《水浒传》与百年"好汉山东"叙事

就山东的地域文化来说,占主流地位的是以孔孟为代表的儒家思想。但是,作为一种文化形象,体现着民间色彩的"好汉山东"形象却更为人们所认同、流传更广泛。这一现象的出现,与《水浒传》的传播有着极大关系。《水浒传》不仅在"好汉山东"这一地域文化形象的建构过程中起了重要作用,也以其特色鲜明的英雄叙事传统,深深地影响了百年"好汉山东"的文学想象与书写方式。     

论后现代小说的叙事特征

在后现代主义与现代主义之间,尽管并不存在像现代主义跟现实主义之间那样的明显"断裂",但其间依然显示了独特性。后现代小说在叙事方面显示出如下特征:对作品的复制与多重复制,融合事实与虚构、现实与神话、原创与模仿,消解文学不同类别和体裁的界限,叙述主体的"本体论"运用与戏拟式变换,不可靠叙述者大量出现。     

A Pacific Sojourn: Anna Kavan and the New Zealand Connection, 1941–2

Abstract

This article examines Anna Kavan’s sojourn in New Zealand from February 1941 to November 1942 in the company of the pacifist playwright Ian Hamilton. Living in the most remote of the ex-British colonies reinforced Kavan’s ontological sense of homelessness and wish to disidentify from British society, yet the colony’s anglophone orientation offered familiarity within the strange and alien. The geography, landscapes and communities of its Pacific islands encouraged a reshaping of her imaginative engagement with otherness. Referring to Kavan’s recently published diary, ‘Five Months Further or What I Remember ab[ou]t New Zealand’, the essay argues that the New Zealand ‘experience’ encouraged her use of tropes of the Gothic and uncanny as she grappled with issues of distance, homelessness and disjunctive reality. The discussion focuses on the alternative/parallel world that New Zealand represents in stories published in I Am Lazarus (1945). It identifies experimental techniques associated with Gothic fiction by which Kavan registers the overlapping dualisms of war-torn London and idyllic rural New Zealand, and represents memory through framing devices and defamiliarizing rhetorical tropes as a distancing activity interrupting the present moment: dream sequences, irruptions into and splittings of reality, space and time reversals, doublings of self/other, disjunctive non sequiturs and ghostly mirror imaging.     

Our wildest imagination: violence,narrative, and sympathetic identification

ABSTRACT

At this polarizing moment in American politics identifying with the experiences of others feels especially difficult, but it is vital for sharing a world in common. Scholars in a variety of disciplines have argued that narratives, and especially literary ones, can help us cultivate this capacity by soliciting sympathetic identification with particular characters. In doing so, narratives can help us to be more ethically and political responsive to other human beings. This is a limited view of the potential for narratives to solicit sympathetic identification, and it prevents us from identifying and grappling with our resistances to identifying with others. In this article I propose a more expansive view – inspired by Elizabeth Costello, a character in JM Coetzee’s novel of the same name – that there are no bounds to our capacities for sympathetic identification. Through critical readings of Waiting for the Barbarians and Animal Farm I explore the possibility that we might identify with people who cause others to suffer, and perhaps even with animals too. Both sorts of identification engender fierce resistance. Identifying with those who cause suffering demands that we grapple with our own capacities for cruelty and violence. Identifying with animals demands that we confront what is animal in ourselves – the perilous instincts that, unmoderated, incline us to aggression. Acknowledging and working through – without rejecting or disavowing – our capacities for cruelty and our animal instincts is necessary for the practices of sympathetic identification upon which sharing a world depends.     

Unexpected Persistence Amidst Enlargement Stasis: Usages of Europe in Turkey’s Nuclear Energy Debate

Recent studies on European Union (EU) Enlargement have emphasised the importance of usages of ‘Europe’ by domestic actors as a necessary condition for the EU to have an impact on domestic politics. We study the usages of Europe in the critical case of Turkey’s nuclear energy policy. We analyse the narratives and actions of domestic actors in Turkey to identify if they use ‘Europe’ (the EU and the idea of Europe). We reach the counter-intuitive finding of usages by both state and non-state actors, which illustrates that usages of Europe can persist despite enlargement stasis in candidate states.     

The artist as a medium and the artwork as metaphor in Murakami Haruki’s fiction

Abstract

In many of Murakami Haruki’s works, the protagonist is in a profession close to the world of literature, although usually not exactly a writer. In their role as translators, advertising copywriters, journalists, or editors, Murakami’s protagonists are invested with the task of rearranging fragments of reality into narrative or artistic form, and/or of transmitting a message. This process is emotionally charged, often involving a supernatural dimension. While the process of reconstructing a narrative is largely unconscious, the narrator’s choice to act in this capacity is deliberate, and is presented as a way of fulfilling his responsibility towards others. I read this element as an expression of Murakami’s vision of the role of a writer in society. The figure of the artist-narrator takes an interesting form in Kishidanchō-Goroshi (Killing Commendatore, 2017), where the protagonist, a visual artist specialising in realistic portraits, decides to pursue a more creative approach to painting that leads him to a series of supernatural adventures. Through a close reading of the novel, this article investigates how Murakami’s portrayal of the artist as a shaman-like figure functions like a metaphor for the role of the literary author as a catalyst that enables people to connect with their inner self and with each other.     

快感的考古消费:文博类文创产业的产品特性研究

中国文创产业发展到今天的水平,应当重视产业细分与产业细分条件下产品特色的开发问题。对故宫文创业的个案进行“知识考古学”研究和考察的结果表明,文博类文创产品的基本特性为快感的考古消费,快感消费为产品经济面向的一端,考古则显示了该类产品的文化内涵。它通常包含了知识性、叙事性、场景性的精神内容。所谓知识性将涉及教育、权威、权力批判等几个方面的内涵;叙事性包含文本性、历史秩序性和可阐释性等内容;场景性则通过展演、姿态的造型等凸显。     

Contested narratives of encounter from a bridge-building project in northern England

ABSTRACT

Recent years of community engagement under the war on terror in the UK have seen the co-option of bridge-building initiatives into wider narratives of securing communities. Through ethnographic insights into a peace building inter-faith initiative that made it onto the news as a ‘deradicalization’ workshop, I show how encounters in such projects are susceptible to being reframed into the very narrative in which encounters are sought after in the first place as a political settlement to growing inter-ethnic tension and conflict. This paper contributes to the growing geographies of encounter literature by making more explicit the narratives that shape how encounters function.     

How Does Violence Threaten the State? Four Narratives on Piracy

Violence characterized by similar actions, actor motivations, group structures, or level of damage still poses qualitatively distinct genera of threats to states. For instance, “terrorism” can threaten a particular state, be used by a state, or threaten the entire state system. Building on the threat construction literature, this study argues that threat is best understood through narratives on the relationship between violence and the boundary-producing practices that construct the state. Four ideal-typical basic narratives on this relationship are produced—entrant, resource, revisionist, and criminal. Each narrative is then demonstrated by looking at how it was used in a historical case of piracy. The action (piracy as raiding at sea) is held constant while the threat in each varies with the narrative. Understanding how threat is narratively constructed can help us to understand particular historical episodes of violence and state responses to them.