空间下的主体生成：美国犹太成长小说研究
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摘要
“成长小说”，简而言之，就是叙述人物长大成人，心智成熟过程的小说。然而，“成长”作为人生普遍经历，又因为性别、阶级、种族、文化以及时代、地域的差异性而呈现成长的不同范式。美国犹太成长小说正是这种普遍性和特殊性的结合，它具有经典成长小说的一般特征、族裔成长小说的特殊性和美国成长小说的现代性。犹太民族是一个空间“流浪”的民族，这种频繁的空间位移表现在犹太成长小说中则赋予“主体”成长强烈的空间意义和文化上的断裂和变迁，处于这种文化断裂的空间性主体必须不断进行自我调整，接受规训，适应新的空间规范，融入新的社会文化。因此，本论文将主要运用列裴伏尔“空间三元”等空间理论试从空间角度对美国犹太成长小说进行探讨，钩沉犹太主人公在各种社会关系中从个体走向“主体”的空间生成过程。
成长是时空下个体走向主体的过程，那么从列裴伏尔的“空间生产”理论角度来考察成长的基本命题是“人在空间中成长，同时也生产成长的空间”。空间主体不再是传统传记性连贯的时间主体，而是在空间与记忆的碰撞和融合过程中建构出一种流动、易变和断裂的主体，空间性主体表现了社会和文化维度上更为复杂的时间性。身体的空间性是空间性主体的前提,身体与空间,不仅包含现象学分析的一般性关系，即作为机体正常的人在某种不附设社会条件的抽象空间中具有的各种身体姿态，而且还包括社会秩序形成的各种空间条件对于身体模式的影响以及身体对各种条件变化所作出的反应。双重空间界域的身体既表达了内在的主体愿望，又反映出外在具体的空间条件。个体在复杂社会关系下通过身体的社会活动来实现空间性的主体，具体在美国犹太成长小说中，犹太个体走向主体的空间实践主要表现为三种模式：空间转换下的性别主体“表演”模式、空间拓展下的族裔主体“僭越”模式以及心理空间释放下的自我主体生成模式。
对犹太主人公而言，空间转换，从广义空间上讲，意味着“逃离”欧洲“旧”世界，闯入美国“新”世界；从狭义空间而言，指逃离犹太家庭，闯入都市社会。欧洲犹太社区男性“女性化”空间与美国社会男性“英雄化”空间的转换与碰撞一般会导致主人公离家出走，首先走向“异质”空间下的“男性”性别“表演”，从而形成“性别”主体。性别主体常常与族裔主体形成“主体叠加”，性别主体是犹太主人公渴望同化的开始，随着主体空间活动的拓展，犹太身份障碍使得主体只能“僭越”身份标识的界域障碍进入主流社会空间，从而形成族裔主体。性别主体和族裔主体的形成过程也是个体空间不断被社会空间“蚕食”的过程，由此形成的空间焦虑必须通过个体自我心理空间的调整和释放，才能走向主体的自我生成。生成后的主体具有不稳定性，这体现了犹太身份的不确定性以及现代空间的碎片化与不连贯性等特征。
主体的“空间生成”过程体现了列裴伏尔的“空间实践”、“空间表征”和“表征空间”的空间三元论证过程。这个过程构成主体生成的空间逻辑。“空间实践”是生产社会空间性之物质形式的过程，它表现为人类活动、行为和经验的中介，又是它们的结果（索亚），在小说中表现为“逃离与闯入”的身体空间行为逻辑。小说中的实际空间是现实空间的艺术再现，构成“空间表征”，美国犹太成长小说中主体成长的空间表征主要有“隔都”（ghetto）、犹太家庭或犹太学校以及都市空间等。这些空间隐喻化或象征化为模塑主体的力量，形成“表征空间”。格托作为异托邦空间，既开放又排他，它建构起主体种族、性别/性等边缘性表征空间。犹太家庭以及犹太学校浓郁的宗教意涵演化为规训主体人生逻辑的伦理道德空间。随着成长空间的拓展，家庭空间与主流社会空间形成空间规训下的话语较量，询唤主体的成长走向，规约主体的形成。都市空间为成长个体提供相对自由和开阔的活动空间，表征为身体“表演”的精神狂欢自由空间。这里，空间不仅仅是主体活动的容器，而且参与了主体身体和精神的双重建构。
美国犹太成长小说在很大程度上诠释了民族、成长与空间之间的辩证关系，个体成长的空间性在一定程度上表征了犹太民族生存的空间性。犹太个体成长为主体的共性和特性赋予美国少数族裔在美国多元文化空间下成长的特殊性与复杂性，展现了主体成长的多样化趋势，呈现成长的立体化多元世界。
Bildungsroman, in a word, is the story of the characters’ growing up andmaturing in the mind and intelligence. Bildung, growing-up or formation, presents thecommon life experience of mankind with different initiation patterns for differentgender, class, race and culture in different times and regions. As a special genre of theBildungsroman, American-Jewish Bildungsroman shares the common ground with theclassical Bildungsroman, distinctiveness with the ethnic Bildungsroman and moderncharacteristics with the American Bildungsroman. Jewish people are a race of spatialwanderers, and its frequent spatial movement endows the subject in literature with astrong sense of space and feeling of battered culture. This kind of spatialized subjectwith fragmented Jewish culture has to adjust himself to the norms of the frequentlychanging spaces and to disciplining himself to the dominant culture. Accordingly, thisdissertation is an attempt to make an investigation into the process from the individualto the subject formed in the space in the American-Jewish Bildungsroman through thelens of spatial theories based on Lefebvre’s triadic process of space and other relatedspatial concepts.
Growing-up is the process of the individual growing into the subject in time andspace. The basic proposition of bildung in light of Lefebvre’s theory of “theproduction of space” is that man grows up in the space, and meanwhile produces thespace of growing-up.” The spatial subject is different from the autobiographic andcoherent temporal subject. It is a mobile, changeable and inconsistent subject in theconflict and combination of space and memory, and interweaves the more complexconcepts of time from the aspects of society and culture. Spatiality of the bodypremises the spatial subject. The interrelation between the body and the spacecontains not only the phenomenological relations, that is, man with normal organsstretches his bodily posture in the abstract space without social conditions, but alsothe impact of spatial conditions ruled by social orders on the bodily behavior patternsand the reflection of the body to the changeable social conditions. Such a body expresses the subject’s inner desire as well as mirrors the real outer spatial conditions.In this sense, spatial subject is the production of the complicated social relationsthrough bodily social activities. Textually, in the American-Jewish Bildungsromanthere are mainly three models of subject formation, which include “gendered subjectthrough performing in spatial shift,”“raced subject through passing in spatialexpansion,” and “self-formation through release of psychological space.”
For the Jewish protagonists, the spatial shift, on the one hand, means to escapefrom the Old Europe and intrude into the New America, and on the other hand, fromJewish family and into the urban space. The spatial transformation and conflictbetween the “feminized” Jewish ghetto in the Old Europe and the “heroized” space inAmerica result in the protagonists’ escape from the traditional Jewish family. Sexualsubject is often heralded through the sexual performance of masculinity in the processof subject formation in the heterotopic space. Sexual subject, as the beginning of theprotagonists’ growing up of along with assimilation, is often interwoven with theracial subject, who demonstrates that, with the stretching of the subject’s spatialactivities, the growing subject does his utmost to pass him off as a “white” into theAmerican “white” space to break the boundary of identity marks. The process offormation of the sexual and racial subject is also one of the private space beingnibbled by the social space. Only when the spatial anxiety of being nibbled isself-justified and self-released can the individual grow up into the subject. The newlyformed subject is unstable, which embodies the uncertainty of the Jewish identity inAmerican society and the fragmentation and incoherence of the modern space.
The process of the spatial production of the subject demonstrates Lefebvre’striadic process of “spatial practice,”“representations of space,” and “representationalspaces,” which forms the spatial logic of subject formation.“Spatial practice,” inLefebvre’s term, as the process of producing the material form of social spatiality, isthus presented as both medium and outcome of human activity, behavior, andexperience (Soja), which, in the American-Jewish Bildungsroman, is embodied by“spatial behavior logic of escape and intrusion.” The “real” space in the novel, whichis the artistic representation of the realistic space, forms the “representations of space,” which, in the American-Jewish Bildungsroman, mainly include the ghetto, theJewish family or school, and the urban space, which metaphorize or symbolize the“representational spaces.” Ghetto, as the open and exclusive space of heterotopia,constructs such marginal spaces as race, gender or sex, etc. The ethics evolved fromJewish religion and complied by in the Jewish family or schools yoke spatially thesubject on the road of the subject’s growing up. With the expansion of the space forthe subject’s growing up, the disciplining discourses between the spaces of the familyand the mainstream society call for the re-direction of the subject’s bildung andstipulate the formation of the subject. The urban space provides the subject with thecomparatively free and open space, which is the representation of carnival space forthe subject’s bodily free performance, the extent to which the urban space is not thebackground for the subject’s activities, but participates in the subject’s growing-up.
