Abstract: Shirley Samuels is Professor of English and American Studies at Cornell University. Her research field is mainly the 19th-century American literature and culture, with much emphasis on race and gender. She has been one of the leading scholars in “Literature and the Civil War” with extensive and seminal publications. Her focalized and representative publications on this topic include the following books and book chapters: Cultural Testimony and the Civil War (2020), Reading the American Novel 1780-1865 (2012), The Cambridge Companion to Abraham Lincoln (2012), Facing America: Iconography and the Civil War (2004), and “Literature and the Civil War” in A Companion to American Literature (2020), “Looking at Lincoln” in A History of American Civil War Literature (2016). In this interview, Professor Samuels introduced the transformations of the Civil War literature over the sesquicentennial history, with an emphasis on race, gender, and genre in its genealogy. She pointed out the deepening and new research on racial and slavery issue in recent decades. Meanwhile, she paid particular attention to the Civil War documenting and writings of women writers (including African American women writers), as well as the often-neglected genres such as diaries and slave narratives. Professor Samuels also suggested that the Civil War literature scholars turn their attention to the broader historical and cultural contexts of the whole 19th-century United States and extend the borders of understanding Civil War literature.

内容摘要：雪莉·塞缪尔斯是康奈尔大学英文与美国研究教授，其主要研究领域为19世纪美国文学与文化 , 重点关注种族与性别。她是美国内战文学领域的知名学者之一，著述广泛，颇具影响力。其中重点和具有代表性的著述包括《文化证词与内战》（2020）、《解读 1780—1865 年间的美国小说》（2012）、《亚伯拉罕·林肯剑桥指南》（2012）、《直面美国：图像学与美国内战》（2004），“文学与内战”（收录于《美国文学指南》，2020）、“审视林肯”（收录于《美国内战文学史》，2016）等。在本次访谈中，塞缪尔斯教授介绍了一个半世纪以来美国内战文学书写的流变，聚焦于该文学谱系中的种族、性别和文类三个重要议题。她指出了近几十年间内战文学在种族和奴隶制问题上的深化与新颖研究。同时，她格外关注了女性作家（包括非裔女性作家）对内战的记录与书写，以及日记和奴隶叙事等时常被人忽视的文类。她还建议内战文学学者们将视野置于更为广阔的19世纪美国历史及文化语境，拓展理解内战文学的疆界。

中外学者对话：文学跨学科研究

Ou Rong & Lars Elleström

标题：跨媒介研究：拉斯·埃斯特洛姆访谈录

Title: Intermedial Studies: An Interview with Lars Elleström

内容摘要：拉斯·埃斯特洛姆是瑞典林奈大学比较文学教授、跨媒介与多模态研究中心主任，国际跨媒介研究学会主席。已发表的论著和编著包括《神性之癫：文学、音乐和视觉艺术的反讽阐释》（2002）、《媒介边界、多模态和跨媒介研究》（2010）、《媒介转换研究：媒介中的媒介特征转换》（2014）以及《超媒介叙事研究：不同媒介的叙述与故事》（2019）。此外，他还发表了大量有关诗歌、性别、反讽、符号学研究的论文。欧荣在林奈大学访学期间于 2020 年 1 月 28 日对埃斯特洛姆教授进行了访谈。访谈中，埃斯特洛姆论及跨艺术研究发展到跨媒介研究的必要性、跨媒介研究的核心概念、跨媒介研究的主要路径、跨媒介研究的学术评价、跨媒介研究与文学研究的相互助益以及国际跨媒介研究学会的发展历程等。访谈的最后，埃斯特洛姆期待有更多的中国和亚洲学者参与跨媒介研究的国际学术交流。

