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Roguish Self-Fashioning and Questing in Aleksandar Hemon’s “Everything” 亚历山大·赫蒙《万物》中无赖的自我塑造与探索
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.06
Jason A. Blake
Abstract This paper examines self-fashioning in Aleksandar Hemon’s “Everything,” a story about a Sarajevo teenager’s journey through ex-Yugoslavia to the Slovenian town of Murska Sobota. His aim? “[T]o buy a freezer chest for my family” (39). While in transit, the first-person narrator imagines himself a rogue of sorts; the fictional journey he takes, meanwhile, is clearly within the quest tradition. The paper argues that “Everything” is an unruly text because by the end of the story the reader must jettison the conventional reading traditions the quest narrative evokes. What begins as a comic tale about a minor journey opens out, in the story’s final lines, into a story about larger historical concerns, namely, the Yugoslav wars of the 1990s. By introducing contemporary history, Hemon points beyond the closed world of his short story, while rejecting the quest pattern he has established.
本文探讨了亚历山大·赫蒙(Aleksandar Hemon)的《一切》(Everything)中的自我塑造,这是一个关于萨拉热窝少年穿越前南斯拉夫来到斯洛文尼亚小镇莫斯卡·索博塔(Murska Sobota)的故事。他的目标是什么?“为我的家人买一个冰柜”(39)。在旅途中,第一人称叙述者把自己想象成一个无赖;与此同时,他所经历的虚构旅程显然符合探索传统。本文认为《一切》是一篇难以驾驭的文本,因为在故事的结尾,读者必须抛弃探索叙事所唤起的传统阅读传统。这个故事以一个关于一段小旅程的喜剧故事开始,在故事的最后几行,变成了一个关于更大的历史问题的故事,也就是20世纪90年代的南斯拉夫战争。通过引入当代史,Hemon超越了他的短篇小说的封闭世界,同时拒绝了他所建立的任务模式。
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引用次数: 0
New Versions of Roguery 新版本的欺诈
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.01
Aritha van Herk, V. Polić
This number of Text Matters features papers which explore the changing nature of roguery in literature and film. While the figure of the rogue has earned much literary attention in the past, its present moment is ambiguous, uneasy, even as we live in an age of flagrantly outrageous rogues, so overt that perhaps roguery as a study or a subject is outre because the world is a collection of rogues, and the behavior of rogues is now dramatically public rather than a matter of covert and shameful conduct. Despite this development, rogues still compel attention, curiosity and stories. Note the glut of documentaries, films and books on thieves and criminals, our fascination with those who refuse to follow the rules. And that continuing interest serves as a useful critical measurement and kinesics. Is the figure of the rogue then a historical figure, a cultural construct, a blame magnet or an object of moral suasion? Has it morphed into the trickster, the holy fool, the picaro or the magician? Who is now accorded rogue status, in literature and film? Although rogue literature’s 16thand 17th-century origins are not to be dismissed, the current socio-political circumstances inflecting our evaluation of character have brought to light a new geography of miscreant, a new mapping of what scoundrel-saint can signal. For surely the deception of innocents, the cant of common speech, and the celebration of everyday life and its disappointments and entrapments is at a pinnacle, elevating what was previously dissentient to a commonplace. Early discussions of the figure of the rogue and rogue literature concern themselves with the murkier aspects of the underworld, the criminal or seamier milieu of those who break rules or participate in unlawful acts, Text Matters, Volume 9, Number 9, 2019 http://dx.doi.org/10.18778/2083-2931.09.01
这个数量的文本问题的特色论文,探讨文学和电影中的欺诈的变化性质。虽然流氓的形象在过去赢得了很多文学关注,但它现在的时刻是模糊的,令人不安的,即使我们生活在一个无耻的流氓横行的时代,如此公开,也许作为一门研究或主题的流氓是不寻常的,因为世界是一个无赖的集合,流氓的行为现在是戏剧性的公开,而不是一个隐蔽和可耻的行为。尽管有了这样的发展,盗贼仍然吸引着人们的注意力、好奇心和故事。请注意关于小偷和罪犯的纪录片、电影和书籍,以及我们对那些拒绝遵守规则的人的迷恋。这种持续的兴趣是一种有用的关键测量和动力。那么,无赖的形象是一个历史人物、一种文化建构、一个指责磁铁还是一个道德劝说的对象?它是否变成了骗子、圣人、无赖或魔术师?在文学和电影中,谁现在被赋予了流氓的地位?虽然流氓文学的16世纪和17世纪的起源是不容忽视的,但当前的社会政治环境影响了我们对人物的评价,这让我们看到了一种新的恶棍地理,一种新的无赖圣徒可以表达的地图。因为毫无疑问,对无辜者的欺骗,普通语言的假话,对日常生活及其失望和陷阱的歌颂,已经达到了一个顶峰,把以前持不同意见的东西提升到了司空见惯的地步。关于流氓人物和流氓文学的早期讨论关注的是黑社会的阴暗方面,那些违反规则或参与非法行为的人的犯罪或更肮脏的环境,文本问题,第9卷,第9期,2019 http://dx.doi.org/10.18778/2083-2931.09.01
