a result, it iniated a series of changes in the economic and racial orders on South Rhodesian farms. The change of economic order is reflected in the shift in planting choices, from grain crops, such as mealie, to economic crops, such as tobacco, whereas the change of racial order is embodied by the contentious racial relationship between white farmers and native blacks. In The Grass Is Singing, Dick’s bankruptcy and Mary’s death seem to have resulted from the symbiotic change of “new orders” in economy and racial relationship on the South Rhodesian farms.
管南异
《金银岛》：新式海盗传奇中的自由与秩序
Treasure Island: Freedom and Order in a New Romance of Piracy
学术界关于《金银岛》的研讨存在着“自由”与“保守”之争。这一对立可以在文类的视野内得到统一：作者斯蒂文森自觉利用了传奇文学策略中向往自由与向往秩序并存的双重倾向，在小说的想象中让现存秩序吸纳了具有反叛精神的社会活力。小说创造了一群在凶恶和狡诈的同时活力充沛、富有童心，又具有秩序感、渴望成为绅士的新型海盗形象，并将他们与英国的民族传统联系起来。一直穿梭于海盗与绅士之间的小说主人公吉姆既遵从绅士的秩序，又吸收了海盗的活力，成长为有活力的秩序的象征，从而能够应对一个急剧变化中的世界。作品所创造的复杂人物和结尾处的疑虑和不安，则打破了传奇的固有传统，使其具有了现代特色。
Treasure Island has been studied in both liberal and conservative lights. Such a disparity might be reconciled from the perspective of its genre. By consciously exploring the double inclinations toward freedom and order within the literary tactics of “romance”, Stevenson integrates the existing social order with the rebellious social vitality in the imagination of his novel. What he portrays in the novel is a new type of pirates, who, beneath their usual ferocious and devious appearance, are actually playful, boyish, orderly, and anxious to become real gentlemen. He even draws their certain connection with the national tradition of England. Jim, the protagonist in the novel who serves as a constant link between the pirates and the gentlemen, is able to respect the gentlemen’s order and absorb the vigor from the pirates as well. Eventually, he turns into a symbolic figure of both and a figure who could cope with a rapidly changing world. In addition, given the portrayal of complicated characters, along with the ambiguous and uneasy ending, the novel seems to have broken up the long-standing tradition of “romance” and taken on some modern characteristics.
王路晨
身份的命名：论奥康纳《海洋之星》中的饥荒叙事与跨大西洋流散书写
The Naming of Identity: The Famine Narrative in Joseph O’Connor’s Star of the Sea and the Transatlantic Diasporic Writing
大饥荒（1845—1849）是爱尔兰民族历史上的一场浩劫，伊格尔顿称其为“爱尔兰的奥斯维辛”，它所留下的精神创伤影响着一代又一代爱尔兰人。奥康纳的《海洋之星》拒绝民族主义 / 修正主义的传统划分，解构同质化爱尔兰历史版本，打破了围绕饥荒周围的沉默。他通过报刊、书信和日记等多种文体的交织混合，在跨大西洋流散书写中展现“棺材船”上触目惊心的饥饿与死亡场景的同时，探寻了席卷爱尔兰大地的大饥荒：饥荒中死者的残骸不仅是身体上的灭亡，更是身份、命名与意义上的黑洞。小说中的饥荒叙事既涉及维多利亚时期爱尔兰本土性与世界性的关系，又是当代作家对爱尔兰民族特性构成的一次诗性思考。
The Great Famine(1845—1849), which Terry Eagleton referred to as the “Irish Auschwitz”, is the most devastating catastrophe in the Irish history that has inflicted a haunting psychological trauma upon the Irish generation after generation. Joseph O’Connor’s Star of the Sea (2002) not only unfetters the traditional nationalism/revisionism division and deconstructs the homogeneous versions of Irish history, but also breaks the silence around the Famine. Through a blend of cross-genre writings, such as newspaper articles, letters, and journal entries, O’Connor depicts the horrifying scenes of starvation and death aboard the “coffin ship” and defines the ultimate devastation of the Famine that swept through the whole island in his transatlantic diasporic writing: the scattering of victims’ corpses is both a destruction of human bodies and a black hole of identity, naming and meaning. The Famine narrative of the novel touches upon the relationship between Irish nativeness and cosmopolitanism during the Victorian period and reflects the contemporary Irish writer’s poetic thinking about the formation of the Irish national identity.