Abstract: Lars Elleström, Professor of Comparative Literature at Linnaeus University, Sweden, leads the Linnaeus University’s Centre for Intermedial and Multimodal Studies (IMS) and chairs the board of the International Society for Intermedial Studies (ISIS). He has written and edited several books, including Divine Madness: On Interpreting Literature, Music, and the Visual Arts Ironically (2002), Media Borders, Multimodality and Intermediality (2010), Media Transformation: The Transfer of Media Characteristics among Media (2014), and Transmedial Narration: Narratives and Stories in Different Media (2019). He has also published numerous articles on poetry, gender, irony, semiotics, and in particular intermediality. In this interview, which took place on January 28, 2020 when Ou Rong was a visiting researcher at Linnaeus University, Elleström discussed the necessary expansion of Interart Studies to Intermedial Studies, some key concepts of Intermidal Studies, major approaches to Intermedial Studies, academic evaluations on intermedial scholars, the beneficial interaction between Intermedial Studies and literary studies, and the history of ISIS. At the end of the interview, Elleström wishes to see more Chinese and Asian scholars to participate in the international exchanges of Intermedial Studies.

聂珍钊

标题：文学跨学科发展 ——论科技与人文学术研究的革命

Title: The Interdisciplinary Development of Literature: The Revolution of Science and  Technology and Academic Research in Humanities  

内容摘要：科技与人文学术研究革命的话题，实际上是关于人文学科跨学科研究的话题。科学技术不断进入文学研究领域，文学的形式、内容和功能，有关作家或读者的研究如人的意识、认知、思维和思想等方面的研究，已经不是完全抽象的问题，而变成了客观的科学问题。同以往的时代相比，科学技术已经有形或无形中融入了我们的生活，出现了以科学主导的跨学科研究转向。智能机器人取代作家意味着作家的消亡，作家的消亡也意味着文学的消亡，这是文学的危机，也是文学观念和文学理论的危机，是20世纪以来有关人的科学认知引起的。科学同人文的跨学科融合是大势所趋，我们需要做出符合科学的伦理选择。

Abstract: The issue regarding the revolution of Science and technology and academic research in humanities is, in essence, an issue about the interdisciplinary studies in humanities. As sicence and technology have gradually found their way into the field of literary studies, the research on the form, content, and function of literature as well as the research on a series of issues related to authors and readers, such as human consciousness, cognition, conception, cogitation, etc., have shifted their focus from totally abstract notions to objective scientific issues. As compared to the previous times, science and technology have already integrated, both tangibly and intangibly, into our lives, hence prompting a turn of science-driven interdisciplinary studies. Replacing writers with smart robots signifies the extinction of writers, which in turn leads to the extinction of literature. That is a crisis for literature and a crisis for literary concepts and literary theories as well. All this has been triggered by the scientific perception of human beings since the 20th century.The interdisciplinary integration between science and humanities is the general trend, for which we need to make our ethical selection in compliance with science.

济慈诗歌研究

傅修延

标题：从“消极的能力”“诗人无自我”到“想象之美为真”——论济慈诗歌观点的有机统一性

Title: From “Negative Capability,” “the poet has no self” to “What the imagination seizes as  Beauty must be truth”：The Organic Unity of Keats’s Views on Poetry

内容摘要：英国诗人济慈的诗歌观点构成一个有机统一的理论系统：“消极的能力”关乎情感怠惰和认知延缓，这样的状态带来“平和”“从容”的创作心境，令诗人的灵感像“枝头生叶”那样自然降临；“诗人无自我”指情感与认知的休眠使诗人的“第二自我”离开诗人的肉身，“去填充其他的实体”并从其“个性出发来进行思考”，这样的“填充”显然需要通过想象的力量；“想象之美为真”强调的是美感的真实性，诗歌不必像哲学那样通过推理之类的认知过程来探求真理，而应当坚持由想象来追求美，通过感觉来创造美。济慈对诗歌的认识随时间推移而不断深化，却又能保持前后连贯以及观点之间的递进与衔接。

Abstract: John Keats’s views on poetry constitute an organic and unified theoretical system. “Negative capacity” is related to emotional languidness and cognitive delay. Such a mental state brings a “leisurely” and “peaceable” creative mood, which makes the poet’s inspiration come naturally like “leaves growing on the branches”. “The poet has no self” means that the dormancy of the poet’s emotion and cognition forces the “second self” to leave his physical body in order to “fill some other Body” and “cogitate based on its character,” and such a “filling” clearly needs to be done with the power of imagination, “What the imagination seizes as Beauty must be truth” emphasizes the authenticity of aesthetic feeling: poetry does not need to seek truth through inferential cognitive process like philosophy, but it should insist on pursuing beauty by imagination and creating beauty through a keen sense. Keats deepened his understanding of poetry incessantly with the passage of time, but still kept it coherent and sustained a progression and cohesion between his viewpoints.  

