《外国文学研究》2021年第1期主要论文摘要
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2021年第1期(总第207期)
学术访谈
Yao Junwei & Leland Poague
Title: Defining the Almost Undefinable Susan Sontag: An Interview with Leland Poague
标题：阐释几乎不可阐释的苏珊·桑塔格——利兰·波格访谈录
Abstract: Leland Poague is Professor of English Emeritus at Iowa State University and a long-time member of the American Society for Aesthetics. Apart from his essays on numerous Hollywood directors and American cinema, he is also the editor of A Companion to Alfred Hitchcock (2011), Conversations with Susan Sontag (1995), and the co-author, with Kathy A. Parsons, of Susan Sontag: An Annotated Bibliography 1948-1992 (2000). In translating Conversations with Susan Sontag, Yao Junwei consulted Leland Poague and, in Spring, 2017, interviewed him via email. The interview centers around Poague’s understanding and critique of Sontag’s multiple identities, her close connections with European and American literatures and cultures, the tension between aesthetics and morality as represented in her writing, and the legacy of Sontag. Finally, Poague traces the history of Sontag studies in the U.S. and shares his thinking about the orientations in the studies, especially the focus on Sontag’s relation to philosophy.
内容摘要：利兰·波格，爱荷华州立大学荣休英文教授，美国美学学会资深会员。除了著有大量有关好莱坞导演和美国电影的论文之外，他还编著了《阿尔弗雷德·希区柯克指南》（2011）与《苏珊·桑塔格谈话录》（1995），并与凯瑟·帕森斯合编了《苏珊·桑塔格资料辑录：1948—1992》（2000）。姚君伟翻译《苏珊·桑塔格谈话录》时咨询了利兰·波格，并在2017年春天通过电子邮件跟他做了访谈。此次访谈围绕波格对桑塔格的多重身份、与欧美文学文化的因缘、著述中美学与道德之间的张力以及桑塔格的遗产的理解与评价展开。最后，波格追溯了美国桑塔格研究的历史，并且就相关研究的未来走向，尤其是桑塔格与哲学的关系，分享了他的看法。
中外学者对话：勒克莱齐奥研究
许 钧 勒克莱齐奥
标题：记忆、想象与现实主义 ——关于文学创作的对话
Title: Memory, Imagination, and Realism: A Dialogue on Literary Writing
内容摘要：自2011年以来，法国著名作家、诺贝尔文学奖获得者勒克莱齐奥先生在南京大学执教，为南京大学本科生开设通识教育课，讲授文学、艺术和文化及其之间的互动关系。在他讲学期间，浙江大学许钧教授就写作的观念、写作与想象、记忆及旅行的关系等问题与其进行了持续而深入的探讨。就写作、想象与记忆而言，勒克莱齐奥认为小说创作始于质疑现实，它将神话与想象融入现实，而想象是唯一行动的形式，它激发记忆活动；阅读在其间最为关键，因为它让情绪与记忆都具象为文字。在写作源头与生命历程关系上，勒克莱齐奥不讳言自己所有作品或多或少都与自传有关，认为口头语言（经历）可以创作文学，正如文学记忆可以创作文学；他从中国古典诗歌中惊奇地发现经历与梦境、真实与想象尤其是自我与世界之间的联结，并将这种联结视之为世界文学的范式。就旅行与诗意历险而言，勒克莱齐奥坦言自己写作的东西首先都是想象的，真实的旅行于他而言并不那么重要，虽然他曾经历过身体和精神都是第二次出生的一次非洲之旅，相比于生活旅行，他更钟情于书本旅行。
Abstract: Since 2011, Mr. Jean-Marie Gustave Le Clézio, a famous French writer and Nobel Laureate in literature, has been teaching at Nanjing University, offering General Education courses for undergraduates and lecturing on literature, art, culture, and the interaction between them. During Mr. Le Clézio’s stay, Professor Xu Jun of Zhejiang University carried on a continuous and in-depth discussion with him regarding the concept of writing, the relationship between writing and imagination, and the relationship between memory and travel. As far as writing, imagination, and memory are concerned, Le Clézio believes that novel writing begins with an inquiry of reality. It integrates myth and imagination into reality, whereas imagination is the only form of action, which stimulates memory activities. Reading is the most important part in the process, because it makes emotions and memories concrete as words. In terms of the relationship between the origin of writing and the course of life, Le Clézio does not deny that all his works are more or less autobiographical. He thinks that spoken language (experience) can create literature, just as literary memory can create literature. He has been surprised to find the connection between experience and dream, reality and imagination, and especially self and the world, in classical Chinese poetry. And he regards such a connection as the paradigm of world literature. As to travel and poetic adventure, Le Clézio confesses that his writing is first of all imaginary, and that real travel is not so important to him even though he once went through a journey to Africa, where he experienced a rebirth both physically and mentally. He prefers journeying in books over traveling in life.
