Science Fiction and the Schoolchild

During the past decade, Soviet science fiction has experienced a boom not inferior to its "golden age" of the 1920s. Many new names have appeared. The subject matter has become more serious. The writers have improved in the literary sense. There has been a noticeable broadening in the range of readers of science fiction. Moreover, it has become increasingly possible for them to familiarize themselves with the best works of foreign writers. Finally, rather probing critical efforts have appeared — science fiction is now gaining students, and even theorists, of its own. All this is beyond question. It is hardly necessary now to prove to anyone (despite the fact that a stormy discussion raged around this matter in our national press a few years ago) that science fiction is either reading for amusement or specifically "children's" literature. However, there are still no accepted precise quantitative criteria for the readers' new attitude toward science fiction, and this has allowed some critics to defend clearly outdated ideas, constantly appealing to some "mass" or "simple" reader, although it is impossible to verify such assertions. It was for just this reason that members of the Science Fiction Fan Club at Moscow University — the students in the natural science departments who had in mind the basic principle of the exact sciences that asserts that all a priori statements must be checked by experiment — decided on an attempt to apply this principle to their favorite form of literature. The best proof of the timeliness of this test was the fact that the idea had literally permeated the atmosphere, for just as the Moscow University club began, science fiction fans in Baku, headed by G. Al'tov, decided to conduct a mass survey of science fiction readers. This made it possible to develop a coordinated questionnaire and to enlarge considerably the number of people queried. Approximately 700 questionnaires were received, and the resulting data are surely the most complete reflection of the present opinions of Soviet readers about science fiction. It would, of course, be very interesting to give a complete report on the questionnaire, but the nature of this magazine forces us to confine ourselves to the subject of science fiction and the schoolchild, and to analyze primarily the attitude of school-age readers to science fiction.     

多元化与主旋律--与陈文高先生商榷

"后新时期"文学呈现出"多元化"的特征,但是,文学观念的更新不等于对过去科学认识的全盘否定。在"多元化"的文学观念中,各元之间也并非无差别的对等关系,在"多元"合奏中必有主旋律。文学属于意识形态,文学作品是经由作家的中介对社会生活的反映,所谓"个人化"只不过是一相情愿而已。     

A drop of water from a stagnant pool? Inter-war detective fiction and the rural community

Detective fiction has been little considered by historians of the British inter-war village. This is despite the phenomenal publishing and sales in this literary genre. Agatha Christie is the bestselling writer of books of all time, and millions of people world-wide have learnt about English villages by reading her. This article discusses why inter-war fiction is instructive to social historians. It concentrates on the so-called ‘Golden Age’ of this fiction: notably the authors Agatha Christie, Dorothy L. Sayers, Margery Allingham, Ngaio Marsh and G. K. Chesterton. The subject is approached through a number of themes, which address the genre, county house settings, the nature and morphology of the detected village, representations of villagers and the poor, the literary detectives (notably Miss Marple and Lord Peter Wimsey) and their relation to village life, the local role of gossip, depictions of the clergy, the fictional uses of material culture, senses of the past, the detection of ‘evil’ and issues of inter-war village renewal. A binding strand throughout is how the English village community is handled and interpreted in this fiction. The article argues that the detective genre is important and highly revealing to social and rural historians, and deserves extended analysis.     

文学世家的历史还原(英文)

文学世家历史还原的过程,也是一个逻辑建构的过程。以政治文化制度变革为核心动力,通过家族史与文学史演变的双重梳理,可以对中国通代文学世家发展演变历程进行历史还原,即前中后三大时段三重形态的相互衔接与有序推进：两汉至南北朝“经学一文学世家”与“门阀一文学世家”双重形态的衔接与演进;隋唐时期“门阀一文学世家”与“科宦一文学世家”混合形态的交替与演进;两宋至明清“科宦一文学世家”主流形态的承变与演进。在上述主体形态之外,尚有其他类型文学世家的多元存在。文学世家史学术范式的建构,需要通过特定个体、时代、区域以及通代文学世家史四个层级的链接而融合为有机整体。     

A Critique of Critics

In recent months a number of articles in the Soviet press have appealed for a change in the tone and function of literary and cultural criticism. Two examples of such appeals are printed below. The first is a brief statement by outstanding members of the Soviet musical, theater and film worlds and by its leading physicist ("For Effect," Izvestia, September 7, 1960). The second article is directed to literary critics (Searchingly But Without Prejudice," Izvestia, September 19—abridged).     

