让他者说话的艺术—默多克书写中的自我与他者
摘要
艾丽斯·默多克(Iris Jean Murdoch,1919-1999)是英国当代极富盛名的小说家,研究她的学者遍布世界各地。本论文着力于研究默多克以小说为主要载体所展示的对“自我”与“他者”关系的思考。默多克对我他关系的关注体现在她小说主题的思考上,也贯穿于她叙事技巧的运用中。
笔者认为,打击“唯我论”(solipsism)是默多克思想的出发点,而他者介入则是帮助她打破“唯我论”的关键,默多克如何让他者介入“我”的世界继而“让他者说话”是论文发展的主线。论文首先从默多克的哲学入手,试图勾勒出她在哲学上所批判的两类唯我论哲学。默多克对唯我论哲学的看法影响了她的小说创作,但她对唯我论的认知却并没有局限于哲学,比如,她对弗洛伊德关于人自私本质的阐释就充实了小说中唯我论者的形象。接下来,笔者把介入的他者置于两个层面：大写的他者(Other)是“我”之外的来自社会的力量,这个他者通过将“我”置身于现实中、场景下从而帮助“我”摆脱唯我境况,这一部分的讨论依据的是默多克理想中心灵与世界的二元关系(dualism)以及她对现实主义小说中人与社会鱼水关系的模仿。小写的他者(other)则是他人,默多克重新演绎的“崇高”概念把焦点集中于“环绕在我们周围的其他独立的人”,意识到他人的存在是默多克让人物走出唯我世界最常用的方法。
论文的第一章讨论“唯我论”在默多克书写中的多层表现,包括哲学中以“日常语言人”和“极权主义者”为代表的两种唯我论、以唯我论哲学为基础的小说中的唯我论者、以及小说中其他形式的唯我论者；笔者还借鉴了伊格尔顿对同感的论述,对小说中感伤自私的“我”作了剖析。
第二章讨论默多克是怎样让他者介入的,分为三小节。第一节探讨社会这个大写的他者是如何攻破“我”的唯我世界的,论文拟从金钱在人生活中所起的双重作用以及空间对人产生的影响两个方面入手,展示默多克如何将“我”与外部世界联系起来。第二、三节探讨默多克怎样运用一些特殊的写作手法,让他人闯入我的世界的,指向两个层面：其中第二节关注在文本层面,默多克如何通过为小说加入种种的意外事件,逼迫主人公去认识伴随意外而来的其他人,从而建立起与他人的联系；第三节将重点放在了作者与人物的关系辨析上,默多克作为作者如何通过对全知叙述者不全知的处理、叙事焦点的移动与扩散、不可靠的叙述者、以及异质语的运用等叙事策略践行自己向人物放权、塑造独立于自己之外的具有真正生命力的人物诺言。
第三章主要揭示我他相处的具体形态。他者是促进“我”的自我认知、同时也是认识世界的不可缺少的重要一环,但这并不等同于说我他关系就是和谐的。默多克在小说中描绘的带有社会主义性质的团体作为大写他者而言暗藏着抑制自我个性发展的危险,在“我”的自我完善方面作用也有限。默多克通过不同角度下对我与他人关系的展示暗示着,我与他人的相处总是充满了误解、矛盾、甚至是对立,他人终不可知,尊重与爱是面对异己的他人需要把握的原则。
Iris Murdoch (1919-1999) is a famous British female writer, enioving a world reputation. This thesis focuses on the relationship between "self" and "the other" she presented through her novels and her philosophy. Self and the other is not only an important theme in Murdoch's novels, but also a hidden idea behind her writing technique.
"Solipsism" is the problem Murdoch faced with, the other's intrusion is the solution figured out by Murdoch. The means by which Murdoch lets the other "step into" self s solipsistic world and further "speak" is the developing line of this thesis. The thesis starts from Murdoch's philosophic thinking on two kinds of solipsism. This thinking influences her fiction writing, but her understanding on solipsism is far beyond that. For example, she absorbs Freud's thinking of the "selfish psyche" to enrich her knowledge of solipsism.
