{"title":"Affect in the Margins:","authors":"Michael M. Gamer, K. O’Loughlin","doi":"10.2307/j.ctv13qftr6.7","DOIUrl":"https://doi.org/10.2307/j.ctv13qftr6.7","url":null,"abstract":"","PeriodicalId":399237,"journal":{"name":"Material Transgressions","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117174633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anna Jameson’s Diary of an Ennuyée, first published in 1826, follows an unnamed narrator, a dispirited female traveller, who moves through the locales of France and Italy, surveying the objects of the Grand Tour. In the reflective space of her diary, the ennuyée begins to synthesize this material world she moves in, to understand herself as part of that world of objects, and to challenge the art viewers and artists who instead perceive materiality from a distance. Following Jane Bennett’s proposition of the ‘active, earthy, not-quite-human capaciousness’ of matter, this essay argues that the diarist recognizes and contemplates the unexpected vibrancy of the materials that she encounters. The narrator demonstrates that art writing should be more than an absolute formal assessment of quality; instead, she shows how artifacts reveal their capacity to unsettle human viewers in unexpected ways and to shape networks composed of things from diverse spaces and times.
Anna Jameson的《ennuysame日记》于1826年首次出版，讲述了一位不知名的叙述者，一位沮丧的女性旅行者，在法国和意大利的地方旅行，调查大旅行的目标。在她日记的反思空间里，ennuysamae开始合成她所进入的物质世界，将自己理解为这个物体世界的一部分，并挑战那些从远处感知物质的艺术观众和艺术家。遵循简·班尼特(Jane Bennett)关于物质的“活跃的、朴实的、不太像人类的能力”的主张，本文认为，日记作者认识并思考了她所遇到的材料中意想不到的活力。叙述者表明，艺术写作不应该是对质量的绝对正式评估;相反，她展示了人工制品如何以意想不到的方式显示它们的能力，让人类观众不安，并塑造了由来自不同空间和时代的事物组成的网络。
{"title":"Vibrant Art on the Grand Tour in Anna Jameson’s Diary of an Ennuyée","authors":"H. Gallagher","doi":"10.2307/j.ctv13qftr6.9","DOIUrl":"https://doi.org/10.2307/j.ctv13qftr6.9","url":null,"abstract":"Anna Jameson’s Diary of an Ennuyée, first published in 1826, follows an unnamed narrator, a dispirited female traveller, who moves through the locales of France and Italy, surveying the objects of the Grand Tour. In the reflective space of her diary, the ennuyée begins to synthesize this material world she moves in, to understand herself as part of that world of objects, and to challenge the art viewers and artists who instead perceive materiality from a distance. Following Jane Bennett’s proposition of the ‘active, earthy, not-quite-human capaciousness’ of matter, this essay argues that the diarist recognizes and contemplates the unexpected vibrancy of the materials that she encounters. The narrator demonstrates that art writing should be more than an absolute formal assessment of quality; instead, she shows how artifacts reveal their capacity to unsettle human viewers in unexpected ways and to shape networks composed of things from diverse spaces and times.","PeriodicalId":399237,"journal":{"name":"Material Transgressions","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116885870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hester Stanhope, ‘Un être à part’:","authors":"Jillian Heydt-Stevenson","doi":"10.2307/j.ctv13qftr6.10","DOIUrl":"https://doi.org/10.2307/j.ctv13qftr6.10","url":null,"abstract":"","PeriodicalId":399237,"journal":{"name":"Material Transgressions","volume":"331 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116233558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter reveals how women poets in the brief Post-Waterloo period used linguistic and structural play to resist stable notions of femininity, war, and the text itself. Felicia Hemans and critically overlooked Jane Alice Sargant manipulated the printed page to map new movements between supposedly separate bodies and texts to uncover half-hidden voices that counter limited ideologies of wartime participation. Hemans and Sargant created this new page by guiding readers’ eyes across juxtaposing genres, gendered bodies, nonhuman natures, battlefield accoutrements, and quoted speech. The chapter argues that these manipulations of body, gender, and text critique expected materialities of war and war poetry that relied on gender distinctions to determine one’s role and place during war.
{"title":"Remapping the Printed Page in Women’s Post-Waterloo Poetry","authors":"Emily J. Dolive","doi":"10.2307/j.ctv13qftr6.8","DOIUrl":"https://doi.org/10.2307/j.ctv13qftr6.8","url":null,"abstract":"This chapter reveals how women poets in the brief Post-Waterloo period used linguistic and structural play to resist stable notions of femininity, war, and the text itself. Felicia Hemans and critically overlooked Jane Alice Sargant manipulated the printed page to map new movements between supposedly separate bodies and texts to uncover half-hidden voices that counter limited ideologies of wartime participation. Hemans and Sargant created this new page by guiding readers’ eyes across juxtaposing genres, gendered bodies, nonhuman natures, battlefield accoutrements, and quoted speech. The chapter argues that these manipulations of body, gender, and text critique expected materialities of war and war poetry that relied on gender distinctions to determine one’s role and place during war.","PeriodicalId":399237,"journal":{"name":"Material Transgressions","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131523796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：