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Symposium 2007:
The Individual and Society
in Modern Chinese Literature
Abstracts
Welcome Address by Artur WARDEGA, S.J. 万德化
Key Note Address by Bonnie S. MCDOUGALL 杜愽妮
作为价值的多样性：论现代中国文学的边缘化、后殖民主义及身份特征
用英语创作的香港小说业已进入国际读者的视野，但用汉语创作并译为英语的小说就不那么成功了，因为这些汉语小说的读者（虽然数量可能众多）大都是香港本地人。由于中国大陆当局不鼓励汉语的多样化， ►
甚至连迪斯尼的电影也实行新闻检查，因此大陆的精英读者、学者及评论家，对不是源自中心的严肃小说，通常采取视而不见的态度。
这是一个极大的遗憾，因为阅读香港文学有诸多很好的理由。首先，语言的多样性具有其本身的存在理由：如果粤语（包括书面语和口语）被淘汰，那么我们的文化生活势必更加贫乏。香港文学还给我们讲述了许多有关现代生活中至关重要的身份特征问题，表明破碎的和多样的身份特征，是值得庆贺而不是痛苦的。香港独特的殖民与后殖民主义经验（以20世纪50年代后人口剧增的自愿性及当前政府的保留为两大要素），可以对后殖民主义理论提供新的见解。作为边缘文学，香港文学的中国之声为文化传承及现代性提供了另类的诠释。下列作品（既有汉语的，也有英语的），便关注了这类问题：
► 倾城之恋（Love in a fallen city, 1943），张爱玲（Eileen Chang, 1920-1995）；
►《生死恋》（A Many-Splendoured Thing, 1952), 韩素音
（Han Suyin, 1917—）；
►《苏茜黄的世界》（The World of Suzie Wong,1957)， Richard Mason（1919-1997）；
► 像我這样的一个女子（Take a girl like me,1984），西西
（笔名张彥，1938—）；
► 胭脂扣（Rouge, 1984），李碧华（Lee Pik-Wah, Lillian Lee）；
►《中国墙》(Chinese Walls, 1994)， Xu Xi (1954—)；
► 地图集：一个想像的城市的考古学（The atlas: archaeology of an imaginary city, 1997），
蕫启章（Dung Kai Cheung, 1967）；
► 北京戏墨（Beijing sketches, 2007），梁秉鈞（Leung Ping-kwan, 1948—）。
文学不仅仅是语言研究的原始文献，虽然许多学科（如历史、社会学及文化研究）的社会科学家经常回到文学中去寻找材料，但是引用小说和诗歌为证也应采取谨慎的态度。文学不是可靠的信息来源，它提供的社会生活见解是主观片面的。但是文学为各种声音提供了一个平台，而这些声音在其他文本中并不一定能够得到再现。本文选择的八件作品，从不同的侧面对共有的社会风景及个人生活，提供了所见略同的看法。由于时间关系，本文无法对所有作品逐一探讨，但是总起来看，这些小说和诗歌对香港这个世界上最生机勃勃、最繁荣昌盛、最富创新精神的社会之一提供了一个直觉的、颇有见地的诠释。最重要的是，这些作品均引人入胜，文笔优雅，富于想象，原汁原味，当然也不乏实验、不同见解、不够尊重人和饶有风趣之处。多价性和多音性是它们的另一个长处。
Diversity as Value: Marginality, Post-colonialism and Identity in Modern Chinese Literature
While fiction in English about Hong Kong reaches an international audience, fiction written in Chinese and translated into English has not been so successful, and the Chinese texts themselves (although their readership is potentially huge) ►
are mostly only read by local Hong Kong people. The mainland authorities discourage the diversity of Chinese languages in China, even to the extent of censoring Disney movies, and elite mainland readers, scholars and critics tend to ignore serious fiction which does not emanate from the centre.
This is a great pity, since there are many good reasons for reading Hong Kong literature. To begin with, linguistic diversity has its own existential justification: we are all the poorer if written or spoken Cantonese is driven out. Hong Kong literature also tells us much about identity, one of the most crucial issues in modern life, showing that fragmentation and multiple identities can be a matter for celebration rather than agony. Hong Kong's unique colonial and post-colonial experience (given the voluntary nature of its enormous population increase since the 1950s and reservations about its present governance) can contribute new insights to theories of post-colonialism. As a literature on the margins, its Chinese voice presents alternatives in cultural inheritance as well as modernity. The following works, written in Chinese or in English, exemplify these issues:
► Qing cheng zhi lian 傾城之戀 [Love in a fallen city] (1943) by Zhang Ailing 張愛玲
[Eileen Chang] (1920-1995);
► A Many-Splendoured Thing (1952) by Han Suyin (1917—;
► The World of Suzie Wong (1957) by Richard Mason (1919-1997);
► Xiang wo zheyang de yige nüzi 像我這樣的一個女子 [Take a girl like me] (1984) by Xi Xi
西 西 [penname of Zhang Yan 張彥] (1938—);
► Yanzhi kou 胭脂扣 [Rouge] (1984) by Lee Pik-Wah 李碧華 [Li Bihua, Lillian Lee];
► Chinese Walls (1994) by Xu Xi (1954—);
► Ditu ji: yige xiangxiang de chengshi de kaoguxue 地圖集：一個想像的城市的考古學 [The atlas: archaeology of an imaginary city] (1997) by Dung Kai Cheung 蕫啓章 [Dong Qizhang] (1967);
► 'Beijing ximo' 北京戲墨 [Beijing sketches] (2007) by Leung Ping-kwan 梁秉鈞 [Liang Bingjun] (1948—).
Literature is more than documentation for language studies, and although social scientists in many disciplines, including history, sociology and cultural studies, routinely turn to literature for material, there is also good reason to proceed with caution in using fiction and poetry as evidence. Literature is an unreliable source of information, and the insights that it provides into social life are subjective and limited. Nevertheless, literature provides a platform for voices that are not necessarily represented in other texts. This selection of eight works provides varyingly coherent views of a shared social landscape as well as individual lives. Lack of time precludes a discussion of each title, but taken collectively, these novels and poems provide a perceptive, thoughtful account of one of the most lively, prosperous and innovative societies in the world. Above all, these works are wonderfully entertaining: gracefully written, highly imaginative, original, experimental, dissident, disrespectful, witty. That they are also multivalent and polyphonic is a bonus.
I. Painful Beginnings — From Violence of History to History of Violence
Presentations & Panel Discussion 1A:
YANG Jianlong
杨剑龙 YANG Jianlong
论中国现当代文学史上的人性观论争
“五四”时期强调个人的个性自由独立精神，注重人的合理欲望的满足，人性思想更多受到文艺复兴思潮的影响。 ►
左翼作家与梁实秋关於人性与阶级性的论争，代表了左翼知识份子与自由主义知识份子思想观念的冲突，可视作是国际普罗文艺思潮与白壁德新人文主义的冲突。50年代对於人性论的围剿批判中，往往简单化地以马克思主义的阶级斗争学说展开批判。改革开放後关於人性的讨论，在对於马克思主义的不同理解中表达对於人性不同的见解。回眸20世纪中国文坛关於人性观的论争，我们看到对於人性关注的“U”形轨迹，今天对於文学的人性问题仍然有继续深入研究的必要。
Discussing the Debate on Views of Human Nature in the History of Contemporary Chinese Literature
The “May Fourth” period emphasized the spirit of independence of the individual, stressing the satisfaction of peoples’ rational desires, and thoughts on human nature were influenced even more by the ideological trends of the Renaissance. ►
The debate between Leftist writers and Liang Shiqiu over human nature and class character, represented the conflicting ideological concepts in the thought of Leftist intellectuals and liberal intellectuals, and can be viewed as a clash between the international proletarian of literary trend and the New Humanism of Bai Bide. In the 1950s, the surrounding, suppressing, and criticizing of the theory of human nature frequently used Marxist class struggle theory in an oversimplified way to launch a critique. After Reform and Opening the discussion of human nature, within different understandings of Marxism, expressed varying opinions. Looking back at the debate over the view of human nature in Chinese literary circles of the 20th century, we have seen a U-turn in the interest paid to human nature, and today there is still a need for deep research into the problem of human nature in literature.
