Robert Coover

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哈佛商业评论最有影响力的30篇

哈佛商业评论最有影响力的30篇1. "The Competitive Advantage of Nations" by Michael E. Porter2. "Disruptive Technologies: Catching the Wave" by Joseph L. Bower and Clayton M. Christensen3. "Blue Ocean Strategy" by W. Chan Kim and Renée Mauborgne4. "The Innovator's Dilemma" by Clayton M. Christensen5. "Leading Change: Why Transformation Efforts Fail" by John P. Kotter6. "The Balanced Scorecard: Measures That Drive Performance" by Robert S. Kaplan and David P. Norton7. "Collaboration Overload" by Rob Cross, Reb Rebele, and Adam Grant8. "Innovation: The Classic Traps" by Rosabeth Moss Kanter9. "The Core Competence of the Corporation" by C.K. Prahalad and Gary Hamel10. "How Resilience Works" by Diane L. Coutu11. "The Five Competitive Forces That Shape Strategy" by Michael E. Porter12. "Radical Innovation Across the Corporate Value Chain" by Vijay Govindarajan and Chris Trimble13. "Competing on Analytics" by Thomas H. Davenport14. "Reinventing Your Business Model" by Mark W. Johnson, Clayton M. Christensen, and Henning Kagermann15. "Building Your Company's Vision" by James C. Collins and Jerry I. Porras16. "The Discipline of Innovation" by Peter F. Drucker17. "What Great Managers Do" by Marcus Buckingham18. "The Power of Virtual Integration: An Interview with Dell Computer's Michael Dell" by MichaelE. Dell and Joan Magretta19. "Leading the Team You Inherit" by Michael D. Watkins20. "The Breakthrough Imperative: How the Best Managers Get Outstanding Results" by Mark Gottfredson, Steve Schaubert, and Elizabeth Watson21. "Creating Shared Value" by Michael E. Porter and Mark R. Kramer22. "Competitive Strategy: Techniques for Analyzing Industries and Competitors" by Michael E. Porter23. "Why Should Anyone Be Led by You?" by Robert Goffee and Gareth Jones24. "How to Kill Creativity" by Teresa M. Amabile25. "Creating Business Value with Analytics" by Thomas H. Davenport26. "The Hard Truth About Business Model Innovation" by Clayton M. Christensen27. "Leading Change When Business Is Good: An Interview with The Home Depot's Robert L. Nardelli" by Robert L. Nardelli and Noel M. Tichy28. "Harvesting Intangible Assets" by Jeffrey H. Dyer, Paul H. Schindler, and Arch G. Woodside29. "Breaking Down the Wall of Silence" by Jeffrey D. Ford and Laurie W. Ford30. "What Is Strategy?" by Michael E. Porter。

Robert Clergerie平权以反叛解构出性感

Robert Clergerie平权以反叛解构出性感初识Robert Clergerie，这一源自法国巴黎主攻女士鞋履的品牌，很多人会惊讶于它所呼之欲出的“Boylook”。

从纯粹的男性视角感性而言，提及女鞋则必然关乎性感：要么是Ballet Flat（芭蕾平底鞋）搭配窄腿牛仔裤以显示女性细瘦的玉足与玲珑的脚踝，要么是stilettos（细高跟鞋）配合套装或晚礼以展示她们欣长的美腿与挺拔的身姿。

二者之外，性感何来？但很显然，Robert Clergerie2015秋冬系列给出了别样的答案：重温70年代经典，新型的坚固鞋跟和水台鞋底为一贯的中性风增加了诙谐幽默的细节。

具体到女士鞋履的样貌，德比鞋、传统的便鞋和“学院风”的流苏鞋显然也源自经典的男鞋款式，同时在选材上人造钻石装饰、闪光面料、马毛质地皮革以及如千鸟格、威尔士亲王格纹、罗登呢等具有男性特征面料的介入，则更呼应了本文开篇“Boylook”的感官体验。

不唯“面子”，细究“里子”，本季Roland Mouret更重温了传统经典的Goodyear缝制技术――John lobb的阁楼鞋匠曾告诉我，大不列颠潮湿阴冷的天气迫使他的前辈们在百多年前使用了一种更为费时的制作方法，便是所谓的“Goodyear Welted”：双重的车缝将鞋面与鞋底牢固地夹结成一体，使鞋体能承受最大程度的挤压；而鞋中底和大底间形成的空腔，可以隔绝潮气；软木层的铺设，保证了皮鞋的最大透气性……这一工艺文如其名，首要一点便是确保鞋履耐久的穿着质量。

在法式意式的男鞋中却并不常见。

但Robert Clergerie在女鞋中采用了“Goodyear Welted”，则不能不更让人啧啧称奇了。

实际上，这个可以上溯至1895年工坊时代的品牌，早在1905年就将这一工艺首度引进法国的高端制鞋业界。

出生于1934年的Clergerie，一生都在致力于创造鞋履的设计艺术，并于1981年完成了品牌的当代复兴，现如今从东京到马德里，从伦敦到纽约，几乎在世界上每个时尚都市中都有他的一席之地。

喧哗与骚动：《保姆》的碎片化和不确定性

喧哗与骚动：《保姆》的碎片化和不确定性郭文正【摘要】Fragmentation ,a writing tactic usually used by the postmodernist writers , can give birth to the uncertainty of literary texts ,a basic characteristics of postmodernism .The Babysitter ,a short postmodernist fiction ,is multi-segmented ,which realizes the free shift of scenes and achieved the alienation effect of framentation .Meanwhile ,the writing technigue of fragmeted collaging and blending highlighted postmodernism ’s characteristic-uncertainty .%碎片化是后现代主义作家常用的写作手法，由碎片化导致的文本不确定性是后现代主义的一个本质特征。

作为典型的后现代主义小说，《保姆》不长的篇幅却被多重切分，从而实现了场景的随意转换，达到了碎片化的间离效果，碎片化拼贴杂糅的创作方法又彰显了不确定性这一后现代主义特征。

【期刊名称】《上饶师范学院学报》【年(卷),期】2015(000)002【总页数】3页(P55-57)【关键词】《保姆》;碎片化;不确定性;后现代【作者】郭文正【作者单位】平顶山学院外国语学院，河南平顶山 467000【正文语种】中文【中图分类】I712罗伯特·洛厄尔·库弗（Robert Lowell Coover），美国先锋派作家，其作品往往采用开放的结构，在变形的故事叙述中运用非写实的手法，虚实交融，突出现代生活的困境，以及人们试图解脱的困难。

RICE_TO_RICHES

64OPINIONRobert WalkerRICE TO RICHES: BUILDING A GLOBAL COMMUNITY THE CHINESE WAYhina feeds a fifth of the world’s population from only one tenth of the world’s arable land. The need to feed its population has always been a concern of China’s rulers. As early as the Tang (618-907) andSong (960-1279) dynasties, the imperial government was encouraging people to expand food production beyond the fertile lowlands into the mountains.For areas growing rice, a semi aquatic plant needing rooting in clear water, the technical challenges were formidable. Yet, by the time of the Northern Song Dynasty (960-1127), there is documentary evidence of well-watered paddy fields carved step-like into mountain slopes as steep as 40 degrees. The spectacular rice terraces of Ziquejie (Hunan Province) are known to date from this era. However, it is a reasonable supposition that the techniques of rice growing developed centuries earlier.Even more remarkable than the early date at which forest covered hillsides were terraformed into productive paddy is the fact that the terraces remain productive today . They represent a unique example of sustainable development with the same soilsnourishing crops continuously for over a millennium. Moreover, there is nothing inevitable or accidental about theterraces. They are a marriage of farming expertise and hydrological engineering that is surprisingly sophisticated even by today’s standards. Equally, they serve as a “perfect example of the harmonious coexistence between man and nature, promoted by traditional Chinese philosophy”, a reasoned assessment offered by Professor Li Yunpeng and his team at China’s Institute of Water Resources and Hydropower Research.While the Ziquejie Terraces still yield high quality rice and are recognized as a World Heritage Irrigation Structure, they are under serious threat.The success of China’s economic development has lifted minimum living standards to a point where they exceed the incomes that can be generated by growing rice in traditional ways, even allowing for the customary mixing of riceCwith fish and duck farming on the same paddy . With the mean width of the rice terraces being only 1.75 meters – and just a fifth of a meter wide at their narrowest – the scope for increased mechanization is limited. Currently, rice-growing on the Ziquejie Terraces is subsidized and there is hope that their spectacular beauty will attract tourism.Rice still provides the staple diet for 65 percent of China’s population. Moreover, strong evidence is emerging that ricecultivation has not only fed the population but has also forged Chinese philosophy and culture, shaped the national character, and even facilitated the development of China’s unique form of democracy . Indirectly , rice may , in time, also foster international peace and global accord.In 2014, the Scientific Americanmagazine posed the question “Does rice farming lead to collectivist thinking?” The answer, based on pioneering work by Chinese and American researchers, suggested that it did. Led by Thomas Talhelm, the team interviewed andtested over a thousand individuals living in diverse locations in China. Those living in rice growing areas in southern China were more interdependent and holistic in their thinking thanrespondents in the wheat-growing north. The latter expressed attitudes that were individualistic and pursued thought processes that were analytic, focused rather than embracing.While there is some suggestion that people in rice growing regions may be individually less innovative and even, due to constant self-evaluation within a tightly bonded group, less happy, rice-based norms point to a positive response to global challenges. Sharing a planet, the world’s people must work consistently together to counter the systemic threats posed by climate change, depletedresources, and global inequality .Rice farmers, such as those tending the Ziquejie Terraces, have demonstrated the possibility of maintaining a delicate balance between the needs of the people and the environment over successive centuries. It is no surprise, therefore, to learn that rice growing provinces in China are currently leading the transition to green investment addressing pollution and other environmental challenges.Likewise, the evidence points to persons in rice-growing areas excelling in adaptive creativity, responding to change but also persisting withincremental innovation. In this regard, China’s unwavering support for the UN’s Sustainable Development Goals and the COP Climate Change Conferences can be recognized as grounded in Chinese rice-based culture.China’s goal of achieving common prosperity by 2050 may be similarly understood. Successful rice cultivation is a collective enterprise rewarding the entire community, not just those coming first in market competition. Hence, rice farmers on the Ziquejie Terraces aresupported financially while a communal response is found to the challenge of rural revitalization.Likewise, China’s call for building a community with a shared future for all mankind is not a cynical slogan to expose the self-seeking nature of Western hegemony . Rather it reflects a generosity of spirit born out of the collectiveexperience of turning hostile mountains into paddy fields. All can prosper but only by working together to ensure that nature’s riches benefit everyone.By Robert WalkerAbout the author Robert W alker is Emeritus Fellow of Green Templeton College, Oxford University, professor at Beijing Normal University, and 2021 Fellow at the Shorenstein Center on Media, Politics and Public Policy, Harvard Kennedy School.。

美国20世纪小说简介

也许我们的视野依然还停留在19世纪或20世纪之初的文学，但不知不觉间，整个20世纪也已划上句号。

20世纪的后50年，美国国力如日中天，颇似我国盛唐之时，成为文化艺术繁荣的社会基础。

最值得称道的是后现代主义作品、实验作品的诞生，巴思、巴塞尔姆、纳博科夫等后现代和实验小说家，自白派、后自白派、纽约派、黑山派诗歌方面形式和理论方面的探索，这都是美国现当代文学带给我们最大的宝藏。

以下内容是我当年考研时做的美国当代文学笔记（1945-2000），整理出来给大家分享。

大致分为小说、诗歌、戏剧三个部分。

第一部分为小说。

为节省篇幅，其中非常有名的大作家仅为简单带过,主要介绍不太出名的作家。

50年代【战争小说】：由于二战刚刚结束，这一时期的文学主要集中在对战争的记录和反思。

Irwin Shaw 《幼狮》诺曼•梅勒《裸者与死者》James Jones “From Here to Eternity”Herman Wouk 著有著名的《战争与回忆》（这部小说以及据此改编的电影都是上乘佳作），另两部作品为“winds of war”和“The caine mutiny (兵变)”【犹太小说】索尔•贝娄著名大作家，最佳作品普遍认为是《赫佐格》和《更多人死于心碎》马拉穆德(Bernard Malamud) 以短篇小说著称的犹太作家,短篇小说集包括“ The magic barrel”（1959年国家图书奖）, “Idiots First”, ”Rembrandt’s hat（伦勃朗的帽子）” ,长篇小说有：”The natural”, ”The assistant”I•B•辛格他的《傻瓜吉姆佩尔》在中国读者中广受好评。

另一些重要作品包括: ,”Satan in G oray”, “The family moskat”, “The Magician of Lublin(卢布林的魔术师)”, “The Spinnoza of Market Street(市场街的斯宾诺莎)”,【南方小说】罗伯特•潘•沃伦重要的南方小说家。

