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Future present: cli-fi’s representational challenge 未来的现在:Cli-Fi 在表现形式上的挑战
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-09-18 DOI: 10.1007/s11059-024-00755-8
Simon C. Estok

Time is central to climate change fiction (cli-fi). One of the key challenges of the rapidly evolving genre has to do with bringing the future to the present and retaining a semblance of entertainment while using over-exposed material from the clutter of data and mass media narratives. People are numbed by it all, and offering effective narratives is no easy task. While some cli-fi writers look to the past for answers and others to the present and its hedonistic obsessions, it is finally all really about the future and understanding both how the future structures the present and how we need to reset our current trajectories. It is becoming increasingly clear that climate change is too big for what literary genres can currently handle. The changes will be tectonic, it seems, and Kim Stanley Robinson is a potent force pushing at the fault-lines and leading the changes to what may very well be a new genre—one sufficient to encompass the vastness that bringing the future present demands. If it is to push us to act meaningfully on the crises we face, then cli-fi indeed must bring the future present and compel understandings of how the future structures the present.

时间是气候变化小说(cli-fi)的核心。这种快速发展的小说类型所面临的主要挑战之一是如何将未来带入当下,并在利用杂乱无章的数据和大众媒体叙事中过度曝光的材料的同时,保留一种娱乐性。人们对这一切已经麻木,提供有效的叙事并非易事。虽然一些科幻作家从过去寻找答案,另一些则从现在及其享乐主义的迷恋中寻找答案,但最终所有的一切其实都与未来有关,都与理解未来如何构建现在以及我们需要如何重新设定当前的轨迹有关。人们越来越清楚地认识到,气候变化对文学流派目前所能应对的范围来说实在是太大了。金-斯坦利-罗宾逊(Kim Stanley Robinson)是一股强大的力量,他推动着断层线的发展,并引领着变革,这很可能是一种新的文学体裁--一种足以涵盖未来当下所要求的广阔性的文学体裁。如果要推动我们对所面临的危机采取有意义的行动,那么克利小说确实必须将未来呈现出来,并迫使人们理解未来如何构建现在。
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引用次数: 0
Representing stream of consciousness in comics: definition and categorization 在漫画中表现意识流:定义与分类
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-09-16 DOI: 10.1007/s11059-024-00744-x
Xu Lian

This article explores the definition and nature of stream of consciousness in comic by drawing strength from discussion upon related topics in literary criticism and comics studies. It argues that stream-of-consciousness depiction in comics could be divided into three categories according to whether such depiction could be attributed to a character or not. In comics, impersonal representation of inner flows becomes possible by virtue of the monstrator which governs the pictorial sequence. Meanwhile, there are also in-between situations when it is difficult to determine whether the focused mind is that of a character or an impersonal extradiegetic narrator.

本文通过对文学批评和漫画研究中相关主题的讨论,探讨漫画中意识流的定义和性质。文章认为,漫画中的意识流描写可以根据是否归属于某个人物分为三类。在漫画中,由于 "畸形人"(monstrator)支配着画面的顺序,非人格化的内心流动表现成为可能。同时,也有一些介于两者之间的情况,即很难确定专注的思想是人物的思想,还是非个人化的外传叙述者的思想。
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引用次数: 0
Electronic literary creation: dialogues through cultural recycling 电子文学创作:通过文化再循环进行对话
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-07-02 DOI: 10.1007/s11059-024-00749-6
Laura Sánchez Gómez

This article analyzes digital recycling as a cultural strategy through which it is possible to recognize the dialogue between popular digital culture and the most avant-garde electronic creation. Due to its experimental nature, electronic creation provides conceptual and aesthetic strategies to understand and analyze digital cultural processes. This work analyzes the processes in which recycling becomes a protagonist. The strategy of cultural recycling is not novel. It proposes a reconfiguration of the viewer's gaze in front of the work that starts from the historical avant-garde and has a critical intention towards the concept of authorship, the canon, and originality of creative processes. Nevertheless, through the study of the characteristics of the digital ecosystem, we show how the practice of recycling changes considerably, acquiring great prominence and becoming a defining feature of digital cultural behavior today through the naturalization and automation of its processes.

