《人文主义与民主批评》出版后，国内学界开始关注赛义德的人文主义思想。从2007年开始，学界对赛义德人文观的探讨逐渐从普及性评介过渡到学术研究。与国外赛义德研究相比，我国学界主要从正面评价赛义德人文思想研究，这既与我国对赛义德的整体接受相一致，也与我国当代人文语境密切相关。我国学人在研究赛义德人文思想的过程中找到了适合自己的批评话语，与研究对象形成了对话关系。而要将研究推向纵深，则需要进一步厘清自己的人文谱系，明确自己的人文立场。

Chinese academica began to study Edward Said’s humanism after the publication of Humanismand Demo-cratic Criticism in China.Since 2007,the academic study of Said’s humanism in China has gradually shifted from general introduction and reviews academic research.In contrast to overseas research,Chinese scholars’appraisal of Said’s humanism tends to be more positive,which is in tune,on the one hand,with the overall reception of Said in China and,on the other hand,with China’s contemporary humanist context.In the course of studying Said’s hu-manism,Chinese scholars have come to frame a critical discourse that is compatible with their own tastes,thus forming a dialogue with the subject.However,to have deeper insights into Said’s humanism,we need to further clarify our own humanistic genealogy and humanist stance.

随着全球化的趋势不断加强，后殖民翻译研究也开始呈现新的变化。差异性和融合性，是异质文化之间在全球化环境下共存必然出现的状态。而后殖民翻译研究在这两个方面都形成了自己的观点，从赛义德的东方主义到斯皮瓦克的杂糅理论，可以看到这两种趋势都各自不断延伸发展。

With the growing trend of globalization, postcolonial translation studies have begun to show new changes.Be-tween different cultures, differences and integrations are states among the context of globalization, which will inevitably arise in the future.Then post-colonial translation studies in these two areas have formed their own point of views, from Edward W.Said’ s Ori-entalism to Spivak’ s Hybridity, you can see their further developments in two ways.

《黑暗之心》是康拉德根据自己1890年刚果之行创作的一部中篇小说。在赛义德的"东方主义"理论考察下,该小说透露出后殖民主义意识。通过文本分析,不难发现"东方主义"的"他者"形象在被中心话语重新编织中受到了"认知暴力"的挤压,"他国国籍"遭受文本的"意识形态侵害"。将《黑暗之心》置于后殖民主义理论框架内,围绕"东方主义"、"他者"身份,彰显小说矛盾话语下的反抗意识的并立体现,以期缓解"非我族类"禁锢下的"东方"危机,真实展现后殖民语境中的"东方"地位,为"臣属"文化重新"命名"。

Based on Joseph Conrad''s own experience of 1980''s trips in Congo, the novella Heart of Darkness shows sort of post-colonial ideology under the guideline of Said''s “Orientalism” theory. By text analysis, the“other” image of “Orientalism” has been distorted within center discourses'' intentional rewriting. “Thin States”has suffered textual ideological distortion. The article sets Heart of Darkness in the frame of post-colonialism. Through the analysis of “Orientalism” and “other” image, anti-colonialism in the contradictory discourses has been presented. The article aims to ease the “racial exclusion” confined Oriental crisis. After the Oriental position has been correctly placed, the subject culture needs to be renamed.

严歌苓的小说《扶桑》凸显着帝国站在东方主义立场上对华人的“凝视”,通过带有巨大权力意味的凝视,被凝视者被塑造成了他者。该文结合赛义德的东方主义理论,探讨严歌苓将美国人对中国人的女性化,甚至是妖魔化书写进行的逆写。小说中的妓女扶桑在凝视下保持着一贯的笑脸,这笑脸构成的“反凝视”影射出美国白人对华裔移民粗暴的种族歧视和灭绝政策,以及被扶桑神秘的东方色彩迷恋一生的白人克里斯对种族问题的良心叩问。围绕着妓女扶桑的爱与婚姻,严歌苓的小说打破了西方意欲凸显自身强大而东方弱小构建起来的东方主义话语,赋予了处于失语状态的华人以言说的机会,并且书写着真正意义上的东方。

Yan Ge-ling''s novel highlights the "gaze" at chinese from Orientalism. Through the gaze with enormous power, those who are gazed become "the others". This paper, in light of Said''s Orientalism, explores how Yan Ge-ling, as a Chinese immigrant of the fifth-generation, reverses the feminization and demonization of Chinese by Americans in the field of literature. The prostitute Fu Sang remains smiling under the gaze, and this smile constitutes a force of anti-gaze which reveals the brutal racial discrimination and extermination policies in America, and we also witness pangs of remorse from Chrise who is fascinated by Fu Sang''s mysterious oriental flavor throughout his life. Through the love and marriage of Fu Sang, Yan Ge-ling''s novel breaks Orientalist discourse constructed by the West in order to highlights its strength and the weakness of the Orient, providing a chance to Chinese to speak and write the Orient in its true sense.