《外国文学研究》2020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
2020年第6期(总第206期)
中外学者访谈
Cheng Xin & Ruth Bernard Yeazell
Title: Western Literature and Visual Arts: An Interview with Ruth Bernard Yeazell
标题：西方文学与视觉艺术：露丝·伯纳德·叶泽尔访谈录
Abstract: Ruth Bernard Yeazell is Sterling Professor of English at Yale University and a fellow of the American Academy of Arts and Sciences. Author of numerous books, articles and reviews, Professor Yeazell is an expert on the novel from the eighteenth to the twentieth centuries, the history of gender and sexuality, and the relations of literature to visual arts. Her recent publications include Harems of the Mind: Passages of Western Art and Literature (2000), Art of the Everyday: Dutch Painting and the Realist Novel (2008) and Picture Titles: How and Why Western Paintings Acquired Their Names (2015). Picture Titles was listed as “One of The New Yorker’s ‘The Books We Loved in 2015’.” Cheng Xin, while working as a Fulbright visiting researcher at Yale, interviewed Professor Yeazell on behalf of Foreign Literature Studies. This interview focuses on the pictorial turn, Western verbal and visual representations of the harem, the connection between Dutch painting and realism, the significance of picture titles, as well as approaches to teaching literature and visual arts.
内容摘要：露丝·伯纳德·叶泽尔现任耶鲁大学斯特林讲座教授，是美国艺术与科学学院院士。叶泽尔教授著有众多的专著、论文和书评，是18世纪到20世纪小说、性别和性史以及文学与视觉艺术关系的专家。近年来，叶泽尔教授出版的专著包括《精神的后宫：西方艺术和文学的旅程》（2000）、《日常生活的艺术：荷兰画和现实主义小说》（2008）和《画题 : 西方画作提名的奥秘》（2015）。其中，《画题》被列为《纽约客》2015年度人们喜爱书籍之一。受《外国文学研究》委托，程心在耶鲁大学英语系从事富布莱特研究项目期间，采访了叶泽尔教授。访谈话题包括图像转向、西方对后宫的语言和视觉表征、荷兰绘画与现实主义的关系、画作标题的重要性以及文学和视觉艺术教学的途径。
中外学者对话：兰波与现代性
李建英
标题：兰波诗学的现代性
Title: The Modernity of Rimbaud’s Poetics
内容摘要：兰波从一个激进的社会变革支持者，转变为专注于诗歌的现代诗人，一步步革新法国诗歌传统，在形式上由格律诗走向散文诗，在内容上由象征走向不表达意思，最后放弃诗歌，他所走的每一步都是现代的。兰波说：“必须绝对现代”，这个“现代”对他而言，不是追赶时间，不是不断“创新”，而是要绝对进步。这个进步不仅仅是诗歌或艺术的进步，更重要的是社会的进步。诗歌的现代性必须服从社会的现代性，促进社会进步是其唯一目的，他没有违背以诗歌“改变生活”的原则，因此他是“绝对现代”的诗人。
Abstract: Rimbaud turned himself from a radical supporter of social reform to a modernist poet who devoted himself to poetry, innovating the French poetic tradition step by step, shifting the form of his writing from metrical poetry to prose poetry, changing the construction of his content from symbolic to meaningless, and abandoning poetry altogether eventually. Every step he took along the way was modern. Rimbaud stated that “One must be absolutely modern”. To him, “modernity” does not mean catching up with time or even innovating constantly; instead, it means the pursuit of absolute progress. It is not just a progress in poetry or art, but, more importantly, a progress in society. The modernity of poetry must be subordinated to the modernity of society. Rimbaud sees promoting social progress as his only goal. That he never deviated from his principle of “changing life” with poetry makes him an “absolutely modern” poet.
