“对已知的颠覆”：朱利安·巴恩斯小说中的后现代历史书写
|
摘要
朱利安·巴恩斯是当今英语界最杰出、最引人注目、最具有挑战性的作家之一,他常常和马丁·艾米斯、伊恩·麦克尤恩一起被认为是当代英国文坛的三剑客。作为一个成功而杰出的作家,巴恩斯获得了国内外不少的文学奖项,包括2011年的布克文学奖。由于作品形式的原创性和实验性以及作品内容的丰富性和深刻性,在三十多年的创作生涯中,巴恩斯获得了各种各样的称号,比如“极具原创性的作家”、“艺术大师”、“挑战文学正统的元小说家”、“天生的讽刺家”、“思想小说家”、“具有哲学头脑的小说家”,等等。然而,由于其写作风格的易变性和多样化,巴恩斯也被称为“英国文坛的变色龙”。从整体上说,其作品体现出一种强烈的“异质性”特征。就形式实验来说,巴恩斯的作品拒绝归类,通过使用诸如戏仿、反讽、拼贴或文本杂糅等后现代主义的写作技巧打破不同文类之间的界限；就主题探讨而言,巴恩斯的小说考察了人类经验的不同领域,比如个人成长、爱情、婚姻、性别、身份、战争、宗教、种族、历史、哲学和政治等等。由于其作品的异质性特点,有关巴恩斯的整体性的、系统性的研究尚不多见,尽管关于其某部作品的评论为数不少。中国的巴恩斯研究还处于萌芽阶段,一篇关于巴恩斯的硕士论文都还没有。这为本文研究巴恩斯,尤其是其作品中的后现代历史书写,提供了一个很好的契机。
尽管评论家注意到巴恩斯的每一部作品都是一次“新的开始”,他的小说从整体上看体现了极强的异质性特征,但是细读巴恩斯的文本,我们发现他的作品中蕴涵着敏锐的历史意识和鲜明的解构思想。作为“黄金一代的英国小说家”之一,巴恩斯,和马丁·艾米斯、石黑一雄、伊恩·麦克尤恩、萨尔曼·拉什迪、格雷厄姆·斯威夫特等一样,成长于大英帝国的衰落和冷战的政治冲突等当代历史现实的阴影之下,同时,也深受后现代文化和思潮中各种主义的影响。这无疑对巴恩斯的写作产生了巨大的影响,使他的小说具有一种敏锐的历史意识和典型的后现代主义小说创作的特征。从巴恩斯对历史的关注可以看出,他的小说中常常会出现这样的人物：他要么是一位历史老师(《在她遇见我之前》、《101/2章世界史》、《英格兰,英格兰》、《一种终结的感觉》),要么是一位历史学家(《英格兰,英格兰》),要么是一位特别着迷于历史人物的角色(《福楼拜的鹦鹉》),或者小说本身即是对历史的一种改写、重写或戏仿(《101/2章世界史》、《豪猪》、《英格兰,英格兰》、《亚瑟与乔治》)等等。绝非巧合的是,我们也可以在巴恩斯的文本中读到相当多的有关历史的评论或历史观点。更具体地说,巴恩斯常常对历史的本质进行思考,因此他写道,“一切都不确定,这就是历史的本质。”他也从认识论的角度对历史或历史真实提出质问：“历史不过是另一种文学体裁；”“虱子的故事和亚历山大大帝的历史一样精彩--一切都依赖于[艺术]手法。”巴恩斯也从本体论的角度质疑历史：“历史没有关联；”“世界历史?不过是一些回荡在黑暗中的声音；炫耀几个世纪而后淡去的形象；故事,有时似乎重复的老故事；奇怪的联系,牵强附会。”巴恩斯还凸显了历史的意识形态特征：“历史并不是发生了的事情。历史只是历史学家对我们说的一套。”“有关历史的一个关键问题是……为了理解摆在我们面前的历史,我们需要知道历史学家的历史。”因此,巴恩斯常常被评论家称为“半个历史学家”,而他的小说则被认为是“对历史的注解,对已知的颠覆”。
巴恩斯小说中有关历史和历史书写的观点也受到了评论家的关注,但是对巴恩斯的历史书写进行整体而系统的、深入而细致的研究非常少见。本文将从有关历史的认识论、本体论和政治的角度来解读巴恩斯小说中的后现代历史书写,通过细读巴恩斯的《福楼拜的鹦鹉》、《101/2章世界史》、《豪猪》、《英格兰,英格兰》、《亚瑟与乔治》和“再生”等小说文本,结合解构主义和新历史主义的阅读策略,主要依据雅克·德里达、米歇尔·福柯、琳达·哈琴、弗雷德里克·詹姆逊和让-弗兰索瓦·利奥塔等后现代(历史)理论家提出的有关后现代历史理论的相关论述与弗兰克·安可斯密特、基思·詹金斯、路易斯·蒙特罗斯和海登·怀特等理论家提出的新历史主义的相关理论,探讨巴恩斯如何通过互文、解构、讽刺或戏仿等写作策略直接或间接地展现他的后现代历史观或历史哲学,指出巴恩斯是一位以小说(虚构)形式呈现后现代历史哲学的后现代作家。从认识论的角度来说,巴恩斯通过互文性的写作手法对历史真实进行不断的质疑和追寻,凸显了历史书写具有文本性和虚构性等特征；从本体论的角度来说,巴恩斯以解构式的写作策略对历史(元)叙事进行颠覆和改写,强调了历史的断裂性、碎片化和多元性等特征；从政治的角度来说,巴恩斯以讽刺的笔调或戏仿的手法对当代和未来的政治-历史进行虚构式再现,表明历史和历史书写受到政治意识形态或权力关系的微妙影响。
本文包括引言、正文和结论三大部分。引言部分首先简单地介绍巴恩斯的生平、写作经历、主要作品和他所获得的文学奖项,然后简略地梳理国内外有关巴恩斯研究的现状,最后介绍巴恩斯对历史的关注、他的某些历史观点以及本论文的写作视角和结构框架。“第一章历史话语、历史书写与朱利安·巴恩斯”论述历史话语的演变历程、英国小说中的历史书写和巴恩斯的历史意识,为理解巴恩斯的后现代历史书写提供理论和历史的背景知识。首先,该章简单地梳理历史话语从思辨历史哲学到分析历史哲学的演变历程,指出历史的宏大叙事或元叙事都属于思辨历史哲学的范畴,然后从本体论和认识论的角度论及后现代历史话语与新历史主义的重要观点,指出它们都对传统的(思辨)历史观或历史哲学及其历史书写的方法论进行质疑。该章第二节简要地概述自18世纪晚期到20世纪中期这一阶段英国文学中历史小说的起源与发展以及自20世纪60年代以来“新历史小说”兴起的社会和历史原因及其主要特征。巴恩斯的后现代历史书写即属于“新历史小说”写作的范畴。该章最后部分考察巴恩斯小说中的历史意识,即他早期小说中历史意识的萌芽与后期小说中对历史问题的凸显和重视,并简略地介绍巴恩斯小说中的后现代历史观和历史书写方法论。
“第二章对历史真实的质疑与追寻”从认识论的角度探讨巴恩斯的后现代历史书写。以互文性的书写策略,通过不断地质疑和追寻历史的真实,巴恩斯的小说突出了历史与文本(性)的关系和历史书写的虚构特征。他认为：只有通过文本才能认知历史；历史书写,恰如文学创作,都要依赖虚构等写作手法。该章主要考察了巴恩斯的《福楼拜的鹦鹉》和《101/2章世界史》等小说文本。首先,论文指出在《福楼拜的鹦鹉》中,巴恩斯通过与福楼拜有关的各种各样的文本去解读福楼拜,以建构一个真实的福楼拜形象,同时又不断地质问“我们该如何把握过去?”,对建构福楼拜形象的作为历史证据的文本的真实性提出质疑,探讨了追寻历史真实的可能性,突出历史与文本(性)的关系和历史书写的(互)文本性；其次,通过分析《101/2章世界史》中“沉船”一章有关一次历史灾难的三个异质性的文本,并论及这部“小说”中“山脉”一章中相关的历史现象,论文指出巴恩斯的互文性写作揭示了(历史)文本与社会过程之间微妙的调解关系,或路易斯·蒙特罗斯意义上的“历史的文本性”概念。该章第二节讨论巴恩斯对历史的虚构性这一问题的认知和具体实践。海登·怀特在《元史学：19世纪欧洲的历史想象》及其他著作中指出,历史书写与文学创作一样,具有虚构的特征,是一种“诗性的行为”。巴恩斯在他的小说文本中也提出了类似的概念,比如,“历史不过是另一种文学体裁”,历史书写的“专业术语是虚构”等。论文首先说明巴恩斯对“历史不过是另一种文学体裁”的理解,即历史是一种想象和虚构,尤其是在证据不足的情况下写出的历史,并以《福楼拜的鹦鹉》和《亚瑟与乔治》等小说文本为例进行说明,然后论及巴恩斯在《爱及其他》和《101/2章世界史》中提出的关于历史是虚构的观点,并详细解读了巴恩斯是如何从形式建构、主题探讨等方面,以互文性和自反式的虚构手法创作了《101/2章世界史》中的一“章”世界历史,指出巴恩斯是从文学创作的角度或以小说(虚构)写作的形式反映历史书写的虚构特征的。
“第三章对历史(元)叙事的颠覆与改写”从本体论的角度讨论巴恩斯的后现代历史书写。从本体论意义上说,传统历史话语或历史哲学认为历史是一个整体,具有连续性、因果性、整体性和一元性等特征,后现代历史话语持相反态度,认为历史具有断裂性、碎片化和多元性等特征。巴恩斯的后现代文本中体现的许多观点与本体论意义上的后现代历史观或历史哲学具有相通之处。这一章主要考察了巴恩斯《福楼拜的鹦鹉》、《101/2章世界史》和《亚瑟与乔治》等小说。首先,论文简要地论述了米歇尔·福柯和克劳德·列维-斯特劳斯等人关于历史的断裂性的观点,然后主要从内容、形式、体裁以及叙事声音等方面分析了《101/2章世界史》关于世界历史的书写,指出巴恩斯的解构式的历史书写打破了传统历史(书写)的线性因果关系及其连续性和整体性等特征,突出了历史的断裂性和碎片化等特征。其次,论文提及了巴恩斯在《福楼拜的鹦鹉》等小说文本中通过小说人物之口直接表达对有关进步(叙事)的质疑,并详细讨论了巴恩斯在《101/2章世界史》中如何以解构的写作方式展现了他对诸如达尔文的进化理论和黑格尔的理性历史等有关历史(元)叙事中之进步观的质疑和颠覆。该章第二节探讨了巴恩斯的后现代历史书写中的历史多元性这一特征。传统的西方史学常常强调人类中心论和欧洲中心论,而把诸如女性、少数族裔和动物等他者排除在历史的视野之外,呈现出一元论的特征。后现代历史话语强调人类历史和文明的多样性和多元性,主张在历史书写中给予他者以突出的地位。巴恩斯的后现代历史书写在某种程度上也反映了历史多元性的特征。该节首先论及《10‘／2章世界史》中“偷渡客”一章从动物的视角对《圣经》中有关诺亚方舟和大洪水的故事进行的质疑和改写,指出了隐含在《圣经》叙事中的人类中心主义,为我们认识诸如基督教历史叙事这样的宏大叙事提供了新的视角；然后通过解读《亚瑟与乔治》中种族歧视给种族他者带来的不公平的法律审判以及作者对这一段被遗忘的历史的挖掘和重写,论文指出巴恩斯对英国人的民族性格、种族无意识和官方历史书写中的种族偏见进行了深刻的反思和尖锐的批判。从动物视角重写历史,挖掘种族他者被遗忘的历史,都是让在历史主导叙事中被压抑的声音重新发声,反映了巴恩斯对正统历史叙事的颠覆和改写以及他对历史的多元性和种族的多元性之潜在的辩护。
“第四章对政治-历史的虚构与再现”从政治的角度探讨巴恩斯对政治与历史之关系的思考和他对未来异-托邦世界的后现代刻画。利奥波德·冯·兰克的客观史学强调“如实直书”,这被后来的学者认为是“一个高贵的梦想”。后现代(历史)理论家如米歇尔·福柯和基思·詹金斯等人认识到历史和历史书写深受政治意识形态或权力关系等因素的影响。巴恩斯的后现代历史书写也认识到了这一点。该章主要讨论了巴恩斯的两部政治小说《豪猪》和《英格兰,英格兰》。首先,论文从历史与政治意识形态或权力关系的角度分析了巴恩斯如何在小说《豪猪》中暗示了(政治)权力对历史和历史书写的影响；其次,结合雅克·德里达对弗朗西斯·福山的“历史的终结”论的批判,探讨巴恩斯在《豪猪》中对意识形态之争的描写,指出巴恩斯对当代政治一历史现实的敏锐感知和他对“历史的终结”论的潜在批判。然后,该章转向巴恩斯在《英格兰,英格兰》中对英格兰的政治未来(历史)的考察。乌托邦是对未来社会的美好描述,敌托邦即反面乌托邦。巴恩斯在《英格兰,英格兰》中描写了两个既非乌托邦亦非敌托邦的异-托邦世界。论文通过梳理一个以英国历史遗产为原型而建的仿像式的异-托邦世界“英格兰,英格兰”在英国南部的怀特岛上建立起来以及走向政治独立的经过,指出巴恩斯通过戏仿让·鲍德里亚有关“超真实”文化的论述对历史(遗产)的商品化以及后现代社会中追求仿像和复制品胜过真实和原件的现象等进行了讽刺和批判。该节最后部分论述旧英格兰在怀特岛独立之后的政治变故、经济破败以至于衰退成一个前工业化的、“既非田园亦非敌-托邦”的乡村社会、另一个异-托邦世界的概况,并指出它在建构自己的(历史)传统时面临的悖论：与怀特岛上的超真实世界一样,旧英格兰也困陷在真实与仿像模糊不分的处境之中。通过虚构和再现历史的异-托邦,巴恩斯探讨了民族身份意识、历史建构及其与民族的政治前景之间的关系等问题,表达了他对英格兰的政治未来和历史走向的忧虑和思考。
结论部分从巴恩斯关注真实问题的角度回顾了他的后现代历史书写的主要内容,指出其文本中隐含的矛盾和不足,然后将巴恩斯的历史书写和其他当代英国作家的历史书写进行简单地比较,突出其创作技巧中的独特之处,最后提及巴恩斯研究中潜在的研究视角,以期引起更多的关注。朱利安·巴恩斯是一位具有深刻的反思意识和强烈的批判精神的后现代作家,他的后现代历史书写体现了鲜明的解构色彩,颠覆了关于历史和历史书写的既定概念,对传统的历史观和历史书写方法论做出了后现代式的注解,以文学虚构(小说)写作的形式展现了后现代的历史哲学,为我们从后现代历史话语或历史哲学的角度研究文学(甚至历史)提供了极好的参照文本。
Julian Barnes, one of the most outstanding, interesting and challenging novelists now writing in the English language, is often considered as one of the three giants in contemporary British literary circle, the other two being Martin Amis and Ian McEwan. As a prosperous and prominent writer, Barnes has received not a few literary awards and honors at home and abroad including the prestigious award the Man Booker Prize in2011. Due to the originality and experimental-ness of form and the richness and profundity of content in his works, Barnes during his more than thirty years'writing has won a variety of names, such as "a highly original writer,""a master of craftsman,""a metafictionist who challenges literary orthodoxies,""a natural satirist,""a novelist of ideas," and "a novelist-philosopher." However, because of the flexibility and versatility of his writing style, Barnes is esteemed as "the chameleon of British letters" and as such the specificity of his work taken as a whole is a strong "sense of heterogeneity." As to formal experimentation, his works often defy categorization, blurring the boundaries of genres by means of using such postmodernist techniques as parody, irony, collage or textual hybridization; as to thematic exploration, his novels explore different areas of human experience, ranging from personal growth, love, marriage to gender, identity, war, religion, race, history, philosophy and politics. Due to the heterogeneous feature of his writing, there are up to now few comprehensive and systematic studies on Barnes, although many an article, review and essay about his certain work could be searched out. In China, Barnes study is in a budding state, with no thesis turning up yet. This provides a great opportunity for this dissertation to study Barnes, especially the postmodern historical writing in his fiction.
