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The Afterlife of Enclosure: British Realism, Character, and the Commons by Carolyn Lesjak (review) 《圈地的来世:英国现实主义、性格和公地》卡罗琳·莱斯亚克著(书评)
IF 0.6 1区 文学 Q3 Arts and Humanities Pub Date : 2023-08-18 DOI: 10.1353/dqt.2023.a904847
Iain Crawford
warrants more attention than it receives here. That mystery derives in large part from the arcane networks in which each character forms a central node, a mystery which is compounded by professional decorums of gentlemanly reserve – a decorum in keeping with the role of “confidential clerk.” That mystery in turn amplifies the anxieties associated with the circulation of money and credit, as worries about far-reaching, seemingly impersonal financial markets come to be incarnated in the volatility of deeply personal relationships. Such mystery may or may not be charged with transgressive sexuality, as it clearly is (very differently) in Heep and Carker, but not at all clearly in Lorry and Harmon. The search for the erotically “queer,” unfortunately, tends to cloud both these distinctions and the larger structural importance of the characters, both within the financial networks they represent and within the novels where they appear. Dobbins does helpfully alert us to the affective complexity of finance in Dickens’s novels, and thereby enriches a topic that has long been recognized as a central concern of his fiction. But her study also brings home how very elusive the queer can be.
应该得到比这里更多的关注。这种神秘感在很大程度上源于神秘的网络,在这个网络中,每个角色都形成了一个中心节点,这种神秘感是由绅士式的缄默的专业礼仪混合而成的——这种礼仪与“机密职员”的角色保持一致。这种神秘感反过来又放大了与货币和信贷流通相关的焦虑,因为对影响深远、看似客观的金融市场的担忧,最终体现在深刻的个人关系的波动中。这种神秘可能会也可能不会被指责为越界性行为,就像在希普和卡克身上很明显(非常不同)那样,但在劳里和哈蒙身上却一点也不明显。不幸的是,对情色“酷儿”的寻找,往往掩盖了这些区别,也掩盖了这些角色更大的结构重要性,无论是在他们所代表的金融网络中,还是在他们出现的小说中。杜宾斯确实帮助我们注意到狄更斯小说中金融的情感复杂性,从而丰富了一个长期以来被认为是他小说中心关注的话题。但她的研究也表明,酷儿是多么难以捉摸。
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引用次数: 0
Queer Economic Dissidence and Victorian Literature by Meg Dobbins (review) 《奇怪的经济分歧与维多利亚文学》——梅格·多宾斯(综述)
IF 0.6 1区 文学 Q3 Arts and Humanities Pub Date : 2023-08-18 DOI: 10.1353/dqt.2023.a904846
J. Adams
biblical figures such as Jacob and Jonah, and eventually even ventriloquizes Jesus to paradoxically teach his readers a philosophy of paganism and pantheism. Considering the fact that Goethe’s Italian Journey is commonly hailed as the precursor of Wagner’s and Nietzsche’s radical aestheticism, it is surprising to see that Goethe makes ample use of biblical patterns and at one point, around Easter, is not even loath to see himself transfigured like Christ who is not recognized by his disciples at Emmaus. By the end of this slim volume, the reader is at a loss to find a reliable answer to the question of what induces an author to re-publish essays on Goethe and Dickens in German with a small, marginalized sub-publisher in Baden-Baden. Despite the tendency of some of the essays to be rather long-winded, they are refreshingly knowledgeable and thought-provoking, and thus it might have been more sensible if the author had taken the time to re-arrange the book, to put some effort into editorial updating and to have shaped it into an English publication for the benefit of a wider international audience. Dickens’s hitherto neglected German side thus remains a topic that is still waiting for a wider platform.