皮埃尔·布吕奈尔著，高佳华译
标题：兰波 : 古代与现代的结合
Title: The Antiquity and Modernity in Rimbaud
内容摘要：要求“绝对现代”的兰波始终在寻求古代与现代的完美结合。他在中学阶段擅长古文化和拉丁语诗歌，但一旦发现它们对现代世界的生活没有帮助，便产生了厌倦情绪。此后，在法语诗歌创作中，他在格律上进行创新，在内容上则利用古代文本进行现代式讽刺。他在《地狱一季》中融入《奥德赛》的内容，借古代元素追求绝对的现代。在《彩图集》中，他通过改造古代神话，扩大了语言能指，实现了诗歌形式与内容的绝对现代。然而真正的现代性不仅在于诗歌，还在于生命本身。因此兰波从古代走向现代，目的在于从已知走向未知，走向自由和新曙光，走向真正的现代性。
Abstract: Driven by his desire to be “absolutely modern”, Rimbaud sought for the perfect integration between antiquity and modernity persistently. During his years in middle school, Rimbaud was gifted for the study of ancient cultures and Latin poetry, but he became weary of them once he found out that they were useless in life of the modern world. From then on, while writing his poetry in French, he started a series of innovations in poetic rules and forms and, in content, took advantage of ancient texts in delivering his satires with a modern twist. In A Season of Hell, he assimilated some elements from The Odyssey in order to pursue a sort of absolute modernity through something antique. In the Illuminations, he managed to expand the meaning of language and install the absolute modernity in both poetic form and content through his adaptation of ancient myths. However, the real modernity does not appear in poetry only; it also lies in life itself. Hence one can see that Rimbaud’s move from antiquity to modernity is actually a journey from the known to the unknown, to freedom and a new dawn, and ultimately to true modernity.
李佳蔚
标题：朝、日首部诗话对杜甫诗学思想的接受差异及成因
Title: The Differences and the Causes behind Them in Critiquing Du Fu’s Poetics in the First Monograph on Poetry in Korea and Japan
内容摘要：随着宋诗学在朝、日两国的传播与发展，域外文坛风气发生变化，由宗白之风向杜甫倾斜。作为两国历史上具有划时代意义的诗话学著作，《破闲集》接受了杜诗尚炼琢与无迹用事的特点，追求“了无斧凿之痕”的精妙诗法观；《济北诗话》则沿袭了杜甫诗思、格律并举的整体美学观，在此基础上探讨“尽美尽善”的标准，同时以“活法”评鉴杜甫诗文。比较而言，两者虽皆从杜诗中汲取了养分，但李仁老兼具史官精神，从后世学诗者的立场总结归纳杜甫诗法，而虎关师炼则以域外批评家的视角创作了一部面向唐宋诗人的他国诗话，这种差别不仅因创作视野有异之故，同时与两者所秉持的作家论及地域、时代有关。
Abstract: Along with the propagation and development of the study in Song poetry in Korea and Japan, the trend in the literary arena in foreign nations changed from worshipping Bai Juyi to admiring Du Fu. As a milestone monograph on poetics in the history of their respective nation, Po Xian Ji accepts the characteristics of refinement and traceless allusions from Du Fu and pursues the concept of exquisite poetics, just “like nature itself without any artificial polish”, whereas Jibei Notes on Poetry follows Du Fu’s overall aesthetic belief in synthesizing poetic inspirations and poetic forms, exploring the criteria for “the acme of perfection” based on that, and evaluating Du Fu’s poems with “flexible law” at the same time. In comparison, even though both authors derived so much nutrients from Du Fu’s poems, Lee In-Lo adopted the attitude of a historian and summarized Du Fu’s poetic style from the standpoint of a poetry scholar of later generation, while Toraseki Ishiren produced a foreign monograph on poetry that addresses the poets in Tang and Song Dynasties from the perspective of an overseas critic. These differences occur due to the authors’ divergent vision in their writing and their creative concept, their region, and their time as well.
欧阳灿灿
标题：《薄伽梵歌》中的身体思想
Title: The Ideas of Body in the Bhagavadgītā
内容摘要：《薄伽梵歌》通过对阿周那是否应该参战这一问题的思考，试图弥合世俗生活要求与宗教超脱精神的矛盾。在利用数论思想重新定义人的身体的前提之下，《薄伽梵歌》倡导瑜伽思想，力图通过梵化的身体行动使人的自然肉身转变成梵化的身体，而俱卢之野的战争则可视为梵化的身体杀死自然肉身的隐喻，也是瑜伽思想的示例。《薄伽梵歌》通过宣扬瑜伽思想即身体梵化的方法，把宗教超然精神与现实生活实践面向巧妙结合，目的是规范人们的现实生活需求，并且最大程度地发挥身体实践的力量，从而使满足世俗生活需求与奉行宗教超脱信念达到完美的结合。
Abstract: By contemplating the question whether Arjuna should fight in the war, the Bhagavadgītā tries to mediate the conflict between the demands of secular life and the supramundane spirit of religion. Under the premise of redefining the body with the Sāṃkhya theory, the Bhagavadgītā advocates the idea of Yoga and aims to make the natural corporeal sanskritized through the movement of the sanctified body. Therefore, the Kurukshetra War can be viewed as a metaphor of the sanskritized body killing the natural flesh. Also, it is an example of the Yoga concept. By advocating the Yoga concept as a way of sanskritizing the body, the Bhagavadgītā tries to pursue a subtle integration between the supramundane spirit of religion and the practice of real life. Its purpose is standardizing the needs of people’s real life, maximizing the practical power of the body, and consequently accomplishing a perfect balance between satisfying the needs of secular life and practicing the supramundane faith of religion.