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引用次数: 0
Liminal Space in J. G. Ballard’s Concrete Island 巴拉德混凝土岛中的Liminal空间
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.21
Marcin Tereszewski
Abstract This article explores the way in which surrealist techniques and assumptions underpin spatial representations in Ballard’s Concrete Island. With much of Ballard’s fiction using spatiality as an ideologically charged instrument to articulate a critique that underpins postcapitalist culture, it seems important to focus on exactly the kind of spaces that he creates. This paper will investigate the means by which spatiality is conceptualized in Ballard’s fiction, with special emphasis on places situated on the borders between realism and fantasy. Ballard’s spaces, often positioned on the edgelands of cities or centers of civilization, can be aligned with the surrealist project as presented not only by the Situationalist International, but of psychogeographical discourse in general. What the various Ballardian spaces—motorways, airports, high-rises, deserts, shopping malls, suburbs—have in common is a sense of existing outside stable definitions or what, following Marc Augé, we would call non-places, which by their definition are disconnected from a globalized image society, thus generating a revolutionary idea of freedom. As these places exist outside the cognitive map we impose on our environment, they present a potentially liberating force that resonates in Ballard’s fiction.
摘要本文探讨了超现实主义技术和假设在巴拉德的《混凝土岛》中支撑空间表现的方式。巴拉德的大部分小说都将空间性作为一种意识形态工具来表达对后资本主义文化的批判,因此关注他所创造的空间似乎很重要。本文将探讨巴拉德小说中空间性概念化的方式,特别是位于现实主义和幻想之间的地方。巴拉德的空间通常位于城市边缘或文明中心,可以与超现实主义项目相一致,这不仅是情境主义国际提出的,也是一般心理地理学话语提出的。巴拉迪式的各种空间——高速公路、机场、高层建筑、沙漠、购物中心、郊区——的共同点是一种存在于稳定定义之外的感觉,或者在Marc Augé之后,我们称之为非地方,根据他们的定义,这些地方与全球化的图像社会脱节,从而产生了一种革命性的自由理念。由于这些地方存在于我们强加给环境的认知地图之外,它们呈现出一种潜在的解放力量,在巴拉德的小说中引起共鸣。
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引用次数: 0
“Same Old Ed, ... Uncommitted”: BMW Socialism and Post-Roguery in Guy Vanderhaeghe’s Early Fiction “老爱德……“不承诺”:盖伊·范德哈格早期小说中的宝马社会主义和后无赖
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.07
Jordan Bolay
Abstract In this paper I assess how Guy Vanderhaeghe’s early fiction criticizes the class-based and civil movements of post-1960s Saskatchewan through the recurring character of Ed. The protagonist of “Man Descending” and “Sam, Soren, and Ed” from Man Descending, the uncollected “He Scores! He Shoots!” and the novel My Present Age, Ed both condemns and epitomizes the contaminated and seductive gestures of the movements’ influences and enterprises. Vanderhaeghe deploys layers of social criticism: the first comments on the new urban progressive generation—the BMW socialists—while another manifests a counter-criticism that comments on those who challenge social progress, questioning their motives and the credibility of their critique. But what is a BMW socialist? A sociopolitical chameleon hiding behind pretense? Ed describes such a creature as a former “nay-sayer and boycotter” who “intended to dedicate his life to eternal servitude in a legal-aid clinic,” but then “affluence did him in” and now “his ass [is] cupped lovingly in the contoured leather seats of his BMW” (Man Descending 237–38). Vanderhaeghe’s early works criticize the contemporary middle class and progressivist movements of the second half of the twentieth century through this sociopolitical rogue—who in turn becomes a post-rogue. For Ed is ironically undercut by a counter-narrative that is often sub-textual, resulting in a fascinating appraisal of social ignorance, immobility, and unproductivity rather than of any specific ideology.