唐伟胜

标题：为物所惑：济慈颂歌中的复魅叙事

Title: Enchanted by Things: The Narrative of Re-Enchantment in Keats’s Odes

内容摘要：从“复魅”的角度看，英国诗人济慈的生态敏感主要体现在他对万物平等的体认，对万物无限性和神秘性的感知以及对万物活力抱有的孩童般的欣喜。在济慈著名的三首颂歌中，“迷魅”既是极力表达的主题，也是结构性叙事策略：《夜莺颂》里，说话人 ( 或诗人）先是变得麻木，继而随着夜莺的歌声，迷魅在跨越时空的“广阔户外”中，最后惆怅地回到现实；《希腊古瓮颂》里，说话人先是对着古瓮表达好奇和思考，随即陷入古瓮悠远而神秘的过去，与古瓮合二为一；《秋颂》里，说话人一开始即被立体而动感的秋所迷魅，追随动感十足的秋的脚步，聆听其美妙的音乐，一直到诗歌结束。济慈的复魅叙事在当今“后人类中心”时代有特别重要的价值。

Abstract: Seen from the perspective of “re-enchantment”, Keats’s ecological sensitivity mostly manifests itself in his recognition of the ontological equality of all things, his perception of their infinity and mystery, and his childlike delight in their vitality. “Enchantment” is both the dominant theme and structuring narrative strategy in his three wellknown odes. In “Ode to a Nightingale”, the speaker (or the poet himself) falls into a state of drowsy numbness at first, and then becomes enchanted, by the song of the nightingale, into “the Great Outdoors” that transcends time and space before waking up to realities wistfully; in “Ode on a Grecian Urn”, the speaker first expresses his wonder and musing over the Grecian urn, but then suddenly finds himself lost to its distant and mysterious past and becomes melted into it; in “To Autumn”, the speaker, who seems to have been enchanted by the cubist and dynamic image of the autumn at the very start, follows its lively steps and listens to its beautiful music all the way through the end of the poem. Keats’s narrative of re-enchantment still has an extremely vital relevance to the Post-Anthropocentric era we live in today.

谭君强

标题：济慈《圣亚尼节前夕》叙事修辞解读

Title: Interpreting the Rhetoric of Narrative in John Keats’s “The Eve of St. Agnes”

内容摘要：英国诗人济慈的《圣亚尼节前夕》不仅是一部杰出的叙事诗，而且可以从多方面关联起济慈的创作及其思想。从作品的叙事修辞入手，结合图式理论展开对长诗的探讨，可以从一个新的角度揭示其不同凡俗的叙事力量及其产生的有力影响。该诗在传统的框架与图式背景下，叙说了一个与相关框架与图式预示完全不同的故事，在“图式偏离”与“违反期待”的过程中彰显出新的、完全不同的意义，显示出诗人独特的叙事才能。与诗歌呈现的框架与图式相对应，诗歌的内容也出现了根本性的反转，由仰望上天、追求天上的幸福转为立足地上，追求现实的幸福，从而显示出时代的潮流。

Abstract: John Keats’s “The Eve of St. Agnes”is not only an outstanding narrative poem, but also a poem that can be explored, on several aspects, in connection to his writing and thinking. A probe into the long poem, by starting with a look at its rhetoric of narrative and applying the schema theory, may reveal, from a new perspective, its extraordinary narrative power and strong influence. In the context of a traditional frame and schema, the poem tells a story that is completely different from what the relevant frame and schema would supposedly predict. In the process of “schema deviation” and “violation of expectation”, it lays out a new and totally different meaning and shows the poet’s unique narrative ability. To correspond to its chosen frame and schema, the content of the poem undergoes a fundamental reversal, too, from looking up to heaven and pursuing heavenly happiness to standing firm on earth and seeking happiness in reality, thereby demonstrating the trend of the times.