文学伦理学批评
袁雪生
标题：裘帕·拉希莉《不适之地》中的空间建构与伦理书写
Title: Spatial Construction and Ethical Writing in Jhumpa Lahiri’s “Unaccustomed Earth”
内容摘要：印度裔美国作家裘帕·拉希莉的短篇小说《不适之地》围绕叙事的空间置换、人物的空间迁移和文本的空间建构，聚焦族裔存在空间，凭借多种空间意象和空间隐喻表达伦理主题、凸显作品的伦理蕴涵。拉希莉通过刻画几代印度移民在美国的生存困境和身份焦虑，再现了他们的伦理选择和伦理意识的回归，实现了对族裔历史的追溯和空间归属的确认，表达了族裔作家的伦理诉求。拉希莉的小说揭示了文本多维空间架构与主题表达的密切关系，探讨全球化背景下美国印度族裔面临的流散、空间、身份和伦理等诸多问题，体现了作家对美国印度移民族群的关注，展现了空间叙事的伦理价值。
Abstract: Indian American writer Jhumpa Lahiri’s short story, “Unaccustomed Earth”, centers around its narrative’s shift in space, its characters’ movement in space, and its textual construction of space, so as to bring into focus the existential space for ethnic groups on the one hand and, on the other, addresses ethical themes and highlights ethical implications through a variety of spatial images and metaphors. By delineating how the Indian immigrants in multiple generations confront their dilemmatic living condition and their anxiety over identity in America, Lahiri represents their ethical choices, the return of their ethical consciousness, the retrospection of their ethnic history, and the affirmation of their spatial belonging, and hence articulates the ethical pursuit of ethnic writers. Lahiri’s story reveals the close relationship between the multidimensional spatial structure of the text and the representation of the theme. Also, it explores issues like diaspora, space, identity, and ethics faced by the Indian American community in the age of globalization, reflecting the author’s concern with the Indian immigrants in America, and demonstrating the ethical value of spatial narrative.
裴 蓓
标题：《进入空气稀薄地带》中登山者的伦理选择困境
Title: The Dilemmatic Ethical Choices for the Alpinists in Krakauer’s Into Thin Air
内容摘要：与喜马拉雅时代的传统登山小说不同，美国探险作家乔恩 • 克拉考尔以 1996年珠峰山难为题材的非虚构小说《进入空气稀薄地带》将伦理问题锚定在海拔7600米以上的“死亡地带”，集中笔力书写登山者的伦理选择困境。克拉考尔将日本登山队员“无法顾及的道德”与登山绳的象征意义深度钩连，传达出对珠峰商业化浪潮下人际信任关系的隐忧。“短绳事件”在克拉考尔看来是夏尔巴领队在东西方“深度博弈”过程中责任优先秩序的选择失误，其本质是一种伦理责任失范，也是夏尔巴人生存境况的隐喻。而迷失在传统登山精英和商业顾客两种伦理身份中的作者，“幸存者的内疚”是其伦理选择的后遗症，更是男子气概“阴柔化”不可避免的后果。克拉考尔对于登山伦理的思考使《进入空气稀薄地带》成为当代登山文学中最具批判性和启发性的精神质询，突显了文学的道德责任和义务。
Abstract: Unlike the other traditional Himalayan mountaineering novels, Into Thin Air, a nonfiction novel based on American mountaineer and writer Jon Krakauer’s experience in the 1996 Mt. Everest disaster, anchors ethical issues in what is known as the “death zone”, an area with an altitude above 7,600 meters, and focuses its depiction on the dilemmatic ethical choices faced by the alpinists. By linking the “untenable morality” of the Japanese alpinists with the symbolic significance of the climbing rope, Krakauer tries to convey his implicit worry over the diminishing trust among people in the wake of the sweeping commercialization on Mt. Everest. To Krakauer, the “short-roping incident” seems to be the Sherpa leader’s selective failure to prioritize the order of duties in the “serious games” between the East and the West, which is, in essence, both an anomie of ethical responsibility and a metaphor of the Sherpa people’s living conditions. Furthermore, as to the author who has been dangling between his double ethical identities as a traditional elite mountaineer and a commercial client, the “survivor’s guilt” is the aftermath of his ethical choice and, particularly, the inevitable consequence of his feminized masculinity. Krakauer’s contemplation of mountaineering ethics turns Into Thin Air into the most critical and enlightening spiritual inquiry in contemporary mountaineering literature and highlights the moral responsibility and obligation of literature.