The American-Jewish Bildungsroman explains, to a degree, the dialecticrelationships between ethnicity, bildung and space. The spatiality of the Jewishindividual’s growing up is, to a large degree, a representation of the existence of theJewish people. The universality and specialty of the Jewish individual growing intothe subject gives the complicatedness, uniqueness and multifariousness to the bildungof American minorities in the multi-cultural space of America, and presents it with amulti-dimensional world.
成长是时空下个体走向主体的过程，那么从列裴伏尔的“空间生产”理论角度来考察成长的基本命题是“人在空间中成长，同时也生产成长的空间”。空间主体不再是传统传记性连贯的时间主体，而是在空间与记忆的碰撞和融合过程中建构出一种流动、易变和断裂的主体，空间性主体表现了社会和文化维度上更为复杂的时间性。身体的空间性是空间性主体的前提,身体与空间,不仅包含现象学分析的一般性关系，即作为机体正常的人在某种不附设社会条件的抽象空间中具有的各种身体姿态，而且还包括社会秩序形成的各种空间条件对于身体模式的影响以及身体对各种条件变化所作出的反应。双重空间界域的身体既表达了内在的主体愿望，又反映出外在具体的空间条件。个体在复杂社会关系下通过身体的社会活动来实现空间性的主体，具体在美国犹太成长小说中，犹太个体走向主体的空间实践主要表现为三种模式：空间转换下的性别主体“表演”模式、空间拓展下的族裔主体“僭越”模式以及心理空间释放下的自我主体生成模式。
对犹太主人公而言，空间转换，从广义空间上讲，意味着“逃离”欧洲“旧”世界，闯入美国“新”世界；从狭义空间而言，指逃离犹太家庭，闯入都市社会。欧洲犹太社区男性“女性化”空间与美国社会男性“英雄化”空间的转换与碰撞一般会导致主人公离家出走，首先走向“异质”空间下的“男性”性别“表演”，从而形成“性别”主体。性别主体常常与族裔主体形成“主体叠加”，性别主体是犹太主人公渴望同化的开始，随着主体空间活动的拓展，犹太身份障碍使得主体只能“僭越”身份标识的界域障碍进入主流社会空间，从而形成族裔主体。性别主体和族裔主体的形成过程也是个体空间不断被社会空间“蚕食”的过程，由此形成的空间焦虑必须通过个体自我心理空间的调整和释放，才能走向主体的自我生成。生成后的主体具有不稳定性，这体现了犹太身份的不确定性以及现代空间的碎片化与不连贯性等特征。
主体的“空间生成”过程体现了列裴伏尔的“空间实践”、“空间表征”和“表征空间”的空间三元论证过程。这个过程构成主体生成的空间逻辑。“空间实践”是生产社会空间性之物质形式的过程，它表现为人类活动、行为和经验的中介，又是它们的结果（索亚），在小说中表现为“逃离与闯入”的身体空间行为逻辑。小说中的实际空间是现实空间的艺术再现，构成“空间表征”，美国犹太成长小说中主体成长的空间表征主要有“隔都”（ghetto）、犹太家庭或犹太学校以及都市空间等。这些空间隐喻化或象征化为模塑主体的力量，形成“表征空间”。格托作为异托邦空间，既开放又排他，它建构起主体种族、性别/性等边缘性表征空间。犹太家庭以及犹太学校浓郁的宗教意涵演化为规训主体人生逻辑的伦理道德空间。随着成长空间的拓展，家庭空间与主流社会空间形成空间规训下的话语较量，询唤主体的成长走向，规约主体的形成。都市空间为成长个体提供相对自由和开阔的活动空间，表征为身体“表演”的精神狂欢自由空间。这里，空间不仅仅是主体活动的容器，而且参与了主体身体和精神的双重建构。
美国犹太成长小说在很大程度上诠释了民族、成长与空间之间的辩证关系，个体成长的空间性在一定程度上表征了犹太民族生存的空间性。犹太个体成长为主体的共性和特性赋予美国少数族裔在美国多元文化空间下成长的特殊性与复杂性，展现了主体成长的多样化趋势，呈现成长的立体化多元世界。
Bildungsroman, in a word, is the story of the characters’ growing up andmaturing in the mind and intelligence. Bildung, growing-up or formation, presents thecommon life experience of mankind with different initiation patterns for differentgender, class, race and culture in different times and regions. As a special genre of theBildungsroman, American-Jewish Bildungsroman shares the common ground with theclassical Bildungsroman, distinctiveness with the ethnic Bildungsroman and moderncharacteristics with the American Bildungsroman. Jewish people are a race of spatialwanderers, and its frequent spatial movement endows the subject in literature with astrong sense of space and feeling of battered culture. This kind of spatialized subjectwith fragmented Jewish culture has to adjust himself to the norms of the frequentlychanging spaces and to disciplining himself to the dominant culture. Accordingly, thisdissertation is an attempt to make an investigation into the process from the individualto the subject formed in the space in the American-Jewish Bildungsroman through thelens of spatial theories based on Lefebvre’s triadic process of space and other relatedspatial concepts.
Growing-up is the process of the individual growing into the subject in time andspace. The basic proposition of bildung in light of Lefebvre’s theory of “theproduction of space” is that man grows up in the space, and meanwhile produces thespace of growing-up.” The spatial subject is different from the autobiographic andcoherent temporal subject. It is a mobile, changeable and inconsistent subject in theconflict and combination of space and memory, and interweaves the more complexconcepts of time from the aspects of society and culture. Spatiality of the bodypremises the spatial subject. The interrelation between the body and the spacecontains not only the phenomenological relations, that is, man with normal organsstretches his bodily posture in the abstract space without social conditions, but alsothe impact of spatial conditions ruled by social orders on the bodily behavior patternsand the reflection of the body to the changeable social conditions. Such a body expresses the subject’s inner desire as well as mirrors the real outer spatial conditions.In this sense, spatial subject is the production of the complicated social relationsthrough bodily social activities. Textually, in the American-Jewish Bildungsromanthere are mainly three models of subject formation, which include “gendered subjectthrough performing in spatial shift,”“raced subject through passing in spatialexpansion,” and “self-formation through release of psychological space.”
For the Jewish protagonists, the spatial shift, on the one hand, means to escapefrom the Old Europe and intrude into the New America, and on the other hand, fromJewish family and into the urban space. The spatial transformation and conflictbetween the “feminized” Jewish ghetto in the Old Europe and the “heroized” space inAmerica result in the protagonists’ escape from the traditional Jewish family. Sexualsubject is often heralded through the sexual performance of masculinity in the processof subject formation in the heterotopic space. Sexual subject, as the beginning of theprotagonists’ growing up of along with assimilation, is often interwoven with theracial subject, who demonstrates that, with the stretching of the subject’s spatialactivities, the growing subject does his utmost to pass him off as a “white” into theAmerican “white” space to break the boundary of identity marks. The process offormation of the sexual and racial subject is also one of the private space beingnibbled by the social space. Only when the spatial anxiety of being nibbled isself-justified and self-released can the individual grow up into the subject. The newlyformed subject is unstable, which embodies the uncertainty of the Jewish identity inAmerican society and the fragmentation and incoherence of the modern space.
The process of the spatial production of the subject demonstrates Lefebvre’striadic process of “spatial practice,”“representations of space,” and “representationalspaces,” which forms the spatial logic of subject formation.“Spatial practice,” inLefebvre’s term, as the process of producing the material form of social spatiality, isthus presented as both medium and outcome of human activity, behavior, andexperience (Soja), which, in the American-Jewish Bildungsroman, is embodied by“spatial behavior logic of escape and intrusion.” The “real” space in the novel, whichis the artistic representation of the realistic space, forms the “representations of space,” which, in the American-Jewish Bildungsroman, mainly include the ghetto, theJewish family or school, and the urban space, which metaphorize or symbolize the“representational spaces.” Ghetto, as the open and exclusive space of heterotopia,constructs such marginal spaces as race, gender or sex, etc. The ethics evolved fromJewish religion and complied by in the Jewish family or schools yoke spatially thesubject on the road of the subject’s growing up. With the expansion of the space forthe subject’s growing up, the disciplining discourses between the spaces of the familyand the mainstream society call for the re-direction of the subject’s bildung andstipulate the formation of the subject. The urban space provides the subject with thecomparatively free and open space, which is the representation of carnival space forthe subject’s bodily free performance, the extent to which the urban space is not thebackground for the subject’s activities, but participates in the subject’s growing-up.
The American-Jewish Bildungsroman explains, to a degree, the dialecticrelationships between ethnicity, bildung and space. The spatiality of the Jewishindividual’s growing up is, to a large degree, a representation of the existence of theJewish people. The universality and specialty of the Jewish individual growing intothe subject gives the complicatedness, uniqueness and multifariousness to the bildungof American minorities in the multi-cultural space of America, and presents it with amulti-dimensional world.