东西方文学和文化的交流与互鉴

苏 琳

标题：玛丽安·摩尔诗集《我愿是一条龙》的文化借用与反冷战意识

Title: Cultural Borrowing and Cold War Resistance in Marianne Moore’s O to Be a Dragon

内容摘要：美国现代主义诗人玛丽安·摩尔出版于1959年的诗集《我愿是一条龙》是其受华裔艺术家施蕴珍阐释中国古典绘画美学的《绘画之道》的影响而创作的。该诗集暗含了摩尔对于冷战剑拔弩张的意识形态斗争的诗学回应。美国的冷战宣传战是该诗集创作的前置背景，在人文地理学研究的“辖域意识”概念的视域下，《我愿是一条龙》对中国古典美学的借用实质上是摩尔对于冷战宣传战中刻意凸显的辖域意识的有意回击与反抗。

Abstract: American modernist poet Marianne Moore’s 1959 poetry collection, O to Be a Dragon, was created under the influence from the Chinese American artist Mai-mai Sze’s book, The Tao of Painting, which explicates the aesthetics of classical Chinese painting. Moore’s collection delivers, implicitly, her poetic response to the ferocious ideological struggle during the Cold War. With the American Cold War propaganda as the foreground of this poetic collection, one may see from the perspective of the idea of “territoriality” in anthropogeogoraphical studies that the borrowing of the classical Chinese aesthetics in O to Be a Dragon is, in essence, Moore’s calculated counterattack and resistance against the concept of “territoriality,” a concept that was deliberately highlighted in the Cold War propaganda.

沈安妮

标题：石黑一雄与小津安二郎电影中的空景

Title: Kazuo Ishiguro and the Empty Space in Yasujirō Ozu’s Film

内容摘要：石黑一雄在《远山淡影》中对于小津安二郎电影中极具物哀特点的“空景”手法的借鉴，使之与日本文学文化传统之间形成了一种张力关系。空景被小说的叙述者用为一种帮助其脱离因自身问题所致的精神困苦的情感及心理策略。石黑由此揭示了其叙述者与过去的自己、他人及集体错误和解过程中回避责任的问题。通过小说与电影的关联，石黑一方面表达了与小津的《东京物语》源自相似历史文化语境而出于不同情感张力的、对新旧秩序更迭的感伤，一方面也督促读者去反思情感在个人及国 家历史责究过程中所具有的推责性和混淆性。

Abstract: In A Pale View of Hills, Kazuo Ishiguro’s adaptation of the technique known as “empty space,” which is clearly characterized of mono no aware sentiments, in Yasujirō Ozu’s film underscores its tension with the literary and cultural tradition of Japan. The empty space is used by the novel’s narrator as a strategy to help her break away from the emotion and mentality of the self-inflicted spiritual dilemma. Hence, Ishiguro reveals the issue of how the narrator evades her responsibilities while attempting to reconcile with the mistakes made by herself, others, and the community in the past. Through this correlation between fiction and film, Ishiguro expresses the kind of sentimental feelings, originated from the same historical and cultural context as in Yasujirō Ozu’s film, Tokyo Story, but triggered by different emotional tensions, toward the transition from the old to the new orders on the one hand, and, on the other, urges the reader to reflect on the probability that emotions might cause the evasion and confusion of accountabilities in confronting individual and national history.

谢雅卿

标题：利顿·斯特雷奇对中国古代文明的审视与反思

Title: Lytton Strachey’s Examination of and Reflection on the Ancient Chinese Civilization

内容摘要：英国布鲁姆斯伯里学派核心成员利顿·斯特雷奇对中国文化兴趣浓厚，他在中国古代诗歌中发现了一种审美意义上的灵动性和对崇高友谊主题的关注，这与他作为自由人文主义者的审美伦理理念相一致。而在剧作《天子》中，斯特雷奇进一步思考了中国古代文明在新的世界秩序和西方现代文明冲击下的命运。斯特雷奇对古代中国的审视与反思体现了“中国”这面镜子如何映照出他作为一个自由人文主义者的困惑与危机，也揭示了英国自由派文化精英在20世纪初的矛盾立场与所处困境。