俄罗斯戏剧研究
赵晓彬
标题：隆茨剧作《猿猴来了！》的元戏剧体裁特征
Title: Metadramatic Features of Lev Lunts’ The Apes Are Coming!
内容摘要：《猿猴来了！》是20世纪二十年代俄苏文艺转型时期“谢拉皮翁兄弟”团体中最年轻、最有才华的作家隆茨创作的一部实验性戏剧。剧中明显地分布着主剧和辅剧两个情节线索：正在排演的辅剧交织在主剧之中，或内戏交织在外戏之中。这表明隆茨的戏剧创作已走向戏剧体裁实验的重要一步，即试图以“剧中剧”（或“戏中戏”）的全新方式呈现戏剧与生活的戏仿关系。作为俄罗斯第一部元戏剧，《猿猴来了！》的创作意识与阿贝尔和霍恩比关于“戏中戏”、“自我指涉”、“文学对现实生活的指涉”等元戏剧理论不谋而合。
Abstract: The Apes Are Coming is an experimental play by Lev Lunts, the youngest and most talented writer among the “Serapion Brothers” during the period of Russian-Soviet transformation in literature and art during the 1920s. The play clearly runs on a doublelayered plot with a primary play and a secondary play as well: the secondary play, which is being rehearsed, is interwoven into the primary one, or, rather, the inner play is entwined with the outer play. This indicates Lunts’ significant step in experimenting with theatrical genres, namely, an attempt at “a play within a play” (or “a drama within a drama”) as a brand new way of representing the parodic relationship between life and drama. As the first Russian metadramatic play, the creative idea of The Apes Are Coming! coincides with the theoretical concepts regarding metatheatre presented by Lionel Abel and Richard Hornby, such as “a play within a play”, “self-reference”, and “literary and real-life reference”.
王树福
标题：话语实验与乌托邦想象：白银时代未来主义剧作的先锋性
Title: Discourse Experiment and Utopian Imagination: The Avant-Garde of Futurist Theater in the Silver Age
内容摘要：在自由多元的俄罗斯白银时代（1890—1920），未来主义戏剧创作主要以马雅可夫斯基和赫列勃尼科夫等人的剧作为代表，具有比较明显的先锋性特征，呈现出鲜明的话语实验与浓郁的乌托邦想象。在语言修辞的实验革新上，未来主义剧作通过语言陌生化和隐喻现实化，呈现出传统语言组织和话语结构的颠覆重组。在主题情节的逆写变异上，未来主义剧作对象征主义戏剧进行主题逆写，对经典戏剧文本进行内在改写，对传统文学主题进行变异仿写。在未来世界的想象书写上，未来主义剧作以个性凸显和价值觉醒为基础，充满个人主义激情和工业主义想象，带有比较明显的乌托邦色彩和神秘主义倾向，承载了剧作家的未来主义世界观和美学观。大致说来，未来主义戏剧强调通过话语实验塑造世界，对未来展开乌托邦想象，是未来主义理念、尼采哲学思想和时代革命话语等多重因素综合作用与总体影响的结果，其本质是对现实主义和象征主义戏剧的诗学反拨，对革命精神和革命理想的艺术实践。由此，未来主义戏剧以先锋语言手法、浪漫修辞风格和激进主题思想，为 20 世纪俄罗斯先锋戏剧和苏联早期喜剧奠定了基础。
Abstract: During the Russian Silver Age of freedom and pluralism (1890 to 1920), Futurist Theater, which was mainly represented by the plays of V. V. Mayakovsky and Velemir Khlebnikov, had some obvious avant-garde characteristics and demonstrated a distinctive discourse experiment and a strong utopian imagination. In its experimental innovation of language and rhetoric, Futurist Theater subverted and reorganized the traditional language organization and discourse structure through the defamiliarization of language and the actualization of metaphor. In its adaptation of theme and plot, Futurist Theater reversed the theme of Symbolist Theater, adapted the inner core of the classic drama texts, and imitated, with some variations, the theme of traditional literature. Its imaginary writing about the future world, Futurist Theater based its writing on the salience of personality and awareness of values, fully embracing the enthusiasm of individuality and the imagination of industrialism, demonstrating a relatively conspicuous touch of utopia and a tendency of mysticism, and representing the playwright’s futuristic concept of the world and aesthetics. Generally speaking, that Futurist Theater stressed the need to construct the world through discourse experiment and release the utopian imagination of the future is the result of the comprehensive effect and overall influence from many factors, such as the idea of Futurism, Nietzsche’s philosophy, and the revolutionary discourse of the times. In essence, it is a poetic counteraction against the drama of Realism and Symbolism, and an artistic practice of the revolutionary spirit and revolutionary ideal. As a result, Futurist Theater laid down the foundation for the Russian avant-garde drama and the early Soviet comedy in the 20th century with its avant-garde language, romantic style of rhetoric, and radical themes.