GE Tao
葛涛 GE Tao
从“文革”之初到“六四”之後：鲁迅对20世纪70——90年代中国社会的影响
本文主要从历史的角度研究鲁迅对20 世纪 70 ——90 年代的中国政治和文化所产生的深远影响，并对此进行反思。 ►
“文革”时期，鲁迅被官方塑造成红卫兵造反的榜样，但是在民间，也有许多知识青年受到鲁迅精神的深远影响，成为“文革”後中国着名的画家丶作家和人文学者，使得五四新文学的传统在“文革”之後得以传承。
在70年代末和80年代初，鲁迅又成为官方在意识形态领域拨乱反正的工具。80年代中期，在弘扬鲁迅精神的背景下，鲁迅研究成为当时中国整个人文社科领域的显学，有力的推动了人文社科研究的进展。
1989年的“六四事件”之後，官方明确表明要以鲁迅为榜样大力扭转80年代意识形态领域的政策方向。以汪晖为代表的一些学者开始反思80年代丶反思鲁迅，转变自己的学术方向，以张承志伟代表的一些作家也开始在文学创作中传承鲁迅精神。
综上所述，本文认为鲁迅不仅在政治层面和思想层面极大地影响到20世纪70——90年代的中国社会的转型，而且也在文化层面深远地影响了20世纪70——90年代的中国文学创作和艺术创作。检点鲁迅在20世纪70——90年代对中国社会的影响，可以看出官方一直在政治层面利用鲁迅来达到整顿意识形态领域的政治目的，同时，一些热爱鲁迅的知识份子在传承真正的鲁迅精神。
From the Start of the “Cultural Revolution to the End of the “June Fourth” Incident: Lu Xun’s Influence on the Chinese Society from the 1970s to the 1990s
This paper attempts, from the perspective of history, to study and reflect upon the profound and far-reaching influence exerted by Lu Xun on the Chinese politics and culture from the 1970s to the 1990s. ►
During the Cultural Revolution, Lu Xun was made a model of rebellion for the Red Guards by then government. But at the non-governmental level, many educated youth, deeply influenced by the spirit of Lu Xun, turned out to be famous painters, writers and scholars of humanities in China after the end of the Cultural Revolution, thus making it possible the succession of the New Literature tradition initiated during the May Fourth Movement in the post Cultural Revolution era.
From the end of the 1970s to the beginning of the 1980s, Lu Xun was made, once again, by the then government, a tool to set things in the realm of ideology right. In the mid 1980s, the study on Lu Xun, under the background of promoting the spirit of Lu Xun nationwide, became the vogue in the whole realm of humanity sciences across China, pushing greatly the progress of research in the fields of human sciences.
After the “June 4th Incident” in 1989, the government at that time made it clear that Lu Xun had to be used as an example to reverse the policy trends prevalent in the realm of ideology in the 1980s. Some scholars, represented by Wang Hui, began to reflect upon the 1980s and Lu Xun, and changed their research interests as a result; some writers, represented by Zhang Chengzhi, began to pass on the spirit of Lu Xun in their literary creations, too.
In a word, this paper holds the opinion that Lu Xun not only greatly influenced, at both political and ideological levels, the transition of the Chinese society from the 1970s to the 1990s, but also the creation of Chinese literature and art in the same period at the cultural level. By reviewing the influence of Lu Xun, we can see that the Chinese government has always been using Lu Xun, at least at the political level, to reach its political aim of ideological rectification. At the same time, some intellectuals who love Lu Xun have been trying to pass on the true spirit of Lu Xun.
Presentations & Panel Discussion 1B:
WANG Xiaoyu
王晓渔 WANG Xiaoyu
从红色理想到血色浪漫——论老鬼
杨沫的《青春之歌》和老鬼的《血色黄昏》都属于"成长小说"，讲述革命青年长大成人的经历，"成人"不仅是生理上的，更是精神上的。杨沫笔下的主人公是"一二九"一代，老鬼笔下的主人公则是"知青"一代。这两代人的成长经历，分别具有着不同的表现形式。 ►
在老鬼的《母亲杨沫》里，杨沫的成长是一个"弑母嫁父"的过程。老鬼称"杨沫小时像个孤儿"，"孤儿"是革命青年普遍拥有的身份，并不等同于父母双亡，主要指精神上的虚无。对于"一二九"一代来说，他们面临"国破"和"家亡"的双重孤儿境遇，这更加激发了他们寻找精神父亲的需求。精神父亲和红色理想是重合的，最终的结局是"孤儿"向两者同时"献身"。
老鬼的《血色黄昏》讲述了一个知青"恋母弃父"的成长过程。他最初出于红色理想的诱惑，自愿扎根边疆，但在血色浪漫的残酷现实面前，逐渐开始质疑精神的父权体制。对老鬼来说，与"弃父"意识同步的是"恋母"意识的生成，前者带来的虚无由后者填充。
母与子，一个"弑母嫁父"、一个"恋母弃父"。两者的成长逆向而行，但是两者又是同构的。老鬼比杨沫更具反思性，然而他的反思也是有限的，并未触及到为何红色理想会走向血色浪漫这一根本问题。
From Red Idealism to Sanguine Romanticism: A Study on Lao Gui
Both The Song of Youth (Qing Chun Zhi Ge）by Yang Mo and A Sanguine Dusk (Xue Se Huang Hun) by Lao Gui (Old Devil) belong to the genre of “initiation” fiction, telling the stories of revolutionary young people growing up. Such an “initiation” is not only physiological, but also spiritual. ►
In the novel by Yang Mo, the main characters are those who took part in the “December 9th” Movement in 1935 whereas in the novel by Old Devil, the protagonists are the “educated youth”. The initiations of the two generations are presented in different forms.
In “Yang Mo, My Mother”, Old Devil likens the initiation of Yang Mo to a process of “killing her mother and marrying her father”. Old Devil says “Yang Mo was like an orphan when she was young”. The word “orphan”, a symbol of an identity commonly held by the revolutionary youth, does not necessarily signify that a person thus called must have lost his or her parents. Instead, it is used to refer to the spiritual nihilism of the revolutionary youth. The young people belonging to the generation of the “December 9th” Movement are confronted with a double orphanage: they are first faced with the possible subjugation of their country; and second, the breakup of their families. Such a miserable condition has prompted them to seek a spiritual father, who is an overlap with red idealism. In the concluding part of the novel, those “orphans” are seen to have “sacrificed” themselves to both their “spiritual father” and red idealism.
A Sanguine Dusk by Old Devil recounts the initiation process of an educated youngster who loves his mother and eventually abandons his father. At the very beginning, the protagonist, lured by red idealism, makes a voluntary decision to settle down in the frontier area. However, faced with the brutal reality of a sanguine romance, he comes to question the spiritual patriarchal system. To Old Devil, the idea of the protagonist to abandon his father is synchronous with the generation of his Oedipus complex. The spiritual void caused by the former must be filled by the latter.
The initiation of mother (Yang Mo) and son (Old Devil) takes opposite directions, the former “kills her mother and marries her father”, while the latter “loves his mother and abandons his father”. But the two novels have the same structure. The only difference lies in the fact that Old Devil is more reflective than Yang Mo. But his limited reflection has failed to touch on the fundamental question as to why red idealism has changed into sanguine romanticism.
HE Xi
河西 HE Xi
被遮蔽的痛苦——格非小说中的植物学研究
农业时代的生活是他的原罪，也是他对抗现代文明精神支柱。先锋小说家格非在乡村和城市之间徘徊，植物就成为两者之间不可或缺的枢纽，从《青黄》到《人面桃花》，植物一直是格非小说中的核心隐喻。 ►
在他的先锋小说中，植物往往是矛盾的中心、导火索和整个小说隐晦未明的背景。植物以一种巨大的阴影照临小说家的内心，它甚至成为一种压迫。植物生长在大地上，对于这位城市漂泊者来说，植物既是童年的记忆、淳朴和苦难的象征，又不可避免地带有神秘意味。当他们意识到自己根本无法和植物对话，失语无根的一代注定只能在“忆苦思甜”中感受面目全非的土地曾经温暖的气息，这被遮蔽的痛苦就逐渐衍变为写作的冲动－－这位自称自己最初的专业理想是“园林”的小说家从此开始建构属于自己的先锋梦幻世界。
Shaded Pains: Botanical Study in Ge Fei’s Fiction
Life in the agricultural age is not only his original sin, but also his spiritual support in his opposition against the modern civilization. To Ge Fei, an avant-garde novelist who sometimes wanders in the country and sometimes in the city, ►
plants serve as an indispensable link between the two worlds. In his fictions ranging from Greenish Yellow (Qing Huang) to Peach and Cream (Ren Mian Tao Hua), plants have always been his core metaphors.
In his avant-garde fictions, plants are often the blasting fuse or center of conflict, or serve as an obscure background to the whole novel. With their huge shade, plants cast a shadow on the inner world of the novelist and even exert a pressure on him. Plants grow on earth. But to this wanderer in the city, plants not only serve as symbols of his childhood memory, simplicity and hardship, but also have some inevitable mysterious implication. When the aphasic and rootless generation becomes aware that they can in no way communicate with plants, they are doomed to experiencing the once warm feeling of the earth that has been distorted beyond recognition today in the process of “recalling the past suffering and happiness”. The shaded pains have thus become an impulse to write. That is when the novelist, who claims that his earliest dream specialty is in “botanical gardening”, began to build his own avant-garde world of fantasy.
