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The Ways of the Word: Episodes in Verbal Attention by Garrett Stewart (review) 《语言的方式:言语注意的情节》加勒特·斯图尔特著(书评)

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913288

Tamsin Evernden

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> The Ways of the Word: Episodes in Verbal Attention by Garrett Stewart </li> <li> Tamsin Evernden (bio) </li> </ul> Garrett Stewart. The Ways of the Word: Episodes in Verbal Attention. Cornell UP, 2021. Pp. i + 239. $24.95. ISBN 978-1-5017-6140-9 (pb). Garrett Stewart's eighteenth book has a doubly self-reflexive thesis. Building upon previous work on "the linguistic infrastructure of […] textured prose" (from the blurb of Stewart's 2018 monograph, The One, Other, and Only Dickens), The Ways of the Word sets out to explore "simply letting verbal texture have its say" through a series of "readings in, rather than readings of, fiction" (19). The switch of preposition presages the book's focus upon the dividends of illogic. It also forewarns the reader of an echo chamber of analyses, so far-reaching in individual measure that the flow of argument is sometimes lost. However, in this Stewart exactly replicates his point, and fulfils it. "The Ways of the Word" are centrifugal in his eyes, to his ears, carrying sense through divergent tracks of etymology, phonetics, and ambiguity per se. The business of reading represents not so much a continuum as a series of pockets, each with expansive potential. Stewart's book incentivizes the kind of competitive critique wherein metaphor outdoes metaphor. His consideration of how "words work overtime in literary prose" includes the implicit (industry), artisanship ("its woven way"), and living organism ("weigh those words […] take their pulse") (3; 19; 58). Inveterate word and, by extension, image play infiltrates practical criticism from Empson and Leavis to Kermode. (Stewart does not deviate [End Page 490] from the Western canon, although he does give thought to writing outside a native language). This idiom represents a true pleasure in wording, capturing the heft or inflection or mood of writing, its tonal climate. However, there's a balance to be struck. To shed an appreciative light upon a primary text is to widen the sphere of understanding, whereas to pull away into intellectual pyrotechnics is grandstanding. Stewart implies that appreciation is lost in (and on) the modern academy, "whose mainstream weathervanes are tooled for other disciplinary crosscurrents than wording's high- or low-pressure fronts" (4). The likely reality is that only appreciation as actively incisive as it is awed and in abeyance can stand in the stead of schools of criticism that are institutionally validated. Although he cites him many times, Stewart does not abide by George Orwell's edict of plain writing. He articulates his points in long, multifarious sentences; facets of argument and apposite words dually collaborate. This creates richness or tautology, depend

代替摘要，这里是内容的简短摘录:复习:the Ways of the Word: Episodes In Verbal Attention by Garrett Stewart(传记)。语言的方式:言语注意的情节。康奈尔大学，2021年。第i + 239页。24.95美元。ISBN 978-1-5017-6140-9 (pb)。加勒特·斯图尔特的第十八本书有一个双重自我反思的论点。在之前关于“有质感散文的语言结构”的研究基础上(来自斯图尔特2018年的专著《一个，另一个，只有狄更斯》的简介)，《文字之道》开始探索通过一系列“阅读小说，而不是阅读小说”，“简单地让语言质感有自己的话语权”(19)。介词的转换预示着这本书将重点放在非逻辑的好处上。它还预先警告读者注意分析的回音室，这些分析在个别方面影响深远，以至于有时会失去论点的连贯性。然而，在这一点上，斯图尔特完全复制了他的观点，并实现了它。“The Ways of The Word”在他的眼中是离心的，在他的耳朵里是离心的，通过词源学、语音学和歧义本身的不同轨迹来传递意义。阅读与其说是一个连续体，不如说是一系列口袋，每个口袋都有广阔的潜力。斯图尔特的书鼓励了那种暗喻胜过暗喻的竞争性批评。他对“文字在文学散文中如何加班”的思考包括含蓄(勤勉)、手工(“其编织方式”)和活的有机体(“衡量那些文字[…]把握它们的脉搏”)(3;19;58)。从Empson和Leavis到Kermode，根深蒂固的文字和形象游戏渗透到实践批评中。(斯图尔特并没有偏离西方经典，尽管他确实考虑过用母语以外的语言写作)。这个成语代表了对措辞的真正享受，抓住了写作的分量、变化或情绪，它的音调气候。然而，要找到一个平衡点。以欣赏的眼光看待一个主要的文本，是在拓宽理解的范围，而把自己拉进智力的烟火中，则是在哗众取宠。斯图尔特暗示，鉴赏在现代学术中已经消失，“其主流风向标被用于其他学科的交叉潮流，而不是措辞的高压或低压前沿”(4)。可能的现实是，只有敬畏和搁置的积极敏锐的鉴赏才能取代体制上得到验证的批评流派。尽管斯图尔特多次引用他的话，但他并没有遵守乔治·奥威尔(George Orwell)关于平实写作的规定。他用冗长而多样的句子表达自己的观点;论证的各个方面和对词是相互协作的。这就创造了丰富性或重复。斯图尔特引用了艾米丽·狄金森(Emily Dickinson)的妙语:“大脑比天空更宽”(219页)。狄金森认为，意识与空间或时间无关，但为了计算她想象的思想，我们必须看到一个没有杂色的天空，否则想象会阻碍理解。同样，斯图尔特频繁的精细观测也不能等同于地震视界的变化。寻找这个词的方式的例子，在细节上有无限的变化，在模式上有无限的相似。这本书的一个意想不到的教学收获是，当无休止地重复时，抄写和分析的模式似乎是繁重的。这也让我意识到了别的东西。一旦我们抄写，我们就会改写，并且可以用不同的方式、不同的节奏演奏，因为我们觉得写作是我们自己的:被束缚住了。斯图尔特的论点表面上分为三个不同的领域:“页面、舞台和内在感知屏幕”(23)。印刷字的多个寄存器是已建立的域。斯图尔特用表演(8小时)阅读《了不起的盖茨比》(The Great Gatsby, Gatz, 2010)来解释“口头文本”的影响(90)。他提醒我们文学的听觉遗产，以及莎士比亚在舞台上的一个例子，让他回到了文本中，这让我感到锚定。不言自明，但不知何故在他复杂的论点中提供了抓地力。斯图尔特关于“筛选”句子的章节是平稳而清晰的(115)。在这里，他有了形式，之前已经研究了电影和文学的合并。我喜欢他对文学散文中电影般的距离的分析;哈代把他的人物置于广阔的风景中，这是一个比喻，但斯图尔特绕过了“如此……