诗歌与诗学研究
李佩仑
标题：新超现实的三棱镜：论 W. S. 默温的诗歌艺术
Title: The Triple Prism of Neo-Surreality: W. S. Merwin’s Poetic Art
内容摘要：W.S.默温的创作不但具有跨文化和生态学的显性价值，更在诗歌本质的内在层面有着现代诗学的开拓意义。默温在多个维度上对传统超现实主义形成了难能可贵的诗学突破，他以还原的方式扩充和延伸了现代诗歌的审美触角，以自然梦幻表征了现代诗人和现代人的身份焦虑，以觉醒的虚空意识构筑了对现代世界的后人类想象。默温的诗歌使超验只是作为超越现实的新工具，既避免了遁世，也缓和了现代性萌生期对现实的过于粗暴，由此形成对后现代主义诗学困境的反思和对某种新诗学的积极建构。
Abstract: William Stanley (W. S.) Merwin’s writing has not only the conspicuous value in cross-cultural and ecological terms, but also the pioneering significance of modern poetics in the deep essence of poetry. In many dimensions, Merwin has made extraordinary breakthroughs in poetics for traditional surrealism. He expands and extends, by means of restoration, the aesthetic tentacles of modern poetry, represents the modern poet and the modern man’s anxiety over identity with natural illusions, and creates a Posthuman imagination of the modern world in an awakened consciousness of void. Merwin’s poetry renders transcendence merely as a new tool to transcend reality, which avoids the retiracy and eases the rudeness towards reality in the early stage of modernity. Hence one can see that his poetry offers a reflection on the predicament of Postmodernist poetics and initiates the active construction of a certain kind of new poetics.
黄珊云
标题：卡明斯诗学中的马戏团崇拜与跨媒介性
Title: The Circus Adoration and the Intermediality in E. E. Cummings’ Poetics
内容摘要：美国现代诗人E.E.卡明斯以视觉化的具象诗著称。学术界已经充分阐释了其诗歌中包含的“绘画性”，却忽略了舞台表演艺术对卡明斯诗学现代性的影响。卡明斯对马戏表演的崇拜情结是其现代诗学、尤其是具象诗学中的一个不可忽视的元素。卡明斯的“马戏团崇拜”不能被简单等同于流行文化对诗学的介入，而本质上是对现代戏剧的一种批判观点，也是对古希腊时期戏剧的“非程式化”形态的一种追溯；卡明斯通过对“杂耍者”身体的聚焦，试图营造巴赫金式的原始狂欢体验，并抵制“语言”在现代诗学中的中心地位；在卡明斯看来，具象诗艺术是“跨媒介”的，其具有一种不可翻译的“表演性”，是马戏表演而不是绘画更准确地隐喻了现代诗歌的本质精神。
Abstract: E. E. Cummings, an American modernist poet, is well-known for his visualized concrete poetry. Existing studies in the academia have fully illustrated the “painterly” quality of his poetry, but largely ignored the influence on the modernity of cummings’ poetics from the art of stage performance. cummings’ worship of the “circus” is a non-neglibile element of his modernist poetics, especially his concrete poetics. cummings’ “circus adoration” should not be simply perceived as the intervention in poetics by the popular culture, for it is, in essence, a critical stance toward modern theater, as well as a retrospective look at the “anti-stylization” of the ancient Greek drama. By focusing on the body of the “acrobat”, cummings attempts to regenerate the Bakhtinian experience of primitive carnivals, while at the same time rejecting the dominant position of “language” in the modernist poetics. In cummings’s view, the art of concrete poetry is an art of “intermediality” with a sort of untranslatable “performativity”, so it is the circus performance, rather than painting, that emblemizes, more precisely, the essence of the modernist poetry.