The other should be measured on two levels. The "Other" is the social power out of self, this power pushes the self into the realistic world. During this process, self liberates from solipsism, this part's discussion is based on Murdoch's thinking on dualism between mind and object; the "other" is other people, Murdoch's "sublime" emphasizes on "a vast and varied reality outside ourselves", to be more specific,"our surrounding as consisting of other individual men". The recognition of other individual men's existence is the most effective way to deal with solipsism.
The first chapter elaborates on various forms of solipsism in Murdoch's writing, including her philosophy revolved around "the Ordinary Man" and "the Totalitarian Man", her novel characters influenced by her philosophy, other kinds of solipsistic persons-Terry Eagleton's explanation of "sentimentalism" also explains her self-centered characters.
The second chapter discusses the ways by which the other enters self s world, this chapter consists of three parts. The first part probes into society-the "Other", money and space are two crucial factors to connect self with society. The second part focuses on contingency, as one of contingency forms, accident is used by Murdoch in novels to force self to accept other people. The third part analyses author and character relationship:Murdoch attempts to portray characters independent of herself by using certain writing techniques, such as unreliable narrator, limited omniscient narrator, shift and expansion of narrative focalizations, heteroglossia and so on.
The third chapter discusses the detailed relationship between self and the other. The other's existence is crucial for self s recognition of himself as well as his world view. However, it does not mean that self and the other could always live in harmony. In Murdoch' s novels, the community (the Other) featured by socialism is hidden with the danger to oppress individual's personal development, besides, it exercises limited influence-even negative effect on self. Murdoch's novels are full of people, and the relationships among them are always featured by conflicts, misunderstandings and oppositions. In Murdoch's opinion, the other is ultimately unknown to the self, respect and love therefore serve as two important principles while facing other individuals different from self.
笔者认为,打击“唯我论”(solipsism)是默多克思想的出发点,而他者介入则是帮助她打破“唯我论”的关键,默多克如何让他者介入“我”的世界继而“让他者说话”是论文发展的主线。论文首先从默多克的哲学入手,试图勾勒出她在哲学上所批判的两类唯我论哲学。默多克对唯我论哲学的看法影响了她的小说创作,但她对唯我论的认知却并没有局限于哲学,比如,她对弗洛伊德关于人自私本质的阐释就充实了小说中唯我论者的形象。接下来,笔者把介入的他者置于两个层面：大写的他者(Other)是“我”之外的来自社会的力量,这个他者通过将“我”置身于现实中、场景下从而帮助“我”摆脱唯我境况,这一部分的讨论依据的是默多克理想中心灵与世界的二元关系(dualism)以及她对现实主义小说中人与社会鱼水关系的模仿。小写的他者(other)则是他人,默多克重新演绎的“崇高”概念把焦点集中于“环绕在我们周围的其他独立的人”,意识到他人的存在是默多克让人物走出唯我世界最常用的方法。
论文的第一章讨论“唯我论”在默多克书写中的多层表现,包括哲学中以“日常语言人”和“极权主义者”为代表的两种唯我论、以唯我论哲学为基础的小说中的唯我论者、以及小说中其他形式的唯我论者；笔者还借鉴了伊格尔顿对同感的论述,对小说中感伤自私的“我”作了剖析。
第二章讨论默多克是怎样让他者介入的,分为三小节。第一节探讨社会这个大写的他者是如何攻破“我”的唯我世界的,论文拟从金钱在人生活中所起的双重作用以及空间对人产生的影响两个方面入手,展示默多克如何将“我”与外部世界联系起来。第二、三节探讨默多克怎样运用一些特殊的写作手法,让他人闯入我的世界的,指向两个层面：其中第二节关注在文本层面,默多克如何通过为小说加入种种的意外事件,逼迫主人公去认识伴随意外而来的其他人,从而建立起与他人的联系；第三节将重点放在了作者与人物的关系辨析上,默多克作为作者如何通过对全知叙述者不全知的处理、叙事焦点的移动与扩散、不可靠的叙述者、以及异质语的运用等叙事策略践行自己向人物放权、塑造独立于自己之外的具有真正生命力的人物诺言。
第三章主要揭示我他相处的具体形态。他者是促进“我”的自我认知、同时也是认识世界的不可缺少的重要一环,但这并不等同于说我他关系就是和谐的。默多克在小说中描绘的带有社会主义性质的团体作为大写他者而言暗藏着抑制自我个性发展的危险,在“我”的自我完善方面作用也有限。默多克通过不同角度下对我与他人关系的展示暗示着,我与他人的相处总是充满了误解、矛盾、甚至是对立,他人终不可知,尊重与爱是面对异己的他人需要把握的原则。
Iris Murdoch (1919-1999) is a famous British female writer, enioving a world reputation. This thesis focuses on the relationship between "self" and "the other" she presented through her novels and her philosophy. Self and the other is not only an important theme in Murdoch's novels, but also a hidden idea behind her writing technique.