引文
①“It (Bildungsroman) portrays the Bildung of the hero in its beginnings and growth to a certain stage ofcompleteness;…further[ing] the reader’s Bildung to a much greater extent than any other kind of novel.”(Qtd inMartin Swales. The German Bildungsroman from Wieland to Hesse. Princeton: Princeton University Press,1978:12.)
①Wilhelm Dilthey. Das Erlebnis und die Dichtung: Lessing, Goethe, Novalis, Holderlin. Gottingen: Vandenhoeckand Ruprecht,1921:250.
②See Jeffrey L. Sammons.“The Mystery of the Missing Bildungsroman, or: What Happened to WilhelmMeister’s legacy?” Genre14(Summer1981):229-46.
③Susanne Howe outlines this type: The adolescent hero of the typical “apprentice” novel sets out on his waythrough the world, meets with reverses usually due to his own temperament, falls in with various guides andcounselors, makes many false starts in choosing his friends, his wife, and his life work, and finally adjusts himselfin some way to the demands of his time and environment by finding a sphere of action in which he may workeffectively… Needless to say, the variations of it are endless.(Susanne Howe. Wilhelm Meister and His EnglishKinsmen: Apprentices to Life. New York: Columbia University Press,1930:4.)
①Susanne Howe.,1930:64.
②Buckley generalizes the English Classic Bildungsroman as follows: a child of some sensibility grows up in thecountry or a provincial town, where he finds constraints, social and intellectual, placed upon the free imagination.His family, especially his father, proves doggedly hostile to his creative instincts or flights of fancy, antagonistic tohis ambitious, and quite impervious to the new ideas he has gained from unprescribed reading. His first schooling,even if not totally inadequate, may be frustrating insofar as it may suggest options not available to him in hispresent setting. He therefore, sometimes at a quite early age, leaves the repressive atmosphere of home, to makehis way independently in the city. There his real “education” begins, not only his preparation for a career butalso—and often more importantly—his direct experience of urban life. The latter involves at least two love affairsor sexual encounters, one debasing, one exalting, and demands that in his respect and others the hero reappraise hisvalues. By the time he has decided, after painful soul-searching, the sort of accommodation to the modern world hecan honestly make, he has left his adolescence behind and entered upon his maturity. His initiation complete, hemay then visit his old home, to demonstrate by his presence the degree of his success or the wisdom of his choice.(Jerome Hamilton Buckley. Seasons of Youth: the Bildungsroman from Dickens to Golding. Cambridge: HarvardUniversity Press,1974:17-18.)
③Marcus’s definition is: Marcus’s definition is: An initiation story may be said to show its young protagonistexperiencing a significant change of knowledge about the world or himself, or a change of character, or of both,and this change must point or lead him towards an adult world. It may or may not contain some form of ritual, butis should give some evidence that the change is at least likely to have permanent effects.(Mordecai Marcus.“Whatis an Initiation Story?” William Coyle (ed.) The Young Man in American Literature: The Initiation Theme. NewYork: The Odyssey Press,1969:32)
①Jacob Sloan.“The Jewish Novel of Education.” The Reconstructionist, XXV, No.7(May15,1959):15-20.
①The four generalizations are:(1) the majority are first novels;(2) they are autobiographical;(3) most deal withmales and in a frank manner;(4) the protagonist is a sensitive would-be artist of some kind.(J. Tasker Witham. TheAdolescent in the American novel. New York: Frederick Ungar Publishing Co,1964:56)
①Leslie Fiedler. Waiting for the End. New York: Stein and Day,1964:65.
②Dennis Wrong.“Jews, Gentiles, and the New Establishment,” Commentary, XXXIX,6(June,1965):86.
①G. B. Tennyson.“The ‘Bildungsroman’ in Nineteen-Century English Literature,” Janet Mullane et al.(eds.)Nineteen-Century Literature Criticism. Vol.20. Detroit: Gale Research Inc.,1989:143-147.
①Goethe’s definition of Bildung in Wilhelm Meister, the prototype of the Bildungsroman, discusses the idea ofreciprocal growth or change in which the individual and the environment are engaged in a process of mutualtransformation, each shaping the other until the individual has reached the point where he or she experiences asense of harmony with the environment.(Susan Ashley Gohlman. Starting Over: The Task of the Protagonist in theContemporary Bildungsroman. New York: Garland,1990: X.)
②James Hotle.“The Representative Voice: Autobiography and Ethnic Experience,” MELU9(1982):35.
③Esther Kleinbord Labovitz. The Myth of the Heroine: The Female Bildungsroman in the Twentieth Century. NewYork: Lang,1986:25.
①See Jeffrey L. Sammons.“The Bildungsroman for Nonspecialists: an Attempt at a Clarification,” James Hardin(ed.) Reflection and Action: Essays on the Bildungsroman. Columbia, SC: University of South Carolina Press,1991:41.
②Bonnie Hoover Braendlin.“Bildungsroman in Ethnic Women Writers,” Denver Quarterly17.4(Winter1983):75.
①Blanche Gelfant. The American City Novel. Norman, Okla.: University of Oklahoma Press,1954:11.
②Leslie Fiedler. The Jews in the American Novel. New York: Herzl Institute Pamphlet No.10,1959.
①转引自童强.《空间哲学》，北京：北京大学出版社，2011:14.(空间在以往被当作僵死的、刻板的、非辩证的和静止的东西。相反，时间却是丰富的、多产的、有生命力的、辩证的。)
②Edward W. Soja. Thirdspace: Journeys to Los Angeles and Other Real-and-imagined Places. BlackwellPublishing,1996:46.
①Mike Crang and Nigel Thrift (ed.) Thinking Space. London and New York: Routledge,2003:1.
②Heri Lefebvre. The Production of Space. Trans. Donnald Nicholson-Smith. Blackwell Publishing,1991:324,118.
③Quoted in David Harvey. The Condition of Postmodernity: An Inquiry into the origin of Culture Change.Cambridge MA&Oxford OX: Blackwell Publishing,1990:217.
①See Randolph P. Shaffner. The Apprenticeship Novel: A Study of the “Bildungsroman” as a Regulative Type inWestern Literature with a Focus on Three Classic Representatives by Goethe, Maugham, and mann. New York:Peter Lang Publishing Inc.,1984:17-19. In this book, Shaffner detailedly list thirty-six traits all together, whichsuggest concrete potentialities within the apprenticeship novel.
①David Harvey. The Condition of Postmodernity: An Inquiry into the origin of Culture Change. Cambridge MA&Oxford OX: Blackwell Publishing,1990:217.
①《论语》为政第二Book II. Wei Chang.子曰：吾十有五而志于学，三十而立。
②许慎.《说文解字》600：立：住也。从大立一之上。
③Mike Crang and Nigel Thrift (ed.),2003:1.
①Hana Wirth-Nesher(ed.) What is Jewish Literature? Philadelphia: The Jewish Publication Society,1994:3. Inthe introduction titled “Defining the Indefinable: What is Jewish Literature?” of this book, Hana Wirth-Nesherpoints out that every other attemptive definition of what is Jewish literature may be challenged withcounterexamples like biological definition, linguistic definition, definitions of themes of Jewishness, Jewish ethics,religiosity, etc.(See pp.3-4)
①See Bernard Sherman. Invention of the Jew: Jewish-American Education Novels (1916-1964). New Jersey:Thomas Yoseloff Publisher,1969:19-20.
②See Harold U. Ribalow.“Fifty Basic Works of American-Jewish Fiction,” Chicago Jewish Forum, X, No.3(Spring1952):193-198.
①Bernard Sherman., p.20.
②See ibid., pp.19-20.
①Daniel Bell.“A Parable of Alienation,” in Harold U. Ribalow (ed.) Mid-Century. New York: The BeechhurstPress, Inc.,1955:141.
①See J. Tasker Withan. The Adolescent in the American Novel. New York: Frederick Ungar Publishing Co.,1964:82.
①Walter Rideout. The Radical Novel in the United States. Cambridge: Harvard University Press,1956:313.
①Daniel Bell., p.148.
①Bernard Sherman., p.126.
②Louis Kronenberger.“Under Forty, American Literature and the Younger Generation of American Jews,”Contemporary Jewish Record, VII, No.1(Feb.1944), p.14.
③Louis Kroneneberger., p.36.
①C. B. Sherman. The Jew Without American Society. Detroit: Wayne State University press,1965:60.
①“Jews in America,” Fortune, XIII, No.2(Feb.1936):79-144.
①Harold U. Ribalow.“Fifty Basic Works of American-Jewish Fiction,” Chicago Jewish Forum, X, No.3(Spring1952),193-198.
②Herbert Gold. Love and Like. Cleveland: World Publishing Co.,1961:302.
③Quoted in Harry T. Moore.“The Fiction of Herbert Gold,” Contemporary American Novelists. Carbondale, III:Southern Illinois University Press,1964:171.
④Theodore Soataroff.“Philip Roth and the Jewish Moralists,” Chicago Review, XIII, No.1(Winter1959),87-131.
①Strictly, one-book writer does not only exist in the Jewish writers. However, the Jewish autobiographical searchfor materials has a negative inhibiting effect on the author of converting his boyhood into his further fictioncreation.