莫博士-我所认识的乔布斯

莫博士:我所认识的乔布斯美国媒体10月5日报道说，苹果公司前首席执行官乔布斯已经去世。

苹果公司网站发布的消息说：“苹果失去了一位富有远见和创造力的天才，世界失去了一个不可思议之人。

”苹果公司网站首页目前已换成乔布斯大幅照片，以及“1955—2011”字样。

美国科技博客allthingsd专栏撰稿人沃尔特·莫斯伯格(walt mossberg)今天撰文，通过6件他亲身经历的事情，阐述了生活中的乔布斯更为真实的一面。

史蒂夫·乔布斯（steve jobs）是一个天才，一个巨人，他影响了多个行业和数十亿人的生活。

自从他今年8月卸任苹果ceo以来，这些话已经被重复过多次。

他是一个足以比肩托马斯·爱迪生（thomas edison）和亨利·福特（henry ford）的历史性的人物，并为多个行业的许多企业领导人树立了榜样。

他做了一个ceo应做的事情：招聘并鼓舞了优秀的人才；着眼于长期发展，而非短期股价；大胆下注，勇于承担巨大的风险。

他坚持最高的产品质量，并开发了真正能够取悦用户的产品，而不是像企业it主管和移动运营商那样充当中介。

而且，他很擅长推销。

正如他本人所言，他活在一个科技与人文科学的交汇处。

但乔布斯显然也有很个人化的一面，而由于在他运营苹果的14年间，我曾经与他进行过数小时的对话，因此有幸了解其中的一些方面。

由于我是一个产品测评人员，并非负责报道该公司业务的新闻记者，所以让他感觉更加自在，并与我谈了一些或许不会跟其他记者谈的内容。

即使他已离世，我也不会侵犯与他对话过程中涉及的隐私。

但以下几件事情却可以勾勒出一个我所认识地乔布斯。

电话沟通在乔布斯领导苹果的第一个阶段，我并不认识他，我当时不负责科技新闻。

而在他离开苹果的那段时间，我也只是与他有过一面之缘。

但就在他1997年重返苹果之初，他却连续四五个周末往我家里打电话，而且都是在周日晚上。

作为一名老记者，我明白他是为了奉迎我，让我支持这家风雨飘摇的公司。

国内罗伯特·库弗研究述评

第３８卷㊀第１期河南教育学院学报(哲学社会科学版)Ｖｏｌ.３８㊀Ｎｏ.１２０１９年１月ＪｏｕｒｎａｌｏｆＨｅｎａｎＩｎｓｔｉｔｕｔｅｏｆＥｄｕｃａｔｉｏｎ(ＰｈｉｌｏｓｏｐｈｙａｎｄＳｏｃｉａｌＳｃｉｅｎｃｅｓＥｄｉｔｉｏｎ)Ｊａｎ.２０１９文章编号:１００６－２９２０(２０１９)０１－００９６－０６ｄｏｉ:１０.１３８９２/ｊ.ｃｎｋｉ.ｃｎ４１－１０９３/ｉ.２０１９.０１.０１８国内罗伯特库弗研究述评叶柳影㊀㊀摘要:罗伯特库弗是美国当代著名作家ꎬ其写作手法新奇多变ꎬ受到中外学者的广泛关注ꎮ中国学界对库弗的研究始于１９９３年ꎬ近年来呈现出越来越热的态势ꎮ国内库弗研究可划分为方兴未艾欣欣向荣和百家争鸣三个阶段ꎮ国内库弗研究经历了从介绍性到学术化再到文外解读的发展过程ꎬ在译介和研究方面取得了很大成就ꎬ但也存在很多问题ꎮ关键词:罗伯特库弗ꎻ翻译ꎻ研究㊀㊀作者简介:叶柳影ꎬ上海外国语大学英语学院硕士研究生ꎮ㊀㊀基金项目:上海外国语大学第二届导师学术引领计划项目美国越南战争小说的抗议性研究 (２０１７０１５)ꎻ上海外国语大学校级一般科研项目罗伯特库弗小说«公众的怒火»的历史再现与文学叙事 (２０１７１１４００２６)ꎮ㊀㊀一㊁引言罗伯特洛厄尔库弗(ＲｏｂｅｒｔＬｏｗｅｌｌＣｏｏｖｅｒꎬ１９３２~)ꎬ美国当代著名的后现代小说家和剧作家ꎬ被誉为最富有创造力的作家之一 [１]ꎮ他出生于艾奥瓦州查尔斯市ꎬ曾就读于南伊利诺伊大学㊁印第安纳大学和芝加哥大学ꎬ从海军退役后转向文学创作ꎮ意识到传统叙事的局限性ꎬ库弗积极投身于文本形式的变革和写作技巧的实验ꎮ奥维德的作品和«一千零一夜»为库弗小说的文本形式提供了依据ꎮ[２]２０世纪９０年代初ꎬ我国学术界开始了对库弗的研究ꎬ他的作品陆续得到翻译并出版ꎮ在研究起步阶段ꎬ国内只发表了寥寥数篇译介与评论的文章ꎮ这些文章并未拘泥于对生平㊁作品和写作风格的介绍ꎬ准确地把握库弗创作理念与艺术手法的核心特征ꎮ２００４年之后ꎬ中国的库弗研究表现出针对性㊁学术化和专业化的特点ꎮ到了２０１０年ꎬ从文内研究逐渐过渡到文外解读ꎬ我国学界开始从新的角度对库弗作品进行更为深入的探讨ꎮ本文旨在总结２５年来(１９９３年至今)国内库弗研究的概况ꎬ并在此基础上展望未来的发展趋势ꎮ二㊁方兴未艾:早期译介和创作手法研究(１９９３~２００３)从现有研究资料来看ꎬ虽然库弗本人曾于１９８５年访华ꎬ但他的作品直到８年后才与中国读者正式见面ꎮ«外国文学»杂志１９９３年第３期刊登了由张震久翻译的«后现代反小说二篇»ꎬ其中之一正是库弗的短篇小说«临时保姆»(后多译为«保姆»)ꎮ该文译者在译文前的评析中总结了库弗独特的写作手法ꎬ即真实与虚构的交织㊁对讽刺的运用㊁对寓言和民间故事的改写和碎片化艺术ꎮ«外国文学»杂志为库弗作品进入中国提供了极为重要的平台ꎮ１９９６年ꎬ库弗的短篇小说代表作«电梯»«大礼帽»和«瘦男人与胖女人的浪漫史»相继被翻译成中文并刊登在当年第２期«外国文学»上ꎮ这一系列译作的发表极大地推动了库弗研究在中国的兴起ꎮ同年发表的«罗伯特库弗:一种文学的声音»是国内最早详细介绍库弗及其作品的文章ꎬ展现了库弗创作风格从写实主义到引导作者远离神秘化ꎬ再到富有实验性和自我意识的转变ꎮ国内对库弗长篇小说的翻译随之踏上征程ꎮ１９９７年ꎬ潘小松翻译的«公众的怒火»由译文出版社㊀第１期叶柳影:国内罗伯特库弗研究述评９７出版ꎮ次年ꎬ作家出版社和湖南美术出版社分别出版了由李自修㊁钱青翻译的«魔杖»和由谭加东翻译的«打女佣的屁股»ꎮ随着这三部长篇小说译作的问世ꎬ相关评论文章陆续发表ꎮ中国的库弗研究起步时ꎬ国内外学界间的巨大断层已不复存在ꎮ因此ꎬ研究初期的评论文章并非是浅显的介绍ꎮ学者们敏锐地捕捉到库弗创作的核心ꎬ即作为虚构制造者的人这一概念ꎬ并基于此围绕库弗对虚构的关注以及他所运用的非现实主义手法展开论述ꎮ«罗伯特库弗和他的小说»一文借«布鲁诺分子的由来»和«环宇棒球协会»两部作品探讨虚构制造的概念ꎬ又借«公众的怒火»和«杰拉尔德的聚会»来点明库弗的创作风格ꎮ此文章虽清楚地认识到虚构存在和本体性之间的张力ꎬ但其论述较为笼统ꎬ未触及库弗作品中的社会及政治内涵ꎮ[２]库弗在创作实践中有意识地暴露操作痕迹ꎬ突出技巧㊁游戏和其他非现实主义手法ꎬ并探讨小说创作理论ꎬ库弗的作品也可被视为元小说ꎮ[３]因而ꎬ在分析后现代主义艺术技巧的同时ꎬ研究者也从元小说角度出发围绕库弗极具代表性的两篇短篇小说«电影院的幽灵»和«淡出淡入»展开论述ꎮ«库弗的元小说创作 ‹电影院的幽灵›和‹淡出淡入›评析»从人物的虚构经历㊁故事时间的交错㊁视角的灵活转换和文学符号的持续跳跃四个方面剖析了库弗对多种技巧的戏仿ꎮ该文认为库弗在小说中既揭示了文学创作自身的虚构性ꎬ也揭示了现实世界的虚构性 [３]ꎬ强调库弗对现实虚构性的批判和对存在主义哲学观的嘲弄ꎬ突破了文本研究的束缚ꎬ研究重点从作品层面上升到现实社会ꎮ当国内学界将研究重心落在整体把握库弗后现代主义小说的叙事特点时ꎬ部分学者则注意到了库弗作品的碎片化 ꎬ并集中关注碎片化艺术的特征及效果ꎮ«碎片艺术的内涵与效果读库弗的‹保姆›»一文一方面以库弗的«保姆»为例ꎬ分析后现代主义碎片艺术的内涵与效果ꎬ一方面也比较了现代主义作品和后现代主义作品对碎片艺术的不同运用 [４]ꎮ文章指出碎片艺术打破了一次只能描绘单一场景的限制ꎬ给作家带来无限想象的空间ꎮ虚㊁实场景的交替又否定了现实的确定性ꎬ使作品得以实现自省ꎮ此外ꎬ该文章还提到碎片化艺术颠覆了线性叙事结构ꎬ更有利于推动读者积极参与ꎮ上述探索为后续研究者从小说艺术角度对库弗作品展开系统研究奠定了坚实的基础ꎮ除创作手法之外ꎬ文学代码的独特性和对历史事件的特殊处理同样也进入了库弗研究者的视野ꎮ例如ꎬ«从‹公众的怒火›看后现代主义文学代码»一文从语义学和句法学出发对小说进行文本分析ꎬ提出库弗在小说中频繁使用大量特殊词汇和暗示感官功能词汇ꎬ对语义场进行过度渲染㊁同化ꎬ更抛弃约束的解构㊁等级和规则ꎮ[５]«‹公众的怒火›:后现代神话与元小说»则将历史神话化与后现代元小说结合ꎬ探讨库弗如何在构筑小说幻象的同时又揭露这种幻象 [６]ꎮ虽然研究初期对文学代码和历史改写的探究只停留在文本层面的梳理ꎬ未能深入挖掘隐藏在表面特征背后的政治内涵ꎬ但具有跨学科特色和理论意识的开拓性成果依旧为后续研究奠定了基础ꎮ三㊁欣欣向荣:针对性㊁学术化与专业化的研究(２００４~２００９)从２００４年到２００９年ꎬ国内评论界涌现了数十篇库弗评论文章ꎮ起步时期颇具深度的解析不仅激励中国学者继续深入开展专业化研究ꎬ更拓宽了研究的视野ꎮ该时期的研究重点和初期相比并没有很大的差别ꎬ仍集中于从人物㊁情节和时空观这三个角度探讨库弗作品展现的不确定性㊁真实与虚构的并置和元小说特征ꎬ体会库弗对僵化的文学传统形式的挑战ꎮ例如ꎬ«库弗小说中现实与虚幻的并列»一文立足于库弗的多篇代表作ꎬ从内容㊁形式和艺术效果三个层面出发探讨库弗对现实和虚幻的理解和诠释 [７]ꎮ该文作者表示库弗小说的现实与虚幻的并列引导人们清醒地看到:人类历经多年建立起来的社会远非他们自以为那样的真实㊁可靠 [７]ꎮ随着现代叙事学的兴起ꎬ研究者开始借助叙事学理论对库弗作品的文本形式进行探索ꎮ硕士论文«历史作为一种话语:小说‹公众的怒火›中历史的重建»借用叙事学概念ꎬ深入挖掘小说中别具一格的叙事视角与时态ꎬ例如第三人称全知视角与第一人称视角的交替使用ꎬ过去时态与现在时态的并置ꎬ以此探讨库弗对传统叙事片面性的批判ꎮ[８]９８㊀河南教育学院学报(哲学社会科学版)２０１９年坚持传统文学已经用尽了它的叙事可能性 [３]ꎬ库弗除了对文学形式进行革新ꎬ还致力于从童话㊁神话和«圣经»等文学经典里寻找被读者定式化的因素来进行再创造ꎬ让读者在体验新鲜和惊喜的同时ꎬ认识神话规则对他们的掌控ꎮ[９]意识到改写传统文学经典是库弗作品中极为关键的组成部分ꎬ在这一时期ꎬ国内学界开始将研究重心从文本形式转移到库弗后现代改写的思想与实践ꎮ«当代美国小说改写文学经典略论»详细分析了«弟弟»«Ｊ的婚姻»«威尼斯的皮诺乔»和«布莱厄罗兹»(多被译为«刺玫瑰»)四部作品对«圣经»和童话的改写ꎮ该文提出ꎬ通过赋予原本被忽视的角色话语权ꎬ将故事放置在当下环境中并对经典情节做改动ꎬ库弗解放被经典叙述长期压抑的其他叙述可能 [９]ꎮ«公主ꎬ浪漫文学传统的囚徒论睡美人童话的两则后现代重写»一文则聚焦于库弗在改写经典过程中对过去被美化因素的现实化和丑陋化ꎮ[１０]认为一切事物均为虚构ꎬ库弗提出历史叙述同文学创作一样具有虚构性ꎮ因此ꎬ其作品改写对象并不局限于经典文学作品ꎬ更囊括历史事件ꎮ国内研究起步阶段ꎬ已有评论者注意到库弗对历史事件的特殊处理并做相关论述ꎬ探讨库弗对罗森堡事件的神话化ꎮ２００４年之后ꎬ在前人研究的基础上ꎬ学界继续深入探索库弗的历史观ꎮ«历史的建构:解读卢森堡事件的后现代改写»不仅将库弗对卢森堡事件细节的改写与多克托罗的«但以理书»做比较ꎬ还引入尼克松的跳棋演说和水门事件进行互文性解读ꎮ[１１]此时文本分析在国内库弗研究中依旧占据主导地位ꎬ但已有部分学者主动向理论应用和文外解读靠拢ꎮ评论文章«重释历史的一场狂欢节解读罗伯特库弗‹公众的怒火›»借用巴赫金的狂欢化诗学理论ꎬ从情节和文本两方面入手探讨小说的狂欢化ꎬ提出该小说的情节充斥着狂欢场面和拥有撕下任何权威面具特权的小丑和傻瓜ꎮ[１２]随着学科界限被打破ꎬ各学科的关系日益密切ꎬ文化研究逐渐进入外国文学评论界的视野ꎮ«从‹保姆›看美国电视文化的特点»是国内库弗研究中里程碑式的文章ꎮ该文从电视出现的频率㊁使用的类型和使用的方法考察小说所反映的电视文化的基本特征 ꎬ再从文化研究层面回归到文本中ꎬ借用电视文化频道转换这一特征对小说进行再观照ꎬ以此深化对小说艺术手法的认识ꎮ[１３]通过将文化研究的成果重新应用到文本研究当中ꎬ评论学者将作品的文化内涵与艺术内涵融合在一起ꎮ自２０００年«外国文学»刊登由陈世丹翻译的短篇小说«电影院的幽灵»以来ꎬ国内期刊几乎未曾再见到任何库弗译作的身影ꎮ时隔七年ꎬ２００７年第２期«南阳师范学院学报(社会科学版)»才再次刊登了由陈定家翻译的评论文章«书籍的终结»ꎮ在文章中ꎬ库弗简要介绍了超文本小说及其主要特点ꎬ列举了超文本小说发展的弊病并表达了对其未来发展前景的担忧ꎮ他指出超文本提供了一种具有发散性的多样化技术有利于读者对既定文本的多样回应ꎬ使读者得以走出作者中心论的陷阱 [１４]ꎮ该文章的发表对国内库弗研究的转向起着强有力的推动作用ꎮ尽管研究者都知道库弗当时正在布朗大学从事超文本小说创作的实验工作ꎬ直到２００８年ꎬ即«书籍的终结»译文刊登的第二年ꎬ国内才首次出现了围绕库弗的超文本小说展开论述的评论文章ꎮ明确区分纸质印刷的活页小说和电子超文本小说ꎬ«从活页小说到超文本小说罗伯特库弗的‹刺玫瑰›的案例分析»一文深入挖掘活页小说«刺玫瑰»和超文本小说«刺玫瑰»的文本特点与差异ꎬ探讨超文本小说的优势与不足ꎬ进而探究书籍终结之争 [１５]ꎮ此文表示 (书本形式的«刺玫瑰»)无论是形式和意义的生成都具备罗兰巴特提出的作者式文本的一些特征超文本形式的«刺玫瑰»主页则是名副其实的作者式文本 ꎬ符合罗兰巴特憧憬的理想文本 ꎬ实现了他所推崇的文学创作的目的 [１５]ꎮ四㊁百家争鸣:结合理论以及跨学科研究(２０１０~２０１７)２０１０年以来ꎬ国内对罗伯特库弗的研究进入了一个全新的时期ꎬ研究文章数量远超过去ꎬ几乎是前两个时期总和的两倍ꎮ评论界对库弗后现代主义小说的认识和研究也有了研究初期所无法比拟的㊀第１期叶柳影:国内罗伯特库弗研究述评９９高度和深度ꎮ２００９年３月ꎬ受«外国文学»编辑部委托ꎬ陈俊松就中外评论界共同感兴趣的问题亲自采访了库弗ꎮ库弗在该访谈中不仅对文学创作㊁传统经典文学叙事㊁文体界限和人文主义关怀做出独到的阐释ꎬ还从作者角度出发对«公众的怒火»这一备受关注的长篇小说进行解读ꎬ更就后现代主义小说的政治介入分享了自己的看法ꎮ[１６]纵观现有文献资料ꎬ该访谈在一定程度上对国内库弗研究的转向起到了指引作用ꎮ库弗文学创作的独特理念和人文主义关怀使得评论学者的研究思路不断拓宽ꎬ研究角度也更加全面ꎮ这一时期的研究集中在以下七个方面:(１)探索人物塑造㊁时空安排和情节设置之外的创作手法ꎻ(２)从身份认同角度看待库弗笔下个体生活和存在的实质ꎻ(３)对库弗小说的文化解读ꎻ(４)对库弗小说的政治解读ꎻ(５)对库弗超文本小说的分析ꎻ(６)应用文学理论对库弗的作品进行研究ꎻ(７)从语言学层面研究库弗的作品ꎮ第一ꎬ２０１０年之后ꎬ对不确定性和元小说特征的分析依旧是国内库弗研究的主流ꎬ但研究对象不再拘泥于人物塑造㊁时空观和情节ꎬ学者将注意力转移到戏仿㊁拼贴和蒙太奇等手法以及作品中的语言游戏ꎮ例如ꎬ«从‹公众的怒火›的元小说特点看其真实与虚构»从文本入手ꎬ详细分析了小说中对文学体裁和惯用手法的戏仿㊁不同文本的拼贴㊁蒙太奇和迷宫结构ꎬ然后在语言层面围绕语言的矛盾㊁排列和中断展开论述ꎮ该文章认为ꎬ库弗借上述手法对传统文学范式和现实进行否定ꎬ以此制造混乱感和混沌感ꎬ从而凸显现实的虚构性㊁任意性和不确定ꎮ[１７]«历史编纂元小说‹公众的怒火›中的戏仿和拼贴»一文则表示戏仿将原本严肃紧张的行刑变成一场狂欢派对ꎬ以此深刻地讽刺并颠覆了美国的宏大历史叙事 [１８]ꎮ该文还提出结构拼盘㊁句子并置和意象符号的使用赋予小说文本强烈的非连续性和不确定性 [１８]ꎬ从而瓦解了对意识的禁锢ꎮ第二ꎬ从身份认同角度推演出作品内部张力背后所蕴藏的个体生活和存在的实质ꎮ例如ꎬ«解读库弗短篇小说‹卡通›中的荒诞生活观»从荒诞个人存在㊁生活荒诞感和淡漠的人际关系三方面展现库弗对无意义㊁混乱的社会生活的深刻思考ꎮ[１９]第三ꎬ在这一时期ꎬ对库弗小说的文化解读已成为国内库弗研究的一大趋势ꎮ例如ꎬ«论库弗‹公众的怒火›中的拟像主题和电影技巧»借用鲍德里亚的仿真和拟像理论ꎬ探究«公众的怒火»中的拟像幻觉㊁空壳的人类化身和电影作品的互文文本ꎬ剖析库弗对电影技巧的运用ꎮ该文章强调ꎬ融合电影文化以消融高雅文化与大众文化间的界限ꎬ 库弗对冷战时期麦卡锡主义的极端狂热㊁大众媒介对百姓的愚弄欺骗㊁美国天真的优越感和民众的矛盾心态做出了客观的描述和犀利的嘲讽 [２０]ꎮ第四ꎬ在２０１１年«外国文学»刊登的访谈« 故事里面的嬉戏罗伯特库弗访谈录»中ꎬ库弗专门论述了其作品中的政治介入问题ꎮ他表示所谓的后现代主义ꎬ基本上是一场艺术运动ꎬ试图颠覆有关叙述的陈旧㊁武断的观念ꎮ它的政治性是从更宽泛的意义上说的ꎬ即抨击人们习以为常的某种形式㊁任何形式和人物ꎬ并使其感觉受到威胁 [１６]ꎮ针对这一点ꎬ评论界做了深入的研究ꎬ主要围绕库弗的短篇小说«卡通»和长篇小说«公众的怒火»展开ꎮ«罗伯特库弗‹卡通›中的政治影射»一文认为ꎬ库弗借卡通人物和真实人物的形象以及人物关系影射美国的政治现实 [２１]ꎮ考虑到«卡通»一文自身背景不明ꎬ文章作者借«公众的怒火»一书的社会历史背景对«卡通»进行互文性解读ꎬ以此剖析人物背后蕴藏的深刻政治寓意ꎮ«当代美国编史性元小说中的政治介入»则将«公众的怒火»重新放置在库弗写作时的政治氛围当中解读ꎬ从人物㊁情节和主题三个角度考察了作品从文本内和文本外揭露现实政治生活的方式 [２２]ꎮ第五ꎬ国内库弗研究的焦点逐渐从他的后现代主义小说向超文本小说转移ꎮ«由罗伯特库弗浅析超文本小说»对库弗的介绍在文中虽只起到引入作用ꎬ但简短的概述仍总结了库弗在超文本写作方面做出的贡献以及代表作«刺玫瑰»和«保姆»中蕴含的超文本特质ꎮ[２３]评论文章«数字媒介下的文学变１００㊀河南教育学院学报(哲学社会科学版)２０１９年革:英语超文本小说研究以‹保姆›文本存在的嬗变为例»详细介绍了超文本小说发展的起源㊁定义和发展历程ꎬ并借助文本分析充分展现超文本小说文本存在和动态发展的特点ꎬ即静态的时间状态中无限持续的情节发展ꎬ模糊不明确的逻辑关系ꎬ推动了故事不确定的㊁运动的进程 [２４]ꎮ第六ꎬ广泛应用文学理论对库弗的作品进行分析ꎮ在国内库弗研究的发展初期ꎬ已有部分学者运用解构主义和狂欢化诗学理论来解读库弗的作品ꎮ２０１０年起ꎬ国内评论界对文学批评理论的应用越来越多样化ꎮ而且«颠覆与重塑 ‹公众的怒火›的新历史主义解读»运用蒙特洛斯的新历史主义相关理论ꎬ从文本的历史性角度分析库弗在«公众的怒火»中所展现的冷战时期美国社会的种种现象ꎬ又从历史的文本性角度探讨库弗对历史真实性和政治严肃性的讽刺ꎮ[２５]«新一代的迷惘与迷失从空间批评视角解读罗伯特库弗的‹卡通›»首次从空间视域出发ꎬ运用列斐伏尔的三元空间理论ꎬ研究库弗的作品ꎬ认为库弗在«卡通»中放大了社会的丑态ꎬ披露了社会人际关系的冷漠ꎬ并展现了社会生活的混乱及弊病ꎮ[２６]相较之前仅立足于文本内容ꎬ该文章的分析思想以及挖掘出的作品内涵有了更大的突破ꎮ第七ꎬ从语言学层面研究库弗的作品ꎮ早在２００２年ꎬ评论学者就已尝试从语义学和句法学入手对库弗的«公众的怒火»进行跨学科解读ꎮ但在之后近十年的时间里ꎬ国内学术界未曾再开展过类似研究ꎬ直到２０１０年之后才有学者再次从语言学角度出发研究库弗的作品ꎮ结合认知语言学的概念整合理论 ꎬ«用概念整合理论解读小说‹卡通›»一文围绕小说中现实与虚构的交汇对人物㊁场景和情节分别进行整合ꎬ在已有认知的基础上获得对碎片化故事的全新解读ꎬ更强调了读者自身在作品解读过程中扮演的重要角色ꎮ[２７]«库弗‹保姆›的语言游戏解读»一文运用维特根斯坦的语言游戏论 ꎬ 通过语言碎片㊁语言排列及语言短路来阐释后现代小说的不确定性及展示语言游戏的特殊魅力 [２８]ꎮ五㊁结语通过上述对国内库弗翻译和研究状况的简要回顾ꎬ我们可以发现ꎬ从２０世纪９０年代至今ꎬ罗伯特库弗在中国的研究实现了以下两个方面的转变:第一ꎬ国内对罗伯特库弗的研究从过去纯文本分析逐渐向文外解读转变ꎬ并跟随外国文学研究的潮流开展跨学科研究ꎮ２０世纪９０年代至２００３年期间的论文ꎬ大部分将研究重点放在对库弗艺术手法的展现和总结上ꎬ作品蕴藏的社会现实意义和政治内涵被研究学者忽略ꎮ２００４至２０１７年期间ꎬ中国学界开始引入各类文学理论和研究方法ꎬ推陈出新ꎬ将文本分析与文外解读相结合ꎮ第二ꎬ国内库弗研究实现了从点到面的转变ꎮ关注的作品从２０世纪９０年代的«保姆»和«公众的怒火»扩展到短篇小说«卡通»«街边车祸»ꎬ改编童话«卡通»ꎬ短篇小说集«高音与旋律»和超文本小说ꎬ所探讨的主题不再拘泥于库弗独特的艺术手法和虚构性ꎬ而是涉及文化阐释㊁政治内涵㊁身份认同㊁心理分析等方面ꎮ通过回顾国内２５年间的罗伯特库弗研究ꎬ同样可以发现该领域存在的一些问题ꎮ第一ꎬ中国对库弗研究的起点高ꎬ之后的评论文章大多在重复论述前人研究的内容和成果ꎬ存在低水平重复的现象ꎬ质量与前人研究成果无法比拟ꎮ第二ꎬ 点的探究不够深入ꎬ 面的分析不够全面ꎮ尽管国内库弗研究的角度不断扩展ꎬ但每个角度的分析大多被表面特征所束缚ꎬ未能深入挖掘作品内涵ꎮ此外ꎬ目前国内研究大多集中于库弗的代表作ꎬ而其他作品则较少被论述ꎮ第三ꎬ当前国内研究对理论的应用不够成熟ꎬ文学理论的运用与文本分析并未真正融合在一起ꎮ这些问题说明库弗研究仍有进一步发展的空间ꎬ他的作品依然值得中国学者研究ꎮ参考文献:[１]㊀孙银娣.虚幻与现实:浅析库弗«保姆»中的元小说特征[Ｊ].太原教育学院学报ꎬ２００４(２):１７－１９. [２]㊀陈世丹.罗伯特库弗和他的小说[Ｊ].外国文学ꎬ２０００(６):３－５.[３]㊀陈世丹.库弗的元小说创作:«电影院的幽灵»和«淡出淡入»评析[Ｊ].外国文学ꎬ２０００(６):２０－２４. [４]㊀胡全生.碎片艺术的内涵与效果:读库弗的«保姆»[Ｊ].外国文学ꎬ２０００(４):５２－５７.㊀第１期叶柳影:国内罗伯特库弗研究述评１０１[５]㊀陈世丹.从«公众的怒火»看后现代主义文学代码[Ｊ].当代外国文学ꎬ２００２(４):７６－８７.[６]㊀陈世丹ꎬ孟昭富.«公众的怒火»:后现代神话与元小说[Ｊ].湘潭大学社会科学学报ꎬ２００３(５):１１８－１２２. [７]㊀汪小玲ꎬ汪玉枝.库弗小说中现实与虚幻的并列[Ｊ].安徽师范大学学报:人文社会科学版ꎬ２００６(４):４３３－４３７. [８]㊀李淮玉.历史作为一种话语:小说«公众的怒火»中历史的重建[Ｄ].南京:东南大学ꎬ２００７.[９]㊀刘建华.当代美国小说改写文学经典略论[Ｊ].国外文学ꎬ２００６(２):９０－９７.[１０]㊀阙蕊鑫.公主ꎬ浪漫文学传统的囚徒:论睡美人童话的两则后现代重写[Ｊ].湖北社会科学ꎬ２００９(１１):１３９－１４１.[１１]㊀周韵.历史的建构:解读卢森堡事件的后现代改写[Ｄ].上海:上海外国语大学ꎬ２００７.[１２]㊀王敏ꎬ尚晓进.重释历史的一场狂欢节:解读罗伯特库弗«公众的怒火»[Ｊ].黄山学院学报ꎬ２００６(１):１３８－１４２. [１３]㊀汪小玲.从«保姆»看美国电视文化的特点[Ｊ].中国比较文学ꎬ２００６(４):９８－１１０.[１４]㊀库弗.书籍的终结[Ｊ].陈定家ꎬ译.南阳师范学院学报ꎬ２００７(２):５４－５７.[１５]㊀陈丹.从活页小说到超文本小说:罗伯特库弗的«刺玫瑰»的案例分析[Ｄ].上海:上海交通大学ꎬ２００８. [１６]㊀陈俊松. 故事里面的嬉戏 :罗伯特库弗访谈录[Ｊ].外国文学ꎬ２０１１(２):１４６－１５５.[１７]㊀刘玲.从«公众的怒火»的元小说特点看其真实与虚构[Ｊ].重庆科技学院学报:社会科学版ꎬ２０１１(１):１１５－１１７. [１８]㊀张淑芬.历史编纂元小说«公众的怒火»中的戏仿和拼贴[Ｊ].闽南师范大学学报:哲学社会科学版ꎬ２０１７(１):６１－６６.[１９]㊀沈婷婷.解读库弗短篇小说«卡通»中的荒诞生活观[Ｊ].南京工程学院学报:社会科学版ꎬ２０１１(４):１９－２３. [２０]㊀郑静.论库弗«公众的怒火»中的拟像主题和电影技巧[Ｊ].贵州大学学报:艺术版ꎬ２０１５(２):３５－３９. [２１]㊀王一平.罗伯特库弗«卡通»中的政治影射[Ｊ].江苏外语教学研究ꎬ２０１５(２):３６－３９.[２２]㊀陈俊松.当代美国编史性元小说中的政治介入[Ｄ].上海:上海外国语大学ꎬ２０１０.[２３]㊀洒焕.由罗伯特库弗浅析超文本小说[Ｊ].短篇小说:原创版ꎬ２０１６(３Ｚ):４７－４８.[２４]㊀洒焕.数字媒介下的文学变革:英语超文本小说研究:以«保姆»文本存在的嬗变为例[Ｊ].黑龙江教育学院学报ꎬ２０１７(１２):１０９－１１１.[２５]㊀赵攀.颠覆与重塑:«公众的怒火»的新历史主义解读[Ｊ].平顶山学院学报ꎬ２０１２(３):５９－６１.[２６]㊀黄嫣.新一代的迷惘与迷失:从空间批评视角解读罗伯特库弗的«卡通»[Ｊ].东南大学学报:哲学社会科学版ꎬ２０１５(Ｓ２):１３５－１３６.[２７]㊀罗妙宝.用概念整合理论解读小说«卡通»[Ｊ].卷宗ꎬ２０１４(１１):５０２－５０３.[２８]㊀洒焕.库弗«保姆»的语言游戏解读[Ｊ].佳木斯职业学院学报ꎬ２０１６(５):５４－５５.(责任编辑㊀毕凌霄)。