摘要在本文中,我通过埃德这个反复出现的角色,评估了盖伊·范德黑格的早期小说是如何批评20世纪60年代后萨斯喀彻温省的阶级和公民运动的。《男人的后裔》中的主人公和《男人的降世》中的“山姆、索伦和埃德”,未收集的《他得分了!他开枪了!》和小说《我的当代》,埃德谴责并概括了这些运动的影响和企业的受污染和诱人的姿态。Vanderhaeghe运用了多层社会批评:第一层是对新的城市进步一代——宝马社会主义者的评论,而另一层则体现了对那些挑战社会进步的人的反批评,质疑他们的动机和批评的可信度。但什么是宝马社会主义者?伪装背后的社会政治变色龙?埃德将这样一个生物描述为一个以前的“反对者和抵制者”,他“本想把自己的一生奉献给法律援助诊所的永恒奴役”,但后来“富裕让他活了下来”,现在“他的屁股被可爱地抱在宝马车的轮廓皮革座椅上”(《男人的后裔》237-38)。Vanderhaeghe的早期作品通过这个社会政治流氓批评了20世纪下半叶的当代中产阶级和进步主义运动,而这个流氓反过来又成为了后流氓。具有讽刺意味的是,Ed被一种通常是次文本的反叙事所削弱,这导致了对社会无知、静止和无生产力的迷人评价,而不是对任何特定意识形态的评价。
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引用次数: 0
The Outlaw Machine, the Monstrous Outsider and Motorcycle Fetishists: Challenging Rebellion, Mobility and Masculinity in Kenneth Anger’s Scorpio Rising and Steven Spielberg’s Duel 亡命之徒机器、怪物局外人和摩托车恋物癖者:肯尼斯·安格尔的《天蝎座崛起》和史蒂文·斯皮尔伯格的《决斗》中的反抗、机动性和男子气概
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.05
Kornelia Boczkowska
Abstract The paper analyzes the ways in which Kenneth Anger’s Scorpio Rising (1963) and Steven Spielberg’s Duel (1971) draw on and challenge selected road movie conventions by adhering to the genre’s traditional reliance on cultural critique revolving around the themes of rebellion, transgression and roguery. In particular, the films seem to confront the classic road movie format through their adoption of nomadic narrative structure and engagement in a mockery of subversion where the focus on social critique is intertwined with a deep sense of alienation and existential loss “laden with psychological confusion and wayward angst” (Laderman 83). Following this trend, Spielberg’s film simultaneously depoliticizes the genre and maintains the tension between rebellion and tradition where the former shifts away from the conflict with conformist society to masculine anxiety, represented by middle class, bourgeois and capitalist values, the protagonist’s loss of innocence in the film’s finale, and the act of roguery itself. Meanwhile, Anger’s poetic take on the outlaw biker culture, burgeoning homosexuality, myth and ritual, and violence and death culture approaches the question of roguery by undermining the image of a dominant hypermasculinity with an ironic commentary on sacrilegious and sadomasochistic practices and initiation rites in the gay community. Moreover, both Duel’s demonization of the truck, seen as “an indictment of machines” or the mechanization of life (Spielberg qtd. in Crawley 26), and Scorpio Rising’s (homo)eroticization of a motorcycle posit elements of social critique, disobedience and nonconformity within a cynical and existential framework, hence merging the road movie’s traditional discourse with auteurism and modernism.
