对称赞语回应之“thank you”的研究

致谢作为一种和谐性的言语行为,本质上是礼貌的,与道歉,命令,祝贺和许诺一样,它与人们的日常生活密切相关。致谢同时又是我们日常生活中发生频率很高的一种言语行为。正确地表达致谢有着重要的社会价值。本研究从理论上增进了我们有关致谢言语行为的知识,从实践上可以帮助我们建立一个良好的人际关系和和谐的社会氛围。     

This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACT

Writing in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.     

The rest on the flight into Egypt: A motif in Scandanavian folk art

The Legend-Motif Although there is no biblical account of the “Rest on the Flight into Egypt,” the story is well known in the Christian world. In pseudo-Matthew the story has developed into legend form. He tells about the Christ-Child commanding the date palm Mary is resting beneath to bend down so that she can eat the fruit. It is found in literary sources from the twelfth century onwards. “The Rest on the Flight into Egypt” had become an independent pictorial theme by the fourteenth century and it was mainly by means of pictures that it became part of our cultural heritage. This paper traces the introduction of the motif into Scandinavia and its pictorial dissemination through various media, including printing, chest-prints and wall-hangings.     

Divine wrath and the conceptual coherence of the book of Nahum

Abstract:

In the recent scholarly discussion on the Book of Nahum two views stand juxtaposed: (1) The Book is a unity, written by a seventh century BCE prophet; (2) the Book as it stands is the outcome of a complex process of redaction implying a Persian period date for the final form. Starting from the final form of the book, it is concluded that, from the point of view of structural‐literary analysis, the book can be seen as unity. The redaction historical approach to the Book of Nahum assumes a distinction between lofty theological language in the hymn (Nah. 1,2–8) and the more realistic language expressing nationalistic feelings in the rest of the book. This distinction is the starting point for a literary‐critical division. However, an analysis of the theme “divine wrath” leads to the conviction that both parts of the book share a common ideology. “Wrath” in the Book of Nahum should be interpreted within the framework of covenant‐theology and as a provoked reaction. The Assyrians are depicted as the “enemies of God”. The doom that is predicted for them can be seen as God's response to their conduct. In this connection it should be observed that several allusions to ancient Near Eastern treaty clauses can be found in Nah. 2,4–3,19. This observation leads to the assumption that the relation between YHWH and the Assyrians is seen as some form of vassaldom. All these observations make a literary‐critical division less plausible. Finally, a seventh century BCE date for the composition of Nahum is proposed.     

The supreme court of Israel: Formative years, 1948–1955

In seeking to establish a paradigm of a literary “New Jew” for the early twentieth century, we must view the cultural developments of the time on the background of European modernist culture. During this period the European “New Jew” underwent many incarnations, including Max Nordau's muscular hero, Buber's “Renaissance” Jew, Berdyczewski's Nietzschean “new man,” Herzl's “authentic Jew,” and the Hebrew literary talush (rootless person). All the divergent ideas of Jewish renewal propounded in Europe were united in Shaul Tchernichovsky's poetry, either through deliberate reference or as a result of the tenor of the time. This article examines Tchernichovsky's implicit conception of the “New Jew” through two poems: “Lenokhah pesel Apollo” (Before a statue of Apollo, 1899) and “Ani – li misheli ein klum” (I have nothing of my own, 1937).     

FROM CATASTROPHE TO HOPE

In his recent book, Amir Eshel focuses on over thirty recent German‐, Hebrew‐, and English‐language novels to develop a reading method—the “hermeneutics of futurity”—that would replace moralizing approaches to past traumas, including German guilt over the Holocaust and Israeli denial of Palestinian suffering. Futurity demonstrates how various narratives imagine a future liberated from denial, guilt, and thus traumatic repetition. In so doing Eshel emphasizes human agency to counter the “hermeneutics of suspicion” that has long dominated a great deal of literary theory, and focuses on how novelists construct human choices and their consequences. He covers two generations of German‐language novels spanning the Adenauer era to the present, and two generations of Israeli writers reflecting on 1948 and later, 1967. In order to develop fully the concept of futurity he also writes on recent American and English novels, often with implicitly political themes. The book succeeds in demonstrating the value of how various novelists read the past otherwise in order to reconstruct the present and future. At the same time, Eshel conceives human agency and “choice” so capaciously that the book often neglects the institutional constraints on agency that afflict victims of traumas in particular. His treatment of Martin Walser's controversial fictionalized memoir is exemplary of this problem in an otherwise stimulating work.     