美国文学研究
于 雷
“双重束缚理论”与坡的替身小说
“Double Bind Theory” and Edgar Allan Poe’s Doppelgänger Tales
替身小说是坡笔下不容忽视的亚文类，它们不仅展现出哥特文学的一个独特母题，更能够为心理学围绕无意识世界中的否定缺失找到一种“否定的回归”。英国人类学家格雷戈里·贝特森在其围绕精神分裂症以及动物行为所进行的研究当中，揭示了一种能够在病态逻辑与艺术想象之间实现对接耦合的“跨语境综合症”，它将罗素眼中的“逻辑类型”混乱转化为操控精神分裂症患者的“双重束缚”，并从中提炼出艺术的独特发生逻辑——字面信息的隐喻化。文章以这一理论框架为研究平台，通过给予坡的替身小说某种全景式观照，从人物心理与叙述结构这两大层面探讨替身美学的发生肌理。在此基础上，得出如下结论：替身现象既存在于文学作品的人物镜像关联之中，也会以巴赫金式的对话性逻辑呈现为显性情节与隐性进程所共同构建的叙述动力学；它不仅为当今西方学界的“表层阅读”流派提供了有效案例，更使得坡所一贯倡导的“秘密写作”获得了叙事学阐释的绝佳模型。
The doppelgänger tales make a significant subgenre in Poe’s fictional sphere, not only exemplifying a unique motif of gothic literature, but also overcoming by “the return of negation” the psychological inability of the unconscious to say “no.” In his studies of schizophrenia and animal behavior, Gregory Bateson, a British anthropologist, detected a sort of “transcontextual syndrome,” which may establish a coupling between morbid logic and artistic creativity, hence transforming the disorder of Bertrand Russell’s “logical types” into the “double bind” that usually controls patients of schizophrenia, and generating a logic of unique artistic creation -- the literal metaphoricalization. This article, by using the framework of Bateson’s “double bind theory” as a platform for my study, attempts to present a panoramic view of Poe’s doppelgänger tales and explore the genesis of the doppelgänger aesthetics in light of characters’ psychology and narrative structure. My conclusion is that the doppelgänger phenomenon not only exists in the interface between literary characters and their mirrored counterparts, but also displays itself in the narrative dynamics driven by a Bakhtinian dialogic nexus between overt plot and covert progression. On the one hand, it offers the “surface reading” school an effective case in point and, on the other, creates a perfect model of narratological interpretation for the “secret writing” that Poe had always promoted.
张海榕
《拍卖第四十九批》与“超现实”都市景观书写
The “Hyperreal” Urban Landscape in Pynchon’s The Crying of Lot 49
托马斯·品钦在小说《拍卖第四十九批》中描绘了三大都市景观类型：“超现实”都市模型、“拟真式”太平洋与湖滨社区以及“内爆式”都市中心，书写了美国 20 世纪 60 年代“超现实”涌入社会现实的都市异化之景。品钦一方面指出“超现实”都市景观的营造人为地破坏了加州的生态环境，另一方面揭示出“超现实”都市本质及其秘隐的消费主义意识形态与符码控制，由此展现都市人试图走出加州“超现实”都市景观地理迷宫的种种尝试与努力，验证了资本的空间生产与景观的符号控制之间的内在关联，解密了媒体借助符码制造“超现实”后现代都市的过程。
With a representation of three types of metropolitan cityscape, namely, a “hyperreal” city model, a “simulative” Pacific Ocean and a Lakeside Community, and an “implosive” City Center, in his novel, The Crying of Lot 49, Thomas Pynchon depicts a scene of alienation in American cities, in which “hyperrealities” are mixed up with social realities, during the 1960s. On the one hand, he points out that the construction of such hyperreal cityscapes has irrationally destroyed the ecological environment in California; on the other hand, he reveals the hyperreal nature of the city model, along with its ideology of consumerism and the code control. He aims to show how citizens made various attempts and endeavors in order to get out of the geographical labyrinth of the hyperreal cityscapes, validate the inner connections between capital’s spatial production and code control, and decode the entire process, in which the media tries to construct a hyperreal postmodern city with codes.