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引用次数: 0

Dickens, Death, and Christmas by Robert L. Patten (review) 罗伯特·l·帕滕《狄更斯、死亡与圣诞节》(书评)

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913287

Natalie J. McKnight

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Dickens, Death, and Christmas by Robert L. Patten </li> <li> Natalie J. McKnight (bio) </li> </ul> Robert L. Patten. Dickens, Death, and Christmas. Oxford UP, 2023. Pp. xx + 344. $130.00. ISBN 978-0-19-286266-2 (hb). In this beautifully illustrated, richly contextualized study, Robert Patten traces the often surprising and deeply-rooted connections between death and Christmas festivities in Dickens's Christmas books and in his own experiences of the winter solstice holidays. Patten begins with a vivid description of the Paris morgue and its theatrical display of corpses, a site Dickens frequently visited, often around the winter holidays. It's a striking Prologue with its gruesome details of dead bodies on display, sometimes as if in conversation with each other, and it effectively establishes the key intertwining themes of the book: death and rebirth, remembering and forgetting, ghoulishness and festivity. It also highlights that Patten is writing not just for scholars but for a broader audience of Dickens enthusiasts. The lively writing of the Prologue, which immerses the reader in the sensory details of the scene in a manner few scholarly works ever do, continues throughout the book, and makes Dickens, Death, and Christmas not only extremely informative but also a pleasure to read. Patten divides the book into 12 chapters, one on each of Dickens's five Christmas books, plus ones on Dickens's visits to the morgue, his early experiences with Christmas, Yuletide as seen in The Pickwick Papers, the social evils that motivated Dickens to strike "sledge hammer blows" in his holiday narratives, Christmas celebrations in the 1840s (including celebrations of his oldest son's birthday on Twelfth Night), the Christmas numbers Dickens penned and performed after the publication of the Christmas books, and finally a closing chapter on endings and their implications in life and fiction. In every chapter, Patten's vast knowledge of Dickens's life and works, the social fabric of the times, the extensive theatrical adaptations of his fiction, and the varied critical reception of his publications provide illuminating contexts that will probably surprise even seasoned Dickens scholars. Of course, no one should be surprised by such erudition from such a renowned scholar. Still, having written on A Christmas Carol myself, I foolishly thought there wouldn't be much new for me in the chapter devoted to that book. I of course was wrong. Patten's interpretation of the Carol as an epillion, or small epic, provides a helpful framework for Scrooge's journey [End Page 488] and "makes the voices channeled in the fourth Stave [and elsewhere] more resonant" (103). Patten's analyses of the illustrations – for the Carol</

