《外国文学研究》2020年第3期主要论文摘要
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2020年第3期(总第202期)
中外学者访谈
Dang Wei & Stephen Greenblatt
Title: Current Trends in Shakespeare’s Biographical Studies and Cultural Poetics: An Interview with Stephen Greenblatt
标题：莎士比亚传记研究和文化诗学新动态：斯蒂芬·格林布拉特访谈录
Abstract: Stephen Greenblatt is John Cogan University Professor of the Humanities at Harvard University, a member of the American Academy of Arts and Sciences, the American Academy of Arts and Letters, and the Italian literary academy Accademia degli Arcadi, a renowned Shakespearean scholar, literary critic, and one of the founders of New Historicism. His Will in the World: How Shakespeare Became Shakespeare, characterized by both his academic insights and fascinating storytelling, was on The New York Times bestseller list for several weeks, reaching both the academia and general public. This interview with him addresses the following issues regarding the life-writing of Shakespeare and cultural poetics: Shakepspeare portrayed by Prof. Greenblatt, Shakespeare studies and common readers, biography and Shakespeare studies, new directions in biography, self-fashioning and cultural poetics in Shakespearean biography, as well as the realistic concerns of biographies.
内容摘要：斯蒂芬·格林布拉特，哈佛大学约翰·科根校级讲座教授，美国艺术与科学院院士，美国艺术与人文学院院士 , 意大利阿卡迪亚文学院院士 , 著名莎士比亚研究专家，文学批评家，美国新历史主义领军人物，其著作《俗世威尔：莎士比亚新传》融学术研究与通俗传记叙事于一体，连续数周位列《纽约时报》畅销书排行榜，引起英语学术世界与大众读者的极大反响。本次访谈主要讨论以下问题：传记中的莎士比亚，莎士比亚研究与大众读者，传记与莎士比亚研究，传记叙事的新方向，传记中的自我形塑和文化诗学，传记的现实关切性。
中外学者对话：莎士比亚研究
Zhu Xiaolin & Igor Shaytanov
Title:Translation and Reception of Shakespeare in Russia and China:An Interview with Igor Shaytanov
标题：莎士比亚在俄罗斯和中国的翻译与接受：伊戈尔·沙伊塔诺夫访谈录
Abstract: Igor Shaytanov is a senior expert in Shakespearean studies. His representative publications include Comparative Studies and Poetics in English Literature through the Eyesof Historical Poetics (2010), Shakespeare’s Life (2013), and The Way It Was and the Way We Remember (2017; 2nd edition, 2019). On April 10-11, 2019, Zhu Xiaolin interviewed Igor Shaytanov, in Beijing, about the translation and reception of Shakespeare in Russia and China. In this interview, Shaytanov talked about a range of topics, from the translation and circulation of Shakespeare’s works, as European literary classics, in Russia through the Frenchversions, Shakespeare’s integration into Russian literary consciousness, and the features of Russian translations of his works. He addressed Zhu’s questions regarding the similarities and differences in the translation and circulation of Shakespeare in Russia and China and various translation principles as well. Also, he shared his thoughts on the compilation of Shakespeare Encyclopedia and its newly added section for the translation and acceptance of Shakespeare in China.