雅各布和约拿等圣经人物,最终甚至用腹语表达耶稣,自相矛盾地向读者传授异教徒和泛神论的哲学。考虑到歌德的《意大利之旅》通常被誉为瓦格纳和尼采激进唯美主义的先驱,令人惊讶的是,歌德充分利用了圣经的模式,在复活节前后的某个时刻,他甚至不愿意看到自己像基督一样变形,而基督在埃马乌斯没有得到他的门徒的认可。在这本薄薄的书的结尾,读者无法找到一个可靠的答案来回答这个问题,即是什么促使作者与巴登-巴登的一家小型边缘化子出版商用德语重新出版关于歌德和狄更斯的文章。尽管有些文章有长篇大论的倾向,但它们知识渊博,发人深省,因此,如果作者花时间重新安排这本书,在编辑更新上投入一些精力,并将其塑造成一本英文出版物,以造福更广泛的国际读者,这可能会更明智。因此,狄更斯迄今为止被忽视的德国一面仍然是一个仍在等待更广泛平台的话题。
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引用次数: 0
The Dickens Checklist 狄更斯的清单
IF 0.6 1区 文学 Q3 Arts and Humanities Pub Date : 2023-08-18 DOI: 10.1353/dqt.2023.a904849
D. Rainsford
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引用次数: 0
Boz, New York and a Temperance Aphorism 博兹,纽约与禁酒格言
IF 0.6 1区 文学 Q3 Arts and Humanities Pub Date : 2023-08-18 DOI: 10.1353/dqt.2023.a904843
William F. Long
Abstract:Visiting America in 1842, Dickens found the problem of drunkenness in the process of being vigorously addressed. He was questioned about the prevalence of alcohol consumption in his fiction and criticized for an inferred less than totally serious regard for America’s efforts to confront the problem by promoting abstinence. His response was to question the logic and potential effectiveness of that approach. He reacted similarly to such an approach at home, consistently reiterating the view that there was “such a thing as Use without Abuse” in personal correspondence, and, sometimes coupled to arguments for moderation in other matters, in his journalism. During his 1842 visit, declining in a previously uncollected letter an invitation to attend a temperance-observing event in New York, he instead sent a striking aphorism, which thereafter appeared in temperance-promoting literature.
摘要:1842年,狄更斯访问美国时,发现酗酒问题正在被大力解决。他被问及小说中饮酒的普遍性,并被批评为对美国通过提倡禁欲来应对这一问题的努力不够认真。他的回答是质疑这种做法的逻辑性和潜在的有效性。他在国内也对这种做法做出了类似的反应,不断重申在个人信件中存在“不滥用就使用”的观点,有时在他的新闻报道中也会提出在其他问题上保持适度的论点。在1842年的访问中,他在一封之前未收到的信中拒绝了参加在纽约举行的禁酒观察活动的邀请,而是发出了一句引人注目的格言,这句格言后来出现在禁酒宣传文学中。
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引用次数: 0
Charles Dickens & Sir Philip Sidney: Hard Times, An Equine Defence for the Novel 查尔斯·狄更斯和菲利普·西德尼爵士:艰难时期,小说的马背辩护
IF 0.6 1区 文学 Q3 Arts and Humanities Pub Date : 2023-08-18 DOI: 10.1353/dqt.2023.a904841
Dana Pines
Abstract:While critics have often read Hard Times as Dickens’s defense of imagination against utilitarianism, industrialism, and the fact-driven education of his time, the source of Dickens’s defensive theory and poetics has remained comparatively obscure. This article will argue that Dickens, in his attempt to defend imaginative literature, invokes Sir Philip Sidney’s sixteenth-century Defence of Poetry. More specifically, Dickens borrows from Sidney the trope of “Horsemanship” as a means to discuss the value of “Poetry.” Throughout the novel, Dickens turns to the image of the horse and the members of Sleary’s Horse-Riding as the catalysts for poetic powers, fancy, and imagination. Sleary’s troupe exposes the failure of the mechanical residents of Coketown, who insist on manufacturing passionless Bitzers rather than sensitive Sissys. The novel’s equine aesthetic repeatedly conjures the anxiety of the Gradgrindian School of “poesy,” where Dickens, through the equine invocation, carries out his apologetic debate.