The_Man_Who_Could_Work_Miracles_可显神迹的人-_H.G._Wells

The Man Who Could Work MiraclesWells, H. G.Published:1898Type(s):Short FictionSource:About Wells:Herbert George Wells,better known as H.G.Wells,was an English writer best known for such science fiction novels as The Time Machine, The War of the Worlds,The Invisible Man and The Island of Doctor Mor-eau.He was a prolific writer of both fiction and non-fiction,and pro-duced works in many different genres,including contemporary novels, history,and social commentary.He was also an outspoken socialist.His later works become increasingly political and didactic,and only his early science fiction novels are widely read today.Wells,along with Hugo Gernsback and Jules Verne,is sometimes referred to as"The Father of Science Fiction". Source: WikipediaIt is doubtful whether the gift was innate.For my own part,I think it came to him suddenly.Indeed,until he was thirty he was a sceptic,and did not believe in miraculous powers.And here,since it is the most con-venient place,I must mention that he was a little man,and had eyes of a hot brown,very erect red hair,a moustache with ends that he twisted up,and freckles.His name was George McWhirter Fotheringay—not the sort of name by any means to lead to any expectation of miracles—and he was clerk at Gomshott's.He was greatly addicted to assertive argu-ment.It was while he was asserting the impossibility of miracles that he had his first intimation of his extraordinary powers.This particular argu-ment was being held in the bar of the Long Dragon,and Toddy Beamish was conducting the opposition by a monotonous but effective"So you say," that drove Mr. Fotheringay to the very limit of his patience.There were present,besides these two,a very dusty cyclist,landlord Cox,and Miss Maybridge,the perfectly respectable and rather portly barmaid of the Dragon.Miss Maybridge was standing with her back to Mr.Fotheringay,washing glasses;the others were watching him,more or less amused by the present ineffectiveness of the assertive method. Goaded by the Torres Vedras tactics of Mr.Beamish,Mr.Fotheringay de-termined to make an unusual rhetorical effort."Looky here,Mr.Beam-ish,"said Mr.Fotheringay."Let us clearly understand what a miracle is. It's something contrariwise to the course of nature,done by power of will, something what couldn't happen without being specially willed.""So you say," said Mr. Beamish, repulsing him.Mr.Fotheringay appealed to the cyclist,who had hitherto been a silent auditor,and received his assent—given with a hesitating cough and a glance at Mr.Beamish.The landlord would express no opinion,and Mr. Fotheringay,returning to Mr.Beamish,received the unexpected conces-sion of a qualified assent to his definition of a miracle."For instance,"said Mr.Fotheringay,greatly encouraged."Here would be a miracle.That lamp,in the natural course of nature,couldn't burn like that upsy-down, could it, Beamish?""You say it couldn't," said Beamish."And you?" said Fotheringay. "You don't mean to say—eh?""No," said Beamish reluctantly. "No, it couldn't.""Very well,"said Mr.Fotheringay."Then here comes someone,as it might be me,along here,and stands as it might be here,and says to thatlamp,as I might do,collecting all my will—Turn upsy-down without breaking, and go on burning steady, and—Hullo!"It was enough to make anyone say"Hullo!"The impossible,the incred-ible,was visible to them all.The lamp hung inverted in the air,burning quietly with its flame pointing down.It was as solid,as indisputable as ever a lamp was, the prosaic common lamp of the Long Dragon bar.Mr.Fotheringay stood with an extended forefinger and the knitted brows of one anticipating a catastrophic smash.The cyclist,who was sit-ting next the lamp,ducked and jumped across the bar.Everybody jumped,more or less.Miss Maybridge turned and screamed.For nearly three seconds the lamp remained still.A faint cry of mental distress came from Mr.Fotheringay."I can't keep it up,"he said,"any longer."He staggered back,and the inverted lamp suddenly flared,fell against the corner of the bar, bounced aside, smashed upon the floor, and went out.It was lucky it had a metal receiver,or the whole place would have been in a blaze.Mr.Cox was the first to speak,and his remark,shorn of needless excrescences,was to the effect that Fotheringay was a fool. Fotheringay was beyond disputing even so fundamental a proposition as that!He was astonished beyond measure at the thing that had occurred. The subsequent conversation threw absolutely no light on the matter so far as Fotheringay was concerned;the general opinion not only followed Mr.Cox very closely but very vehemently.Everyone accused Foth-eringay of a silly trick,and presented him to himself as a foolish destroy-er of comfort and security.His mind was in a tornado of perplexity,he was himself inclined to agree with them,and he made a remarkably inef-fectual opposition to the proposal of his departure.He went home flushed and heated,coat-collar crumpled,eyes smart-ing,and ears red.He watched each of the ten street lamps nervously as he passed it.It was only when he found himself alone in his little bed-room in Church Row that he was able to grapple seriously with his memories of the occurrence, and ask, "What on earth happened?"He had removed his coat and boots,and was sitting on the bed with his hands in his pockets repeating the text of his defence for the seven-teenth time,"I didn't want the confounded thing to upset,"when it oc-curred to him that at the precise moment he had said the commanding words he had inadvertently willed the thing he said,and that when he had seen the lamp in the air he had felt that it depended on him to main-tain it there without being clear how this was to be done.He had not a particularly complex mind,or he might have stuck for a time at that"inadvertently willed,"embracing,as it does,the abstrusest problems of voluntary action;but as it was,the idea came to him with a quite accept-able haziness.And from that,following,as I must admit,no clear logical path, he came to the test of experiment.He pointed resolutely to his candle and collected his mind,though he felt he did a foolish thing."Be raised up,"he said.But in a second that feeling vanished.The candle was raised,hung in the air one giddy mo-ment,and as Mr.Fotheringay gasped,fell with a smash on his toilet-table, leaving him in darkness save for the expiring glow of its wick.For a time Mr.Fotheringay sat in the darkness,perfectly still."It did happen,after all,"he said."And'ow I'm to explain it I don't know."He sighed heavily,and began feeling in his pockets for a match.He could find none,and he rose and groped about the toilet-table."I wish I had a match,"he said.He resorted to his coat,and there was none there,and then it dawned upon him that miracles were possible even with matches. He extended a hand and scowled at it in the dark."Let there be a match in that hand,"he said.He felt some light object fall across his palm and his fingers closed upon a match.After several ineffectual attempts to light this,he discovered it was a safety match.He threw it down,and then it occurred to him that he might have willed it lit.He did,and perceived it burning in the midst of his toilet-table mat.He caught it up hastily,and it went out.His percep-tion of possibilities enlarged,and he felt for and replaced the candle in its candlestick."Here!you be lit,"said Mr.Fotheringay,and forthwith the candle was flaring,and he saw a little black hole in the toilet-cover, with a wisp of smoke rising from it.For a time he stared from this to the little flame and back,and then looked up and met his own gaze in the looking-glass.By this help he communed with himself in silence for a time."How about miracles now?"said Mr.Fotheringay at last,addressing his reflection.The subsequent meditations of Mr.Fotheringay were of a severe but confused description.So far,he could see it was a case of pure willing with him.The nature of his experiences so far disinclined him for any further experiments,at least until he had reconsidered them.But he lif-ted a sheet of paper,and turned a glass of water pink and then green, and he created a snail,which he miraculously annihilated,and got him-self a miraculous new tooth-brush.Somewhere in the small hours he had reached the fact that his will-power must be of a particularly rare andpungent quality,a fact of which he had indeed had inklings before,but no certain assurance.The scare and perplexity of his first discovery was now qualified by pride in this evidence of singularity and by vague in-timations of advantage.He became aware that the church clock was striking one,and as it did not occur to him that his daily duties at Gomshott's might be miraculously dispensed with,he resumed undress-ing,in order to get to bed without further delay.As he struggled to get his shirt over his head,he was struck with a brilliant idea."Let me be in bed,"he said,and found himself so."Undressed,"he stipulated;and, finding the sheets cold,added hastily,"and in my nightshirt—ho,in a nice soft woollen nightshirt.Ah!"he said with immense enjoyment."And now let me be comfortably asleep… "He awoke at his usual hour and was pensive all through breakfast-time,wondering whether his over-night experience might not be a par-ticularly vivid dream.At length his mind turned again to cautious exper-iments.For instance,he had three eggs for breakfast;two his landlady had supplied,good,but shoppy,and one was a delicious fresh goose-egg,laid,cooked,and served by his extraordinary will.He hurried off to Gomshott's in a state of profound but carefully concealed excitement, and only remembered the shell of the third egg when his landlady spoke of it that night.All day he could do no work because of this astonishing new self-knowledge,but this caused him no inconvenience,because he made up for it miraculously in his last ten minutes.As the day wore on his state of mind passed from wonder to elation, albeit the circumstances of his dismissal from the Long Dragon were still disagreeable to recall,and a garbled account of the matter that had reached his colleagues led to some badinage.It was evident he must be careful how he lifted frangible articles,but in other ways his gift prom-ised more and more as he turned it over in his mind.He intended among other things to increase his personal property by unostentatious acts of creation.He called into existence a pair of very splendid diamond studs, and hastily annihilated them again as young Gomshott came across the counting-house to his desk.He was afraid young Gomshott might won-der how he had come by them.He saw quite clearly the gift required caution and watchfulness in its exercise,but so far as he could judge the difficulties attending its mastery would be no greater than those he had already faced in the study of cycling.It was that analogy,perhaps,quite as much as the feeling that he would be unwelcome in the Long Dragon, that drove him out after supper into the lane beyond the gasworks,to re-hearse a few miracles in private.There was possibly a certain want of originality in his attempts,for, apart from his will-power,Mr.Fotheringay was not a very exceptional man.The miracle of Moses'rod came to his mind,but the night was dark and unfavourable to the proper control of large miraculous snakes.Then he recollected the story of"Tannhäuser"that he had read on the back of the Philharmonic programme.That seemed to him singularly attractive and harmless.He stuck his walking-stick—a very nice Poona-Penang lawyer—into the turf that edged the footpath,and commanded the dry wood to blossom.The air was immediately full of the scent of roses,and by means of a match he saw for himself that this beautiful miracle was indeed accomplished.His satisfaction was ended by advancing foot-steps.Afraid of a premature discovery of his powers,he addressed the blossoming stick hastily:"Go back."What he meant was"Change back;" but of course he was confused.The stick receded at a considerable velo-city,and incontinently came a cry of anger and a bad word from the ap-proaching person."Who are you throwing brambles at,you fool?"cried a voice. "That got me on the shin.""I'm sorry,old chap,"said Mr.Fotheringay,and then,realising the awkward nature of the explanation,caught nervously at his moustache. He saw Winch, one of the three Immering constables, advancing."What d'yer mean by it?"asked the constable."Hullo!it's you,is it? The gent that broke the lamp at the Long Dragon!""I don't mean anything by it," said Mr. Fotheringay. "Nothing at all.""What d'yer do it for then?""Oh, bother!" said Mr. Fotheringay."Bother indeed! D'yer know that stick hurt? What d'yer do it for, eh?"For the moment Mr.Fotheringay could not think what he had done it for.His silence seemed to irritate Mr.Winch."You've been assaulting the police, young man, this time. That's what you done.""Look here,Mr.Winch,"said Mr.Fotheringay,annoyed and confused, "I'm sorry, very. The fact is——""Well?"He could think of no way but the truth."I was working a miracle."He tried to speak in an off-hand way, but try as he would he couldn't."Working a—!'Ere,don't you talk rot.Working a miracle,indeed!Mir-acle!Well,that's downright funny!Why,you's the chap that don't be-lieve in miracles…Fact is,this is another of your silly conjuring tricks—that's what this is. Now, I tell you—"But Mr.Fotheringay never heard what Mr.Winch was going to tell him.He realised he had given himself away,flung his valuable secret to all the winds of heaven.A violent gust of irritation swept him to action. He turned on the constable swiftly and fiercely."Here,"he said,"I've had enough of this,I have!I'll show you a silly conjuring trick,I will!Go to Hades! Go, now!"He was alone!Mr.Fotheringay performed no more miracles that night,nor did he trouble to see what had become of his flowering stick.He returned to the town,scared and very quiet,and went to his bedroom."Lord!"he said, "it's a powerful gift—an extremely powerful gift.I didn't hardly mean as much as that. Not really… I wonder what Hades is like!"He sat on the bed taking off his boots.Struck by a happy thought he transferred the constable to San Francisco,and without any more inter-ference with normal causation went soberly to bed.In the night he dreamt of the anger of Winch.The next day Mr.Fotheringay heard two interesting items of news. Someone had planted a most beautiful climbing rose against the elder Mr.Gomshott's private house in the Lullaborough Road,and the river as far as Rawling's Mill was to be dragged for Constable Winch.Mr.Fotheringay was abstracted and thoughtful all that day,and per-formed no miracles except certain provisions for Winch,and the miracle of completing his day's work with punctual perfection in spite of all the bee-swarm of thoughts that hummed through his mind.And the ex-traordinary abstraction and meekness of his manner was remarked by several people,and made a matter for jesting.For the most part he was thinking of Winch.On Sunday evening he went to chapel,and oddly enough,Mr.May-dig,who took a certain interest in occult matters,preached about"things that are not lawful."Mr.Fotheringay was not a regular chapelgoer,but the system of assertive scepticism,to which I have already alluded,was now very much shaken.The tenor of the sermon threw an entirely new light on these novel gifts,and he suddenly decided to consult Mr.May-dig immediately after the service.So soon as that was determined,he found himself wondering why he had not done so before.Mr.Maydig,a lean,excitable man with quite remarkably long wrists and neck,was gratified at a request for a private conversation from a young man whose carelessness in religious matters was a subject for gen-eral remark in the town.After a few necessary delays,he conducted himto the study of the manse,which was contiguous to the chapel,seated him comfortably,and,standing in front of a cheerful fire—his legs threw a Rhodian arch of shadow on the opposite wall—requested Mr.Foth-eringay to state his business.At first Mr.Fotheringay was a little abashed,and found some diffi-culty in opening the matter."You will scarcely believe me,Mr.Maydig,I am afraid"—and so forth for some time.He tried a question at last,and asked Mr. Maydig his opinion of miracles.Mr.Maydig was still saying"Well"in an extremely judicial tone,when Mr.Fotheringay interrupted again:"You don't believe,I suppose,that some common sort of person—like myself,for instance—as it might be sitting here now,might have some sort of twist inside him that made him able to do things by his will.""It's possible,"said Mr.Maydig."Something of the sort,perhaps,is possible.""If I might make free with something here,I think I might show you by a sort of experiment,"said Mr.Fotheringay."Now,take that tobacco-jar on the table,for instance.What I want to know is whether what I am go-ing to do with it is a miracle or not.Just half a minute,Mr.Maydig, please."He knitted his brows,pointed to the tobacco-jar and said:"Be a bowl of vi'lets."The tobacco-jar did as it was ordered.Mr.Maydig started violently at the change,and stood looking from the thaumaturgist to the bowl of flowers.He said nothing.Presently he ventured to lean over the table and smell the violets;they were fresh-picked and very fine ones. Then he stared at Mr. Fotheringay again."How did you do that?" he asked.Mr.Fotheringay pulled his moustache."Just told it—and there you are.Is that a miracle,or is it black art,or what is it?And what do you think's the matter with me? That's what I want to ask.""It's a most extraordinary occurrence.""And this day last week I knew no more that I could do things like that than you did.It came quite sudden.It's something odd about my will,I suppose, and that's as far as I can see.""Is that—the only thing. Could you do other things besides that?""Lord,yes!"said Mr.Fotheringay."Just anything."He thought,and suddenly recalled a conjuring entertainment he had seen."Here!"he pointed,"change into a bowl of fish—no,not that—change into a glass bowl full of water with goldfish swimming in it.That's better!You see that, Mr. Maydig?""It's astonishing.It's incredible.You are either a most extraordinary…But no——""I could change it into anything,"said Mr.Fotheringay."Just anything. Here! be a pigeon, will you?"In another moment a blue pigeon was fluttering round the room and making Mr.Maydig duck every time it came near him."Stop there,will you?"said Mr.Fotheringay;and the pigeon hung motionless in the air."I could change it back to a bowl of flowers,"he said,and after replacing the pigeon on the table worked that miracle."I expect you will want your pipe in a bit," he said, and restored the tobacco-jar.Mr.Maydig had followed all these later changes in a sort of ejaculat-ory silence.He stared at Mr.Fotheringay and in a very gingerly manner picked up the tobacco-jar,examined it,replaced it on the table."Well!" was the only expression of his feelings."Now,after that it's easier to explain what I came about,"said Mr. Fotheringay;and proceeded to a lengthy and involved narrative of his strange experiences,beginning with the affair of the lamp in the Long Dragon and complicated by persistent allusions to Winch.As he went on,the transient pride Mr.Maydig's consternation had caused passed away;he became the very ordinary Mr.Fotheringay of everyday inter-course again.Mr.Maydig listened intently,the tobacco-jar in his hand, and his bearing changed also with the course of the narrative.Presently, while Mr.Fotheringay was dealing with the miracle of the third egg,the minister interrupted with a fluttering, extended hand."It is possible,"he said."It is credible.It is amazing,of course,but it re-conciles a number of amazing difficulties.The power to work miracles is a gift—a peculiar quality like genius or second sight;hitherto it has come very rarely and to exceptional people.But in this case…I have always wondered at the miracles of Mahomet,and at Yogi's miracles,and the miracles of Madame Blavatsky.But,of course—Yes,it is simply a gift!It carries out so beautifully the arguments of that great thinker"—Mr. Maydig's voice sank—"his Grace the Duke of Argyll.Here we plumb some profounder law—deeper than the ordinary laws of nature. Yes—yes. Go on. Go on!"Mr.Fotheringay proceeded to tell of his misadventure with Winch, and Mr.Maydig,no longer overawed or scared,began to jerk his limbs about and interject astonishment."It's this what troubled me most,"pro-ceeded Mr.Fotheringay;"it's this I'm most mijitly in want of advice for; of course he's at San Francisco—wherever San Francisco may be—but of course it's awkward for both of us,as you'll see,Mr.Maydig.I don't see how he can understand what has happened,and I daresay he's scared and exasperated something tremendous,and trying to get at me.I daresay he keeps on starting off to come here.I send him back,by a mir-acle,every few hours,when I think of it.And,of course,that's a thing he won't be able to understand,and it's bound to annoy him;and,of course, if he takes a ticket every time it will cost him a lot of money.I done the best I could for him,but,of course,it's difficult for him to put himself in my place.I thought afterwards that his clothes might have got scorched, you know—if Hades is all it's supposed to be—before I shifted him.In that case I suppose they'd have locked him up in San Francisco.Of course I willed him a new suit of clothes on him directly I thought of it. But, you see, I'm already in a deuce of a tangle——"Mr.Maydig looked serious."I see you are in a tangle.Yes,it's a diffi-cult position.How you are to end it…"He became diffuse and inconclusive."However,we'll leave Winch for a little and discuss the larger ques-tion.I don't think this is a case of the black art or anything of the sort.I don't think there is any taint of criminality about it at all,Mr.Foth-eringay—none whatever,unless you are suppressing material facts.No, it's miracles—pure miracles—miracles,if I may say so,of the very highest class."He began to pace the hearthrug and gesticulate,while Mr.Fotheringay sat with his arm on the table and his head on his arm,looking worried."I don't see how I'm to manage about Winch," he said."A gift of working miracles—apparently a very powerful gift,"said Mr.Maydig,"will find a way about Winch—never fear.My dear sir,you are a most important man—a man of the most astonishing possibilities. As evidence, for example! And in other ways, the things you may do… ""Yes,I've thought of a thing or two,"said Mr.Fotheringay."But—some of the things came a bit twisty.You saw that fish at first?Wrong sort of bowl and wrong sort of fish. And I thought I'd ask someone.""A proper course,"said Mr.Maydig,"a very proper course—altogether the proper course."He stopped and looked at Mr.Fotheringay."It'spractically an unlimited gift.Let us test your powers,for instance.If they really are… If they really are all they seem to be."And so,incredible as it may seem,in the study of the little house be-hind the Congregational Chapel,on the evening of Sunday,Nov.10, 1896,Mr.Fotheringay,egged on and inspired by Mr.Maydig,began to work miracles.The reader's attention is specially and definitely called to the date.He will object,probably has already objected,that certain points in this story are improbable,that if any things of the sort already described had indeed occurred,they would have been in all the papers at that time.The details immediately following he will find particularly hard to accept,because among other things they involve the conclusion that he or she,the reader in question,must have been killed in a violent and unprecedented manner more than a year ago.Now a miracle is nothing if not improbable,and as a matter of fact the reader was killed in a violent and unprecedented manner in1896.In the subsequent course of this story that will become perfectly clear and credible,as every right-minded and reasonable reader will admit.But this is not the place for the end of the story,being but little beyond the hither side of the middle. And at first the miracles worked by Mr.Fotheringay were timid little miracles—little things with the cups and parlour fitments,as feeble as the miracles of Theosophists,and,feeble as they were,they were re-ceived with awe by his collaborator.He would have preferred to settle the Winch business out of hand,but Mr.Maydig would not let him.But after they had worked a dozen of these domestic trivialities,their sense of power grew,their imagination began to show signs of stimulation, and their ambition enlarged.Their first larger enterprise was due to hun-ger and the negligence of Mrs.Minchin,Mr.Maydig's housekeeper.The meal to which the minister conducted Mr.Fotheringay was certainly ill-laid and uninviting as refreshment for two industrious miracle-workers; but they were seated,and Mr.Maydig was descanting in sorrow rather than in anger upon his housekeeper's shortcomings,before it occurred to Mr.Fotheringay that an opportunity lay before him."Don't you think, Mr. Maydig," he said, "if it isn't a liberty, I——""My dear Mr. Fotheringay! Of course! No—I didn't think."Mr.Fotheringay waved his hand."What shall we have?"he said,in a large,inclusive spirit,and,at Mr.Maydig's order,revised the supper very thoroughly."As for me,"he said,eyeing Mr.Maydig's selection,"I am always particularly fond of a tankard of stout and a nice Welsh rarebit,and I'll order that.I ain't much given to Burgundy,"and forth-with stout and Welsh rarebit promptly appeared at his command.Theysat long at their supper,talking like equals,as Mr.Fotheringay presently perceived,with a glow of surprise and gratification,of all the miracles they would presently do."And,by-the-by,Mr.Maydig,"said Mr.Foth-eringay, "I might perhaps be able to help you—in a domestic way." "Don't quite follow,"said Mr.Maydig,pouring out a glass of miracu-lous old Burgundy.Mr.Fotheringay helped himself to a second Welsh rarebit out of va-cancy,and took a mouthful."I was thinking,"he said,"I might be able (chum,chum)to work(chum,chum)a miracle with Mrs.Minchin (chum, chum)—make her a better woman."Mr. Maydig put down the glass and looked doubtful."She's——She strongly objects to interference,you know,Mr.Foth-eringay.And—as a matter of fact—it's well past eleven and she's prob-ably in bed and asleep. Do you think, on the whole——"Mr.Fotheringay considered these objections."I don't see that it shouldn't be done in her sleep."For a time Mr.Maydig opposed the idea,and then he yielded.Mr. Fotheringay issued his orders,and a little less at their ease,perhaps,the two gentlemen proceeded with their repast.Mr.Maydig was enlarging on the changes he might expect in his housekeeper next day,with an op-timism,that seemed even to Mr.Fotheringay's supper senses a little forced and hectic,when a series of confused noises from upstairs began. Their eyes exchanged interrogations,and Mr.Maydig left the room hast-ily.Mr.Fotheringay heard him calling up to his housekeeper and then his footsteps going softly up to her.In a minute or so the minister returned,his step light,his face radiant. "Wonderful!" he said, "and touching! Most touching!"He began pacing the hearthrug."A repentance—a most touching re-pentance—through the crack of the door.Poor woman!A most wonder-ful change!She had got up.She must have got up at once.She had got up out of her sleep to smash a private bottle of brandy in her box.And to confess it too!…But this gives us—it opens—a most amazing vista of possibilities. If we can work this miraculous change in her… ""The thing's unlimited seemingly,"said Mr.Fotheringay."And about Mr. Winch——""Altogether unlimited."And from the hearthrug Mr.Maydig,waving the Winch difficulty aside,unfolded a series of wonderful proposals—proposals he invented as he went along.。