"Solipsism" is the problem Murdoch faced with, the other's intrusion is the solution figured out by Murdoch. The means by which Murdoch lets the other "step into" self s solipsistic world and further "speak" is the developing line of this thesis. The thesis starts from Murdoch's philosophic thinking on two kinds of solipsism. This thinking influences her fiction writing, but her understanding on solipsism is far beyond that. For example, she absorbs Freud's thinking of the "selfish psyche" to enrich her knowledge of solipsism.
The other should be measured on two levels. The "Other" is the social power out of self, this power pushes the self into the realistic world. During this process, self liberates from solipsism, this part's discussion is based on Murdoch's thinking on dualism between mind and object; the "other" is other people, Murdoch's "sublime" emphasizes on "a vast and varied reality outside ourselves", to be more specific,"our surrounding as consisting of other individual men". The recognition of other individual men's existence is the most effective way to deal with solipsism.
The first chapter elaborates on various forms of solipsism in Murdoch's writing, including her philosophy revolved around "the Ordinary Man" and "the Totalitarian Man", her novel characters influenced by her philosophy, other kinds of solipsistic persons-Terry Eagleton's explanation of "sentimentalism" also explains her self-centered characters.
The second chapter discusses the ways by which the other enters self s world, this chapter consists of three parts. The first part probes into society-the "Other", money and space are two crucial factors to connect self with society. The second part focuses on contingency, as one of contingency forms, accident is used by Murdoch in novels to force self to accept other people. The third part analyses author and character relationship:Murdoch attempts to portray characters independent of herself by using certain writing techniques, such as unreliable narrator, limited omniscient narrator, shift and expansion of narrative focalizations, heteroglossia and so on.
The third chapter discusses the detailed relationship between self and the other. The other's existence is crucial for self s recognition of himself as well as his world view. However, it does not mean that self and the other could always live in harmony. In Murdoch' s novels, the community (the Other) featured by socialism is hidden with the danger to oppress individual's personal development, besides, it exercises limited influence-even negative effect on self. Murdoch's novels are full of people, and the relationships among them are always featured by conflicts, misunderstandings and oppositions. In Murdoch's opinion, the other is ultimately unknown to the self, respect and love therefore serve as two important principles while facing other individuals different from self.