摘要:虽然批评家们经常把《艰难时世》解读为狄更斯对功利主义、工业主义和当时以事实为导向的教育的想象辩护,但狄更斯的辩护理论和诗学的来源却相对模糊。本文将论证狄更斯在为想象文学辩护时,引用了菲利普•西德尼爵士的《16世纪为诗歌辩护》一书。更具体地说,狄更斯从西德尼那里借用了“马术”的比喻,作为讨论“诗歌”价值的手段。在整部小说中,狄更斯把马的形象和斯莱里骑马队的成员作为诗歌力量、幻想和想象力的催化剂。Sleary的剧团揭露了可乐镇机械居民的失败,他们坚持制造没有激情的bitzer,而不是敏感的Sissys。小说的马美学反复唤起了葛拉狄安学派“诗歌”的焦虑,狄更斯通过马的祈祷进行了他的辩白。
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引用次数: 0
The Juvenalian Satire of Our Mutual Friend 我们共同朋友的朱维纳讽刺
IF 0.6 1区 文学 Q3 Arts and Humanities Pub Date : 2023-08-18 DOI: 10.1353/dqt.2023.a904842
Jennifer Judge
Abstract:This essay argues that Dickens rejected the Victorian literary consensus that satire, especially in its extravagant Juvenalian form, was unsuited to the novel. In several prefaces, he positions satire’s magnifying aesthetic of “extreme exposition” as an ideal mode for disrupting readers’ preconceptions. In Our Mutual Friend, Dickens forcefully revives Juvenal’s rhetorical overabundance and open scorn for avarice to showcase the voracious inhumanity of capitalism. Drawing upon prevalent ideas about the power of habit, he floods the novel with examples of the near inescapability of individual and institutional bad habit in a materialistic world. A variety of addictions are shown to dominate human character and deaden empathy and will. With satirical excess, Dickens blatantly displays the apocalyptic pull of solipsism and greed in a series of ostentatious Society dinners that echo Juvenal. In opposition to his critics, Dickens felt his audience urgently needed bold truths delivered with Juvenalian force.
摘要:这篇文章认为,狄更斯拒绝接受维多利亚时代的文学共识,即讽刺,尤其是其奢华的朱维纳形式,不适合小说。在几篇序言中,他将讽刺“极端阐述”的放大美学定位为打破读者先入为主观念的理想模式。在《我们共同的朋友》中,狄更斯有力地再现了朱维纳尔的修辞过度和对贪婪的公开蔑视,以展示资本主义贪婪的不人道。他借鉴了关于习惯力量的普遍观点,在小说中大量列举了在物质主义世界中个人和制度的坏习惯几乎不可避免的例子。人们发现,各种各样的毒瘾支配着人类的性格,削弱了同情心和意志。狄更斯讽刺过度,在一系列与朱维纳尔相呼应的炫耀性社会晚宴中,公然展示了唯我论和贪婪的启示录魅力。与他的批评者相反,狄更斯觉得他的观众迫切需要用朱维纳利的力量传达大胆的真理。
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引用次数: 0
Editors and Editorial Board 编辑和编辑委员会
1区 文学 Q3 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.1353/dqt.2023.0012
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引用次数: 0
From the Editor 来自编辑
1区 文学 Q3 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.1353/dqt.2023.0018
Dominic Rainsford