社交网络创业者：大卫·卡普(Tumblr创始人)人物简介

• 开始关注社交网络和互联网创业
03
大学毕业后的工作
• 在一家金融科技公司担任软件工程师
• 工作两年后离职创业
大卫·卡普的职业初期
01
创立公司Davidville
• 2005年创立•Fra bibliotek主要开发社交网络工具
• 获得约100万美元的投资
02
Davidville的失败与经验教训
• 未能获得大规模用户
• 缺乏明确的盈利模式
大卫·卡普的退休生活
离职Tumblr后，大卫·卡普开始过上退休生活
• 专注于个人兴趣和爱好
• 旅行和体验不同的生活方式
• 参与公益事业和演讲活动
保持对科技和创新的关注
• 关注新技术和产业的发展
• 参与创业和创新活动
• 为年轻创业者提供建议和启示
大卫·卡普的未来计划与愿景
未来计划
愿景
• 继续关注科技和创新的发展
大卫·卡普的团队管理策略
激发团队的创新力和积极性
• 鼓励团队成员提出创新想法和建议
• 为团队成员提供足够的支持和资源
• 表彰和奖励优秀团队成果
招聘和选拔优秀的团队成员
• 注重团队成员的技能和经验
• 重视团队成员的个性和价值观
• 为团队成员提供良好的职业发展机会
建立高效的团队组织和流程
• 明确团队目标和分工
CREATE TOGETHER
DOCS SMART CREATE
社交网络创业者：大卫·卡普（Tumblr创
始人）人物简介
DOCS
01
大卫·卡普的早期生活与背景
大卫·卡普的童年经历

出生在纽约市的布鲁克林区
• 出生于1981年

1960-2010年50位美国作家

23
品钦·托马斯（Thomas Pynchon , 1937—）
1.V. , 1963
2.The Crying of Lot 49 ,1966
3.Gravity Rainbow , 1973
4.Vineland , 1990
24
任碧莲（Gish Jen , 1955—）
1.TypicalAmerican ,1991
4.MythsTexts, 1960
5.Axe Handles, 1983
6.Turtle Island, 1974
27
斯泰伦·威廉（William Styron , 1925—）
1.The Confessions of Nat Turner , 1967
2.Sophie’s Choice , 1979
3.The Manor ,1967
2000—2016年的美国作家（15个）：
1
埃尔德里克·路易丝（LouiseErdrich, 1954—）
1.Love Medicine ,
2.The Plague of Doves , 2009
3.Shadow Tag , 2010
2
玛丽·盖茨基尔（MaryGaitskill, 1954—）
1.Ragtime , 1975
2.Billy Bathgate , 1989
7
厄普代克·约翰（John Updike , 1932—）
1.Rabbit , Run ,1960
2.TheCentaur , 1963
3.The Couples ,1968
4.RobbitRedux , 1971
5.The Coup , 1978
6.Rabbit Is Rich , 1981

