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“Better place no wit can finde”: The Compiler as Author in Early Modern Verse Miscellanies “智慧找不到更好的地方”:现代早期诗歌杂录的编纂者
Q2 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.21825/authorship.85738
Angelika Zirker
This paper reflects on concepts of early modern authorship during the early modern period based on miscellanies and the roles of their compilors. The statement "I Compyle: I make a boke as an auctor doth" from Palsgrave’s Dictionary of French and English serves as a starting point: here, the compiler becomes a co-creative agent in that he plays with identities in composing the collection of poetry as much as with concepts and notions of individuality and community. This will be illustrated on the basis of a single poem, "Harpalus‘ Complaint" from Tottel’s Miscellany (1557) up unto the second edition of Englands Helicon (1614). A variety of interaction between several roles can be observed: compilors become co-authors themselves but also do readers when poems are newly arranged and integrated into a narrative. While Tottel’s Miscellany plays with identities and attributions, in Englands Helicon the (re)contextualisation of poems within newly created narratives is central. The paper thus shows that concepts of authorship around 1600 go beyond our contemporary notions that are often based on ideas of the creative genius: compilation becomes authorial business, and is creative.
本文从杂记及其编者的角色出发,反思了近代早期作者的概念。《帕斯格雷夫法语和英语词典》中的一句话“I Compyle: I make a book as a auctor”可以作为一个起点:在这里,编译者成为了一个共同创造的代理人,因为他在创作诗集的过程中扮演着身份的角色,同时也扮演着个性和社区的概念和观念。这将在托特尔的《杂记》(1557)至《英国Helicon》(1614)第二版的一首诗《哈帕洛斯的抱怨》的基础上加以说明。我们可以观察到不同角色之间的各种互动:当诗歌被重新编排并整合到一个叙事中时,编纂者自己成为共同作者,但也成为读者。当托特尔的《杂记》在身份和归属方面发挥作用时,在《英格兰螺旋》中,诗歌在新创作的叙事中(重新)语境化是核心。因此,本文表明,1600年左右的作者概念超越了我们当代的概念,这些概念通常基于创造性天才的想法:编辑成为作者的业务,并且是创造性的。
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引用次数: 0
“That city, that self”: “那个城市,那个自我”:
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20631
Ceilidh Hart
This article traces a historical trajectory of the city poet in Canada—a writer whose “street-level perspective” defines their methods and shapes their authorial personae—from the nineteenth-century through to the twenty-first. It first provides a brief exploration of some of the literature published in the Toronto Evening Telegram newspaper in the 1880s and 1890s to consider the origins of a literary tradition and an authorial persona rooted in the city. This part of the article uses the example of Robert Kirkland Kernighan to show the way early writers exploited the opportunity provided by city newspapers and the city itself to map and define themselves in artistic and professional terms. The article goes on to consider the work of contemporary city writers like Bren Simmers, who continue mapping themselves onto the street in sometimes deeply personal and increasingly unsettled ways. At base, the article argues that by extending critical discussions of urban writing back to its nineteenth-century roots, we can better understand how the city works as a unique marketplace for literature and a unique cultural economy through which literature circulates, but also as a unique context for the creation of authorial identity.