作为摘要，这里有一个简短的内容摘录:书评:狄更斯，死亡，和圣诞节作者:罗伯特·l·彭定康娜塔莉·j·麦克奈特(传记)罗伯特·l·彭定康。狄更斯，死亡和圣诞节。牛津大学，2023年。Pp. xx + 344。130.00美元。ISBN 978-0-19-286266-2 (hb)。在这本插图精美、背景丰富的研究中，罗伯特·帕滕追溯了狄更斯的圣诞小说和他自己的冬至假期经历中死亡与圣诞节庆祝活动之间令人惊讶而根深蒂固的联系。彭定康首先生动地描述了巴黎的停尸房和尸体的戏剧性展示，狄更斯经常去那里，通常在寒假前后。这是一个引人注目的序言，展示了令人毛骨悚然的尸体细节，有时像是在彼此交谈，它有效地确立了这本书的关键交织主题:死亡与重生，记忆与遗忘，残忍与欢庆。这也突显出，彭定康不仅是为学者写作，也是为更广泛的狄更斯爱好者写作。序言的生动写作，使读者沉浸在场景的感官细节中，这是很少有学术作品能做到的，贯穿全书，使狄更斯，死亡和圣诞节不仅信息量极大，而且读起来很愉快。彭定康把这本书分成了12章，每一章讲述狄更斯的五本圣诞书，另外几章讲述了狄更斯对停尸房的探访，他早期的圣诞节经历，《匹克威克外传》中的圣诞季，促使狄更斯在他的节日叙事中“大锤一击”的社会邪恶，19世纪40年代的圣诞节庆祝活动(包括在第十二夜庆祝他大儿子的生日)，狄更斯在圣诞书籍出版后创作并表演的圣诞数字，最后是关于结局及其对生活和小说的影响的最后一章。在每一章中，彭定康对狄更斯的生平和作品、当时的社会结构、对他的小说的广泛的戏剧改编以及对他的出版物的各种评论的广泛了解，都提供了启发性的背景，甚至可能会让经验丰富的狄更斯学者感到惊讶。当然，没有人会对这样一位著名学者的博学感到惊讶。尽管如此，我自己写过《圣诞颂歌》，我愚蠢地认为，在专门讨论这本书的章节中，对我来说不会有太多新的东西。我当然错了。彭定康将《卡罗尔》解读为尾声，或小史诗，为斯克鲁奇的旅程提供了一个有用的框架[End Page 488]，并“使第四五音(和其他地方)的声音更能引起共鸣”(103)。彭定康对《圣诞颂歌》和其他圣诞书籍插图的分析尤其具有启示性，而且这些图像的复制效果惊人地好。他指出了我之前没有注意到的插图中的细节和差异(比如《卡罗尔》的最后一个画面是在斯克罗吉的家里，而不是办公室，正如文本最初所表明的那样，而且这个场景经常在戏剧和电影版本中被描绘出来)。就传记背景而言，Patten描述了狄更斯对《卡罗尔》盗版的法律诉讼，痛苦地强调了这一法律诉讼对他在情感和金钱上的代价，以及它如何影响了狄更斯余生对法律的看法。在每一章中，彭定康都提供了足够丰富多彩的情节和人物描述，让读者无论最近是否读过这些作品，都能跟着他的思路走。他讲的《壁炉上的蟋蟀》很有气氛，也很吸引人，使我对这个我从来不喜欢的故事产生了好感。坦率地说，我更喜欢彭定康讲述的板球故事，而不是狄更斯的。即使是彭定康也无法让《生命之战》吸引人(至少对我来说)，他对故事中的两个姐妹马里昂和格蕾丝提出了一个有趣的猜测，暗示他们可能从狄更斯与妻子的姐妹玛丽和乔治娜·霍加斯的关系中得到了启示，可能认为“霍加斯三姐妹的生活结合起来会比他与凯瑟琳的婚姻更适合他”(231页)。有一个……

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引用次数: 0

"It was a strange figure": The Fairies of A Christmas Carol “这是一个奇怪的身影”:《圣诞颂歌》中的仙女们

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913284

Joshua Dobbs

Abstract:

With Marley's death emphatically declared in the opening pages of A Christmas Carol, his subsequent appearance clearly defines him as a Victorian ghost. However, the Ghosts of Christmases Past, Present, and To Come conform to no such definition. Dickens never definitively reveals what they are, despite offering lengthy physical descriptions. There exists, as of yet, no thorough investigation into their identities. This article explores A Christmas Carol through a fairy lens because of the popularity of fairy folklore throughout the Victorian era, and Dickens's intimate knowledge of the subject. It identifies the probable fairy origins of the three spirits and demonstrates their connection to the very people that Scrooge initially pushes to the peripheries of his existence. The article also demonstrates that each specific type of fairy represented by the three Christmas spirits would have been known to Dickens.

摘要:马利的死在《圣诞颂歌》的开篇就被强调了，他随后的出现明确地将他定义为一个维多利亚时代的鬼魂。然而，过去、现在和未来的圣诞节鬼魂不符合这样的定义。狄更斯从来没有明确地揭示它们是什么，尽管有冗长的物理描述。到目前为止，还没有对他们的身份进行彻底的调查。这篇文章从童话的角度来探讨《圣诞颂歌》，因为在整个维多利亚时代，童话的民间传说很受欢迎，而且狄更斯对这个主题也很了解。它确定了这三种灵魂可能来自仙女，并展示了它们与斯克鲁奇最初将其推向生存边缘的人之间的联系。这篇文章还论证了三个圣诞精灵所代表的每一种特定类型的仙女都是狄更斯所知道的。