本文分析了作为一种文化策略的数字再循环,通过它可以认识到流行数字文化与最前卫的电子创作之间的对话。由于其实验性质,电子创作为理解和分析数字文化进程提供了概念和美学策略。本作品分析了循环利用成为主角的过程。文化再循环的策略并不新颖。它从历史上的先锋派作品出发,提出了重新配置观众在作品面前的视线,并对作者身份、典籍和创作过程的原创性等概念进行了批判。然而,通过对数字生态系统特征的研究,我们展示了循环利用的做法是如何发生巨大变化的,如何通过其流程的自然化和自动化而获得显著地位并成为当今数字文化行为的一个决定性特征。
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引用次数: 0
The time of data. theoretical thinking, statistical thinking 数据时代。理论思维、统计思维
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-06-04 DOI: 10.1007/s11059-024-00743-y
Alexandre Gefen

Contemporary experiments in Digital Humanities and distant reading tend to propose an empirical approach to literary facts. This development leads us to reflect on the place of quantitative analysis in literary theory, by asking whether data can replace literary theory in the age of Artificial Intelligence (AI)? By shifting from the status of emblematic fact to that of mere “noise” or statistical randomness in data, it is the entire theoretical conception of the literary work, supposedly individual and particular, that is called into question. This article attempts to reflect on these epistemological evolutions.

数字人文和远距离阅读的当代实验倾向于提出一种实证的文学事实方法。这一发展促使我们反思定量分析在文学理论中的地位,追问在人工智能(AI)时代,数据能否取代文学理论?通过从象征性事实的地位转向仅仅是数据中的 "噪音 "或统计随机性的地位,文学作品的整个理论概念,即所谓的个体性和特殊性,受到了质疑。本文试图对这些认识论的演变进行反思。
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引用次数: 0
Past present: Coal and Hard Times 过去现在煤炭与艰难岁月
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-06-03 DOI: 10.1007/s11059-024-00747-8
Z. Gizem Yιlmaz

Climate change is all about the past, and fossil fuel narratives are critical in unearthing this past and providing the conceptual energy we need to survive our crises. The different cultural, geographical, and temporal spaces of coal point to not only the entanglements between human and nonhuman bodies but also to the intersection of different temporalities in the planet’s wider narratives. From this perspective, coal shows how the present only exists through its implications with the past. It brings with it the past. Coal’s overlapping temporalities are on display in the Charles Dickens classic Hard Times, where the insistence of the past in the present is inescapable. Coal, with its ancient subterranean temporalities, fires the flames of the present uni-directional industrial clock, and, despite its intertemporal composition, comes to signify uniformity. This is a direct result of the chronological discipline that factory production requires. Hard Times thus demands that we delve into what time actually is with its global, historical, and industrial networks. We will only be able to fully understand the present by linking cultural practices to the past. Coal is a good place start, and, through it, Dickens reveals overlapping temporalities and the past’s presence within the intertemporal networks of past Anthropogenic climate crises in Hard Times.

气候变化与过去息息相关,而化石燃料的叙事对于挖掘过去、提供我们度过危机所需的概念能源至关重要。煤炭的不同文化、地理和时间空间不仅指向人类和非人类身体之间的纠葛,还指向地球更广泛叙事中不同时间性的交叉。从这个角度来看,煤炭显示了现在是如何通过与过去的联系而存在的。它带来了过去。在狄更斯的经典作品《艰难时世》(Hard Times)中,煤炭的重叠时间性得到了展示,在这部作品中,过去对现在的坚持是不可避免的。煤炭,以其古老的地下时间性,点燃了现在单向工业时钟的火焰,尽管它是跨时空构成的,但却象征着统一性。这是工厂生产所要求的时间纪律的直接结果。因此,《艰难时世》要求我们深入探究时间的全球、历史和工业网络究竟是什么。只有将文化实践与过去联系起来,我们才能充分理解现在。煤炭是一个很好的开始,狄更斯通过煤炭揭示了重叠的时间性,以及过去在《艰难时世》中人为气候危机的跨时空网络中的存在。
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引用次数: 0
“Give me the blade. Some things are worth spilling blood for.” Madeline Miller’s Circe and the issue of claiming agency "把刀给我有些东西值得我们为之抛头颅洒热血"。玛德琳-米勒(Madeline Miller)的《西尔塞》(Circe)与主张代理权的问题
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-05-30 DOI: 10.1007/s11059-024-00735-y
Zuzanna Raczyńska