钱林森
标题：勒克莱齐奥文学世界的中国之旅——法国作家与中国接受者心智相拥的奇遇
Title: Le Clézio’s Literary Journey to China: An Amazing Encounter of Minds between a French Writer and His Chinese Recipients
内容摘要：对于当下中国学界、读书界和广大外国文学爱好者、读者来说，让 - 玛丽·居斯塔夫·勒克莱齐奥早已是一个耳熟能详的名字。本文试图以《沙漠》《诉讼笔录》《流浪的星星》以及《乌拉尼亚》等几部代表作在中国的译介与接受为主线，回顾过去三十五年来勒克莱齐奥“中国之旅”的历程，揭示出其小说世界在中国的接受与传播 , 大致经历了“施与者”与“接受者”之间心灵相通、心智相拥、智慧互动的三重奏，并进而指出这样的地理与心路历程 , 堪称 20 世纪下半叶法国作家与中国接受者心智相通的奇遇 , 值得载入中法文学交流的史册。
Abstract: Jean-Marie Gustave Le Clézio is already a familiar name for the academia, reading public, and numerous foreign literature lovers and readers in China today. By focusing on the translation and reception of his representative works in China, such as Désert, Le procès-verba, Étoile errante, and Ourania, as a guiding thread, this article attempts to trace Le Clézio’s “journey to China” over the past thirty-five years and reveal that the reception and circulation of his novels in China have roughly gone through a trio of spiritual communication, reciprocal understanding, and intellectual interaction between the “giver” and his “receiver”. Also, the author wishes to point out that such a geographical and spiritual journey can be regarded as an amazing encounter of minds between a French writer and Chinese recipients in the second half of the 20th century and, therefore, is worth documenting in the annals of SinoFrench literary exchange.
曾 巍
标题：珀涅罗珀的织物——格丽克《草场》对荷马史诗《奥德赛》的改写
Title: Penelope’s Textile: The Adaptation of Homer’s The Odyssey in Louise Glück’s Meadowlands
内容摘要：新晋诺贝尔文学奖得主、美国女诗人露易丝·格丽克的诗集《草场》，通过对荷马史诗《奥德赛》的创造性改写，讲述了一个面临婚姻危机的当代女性的故事。讲述者珀涅罗珀，在神话、虚构、现实三个层面来回穿梭，编织出多重指涉的故事世界。与叙事交织的多声部抒情，借用了歌剧的整体框架，表演者珀涅罗珀，在多种情绪与音域间来回切换，展现了出神入化的转音技巧。诗人运用隐喻、反讽、戏仿等修辞术，在语言的横组合轴与纵聚合轴构造的语义体系，以及语音、韵律、节奏等诸体系共同形成的网状结构中，将文本编织成别具一格的艺术品，创立了独特的语言风格。珀涅罗珀的编织者形象，可以看作从事虚构性写作的女性的古老原型。
Abstract: Meadowlands, the collection of poetry by Louise Glück, the American poet and the newly minted winner of the Nobel Prize in Literature, tells a story about a modern day woman, who is facing a marital crisis, through a creative adaptation of Homer’s epic, The Odyssey. Shuttling back and forth between the three layers of myth, fiction, and reality, the speaker Penelope weaves together a story world with multiple dimentions. Through a multi-voiced lyric that is interwoven with the narration and an overall framework appropriated from opera, the performer Penelope shifts between various emotions and voices and demonstrates a mystifying sound-changing skill. The poet uses a slew of rhetorical devices, such as metaphor, irony, and parody, to weave the text into a peculiar work of art, with a unique language style, within a semantic system composed of the syntagmatic and paradigmatic axes of language and a network assembled jointly by sound, meter, and rhythm. The image of Penelope as a weaver can be regarded as the ancient archetype of female writers of fictional writing.