残雪小说在英语世界的译介与接受——《以黄泥街》为例

第１６卷第３期燕山大学学报（哲学社会科学版）Ｖｏｌ１６Ｎｏ３２０１５年９月ＪｏｕｒｎａｌｏｆＹａｎｓｈａｎＵｎｉｖｅｒｓｉｔｙ（ＰｈｉｌｏｓｏｐｈｙａｎｄＳｏｃｉａｌＳｃｉｅｎｃｅＥｄｉｔｉｏｎ）Ｓｅｐ．２０１５残雪小说在英语世界的译介与接受以‘黄泥街“为例孙会军１，郑庆珠２（１．上海外国语大学英语学院，上海２０００８３；２．解放军外国语学院基础部，河南洛阳４７１００３）㊀［收稿日期］㊀２０１５⁃０５⁃０５㊀㊀［基金项目］㊀上海浦江人才计划项目阶段性成果（１４ｐｊｃ０９３）㊀［作者简介］㊀孙会军（１９６７），女，河北承德人，上海外国语大学英语学院教授，博士，硕士生导师；郑庆珠（１９６４），男，江苏兴化人，解放军外国语学院基础部教授，硕士生导师㊂［摘㊀要］㊀残雪是我国新时期先锋派代表作家，她的作品在国内有一定知名度和认可度，但在海外的反响显然更加令人瞩目：在法国被译介，在日本受推崇，在美国也获得很高评价㊂到目前为止，仅在美国，残雪就有６部作品被翻译成英文出版，成为被翻译㊁出版最多的新时期中国作家之一㊂文章尝试以残雪的处女作‘黄泥街“及其英文版ＴｈｅＹｅｌｌｏｗＭｕｄＳｔｒｅｅｔ为研究案例，通过考察残雪作品在中国和美国的不同接受，探求造成这种差异的具体原因，由此管中窥豹，探讨中国当代文学作品在英语世界的译介与接受㊂［关键词］㊀残雪小说；英译；‘黄泥街“［中图分类号］Ｈ３１５．９㊀［文献标识码］Ａ㊀［文章ＤＩＯ］１０．１５８８３／ｊ．１３⁃１２７７／ｃ．２０１５０３０７２０６一㊁残雪小说在国内外的不同接受情况概述㊀㊀１９７８年以后，中国文学走进复兴㊁发展和繁荣的新时期，许多优秀的作家㊁作品涌现出来㊂一些作品还被翻译成英文，介绍到英语世界㊂在这个过程中，一个现象颇为引人注意：有些作品在国内很受欢迎，却无缘进入英语世界㊂有些作品虽然被翻译成英文，在英语世界却读者寥寥，受到冷落㊂与此形成鲜明对照的是，有些作品在国内反响不大，却被译者积极地译介到英语世界，并获得很高评价，残雪就是这方面典型而突出的代表㊂通过考察残雪作品在中国和美国的出版情况，特别是她的处女作‘黄泥街“及其英文版ＴｈｅＹｅｌｌｏｗＭｕｄＳｔｒｅｅｔ在中国和美国读者面前所呈现的不同面目，借以了解中国当代文学作品在英语世界的具体翻译㊁接受情况，可以把握当代中国作品译介到英语世界的具体运行规律，为实现中国文化走出去战略提供新思路㊂残雪于１９８３年开始小说创作㊂从１９８６年第一部小说‘黄泥街“问世到现在，至少已经发表了４００多万字的作品，含一百余篇短篇小说㊁数十部中篇小说㊁文学评论和两部长篇小说㊂中文版出版数量虽然很大，但很多是在台湾㊁香港㊁日本㊁美国㊁意大利㊁德国㊁越南出版的㊂在中国作家群体里，残雪被视为异类，她从来没有获得过任何文学奖项，她的小说让很多中国读者感到费解㊂比如王蒙就曾经指出，尽管残雪的小说给他留下了深刻印象，但他无论如何也没有耐心读下去，［１］这在中国大陆恐怕代表了很多读者的共同看法㊂了解残雪㊁阅读残雪的读者主要是文学专业的学生和学者，他们对其评价也褒贬不一㊂褒者大多受到西方学者的影响，将残雪视为中国先锋小说的代表㊂贬者则认为她的小说令人费解㊁令人厌烦，是. All Rights Reserved.第３期孙会军等㊀残雪小说在英语世界的译介与接受７３㊀对西方作品的拙劣模仿，算不上真正意义的先锋小说㊂［２］国外的情况却截然不同，与国内形成鲜明对照㊂残雪是被翻译㊁出版最多的当代中国作家之一㊂她的作品在法国被译介，在日本受推崇，在美国也获得很高评价㊂到目前为止，残雪至少已经有７部作品陆续在美国出版：‘天堂里的对话“（ＤｉａｌｏｇｕｅｓｉｎＰａｒａｄｉｓｅ）（西北大学出版社，１９８９）㊁‘苍老的浮云“（ＯｌｄＦｌｏａｔｉｎｇＣｌｏｕｄ：ＴｗｏＮｏｖｅｌｌａｓ）（西北大学出版社，１９９１）㊁‘绣花鞋“（ＴｈｅＥｍｂｒｏｉ⁃ｄｅｒｅｄＳｈｏｅｓ）（亨利霍尔特出版社，１９９７）㊁‘天堂里的蓝光及其它小说“（ＢｌｕｅＬｉｇｈｔｉｎｔｈｅＳｋｙａｎｄＯｔｈｅｒＳｔｏｒｉｅｓ）（新方向出版社，２００６），‘五香街“（ＦｉｖｅＳｐｉｃｅＳｔｒｅｅｔ）（耶鲁大学出版社，２００９）㊁‘垂直运动“（ＶｅｒｔｉｃａｌＭｏｔｉｏｎ）（公开信件出版社，２０１１）和‘最后的情人“（ＴｈｅＬａｓｔＬｏｖｅｒ）（耶鲁大学出版社，２０１４）㊂其它的篇什则出现在各种世界优秀小说选集里㊂如果根据小说篇幅的长短进行统计，残雪目前已经有两部长篇㊁几十部中篇和短篇被翻译成英文，这在当代中国作家中是非常罕见的㊂残雪作品在美国的中国文学领域颇受推崇，是美国哈佛㊁康乃尔㊁哥伦比亚㊁乔治城等大学的文学教材㊂作者被一些美国学者看成是２０世纪中叶以来中国文学界最有趣㊁最具创造性的作家之一，代表了中国文学界的一场革命㊂［３］美国当代著名后现代小说家罗伯特㊃库弗（ＲｏｂｅｒｔＣｏｏｖｅｒ）称她为世界级大师㊂［４］美国著名文学评论家苏珊㊃桑塔格（ＳｕｓａｎＳｏｎｔａｇ）曾经说过：如果中国有哪一位作家有可能获得诺贝尔文学奖的话，这个人就是残雪㊂［３］虽然这句话没有应验，却从一个侧面折射出美国文学界对残雪的高度认可㊂一位作家在中国和美国的接受为何会如此不同？我们或许可以到作家身上㊁作家的作品或作品的英译本中去寻找答案㊂二㊁残雪及其小说‘黄泥街“的现代主义诠释㊀㊀残雪是作家邓小华的笔名㊂残雪有两层含义：其一，残雪是拒绝融化的脏雪，代表了作者生活中世俗的一面，表示作者拥抱生活和现实，与生活融为一体；其二，残雪指高山之巅最纯洁的雪，冷峻而独立不倚，代表着自由的精神㊂①因而，残雪这个笔名中包含着矛盾对立的两个方面㊂艺术就是依靠矛盾来推动和发展的㊂而生活中的残雪与残雪的作品也反映了这个矛盾的两个方面㊂残雪曾自称典型的小市民㊂她说：现实中的我，很不怎么样㊂时常觉得自己很脏㊂譬如说，我也喜欢说人坏话，很尖刻地去说人家㊂说过以后会意识到自己不对，又后悔㊂下一次又说㊂没办法㊂这些方面不要学我㊂［５］她在生活中显得很计较，曾经为了给自己争取一个专业作家的身份，为了每个月可以挣得６０元的生活费，她通过认识的作家朋友走后门㊁拉关系㊂她还承认自己有虚荣心，在那点虚荣心驱使下，锲而不舍地关心自己是不是出名㊂看看杂志㊁报纸㊁互联网，有什么反响，反响有多大㊂虚荣心，也给了我创作的动力㊂要跟有的人一样，从来不管这些，还离群索居，住到老山洞里写，我没那么崇高㊂［５］后来出名以后，她还常常为了起印数和出版商讨价还价㊂如果作者能够摹写这样世俗的生活，她的作品或许不会让人觉得那么费解㊂但是她的作品，是灵魂的文学㊁是生命的文学，是跟世俗背道而驰的㊂她说：我的书，是写给那些善于自我分析㊁喜欢自己和自己过不去㊁谋求掌握自身命运的人读的㊂［５］她把她的小说定义为新实验小说文本，在审美活动中，拿自己做实验，展示人性的力量和完美㊂我运用矛盾律，将自我人性分裂成几个部分，然后使我的角色们在一种微妙的整合的氛围里相互之间展开斗争㊂这种斗争有时是残酷的，但所有的角色都有一个共同的目的，就是推动人性的深入探索，寻找人类情感的自由的根源㊂最重要的是，要打通人和自然的交流的渠道，让哲学意义上的自然同创造中的个人连为一体，从而忠实地表达出自然的本质的含义㊂ ②在残雪看来，她的小说是要探索自然之谜和人性之谜，旨在帮助人们建立世界观，同哲学作品有异曲同工之妙㊂‘黄泥街“是残雪发表的第一部中篇小说㊂作品描绘的黄泥街简直就是一个污秽的垃圾场㊂反复出现的是苍蝇㊁蚊子㊁蟑螂㊁蛆虫㊁老鼠㊁毒蛇㊁痰㊁尿液㊁粪便㊁瘟疫㊁腐烂的蔬菜水果以及腐烂的尸体；所发生的是鬼剪鸡毛㊁老鼠咬死猫㊁耳朵烂掉㊁人脚长出鸡爪㊁背上长出驼峰等怪异的事情：厂门口有一口塘，人们叫它清水塘，其实水. All Rights Reserved.７４㊀燕山大学学报（哲学社会科学版）２０１５年一点也不清，乌黑乌黑的，上面浮着一层机油，泛着一股恶臭㊂塘边堆满了面纱和铁屑，一直堆到塘底㊂谁也不曾看见鱼类在这死水中生存，就连孑孓也不在这死水中生存㊂塘里边还总是浮上一只死猫和死鸟，谁也不知是哪里来的，谁也没看见这些东西掉进去㊂［６］４空中传来咀嚼骨头的响声㊂猫头鹰蓦地一叫，惊心动魄㊂焚尸炉里的烟灰像雨一样落下来㊂死鼠和死蝙蝠正在地面上腐烂㊂苍白的㊁影子似的小圆又将升起在烂雨伞般的小屋顶的上空㊂那小孩的脸像蛇皮一样满是鳞片㊂他伸出手来，手上也长满了鳞片，在手背正中还有一个暗红色的溃疡㊂［６］１１５这种夸张的㊁甚至有些荒诞的描写，产生了令人震撼的效果，移情的描写让读者从心里感到恶心㊁厌恶，浑身上下都不舒服㊂作者无疑是想通过这些描写带给人心理和生理上的不舒服来完成对文革时期社会形态和状况的指涉和批判，揭露文革那个变异的社会给人们带来的侵扰㊁折磨和扭曲㊂作者没有提到文革这个字眼，但是在作品怪诞的讲述和描绘中，不时夹杂着许多文革时期所特有政治语汇，立刻让人想起文革那个特殊的时代：首先应该肯定，形势一片大好㊂㊁同志们，上面来了一个文㊂㊁路线问题是个大是大非问题㊁有人说造反派的势力不可抵挡以及目前的中心任务是抓一小撮㊂作品以１９６６至１９７６年的文化大革命作为叙事素材，通过使用文革时期流行的口号来达到指涉的目的，构造了一个断裂㊁破碎而又意象密集的文革叙事㊂文革时期是一个社会和人性都发生变异的时代，人像蛆虫一样肮脏㊁丑陋，人和人之间相互猜疑㊁相互残害，包藏着险恶的用心，即使是亲人之间也是如此㊂这在‘黄泥街“中有着非常生动的展示：吃！女儿恶狠狠地跺着脚，弄醒了他㊂她砰！地一声将一大碗饭顿在门坎上，那饭还拌着一些蝇子㊂胡三老头撑起身子，端过饭，就在雨中吃了起来，边吃边打臭嗝㊂吃着吃着，吃出了一股怪味，他停下来了，仔细盯着碗里，悟出了家里人的险恶用心㊂原来在那碗底，是埋着一只蒸熟了的大蜘蛛㊂［６］２９活着有什么意思？活受罪呀㊂女儿隔着窗户说，定睛看着他㊂胡三老头，呸！孙子也隔着窗说㊂［６］２９以上描写不仅仅局限于对文革的政治批判和否定，还显示了作者对那样的社会环境下人的生存处境的极度厌恶以及由此产生的焦虑情绪，明显地具有西方现代派文学中的荒原意识㊂‘黄泥街“里表现出较为鲜明的现代主义文学特征㊂西方现代主义文学是西方现代工业社会的产物，是动荡不安的２０世纪欧美社会之时代精神的艺术表述㊂在思想上，现代主义文学表现出强烈的批判精神，突出表现人与自然㊁人与社会㊁人与人㊁人与自我之间的各种关系的异化状态㊂现代主义文学存在下面四种艺术特征：（１）现代主义文学创作抛弃对客观现实的反映，转向对内心世界的真实展示㊂具有主观性和内倾性㊂（２）普遍运用象征隐喻的神话模式㊂（３）通过对丑的描写与揭露，通过自我剖析，表达对美的追求㊂（４）作家热衷于在艺术形式和技巧方面进行大胆的革新与创造，力求标新立异㊂残雪的作品与她所处那个时代的传统的现实主义写作大相径庭，都是超现实主义的，是非常具有创新特点的写作㊂‘黄泥街“无论从内容上还是在艺术手法上都体现了西方现代文学的特征㊂从内容上讲，‘黄泥街“应该说是取材于中国的，涉及到文革对人们造成的身心伤害㊂但她的写作方法不同于伤痕文学，她不直接描写政治运动对人们的戕害，而是把笔墨集中在这种伤害的结果上，集中在政治运动对人际关系的影响上㊂传统现实主义小说的重要元素情节㊁人物和常识都被残雪限定在少得不能再少的范围内㊂残雪的创作虽然取材于中国，但正如Ｄｕｋｅ在‘现代中国女性作家“（ＭｏｄｅｒｎＣｈｉｎｅｓｅＷｏｍｅｎＷｒｉｔｅｒｓ）的导读中指出的那样：残雪是当前最背离传统㊁最具有现代主义特征的中国女性作家她所有作品都不是对现实的反映，有些严肃的中国批评家认为，她的作品无法为人们所读懂，或者认为她写的不是中国小说㊂［７］ｘｉｉ残雪的小说着重探讨人们所面临的矛盾㊁困境，西方读者因为对现代主义小说中的这种矛盾㊁困境以及荒原意识比较熟悉，再加上其反映的主题具有一定的普遍意义，因而对. All Rights Reserved.第３期孙会军等㊀残雪小说在英语世界的译介与接受７５㊀西方读者来说，理解起来不是特别困难㊂在创作手法上，残雪的小说也体现出现代主义文学的特点㊂很多中文读者觉得残雪的‘黄泥街“的创作手法令人费解，作者为什么要写这样一大堆似梦非梦㊁令人作呕的意象，这样拼凑起来的一篇小说究竟要说明什么？这整个都是一笔糊涂帐㊂［２］其实，残雪的小说创作直接受到西方现代主义文学的影响，在创作形式和表现手法上，与中国本土作家截然不同，在中国读者中取得认可还需要一定的时间，但在西方读者中却比较容易引起共鸣㊂‘黄泥街“让读者想起艾略特的‘荒原“㊁卡夫卡的‘城堡“和伍尔夫的意识流㊂残雪的小说根植于西方和日本的现代艺术㊂用她自己的话说即是：我喜欢的艺术很多，古典音乐㊁现代主义绘画，现代主义舞蹈都能深深打动我㊂古典音乐，比如柴可夫斯基㊁贝多芬㊁勃拉姆斯㊁舒伯特㊁蒙德尔松㊁巴赫等人的作品，都是真正的现代主义示范表演㊂‘圣经“和‘神曲“里面也充满了现代主义元素，远比所谓的后现代文学创作有力量㊂现代主义画家㊁雕塑家中我最喜欢的是凡高㊁达利㊁蒙克㊁米罗㊁Ｂｏｓｃｈ（荷兰宗教画家）㊁Ｇｉａｃｏｍｅｔｔｉ等人㊂我最喜欢的舞蹈是日本的Ｂｕｔｏｈ（黑暗灵魂的舞蹈）㊂［３］除了西方和日本艺术之外，更直接对残雪的文学创作产生重要影响的是西方现代主义文学㊂残雪年轻时就非常喜欢西方古典现实主义作品和俄国的文学作品，但是当她接触到西方现代主义的作品时，她开始意识到，纯粹的现实主义已经不能够满足文学发展的要求［８］，从此开始转向现代主义㊂霎时间，一个全新的世界呈现在我的脑海里，我被征服了㊂这个世界是多么激动人心㊁多么令人愉快啊！