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Literacy and Preservation in “The Death and Burial of Cock Robin” 《知更鸟的死与葬》中的识字与保存
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0003
Megan Lewis
This article considers an 1850 publication of the children’s nursery rhyme “The Death and Burial of Cock Robin” and accompanying illustrations by Harrison Weir. The publication serves as educational material, guiding Victorian children through the process of losing a loved one while providing a window into preservation culture in mid-nineteenth-century Britain. Weir’s illustrations, reflecting popular taxidermy tableaux, nuance this pedagogical project by drawing on the growing naturalist preoccupation of the nineteenth century and attendant preservation culture. The preservation and commodification of animal bodies was also closely tied to education for both children and adults, as they provided windows into other experiences of an ever-widening world. Unlike other depictions of the rhyme, Weir’s unique illustrations focus on animals in nature rather than as material for human drama. This emphasis reflects the period’s shifting attitudes toward the natural world in light of industrialization. Children’s fluency with the natural world was beginning to experience fissures. Thus, the Cock Robin nursery rhyme served as an education in both burial roles and seeing, recognizing, and naming the natural world. Its reflection of commodification culture, however, makes it a poor educational tool today, even while our need for such material continues to grow.
这篇文章考虑了1850年出版的儿童童谣《知更鸟的死亡与埋葬》,并附有哈里森·威尔的插图。该出版物作为教育材料,指导维多利亚时代的孩子们经历失去亲人的过程,同时为19世纪中叶的英国提供了一个保存文化的窗口。Weir的插图反映了流行的标本制作场景,通过借鉴19世纪日益增长的自然主义者的关注和随之而来的保护文化,使这个教学项目变得微妙。动物尸体的保存和商品化也与儿童和成人的教育密切相关,因为它们提供了通往不断扩大的世界的其他体验的窗口。与其他对押韵的描绘不同,威尔独特的插图专注于自然中的动物,而不是作为人类戏剧的材料。这种强调反映了这个时期在工业化的背景下对自然世界态度的转变。孩子们对自然世界的熟悉程度开始出现裂痕。因此,知更鸟童谣既起到了埋葬作用的教育作用,也起到了观察、认识和命名自然世界的教育作用。然而,它对商品化文化的反映使它成为今天一个糟糕的教育工具,即使我们对这种材料的需求在继续增长。
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引用次数: 0
Imperial Beast Fables: Animals, Cosmopolitanism, and the British Empire 帝国野兽寓言:动物、世界主义和大英帝国
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0258
L. Shires
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引用次数: 1
Kept From All Contagion: Germ Theory, Disease, and the Dilemma of Human Contact in Late Nineteenth-Century Literature 远离所有传染:十九世纪晚期文学中的细菌理论、疾病和人类接触的困境
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0250
J. Fuller
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引用次数: 3
Editors’ Note 编者注
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0001
Maria K. Bachman, Albert D. Pionke
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引用次数: 0
Visualizing Mutuality: Teaching / Networks in Our Mutual Friend 可视化互动性:在我们共同的朋友中教学/网络
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0166
M. Celeste
This article explores a network-forward approach to teaching Charles Dickens’s last completed novel, Our Mutual Friend. As it outlines heuristics for visualizing multiplot novels, the article also analyzes the feedback loop between novels and networks: i.e., how our understanding of one form (be it literary or sociopolitical) shapes our understanding of the other. For a case study, the author presents his experience teaching Our Mutual Friend in a recent 300-level literature class. Every Friday for ten weeks, his students read two parts of the novel’s twenty serial numbers and, using concept mapping software, created a sociogram—a visual representation of social connections. The result was an ever-evolving visualization not just of Dickens’s diffuse, multiplot novel but also of each student’s individual experience navigating distributed textual networks, reading multiplexity, and understanding mutuality. This article showcases the work of five students in order to exemplify some key concepts, issues, and conversations not only about networks but also about teaching. The serial sociogram activity raises productive questions about student engagement, equitable pedagogical practices, and the mutual relationship between teaching and research.