摘要本文分析了肯尼斯·安格尔(Kenneth Anger)的《天蝎座崛起》(Scorpio Rising)(1963年)和史蒂文·斯皮尔伯格(Steven Spielberg。特别是,这些电影似乎通过采用游牧叙事结构和对颠覆的嘲弄来对抗经典的公路电影形式,在这种颠覆中,对社会批判的关注与“充满心理困惑和任性焦虑”的深刻疏离感和生存损失交织在一起(Laderman 83)。跟随这一趋势,斯皮尔伯格的电影同时将这一类型去政治化,并保持了反叛与传统之间的紧张关系,前者从与墨守成规的社会的冲突转向以中产阶级、资产阶级和资本主义价值观为代表的男性焦虑,主角在电影结局中失去了纯真,以及无赖行为本身。与此同时,安格尔对非法摩托车文化、蓬勃发展的同性恋、神话和仪式以及暴力和死亡文化的诗意解读,通过对同性恋群体中的亵渎和施虐受虐行为以及入会仪式的讽刺评论,破坏了占主导地位的超男子气概的形象,从而解决了无赖问题。此外,Duel对卡车的妖魔化,被视为“对机器的控诉”或生活的机械化(Spielberg qtd.in Crawley 26),以及Scorpio Rising对摩托车的(同性恋)色情化,都在愤世嫉俗和存在主义的框架内提出了社会批判、不服从和不一致的元素,从而将公路电影的传统话语与导演主义和现代主义相融合。
{"title":"The Outlaw Machine, the Monstrous Outsider and Motorcycle Fetishists: Challenging Rebellion, Mobility and Masculinity in Kenneth Anger’s Scorpio Rising and Steven Spielberg’s Duel","authors":"Kornelia Boczkowska","doi":"10.18778/2083-2931.09.05","DOIUrl":"https://doi.org/10.18778/2083-2931.09.05","url":null,"abstract":"Abstract The paper analyzes the ways in which Kenneth Anger’s Scorpio Rising (1963) and Steven Spielberg’s Duel (1971) draw on and challenge selected road movie conventions by adhering to the genre’s traditional reliance on cultural critique revolving around the themes of rebellion, transgression and roguery. In particular, the films seem to confront the classic road movie format through their adoption of nomadic narrative structure and engagement in a mockery of subversion where the focus on social critique is intertwined with a deep sense of alienation and existential loss “laden with psychological confusion and wayward angst” (Laderman 83). Following this trend, Spielberg’s film simultaneously depoliticizes the genre and maintains the tension between rebellion and tradition where the former shifts away from the conflict with conformist society to masculine anxiety, represented by middle class, bourgeois and capitalist values, the protagonist’s loss of innocence in the film’s finale, and the act of roguery itself. Meanwhile, Anger’s poetic take on the outlaw biker culture, burgeoning homosexuality, myth and ritual, and violence and death culture approaches the question of roguery by undermining the image of a dominant hypermasculinity with an ironic commentary on sacrilegious and sadomasochistic practices and initiation rites in the gay community. Moreover, both Duel’s demonization of the truck, seen as “an indictment of machines” or the mechanization of life (Spielberg qtd. in Crawley 26), and Scorpio Rising’s (homo)eroticization of a motorcycle posit elements of social critique, disobedience and nonconformity within a cynical and existential framework, hence merging the road movie’s traditional discourse with auteurism and modernism.","PeriodicalId":41165,"journal":{"name":"Text Matters-A Journal of Literature Theory and Culture","volume":"9 1","pages":"81 - 99"},"PeriodicalIF":0.1,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49317274","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}
引用次数: 0
Men Without Fingers, Men Without Toes 没有手指的人,没有脚趾的人
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.11
Kit Dobson
Abstract What happens once the rogue rides off into the sunset? This cross-genre essay considers the figure of the rogue’s decline and gradual dismemberment in the face of the pressures of the world. Beginning with the “rogue” digits and other body parts lost by the men who surrounded him in his youth—especially his grandfather—Dobson considers the costs of labour and poverty in rural environments. For him, the rogue is one who falls somehow outside of cultural, social, and political norms—the one who has decided to step outside of the establishment, outside of the corrupt élites and their highfalutin ways. To do so comes at a cost. Turning to the life of writer George Ryga and to the poetry and fiction of Patrick Lane, this essay examines the real, physical, material, and social costs of transgression across multiple works linked to rural environments in Alberta and British Columbia. The essay shows the ways in which very real forms of violence discipline the rogue, pushing the rogue back into submission or out of mind, back into the shadowy past from whence the rogue first came. Resisting nostalgia while evincing sympathy, this essay delves into what is at stake for one who would become a rogue.
