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    文學理論前沿 >2013年第1期

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    • 摘要：在當代學術語境中，現代性問題業已成為一個令人關注的熱點題域。然而，何為現代性？“現代”何以成為重要的哲學、美學問題？如何理解社會現代性與審美現代性之間的緊張沖突？是否有必要對現代性進行歷史時代的劃分？這種歷史性、時代性或時間性的劃分究竟意味著什么？如何理解現代性與后現代性之間的關系？這兩者之間究竟是一種歷史時間上的連續或斷裂，還是一種思想范式的轉換？所有的問題似乎都處于懸而未決的狀態，更由于后現代性思想的興起，使這一題域的諸多疑問變得越發紛紜復雜、詭異難辨。對現代性進行歷史時間的考察，似乎已經成為一種毋庸置疑的研究進路。如今，作為一種斷代標示的歷史時間，“現代”已經構筑起堅固的歷史學意識和歷史學知識，并積淀為某種“歷史學無意識”。然而，所有自明性的“歷史學敘事”依然是個可疑之物。因此，我們有必要對長期以來的歷史學用語及其歷史學意識進行審慎的檢討，對“歷史學敘事”所標榜的自明性進行前提性的反思批判。經由后現代主義對“歷史時間”的解構與批判，以現代性歷史時間概念去識別現代性與后現代性的方法已然失效。歷史本身意味著什么？歷史本身就是事件，歷史總是事件的歷史，事件構成歷史本身。遺忘事件的歷史，就難以理解現代性問題提出的真實歷史語境，也就無法辨識現代性問題與歷史之間的復雜關系。本文對上述理論問題均作了較為詳細的闡述。%In the current academic context , modernity , as an issue-driv-en domain, has become a focus of attention .However, what is modernity?Why does “modern” turn out to be an important philosophical and aesthetic problem?How shall we understand the tension between social modernity and aesthetic modernity?Is it necessary to locate modernity on a historical coordi-nate?What does it mean by the historical , epochal or chronological locations?How shall we interpret the relationship between modernity and postmodernity?Is it a continuation or a fracture in the light of history and chronology?Is it a switch of thought paradigm?All these questions remain to be answered .The rising of postmodern thought perplexes the questions in this problem .Having a historical inspection on modernity seems to be an undeniable access to the research.Nowadays, “modern,” as a dividing mark in historical time , has constructed a solid sense of history and abundant knowledge of history , which precipitates into a sort of “historiographical unconsciousness .” However , all the self-evident “historiographical narrative” remains to be suspicious .In other words , there is a necessity to have a cautious criticism on historiogra-phical terminology and its historical sense , and to have a prerequisite critical introspection on the self-evidence of “historiographical narrative .” A decon-struction of and criticism on the “historical time” from the perspective of post-modernism demonstrates that it is invalid to distinguish modernity from post-modernity by the concept of modern historical time .What does history itself mean?History itself is made up of events .History is always the history of e-vents and events compose history itself .Forgetting the history of events makes it hard to understand the actual historical context of modernity problems and to recognize the complicated relation between modernity and history .The present essay intends to answer all the above questions .
    • 摘要：自20世紀60年代起，綠色研究開始在全球范圍內產生影響。在它延續到文學批評領域以后，西方學者圍繞著命名問題進行了激烈的爭論，力圖在生態和環境這兩個前綴之間做出最好的選擇。為了敞開其中的內在線索，本文追溯了環境和生態概念的起源和演變，發現這種“文學研究的綠色分支”事實上已經超越了環境主義立場，開始明確地告別弱人類中心論。這對我們建構生態文明具有巨大的啟發意義。%The Green Studies has been a booming area in Western cul-ture since the 1960 s.When it was noticed and then accepted by literary crit-ics, a hot debate on its naming has been carried out .Scholars argue for mak-ing a better choice between its prefixes eco and environ .For differentiating the meaning of these two prefixes and their inner connotations , the present ar-ticle traces back to the origin and development of the concept of environment and ecology , proposing that “the green branch of literary studies” has tran-scended the positions of environmentalism and weak anthropocentrism . It would be greatly helpful for us to construct China ’ s eco-civilization.