包慧怡
标题：格丽克诗歌中的多声部“花园”叙事
Title: The Polyphonic Narration of “Garden” in Louise Glück’s Poetry
内容摘要：“花园”是贯穿露易丝·格丽克诗歌写作生涯的核心意象之一。《野鸢尾》中的花园既是催生独白和对话的温床，也是上演言语之对峙的剧场，诗人分别从植物、人类与神的多重视角出发，通过“赋予声音”来为自我及其多重分身塑形。本文拟探索作为“忧思之所”出现在格丽克多本诗集中的花园形象的两希源流，并聚焦《野鸢尾》中作为言语行为现场的花园，分别考察园中以花之腹语术、园丁时祷文和神圣自白三类主要形式出现的多声部叙事，以期更全面地理解格丽克普罗透斯式的、既个人又普世的抒情声音。
Abstract: Garden is one of the major images recurring throughout the poetry of Louise Glück. In The Wild Iris, the garden is not only the breeding ground of monologues and dialogues, but also the theatre of verbal confrontations between characters. From the multiple perspective of plants, humans, and God, the poet “endows them with a voice” for the sake of constructing the self and its multi-faceted identities. This article aims to trace the Hebraic and Hellenic roots of the image of garden that appears as a “place of care” in several collections of Glück’s poetry, with a particular emphasis on the garden as a site of speech acts in The Wild Iris, and to examine its polyphonic narration delivered mostly by ventriloquism by flowers, prayers by the gardener, and confessions by God in order to understand, more thoroughly, Glück’s protean lyrical voice that is at once individual and universal.
欧洲古典文学研究
刘建军
标题：拜占庭文学初创时期的风情展示与艺术成就——《埃塞俄比亚传奇》漫论
Title: Cultural Representations and Artistic Accomplishments in Early Byzantine Literature: Random Comments on The Aethiopica
内容摘要：赫利奥多罗斯创作的小说《埃塞俄比亚传奇》，是拜占庭早期罗曼司代表性作品。它深刻地体现了古希腊文化和东地中海地域文化以及初起时期基督教文化相融合的特征；表现了贞洁高于婚姻的新道德观，歌颂了在危难中人的智慧的巨大作用，张扬了对神和命运的主动抗争精神以及渴望仁爱和平的思想。在艺术上，它继承了《奥德修纪》的结构模式，开创了男女主人公爱的激情与离奇冒险行为相结合的罗曼司小说的新样态，并通过对主人公活动的描写多方面展示了4世纪前后的时代性和地方性知识。
Abstract: The Aethiopica by Heliodorus in the 4th century is a representative work of romance in early Byzantine period. It deeply epitomizes the features of the immersion between the ancient Greek culture, Eastern Mediterranean culture, and early Christian culture, representing a new moral concept that puts chastity above marriage, celebrating the tremendous significance of human wisdom in times of crisis, and advocating both a proactive rebellious spirit against God and fate and a yearning for benevolence and peace. Artistically, this romance inherits the narrative structure of The Odyssey and creates a new mode of romance, in which the passionate love between the hero and heroine is mingled with fantastic adventures. Moreover, its description of the interactions between the protagonists provides a multi-faceted view of the age and knowledge of the place around the 4th century.