这篇文章追溯了加拿大城市诗人从19世纪到21世纪的历史轨迹。这位作家的“街头视角”定义了他们的方法,塑造了他们的作家形象。它首先简要探讨了19世纪80年代和19世纪90年代在《多伦多电讯晚报》上发表的一些文学作品,以思考植根于这座城市的文学传统和作家形象的起源。文章的这一部分以Robert Kirkland Kernighan为例,展示了早期作家如何利用城市报纸和城市本身提供的机会,用艺术和专业的术语来描绘和定义自己。这篇文章接着考虑了像布伦·西蒙斯这样的当代城市作家的作品,他们继续以有时非常个人化、越来越不稳定的方式将自己描绘在街头。文章认为,通过将对城市写作的批判性讨论追溯到19世纪的根源,我们可以更好地理解城市是如何作为一个独特的文学市场和文学流通的独特文化经济运作的,同时也是作家身份创造的独特背景。
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引用次数: 0
William Edward Daniel Ross’s Transformation into a Popular Fiction Novelist, 1962-1967 威廉·爱德华·丹尼尔·罗斯转变为通俗小说小说家,1962-1967
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20634
Janet B. Friskney
William Edward Daniel Ross transformed himself into a popular fiction novelist in mid-life; the years between 1962 and 1967 witnessing his authorial advance from apprentice to journeyman. During this period, he produced at least 85 original novels, which appeared in the United States or the United Kingdom in hardback, paperback, or digest format. By 1966, Ross’s rapid production identified him as a “literary factory” within the trade. As a “professional writer,” he responded to the market needs of publishers, which led him to produce novels in multiple genres, including mysteries, westerns, nurse romances, and gothics. The majority of his novels appeared under pseudonyms, most of them feminine; as Ross recognised, this circumstance obscured his claims to authorship, leading to his early designation as “Canada’s best-known unknown author.”    A substantial collection of Ross’s professional papers held at Boston University represents an invaluable resource into this author’s early years as a novelist, and into the trans-Atlantic popular fiction market for which he wrote. In combination with newspaper and magazine articles episodically published about him, this resource reveals an author who, between 1962 and 1967, established himself with publishers as a reliable creator of popular fiction. Ross brokered key business relationships with several hardback publishers producing popular fiction for the commercial lending libraries, as well as half a dozen paperback firms. Ross’s remarkable level of production relied on key “support personnel”: his wife Marilyn Ross facilitated his writing daily while New York-based literary agents Robert Mills and Donald MacCampbell offered strategic guidance.
威廉·爱德华·丹尼尔·罗斯(William Edward Daniel Ross)在中年时将自己转变为一位受欢迎的小说小说家;从1962年到1967年,见证了他从学徒到熟练工人的创作历程。在此期间,他创作了至少85部原创小说,以精装本、平装本或摘要形式出现在美国或英国。到1966年,罗斯的快速生产使他成为业内的“文学工厂”。作为一名“专业作家”,他回应了出版商的市场需求,这使他创作了多种类型的小说,包括推理小说、西部片、护士爱情小说和哥特式小说。他的大部分小说都是以假名出现的,其中大多数都是女性化的;正如罗斯所认识到的那样,这种情况掩盖了他的作者身份,导致他很早就被称为“加拿大最著名的未知作家”。在波士顿大学收藏的大量罗斯的专业论文为这位作家早年的小说家生涯和他所写的跨大西洋通俗小说市场提供了宝贵的资源。结合偶尔发表的关于他的报纸和杂志文章,这一资源揭示了一位作家,他在1962年至1967年间,在出版商中成为了流行小说的可靠创作者。罗斯与几家为商业借阅图书馆制作热门小说的精装出版商以及六家平装书公司建立了关键的商业关系。罗斯出色的制作水平依赖于关键的“支持人员”:他的妻子玛丽莲·罗斯每天为他的写作提供便利,而纽约的文学经纪人罗伯特·米尔斯和唐纳德·麦克坎贝尔则提供战略指导。
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引用次数: 0
Writing Back against Canada’s Fictive Ethnicity: 对加拿大虚构种族的反击:
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20630
B. Edwards
The period after E. Pauline Johnson (Tekahionwake)’s literary career ended and before the emergence of contemporary Indigenous writing in Canada, roughly between 1910 and 1960, has been labelled as a “barren period” for Indigenous authorship. The relative failure by Indigenous Peoples in this period to garner publishers or attract wide readerships, however, had more to do with the political and social environment of Canada at the time, than either an ability (or inability) to write material of value. Bernice Winslow Loft (Dawendine) (1902-1997) and Ethel Brant Monture (1892-1977), in the face of considerable challenges to have their voices heard, demonstrate that the period after Johnson’s death was not entirely void of Indigenous authorship. Loft and Monture are among a small body of Indigenous authors during this period who, through persistence and performance, left their marks on the stages and pages of settler Canadian libraries and bookshelves. 