引用次数: 0

The Dickens Checklist 狄更斯的清单

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913292

Dominic Rainsford

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> The Dickens Checklist </li> <li> Dominic Rainsford </li> </ul> The Dickens Checklist, recording new publications, doctoral dissertations, and online resources of significance for Dickens studies, appears in each issue of the journal. A cumulative cross-referenced edition of the Checklist, consisting of listings since vol. 37, no. 1 (March 2020), is available at dickenssociety.org, and is updated once a year. Dominic Rainsford Aarhus University <h2>Secondary Sources: Biography and Criticism</h2> Aldridge, Mark. "'I Read My Dickens': Agatha Christie's Unproduced Film Adaptation of Bleak House." Historical Journal of Film, Radio and Television, vol. 43, no. 2, 2023, pp. 400–18. Google Scholar Bell, Emily. "Wilkie Collins and Dickens." Wilkie Collins in Context, edited by William Baker and Richard Nemesvari, Cambridge UP, 2023, pp. 184–89. Google Scholar D'Alessandro, Michael. "Dickens and Shakespeare and Longfellow, Oh My! Staging the Fan Canon at the Nineteenth-Century Authors' Carnivals." American Literary History, vol. 35, no. 2, Summer 2023, pp. 715–43. Google Scholar Dickens Quarterly, vol. 40, no. 3, Sept. 2023. [Tamara S. Wagner, "'Accidents will happen': Dickens's Comical Mishaps," pp. 277–300; Masayo Hasegawa: "'Fact' versus 'Fancy' among Victorian Professionals in Hard Times," pp. 301–20; Dana Pines, "Charles Dickens & Sir Philip Sidney: Hard Times, An Equine Defence for the Novel," pp. 321–40; Jennifer Judge, "The Juvenalian Satire of Our Mutual Friend," pp. 341–61; William F. Long, "Boz, New York and a Temperance Aphorism," pp. 362–75; Jeremy Tambling, review of Dickens and Victorian Psychology: Introspection, First-Person Narration, and the Mind, by Tyson Stolte, pp. 376–81; Norbert Lennartz, review of Goethe und Dickens als christliche Dichter, by Vittorio Hösle, pp. 381–84; James Eli Adams, review of Queer Economic Dissonance and Victorian Literature, by Meg Dobbins, pp. 384–87; Iain Crawford, review of The Afterlife of Enclosure: British Realism, Character, and the Commons, by Carolyn Lesjak, pp. 387–91; Robert L. Patten, review of On Style in Victorian Fiction, edited by Daniel Tyler, pp. 391–95; Dominic Rainsford, "The Dickens Checklist," pp. 404–06] Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar Google Scholar The Dickensian, vol. 119, part 1, no. 519, Spring 2023. [Joshua Clayton, "Pip and Joe, Ever the Best of Friends," pp. 6–24; Masayo Hasegawa, "Contrasting Uses of Rhetoric in Hard Times," pp. 25–35; Michae

这里是内容的一个简短摘录:狄更斯清单多米尼克·雷思福德《狄更斯清单》记录了新出版的出版物、博士论文和对狄更斯研究有重要意义的在线资源，每期杂志都有。清单的累积交叉参考版本，包括自第37卷以来的清单。1(2020年3月)，可在dickenssociety.org上查阅，每年更新一次。多米尼克·雷恩斯福德奥胡斯大学第二手资料:传记和批评。《我读过我的狄更斯》:阿加莎·克里斯蒂改编自《荒凉山庄》的未制作电影《电影广播电视史刊》第43卷第1期。2, 2023, pp. 400-18。谷歌学者贝尔，艾米丽。“威尔基·柯林斯和狄更斯。”《语境中的威尔基·柯林斯》，威廉·贝克和理查德·内梅斯瓦里编辑，剑桥大学出版社，2023年，第184-89页。谷歌学者D'Alessandro, Michael。“狄更斯、莎士比亚和朗费罗，哦，天哪!在19世纪的作家狂欢节上表演《扇子佳能》《美国文学史》，第35卷，第5期。2，夏季2023，第715-43页。谷歌学者狄更斯季刊，第40卷，第2号。2023年9月3日。[塔玛拉·s·瓦格纳，“意外会发生”:狄更斯的喜剧灾难，第277-300页;Masayo Hasegawa:“困难时期维多利亚时代专业人士的‘事实’与‘幻想’”，第301-20页;戴娜·派恩，《查尔斯·狄更斯》菲利普·西德尼爵士:《艰难时期:小说的马式辩护》，第321-40页;詹妮弗·贾奇，《我们共同朋友的少年讽刺》，第341-61页;威廉·f·朗，《博兹、纽约与节制格言》，第362-75页;杰里米·塔布林，《狄更斯与维多利亚时代心理学:内省、第一人称叙述和心灵》书评，泰森·斯托尔特著，第376-81页;诺伯特·伦纳茨，《歌德与狄更斯的故事》书评，维托里奥著Hösle，第381-84页;詹姆斯·伊莱·亚当斯，《酷儿经济失调与维多利亚文学》书评，梅格·多宾斯著，第384-87页;伊恩·克劳福德，《圈地的来世:英国现实主义、性格和公地》，卡罗琳·莱斯亚克著，第387-91页;罗伯特·l·帕滕，《论维多利亚时代小说的风格》书评，丹尼尔·泰勒主编，第391-95页;多米尼克·雷恩斯福德，“狄更斯清单，”第404-06页]谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，谷歌学者，狄更斯，卷119，第1部分，no。2023年春天。[约书亚·克莱顿，《皮普和乔，永远最好的朋友》，第6-24页;长谷川正代，《困难时期修辞的对比使用》，第25-35页;迈克尔·斯蒂尔，《为什么狄更斯要留胡子?》，第36-47页;尼克·坎布里奇和希瑟·梅西，《狄更斯和水疗》，第48-58页;迪克·库伊曼，《早期荷兰狄更斯》，第59-68页;M. C. Lang，《两只猴子的故事》，第69-75页;Robert C. Hanna，“关于Boz草图中的文本错误的注释”，第76-77页;John Kyriacou和Patricia Wiltshire，给编辑的信(关于CD和Ellen Ternan)，第78-82页;乔尔·j·布拉丁，《查尔斯·狄更斯:文集指南》，安德鲁·斯宾塞著，第83-84页;伊莎贝尔·西格里，《十九世纪文学和文化中的维多利亚表面:皮肤、丝绸和秀》书评，西比尔·鲍姆巴赫和乌拉·拉瑟瑟主编，第85-87页;玛格达莱娜·派佩奇，《狄更斯与维多利亚时代心理学:内省、第一人称叙述与心灵》书评，泰森·斯托尔特著，第87-90页;艾米丽·沃斯，《创伤叙事:维多利亚时代小说与现代应激障碍》书评，格雷琴·布劳恩著，第90-92页;艾米丽·贝尔，《千魂万灵》(Apple TV+)和《圣诞颂歌》(Sky Comedy)的评论，第93-95页;利昂·利特瓦克，《黄昏阅读:狄更斯、鬼魂与超自然》书评(展览，查尔斯·狄更斯博物馆)，第96-98页;里克·艾伦，《处决:伦敦700年的公共惩罚》(展览，伦敦博物馆)，第98-101页;Marzia Dati，《Genova e il Natale congli occhi di Dickens》书评(展览，Villa Duchessa di Galliera, Genova)，第101-02页;《团契笔记与新闻》，第103-25页;《查尔斯·狄更斯博物馆》，第126-29页]谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者谷歌学者多森，艾米丽。《家里爸爸的小天使:管理女儿和乱伦禁忌》劳特利奇手册……