美国小说研究
荆兴梅
标题：幻听与行动：奥康纳小说《暴力夺取》暴力主题新解
Title: Hallucination and Act: Reconsidering the Theme of Violence in O’Connor’s The Violent Bear It Away
内容摘要：美国作家弗兰纳里·奥康纳的小说《暴力夺取》最令人震撼的莫过于幻听与行动，两者联手引发激进暴力，推动整个叙事进程。它将幻听设置成激活主体意识的催化剂，让行动紧随其后发生，致力于抗争意识形态。然而，当行动以暴力形式出现，就演变成一把双刃剑，既可能造就革命主体，也可能催生极权主义者。通过杰恩斯和齐泽克的理论观照，奥康纳笔下的暴力主题超越了已有阐释窠臼，呈现出更加广阔的阐述空间。它强调幻听在当代文学中的重要地位，调整视觉独霸天下的格局，以此审视政治革命的复杂性，批判父权制和法西斯主义等大他者。这样一来，奥康纳写作宗教解读的思维定式得以突破，其当下意义和现实观照得以呈现。
Abstract: This essay argues that nothing in The Violent Bear It Away is more shocking than hallucination and act, both of which join forces to stir up fierce violence and propel the entire narrative progression. Hallucination is set up as a catalyst to activate the subjective consciousness, whereas act occurs right afterwards for a dedicated subvertion of ideologies. However, once action takes place in the form of violence, it transforms into a double-edged sword, which may either create revolutionaries or prop up totalitarians. Through an analysis based on Jaynes’ and Zizek’s theories, we may see that the theme of violence in O’Connor’s novel breaks through the existing religious stereotypes and presents a much broader narrative space. It underscores the significance of hallucination in contemporary literature and revamps the structure in which vision dominates everything, thus assessing the complexity of political revolution and condemning patriarchy, fascism, and “big others”. In this way, the mindset of a religious interpretation in reading O’Connor’s writings is shattered, and her novel’s current ramification and its concern with reality are demonstrated clearly.
吴 娟
标题：纳博科夫小说《绝望》的双层记忆系统建构研究
Title: The Construction of the Two-Tiered Mnemonic System in Nabokov’s Despair
内容摘要：纳博科夫将记忆元素融入到《绝望》的叙述与情节之中，建构了双层记忆系统：第一层达到小说叙事者的个体记忆，第二层则通向互文性记忆，赫尔曼的个体记忆与针对读者的互文性记忆并存。《绝望》中纳博科夫运用暗指、戏仿、风格模仿、反讽等叙事策略，将陀思妥耶夫斯基《双重人格》《地下室手记》《群魔》《罪与罚》等多部小说的叙事艺术融入记忆叙事中，建构具有戏仿、模仿和批评色彩的互文性记忆。读者沿着纳博科夫建构的双层记忆系统前行，从叙事者个体记忆逐渐通往互文性层面的记忆。双层记忆系统背后是纳博科夫与陀思妥耶夫斯的诗学对话与艺术角力。这种复杂的记忆现象对现有记忆研究模式构成了挑战，又为记忆文化研究提供了新的空间。
Abstract: Nabokov incorporates elements of memory into the narrative and plot of Despair and constructs the two-tiered mnemonic system: the first tier operates with the narrator’s personal memories; the second tier runs in a mode of intertextual memory, through which Hermann’s recollections of the past and the intertextual reminiscences directed at the reader proceed in parallel. In Despair, Nabokov applies several narrative strategies, such as allusion, parody, pastiche, and irony, to integrate Dostoevsky’s narrative artistry in The Double, Notes from Underground, The Possessed, and Crime and Punishment, into his own memory narrative and work out a series of intertextual memories filled with imitation, parody, and critique. The reader may follow the two-tiered mnemonic system built by Nabokov, going through the process of parody and intertextuality, and gradually shifting from the narrator’s personal memories to the memories presented at the level of intertextuality. What occurs behind the two-tiered mnemonic system is the poetic dialogue and artistic face-off between Nabokov and Dostoevsky. Such a complicated mnemonic phenomenon poses a challenge to the existing models for mnemonic studies, but provides new room for the research on cultural mnemonics at the same time.