    • 摘要：The figurative theory of Yuan Kejia represents the achieve-ment and limits of modern Chinese poetics .We need to reflect on current va-rious theories of figures of speech , including Yuan Kejia ’ s, to reveal the im-portant and prevalent role of metaphor in modern Chinese poetry .We discover that Yuan Kejia did not notice the existence of metaphor and the tension of language itself , which makes his“Dramatist” theory not be able to go into the interior of language , thus not being able to explain the genesis of the “ten-sion” of lyrics.Moreover, one could not comprehend various functions and significances of tropes only from the perspective of “comparison”/resem-blance;he/she needs to recognize metaphor as dynamic of linguistic inven-tions, as a unique frame of statement , and a direct presentation of image . Only by eliminating these blind spots of Yuan Kejia ’ s poetics, could we un-derstand the meaning and validity of some important notions which Yuan pro-posed in the 1940s.We can also, by this reflection, start to open the space of the research of “Jiuye” poetics, even to unearth the motivity and mecha-nism of the linguistic development of modern Chinese poetry .We can go fur-ther to explore the complex relation between language , thought and history by analyzing metaphors in modern Chinese poetry .By the reflection of figurative problem, we can therefore hopefully construct a new paradigm in the research of modern Chinese poetry .%袁可嘉關于比喻的一些觀點代表了新詩詩學研究對比喻問題的認識高度，也典型地反映了其局限。為了理解比喻在現代詩歌中的普遍性與深遠意義，有必要反思現有的關于比喻／隱喻的認識。我們發現，袁可嘉對語言本身之張力與隱喻這一語言現象的認識有較大的不足，這使得他的“戲劇主義”理論無法深入到語言內部，因而也無法有效地解釋抒情詩的“張力”問題。而且，僅從“比擬”／相似性的角度并不足以掌握隱喻多方面的功能和意義，我們還需要認識隱喻作為一種語言創新的動力、一種獨特的陳述框架、一種直接呈現的形象化表達方式等多重面相。清除這些詩學盲點之后，我們才能重新認識1940年代的袁可嘉提出的一些重要的詩學概念的真正含義和有效性。通過這種反思，我們也得以重新“出發”，打開對“九葉”詩人的詩學策略的研究空間，甚至進一步認識新詩語言發展的動力和機制。以隱喻這一語言現象為突破口，我們可以進而分析詩歌語言與思想、歷史之間的復雜關聯?？梢?，對比喻問題的重審與再出發有望為新詩的詩學研究構建一個新的“范式”。
    • 摘要：本文探討了后殖民理論批評家斯皮瓦克的生態轉向及其生態正義觀。作者認為，斯皮瓦克的后殖民生態批評深切關注進入全球化以來人與自然關系的變化。其主要內容包括：反對在父權制世界觀和二元式思維方式統治下的對女性和自然界的壓迫，呼吁關注婦女生存狀態的多樣性和差異性，聆聽屬下婦女真實的聲音；關注世界銀行與“綠色革命”背后所隱藏的西方中心主義對東方的非生態正義，以及基督教文化中體現出的人類對自然的生態壓迫，吁求“從底層學習”、“動物解放神學”和“星球化”，倡導建立一種人與自然和諧相處的新型關系。同時作者借用后殖民生態女性批評一詞，分析了具有強烈的解構與生態女性主義色彩的斯皮瓦克后殖民生態女性批評，作者認為，這一理論作為其后殖民生態批評的補充，關注了全球化所帶來的國際勞動分工、家務勞動、人口控制以及恐怖主義和民族主義運動中女性的角色，具有一定的積極意義。%This essay describes Spivak ’ s ecological turn in her critical practice and her attitudes towards ecological justice .Spivak ’ s postcolonial eco-criticism characterized by eco-feminism focuses on how the relationship between Man and Nature has changed rapidly in the age of globalization .She has drawn considerable attention to World Banks , green revolution and an-thropocentrism , uttering her objection to the oppression both women and na-ture have suffered in the world of male centrism dominated by a binary opposi-tion.In so doing, she calls for a new type of harmonious relationship between Man and Nature which may rely on the approaches of understanding the speaking of subaltern women , learning from below , animist liberation theolo-gies and planetarity that help solve ecological crisis .In addition , the theory of postcolonial eco-feminism summed up by the author analyzes women ’ s roles in their participation in international division of labor , households , birth control , terrorism and nationalism , which makes certain significance in the present era .