我一次又一次地阅读这些作品，有的时候，我感到非常开心，开心到几近疯狂的程度㊂［８］谈到‘黄泥街“的创作，残雪写道：起初，‘黄泥街“的手稿是非常接近现实主义的，我改啊，改啊，这个文本离现实主义就越来越远了㊂当我完成这部中篇的时候，我已经成熟了，成为一个较早就有自己特殊风格的作家了㊂［８］残雪还说，虽然她曾经受到过古典作家的影响，比如塞万提斯㊁但丁，但她的作品是属于现代主义的，况且现代主义的思想在这些古典作家中已露端倪㊂③对她产生过影响的现代主义作家包括卡夫卡和伍尔夫㊂她读过卡夫卡的‘城堡“㊁‘变形记“和伍尔夫的‘海浪“㊂残雪发表过关于卡夫卡㊁博尔赫斯等人的文学评论，从侧面反映出她对西方现代主义文学的深刻理解，以及西方现代主义文学对她的影响㊂与此同时，残雪并没有满足于对西方现代主义文学的效仿，而是力求有所创新㊂事实上，她的创作有时甚至比她所敬爱的西方现代主义作家还富有冒险性㊂这当中包括卡夫卡㊁博尔赫斯㊁卡尔维诺等明确地影响她的作家㊂文学季刊Ｃｏｎ⁃ｊｕｎｃｔｉｏｎｓ屡次刊载她的作品，她也因此博取了众多西方作家的敬仰：罗伯特㊃库弗曾封她为世界大师㊁苏珊㊃桑塔格亦曾在过去宣称她独是中国诺贝尔奖当之无愧的作家㊂相较其他中国作家，她始终与众不同㊂在其他偏先锋的中国作家正转向较平易近人式的现实主义的同时，残雪仍动人地执着于她个人的表演，即编织着具挑战性的尝试作品㊂［３］三㊁残雪小说的英译者及其‘黄泥街“英文译本介绍㊀㊀残雪一共有五位英文译者，分别是：ＲｏｎＪａｎｓ⁃ｓｅｎ㊁张健㊁ＫａｒｅｎＧｅｒｎａｎｔ㊁陈泽平和ＡｎｎｅｌｉｓｅＦｉｎｅｇａｎ㊂ＲｏｎＪａｎｓｓｅｎ和张健合作翻译了‘天堂里的对话“㊁‘苍老的浮云“和‘绣花鞋“㊂残雪觉得ＲｏｎＪａｎｓｓｅｎ对于自己作品中的一些方面存在误解，因为这位译者把她的作品跟当时出现的拉美小说联系起来，过多强调作品的社会因素和政治因素㊂④或许正是由于这个原因，她后来的作品改由另外两名译者完成ＫａｒｅｎＧｅｒｎａｎｔ和陈泽平㊂两人合作翻译了‘天堂里的蓝光及其它小说“㊁‘五香街“和‘垂直运动“㊂ＡｎｎｅｌｉｓｅＦｉｎｅｇａｎ则翻译了残雪的长篇小说‘最后的情人“㊂从９０年代起，残雪就奋力学习英文，自从ＫａｒｅｎＧｅｒｎａｎｔ和陈泽平开始翻译她的作品，她一直坚持阅读译文，给译者提供参考意见㊂残雪认为译者应该精读原文，对作品的整体语感和深层幽默有全面的把握，在她看来，表达的精确性与译者的感受力㊁以及逻辑能力有直接关联㊂ ⑤从已经发表的译作看，翻译的模式都是中国学者和美国学者合作进行，估计作者希望通过这样的模式，一方面保证能够较为正确地理解原文，同时还可以确保译文能够为读者所接受㊂尽管残雪对有些译作持保留态度，但这些翻译无疑是成功的，虽然. All Rights Reserved.７６㊀燕山大学学报（哲学社会科学版）２０１５年没有看到专门探讨残雪小说英译的论文，但美国文学界对残雪作品的高度评价从侧面折射出美国文学界对译作的接受和认可㊂作为残雪的处女作，‘黄泥街“早在１９８３年就完成了，１９８６年１１月首先发表在‘中国文学月刊“上，但小说原稿将近一半的篇幅被当时的编辑删掉了㊂１９８７年９月，这个删节版由台湾圆神出版社再次出版㊂１９８７年，纽约的‘中国知识分子“出版了未经删节的‘黄泥街“㊂１９９１年，西北大学出版社推出了‘黄泥街“的英文版ＴｈｅＹｅｌｌｏｗＭｕｄＳｔｒｅｅｔ㊂该译文出现于中篇小说集ＯｌｄＦｌｏａｔｉｎｇＣｌｏｕｄ，里面收录的是‘黄泥街“和‘苍老的浮云“两部中篇小说的英文版㊂这个译本所依据的原文与前面提到的三个中文版都有所不同㊂译本依据的原文是作者对未经删节的小说原稿的修订本㊂首先，这个英文版本与前面三个中文版本都不同的是，里面多了ＡＳｉｇｎｉｆｉｃａｎｔＥｖｅｎｔＷｈｉｃｈＣｈａｎｇｅｄＡｔｔｉｔｕｄｅｔｏｗａｒｄＬｉｆｅ．的部分，显然是作者修订的时候添加进去的㊂再者，相对于大陆版和台湾版，英文版多了ＴｈｅＤａｙｓＷｈｅｎｔｈｅＳｕｎＷａｓｉｎｔｈｅＳｋｙ一节，纽约版里也有这个内容，说明这部分内容原本是存在的，在大陆出版时被编辑给删掉了㊂这样的情况还有多处存在㊂如果仔细比对的话，我们会发现英文版里有很多内容都是最初两个中文版中看不到的，是被编辑删掉的部分㊂以‘关于黄泥街和Ｓ机械厂的几句至关重要的介绍“一章为例，英文的内容要丰富㊁完整的多㊂相对于第一㊁第二个版本的２５个自然段，英文版为３４个自然段㊂英文版为读者提供了关于黄泥街和Ｓ机械厂的较为系统㊁连贯的描述，所以理解起来也比中文版容易一些，下面是笔者根据英文版对这一部分的各个段落的内容所进行的简单概括，而这些内容是在经过删节的大陆和台湾版本中所看不到的：黄泥街是一条狭长的街；黄泥街上盖着一层厚厚的煤灰；黄泥街的天空一片灰暗；在黄泥街看不到灿烂的日出，也看不到辉煌的落日；黄泥街每天出售腐烂的水果；黄泥街垃圾满地；黄泥街的人胆小如鼠；黄泥街的人喜欢设陷阱；黄泥街的动物都发了疯；黄泥街的人们在夏天也穿着厚厚的棉袄；因为他们没有安全感㊁不穿棉袄就会觉得不踏实；黄泥街的人们很少进城，其中有些人从没进过城；人们总是在昏睡，有时只是为了省下一顿饭……这部分的主题和逻辑还是相当清楚的，但在大陆和台湾版本中都被删掉了㊂如果当时‘中国文学月刊“的编辑没有对小说进行大量的删节，中文版‘黄泥街“在逻辑性和连贯性方面会好一些，残雪的读者群也可能会大一些㊂编辑的大量删节使原文的连贯和逻辑受到影响，在一定程度上降低了小说的可读性，影响了该作品在中国大陆的接受㊂但‘黄泥街“的解读绝不简单，即使未经删除也注定会挑战读者的神经和耐心，所以小说的费解不能全都怪在编辑的头上，还跟这部小说中的现代主义特征有关㊂四㊁残雪小说在英语世界成功译介和传播的原因剖析㊀㊀残雪的小说得到译介㊁出版的机会，并在美国获得高度认可，主要有以下三个原因：第一，英文版根据作者未经删节的手稿或是经过修订的原稿译出，比大陆出版的中文版内容更加完整，因而也显得更为连贯，较好地传达了作者的创作初衷㊂第二，残雪的小说根植于西方文学，无论是在内容上，还是在表现手法上都为西方读者所熟悉，因而更容易为他们所接受㊂小说虽然也涉及到中国背景，但作者特别注意探索具有普遍意义的主题，比如在‘黄泥街“中，背景虽然是中国，反映的却是异化社会环境下人们普遍体验的令人绝望的生存处境，显示出作者极度的厌恶与焦虑，明显地流露出荒原意识，因此很容易引起西方读者的共鸣㊂残雪的小说在艺术上借鉴了西方现代主义的创作手法，大量使用意象的叠加以及意识流等手法，因而受到西方评论家的接纳和认可㊂第三，翻译基本上都是中美译者合作完成，而且作者也能阅读英文，在翻译过程中始终参与其中，既确保了理解的准确，也保证了译文的可读性和可接受性㊂残雪本人从来就认为自己的作品是属于未来的㊂随着中国现代化进程的不断深入和西方现代主义表现小说的大量译介，大陆理解和欣赏残雪作品的读者会越来越多㊂美国对于残雪的高度评价也引起了国内学者的关注，促使他们重新思索残雪小说的文学价值㊂事实上，残雪作品在中国大陆的接受情况现在已经有所好转㊂在１９９５年之前，残雪总共只出过两本书㊂但现在平均每年都有五㊁六本书在国内外出版㊂２００２年，她的‘五. All Rights Reserved.第３期孙会军等㊀残雪小说在英语世界的译介与接受７７㊀香街“在国内也开始有了读者，居然卖了几万册㊂［９］相信在不久的将来，中国和美国读者对于残雪的作品的看法或许会逐渐接近，残雪的作品在中国会有更多的读者，并在中国当代文学史上也会得到应有的地位㊂注释：①ｈｔｔｐ：／／ｗｅｂ．ｍｉｔ．ｅｄｕ／ｃｃｗ／ｃａｎ⁃ｘｕｅ／ｂｉｏｇｒａｐｈｙ．ｓｈｔｍｌ．②ｈｔｔｐ：／／ｗｅｂ．ｍｉｔ．ｅｄｕ／ｃｃｗ／ｃａｎ⁃ｘｕｅ／ｖｉｄｅｏｓ．ｓｈｔｍｌ．③④ｈｔｔｐ：／／ｍｃｌｃ．ｏｓｕ．ｅｄｕ／ｒｃ／ｐｕｂｓ／ｍｃｃａｎｄｌｉｓｈ．ｈｔｍ．⑤ｈｔｔｐ：／／ｗｅｂ．ｍｉｔ．ｅｄｕ／ｃｃｗ／ｃａｎ⁃ｘｕｅ／ｔｒａｎｓｌａｔｏｒｓ．ｓｈｔｍｌ．［参考文献］［１］王蒙．读‘天堂里的对话“［Ｎ］．文艺报，１９８８⁃１０⁃０１．［２］邓善洁．先锋小说不再令人兴奋［Ｊ］．文学自由谈，１９９０（２）．［３］Ｉｎｎｓ，Ｃｈａｒｌｏｔｔｅ．ＦｏｒｅｗｏｒｄｔｏｔｈｅＥｎｇｌｉｓｈｔｒａｎｓｌａｔｉｏｎｏｆＯｌｄＦｌｏａｔｉｎｇＣｌｏｕｄ：ＴｗｏＮｏｖｅｌｌａｓｂｙＣａｎＸｕｅ［Ｍ］．ＴｒａｎｓｌａｔｅｄｂｙＲｏｎａｌｄＲ．ａｎｄＺｈａｎｇＪｉａｎ．Ｅｖａｎｓｔｏｎ，ＩＬ：ＮｏｒｔｈｗｅｓｔｅｒｎＰｒｅｓｓＵｎｉｖｅｒｓｉｔｙ，１９９１．［４］ＤｙｌａｎＳｕｈｅｒａｎｄＪｏａｎＨｕａ．ＡｎｉｎｔｅｒｖｉｅｗｗｉｔｈＣａｎＸｕｅ［ＥＢ／ＯＬ］．２０１３．［５］朱鹏英．女作家残雪：一边做着世俗的我一边鄙视着［ＥＢ／ＯＬ］．［２００７⁃１２⁃０３］．ｈｔｔｐ：／／ｗｗｗ．ｃｈｉｎａｎｅｗｓ．ｃｏｍ／ｃｕｌ／ｎｅｗｓ／２００７／１２⁃０３／１０９３５１４．ｓｈｔｍｌ［６］残雪．黄泥街［Ｍ］．台北：圆神出版社，１９８７．［７］Ｄｕｋｅ，ＭｉｃｈａｅｌＳ．ＭｏｄｅｒｎＣｈｉｎｅｓｅＷｏｍｅｎＷｒｉｔｅｒｓ：ＣｒｉｔｉｃａｌＡｐｐｒａｉｓａｌｓ［Ｍ］．Ａｒｍｏｎｋ：Ｍ．Ｅ．Ｓｈａｒｐｅ，１９８９．［８］Ｇｒｉｆｆｉｔｈ，Ｊｏｎａｔｈａｎ．ＣａｎＸｕｅＩｎｔｅｒｖｉｅｗ：ｔｈｅａｅｓｔｈｅｔｉｃａｃｔｉｖｉｔｙｉｎｍｏｄｅｒｎｆｉｃｔｉｏｎ［ＥＢ／ＯＬ］．ＵｎｐｕｂｌｉｓｈｅｄｉｎｔｅｒｖｉｅｗｉｎＦｅｂｒｕａｒｙ２０１０．ｈｔｔｐ：／／ｗｅｂ．ｍｉｔ．ｅｄｕ／ｃｃｗ／ｃａｎ⁃ｘｕｅ／ｆｉｌｅｓ／ＣａｎＸｕｅ⁃Ｉｎｔｅｒｖｉｅｗ．ｐｄｆ．［９］文也．残雪也畅销［Ｎ］．北京日报，２００２⁃０９⁃１５．ＴｈｅＴｒａｎｓｌａｔｉｏｎａｎｄＲｅｃｅｐｔｉｏｎｏｆＣＡＮＸｕｅᶄｓＦｉｃｔｉｏｎｉｎｔｈｅＥｎｇｌｉｓｈＷｏｒｌｄｗｉｔｈＴｈｅＹｅｌｌｏｗＭｕｄＳｔｒｅｅｔａｓａｃａｓｅｓｔｕｄｙＳＵＮＨｕｉｊｕｎ１，ＺＨＥＮＧＱｉｎｇｚｈｕ２（１．ＥｎｇｌｉｓｈＬａｎｇｕａｇｅａｎｄＬｉｔｅｒａｔｕｒｅＩｎｓｔｉｔｕｔｅ，ｓｈａｎｇｈａｉＩｎｔｅｒｎａｔｉｏｎｄＳｔｕｄｉｅｓＵｎｉｖｅｒｓｉｔｙ，ｓｈａｎｇｈａｉ２０００８３，Ｃｈｉｎａ）（２．ＰＬＡＵｎｉｖｅｒｓｉｔｙｏｆＦｏｒｅｉｇｎＬａｎｇｕａｇｅ，Ｌｕｏｙａｎｇ４７１００３，Ｃｈｉｎａ）Ａｂｓｔｒａｃｔ：ＣａｎＸｕｅ，ａｒｅｐｒｅｓｅｎｔａｔｉｖｅｏｆＣｈｉｎａ＇ｓＡｖａｎｔ－ｇａｒｄｅｗｒｉｔｅｒｓｉｎｔｈｅＮｅｗＥｒａ，ｉｓｋｎｏｗｎａｓａｗｒｉｔｅｒｉｎｈｅｒｍｏｔｈｅｒｌａｎｄ，ｂｕｔｅｎｊｏｙｓｇｒｅａｔｅｒｐｏｐｕｌａｒｉｔｙａｂｒｏａｄ．ＨｅｒｗｏｒｋｓｈａｖｅｂｅｅｎｔｒａｎｓｌａｔｅｄｉｎｔｏＦｒｅｎｃｈａｎｄＪａｐａｎｅｓｅａｎｄｗｏｎａｃｃｌａｉｍｓｉｎｔｈｏｓｅｃｏｕｎｔｒｉｅｓ．Ｔｈｅｙａｒｅａｌｓｏｔｒａｎｓｌａｔｅｄａｎｄｗｅｌｌ－ｒｅｃｅｉｖｅｄｉｎｔｈｅＥｎｇｌｉｓｈｗｏｒｌｄ．ＩｎｔｈｅＵｎｉｔｅｄＳｔａｔｅｓａｌｏｎｅ，ａｔｌｅａｓｔ６ｏｆｈｅｒｗｏｒｋｓｈａｖｅｂｅｅｎｔｒａｎｓｌａｔｅｄｉｎｔｏＥｎｇｌｉｓｈ，ｍａｋｉｎｇｈｅｒｏｎｅｏｆｔｈｅｍｏｓｔｔｒａｎｓｌａｔｅｄＮｅｗＥｒａＣｈｉｎｅｓｅｗｒｉｔｅｒｓｔｈｅｒｅ．ＴｈｉｓｐａｐｅｒｉｎｔｅｎｄｓｔｏｅｘｐｌｏｒｅｔｈｅｄｉｆｆｅｒｅｎｔｒｅｃｅｐｔｉｏｎｓｏｆＣａｎＸｕｅ＇ｓｎｏｖｅｌＨｕａｎｇｎｉｊｉｅｉｎＣｈｉｎｅｓｅｍａｉｎｌａｎｄａｎｄｉｔｓＥｎｇｌｉｓｈｖｅｒｓｉｏｎＴｈｅＹｅｌｌｏｗＭｕｄＳｔｒｅｅｔｉｎｔｈｅＵＳ，ｔｒｙｉｎｇｔｏｆｉｎｄｏｕｔｔｈｅｒｅａｓｏｎｓｂｅｈｉｎｄｓｕｃｈａｄｉｆｆｅｒｅｎｃｅ．ＩｔｉｓｈｏｐｅｄｔｈａｔｔｈｅｐｒｅｓｅｎｔｒｅｓｅａｒｃｈｃａｎｓｈｅｄｓｏｍｅｌｉｇｈｔｏｎｃｏｎｔｅｍｐｏｒａｒｙＣｈｉ⁃ｎｅｓｅｌｉｔｅｒａｔｕｒｅｔｒａｎｓｌａｔｉｏｎｉｎｔｏｔｈｅＥｎｇｌｉｓｈｗｏｒｌｄ．Ｋｅｙｗｏｒｄｓ：ＣａｎＸｕｅ；ＥｎｇｌｉｓｈＴｒａｎｓｌａｔｉｏｎ；ＴｈｅＹｅｌｌｏｗＭｕｄＳｔｒｅｅｔ［责任编辑㊀董明伟］. All Rights Reserved.。