Although critics observe that every book by Barnes is "a new departure" and his whole writing is typical of heterogeneity, a close reading of Barnes's works shows an acute historical consciousness permeating in his writing, behind which there is his sharp deconstructive thought. As one of "the golden generation of British novelists," Barnes, like Martin Amis, Kazuo Ishiguro, Ian McEwan, Salman Rushdie and Graham Swift, lives under the shadow of contemporary historical reality such as the decline of the British Empire and the political conflict of the Cold War, and in the meantime is affected by various isms of postmodern culture and thoughts. This no doubt makes a great imprint on Barnes's writing, rendering his fiction an acute historical consciousness and the typical features of postmodernism. As to Barnes's concern for history, it is evident that in his work there is often such a character who is either a history professor (Before She Met Me; A History of the World in101/2Chapters; England, England; The Sense of an Ending), or a historian (England, England), or a person extremely interested in historical figures (Flaubert's Parrot), or the novel itself is a re-writing or parody of history (A History of the World in101/2Chapters; The Porcupine; England, England and Arthur&George). Not coincidentally, a good many comments about history or the views of history turn up in Barnes's writing. More specifically, Barnes often expresses his view about the nature of history, therefore he writes:"Nothing was set in concrete:that was the nature of history;" and he also calls into question history or historical truth epistemologically:"history is merely another literary genre;""The story of a louse may be as fine as the history of Alexander the Great—everything depends upon the execution;" still Barnes interrogates history ontologically:"History doesn't relate;""The history of the world? Just voices echoing in the dark; images that burn for a few centuries and then fade; stories, old stories that sometimes seem to overlap; strange links, impertinent connections;" and his writing also foregrounds the ideological attribute of history:"History isn't what happened. History is just what historians tell us;""one of the central problems of history... the fact that we need to know the history of the historian in order to understand the version that is being put in front of us." Because of this, Barnes is often called a "near-historian" by critics and his fiction is considered as a "footnote to history" and "subversion of the given."
Critics have noticed the views of history and historiography embodied in Barnes's works, but few global, systematic, penetrating and in-depth studies of Barnes's historical writing have come into being yet. This dissertation will focus on Barnes's postmodern historical writing, from epistemological, ontological and political points of view related to history, by way of a close reading of Barnes's texts such as Flaubert's Parrot, A History of the World in101/2Chapters, The Porcupine, England, England, Arthur&George and "The Revival," combining the reading strategies of Deconstructionism and New Historicism, and through drawing mainly upon hypotheses of postmodern discourse of history put forward by postmodern theorists (of history) such as Jacques Derrida, Michel Foucault, Linda Hutcheon, Fredric Jameson, Jean-Francois Lyotard and those of New Historicism by such theorists as Frank Ankersmit, Keith Jenkins, Louis Montrose and Hayden White, to explore how Barnes demonstrates his postmodern view or philosophy of history explicitly or implicitly through his intertextual, deconstructive, satiric or parodic strategy of writing, to substantiate that Barnes is such a postmodern novelist whose work presents a postmodern "philosophy of history in fictional... form." Epistemologically, Barnes, through his questioning and questing for historical truth in a way of intertextual writing, foregrounds that historical writing or historiography bears the feature of textuality and fictionality; ontologically, Barnes, by his subverting and revising historical (meta)narratives in a way of deconstructive writing, stresses that history is discontinuous, fragmented and pluralistic; politically, Barnes, via his fabricating and representing contemporary and future politics-history in a way of satiric or parodic writing, highlights that history and historiography are subtly affected by political ideology and/or power relations.
This dissertation consists of the Introduction, four chapters and the Conclusion. The Introduction surveys Barnes's writing experience, major works and the literary awards he has won, and briefly reviews Barnes studies at home and abroad. The rest of the Introduction addresses Barnes's concern for history, the preview of some of his postmodern views of history and the genesis of the study angle in this dissertation, followed by the explanation of this dissertation's framework."Chapter One:Historical Discourse, Historical Writing and Julian Barnes" examines the transformation of historical discourse, historical writing in British fiction and Barnes's historical consciousness, providing a theoretical and historical framework for understanding Barnes's postmodern historical writing. This chapter first of all sorts out the transformation of historical discourse (from the speculative philosophy of history to that of analytical) in a brief way, pointing out that some grand narratives or (meta)narratives of history belong to the category of the speculative. Then it summarizes from the ontological and epistemological perspectives the main ideas of postmodern discourse of history and New Historicism, arguing that they challenge the traditional (speculative) view or philosophy of history and modes of historical writing. Its second part mentions the origin and development of the historical novel in British literature from the later18th century to the middle of the20th century and the social, historical reasons for the rise of "new historical fiction" since the1960s and its main features. Barnes's postmodern historical writing belongs to the category of "new historical fiction." Its last part deals with Barnes's historical consciousness (from its budding in his early novels to its maturity in his later ones), with an introduction to his postmodern view of history and historiography as its conclusion.
"Chapter Two:Questioning and Questing for Historical Truth" explores Barnes's postmodern historical writing epistemologically. Barnes, through his intertextual strategy of writing and his constant questioning and questing for historical truth, foregrounds the relation of history to text(uality) and the fictive character of historical writing, contending that history could be approached merely through texts, and that historical writing, just like literary writing, relies on literary execution such as fabulation. This chapter mainly examines Barnes's novels such as Flaubert's Parrot and A History of the World in101/2Chapters. First of all, it points out that in Flaubert's Parrot Barnes interprets Flaubert through various kinds of texts pertinent to Flaubert so as to construct a true image of Flaubert and in the mean time constantly queries "How do we seize the Past?" and questions the texts as historical evidence for the construction of Flaubert's image, thus investigating the possibility of questing for historical truth, highlighting the relation of history to text(uality) and the (inter)textuality of history or historiography. Then, by way of analyzing three heterogeneous texts about a historical disaster in "Shipwreck," one "chapter" of A History of the World in101/2Chapters, and discussing the historical phenomenon in connection with this historical disaster in "The Mountain," another "chapter" of this "novel," the writing in this part intimates that Barnes's intertextual writing discloses the subtle mediation relation of (historical) text to social processes, or the notion of "the textuality of history" in Montrose's sense. Its second section explicates Barnes's knowledge and practical writing of the issue of the fictionality of history. In Metahistory:The Historical Imagination in Nineteenth-Century Europe and other works, Hayden White argues that historical writing, like literary writing, bears the fictive character and is a "poetic process." Barnes also puts forward (through his characters) similar views about history or historiography, such as "history is merely another literary genre" and "the technical term is fabulation." This section firstly expounds Barnes's own understanding of the view that "history is merely another literary genre," that is, history is imagined and fictionalized, especially when there is insufficient evidence for historical writing, substantiated by his practical writing in such texts as Flaubert's Parrot and Arthur&George. It then refers to the idea of history as fiction embodied in Barnes's Love, Etc. and A History of the World in101/2Chapters and elaborates on how Barnes from the perspectives of formal construction and content exploration writes a "chapter" of the history of the world in the latter "novel" via the literary execution of fabulation intertextually and self-reflexively, suggesting that Barnes's writing mirrors the fictive character of history from the angle of literary writing or in the form of fictional writing.
"Chapter Three:Subverting and Revising Historical (Meta)Narratives" explicates Barnes's postmodern historical writing ontologically. In an ontological sense, conventional discourse or philosophy of history maintains that history is a whole, with such characteristics as continuity, causality and totality; on the contrary, postmodern discourse or philosophy of history contends that history is discontinuous, fragmented and pluralistic. Not a few views exposed in Barnes's postmodern historical writing have some similarities with those of postmodern discourse of history ontologically. This chapter mainly studies Barnes's novels like Flaubert's Parrot, A History of the World in101/2Chapters and Arthur&George. Firstly, its first section briefly explains the view of history as discontinuity put forward by Michel Foucault and Claude Levi-Strauss, then interprets the writing of the history of the world in A History of the World in101/2Chapters from such aspects as its main content, form, genre and narrative voice, pointing out that Barnes's deconstructive writing of history breaks up the linear causality, continuity and totality in conventional history (and historiography), stressing such features of history as discontinuity and fragmentation. Secondly, this section refers to Barnes's direct expression of interrogation about (the narrative of) progress through the voice of his characters in such texts as "Junction" and Flaubert's Parrot, and then illuminates how Barnes in A History of the World in101/2Chapters in a way of deconstructive writing displays his interrogation and subversion of the view of progress embedded in such historical (meta)narratives as those of Darwin's theory of evolution and Hegel's rational History. Its second section explores the feature of historical plurality in Barnes's postmodern historical writing. The conventional Western History often underscores Anthropocentrism and Eurocentrism, excluding the Others such as the female, the racial minority and the animal out of the vision of historical writing, displaying the feature of monism. Postmodern view of history underlines the diversity and plurality of human history and civilization, proffering some prominent positions for the Others in historical writing, which is in some sense represented in Barnes's postmodern historical writing. This section first of all deals with, in "The Stowaway," the first "chapter" of A History of the World in101/2Chapters, Barnes's interrogation and revision from the angle of an animal of the (hi)story of Noah's Ark and the Deluge recorded in the Bible, laying bare Anthropocentrism implicated in the narrative of the Bible, providing a new perspective for the understanding of grand narratives such as Christian History; then a close reading of racial prejudice which brings about miscarriage of justice on a racial Other and of Barnes's digging out and rewriting of this forgotten history in Arthur&George, indicates that Barnes's writing unearths his deep rethinking and penetrating critique of national character and racial unconscious of the English people and the racial bias in the official writing of British history. Rewriting history from an animal's perspective and digging out a forgotten history of a racial Other give expression to the suppressed voices in the master narratives of history, revealing Barnes's subversion and revision of orthodox history and his potential defense for historical and racial plurality.
"Chapter Four:Fabricating and Representing Politics-History" examines Barnes's thinking of the relation of politics to history and his postmodern delineation of hetero-topia worlds in the future. Leopold von Ranke's objective history highlights the writing of history as "what actually happened," which is called "a noble dream" by later scholars. Postmodern theorists (of history) like Michel Foucault and Keith Jenkins realize that history (and historiography) is deeply affected by such factors as political ideology and/or power relations, which could be also corroborated in Barnes's postmodern historical writing. This chapter discusses Barnes's two political novels The Porcupine and England, England. To start with, it analyzes from the angle of the relation of history to political ideology and/or power relations how Barnes in The Porcupine suggests the influence of (political) power on history and historiography and then illustrates Barnes's depiction of the ideological conflict in this novel through reviewing Jacques Derrida's critique of the hypothesis of "The End of History" proposed by Francis Fukuyama so as to point out Barnes's acute perception of the contemporary political, historical reality and.his potential critique of Fukuyama's proposal of "The End of History." Next, this chapter turns to investigate Barnes's writing of the political future (history) of England in England, England in its second section. Utopia is an ideal or perfect depiction of the future world, dystopia being its reversal; Barnes delineates two worlds of hetero-topia in this novel. First of all, it recounts the process of how a world of simulacra and hetero-topia named "England, England," based on the English historical heritage, is established in the Isle of Wight, a small island to the south of England, and becomes politically independent, indicating Barnes's satirizing and critiquing of the phenomenon of commodification of history (or historical heritage) and preferring the original and authentic to the replica and fake in a postmodern society through a parody of Jean Baudrillard's hypothesis of "the hyperreal" culture. The last part of this section makes a survey of Old England's political fall and seclusion, its economic recession and ruin and its regression into a pre-industrial rural society,"neither idyllic nor dystopic," another world of hetero-topia, after the independence of the Isle of Wight, and intimates the paradox Old England encounters in the construction of its (historical) tradition, that is, like the hyperreal world in the Isle of Wight, Old England is also "entrapped" in the situation of blurring the boundary between reality and simulacra. Through fabrication and representation of the world of hetero-topia, Barnes's writing explores such issues as national identity consciousness, construction of history, and their relations to national political future, implying his concern for and thinking of the political future and historical orientation of England.
The Conclusion reviews the main contents of Barnes's postmodern historical writing in light of his concern for the issue of truth, the paradox or "shortcomings" implied in his writing, then makes a brief comparison of his historical writing with those of other contemporary British writers to highlight his peculiarity in formal experimentation. It addresses in the end some possible perspectives for the study of Barnes to arouse more interest in this writer. All in all, Julian Barnes is a postmodern writer with a profound awareness of rethinking and strong spirit of critique, and his postmodern historical writing, bearing a distinctive feature of deconstruction, subverts "the given" notions about history and historiography, making a postmodern "footnote to [conventional] history" and historiography, presenting a postmodern philosophy of history in the form of fictional writing, thus proffering very good texts for the study of literature (and even history) from the angle of postmodern discourse or philosophy of history.