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引用次数: 0

"The wife who has plagued him … & … is rather lunatical": A Contemporary Private Reference to the Dickens Scandal “困扰他的妻子……&……相当疯狂”:当代狄更斯丑闻的私人参考

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913286

William F. Long

Abstract:

A short commentary by the poet Arthur Hugh Clough on the gossip surrounding the breakdown of the Dickens marriage in a letter to an American friend in June 1858 provides a glimpse of how it appeared to one literary Londoner not having a close personal acquaintance with the family. The information (and misinformation) Clough drew on appears to include material derived from Dickens's as then unpublished (later "violated") letter of 25 May. Unlike accounts transmitted to American newspapers by London correspondents which propagated stories concerning an actress, Clough's account mentions Georgina Hogarth as the subject of the "scandalous rumours." He thus tenders a version of the gossip which seems otherwise to have been largely transmitted orally. Clough's characterization of Catherine as "lunatical," well before Dickens's letter of 25 May with its reference to his wife's alleged "mental disorder," comprises the earliest known written reference to this aspect of Dickens's narrative.

摘要:1858年6月，诗人阿瑟·休·克拉夫在写给一位美国朋友的信中，对围绕狄更斯婚姻破裂的八卦进行了简短的评论，让我们得以一窥一位与狄更斯家族没有密切私人关系的伦敦文学家是如何看待这件事的。克拉夫引用的信息(和错误信息)似乎包括狄更斯5月25日未发表(后来被“违反”)的信中的材料。与伦敦记者向美国报纸报道有关女演员的故事不同，克拉夫的报道提到乔治娜·霍加斯是“诽谤性谣言”的主题。因此，他提供了一种似乎主要是口头传播的流言的版本。克拉夫对凯瑟琳的描述是“疯子”，早在狄更斯5月25日的信中提到他妻子所谓的“精神错乱”之前，这是已知最早的关于狄更斯这方面叙述的书面资料。

引用次数: 0

Pickwick and Scrooge: Two Excellent Men of Business 匹克威克和斯克罗吉:两个优秀的商人

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913283

Tara Moore

Abstract:

Created six years apart, Scrooge and Pickwick exhibit extraordinary similarities in their backgrounds and plot trajectories. Scrooge and Pickwick start out as relatively isolated businessmen who make journeys of discovery and learn lessons in compassion. Their metamorphoses are deepened through their relationships with loyal employees. This article explores the scant details about the two men's business lives, including Scrooge's role as a creditor and his connection to the Second Royal Exchange in London, which burned down in January 1838. It also contextualizes Pickwick's ties to the South American sugar trade and the enslaved labor that contributes to his great wealth. The article speculates on the parallelisms between Scrooge and Pickwick and the effects of seeing them both within the scope of their identified business practices.

摘要:《斯克鲁奇》和《匹克威克》的创作时间相距6年，在背景和情节轨迹上有着惊人的相似之处。斯克鲁奇和匹克威克一开始是相对孤立的商人，他们进行了发现之旅，并在同情中吸取了教训。他们与忠诚员工的关系加深了他们的蜕变。本文探讨了这两个人商业生活的一些细节，包括斯克罗吉作为债权人的角色，以及他与伦敦第二皇家交易所的关系，该交易所于1838年1月被烧毁。它还将匹克威克与南美糖贸易的关系以及为他带来巨额财富的奴役劳工置于背景中。这篇文章推测了斯克鲁奇和匹克威克之间的相似之处，以及在他们确定的商业实践范围内看到他们的影响。

引用次数: 0

Screening Charles Dickens: A Survey of Film and Television Adaptations by William Farina (review) 放映查尔斯·狄更斯:威廉·法里纳的电影和电视改编调查(评论)