引文
1 具体的著作见参考书目前的“默多克著作”,p.118。
2 本文人名的翻译均出自《新华社世界人名翻译大字典》,如自译则用括号标出为自译。
3 迪普(Dipple)笔者自译。
4 评论家对默多克小说时期的划分有所不同。波尔(Cheryl Browning Bove)划分的三个时期依次为：早期(1954-1962)、中期(1968-1973)、成熟期(19781980)和近期(19831989)。高登(David J. Gordon)划分的时期依次为：早期(1954-1966)、成熟期(1968-1985)和近期(1985-1993)。本论文采用的足赫赛尔(Barbara Heusel)的分法。
5 例如《大钟》中的大钟,拜厄特在《自由的程度》一书中对默多克的象征手法予以了详细阐释。
Anthony Burgess认为《大钟》代表了默多克的最高成就,而在其紧接着出版的小说《被砍断的头颅》中,人物只是人偶并且和场景脱离,他据此判断默多克小说的鼎盛期已然结束了。Jorce Carol Oates认为默多克的小说充斥着巫术、废话以及打着“爱”旗号的性乱交。参见Contemporary Literary Criticism. Ed. Carolyn Riley. Vol.1 p.235, p.237.
7 默多克在早期出版的哲学专著《萨特：浪漫的理性主义者》一书中论及萨特的小说创作时,对“哲理小说家”这一标签的使用是贬义的；在采访中,她也一再反对被冠以“哲理小说家”的头衔。
8 何伟文对这一词的翻译是“似乎正确性”。
Biles, Jake I. "An Interview with Iris Murdoch." Studies in the Literary Imagination H (Fall 1978) 115-25.
10 以《书与兄弟会》(The Book and the Brotherhood1987)以及《去往星球的信息》The Message to the Planet,1989)为例。
11 赫赛尔以批评家对默多克哲学研究态度的转变为划分其时期的标准,前三章分别命名为“APhilosophical Novelist? Early Dialogues"、 "A Philosophical Novelist? A Range of Perspectives" 以及 "A Philosophical Novelist? Questioning of Early Criticism"
12 两派分别是包含了存在主义(Existentialism)的欧洲大陆哲学和包含了语言行为主义(Linguist ic Behaviorism)的盎格鲁-撒克逊哲学。笔者会在1.1中重点讨论。
13 原文的出处根据利森的索引如下Anonymous interview in The Times,13 February 1964.
14 在本本选择上,论文主要选取默多克早、中、近期的四部代表小说(Under the Net,1954)、(The Black Prince,1973)、(The Philosopher's Pupil,1983)以及(The Good Apprentice,1985).
15 除了高登将自己的著作冠以《消解自我的寓言》(The Fables of Unselfing)外,国内的论文中也有很多类似的表述：“去自我”,见马惠琴的《小说<黑王子>的类文本特征分析》；“克己去我”,见许健《于无声处觅弦音——从<沙堡>看艾丽丝·默多克的另一种自由》；“无我”,见范岭梅《默多克小说<黑王子>的爱欲主题探究》；“无我”、“去除自我”,见何伟文《‘基督佛教徒’或者‘佛教基督徒’——论默多克小说<海,海>中佛教的价值》等。
16 崇高既能激发人喜悦,又能引发人恐惧的矛盾特质布卢姆也有所论述,他还认为,这说明崇高本身蕴藏着一种含混(ambiguity).详见Bloom, Harold. The Anatomy of Influence:Literature as Way of Life. New Haven:Yale UP,2011. p.18-19.
17 默多克出版的第一本书就是专门研究萨特存在主义的哲学著作：《萨特：浪漫的唯理论者》(Sartre: Romantic Rationalist,1953),第二年(1954)才出版了她的第一部小说《在网下》(Under the Net).
18 详情参加Existentialists and Mystics,ed.Peter Conradi,Allan Lane:The Penguin Press.1997.
19 详见文献综述部分,p.10.
20 日常语学派是分析哲学(analytic philosophy)的一支,日常语学派试图通过对语言的澄清来解决哲学问题,注重逻辑与看得到的事实。
21 素质是与事件相对的范畴,它所指的是“行为方式,也就是在某种条件下以某种方式行动或反应的能力、倾向、可能性或驱动性”,见吉伯特·赖尔：《心的概念》,徐大建译,北京：商务印书馆,2009年。vi.