尽管评论家注意到巴恩斯的每一部作品都是一次“新的开始”,他的小说从整体上看体现了极强的异质性特征,但是细读巴恩斯的文本,我们发现他的作品中蕴涵着敏锐的历史意识和鲜明的解构思想。作为“黄金一代的英国小说家”之一,巴恩斯,和马丁·艾米斯、石黑一雄、伊恩·麦克尤恩、萨尔曼·拉什迪、格雷厄姆·斯威夫特等一样,成长于大英帝国的衰落和冷战的政治冲突等当代历史现实的阴影之下,同时,也深受后现代文化和思潮中各种主义的影响。这无疑对巴恩斯的写作产生了巨大的影响,使他的小说具有一种敏锐的历史意识和典型的后现代主义小说创作的特征。从巴恩斯对历史的关注可以看出,他的小说中常常会出现这样的人物：他要么是一位历史老师(《在她遇见我之前》、《101/2章世界史》、《英格兰,英格兰》、《一种终结的感觉》),要么是一位历史学家(《英格兰,英格兰》),要么是一位特别着迷于历史人物的角色(《福楼拜的鹦鹉》),或者小说本身即是对历史的一种改写、重写或戏仿(《101/2章世界史》、《豪猪》、《英格兰,英格兰》、《亚瑟与乔治》)等等。绝非巧合的是,我们也可以在巴恩斯的文本中读到相当多的有关历史的评论或历史观点。更具体地说,巴恩斯常常对历史的本质进行思考,因此他写道,“一切都不确定,这就是历史的本质。”他也从认识论的角度对历史或历史真实提出质问：“历史不过是另一种文学体裁；”“虱子的故事和亚历山大大帝的历史一样精彩--一切都依赖于[艺术]手法。”巴恩斯也从本体论的角度质疑历史：“历史没有关联；”“世界历史?不过是一些回荡在黑暗中的声音；炫耀几个世纪而后淡去的形象；故事,有时似乎重复的老故事；奇怪的联系,牵强附会。”巴恩斯还凸显了历史的意识形态特征：“历史并不是发生了的事情。历史只是历史学家对我们说的一套。”“有关历史的一个关键问题是……为了理解摆在我们面前的历史,我们需要知道历史学家的历史。”因此,巴恩斯常常被评论家称为“半个历史学家”,而他的小说则被认为是“对历史的注解,对已知的颠覆”。
巴恩斯小说中有关历史和历史书写的观点也受到了评论家的关注,但是对巴恩斯的历史书写进行整体而系统的、深入而细致的研究非常少见。本文将从有关历史的认识论、本体论和政治的角度来解读巴恩斯小说中的后现代历史书写,通过细读巴恩斯的《福楼拜的鹦鹉》、《101/2章世界史》、《豪猪》、《英格兰,英格兰》、《亚瑟与乔治》和“再生”等小说文本,结合解构主义和新历史主义的阅读策略,主要依据雅克·德里达、米歇尔·福柯、琳达·哈琴、弗雷德里克·詹姆逊和让-弗兰索瓦·利奥塔等后现代(历史)理论家提出的有关后现代历史理论的相关论述与弗兰克·安可斯密特、基思·詹金斯、路易斯·蒙特罗斯和海登·怀特等理论家提出的新历史主义的相关理论,探讨巴恩斯如何通过互文、解构、讽刺或戏仿等写作策略直接或间接地展现他的后现代历史观或历史哲学,指出巴恩斯是一位以小说(虚构)形式呈现后现代历史哲学的后现代作家。从认识论的角度来说,巴恩斯通过互文性的写作手法对历史真实进行不断的质疑和追寻,凸显了历史书写具有文本性和虚构性等特征；从本体论的角度来说,巴恩斯以解构式的写作策略对历史(元)叙事进行颠覆和改写,强调了历史的断裂性、碎片化和多元性等特征；从政治的角度来说,巴恩斯以讽刺的笔调或戏仿的手法对当代和未来的政治-历史进行虚构式再现,表明历史和历史书写受到政治意识形态或权力关系的微妙影响。
本文包括引言、正文和结论三大部分。引言部分首先简单地介绍巴恩斯的生平、写作经历、主要作品和他所获得的文学奖项,然后简略地梳理国内外有关巴恩斯研究的现状,最后介绍巴恩斯对历史的关注、他的某些历史观点以及本论文的写作视角和结构框架。“第一章历史话语、历史书写与朱利安·巴恩斯”论述历史话语的演变历程、英国小说中的历史书写和巴恩斯的历史意识,为理解巴恩斯的后现代历史书写提供理论和历史的背景知识。首先,该章简单地梳理历史话语从思辨历史哲学到分析历史哲学的演变历程,指出历史的宏大叙事或元叙事都属于思辨历史哲学的范畴,然后从本体论和认识论的角度论及后现代历史话语与新历史主义的重要观点,指出它们都对传统的(思辨)历史观或历史哲学及其历史书写的方法论进行质疑。该章第二节简要地概述自18世纪晚期到20世纪中期这一阶段英国文学中历史小说的起源与发展以及自20世纪60年代以来“新历史小说”兴起的社会和历史原因及其主要特征。巴恩斯的后现代历史书写即属于“新历史小说”写作的范畴。该章最后部分考察巴恩斯小说中的历史意识,即他早期小说中历史意识的萌芽与后期小说中对历史问题的凸显和重视,并简略地介绍巴恩斯小说中的后现代历史观和历史书写方法论。
“第二章对历史真实的质疑与追寻”从认识论的角度探讨巴恩斯的后现代历史书写。以互文性的书写策略,通过不断地质疑和追寻历史的真实,巴恩斯的小说突出了历史与文本(性)的关系和历史书写的虚构特征。他认为：只有通过文本才能认知历史；历史书写,恰如文学创作,都要依赖虚构等写作手法。该章主要考察了巴恩斯的《福楼拜的鹦鹉》和《101/2章世界史》等小说文本。首先,论文指出在《福楼拜的鹦鹉》中,巴恩斯通过与福楼拜有关的各种各样的文本去解读福楼拜,以建构一个真实的福楼拜形象,同时又不断地质问“我们该如何把握过去?”,对建构福楼拜形象的作为历史证据的文本的真实性提出质疑,探讨了追寻历史真实的可能性,突出历史与文本(性)的关系和历史书写的(互)文本性；其次,通过分析《101/2章世界史》中“沉船”一章有关一次历史灾难的三个异质性的文本,并论及这部“小说”中“山脉”一章中相关的历史现象,论文指出巴恩斯的互文性写作揭示了(历史)文本与社会过程之间微妙的调解关系,或路易斯·蒙特罗斯意义上的“历史的文本性”概念。该章第二节讨论巴恩斯对历史的虚构性这一问题的认知和具体实践。海登·怀特在《元史学：19世纪欧洲的历史想象》及其他著作中指出,历史书写与文学创作一样,具有虚构的特征,是一种“诗性的行为”。巴恩斯在他的小说文本中也提出了类似的概念,比如,“历史不过是另一种文学体裁”,历史书写的“专业术语是虚构”等。论文首先说明巴恩斯对“历史不过是另一种文学体裁”的理解,即历史是一种想象和虚构,尤其是在证据不足的情况下写出的历史,并以《福楼拜的鹦鹉》和《亚瑟与乔治》等小说文本为例进行说明,然后论及巴恩斯在《爱及其他》和《101/2章世界史》中提出的关于历史是虚构的观点,并详细解读了巴恩斯是如何从形式建构、主题探讨等方面,以互文性和自反式的虚构手法创作了《101/2章世界史》中的一“章”世界历史,指出巴恩斯是从文学创作的角度或以小说(虚构)写作的形式反映历史书写的虚构特征的。
“第三章对历史(元)叙事的颠覆与改写”从本体论的角度讨论巴恩斯的后现代历史书写。从本体论意义上说,传统历史话语或历史哲学认为历史是一个整体,具有连续性、因果性、整体性和一元性等特征,后现代历史话语持相反态度,认为历史具有断裂性、碎片化和多元性等特征。巴恩斯的后现代文本中体现的许多观点与本体论意义上的后现代历史观或历史哲学具有相通之处。这一章主要考察了巴恩斯《福楼拜的鹦鹉》、《101/2章世界史》和《亚瑟与乔治》等小说。首先,论文简要地论述了米歇尔·福柯和克劳德·列维-斯特劳斯等人关于历史的断裂性的观点,然后主要从内容、形式、体裁以及叙事声音等方面分析了《101/2章世界史》关于世界历史的书写,指出巴恩斯的解构式的历史书写打破了传统历史(书写)的线性因果关系及其连续性和整体性等特征,突出了历史的断裂性和碎片化等特征。其次,论文提及了巴恩斯在《福楼拜的鹦鹉》等小说文本中通过小说人物之口直接表达对有关进步(叙事)的质疑,并详细讨论了巴恩斯在《101/2章世界史》中如何以解构的写作方式展现了他对诸如达尔文的进化理论和黑格尔的理性历史等有关历史(元)叙事中之进步观的质疑和颠覆。该章第二节探讨了巴恩斯的后现代历史书写中的历史多元性这一特征。传统的西方史学常常强调人类中心论和欧洲中心论,而把诸如女性、少数族裔和动物等他者排除在历史的视野之外,呈现出一元论的特征。后现代历史话语强调人类历史和文明的多样性和多元性,主张在历史书写中给予他者以突出的地位。巴恩斯的后现代历史书写在某种程度上也反映了历史多元性的特征。该节首先论及《10‘／2章世界史》中“偷渡客”一章从动物的视角对《圣经》中有关诺亚方舟和大洪水的故事进行的质疑和改写,指出了隐含在《圣经》叙事中的人类中心主义,为我们认识诸如基督教历史叙事这样的宏大叙事提供了新的视角；然后通过解读《亚瑟与乔治》中种族歧视给种族他者带来的不公平的法律审判以及作者对这一段被遗忘的历史的挖掘和重写,论文指出巴恩斯对英国人的民族性格、种族无意识和官方历史书写中的种族偏见进行了深刻的反思和尖锐的批判。从动物视角重写历史,挖掘种族他者被遗忘的历史,都是让在历史主导叙事中被压抑的声音重新发声,反映了巴恩斯对正统历史叙事的颠覆和改写以及他对历史的多元性和种族的多元性之潜在的辩护。
“第四章对政治-历史的虚构与再现”从政治的角度探讨巴恩斯对政治与历史之关系的思考和他对未来异-托邦世界的后现代刻画。利奥波德·冯·兰克的客观史学强调“如实直书”,这被后来的学者认为是“一个高贵的梦想”。后现代(历史)理论家如米歇尔·福柯和基思·詹金斯等人认识到历史和历史书写深受政治意识形态或权力关系等因素的影响。巴恩斯的后现代历史书写也认识到了这一点。该章主要讨论了巴恩斯的两部政治小说《豪猪》和《英格兰,英格兰》。首先,论文从历史与政治意识形态或权力关系的角度分析了巴恩斯如何在小说《豪猪》中暗示了(政治)权力对历史和历史书写的影响；其次,结合雅克·德里达对弗朗西斯·福山的“历史的终结”论的批判,探讨巴恩斯在《豪猪》中对意识形态之争的描写,指出巴恩斯对当代政治一历史现实的敏锐感知和他对“历史的终结”论的潜在批判。然后,该章转向巴恩斯在《英格兰,英格兰》中对英格兰的政治未来(历史)的考察。乌托邦是对未来社会的美好描述,敌托邦即反面乌托邦。巴恩斯在《英格兰,英格兰》中描写了两个既非乌托邦亦非敌托邦的异-托邦世界。论文通过梳理一个以英国历史遗产为原型而建的仿像式的异-托邦世界“英格兰,英格兰”在英国南部的怀特岛上建立起来以及走向政治独立的经过,指出巴恩斯通过戏仿让·鲍德里亚有关“超真实”文化的论述对历史(遗产)的商品化以及后现代社会中追求仿像和复制品胜过真实和原件的现象等进行了讽刺和批判。该节最后部分论述旧英格兰在怀特岛独立之后的政治变故、经济破败以至于衰退成一个前工业化的、“既非田园亦非敌-托邦”的乡村社会、另一个异-托邦世界的概况,并指出它在建构自己的(历史)传统时面临的悖论：与怀特岛上的超真实世界一样,旧英格兰也困陷在真实与仿像模糊不分的处境之中。通过虚构和再现历史的异-托邦,巴恩斯探讨了民族身份意识、历史建构及其与民族的政治前景之间的关系等问题,表达了他对英格兰的政治未来和历史走向的忧虑和思考。
结论部分从巴恩斯关注真实问题的角度回顾了他的后现代历史书写的主要内容,指出其文本中隐含的矛盾和不足,然后将巴恩斯的历史书写和其他当代英国作家的历史书写进行简单地比较,突出其创作技巧中的独特之处,最后提及巴恩斯研究中潜在的研究视角,以期引起更多的关注。朱利安·巴恩斯是一位具有深刻的反思意识和强烈的批判精神的后现代作家,他的后现代历史书写体现了鲜明的解构色彩,颠覆了关于历史和历史书写的既定概念,对传统的历史观和历史书写方法论做出了后现代式的注解,以文学虚构(小说)写作的形式展现了后现代的历史哲学,为我们从后现代历史话语或历史哲学的角度研究文学(甚至历史)提供了极好的参照文本。
Julian Barnes, one of the most outstanding, interesting and challenging novelists now writing in the English language, is often considered as one of the three giants in contemporary British literary circle, the other two being Martin Amis and Ian McEwan. As a prosperous and prominent writer, Barnes has received not a few literary awards and honors at home and abroad including the prestigious award the Man Booker Prize in2011. Due to the originality and experimental-ness of form and the richness and profundity of content in his works, Barnes during his more than thirty years'writing has won a variety of names, such as "a highly original writer,""a master of craftsman,""a metafictionist who challenges literary orthodoxies,""a natural satirist,""a novelist of ideas," and "a novelist-philosopher." However, because of the flexibility and versatility of his writing style, Barnes is esteemed as "the chameleon of British letters" and as such the specificity of his work taken as a whole is a strong "sense of heterogeneity." As to formal experimentation, his works often defy categorization, blurring the boundaries of genres by means of using such postmodernist techniques as parody, irony, collage or textual hybridization; as to thematic exploration, his novels explore different areas of human experience, ranging from personal growth, love, marriage to gender, identity, war, religion, race, history, philosophy and politics. Due to the heterogeneous feature of his writing, there are up to now few comprehensive and systematic studies on Barnes, although many an article, review and essay about his certain work could be searched out. In China, Barnes study is in a budding state, with no thesis turning up yet. This provides a great opportunity for this dissertation to study Barnes, especially the postmodern historical writing in his fiction.
Although critics observe that every book by Barnes is "a new departure" and his whole writing is typical of heterogeneity, a close reading of Barnes's works shows an acute historical consciousness permeating in his writing, behind which there is his sharp deconstructive thought. As one of "the golden generation of British novelists," Barnes, like Martin Amis, Kazuo Ishiguro, Ian McEwan, Salman Rushdie and Graham Swift, lives under the shadow of contemporary historical reality such as the decline of the British Empire and the political conflict of the Cold War, and in the meantime is affected by various isms of postmodern culture and thoughts. This no doubt makes a great imprint on Barnes's writing, rendering his fiction an acute historical consciousness and the typical features of postmodernism. As to Barnes's concern for history, it is evident that in his work there is often such a character who is either a history professor (Before She Met Me; A History of the World in101/2Chapters; England, England; The Sense of an Ending), or a historian (England, England), or a person extremely interested in historical figures (Flaubert's Parrot), or the novel itself is a re-writing or parody of history (A History of the World in101/2Chapters; The Porcupine; England, England and Arthur&George). Not coincidentally, a good many comments about history or the views of history turn up in Barnes's writing. More specifically, Barnes often expresses his view about the nature of history, therefore he writes:"Nothing was set in concrete:that was the nature of history;" and he also calls into question history or historical truth epistemologically:"history is merely another literary genre;""The story of a louse may be as fine as the history of Alexander the Great—everything depends upon the execution;" still Barnes interrogates history ontologically:"History doesn't relate;""The history of the world? Just voices echoing in the dark; images that burn for a few centuries and then fade; stories, old stories that sometimes seem to overlap; strange links, impertinent connections;" and his writing also foregrounds the ideological attribute of history:"History isn't what happened. History is just what historians tell us;""one of the central problems of history... the fact that we need to know the history of the historian in order to understand the version that is being put in front of us." Because of this, Barnes is often called a "near-historian" by critics and his fiction is considered as a "footnote to history" and "subversion of the given."