II. Individual and Social Sphere — Between Chinese Traditions and Present Westernization
Presentations & Panel Discussion 2A:
HO Wai Kit
何伟杰 HO Wai Kit
从个人暴力到集体暴力：1922年澳门「五．二九」事件与罢工潮
1922年5月28日傍晚，在澳门内港的闹市之上，由於一名莫三比克黑人士兵当街非礼华人妇女，因此引起了一场街头追逐打斗，并且演变成严重的警民冲突。当时市民包围警局，要求释放被捕者不得要领， ►
最後军警在5月29日开枪驱散群众，造成澳门现代史上直接引致平民死伤最多的暴力事件。
华人不满军警暴力镇压，於是罢工抗议，而澳葡当局则解散事涉工会及下令市面戒严。孙中山为首的广州军政府以武力支持澳门华人，派军舰到内港驻防，并准备收回澳门。当时澳门社会混乱，渴望生活稳定的澳门华人，纷纷返回中国内地，触发历时半个月的逃难潮。结果，事件以陈炯明炮击观音山总统府，令广州军政府无暇兼顾澳门而暂告一个段落。本文除重构是次事件的细节外，亦尝试从史料之中，推敲「五．二九」的性质。
From individual to collective violence: 1922 ‘May Twenty-ninth incident’ of Macau and the strike
At nightfall on May 28, 1922, at the busy bazaar in Macao’s inner harbor, an African soldier from Mozambique harassed a Chinese lady on the street. A chase ensued, followed by a brawl, and the incident evolved into a serious clash with police. Afterwards, the townspeople surrounded the police station, ►
demanding the release of the arrested person. In the end, on May 29th the military and police opened fire to disperse the crowd, resulting in the greatest number of civilian deaths of any incident in Macao’s modern history.
Dissatisfied with the use of violent force to suppress the crowd, the Chinese protested by going on strike, and the Macao Portuguese authorities responded by disbanding the labor unions and imposing a state of martial law. The military government of Guangzhou, led by Sun Yat-sen, took up arms in support of the Chinese in Macao, sending warships to garrison duty in the inner harbor, in preparation to reclaim the territory. Macao society was in disarray, and the Macao Chinese, longing for a stable life, began streaming back to the mainland, setting off a historic, half-month long wave of refugees fleeing from calamity. In the end, Chen Jiongming’s bombardment of the Guanyin Presidential Palace left the Guangzhou government with no time to simultaneously deal with Macao. This paper, besides reconstructing the details of this incident, attempts to evaluate the nature of “May 29th” from historical materials.
YEE Laiman, Winnie
余丽文 YEE Lai man, Winnie
重新探索“公共领域”：二十世纪二十年代初期文学批评空间在香港的兴起
尽管在中国学的研究中,尤其对中国清朝末期的研究,我们发现: 对于尔根•哈贝马思所提出的 “公民社会” 和 “公共领域” 两个概念及其相关讨论已经屡见不鲜。但学界对这两个概念的讨论却始终未涉及到文学范畴。 ►
对以上两个概念在文学角度上的批评最早出现在文学期刊上，后来到了二十世纪二十年代末至三十年代初，相同的讨论在英国殖民政府治下的香港发扬光大。文学批评空间的兴起在当时,为报纸这种新媒介提供了一个可以畅谈国家政治的公共论坛。在以下文章中，我将通过探索两个方面来理解个人与公共空间中错综复杂的关系。一方面，通过对早期文学期刊在香港的发展进行分析，我认为,公共空间的存在促进并鼓励了个人与公共空间的融合。在他们对政治、社会以及个人问题进行公开讨论时，中国知识分子精英们清楚地意识到回归传统道德观念与接受西方现代知识的冲突。另一方面，本文将探讨“公共领域”这个概念代表了一种新型的西方社会交往形式。这在二十世纪九十年代初期引发了热烈的讨论，与此同时也重新改变了在北美我们对现代中国和现代中国学研究的解释方法。通过这次讨论，我将用最近以来对中国国家和文化上形象的论述作为例证，来揭示文学和公共领域上的密切联系。
Rediscovering the “Public Sphere”: The Emergence of Literary Critical Space in Hong Kong in the early 1920s
Although much discussion has been devoted to the relevance of Jürgen Habermas’s famous concepts of “civil society” and “public sphere” for Chinese studies, regarding the late-Qing period in particular, they are never deployed in the discussion of the literary scene. ►
The critical space emerged in the literary journals, which flourished in the late 1920s and early 1930s in colonial Hong Kong, complicates the notion that “public sphere” was constructed merely in the newly established print medium of newspapers as a public forum for the discussion of national politics. In this paper, I examine two approaches to understanding the intricate relationship between individual and social space. On the one hand, through analyzing the early development of literary journals in Hong Kong, I argue that the existence of public space facilitates and encourages the blending of private and public realm. In their open discussions of political, social as well as personal issues, the struggle between revising traditional virtues and accepting western modern knowledge by the urban Chinese elites is clearly manifested. On the other hand, this paper scrutinizes the ways in which the notion of “public sphere”, a concept that denotes modern or modernizing forms of western social association, arouses vibrant discussions in the early 1990s and reinvents our interpretations of modern China and modern Chinese studies in North America. Through this discussion, the rapport between literature and public sphere will be unveiled with reference to recent discourses on national and cultural imaginary.
Sebastian VEG
Sebastian VEG
乌托邦小说还是批判性检视: 王小波和他的《黄金时代》中的文化大革命
在当今中国，王小波所著《激流三部曲》中的第一部《黄金时代》被人们顶礼膜拜，尤其在学生中更是如此。王小波在小说中以极具讽刺性的口吻将知识青年(知青)下乡和“性解放”的“黄金时代”， ►
两个原本矛盾的事件联系了起来。显而易见的是,他在小说中对“性”的露骨描述造就了整篇小说的成功。但除此之外，通过仔细阅读小说后，我们发现《黄金时代》向读者披露了一个更加复杂多样的世界。小说中的文革世界超越了对政治理论和意识形态的盲从，揭示了 “黄金时代” 事实上是一个由人向动物退化的过程。小说中所批判文化大革命的本质是：放弃人本来的个性，而追求文化大革命所要求人们达到的个人价值。大多数知青文学仅限于在人性和社会化进程中分析毛泽东的极权，而王小波的小说则更深层地触摸到了文化大革命的本质。尽管王小波的著作并不名扬海外，但他的著作常用来区别于其他描写文化大革命的文学作品。例如高行键所著的《一个人的圣经》作为纪实文学作品就与王小波的小说截然不同。
Utopian Fiction or Critical Examination:The Cultural Revolution in Wang Xiaobo’s The Golden Age
The first volume of Wang Xiaobo’s « Three Age Trilogy » has become a cult work in present-day China, especially among students. By making a paradoxical and ironic connection between the sending-down of “educated youths” (zhi qing) ►
to the countryside and a “Golden Age” of sexual liberation in the lap of nature, Wang’s writing certainly owes part of its success to its scandalous aspects. Nonetheless, a careful reading reveals a more complex fictional world in which, moving beyond the absurdity of ideology and its manifestations, the “Golden Age” is associated with a kind of regression to animal life. This polemic vision of a mankind which finds fulfillment only in renouncing humanity opens the way for a reflection on the nature of the Cultural Revolution that is more deep-reaching than most “Educated Youth literature,” in that it examines Maoist totalitarianism within the context of the link between humanity and socialization. Wang Xiaobo’s work, still largely unknown outside China, will be read against the background of other texts on the Cultural Revolution, in which the demarcation between fiction and documentary literature is diversely constructed, for example Gao Xingjian’s One Man’s Bible.
