《文貝：比較文學與比較文化（2014年第2輯）》由上海師範大學比較文學與世界文學研究中心與臺灣輔仁大學跨文化研究所主辦，劉耘華、李奭學教授主編，以“比較文學與比較文化”為課題，收錄了海內外一流學者在該領域的新研究成果。《文貝：比較文學與比較文化（2014年第2輯）》為2014年第2輯（總第12輯），所收論文均學理嚴謹，語言規範，視野開闊，使得《文貝：比較文學與比較文化（2014年第2輯）》成為一本頗具專業性與影響力的比較文學研究論文集，體現了較高的學術水準。

劉耘華，男，1964年生，上海師範大學比較文學與世界文學研究中心主任、教授、博導，國家重點學科——上海師大比較文學與世界文學專業負責人。曾出版《詮釋學與先秦儒家之意義生成》等專著。

李奭學，臺灣輔仁大學英國文學碩士，美國芝加哥大學比較文學博士。現任臺灣中研院中國文哲研究所研究員，“國立”臺灣師範大學翻譯研究所合聘教授，並為輔仁大學跨文化研究所兼任教授。著有《中西文學因緣》《中國晚明與歐洲中世紀——明末耶穌會西洋古典型證道故事考詮》《中外文學關繫論稿》等。

專題論文 Special Topic：New Comparative & Ecocritical Studies
Eroticism，Sexuality，and Pornography in the Late Nineteenthand Early Twentiethcentury Hungarian Literature
19世紀末和20世紀初匈牙利文學中的色情、性與情色描寫
Steven Totosy de Zepetnek斯蒂文·托托西·德·澤普特奈科
The Contextual Mobility of Chaucer's Manciple's Tale
喬叟《伙食司的故事》之語境的流動性
Shawn Normandin肖恩·諾曼丁
Performing Others，Other Performers，Mark Twain，and Elizabeth Costello
表演他者、他種表演者，馬克·吐溫和伊麗莎白·科斯特洛
Iris Ralph羅艾琳
In Search of a Biotic Community and an Ecocentric Self：Rachel Carson，Deep Ecology，and the Organic Metaphor
尋找生物共同體和生態中心的自我——蕾切爾·卡爾森、深層
生態學和有機體隱喻
Shiuhhuah Serena Chou周序樺
一般論文Articles
《尚書》裡的“誓
The Battle Speeches in the Classic of Documents （Shangshu）
柯馬丁Martin Kern
Translating Buddhism： Timothy Richards Christian Interpretation of The Journey to the West
翻譯佛教：李提摩太對《西遊記》的基督教詮釋
John T. P. Lai黎子鵬
“文”“武”體繫會通的不同嘗試——《不動智神妙錄》與《太極拳論》之比較研究
Tentative Integration of WEN and WU - Comparative Studies on The Unfettered Mind and Theory of Taichi
李赫宇 Heyu Li
死生契闊深情在，名師風雅萬古長——從楊周翰先生致孫景
堯先生書信看二人之交往167
Letters of Correspondence： Examining the Communications Between Prof. Yang Zhouhan and Prof. Sun Jingyao
鄧艷艷Yanyan Deng
附： 楊周翰先生致孫景堯先生書札選輯
Appendix： Selections from the Letters of Yang Zhouhan to Sun Jingyao
中國比較文學研究年度報告（2013）
Annual Report on the Study of Chinese Comparative Literature（2013）
紀建勛 Jianxun Ji
投稿須知
Author Guidelines
注釋範例
Formatting Guide for Footnotes

《文貝：比較文學與比較文化（2014年第2輯）》：
critical concern for subscribing the "organic" as a way of approaching and representing the nonhuman world. According to ecocritic， John Elder， the definition of nature writing is "a form of the personal， reflective essay grounded in attentiveness to the natural world and appreciation of science， but also open to the spiritual meaning and intrinsic value of nature". Referring to Elder's definition of nature writing， Wallace and Armbruster recognize theoretical and imaginative limitations of a critical school that gives prominence to the mimesis of personal accounts and documentations of the environment. In much detail， Philips traces this preoccupation with " the nature of representation，" as opposed to the "representations of nature" （x）， and regrets that many ecocritics have the inclination to believe， romantically， that "the organic character of literature is a key to the organic character of nature". Regarding "first-wave" ecocritics， he writes.
Ecocritics who have made this claim are trying to revive the idea that great literature is organic， without saying plainly that this is what they are trying to do and without recognizing that， except for diehard aesthetes， the organic concept of literature was directed more toward a method of reading than toward a view of the ontological status of literary texts.
For Buell， first-wave ecocriticism celebrates " environment" as natural environment， and devotes itself to reconnecting humans with the natural world，whereas second-wave ecocriticism tends to "question organicist models of conceiving both environment and environmentalism ". The continuous enthusiasm for the spontaneous and instinctive relations between Silent Spring and Carson's perceptual experience， and between Carson and a nature of complexity and unity.
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