22 Iris Murdoch, The Black Prince, London:Chatto & Windus,1954.后文出自同一著作,不另注。
23 默多克说日常语人“受制于规则,被文明的社会包围着”(‘"The Sublime and Beautiful Revisited",267)
24 译文参考的是韩震的译文。查尔斯·泰勒：《自我的根源：现代认同的形成》,韩震等译,南京：译林出版社,2012年。
25 一说雨果就是以维特根斯坦的学生Yorick Smythies为原型塑造的。见Martin, Priscilia and Rowe,Anne. Iris Murdoch:A Literary Life. Hampshire & New York:Palgrave Macmillan,2010. P.9。
26 斜体为原文所有。
27 存在主义英雄是极权主义者的代表,默多克认为萨特的存在主义与黑格尔极权主义哲学一脉相承。
28 把人物与工作关联起来是默多克反“存在主义英雄”的一个重要方面,详见本论文第二章第二节。
29 自译Bretuil
30 默多克似乎总偏爱于借助于大学生这类人物去表现封闭在自己的快乐世界中实则自以为足的人,类似的人物还有《好学徒》中的大学生爱德华、《大钟》中的托比(Tobv).
31 其他几部后期代表作还包括《黑王子》(1973)、《大海啊,大海》(1978)、《好学徒》(1985),详见deusel, Barbara Stevens.Iris Murdoch's Paradoxical Novels:Thirty Years of Critical Reception. Rochester:Camden House,2001.
32 笔者自译。
③ Iris Murdoch,The Philosopher's Pupil. London:Penguin Group,1983后文出自同一著作,不另注。
34 斜休为原文所有。
35 如无脚注,则是原文自带的斜体。
36 这就像布莱克诗歌中的Thel,在没有出山洞去接触真实世界之前的自我其实也是不完整的：自我的概念形成在默多克那里是需要经受现实的历练,是在后天形成的。
37 游泳在小说中还是人们能够彼此交流的意象。
38 例如拉康的镜像阶段、萨特他人凝视下自我的形成、以及巴赫金与他者对话中变化的“我”。
“在这一层面,自我是为自己的行为给出指令的活跃的执行者。”("on this level the self is an active
agent giving direction to its actions. ")详见Seigel, Jerrold:The Idea of the self:Thought and Experiences in Western Europe since the Seventeenth Century. Harvard UP,2005.
Doves、Black Lion、Chiswick、Hammersmith都是伦敦的街名,为笔者自译。
1 英博团体、希尔加德与恩尼斯通都足默多克小说中虚构的地方,均为笔者自译。
42 小说中的河名,笔者自译。
43 保罗·纳什(Paul Nash,1889-1946)英国超现实主义画家；内德·拉金(Ned Larkin)为默多克虚构的小说人物。
44 伯考克和帕克都是默多克假想出的人。
45 安哥拉(Agora),古代雅典城的体育、艺术、商业、文化、政治中心。
46 则达(Zed)是亚当的宠物小狗,则达为笔者自译。
47 这一点后经证实其实是由奥地利遗传专家孟德尔(Gregor Mende 1822-1884)首先发现的。
48 如“崇高”(sublime)既是她将美与道德合一的艺术观,又是她为了强调他人介入而引入的隐喻；水这个意象不但可以象征着人们之间的交流、身心的解放、还可以是毁灭自我的力量等。
50 William Frank Thompson在二战中被德国法西斯所杀害,著名的E.P.Thompson的哥哥,根据康拉迪的传记,是默多克介绍他入的党。
51 康拉迪的传记中专门有一章叫作《布尔什维克夫人》。
52 默多克的小说一共有26部之多。
53 笔者自译
Iris Murdoch, The Good Apprentice, New York:Penguin Group,1986,后文出自同一著作,不另注。
55 一个半宗教半世俗的团体。和希尔加德一样,偏爱自给自足的手工生产方式而非现代化的机器。
(?) 参见Priscilla Martin & Anne Rowe. Iriis Murdoch:A Litaary Life. Hampshire:Palgrave Macmillan.2010. xiv.