Presentations & Panel Discussion 2B:
CHEN Wenye
陈文烨 CHEN Wenye
历史与现代的交融——读王小波《青铜时代》
《青铜时代》是王小波用现代手法描写历史故事的一个小说集，历史故事与其叙述者王二的生活故事穿插在一起，并行发展。本文以这一特点为线索，将《青铜时代》的三部小说作为一个整体进行解读。 ►
本文从小说的外部特征——叙事方式入手分析，并在此基础上进一步探讨作品的文学历史观，以及作者对人类生存困境的揭示。
一．创作手法的现代性。小说的叙述功能在这些文本中得到了充分的显现。《青铜时代》采用了历史和现实两条线索交叉并叙的方式，历史故事按着非线性的顺序一步步展开。此外,三部小说中，第一人称叙述者的视角也在不断发生着变化，反映了叙事者同历史故事之间的关系变化。
二．历史视角的独特性。王小波在处理小说的历史视角方面,有其独特的理解。他创作的基础是个人的记忆、虚构和想象，并将历史故事和现实故事熔为一体，历史是现实的一种变形和延伸。小说的目的并不是为了追求历史的真实性，而是企图用自己的理解方式去解读历史。在故事中，王小波借历史来小说化地展现现实，在重说唐代传奇故事的过程中, 把一切转换为现实世界的变形、延伸和象征。
三、历史和现代中永恒的人性。《青铜时代》体现了一种人性的困境，以及对人性本源的渴望。在王小波看来，人往往都被困于种种受压抑的、荒诞的环境之中。而在这种无智、无趣、无性的生存困境之外，另有一个遵循自然法则的世界，那里才有未经开化的自由之美。王小波对这种无智、无趣、无性的生存困境的感受和对自由的渴望，很大程度上来自于文革的体验。压抑的现实使人性张扬成为王小波一生的精神追求。
A Fusion of History and Modernity: An Interpretation of The Bronze Age by Wang Xiaobo
The Bronze Age (Qing Tong Shi Dai) is a collection of historical stories written by Wang Xiaobo, employing modern creative techniques. In the collection, historical stories and the real life stories of the narrator, Wang Er (or Wang, the No. 2), are intermingled with each other and develop side by side. ►
Using this characteristic as a clue, this paper attempts to interpret the three stories collected in The Bronze Age as a whole. Starting from the analysis of its narrative techniques, the external characteristics of the fiction, and upon that basis, this paper tries to discuss further the historical and literary perspectives of the fiction, and the revelation of the human survival distresses by the writer.
1. Modernity of creative techniques. The narrative functions of the fiction are fully displayed in these texts. The historical stories in The Bronze Age unfold themselves in a non-linear order one step after another, because the writer has adopted two development clues, namely historical and realistic clues, that cross and intertwine with each other in the book. Besides, in the three stories, the perspectives of the first person narrator are constantly changing, indicating the change of relations between the narrator and historical stories.
2. Uniqueness of historical perspective. As far as the handling of historical perspective in the fiction is concerned, Wang Xiaobo has his unique understanding. Based on his personal memory, fabrication and imagination, his creation fuses historical stories and real life stories into a whole. History is actually a reincarnation and extension of reality. The purpose of Wang’s fiction is aimed at interpreting historical events as he understands them instead of pursuing their authenticity. In the stories, Wang Xiaobo uses historical events to reflect the reality in a fictional way. By retelling the romantic stories in the Tang Dynasty, Wang Xiaobo tries to transform everything into reincarnations, extensions and symbols of this realistic world.
3. Eternal humanity in historical and modern times. The Bronze Age embodies a kind of humanity distress and a yearning for the origin of humanity. As Wang Xiaobo sees it, man is often trapped in various kinds of depressed and bizarre environment. And beyond this distressed survival environment characterized by lack of wisdom, lack of interest, and lack of sex, there is another world that follows the natural laws. Only in that world, there exists the uncivilized beauty of freedom. Wang Xiaobo’s feeling of this distressed survival environment characterized by lack of wisdom, lack of interest, and lack of sex, and his longing for freedom, come largely from his personal experience of the Cultural Revolution. The depressed reality makes it a life-long spiritual pursuit of Wang Xiaobo to spread humanity.
Wolfgang KUBIN
顾彬 Wolfgang KUBIN
德国的忧郁和中国的彷徨: 叶圣陶的小说《倪焕之》
文章从现代性的角度, 解读叶圣陶小说《倪焕之》。这个解读不仅指出小说主人公倪焕之, 在面对中国社会向现代性转换中所承受的 ►
不能解脱的彷徨, 而且揭示出现代性在根本上改变了中国作为一个诗歌古国的内在基础一民族文化的整体感。在此基础上, 文章探讨了20世纪中国小说取代诗歌、成为主导文学形式的社会文化根源。文章把它的研究放在中国和德国对比的层次上, 指出面对现代性转换, 两者历史情况不同, 但又具有同样的基本困境。
German Melancholy and Chinese Restlessness: YE Sheng- tao’s novel NI Huan-zhi
The novelist Ye Shengtao (1894-1990) seems to be much underestimated in
the West. This is due to the poor interpretation of his works in Western
Chinese Studies. As long as scholars are not able to understand ►
Ye Shengtao in the context of world literature and of world revolution, this
Chinese author will be neglected for ever. With his novel "Schoolmaster Ni
Huan-chih" (1928) he created one of the master texts not only of Chinese,
but also of Western modernity.
It is true that this novel has a lot of flaws, but it shows very clearly
that in the aftermath of May 4th movement all the dreams of an ideal
future soon to come were shattered. What follows out of it is a kind of
desperation, that tries to find its way out through the work of total
destruction of any once cherished value. In this sense Ni Huanzhi has a
forerunner in the figure of Anton Reiser, the protagonist in a novel of
the German writer Karl Philipp Moritz (1756-1793).
The paper tries to show that melancholy and revolution in the process of
modernity are two sides of the same coin and that it is impossible to
understand modern Chinese literature without sufficient knowledge of the
history of melancholy and revolution in the West. The revolutionary in Ye
Shengtao's novel has examplifying character as he symbolizes any
revolutionary who tries to overcome his inner unrest in the face of
modernity by hatred and murder.
III. Fragility of Chinese Humanism — Local and Global Confusion of Modern and Post- Modern Times
Presentations & Panel Discussion 3A:
ZHANG Yesong
张业松 ZHANG Yesong
打开“伤痕文学”的理解空间
“伤痕文学”最初是由反对者作出的命名，随后被从政治上加以肯定和确认，又随着政治进程的新的需要而被“反思文学”取替。这样的历史遭遇，使得有关“伤痕文学”的讨论始终被局限在 ►
为历史和政治提供注脚的范畴内，从而遮蔽视野，掩盖问题。为此，本论文将在拓展外延的前提下，重新定义“伤痕文学”的内涵，冀图使之成为能够体现1970-1980年代之交中国内地的全局性文学动向的概念，并通过对代表性作品的解读，尝试打开某些长期被遮蔽的文学和时代隐秘。
论文认为，在更能反应时代的文学真实的层面上，“伤痕文学”其实是由两种类型的作品共同构成的，一种是《班主任》（刘心武）、《伤痕》（卢新华）、《灵与肉》（张贤亮）等公认的以小说为主的虚构作品，另一种则是往往不被纳入“伤痕文学”的范畴来讨论，而更能体现“伤痕”的作用非虚构作品，如《随想录》（巴金）。两类作品不被纳入同一范畴讨论，是因为它们与现实政治的贴合度有所区别；两类作品应该被放进同一视野观察，是因为它们基于共同的背景、处理共同的问题。在同与不同之间，一些长期被遮蔽的文学和历史的信息得以显露。其中最主要之点，在于个人记忆与国家历史之间的遇合乖违，在不同的作家作品那里呈现出不同乃至相左的趋向，而这些不同的趋向所展开的，正是特定时代的文学的内在紧张。
Opening Up the Space for Interpretation of the “Scar Literature”
The term of “scar literature”, originally put forward by its opponents, was later approved and affirmed politically before it was replaced by “reflective literature” out of the new need of the progress of Chinese politics. This historical experience has limited the discussion of “scar literature”, ►
from the very beginning, to the framework in which it could serve only as a footnote to the Chinese history and politics. As a result, our range of vision is narrowed and problems are covered. This paper proposes to redefine the intention of “scar literature” under the precondition of expanding its extension, with the aim of making it into a concept that might embody the comprehensive literary trend prevalent at the turn of the 1980s. And by interpreting some of the representative works of the genre of “scar literature”, this author hopes to uncover some of the long-covered secrets and myths of literature and that particular time period.
This paper holds that at the realistic level of literature that can reflect the time more accurately, “scar literature” is composed of two types of literary creations: the first type includes commonly acknowledged fictional works, mainly short stories, such as “Head Teacher” (Ban Zhu Ren by Liu Xinwu), “Scar” (Shang Hen by Lu Xinhua) and “Soul and Flesh” (Ling Yu Rou by Zhang Xianliang); and the other type, non-fictional works such as A Record of Miscellaneous Thoughts (Sui Xiang Lu by Ba Jin) that are normally excluded from the genre of “scar literature”, embodies the true spirit of “scar literature” much better. But these two types of works have never been included in the discussion of “scar literature” at the same time, because they have different measures of cohesiveness in real-life politics. This author believes that these two types of literary works should be put into the same field for observation because they share the same background, and attempt to handle the same issues. Between similarities anddifferences, some long-covered literary and historical information gets revealed. The most important point lies in the fact that there are contradictions between individual memory and national history, and literary creations by different writers thus display different and even contradicting tendencies. What these different tendencies show is the internal tension of literature in that particular period of time.