②Quoted in Bernard Sherman., p.85.
①Bruce Jay Friedman.“Forward” to Black Humor. New York: Bantam Books, Inc.,1965: xi.
①Max Schulz.“Black Humor,” Encyclopedia of World Literature in the Twentieth Century. Frederick Ungar andLina Maineiro (eds.)4vols. New York: Ungar,1975,1981:271-273.
①参见乔国强.《美国犹太文学》.北京：商务印书馆,2008:436.
②Stanley Kauffmann,“A Mother Who Would Have Scared off Oedipus,” Life LVII, NO.8(Aug.21,1964):8;Richard Kostelanetz,“The Critical Bye,” Chicago Jewish Forum, XXII, No.4(Summer1964):315.
①Raymond Georges Yves Tanguy (January5,1900–January15,1955), known as Yves Tanguy, was a Frenchsurrealist painter. Yves Tanguy’s paintings have a unique, immediately recognizable style of nonrepresentationalsurrealism. They show vast, abstract landscapes, mostly in a tightly limited palette of colors, only occasionallyshowing flashes of contrasting color accents. Typically, these alien landscapes are populated with various abstractshapes, sometimes angular and sharp as shards of glass, sometimes with an intriguingly organic look to them, likegiant amoebae suddenly turned to stone.(http://en.wikipedia.org/wiki/Yves_Tanguy)
①M. M. Bakhtin. The Diaogic Imagination. Trans. Caryl Emerson and Michael Holquist. Austin: University ofTexas Press,1981:84.
①Joseph A. Kestner. The Spatiality of the Novel. Detroit: Wayne State University Pr.,1978:15.
②M. M. Bakhtin.“The Bildungsman and Its Significance in the History of Realism,” Caryl Emerson and MichaelHolmquist (eds.) Speech Genres and Other Late Essays. Trans.Vern W. Mcgee. University of Texas, Austin,1986:21.
③Georg Luckacs. The Theory of the Novel. Cambridge: the MIT Press,1971:120.
①Erik H. Erikson. Identity: Youth and Crisis.孙名之译.杭州：浙江教育出版社，1998:298.
①Franco Moretti. The Way of the World: The Bildungsroman in European Culture. London: Verso,1987:6.
②M. M. Bakhtin.“Forms of Time and of the Chronotope in the Novel,” pp.84-85.
①M. M. Bakhtin.“The Bildungsroman and Its Significance in the History of Realism,” p.25.
①M. M. Bakhtin.“Forms of Time and of the Chronotope in the Novel,” p.120.
②Ibid., p.120.
③According to Bakhtin, it is one type of three basic types of the ancient Greek and Roman Romance. The othertwo are “adventure novel of ordeal” and “biographical novel”. In a strict sense, Bakhtin thinks, only two worksbelong to this category: the Satyricon of Petronius (only few fragments has been come down) and The Gold Ass ofApuleius which has survived in its entirety. The prerequisites are:(1) that the road of the protagonist’s life issheathed in a metamorphosis;(2) that the course of the protagonist’s life must somehow correspond to an actualcourse of travel, to the wanderings throughout the world in the shape of his metamorphosis.(See ibid. p.111.)
④M. M. Bakhtin.“Forms of Time and of the Chronotope in the Novel,” p.121.
①F. Jameson. The Global Aesthetic: Cinema and Space in the World System. Bloomington: Indiana UniversityPress,1992:2-3.
②Dani Cavallaro discusses that critical and cultural theory have increasingly moved away from the word ‘self’and used the term ‘subject’ instead in exploring the cultural construction of both personal and collective identities.This is because the word ‘self’ traditionally evokes the idea of identity as a private possession and a notion of theindividual as a unique and autonomous. Subject is more ambiguous.(See Dani Cavallaro. Critical and CulturalTheory. London and New Brunswick, New Jersey: The Athlone Press,2006:86.)
①Merleau-Ponty. Phenomenology of Perception. Trans. Colin Smith. London and New York: Routledge,2002:102.
①Dani Cavallaro., p.100.
②See P. Schilder. The Image and Appearance of the Body. New York: Dover,1935.
③Merleau-Ponty., p.148.
①参见童强.《空间哲学》.北京:北京大学出版社,2011:115-116.
①Henri Lefebvre. The Production of Space. Oxford, UK and Cambridge, MA: Blackwell,1991a:405.
①Sanford Sternlicht. Masterpieces of Jewish American Literature.北京：中国人民大学出版社，2007:1.
①Anzia Yezierska. Bread Giver. New York: Persea Books,2003:1-2.
①Michael Gold. Jews Without Money. New York: PublicAffairs,2009:14.
①Abraham Cahan. The Rise of David Levinsky. New York: Dover Publications,2002:1.
①It is the translation from Greek “hypokejmenon.”
②See Anthony Savile. Routledge Philosophy Guide Book to Leibniz and the Monadology. New York: Routledge,2000:81-102.
③参见[瑞士]皮亚杰.《发生认识论原理》，北京：商务印书馆，1981:3.
①Jean-Paul Sartre. Being and Nothing: An Essay on Phenomenological Ontology. Trans. Hazel E. Barnes. ThePhilosophical Library, Inc.,1993:325.
①Michel Foucault.“Power,” James D. Faubion (ed.) Essential Works of Foucault (1954-1984). Vol2. Trans.Robert Hurley and Others. Penguin Books,2000:331.
①Michel Foucault. Discipline and Punish: the Birth of Prison. Trans. Alan Sheridan. New York: Vintage Books,1995:193.
②See Michel Foucault. The Care of the Self, Volume3of The History of Sexuality. Trans. Robert Hurley. NewYork: Pantheon Books,1986:68.
①Judith Butler. Bodies That Matters: On the Discursive limits of “Sex.” New York: Routledge,1993:232.
②Norms accumulate the force of authority and transparency through reiteration, and repetition is itself a citationof a prior set of ritualized practices, since norms are historically contingent, and their history not only “precedesbut conditions their contemporary usages.”(See ibid., p.227.)
③Abraham Cahan. The Rise of David Levinsky. New York: Dover Publications, Inc.,2002:1.
④Jules Chametzky.“Introduction to The Rise of David Levinsky,” Jules Chametzky et al.(eds.) Jewish AmericanLiteratures: A Norton Anthology. New York: W. W. Norton,2001: xxii.
⑤See David Engel.“The ‘Discrepancies’ of the Modern: Towares a Revaluation of Abraham Cahan’s The Rise ofDavid Levinsky.” Studies in American Jewish Literature2(1982):36-60. Adam Sol.“Searching for MiddleGround in Abaham Cahan’s The Rise of David Levinsky and Sidney Nyburg’s The Chosen People,” Studeis inAmerican Jewish Literature8(1989):30-45.
①Daniel Boyarin. Unheroic Conduct: The Rise of Heterosexuality and the Invention of the Jewish Man. Berkeley:University of California Press,1997:2.
②Abraham Cahan. The Rise of David Levinsky., p.29.
②Daniel Boyarin. Unheroic Conduct., p.153.
①Abraham Cahan., p.35.
②Magdalena Zaborowska.“Americanization of a ‘Queer Fellow’: Performing Jewishness and Sexuality inAbraham’s The Rise of David Levinsky,” American Studies in Scandinavia29(1997):21-22.
③Abraham Cahan., p.118.
③Sander Gilman. The Jew’s Body. New York: Routledge,1991:133.
④Abraham Cahan., pp.37,39.
②Judith Butler. Gender Trouble. NewYork: Routledge,1990:146.
③Abraham Cahn., p.194.
①Catherine Rottenberg. Performing Aemricanness: Race, Class, and Gender in Modern African-American andJewish-American Literature. Hanover, New Hampshire: Dartmouth College Press,2008:28.
②Judith Butler. Bodies That Matter: On the Discursive Limits of “Sex.” New York: Routledge,1993:124.
③Maya Lloyd.“Performativity, Parody, politics,” Theory, Culture&Society16(1999):210.
④Lois McNay.“Subject, Psyche and Agency: The Work of Judith Butler,” Theory, Culture&Society16(1999):179.
①Abraham Cahan., p.167.
①参见王炳钧.空间、现代性与文化记忆.外国文学，2006（4）：82.（空间既是上层建筑中各种社会关系的综合体现，又是各种社会关系发展的前提。因此，对空间拓展的愿望也即是对个人主体性独立、自由的向往。）
①Judith A. Rosenberg. Assimilation and Metaphor: A Study of American Identity in the Fiction of Edith Wharton,James Johnson, and Abraham Cahan. Dissertation, Brandeis University, Waltham,1992:107-108.
②William M. Phillip. Jr. An Unillustrious Alliance. Westport CT.1991:28.
③Susan Koshy.“Category Crisis: South Asian Americanness and Questions of Race and Ethnicity,” Diaspora7,No.3(1998):285-320.
④Susan Koshy.“Morphing Race into Ethnicity: Asian Americans and Critical Transformations of Whiteness,”Boundary228, No.1(2001):153-94.
