审美的智力游戏——试论博尔赫斯幻想小说的艺术构思

博尔赫斯以其幻想小说创作的艺术构思为之后的创作者打开了创造性空间,在他的小说中,利用玄思玄想来触摸真实/虚幻的边界,借助“迷宫故事”实现对语言媒介的自指/自反,以及通过对时间中穿行的视觉化表达,达到对传统文学母题的某种“破坏性重述”,使得小说创作成为一场审美的智力游戏。     

Primum Mobile: Women and Auto/mobility in the Era of the Great War

Abstract: This article explores the construction of Andrea Dworkin as a public persona, or a ‘feminist icon’, revered by some and demonized by others. It argues that in both her fiction and non-fiction, Dworkin engaged in a process of writing herself as an exceptional woman, a ‘feminist militant’ as she describes herself in the subheading of her 2002 memoir, Heartbreak. The article illustrates Dworkin's autobiographical logic of exceptionalism by comparing the story told in Heartbreak to the story of Dworkin's major novel, Mercy, which features a heroine, Andrea, who shares Dworkin's name and significant biographical details. While Dworkin has insisted that Mercy is not an autobiographical novel, the author undertakes a reading here of Mercy as the story of Dworkin if she had not become the feminist icon of her own and others' construction. In Mercy, Andrea unsuccessfully attempts to escape the silent, victimized status that Dworkin has insistently argued is imposed upon women. In her repeated victimization, Andrea functions for Dworkin as an ‘everywoman’ who both embodies Dworkin's world-view and highlights how Dworkin's own biography exists in tension with some of her central assumptions about women, gender and contemporary society.     

Glimpsing the Holocaust in post-war British detective fiction

ABSTRACT

Scholars including David Cesarani have noted that there was no concerted effort to represent what we now term the Holocaust in British fiction of the immediate post-war years. What can be found in novels from the late 1940s and early 1950s, however, are suggestive glimpses of how British understandings of the Holocaust were beginning to develop. Detective fiction is a useful point of reference because in the interwar years this form was typically based on simplified or even stereotyped characters, with the war years and the post-war period signalling a turn to greater realism. As Gill Plain has argued, detective fiction expresses a desire both to see and to evade seeing the dead body. Plain explores this as an expression of post-First World War cultural anxieties but, in the wake of the widespread circulation in Britain of images of the opening up of the concentration and death camps, such ambivalence takes on a particular significance. Examining two quite different examples, Agatha Christie’s A Murder Is Announced (1950) and Ellis Peters’s Fallen into the Pit (1951), Stewart’s article reveals contrasting early engagements with the Holocaust. Both novels feature peripheral characters who are refugees from Europe, and whose stories, although told only in fragments, nevertheless destabilize the process of reinstating order that is the usual narrative trajectory of the detective novel. Stewart will argue that such glimpses of the Holocaust are as telling about contemporary attitudes as more concerted, explicit and direct engagements might be.     

Fictional power and control and the reality of abusive behaviour

In response to recent sociological studies that suggest that the seriousness of psychological, emotional and verbal abuse are not only dismissed but are also the least identified in dating relationships, this article undertakes an analysis of these underexplored, ‘less visible’, elements using Ellen Pence and Michael Paymar’s ‘Power and Control’ and ‘Equality’ wheels, it compares Stephanie Meyer’s 10th anniversary re-release of Twilight, and Life and Death: Twilight Reimagined, which tells the same story as Twilight, but with the genders reversed are compared using the ‘Power and Control’ and ‘Equality’ wheels. The author argues that Life and Death is not just a simple swap of names and pronouns, as Meyer asserts, but that the alterations of thoughts and actions of the characters reflect commonly held ideas about gender, including the perpetration of psychological, emotional and verbal abuse in intimate relationships as hallmarks of masculinity. Moreover it shows that consistent with the feminisation of vampire Edythe Cullen and mortal Beau Swan, the intimate relationship in Life and Death more closely resembles that of a non-violent and equitable relationship, which significantly lessens the abuse, and reinforces traditionally socially accepted messages about gender in intimate relationships.     

The New Miss India: Popular Fiction in Contemporary India

Miss New India is the title of a 2011 novel by Indian-born (now American-based) Bharati Mukherjee, which tells the story of a young woman who leaves her small-town home and family to find work in a call centre in the information technology city of Bangalore. The call centre is emblematic of a ‘new India’, in which educated young people seize the possibilities of a global labour market. This is a generation for whom colonialism is ancient history, a generation who have grown up in the aftermath of economic liberalization in India. Chetan Bhagat refers to this generation as ‘Young India’ and has written a series of best-selling novels that feature ambitious young men in the ‘new India’. There is, however, an emerging genre of similar narratives written by women and addressed to a female readership. This article discusses a range of contemporary Indian women’s popular novels and argues that, while Bhagat and his male heroes may embrace globalization and the market, the narratives written by women are more nuanced in their celebration of economic liberalization. The novels dramatize the tensions between tradition and modernity, family and independence, and suggest that these are particularly fraught for young Indian women. These texts pick up on the discourses of contemporary journalism about ‘Young India’, within the generic form of the romance, but their resolutions are repeatedly uneasy and suggest that the ‘new India’ is not an entirely comfortable space for the new Miss India.     

