主講人：Prof.?Lucia Boldrini (University of London)??

主持人：張? 靖? 副研究員（中國人民大學）

主? ?題：People as Characters

時? ?間：2023 年 7 月 15 日（周六）17:00-19:00（北京時間）?

方? ?式：騰訊會議+ B 站直播

主講人簡介?

? ? ? ?Lucia Boldrini，歐洲科學院院士，現(xiàn)任國際比較文學學會主席。倫敦大學英語/比較文學教授，兼比較文學中心主任。研究興趣包括虛構(gòu)傳記和自傳，喬伊斯、但丁和現(xiàn)代主義中世紀主義，比較文學，以及有關地中海地區(qū)的文獻。著作包括：《他者自傳：歷史主題和文學小說》《喬伊斯、但丁和文學關系詩學》；與 Julia Novak 聯(lián)合編輯《生活寫作實驗：自傳/傳記與小說的交叉點》；與Michael Lackey和Monica Latham共同擔任Bloomsbury “Biofiction” 系列叢書的主編。

? ? ? Lucia Boldrini is Professor of English and Comparative Literature and Director of the Centre for Comparative Literature at Goldsmiths, University of London. Her research interests include fictional biography and autobiography; Joyce, Dante and modernist medievalism; comparative literature; and literature on and from the Mediterranean area, fields in which she has published widely. Among her books:?Autobiographies of Others: Historical Subjects and Literary Fiction?(Routledge, 2012);?Joyce, Dante, and the Poetics of Literary Relations?(CUP, 2001); and as editor,?Experiments in Life-Writing: Intersections of Auto/Biography and Fiction, with Julia Novak (Palgrave, 2017). She is Editor-in-Chief, with Michael Lackey and Monica Latham, of the Bloomsbury “Biofiction” book series. She is an elected member of the Academia Europaea, and currently serves as President of the International Comparative Literature Association.

主持人簡介

????????張靖，中國人民大學文學博士，中國人民大學國際文化交流學院副研究員，漢語國際推廣研究所副所長，兼任中國比較文學學會副秘書長及國際比較文學學會“經(jīng)文辯讀與比較文學研究會”秘書長。主要研究領域：圣經(jīng)文學、女性主義、漢學與比較文學。代表作：《新約文本中的“墨提斯”智慧母題與意義建構(gòu)——以〈馬可福音〉7:24-30為例》《〈箴言〉1-9章中的“外女”形象剖析》《撒瑪利亞婦人與后現(xiàn)代圣經(jīng)詮釋》、“Métis and New Testament: Wisdom for Chinese women from Mark”。

內(nèi)容簡介

????????Character as a key feature of narrative has been the object of narratological, psychoanalytic, cognitive, structuralist, poststructuralist approaches, and more. A significant dividing line is between those studies which invite us to treat character in fiction as analogous to a human being, and those which (arising, at least in Britain and the Anglophone world, from Practical Criticism and then developed by Structuralism and Poststructuralism) decry the humanism of the former and emphasize that character is a linguistic construct that should not be treated as a person: doing so is not just hopelessly naive, but it also exposes us to the manipulative techniques that seek to control our subjectivity through identification. Correspondingly, readers are seen as divided between those that identify with characters or judge them on the basis of their value-systems, as they would with people existing in our own world; and the critically savvy readers who know to privilege the objectivization of the textual construct, requiring not empathy, sympathy, or – worst of all – identification, but the distance of interpretation. Recent critical interventions on the question of literary character have sought to go beyond such opposition, Rita Felski in particular rehabilitating the notion of identification while accepting that readers also remain aware of the constructedness of character.

????????These discussions are about fiction, and therefore tend to skirt the question of the subject of biography and autobiography – that is, the textual construction of a person who did (or does) live in the real world and whose documented life is being narrated. But what happens when the text is a fiction ?about a real person, and the narrative belongs to the genre of biofiction or that of autofiction (or, I would add, to that of heterobiography, when writing is in the first person but the writer is different from the narrator/ character within the text, drawing attention, in multiple ways, to the duality of the I)? Here, the confusion between the linguistic construct and the person who really lived (/lives) in the world is programmatic and central to the aesthetics – as well as the ethics – of the genre; the character is both fictional and historical; the manipulations of fiction can't fully displace the historicity of the individual and of the narrative, and, conversely, the historicity can't escape the fictionality of the narrative project.?

????????My talk will reflect on these questions and consider how character is constructed in biographical and autobiographical fictions, and how this reflection on character may help us understand this feature not only in the way it functions within narrative, but also, perhaps, in how it affects our understanding of the people we encounter in the world.

?? ? ?人物作為敘事的一個關鍵特征一直是敘事學、精神分析、認知、結(jié)構(gòu)主義、后結(jié)構(gòu)主義等方法的研究對象。相關研究分為兩類，一類要求我們將小說中的人物視為與人相似的；其他（至少在英國和英語世界中產(chǎn)生于實踐批評，然后由結(jié)構(gòu)主義和后結(jié)構(gòu)主義發(fā)展起來的）譴責小說人物的人文主義特性，強調(diào)人物是一種語言結(jié)構(gòu)，不應該被視為一個人：這樣做不僅是無可救藥的天真，而且還讓我們暴露在試圖通過認同來控制我們的主觀性的操縱技術(shù)之下。相應地，讀者被視為分為兩類：一類是認同人物角色，二是根據(jù)他們的價值體系來判斷他們，就像他們對我們世界中存在的人所做的那樣；精明的批判性讀者知道優(yōu)先考慮文本結(jié)構(gòu)的客觀化，不需要移情、同情，或者——最糟糕的是——認同，而是闡釋的距離。最近對文學人物問題的批判性干預試圖超越這種對立，尤其是麗塔·費爾斯基（Rita Felski）恢復了認同的概念，同時承認讀者也仍然意識到人物的建構(gòu)性。??

? ? ? 這些討論是關于小說的，因此傾向于回避傳記和自傳主題的問題，即一個曾經(jīng)（或確實）生活在現(xiàn)實世界中的人的文本結(jié)構(gòu)，并且其記錄的是正在被敘述的生活。但是，當文本是關于人的小說，并且敘述屬于傳記小說或自傳小說的類型（或者，我想補充一下，異傳的類型，當寫作是第一人稱但作者是與文本中的敘述者/角色不同，以多種方式引起人們對“我”的二元性的注意？），在這里，語言結(jié)構(gòu)和真正生活在世界上的人之間的混淆是程序性的，也是該流派的美學和倫理的核心；該角色既是虛構(gòu)的又是歷史的；虛構(gòu)的操縱不能完全取代個人和敘事的歷史性，相反，歷史性也無法逃脫敘事的虛構(gòu)性。?

? ? ? 本場講座將反思這些問題，并考慮人物是如何在傳記和自傳小說中構(gòu)建的，以及對人物的這種反思如何幫助我們理解這一特征，不僅在于它在敘事中的運作方式，而且也許還在于它如何影響我們對世界上遇到的人的理解。

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