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自德国生物学家海克尔(ErnstHaechel)于1866年提出“Ecology”的概念以来,生态学逐渐成了自然科学中一门重要的学科;自加拿大作家卡森(RachelCarson)的《寂静的春天》(1964)发表以来,“生态文学”在西方文学中渐成气候,所谓的“文学生态学”(LiteraryEcology)和“生态批评”(Ecocriticism)等很快就成了文艺学中最时尚的词汇。不过长期以来,我们还是认为,“生态文学”只是西方(严格意义上的西方)文学的“专利”,如今渗透进我国文学中的“生态批评”观念也更多地被视为一种西方文学的舶来品,在与欧美文学长期隔阂的俄罗斯文学中是否也存在着生态文学呢,对于这样的问题,相信许多人是抱有疑问的。然而,摆在大家面前的这部《俄罗斯生态文学论》一书,却构成了关于上述问题的一个最好回答。
Since the German biologist Ernst Haechel proposed the concept of “Ecology” in 1866, ecology has gradually become an important subject in the natural sciences. Since the Canadian writer Rachel Carson’s “Silent Spring” (1964), “eco-literature” has become more and more popular in Western literature. LiteraryEcology and Ecocriticism have soon become the most fashionable words in literary studies. However, for a long time, we still think that “ecological literature” is only a “patent” of Western (strictly western) literature. The concept of “ecocriticism” infiltrating into Chinese literature is now also regarded more as a kind of Western literature Whether there is also ecological literature in Russian literature that has long been estranged from European and American literature. I believe many people have doubts about such problems. However, the book “Russian Ecological Literature” put before us constitutes one of the best answers to the above questions.