①Martha Cutter.“Sliding Significations: Passing as a Narrative and Textual Strategy in Nella Larsen’s Fiction,” inElaine Ginsber (ed.) Passing and Fictions of Identity. Durham, N. C.: Duke University Press,1996:75.
②Elaine Ginsberg.“Introduction: The Politics of Passing,” in Passing and the Fictions of Identity.,1996:1-18.
③Louis Miron and Jonathan Xavier Inda.“Race as a Kind of Speech Act,” in Cultural Studies: A Research Annual5(2000):86-87,99.
①Michel Foucault. The History of Sexuality, Vol. I, An Introduction. Trans. Robert Hurley. New York: VintageBooks,1990:154.
②Michel Pecheus. Language, Semantics, and Ideology. New York: St. Martin’s Press,1982:11.
①Abraham Cahan., p.328.
②See Eric Goldstein.“The Unstable Other; Locating the Jew in Progressive-Era American Racial Discourse,”American Jewish History89, No.4(2002):396.
①Abraham Cahan., p.330.
②David Roediger. The Wages of Whiteness: Race and the Making of the American Working Class. London: Verso,1999:127.
①Abraham Cahan., p.371.
②See Brodkin Karen. How Jews Became White Folks and What That Says about Race in America. NewBrunswick&New Jersey: Rutgers University Press,1998:86.
①Abraham Cahan., p.101.
①Eric Goldstein., p.409.
①See Henri Lefebvre. The Production of Space. Trans. Donald Nichloson-Smith. Oxford and Cambridge:Blackwell Publishing,1991a:15.
②See E. W. Soja. Thridspace: Journeys to Los Angeles and Other Real-and-Imagined Places. Oxford: Blackwell,1996:63.
①Philip Roth. Portnoy’s Complaint. Vintage,1999:33.
③Patricia Meyer Spacks.“About Portnoy.” Yale Review58(summer1969):634.
①Alan Segal.“Portnoy’s Complaint and the Sociology of Literature,” British Journal of Sociology (September1971):260.
③Bruno Bettelheim.“Portnoy Psychoanalyzed,” Midstream15(July1969):3.
①Henri Lefebvre.,1991a:33.
①See E. W. Soja.,1996:67-68.
②Henri Lefebvre.,1991a:40
①Henri Lefebvre. Everyday Life in the Modern World. Trans. Sacha Rabinovitch. Penguin Books,1971:35.
②Henri Lefebvre. Critique of Everyday Life--Volume One. London: Vero,1991b:6.
①Henri Lefebvre.,1991a:50.
①Merleau-Ponty., p.102.
②See M. M. Bakhtin.“Forms of Time and Chronotope in the Novel,” p.105.
①Issac Rosenfeld. Passage form Home. Cleveland and New York: The World Publishing Company,1965:165-166.
②See Bernard Sherman., p.129.
③Alfred Kazin. A Walker in the City.`New York: MJF Books,1979:9.
①Anzia Yezierska. Bread Giver. New York: Persea Books,2003:151.
③转引自顾广梅.《中国现代成长小说研究》，山东师范大学博士学位论文，2009:119.（梅行素毫无条件的确信着：“在前面的虽然是不可知的生疏的世界，但一定更广大更热烈。”）
②Anzia Yezierska., p.156.
③David Biale describes the extent to which Jewish culture has always consisted of such “centripetal andcentrifugal forces to the point where the very opposition between them appears artificial and overly simplistic.” Hehas in mind pairs such as unity versus diversity, textual continuity versus cultural ruptures, isolation versusassimilation, elite versus popular, and the idea of a unified culture versus a history of multiple communities andcultures. See David Biale.“Toward a Cultural History of the Jews,” in Anita Norich and Yaron Z. Eliav (eds.)Cultures of the Jews: A New History. New York: Schocken,2002: xvii–xxxiii.
①Quoted in Sheila E. Jelen, Michael P. Kramer, and L. Scott Lerner (eds.) Modern Jewish literatures:Intersections and Boundaries. Philadelphia: university of Pennsylvania Press,2011:2-3.
①Abraham Cahan. Yekl: A Tale of the New York Ghetto. New York: D. Appleton and Company,1896:28-29.
②Hutchins Hapgood. The New York Ghetto: Studies of the Jewish Quarter of New York. New York: Funk&Wagnalls,1902:9-10.
③See Anita Norich.“Hebraism and Yiddishism: Paradigms of Modern Jewish Literary History,” in Anita Norichand Yaron Z. Eliav (eds.) Jewish Literature and Cultures: Context and Intercontext. Providence, R. I.: BrownJudaic Studies,2008:9-36.
①相关研究参见拙文“空间与记忆：文化地理视阈下的美国犹太成长小说”，求索，2012（3）：200-202. Thesix principles are: first, heterotopias are found in all cultures, every human group, although they take varied formsand forms and have no absolutely universal model; second, heterotopias can change in function and meaning overtime, according to the particular “synchrony” of the culture in which they are found; third, the heterotopia iscapable of juxtaposing in one real place several different spaces,“several sites that are in themselves incompatible”or foreign to one another; fourth, heterotopias are typically linked to slices of time, which “for the sake ofsymmetry” Foucault calls heterochronies; fifth, heterotopias always presuppose a system of opening and closingthat simultaneously makes them both isolated and penetrable, different from what is usually conceived of as morefreely accessible public space; last, heterotopias have an even more comprehensive function, in relation to all thespace that remains outside of them.(See Edward W. Soja., pp.159-161.)
②See Kevin Hetherington. The Badlands of Modernity: Heterotopia and Social Ordering. New York: Routledge,2003:41.
①R. Shields. Places on the Margins. London: Routledge,1991:276-78.
②Alfred Kazin., pp.8-10.
④R. Shields., p.264.
②Alfred Kazin., p.11.
①Abraham Cahan., p.1.
②Alred Kazin., p.176.
③Anzia Yezierska., p.166.
①J. D. Salinger. The Catcher in the Rye. New York: Little, Brown and Company,1991:213-14.
②Bernard Sherman., pp.22-23.
①See Hutchins Hapgood. The Spirit of the Ghetto. Cambridge, Mass: The Belknap Press of Harvard UniversityPress,1967:18-19.
①Abraham Cahan., p.18.
②Alfred Kazin., p.46.
①参见米歇尔·福柯.空间·知识·权力—福柯访谈录.包亚明主编.《后现代性与地理学的政治》.上海：上海教育出版社，2001:13-14.（空间是任何公共生活形式的基础。空间是任何权力运作的基础。）
②Mark Harries. Friedman and Sons. New York: The Macmillan Co.,1963:3.
③Irving Malin and Irwin Stark (eds.) Breakthrough. New York: McGraw-Hill Book Co.,1964:10.
①Anzia Yezierska., pp.8-9.
①Abraham Cahan., p.18.
②Anzia Yezierska., p.10.
①Mikhail Bakhtin. Rabelais and His World. Trans. Helene Iswolske. Cambiridge, Mass: MIT Press,1968:127.
①Michael Gold. Jews Without Money. New York: PublicAffairs,2009:13-14.
①M. Bakhtin.“The Grotesque Image of the Body and Its Sources,” in Simon Dentith (ed.) Bakhtinian Thought.London: Routledge,1995:75.
②Michael Gold., p.309.
③See Ning Yizhong. Carnivalization and Joseph Conrad’s Fictional World. Changsha: Hunan Normal UniversityPress,1999:39.(宁一中.狂欢化与康拉德的小说世界.长沙:湖南师范大学出版社,1999:39)
④Mikhail Bakhtin. Problems of Dostoevsky’s Poetics. Caryl Emerson(ed. and trans.) Minneapolis: University ofMinnesota Press,1984:172.
①Katerina Clark and Michael Holquist. Mikhail Bakhtin. Cambridge: The Belknap Press of Harvard UP,1984:312.
②Bakhtin.“The Grostesque Image of the Body and Its Sources,” in Simon Denith (ed.) Bakhtinian Thought.London: Routledge,1995:226.
①Alfred Kazin. A Walker in the City. New York: MJF Books,1979:22-24.
②See Ning Yizhong,1999:32.
②M. Bakhtin.,1995:81.
③Cary Saul Morson and Caryl Emerson. M. Bakhtin: Creation of a Prosaics. California: Stanford UP,1990:169.
①Anzia Yezierska. Bread Givers. New York: Persea Books, Inc.,2003:155.
②Mikhail Bakhtin.1984:169.
①Edmund Husserl. The Crisis of European Sciences and Transcendental Phenomenology. Trans. David Carr.Evanston: Northwest University Press,1970:13-14.
①See Rachel Rubin. Jewish Gangsters of Modern Literature. Urbana and Chicago: University of Illinois Press,2000:72.
①Paul Breines. Tough Jews: Political Fantasies and the Moral Dilemma of American Jewry. New York: BasicBooks,1990:126.
①Joseph Frank.“Spatial Form: Thirty Years After,” in Jeffrey R. Smitten&Ann Daghistany (eds.) Spatial Formin Narrative. Ithaca and London: Cornell University Press,1981:12.