本文探讨了一种面向网络的方法来教授查尔斯·狄更斯最后一部完成的小说《我们共同的朋友》。在概述多情节小说可视化的启发方法的同时,文章还分析了小说和网络之间的反馈循环:即,我们对一种形式(无论是文学形式还是社会政治形式)的理解如何影响我们对另一种形式的理解。作为一个案例,作者介绍了他在最近的300级文学课上教授《我们共同的朋友》的经验。在连续十周的时间里,每周五,他的学生都要阅读小说中二十个序列号中的两个部分,然后使用概念图软件,绘制出一幅社会关系图——一种社会关系的视觉表现。其结果是一个不断发展的可视化,不仅是狄更斯的分散,多情节的小说,而且是每个学生的个人经验导航分布式文本网络,阅读多样性,并理解相互关系。这篇文章展示了五个学生的工作,以举例说明一些关键的概念、问题和对话,不仅关于网络,而且关于教学。一系列的社会活动提出了关于学生参与、公平的教学实践以及教学与研究之间相互关系的富有成效的问题。
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引用次数: 0
The Digital Dickens Notes Project 数字狄更斯笔记项目
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0210
A. Gibson, A. Grener, F. Goodenough, Scott Bailey
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引用次数: 1
Pigtails, Prostrations, and People on Teapots: Graphic Satire and the British Encounter with Things Chinese, 1792–1842 辫子、跪拜和茶壶上的人:图形讽刺和英国人与中国事物的接触,1792-1842
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0086
J. Sample
This article explores satire and comicality in written and visual representations of China using a metaphor introduced by Jonathan Spence in The Chan’s Great Continent: China in Western Minds (1998). Spence labels Western attitudes toward China and the Chinese “sightings.” Spence identified sightings in travel journals, stage plays, short stories, and philosophical tracts, but he did not explore depictions of China in graphic satires and related news reports even though they are rich sources of popular attitudes and unique opportunities to gauge the presence of China in Western minds. The first part of this essay uses the concept of sightings to compare similar visual satires on China in the news by James Gillray (1792) and John Leech (1842). The engraving and penciling, respectively, present opposing visions of the British and the Chinese at very different moments in Anglo-Chinese relations. The second part situates the penciling within the emerging written and visual comic rhetoric of things Chinese. There is great value in down-market popular productions as sources for understanding the complexity of the presence of things Chinese in the British consciousness at the dawn of the Victorian era and throughout the nineteenth century.
本文利用乔纳森·斯宾塞在《陈的伟大大陆:西方人心中的中国》(1998)一书中引入的一个隐喻,探讨了中国在书面和视觉表现中的讽刺和滑稽。斯宾塞将西方对中国的态度和中国的“目击”贴上了标签。斯宾塞在旅游杂志、舞台剧、短篇小说和哲学小册子中发现了中国的踪迹,但他没有探索讽刺漫画和相关新闻报道中对中国的描述,尽管它们是大众态度的丰富来源,也是衡量中国在西方人心中存在的独特机会。本文的第一部分运用目击的概念比较了詹姆斯·吉尔雷(1792)和约翰·里奇(1842)在新闻中对中国的类似视觉讽刺。版画和铅笔画分别展现了英中关系中不同时期英国人和中国人截然相反的观点。第二部分将铅笔画置于中国新兴的文字和视觉喜剧修辞之中。在维多利亚时代初期和整个19世纪,作为了解中国事物在英国意识中存在的复杂性的来源,低端市场的流行作品具有很大的价值。
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引用次数: 0
Going a Step Further Than Open Access and Open Source: COVE and the Promise of Open Assembly 比开放存取和开源更进一步:COVE和开放组装的承诺
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0198
D. Felluga
This articles asks if the principles of open source and open access are sufficient to safeguard our intellectual labor and to guard against the predatory logic of a world dominated by capitalist systems of production and dissemination. Both open source and open access face a similar problem, as it happens: neglect and obsolescence, as well as the most pernicious Achilles’ heel of the vast majority of digital humanities initiatives: long-term sustainability. COVE offers an alternative to both long-term sustainability and the collective sharing of content.
这篇文章的问题是,开源和开放获取的原则是否足以保护我们的智力劳动,并防范由资本主义生产和传播系统主导的世界的掠夺性逻辑。开源和开放获取都面临着类似的问题:被忽视和过时,以及绝大多数数字人文项目最致命的阿喀琉斯之踵:长期可持续性。COVE为长期可持续性和内容的集体共享提供了另一种选择。
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引用次数: 0
“Behold, we know not anything”: Tennyson’s Epistemological Crisis in In Memoriam “看,我们什么都不知道”:丁尼生在《追忆》中的认识论危机
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0055
Scott Rogers
Tennyson’s In Memoriam has often been read as a text associated with the Victorian “crisis of faith.” This essay argues that Tennyson’s poem actually takes part in a crisis of epistemology in the wake of the transition from deductive to inductive science.
丁尼生的《悼念》经常被视为与维多利亚时代的“信仰危机”有关的文本。本文认为,丁尼生的诗歌实际上参与了演绎科学向归纳学过渡后的认识论危机。
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引用次数: 0
Ten Letters by John Stuart Mill 约翰·斯图亚特·密尔的《十封信
Pub Date : 2022-11-01 DOI: 10.5325/victinstj.49.2022.0238
R. Crisp
Recently acquired by the Mill Library at Somerville College, Oxford, these ten letters by John Stuart Mill provide insight into various aspects of Mill’s life, including penal reform, feminism, editorial work, the East India Company, the Jamaica question, and his views on religion.
牛津大学萨默维尔学院的密尔图书馆最近收藏了约翰·斯图尔特·密尔的这十封信,这些信件提供了密尔生活的各个方面,包括刑罚改革、女权主义、编辑工作、东印度公司、牙买加问题以及他对宗教的看法。
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引用次数: 0
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