STUDIES IN AMERICAN FICTION最新文献

Tired Gestures and Exhausted Forms: Nathanael West and the California "Dream Dump" 疲惫的姿态和枯竭的形式：纳塔奈尔-韦斯特与加州 "梦幻垃圾场"

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-07-23 DOI: 10.1353/saf.2024.a932800

Rochelle Rives

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Tired Gestures and Exhausted Forms:Nathanael West and the California "Dream Dump" </li> <li> Rochelle Rives (bio) </li> </ul> Nathanael West's The Day of the Locust is a veritable catalog of the health quackery and messianic lifestyle fads of 1930s Los Angeles. Nonetheless, the novel reminds us, those enlisted in the "Search for Health" had actually "come to California to die."1 Literally and figuratively aging, these Californians become ideal aesthetic models for the work of the novel's artist/protagonist, Tod Hackett. Yet the body in decline is a body Tod cannot paint. Struggling to bring his work to completion, Tod is unable to claim his authority as a painter because of his attraction to these bodies. As it explores Tod's modern attempt to produce and paint exhaustion, the 1939 novel—with its aesthetic vision centered on artistic failure and incompletion—engages the histories of both theater and painting as models for tired affective and aesthetic forms. Indeed, certain well-known modernist preoccupations with order, personality, and aesthetic mastery are satirized in Tod Hackett's vision of an exhausted Hollywood landscape. Through the tradition of grotesque art and early twentieth-century physiological performance styles based on the formalization of hysterical gesture, debility and decline, West creates an alternative "historical sense," drawing incisive parallels between the emptiness of Hollywood culture and modernist aesthetic anxiety.2 I highlight this concept of "historical sense"—from T.S. Eliot's 1919 essay "Tradition and the Individual Talent"—not to promote Eliot as a master spokesperson for modernist aesthetic ideology, but to underline one explicitly articulated term in modernist discourse that may act as a measure or lens through which to gauge West's own interest in the "perception, not only of the pastness of the past, but of its presence."3 In the essay, Eliot promotes a rescaling of tradition, the product of which is a new proportional "order" that demonstrates a "conformity between the old and the new," a temporal synthesis that [End Page 55] is further linked to aesthetic mastery.4 In contrast, The Day of the Locust, with its emphasis on temporal disjunction, failure, and incompletion, comments satirically on the "sterility and social impotence of the masterwork."5 At the same time, the novel performs its debt to the masterwork. Indeed, Tod must situate his own work in relation to art historical tradition and aesthetic prototypes in order to claim his authority as a mostly unsuccessful painter, but this relationship to authority is often indeterminate and ambiguous, as is the ultimate political work we can understand West's fiction as doing. Humorously, and, as I

以下是内容的简要摘录，以代替摘要：疲惫的姿态和枯竭的形式：纳坦奈尔-韦斯特与加州 "梦幻垃圾场" 罗谢尔-里夫斯（简历纳坦奈尔-韦斯特的《蝗虫之日》是 20 世纪 30 年代洛杉矶健康庸医和救世主式生活方式的名副其实的目录。然而，小说提醒我们，那些被征召参加 "寻找健康 "活动的人实际上是 "到加利福尼亚来送死的 "1 。这些加利福尼亚人在字面上和形象上都在衰老，他们成为小说的艺术家/主人公托德-哈克特作品的理想审美模特。然而，衰老的身体是托德无法描绘的。托德一直在努力完成他的作品，但由于他对这些身体的吸引力，他无法宣称自己作为画家的权威。1939 年的小说在探讨托德试图创作和描绘衰竭的现代尝试时，以艺术失败和未完成为中心的美学视角，将戏剧和绘画的历史作为疲惫的情感和审美形式的典范。事实上，托德-哈克特（Tod Hackett）笔下疲惫不堪的好莱坞景观讽刺了现代主义对秩序、个性和美学大师的某些众所周知的关注。通过基于歇斯底里姿态、衰弱和衰退的形式化的怪诞艺术和二十世纪早期生理表演风格的传统，韦斯特创造了另一种 "历史感"，在好莱坞文化的空虚和现代主义美学焦虑之间找到了精辟的相似之处2。我强调这个 "历史感 "的概念--来自艾略特（T.S. Eliot）1919 年的文章《传统与个人才能》--并不是要把艾略特推崇为现代主义美学意识形态的代言人，而是要强调现代主义话语中一个明确阐述的术语，它可以作为衡量韦斯特自己对 "不仅感知过去的过去，而且感知它的存在 "3 的兴趣的尺度或透镜。"3 在这篇文章中，艾略特提倡重新调整传统，其产物是一种新的按比例划分的 "秩序"，它展示了 "新旧之间的一致性"，是一种时间上的综合，[第55页完]进一步与美学大师联系在一起。与此相反，《蝗虫之日》强调时间上的脱节、失败和不完整，讽刺 "大师作品的不育和社会无能 "5 。的确，托德必须将自己的作品与艺术史传统和美学原型联系起来，才能宣称自己作为一个大多不成功的画家的权威性，但这种与权威的关系往往是不确定和模糊的，正如我们可以理解的韦斯特小说所做的最终政治工作一样。幽默的是，正如我将在此论证的那样，在政治上，韦斯特与艾略特一样关注现代情感的 "体验 "和表达问题；然而，韦斯特的小说也让人注意到对情感如此明确地大惊小怪的讽刺意味，而这些情感显然不应该 "有意识地发生"，也不应该被 "回忆"、"体验"、"表达 "或分析。艾略特的确将获得非个人的 "历史感 "与 "特定情感 "的 "放弃 "联系在一起；他认为，这种让步的结果是一种 "新的艺术情感 "7 。马修-穆特（Matthew Mutter）认为，韦斯特的小说 "专注于 "情感的形式或外观，以及 "独特的现代话语试图诊断、解释、栖息或转化痛苦的喜剧性不足 "8 。穆特明确回应了贾斯图斯-尼兰德（Justus Nieland）的说法，即韦斯特的喜剧拒绝将此类情感作为维系关系的纽带，进一步暴露了将同情和认同与 "公共和社区归属 "联系在一起的人文主义情感的空虚。"9 这两个表面上截然不同的论点所共同关注的问题是，艺术作品中的对立是否可以通过一种总体化的政治或形式来解决或救赎为 "一致性"，或者作品是否只是对我们在资本主义下所遭受的痛苦的各种情感矛盾的一种喜剧反映。我在此感兴趣的不仅仅是情感是否可以被 "诊断、解释、栖息或转化"，我还感兴趣的是，一方面，情感是否可以形成一种可辨别的审美形态、实质或体验，另一方面，情感是否只是被穷尽了......