杨丽娟
标题：德米特里赞美诗与希腊化时期的国王崇拜问题
Title: The Hymn to Demetrios Poliorketes and the King Worship during the Hellenistic Period
内容摘要：雅典人献给马其顿国王德米特里·波利奥克忒斯的赞美诗，是典型的反映希腊化时期国王崇拜现象的作品。这首赞美诗将德米特里作为神祇来颂赞，反映了雅典城邦无力维系民主和独立的衰颓之势。此时古希腊传统宗教信仰已经衰落，人们对统治者的神化，并非宗教意义上的崇拜，而是为了实现政治愿望而进行的“表演”，昭示着具有鲜明的实用主义和个人主义倾向的思想观念已经登上历史舞台。
Abstract: The Athenian hymn to Demetrios Poliorketes, the king of Macedonia, is a typical work that reflects the phenomenon of king worship during the Hellenistic period. The hymn praises Demetrios as a godlike figure and reveals the deteriorating situation of the Athenian city-state due to its inability to sustain democracy and independence. At that time, as the traditional religious belief of ancient Greece had declined, people’s deification of their rulers was not worship in the religious sense, but “performance” for the purpose of fulfilling political wishes, which indicated that the ideas and concepts with distinct tendencies of pragmatism and individualism had already appeared on the stage of history.
文学伦理学批评
王 卓
标题：“黑色维纳斯”的伦理选择——文学伦理学批评视域下的帕克斯戏剧《维纳斯》
Title: The Ethical Choices of “Sable Venus”: Reading Suzan-Lori Parks’s Venus from the Perspective of Ethical Literary Criticism
内容摘要：美国非裔戏剧家苏珊·帕克斯获得戏剧奥比奖的剧作《维纳斯》是一部饱受争议的作品。之所以如此是因为有研究者认为帕克斯把历史上的黑人传奇女性，被称为“霍屯督维纳斯”的萨拉·巴特曼塑造成了白人殖民者的“同谋”而不是“牺牲品”，并由此引发了谁有权利讲述黑人女性的历史以及如何讲述等更为深层次的问题。从文学伦理学批评的视域审视《维纳斯》和这场激烈的论辩，学界一直关注的帕克斯的戏剧考古、维多利亚时代黑人女性面临的独特的伦理困境、巴特曼的生存伦理等问题均呈现出全新的历史和现实意义。在文学伦理学批评视域下，帕克斯塑造“同谋者”巴特曼的过程恰恰是一次赋予这位“黑色维纳斯”人的尊严和权利的伦理书写过程，并在这样的书写中使得“黑色维纳斯”获得救赎和重生。
Abstract: African American playwright Suzan-Lori Parks’s Venus, an Obie Award winner, is a highly controversial play. The reason is that some scholars accused Parks of portraying the legendary black woman, Saartjie Baartman, the so called “the Venus Hottentot”, as an “accomplice”, rather than a “victim,” of White colonizers. What ensues from this accusation is a reconsideration of some more profound issues as who has the right to tell the history of black women and how to tell it properly. A close look into Venus and this heated controversy from the perspective of Ethical Literary Criticism will reveal that a series of issues that the academia has been following with keen interest all along, such as Parks’s theatrical archaeology, the ethical dilemma that black women had to face during the Victorian Era, Baartman’s survival ethics, etc., will take on brand new historical and realistic implications. From the perspective of Ethical Literary Criticism, Parks’s characterization of Baartman as an “accomplice” is exactly an ethical writing process, in which this “Sable Venus” is not only endowed with human dignity and right, but also enabled to redeem and resurrect herself.
陈佳怡
标题：以虚构“接近真相”——《赎罪》中的叙述聚焦与小说家的伦理责任
Title: A Fictional Way “towards the Truth”: Focalization and the Novelist’s Ethical Responsibility in Atonement
内容摘要：在小说《赎罪》中，麦克尤恩对历史小说这一文类进行了创造性的吸纳和改造，通过元小说结尾上演了一场介乎掩盖和揭示之间的拉锯战，由此引发了学界围绕虚构和真实、小说和历史等话题所展开的热烈讨论。虽然也有学者关注小说创作伦理的话题，但小说家布里奥尼和历史学家之间的对话这一细节却鲜有人问津，而这一对话恰好揭示了麦克尤恩之于小说家伦理责任的期待。鉴于此对话，布里奥尼书写两个文学事件时所采用的叙述聚焦及其蕴含的伦理寓意，凸显了文学写作的独特性。通过在自己的小说中镶嵌另一位小说家的书稿以及来自历史学家的修改反馈，麦克尤恩意在强调小说家的主要职责在于揭示人类社会的伦理道德真相，而非还原历史现场的真实细节。
Abstract: In his Atonement, Ian McEwan not only adopts and innovates the genre of historical novel, but also sets up a metafictional ending to stage a tug-of-war between concealment and revelation, thus touching off a heated debate within the academia over such binary oppositions as fiction vs. fact and story vs. history. Although a few scholars touched upon the ethics of novel writing in their studies, the scene where Briony, the novelist, strikes up a “dialogue” with a historian has seldom, if ever, attracted any attention. This dialogue, however, actually discloses the ethical responsibility that McEwan expects the novelist to fulfill. In light of this dialogue, the way Briony orchestrates focalization in representing two literary events and the ethical implication beneath this strategy serve to highlight the singularity of literary writing. By embedding a novelist’s manuscript as well as a historian’s feedback for its revision in his novel, McEwan intends to stress that a novelist’s primary duty is to lay bare the moral truth of human life, rather than restore the true details of certain historical scenes.