Race and the Aesthetics of Alterity in Mahshid Amirshahi’s Dadeh Qadam-Kheyr

Focusing on black women Qadam-Kheyr and Sorur in Mahshid Amirshahi’s novel Dadeh Qadam-Kheyr (1999), this article examines literary representations of the African-Iranian presence, and provides a critique of race and slavery in twentieth-century Iran. In light of the history of the Iranian slave trade until 1928, and the reconstruction of race and gender identities along Eurocentric lines of nationalism in Iran, the novel under scrutiny is a dynamic site of struggle between an “Iranian” literary discourse and its “non-Persian” Others. The “aesthetics of alterity” at the heart of the text is, therefore, the interplay between the repressed title-character Qadam-Kheyr and the resilient minor character Sorur, each registering Amirshahi’s artistic intervention into a forgotten corner of Iranian history.     

Providing local color?: "cape coloreds," "cockneys," and Cape Town's identity from the late nineteenth century to the 1970s

Jim Dyos, founding-father of British urban history, argued that cities have commonly acknowledged “individual characteristics” that distinguish them. Such distinctive characteristics, though usually based on material realities, are promoted through literary and visual representations. This article argues that those who seek to convey a city’s distinctiveness will do so not only through describing its particular topography, architecture, history or functions but also by describing its “local colour”: the supposedly unique customs, manner of speech, dress, or other special features of its inhabitants. In colonial cities this process involved white racial stereotyping of “others”. In Cape Town, depictions of “Coloured” inhabitants as unique “city types” became part of the city’s “destination branding”. The article analyses change and continuity in such representations. To this end it draws on the insights of Gareth Stedman Jones into changing depictions of London’s “Cockneys” and the insights of Stephen Ward into historical “place-selling”.     

MISREPRESENTING MARX: A LESSON IN HISTORICAL METHOD

In this book Jonathan Sperber deploys his extensive knowledge of nineteenth‐century European social and political history, and his diligent research into sources that have become readily available only recently, to produce a substantial biography of Karl Marx. We find, however, that Sperber is mistaken in his treatment of Marx's ideas and of the intellectual contexts within which Marx worked. In fact, we suggest that he is systematically mistaken in this regard. We locate a root source of the error in his reductive approach to theoretical ideas. In section I we focus on the claim, taken for granted in the book, that Marx's ideas are instantiations of “materialism.” By detailed reference to the record of Marx's writings, we show that there is no justification for describing Marx as a “materialist” in the usually accepted senses of that term. In section II we review how Soviet and other interpreters of Marx, taking their lead from the later Engels, insisted that “materialism” was fundamental to Marxism. We suggest that Sperber's presentation of Marx's thinking as “materialist and atheist” aligns far better with such interpretations than it does with what Marx actually wrote. In sections III and IV we criticize Sperber's “contextualist” approach to dealing with ideas in history. His approach may seem reminiscent of Quentin Skinner’ s, but where Skinner deploys the discursive conventions prevailing in a past time to illuminate theoretical ideas, Sperber reduces theoretical ideas to context. We name Sperber's approach “theoretical nominalism,” a term that we use to denote the view that theoretical ideas are nothing but interventions into particular situations. We end by suggesting that greater attentiveness to philosophy and theory would have enriched Sperber's efforts in this book.     

Hasard vécu et nécessité subie dans leAnton Reiser de Karl Philipp Moritz

The distinction between literary chance and chance as experience (E. Köhler) allows the originality of Moritz’s autobiographical novel to be disengaged. This study of the motif of chance in book II ofAnton Reiser shows the establishment of a narrative method characterized by repressing the literary treatment of chance and maintaining of chance as a category of lived experience. In this text, the fortunate and unfortunate chances do not found the literary necessity of an exemplary destiny, but are the occasion for throwing light on the double determination, exterior and interior, that affects the character’s existence, an existence that is experienced under the sign of a radical contingency. It is in this first obscurity that psychological analysis operates, not to establish the horizon of Providence, but to disengage the general lessons of an existence, and to give to its hero, at this moment, the consistency of a novelistic character.     

2. BOOTSTRAPPING,SELF‐BINDING,AND OTHER METAPHORS OF ANTIFOUNDATIONALISM

In Images of History, Richard Eldridge deploys the metaphor of “bootstrapping” to describe the possibility of a mutually constitutive interaction of historical understanding and reflection on political ideals outside of and beyond the notion of a completed theory or teleological development. Although “bootstrapping” does considerable work in the book, it remains relatively unthematized in itself. This article explores the concept of bootstrapping in both Eldridge's book and in a number of disciplines. In doing so, it aims to make three critical observations. First, while Eldridge rightly seeks to energize our sense of historical openness, the argument is usefully enriched by the adjacent field of political theory, where “boot‐strapping” is often paired with “self‐binding” to describe how self‐creating processes might be arrested and stabilized. Second, Eldridge's use focuses on individual dispositions, but the concept of “bootstrapping” points to the need to pursue understanding of collective processes of self‐institution. Third, when extended to the natural world, “bootstrapping” calls for scrutiny of the relationship between human self‐creation and nature as a site of emergence and self‐organizing phenomena.     