内容摘要：伊戈尔·沙伊塔诺夫，资深莎士比亚研究专家，著有《比较研究与从历史诗学的角度看英国文学中的诗学》（2010）、《莎士比亚一生》（2013）、《事实真相与我们所铭记的》（2017；第二版，2019）等。2019 年 4 月 10-11 日，朱小琳在北京就莎士比亚在俄罗斯和中国的翻译与接受对沙伊塔诺夫教授做了一次访谈。在此访谈中，沙伊塔诺夫教授谈到一系列问题，从莎士比亚作品作为欧洲文学经典经由法语译本传入俄罗斯的译介与传播，到莎士比亚融入俄罗斯文学意识的进程、俄罗斯的莎士比亚文学翻译特点。他针对朱小琳所提出的中俄两国的莎士比亚文学翻译与传播的共同性与差异性、翻译原则等问题做了详尽的解答。除此之外，他还就《莎士比亚百科全书》的编写和增加一个章节来论述莎士比亚在中国的翻译与接受分享了他的见解。
李伟民
标题：《暴风雨》五言诗体中译——民国时期莎剧经典化的尝试
Title: The Poetic Translation of The Tempest in the Five-Character-Per-Line Style: The Attempt at Canonizing Shakespeare’s Drama during the Period of Republic of China
内容摘要：余楠秋、王淑瑛以五言诗体翻译莎士比亚剧作《暴风雨》可称为中国莎学史上的一个特殊译本。余楠秋、王淑瑛以五言形式翻译莎剧虽然是一次不太成功的译莎实践，却是首创且是唯一的以中国古典诗歌五言诗体翻译莎剧。余王译《暴风雨》对于林纾等人将莎剧误读为“诗”和译述莎剧故事的“莎氏乐府本事”都是一个进步。采用五言诗体翻译《暴风雨》难以完整反映原作的内容和艺术精髓，从内容与形式两方面损害了原作，偏离了原作的意境，也体现不出中国古典诗歌五言诗的神韵，但是为莎剧翻译提供了可资借鉴的宝贵经验与教训。
Abstract: The poetic translation of Shakespeare’s The Tempest in the five-character-per-line style by Yu Nanqiu and Wang Shuying may be regarded as a special translation in the history of the Shakespearean Study in China. Such a translation by Yu and Wang was hardly a success in the Chinese translation of Shakespeare, but still it is the first and only attempt at translating Shakespearean plays based on the five-character-per-line style of the classical Chinese poetry. As compared with Lin Shu and others who misread Shakespearean plays as “poems” and did the translation by paraphrasing the stories in their Tales from Shakespeare, the translation of Shakespeare’s The Tempest by Yu and Wang is a huge step in progress. Their translation of The Tempest in the five-character-per-line style seems unable to present the original contentand artstic essence in their entirety, and fails to capture the quintessential subtelty in the classical Chinese poems written in the five-character-per-line style. However, their translation provides us with valuable experiences and lessons that could be used as a source of reference for the Chinese translation of Shakespearean plays.
胡 鹏
标题：无家可归、疯癫与《济贫法》——《李尔王》中的流浪汉话语
Title: Homelessness, Madness, and the Poor Law: Rogue Discourse in King Lear
内容摘要：“流浪汉文学”是以流浪者的视角讲述故事的一种文学类型，在 16、17 世纪的英国非常流行，这些故事往往和罪犯及类似罪犯的生活有关，多以主人公忏悔的形式进行叙述。作为莎士比亚著名悲剧《李尔王》中的悲剧主人公，李尔王由于错误的判断和决定而最终变得无家可归、一无所有，而剧中人物也常常处于流浪状态，例如爱德伽假扮疯丐、葛罗斯特变成盲丐。在《李尔王》中，莎士比亚通过挪用同时代的流浪汉话语，丰富了贝德兰姆的汤姆这一文学乞丐形象，展示出大众对流浪汉的文化焦虑心理；同时透过对流浪者生存境况的描述，也隐晦地批评了《济贫法》的缺陷与不足，以此唤起人们的同情心，实现《李尔王》与现实的互动。
Abstract: “Rogue literature,” a literary genre that tells stories from the perspective of roguesand criminals, was quite popular in England during the 16thand 17th centuries. The stories were mostly narrated through the protagonists’ confessions and loaded with vivid descriptions. As the tragic hero in Shakespeare’s most famous tragedy, King Lear, Lear ultimately becomes homeless and penniless due to his misjudgements and wrong decisions. Also, most of the characters often live like rogues in this play. For instance, Edgar pretends to be a crazy beggar, while Duke of Gloucester turns into a blind beggar. In King Lear, Shakespeare appropriates the rogue discourse during his time in enriching the literary image of Tom o’Bedlam and reprensenting the cultural anxiety of the public toward rogues. Meanwhile, his depiction of vagrants’ living conditions offers an implicit reproof for the defects and deficiencies of the Poor Law so as to arouse the sympathy among his contemporaries and relate King Lear to the realities in England.