摘要一旦流氓骑着马冲向日落,会发生什么?这篇跨类型的文章考虑了流氓在世界压力面前的衰落和逐渐解体。多布森从年轻时包围他的人——尤其是他的祖父——失去的“无赖”手指和其他身体部位开始,考虑了农村环境中的劳动力成本和贫困。对他来说,流氓是一个在某种程度上脱离了文化、社会和政治规范的人——一个决定走出体制、走出腐败分子及其高调方式的人。这样做是有代价的。本文转向作家乔治·瑞加的生活和帕特里克·莱恩的诗歌和小说,探讨了与阿尔伯塔省和不列颠哥伦比亚省农村环境有关的多部作品中越轨行为的真实、物理、物质和社会成本。这篇文章展示了非常真实的暴力形式对流氓的管教方式,将流氓推回屈服或精神错乱,回到流氓最初来源的阴暗过去。这篇文章在表达同情的同时,抵制了怀旧情绪,深入探讨了一个无赖的利害关系。
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引用次数: 0
“You’ll never meet someone like me again”: Patty Jenkins’s Monster as Rogue Cinema “你再也见不到像我这样的人了”:帕蒂·詹金斯饰演的流氓电影《怪物》
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.04
Michelle D. Wise
Abstract Film is a powerful medium that can influence audience’s perceptions, values and ideals. As filmmaking evolved into a serious art form, it became a powerful tool for telling stories that require us to re-examine our ideology. While it remains popular to adapt a literary novel or text for the screen, filmmakers have more freedom to pick and choose the stories they want to tell. This freedom allows filmmakers to explore narratives that might otherwise go unheard, which include stories that feature marginal figures, such as serial killers, as sympathetic protagonists, which is what director Patty Jenkins achieves in her 2003 film Monster. Charlize Theron’s transformation into and performance as Aileen Wuornos, and Jenkins’s presentation of the subject matter, make this film an example of rogue cinema. In addition, Aileen Wuornos is portrayed as a clear example of the rogue character. This character trope frequently defies social standards, suffers from past trauma, is psychologically complex, and is often exiled. As a prostitute and social outcast, Aileen Wuornos exists on the fringes of society and rejects the hegemonic power structure and later heteronormativity of society, which makes her a rogue figure. While there are several aspects to consider when analyzing Jenkins’s film, my intention is to argue that this film is an example of rogue cinema because of its content. In order to accomplish this task, I examine Theron’s bodily transformation and her performance as Wuornos. Furthermore, I look at how Jenkins handles the depiction of romantic love and gendered violence and argue that her treatment of this content renders this film rogue.
摘要电影是一种强大的媒介,可以影响观众的感知、价值观和理想。随着电影制作演变成一种严肃的艺术形式,它成为讲述故事的有力工具,需要我们重新审视自己的意识形态。虽然将文学小说或文本改编成电影仍然很受欢迎,但电影制作人有更多的自由来挑选他们想讲的故事。这种自由让电影制作人能够探索原本可能闻所未闻的叙事,其中包括以边缘人物为主角的故事,如连环杀手,作为富有同情心的主角,这就是导演帕蒂·詹金斯在2003年的电影《怪物》中所实现的。查理兹·塞隆(Charlize Theron)饰演艾琳·沃尔诺斯(Aileen Wuornos)的转变和表演,以及詹金斯(Jenkins)对主题的呈现,使这部电影成为流氓电影的一个例子。此外,艾琳·沃尔诺斯被描绘成流氓角色的一个明显的例子。这种性格比喻经常违背社会标准,遭受过去的创伤,心理复杂,经常被放逐。作为一个妓女和社会弃儿,艾琳·沃尔诺斯生活在社会的边缘,拒绝社会的霸权结构和后来的非规范性,这使她成为一个无赖人物。为了完成这项任务,我研究了塞隆的身体变化和她扮演的沃诺斯。此外,我观察了詹金斯如何处理浪漫爱情和性别暴力的描述,并认为她对这些内容的处理使这部电影变得无赖。
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引用次数: 0
The Lynching and Rebirth of Ned Buntline: Rogue Authorship during the American Literary Renaissance 内德·邦特兰的私刑与重生:美国文艺复兴时期的流氓作家
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.10
Mark Metzler Sawin
Abstract Though largely unknown today, “Ned Buntline” (Edward Zane Carroll Judson) was one of the most influential authors of 19th-century America. He published over 170 novels, edited multiple popular and political publications, and helped pioneer the seafaring adventure, city mystery and Western genres. It was his pirate tales that Tom Sawyer constantly reenacted, his “Bowery B’hoys” that came to define the distinctive slang and swagger of urban American characters, and his novels and plays that turned an unknown scout into Buffalo Bill, King of the Border Men. But before “Ned Buntline” became a mainstay of the popular press, he had been on his way to becoming one of the nation’s highbrow literary elites. He was praised by the leading critics, edited an important literary journal, and his stories appeared in the era’s most prestigious publications. This study examines how and why “Ned Buntline” moved from prestigious to popular authorship and argues that the transformation was precipitated by one very specific event: in 1846, Edward Z. C. Judson was lynched. A close examination of Judson’s life, writing, and the coverage of him in the newspapers of the day (including the remarkable story of how he survived a lynching) demonstrates that the same issues that led to his lynching also led to his rebirth as a new kind of American author.