Critics have noticed the views of history and historiography embodied in Barnes's works, but few global, systematic, penetrating and in-depth studies of Barnes's historical writing have come into being yet. This dissertation will focus on Barnes's postmodern historical writing, from epistemological, ontological and political points of view related to history, by way of a close reading of Barnes's texts such as Flaubert's Parrot, A History of the World in101/2Chapters, The Porcupine, England, England, Arthur&George and "The Revival," combining the reading strategies of Deconstructionism and New Historicism, and through drawing mainly upon hypotheses of postmodern discourse of history put forward by postmodern theorists (of history) such as Jacques Derrida, Michel Foucault, Linda Hutcheon, Fredric Jameson, Jean-Francois Lyotard and those of New Historicism by such theorists as Frank Ankersmit, Keith Jenkins, Louis Montrose and Hayden White, to explore how Barnes demonstrates his postmodern view or philosophy of history explicitly or implicitly through his intertextual, deconstructive, satiric or parodic strategy of writing, to substantiate that Barnes is such a postmodern novelist whose work presents a postmodern "philosophy of history in fictional... form." Epistemologically, Barnes, through his questioning and questing for historical truth in a way of intertextual writing, foregrounds that historical writing or historiography bears the feature of textuality and fictionality; ontologically, Barnes, by his subverting and revising historical (meta)narratives in a way of deconstructive writing, stresses that history is discontinuous, fragmented and pluralistic; politically, Barnes, via his fabricating and representing contemporary and future politics-history in a way of satiric or parodic writing, highlights that history and historiography are subtly affected by political ideology and/or power relations.
This dissertation consists of the Introduction, four chapters and the Conclusion. The Introduction surveys Barnes's writing experience, major works and the literary awards he has won, and briefly reviews Barnes studies at home and abroad. The rest of the Introduction addresses Barnes's concern for history, the preview of some of his postmodern views of history and the genesis of the study angle in this dissertation, followed by the explanation of this dissertation's framework."Chapter One:Historical Discourse, Historical Writing and Julian Barnes" examines the transformation of historical discourse, historical writing in British fiction and Barnes's historical consciousness, providing a theoretical and historical framework for understanding Barnes's postmodern historical writing. This chapter first of all sorts out the transformation of historical discourse (from the speculative philosophy of history to that of analytical) in a brief way, pointing out that some grand narratives or (meta)narratives of history belong to the category of the speculative. Then it summarizes from the ontological and epistemological perspectives the main ideas of postmodern discourse of history and New Historicism, arguing that they challenge the traditional (speculative) view or philosophy of history and modes of historical writing. Its second part mentions the origin and development of the historical novel in British literature from the later18th century to the middle of the20th century and the social, historical reasons for the rise of "new historical fiction" since the1960s and its main features. Barnes's postmodern historical writing belongs to the category of "new historical fiction." Its last part deals with Barnes's historical consciousness (from its budding in his early novels to its maturity in his later ones), with an introduction to his postmodern view of history and historiography as its conclusion.
"Chapter Two:Questioning and Questing for Historical Truth" explores Barnes's postmodern historical writing epistemologically. Barnes, through his intertextual strategy of writing and his constant questioning and questing for historical truth, foregrounds the relation of history to text(uality) and the fictive character of historical writing, contending that history could be approached merely through texts, and that historical writing, just like literary writing, relies on literary execution such as fabulation. This chapter mainly examines Barnes's novels such as Flaubert's Parrot and A History of the World in101/2Chapters. First of all, it points out that in Flaubert's Parrot Barnes interprets Flaubert through various kinds of texts pertinent to Flaubert so as to construct a true image of Flaubert and in the mean time constantly queries "How do we seize the Past?" and questions the texts as historical evidence for the construction of Flaubert's image, thus investigating the possibility of questing for historical truth, highlighting the relation of history to text(uality) and the (inter)textuality of history or historiography. Then, by way of analyzing three heterogeneous texts about a historical disaster in "Shipwreck," one "chapter" of A History of the World in101/2Chapters, and discussing the historical phenomenon in connection with this historical disaster in "The Mountain," another "chapter" of this "novel," the writing in this part intimates that Barnes's intertextual writing discloses the subtle mediation relation of (historical) text to social processes, or the notion of "the textuality of history" in Montrose's sense. Its second section explicates Barnes's knowledge and practical writing of the issue of the fictionality of history. In Metahistory:The Historical Imagination in Nineteenth-Century Europe and other works, Hayden White argues that historical writing, like literary writing, bears the fictive character and is a "poetic process." Barnes also puts forward (through his characters) similar views about history or historiography, such as "history is merely another literary genre" and "the technical term is fabulation." This section firstly expounds Barnes's own understanding of the view that "history is merely another literary genre," that is, history is imagined and fictionalized, especially when there is insufficient evidence for historical writing, substantiated by his practical writing in such texts as Flaubert's Parrot and Arthur&George. It then refers to the idea of history as fiction embodied in Barnes's Love, Etc. and A History of the World in101/2Chapters and elaborates on how Barnes from the perspectives of formal construction and content exploration writes a "chapter" of the history of the world in the latter "novel" via the literary execution of fabulation intertextually and self-reflexively, suggesting that Barnes's writing mirrors the fictive character of history from the angle of literary writing or in the form of fictional writing.
"Chapter Three:Subverting and Revising Historical (Meta)Narratives" explicates Barnes's postmodern historical writing ontologically. In an ontological sense, conventional discourse or philosophy of history maintains that history is a whole, with such characteristics as continuity, causality and totality; on the contrary, postmodern discourse or philosophy of history contends that history is discontinuous, fragmented and pluralistic. Not a few views exposed in Barnes's postmodern historical writing have some similarities with those of postmodern discourse of history ontologically. This chapter mainly studies Barnes's novels like Flaubert's Parrot, A History of the World in101/2Chapters and Arthur&George. Firstly, its first section briefly explains the view of history as discontinuity put forward by Michel Foucault and Claude Levi-Strauss, then interprets the writing of the history of the world in A History of the World in101/2Chapters from such aspects as its main content, form, genre and narrative voice, pointing out that Barnes's deconstructive writing of history breaks up the linear causality, continuity and totality in conventional history (and historiography), stressing such features of history as discontinuity and fragmentation. Secondly, this section refers to Barnes's direct expression of interrogation about (the narrative of) progress through the voice of his characters in such texts as "Junction" and Flaubert's Parrot, and then illuminates how Barnes in A History of the World in101/2Chapters in a way of deconstructive writing displays his interrogation and subversion of the view of progress embedded in such historical (meta)narratives as those of Darwin's theory of evolution and Hegel's rational History. Its second section explores the feature of historical plurality in Barnes's postmodern historical writing. The conventional Western History often underscores Anthropocentrism and Eurocentrism, excluding the Others such as the female, the racial minority and the animal out of the vision of historical writing, displaying the feature of monism. Postmodern view of history underlines the diversity and plurality of human history and civilization, proffering some prominent positions for the Others in historical writing, which is in some sense represented in Barnes's postmodern historical writing. This section first of all deals with, in "The Stowaway," the first "chapter" of A History of the World in101/2Chapters, Barnes's interrogation and revision from the angle of an animal of the (hi)story of Noah's Ark and the Deluge recorded in the Bible, laying bare Anthropocentrism implicated in the narrative of the Bible, providing a new perspective for the understanding of grand narratives such as Christian History; then a close reading of racial prejudice which brings about miscarriage of justice on a racial Other and of Barnes's digging out and rewriting of this forgotten history in Arthur&George, indicates that Barnes's writing unearths his deep rethinking and penetrating critique of national character and racial unconscious of the English people and the racial bias in the official writing of British history. Rewriting history from an animal's perspective and digging out a forgotten history of a racial Other give expression to the suppressed voices in the master narratives of history, revealing Barnes's subversion and revision of orthodox history and his potential defense for historical and racial plurality.
"Chapter Four:Fabricating and Representing Politics-History" examines Barnes's thinking of the relation of politics to history and his postmodern delineation of hetero-topia worlds in the future. Leopold von Ranke's objective history highlights the writing of history as "what actually happened," which is called "a noble dream" by later scholars. Postmodern theorists (of history) like Michel Foucault and Keith Jenkins realize that history (and historiography) is deeply affected by such factors as political ideology and/or power relations, which could be also corroborated in Barnes's postmodern historical writing. This chapter discusses Barnes's two political novels The Porcupine and England, England. To start with, it analyzes from the angle of the relation of history to political ideology and/or power relations how Barnes in The Porcupine suggests the influence of (political) power on history and historiography and then illustrates Barnes's depiction of the ideological conflict in this novel through reviewing Jacques Derrida's critique of the hypothesis of "The End of History" proposed by Francis Fukuyama so as to point out Barnes's acute perception of the contemporary political, historical reality and.his potential critique of Fukuyama's proposal of "The End of History." Next, this chapter turns to investigate Barnes's writing of the political future (history) of England in England, England in its second section. Utopia is an ideal or perfect depiction of the future world, dystopia being its reversal; Barnes delineates two worlds of hetero-topia in this novel. First of all, it recounts the process of how a world of simulacra and hetero-topia named "England, England," based on the English historical heritage, is established in the Isle of Wight, a small island to the south of England, and becomes politically independent, indicating Barnes's satirizing and critiquing of the phenomenon of commodification of history (or historical heritage) and preferring the original and authentic to the replica and fake in a postmodern society through a parody of Jean Baudrillard's hypothesis of "the hyperreal" culture. The last part of this section makes a survey of Old England's political fall and seclusion, its economic recession and ruin and its regression into a pre-industrial rural society,"neither idyllic nor dystopic," another world of hetero-topia, after the independence of the Isle of Wight, and intimates the paradox Old England encounters in the construction of its (historical) tradition, that is, like the hyperreal world in the Isle of Wight, Old England is also "entrapped" in the situation of blurring the boundary between reality and simulacra. Through fabrication and representation of the world of hetero-topia, Barnes's writing explores such issues as national identity consciousness, construction of history, and their relations to national political future, implying his concern for and thinking of the political future and historical orientation of England.
The Conclusion reviews the main contents of Barnes's postmodern historical writing in light of his concern for the issue of truth, the paradox or "shortcomings" implied in his writing, then makes a brief comparison of his historical writing with those of other contemporary British writers to highlight his peculiarity in formal experimentation. It addresses in the end some possible perspectives for the study of Barnes to arouse more interest in this writer. All in all, Julian Barnes is a postmodern writer with a profound awareness of rethinking and strong spirit of critique, and his postmodern historical writing, bearing a distinctive feature of deconstruction, subverts "the given" notions about history and historiography, making a postmodern "footnote to [conventional] history" and historiography, presenting a postmodern philosophy of history in the form of fictional writing, thus proffering very good texts for the study of literature (and even history) from the angle of postmodern discourse or philosophy of history.
引文
Abrams, M. H. A Glossary of Literary Terms.7th ed. Boston:Heinle & Heinle,1999.
Allen, Brooke. "Lives in Miniature." The New Leader 87.3 (May/June 2004):32-34.
Andreadis, Athena. Rev. of The Porcupine by Julian Barnes. Harvard Review 5 (Fall 1993):228-29.
Ankersmit, F. R. "Historiography and Postmodernism." History and Theory 28.2 (May 1989):137-53.
---. "Historical Representation." History and Theory 27.3 (Oct.1988):205-28.
Aristotle. Poetics. Trans. Joe Sachs. Newburyport, MA:Focus Publishing/R. Pullins Company,2006.
Atkinson, R. F. Knowledge and Explanation in History:An Introduction to the Philosophy of History. London and Basingstoke:The Macmillan Press Ltd., 1978.
Baldick, Chris. The Concise Oxford Dictionary of Literary Terms.2nd ed. New York: Oxford University Press Inc.,2001.
Balee, Susan. "Swimming Lessons." The Hudson Review 57.4 (Winter 2005):663-74.
Barnes, Julian. Arthur& George (2005). New York:Vintage Books,2007.
---. Before She Met Me (1982). London:Picador,1986.
---. "Candles for the living—Julian Barnes in Bulgaria." London Review of Books 12.22 (22 Nov.1990):6-7.
---. "Carcassonne." Pulse. London:Jonathan Cape,2011.185-95.
---. Cross Channel (1996). London:Vintage Books,1997.
---. "East Wind." Pulse. London:Jonathan Cape,2011.3-18.
---. England, England (1998). New York:Vintage Books,2000.
---. "Evermore." Cross Channel. London:Vintage Books,1997.89-111.
---. Flaubert's Parrot (1984). New York:Vintage Books,1990.
---. "The Follies of Writer Worship." The Best American Essays 1986. Ed. Elizabeth Hardwick. New York:Ticknor & Fields,1986.1-8.
---. "Hamlet in the Wild West." Index on Censorship 23 (1994):100-03.
---. "Harmony." Pulse. London:Jonathan Cape,2011.158-84.
---. A History of the World in 101/2 Chapters (1989). New York:Vintage Books,1990.
---. "How Much Is That in Porcupines?" The Times 64472 (24 Oct.1992):4-6.
---. "Julian Barnes in Conversation." Cercles 4 (2002):255-69.
---. "Junction." Cross Channel.23-42.
---. The Lemon Table (2004). London:Vintage Books,2011.
---. Letters from London 1990-1995. London:Picador,1995.
---. Love, Etc. (2000). New York:Alfred A. Knopf,2001.
---. "Melon." Cross Channel.63-87.
---. Metroland (1980). London:Picador,1990.
---. Nothing to Be Frightened of(2008). New York:Vintage Books,2009.
---. The Porcupine (1992). London:Pan Books Ltd.,1993.
---. Pulse. London:Jonathan Cape,2011.
---. The Sense of an Ending. New York:Vintage Books,2011.
---. Something to Declare. London:Picador,2002.
---. Staring at the Sun (1986). New York:Vintage Books,1993.
---. "The Story of Mats Israelson." The Lemon Table.23-48.
---. Talking It Over (1991). London:Pan Books Ltd.,1992.
---. "When Flaubert Took Wing." The Guardian (5 Mar.2005):30.
Barthes, Roland. "The Discourse of History." Trans. Stephen Bann. Comparative Criticism:A Year Book 3 (1981):7-20.
Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton, and Philip Beitchman. New York:Semiotext(e),1983.
Beard, Charles A. "That Noble Dream." The Varieties of History:From Voltaire to the Present. Ed. Fritz Stern.315-28.
Bentley, Nick. "Re-writing Englishness:Imagining the Nation in Julian Barnes's England, England and Zadie Smith's White Teeth." Textual Practice 21.3 (2007): 483-504.
Berberich, Christine."'All Letters Quoted Are Authentic:'The Past after Postmodern Fabulation in Julian Barnes's Arthur & George." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011.117-28.
Berger, Joseph. Rev. of Arthur & George by Julian Barnes. Psychiatric Service 58.12 (Dec.2007):1613-14.
Berlatsky, Eric."'Madame Bovary, c'est moi!:'Julian Barnes's Flaubert's Parrot and Sexual 'Perversion'." Twentieth-Century Literature 55.2 (Summer 2009): 175-208.
Bernard, Andre. "The Casual Reader." Rev. of Arthur & George by Julian Barnes;I Feel Bad about My Neck:And Other Thoughts on Being a Woman by Nora Ephron; The Man in the Gray Flannel Suit by Sloan Wilson. The Kenyon Review New Series 29.2 (Spring 2007):2-10.
Bernstein, Stephen. Rev. of Arthur & George by Julian Barnes. Review of Contemporary Fiction 26.1(Spring 2006):146.