57 按照修赛尔的说法,默多克在牛津的党龄只有一年。参见Heusel, Barbara Stevens. Iris Murdoch's Paradoxical Novels:Thirty Years of Critical Reception. Rochester:Camden House,2001. P.2.
58 Lefty的名字本身的象征意义就暗示了默多克对其政治身份的界定。
59 为了祖父,托马斯放弃了钟爱的历史,转而学习了医学,最终成为了一位成功的心理医生。
乔治对妻子"冷酷"的评价也得到了叙述者的印证,他说:"斯泰拉是少数几个女人中能够做到对乔治 完全不感伤的人之一"(74).
61 作为外人,加布列尔是这样评价斯泰拉的这种特质的：“她将他看作足挑战,加布列尔想,她把两人的关系看作了一场战争,但她自己以为那是爱。”(12)
62 莎士比亚的戏剧《暴风雨》中一个丑陋凶残的奴隶。
63 这一点国内的学者黄梅也注意到了,她说,“其主要人物企图克服自我中心倾向的努力往往不怎么成功,展示的毋宁说是求善求真历程中的失误、歧途、迷茫和谬见”。她还发问这样的矛盾是在传达unselfing历程的艰难曲折,还是别有隐情。见黄梅,《默多克与 unselfing》,载于《中华读书报》,2008.6.23.
64 题目就可以看出The sovereignty of Good over Other Concepts
65 善的人物在小说中总是边缘人物,这一点评论家迪普有所说明。详见Dipple, Elizabeth. Work for the Spirit. Chicago:U of Chicago P,1982.
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江怡：《分析哲学是什么以及能做什么》,载《学术学刊》10(2012)：31-36。
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2 本文人名的翻译均出自《新华社世界人名翻译大字典》,如自译则用括号标出为自译。
3 迪普(Dipple)笔者自译。
4 评论家对默多克小说时期的划分有所不同。波尔(Cheryl Browning Bove)划分的三个时期依次为：早期(1954-1962)、中期(1968-1973)、成熟期(19781980)和近期(19831989)。高登(David J. Gordon)划分的时期依次为：早期(1954-1966)、成熟期(1968-1985)和近期(1985-1993)。本论文采用的足赫赛尔(Barbara Heusel)的分法。
5 例如《大钟》中的大钟,拜厄特在《自由的程度》一书中对默多克的象征手法予以了详细阐释。
Anthony Burgess认为《大钟》代表了默多克的最高成就,而在其紧接着出版的小说《被砍断的头颅》中,人物只是人偶并且和场景脱离,他据此判断默多克小说的鼎盛期已然结束了。Jorce Carol Oates认为默多克的小说充斥着巫术、废话以及打着“爱”旗号的性乱交。参见Contemporary Literary Criticism. Ed. Carolyn Riley. Vol.1 p.235, p.237.
7 默多克在早期出版的哲学专著《萨特：浪漫的理性主义者》一书中论及萨特的小说创作时,对“哲理小说家”这一标签的使用是贬义的；在采访中,她也一再反对被冠以“哲理小说家”的头衔。
8 何伟文对这一词的翻译是“似乎正确性”。
Biles, Jake I. "An Interview with Iris Murdoch." Studies in the Literary Imagination H (Fall 1978) 115-25.
10 以《书与兄弟会》(The Book and the Brotherhood1987)以及《去往星球的信息》The Message to the Planet,1989)为例。
11 赫赛尔以批评家对默多克哲学研究态度的转变为划分其时期的标准,前三章分别命名为“APhilosophical Novelist? Early Dialogues"、 "A Philosophical Novelist? A Range of Perspectives" 以及 "A Philosophical Novelist? Questioning of Early Criticism"
12 两派分别是包含了存在主义(Existentialism)的欧洲大陆哲学和包含了语言行为主义(Linguist ic Behaviorism)的盎格鲁-撒克逊哲学。笔者会在1.1中重点讨论。
13 原文的出处根据利森的索引如下Anonymous interview in The Times,13 February 1964.
