后大屠杀时代:纳粹屠犹的社会后果分析

20世纪80年代以来,越来越多的学者意识到了大屠杀已经成为一个世界性的问题,在美国、以色列、欧洲等地普遍兴起了对“后大屠杀时代”的研究,主要探讨源于大屠杀并影响到后大屠杀时代的种种社会现象。通过对幸存者的心理磨难、对纳粹屠犹的神学反思、犹太意识的强化以及西方社会的“遗弃”对犹太人的精神打击等问题的研究,可以看出,大屠杀事件对犹太人社会心理产生了重大的影响。     

早期美国华裔青年的自我认同：兼评雷洁琼硕士论文的历史意义

以雷洁琼1931年的硕士论文为原始资料,分析了20世纪30年代华裔青年的自我认同,论述了芝加哥学派对早期华人华裔研究的影响,华裔青年群体的成长过程、种族压力下的华人家庭生活、华裔学生在美国公立学校的经历、在就业上所受到的歧视以及渴望返回中国的心理状态。提炼出一个观点：在美国族裔关系中,只要整个华人族群的地位低下,华裔青年的自我认同就无法摆脱“外国人”的阴影;华裔青少年在语言、思维、生活方式及社会举止上的美国化仅仅是一种单方面的改变,并不能使他们成为一个美国社会认可的美国人;在一个种族意识强烈的社会里,文化上的美国人不等于是种族上的美国人。     

From golden hills to sycamore trees: pastoral homelands and ethnic identity in Irish immigrant fiction, 1860–75

The prose fiction that remembers the trials of starvation and eviction of the Great Famine (1845–50) often juxtaposes representations of blasted, infertile land with images of a green, idyllic Erin. Through a discussion of Mary Anne Sadlier's Bessy Conway (1861), Elizabeth Hely Walshe's Golden Hills: A Tale of the Irish Famine (1865) and John McElgun's Annie Reilly (1873), this article reveals that immigrant writers of the Famine generation often negotiate depictions of Famine-stricken wasteland with evocations of a pastoral homeland. In the case of the two Catholic novels, Bessy Conway and Annie Reilly, the pastoral becomes a point of ethnic identification through which the immigrants can recollect and reconstruct a sense of Irishness in exile. By contrast, Golden Hills, which focuses on the Anglo-Irish ascendancy, does not lament the mass exodus of afflicted Irish: the novel rather envisions emigration as a way to regenerate Ireland as locus amoenus.     

CHALLENGING CERTAINTY: THE UTILITY AND HISTORY OF COUNTERFACTUALISM

Counterfactualism is a useful process for historians as a thought-experiment because it offers grounds to challenge an unfortunate contemporary historical mindset of assumed, deterministic certainty. This article suggests that the methodological value of counterfactualism may be understood in terms of the three categories of common ahistorical errors that it may help to prevent: the assumptions of indispensability, causality , and inevitability. To support this claim, I survey a series of key counterfactual works and reflections on counterfactualism, arguing that the practice of counterfactualism evolved as both cause and product of an evolving popular assumption of the plasticity of history and the importance of human agency within it. For these reasons, counterfactualism is of particular importance both historically and politically. I conclude that it is time for a methodological re-assessment of the uses of such thought-experiments in history, particularly in light of counterfactualism's developmental relatedness to cultural, technological, and analytical modernity.     

BALANCED TRUTH: STEVEN SPIELBERG'S SCHINDLER'S LIST AMONG HISTORY,MEMORY, AND POPULAR CULTURE1

Looking at the public reaction to it, one might say that Steven Spielberg's Schindler's List is undoubtedly the most successful film about the Holocaust. The film's success in the U.S. and other Western countries can be traced back mainly to the fact that it creates the impression of telling a true, apparently authentic, story. This essay investigates how this impression of historical truth and authenticity emerges in a fiction film. For this purpose the essay reverts to a concept developed by Jörn Rüsen, which distinguishes among three dimensions of historical culture, namely political, aesthetic, and cognitive. In addition to the historical context that serves as a specific precondition for the film's success, the essay primarily investigates the strategies of authentication Spielberg applied at both the visual and narrative levels. The investigation concludes that the impression of evidence produced by the movie is significantly a result of the sophisticated balancing of the three dimensions mentioned above. The film utilizes artifacts of an existing and increasingly transnational (visual) memory for the benefit of a closed, archetypical narrative. It follows the aesthetic and artistic rules of popular narrative cinema, and largely recurs to conventions of representation that were common in film and television programs of the 1990s. Although these forms condense the historical course of events, the film manages to stay close to insights gained by historiography. The hybrid amalgamation of history and memory, and of the imaginary and the real, as well as the combination of dramaturgies of popular culture with an instinct for what can (not) be shown—all of these factors have helped Schindler's List to render a representation of the founding Holocaust myth in Western societies that can be sensually experienced while being emotionally impressive at the same time.     

