Professional Documents
Culture Documents
"谁来继承英格兰 " 《霍... 德庄园》中的记忆冲突与传承 王欣
"谁来继承英格兰 " 《霍... 德庄园》中的记忆冲突与传承 王欣
No. 6 2023 Journal of Sichuan University ( Philosophy and Social Science Edition) Sum No. 249
§ 文学研究 §
“ 谁来继承英格兰?” :
《 霍华德庄园》 中的记忆冲突与传承
王 欣
92
王 欣: “ 谁来继承英格兰?” : 《 霍华德庄园》 中的记忆冲突与传承 2023 年第 6 期
一、 “ 英格兰现状” 和记忆传承问题
二、 伦敦城市和霍华德庄园
三、 记忆之场与记忆联结
① 参见 Judith Weissman, “ Howard End: Gasoline and Goddesses,” in Duckworth, ed., E. M. Forster, p. 440.
② 雷蒙·威廉斯: 《 乡村与城市》 , 韩子满等译, 北京: 商务印书馆, 2013 年, 第 51 页。
③ 以上引文参见 E. M. 福斯特: 《 霍华德庄园》 , 第 125、 20 页。
④ 《 华兹华斯、 柯尔律治诗选》 , 杨德豫译, 北京: 人民文学出版社, 2001 年, 第 34-35 页。
⑤ Edith Hamilton, Mythology, New York and Scarborough: New American Library, 1969, p. 48.
⑥ 参见扬·阿斯曼: 《 文化记忆: 早期高级文化的文字、 回忆和政治身份》 , 金寿福等译, 北京: 北京大学出版社,
2015 年, 第 6 页。
⑦ E. M. 福斯特: 《 霍华德庄园》 , 第 297 页。
96
王 欣: “ 谁来继承英格兰?” : 《 霍华德庄园》 中的记忆冲突与传承 2023 年第 6 期
① Pierre Nora, “ From Lieux de memoire to Realms of Memory,” in Lawrence D. Kritzman, ed., Realms of Memory : The
Construction of the French Past, New York: Columbia University Press, 1996, p. ⅹⅶ.
② 皮埃尔·诺拉: 《 记忆之场: 法国国民意识的文化社会史》 , 黄艳红等译, 南京: 南京大学出版社, 2020 年, 第
6-29 页。
③ 转引自 Hamilton, Mythology, p. 48.
④ 山榆树长期作为 “ 英国” 的隐喻出现, 如盖斯凯尔夫人的 《 露丝》 ( Elizabeth Gaskell, Ruth, Global Grey Ebooks,
2018, p. 38) ; 艾略特的 《 费利克斯·霍尔特》 ( George Eliot, Felix Holt : The Radical, Free Classic eBooks, p. 8) ;
及哈代的 《 一双蓝眼睛》 ( Thomas Hardy, A Pair of Blue Eyes, Oxford: Oxford University Press, 2005, p. 10) 中都
有相关的意象。
⑤ E. M. 福斯特: 《 霍华德庄园》 , 第 97 页。
⑥ 参见 Hamilton, Mythology, pp. 90-91.
⑦ 雷蒙·威廉斯: 《 乡村与城市》 , 第 121 页。
⑧ E. M. 福斯特: 《 霍华德庄园》 , 第 266 页。
97
四川大学学报 ( 哲学社会科学版) 总第 249 期
国共享的传统价值观念之上, 成为施莱格尔姐妹和威尔科克斯父子认同的记忆之场。
文化记忆是一个不断被选择和阐释的过程。 社会发展、 历史变化和阶级利益等都会影响我们如何
定义过去, 如何传承价值。 “ 记忆不仅重构着过去, 而且组织着当下和未来的经验” 。① 正如有研究者
所指出的, “ 露丝对事物所做的判断依靠直觉, 然而她本能地对土地存有温情, 本能地抵制威尔科克
斯家族那种坚不可摧但庸俗无趣的中产阶级价值观。 也许在这个人物身上, 福斯特投射了他对 ‘ 以
前的英国’ 的种种想象” 。② 露丝选择玛格丽特作为霍华德庄园的继承人, 正是看到了玛格丽特身上
既具备英国传统文化的理想, 又能够引导工业资产阶级的进取方向。 从词源来看, “ 霍华德庄园”
(Howards End) 指涉着 “ hog warden” ( “ 看猪人” ) 或 “ guardian of the home” , 从象征意义来看, 其
所指的是 “ 家的守护者” 。 作为霍华德庄园的继承者和守护者, 玛格丽特清楚地意识到金钱和灵魂之
间的矛盾, 看到都市生活的不确定和乡村生活的安宁之间的反差, 所以她赋予自身的任务就是建起一
座 “ 彩虹之桥, 把我们内心的平淡与激情联结起来。 没有这座桥梁, 我们就是毫无意义的碎片, 一
半是僧侣一半是野兽” 。③ 正是在这个意义上, 玛格丽特成为 “ 家的守护者” , 而霍华德庄园也成了施
莱格尔姐妹、 威尔科克斯先生、 海伦和伦纳德的儿子的家园。 三种文化记忆通过霍华德庄园的联结,
形成一个稳定的象征意义体系, 一个具有情感认同、 归属感和凝集力的 “ 记忆之场” 。 在这个意义
上, 福斯特也回答了英国未来将继承什么、 谁来继承的问题。
结 语
( 责任编辑: 庞 礴)
the center can “Doing Chinese Philosophy” continue the metaphysical tradition of Chinese philosophy itself. The metaphysics of
Tao and Utensil provides a brand-new idea, that is, the identity of a utensil is to be shaped in the continuous participation of
people, things and objects, marking the most fundamental difference between the concept and the idea.