This article proposes an alternative interpretation—with regard to the current state of research—of Madeline Miller’s Circe as a character claiming her agency. In it, I capitalise on Devi and Khuraijam’s linking witchcraft and agency in Circe as well as Alvin Goldman’s theory of human action. On this basis, I substantiate the thesis that, in Madeline Miller’s Circe, the protagonist claims her agency through developing her witchcraft skills. This process consists of manifesting traits pertinent to being an active character, such as intentionality, motivation through desire or beliefs, and the will to initiate. Circe gradually and slowly moves through these stages to reach her independence and self-assuredness, which she lacks in her childhood. Therefore, in order to reflect these stages, the analytical part of the article is divided into three sections. The first section deals with the rare moments of Circe’s first attempts at witchcraft, which reveal her resolution and intention, even if she fails to act on them. In the second section, Circe’s desires and beliefs are explored as they represent the eventual force behind her future decisions and use of witchcraft. Finally, in the last section, I explore how the previous two stages come to fruition in the shape of Circe actively exercising her will to employ her now superb witchcraft skills in defiance of the rules and conventions that have bound her into submission thus far.

本文根据目前的研究现状,对玛德琳-米勒笔下的 "西尔茜 "提出了另一种解释,认为她是一个主张自身能动性的人物。在这篇文章中,我借鉴了 Devi 和 Khuraijam 将《西尔塞》中的巫术和代理权联系起来的观点,以及 Alvin Goldman 的人类行动理论。在此基础上,我证实了以下论点:在玛德琳-米勒的《西尔塞》中,主人公通过发展她的巫术技能来实现其能动性。这一过程包括表现出作为一个积极角色的相关特征,如意向性、通过欲望或信念产生的动机以及启动的意愿。西尔茜逐渐、缓慢地经历了这些阶段,最终实现了她童年时代所缺乏的独立和自信。因此,为了反映这些阶段,文章的分析部分分为三个部分。第一部分涉及西尔茜第一次尝试巫术的罕见时刻,这些时刻揭示了她的决心和意图,尽管她没有付诸行动。第二部分探讨了西尔塞的欲望和信仰,因为它们代表了她未来决定和使用巫术的最终力量。最后,在最后一节中,我将探讨前两个阶段是如何实现的,即西尔塞如何积极行使她的意志,运用她现在高超的巫术技能,蔑视迄今为止束缚她屈服的规则和惯例。
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引用次数: 0
Historical fiction: From historical accuracy to prosthetic memory 历史小说:从历史准确性到义肢记忆
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-05-03 DOI: 10.1007/s11059-024-00740-1
Alicja Bemben

In this article, I contribute to the discussion on the cognitive value of contemporary historical fiction as a means of understanding the past. Although such means typically come from the field of history and philosophy of history, and historical accuracy seems to be the most important means, this work is concerned with historical fiction being an inspiration for an auxiliary means of the sort. Drawing on Alison Landsberg’s concept of prosthetic memory, I propose the concept of prosthetic past. In order to elaborate on the idea with an illustrative example, I use Katherine Reay’s The London house (2021)—a work of historical fiction that explicitly engages with the issue of historical accuracy. With regard to this, I structure the article as follows: the text opens with a broad-brush discussion of the development of the idea of understanding the past in the field of academic history and mainstream historical fiction. In the next part, I capitalise on Landsberg’s prosthetic memory to give grounds to my idea of prosthetic past and refer to The London house as an example with which to elaborate on it. Subsequently, I propose a tripartite discussion of the concept-cum-novel to explicate the idea of prosthetic past. The article closes with my consideration of two implications of the presented findings.