From the Editor Dominic Rainsford This is a particularly international issue of Dickens Quarterly, with contributors based in China, Denmark, Japan, Israel, Latvia, the United Kingdom, and the United States. This raises a dilemma when it comes to name-order. Chinese and Japanese names (as well as various others not represented in the current issue) are normally presented with the family name first, in the languages in question. Western publishers, and Western society more broadly, have largely adopted the Chinese convention, referring to “Xi Jinping” and “Ai Weiwei,” for example, rather than “Jinping Xi” and “Weiwei Ai.” On the other hand, despite some official encouragement from the Japanese government, Western sources continue to Westernize the order of Japanese names: “Fumio Kishida” and “Yayoi Kusama,” for example, instead of “Kishida Fumio” and “Kusama Yayoi.” A few Western publications–for example, The Economist–now place family names first, consistently, in the case of both Chinese and Japanese individuals, but this is still rare in academic publishing. After consulting with contributors, Dickens Quarterly has decided to proceed, for the time being, with the pragmatic solution of following the predominant Western practice for Chinese and Japanese names, respectively. This was also the choice made by Athena Press, Japan, in the case of the collection Dickens and the Anatomy of Evil, reviewed in this issue. At the same time, Athena joined many other publishers in adopting the convention of placing family names in small capitals in the table of contents, so as to avoid confusion. We have decided to do the same, in the contributor notes and abstracts as well as in the table of contents (although not in bibliographic entries, or in references within the text of articles and reviews). We will keep this matter under review as wider familiarity with different conventions develops and in light of our contributors’ views and wishes. [End Page 137] Dominic Rainsford Aarhus University Copyright © 2023 The Dickens Society
这是《狄更斯季刊》特别国际化的一期,撰稿人来自中国、丹麦、日本、以色列、拉脱维亚、英国和美国。当涉及到名字顺序时,这就产生了一个两难的局面。中文和日文的名字(以及本期杂志中没有提到的其他各种名字)通常以相关语言的姓氏开头。另一方面,尽管有日本政府的官方鼓励,西方来源继续西化日本名字的顺序:例如,“岸田文雄”和“草间弥生”,而不是“岸田文雄”和“草间弥生”。一些西方出版物——比如《经济学人》——现在一贯地把中国人和日本人的姓氏放在第一位,但这在学术出版中仍然很少见。在与撰稿人协商后,《狄更斯季刊》决定暂时采用实用主义的解决方案,分别遵循西方的主要做法,分别为中国和日本命名。这也是日本雅典娜出版社(Athena Press)在本期回顾的《狄更斯与恶的剖析》(Dickens and the Anatomy of Evil)中所做的选择。与此同时,雅典娜加入了许多其他出版商的行列,采用了在目录中以小写字母显示姓氏的惯例,以避免混淆。我们决定在贡献者备注和摘要以及目录中也这样做(尽管不在书目条目中,也不在文章和评论文本中的参考文献中)。随着人们对不同公约的更广泛了解以及我们的投稿人的意见和愿望的发展,我们将继续审查这一问题。版权所有©2023狄更斯协会
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引用次数: 0
Dickens and Democracy in the Age of Paper: Representing the People by Carolyn Vellenga Berman 狄更斯与纸时代的民主:代表人民
IF 0.6 1区 文学 Q3 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.1353/dqt.2023.0013