E.Pauline Johnson(Tekahionwake饰)的文学生涯结束后,大约在1910年至1960年间,加拿大出现当代土著写作之前,这段时间被称为土著作者的“贫瘠时期”。然而,土著人民在这一时期未能获得出版商或吸引广泛读者,更多地与当时加拿大的政治和社会环境有关,而不是有能力(或没有能力)撰写有价值的材料。Bernice Winslow Loft(Dawendine)(1902-1997)和Ethel Brant Monture(1892-1977),面对让人们听到他们的声音的巨大挑战,证明约翰逊去世后的这段时间并非完全没有土著作者。Loft和Monture是这一时期少数土著作家之一,他们通过坚持和表演,在加拿大移民图书馆和书架的舞台和页面上留下了自己的印记。
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引用次数: 0
Sara Jeannette Duncan’s “Canadian Editions”: Sara Jeannette Duncan的“加拿大版”:
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20632
B. Brown
This article examines the publishing conditions and reception history of Sara Jeannette Duncan’s satirical novel Cousin Cinderella: A Canadian Girl in London (1908). It contends that Duncan’s understanding of her reading audiences, and the gendered expectations of a woman writing in the early twentieth century, allowed her to advance the novel genre in an English imperial literary market. Cousin Cinderella foregrounds the circulation of people and printed material and is interested in their reading and interpretation through the networked connections that empire engenders. Indeed, Duncan’s global mobility and her perspective on Canada as a rejuvenating racial and economic presence in an enlarged world led her to the type of generic experimentation discerned in Cousin Cinderella and to a lesser extent The Imperialist of 1904. In Cousin Cinderella, Duncan extends both novelistic romance and realism through the trope of female authorship and the novel’s allegorised character Mary Trent. Through Mary, Duncan features women in race-making and nation-making projects, where sentimental marriage functions allegorically for practical political and economic ends. And like Mary, Duncan considered herself attached to Canada, as she established success in a market dominated by male authors and metropolitan markets. This article on an understudied novel in Duncan’s oeuvre brings together a study of authorship, literary analysis, and cultural history to contextualise and elucidate Duncan’s path-breaking career.
本文考察了Sara Jeannette Duncan的讽刺小说《灰姑娘表姐:伦敦的加拿大女孩》(1908)的出版条件和接受历史。它认为,邓肯对读者的理解,以及对20世纪初女性写作的性别期望,使她能够在英国帝国文学市场上推动小说类型的发展。灰姑娘表姐强调了人和印刷品的流通,并通过帝国产生的网络联系对他们的阅读和解读感兴趣。事实上,邓肯的全球流动性以及她将加拿大视为一个在扩大的世界中复兴的种族和经济存在的观点,使她选择了《灰姑娘表姐》和1904年《帝国主义者》中的那种普通实验。在《灰姑娘表姐》中,邓肯通过女性作者的比喻和小说中的寓言人物玛丽·特伦特,扩展了小说的浪漫主义和现实主义。通过《玛丽》,邓肯以种族和国家建设项目中的女性为主角,在这些项目中,情感婚姻象征着实际的政治和经济目的。和玛丽一样,邓肯认为自己与加拿大有着密切的联系,因为她在一个由男性作家和大都市市场主导的市场上取得了成功。这篇关于邓肯作品中一部研究不足的小说的文章,结合了作者身份、文学分析和文化史的研究,将邓肯开创性的职业生涯置于背景之中并加以阐述。
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引用次数: 0
Introduction 介绍
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20628
R. Panofsky
Introduction by the guest editor.
客座编辑介绍。
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引用次数: 0
“As Truthful as Our Notion of the Past Can Ever Be”: “我们对过去的认识是最真实的”
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20635
R. Thacker
Beginning in the mid-1980s, Alice Munro drew attention in interviews to her rapt admiration for the work of William Maxwell, a writer she has called “my favorite writer in the world.” The two were not close, although they met a few times through their shared association with the New Yorker. In 1988 Munro published an appreciation of Maxwell’s work and, after his death in 2000, agreed to revise it for a tribute volume published in 2004. During those years too, Munro was at work on a family volume she had long contemplated, The View from Castle Rock (2006), one that was inspired in part by and modelled on Maxwell’s Ancestors: A Family History (1971). This article examines the Maxwell-Munro crux as an example of the dynamics of authorship; it is an important example of two compatible writers who, throughout their careers, created narrative rooted in the very stuff of their own experience in place and time—whether seen as fiction, autobiography, or memoir. Each did so in ways that accentuate, for the critic intent on analysing authorship, the play of the past in shaping of any narrative.
