超越与逃逸:对"60年代出生作家群"的重新反省

"60年代出生群体"仅仅因为年龄上的相近而被列为一个创作群体,虽然这一称谓并不意味一个统一的文学派别,但这些作家的文学观念、表现方式和语言风格也有相近之处.他们远离意识形态中心,创建一种回到文本、回到个人经验的文学趋势.这一代作家无疑把当代中国的文学带到一个新的历史时期,也创造了汉语言文学在叙事方法、语言表现以及个人的内心体验方面的崭新经验.从某种意义上说,他们既表明传统中国文学的顽强韧性,又预示着未来无限开阔却杂乱的前景.他们是一种象征、坐标,一种终结与寓言.     

时态论面临的语义解读问题

时态论认为语言中的时态表述单位不但表述了时态化思想,而且表述了世界的时态化事实,这导致了时态语义的现存论立场：认为关于世界的思想和事实的元语言表述也是时态化的,世界的思想和事实基于时态化立场而得到描写和理解。这一立场引发了时态语义解读的困境：首先,它基于主观视角的唯一性,排斥了当前之外事态的存在,从而拒绝了事态的偏序关系;其次,时态化的元语言不能准确反映其时态提升为算子的对象语言的含义。我们认为,问题的根源在于现存论没有区分认识论和本体论两种意义上的参照视角,也不恰当地排斥了量词（如兰姆达算子）的组合计算方法。解决相关语义困境依赖于区分两种意义上的参照视角和使用合适的组合性方法。     

历史时间的内涵及其价值

历史时间是当代西方史学理论研究的一个重要问题,旨在分析过去、现在和未来这三种时间向度的关系,以及在这些关系背后所体现出来的历史意识的变化。费尔南·布罗代尔的“三时段”理论首先将时间问题引到历史研究中。莱因哈特·科塞勒克借助“经验空间”和“期待视域”两个概念,考察了过去与现在的分离,以及过去与未来的关系。弗朗索瓦·阿尔托格发展了科塞勒克的历史时间理论,用历史性体制的演变去展示时间经验的变化,剖析了当下主义的特点与弊端。当前,人们既要超越当下主义,也要避免重新回到过去。人们应做的是,重建以未来为导向的历史意识,并在过去、现在和未来这三种时间向度之间达成平衡。     

Going beyond methodological presentism: examples from a Copenhagen neighbourhood 1885–2010

Denmark is an example of a country where the idea of historical ethnic homogeneity stands strong. This article challenges this historical presentism: the scholarly and societal tendency to understand social phenomena within a limited contemporary framework, neglecting possible effects and similarities embedded in and established through human history. This will be done via an historical and ethnographic study of the Copenhagen neighbourhood of Nørrebro. The article underlines the ethnic heterogeneity of Danish history and further shows how combining historical and ethnographic methods in studying a neighbourhood can grant us important insights into the changing incorporation of immigrant groups and the changing meanings of ‘the immigrant’.     

‘Let your indulgence set me free’: reflections on an ‘Africanised’ Tempest and its implications for critical practice

A joint production of The Tempest by Stratford’s Royal Shakespeare Company and Cape Town’s Baxter Theatre raises questions about the possibilities, and difficulties, of the deliberate ‘Africanisation’ of Shakespeare. I argue that the discursive fields within which ‘Shakespeare’ and ‘Africa’ are read carry significations that preclude easy acknowledgement. I consider the interpretative function an unapologetic, celebratory ‘Africa’ performs when it is put in conversation with canonical Shakespeare. Drawing on Terence Hawkes’s notion of ‘presentism’, I argue that in its effects this particular staging gives life both to the partisan discourse of public forgiveness in South Africa and to the powerful figure of ‘Shakespeare’. An African Tempest that engages the discourse of forgiveness allows ‘Shakespeare’ to share in the sociality invoked by ubuntu. Post‐apartheid theatre would do better to resist a post‐Truth and Reconciliation Commission hope of transcendence and an iconic ‘Shakespeare’. However, it may take great boldness to claim the latitude with which to trespass beyond an apparently familiar ‘Africa’ and an uninterrogated ‘Shakespeare’. The cultural legacies of ‘Shakespeare’ and ‘Africa’ need to be treated with the kind of unflinching critique of self and society that Edward Said deems central to the work of the humanities.