J. Drew
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引用次数: 0
The Dickens Checklist 狄更斯的清单
1区 文学 Q3 Arts and Humanities Pub Date : 2023-06-01 DOI: 10.1353/dqt.2023.0011
Dominic Rainsford
The Dickens Checklist Dominic Rainsford The Dickens Checklist, recording new publications, doctoral dissertations, and online ressources 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. _______ Secondary Sources: Biography and Criticism Celeste, Mark. “Visualizing Mutuality: Teaching / Networks in Our Mutual Friend.” Victorians Institute Journal, vol. 49, 2022, pp. 166–97. Chelebourg, Christian. “Scrooge en famille: lecture socialisée d’un rite fictionnel.” Noël entre magie blanche et magie noire, edited by Christian Chelebourg, Lettres Modernes Minard, 2022, pp. 121–37. Revue des lettres modernes: Écritures jeunesse: 4. [CC ] Dick, Archie. Reading Spaces in South Africa, 1850–1920s. Cambridge UP, 2020. Elements in Publishing and Book Culture. [Ch. 3: “Dickens on the Page, the Podium, and the Stage”] Dickens Quarterly, vol. 40, no. 1, Mar. 2023. [Dominic Rainsford, “From the Editor,” pp. 5–7; Benjamin O’Dell, “David Copperfield, Émile, and the Legacy of Enlightenment Education Literature,” pp. 8–27; James Armstrong, “‘In a Dark Wig’: Reinventing Byron as Steerforth in David Copperfield,” pp. 28–44; Kathryne Ford, “Dickensian Divisions: David Copperfield’s ‘Hero[ine] of my own life,’” pp. 45–63; Lanya Lamouria, “Charles Dickens, Charles Babbage, Richard Babley: Material Memory in David Copperfield,” pp. 64–82; Jeremy Parrott, “Electrical Undercurrents in David Copperfield,” pp. 83–107; Robert Sirabian, review of The Lawyer in Dickens, by Franziska Quabeck, pp. 108–12; Michelle Allen-Emerson, review of Bite the Hand that Reads: Dickens, Animals, and Sanitary Reform, by Terry Scarborough, pp. 112–16; Tamara S. Wagner, review of The Tramp in British Literature, 1850–1950, by Luke Lewin Davies, and Vagrancy in the Victorian Age: Representing the Wandering Poor in Nineteenth-Century Literature and Culture, by Alistair Robinson, pp. 116–21; Dominic Rainsford, “The Dickens Checklist,” pp. 127–30] Dickens Studies Annual, vol. 54, no. 1, 2023. [Introduction, pp. v–vii; James Armstrong, “Rejecting ‘Nature’ in Martin Chuzzlewit: Racism, Slavery, and Death in Eden,” pp. 1–13; Jane E. Kim, “Watching the Detectives: The Reciprocal Gaze in Our Mutual Friend,” pp. 14–34; Laura White, “Insects, Age, and Failure: The Suppressed Chapter of ‘The Wasp in a Wig,’” pp. 35–50; James Hamby, “‘Let us veil our