②Quoted in Edward W. Soja., p.217.
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①Wilhelm Dilthey. Das Erlebnis und die Dichtung: Lessing, Goethe, Novalis, Holderlin. Gottingen: Vandenhoeckand Ruprecht,1921:250.
②See Jeffrey L. Sammons.“The Mystery of the Missing Bildungsroman, or: What Happened to WilhelmMeister’s legacy?” Genre14(Summer1981):229-46.
③Susanne Howe outlines this type: The adolescent hero of the typical “apprentice” novel sets out on his waythrough the world, meets with reverses usually due to his own temperament, falls in with various guides andcounselors, makes many false starts in choosing his friends, his wife, and his life work, and finally adjusts himselfin some way to the demands of his time and environment by finding a sphere of action in which he may workeffectively… Needless to say, the variations of it are endless.(Susanne Howe. Wilhelm Meister and His EnglishKinsmen: Apprentices to Life. New York: Columbia University Press,1930:4.)
①Susanne Howe.,1930:64.
②Buckley generalizes the English Classic Bildungsroman as follows: a child of some sensibility grows up in thecountry or a provincial town, where he finds constraints, social and intellectual, placed upon the free imagination.His family, especially his father, proves doggedly hostile to his creative instincts or flights of fancy, antagonistic tohis ambitious, and quite impervious to the new ideas he has gained from unprescribed reading. His first schooling,even if not totally inadequate, may be frustrating insofar as it may suggest options not available to him in hispresent setting. He therefore, sometimes at a quite early age, leaves the repressive atmosphere of home, to makehis way independently in the city. There his real “education” begins, not only his preparation for a career butalso—and often more importantly—his direct experience of urban life. The latter involves at least two love affairsor sexual encounters, one debasing, one exalting, and demands that in his respect and others the hero reappraise hisvalues. By the time he has decided, after painful soul-searching, the sort of accommodation to the modern world hecan honestly make, he has left his adolescence behind and entered upon his maturity. His initiation complete, hemay then visit his old home, to demonstrate by his presence the degree of his success or the wisdom of his choice.(Jerome Hamilton Buckley. Seasons of Youth: the Bildungsroman from Dickens to Golding. Cambridge: HarvardUniversity Press,1974:17-18.)
③Marcus’s definition is: Marcus’s definition is: An initiation story may be said to show its young protagonistexperiencing a significant change of knowledge about the world or himself, or a change of character, or of both,and this change must point or lead him towards an adult world. It may or may not contain some form of ritual, butis should give some evidence that the change is at least likely to have permanent effects.(Mordecai Marcus.“Whatis an Initiation Story?” William Coyle (ed.) The Young Man in American Literature: The Initiation Theme. NewYork: The Odyssey Press,1969:32)
①Jacob Sloan.“The Jewish Novel of Education.” The Reconstructionist, XXV, No.7(May15,1959):15-20.
①The four generalizations are:(1) the majority are first novels;(2) they are autobiographical;(3) most deal withmales and in a frank manner;(4) the protagonist is a sensitive would-be artist of some kind.(J. Tasker Witham. TheAdolescent in the American novel. New York: Frederick Ungar Publishing Co,1964:56)
①Leslie Fiedler. Waiting for the End. New York: Stein and Day,1964:65.
②Dennis Wrong.“Jews, Gentiles, and the New Establishment,” Commentary, XXXIX,6(June,1965):86.
①G. B. Tennyson.“The ‘Bildungsroman’ in Nineteen-Century English Literature,” Janet Mullane et al.(eds.)Nineteen-Century Literature Criticism. Vol.20. Detroit: Gale Research Inc.,1989:143-147.
①Goethe’s definition of Bildung in Wilhelm Meister, the prototype of the Bildungsroman, discusses the idea ofreciprocal growth or change in which the individual and the environment are engaged in a process of mutualtransformation, each shaping the other until the individual has reached the point where he or she experiences asense of harmony with the environment.(Susan Ashley Gohlman. Starting Over: The Task of the Protagonist in theContemporary Bildungsroman. New York: Garland,1990: X.)
②James Hotle.“The Representative Voice: Autobiography and Ethnic Experience,” MELU9(1982):35.
③Esther Kleinbord Labovitz. The Myth of the Heroine: The Female Bildungsroman in the Twentieth Century. NewYork: Lang,1986:25.
①See Jeffrey L. Sammons.“The Bildungsroman for Nonspecialists: an Attempt at a Clarification,” James Hardin(ed.) Reflection and Action: Essays on the Bildungsroman. Columbia, SC: University of South Carolina Press,1991:41.
②Bonnie Hoover Braendlin.“Bildungsroman in Ethnic Women Writers,” Denver Quarterly17.4(Winter1983):75.
①Blanche Gelfant. The American City Novel. Norman, Okla.: University of Oklahoma Press,1954:11.
②Leslie Fiedler. The Jews in the American Novel. New York: Herzl Institute Pamphlet No.10,1959.
①转引自童强.《空间哲学》，北京：北京大学出版社，2011:14.(空间在以往被当作僵死的、刻板的、非辩证的和静止的东西。相反，时间却是丰富的、多产的、有生命力的、辩证的。)
②Edward W. Soja. Thirdspace: Journeys to Los Angeles and Other Real-and-imagined Places. BlackwellPublishing,1996:46.
①Mike Crang and Nigel Thrift (ed.) Thinking Space. London and New York: Routledge,2003:1.
②Heri Lefebvre. The Production of Space. Trans. Donnald Nicholson-Smith. Blackwell Publishing,1991:324,118.
③Quoted in David Harvey. The Condition of Postmodernity: An Inquiry into the origin of Culture Change.Cambridge MA&Oxford OX: Blackwell Publishing,1990:217.
①See Randolph P. Shaffner. The Apprenticeship Novel: A Study of the “Bildungsroman” as a Regulative Type inWestern Literature with a Focus on Three Classic Representatives by Goethe, Maugham, and mann. New York:Peter Lang Publishing Inc.,1984:17-19. In this book, Shaffner detailedly list thirty-six traits all together, whichsuggest concrete potentialities within the apprenticeship novel.
①David Harvey. The Condition of Postmodernity: An Inquiry into the origin of Culture Change. Cambridge MA&Oxford OX: Blackwell Publishing,1990:217.
①《论语》为政第二Book II. Wei Chang.子曰：吾十有五而志于学，三十而立。
②许慎.《说文解字》600：立：住也。从大立一之上。
③Mike Crang and Nigel Thrift (ed.),2003:1.
①Hana Wirth-Nesher(ed.) What is Jewish Literature? Philadelphia: The Jewish Publication Society,1994:3. Inthe introduction titled “Defining the Indefinable: What is Jewish Literature?” of this book, Hana Wirth-Nesherpoints out that every other attemptive definition of what is Jewish literature may be challenged withcounterexamples like biological definition, linguistic definition, definitions of themes of Jewishness, Jewish ethics,religiosity, etc.(See pp.3-4)
①See Bernard Sherman. Invention of the Jew: Jewish-American Education Novels (1916-1964). New Jersey:Thomas Yoseloff Publisher,1969:19-20.
②See Harold U. Ribalow.“Fifty Basic Works of American-Jewish Fiction,” Chicago Jewish Forum, X, No.3(Spring1952):193-198.
①Bernard Sherman., p.20.
②See ibid., pp.19-20.
①Daniel Bell.“A Parable of Alienation,” in Harold U. Ribalow (ed.) Mid-Century. New York: The BeechhurstPress, Inc.,1955:141.
①See J. Tasker Withan. The Adolescent in the American Novel. New York: Frederick Ungar Publishing Co.,1964:82.
①Walter Rideout. The Radical Novel in the United States. Cambridge: Harvard University Press,1956:313.
①Daniel Bell., p.148.
①Bernard Sherman., p.126.
②Louis Kronenberger.“Under Forty, American Literature and the Younger Generation of American Jews,”Contemporary Jewish Record, VII, No.1(Feb.1944), p.14.
③Louis Kroneneberger., p.36.
①C. B. Sherman. The Jew Without American Society. Detroit: Wayne State University press,1965:60.
①“Jews in America,” Fortune, XIII, No.2(Feb.1936):79-144.
①Harold U. Ribalow.“Fifty Basic Works of American-Jewish Fiction,” Chicago Jewish Forum, X, No.3(Spring1952),193-198.
②Herbert Gold. Love and Like. Cleveland: World Publishing Co.,1961:302.
③Quoted in Harry T. Moore.“The Fiction of Herbert Gold,” Contemporary American Novelists. Carbondale, III:Southern Illinois University Press,1964:171.
④Theodore Soataroff.“Philip Roth and the Jewish Moralists,” Chicago Review, XIII, No.1(Winter1959),87-131.
①Strictly, one-book writer does not only exist in the Jewish writers. However, the Jewish autobiographical searchfor materials has a negative inhibiting effect on the author of converting his boyhood into his further fictioncreation.
②Quoted in Bernard Sherman., p.85.