LI Jinchao
李进超 LI Jinchao
女性：婚姻中必须承受之轻
——从王海鸰“婚姻三部曲”看中国当代女性社会处境之变迁
被誉为“中国婚姻第一写手”的王海鸰，一直把婚姻家庭作为她反映现实社会的主要题材，从不同的角度关注婚姻家庭中女性的生存状况。其代表性的“婚姻三部曲”充满了对女性社会 ►
处境的思考，从《牵手》开始，到《中国式离婚》，再到最新的《新结婚时代》，每部都强烈的传达出了这种观念：女性应该拥有自己完全的独立人格。应该有不懈的追求，有对家庭对社会的责任心；无论爱情婚姻多么美好，都不能丢弃作为“人”的最重要的内涵。虽然，传统多认为女性在婚姻的天平上处于弱势，女性固然是轻的，但是，依然是婚姻所必须承受的一端。而且，女性主义对“菲逻格斯中心主义”的解构与此正有异曲同工之处。进而，当我们纵观三部作品的时候，可以看到女性在婚姻这杆天平上的分量在逐渐加重，她们对传统的父权的观念做出了执著的抗争：《牵手》中的夏晓雪在婚姻中表现出的多是顺从，虽然她在婚姻失败之后也有了自己的事业和成功，但她依然把婚姻视为对自己社会地位的主要认可；《中国式离婚》中的林小枫则用猜疑、神经质的争吵来表示的抗争，虽然抗争并未能带来根本性的转机而使得她在最后同意离婚，但是这在一定意义上也可以看作是她对自己独立人格的一个认可；《新结婚时的》中的顾小西相对于前面二者，在婚姻中表现的更加理性，也更加独立，因此，父权在此做出了主动让步，从而使天平两端的男性和女性逐步达到新的平衡。当我们进一步审视这些变化背后的深层原因时，便可发现其根源在于中国当代社会的巨大变革，王海鸰的“婚姻三部曲”其实也是中国当代社会变革的一种记录。
王海鸰的“婚姻三部曲”，即《牵手》，《中国式离婚》，《新结婚时代》。这三部作品均由小说改编为同名电视剧，而王海鸰也身兼小说作者和电视编剧二职，在作品中比较统一的体现出作者的创作倾向。因此，为了能比较好的表达本文观点，在对作品分析的时候，将适当的将小说作品与电视剧结合起来阐述。
Women: A Lightness that a Marriage Must Balance
—An Examination into the Shift of Social Situation of Women in Contemporary China from the “Marriage Trilogy” by Wang Hailing
Wang Hailing, hailed as the “No. 1 writer who focuses on marriages in China”, has often used marriage and family as her theme to reflect the realities in Chinese society, paying her attention to the living conditions of married women ►
in families from different perspectives. Her “Marriage Trilogy”, a series of works representing her literary creation, is filled with her concern of women’s situation in society. From her Hand in Hand (Qian Shou) to Divorce: the Chinese Style (Zhong Guo Shi Li Hun), to her latest New Wedding Era (Xin Jie Hun Shi Dai), one can see this idea expressed forcefully in each of her book: women should have their own completely independent character, persistent pursuits in life, and a sense of responsibility for their families and society at large. No matter how beautiful their love and marriages are, women should never cast aside the most important essence of their role as “human beings”. Although from the traditional point of view, women are treated as the weaker sex, therefore lighter, on the scales of marriage, they constitute one extreme that a marriage must try to balance anyway. What is more, the deconstruction of “phallogocentrism” by the feminists shares some similarities with this view point. When taking a further look into the trilogy, one can see that the weight of women has been increasing on the scales of marriage. They have been engaged in a persistent fight against the traditional concept of patriarchy. In Hand in Hand, Xia Xiaoxue is always obedient and submissive in her marriage. Although she has established her own career and become successful after her marriage failed, she still regards marriage as a major recognition of her social status; in Divorce: the Chinese Style, Lin Xiaofeng expresses her resistance through suspicions and quarrels, although such a resistance, having failed to bring about any substantial improvement in her married life, leads her to agree to a divorce. But in some sense, this can also be viewed as a confirmation of her independent character; and in New Wedding Era, compared to the two heroines mentioned in the earlier works, Gu Xiaoxi is not only more rational but also more independent in her marriage. As a result, patriarchy takes the initiative to yield to her, thus making the two extremes on the scales of marriage (man and woman) reach a new balance gradually. If we take a further examination into the deeper causes of such changes, we shall find out that the root cause lies in the tremendous changes in the contemporary Chinese society. The “Marriage Trilogy” by Wang Hailing, as a matter of fact, is a record of the changes in the contemporary Chinese society.
The “Marriage Trilogy” by Wang Hailing, refers to her Hand in Hand, Divorce: the Chinese Style, and New Wedding Era, all of which have been adapted into TV series that bear the same titles. As Wang Hailing serves both as the writer of the novels and TV scriptwriter, she can display her creative tendency in a more consistent manner in her creations. Therefore, this author plans to discuss her novels in combination with her TV series when analyzing her works so as to better elaborate the view point in this paper.
Presentations & Panel Discussion 3B:
JIN Siyan
金丝燕 JIN Siyan
女性写作：当代中国社会的一面镜子
中国当代社会通过女性写作这一面镜子，给历史留下了丰富而驳杂的纪录。
文学批评面对的首先不是读者，亦非作者，而是时间。它是否经得起时间，几十年以后是否仍然可读、 ►
有启发性，也就是有持续的生命力，这是批评者的自问。
在中国当代女性文学研究中，文本结构、史学和整体性批评三种方法都不可或缺。
我们试图以上述三种不同的角度切入中国当代女性文学，建立一个多层空间以便各国不同语言和文化的批评者，打破疆界，能在一起论辩或思考共同的问题。
面对丰富而复杂的文学现象，传统的文学史批评就不够了。寻找“合适” 的方法和切入与审视角度是我们多年来在研究中国主体性写作包括女性写作时恒定的关注点。三维度批评丰富了中国当代文学批评方法，使后者能比较自己原有的方法，更主动地介入文学史，而在中国文学的实例研究对三维度批评自身的理论和方法也是补充和丰富。
Female Writings: A Mirror of Contemporary Society in China
The contemporary society in China has, through the mirror of her female writings, given rich and varied records to history.
Time rather than readers or writers is what literary criticism is concerned first of all. What the literary critics ask is whether the literary work concerned can stand the test of time, ►
whether it is still readable, whether it is still entertaining, or whether it is still full of vitality after several decades elapses.
In the studies on female literature in contemporary China, none of the three approaches, such as text structure analysis, historigraphic study, and comprehensive criticism, can be left out.
The authors attempt to study contemporary Chinese female literature from the above three different perspectives and try to set up a multi-layered space so that critics of various languages and cultures may engage in debate or reflect on some common issues together unrestrained by any boundaries.
Faced with the rich and complex literary phenomina, it is inadequate for us to use the conventional method of historigraphic criticism alone. Therefore, the search for ‘appropriate’ approach, starting point and angle of perspective have been the constant points of concern for us who have been studying mainstream writings, including female writings, in China. Although the three-dimensional approach to literary criticism has enriched the approaches of contemporary Chinese literary criticism by making the latter compare to its orignal approaches and take in literary history more positively, the case study approach in Chinese literature is also both a complement and enrichment to the theory and approach of the three dimentional criticism.