    • 摘要：蘇珊·桑塔格在1960年代提出了以“反對闡釋”為核心的形式美學文藝批評觀。她秉承了以王爾德為代表的唯美主義傾向，反撥當時在批評界占統治地位的社會批判和精神分析的挖掘式闡釋手段，呼吁在文藝批評中從理性探索回歸感性領悟，重視文藝作品本身的形式和鑒賞愉悅。本文就桑塔格1960年代的重要論著歸結了她的批評思想中的幾對矛盾，即：以“反對闡釋”和“靜默之美學”為代表的文藝形式與內容之爭；以“坎普感受力”為代表的新感受力與高級文化之爭；以色情文學為論述對象的快感與道德之爭。1960年代之后，隨著社會文化語境的變遷，桑塔格對其“反對闡釋”的形式美學思想進行了反思和重估，開始強調道德意義在文藝批評中不可或缺的位置。筆者在結語中總結了桑塔格作為現代主義后期文化特征的追隨者和前期后現代主義先行者的雙重身份。%Writing in the 1960 s, Susan Sontag formulated her critical standpoint on literary interpretation .In her seminal essay “Against Interpreta-tion”, Sontag attacks the dominant practice of treating literary texts as sites of social critique as well as psychoanalytic allegory and calls for a return to the sensual pleasures of interpretation that focuses on the formalist aspects of liter-ature together with the pleasure of reading .Proceeding from her writings in the 1960s, this article aims to address the major divisions in Sontag ’s critical theory, namely, the form-content division as represented by her theory of reading “against interpretation” and of “aesthetics of silence”, the division between the new sensibilities of “camp” and high-browed intellectual capaci-ties, and the division between moralist and sensualist readings of erotica .The article also deals with Sontag ’ s revision and re-evaluation of her formalist thought on anti-interpretation in the decades following the 1960 s as well as her emphasis on the necessary role of morality in literary and art criticism . The final part of the article provides a scrutiny of Sontag ’ s dual role as an ad-vocate of late modernism and a pioneer of pre-postmodernism .
    • 摘要：“世界文學”是比較文學與文學理論研究中的一個核心術語概念和理論范疇。自從歌德在19世紀開始倡導“世界文學”以來，國際學術界對世界文學的討論就沒有停止過。近年來，隨著全球化進程的加快，“世界文學”已經成為國際學術界的前沿話題之一?！笆澜缥膶W”觀念在中國的演變及實踐（1895—1949）是一個關系到中國比較文學發展的重要問題。世界文學觀念在中國產生的前提是晚清民初世界意識的出現，并與中國近代文學變革密不可分。新文化運動前后，世界文學（主要是歐洲文學）被知識分子作為改造中國文學的利器加以運用，并走進了大學課堂。從1920年代起，中國學者開始了世界文學史的編寫與翻譯，為中國人系統的世界文學知識的獲得做出了貢獻。世界文學觀念的社會化進程勢不可擋。隨著1930—1940年代民族危機的加重，世界文學在特殊的國內外政治語境中被賦予特殊的時代含義。世界文學觀念在中國本質上表現為一種借助文學，走近世界、參與世界、了解世界、與世界對話的近代意識。近現代中國世界文學觀念的產生、發展與實踐始終貫穿著中國人自身的主體意識與普世情懷，反映著中國的特殊國情，是中國近代化大潮中人們精神生活的一種表征。通過對“世界文學”這一話語的運用，中國文學逐步改變了自身的封閉狀態，成為世界文學的重要組成部分，為后人留下了深遠的歷史啟示。%As an important concept , world literature is one of the core terminologies and theoretical categories in the study of comparative literature and literary theory . Discussion and debate on world literature has never stopped since it was first conceptualized by Goethe in the 19 th century .In re-cent years, world literature has become one of the cutting edge theoretic issues in the international academic circles with the acceleration of globalization . The evolution and discursive practice of world literature as an idea in modern China (1895-1949 ) is a critical question that concerns the development of China’s comparative literature.As an idea, the occurrence of world literature was based on a cosmopolitan consciousness and connected to the change of modern Chinese literature closely .In the New Culture Movement period , world literature, especially European literature , was applied as an efficient in-strument for reforming Chinese literature by the intellectuals and appeared in university courses.From the 1920s, Chinese intellectuals began to edit and translate kinds of History of World Literature which helped Chinese readers to obtain a system of world literature knowledge .The socialization of world liter-ature as an idea was overwhelming .During the 1930s and 1940s, specific po-litical meaning was added to world literature with the growing national crisis . The idea of world literature in modern China is essentially a kind of modern consciousness that approaches the world , participates in the world and talks to the world through literature .It carries the subjective consciousness and uni-versal feelings of Chinese people and reflects the special national conditions of modern China .It is a characteristic of spiritual life in the process of Chinese modernization .With the discursive practice of world literature, Chinese litera-ture changed its isolated position and has become one of the important parts of world literature, which has a profound historical significance .