①Bruce Jay Friedman.“Forward” to Black Humor. New York: Bantam Books, Inc.,1965: xi.
①Max Schulz.“Black Humor,” Encyclopedia of World Literature in the Twentieth Century. Frederick Ungar andLina Maineiro (eds.)4vols. New York: Ungar,1975,1981:271-273.
①参见乔国强.《美国犹太文学》.北京：商务印书馆,2008:436.
②Stanley Kauffmann,“A Mother Who Would Have Scared off Oedipus,” Life LVII, NO.8(Aug.21,1964):8;Richard Kostelanetz,“The Critical Bye,” Chicago Jewish Forum, XXII, No.4(Summer1964):315.
①Raymond Georges Yves Tanguy (January5,1900–January15,1955), known as Yves Tanguy, was a Frenchsurrealist painter. Yves Tanguy’s paintings have a unique, immediately recognizable style of nonrepresentationalsurrealism. They show vast, abstract landscapes, mostly in a tightly limited palette of colors, only occasionallyshowing flashes of contrasting color accents. Typically, these alien landscapes are populated with various abstractshapes, sometimes angular and sharp as shards of glass, sometimes with an intriguingly organic look to them, likegiant amoebae suddenly turned to stone.(http://en.wikipedia.org/wiki/Yves_Tanguy)
①M. M. Bakhtin. The Diaogic Imagination. Trans. Caryl Emerson and Michael Holquist. Austin: University ofTexas Press,1981:84.
①Joseph A. Kestner. The Spatiality of the Novel. Detroit: Wayne State University Pr.,1978:15.
②M. M. Bakhtin.“The Bildungsman and Its Significance in the History of Realism,” Caryl Emerson and MichaelHolmquist (eds.) Speech Genres and Other Late Essays. Trans.Vern W. Mcgee. University of Texas, Austin,1986:21.
③Georg Luckacs. The Theory of the Novel. Cambridge: the MIT Press,1971:120.
①Erik H. Erikson. Identity: Youth and Crisis.孙名之译.杭州：浙江教育出版社，1998:298.
①Franco Moretti. The Way of the World: The Bildungsroman in European Culture. London: Verso,1987:6.
②M. M. Bakhtin.“Forms of Time and of the Chronotope in the Novel,” pp.84-85.
①M. M. Bakhtin.“The Bildungsroman and Its Significance in the History of Realism,” p.25.
①M. M. Bakhtin.“Forms of Time and of the Chronotope in the Novel,” p.120.
②Ibid., p.120.
③According to Bakhtin, it is one type of three basic types of the ancient Greek and Roman Romance. The othertwo are “adventure novel of ordeal” and “biographical novel”. In a strict sense, Bakhtin thinks, only two worksbelong to this category: the Satyricon of Petronius (only few fragments has been come down) and The Gold Ass ofApuleius which has survived in its entirety. The prerequisites are:(1) that the road of the protagonist’s life issheathed in a metamorphosis;(2) that the course of the protagonist’s life must somehow correspond to an actualcourse of travel, to the wanderings throughout the world in the shape of his metamorphosis.(See ibid. p.111.)
④M. M. Bakhtin.“Forms of Time and of the Chronotope in the Novel,” p.121.
①F. Jameson. The Global Aesthetic: Cinema and Space in the World System. Bloomington: Indiana UniversityPress,1992:2-3.
②Dani Cavallaro discusses that critical and cultural theory have increasingly moved away from the word ‘self’and used the term ‘subject’ instead in exploring the cultural construction of both personal and collective identities.This is because the word ‘self’ traditionally evokes the idea of identity as a private possession and a notion of theindividual as a unique and autonomous. Subject is more ambiguous.(See Dani Cavallaro. Critical and CulturalTheory. London and New Brunswick, New Jersey: The Athlone Press,2006:86.)
①Merleau-Ponty. Phenomenology of Perception. Trans. Colin Smith. London and New York: Routledge,2002:102.
①Dani Cavallaro., p.100.
②See P. Schilder. The Image and Appearance of the Body. New York: Dover,1935.
③Merleau-Ponty., p.148.
①参见童强.《空间哲学》.北京:北京大学出版社,2011:115-116.
①Henri Lefebvre. The Production of Space. Oxford, UK and Cambridge, MA: Blackwell,1991a:405.
①Sanford Sternlicht. Masterpieces of Jewish American Literature.北京：中国人民大学出版社，2007:1.
①Anzia Yezierska. Bread Giver. New York: Persea Books,2003:1-2.
①Michael Gold. Jews Without Money. New York: PublicAffairs,2009:14.
①Abraham Cahan. The Rise of David Levinsky. New York: Dover Publications,2002:1.
①It is the translation from Greek “hypokejmenon.”
②See Anthony Savile. Routledge Philosophy Guide Book to Leibniz and the Monadology. New York: Routledge,2000:81-102.
③参见[瑞士]皮亚杰.《发生认识论原理》，北京：商务印书馆，1981:3.
①Jean-Paul Sartre. Being and Nothing: An Essay on Phenomenological Ontology. Trans. Hazel E. Barnes. ThePhilosophical Library, Inc.,1993:325.
①Michel Foucault.“Power,” James D. Faubion (ed.) Essential Works of Foucault (1954-1984). Vol2. Trans.Robert Hurley and Others. Penguin Books,2000:331.
①Michel Foucault. Discipline and Punish: the Birth of Prison. Trans. Alan Sheridan. New York: Vintage Books,1995:193.
②See Michel Foucault. The Care of the Self, Volume3of The History of Sexuality. Trans. Robert Hurley. NewYork: Pantheon Books,1986:68.
①Judith Butler. Bodies That Matters: On the Discursive limits of “Sex.” New York: Routledge,1993:232.
②Norms accumulate the force of authority and transparency through reiteration, and repetition is itself a citationof a prior set of ritualized practices, since norms are historically contingent, and their history not only “precedesbut conditions their contemporary usages.”(See ibid., p.227.)
③Abraham Cahan. The Rise of David Levinsky. New York: Dover Publications, Inc.,2002:1.
④Jules Chametzky.“Introduction to The Rise of David Levinsky,” Jules Chametzky et al.(eds.) Jewish AmericanLiteratures: A Norton Anthology. New York: W. W. Norton,2001: xxii.
⑤See David Engel.“The ‘Discrepancies’ of the Modern: Towares a Revaluation of Abraham Cahan’s The Rise ofDavid Levinsky.” Studies in American Jewish Literature2(1982):36-60. Adam Sol.“Searching for MiddleGround in Abaham Cahan’s The Rise of David Levinsky and Sidney Nyburg’s The Chosen People,” Studeis inAmerican Jewish Literature8(1989):30-45.
①Daniel Boyarin. Unheroic Conduct: The Rise of Heterosexuality and the Invention of the Jewish Man. Berkeley:University of California Press,1997:2.
②Abraham Cahan. The Rise of David Levinsky., p.29.
②Daniel Boyarin. Unheroic Conduct., p.153.
①Abraham Cahan., p.35.
②Magdalena Zaborowska.“Americanization of a ‘Queer Fellow’: Performing Jewishness and Sexuality inAbraham’s The Rise of David Levinsky,” American Studies in Scandinavia29(1997):21-22.
③Abraham Cahan., p.118.
③Sander Gilman. The Jew’s Body. New York: Routledge,1991:133.
④Abraham Cahan., pp.37,39.
②Judith Butler. Gender Trouble. NewYork: Routledge,1990:146.
③Abraham Cahn., p.194.
①Catherine Rottenberg. Performing Aemricanness: Race, Class, and Gender in Modern African-American andJewish-American Literature. Hanover, New Hampshire: Dartmouth College Press,2008:28.
②Judith Butler. Bodies That Matter: On the Discursive Limits of “Sex.” New York: Routledge,1993:124.
③Maya Lloyd.“Performativity, Parody, politics,” Theory, Culture&Society16(1999):210.
④Lois McNay.“Subject, Psyche and Agency: The Work of Judith Butler,” Theory, Culture&Society16(1999):179.
①Abraham Cahan., p.167.
①参见王炳钧.空间、现代性与文化记忆.外国文学，2006（4）：82.（空间既是上层建筑中各种社会关系的综合体现，又是各种社会关系发展的前提。因此，对空间拓展的愿望也即是对个人主体性独立、自由的向往。）
①Judith A. Rosenberg. Assimilation and Metaphor: A Study of American Identity in the Fiction of Edith Wharton,James Johnson, and Abraham Cahan. Dissertation, Brandeis University, Waltham,1992:107-108.
②William M. Phillip. Jr. An Unillustrious Alliance. Westport CT.1991:28.
③Susan Koshy.“Category Crisis: South Asian Americanness and Questions of Race and Ethnicity,” Diaspora7,No.3(1998):285-320.
④Susan Koshy.“Morphing Race into Ethnicity: Asian Americans and Critical Transformations of Whiteness,”Boundary228, No.1(2001):153-94.