EOYANG Chen, Eugene
欧阳桢 EOYANG Chen, Eugene
天涯抑或是天堂的一角：现代中国作家的内心矛盾
我在一篇写于1994年的文章中讨论了“天涯”一词在中国传统诗歌中的含义和修辞。“天涯”常用于描述流亡海外的中国作家 ►
（本文收录在我最近出版的《双面镜》一书中）。在今天的报告中，我将再次在中国现代文学的范畴内讨论“天涯”一词的意义，并找出这些流亡或定居到海外中国作家们新的共性。上个世纪以来，华人世界的许多作家们由于种种原因被社会边缘化了。比如说，中国大陆的作家在1949-1979年间,由于意识形态的政治原因，被边缘化了。由于西方文化中心主义的原因，中国的作家们被挡在了世界文学的大门之外。另外一些作家不幸沦为“东方主义”（像北岛的著作）和“西方主义”（像高行健的作品）辩论的牺牲品。事实上，一方面，“天涯（天尽头”）的范围要比传统诗歌所代表的“天涯”更远。但另一方面，处在中国传统文化边缘上的这些作家们却成了世界文坛关注的焦点。对于这些作家来说，天涯或天尽头就变成了天堂的一角。正如Erich Auerbach（奥尔巴赫）在1952年时说的那样：“语文学研究的天地将不再局限于某一个国家之内，而是整个地球。”这句话在今天也可以恰如其分地来形容流亡海外的中国作家们。我个人也在1994年发表的那篇文章中写到：“在流亡中迷失自己的方向是苦难也是机遇，”这句话对大多数中国现代的流亡作家依旧适用。
The Ends of the World or The Edge of Heaven:
The Ambivalence of the Modern Chinese Writer
In a 1994 essay, I explored the trope of 天涯 (“the ends of the world”) in traditional Chinese poetry as a generic description of the writer-in-exile, or the writer estranged (the essay appears in my recent book, Two-Way Mirrors). ►
In this presentation, I meditate on this image in the context of modern Chinese literature, and see new resonances in the image for dissidents, diaspora writers, and other dispossessed figures. Chinese writers have been marginalized over the past century in various ways; for mainland writers from 1949-1979, the marginalization resulted from ideology; for Chinese writers neglected in the canon of world literature, the cause was Western ethnocentricity; and for specific writers, the sanctions have resulted from the prejudice of Orientalism (in the case of Bei Dao) and of Occidentalism (in the case of Gao Xingjian). In one sense, the ends of the world are much further off than they were in the traditional poems, but in another sense, these writers, on the periphery of Chinese civilization, have become the center of international consciousness. For them, 天涯 “the ends of the world” have become “the edge of heaven.” What Erich Auerbach said as early as 1952 remains true today: “our philological home is the earth: it can no longer be the nation.” For most exiles among modern Chinese writers, what I wrote in the 1994 essay holds true: “Dépaysment for an exile is both a calamity and an opportunity.”
IV. Chinese Literature and Modern Culture
Presentations & Panel Discussion 4:
LI Sher-shiueh, Wallace
李奭学 LI Sher-shiueh, Wallace
重访灵山——谈高行健的语言观及其与中国小说传统的关系
本文将对诺贝尔文学奖获得者作家高行健的代表作《灵山》和中国古典小说吴承恩所著《西游记》进行对比分析。本文的开端引用高行健对中国语言 ►
使用范围的看法，即中文作为一个语言系统写作使用不能只限于地理版图上的中国（大陆和港澳台地区），同时它也应该作为一个写作载体被世界上任何使用汉语的地方使用。本文把《灵山》和《西游记》做横向对比后发现两部小说的作者高行健和吴承恩不仅在语言风格上非常相似，而且两部小说在结构上也有异曲同工之处。通过这种横向对比，我认为，尽管高行健强调他自己对汉语使用的开放和包容，但是他的语言风格不可避免地受中国明代散文体小说的深刻影响，也就是说他是一个受中国传统文化影响的作家。
The Soul Mountain Revisited: Language, Novel, and the Chinese Tradition
This paper proposes to discuss the Nobel laurite Gao Xingjian’s Lingshan or the Soul Mountain by analyzing its relationship with such classical Chinese novels as the Xiyou ji or the Journey to the West. ►
This paper, however, begins with an argument for Gao’s linguistic idea which holds strongly that “Chinese” as a writing system cannot be so-named within the territorial confines of China. It is also a writing medium employed in the world where any kind of the Chinese languages is spoken. This paper then proceeds to a parallel study made between Lingshan and, especially, the Xiyou ji, with an emphasis not only on the linguistic similarities between the two novels, but also the ways of their plot construction. With the help of knowledge taken from this parallel study, this paper concludes that although Gao claims his literary metropolitaness, he is primarily Chinese in the very sense of the literary culture that the Chinese languages have formulated since they began their tradition of prose fiction especially in the Ming.
SU Qiqi
苏七七 SU Qiqi
张艺谋电影与中国当代小说：从文学时代到影像时代的文化权力变迁
张艺谋对中国当代文学的关注，在当代电影导演中无出其右，他订阅大部分文学期刊，为其电影寻找原著小说，94年前的所有作品，都改编自当代文学的大家名作（如莫言/苏童/刘恒/余华的小说）。95年之后， ►
张艺谋一度调整作品的题材方向，从现代转向当代，相关的几部作品，亦大都改编自当代文学作品，但从原著小说的水平到电影作品的水平，无疑都远不及他的第一个创作时期。2001年之后，他再度调整作品的“模式”，以古装武侠大片再度成为中国电影的核心人物，但《英雄》/《无极》/《满城尽带黄金甲》这样的电影，已经与当代文学作品基本脱离了关系。——本文拟在梳理张艺谋电影与当代文学之间的关系时，探讨当代文学为电影所提供的历史维度与思想深度，及它们在八九十年代之交时所共度的一段彼此推动的美好时光，这也是当代文学在整体经济上升与思想开放时期度过的黄金时代，但随着经济大潮与影像时代的来临，文学迅速退出了文化消费的主渠道，文学与电影之间的关系也随之恶化——前者不能为后者提供优秀作品以资互动，后者亦挟资金与受众之势，将文学原作奴婢化。这在张艺谋的晚近大片作品中，达到一个极端状态，以至于作品形式浮华、内容空洞，成为文化消费市场的符号商品。在描述与讨论该过程中，本文将以张艺谋电影与当代文化的关系作为一个症候，论述在社会类型与文化类型的转型时代，各类文本可能有怎样的文化权力消长，它造成了怎样的现状以及对现状的反思。
The Films Directed by Zhang Yimou and the Contemporary Chinese Fictions:
A Shift of Cultural Power from Literature Age to Image Age
The attention paid by Zhang Yimou to the contemporary Chinese literature is unmatched among the contemporary film directors in China. Having subscribed to most of the literature periodicals, he tries to look for original literary creations from which he can adapt into films. All the films directed by Zhang Yimou before 1994 are ►
based on the good literary works created by such well-known contemporary Chinese writers as Mo Yan, Su Tong, Liu Heng and Yu Hua. After 1995, Zhang Yimou tried to adjust the motif of his films, shifting his focus from the modern time to the contemporary age. The films directed by him in this period are mostly adapted from the contemporary literary works too. However, as far as the esthetic values are concerned, both the original literary works and his resulting films are not as good as the ones produced in his first stage of artistic creation. After 2001, Zhang tired once more to adjust the “motif” of his creations, focusing on martial-arts or kung fu blockbusters whose characters wear ancient Chinese costumes. His efforts in this regard have made him once again a core figure in China’s film industry. But films such as Heroes (Ying Xiong), Promise (Wu Ji), and Curse of the Golden Flower (Man Cheng Jin Dai Huang Jin Jia) are largely disconnected with the contemporary literature.
This paper aims, by sorting out the relations between the films directed by Zhang Yimou and the contemporary literature, to discuss the historical perspective and ideological depth provided by the contemporary literature to the films and the best time shared by the contemporary literature and films as they promoted each other at the turn of the 1990s. This also coincides with the golden age of contemporary literature when the economic growth, on the whole, was on the rise and ideological control became more and more relaxed. But with the coming of the greater economic tides and image age, literature has rapidly withdrawn itself from the main channels of cultural consumption, and the relations between the literature and films began to deteriorate as a result, for the former can no longer provide good texts for the latter to adapt into films, and the latter, influenced by fund and viewers, treats literature as mere servants. This phenomenon has reached a state of extremity in the latest blockbusters directed by Zhang Yimou. These films, characterized by ostentatious format, empty content, have degenerated into symbolic commodities for cultural consumers. In the process of describing and discussing this degeneration, this paper will treat the relations between the films directed by Zhang Yimou and the contemporary literature as a syndrome, and discuss, at a time of societal and cultural transitions, how the cultural power of various types of texts might grow or decline, what kind of situation it has created, and reflect upon this situation.