Inevitable Answers: The Joke and its Relation to Social Equilibrium in the Novels of Ivy Compton-Burnett

The majority of existing studies of Ivy Compton-Burnett’s comedy class her as either a ‘camp’ novelist, or a social satirist in whose novels jokes are used for either oppression or subversion. The present essay proposes a new reading of the social uses of jokes in Compton-Burnett’s novels. In these domestic fictions, family life is characterized by constant strife, most commonly of a verbal nature. As part of their daily struggle for power and position, her characters use aggressive jokes to keep each other in check. This process does not distinguish primarily between oppressors and oppressed, but between successful and unsuccessful egotists. As an ideal result, a social equilibrium emerges that is at least vaguely habitable to all. This way, Compton-Burnett’s comedy is essentially conservative; the ultimate function of the jokes employed by her characters is not to permanently transform social structures, but to maintain the delicate balance of power within the family.     

Indefinable Wang Jianwei

正"People are aware that artistically between the 1950s and the early 1980s China was closed to the outside world,but realistically,we were also closed internally."STANDING in the middle of Wang Jianwei’s main studio,an expansive 6,000-square-foot room with an arched ceiling that brings the structure to well over two stories in height,I feel as if I’m on the set of a science fiction movie.I’m surrounded by several molded white plastic     

Habermas and the Holy Grail of reason: The Philosophical Discourse of Modernity between theatre and theory

A critical discourse analysis of The Philosophical Discourse of Modernity demonstrates that Habermas's discourse on modernity is theoretische Fiktion (a term Freud used to describe a given theory for which no evidence can be found and no arguments validated). Theatrical narrative strategies from drama are identified that not only organise the logic of the text, but also position readers. The choice of mise en scene—the Oedipal cross‐roads where older and younger protagonists meet in conflict—is seen to position readers as mere spectators. The choice of the narrative trope of the romance of lost opportunity (the road open but not taken) is not merely illustrative, but necessary for the claim that Habermas has redeemed the enlightenment project.

The paper critiques Habermas's theorising on discourse ethics because it distinguishes categories of discourse into scientific/analytical, moral/interpretive and aesthetic/expressive, which operate in three different spheres of value. In particular, it challenges the notion of an “inner logics” for what, in Habermas's stable of discourses, he labels the scientific/analytical. Readers of The Philosophical Discourse of Modernity, the paper demonstrates, are not so much pulled along by the force of the better argument, but seduced by that unbridled beast: the aesthetic/expressive.     

保险诈骗罪共犯法条性质分析——以注意规定和法律拟制为视角

保险诈骗罪属于身份犯,刑法分则第198条第4款关于保险诈骗犯罪共犯的规定属于注意规定而非法律拟制,旨在提醒司法人员对诸如保险事故的鉴定人、证明人、财产评估人等非身份主体为骗保人提供虚假证明文件等帮助行为的人与保险诈骗犯罪主体成立该罪的共犯。本款不是关于片面共犯的特别规定,保险诈骗罪共犯的成立需要满足刑法总则关于共犯成立的条件,保险事故的鉴定人、证明人、财产评估人单方故意提供虚假证明文件为他人骗保提供条件的,构成犯罪的应以提供虚假证明文件罪论。     

The Entropy of Built Things: Postapartheid Anxiety and the Production of Space in Henrietta Rose-Innes’ Nineveh and Lauren Beukes’ Zoo City

Two recent novels reveal two interrelated clusters of postapartheid anxiety in twenty-first-century South Africa: one type is a dread of invasion, contamination, infestation, and other encroachments of the new, alien, and other. A second set of preoccupations involves subterranean spaces—basements, mines, tunnels—and a distrust of the solidity of built environments. Both Nineveh and Zoo City strip away the surface layers of Cape Town and Johannesburg and show us the layers of infrastructure, mechanization, and human labor that constitute or produce the city itself. But the two novels show us different understandings of the urban “underneath”: Beukes’ imagined Johannesburg is one in which spatial inequalities that seem chaotic, in fact structure the city and allow for social regimentation, while Rose-Innes shows us a Cape Town where spatial structures and entrenched inequality appear to be designed to ward off the intrinsic “entropy of built things.”