人类命运共同体与文学跨学科研究
（栏目主持人：李维屏）
李维屏
标题：论英国文学中的命运共同体表征与跨学科研究
Title: The Representation of Community in English Literature and Its Interdisciplinary Study
内容摘要：“命运共同体”是历代英国作家文学想象的重要客体，也是千年英国文学史上繁衍最久、书写最多的题材之一。近年来，随着全球化进程的加快，“命运共同体”表征的审美研究已经成为国内外文学批评界的热门话题。尽管对这一题材的跨学科研究尚未引起人们足够的重视，但这无疑是当前值得探索的一条学术路径。论文以“命运共同体”为切入点，旨在系统阐释这一题材在英国文学中的美学表征与跨学科研究。在考察国内外相关理论和研究的基础上，论文全面论述了“命运共同体”在英国文学中的历史成因、发展轨迹和审美批评，并揭示了其跨学科研究的意义和理论价值。此外，论文还对英国文学中“命运共同体”书写的典型范例及其跨学科研究的丰富资源加以阐释，并探讨了其文内审美和文外跨界研究过程中可能涉及的若干深层次问题。
Abstract: “Community” has been both a key object of literary imagination for English writers in different historical periods and one of the most enduring and most commonly written subjects throughout the history of English literature. In recent years, along with the rapid progress of globalization, the representation of “community” has become a heated topic for literary critics both at home and abroad. Although the interdisciplinary study of this subject has not yet caught enough attention from critics, now it is undoubtedly a research path worth exploring. Using “community” as a breakthrough point, this essay aims to offer a comprehensive illustration about the literary representation of the subject in English literatureand viable options for an interdisciplinary study on it as well. While examining the relevant theories and studies of the subject both at home and abroad, the essay not only traces theorigin, development, and criticism of “community” in English literature, but also demonstrates the significance and theoretical value of its interdisciplinary study. In addition, the essay illustrates some typical examples of “community” representation, along with rich resources for interdisciplinary studies, and explores some deep-rooted issues that may occur in the course of the aesthetic analysis within the text and the cross-boundary research beyond.
蒋承勇
标题：跨学科互涉与文学研究方法创新
Title: Interdisciplinary Interaction and Innovation in the Methodology of Literary Studies
内容摘要：文学研究的本质属性除了审美意义上的“文学性”之外，还包括学科知识的包容性与统摄性，因为文学本身就具有与生俱来的对人类活动和知识蕴含的无所不包之特性。文学研究要坚守审美意义上的“文学性”，但不应因此囿于审美性的规设而无视文学与其他学科之间存在的“学科间性”，拒斥多学科互涉与对话。文学研究即便是在现代学术体制背景下学科分工愈趋细致、完善的条件下，也应该依旧坚守知识生产的多学科综合性和研究方法的丰富多样性，同时又不失其固有的文学性和审美性。文学研究不仅永远离不开学科间性基础上的跨学科互涉与对话，而且这种跨学科乃至“超学科”研究的不断提升、拓展与深化，正是“网络化 - 全球化”时代中外文学研究观念与方法创新的一种重要途径。
Abstract: In addition to “literariness” in the aesthetic sense, the essential property of literary research also includes the inclusiveness and integration of knowledge from different disciplines, as literature has an inherent omnipresence of human activity and knowledge. The study of literature should adhere to “literariness” in the aesthetic sense, but it should neither be servile to aesthetic conventions to disregard the “interdisciplinarity” between literature and other disciplines, nor reject multidisciplinary interaction and communication. Even in the context of the modern academic system, in which the division of disciplines has been more and more meticulous and consummate, literary studies should still adhere to the multidisciplinary synthesis of knowledge production and the rich diversity of research methods, while maintaining its inherent literariness and aesthetics. Not only is literary research alwaysinseparable from interdisciplinary interaction and communication based on interdisciplinarity, but upgrading, expanding, and deepening the interdisciplinary and even “supra-disciplinary” research is indeed an important way to innovate the concept and methodology of our study on Chinese and foreign literature in this “Internet-globalization” era.