Abstract: Lytton Strachey, a key member of the Bloomsbury Group in England, had a keen interest in Chinese culture. He discovered in the ancient Chinese poetry an aesthetic sensibility and a concern with the theme of sublimated friendship, which conform to his own concepts of aesthetics and ethics as a liberal humanist. In his melodrama, A Son of Heaven, Strachey further reflects on the fate of the ancient Chinese civilization against the impact from a new world order and the modern Western civilization. Strachey’s examination of and reflection on ancient China not only show how China casts some light, like a mirror, on his confusion and crisis, but also reveal England’s liberal cultural elites’ own conflicting position and dilemma at the beginning of the 20th century.

英美文学研究

徐 彬

标题：想象“他者”与“他者”想象 ——现当代英国流散文学与英国国家身份构建

Title: Imagining the Other and the Other’s Imagining: Modern and Contemporary British Diasporic Literature and the Construction of the British National Identity

内容摘要：英国作家的个人创作与英国国家身份的构建密不可分。英国国家身份的构建是一个想象“他者”和“他者”想象的内外兼修的过程。早期英国作家想象“他者”的艺术与政治表达制造了适合帝国躯体的“国家的皮肤”。以想象“他者”为主旨的英国文学创作实现了对“他者”的认知暴力和妖魔化，达到了从“他者”获取力量用以构建英国国家自我身份的目的。大英帝国末期与后殖民时期，以不同于本土英国人“他者”身份进行创作的现当代英国流散作家分别借用中世纪骑士文化和新历史主义写作方式试图将英国塑造成需要保护的“仙后”和“英联邦”多元文化的主题公园。

Abstract: British writers’ personal writings are inseparable from the construction of the British national identity. The construction of the British national identity is at once an internal and external process, in which the “Other” is both the subject and object of imagining. Early British writers’ art and political expression in imagining the “Other” produced a “skin of the nation” fit for the body of the empire. The British literary writings that are primarily intended for imagining the “Other” facilitated the epistemic violence against and the demonization of the “Other” so as to accomplish the purpose of establishing the British national identity with the force gleaned from the “Other”. During the final phase of the British Empire and the postcolonial period, modern and contemporary British diasporic writers, who wrote with an identity of the “Other”, one that differs from a native British, employed, respectively, the medieval concepts of knighthood and the methods of neo-historical cultural criticism in an attempt to construct Britain as the “fairy queen” who needs protection and the theme park of multiculturalism.

王一平

标题：《神经漫游者》的三重空间书写与批判

Title: The Representation and Criticism of the Three Spaces in Neuromancer

内容摘要：美国－加拿大著名科幻小说家威廉·吉布森的代表作《神经漫游者》是经典的赛博朋克小说，其创造了一个不久将会出现的想象的时代，在这个全球化时代里，技术和资本共治，资源与信息等高频流通，大都市文明发达。《神经漫游者》集中考察了三重空间及其现实隐喻：首先，小说描绘了族裔多元、犯罪频仍的当代都市，投射出高度写实的都市“内城”的混杂性与犯罪丛生的危机；其次，小说展现了一幅当代“世界城市”的新网络画面，强调了世界大都市的重要性及其功能性区分，以及其蕴含的政治潜能；在此之上，小说还描绘了近地太空殖民点的开发，显示出对其重演地球都市中内城与郊区失衡、出现飞地化“门禁之区”的隐忧，探索了“前塑”文化中的青少年亚文化。《神经漫游者》对多重空间的设置与渲染，显现出了强烈的社会批判意味。

Abstract: Neuromancer, the masterpiece of the renowned American-Canadian writer of science fiction William Gibson, is a landmark of cyberpunk science fiction. It creates an imaginary era in the near future, in which, due to the impact of globalization, technology and capital would share the dominant power, resources and information would circulate in high frequency, and metropolitan culture would advance rapidly. Neuromancer mainly explores three particular spaces in this era: first, it depicts a contemporary multi-ethnic and crime-ridden city, refracting its highly realistic “inner city” complexity and high-crime crisis; secondly, it presents a new cyber picture of the “world cities” emphasizing their importance, their distinctive functions, and their latent political potential; thirdly, it delineates the cultivation of the orbital space station, revealing the hidden concern over a possible reoccurrence of the imbalance between the inner city and suburbs in a metropolis on the earth and the enclave-like gated space station communities, and exploring the youthful subculture within the “prefigurative culture.” What the construction and rendering of the multiple spaces in Neuromancer conveys is a strong implication of social criticism.