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913291

Adam Abraham

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Screening Charles Dickens: A Survey of Film and Television Adaptations by William Farina </li> <li> Adam Abraham (bio) </li> </ul> William Farina. Screening Charles Dickens: A Survey of Film and Television Adaptations. McFarland and Company, 2022. Pp. viii + 236. $39.95. ISBN 978-1-4766-8567-0 (pb). The topic of Dickens and film is a promising one. Almost as soon as there were motion pictures, there were motion pictures based on the works of Charles Dickens. In 1897, just a few years after the first movies were projected, a New York-based film company produced Death of Nancy Sykes [sic], now apparently lost. D. W. Griffith, a pioneering director, learned techniques of cross-cutting and parallel action from Dickens's multiplot novels – a connection that Sergei Eisenstein articulates in a 1944 essay. Earlier books have explored this terrain, including Charles Dickens on the Screen (Pointer, 1996), Dickens on Screen (Glavin, 2003), Dickens and the Dream of Cinema (Smith, 2003), and works dedicated to the many versions of A Christmas Carol (Guida, 2000) or Great Expectations (McFarlane, 2008). Into this array enters Screening Charles Dickens, which proposes to update the field of knowledge. Its author, William Farina, is something of a polymath. He has written a biography of Ulysses S. Grant; books on dogs, cabaret, and Arthurian romance; and a 2006 volume entitled De Vere as Shakespeare, an exploration of anti-Stratfordian theory. His analytical gaze now turns to cinematic and televisual adaptations of Dickens. In the new book's introduction, he argues that "the novels and short stories of Dickens have become nearly synonymous with the history of filmmaking" (1). By the end, he concludes, "Each generation needs its own versions of Copperfield, Pip, Heep, Scrooge, and Fagin (among many others), proving yet again the durability and indestructability of Dickens' storytelling art" (195). Both of these sentiments ring true; however, the pages that fall in between are tedious, repetitious, and marred by errors. Farina has a tendency to say that which does not need to be said, like the legendary penny-a-liner increasing his or her word count. In the chapter on Dombey and Son, we learn the following: "By the late 1960s, much had changed from the 1930s" (91). For readers who are thus confused by points of chronology, the author explains that Alec Guinness appeared in a 1939 stage play "long before" his role in Star Wars, in 1977 (151). Further, we are told that Jim Carrey is a "celebrity star," which is unnecessary and redundant (66). Among the more unhelpful details is Farina's use of inclusive dates of death and birth for individuals. Within two consecutive s

作为摘要，以下是内容的简短摘录:书评:放映查尔斯·狄更斯:威廉·法里纳的电影和电视改编调查亚当·亚伯拉罕(传记)威廉·法里纳。放映查尔斯·狄更斯:电影和电视改编调查。麦克法兰公司，2022。第8页+ 236页39.95美元。ISBN 978-1-4766-8567-0 (pb)。狄更斯与电影的话题是一个很有前途的话题。几乎在电影出现的时候，就有了根据查尔斯·狄更斯作品改编的电影。1897年，就在第一部电影放映几年后，一家总部位于纽约的电影公司制作了《南希·赛克斯之死》(Death of Nancy Sykes)，这部电影现在显然已经丢失了。先锋导演d·w·格里菲斯(D. W. Griffith)从狄更斯的多情节小说中学习了交叉切入和平行动作的技巧——谢尔盖·爱森斯坦(Sergei Eisenstein)在1944年的一篇文章中阐明了这种联系。早期的书籍已经探索了这一领域，包括《银幕上的查尔斯·狄更斯》(Pointer出版社，1996年)、《银幕上的狄更斯》(Glavin出版社，2003年)、《狄更斯与电影之梦》(Smith出版社，2003年)，以及为《圣诞颂歌》(Guida出版社，2000年)和《远大前程》(McFarlane出版社，2008年)的多个版本而创作的作品。放映查尔斯·狄更斯(Screening Charles Dickens)也加入了这一行列，它提出要更新知识领域。这本书的作者威廉·法里纳是个博学的人。他写过尤利西斯·s·格兰特的传记;关于狗、歌舞表演和亚瑟王罗曼史的书;2006年出版了一本名为《德维尔是莎士比亚》的书，探讨了反斯特拉特福理论。他分析的目光现在转向了狄更斯的电影和电视改编。在新书的介绍中，他认为“狄更斯的长篇小说和短篇小说几乎已经成为电影史的代名词”(1)。最后，他总结道，“每一代人都需要自己版本的科波菲尔、皮普、希普、斯克鲁奇和费金(以及其他许多人)，这再次证明了狄更斯叙事艺术的持久性和坚不可摧”(195)。这两种观点听起来都是正确的;然而，介于两者之间的页面是乏味的、重复的，并且被错误所破坏。法里纳倾向于说一些不需要说的话，就像传说中的小段子作家增加他或她的字数一样。在关于董贝父子公司的那一章中，我们了解到:“到20世纪60年代末，与20世纪30年代相比，发生了很大的变化”(91)。对于那些对时间点感到困惑的读者，作者解释说，亚历克·吉尼斯在1977年出演《星球大战》之前很久就出现在1939年的舞台剧中了(151页)。此外，我们被告知金·凯瑞是一个“明星”，这是不必要和多余的(66)。法里纳使用了个人的死亡和出生日期，这是一个更没有帮助的细节。在连续的两句话里，我们知道了四个人的出生和死亡年份:伯纳德·赫尔曼、麦克斯韦·安德森、弗雷德·斯皮尔曼和珍妮丝·托尔(61岁)。因此，这本书开始给人一种墓地的感觉。同样乏味的是大量的重复。作者一遍又一遍地提到，Hablot K. Browne使用了一个令人愉快的笔名“Phiz”(13、30、48、69、86等等)。狄更斯的一些改编作品在多个章节中进行了详细的讨论;对电视剧《伦敦的狄更斯》(1976)和《发明圣诞节的人》(2017)进行了两次分析。如果这本书在事实上是可靠的，那么所有这些观点都将是瑕疵。然而，有些错误本可以进行事实核查。这本书有几个标题搞错了:“银幕上的查尔斯·狄更斯”(没有“3”字)和“一年四季”(130)。根据法里纳的说法，在1994年的电影《智力竞赛秀》中，保罗·斯科菲尔德扮演“游戏节目主持人马克·范·多伦”(75)。事实上，是这位哥伦比亚大学教授的儿子查尔斯出现在了游戏节目中。音乐剧的崇拜者们会惊讶地发现，阿兰·布比利(Alain boubill)写了《missamrables》(由作词人赫伯特·克雷茨默(Herbert Kretzmer)的作品)的英文改编版。法里纳混淆了“电影”和“录像”这两个词，并把彩色电影称为“彩色”，这削弱了他的可信度。狄更斯的读者更苦恼的是作者对其作品的误解，这些作品构成了这项研究的基础。法里纳似乎忘记了《雾都孤儿》的情节:他描述了“情感冷淡但安全的农村成长”，这发生在奥利弗……

