东岳论丛

参考文献

①Andy Sawyer,“Space Opera”,in Mark Bould,Andrew M.Butler,Adam Roberts,Sherryl Vint eds.,The Routledge Companion to Science Fiction,Oxford:Routledge,2009,p.506;Adam Roberts,The History of Science Fiction,London:Palgrave Macmillan,2016,p.287.

②在马修斯(Richard Mathews)看来，“纵向英雄”(vertical heroes)随着故事情节的推动，会逐渐在善与恶之间选择某个极端，而“水平英雄”(horizontal heroes)则更加注重不同价值属性的共时性与模糊性。See Richard Mathews,Fantasy:The Liberation of Imagination,London,Routledge,2002,pp.90-92;Mark Bould,“What Kind of Monster Are You?,Situating the Boom”,in Science Fiction Studies,30.3 (2003),p.399.

③See Mikhail Mikhaǐlovich Bakhtin,The Dialogic Imagination:Four Essays,ed.by Michael Holquist,trans.by Caryl Emerson and Michael Holquist,Austin:University of Texas Press,1981,pp.259-422.

(1)实际上,该评价是著名科幻作家威尔逊·塔克(Wilson Tucker,1914—2006)早在1941年创造“太空歌剧”这一术语时提出的。因此,太空歌剧在一开始就伴随着种种非议,只是在当时这些负面评价并未占据主流。Wilson Tucker,writing as Bob Tucker,“Depts of the Interior”,Le Zombie (January 1941),p.8;see Gary Westfahl,“Space Opera”,in Edward James and Farah Mendlesohn eds.,The Cambridge Companion to Science Fiction,Cambridge:Cambridge University Press,2003,p.197.

(2)Andrew Butler,“Thirteen Ways of Looking at the British Boom”,Science Fiction Studies,30.3 (2003),p.384.

(3)Sherryl Vint,“From the New Wave into the Twenty-First Century”,in Roger Luckhurst ed.,Science Fiction:A Literary History,London:British Library,2017,p.198.

(4)在《腓尼基启示录》之外,“文明”系列的其它作品还包括:《游戏玩家》(The Player of Games,1988)、《武器浮生录》(Use of Weapons,1990)、《无限异象》(Excession,1996)、《反叛者手记》(Inversion,1998)、《向风守望》(Look to Windward,2000)、《壳层世界》(Matter,2008)、《表面张力》(Surface Detail,2010)、《单元奏鸣曲》(The Hydrogen Sonata,2012),以及一本短篇故事集《至高境界》(The State of the Art,1991)。截至目前,只有《腓尼基启示录》《游戏玩家》《武器浮生录》《反叛者手记》出版了中文版,其他译名皆为暂定。

(5)Tom Moylan,Demand the Impossible:Science Fiction and the Utopian Imagination,ed.by Raffaella Baccolini,New York:Peter Lang,2014;王维维:《“批判的乌托邦”何以可能》,《中国文学研究》,2017年第4期。

(6)⑦Tom Moylan,Demand the Impossible,p.201,p.10.

(7)Mark Fisher,Capitalist Realism:Is There No Alternative?,Winchester:Zero Books,p.1;Krishan Kumar,“The Ends of Utopia”,New Literary History,41.3 (2010),p.555.这一时期的“废托邦”代表作家包括阿特伍德(Margret Atwood)、巴特勒(Octavia E.Butler)、泰伯(Sheri S.Tepper)以及威廉·吉布森(William Gibson)。

(8)王萍:《苏格兰跨界作家伊恩·班克斯》,《外国文学动态研究》,2016年第2期;Fredric Jameson,Archaeologies of the Future:The Desire Called Utopia and Other Science Fictions,London:Verso,2005,p.230.

(9)Chris Mitchell,“Iain Banks:Whit and Excession:Getting Used to Being God”,Spike Magazine,September,1996;Jerome Winter,“Turbulent Years Ahead:An Interview with Ken MacLeod”.Los Angeles Review of Books,February 2014;Jude Roberts,“A Few Questions about the Culture:An Interview with Iain Banks”,Strange Horizons,November 2014.

(10)Iain M.Banks,Consider Phlebas,London:Orbit,1987,pp.86-87.在故事中,拥有独立人格的机器人个体被称为“主脑”(Mind)。

(11)Michal Kulbicki,“Iain M.Banks,Ernst Bloch and Utopian Interventions”,Colloquy:Text Theory Critique,17 (2009),p.40;Simone Caroti,The Culture Series of Iain M.Banks:A Critical Introduction,Jefferson:McFarland,2015,p.16.

(12)James Rundle,“Interview:Iain M.Banks”,SciFiNow,October 2010.

(13)Iain M.Banks,“A Few Notes on the Culture”,rec.arts.sf.written,August 1994,http://www.vavatch.co.uk/books/banks/cultnote.htm,访问日期2021年7月31日。

(14)②Iain M.Banks,Consider Phlebas,p.287,p.13,p.28,p.462,p.256.

(15)作为最经典的批判性乌托邦之一,勒古恩故事中的欧麦拉斯是一片乌托邦乐土,但在某个地下室中却锁着一个孩子,欧麦拉斯的所有幸福全部都建立在这个孩子的受难之上。一旦将这个孩子放出来,欧麦拉斯的繁荣、美丽和幸福将会毁于一旦。

(16)Alan Jacobs,“The Ambiguous Utopia of Iain M.Banks”,The New Atlantis,25 (2009),p.51.

(17)Michael Hardt and Antonio Negri,Empire,Cambridge:Harvard University Press,2000,p.17.

(18)③⑤⑥Michael Hardt and Antonio Negri,Empire,p.18,p.15,p.226,p.227,pp.271-272.

(19)Sherryl Vint,“Cultural Imperialism and the Ends of Empire:Iain M.Banks’s ‘Look to Windward’”,Journal of the Fantastic in the Arts,18.1 (2007),p.89,p.97.

(20)⑨Michael Hardt and Antonio Negri,Empire,pp.271-272,pp.xii-xiii.

(21)实际上,“形式从属”与“实际从属”都出自马克思的《1861—1863年经济学手稿》,用以阐释绝对剩余价值的基础形式。哈特和奈格里借用了马克思的术语,但改变了其含义,从福柯与德勒兹等后结构主义者提出的“生命政治”(biopolitics)出发,解释资本的向外和向内扩张。

(22)②③④⑥Iain M.Banks,Consider Phlebas,p.158,p.461,p.461,p.452,p.451.

(23)Gilles Deleuze and Félix Guattari,A Thousand Plateaus,trans.by Brian Massumi (Minneapolis:University of Minnesota Press,1987),pp.3-25.

(24)Michael Hardt and Antonio Negri,Empire,p.28.

(25)⑨Iain M.Banks,“A Few Notes on the Culture”,rec.arts.sf.written,August 1994.

(26)④⑤Iain M.Banks,Consider Phlebas,p.336,p.93,p.462.

(27)这一方面在“文明”系列的第二部小说《游戏玩家》中有着更为突出的体现。

(28)Jerome Winter,Science Fiction,New Space Opera,and Neoliberal Globalism:Nostalgia for Infinity,Cardiff:University of Wales Press,2016,p.100.