THE SYNTAX OF OBJECTS AND THE REPRESENTATION OF HISTORY: SPEAKING OF SLAVERY IN NEW YORK

The representation of history continues to evolve in the domain of museum exhibitions. This evolution is informed in part by the creation of new display methods—many of which depart from the traditional conventions used to achieve the "museum effect"—in part by an increased attention to the museum-visitor relationship. In this context the ethical force of bearing witness, at times a crucial aspect of the museum experience, has emerged as a particularly compelling issue. In seeking to represent and address atrocity, injustice, and the abrogation of human rights, museums have the potential to become "sites of conscience" and to encourage "historical consciousness." Through a series of three exhibitions devoted to slavery, the New-York Historical Society demonstrated how such sites can be constructed and how objects can be deployed to represent extreme or "limit cases." In this review/essay I investigate and interrogate these exhibitions, looking closely at the use of objects as a source of "indirect testimony" (Marc Bloch) and at the "dialogical situation" (Paul Ricoeur) that might arise in an encounter among objects, exhibit narratives, and visitors. Thinking in terms of point of view, I look at the variety of rhetorical platforms from which objects speak in these exhibitions; thinking in terms of syntax, I look at the effects of ordering and of the radical juxtaposition of objects; thinking in terms of irony, I look at the provocations of double-voiced narratives and at how objects are used to support those historical sentences.     

美国少年历史小说题材创作

历史小说是美国少年小说的一个重要类型。自20世纪30年代以后,反映少年生活的历史小说在美国不断问世,并于60、70年代进入繁荣阶段。本文旨在通过梳理美国少年历史小说的发展脉络,探讨其潮流及特点,如发展阶段、文化内涵、审美价值观等,说明其文学成就与影响,同时加深我国对美国少年历史小说的了解和研究。     

集体良知：个人与社会自然的联结纽带——涂尔干的核心问题及其研究进路之二

埃米尔.涂尔干在其研究生涯中,构筑了以人性和社会自然的心物二重性为基础与核心的社会学思想,并进一步阐述了社会与人性自然之间的联结纽带——社会良知、知识分子是社会良知的担当者与表达者以及社会良知应该以神圣化的仪式和仪轨表达出来才能成为真正的集体规范、社会事实。由此,涂尔干通过＂心物二元＂的研究路径构建了＂精神＂与＂躯体＂、＂个人＂与＂社会＂二者都不偏废的二元研究范式,其目的就是要解决社会发展最为核心的问题——人性与社会的自然及社会秩序何以可能的问题。     

Algunas reflexiones en torno al término latín en la documentación alfonsí

This study examines the development of linguistic consciousness in thirteenth-century Hispano-Romance by analyzing the relationship between the terms latín and romance in works sponsored by Alfonso X. In the article, the author demonstrates that numerous lexical items (e.g., injuria, negligencia, suspensión, inquisición) were already a part of Romance vocabulary despite their labeling as latín in the Alfonsine texts ("iniuria en latin tanto quiere dezir en romançe commo desonrra que es fecha o dicha aotro a tuerto o a despreçiamiento del," Siete Partidas). Framed within the (later stages of the) "complex monolingualism" approach proposed by Roger Wright, the author also argues that, as Hispano-Romance speakers in Castile expanded their cultural knowledge, the term latín became associated with the areas from which vocabulary was taken to supply new scientific or pseudo-scientific expressions. The designation latín, in the contexts under scrutiny, was perceived not as a language but as a lexical register marker in the higher sociolects of the vernacular.     

Verbs,Voyeurism, and the Stalker Narrative in Cortázar's "Continuidad de los parques"

Julio Cortázar's "Continuidad de los parques" can be described as a stalker narrative in two different senses. Not only is it a story about a stalker with murderous intentions, it is also a story in which the reader is turned into a stalker.

Modalization in verbs, or the use of the subjunctive and qualifiers, has been discussed by critics such as Tzvetan Todorov as a characteristic of the fantastic in literature. What has not been studied is the alternating use of aspect in the past, here between the verb tenses the preterite and the imperfect, as a technique that aids in the subtle creation of the reader as a stalker. Cortázar uses these two verb tenses to form and shape the narrative, moving it in the desired direction and, in the process, aiding in his creation of the image of the stalker. Both the careful manipulation of the preterite and the imperfect and the careful interplay between the two are the vehicle of invasion, an invasion perpetrated by the stalker, in which the reader is made complicit.