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引用次数: 0

Reading Bodies in Victorian Fiction: Associationism, Empathy and Literary Authority by Peter J. Katz (review) 维多利亚小说中的阅读体:联想主义、共情与文学权威

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913289

Christian Lehmann

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Reading Bodies in Victorian Fiction: Associationism, Empathy and Literary Authority by Peter J. Katz </li> <li> Christian Lehmann (bio) </li> </ul> Peter J. Katz. Reading Bodies in Victorian Fiction: Associationism, Empathy and Literary Authority. Edinburgh UP, 2022. Pp. vii + 248. $110.00; £85.00. ISBN 978-1-474-47620-1 (hb). The opening participle in Peter Katz's new book, Reading Bodies, is ambiguous. Are the character bodies doing the reading? Are we reading the characters or the characters each other? Is it our own bodies that are reading? Over the course of six chapters and five novelists, Katz continually disrupts our understanding of what it means to read and who does the reading. But Katz is not interested in the meta-literary; rather he attempts to return us to the experience – and stakes – of the reading public in the nineteenth century. He traces a schism between academic writers and readers against popular authors and their general reading public, for whom literacy rates rose to 81% for men and 73% for women by 1871 (93). For the academic writer and reader (e.g. Matthew Arnold and Max Müller), reading is about power and authority; these (almost always) men get to interpret and lay claim to someone else's experience (think about Edward Casaubon's Key to All Mythologies). In contrast are the popular novelists that populate Katz's chapters. "Reading, these novelists have suggested, can be a place to reject knowledge, and even to reject a kind of false acknowledgement that only seeks authority. When read well – with feeling, for feeling, about feeling – novels can cultivate not authority, but an ethics of care" (188). This ethics of care is the "Empathy" in Katz's subtitle. [End Page 493] He claims that these novelists grounded their appeal for empathetic reading in the eighteenth- and nineteenth-century science of Associationism. At its most general, Associationism claims that our sensations are absorbed first and then turned into rational understanding in ever more complicated ways along associative pathways. Katz's specific interest is in Associationism's understanding of language, which considers "language not as a force that shapes matter discursively, nor as a byproduct of material forces, but rather as part of a biological process in an embodied, social species" (5). Thus, reading the words on a page changes the way we interact in social space. The first chapter sets the background for Katz's argument as he introduces us to the philosophical debates, the scientific and philosophical practitioners, and the cultural background to his arguments about reading and Associationism. There is a dizzying array of names, but Katz ably guides the reader through the evolving thinking through helpful subsections. Chapter 2 is

这里是内容的简短摘录，而不是摘要:书评:维多利亚小说中的阅读身体:联想主义，移情和文学权威，作者:彼得·j·卡茨维多利亚小说中的阅读体:联想主义、共情与文学权威。爱丁堡UP, 2022年。第vii + 248页。110.00美元;£85.00。ISBN 978-1-474-47620-1 (hb)。彼得·卡茨(Peter Katz)的新书《阅读身体》(Reading Bodies)的开头分词模棱两可。是角色的身体在阅读吗?我们是在读角色还是在读彼此的角色?是我们自己的身体在阅读吗?在六章和五位小说家的书中，卡茨不断地颠覆我们对阅读意味着什么以及谁在阅读的理解。但卡茨对元文学不感兴趣;相反，他试图让我们回到19世纪读者的经历和利害关系。他追溯了学术作家和读者与通俗作家及其普通读者之间的分裂，到1871年，通俗作家的识字率上升到男性81%，女性73%(93)。对于学术作家和读者(如马修·阿诺德和马克斯·米勒)来说，阅读是关于权力和权威的;这些(几乎总是)男人可以解释和声称别人的经历(想想爱德华·卡苏邦的《所有神话的钥匙》)。与之形成对比的是卡茨书中出现的流行小说家。这些小说家认为，阅读可以成为一个拒绝知识的地方，甚至可以拒绝一种只寻求权威的虚假承认。如果读得好——带着感情，为了感情，关于感情——小说可以培养的不是权威，而是一种关怀的伦理”(188)。这种关怀伦理就是卡茨副标题中的“共情”。他声称，这些小说家对移情阅读的诉求是建立在18世纪和19世纪的联想主义科学基础之上的。总的来说，联想主义认为，我们的感觉首先被吸收，然后以更复杂的方式，沿着联想途径转化为理性理解。卡茨特别感兴趣的是联想主义对语言的理解，它认为“语言不是一种话语塑造物质的力量，也不是物质力量的副产品，而是体现在社会物种中的生物过程的一部分”(5)。因此，阅读页面上的文字改变了我们在社会空间中互动的方式。第一章为卡茨的论点设定了背景，他向我们介绍了哲学辩论、科学和哲学实践者，以及他关于阅读和联想主义的论点的文化背景。书中有一大堆令人眼花缭乱的名字，但卡茨通过有用的小节巧妙地引导读者了解不断发展的思维。第二章是对狄更斯-博兹1837年的小品《医院的病人》的持续细读，卡茨在书中认为，狄更斯的文字教导我们作为读者去同情病人，把病人当作一个人，而不是一个抽象概念:“一个人对文本身体的感觉等同于对一个活生生的身体的感觉”(70)。在第三章中，卡茨以“伟大的期望”为中心论点，认为皮普将自己视为一个不变的(唯一的)参照对象，这导致他以唯我论的方式误读了他人和自己的身体。卡茨以连载的形式来研究小说(引用每周的部分而不是出版的小说)，并观察到连载使狄更斯能够融入这种具身记忆的实践[…]。联想主义并没有把连续的阅读时间想象成被等待打断的时间序列，而是暗示了一种感觉和复杂身份的连续性，它不仅包含过去的自我阅读，还包含过去的自我对现在的自我记忆的影响。(89)在“连印与速度”(90-96)这一出色的章节中，卡茨探讨了轰动小说与阅读这些文本的频率、速度和地点之间的关系，同时借鉴了阿尔弗雷德·奥斯汀(Alfred Austin) 1870年的文章《我们的小说:快学校》(Our novel: the Fast School)来观察阅读小说与体验帝国之间的联系。在接下来的三章中，卡茨从狄更斯转向了其他三位作家。在《月光石》一章中，卡茨认为，柯林斯1868年的这部小说处于机械……