meaning’: Holiday Romance and the Second Reform Act of 1867,” pp. 51–73; Melissa Jenkins, “Whither, Hardy?: Selected Hardy Studies 2010–2022,” pp. 74–83; Richard A. Kaye, “Twenty-First-Century Oscar Wilde: A Review Essay,” pp. 84–119.] The Dickensian, vol. 118, part 3, no. 516, Winter 2022. [Catherine Waters, “From the New President,” pp. 253–56; William F. Long, “Dickens, Ainsworth and Turpin’s Gyves,” pp. 258–68; Renata Goroshkova, “A Tale of Two Magazines: Dickens
《狄更斯清单》记录了对狄更斯研究有重要意义的新出版物、博士论文和在线资源,每期都出现在该杂志上。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。_______次要资料来源:传记和批评Celeste, Mark。“可视化相互关系:在我们共同的朋友中教学/网络。”《维多利亚学院学报》,第49卷,2022年,第166-97页。Chelebourg,基督徒。"家族中的斯克鲁奇:社会主义的变革,不是虚构的"Noël白色魔法师与黑色魔法师中心,克里斯蒂安·谢勒堡编辑,《现代文学》,2022年,第121-37页。现代文学评论:Écritures青年:4。[CC]迪克,阿奇。南非的阅读空间,1850 - 1920。剑桥大学,2020年。出版与图书文化的要素。[第3章:“在纸上、讲台上和舞台上的狄更斯”]《狄更斯季刊》,第40卷,第2期。2023年3月1日。[Dominic Rainsford,“来自编辑”,第5-7页;本杰明·奥戴尔,《大卫·科波菲尔Émile与启蒙教育文学遗产》,第8-27页;詹姆斯·阿姆斯特朗,《戴着黑假发:在《大卫·科波菲尔》中将拜伦重塑为斯蒂福兹》,第28-44页;凯瑟琳·福特,《狄更斯式的划分:大卫·科波菲尔的“我自己生命中的英雄”》,第45-63页;Lanya Lamouria,“查尔斯·狄更斯,查尔斯·巴贝奇,理查德·巴伯利:大卫·科波菲尔的物质记忆”,第64-82页;杰里米·帕罗特,《大卫·科波菲尔的电流暗流》,第83-107页;罗伯特·西拉宾,《狄更斯笔下的律师》书评,弗兰兹斯卡·奎贝克著,第108-12页;米歇尔·艾伦-爱默生,《咬手读:狄更斯、动物和卫生改革》书评,特里·斯卡伯勒著,第112-16页;塔玛拉·s·瓦格纳,对卢克·卢因·戴维斯的《英国文学中的流浪者》(1850-1950)和阿利斯泰尔·罗宾逊的《维多利亚时代的流浪者:19世纪文学和文化中流浪穷人的代表》(116-21页)的评论;多米尼克·雷恩斯福德,《狄更斯的清单》,第127-30页。1, 2023。[导言,第5至7页;詹姆斯·阿姆斯特朗,《在马丁·丘兹莱维特中拒绝“自然”:伊甸园中的种族主义、奴隶制和死亡》,第1-13页;简·e·金,《观看侦探:我们共同朋友的相互凝视》,第14-34页;劳拉·怀特,《昆虫、年龄与失败:《戴假发的黄蜂》中被压抑的一章》,第35-50页;詹姆斯·汉比,“让我们掩盖我们的意义”:假日浪漫和1867年的第二次改革法案,第51-73页;梅丽莎·詹金斯《哈迪,去哪儿?》:《哈代研究选集2010-2022》,第74-83页;理查德·A·凯,<二十一世纪奥斯卡·王尔德:一篇评论文章>,第84-119页。狄更斯,第118卷,第3部分。516,冬季2022。[凯瑟琳·沃特斯,《来自新总统》,第253-56页;威廉·f·朗,《狄更斯、安斯沃思和特平的小说》,第258-68页;Renata Goroshkova,《两本杂志的故事:当代与祖国笔记中的狄更斯》,第269-80页;Abderrezzaq Ghafsi,《查尔斯·狄更斯日记中的埃米尔·阿卜杜勒卡迪尔》,第281-90页;Robert C. Hanna,“Joseph M. Field,国际版权和Boz的面具”,第291-308页;唐·理查德·考克斯,《查尔斯·柯林斯的信:一些额外的谜团》,第309-18页;Brian Ruck,“狄更斯的私生子和Ellen Ternan之谜”,第319-32页;伊恩·克劳福德,《纸时代的狄更斯与民主:代表人民》,卡罗琳·韦伦加·伯曼著,第334-37页;海伦娜·凯利,《从伦敦下来:铁路时代的海边阅读》书评,卡罗琳·w·德·拉·l·奥尔顿著,第337-39页;弗朗西斯卡·奥雷斯塔诺,《甜蜜的景色:一首英国田园诗的形成》书评,马尔科姆·安德鲁斯著,第339-42页;波兹·赫灵顿:《狄更斯时代的英国:1812-1870》,杰里米·布莱克著,第343-44页;西德尼·雷恩,《狄更斯与斯台普赫斯特:铁路事故传记》,杰拉尔德·狄更斯著,第345-47页;露西·怀特黑德,对米里亚姆·马戈耶斯所著《这是真的》的评论,第347-49页;玛丽亚·朱科,《亲爱的狄更斯先生》的书评,南希·丘宁和贝瑟尼·斯坦克利夫著,第349-51页;Philipp Röttgers,对《圣诞颂歌》(音乐专辑)的评论,作者:majestic,第352-53页;保罗·格雷厄姆,《弗雷德里克·基顿与圣奥尔本斯:从匹克威克到保存》(展览),第354-55页;“团契笔记和新闻……
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引用次数: 0
期刊
DICKENS QUARTERLY
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