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Isaac Hui, Volpone's Bastards: Theorizing Jonson's City Comedy 艾萨克·许:《狐坡尼的混蛋:约翰逊的城市喜剧理论化
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-10-10 DOI: 10.3366/bjj.2019.0262
Heather C. Easterling
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引用次数: 0
“All in a Garden Green”: Shakespeare's Staging of Garden Imagery 《一片绿园》:莎士比亚对花园意象的演绎
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-10-10 DOI: 10.3366/bjj.2019.0256
Deborah C. Solomon
This essay draws attention to the surprising lack of scholarship on the staging of garden scenes in Shakespeare's oeuvre. In particular, it explores how garden scenes promote collaborative acts of audience agency and present new renditions of the familiar early modern contrast between the public and the private. Too often the mention of Shakespeare's gardens calls to mind literal rather than literary interpretations: the work of garden enthusiasts like Henry Ellacombe, Eleanour Sinclair Rohde, and Caroline Spurgeon, who present their copious gatherings of plant and flower references as proof that Shakespeare was a garden lover, or the many “Shakespeare Gardens” around the world, bringing to life such lists of plant references. This essay instead seeks to locate Shakespeare's garden imagery within a literary tradition more complex than these literalizations of Shakespeare's “flowers” would suggest. To stage a garden during the sixteenth and seventeenth centuries signified much more than a personal affinity for the green world; it served as a way of engaging time-honored literary comparisons between poetic forms, methods of audience interaction, and types of media. Through its metaphoric evocation of the commonplace tradition, in which flowers double as textual cuttings to be picked, revised, judged, and displayed, the staged garden offered a way to dramatize the tensions produced by creative practices involving collaborative composition and audience agency.
这篇文章提请注意,莎士比亚作品中花园场景的舞台表演令人惊讶地缺乏学术研究。特别是,它探讨了花园场景如何促进观众代理的合作行为,并呈现了公共和私人之间熟悉的早期现代对比的新版本。提起莎士比亚的花园,人们往往会想到字面上的解释,而不是文学上的解释:像亨利·埃拉科姆、埃莉诺·辛克莱·罗德和卡罗琳·斯普金这样的园艺爱好者的作品,他们展示了大量的植物和花卉参考资料,作为莎士比亚是一个园艺爱好者的证据,或者世界各地的许多“莎士比亚花园”,给这样的植物参考清单带来了生命。这篇文章试图将莎士比亚的花园意象定位在一个比这些莎士比亚“花”的字面化所暗示的更复杂的文学传统中。在16和17世纪,建造一座花园不仅仅意味着个人对绿色世界的喜爱;它是一种将诗歌形式、观众互动方式和媒体类型进行历史悠久的文学比较的方式。通过对普通传统的隐喻性唤起,在这种传统中,鲜花可以作为文本的剪枝被采摘、修改、判断和展示,舞台花园提供了一种戏剧化的方式,通过合作构图和观众代理的创造性实践产生紧张。
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引用次数: 1
The Alchemist and Medieval Faerie Romance 炼金术士与中世纪精灵传奇
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-10-10 DOI: 10.3366/bjj.2019.0255
Steve Bull
In The Alchemist, Doll's faerie queen is frequently interpreted by critics as representative of Jonson's scepticism toward folkloric belief and superstition. The supernatural-monarch-come-prostitute who appears before Dapper the clerk is thought to be drawn from contemporary accounts of cozeners who would claim to be in contact with the faerie realm in order to part gullible patrons from their money. Jonson's faerie queen thus fits into wider critical discussions on the nature of faeries in Early Modern drama, in which faeries are frequently defined as deriving from rural and domestic folkloric tradition. However, whilst there is certainly some truth to the significance of folklore in representations of faeries on the early modern stage (see Shakespeare's Puck in A Midsummer Night's Dream, for example), such arguments have a tendency to downplay the significance of romance in Early Modern society and the ongoing influence of medieval romance convention in the way that faeries are incorporated into Early Modern literature and drama. This essay focuses on The Alchemist as an example of the continued importance of romance in shaping the themes and motifs that are associated with Early Modern faeries. Doll's faerie queen appears as part of a con enacted by the three cozeners, but her role and appearance still draw on certain romance motifs that equate faeries with wealth, aristocracy, and the testing of human morality. Through recognising a connection to romance in Jonson's work, this essay questions how we might better appreciate the meaning of The Alchemist's faerie queen episodes. Jonson, without relinquishing his sceptical approach to the supernatural, uses these motifs as a way of exploring themes of greed, social mobility, and new wealth, themes that permeate throughout the play and throughout his work as a whole.