Based on the proposition that it is no longer centered on category or concept, but explicitly transformed to ideas-centered,
“ Doing Chinese Philosophy” is still methodological, which facilitates communication between ancient and modern times, and helps
modern scholars to communication among themselves, thus promoting the creation in the study of Chinese philosophy.
Key words: Concept; Idea; Chinese philosophy; Chen Shaoming
Admiration for the Indian Brahman Traditions and Reverence for the Rituals: The Burial Systems
of Han Buddhism Monks during the Sui and Tang Dynasties
Wang Dawei
Summary: The burial systems of the Han Buddhism monks during the Sui ( 581- 618 ) and Tang ( 618- 907 ) Dynasties in
China were distinctly characterized by a blend of Chinese and Indian Brahman traditions. The main modes of monk burials
included the water burial, earth burial, cremation, and exposure burial, each with varying degrees of popularity. Water burials were
relatively less chosen by monks, as the bodies submerged in water left no “mementos” worth commemorating or mourning, making it
difficult for future generations to accept. Earth burial was the most mainstream burial mode for monks at that time, and it best met
the basic requirements of Chinese rituals. Some monks had to relocate their graves due to family or clan reasons, but even so, their
burial systems had to retain Buddhist characteristics. Earth burial is a good means to reconcile the cultural contradictions between
Chinese and Indian Brahman traditions. Cremations are also not uncommon, with the basic form being the placement of cremated
bones ( Buddhist relics) into a stupa. Moreover, the cremation during the Sui and Tang Dynasties can also be seen as a kind of
“ultimate burial system”. That is, after deceased monks underwent earth burial or exposure burial, it is possible that they may be
reburied after they are exhumed or their Buddhist relics are collected by disciples. This often involves first cremating their bones
and then placing them in a stupa for burial. Therefore, the burial system of some deceased monks is composite, which is a unique
feature that distinguishes it from the burial rituals of common people. The distinctive exposure burial, due to its strong Indian
Buddhist characteristics, occupies a highly important position in the burial system of monks at this time. This is also the most
prominent manifestation of the influence of the Indian Buddhist concept of almsgiving on the burial system of Chinese Buddhism.
The burial customs of monks during the Sui and Tang Dynasties vividly demonstrated the concept of filial piety in traditional
Chinese rituals. In the descriptions found on tomb inscriptions, there is hardly any discord between filial piety and Buddhism. On
the contrary, many monks' tomb inscriptions not only record the monk's family background and career, but also express the filial
piety of their disciples. The description of filial piety even becomes the core content of the tomb inscriptions, such as the extreme
portrayal of the mourning and grief of the descendants, and the “ mourning attire” emphasized in Confucian burial rituals also
becomes an important feature of Chinese Buddhist burial rites. If the Chinese adaptation of Buddhism is the ultimate result of the
spread of Indian Buddhism in China, then the recognition of filial piety revealed through Buddhist burial customs is a concrete
manifestation of Buddhism ' s adaptation to China. The burials of Buddhist monks and nuns reflect various demands from
individuals, families, and religious groups, and also carry distinct subjective features of the deceased. What they are considering is
how to put into practice their understanding of Buddhist beliefs, but when it comes to specific burial systems, they also have to take
into account the requirements of ceremonial rituals.
In the history of Chinese Buddhism, only during the Sui and Tang Dynasties were there so many different monastic burial
modes, a unique cultural characteristic bestowed by this splendid era. Against the backdrop of Buddhism's adaptation to China,
these monastic funeral rites were all influenced by Indian Buddhism without exception, constructing their unique features on the
basis of Buddhist doctrines, while also striving for recognition of Chinese ceremonial rituals. At this time, the integration of
Buddhist beliefs and Confucianism's Five Constants had already been well established.