„[…︁] mein Recht muss mir werden!“ Hermann Bahrs Tragikomödie Der Querulant (1914)

“[…︁] mein Recht muss mir werden!” Hermann Bahr’s Tragicomedy ­ Der Querulant ­ (1914). At the end of the eighteenth century, people who became notorious for their excessive engagement in legal proceedings started being labeled as “querulents” or “paranoid litigants”. The term “querulents” first appeared in the General Order of the Court for the Prussian States (Allgemeine Gerichtsordnung für die Preußischen Staaten) from July 6, 1793. From there on, the spectrum of juridical measures undertaken against the so-labeled litigators included classifying these persons as ineligible for legal action and psychiatric hospitalization. The paper discusses to what extent Hermann Bahr rearranges psychiatric and legal knowledge about this special type of the complainer in his tragicomedy Der Querulant, premiered in 1914. This concerns, first, the theatricality of the body and speech, secondly, the use of cultural techniques of writing and, thirdly, conflicting notions of justice. Therefore, the paper analyzes the aesthetic function of querulous behavior in the dramatic structure of the play from the point of view of both media theory and literary theory.     

“Broken Hearted” and “Crushed in Spirit”: Metaphors and Emotions in Psalm 34,19

In the Old Testament, the book of psalms stands out because of its vast and rich imagery and vivid metaphorical language. Deep human experiences and a wide range of human emotions in its heights and depths can be discovered there. The metaphorical language in the Old Testament, particularly in the psalms, is often linked with emotions. This paper centres on emotions within the metaphor discourse and aims to contribute to two fields of research: firstly, the field of metaphor analysis in the psalms and secondly, the area of the Studies of Emotions by using Ps 34,19 as an example. After presenting some core theoretical concepts regarding the study of metaphors and emotions, the analysis of the form and content of Ps 34 as well as the “broken hearted” and “crushed in spirit” in Ps 34,19 will be carried out. The results of the analysis shed new light on the well-known verbal images of the “broken hearted” and “crushed in spirit.”     

王同轨交游及其小说创作

话奇谈怪成为晚明文人交游雅集的新风尚,王同轨的《耳谈》正是在这种风气大盛的背景下生成。王同轨通过与胡应麟、屠隆、江进之、李维桢、梅鼎祚、丘长孺、李维寅、顾朗哉、孙鹏初、朱汝修等活跃于文坛的文人名士交游雅集,激发了其小说创作的原动力,为其小说创作提供了各色素材,由此更赋予了小说文学与史学的双重价值。     

William T. Cavanaugh and René Girard

Abstract

This article examines the argument of William T. Cavanaugh’s The Myth of Religious Violence in the light of the mimetic theory of the French-American cultural theorist Rene Girard. Though the two projects are significantly different I argue for their mutual compatibility. Each author is “apologetic” for the Christian revelation, though the presence of theology in “The Myth . . .” is muted or implicit, as in Walter Benjamin’s parable of the puppet and the dwarf. I argue for four areas of specific convergence between Cavanaugh and Girard, arising from a shared Augustinian, “two Cities” suspicion of the state, and their resistance to the secularising marginalisation of the Judeo-Christian tradition. The notion of martyrdom as a “dramatic” performance is a further shared dimension. Finally, I argue that the apparent divergence of their approaches, between an anthropological thesis (Girard’s) and a historical one (Cavanaugh’s) is narrowed when we consider the later work of Girard and its examination of nineteenth century dynamics of escalation in warfare in his last book Battling to the End.     