    • 摘要：With the initiation of the reform and opening-up policy , Chi-nese society witnessed unprecedented social transformation .The whole society was restructured by the enormous energy unleashed in this process during the 1980 s.In order to map the new social reality , numerous theoretical para-digms formulated in the Western world thronged into this newly-opening coun-try.As a theoretical discourse originated from both the Birmingham School in England and the Frankfurt School in Germany , Cultural Studies ( CS) was al-so introduced into China during this period of time .Within about thirty years , it has grown into a quite visible theoretical discourse in Chinese academia .Its unparalleled success can be attributed to the following two factors:on the one hand , because of the prosperity of economy , the formation of Chinese civil so-ciety and the awakened subjectivity of the people , popular culture began to thrive in the so-called“New Era”.The prosperity of CS was facilitated by the rapid development of modern means of communication and its prosperity should be interpreted from a theoretical perspective;on the other hand , given its interdisciplinarity , political stance as well as its social relevance , CS not only helps the intellectuals understand various cultural forms in a more com-prehensive way , but also offers them a way to engage in the social realities . However , only when we have fully understood the peculiarities of the living conditions of the people , the social milieu and the intellectual background as well as the interactions between these factors all through these years , can we really understand the development , mechanism and ideological function of CS in China .Through problematizing , contextualizing and historicizing the “trav-eling” of CS in China , this article not only undertakes to evaluate the current situation of popular culture and CS in China , it will also explore issues like the ideology of popular culture , the periodization and future development of CS in China .%隨著改革開放進程的開啟，中國社會在1980年代開始出現重大的歷史性轉型，在這一過程中釋放出來的巨大能量迅速地對整個社會結構進行了全方位重構。在這一時期，出于圖繪全新社會現實的需要，眾多源于歐美的理論集體涌入到剛敞開國門的中國。作為一種起源于英國伯明翰學派和法蘭克福學派的話語形式，文化研究同樣在這一時期被引介到中國，并在三十年間迅速發展為學界重要的話語形式。文化研究能在中國學術體制中安營扎寨，有內外兩個方面的原因：一方面，由于經濟的快速發展、市民社會的形成和公民主體性的提高等眾多因素的推動，以現代傳播手段為依托的大眾文化開始在中國全面興起，并成為人們日常生活中的重要內容，這迫切需要新的理論資源來對其做出回應；在另一方面，作為一種理論工具，由于其跨學科性、政治立場以及現實相關性，文化研究不僅可以幫助知識分子在宏觀語境中更全面地把控各種文化現象，同時也為在經濟浪潮中被邊緣化的知識分子介入社會現實提供了有效途徑。然而，只有全面地把握八九十年代及當下知識分子的生存狀況、社會生態和思想狀況等諸多要素，同時還必須了解這些因素之間的相互制約、互動和輝映，才能更深入地理解文化研究的生成機制、發展脈絡和意識形態性。通過將文化研究在中國的“理論旅行”問題化、語境化和歷史化，本文力圖客觀地呈現、剖析和評判中國的大眾文化和文化研究現狀，并就中國大眾文化的意識形態功能、文化研究的分期和未來發展進行論述。
    • 摘要：隨著全球化進程的加快，文化全球化問題日益凸顯。但在我們對文化全球化的論述中存在著很多誤解和偏頗之處。本文指出，文化全球化并不是世界上各種民族文化的大融合，也不是世界文化的一體化或同質化，而是一個注重交往與學習、尊重差異、推崇包容的文化交往和文化發展過程。這個富有張力的過程中充滿了悖論與矛盾、沖突與協商。我們應該利用世界整體日益開放、各國文化交流日益頻繁的機遇，以積極的姿態建設并弘揚自己的民族文化，尊重文化差異與民族傳統，倡導多元文化的共存共榮，以抵制文化上的西方化或者美國化傾向。%With the development of globalization , the issue of cultural globalization has been increasingly drawing the attention from more and more scholars .But many discussions in this field are regrettably full of misunder-standings and misconceptions .In this essay , the author tries to define cultural globalization not as an ideal merging or homogenization of different national cultures in the world , but as a dynamic process of cultural exchanges and learning , of respecting cultural differences and of promoting cultural toler-ance.This tensional process is full of paradoxes and contradictions , conflicts and negotiations .In this increasingly globalized world , we should take the in-itiative to strengthen our national cultures , respect other cultural traditions , and promote the prosperity of all different cultures in order to balance the tendency of Westernization or Americanization .

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