周 敏
标题：人机共同体想象：以《像我一样的机器》为例
Title： The Imagination of a Human-Machine Community in Machines Like Me
内容摘要：人类创造机器人的初衷乃是渴望一个更好的自我，希望它能拯救人类；同时人对这个机器人又心怀恐惧，担心被它所取代。由此带来一个崭新的伦理困境：如何在人机共存的新时代构建出和谐共存的人机共同体。《像我一样的机器》为这个问题提供了想象性答案。借助阿甘本的生命政治哲学、埃斯波西托的共同体理论，以及阿西莫夫的机器人三定律等，分析小说主人公查理等和机器人亚当所构成的人机共同体之中的理解缺位、人机矛盾，以及伦理困境等问题。面对一个人工智能时代的到来，人类不该像工业革命时期的勒德分子那样，而是应当走出人类中心主义的牢笼，重新反思自己对待机器人和人工智能的方式，因为在一个人机共存的空间，人类与机器之间不应该是主仆关系；相反，他们是彼此的构成性他者，共同填补了共同体的“空”，并使得人机共存的空间成为共同拥有的礼物：人机共同体。
Abstract: Android is originally created out of human aspiration for a better self and a hopeful salvation of humankind. In the meantime, though, humans are also afraid of androids and worried about being replaced by them, thus finding ourselves in a novel ethical predicament, anaporia of constructing a harmonious community, in which humans and machines could coexist. Machines Like Me seems to have offered some imaginary answers to these issues. Through ananalysis based on Agamben’s political philosophy of life, Esposito’s theory of community, and Asimov’s three laws of robotics, we may see problems like comprehension deficits, human-machine conflicts, and ethical dilemmas, in the human-machine community composed of Charlie, the protagonist in the novel, and Adam, an android. With the arrival of the A.I. era, therefore, humans should not behave like a Luddite during the Industrial Revolution, but rather free ourselves from the cage of Anthropocentrism and reconsider our way of treating android and artificial intelligence. This is because in a space where mankind and machine coexist, there should not be a master-servant relationship between humans and machines; instead, they are de facto the Constitutive Other of one another, filling the “void” in the community jointly, and turning their co-residing space into a munus: a human-machine community.
英美文学研究
徐秋群
标题：隐秘的雌雄同体与隐喻的世界地图——《帖木儿大帝》的权力构建研究
Title: Covert Androgyny and Metaphorical World Map: The Power Construction in Tamburlaine the Great
内容摘要：1588年英格兰与西班牙海战前夕上演的《帖木儿大帝》实乃影射时政至关重要的智力武器，而非鞑靼帝王的华丽舞台或奥特柳斯式的纯地理学愉悦。为此马洛非常隐秘地借用了西方源远流长的雌雄同体观念，在帖木儿大帝和伊丽莎白一世之间建立起身份发生学的概念内涵，同时通过特殊的地图空间隐喻投射日益增长的英格兰殖民梦想。研究发现，本土化的强力君王形象塑造极大消解了英格兰观众潜藏于心的临战焦虑情绪，世界图示的戏剧公演则满足了他们的胜利渴求心理和海外殖民想象，两者共同构建了文艺复兴地理大发现时代英格兰权力失语的文化补偿策略。
Abstract:Tamburlaine the Great, performed right on the eve of the sea battle between England and Spain in 1588, was a vital intellectual weapon alluding to contemporary politics, rather than a glamerous stage show of the Tatar emperor or a purely Ortelius geographical entertainment. To this end, Marlowe reconditely borrowed the long-standing Western idea of androgyny to construct a conceptual meaning of identity genetics between Tamburlaine and Elizabeth I, while projecting the ever-increasing colonial dream of England with special cartographical metaphors. Studies show that the portrayal of a strong local monarch greatly dispelled the latent war anxiety of the English audience, whereas the public performance of a play of world graphics satisfied their desire for victory and their imagination of overseas colonialization as well. These two factors established a strategy of seeking cultural compensation for the voiceless England in the Age of Discovery.
陈广兴
标题：保罗·哈丁《修补匠》中的时间
Title: Time in Paul Harding’s Tinkers
内容摘要：保罗·哈丁的《修补匠》是一部关于时间的小说，人物的时间体验被空前放大，成为小说的主要内容。小说试图将时间塑造为超验的时间，以表达关于人性的普世主题。小说以较多篇幅讲述四季轮回和生老病死，以期呈现一种循环的、重复的、非历史的、形而上的时间体验，并希望据此提出一种超验的生活理想。然而时间体验总是发生在具体的历史环境下，人的具体的社会存在必然影响或决定着人的时间体验。不仅经济发展和文化变迁在整体上改变着人们的时间体验，而且个体的主动的、独一无二的、不可重复的、不可更改的生活让时间体验成为区别于他人的独特的存在。《修补匠》试图表达的超验时间，体现了当代美国文学对人性主题的回归；而小说中无法避免的时间的历史性，则表明了文学永恒的政治属性。
Abstract: Paul Harding’s Tinkers is a novel about time. The characters’ experience of timeis greatly magnified within the novel and becomes the main content of the narrative. The novel attempts to represent time as a transcendental existence in order to address the universal theme of humanity. It devotes the most part of its narrative to the change of seasons and the cycle of birth, aging, disease, and death, thus representing a circular, repetitive, ahistorical and metaphysical experience of time in an attempt to propose an ideal of transcendental life. However, as the experiences of time always take place under certain historical circumstances, our specific social existence will inevitably affect or even determine our experience of time. Generally speaking, our experience of time is shaped by economic development and cultural changes; moreover, our individual active, unique, unrepeatable, unchangeable life will turn our experience of time into a unique existence as distinguished from others. The transcendental time that Harding tries to address in Tinkers embodies a return to the theme of humanity in contemporary American literature, whereas the unavoidable historicity of time in this novel displays the intrinsic politics of literature.