诗歌与诗学研究
何庆机
标题： “汇编诗学”与玛丽安·摩尔诗歌的非绘画抽象
Title: “Poetics of Anthology” and Non-Painterly Abstraction of Marianne Moore’s Poetry
内容摘要：玛丽安·摩尔于20世纪二十年代曾短暂逗留于自由体诗形式，同时开始侵染于现代都市文化与现代绘画艺术之中。在这种语境下，摩尔形成了特有混杂观或杂糅观——汇编诗学；这一观念典型地体现在其“展示与罗列”诗歌技巧和写作模式中。这类诗歌具有典型的抽象特征——非像似性、反叙事性与非线性，但这种抽象不同于通常意义的绘画抽象，而是一种“非绘画抽象”。“展示与罗列”从诗歌形式上是对现代性文化的模仿，但从内容上又构成了对这一文化的反讽，通过对现代性文化及其在此语境中的诗歌创作的多重考察，体现了诗人对现代性文化精神层面的深度思考及诗歌本体问题的深刻关注。
Abstract: Marianne Moore used to stick with free verse briefly in the 1920s and began to indulge herself in the culture of modern city and the art of modern painting at the same time. It is in this context that Moore formulated her unique concept of miscellany or hybridity – her poetics of anthology, which is typically demonstrated in her so-called “display and list” poetic technique and writing mode. These poems carry typical features of abstraction – noniconic, anti-narrative, and non-linear – but this abstraction is different from the painterly abstraction in usual sense; it is a kind of “non-painterly abstraction.” While the “display and list” technique imitates culture of modernity in poetic form, it mocks it in content. Through a multi-layered exploration of this culture and the poetic writing in such a context, these poems reveal the poet’s deep reflections on the spiritual aspect of such a culture and her great concern with the ontology of poetry.
魏 磊
标题：西尔维亚·普拉斯前期诗歌中的“艺格敷词”
Title: The “Ekphrasis” in Sylvia Plath’s Early Poetry
内容摘要：相对于普拉斯诗集《爱丽尔》的研究，学界对其 1960 年之前的诗歌关注较少。事实上，虽然是普拉斯成长期的诗歌，但前期诗歌的跨界艺术性却不容忽视。尤其是作为画家诗人的普拉斯以“艺格敷词”为媒介实施的语图互仿、对视觉艺术的诗歌再生产及把作为空间艺术的绘画技巧融会到作为时间艺术的诗歌中的操演手段等，在前期诗歌中均有突出表现。在当下文学与图像的关系成为一门显学，文学描写的色彩化及视觉体验被充分强调的学术背景下，这些特征成为其前期诗歌艺术价值的明证。
Abstract: As compared to the study of Plath’s collection of poems, Ariel, her poems written before 1960 haven’t received much attention from the academic circles. In fact, the crossborder artistry of her early poems should not be neglected even though they were written during her formative years. This is especially so when all the measures taken by Plath, a renowned painter poet, who used the “ekphrasis” as a medium in creating the simulation between language and image, reproducing poetry out of visual art, and integrating the technique of painting, a spatial art, into poetry, a temporal art, are splendidly displayed in her early poetry. Given the current scholarly interests to pursue the relationship between literature and images as a popular subject and underscore the colorization of literary description and visual experience, these characteristics may clearly prove the artistic value of her early poetry.