摘要“内德·邦特琳”(爱德华·赞恩·卡罗尔·贾德森饰)是19世纪美国最具影响力的作家之一,尽管在今天基本上不为人知。他出版了170多部小说,编辑了多份流行和政治出版物,并帮助开创了航海冒险、城市神秘和西方流派。正是他的海盗故事被汤姆·索耶不断重演,他的《鲍里兄弟》定义了美国城市人物独特的俚语和傲慢,他的小说和戏剧将一个不知名的侦察员变成了边境之王水牛比尔。但在“Ned Buntline”成为大众媒体的中流砥柱之前,他一直在努力成为这个国家的高雅文学精英之一。他受到了主要评论家的赞扬,编辑了一本重要的文学杂志,他的故事出现在那个时代最负盛名的出版物上。这项研究考察了《Ned Buntline》是如何以及为什么从享有盛誉的作者转变为受欢迎的作者,并认为这种转变是由一个非常具体的事件促成的:1846年,爱德华·Z·C·贾德森被私刑处死。对贾德森的生活、写作以及当时报纸对他的报道(包括他如何在私刑中幸存下来的非凡故事)的仔细研究表明,导致他被私刑的同样问题也导致了他作为一种新型美国作家的重生。
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引用次数: 0
A Wild Roguery: Bruce Chatwin’s The Songlines Reconsidered 狂野的无赖:布鲁斯·查特温的《重新思考的松林》
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.02
Christine Nicholls
Abstract This article revisits, analyzes and critiques Bruce Chatwin’s 1987 bestseller, The Songlines,1 more than three decades after its publication. In Songlines, the book primarily responsible for his posthumous celebrity, Chatwin set out to explore the essence of Central and Western Desert Aboriginal Australians’ philosophical beliefs. For many readers globally, Songlines is regarded as a—if not the—definitive entry into the epistemological basis, religion, cosmology and lifeways of classical Western and Central Desert Aboriginal people. It is argued that Chatwin’s fuzzy, ill-defined use of the word-concept “songlines”2 has had the effect of generating more heat than light. Chatwin’s failure to recognize the economic imperative underpinning Australian desert people’s walking praxis is problematic: his own treks through foreign lands were underpropped by socioeconomic privilege. Chatwin’s ethnocentric idée fixe regarding the primacy of “walking” and “nomadism,” central to his Songlines thématique, well and truly preceded his visits to Central Australia. Walking, proclaimed Chatwin, is an elemental part of “Man’s” innate nature. It is argued that this unwavering, preconceived, essentialist belief was a self-serving construal justifying Chatwin’s own “nomadic” adventures of identity. Is it thus reasonable to regard Chatwin as a “rogue author,” an unreliable narrator? And if so, does this matter? Of greatest concern is the book’s continuing majority acceptance as a measured, accurate account of Aboriginal belief systems. With respect to Aboriginal desert people and the barely disguised individuals depicted in Songlines, is Chatwin’s book a “rogue text,” constituting an act of epistemic violence, consistent with Spivak’s usage of that term?