批评与批评研究
孙倩雯
标题：重复与同一：论克尔凯郭尔的小说《重复》
Title: Repetition and Identity: On Kierkegaard’s Novel Repetition
内容摘要：重复是克尔凯郭尔最重要的哲学概念之一。关于重复的信仰学说的首次提出和阐释是在1843年的小说《重复》中。这篇具有自传性质的书信日记体小说围绕着两位主人公关于“回忆之爱”的主题展开：年轻人的爱欲因具有柏拉图的回忆性质而陷入困境，康斯坦丁则以德国观念论的同一律试图解决此困境。两人均以失败告终。最后，年轻人以约伯式的信仰行动重新赢得了自身存在之统一。克氏的重复学说看似与古希腊回忆说、德国观念论有着一脉相承，实质上却是将古老的问题 ( 存在与思维之同一 ) 以新的方式呈现出来，作为一种克服虚无主义的尝试。
Abstract: Repetition is one of Kierkegaard’s most important philosophical concepts. The doctrine of repetition was first proposed and illustrated in his 1843 novel Repetition. This autobiographical novel, written in epistolary and diary form, revolves around the theme of “love in memory” between two protagonists: a young man, whose desire for love falls into a dilemma because of his platonic reminiscence, and Constantine, who attempts to resolve the dilemma based on the principle of identity from German Idealism. Both of them end up in failure. Eventually, the young man regains the unity of his own existence by following Job’s act of faith. Although Kierkegaard’s doctrine of repetition seems to have derived from the same origin as the ancient Greek theory of memory and German Idealism, it actually presents the old question (the identity of thinking and being) in a new way as an attempt to overcome nihilism.
张兴宇
标题：思想论争与经典生成 ——1860 年代《战争与和平》在俄国的学术批评与接受
Title: Debates of Thoughts and Formation of Classics: The Russian Academic Criticism and Reception of War and Peace in the 1860s
内容摘要：19世纪六十年代，随着《战争与和平》陆续出版，有关小说的批评与争鸣也同步出现。其时这一小说的批评与俄罗斯社会思想运动交织在一起，呈现出不同阵营思想交锋和彼此论战的态势，引发了该作品批评史上第一个高潮。相较于后世批评，这一时期的批评对小说所揭示的历史真实、历史观念以及小说体裁等问题各执一词，但对小说的军事叙事和人物塑造艺术等多给予积极评价。囿于时代局限及个人思想视野，这一时期的批评家鲜能深刻理解小说的多种创新，从而导致他们在对相关问题的认识上多有误判。在六十年代多声部批评中，斯特拉霍夫的批评脱颖而出，他以其卓越的审美洞察力确立了小说的经典特质。总体而言，这一时期的小说批评表现出的问题意识及审美敏感性，为推动作品后续研究奠定了重要基础。
Abstract: Along with the serial publication of War and Peace in the 1860s, the criticism and controversy surrounding it appeared simultaneously. During this period, the criticism of the novel coincided with the social ideological movement in Russia and precipitated a situation in which thoughts from different camps confronted and debated with each other, thus facilitating the first wave in the critical history of the novel. As compared to the criticism from later generations, the critics during this period were sharply divided in their assessment of the way in which the novel presented historical truth and concept and handled the novelistic genre as well, but they offered positive comments on the military narrative and the art of characterization in the novel. Given the constraints of the time and the scope of people’s mind, the critics during this period could seldom, if ever, understand deeply the multiple innovations in the novel. This, therefore, led them to frequent misjudgment in their assessment of relevant issues. Amidst the multi-voiced criticism during the 1860s, however, the assessment by Strakhov stood out and, thanks to his outstanding aesthetic insight,established the classic characteristics of the novel. As a whole, the problem awareness and aesthetic sensitivity demonstrated in the criticism during this period were imperative in paving the way for the subsequent studies of the novel.
往期精彩文章回顾：
陶家俊 | 文化全球化视野中瑞查兹的跨文化异位认同研究
卡斯滕·罗德著，丁佳宁译 |《西东诗集》中的媒介和物质性
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