①Martha Cutter.“Sliding Significations: Passing as a Narrative and Textual Strategy in Nella Larsen’s Fiction,” inElaine Ginsber (ed.) Passing and Fictions of Identity. Durham, N. C.: Duke University Press,1996:75.
②Elaine Ginsberg.“Introduction: The Politics of Passing,” in Passing and the Fictions of Identity.,1996:1-18.
③Louis Miron and Jonathan Xavier Inda.“Race as a Kind of Speech Act,” in Cultural Studies: A Research Annual5(2000):86-87,99.
①Michel Foucault. The History of Sexuality, Vol. I, An Introduction. Trans. Robert Hurley. New York: VintageBooks,1990:154.
②Michel Pecheus. Language, Semantics, and Ideology. New York: St. Martin’s Press,1982:11.
①Abraham Cahan., p.328.
②See Eric Goldstein.“The Unstable Other; Locating the Jew in Progressive-Era American Racial Discourse,”American Jewish History89, No.4(2002):396.
①Abraham Cahan., p.330.
②David Roediger. The Wages of Whiteness: Race and the Making of the American Working Class. London: Verso,1999:127.
①Abraham Cahan., p.371.
②See Brodkin Karen. How Jews Became White Folks and What That Says about Race in America. NewBrunswick&New Jersey: Rutgers University Press,1998:86.
①Abraham Cahan., p.101.
①Eric Goldstein., p.409.
①See Henri Lefebvre. The Production of Space. Trans. Donald Nichloson-Smith. Oxford and Cambridge:Blackwell Publishing,1991a:15.
②See E. W. Soja. Thridspace: Journeys to Los Angeles and Other Real-and-Imagined Places. Oxford: Blackwell,1996:63.
①Philip Roth. Portnoy’s Complaint. Vintage,1999:33.
③Patricia Meyer Spacks.“About Portnoy.” Yale Review58(summer1969):634.
①Alan Segal.“Portnoy’s Complaint and the Sociology of Literature,” British Journal of Sociology (September1971):260.
③Bruno Bettelheim.“Portnoy Psychoanalyzed,” Midstream15(July1969):3.
①Henri Lefebvre.,1991a:33.
①See E. W. Soja.,1996:67-68.
②Henri Lefebvre.,1991a:40
①Henri Lefebvre. Everyday Life in the Modern World. Trans. Sacha Rabinovitch. Penguin Books,1971:35.
②Henri Lefebvre. Critique of Everyday Life--Volume One. London: Vero,1991b:6.
①Henri Lefebvre.,1991a:50.
①Merleau-Ponty., p.102.
②See M. M. Bakhtin.“Forms of Time and Chronotope in the Novel,” p.105.
①Issac Rosenfeld. Passage form Home. Cleveland and New York: The World Publishing Company,1965:165-166.
②See Bernard Sherman., p.129.
③Alfred Kazin. A Walker in the City.`New York: MJF Books,1979:9.
①Anzia Yezierska. Bread Giver. New York: Persea Books,2003:151.
③转引自顾广梅.《中国现代成长小说研究》，山东师范大学博士学位论文，2009:119.（梅行素毫无条件的确信着：“在前面的虽然是不可知的生疏的世界，但一定更广大更热烈。”）
②Anzia Yezierska., p.156.
③David Biale describes the extent to which Jewish culture has always consisted of such “centripetal andcentrifugal forces to the point where the very opposition between them appears artificial and overly simplistic.” Hehas in mind pairs such as unity versus diversity, textual continuity versus cultural ruptures, isolation versusassimilation, elite versus popular, and the idea of a unified culture versus a history of multiple communities andcultures. See David Biale.“Toward a Cultural History of the Jews,” in Anita Norich and Yaron Z. Eliav (eds.)Cultures of the Jews: A New History. New York: Schocken,2002: xvii–xxxiii.
①Quoted in Sheila E. Jelen, Michael P. Kramer, and L. Scott Lerner (eds.) Modern Jewish literatures:Intersections and Boundaries. Philadelphia: university of Pennsylvania Press,2011:2-3.
①Abraham Cahan. Yekl: A Tale of the New York Ghetto. New York: D. Appleton and Company,1896:28-29.
②Hutchins Hapgood. The New York Ghetto: Studies of the Jewish Quarter of New York. New York: Funk&Wagnalls,1902:9-10.
③See Anita Norich.“Hebraism and Yiddishism: Paradigms of Modern Jewish Literary History,” in Anita Norichand Yaron Z. Eliav (eds.) Jewish Literature and Cultures: Context and Intercontext. Providence, R. I.: BrownJudaic Studies,2008:9-36.
①相关研究参见拙文“空间与记忆：文化地理视阈下的美国犹太成长小说”，求索，2012（3）：200-202. Thesix principles are: first, heterotopias are found in all cultures, every human group, although they take varied formsand forms and have no absolutely universal model; second, heterotopias can change in function and meaning overtime, according to the particular “synchrony” of the culture in which they are found; third, the heterotopia iscapable of juxtaposing in one real place several different spaces,“several sites that are in themselves incompatible”or foreign to one another; fourth, heterotopias are typically linked to slices of time, which “for the sake ofsymmetry” Foucault calls heterochronies; fifth, heterotopias always presuppose a system of opening and closingthat simultaneously makes them both isolated and penetrable, different from what is usually conceived of as morefreely accessible public space; last, heterotopias have an even more comprehensive function, in relation to all thespace that remains outside of them.(See Edward W. Soja., pp.159-161.)
②See Kevin Hetherington. The Badlands of Modernity: Heterotopia and Social Ordering. New York: Routledge,2003:41.
①R. Shields. Places on the Margins. London: Routledge,1991:276-78.
②Alfred Kazin., pp.8-10.
④R. Shields., p.264.
②Alfred Kazin., p.11.
①Abraham Cahan., p.1.
②Alred Kazin., p.176.
③Anzia Yezierska., p.166.
①J. D. Salinger. The Catcher in the Rye. New York: Little, Brown and Company,1991:213-14.
②Bernard Sherman., pp.22-23.
①See Hutchins Hapgood. The Spirit of the Ghetto. Cambridge, Mass: The Belknap Press of Harvard UniversityPress,1967:18-19.
①Abraham Cahan., p.18.
②Alfred Kazin., p.46.
①参见米歇尔·福柯.空间·知识·权力—福柯访谈录.包亚明主编.《后现代性与地理学的政治》.上海：上海教育出版社，2001:13-14.（空间是任何公共生活形式的基础。空间是任何权力运作的基础。）
②Mark Harries. Friedman and Sons. New York: The Macmillan Co.,1963:3.
③Irving Malin and Irwin Stark (eds.) Breakthrough. New York: McGraw-Hill Book Co.,1964:10.
①Anzia Yezierska., pp.8-9.
①Abraham Cahan., p.18.
②Anzia Yezierska., p.10.
①Mikhail Bakhtin. Rabelais and His World. Trans. Helene Iswolske. Cambiridge, Mass: MIT Press,1968:127.
①Michael Gold. Jews Without Money. New York: PublicAffairs,2009:13-14.
①M. Bakhtin.“The Grotesque Image of the Body and Its Sources,” in Simon Dentith (ed.) Bakhtinian Thought.London: Routledge,1995:75.
②Michael Gold., p.309.
③See Ning Yizhong. Carnivalization and Joseph Conrad’s Fictional World. Changsha: Hunan Normal UniversityPress,1999:39.(宁一中.狂欢化与康拉德的小说世界.长沙:湖南师范大学出版社,1999:39)
④Mikhail Bakhtin. Problems of Dostoevsky’s Poetics. Caryl Emerson(ed. and trans.) Minneapolis: University ofMinnesota Press,1984:172.
①Katerina Clark and Michael Holquist. Mikhail Bakhtin. Cambridge: The Belknap Press of Harvard UP,1984:312.
②Bakhtin.“The Grostesque Image of the Body and Its Sources,” in Simon Denith (ed.) Bakhtinian Thought.London: Routledge,1995:226.
①Alfred Kazin. A Walker in the City. New York: MJF Books,1979:22-24.
②See Ning Yizhong,1999:32.
②M. Bakhtin.,1995:81.
③Cary Saul Morson and Caryl Emerson. M. Bakhtin: Creation of a Prosaics. California: Stanford UP,1990:169.
①Anzia Yezierska. Bread Givers. New York: Persea Books, Inc.,2003:155.
②Mikhail Bakhtin.1984:169.
①Edmund Husserl. The Crisis of European Sciences and Transcendental Phenomenology. Trans. David Carr.Evanston: Northwest University Press,1970:13-14.
①See Rachel Rubin. Jewish Gangsters of Modern Literature. Urbana and Chicago: University of Illinois Press,2000:72.
①Paul Breines. Tough Jews: Political Fantasies and the Moral Dilemma of American Jewry. New York: BasicBooks,1990:126.
①Joseph Frank.“Spatial Form: Thirty Years After,” in Jeffrey R. Smitten&Ann Daghistany (eds.) Spatial Formin Narrative. Ithaca and London: Cornell University Press,1981:12.
②Quoted in Edward W. Soja., p.217.
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