在《炼金术士》中,多尔的仙女女王经常被评论家解读为约翰逊对民间信仰和迷信持怀疑态度的代表。出现在店员Dapper面前的超自然君主-妓女被认为是来自同时代的骗子,他们声称与精灵王国接触,以便将易受骗的顾客从他们的钱中分离出来。因此,琼森笔下的仙人女王符合对早期现代戏剧中仙人本质的更广泛的批判性讨论,在这些讨论中,仙人经常被定义为来自农村和国内的民间传说传统。然而,尽管民间传说在现代早期阶段对仙人的描述中有一定的意义(例如,参见莎士比亚的《仲夏夜之梦》中的Puck),但这种观点倾向于淡化浪漫在早期现代社会中的重要性,以及中世纪浪漫传统在将仙人融入早期现代文学和戏剧中的持续影响。本文以《炼金术士》为例,阐述了浪漫在塑造与早期现代仙子相关的主题和主题方面的持续重要性。多尔的仙女女王是三个骗子策划的骗局的一部分,但她的角色和外表仍然借鉴了一些浪漫的主题,将仙女与财富、贵族和人类道德的考验等同起来。通过认识到约翰逊作品中与浪漫的联系,本文提出了一个问题,即我们如何才能更好地理解《炼金术士》中仙后情节的含义。约翰逊并没有放弃他对超自然现象的怀疑态度,而是用这些主题来探索贪婪、社会流动性和新财富的主题,这些主题贯穿了整个剧本和他的整个作品。
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引用次数: 1
Survey of 2018 Scholarship on Jonson 2018年约翰逊奖学金调查
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-10-10 DOI: 10.3366/bjj.2019.0258
J. Ahn
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引用次数: 1
Ben Jonson's Reception of Lucian 本·琼森接待卢西恩
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-10-10 DOI: 10.3366/bjj.2019.0253
R. Miola
Throughout his career Ben Jonson drew variously upon Lucian, whom he encountered in the mythographies as well as in several Greek and Latin editions he owned. Jonson's receptions take the form of glancing reminiscence in the masques, as Lucian supplies mythological decoration and literary conceit. They appear as transformative allusion in Cynthia's Revels, which draws upon several satirical Dialogues of the Gods, and in The Staple of News, which re-appropriates a favorite satirical dialogue, Timon, the Misanthrope, to satirize the greed of the news industry. Jonson practices an extended and creative imitatio of Lucian's fantastic moon voyages (A True Story and Icaromenippus) in his much neglected News from the New World Discovered in the Moon. And, likewise, Jonson reworks Lucian extensively for the action of Poetaster: The Carousal supplies the lascivious banquet of 4.5, and Lexiphanes, the humiliating purge of Crispinus. Jonson's rich engagement with Lucian comes to a climax in Volpone, which borrows directly from The Dream, and several Dialogues of the Dead. Here whimsical ancient satire enables stern moral allegory. Responding to Poetaster in Satiro-mastix, Thomas Dekker has Captain Tucca rebuke Horace (i.e. Ben Jonson) by sarcastically calling him “Lucian.” Jonson, no doubt, took the proffered insult as the highest compliment.
在他的整个职业生涯中,本·琼森在他所拥有的神话以及几个希腊文和拉丁文版本中遇到了各种各样的卢西恩。琼森的接待在假面中采取了一瞥回忆的形式,而卢西恩则提供了神话般的装饰和文学上的幻想。它们在《辛西娅的狂欢》(Cynthia’s Revels)和《新闻的主要内容》(the Staple of News)中作为变革性的典故出现,《辛西娅的狂欢》(Cynthia’s Revels)借鉴了几段与众神的讽刺对话,《新闻的主要内容》(the Staple of News)重新挪用了一个最受欢迎的讽刺对话——愤世嫉俗者丁满(Timon)——来讽刺新闻业的贪婪。约翰逊在他那本被忽视的《在月球上发现的新世界的新闻》中,对卢西恩奇妙的月球航行(《一个真实的故事》和《伊卡洛梅尼普斯》)进行了扩展和创造性的模仿。同样地,琼森在《诗人》中对卢西恩进行了大量的改编:《狂欢》提供了《4.5》中淫荡的宴会,《莱西芬尼》提供了对克里斯皮纳斯的羞辱性清洗。琼森与卢西安的丰富交往在《狐坡涅》中达到高潮,《狐坡涅》直接借用了《梦》和几部《死者对话》。在这里,异想天开的古代讽刺使严厉的道德寓言成为可能。托马斯·德克尔让图卡船长讽刺地称霍勒斯(即本·约翰逊)为“卢西恩”,以此回应《萨提罗-马斯提克斯》中的诗人。毫无疑问,约翰逊把这种侮辱看作是最高的恭维。
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引用次数: 2
Theatrical Performances of Ben Jonson's Volpone from 2005–2017 2005-2017年本·琼森《狐坡涅》的戏剧表演
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-10-10 DOI: 10.3366/bjj.2019.0260
Julianna Crame
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引用次数: 1
Jonson's “On My First Son” in Constellation 约翰逊的《论我的第一个儿子
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-10-01 DOI: 10.3366/bjj.2019.0259
Katherine M. Cowles
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引用次数: 1
Front matter 前页
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-05-01 DOI: 10.3366/bjj.2019.0233
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引用次数: 0
Back matter 回到问题
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-05-01 DOI: 10.3366/bjj.2019.0248
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引用次数: 0
Obituary Richard Harp 1945–2019 理查德·哈普讣告1945-2019
IF 0.5 1区 文学 Q1 Arts and Humanities Pub Date : 2019-05-01 DOI: 10.3366/bjj.2019.0247
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引用次数: 0
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