修立梅

标题： 艺术与道德 ——《一位女士的画像》中的“如画”审美

Title: Art and Morality: The “Picturesque” Aesthetic in The Portrait of a Lady

内容摘要：艺术与道德的关系一直是美国作家亨利·詹姆斯研究的重点之一，此类研究往往将唯美主义视作詹姆斯作品的重要文化背景和参照，然而，在早期代表作《一位女士的画像》中，詹姆斯对英美流行一时的“如画”审美表现出极大兴趣。女主人公伊莎贝尔的“如画”审美，尤其是其变化过程，体现了彼时的詹姆斯对艺术与道德关系所做的思考。在她的成长过程中，“如画”审美逐步显示出内在的道德维度和潜能，艺术品位与道德关怀互为催化剂，引导她体悟“如画”特质美背后所蕴含的历史和苦难，其“如画”审美实现了从“低等”到“高贵”的转变，体现出艺术与道德和谐统一、相互提升的关系。

Abstract: The relation between art and morality has always been one of the key issues in the studies of Henry James, American writer. Often, such studies tend to regard aestheticism as the essential cultural backdrop and reference of James’ works. However, in The Portrait of a Lady, a representative novel early in his career, James shows his great interest in the “picturesque” aesthetic that was sweeping through both England and America at that time. The heroine Isabel’s preference for the “picturesque” aesthetic, especially her transformation in the story, reveals James’ thoughts on the relation between art and morality. As she goes through the process of her growth, Isabel’s “picturesque” aesthetic gradually discloses its inherent moral dimension and potential, and functions as a reciprocal catalyst between artistic taste and moral solicitude, thus enabling her to make sense of the history and hardship hidden behind the “picturesque” beauty. Her “picturesque” aesthectic, which undergoes a transformation from “the lower” to “the noble” , embodies the harmonious and cross-fertilizing relation between art and morality.

骆谋贝

标题：医学人文学视角下《灰色马，灰色的骑手》中的疾病叙事

Title: Exploring the Illness Narrative in Pale Horse, Pale Rider from the Perspective of Medical Humanities

内容摘要：主流医学人文学注重疾病叙事在疾病诊疗与医学教育方面的工具性，因而将疾病叙事局限于自传等文类中的线性叙事，旨在突破线性叙事和实现社会批判的批判性医学人文学，是传统医学人文学的发展趋势。美国作家凯瑟琳·安·波特的自传性小说《灰色马，灰色的骑手》通过意识流、主体的碎片化和语言的非指涉性等现代主义手法，传达出非虚构性疾病叙事难以记叙的疾病的混沌体验，从而在一定意义上克服了1918年大流感由于一战的遮蔽与疾病表征的困难而造成的文化缺场状态。将该小说纳入疾病叙事体裁，还可利用文学批评中的残疾研究方法，考察疾病的污名化这一社会建构本质；通过打破疾病与残疾的概念界限，将获得对于疾病、残疾、身体与社会之间关系的全面认识，进而为实践批判性医学人文学提供思路。

Abstract: The mainstream medical humanities puts emphasis on the illness narrative as a tool in diagnosis and medical education, thereby defining it as the linear narrative in autobiography and other related genres. Critical medical humanities, which is aimed at breaking through linear narrative and social critique, is the developmental trend of traditional medical humanities. Katherine Anne Porter’s autobiographical novella, Pale Horse, Pale Rider, represents the chaotic experience of illness that is hard to document by nonfictional illness narrative through such modernist techniques as stream of consciousness, fragmentation of subject, and non-referentiality of language, hence, in a sense, compensating the cultural absence in the wake of the Great Pandemic of 1918 due to the obliteration of the First World War and the difficulty in handling the representation of the illness. By incorporating this novella into the illness narrative genre, we may adopt the approach of Disability Studies in literary criticism to explore the nature of social stigmatization of illness. Breaking the conceptual boundaries between illness and disability will not only offer us a full understanding of the relationship between illness, disability, body and society, but also help us cultivate more ideas about practicing critical medical humanities.