朱 云
标题：《比利·巴思格特》中的自白叙事
Title: The Confessional Narrative in Billy Bathgate
内容摘要：E.L.多克托罗的《比利·巴思格特》是其“将‘犯罪―惊悚小说’这一次要文类提升至艺术殿堂的尝试”。小说通过成年比利的回忆性自述聚焦少年比利与舒尔兹黑帮接触的一年间的经历。比利的自述实则是一种犯罪叙事式的自白，其中充斥着黑帮的暴力与犯罪事件，但比利毫无作为至少是罪恶帮凶的自觉，其自白的动机或许包含对自我的审视与对自我身份构建的自省，却绝不是对罪责的忏悔或是寻求救赎；由之，其自白明显悬置了伦理评判，凸显了比利自愿与罪恶合谋的“现代好青年布朗”形象；比利自白中作为隐性叙事的舒尔兹的自白再现了美国黑帮内部的暴力与金钱、权力运作，这双重自白引领读者揭秘黑帮文化，彰显了作为“读者”的比利及小说读者在阅读犯罪叙事过程中的合谋关系。
Abstract: E.L. Doctorow’s Billy Bathgate is his “attempt to elevate crime-thriller subliterature into art.” The novel focuses on Billy’s yearlong involvement, as a teenager, with the Schultz gangsters based on his retrospective narrtive as an adult. Billy’s account of himself is, in effect, a kind of confession common in crime narrative, full of gang violence and criminal activities, but his inaction is at least a conscious act of criminal accomplice. Billy’s confession might be motivated by self-scrutiny and self-reflection upon his self-identity, but it is by no means intended as his repentance for guilt or his plea for redemption. So, it seems that his confession has clearly suspended his ethical judgment and shows off his image as “a modern-day Young Goodman Brown,” who is willing to collude with evil voluntarily. The confession by Schultz, the hidden narrative within Billy’s account, discloses the violence, money, and power play inside American gangs. Both confessions guide the readers through the secrets of the gang culture and reveal the complicity from not only Billy as a “reader”, but also the readers of the novel as they read through the crime narrative.
丁礼明
标题：《卡列布·威廉斯》中情感结构与习俗文化的政治书写
Title: The Political Writing of Emotional Structure and Custom Culture in Caleb Williams
内容摘要：威廉·葛德文是19世纪英国著名政治学家和小说家。国内学者多聚焦于葛德文的犯罪学、财产观和无政府主义等政治学说，对小说《卡列布·威廉斯》鲜有涉及，作品凸显的情感结构和习俗文化的政治意蕴甚至无人问津。事实上，小说阐发的习俗文化观与塞缪尔·理查森主张的平民化情感结构思想不谋而合，葛德文希冀维持社会权力机制的政治信念和集体情感结构，延续英国历史悠久的习俗文化。不仅如此，在挑战爱尔兰政治家埃德蒙·伯克的过程中，葛德文在帕梅拉身上找到创作灵感，他通过逆转帕梅拉的身份，把卡列布从激进平民塑造成有产乡绅，开辟了别具一格的政治路径。故此，小说是葛德文政治学思想的重要载体，作家把政治学说巧妙地融入到小说的宏大叙事中，揭露英国社会缺乏正义和有失公允的政治生态。
Abstract: William Godwin is a famous British political scientist and novelist in the 19th century. Scholars in China have mostly focused on his political theories on criminology, property view, and anarchism, but seldom, if ever, touched upon his Caleb Williams, let alone the explicit political implications of its emotional structure and custom culture. As a matter of fact, the view of custom culture expounded in the novel coincides with Samuel Richardson’s thought of populist emotional structure. Godwin hopes to maintain the political belief and collective emotional structure of the social power mechanism and sustain the long-standing British custom culture. Besides, in the process of challenging the Irish politician, Edmund Burke, Godwin found a creative inspiration in Pamela. By reversing Pamela’s identity, he creates a unique political path by turning Caleb from a radical average man to a squire of property. Therefore, the novel is an important carrier of Godwin’s political thought. The writer skilfully integrates his political theory into the grand narrative of the novel in order to expose the lack of justice and the unfair political ecology in British society.
