Developing the “lines”: Politically Significant Landscapes in Great Expectations and A Tale of Two Cities

IF 0.7 1区 文学 0 LITERATURE, BRITISH ISLES DICKENS QUARTERLY Pub Date : 2023-05-23 DOI:10.1353/dqt.2023.0021
Nanako Konoshima
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Abstract

Philip Collins once noted that A Tale of Two Cities and Great Expectations, two “remarkably different” novels, are “consecutive” and “close together” (“A Tale” 337). In fact, the consecutiveness of the two works deserves closer and fuller examination than Collins suggests, and the present essay teases out thematic and textual links between them, related to the overall idea of the two novels, that have gone unexplored. These links revolve around Dickens’s creation of politically significant landscape motifs, and I argue that the description of the marshes in Great Expectations is a successful development of the earlier novel’s revolutionary landscapes, both in aesthetic and emblematic terms. The marked linearity of the landscapes in the two works, pictorially presented with bruised figures in the foreground, visually represents egalitarian ideals. Yet, at the same time, they both juxtapose the paradoxical, contradictory symbols of the beacon and the gibbet, exposing Dickens’s contentious class-consciousness. The evocation of the marshes in the opening chapters of Great Expectations has always been praised and has prompted much critical interest.1 Notably, Dickens’s much abridged public reading text of the novel (never performed) retains almost all the original paragraphs describing the marshes in chapter 1, suggesting that they perform an essential role in realizing the story’s main idea. Previous studies have examined the function of the marshy landscapes in Pip’s narrative and revealed the ways in which they embody the experience of the “isolated” and “alienated” Dickensian hero (Miller 250–51).2 Concurrently, however, these landscapes evoke a wider concept
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发展“路线”:《远大前程》和《双城记》中的政治意义景观
菲利普·柯林斯(Philip Collins)曾指出,《双城记》和《远大前程》这两部“截然不同”的小说是“连续的”和“紧密相连的”(《故事集》337)。事实上,这两部作品的连贯性值得比柯林斯所说的更仔细、更全面的研究,本文梳理了它们之间的主题和文本联系,这些联系与这两部小说的整体思想有关,但尚未被探索。这些联系围绕着狄更斯对具有政治意义的景观主题的创作,我认为《远大前程》中对沼泽的描述是对早期小说革命性景观的成功发展,无论是在美学上还是在象征意义上。这两幅作品中明显的线性景观,前景中有伤痕累累的人物,在视觉上代表了平等主义的理想。然而,与此同时,他们都将灯塔和绞刑架的矛盾符号并置,暴露了狄更斯有争议的阶级意识。《远大前程》开头几章对沼泽地的回忆一直受到赞扬,并引起了许多评论界的兴趣。1值得注意的是,狄更斯对小说的公开阅读文本进行了大量删节(从未表演过),几乎保留了第一章中描述沼泽地的所有原始段落,这表明它们在实现故事主旨方面发挥着重要作用。先前的研究已经考察了沼泽景观在皮普叙事中的作用,并揭示了它们体现“孤立”和“异化”狄更斯英雄(Miller 250-51)体验的方式。2然而,与此同时,这些景观唤起了一个更广泛的概念
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来源期刊
DICKENS QUARTERLY
DICKENS QUARTERLY LITERATURE, BRITISH ISLES-
CiteScore
0.20
自引率
16.70%
发文量
33
期刊最新文献
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