批评与批评研究

颜 芳

标题：马克思主义文学批评中国形态的理论特质与话语生成 ——评《马克思主义文学批评中国形态的当代建构》

Title: The Theoretical Features and Discourse Becoming of the Chinese Form of Marxist Literary Criticism：A Review on
The Contemporary Construction of the Chinese Form of Marxist Literary Criticism

内容摘要：《马克思主义文学批评中国形态的当代建构》旨在创造性地探索中国形态的理论特质，对“人民”“民族”“政治”“实践”等标志性概念和文学与科技、文学与资本、文学的价值判断等亟待解决的时代课题做出了“中国形态”的阐发与新释，并通过对经典马克思主义的重返与拓展，以及和世界其他形态的马克思主义文学批评的对话，开辟了“中国形态”的主体性与生成性的话语空间。“中国形态”研究既是向世界言说自身，又成为全球文学与批评研究的独特而重要的参照。而“中国形态”研究所具有的强烈的未来指向体现出一种理论的穿透力，这种未完成性正是不断生成中的“中国形态” 的魅力所在。

Abstract: The Contemporary Construction of the Chinese Form of Marxist Literary  Criticism aims to creatively explore the theoretical features of the Chinese Form of Marxist literary criticism and to elaborate and re-interpret, from the standpoints of “Chinese Form,” the representative concepts of “people,” “nation,” “politics,” and “praxis,” and the urgent contemporary issues, such as the relationships between literature and technology, literature and capital, and the value judgment of literature. By returning to and expanding the classical Marxism and pursuing the dialogues with other forms of Marxist literary criticism around the world, the book opens up the subjective and generative discourse space for the “Chinese Form.” The study of the “Chinese Form” not only introduces itself to the world, but also provides a unique and significant reference for the study of literature and criticism around the globe. The strong future orientation demonstrated in the study of the “Chinese Form” embodies the penetrating power of theory, and such a state of unfinishability is exactly the charm of the “Chinese Form” which is constantly becoming.

李顺鹏

标题：跨国主义视角下的文学研究 ——评范德博什和德汉的新著《文学跨国主义》

Title: Literary Studies from the Perspective of Transnationalism: A Review on Literary  Transnationalism(s) by Vandebosch and D’haen

内容摘要：达格玛·范德博什和西奥多·德汉主编的《文学跨国主义》重新审视了时下在不同领域受到较多关注的跨国主义概念，并从多个方面探讨了跨国主义视角或方法下文学研究的相关问题。该书研究材料丰富，对文学跨国主义的论述具有不同的切入点，对当下社会、政治的讨论体现了其对现实的观照，传达了跨国主义视角或方法下文学研究的现实意义。与以往有关文学跨国主义书写的著作不同，该书超越了只讨论某一国的文学跨国主义这一模式，并在指出文学跨国主义的意义时有着多重落脚点。对处于跨国实践越发频繁的当今世界这一背景中的文学研究来说，《文学跨国主义》具有重要意义。

Abstract: Literary Transnationalism(s), co-edited by Dagmar Vandebosch and Theodoor Louis D’haen, reexamines the concept of transnationalism which has attracted fairly considerable attention in different fields so far and explores, on multiple aspects, some relevant issues in literary studies in terms of transnationalism’s viewpoints and approaches. It is a book that offers ample materials for research and different entry points for the deliberation of literary transnationalism. Its discussion of the current society and politics reflects the concerns with realities and reveals the practical significance of conducting literary studies from the perspective of transnationalism or on the basis of its methodology. Unlike the previous works on literary transnationalism, this book goes beyond the model of discussing literary transnationalism within one particular country and builds its claim about the importance of literary transnationalism on several footholds. Literary Transnationalism(s) is of great significance to literary studies in the context of the ever-increasing transnational practices in the world today.