欧美小说研究
宁艺阳
标题：19世纪英国的社会焦虑与仇华情绪——鸦片贸易背景下的狄更斯遗作《德鲁德疑案》
Title: Social Anxiety and Anti-Chinese Sentiments in the 19th-Century Britain: Reading Dickens’ Unfinished Novel The Mystery of Edwin Drood in the Context of Opium Trade
内容摘要：狄更斯于未竟遗作《德鲁德疑案》中有关鸦片吸食行为和伦敦烟馆的描写值得深究，且作品中并不多见的几个华人形象具有种族和历史层面的多重指涉。晚年频繁服用鸦片酊的狄更斯深知鸦片之害，并在小说中藉由鸦片公主和贾思伯的症状对其予以间接揭露。自第一次中英鸦片战争起，有关鸦片烟馆和鸦片成瘾者的新闻叙述话语频繁见诸英国报端，反映了英国当时暗中发酵的社会焦虑和持续升温的反华情绪。这些报道想象式地建构并污名化了华人刻板形象，企图将英国白人接触并习染鸦片烟瘾的罪责归咎于在英华人。小说中的鸦片书写和华人形象的分析能够为我们提供管窥中英鸦片贸易、两次鸦片战争等宏大历史背景的独到视角。
Abstract: Dickens’ representation of opium-smoking and London’s opium dens in The Mystery of Edwin Drood, the novel that was left unfinished upon his death, is worth exploring in depth. Also, his portrayal of several rarely featured Chinese characters in the novel may carry multiple racial and historical implications. Dickens, who frequently took laudanum during his twilight years and, therefore, was keenly aware of opium’s peril, exposes its harmful effects implicitly in the novel by describing the symptoms of Princess Puffer and Jasper. Since the First Sino-British Opium War, news reports about opium dens and opium addicts had frequently appeared in British newspapers, which reflected the simmering social anxieties and intensifying anti-Chinese sentiments in England at that time. These reports imaginatively constructed and stigmatized Chinese stereotypes in an effort to scapegoat the Chinese in Britain for white Britons’ exposure and addiction to opium smoking. An analysis of the representation of opium and Chinese characters in the novel can provide us a unique perspective into the profound historical background of the Sino-British opium trade and the two Opium Wars.
郑 薇
标题：从“他者景观”到“零度主体”——《没有个性的人》中索利曼的自治之路
Title: From “the Spectacle of the Other” to “Subjectivity Degree Zero”: Soliman’s Road to Autonomy in Der Mann ohne Eigenschaften
内容摘要：罗伯特·穆齐尔的小说《没有个性的人》表现了社会权力话语的“同质化”而导致的主体危机。同质化的形态多种多样，其中之一就是种族特质的同质化，在小说中集中体现在对非裔黑人索利曼形象的塑造中。穆齐尔一面致力于揭示将黑人族群他者化、同质化的权力话语机制，即把本应作为个性主体的索利曼建构为一种“他者景观”；一面将叙述转向索利曼的自我视角，探讨了解除此类同质化的途径，即通过人物在“疯癫”状态中的自我命名来拒绝同化。小说以此在20世纪初的种族话语背景下探讨了一种自我拯救策略：借由“疯癫”作为“零度主体”化的一种表征，否定象征秩序对个体的规定，从而使其获得自治的可能。
Abstract: Robert Musil’s novel, Der Mann ohne Eigenschaften, reveals the subjectivity crisis caused by homogenized discourse of social authority. Such a homogenization occurs in various forms. One of them is the homogenization of racial characteristics, which is fully embodied in the portrayal of an African man, Soliman. On the one hand, Musil is keen on representing the black community as the Other and the homogenized discourse of authority as a mechanism, namely, constructing Soliman as “the spectacle of the other” rather than an individual subject, while, on the other hand, he shifts the narrative to Soliman’s own perspective to find a way of relinquishing such kind of homogenization or, in other words, a way of rejecting this homogenization through Soliman’s self-definition in his madness. To this end, the novel explores a kind of strategy for self-salvation in the context of the racial discourse in the early 20th century: by using “madness” as the representation of “the subjectivity degree zero”, Musil negates the constraints on individuals imposed by the symbolic order so as to ensure their entitlement to autonomy.