Best, Steven, and Douglas Kellner. "Foucault and the Critique of Modernity." 4 Sept. 2012..
---. The Postmodern Turn. New York:The Guilford Press,1997.
Billen, Andrew. "Two Aspects of a Writer." Observer Magazine (7 July 1991):25-27.
Birnbaum, Robert. "Julian Barnes, Etc." Identity Theory 8 Mar.2000.. Rpt. in Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.83-95.
Boyd, William. "Late Sex." London Magazine 20.7 (Oct.1980):94-96.
Bradbury, Malcolm. The Modern British Novel:1878-2001. Beijing:Foreign Language Teaching and Research Press,2005.
Brooke-Rose, Christine. "Palimpsest History." Interpretation and Overinterpretation. Ed. Stefan Collini. Cambridge, UK:Cambridge University Press,1992.125-38.
Brooks, Neil. "Interred Textuality:The Good Soldier and Flaubert's Parrot." Critique 41.1 (Fall 1999):45-51.
Brooks, Peter. "Obsessed With the Hermit of Croisset." New York Times Book Review 90 (10 Mar.1985):7,9.
Buxton, Jackie. "Julian Barnes's Theses on History (In 101/2 Chapters)." Contemporary Literature 41.1 (Spring 2000):56-86.
Byatt, A. S. On Histories and Stories:Selected Essays. Cambridge, Massachusetts: Harvard University Press,2000.
---. "A New Body of Writing:Darwin and Recent British Fiction." New Writing 4:An Anthology. Eds. A. S. Byatt and Alan Hollinghurst. London:Vintage,1995. 439-48.
Byrne, Jack. Rev. of The Porcupine by Julian Barnes. Review of Contemporary Fiction 13.2 (Summer 1993):252-53.
Candel, Daniel. "Nature Feminised in Julian Barnes's A History of the World in 101/2 Chapters." Atlantis 21 (1999):27-41.
Cape, Jonathan. "The Ship of State." New Statesman (23 June 1989):38.
Carr, Edward Hallett. What Is History? New York:Vintage Books,1961.
Charles, Ron. "0, Brave New Venture That Has Such People In't!" Christian Science Monitor (13 May 1999):19.
Childs, Peter. Contemporary Novelists:British Fiction since 1970. Basingstoke and New York:Pal grave Macmillan,2005.
---. Julian Barnes. Manchester:Manchester University Press,2011.
Coe, Jonathan. "A Reader-Friendly Kind of God." The Guardian (23 June 1989):27.
Collingwood, R. G. The Idea of History. Beijing:China Social Sciences Publishing House,1999.
Cook, Bruce."The World's History and Then Some in 101/2 Chapters." Los Angeles Daily News (7 Nov.1989):12.
Corner, John, and Sylvia Harvey. "Mediating Tradition and Modernity:The Heritage/Enterprise Couplet." Enterprise and Heritage. Eds. John Corner and Sylvia Harvey. New York:Routledge,1991.45-75.
Craig, Amanda. "Do not Go Gentle." New Statesman 17.798 (15 Mar.2004):55.
Croce, Benedetto. History:Its Theory and Practice. Beijing:China Social Sciences Publishing House,1999.
Darwin, Charles. On the Origin of Species. Ed. Gillian Beer. New York:Oxford University Press,2008.
Derrida, Jacques. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore and London:The John Hopkins University Press,1976.
---. Positions. Trans. Se Biping. Beijing:SDX Joint Publishing Company,2004.
[雅克·德里达： 《多重立场》。佘碧平译。北京：三联书店,2004。]
---. Specters of Marx:The State of the Debt, the Work of Mourning, and the New International. Trans. Peggy Kamuf. New York and London:Routledge,1994.
Descombes, Vincent. Modern French Philosophy. Trans. L. Scott-Fox and J. M. Harding. London:Cambridge University Press,1980.
Domanska, Ewa. "Hayden White." Interview. Encounters:Philosophy of History after Postmodernism. Charlottesville and London:The Press of Virginia University, 1998.13-38.
Duguid, Lindsay. "Before It Becomes Literature:How Fiction Reviewers Have Dealt with the English Novel." On Modern British Fiction. Ed. Zachary Leader. Oxford:Oxford University Press,2002.284-303.
Duplain, Julian. "The Big Match." New Statesman and Society 5.228 (13 Nov.1992): 34-35.
Eder, Richard. Rev. of Cross Channel by Julian Barnes. Los Angeles Times (17 Mar. 1996):2.
Elias, Amy J. "Meta-mimesis? The Problem of British Postmodern Realism." British Postmodern Fiction. Eds. Theo D'haen and Hans Bertens. Amsterdam:Rodopi, 1993.9-31.
Finney, Brian. "Peter Ackroyd, Postmodernist Play, and Chatterton." Twentieth Century Literature 38.2 (1992):240-61.
---. "A Worm's Eye View of History:Julian Barnes's A History of the World in 101/2 Chapters." Papers on Language and Literature 39.1 (Winter 2003):49-70.
Fleishman, Avrom. The English Historical Novel:Walter Scott to Virginia Woolf. Baltimore and London:The Johns Hopkins Press,1971.
Flower, Dean. "Cynicism and Its Discontents." The Hudson Review 52.4 (Winter 2000):657-74.
---. "Politics and the Novel:Julian Barnes, Isaac Bashevis Singer, Jose Donoso, Etc." The Hudson Review 46.2 (Summer 1993):395-402.
---. "Story Problems." The Hudson Review 43.2 (Summer 1990):311-18.
Foucault, Michel. The Archaeology of Knowledge. Trans. A. M. Sheridan Smith. New York:Pantheon Books,1972.
---. The History of Sexuality, Volume Ⅰ:An Introduction. Trans. Robert Hurley. New York:Pantheon Books,1978.
---. "On Power." Politics, Philosophy, Culture:Interviews and Other Writings, 1977-1984. New York:Routledge,1990.96-109.
Freiburg, Rudolf."'Novels Come out of Life, Not out of Theories:'An Interview with Julian Barnes." "Do You Consider Yourself a Postmodern Author?" Interviews with Contemporary English Writers. Eds. Rudolf Freiburg and Jan Schnitker. Miinster:LIT,1999.39-66. Rpt. in Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.31-52.
Frey, Olivia. Narrative Technique in Julian Barnes'Arthur & George:Negotiating Truth and Fiction. GRIN Verlag,2009.
Fukuyama, Francis. The End of History and the Last Man. New York:The Free Press, 1992.
---. "Reflections on the End of History, Five Years Later." History and Theory 34.2 (May 1995):27-43.
Furbank, P. N. "On the Historical Novel." Raritan (Winter 2004):94-114.
Gilderhus, Mark T. History and Historians:A Historiographical Introduction.6th ed. New Jersey:Pearson Education, Inc.,2007.
Gosswiller, Richard. "After the Fall." Chicago Tribune (3 Jan.1993):3.
Groes, Sebastian, and Peter Childs, eds. Julian Barnes:Contemporary Critical Perspectives. London and New York:Continuum,2011.
---. Introduction. "Julian Barnes and the Wisdom of Uncertainty." Eds. Sebastian Groes and Peter Childs. Julian Barnes:Contemporary Critical Perspectives. 1-10.
Guignery, Vanessa. The Fiction of Julian Barnes. New York:Palgrave Macmillan, 2006.
---."'History in Question(s):'An Interview with Julian Barnes." Sources 8 (Spring 2000):59-72.
---."'A Preference for Things Gallic:'Julian Barnes and the French Connection.' Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011.37-50.
Guignery, Vanessa, and Ryan Roberts, eds. Conversations with Julian Barnes. Mississippi:The University Press of Mississippi,2009.
---. "Julian Barnes:The Final Interview." Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.161-88.
Guppy, Shusha. Interview. "Julian Barnes, The Art of Fiction, No.165." The Paris Review 157 (Winter 2000).18 Aug.2012..
Harris, Robert. "Full of Prickles." Literary Review 172 (Nov.1992):26.
Head, Dominic. "Julian Barnes and a Case of English Identity." British Fiction Today. Eds. Philip Tew and Rod Mengham. London:Continuum,2006.15-27.
Heptonstall, Geoffrey. "A Francophile on France." Contemporary Review 281.1639 (Aug.2002):116-17.
Higdon, David Leon. Shadows of the Past in Contemporary British Fiction. Athens: University of Georgia Press,1985.
---. "'Unconfessed Confessions:' The Narrators of Julian Barnes and Graham Swift." The British and Irish Novel since 1960. Ed. James Acheson. Basingstoke, Hampshire, London:Macmillan Academic and Professional Ltd.,1991.174-91.
"History." Oxford Advanced Learner's Dictionary.8th ed. Electronic. Oxford, UK: Oxford University Press,2010.
Holmes, Frederick M. Julian Barnes. London:Palgrave Macmillan,2009.
The Holy Bible. King James Version. New York:Ivy Books,1991.
Hou, Weirui, and Li Weiping. A History of English Fiction. Nanjing:Yilin Press,2005.
[侯维瑞、李维屏： 《英国小说史》(上、下)。南京：译林出版社,2005。]
Huang, Jinxing. Postmodernism and Historiography:A Critical Study. Beijing:SDX Joint Publishing Company,2008.
[黄进兴：《后现代主义与史学研究》。北京：生活·读书·新知三联书店,2008。]
Huntchinson, Colin. "The Abandoned Church and the Contemporary British Novel." The Yearbook of English Studies 37.1 (2007):227-44.
Hutcheon, Linda. A Poetics of Postmodernism:History, Theory, Fiction. New York and London:Routledge,1988.
---. Narcissistic Narrative:The Metafictional Paradox. New York and London: Methuen,1984.
Hutchings, William. Rev. of Cross Channel by Julian Barnes. World Literature Today 71.1 (Winter 1997):149-50.
Janik, Del Ivan. "No End of History:Evidence from the Contemporary English Novel." Twentieth Century Literature 41.2 (1995):160-89.
Jameson, Fredric. The Political Unconscious:Narrative as a Socially Symbolic Act. Ithaca, New York:Cornell University Press,1981.
---. "Marxism and Historicism." New Literary History 11.1 Anniversary Issue Ⅱ (1979): 41-73.
Jenkins, Keith. Re-thinking History. London and New York:Routledge,2003.
---. Why History? Ethics and Postmodernity. London and New York:Routledge,1999.
Johnson, Douglas. France and the Dreyfus Affair. London:Blandford Press, Ltd,1966.
Joseph-Vilain, Melanie. "The Writer's Voice(s) in Flaubert's Parrot." Q/W/E/R/T/Y: Arts, Litteratures et Civilisations du Monde Anglophone (Oct.2001):183-88.
Karl, Frederick R. A Reader's Guide to the Contemporary English Novel. Beijing: Foreign Language Teaching and Research Press,2005.
Keen, Suzanne. "The Historical Turn in British Fiction." A Concise Companion to Contemporary British Fiction. Ed. James F. English. Oxford, UK:Blackwell Publishing Ltd.,2006.
Kennedy, John. Rev. of Cross Channel by Julian Barnes. The Antioch Review 55.1 (Winter 1997):110.
Kakutani, Michiko. "Confrontation between Post-Soviet Bureaucrats." The New York Times 142 (10 Nov.1992):C19.
Kotte, Claudia. "Random Patterns? Orderly Disorder in Julian Barnes's A History of the World in 101/2 Chapters." Arbeiten aus Anglistik und Amerikanistik 22.1 (1997):107-28.
Koval, Ramona. "Big Ideas—Program 5—"Julian Barnes." ABC Radio National 31 October 2004.. Rpt. in Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.118-28.
Krist, Gary. "She Oughtn't to Have Been in Pictures." The New York Times Book Review 91 (28 Dec.1986):12.18 Aug.2012..
Landon, Philip. Rev. of England, England by Julian Barnes. Review of Contemporary Fiction (Fall 1999):174.
Lane, Richard J. Jean Baudrillard. London:Routledge,2000.
Lang, James Martin. Dialogue with History in Post-War British Fiction. Dissertation. UMI Company,1998.
Lazaro, Alberto. "The Techniques of Committed Fiction:In Defence of Julian Barnes's The Porcupine." Atlantics 22.1 (2000):121-31.
Lee, Alison. Realism and Power:Postmodern British Fiction. London and New York: Routledge,1990.
Lee, Peter. "Understanding History." Theorizing Historical Consciousness. Ed. Peter· Seixas. Toronto, Buffalo, London:University of Toronto Press,2004.129-64.
Leith, William. "Where Nothing Really Happens." Independent on Sunday (2 May 1993):13-14.
Levenson, Michael. "Flaubert's Parrot." The New Republic (16 Dec.1991):42-45.
Levi-Strauss, Claude. The Savage Mind. London:George Weidenfeld and Nicolson Ltd.,1966.
Levy, Paul. "British Author, French Flair." Wall Street Journal (11 Dec.1992):A10.
Lewis, Georgie. "Julian and Arthur and George." Powells.com 13 Feb.2006.18 Aug. 2012.
Liu, Wenrong. A Historical Survey of Contemporary British Fiction. Shanghai: Wenhui Press,2010.
[刘文荣：《当代英国小说史》。上海：文匯出版社,2010。]
Locke, Richard. "Flood of Forms." Rev. of A History of the World in 101/2 Chapters by Julian Barnes. New Republic 201 (4 Dec.1989):40-43.
Lukacs, John. The Future of History. New Haven & London:Yale University Press, 2011.
Luo, Xiaoyun. "Aftereffects of Shock:Power Discourse in Barnes's A History of the World in 101/2 Chapters" Foreign Languages Research 3 (2007):98-102.
[罗小云：“震荡的余波：巴恩斯小说《十卷半世界史》中的权力话语”, 《外语研究》,2007年第3期,第98-102页。]
Luo, Yuan. "Searching for the Truth:On the Reading of Julian Barnes's Flaubert's Parrot." Contemporary Foreign Literature 3 (2006):115-21.
[罗媛：“追寻真实：解读朱利安·巴恩斯的《福楼拜的鹦鹉》”,《当代外国文学》,2006年第3期,第115-121页。]
---. "A Thematic Study of England, England." Contemporary Foreign Literature 1 (2010):105-14.
[罗媛：“历史反思与身份追寻：论《英格兰,英格兰》的主题意蕴”, 《当代外国文学》,2010年第1期,第105-114页。]
Lycett, Andrew. Afterword. "Seeing and Knowing with the Eyes of Faith." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs.129-33.
Lyotard, Jean-Francois. The Postmodern Condition:A Report on Knowledge. Trans. Geoff Bennington and Brian Massumi. Minneapolis:University of Minnesota Press,1984.
Mallon, Thomas. "As Young as You Feel." New York Times Book Review (27 June 2004):7.
Marien, Mary Warner. "Twilight in the Balkans." Christian Science Monitor (20 Jan. 1993):13.
Massie, Allan. The Novel Today:A Critical Guide to the British Novel 1970-1989. New York:Longman Inc.,1990.
March, Michael. "Into the Lion's Mouth:A Conversation with Julian Barnes." The New Presence Dec.1997.. Rpt. in Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.23-26.
Marr, Andrew. "He's Turned towards Python." The Observer (30 Aug.1998):15.
McGrath, Patrick. "Julian Barnes." Bomb 21 (Fall 1987).18 Aug.2012.. Rpt. in Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.11-19.