在这篇文章中,我将为有关当代历史小说作为理解过去的一种手段的认知价值的讨论做出贡献。尽管这类手段通常来自历史学和历史哲学领域,而且历史准确性似乎是最重要的手段,但这项工作关注的是历史小说对这类辅助手段的启发。借鉴艾莉森-兰茨贝格(Alison Landsberg)的 "修复记忆"(prosthetic memory)概念,我提出了 "修复过去"(prosthetic past)的概念。为了举例说明这一概念,我使用了凯瑟琳-雷伊(Katherine Reay)的《伦敦的房子》(2021 年)--一部明确涉及历史准确性问题的历史小说作品。为此,我对文章的结构安排如下:文章开篇概括性地讨论了学术史领域和主流历史小说中理解过去这一理念的发展。在接下来的部分中,我借用兰茨贝格的 "假体记忆 "为我的 "假体过去 "概念提供依据,并以《伦敦的房子》为例进行阐述。随后,我提出了对概念兼小说的三方讨论,以阐释 "假体过去 "这一概念。文章最后,我探讨了上述研究成果的两点启示。
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引用次数: 0
Always needed, always hunted. Witches, female healthcare, and the need for a female history in Ami McKay’s The witches of New York 总是被需要,总是被追捕。阿米-麦凯的《纽约女巫》中的女巫、女性保健以及对女性历史的需求
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-04-19 DOI: 10.1007/s11059-024-00739-8
Nina Marie Voigt

Understanding historical fiction as a hybrid space, both presenting the past and embracing the culture it is written in allows insights into the problems women face within the patriarchal society by setting them at a temporal distance. This paper explores the connections between witches, history, and medical practices in Amy McKay’s The witches of New York. It first looks at how the novel queers history by introducing a female perspective embedded in memory-sharing. The paper then moves on to show how the novel contrasts gendered medicinal practices and segues into explaining how this contrast is superficial. The above serves as the ground for my key claim that, although the novel seeks to present an alternative to what it depicts as male-centric Western medical practices harmful to women, it fails to offer an alternative way of thinking. Even if it relies on the postfeminist discourse by seemingly presenting empowered feminine characters, these, under closer inspection, are shown to reinforce conservative notions of femininity through idealization of the figure of the female healer and gendered tropes of care. The paper concludes with the assertion that, although the novel aims to offer a meaningful alternative to the prevailing system of medical practice through its centering on female experiences, it cannot escape patriarchal discourses.

将历史小说理解为一个混合空间,既呈现过去,又拥抱其所处的文化,通过将女性置于一个时间距离上,可以深入了解她们在父权制社会中所面临的问题。本文探讨了艾米-麦凯的《纽约女巫》中女巫、历史和医疗实践之间的联系。本文首先探讨了小说是如何通过引入记忆分享中的女性视角来阙如历史的。然后,本文继续说明小说如何对比性别医疗实践,并进而解释这种对比是如何肤浅的。以上内容是我的主要观点的基础,即尽管小说试图提出一种替代方案,以取代它所描绘的以男性为中心、对女性有害的西方医疗实践,但它未能提供一种替代思维方式。即使小说依托后女权主义话语,看似展现了被赋予权力的女性角色,但仔细观察就会发现,这些角色通过理想化的女性治疗师形象和性别化的护理模式,强化了保守的女性概念。本文最后断言,尽管小说旨在通过以女性经历为中心,为现行医疗实践体系提供一种有意义的替代方案,但它无法摆脱父权制话语。
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引用次数: 0
“You are the spawn of Cain!” Grendel’s mother’s literary appropriations "你是该隐的后代!"格伦德尔母亲的文学侵占
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-04-09 DOI: 10.1007/s11059-024-00732-1
Katarzyna Myśliwiec

