“世界文学”一直是文学领域颇有争议的概念,早在19世纪初期,歌德就对其进行了思考,但并未做出明确阐释。近些年,斯泰因梅茨、科本、布洛克等理论家对“世界文学”都给予了关注。杜里申认为,对这一概念的三种理解:所有作品的加总、经典作品的选粹、文学—历史的理解,都是有效的,而第三种则是“世界文学”的真正典范。但杜里申并未在这一方面进行深入的探讨,而是把重心放在对文学间共同体和文学间中心共同体的考察。在深广的语境中,“世界文学”带来了繁多复杂的文学间性,也带来了若干解释上的难题。如果学者们能就方法论和研究项目的具体目标达成一致,那么连接不同大陆和文学共同体的跨文化研究就将成为可能。 “World Literature ” has been a controversial concept in the field of literature. As early as the early 19th century, Goethe pondered on it, but did not make a clear explanation. In recent years, Steinmertz, Cohen and Bullock and other theorists have all paid attention to “World Literature”. Duri Shen argues that there are three understandings of this concept: the sum of all works, the selection of classics, and the understanding of literature and history are all valid while the third is “world literature” A real example. However, Durišin did not conduct an in-depth discussion on this aspect, but rather focused his study on the inter-literary community and inter-literary community. In the broader context, “world literature ” has brought a great deal of complex inter-literary nature, and also brought a number of interpretation problems. If scholars can agree on the specific goals of methodology and research projects, cross-cultural research linking different continents and literary communities will be possible.