A Cheng
阿城 A Cheng
Chinese Writer and Use of Modern Media—Interviewed by Zeng Yuan 曾园
V. The Chinese Self in Globalizing World
Presentations & Panel Discussion 5A:
Keith TESTER
Keith TESTER
后身份时代？社会急速变化中支离破碎的生活
人们的身份符号只能出现在一个稳定而可预见的社会制度和关系中。社会的稳定使弗罗伊德(Freud)所谓的“快乐原则(Pleasure Principle)”（即：强调眼前的,瞬间的快乐） ►
依附于“现实原则(Reality Principle)”（即：强调以后的,持久的快乐）。人们普遍认为当“快乐原则”回归时，传统形式上的身份符号也随之消失了,所以西方社会的小说创作就始于现代社会的开端。可十九世纪至二十世纪小说创作的发展却表明“现实原则”逐渐占了上风。然而，在全球化的影响之下，“现实原则”所要求达到的社会条件却被破坏了。如今，小说创作面临的社会现实是：在急速变化的社会中，人们生活在了缺少身份符号的状态下（后身份时代）。本文将以“后身份时代的生活”，这一反常的文化现象来反映出小说创作在社会急速变化中遇到的机遇和挑战。
After Identity? Fractured Lives in Rapidly Changing Society
Identity can only be achieved if men and women live in stable and predictable social institutions and relationships. Stability enables the subordination of what Freud called the pleasure principle ►
(which is concerned with immediate gratification) to the reality principle (which emphasises deferred gratification). It is argued that the Western novel emerged at the dawn of the Modern Age when traditional forms of identity were breaking down, and when the pleasure principle was released. The development of the novel through the nineteenth and twentieth centuries shows the increasing domination of a reality principle. However, the social conditions of the modern reality principle have broken down in the face of globalization; now the sociological situation that confronts the novel is one of living after identity in rapidly changing society. The paper identifies the cultural pathologies of life after identity and reflects on the problems and possibilities of the novel in the context of rapid societal change.
WU Xiaoming
伍晓明 WU Xiaoming
“他者“的”迫害——鲁迅与莱维纳斯
莱维纳斯（Lévinas）曾将其关于他者的重要思想通俗地概括为一句非常简单的话：“Après vous！”；“您（先）请！”；“After you！”《礼记》则将礼的意义概括为“自卑而尊人”。 ►
此二者之间的某种至少是表面上的接近或相似似乎一目了然。如果“自卑而尊人”在某种意义上确实概括了礼的精神，那么孔子的“克已复礼为仁”在某种意义上或许也可以被翻译为一个现代的“您请！”这样我们就可以在孔子的思想与莱维纳斯的思想之间建立某种有意义的联系。而这一联系将有助于我们一方面重新反观中国传统，另一方面则重新思考影响了五四以来的中国思想与中国文学的西方思想。于是，我们的问题可以是：在鲁迅将中国传统的“仁义道德”概括为“吃人”之后，在以“礼”为“教”的中国礼教传统被指责为一“以礼杀人”的传统之后，我们还能从这一传统中学到什么？这一学习将既是对中国传统思想的重新发明或积极肯定，亦是对一个试图批判西方思想的西方思想的欢迎。
The Persecution “by” Others - Lu Xun and Levinas
Lévinas has generalized his important thought about others into a very simple phrase, that is, “Après vous!” or “You first, please!” or “After you!” The Records of Rites (Li Ji), on the other hand, has summarized the essence of rites ►
as “to humble oneself and respect the others”. The closeness or similarity of the two generalizations, at least on the surface, seems to be apparent. If “humble oneself and respect the others” can be said to have indeed epitomized the spirit of rites, then “the essence of benevolence is to restrain oneself and restore rites” proposed by Confucius, at least in some sense, might be translated into a modern phrase “You first, please!” or “After you!” In this way we can establish some kind of meaningful connection between the thought of Confucius and the thought of Lévinas. And such a connection will be conducive to our looking at the Chinese tradition in retrospect on the one hand, and reconsidering the Western thinking that has exerted an influence on the Chinese thinking and Chinese literature since the May Fourth Movement on the other hand. Thus, we may ask this question: After Lu Xun generalized the Chinese tradition featuring “benevolence, righteousness and morality” into “man eating”, and after the traditional Chinese rites that treat “rites” the same as “education” have been accused of being a tradition “that kills people in the name of rites”, what else can we learn from this tradition? Such learning is not only a reinvention or positive approval of the traditional Chinese thought, but also serves as a welcome to the Western idea that attempts to criticize Western ideas.
Presentations & Panel Discussion 5B:
Tudor VLÃDESCU
Tudor VLÃDESCU
文学如凤凰：对从澳门一知识分子藏书中挑出的一本兰德的书进行的个案研究
澳门文学研究似乎采用宿命法，才显得科学，但它也可能带出一些毫无机会探讨澳门文学命运的传统理论。我们将从这一假设入手：即任何对未来的展望必须面对过去的记忆。但我们的方法不会走因果关系的路子。 ►
对一些捐赠给马来西亚国际伊斯兰教大学（IIUM）图书馆的书籍进行个案研究，将作为一种对文学现象的洞察，而文学现象从根本上说是不变的：文学既是先验思维，也是评判性思维。
本文将分析捐赠给马来西亚国际伊斯兰教大学图书馆的一部份书籍。在这些书中，我们将特别关注兰德的一本书，因为它的命运与众不同。这位与拜伦爵士同时代的作家，在悲痛中将作品题献给了一位朋友。至于这本与众不同的带有作者签名的书怎么会落入一位生活在20世纪澳门的知识分子的手中，却是一个不解之谜。这一怪物的命运，从许多方面揭示了我们时代的文学的命运。兰德的这本诗集被火烧过一次。虽然它稍触即碎，但两百年后依然存在。它的故事就是21世纪初的文学的故事。虽然小说和诗歌普遍不受重视，但它们还是生存下来了。在任何现代图书馆，过去的事情、被遗忘时代的纪念物、有时甚至是微不足道的职业证明、小说及诗歌，至多占据5%的书架。其他如非小说、实用书或“入门”类文本，显然是竞争中的赢家。但是文学的精神犹存，说不定哪一天会被再度发现。
Literature as the Phoenix—Case Study on a W.S. Landor Book singled out from a Collection of Books that Belonged to a Macau Intellectual
A determinist approach of literature in Macau might seem scientific, but it also could lead to conventional theories that have no chance whatsoever of speaking of the destiny of literature in Macau. We will start with the presumption that any outlook on the future has to deal with the memories of the past. ►
Though, our approach will not step on the cause-effect highway. The case-study of some books donated to the IIUM Library will function as an insight of the literary phenomenon that, in essence, remains unchanged: literature is both metaphorical and critical thinking.
Our paper will take the path of making an analysis of a list of books that were donated to the IIUM library. Among them, special attention will be given to a book by W.S. Landor, a book of an unusual destiny. This writer, a contemporary of Lord Byron, dedicated his work to a friend in times of grief. How this unique autograph book came to be in the possession of a Macau intellectual who lived in the 20th century is a mystery. The destiny of this eerie artefact is, in many respects, revelatory for the destiny of literature in our times. The copy of the Landor book of verses was burnt once. Frail as it is, it survived two hundred years. Its story is the story of the literature at the beginning of the 21st century, as fiction and poetry are largely ignored, but they still survive. Things of the past, memorabilia of a forgotten age, sometimes even proof of unserious occupations, fiction and poetry books occupy, in any modern library, at most 5% of the shelves. The rest, the non-fiction, the utilitarian books or the “introduction to” texts have definitely won the match. Still, the spirit of literature survives and might be rediscovered one day.
LU Yang
陆杨 LU Yang
文化研究的兴起和文学救赎功能的变迁
中国当代文学如何应对文化研究的冲击，已是当今文坛的一个热点。文学曾经是文化的主导形式，在普及而不是曲高和寡的层面上长久出演救赎灵魂和经国济世的功能。但今日新媒体蜂起， ►
大众文化势不可挡替代书本和纸笔，成为年轻一代阅读和交流的主要形式。由此反思文学救赎功能的来龙去脉，可展示人类生活深层意识的变迁。诚如20世纪中国文学的救赎热情，很大程度上来自滋养了这一冥思传统的19俄罗斯文学中的苦难意识，今天作家和知识分子群体热衷唱酬客串于媒体视镜的大众文化语境中，文学救赎情结的衰微，是否该怪罪于美国文化的全球化？对此本文的观点是，文学，特别是纸质书面印刷文本的传统文学形式，有理由坚信自己的魅力而不必对层出不穷的新媒体冲击耿耿于怀。故文学研究应对文化研究冲击的当务之急，是稳定立场，而不是盲目跟风迷失自身。文学悲天悯人的救赎情怀势将永生。虽然它未必是好为人师的宏大叙事范式。
The Rise of Cultural Study and the Evolution of the Redeeming Function of Literature
How should the contemporary Chinese literature respond to the shockwaves of cultural study has become a hot spot in the literary circle today. Literature, once a dominant form of culture, has long played the function of redeeming souls and strengthening the nation ►
at the popular rather than academic level. But in today’s world, due to the continuous rise of new forms of media, popular culture has irresistibly replaced books, pens and paper, and become the major form through which the younger generation reads and communicates. Under this situation, reflection of the origin and development of the redeeming function of literature may help us reveal the evolution of the deeper consciousness that is hidden in human life. As the redeeming enthusiasm of the Chinese literature in the 20th century largely originates from the misery consciousness found in the 19th century Russian literature that has nourished this meditative tradition, and as the writers and intelligentsia in general are keen on playing a part in the context of popular culture, especially on television, should we blame the degeneration of the redeeming function of literature on the globalization of American culture? The viewpoint of this paper to the question is that literature, especially the traditional form of literature, that is, texts printed on paper, is fully justified to believe in its own charm instead of resenting the endless shockwaves caused by the continuous rise of new forms of media. Thus, in response to the shockwaves brought about by the cultural study, research in literature should, first of all, take a stabilized position rather than following the trend blindly and getting lost in the end. The redeeming function of literature, which bemoans social corruption and reveals people’s hard life, shall live forever, though it might not be the grandest paradigm of narration instructively.