McHale, Brian. Postmodernist Fiction. New York and London:Methuen,1987.
Mengham, Rod. "General Introduction:Contemporary British Fiction." Contemporary British Fiction. Eds. Richard J. Lane, Rod Mengham and Philip Tew. Cambridge, UK:Polity Press,2003.
Messud, Claire. "Tour de France:Julian Barnes Loves the Country and, especially, its Writers." The New York Times Book Review 107.40 (6 Oct.2002):25.
Miller, Arthur I. Einstein, Picasso:Space, Time, and the Beauty That Causes Havoc. Trans. Fang Zaiqing and Wu Meihong. Shanghai:Shanghai Technology and Education Press,2006.
[阿瑟·I·米勒：《爱因斯坦·毕加索：空间、时间和动人心魄之美》。方在庆、伍梅红译。上海：上海科技教育出版社,2006。]
Miracky, James J. "Replicating a Dinosaur:Authenticity Run Amok in the'Theme Parking' of Michael Crichton's Jurassic Park and Julian Barnes's England, England." Critique 45.2 (Winter 2004):163-71.
Monterrey, Tomas. "Julian Barnes's 'Shipwreck' or Recycling Chaos into Art." Clio 33.4 (Summer 2004):415-26.
Montrose, Louis A. "Professing the Renaissance:The Poetics and Politics of Culture." The New Historicism. Ed. H. Aram Veeser. New York:Routledge,1989.15-36.
Moseley, Merritt. Understanding Julian Barnes. Columbia, South Carolina:The University of South Carolina Press,1997.
Murfin, Ross, and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms.2nd ed. Boston and New York:Bedford/St. Martin's,2003.
Nunning, Vera. "The Invention of Cultural Traditions:The Construction and Deconstruction of Englishness and Authenticity in Julian Barnes's England, England." Anglia 119 (2001):58-76.
Oates, Joyce Carol. "But Noah Was Not a Nice Man." New York Times Book Review (1 Oct.1989):12-13.
O'Regan, Nadine. "Cool, Clean Man of Letters." Sunday Business Post 29 June 2003. Rpt. in Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.115-17.
Orwell, George. Nineteen Eighty-Four. London:Penguin Books,1989.
Pakditawan, Sirinya. An Interpretation of Julian Barnes Novel "England, England.' GRIN Verlag,2004.
Parrinder, Patrick. "Sausages and Higher Things." London Review of Books 15(11 Feb. 1993):18-19.
Pateman, Matthew. Julian Barnes. Tavistock, Devon, UK:Northcote House Publishers Ltd.,2002.
---. "Julian Barnes and the Popularity of Ethics." Postmodern Surroundings. Postmodern Studies 9. Ed. Steven Earnshaw. Amsterdam:Editions Rodopi B. V., 1994.179-91.
Puddington, Arch. "The Porcupine." Commentary 95.5 (May 1993):62-64.
Rafferty, Terrence. "Watching the Detectives." The Nation 241.1(6/13 July 1985): 21-22.
Ranke, Leopold von. "Preface:Histories of the Latin and Germanic Nations from 1494-1514." The Varieties of History:From Voltaire to the Present. Ed. Fritz Stern. New York:Vintage Books,1973.55-58.
Rees, Jasper. "The Inscrutable Mr. Barnes." The Telegraph 23 Sept.2006.18 Aug. 2012..
Roberts, Ryan. "Inventing a Way to the Truth:Life and Fiction in Julian Barnes's Flaubert's Parrot." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011. 24-36.
Rosenau, Pauline Marie. Post-Modernism and The Social Sciences:Insights, Inroads, and Intrusions. Princeton, New Jersey:Princeton University Press,1992.
Ruan, Wei. "Barnes, Flaubert and'Flaubert's Parrot':On Flaubert's Parrot." After Modernism:Realism and Experimentation. Ed. Lu Jiande. Beijing:China Social Sciences Press,1997.390-404.
[阮炜：“巴恩斯、福楼拜及‘福楼拜的鹦鹉’：评《福楼拜的鹦鹉》”, 《现代主义之后：写实与实验》,陆建德主编。北京：中国社会科学出版社,1997。第390-404页。]
---. "Barnes and His Flaubert's Parrot." Foreign Literature Review 2 (1997):51-58.
[阮炜：“巴恩斯和他的《福楼拜的鹦鹉》”,《外国文学评论》,1997年第2期,第51-58页。]
---. Texts against Social Contexts:The Study of British Fiction after Second World War. Beijing:Social Science and Literature Press,1998.
[阮炜：《社会语境中的文本：二战后英国小说研究》。北京：社会科学文献出版社,1998。]
Ruan, Wei, Xu Wenbo and Cao YaJun. A History of 20th Century British Literature. Qingdao:Qingdao Press,1998.
[阮炜,徐文博,曹亚军：《20世纪英国文学史》。青岛：青岛出版社,1998。]
Rubin, Merle. "From Nebulae to Noah's Ark." Christian Science Monitor 82 (10 Jan. 1990):13.
Rubinson, Gregory J. "History's Genres:Julian Barnes's A History of the World in 101/2 Chapters." Modern Language Studies 30.2 (Autumn 2000):159-79.
Rushdie, Salman. "Julian Barnes." Imaginary Homelands:Essays and Criticism 1981-1991. New York:Penguin Books,1992.241-43.
Salyer, Gregory. "One Good Story Leads to Another:Julian Barnes'A History of the World in 101/2 Chapters." Journal of Literature & Theology 5.2 (June 1991): 220-33.
Saunders, Kate. "What Death Has Taught Him." Rev. of Pulse by Julian Barnes. New Statesman (3 Jan.2011):50-51.
---. "From Flaubert's Parrot to Noah's Woodworm." Sunday Times (London) 18 June 1989:G8-9.
Savigny, J. B. Henry, and Alexander Correard. Narrative of a Voyage to Senegal in 1816. London:Schulze and Dean,1818.
Scammell, Michael. "Trial and Error." New Republic 208.1-2 (4 Jan.1993):35-38.
Schiff, James A. "A Conversation with Julian Barnes." Missouri Review 30.3 (Fall 2007):60-80. Rpt. in Contemporary Literary Criticism. Ed. Jeffrey Hunter. Vol. 315. Detroit:Gale,2012. Literature Resource Center. Web.8 Jan.2012..
Schwartz, Lynne Sharon. "An Unlikely Convergence." The New Leader 88.6 (Nov/Dec 2005):42-44.
Scott, James B. "Parrot as Paradigms:Infinite Deferral of Meaning in Flaubert's Parrot." ARIEL:A Review of International English Literature 21.3 (July 1990): 57-68.
Sesto, Bruce. Language, History, and Metanarrative in the Fiction of Julian Barnes. New York:Peter Lang Publishing Inc.,2001.
Shaffer, Brian W. Reading the Novel in English 1950-2000. Oxford, UK:Blackwell Publishing Ltd:2006.
Shang, Jie. A Survey of Contemporary French Philosophy. Shanghai:Tongji University Press,2008.
[尚杰：《法国当代哲学论纲》。上海：同济大学出版社,2008。]
Sim, Stuart. Derrida and the End of History. New York:Totem Books,1999.
Smee, Sebastian. "The Curious Case of the Slashed Horse." The Spectator (9 July 2005):34.
Smith, Amanda. "Julian Barnes." Publishers Weekly 236.8 (3 Nov.1989):73-74.
Stern, Fritz, ed. The Varieties of History:From Voltaire to the Present. New York: Vintage Books,1973.
---. Introduction. The Varieties of History:From Voltaire to the Present. Ed. Fritz Stern. New York:Vintage Books,1973.11-32.
Stevenson, Randall. A Reader's Guide to The Twentieth-Century Novel in Britain. Lexington:University Press of Kentucky,1993.
Stout, Mira. "Chameleon Novelist." New York Times 22 Nov.1992.18 Aug.2012..
Strout, Cushing. "The Case of the Novelist, the Solicitor, and a Miscarriage of Justice." Sewanee Review 115.1 (Winter 2007):ⅹⅰ-ⅹⅲ.
Stuart, Alexander. "A Talk with Julian Barnes." Los Angeles Times Book Review 15 Oct.1989:15.
Swift, Graham. Waterland (1983). London:Picador,2010.
Tate, Andrew."'An Ordinary Piece of Magic:'Religion in the Work of Julian Barnes." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011.51-68.
Taunton, Matthew. "The Flaneur and the Freeholder:Paris and London in Julian Barnes's Metroland." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011. 11-23.
Taylor, D. J. "A Newfangled and Funny Romp." The Spectator (24 June 1989):40.
Turner, Frederick Jackson. "The Significance of History." The Varieties of History: From Voltaire to the Present. Ed. Fritz Stern. New York:Vintage Books,1973. 198-208.
Updike, John. "A Pair of Parrots." The New Yorker 61.22 (22 July 1985):86-90.
Vonnegut, Kurt. Slaughterhouse-Five or The Children s Crusade:A Duty-Dance with Death. New York:Dell Publishing,1988.
Versteegh, Adrian. "Meta-Analysis Goes Mainstream." Poets & Writers May/June (1 May 2012):16-18,20.
Walsh, W. H. Philosophy of History:An Introduction. New York and Evanston: Harper & Row, Publishers,1960.
Wang, Shouren, and He Ning. A History of British Literature in 20th Century. Beijing: Pekin University Press,2006.
[王守仁、何宁：《20世纪英国文学史》。北京：北京大学出版社,2006。]
White, Hayden. "The Fictions of Factual Representation." Tropics of Discourse: Essays in Cultural Criticism. Baltimore and London:The Johns Hopkins University Press,1978.121-34.
---. "The Historical Text as Literary Artifact." Clio 3.3 (June 1974):277-303.
---. Metahistory:The Historical Imagination in Nineteenth-Century Europe. Baltimore & London:The John Hopkins University Press,1973.
---. "New Historicism:A Comment." The New Historicism. Ed. H. Aram Veeser. New York:Routledge,1989.293-302.
Wilde, Oscar. The Importance of Being Earnest. The Plays of Oscar Wilde. Ware, Hertfordshire:Wordsworth Editions Limited,2000.
Wilhelmus, Tom. "Ah, England." Rev. of The Inheritance of Loss by Kiran Desai; Shalimar the Clown by Salman Rushdie; Arthur & George by Julian Barnes; on Beauty by Zadie Smith; The March by E. L. Doctorow. The Hudson Review 59.2 (Summer 2006):345-51.
Williams, Raymond. Keywords:A Vocabulary of Culture and Society. Revised ed. New York:Oxford University Press,1985.
Wilson, Keith."'Why Aren't the Books Enough?'Authorial Pursuit in Julian Barnes's Flaubert's Parrot and A History of the World in 101/2 Chapters." Critique 47.4 (Summer 2006):362-74.
Winder, Robert. "Bumps in the Night." New Statesman 18.867 (11 July 2005):49-50.
Wood, James. "The Fact-checker." The New Republic (24 June 1996):40-43.
Yang, Jincai, and Wang Yuping. "Dissolution of the Real in Julian Barnes's A History of the World in 101/2 Chapters." Journal of Shenzhen University (Humanities & Social Sciences) 1 (2006):91-96.
[杨金才、王育平：“诘问历史,探寻真实：从《101/2章人的历史》看后现代主义小说中真实性的隐遁”,《深圳大学学报》(人文社会科学版),2006年第1期,第91-96页。]
Yin, Qiping. "Querying the Narrative of'Progress:'A Brief Analysis of Three English Novels." Journal of Zhejiang Normal University (Social Sciences) 2 (2006): 12-19.
[殷企平：“质疑‘进步’话语：三部英国小说简析”,《浙江师范大学学报》(社会科学版),2006年第2期,第12-19页。]
Zhai, Shijing. "The Young- and Middle-Aged Novelists in Contemporary Britain." After Modernism:Realism and Experimentation. Ed. Lu Jiande. Beijing:China Social Sciences Press,1997.405-29.
[翟世镜：《当代英国中青年小说家》。载《现代主义之后：写实与实验》,陆建德主编。北京：中国社会科学出版社,1997。第405-429页。]
---, and Ren Yiming. A History of Contemporary British Fiction. Shanghai:Shanghai Translation Press,2008.
[翟世镜、任一鸣：《当代英国小说史》。上海：上海译文出版社,2008。]
Zhang, Helong. "The Inter-genre and Inter-art Aspects in the Fiction of Julian Barnes." Foreign Literature 4 (2009):3-10.
[张和龙：“鹦鹉、梅杜萨之筏与画像师的画：朱利安·巴恩斯的后现代小说艺术”,《外国文学》,2009年第4期,第3-10页。]
Zhang, Li, and Guo Yingjian. "An Existential Approach to the Thanatopsis in Nothing to Be Frightened of." Contemporary Foreign Literature 3 (2010):81-88.
[张莉、郭英剑：“直面死亡,消解虚无：解读《没什么好怕的》中的死亡观”,《当代外国文学》,2010年第3期,第81-88页。]
Allen, Brooke. "Lives in Miniature." The New Leader 87.3 (May/June 2004):32-34.
Andreadis, Athena. Rev. of The Porcupine by Julian Barnes. Harvard Review 5 (Fall 1993):228-29.
Ankersmit, F. R. "Historiography and Postmodernism." History and Theory 28.2 (May 1989):137-53.
---. "Historical Representation." History and Theory 27.3 (Oct.1988):205-28.
Aristotle. Poetics. Trans. Joe Sachs. Newburyport, MA:Focus Publishing/R. Pullins Company,2006.
Atkinson, R. F. Knowledge and Explanation in History:An Introduction to the Philosophy of History. London and Basingstoke:The Macmillan Press Ltd., 1978.
Baldick, Chris. The Concise Oxford Dictionary of Literary Terms.2nd ed. New York: Oxford University Press Inc.,2001.
Balee, Susan. "Swimming Lessons." The Hudson Review 57.4 (Winter 2005):663-74.
Barnes, Julian. Arthur& George (2005). New York:Vintage Books,2007.
---. Before She Met Me (1982). London:Picador,1986.
---. "Candles for the living—Julian Barnes in Bulgaria." London Review of Books 12.22 (22 Nov.1990):6-7.
---. "Carcassonne." Pulse. London:Jonathan Cape,2011.185-95.
---. Cross Channel (1996). London:Vintage Books,1997.
---. "East Wind." Pulse. London:Jonathan Cape,2011.3-18.
---. England, England (1998). New York:Vintage Books,2000.
---. "Evermore." Cross Channel. London:Vintage Books,1997.89-111.
---. Flaubert's Parrot (1984). New York:Vintage Books,1990.
---. "The Follies of Writer Worship." The Best American Essays 1986. Ed. Elizabeth Hardwick. New York:Ticknor & Fields,1986.1-8.
---. "Hamlet in the Wild West." Index on Censorship 23 (1994):100-03.
---. "Harmony." Pulse. London:Jonathan Cape,2011.158-84.
---. A History of the World in 101/2 Chapters (1989). New York:Vintage Books,1990.
---. "How Much Is That in Porcupines?" The Times 64472 (24 Oct.1992):4-6.
---. "Julian Barnes in Conversation." Cercles 4 (2002):255-69.
---. "Junction." Cross Channel.23-42.
---. The Lemon Table (2004). London:Vintage Books,2011.
---. Letters from London 1990-1995. London:Picador,1995.