革命浪漫主义的抒情——论贺敬之的诗歌创作

在贺敬之近七十年的创作道路上,革命现实主义和革命浪漫主义大体表现出结合状态,就整体而言,更多地倾向于革命浪漫主义。他立足民族的土壤,置身于世界范围内的“底层潮流”,在主观和客观相统一、思想和感情相融合前提下的主体性张扬;以“大我”主导审美倾向,努力创造社会主义—共产主义新人的抒情形象;熔过去、现在、未来于一炉,并且倾向于未来的思情取向,等等,都表明他属于社会主义现实主义文学思潮中杰出的革命浪漫主义歌者。     

《文选》序"事出于沉思,义归乎翰藻"之"义"新解

对萧统《文选序》“事出于沉思,义归乎翰藻”的理解历史上多有不同。尤其是“义”的内涵问题,一直缺乏明确的解释。其实,这个“义”是中古文献中经常提到的“文义”之“义”,是当时文人重要的学术才能修养,它是玄学所关涉的经典和对这些经典要旨的领会与清谈的一个总称。义的表达手段主要是清谈,而清谈除了有口谈,还有笔谈或是为谈论准备下的文字资料及记录,“义归乎翰藻”之“义”,正是这些文字资料的代表,而非一般性的“意义”或者朱自清所云的典事。     

为中国文坛吹响“现代”的芦笛——《现代》杂志外国文学译介与创作的互文性研究

作为一份在20世纪30年代颇具特色与影响的杂志,《现代》上翻译取向的“现代”特色引人注目。《现代》的诗歌与小说译介活动,呈现出翻译与创作的互文性特征,从一个侧面凸显了《现代》杂志乃至那一时代的形态丰富的文学现象。     

小说中的南京大屠杀与民族国家观念表达（英文）

“南京大屠杀”是中外战争史上骇人听闻的暴虐事件,诸多作家以小说的形式对之进行了书写。然而,目前关于南京大屠杀的文学研究却相当薄弱,还停留在单个作品分析的阶段。因此,有必要从民族国家观念出发,对中外小说中的南京大屠杀进行整体研究。中国作家、日本作家、华裔和西方作家以不同的话语立场参与了南京大屠杀的讲述,他们对日军暴行的解读或侧重“大屠杀”,或侧重“强奸”;在写法上则有“将军写法”和“士兵写法”两种。中国作家把大屠杀当作中国人的劫难和抗争来叙述,在观念上存在整体民族主义和阶级、政党民族主义的区分;日本人的小说既包含真实呈现和历史反省的成分,又对中华民族进行精神虐杀;美籍华人和西方作家的小说充盈着宗教情怀和对人性、生命的反思,但受制于西方中心主义,把大屠杀演绎成西方拯救中国的故事。近年来,为秦淮河妓女立传、为外国传教士大唱赞歌的故事模式,引领了南京大屠杀叙事的潮流,值得我们注意和反思。     

Values as constraints on affordances: Perceiving and acting properly

At the bottom of all human activities are "values," the conviction that some things "ought to be" and others not. Science, however, with its immense interest in mere facts seems to lack all understanding of such'requiredness.'… A science … which would seriously admit nothing but indifferent facts … could not fail to destroy itself. (Kohler, 1938/1966, p. 38-39)     

法兰克福学派文艺技术化批判的批判--兼论网络文学存在的合理性

文艺的技术化毫无疑问与传统的文艺观相悖,但从另一个方面观察,它又能够促使文艺的发展,促使文艺功用目的的真正实现.科学技术和文学艺术不是截然对立的两物.网络文学正是这两物矛盾对立统一在崭新时代的产物,它有它存在的合理性--体现了真正的"创作自由",拓展了创作的空间,为多种艺术样式的融合提供了可能.     

A Plea for Poetry

This is an affirmation of the relevance of poetry in the nuclear age by a leading Soviet poet. Tikhonov also directs some critical comments at the literary efforts of some younger contemporaries. ["The Great Truth of Poetry," Voprosy Literatury, 1960, No. 5—abridged.]     

《丁约剑解》与传奇文体问题

自鲁迅以来,传奇作为中国古代文言小说文体之一种,历来为学界所公认。而牛津大学杜德桥的《〈丁约剑解〉:唐代叙事作品分类的一个难题》一文,通过对《唐阙史.丁约剑解》的分析,对传奇这一分类的意义、明确性及其在阅读和批评过程中的实际效果都提出了质疑。文章追溯了鲁迅对唐传奇问题的论述,针对杜氏的文章,结合对《丁约剑解》的评议,讨论了传奇文标准,区别了“传奇文”与“传奇集”在分类上的不同情况,论述了传奇分类的合理性,提出了把握古代文言小说分类应注意的问题。     