黄 潇
标题：论布劳提根诗歌叙事的小说化特征
Title: Understanding the Features of Richard Brautigan’s Novelized Poetic Narrative
内容摘要：美国垮掉派诗人布劳提根具有“诗人―小说家”双重身份。他的诗歌具有鲜明的诗歌叙事的小说化特征。其小说化特征主要借助戏仿和体裁混合，形成对长篇小说的时代性、未完成性、杂语性等重要特征的借鉴和改造。所形成的诗歌叙事新文本包含了时间意识的冲突、塑造具有多种面相又统摄全局的新人物、借用小说结构等小说化特征。布劳提根小说化的诗歌叙事提供了新的诗语陌生化模式，有效扩充了诗歌的容量和可能性，并且还是其所代表的青年群体在那个时代的社会文化心理的反映。它成为布劳提根诗歌能突破“垮掉派”、并在世界范围内取得极大关注的重要原因，也为当下诗歌创作与研究提供新的可能。
Abstract: Richard Brautigan, the American poet of the Beat Generation, has a dual identity as poet and novelist. His poetry contains the distinctively novelistic features in its poetic narrative with the intent to borrow and renovate some of the key features from full-length novel, such as contemporaneity, incompleteness and multilinguality, mainly through parody and fusion of different genres. The new type of text based on this kind of poetic narrative carries several features of novelization, including the conflict of time consciousness, the portrayal of multi-faced protagonist who controls the entire story, and the adoption of novelistic structures. Brautigan’s novelized poetic narrative provides a new mode of the defamiliarization of poetic language, effectively expands the capacities and possibilities of poetry, and reflects the social and cultural psychology of the youth group well represented by him during that time. It is an important reason not only why Brautigan’s poetry could transcend the Beat Generation movement and gain great attention around the world, but also why it could provide new possibilities for the current poetry writing and research.
批评与批评研究
董 晓
标题：从《三姊妹》看契诃夫戏剧中的时间
Title: Three Sisters: Time in Chekhovʼs Plays
内容摘要：时间的主题是契诃夫戏剧创作中最重要的主题之一。而《三姊妹》作为契诃夫戏剧风格最鲜明的剧作，也最典型地体现出作为剧作家的契诃夫对时间的书写。契诃夫力求在对生活的日常性表现中体现出时间的主宰作用，表现出生活中时间的永恒流动。人与时间的关系在剧本中通过对“等待主题”的挖掘而得以进一步的揭示。凭借对三姊妹等待状态的展示，契诃夫表达了时间成为主宰人之命运的主人这一思想。契诃夫对人与时间之关系的理解，也相应地存在于去冲突化的戏剧理念中。戏剧动作的缺失使《三姊妹》呈静态化，而舞台的静态化则包含了契诃夫对时间主题的阐发：时间的流逝消解了人的行动之意义，行动与时间隔离了，行动被抛到时间流程之外。对时间的这种感受与契诃夫对喜剧性的追求有密切的关系。契诃夫在以《三姊妹》为代表的剧作中对时间的艺术表达不仅生成了其剧作内在的喜剧精神，而且对 20 世纪的现代戏剧影响深远。
Abstract: Time is one of the most important themes in Chekhovʼs plays. As a play that best represents Chekhovʼs dramatic style, Three Sisters most typically embodies the playwright’s writing about time. In his description of daily life, Chekhov strives to reiterate not only the dominating role of time but also its eternal flow in life. The relationship between man and time is further revealed in the play through an exploration of the motif of “waiting”. By unfolding the “waiting” experience of the three sisters, Chekhov expressed his thought that time became the master who could control man’s destiny. Accordingly, Chekhovʼs understanding of the relationship between man and time is also reflected in his dramatic concept of deconfliction. The lack of dramatic actions makes Three Sisters static, whereas the staticized stage implies what Chekhov intends to say about the theme of time: the passage of time dissipates the meaning of human action; actions separates from time; and action falls beyond the passage of time. Such a feeling toward time is closely related to Chekhovʼs pursuit of comicality. Chekhovʼs artistic rendition of time in his drama, as represented by Three Sisters, produced not only the comedy spirit within his plays, but also his far-reaching influence on the modern drama in 20th century.
