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原则上说，没有无主体的文学。但是在后现代之后谈论文学的主体性就不能再是笛卡尔式的或浪漫主义的，而必须考虑另类性对主体性的塑造；这种塑造在法国理论中是解构性的，而在施瓦布教授看来则更是构成性的和生产性的。文学介乎主体性和另类性之间。主体和自我在其所创造的“过渡性空间”中被不断地跨越和再描绘。文学阅读遂成为一种跨界行动。在今日文化研究和文化批评的语境中，另类性理论要求我们重新思考非主流集团和非西方文化的存在，考虑它们的意识、情感、精神乃至价值。当然，将另类性由心理层面扩大到文化层面能否导致真正意义上的“文学研究的人类学转向”，恐怕目前还不能遽下定论。
In principle, there is no main body of literature. But the subjectivity of talking about literature after the postmodern can no longer be Cartesian or romantic, but must take into account alternative forms of subjectivity; this shaping is deconstructive in French theory, Professor cloth seems more constructive and productive. Literature is between subjectivity and alternative. The subject and the self are continually spanned and redrawn in the “transitional space” they create. Literary reading became a cross-border operation. In the context of cultural studies and cultural criticism today, alternative theories require that we reconsider the existence of non-mainstream groups and non-Western cultures, considering their awareness, emotion, spirit and value. Of course, whether the expansion of alternativeness from the psychological level to the cultural level can lead to a genuine “anthropological shift in literary studies” may not be conclusive at this stage.