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引用次数: 0

Jaggers the Plotter and the Pretty Child: Masculine Vulnerability to Beauty in Great Expectations 阴谋者贾格斯和漂亮的孩子:《远大前程》中男性对美的脆弱性

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-11-29 DOI: 10.1353/dqt.2023.a913285

Sara Martín

Abstract:

This article examines the role of the criminal lawyer Mr. Jaggers in Great Expectations, arguing that beyond his function as the hidden link between Miss Havisham and Abel Magwitch, his masculine vulnerability before the pretty little child who becomes Estella is an essential plot element. Jaggers's decision to save this child from poverty, and perhaps prostitution, characterizes the lawyer as Dickens's main authorial collaborator and key plotter. Jaggers's actions, wholly disclosed in Chapter 51, characterize him thus as a fully rounded minor or supporting character. His motivations to rescue Estella, however, are ambiguous, appearing to be either an example of compassionate chivalry or, in a darker reading, a strategy to control his sexual impulses.

摘要:本文考察了《远大前程》中刑事律师贾格斯先生的角色，认为除了他作为郝薇香小姐和阿贝尔·马格韦契之间的隐藏纽带之外，他在成为埃斯特拉的漂亮小女孩之前的男性脆弱是一个必不可少的情节元素。贾格斯决定把这个孩子从贫困中拯救出来，也许还有卖淫，这使这位律师成为狄更斯的主要合作者和主要策划者。贾格斯的行为，在第51章中完全暴露出来，因此把他描绘成一个完全成熟的次要角色或配角。然而，他拯救艾丝黛拉的动机是模糊的，似乎是一个富有同情心的骑士精神的例子，或者在更黑暗的解读中，是一种控制性冲动的策略。

引用次数: 0

“Accidents will happen”: Dickens’s Comical Mishaps “意外总会发生”:狄更斯的《滑稽的灾难》

IF 0.6 1区文学 0 LITERATURE, BRITISH ISLES

DICKENS QUARTERLY

Pub Date : 2023-08-18 DOI: 10.1353/dqt.2023.a904839

T. Wagner

Abstract:This article critically unpacks the complex narrative potential that mishaps fulfil in Dickens’s fiction. It parses the way comedy works in his depiction of the various accidents of daily life and explores how their shifting narrative functions influentially shaped the representation of personal misfortune and social ethics at a time that saw competing interpretative frameworks of why accidents happen. Situating Dickens’s fictional mishaps amidst the changing concepts of the accidental in the nineteenth century, I trace how he creates comedy based on pantomimic transformations in The Pickwick Papers, and how this mode continues to operate in his writing. Martin Chuzzlewit then marks a turning-point in prefiguring sensational representations of seeming household accidents. In Dickens’s later novels, the comedy of accidents shifts towards a parodic engagement with specific – individual and institutional – interpretations. Thus, in Little Dorrit, accidents and their misinterpretations comically complicate competing ideas of probability, misfortune, and poetic justice.

摘要:本文批判性地剖析了不幸在狄更斯小说中所发挥的复杂叙事潜能。它分析了喜剧在他对日常生活中各种事故的描述中的运作方式，并探讨了他们的叙事功能的变化如何影响了个人不幸和社会伦理的表现，在那个时代，人们对事故发生的解释框架是相互竞争的。我将狄更斯的小说灾难置于19世纪意外概念的变化之中，探究他是如何在《匹克威克外传》中以哑剧的转变为基础创作喜剧的，以及这种模式是如何在他的作品中继续发挥作用的。马丁·丘兹莱维特在预言看似家庭事故的耸人听闻的表现方面标志着一个转折点。在狄更斯后期的小说中，意外喜剧转向了对具体的——个人的和制度的——解释的戏仿。因此，在《小杜丽》中，事故和对事故的误解滑稽地复杂化了概率、不幸和诗意正义等相互矛盾的概念。

引用次数: 0