VI. The Status of Poet and Translator: Care of Chinese Language and Literature
Presentations & Panel Discussion 6:
LIU Guangyao
刘光耀 LIU Guangyao
海子之后：中国基督教诗歌的两种进路——兼及中国传统与现代西化之间
为了叙述的方便，可从冰心说起。冰心是现代中国文学基督教方向的重要奠基人之一，以她（及一批作家、诗人）为标志，基督教成为中国文学抹之不去的声音。但冰心的问题在于，其单向度的“爱的哲学”告白， ►
淹没了基督宗教所传的那种爱的个性色彩，未能使爱同个体生命的内在呼求和涌动连接起来，从而使基督之爱显得抽象、苍白、浮浅。
海子不是基督徒，思想颇为驳杂，也并不以福音信息的传扬为命，但也许使之堪称中国基督教文学冰心等之后第二个里程碑的，则是他以自己独有的个体性情所表现出来的那种以基督自命的的精神。正是这种异端式或异教式的精神，使他能在生命体验的深处洋溢出基督教信仰的情怀，从而完成了一个基督宗教个体信仰诗歌时代的预演。如果不避牵强之嫌的话，也许可以说，冰心等的写作可为“肯定神学——直白”式的，因其停留在对基督宗教传统既定信理、信义认同性的正面表现上；海子的写作可为“否定神学——含混”式的，因其并不完全为基督宗教信仰传统的宣说所拘限，而是融进了个人精神探险性的体验。
在海子之后，中国基督教诗歌的进路虽大体上仍是这样两种，但其间的区别却是明显而重大的。就“肯定神学—直白”式进路言，与前一时期的重大区别是个体意识、个体体验比重的增加，但在如何既保全信仰的纯正性，又同时展现人性的丰富性上仍缺乏深入的思索与探究；就“否定神学——含混”式进路言，与前一时期（海子）的重大区别是：个人灵魂的历险是在认同信仰传统的基础上发生的，因此是得到肯定神学之支持的。另一方面，从肉体、灵魂、灵性等多个层面上探究与表现人的此世遭际同上帝之国的呼召间的张力与互动，使这一进路显得更为丰富、多姿多彩。在诗艺上，这两条进路均显出向抒情和古典的不同程度的回归。
After Hai Zi: Two approaches for Chinese Christian Poetry—Between Chinese Tradition and Modern Westernization
For the sake of convenience, we can begin with Bing Xin. Bing Xin is the most important founder of the Christian trend in Modern Chinese literature. With her (and a group of writers and poets) as symbols, Christianity became a voice in Chinese literature ►
that could not be wiped away. But Bing Xin’s problem lies in that her one-way public expression of a “philosophy of love” drowned out the kind of individual character of love imparted by Christianity, unable to bring together both the aspirations and turbulence inherent in the life of the individual, thus making the love of Jesus appear abstract, pale, and shallow.
Hai Zi was not a Christian, his thought somewhat heretical, and he certainly did not take the spreading of the Gospel as his duty, yet perhaps he can be regarded as the second milestone in Chinese Christian literature after Bing Xin, and it is his unique disposition that expressed that kind of spirit of regarding himself to be Jesus. It is precisely that heretical or pagan spirit that made him able in the depths of life’s experience be permeated with the mood of Christian faith, thus accomplishing a preview of the poetry of an age of individual Christian faith. If we can avoid suspicion of a forced interpretation, perhaps we can say that the writing of Bing Xin and company can be regarded as a “theology of affirmation—frankness,” because it remains fixed within Christian tradition, positively identifying with it; Hai Zi’s writings can be regarded as a “theology of negation—ambiguity,” because by no means does he restrain himself to the pronouncements of traditional Christian faith, but rather moves into exploring the experiences of the individual spirit.
After Hai Zi, Chinese Christian poetry’s avenues of approach, although by and large still remain these two, the difference between them is clear and profound.
Speaking of the “theology of affirmation—frankness” approach, its great difference from the previous period is individual consciousness, the increase in the proportion of individual experience, but with regard to the question of how to both preserve the purity of faith, and at the same to develop the richness of human nature, it is still is lacking in depth of thought and exploration; speaking of the “theology of negation—ambiguity” approach, the great difference from the previous period (Hai Zi) is: the adventures of the individual spirit take place on the foundation of identifying with a faith tradition, therefore receiving the support of the theology of affirmation. On the other hand, the many layers of investigation such as flesh, spirit, and intelligence, and the tension and interaction felt between the circumstances of this world and the call toward the Kingdom of God, make this avenue of approach appear to be even more rich and colorful.
In the art of poetry, these two roads demonstrate the different degrees of return to the expression one’s emotions and the classics.
LEUNG Ping-kwan
梁秉钧 LEUNG Ping-kwan
写作与翻译
我在学习写作的初期，通过翻译美国地下文学丶法国丶东欧和拉丁美洲文学去对抗当时习见的文艺潮流，去锻炼文字的可能性，去锻炼文字的可能性，以及探索用不同方法写自己生活的环境。 ►
翻译与写作有千丝万缕的关系。写作人翻译其他文化的作品，为自己打开不同的窗子丶从不同的视野瞻望，带入不同的感性，试验搓塑自己文字看能去得多远；另一方面写作人的作品又为人所译，进入其他文化并与之对话。写作者广义来说其实是不断在翻译的状态中进行写作，他把现实的经验翻译成文字，他不光是翻译外国文学作品，也是在翻译自己传统的经典成为现代文本丶翻译通俗文化的杂沓而成个人的深沉思维。他既迷失於翻译，又通过翻译找到自己。
Writing and Translating
In my first days of learning to write, I translated underground American literature, French, Eastern European, and Latin American literature in order to exercise and test the possibilities of written language, ►
to find ways to oppose the prevailing trends in literature and art, and to explore various methods to write about my city and the circumstances of my own life.
Writing and translating have an intricate relationship. In translating the works of other cultures, writers open new windows for themselves, look out into different horizons of vision, bring in different perspectives, and try to see how far they can mold and stretch their own language. On the other hand when the works of a writer are in turn translated by colleagues into another culture, he and his works enter into new spaces and engage in dialogue with other cultures. The writer, generally speaking, always carries out his task in a state of translation; he translates his real experiences into words. He not only translates the literary works of foreign countries, he also translates the classics of his own tradition into modern versions, translates the common trivial world of popular culture into individual insights and imagination. He gets lost in translation, and through translation finds himself again.
JIANG Xiangyan
蒋向艳 JIANG Xiangyan
诗歌翻译的一个文本：朱迪特•戈蒂耶的《玉书》
作为第二部中国古诗法译集，朱迪特•戈蒂耶的《玉书》融入了译者的创造，是一部创造性的译作。在翻译研究尤其是翻译文学研究上， ►
《玉书》作为一个例证，有力地证明了有的翻译作品无异于创作；一个国家的翻译文学当是该国文学不可分割的组成部分。同时，《玉书》为基于比较文学立场的翻译研究提供了大量值得探讨的中西文化差异的例子。它是一部不可多得的、特殊而又经典的诗歌翻译文本，当引起译学界更多的关注。
本论文为由本人主持的国家社科基金项目“唐诗在法语世界的译介和传播”的一部分。
A Text of Translation of Poems: Le Livre de Jade of Judith Gautier
As the second classic Chinese poem collection of French version, Le Livre de Jade of Judith Gautier is a creative work of translation. In the field of the translation studies, ►
especially of the translation literature studies, the book serves as a good example to support the opinion that the value of some translation works is equal with original literary works, and that the translation literature is an indispensable part in a country’s literature. Le Livre de Jade also provides a great many examples of differences between western and Chinese culture engendered in translation, which is a good benefit for the research of comparative literature. Le Livre de Jade deserves more attention and research in the field of translation studies.
This thesis is one part of the research project “the Translation and Research of the Tang Poetry in the French World” held by Xiangyan JIANG, funded by National Planning Office of Philosophy and Social Science of the People’s Republic of China.
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