The paper is devoted to the study of three post-2000 novels appropriating Beowulf, whose common denominator is the amplification and humanization of the figure of Grendel’s mother and the reconstruction of her potential personal history. The paper argues that multiple ambiguities concerning Grendel’s mother in the poem render her a perfect vehicle for exploring modern assumptions concerning monstrosity, humanity, and femininity. By foregrounding the fact that the canonicity of Beowulf legitimizes the status quo that it represents, the paper elucidates the reasons for which modern female writers look to such an old and culturally remote text. They seem to recognize Beowulf as a carrier of cultural memory and, in their herstories, they often attempt to present the values that it espouses as the foundations of persistent objectification and oppression of women. The female authors also strive to point to the male appropriation of history and memory by presenting mechanisms leading to the dehumanization of Grendel’s mother such as defamation, exile, and oblivion. Identifying Beowulf as a text written by a man, for men, and about men, they offer its feminist reclamations written by women, for women, and about women. The paper also discusses the alternative morality and wisdom represented by women in these modern novels as well as their criticism of traditional gender roles as social constructs which fail to appreciate female self-efficiency, resourcefulness, individualism, psychological strength, and stamina.

本文专门研究了三部 2000 年后改编自《贝奥武夫》的小说,它们的共同点是将格伦德尔的母亲这一形象放大和人性化,并重建了她潜在的个人历史。本文认为,诗歌中格伦德尔母亲的多重模糊性使她成为探讨现代人对怪物、人性和女性的假设的完美载体。通过强调《贝奥武夫》的经典性使其所代表的现状合法化这一事实,本文阐明了现代女性作家将目光投向如此古老且文化上遥远的文本的原因。她们似乎认识到《贝奥武夫》是文化记忆的载体,在她们的故事中,她们常常试图将《贝奥武夫》所信奉的价值观表现为长期物化和压迫妇女的基础。女作家们还通过介绍导致格伦德尔的母亲非人化的机制,如诽谤、流放和遗忘,努力指出男性对历史和记忆的侵占。他们认为《贝奥武夫》是一部由男性书写、为男性书写、关于男性的文本,并提出了由女性书写、为女性书写、关于女性的女性主义再诠释。论文还讨论了这些现代小说中女性所代表的另类道德和智慧,以及她们对传统性别角色的批判,认为传统性别角色是一种社会建构,未能欣赏女性的自立、机智、个人主义、心理力量和耐力。
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引用次数: 0
Robin Hood and resistance: the spatial ethics of “felaushyp” in A Lytell Gest of Robyn Hode 罗宾汉与抵抗:《罗宾-霍德的莱特尔盖斯特》中的 "feraushyp "空间伦理
IF 0.2 4区 文学 0 LITERATURE Pub Date : 2024-04-09 DOI: 10.1007/s11059-024-00738-9
Christian Beck

In this article, I argue that the greenwood in the early ballad A Lytell Gest of Robyn Hode constructs a unique subjectivity that can inform contemporary forms of resistance. In contrast to the greenwood, the “civilized,” urban spaces found in the text are populated by corrupt individuals serving corrupt institutions. Robin Hood’s actions in both smooth and striated spaces serve as the spatial foundations for an ethics of socio-political action. Emphasizing the concepts of solidarity or felaushyp, I show how Robin Hood embodies a form of ethics derived from the category of the “outlaw” and serve the wider community. In the end, this article utilizes the late medieval text of A Lytell Gest of Robyn Hode to explore the spatial and ethical construction of resistance to oppressive and striated authority.

在本文中,我认为罗宾-霍德(Robyn Hode)早期民谣《A Lytell Gest》中的绿林构建了一种独特的主体性,可以为当代的反抗形式提供借鉴。与绿林形成鲜明对比的是,文本中的 "文明 "城市空间中充斥着为腐败机构服务的腐败分子。罗宾汉在平滑空间和条纹空间的行动为社会政治行动伦理奠定了空间基础。我强调 "团结 "或 "felaushyp "的概念,说明罗宾汉如何体现了一种源自 "亡命之徒 "的伦理形式,并为更广泛的社会服务。最后,本文利用罗宾-霍德的中世纪晚期文本《A Lytell Gest of Robyn Hode》来探讨反抗压迫性和条纹化权威的空间和伦理建构。
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引用次数: 0
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