高莉敏
《犹太警察工会》中犹太人的家园想象与民族身份建构
Jews’ Homeland Imagination and Construction of National Identity in The Yiddish Policemen’s Union
家园不仅为犹太人提供精神上的庇护和指引，还是他们感悟生命和身份建构的载体。在小说《犹太警察工会》中，迈克尔·夏邦以犹太人对家园的想象为背景，聚焦他们在不同历史时期的家园选择，反思犹太人的身份建构历程。夏邦既不赞同犹太身份的美国化，也不支持以色列同化模式，而是倡导一种“走出去”的家园选择，鼓励犹太人在追求独立、自由的身份意识的基础上，建构具有犹太精神内核的新型犹太人的民族身份认同。夏邦提出的这一民族身份建构理念，为当代犹太人建构自我身份和塑造犹太性提供了一种思路，反映了作者对后大屠杀时代犹太人生存命运等问题的密切关注。
Homeland not only provides Jews with spiritual shield and guidance, but also embodies their reflection on life and their construction of identity. In The Yiddish Policemen’s Union, Michael Chabon explores Jews’ imagination of homeland by focusing on their choices of homeland during different historical periods and reflecting on their struggle with the construction of Jewish identity. To Chabon, neither Americanization nor Israelization of Jewish identity is good enough. Instead, he advocates the “rushing out” option in building their homeland and encourages Jews to pursue independence and freedom first before embarking on an earnest effort to construct a new Jewish identity based on their spiritual essence. Chabon’s approach to create the national identity offers the contemporary Jewish people a new idea in constructing self-identity and Jewishness and underlies his concern over Jews’ existence and fate in the post-Holocaust era.
批评与批评研究
刘发开
穿越文化疆界的理论旅行：从跨文化视角看《批评理论在俄罗斯与西方》
Theoretical Travel across Cultural Boundaries: A Cross-Cultural Perspective on Critical Theory in Russia and the West
20 世纪批评理论流派迭出、蔚为大观，由活跃在英美文学界的两位知名学者阿拉斯戴尔 • 任甫卢和加林 • 吉哈诺夫编著的《批评理论在俄罗斯与西方》一书，重现了 20 世纪批评理论穿越文化疆界的旅行与对话景象，对深植于文本背后的价值观念和文化哲学予以重新挖掘，对批评理论在俄罗斯与西方的相似性或相悖性予以再认识，呈现出开阔的比较视野、强烈的问题意识与鲜明的史论特色，对构建中国特色理论话语体系、参与中西俄“三方对话”具有启示意义。
In the 20th century, critical theories emerged in a spectacular succession. The book, Critical Theory in Russia and the West, edited by Alastair Renfrew and Galin Tihanov, two famous scholars active in the British and American literary circles, re-displays the travelling and dialogic scenes of critical theories across cultural boundaries in the 20th century, reexcavates the values and cultural philosophies deeply rooted in the text, and reconsiders the similarities or contradictions between Russian and Western critical theories. It presents broad comparative perspectives, strong problem consciousness, and distinct characteristics of historical studies. All this may serve as an enlightenment on our construction of a theoretical discursive system with Chinese characteristics and our participation in the “trilateral dialogue” between China, the West and Russia.
往期精彩文章回顾：
J. Hillis Miller | 当今的图像与文本
穆杨 | 对真理的“删除保留” ——当代英美小说改写与求真叙事的转变
王东风 | 历史拐点处别样的风景：诗歌翻译在中国新诗形成期所起的作用再探
余玉萍 | 《弗兰肯斯坦在巴格达》中怪物形象的多重意蕴
目录 | 《外国文学研究》2019年第5期
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：027-67866042
联系邮箱：wwyj@mail.ccnu.edu.cn
版权所有。欢迎个人转发，媒体转载请联系授权