全球化语境下比较文学学科定位的再思考

比较文学的学科定位一直是中外学术界争论不休的热门话题。在文学全球化的语境下,民族文学必定要通过"相互依存"的前提来达到"共同发展"之目的是考虑这一问题的前提。此外,比较文学作为一门新兴的学科,是对文学理论、文学批评和文学史研究传统的继承和扬弃过程中逐渐形成的独特研究视角;比较文学与世界文学是互补关系;多重跨越,尤其是跨文化与跨学科是比较文学的显著特征;中西比较文学的对话是新世纪比较文学的热点。将这些因素综合在一起予以考虑,可以得出定论:比较文学是当今文学研究中具有远大发展前景的一门独立学科。     

"意淫"观和《红楼梦》性描写的以诗写小说本质

目前对"意淫"观的研究主要从思想、哲学角度入手,而对其文学价值的分析还远远不够.文章着重梳理了文学史上性描写由<高唐赋>、<神女赋>所开创的诗化传统向<金瓶梅>等小说所代表的世俗化倾向过渡的轨迹,凸显<红楼梦>面对以上两种"文学遗产"所作抉择的特点和意义,提出"意淫"观使<红楼梦>性描写诗意化、象征化,而悬置了其中的性内涵,其本质上是以诗法作小说.     

当代中国发展观的历史嬗变及现实启示——“科学发展观”的哲学思考

当代发展观的演进主要经历了＂经济增长型＂发展观、＂社会变革型＂发展观、＂文化进步型＂发展观、＂可持续型＂发展观和＂科学型＂发展观五个阶段。从发展价值观来分析,科学发展观为我们提供了一条既合目的性又合规律性的道路,从而实现经济领域的创新型发展、社会领域的和谐化发展、文化领域的人性化发展、政治领域的民主化发展和生态领域的可持续发展的有机统一,并在发展认识论、发展方法论和发展价值观等方面为我们提供了深刻的启示。     

老子的自然观念:自我的自己而然与他者的自己而然

通过对老子的"自然"观念的重新解读和解释,本文试图展现老子的自然观念中的两个方面的意义,即"让自身的自己而然"的"肯定意义"与反对任何对"自身的自己而然"的进行干涉的"消极意义"。因此,任何一种事物,无论它低贱如无生命的岩石还是高贵如有意识、有思想的人,当它以一种自己而然(self-so-ing)的方式自生、自长、自成、自衰、自灭之际,并由于这种自己而然而向自身产生出一种肯定性的要求之时,他就展现出老子自然观念中的"积极意义"或"肯定性意义"。与之相应,当它根据同样的理由要求自己对他人、他物的"他者的自己而然"(other-ing),或者要求他人对作为他者的他者的"自我"的"自己而然"加以尊重和不得干涉之际,它就展现出老子自然观念中的"消极意义"或"否定性意义"。我们将会看到,老子"自然"观念中这一消极或否定层面的意义又通过老子以及道家哲学中的著名的"无为"概念表达出来。这一"无为",在老子那里,无论是表述为"无事"、"无欲"、"无心",还是"让先"、"取柔"、"守雌",其核心和要害均在于让"他者"、任"他者"或者辅"他者"自己而然。所以,本文结论,老子"自然"概念在哲学上予以"他者"合法性,为"自我"设限,建立起"他者"的界域并要求对之加以尊重。     

明清白话小说中的过继叙事探析

过继叙事作为明清白话小说中相对独立的叙事单元，对小说的艺术表现起到了重要作用。过继叙事不仅是推动小说故事展开的动力和营造传奇效果的艺术手段，在发掘与之相关人物的隐秘心理及形象塑造上也起到了独特作用。另外，过继叙事在小说中的频繁出现，也反映了当时人对现实生活中过继关系的焦虑。明清白话小说中大量有关继子“复姓归宗”的叙述，在很大程度上可以看作是一种通过文学虚构平复心理焦虑的“需要”。     

The Psychology of Literary Creation

A discussion of the possibilities for systematyzing the study of literary creativity in the light of modern scientific knowledge as related to the psychology of human behavior. ("The Psychology of Artistic Creation," Voprosy Literatury, 1960, No. 6—abridged.)     

论"虚假人类中心论"与"真实人类中心论"

伴随着生态环境的恶化,人与自然关系的紧张,从而引发了对以往“人类中心论”的反思与批判,应该说,这是人类面临生态环境危机,在理论和实践基础上进行的自我反思与批判。反思的结果是有些人把问题简单而武断地归结为“人类中心论”,进而提出“非人类中心论”。实际上,生态环境的恶化,并不能简单笼统地归结为是“人类中心论”问题的症结是以往的“虚假人类中心论”。因此,要从根本上解决问题,不能以“非人类中心论”代替“人类中心论”,而是抛弃“虚假人类中心论”,建构“真实人类中心论”。