Key words: Burial system; Burial system of monks; Sui and Tang Dynasties; Han Buddhism; Earth burial; Exposure
burial; Water burial; Cremation
Who Shall Inherit England?: Memory Collision and Inheritance in E. M. Foster's Howards End
Wang Xin
Summary: E. M. Foster's work, Howards End, continues the tradition of “condition-of-England” novels in the Victorian era
to explore and think about social realities of England. Foster describes the collision among the Schlegel sisters, the Wilcoxes and
191
四川大学学报 ( 哲学社会科学版) 总第 249 期
Luce, who respectively represent three different cultural memories. Through comparisons of symbolic meanings between London
city culture and the country culture of Howards End, Foster also explores social questions, including the decline of moral and
religion, and unemployment of the working class, despite the economic development and imperial expansion. Foster demonstrates
his anxiety towards the future and the orientation of England, and initiates the famous memory question of crisis and inheritance,
namely, “Who shall inherit England?” in the late 19th and early 20th centuries.
The anxiety of the Schlegel sisters' wandering life in London, inner sins of the Wilconxes' suffering, and the uncontrollable
fall of Leonard's collision of his world, these symptoms show deep internal divisions of social classes and collapse of the structures
of feeling underneath the apparent Victorian grace, peace, prosperity and progress. All these social phenomena, whether they are
the conflicted family relations or the obvious discomposure of social members' behavior and mental status, show a rupture of people
from all classes with the stable and peaceful tradition. Accordingly, these conflicted and opposed elements in Howards End are
essentially oppositions and collisions between different cultural memories.
The development, historical changes and class interests will influence us on how to define the past and how to inherit its
value. Cultural memory is a course of being chosen and being interpreted. Luce in Howards End refers the reader to the image of
Demeter who is in charge of the earth and crops in the Eleusinian Mysteries. Representing a steadier and organic country life
memory, this image aims to construct the more stable cultural symbolic structure and the more firm bonds among different classes.
The connection between Luce and the earth resists the philistine middle class value of the Wilconxes, and her choice of Margret as
her inheritor of Howards End forecasts that the latter will connect the English traditional ideals of culture and also lead the
direction of the industrial class. This inheritance of Howards End indeed is the result of British cultural memory choice, in which
the country life memory is put on top of other images. Connecting different interests and memories, the image of Howards End
becomes the ultimate choice recognized by the public in the particular community. In this way, Foster tries to build Howards End
in the novel as the realm of memory which owns emotional identification, belonging and cohesion.
Key words: “Condition-of-England” novel; Memory collision; Memory inheritance; Realm of memory
The Paradigm and Reflection of Chinese Aesthetic History Writing in the 20th Century
Hu Youfeng
Summary: The formation, development and evolution of Chinese aesthetics in the 20th century constitute a grand history of
aesthetic development, forming a multi-level overall system including theoretical knowledge and disciplinary discourse, which had
promoted Chinese aesthetics from classical form to modern form. However, the study of aesthetic history writing not only includes
theoretical ontology research, but also requires research on its research methods, research paradigms, overall structure, and logical
thinking. It is necessary to deeply elucidate the different paradigms of aesthetic history writing, highlighting the structural,
historical, and continuous characteristics of “meta history” research. As a result, the “ History of Chinese Aesthetics in the 20th
Century” presents a dual “knowledge-based” and “ideological” writing paradigm, highlighting a diverse landscape in the research
of aestheticians, theoretical categories, aesthetic issues, aesthetic schools and debates, and aesthetic literature and historical
materials.
Based on the ontology of aesthetic theory, the knowledge-based writing paradigm emphasizes the connection, integrity and
genealogy of knowledge within aesthetics, and highlights the logical correlation of different theories. Aesthetics is regarded as a
kind of professional and scientific knowledge from the perspective of “ internal research ”, which demonstrates the academic
independence of aesthetic research and aesthetic history writing. The paradigm of knowledge-based writing is mainly divided into
three types: “writing with the aesthetic ideas and theories of specific aestheticians as the writing object”, “ writing with aesthetic
academic debates as the writing object”, and “writing with aesthetic history from the perspective of the relationship between ancient
and modern aesthetics”.
The ideological writing style regards aesthetics as an organic component of social culture, emphasizing the “ symptomatic”
research methods and ideological effects of aesthetics, effectively integrating “ internal research ” and “ external research ” of
aesthetics, and achieving thematic research on the social background, historical context, changing mechanisms, and cultural values
of aesthetic development, which had constructed an aesthetic history writing paradigm that emphasizes social historicity, cultural
connection, and ideological integrity. The ideological approach highlights the characteristics of “modernity perspective”, “thematic
historical approach”, “ aesthetic ideal historical paradigm”, “ relationship between aesthetics and politics”, and “ cross-cultural
perspective” in aesthetic history books, and grasps the deeper ideological pulse of the era hidden behind aesthetic theory.
At the same time, there are still some problems that need to be solved in the study and writing of aesthetic history. On the one
hand, aesthetic issues such as “ aesthetic literature”, “ logical thinking”, and “ spiritual extraction” summarize and sublimate the
value of two writing paradigms of aesthetic history, expanding the knowledge framework of aesthetic history research. On the other
192