---. Love, Etc. (2000). New York:Alfred A. Knopf,2001.
---. "Melon." Cross Channel.63-87.
---. Metroland (1980). London:Picador,1990.
---. Nothing to Be Frightened of(2008). New York:Vintage Books,2009.
---. The Porcupine (1992). London:Pan Books Ltd.,1993.
---. Pulse. London:Jonathan Cape,2011.
---. The Sense of an Ending. New York:Vintage Books,2011.
---. Something to Declare. London:Picador,2002.
---. Staring at the Sun (1986). New York:Vintage Books,1993.
---. "The Story of Mats Israelson." The Lemon Table.23-48.
---. Talking It Over (1991). London:Pan Books Ltd.,1992.
---. "When Flaubert Took Wing." The Guardian (5 Mar.2005):30.
Barthes, Roland. "The Discourse of History." Trans. Stephen Bann. Comparative Criticism:A Year Book 3 (1981):7-20.
Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton, and Philip Beitchman. New York:Semiotext(e),1983.
Beard, Charles A. "That Noble Dream." The Varieties of History:From Voltaire to the Present. Ed. Fritz Stern.315-28.
Bentley, Nick. "Re-writing Englishness:Imagining the Nation in Julian Barnes's England, England and Zadie Smith's White Teeth." Textual Practice 21.3 (2007): 483-504.
Berberich, Christine."'All Letters Quoted Are Authentic:'The Past after Postmodern Fabulation in Julian Barnes's Arthur & George." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011.117-28.
Berger, Joseph. Rev. of Arthur & George by Julian Barnes. Psychiatric Service 58.12 (Dec.2007):1613-14.
Berlatsky, Eric."'Madame Bovary, c'est moi!:'Julian Barnes's Flaubert's Parrot and Sexual 'Perversion'." Twentieth-Century Literature 55.2 (Summer 2009): 175-208.
Bernard, Andre. "The Casual Reader." Rev. of Arthur & George by Julian Barnes;I Feel Bad about My Neck:And Other Thoughts on Being a Woman by Nora Ephron; The Man in the Gray Flannel Suit by Sloan Wilson. The Kenyon Review New Series 29.2 (Spring 2007):2-10.
Bernstein, Stephen. Rev. of Arthur & George by Julian Barnes. Review of Contemporary Fiction 26.1(Spring 2006):146.
Best, Steven, and Douglas Kellner. "Foucault and the Critique of Modernity." 4 Sept. 2012.
---. The Postmodern Turn. New York:The Guilford Press,1997.
Billen, Andrew. "Two Aspects of a Writer." Observer Magazine (7 July 1991):25-27.
Birnbaum, Robert. "Julian Barnes, Etc." Identity Theory 8 Mar.2000.
Boyd, William. "Late Sex." London Magazine 20.7 (Oct.1980):94-96.
Bradbury, Malcolm. The Modern British Novel:1878-2001. Beijing:Foreign Language Teaching and Research Press,2005.
Brooke-Rose, Christine. "Palimpsest History." Interpretation and Overinterpretation. Ed. Stefan Collini. Cambridge, UK:Cambridge University Press,1992.125-38.
Brooks, Neil. "Interred Textuality:The Good Soldier and Flaubert's Parrot." Critique 41.1 (Fall 1999):45-51.
Brooks, Peter. "Obsessed With the Hermit of Croisset." New York Times Book Review 90 (10 Mar.1985):7,9.
Buxton, Jackie. "Julian Barnes's Theses on History (In 101/2 Chapters)." Contemporary Literature 41.1 (Spring 2000):56-86.
Byatt, A. S. On Histories and Stories:Selected Essays. Cambridge, Massachusetts: Harvard University Press,2000.
---. "A New Body of Writing:Darwin and Recent British Fiction." New Writing 4:An Anthology. Eds. A. S. Byatt and Alan Hollinghurst. London:Vintage,1995. 439-48.
Byrne, Jack. Rev. of The Porcupine by Julian Barnes. Review of Contemporary Fiction 13.2 (Summer 1993):252-53.
Candel, Daniel. "Nature Feminised in Julian Barnes's A History of the World in 101/2 Chapters." Atlantis 21 (1999):27-41.
Cape, Jonathan. "The Ship of State." New Statesman (23 June 1989):38.
Carr, Edward Hallett. What Is History? New York:Vintage Books,1961.
Charles, Ron. "0, Brave New Venture That Has Such People In't!" Christian Science Monitor (13 May 1999):19.
Childs, Peter. Contemporary Novelists:British Fiction since 1970. Basingstoke and New York:Pal grave Macmillan,2005.
---. Julian Barnes. Manchester:Manchester University Press,2011.
Coe, Jonathan. "A Reader-Friendly Kind of God." The Guardian (23 June 1989):27.
Collingwood, R. G. The Idea of History. Beijing:China Social Sciences Publishing House,1999.
Cook, Bruce."The World's History and Then Some in 101/2 Chapters." Los Angeles Daily News (7 Nov.1989):12.
Corner, John, and Sylvia Harvey. "Mediating Tradition and Modernity:The Heritage/Enterprise Couplet." Enterprise and Heritage. Eds. John Corner and Sylvia Harvey. New York:Routledge,1991.45-75.
Craig, Amanda. "Do not Go Gentle." New Statesman 17.798 (15 Mar.2004):55.
Croce, Benedetto. History:Its Theory and Practice. Beijing:China Social Sciences Publishing House,1999.
Darwin, Charles. On the Origin of Species. Ed. Gillian Beer. New York:Oxford University Press,2008.
Derrida, Jacques. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore and London:The John Hopkins University Press,1976.
---. Positions. Trans. Se Biping. Beijing:SDX Joint Publishing Company,2004.
[雅克·德里达： 《多重立场》。佘碧平译。北京：三联书店,2004。]
---. Specters of Marx:The State of the Debt, the Work of Mourning, and the New International. Trans. Peggy Kamuf. New York and London:Routledge,1994.
Descombes, Vincent. Modern French Philosophy. Trans. L. Scott-Fox and J. M. Harding. London:Cambridge University Press,1980.
Domanska, Ewa. "Hayden White." Interview. Encounters:Philosophy of History after Postmodernism. Charlottesville and London:The Press of Virginia University, 1998.13-38.
Duguid, Lindsay. "Before It Becomes Literature:How Fiction Reviewers Have Dealt with the English Novel." On Modern British Fiction. Ed. Zachary Leader. Oxford:Oxford University Press,2002.284-303.
Duplain, Julian. "The Big Match." New Statesman and Society 5.228 (13 Nov.1992): 34-35.
Eder, Richard. Rev. of Cross Channel by Julian Barnes. Los Angeles Times (17 Mar. 1996):2.
Elias, Amy J. "Meta-mimesis? The Problem of British Postmodern Realism." British Postmodern Fiction. Eds. Theo D'haen and Hans Bertens. Amsterdam:Rodopi, 1993.9-31.
Finney, Brian. "Peter Ackroyd, Postmodernist Play, and Chatterton." Twentieth Century Literature 38.2 (1992):240-61.
---. "A Worm's Eye View of History:Julian Barnes's A History of the World in 101/2 Chapters." Papers on Language and Literature 39.1 (Winter 2003):49-70.
Fleishman, Avrom. The English Historical Novel:Walter Scott to Virginia Woolf. Baltimore and London:The Johns Hopkins Press,1971.
Flower, Dean. "Cynicism and Its Discontents." The Hudson Review 52.4 (Winter 2000):657-74.
---. "Politics and the Novel:Julian Barnes, Isaac Bashevis Singer, Jose Donoso, Etc." The Hudson Review 46.2 (Summer 1993):395-402.
---. "Story Problems." The Hudson Review 43.2 (Summer 1990):311-18.
Foucault, Michel. The Archaeology of Knowledge. Trans. A. M. Sheridan Smith. New York:Pantheon Books,1972.
---. The History of Sexuality, Volume Ⅰ:An Introduction. Trans. Robert Hurley. New York:Pantheon Books,1978.
---. "On Power." Politics, Philosophy, Culture:Interviews and Other Writings, 1977-1984. New York:Routledge,1990.96-109.
Freiburg, Rudolf."'Novels Come out of Life, Not out of Theories:'An Interview with Julian Barnes." "Do You Consider Yourself a Postmodern Author?" Interviews with Contemporary English Writers. Eds. Rudolf Freiburg and Jan Schnitker. Miinster:LIT,1999.39-66. Rpt. in Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.31-52.
Frey, Olivia. Narrative Technique in Julian Barnes'Arthur & George:Negotiating Truth and Fiction. GRIN Verlag,2009.
Fukuyama, Francis. The End of History and the Last Man. New York:The Free Press, 1992.
---. "Reflections on the End of History, Five Years Later." History and Theory 34.2 (May 1995):27-43.
Furbank, P. N. "On the Historical Novel." Raritan (Winter 2004):94-114.
Gilderhus, Mark T. History and Historians:A Historiographical Introduction.6th ed. New Jersey:Pearson Education, Inc.,2007.
Gosswiller, Richard. "After the Fall." Chicago Tribune (3 Jan.1993):3.
Groes, Sebastian, and Peter Childs, eds. Julian Barnes:Contemporary Critical Perspectives. London and New York:Continuum,2011.
---. Introduction. "Julian Barnes and the Wisdom of Uncertainty." Eds. Sebastian Groes and Peter Childs. Julian Barnes:Contemporary Critical Perspectives. 1-10.
Guignery, Vanessa. The Fiction of Julian Barnes. New York:Palgrave Macmillan, 2006.
---."'History in Question(s):'An Interview with Julian Barnes." Sources 8 (Spring 2000):59-72.
---."'A Preference for Things Gallic:'Julian Barnes and the French Connection.' Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011.37-50.
Guignery, Vanessa, and Ryan Roberts, eds. Conversations with Julian Barnes. Mississippi:The University Press of Mississippi,2009.
---. "Julian Barnes:The Final Interview." Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.161-88.
Guppy, Shusha. Interview. "Julian Barnes, The Art of Fiction, No.165." The Paris Review 157 (Winter 2000).18 Aug.2012.
Harris, Robert. "Full of Prickles." Literary Review 172 (Nov.1992):26.
Head, Dominic. "Julian Barnes and a Case of English Identity." British Fiction Today. Eds. Philip Tew and Rod Mengham. London:Continuum,2006.15-27.
Heptonstall, Geoffrey. "A Francophile on France." Contemporary Review 281.1639 (Aug.2002):116-17.
Higdon, David Leon. Shadows of the Past in Contemporary British Fiction. Athens: University of Georgia Press,1985.
---. "'Unconfessed Confessions:' The Narrators of Julian Barnes and Graham Swift." The British and Irish Novel since 1960. Ed. James Acheson. Basingstoke, Hampshire, London:Macmillan Academic and Professional Ltd.,1991.174-91.
"History." Oxford Advanced Learner's Dictionary.8th ed. Electronic. Oxford, UK: Oxford University Press,2010.
Holmes, Frederick M. Julian Barnes. London:Palgrave Macmillan,2009.
The Holy Bible. King James Version. New York:Ivy Books,1991.
Hou, Weirui, and Li Weiping. A History of English Fiction. Nanjing:Yilin Press,2005.
[侯维瑞、李维屏： 《英国小说史》(上、下)。南京：译林出版社,2005。]
Huang, Jinxing. Postmodernism and Historiography:A Critical Study. Beijing:SDX Joint Publishing Company,2008.
[黄进兴：《后现代主义与史学研究》。北京：生活·读书·新知三联书店,2008。]
Huntchinson, Colin. "The Abandoned Church and the Contemporary British Novel." The Yearbook of English Studies 37.1 (2007):227-44.
Hutcheon, Linda. A Poetics of Postmodernism:History, Theory, Fiction. New York and London:Routledge,1988.
---. Narcissistic Narrative:The Metafictional Paradox. New York and London: Methuen,1984.
Hutchings, William. Rev. of Cross Channel by Julian Barnes. World Literature Today 71.1 (Winter 1997):149-50.
Janik, Del Ivan. "No End of History:Evidence from the Contemporary English Novel." Twentieth Century Literature 41.2 (1995):160-89.
Jameson, Fredric. The Political Unconscious:Narrative as a Socially Symbolic Act. Ithaca, New York:Cornell University Press,1981.
---. "Marxism and Historicism." New Literary History 11.1 Anniversary Issue Ⅱ (1979): 41-73.
Jenkins, Keith. Re-thinking History. London and New York:Routledge,2003.
---. Why History? Ethics and Postmodernity. London and New York:Routledge,1999.
Johnson, Douglas. France and the Dreyfus Affair. London:Blandford Press, Ltd,1966.
Joseph-Vilain, Melanie. "The Writer's Voice(s) in Flaubert's Parrot." Q/W/E/R/T/Y: Arts, Litteratures et Civilisations du Monde Anglophone (Oct.2001):183-88.
Karl, Frederick R. A Reader's Guide to the Contemporary English Novel. Beijing: Foreign Language Teaching and Research Press,2005.
Keen, Suzanne. "The Historical Turn in British Fiction." A Concise Companion to Contemporary British Fiction. Ed. James F. English. Oxford, UK:Blackwell Publishing Ltd.,2006.
Kennedy, John. Rev. of Cross Channel by Julian Barnes. The Antioch Review 55.1 (Winter 1997):110.
Kakutani, Michiko. "Confrontation between Post-Soviet Bureaucrats." The New York Times 142 (10 Nov.1992):C19.
Kotte, Claudia. "Random Patterns? Orderly Disorder in Julian Barnes's A History of the World in 101/2 Chapters." Arbeiten aus Anglistik und Amerikanistik 22.1 (1997):107-28.
Koval, Ramona. "Big Ideas—Program 5—"Julian Barnes." ABC Radio National 31 October 2004.
Krist, Gary. "She Oughtn't to Have Been in Pictures." The New York Times Book Review 91 (28 Dec.1986):12.18 Aug.2012.
Landon, Philip. Rev. of England, England by Julian Barnes. Review of Contemporary Fiction (Fall 1999):174.
Lane, Richard J. Jean Baudrillard. London:Routledge,2000.
Lang, James Martin. Dialogue with History in Post-War British Fiction. Dissertation. UMI Company,1998.
Lazaro, Alberto. "The Techniques of Committed Fiction:In Defence of Julian Barnes's The Porcupine." Atlantics 22.1 (2000):121-31.
Lee, Alison. Realism and Power:Postmodern British Fiction. London and New York: Routledge,1990.
Lee, Peter. "Understanding History." Theorizing Historical Consciousness. Ed. Peter· Seixas. Toronto, Buffalo, London:University of Toronto Press,2004.129-64.
Leith, William. "Where Nothing Really Happens." Independent on Sunday (2 May 1993):13-14.
Levenson, Michael. "Flaubert's Parrot." The New Republic (16 Dec.1991):42-45.
Levi-Strauss, Claude. The Savage Mind. London:George Weidenfeld and Nicolson Ltd.,1966.
Levy, Paul. "British Author, French Flair." Wall Street Journal (11 Dec.1992):A10.
Lewis, Georgie. "Julian and Arthur and George." Powells.com 13 Feb.2006.18 Aug. 2012.
Liu, Wenrong. A Historical Survey of Contemporary British Fiction. Shanghai: Wenhui Press,2010.