Shifting Narratives: Modern Chinese History since the Economic Reform and a Critique of Popular Opinion

When discussing the trans-formative shifts having occurred in the field of Chinese modern history following the economic reforms, one cannot avoid mention of the “revolutionary history paradigm,” the “paradigm of modernization” as well as the “postmodern paradigm.” According to popular belief, the course of development taken by the academic world during the past forty years was marked by a series of transformations: First was the progressive replacement of the “revolutionary history paradigm” by that of the “paradigm of modernization”; following that was the rise of the “postmodern paradigm” and the challenging of its predecessor. This set of divisions, though logically clear and succinct, cannot possibly conform to the realities of history in all of its complexness. While academic circles in the 1980’s were largely concerned with the issues of “what exactly is the historical driving force of Marxism” and “who are the revolutionary class,” the notion of the “paradigm of modernization” was rather a product of the conservative historical viewpoint and its rise during the late 1990’s. In this sense, then, the latter cannot possibly embody the former. On the surface of things, though the “postmodern paradigm” appears to refuse the narrative of revolutionary history, it in fact shares deeper connections with Chinese revolutionary thought at its roots. In short, then, these trans-formative shifts in modern Chinese history are not a simple “exchange” whereby one paradigm transfers into the next, but are rather a process of incessant and interconnected change.     

THE WORDS OF HISTORY

In From History to Theory, Kerwin Lee Klein writes a history of the central terms of the discipline of theory of history, such as “historiography,” “philosophy of history,” “theory of history,” and “memory.” Klein tells us when and how these terms were used, how the usage of some (“historiography” and “philosophy of history”) declined during the twentieth century, and how other terms (“theory” and “memory”) became increasingly popular. More important, Klein also shows that the use of these words is not innocent. Using words such as “theory” or “historiography” implies certain specific ideas about what the writing of history should be like, and how theoretical reflection on the nature of history and its writing relates to the practical issues of the discipline. In the second half of his book, Klein focuses more on the concept of memory and the memory boom since the later part of the 1980s. He observes that “memory” came to be seen as a kind of “counterhistory,” a postcolonial, fragmented, and personal alternative to the traditional mainstream discourse of history. Klein does not necessarily disagree with this view, but he does warn us about unwanted side effects. More specifically, he argues that the discourse of memory is surprisingly compatible with that of extremist right‐wing groups, and should be treated with suspicion. Although Klein certainly has a point, he presents it in a rather dogmatic fashion. However, a more nuanced version of Klein's criticism of memory can be developed by building on Klein's suggestion that there is an intimate connection between memory and identity.     

L'usage de l'article dans pindare

The quality of ατoπíα attributed by Alcibiades to Socrates in the Symposium is of greater interest than the usual renderings “strange character” or “odd behaviour” suggest. This article sees Alcibiades’ phrase in the light of his speech for Socrates as a whole.¹     

The Monotheism of the Deuteronomistic History

The Hebrew Bible is often characterized as a monotheistic book, but a closer inspection reveals that monotheistic passages represent only a thin and late layer: There are only six passages in the Deuteronomistic history that contain monotheistic vocabulary. They are late additions that belong to the latest editorial phases of the composition. They were probably added to the composition in the 5th century BCE or later. This means that the final shift to monotheistic conceptions, as far as the Deuteronomistic History is concerned, occurred in the Persian period. The monotheism of the Deuteronomistic History is “nationalistic.” Although other gods are assumed to be non-existent, the other nations are not invited to join the Israelites in their worship of Yahweh. This also reveals the preliminary stage of the monotheism. It is improbable that there is a planned religious system behind the monotheistic passages of the Deuteronomistic History. The authors are convinced that there is no other deity but Yahweh, but all the consequences of this view have not yet been drawn. The authors assume that Yahweh has already created humankind as well as the whole world. This idea is not found in the older texts. It is probable that the monotheistic authors are dependent on a later form of the Pentateuch, which already includes a creation story. The idea that Yahweh lived in heaven, whence he spoke to the Israelites, is also late. It is the end of the development caused by the destruction of Yahweh's physical representation in the temple where he lived: Yahweh moved to heaven. Differences between the monotheism of the Deuteronomistic History and Deutero-Isaiah are evident. Deutero-Isaiah is more open to the possibility that other nations worship Yahweh. Deutero-Isaiah also makes a connection between idol criticism and monotheism, whereas in the Deuteronomistic History these themes are found in different texts. Idol criticism seems to be older than monotheism. The differences between the monotheism of the Deuteronomistic History and Deutero-Isaiah suggest that none of them is dependent on the other. Although some mutual interaction and influence should not be excluded, they seem to be two distinct developments that took place in different contexts. While external influence is also possible, it seems that many roots of the monotheism of the Deuteronomistic History can be found in the older conceptions of Israel's religion and especially in the Deuteronomistic theology, which is a product of the events in 587 BCE. It is probable that without the destruction of the temple Israel's religion would not have developed monotheistic conceptions. In view of the literary development in the Deuteronomistic History, any pre-587 BCE dating of monotheistic conceptions or phraseology is improbable.