批评与批评研究
刘 英
标题：中国特色文学理论建构的里程碑——评五卷本《文学伦理学批评研究》
Title: A Milestone in Initiating a Literary Theory with Chinese Characteristics: A Review on the Five-Volume Ethical Literary Criticism Studies
内容摘要：聂珍钊和苏晖总主编的五卷本《文学伦理学批评研究》是中国特色文学理论建构的里程碑之作。这主要体现在四个方面：其一，文学伦理学批评的重要概念和命题已经形成了一个独特的理论场域，形成了文学伦理学批评的概念星丛；其二，文学伦理学批评历经16年的发展，不仅吸引和汇集了众多的认同者、参与者和实践者，形成了文学伦理学批评学术共同体，而且推出的五卷本《文学伦理学批评研究》既是聂珍钊作为文学伦理学批评开拓者和引领者的见证，也是文学伦理学批评学术团队集体智慧的结晶；其三，文学伦理学批评坚持中国立场，解决中国问题；其四，五卷本《文学伦理学批评研究》将理论的系统性与实践的指导性有机结合，为文学伦理学批评提 供了范例。
Abstract: The five-volume Ethical Literary Criticism Studies, edited by Nie Zhenzhao and Su Hui, marks a milestone in initiating a literary theory with Chinese characteristics. Its significance is primarily manifested in four aspects: 1. the major theoretical concepts and propositions of Ethical Literary Criticism have already established a unique theoretical field and a conceptual constellation; 2. with its rapid development in the last sixteen years, Ethical Literary Criticism has not only attracted and brought together a large number of proponents, participants, and practioners who work together as an academic community, but also presented us the five-volume Ethical Literary Criticism Studies as a testimony of Nie Zhenzhao’s role as the pioneer and leader of Ethical Literary Criticism as well as a great outcome from the collective wisdom of its scholarly team; 3. Ethical Literary Criticism adheres to Chinese positions and addresses Chinese issues; 4. the five-volume Literary Ethical Criticism Studies integrates, organically, its systemic theory with practical guidance and offers an exemplary model for Ethical Literary Criticism.
刘茜茜
标题：两次世界大战期间俄国文论之最新研究成果——评加林·提哈诺夫教授的近著《文学理论的生与死》
Title: The Latest Scholarship on the Russian Literary Theories between the Wars: A Review on Galin Tihanov’s The Birth and Death of Literary Theory
内容摘要：加林·提哈诺夫教授的近著《文学理论的生与死》突破文学理论研究的传统习规，聚焦于文学理论所适用的“关联性机制”——文学阐释和运用中普遍存在的模式，对两次世界大战期间诸如俄国形式主义、施佩特的文学理论、巴赫金的文化诗学、语言古生物学派、流亡批评理论等俄国文论展开探讨，高度概括出文学理论“激进的历史性”特点，即文学理论从生到死的短暂性，重现了俄国文论跨越文化疆界的旅行，对俄国文论与当下世界文学研究的内在关联予以揭示，呈现出准确的历史把握、独特的问题意识、开阔的比较视野等特征。该研究对揭示文学理论内在发展规律，特别是展望其未来发展趋势具有启示意义，是一部两次世界大战期间俄国文论研究的力作。
Abstract: The Birth and Death of Literary Theory, the latest monograph by Galin Tihanov, breaks with conventions in literary theory studies and explores the Russian literary theories between the Wars, such as Russian Formalism, Gustav Shpet’s literary theory, Bakhtin’s Cultural Poetics, Semantic Paleontology and Émigré Criticism and Theory, with a focus on the “a regime of relevance”, a prevalent mode of interpreting and using literature that is applicable to literary theory. It highlights the “radical historicity” of literary theory, namely, its transience from birth to death, represents the traveling of Russian literary theories across cultural boundaries, and reveals the inner relation between Russian literary theories and the contemporary studies in world literature, thus demonstrating a series of characteristics, including an accurate grasp of history, a unique inquisitive consciousness, and a broad comparative perspective. Given its enlightening significance in disclosing the internal development law of literary theories, especially in envisioning the trend of their future development, the book is clearly a masterpiece on Russian literary theories during the interwar period.
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