14 在本本选择上,论文主要选取默多克早、中、近期的四部代表小说(Under the Net,1954)、(The Black Prince,1973)、(The Philosopher's Pupil,1983)以及(The Good Apprentice,1985).
15 除了高登将自己的著作冠以《消解自我的寓言》(The Fables of Unselfing)外,国内的论文中也有很多类似的表述：“去自我”,见马惠琴的《小说<黑王子>的类文本特征分析》；“克己去我”,见许健《于无声处觅弦音——从<沙堡>看艾丽丝·默多克的另一种自由》；“无我”,见范岭梅《默多克小说<黑王子>的爱欲主题探究》；“无我”、“去除自我”,见何伟文《‘基督佛教徒’或者‘佛教基督徒’——论默多克小说<海,海>中佛教的价值》等。
16 崇高既能激发人喜悦,又能引发人恐惧的矛盾特质布卢姆也有所论述,他还认为,这说明崇高本身蕴藏着一种含混(ambiguity).详见Bloom, Harold. The Anatomy of Influence:Literature as Way of Life. New Haven:Yale UP,2011. p.18-19.
17 默多克出版的第一本书就是专门研究萨特存在主义的哲学著作：《萨特：浪漫的唯理论者》(Sartre: Romantic Rationalist,1953),第二年(1954)才出版了她的第一部小说《在网下》(Under the Net).
18 详情参加Existentialists and Mystics,ed.Peter Conradi,Allan Lane:The Penguin Press.1997.
19 详见文献综述部分,p.10.
20 日常语学派是分析哲学(analytic philosophy)的一支,日常语学派试图通过对语言的澄清来解决哲学问题,注重逻辑与看得到的事实。
21 素质是与事件相对的范畴,它所指的是“行为方式,也就是在某种条件下以某种方式行动或反应的能力、倾向、可能性或驱动性”,见吉伯特·赖尔：《心的概念》,徐大建译,北京：商务印书馆,2009年。vi.
22 Iris Murdoch, The Black Prince, London:Chatto & Windus,1954.后文出自同一著作,不另注。
23 默多克说日常语人“受制于规则,被文明的社会包围着”(‘"The Sublime and Beautiful Revisited",267)
24 译文参考的是韩震的译文。查尔斯·泰勒：《自我的根源：现代认同的形成》,韩震等译,南京：译林出版社,2012年。
25 一说雨果就是以维特根斯坦的学生Yorick Smythies为原型塑造的。见Martin, Priscilia and Rowe,Anne. Iris Murdoch:A Literary Life. Hampshire & New York:Palgrave Macmillan,2010. P.9。
26 斜体为原文所有。
27 存在主义英雄是极权主义者的代表,默多克认为萨特的存在主义与黑格尔极权主义哲学一脉相承。
28 把人物与工作关联起来是默多克反“存在主义英雄”的一个重要方面,详见本论文第二章第二节。
29 自译Bretuil
30 默多克似乎总偏爱于借助于大学生这类人物去表现封闭在自己的快乐世界中实则自以为足的人,类似的人物还有《好学徒》中的大学生爱德华、《大钟》中的托比(Tobv).
31 其他几部后期代表作还包括《黑王子》(1973)、《大海啊,大海》(1978)、《好学徒》(1985),详见deusel, Barbara Stevens.Iris Murdoch's Paradoxical Novels:Thirty Years of Critical Reception. Rochester:Camden House,2001.