广告创意人：亚历克斯·博格人物简介

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广告创意人：亚历克斯·博格人物简介
01
亚历克斯·博格的职业生涯
亚历克斯·博格的早期生活与教育背景
出生于美国纽约市
• 成长于一个充满创意的家庭 • 父亲是一位建筑师，母亲是一位艺术家
教育背景
• 哥伦比亚大学建筑系毕业 • 在纽约艺术学院学习广告设计
技术创新
• 亚历克斯·博格关注技术创新对广告行业的影响 • 他认为广告行业应充分利用科技手段，提升创意水平和传播效果
05
亚历克斯·博格的个人信息与生活趣事
亚历克斯·博格的兴趣爱好与特长
兴趣爱好
• 亚历克斯·博格热爱旅行、摄影、阅读 • 他的兴趣爱好为他的广告创意提供了丰富的灵感来源
特长
• 亚历克斯·博格擅长绘画、设计、写作 • 他的特长使他在广告创意领域具有独特的优势
培养理念
• 亚历克斯·博格强调广告创意人才应具备创新、跨界、人文关怀等素质 • 他的理念对广告行业人才培养产生了深远影响
培养方式
• 亚历克斯·博格关注实践教育，提倡在实践中学习 • 他的培养方式为社会输送了大量优秀的广告创意人才
亚历克斯·博格对广告行业未来发展的展望
行பைடு நூலகம்发展
• 亚历克斯·博格认为广告行业应不断创新，紧跟时代发展 • 他对广告行业未来发展的展望具有指导意义
友谊
• 亚历克斯·博格珍视友谊，与朋友相互支持 • 他的友谊对他的事业成功和个人成长起到了重要作用
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跨界思维
• 善于将不同领域的元素融入广告创意中 • 提倡跨界合作，拓展品牌影响力

时尚产业领袖：罗伯特·博雷(美国服装品牌Gap创始人)人物简介

• 缺乏资金和经验 • 品牌知名度低，难以吸引顾客 • 竞争对手众多，市场竞争激烈
02
Gap品牌的创立与发展
Gap品牌的创立背景及市场定位
01 创立背景
• 罗伯特·博雷认为市场缺乏适合全家人的休闲服装品牌 • 抓住市场机遇，创立了Gap品牌
02 市场定位
• 以家庭为中心，提供休闲、时尚、舒适的服装 • 面向不同年龄段的消费者，满足不同需求
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时尚产业领袖：罗伯特·博雷（美国服装品牌Gap创始人）人物简介
01
罗伯特·博雷的早期生活与教育背景
罗伯特·博雷的童年经历及家庭背景
01 出生于美国旧金山
• 父亲是一名律师，母亲是一名家庭主妇 • 成长在一个中产阶级家庭，生活条件相对优越
• 负责采购和库存管理 • 对零售行业有了更深入的了解
后跳槽至唐纳·卡兰公司担任设计师助理
• 参与服装设计工作，培养了自己的设计才华 • 了解时尚行业的运作和市场需求
罗伯特·博雷的创业动机及初期挑战
创业动机
• 对当时美国服装市场的现状感到不满 • 认为自己有能力创立一个更具创意和吸引力的品牌
创业初期面临的挑战
Gap品牌在公益事业中的参与及贡献
参与公益事业的种类
• 环保 • 教育 • 慈善
贡献举例
• Gap品牌曾捐赠1亿美元用于抗击艾滋病和宫颈癌等疾病 • 参与Gap基金会，支持教育事业和环保项目
罗伯特·博雷对社会责任与公益事业的看法及影响
看法
• 认为社会责任和公益事业是企业的重要组成部分 • 通过参与公益事业，企业可以提升品牌形象，赢得消费者信任
03 品牌形象

罗伯特·瓦尔泽：渺小，保持渺小

爱读书读好书善读书文化苦旅罗伯特·瓦尔泽：渺小，保持渺小◎王雨宽世人对罗伯特·瓦尔泽的好奇源自一张拍摄于1956年的照片。

照片中，一名老者张开四肢，躺在瑞士东部的一片皑皑白雪之中，散落的帽子、周围深深浅浅的脚印引发了人们无限的浪漫联想。

这原本是记录死讯的一张相片，却令这位生前默默无闻的作家在随后的岁月中吸引了众多关注。

曾经将他忽视、对他不屑一顾的读者们热切地研究、阅读着关于他的一切，探寻这位谜语般的瑞士作家：他是谁？他从何处出发，又如何走进了森林与雪地？“来自内心的诗”1878年春天，瓦尔泽出生在瑞士小城比尔的一户多子家庭。

幼年时的瓦尔泽生活优渥，衣食无忧，和兄弟姐妹们在“岩石、洞穴、河岸、草场、低地、峡谷和森林瀑布”中“到处玩耍、发明游戏”（《坦纳兄妹》）。

然而，在瓦尔泽逐渐长大的那些年岁里，父亲的生意却走上了下坡路，家族财富不断缩减，社会地位持续下滑，这令生性敏感好强的母亲患上了忧郁症。

雪上加霜的是，最年长的哥哥在瓦尔泽四岁那年病逝，给这个本就不幸的家族带来了更深重的打击。

瓦尔泽14岁那年，被家人送去银行当学徒。

在漫长而枯燥的学徒生涯期间，瓦尔泽遇到了可以为之燃烧一切的热爱——他观看了席勒创作的戏剧《强盗》，并一发不可收地爱上了戏剧，梦想成为一名演员。

为此，他逃往德国南部大城市斯图加特，并报名参加了一个表演训练班，但这个愿望很快便落空了——生性腼腆的瓦尔泽并不具备演员这一职业所必需的“神圣的火花”（《散步：罗伯特·瓦尔泽中短篇小说集》）。

之后他回到瑞士苏黎世，再次成为了一名助理会计师。

1897至1902年是极为动荡的几年，青年瓦尔泽辗转于慕尼黑、柏林、图恩与维尔茨堡，寄住在不同的亲戚与朋友家中。

就是在这种动荡不安中，瓦尔泽开始以诗人的身份崭露头角。

出版人弗兰茨·布莱对他的诗作评价很高：“这些都是真实且真正来自内心的诗歌。

韵律从不主导意义。

没有一首诗为了迎合耳朵而调整其旋律。

简述美国新现实主义小说研究的叙事视角

简述美国新现实主义小说研究的叙事视角摘要：美国新现实主义小说在二十世纪七十年代逐渐开始形成，表达了一批不再迷恋后现代主义语言文字实验的美国小说家们回归现实主义的倾向，也同时在国内外文学评论领域掀起一股研究热潮。

进入二十一世纪，随着叙事学在文学研究领域的方兴未艾，本研究梳理了近年来在研究美国新现实主义小说中的叙事视角，以扩宽文学研究的多样性。

关键词：新现实主义小说，后经典主义叙事研究，跨文类，跨媒介一、美国新现实主义小说国外的研究现状20世纪美国文学艺术发展经历了两次转向：一次是从第一次世界大战之前的现实主义、自然主义向一战之后的现代主义转向，第二次是从现代主义向二战之后的后现代主义的转向。

因此学者们大致把20世纪的美国文学艺术史划分为两个阶段，现代主义和后现代主义。

但英国文学批评家马尔科姆﹒布拉德伯里(Malolm Bradbury, 1932-2000)在《哥伦比亚美国文学史》中指出：“这是把人引入歧途的历史，而且过分简略，因为在这个世纪的整个过程中，在小说领域内，现实主义一直经久不衰，而且十分强大，与此同时还不断地引起了关于现实主义的真实性、哲学价值和现实意义的种种争论。

”[1]其实，现实主义在美国文学史上一直都是重要的文学潮流，并没有因为一战后现代主义的繁荣和二战后后现代主义的崛起而从美国文学的历史舞台消失。

相反，进入70年代，随着整个国际社会历史环境发生了巨大的变化，美国有一批作家不再迷恋于后现代主义所倡导的语言文字实验，或执着在自我世界的探寻，而开始直面现实，书写发生在真实世界的人与事。

美国小说的创作逐渐回归现实主义，一种独特的小说形式——美国新现实主义小说逐渐开始形成。

美国新现实主义小说之所以越来越受到文学批评家的关注得益于许多新现实主义小说作家及其作品频频在多个主流文学奖项中拔得头筹。

这些具有代表性的作家中有库尔特﹒冯内古特(Kurt Vonnegut, 1922-2007)，苏珊﹒桑塔格(Susan Sontag,1933-2004)、托马斯﹒品钦(Thomas Pynchon, 1973- ) 等人。

本·霍洛维茨：8年CEO,只有3天顺境,剩下全是举步维艰,创业需做好准备

本·霍洛维茨，硅谷资深创业者，“硅谷最牛的50个天使投资人”之一。

1999年他与网景之父马克·安德森共同创立Loudcloud公司，后转型为Opsware 公司，在互联网泡沫的恶劣大环境下，数次带领公司起死回生，并最终成功以16亿美元的高价将公司出售给惠普。

多年以后他用这样一句话总结他的创业时光：“在担任CEO的8年多时间里，只有3天是顺境，剩下的8年几乎全是举步维艰。

”在此，还要引用另一位创业者小李同学的话：“创业也从来不是为了要谁来理解你。

”3天是顺境，剩下的8年几乎全是举步维艰-创业中的挣扎-创建公司之初，每一位企业家都怀揣着一个清晰明确的成功梦想。

你会创造一个极其优越的环境，雇用最能干的人加入你的团队，你们会齐心协力，研发一款令客户满意的产品，让这个世界变得更美好。

为了使梦想成为现实，经过了无数个日夜的辛苦奋斗，你却发现，事情并没有按计划进行。

从一开始，你的公司就没有跟上你所设想的步伐。

你的产品出现了难以解决的各种问题，市场和你想象的大不相同，你的员工正在失去信心，有些人已经辞职。

在辞职的员工中，有些人还是非常优秀的，他们的离去令剩下的人们开始怀疑继续留在公司是否明智。

资金越来越少，风险投资家告诉你，由于近在眼前的欧洲经济危机，你的公司将很难筹集到资金。

在一次竞争中，你输给了对手，失去了一个忠诚的客户，失去了一名极出色的员工。

你的压力越来越大。

究竟是哪里出问题了？你的公司为什么没有按预想的轨道运转？你真有足够的能力去实现梦想吗？当梦想变成了噩梦，你会发现，自己陷入了旋涡之中。

-关于挣扎-挣扎是你想知道自己为什么要创办公司时的状态。

挣扎是人们问你为什么不退出，你却不知怎么回答时的状态。

挣扎是你的员工认为你在撒谎，而你却认为他们也许说得对的状态。

挣扎是你食之无味时的状态。

挣扎是你认为自己不应该当公司CEO时的状态，是你明知自己力不从心、明知无人能取代你时的状态，是所有人都认为你是白痴却没有人会炒你鱿鱼的状态，是自我怀疑变成自我憎恶时的状态。

discourse,+power,+ideology[1]

6 Discourse, Power, Ideology: Humanism and Postmodernism
Linda Hutcheon
Figurations, usually of an ideological origin whether acknowledged o r no, will be found in history as well as in the history-like. (Frank
Kermode) In the postmodern 'history-like' - be it in architecture, the visual arts, or literature - the ideological and the aesthetic are turning out to be inseparable. The overt and self-implicating paradox of self-reflexivity meeting historical grounding in the postmodern fiction of, for example, Rushdie, Fowles, Eco or Doctorow resists any temptation to see ideology as that which only others fall prey to. What postmodern theory and practice have taught is less that 'truth' is illusory than that it is institutional, for we always act and use language in the context of politico-discursive conditions (Eagleton 1986: 168). Ideology both constructs and is constructed by the way in which we live our role in the social totality (Coward and Ellis 1977: 67), and by the way we represent that process in art. Its fate, however, is to appear as natural, ordinary, commonsensical. Our consciousness of ourselves is usually, therefore, uncriticized because it is familiar, obvious, transparent (Althusser 1969: 144). When these practical norms move from asserting how things are to claiming how they ought to be, we can begin to see the connections between ideology and existing relations of power. From the earlier Marxist notion of ideology as false consciousness or an illusory belief system, we have moved, in current critical discourse, to a different notion of ideology as a general process of production of meaning (Williams 1977: 55). In other words, all social practice (including art) exists by and in ideology (Coward and Ellis 1977: 72), and as such, ideology comes to mean 'the ways in which what we say and believe connects with the power-structure and power-relations of the society we live in' (Eagleton 1983: 14). Much of the impetus to this redefining of ideology and to its newly important position in recent discussions of art has come from a reaction against the liberal humanist suppression of the historical, political, material and social in the definition of art as eternal and universal. Postmodern theory and practice have worked to contest this suppression, but in such a way that their implication in the underlying humanist value system cannot be ignored.