从20世纪80年代中期开始,爱丽丝·门罗(Alice Munro)在采访中引起了人们的注意,她对威廉·麦克斯韦(William Maxwell)的作品表现出了深深的崇拜。她称麦克斯韦是“我在这个世界上最喜欢的作家”。两人并不亲密,尽管他们通过与《纽约客》的共同关系见过几次面。1988年,门罗出版了一本关于麦克斯韦作品的鉴赏书,在他2000年去世后,门罗同意将其修改为2004年出版的致敬书。在那几年里,门罗也在写一本她一直想写的家庭书,《城堡岩的景色》(2006),这本书的灵感部分来自麦克斯韦的《祖先:家族史》(1971),并以它为原型。本文考察了麦克斯韦-门罗的症结,作为作者身份动态的一个例子;无论是小说、自传还是回忆录,在他们的整个职业生涯中,这两位作家都以自己在当地和时间的经历为基础创作了叙事,这是一个重要的例子。对于想要分析作者身份的评论家来说,每一部作品都强调了过去在塑造叙事中的作用。
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引用次数: 0
Qu’ont en commun Mimi Estival, Roxanne d’Avril et Georgette Mars? Mimi Estival, Roxanne d ' avril和Georgette Mars有什么共同之处?
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20633
Karol’Ann Boivin, Marie-Pier Luneau
Des années 1940 au milieu des années 1960, le Québec a assisté à l’essor des collections de romans populaires publiés en fascicules, écrits par des auteurs locaux et se déroulant dans La Belle Province. Signés d’une multitude de pseudonymes, ces objets sont extrêmement révélateurs du fonctionnement de l’auctorialité, sous le mode de la lecture sérielle. En s’intéressant à la collection « Roman d’amour » des Éditions Police-Journal, cet article souhaite explorer plus spécifiquement le fonctionnement du nom d’auteur en lien avec le pacte de lecture établi par le roman sentimental. --- From the 1940s to the mid-1960s, Quebec witnessed a boom in series of popular novels published in instalments, written by local authors, and set in La Belle Province. Appearing under a multitude of pseudonyms, these books tell us a great deal about the workings of authorship in the reading of serialised publications. In its examination of the series “Roman d’amour” put out by Éditions Police-Journal, this article seeks to explore in a more specific way how the author’s name functions in relation to the reading contract established by the genre of the romance novel.
从20世纪40年代到60年代中期,魁北克见证了由当地作家撰写并以贝尔省为背景的短篇小说集的兴起。这些物品由大量假名签名,极大地揭示了拍卖在系列阅读模式下的功能。通过对《警察杂志》的“Roman d‘amour”系列感兴趣,本文希望更具体地探讨作者姓名与浪漫小说建立的阅读契约的关系。从20世纪40年代到60年代中期,魁北克见证了一系列流行小说的繁荣,这些小说以当地作家撰写的装置出版,并以拉贝尔省为背景。这些书以多种笔名出现,在阅读系列化出版物的作者工作方面告诉我们一笔巨大的交易。在对《警察杂志》出版的“Roman d'amour”系列的回顾中,这篇文章试图以更具体的方式探讨作者的名字如何与浪漫小说类型所确立的阅读合同有关。
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引用次数: 0
Picturing E. Pauline Johnson / Tekahionwake: E.Pauline Johnson/Tekahionwake的照片:
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20629
C. Gerson, Alix Shield
Illustrations—both drawings and photographs—appeared in most books by E. Pauline Johnson (1861-1913), Canada’s first prominent Indigenous author, from their first publication in the early twentieth century through various reprints and editions into the twenty-first. This article examines the evolution of these images as we address the choices made by her publishers with regard to moments and modes of illustration, with special attention to her two most popular volumes, Legends of Vancouver (1911) and Flint and Feather (1912). Focusing on the interior illustrations that were read along with the texts, we consider how these drawings and photographs contributed to the construction of Johnson as an Indigenous author and to the interpretation of her stories and poems by those who prepared her books, given that her publications were directed to a mainly non-Indigenous readership.