摘要本文对布鲁斯·查特温1987年出版的畅销书《松林》进行了30多年的回顾、分析和评论。查特温在《松林》一书中开始探索中西部沙漠土著澳大利亚人哲学信仰的本质。对于全球许多读者来说,《松林》被视为——如果不是——进入西方和中部沙漠原住民的认识论基础、宗教、宇宙学和生活方式的决定性入口。有人认为,查特温对“歌曲线”2这个词的模糊、不明确的使用产生了比光更多的热量。查特温没有认识到支撑澳大利亚沙漠人民步行实践的经济必要性,这是有问题的:他自己在外国的徒步旅行受到了社会经济特权的影响。查特温关于“行走”和“游牧”的首要地位的以种族为中心的身份认同,是他在访问澳大利亚中部之前的真实写照。查特温宣称,走路是“人”天生本性的基本组成部分。有人认为,这种坚定不移、先入为主、本质主义的信念是一种自我服务的解释,为查特温自己的“游牧”身份冒险辩护。因此,将查特温视为“无赖作家”、不可靠的叙述者是否合理?如果是,这有关系吗?最令人担忧的是,这本书被大多数人继续接受,认为它是对原住民信仰体系的一个有分寸、准确的描述。关于《松林》中描绘的土著沙漠人和几乎没有伪装的个人,查特温的书是一本“无赖文本”,构成了一种认知暴力行为,与斯皮瓦克对该术语的使用一致吗?
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引用次数: 7
Of Grim Witches and Showy Lady-Devils: Wealthy Women in Literature and Film 阴森的女巫和浮夸的女魔头:文学和电影中的富有女性
IF 0.1 0 LITERARY THEORY & CRITICISM Pub Date : 2019-11-01 DOI: 10.18778/2083-2931.09.03
Veronika Schuchter
Abstract Imagining super rich women in the real and fictional world has long been a struggle. Those few depictions that do exist are scattered across time periods and literary genres, reflecting the legal restrictions that, at different points in time, would not allow women to accumulate assets independent of the patriarchal forces in their lives. The scarcity of extremely wealthy women in literature and film is confirmed by Forbes magazine’s list of the fifteen richest fictional characters that features forty different fictional men and only nine women, with never more than two female characters nominated in a single year. This article explores the depiction of three exceptionally wealthy women: Cruella de Vil in The Hundred and One Dalmatians (1956) by Dodie Smith, Miss Havisham in Great Expectations (1861) by Charles Dickens, and the figure of the stepmother in various adaptations of “Cinderella.” I demonstrate how the protagonists’ wealth allows them to manipulate others and disconnect themselves from patriarchal and societal expectations. Further, I argue that these affluent antagonists are “rogued” by their respective narratives, highlighting their perceived anti-feminine and emasculating behaviour resulting in a mode of narration that greedily gazes at and shames their appearances and supposed unattractiveness. While this genealogy of rich rogues reiterates the narrow scope of imagining wealthy women on the page and on the screen, there are moments in the narratives that disrupt stereotypical depictions of these wealthy characters who defy the labels imposed on them.
长期以来,想象现实世界和虚构世界中的超级富豪女性一直是一个难题。那些确实存在的少数描述分散在不同的时期和文学类型中,反映了在不同的时间点,法律限制不允许女性在生活中积累独立于父权力量的资产。《福布斯》杂志评选的15个最富有的虚构人物中,有40个不同的虚构男性,只有9个女性,而且在一年中从未有超过2个女性角色获得提名,这证实了文学和电影中极其富有的女性的稀缺。本文探讨了对三位特别富有的女性的描述:多迪·史密斯1956年的《一百零一只达尔马提亚》中的克鲁拉·德·维尔,查尔斯·狄更斯1861年的《远大前程》中的郝薇香小姐,以及各种改编版《灰姑娘》中的继母形象。我展示了主人公的财富如何让他们操纵他人,并将自己从父权和社会期望中分离出来。此外,我认为这些富有的对手被他们各自的叙述所“纠缠”,突出了他们被认为的反女性和阉割行为,导致了一种贪婪地注视和羞辱他们的外表和所谓的无吸引力的叙述模式。虽然这些有钱流氓的家谱重申了在纸上和屏幕上想象有钱女人的狭隘范围,但在叙述中,有一些时刻打破了对这些富有角色的刻板描述,她们蔑视强加给她们的标签。
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Text Matters-A Journal of Literature Theory and Culture
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