[刘文荣：《当代英国小说史》。上海：文匯出版社,2010。]
Locke, Richard. "Flood of Forms." Rev. of A History of the World in 101/2 Chapters by Julian Barnes. New Republic 201 (4 Dec.1989):40-43.
Lukacs, John. The Future of History. New Haven & London:Yale University Press, 2011.
Luo, Xiaoyun. "Aftereffects of Shock:Power Discourse in Barnes's A History of the World in 101/2 Chapters" Foreign Languages Research 3 (2007):98-102.
[罗小云：“震荡的余波：巴恩斯小说《十卷半世界史》中的权力话语”, 《外语研究》,2007年第3期,第98-102页。]
Luo, Yuan. "Searching for the Truth:On the Reading of Julian Barnes's Flaubert's Parrot." Contemporary Foreign Literature 3 (2006):115-21.
[罗媛：“追寻真实：解读朱利安·巴恩斯的《福楼拜的鹦鹉》”,《当代外国文学》,2006年第3期,第115-121页。]
---. "A Thematic Study of England, England." Contemporary Foreign Literature 1 (2010):105-14.
[罗媛：“历史反思与身份追寻：论《英格兰,英格兰》的主题意蕴”, 《当代外国文学》,2010年第1期,第105-114页。]
Lycett, Andrew. Afterword. "Seeing and Knowing with the Eyes of Faith." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs.129-33.
Lyotard, Jean-Francois. The Postmodern Condition:A Report on Knowledge. Trans. Geoff Bennington and Brian Massumi. Minneapolis:University of Minnesota Press,1984.
Mallon, Thomas. "As Young as You Feel." New York Times Book Review (27 June 2004):7.
Marien, Mary Warner. "Twilight in the Balkans." Christian Science Monitor (20 Jan. 1993):13.
Massie, Allan. The Novel Today:A Critical Guide to the British Novel 1970-1989. New York:Longman Inc.,1990.
March, Michael. "Into the Lion's Mouth:A Conversation with Julian Barnes." The New Presence Dec.1997.
Marr, Andrew. "He's Turned towards Python." The Observer (30 Aug.1998):15.
McGrath, Patrick. "Julian Barnes." Bomb 21 (Fall 1987).18 Aug.2012.
McHale, Brian. Postmodernist Fiction. New York and London:Methuen,1987.
Mengham, Rod. "General Introduction:Contemporary British Fiction." Contemporary British Fiction. Eds. Richard J. Lane, Rod Mengham and Philip Tew. Cambridge, UK:Polity Press,2003.
Messud, Claire. "Tour de France:Julian Barnes Loves the Country and, especially, its Writers." The New York Times Book Review 107.40 (6 Oct.2002):25.
Miller, Arthur I. Einstein, Picasso:Space, Time, and the Beauty That Causes Havoc. Trans. Fang Zaiqing and Wu Meihong. Shanghai:Shanghai Technology and Education Press,2006.
[阿瑟·I·米勒：《爱因斯坦·毕加索：空间、时间和动人心魄之美》。方在庆、伍梅红译。上海：上海科技教育出版社,2006。]
Miracky, James J. "Replicating a Dinosaur:Authenticity Run Amok in the'Theme Parking' of Michael Crichton's Jurassic Park and Julian Barnes's England, England." Critique 45.2 (Winter 2004):163-71.
Monterrey, Tomas. "Julian Barnes's 'Shipwreck' or Recycling Chaos into Art." Clio 33.4 (Summer 2004):415-26.
Montrose, Louis A. "Professing the Renaissance:The Poetics and Politics of Culture." The New Historicism. Ed. H. Aram Veeser. New York:Routledge,1989.15-36.
Moseley, Merritt. Understanding Julian Barnes. Columbia, South Carolina:The University of South Carolina Press,1997.
Murfin, Ross, and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms.2nd ed. Boston and New York:Bedford/St. Martin's,2003.
Nunning, Vera. "The Invention of Cultural Traditions:The Construction and Deconstruction of Englishness and Authenticity in Julian Barnes's England, England." Anglia 119 (2001):58-76.
Oates, Joyce Carol. "But Noah Was Not a Nice Man." New York Times Book Review (1 Oct.1989):12-13.
O'Regan, Nadine. "Cool, Clean Man of Letters." Sunday Business Post 29 June 2003. Rpt. in Conversations with Julian Barnes. Eds. Vanessa Guignery and Ryan Roberts.115-17.
Orwell, George. Nineteen Eighty-Four. London:Penguin Books,1989.
Pakditawan, Sirinya. An Interpretation of Julian Barnes Novel "England, England.' GRIN Verlag,2004.
Parrinder, Patrick. "Sausages and Higher Things." London Review of Books 15(11 Feb. 1993):18-19.
Pateman, Matthew. Julian Barnes. Tavistock, Devon, UK:Northcote House Publishers Ltd.,2002.
---. "Julian Barnes and the Popularity of Ethics." Postmodern Surroundings. Postmodern Studies 9. Ed. Steven Earnshaw. Amsterdam:Editions Rodopi B. V., 1994.179-91.
Puddington, Arch. "The Porcupine." Commentary 95.5 (May 1993):62-64.
Rafferty, Terrence. "Watching the Detectives." The Nation 241.1(6/13 July 1985): 21-22.
Ranke, Leopold von. "Preface:Histories of the Latin and Germanic Nations from 1494-1514." The Varieties of History:From Voltaire to the Present. Ed. Fritz Stern. New York:Vintage Books,1973.55-58.
Rees, Jasper. "The Inscrutable Mr. Barnes." The Telegraph 23 Sept.2006.18 Aug. 2012.
Roberts, Ryan. "Inventing a Way to the Truth:Life and Fiction in Julian Barnes's Flaubert's Parrot." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011. 24-36.
Rosenau, Pauline Marie. Post-Modernism and The Social Sciences:Insights, Inroads, and Intrusions. Princeton, New Jersey:Princeton University Press,1992.
Ruan, Wei. "Barnes, Flaubert and'Flaubert's Parrot':On Flaubert's Parrot." After Modernism:Realism and Experimentation. Ed. Lu Jiande. Beijing:China Social Sciences Press,1997.390-404.
[阮炜：“巴恩斯、福楼拜及‘福楼拜的鹦鹉’：评《福楼拜的鹦鹉》”, 《现代主义之后：写实与实验》,陆建德主编。北京：中国社会科学出版社,1997。第390-404页。]
---. "Barnes and His Flaubert's Parrot." Foreign Literature Review 2 (1997):51-58.
[阮炜：“巴恩斯和他的《福楼拜的鹦鹉》”,《外国文学评论》,1997年第2期,第51-58页。]
---. Texts against Social Contexts:The Study of British Fiction after Second World War. Beijing:Social Science and Literature Press,1998.
[阮炜：《社会语境中的文本：二战后英国小说研究》。北京：社会科学文献出版社,1998。]
Ruan, Wei, Xu Wenbo and Cao YaJun. A History of 20th Century British Literature. Qingdao:Qingdao Press,1998.
[阮炜,徐文博,曹亚军：《20世纪英国文学史》。青岛：青岛出版社,1998。]
Rubin, Merle. "From Nebulae to Noah's Ark." Christian Science Monitor 82 (10 Jan. 1990):13.
Rubinson, Gregory J. "History's Genres:Julian Barnes's A History of the World in 101/2 Chapters." Modern Language Studies 30.2 (Autumn 2000):159-79.
Rushdie, Salman. "Julian Barnes." Imaginary Homelands:Essays and Criticism 1981-1991. New York:Penguin Books,1992.241-43.
Salyer, Gregory. "One Good Story Leads to Another:Julian Barnes'A History of the World in 101/2 Chapters." Journal of Literature & Theology 5.2 (June 1991): 220-33.
Saunders, Kate. "What Death Has Taught Him." Rev. of Pulse by Julian Barnes. New Statesman (3 Jan.2011):50-51.
---. "From Flaubert's Parrot to Noah's Woodworm." Sunday Times (London) 18 June 1989:G8-9.
Savigny, J. B. Henry, and Alexander Correard. Narrative of a Voyage to Senegal in 1816. London:Schulze and Dean,1818.
Scammell, Michael. "Trial and Error." New Republic 208.1-2 (4 Jan.1993):35-38.
Schiff, James A. "A Conversation with Julian Barnes." Missouri Review 30.3 (Fall 2007):60-80. Rpt. in Contemporary Literary Criticism. Ed. Jeffrey Hunter. Vol. 315. Detroit:Gale,2012. Literature Resource Center. Web.8 Jan.2012.
Schwartz, Lynne Sharon. "An Unlikely Convergence." The New Leader 88.6 (Nov/Dec 2005):42-44.
Scott, James B. "Parrot as Paradigms:Infinite Deferral of Meaning in Flaubert's Parrot." ARIEL:A Review of International English Literature 21.3 (July 1990): 57-68.
Sesto, Bruce. Language, History, and Metanarrative in the Fiction of Julian Barnes. New York:Peter Lang Publishing Inc.,2001.
Shaffer, Brian W. Reading the Novel in English 1950-2000. Oxford, UK:Blackwell Publishing Ltd:2006.
Shang, Jie. A Survey of Contemporary French Philosophy. Shanghai:Tongji University Press,2008.
[尚杰：《法国当代哲学论纲》。上海：同济大学出版社,2008。]
Sim, Stuart. Derrida and the End of History. New York:Totem Books,1999.
Smee, Sebastian. "The Curious Case of the Slashed Horse." The Spectator (9 July 2005):34.
Smith, Amanda. "Julian Barnes." Publishers Weekly 236.8 (3 Nov.1989):73-74.
Stern, Fritz, ed. The Varieties of History:From Voltaire to the Present. New York: Vintage Books,1973.
---. Introduction. The Varieties of History:From Voltaire to the Present. Ed. Fritz Stern. New York:Vintage Books,1973.11-32.
Stevenson, Randall. A Reader's Guide to The Twentieth-Century Novel in Britain. Lexington:University Press of Kentucky,1993.
Stout, Mira. "Chameleon Novelist." New York Times 22 Nov.1992.18 Aug.2012.
Strout, Cushing. "The Case of the Novelist, the Solicitor, and a Miscarriage of Justice." Sewanee Review 115.1 (Winter 2007):ⅹⅰ-ⅹⅲ.
Stuart, Alexander. "A Talk with Julian Barnes." Los Angeles Times Book Review 15 Oct.1989:15.
Swift, Graham. Waterland (1983). London:Picador,2010.
Tate, Andrew."'An Ordinary Piece of Magic:'Religion in the Work of Julian Barnes." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011.51-68.
Taunton, Matthew. "The Flaneur and the Freeholder:Paris and London in Julian Barnes's Metroland." Julian Barnes:Contemporary Critical Perspectives. Eds. Sebastian Groes and Peter Childs. London and New York:Continuum,2011. 11-23.
Taylor, D. J. "A Newfangled and Funny Romp." The Spectator (24 June 1989):40.
Turner, Frederick Jackson. "The Significance of History." The Varieties of History: From Voltaire to the Present. Ed. Fritz Stern. New York:Vintage Books,1973. 198-208.
Updike, John. "A Pair of Parrots." The New Yorker 61.22 (22 July 1985):86-90.
Vonnegut, Kurt. Slaughterhouse-Five or The Children s Crusade:A Duty-Dance with Death. New York:Dell Publishing,1988.
Versteegh, Adrian. "Meta-Analysis Goes Mainstream." Poets & Writers May/June (1 May 2012):16-18,20.
Walsh, W. H. Philosophy of History:An Introduction. New York and Evanston: Harper & Row, Publishers,1960.
Wang, Shouren, and He Ning. A History of British Literature in 20th Century. Beijing: Pekin University Press,2006.
[王守仁、何宁：《20世纪英国文学史》。北京：北京大学出版社,2006。]
White, Hayden. "The Fictions of Factual Representation." Tropics of Discourse: Essays in Cultural Criticism. Baltimore and London:The Johns Hopkins University Press,1978.121-34.
---. "The Historical Text as Literary Artifact." Clio 3.3 (June 1974):277-303.
---. Metahistory:The Historical Imagination in Nineteenth-Century Europe. Baltimore & London:The John Hopkins University Press,1973.
---. "New Historicism:A Comment." The New Historicism. Ed. H. Aram Veeser. New York:Routledge,1989.293-302.
Wilde, Oscar. The Importance of Being Earnest. The Plays of Oscar Wilde. Ware, Hertfordshire:Wordsworth Editions Limited,2000.
Wilhelmus, Tom. "Ah, England." Rev. of The Inheritance of Loss by Kiran Desai; Shalimar the Clown by Salman Rushdie; Arthur & George by Julian Barnes; on Beauty by Zadie Smith; The March by E. L. Doctorow. The Hudson Review 59.2 (Summer 2006):345-51.
Williams, Raymond. Keywords:A Vocabulary of Culture and Society. Revised ed. New York:Oxford University Press,1985.
Wilson, Keith."'Why Aren't the Books Enough?'Authorial Pursuit in Julian Barnes's Flaubert's Parrot and A History of the World in 101/2 Chapters." Critique 47.4 (Summer 2006):362-74.
Winder, Robert. "Bumps in the Night." New Statesman 18.867 (11 July 2005):49-50.
Wood, James. "The Fact-checker." The New Republic (24 June 1996):40-43.
Yang, Jincai, and Wang Yuping. "Dissolution of the Real in Julian Barnes's A History of the World in 101/2 Chapters." Journal of Shenzhen University (Humanities & Social Sciences) 1 (2006):91-96.
[杨金才、王育平：“诘问历史,探寻真实：从《101/2章人的历史》看后现代主义小说中真实性的隐遁”,《深圳大学学报》(人文社会科学版),2006年第1期,第91-96页。]
Yin, Qiping. "Querying the Narrative of'Progress:'A Brief Analysis of Three English Novels." Journal of Zhejiang Normal University (Social Sciences) 2 (2006): 12-19.
[殷企平：“质疑‘进步’话语：三部英国小说简析”,《浙江师范大学学报》(社会科学版),2006年第2期,第12-19页。]
Zhai, Shijing. "The Young- and Middle-Aged Novelists in Contemporary Britain." After Modernism:Realism and Experimentation. Ed. Lu Jiande. Beijing:China Social Sciences Press,1997.405-29.
[翟世镜：《当代英国中青年小说家》。载《现代主义之后：写实与实验》,陆建德主编。北京：中国社会科学出版社,1997。第405-429页。]
---, and Ren Yiming. A History of Contemporary British Fiction. Shanghai:Shanghai Translation Press,2008.
[翟世镜、任一鸣：《当代英国小说史》。上海：上海译文出版社,2008。]
Zhang, Helong. "The Inter-genre and Inter-art Aspects in the Fiction of Julian Barnes." Foreign Literature 4 (2009):3-10.
[张和龙：“鹦鹉、梅杜萨之筏与画像师的画：朱利安·巴恩斯的后现代小说艺术”,《外国文学》,2009年第4期,第3-10页。]
Zhang, Li, and Guo Yingjian. "An Existential Approach to the Thanatopsis in Nothing to Be Frightened of." Contemporary Foreign Literature 3 (2010):81-88.
[张莉、郭英剑：“直面死亡,消解虚无：解读《没什么好怕的》中的死亡观”,《当代外国文学》,2010年第3期,第81-88页。]