插图——包括绘画和照片——出现在加拿大第一位著名土著作家E.Pauline Johnson(1861-1913)的大多数书中,从20世纪初的第一本书到21世纪的各种再版和版本。这篇文章探讨了这些图像的演变,我们讨论了她的出版商在插图的时刻和模式方面所做的选择,特别关注了她最受欢迎的两本书,《温哥华传奇》(1911年)和《弗林特与羽毛》(1912年)。我们关注与文本一起阅读的内部插图,考虑到约翰逊的出版物主要面向非土著读者,这些图纸和照片如何有助于约翰逊作为一名土著作家的形象塑造,以及为她写书的人对她的故事和诗歌的解读。
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引用次数: 0
“Unembedded, Disappeared”: “Unembedded,消失了”:
Q2 Arts and Humanities Pub Date : 2021-06-30 DOI: 10.21825/aj.v10i1.20636
L. York
In her essays, Marlene NourbeSe Philip has been forthcoming about being “an unembedded, disappeared poet and writer in Canada” whose contributions to cultural life have been systematically obstructed, partly because of her public activism on behalf of Black communities. Her visibility is an oxymoronic, bedeviling combination of disappearance and unchosen hypervisibility, with the hypervisibility largely brought about by a radical misunderstanding and abjection of her work as a cultural activist. In this article, I examine how the “embedded, disappeared” and yet present, visible, audible literary and activist career of Marlene NourbeSe Philip challenges prevailing conceptions of authorship in Canada. In particular, I think about how and why Philip’s hypervisible invisibility offers a challenge to the regimes of visibility which tend to define literary celebrity. Any account of celebrity visibility needs to recognise the fact that the implications and consequences of visibility do not sit evenly on all public persons, as the theories of Katherine McKittrick, Jenny Burman, Sarah J. Jackson, and Toni Morrison testify. Neither is celebrity visibility the dualistic, either/or proposition so frequently framed by celebrity studies: either a much-desired good (an adoring audience) or a reviled evil, as in instances of notoriety, or in cases of overly intrusive, unwanted public attention. Instead, we need to reckon seriously with the ways visibility may be both systemically denied and reimposed as oppressive hypervisibility, as I argue it is in the celebrity of Marlene NourbeSe Philip and, by extension, in that of many racialised public figures.
马琳·诺贝斯·菲利普(Marlene NourbeSe Philip)在她的文章中直言不讳地说,她是“加拿大一位未被埋没的、消失的诗人和作家”,她对文化生活的贡献受到了系统性的阻碍,部分原因是她代表黑人社区的公共行动主义。她的知名度是一种矛盾的、令人困惑的消失和非自愿的高度可见度的结合,而这种高度可见度主要是由于对她作为文化活动家的工作的彻底误解和鄙弃。在这篇文章中,我研究了马琳·诺贝斯·菲利普的文学和活动家生涯是如何“嵌入的,消失的”,但现在,可见的,可听到的,挑战了加拿大流行的作者概念。特别是,我想菲利普的超可见的不可见性是如何以及为什么对往往定义文学名人的可见性制度提出挑战的。任何关于名人知名度的解释都需要认识到这样一个事实,即知名度的影响和后果并不是对所有公众人物都有影响,正如凯瑟琳·麦基特里克、珍妮·伯曼、莎拉·j·杰克逊和托尼·莫里森的理论所证明的那样。名人知名度也不是二元性的,名人研究经常提出的非此即彼的命题:要么是非常渴望的好事(崇拜的观众),要么是受人唾弃的坏事,比如在臭名昭著的情况下,或者在过度侵入、不受欢迎的公众关注的情况下。相反,我们需要认真考虑能见度可能被系统性地否认,也可能作为压迫性的过度能见度被重新强加的方式,就像我认为的那样,在马琳·诺贝斯·菲利普(Marlene NourbeSe Philip)的名人身上,以及延伸到许多种族化的公众人物身上。
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引用次数: 0
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