石 蕾
标题：加勒比海民族共同体书写——论沃尔科特《又一生》中的民族志叙事
Title: The Writing of the Caribbean Community: Ethnographic Narrative in Walcott's Another Life
内容摘要：《又一生》是理解圣卢西亚诗人、诺贝尔文学奖获得者德里克·沃尔科特思想与创作的关键性作品。不同于以往其他作家的自传类作品，沃尔科特在这部自传体长诗中，将加勒比海的当地人物形象与青少年时期的自己并置，并与当地的历史、文化等勾连起来，形成加勒比海民族共同体的“整体自我”的民族志叙事模式，呼应了建立整体全貌观的民族志叙事的时代转向。在建构这一主体民族志的过程中，沃尔科特利用西方艺术的表达方式，凸显加勒比海当地景观，重新审视了加勒比海与西方的关系，使得笔下的加勒比海走出了西方的“他者”藩篱，从而实现了加勒比海崭新的民族共同体书写。
Abstract: Another Life is a key work to understanding St. Lucian Nobel Laureate Derek Walcott’s literary thoughts and writings. Unlike the autobiographical writings by other writers, Walcott in this autobiographical long poem juxtaposes the Caribbean images of local characters with that of himself in adolescence and links all of them in local history and culture to construct a unique mode of ethnographic narrative for the “whole self” of the Caribbean community, which echoes the current transition of ethnographic narrative with a panoramic view. In this process of constructing the collective ethnography, Walcott highlights the local landscape of the Caribbean with the artistic expression from the West, re-examines the relationship between the Caribbean and the West, allows the Caribbean portrayed in his writing to transcend the fence for “the other” installed by the West, hence accomplishing the representation of a brand new Caribbean community of peoples.
王 遥
标题：《皇帝与加利利人》中的历史人物原型回溯
Title:Tracing the Historical Prototype of the Character in Emperor and Galilean
内容摘要：易卜生剧作《皇帝与加利利人》中的主人公是以古罗马帝国的君王朱里亚努斯为原型塑造出来的。在历史文献的基础上，就这一形象的文学书写加以梳理，并在比较中呈现其中的关联、对应和差异，可以发现历史上的朱里亚努斯想通过复兴多神教抑制基督教的发展，而易卜生却力图将他塑造成能够融合并升华两种信仰的革新者；由于发现其宗教思想中的悖论，易卜生在剧作中否定了这种革新的可能。他所发现的悖论也为朱里亚努斯的相关研究带来启发。《皇帝与加利利人》的情节设置固然与现实的影响不无关联，但它也说明文学创作与史书撰写的原则虽不同，可文学家的思考未必完全不受史料的限制。因此，除关怀现实以外，文学作品也可以揭示历史问题的可能性。
Abstract: The leading character in Ibsen’s play, Emperor and Galilean, is modeled on Flavius Claudius Julianus, the Emperor in the late Roman Empire. By looking through various literary representations of such a character based on historical documents and identifying, by comparison, the connection, correspondence, and differentiation in between, we may discover that Julianus attempted to contain the development of Christianity by reviving polytheism, whereas Ibsen strove to portray him as a reformist who could reconcile and transcend both religions to a higher level. Thanks to his discovery of the paradox in Julianus’ religious thoughts, Ibsen had to nullify the possibility of such a reform in his play. The paradox discovered by Ibsen, nevertheless, offered a great inspiration to the research on Julianus. Even though the plot development of Emperor and Galilean was somewhat influenced by reality, it still shows that literary writing is utterly different from the principles of historical writing, but the thinking of literary writers is hardly free from the influence of reality altogether. Therefore, literary works may expound potential historical issues while keeping track of reality.
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