32 笔者自译。
③ Iris Murdoch,The Philosopher's Pupil. London:Penguin Group,1983后文出自同一著作,不另注。
34 斜休为原文所有。
35 如无脚注,则是原文自带的斜体。
36 这就像布莱克诗歌中的Thel,在没有出山洞去接触真实世界之前的自我其实也是不完整的：自我的概念形成在默多克那里是需要经受现实的历练,是在后天形成的。
37 游泳在小说中还是人们能够彼此交流的意象。
38 例如拉康的镜像阶段、萨特他人凝视下自我的形成、以及巴赫金与他者对话中变化的“我”。
“在这一层面,自我是为自己的行为给出指令的活跃的执行者。”("on this level the self is an active
agent giving direction to its actions. ")详见Seigel, Jerrold:The Idea of the self:Thought and Experiences in Western Europe since the Seventeenth Century. Harvard UP,2005.
Doves、Black Lion、Chiswick、Hammersmith都是伦敦的街名,为笔者自译。
1 英博团体、希尔加德与恩尼斯通都足默多克小说中虚构的地方,均为笔者自译。
42 小说中的河名,笔者自译。
43 保罗·纳什(Paul Nash,1889-1946)英国超现实主义画家；内德·拉金(Ned Larkin)为默多克虚构的小说人物。
44 伯考克和帕克都是默多克假想出的人。
45 安哥拉(Agora),古代雅典城的体育、艺术、商业、文化、政治中心。
46 则达(Zed)是亚当的宠物小狗,则达为笔者自译。
47 这一点后经证实其实是由奥地利遗传专家孟德尔(Gregor Mende 1822-1884)首先发现的。
48 如“崇高”(sublime)既是她将美与道德合一的艺术观,又是她为了强调他人介入而引入的隐喻；水这个意象不但可以象征着人们之间的交流、身心的解放、还可以是毁灭自我的力量等。
50 William Frank Thompson在二战中被德国法西斯所杀害,著名的E.P.Thompson的哥哥,根据康拉迪的传记,是默多克介绍他入的党。
51 康拉迪的传记中专门有一章叫作《布尔什维克夫人》。
52 默多克的小说一共有26部之多。
53 笔者自译
Iris Murdoch, The Good Apprentice, New York:Penguin Group,1986,后文出自同一著作,不另注。
55 一个半宗教半世俗的团体。和希尔加德一样,偏爱自给自足的手工生产方式而非现代化的机器。
(?) 参见Priscilla Martin & Anne Rowe. Iriis Murdoch:A Litaary Life. Hampshire:Palgrave Macmillan.2010. xiv.
57 按照修赛尔的说法,默多克在牛津的党龄只有一年。参见Heusel, Barbara Stevens. Iris Murdoch's Paradoxical Novels:Thirty Years of Critical Reception. Rochester:Camden House,2001. P.2.
58 Lefty的名字本身的象征意义就暗示了默多克对其政治身份的界定。
59 为了祖父,托马斯放弃了钟爱的历史,转而学习了医学,最终成为了一位成功的心理医生。
乔治对妻子"冷酷"的评价也得到了叙述者的印证,他说:"斯泰拉是少数几个女人中能够做到对乔治 完全不感伤的人之一"(74).
61 作为外人,加布列尔是这样评价斯泰拉的这种特质的：“她将他看作足挑战,加布列尔想,她把两人的关系看作了一场战争,但她自己以为那是爱。”(12)
62 莎士比亚的戏剧《暴风雨》中一个丑陋凶残的奴隶。
63 这一点国内的学者黄梅也注意到了,她说,“其主要人物企图克服自我中心倾向的努力往往不怎么成功,展示的毋宁说是求善求真历程中的失误、歧途、迷茫和谬见”。她还发问这样的矛盾是在传达unselfing历程的艰难曲折,还是别有隐情。见黄梅,《默多克与 unselfing》,载于《中华读书报》,2008.6.23.
64 题目就可以看出The sovereignty of Good over Other Concepts
65 善的人物在小说中总是边缘人物,这一点评论家迪普有所说明。详见Dipple, Elizabeth. Work for the Spirit. Chicago:U of Chicago P,1982.
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江怡：《分析哲学是什么以及能做什么》,载《学术学刊》10(2012)：31-36。
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