{"title":"Tired Gestures and Exhausted Forms: Nathanael West and the California \"Dream Dump\"","authors":"Rochelle Rives","doi":"10.1353/saf.2024.a932800","DOIUrl":"https://doi.org/10.1353/saf.2024.a932800","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Tired Gestures and Exhausted Forms:Nathanael West and the California \"Dream Dump\" </li> <li> Rochelle Rives (bio) </li> </ul> Nathanael West's The Day of the Locust is a veritable catalog of the health quackery and messianic lifestyle fads of 1930s Los Angeles. Nonetheless, the novel reminds us, those enlisted in the \"Search for Health\" had actually \"come to California to die.\"1 Literally and figuratively aging, these Californians become ideal aesthetic models for the work of the novel's artist/protagonist, Tod Hackett. Yet the body in decline is a body Tod cannot paint. Struggling to bring his work to completion, Tod is unable to claim his authority as a painter because of his attraction to these bodies. As it explores Tod's modern attempt to produce and paint exhaustion, the 1939 novel—with its aesthetic vision centered on artistic failure and incompletion—engages the histories of both theater and painting as models for tired affective and aesthetic forms. Indeed, certain well-known modernist preoccupations with order, personality, and aesthetic mastery are satirized in Tod Hackett's vision of an exhausted Hollywood landscape. Through the tradition of grotesque art and early twentieth-century physiological performance styles based on the formalization of hysterical gesture, debility and decline, West creates an alternative \"historical sense,\" drawing incisive parallels between the emptiness of Hollywood culture and modernist aesthetic anxiety.2 I highlight this concept of \"historical sense\"—from T.S. Eliot's 1919 essay \"Tradition and the Individual Talent\"—not to promote Eliot as a master spokesperson for modernist aesthetic ideology, but to underline one explicitly articulated term in modernist discourse that may act as a measure or lens through which to gauge West's own interest in the \"perception, not only of the pastness of the past, but of its presence.\"3 In the essay, Eliot promotes a rescaling of tradition, the product of which is a new proportional \"order\" that demonstrates a \"conformity between the old and the new,\" a temporal synthesis that [End Page 55] is further linked to aesthetic mastery.4 In contrast, The Day of the Locust, with its emphasis on temporal disjunction, failure, and incompletion, comments satirically on the \"sterility and social impotence of the masterwork.\"5 At the same time, the novel performs its debt to the masterwork. Indeed, Tod must situate his own work in relation to art historical tradition and aesthetic prototypes in order to claim his authority as a mostly unsuccessful painter, but this relationship to authority is often indeterminate and ambiguous, as is the ultimate political work we can understand West's fiction as doing. Humorously, and, as I ","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141754073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Innovating the Early Modern: Pastoral Cycle and Epiphany in Sarah Orne Jewett's The Country of the Pointed Firs 现代早期的创新：萨拉-奥恩-朱维特《尖枞树之乡》中的牧歌循环与主显节

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-07-23 DOI: 10.1353/saf.2024.a932799

Kristen L. Olson

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Innovating the Early Modern:Pastoral Cycle and Epiphany in Sarah Orne Jewett's The Country of the Pointed Firs </li> <li> Kristen L. Olson (bio) </li> </ul> In its sixtieth anniversary year, the Guggenheim Museum ran a retrospective on Hilma af Klint (1842–1944) that became the most-attended exhibition in its history. Art historians called her style groundbreaking, "resonant with the long-celebrated styles of more famous male artists like Wassily Kandinsky and Piet Mondrian,"1 a "body of work that invites a reevaluation of modernism and its development."2 Though Sarah Orne Jewett is more established than af Klint, her fiction tests similar boundaries. Her best-known work, The Country of the Pointed Firs (1896), has found a comfortable niche in the American literary canon, admired for its naturalistic acuity and its nuanced revelation of late-nineteenth-century class division. Yet Jewett has still more to show us about the literary imagination of her time. As Marjorie Pryse observes in her introduction to the 1981 Norton edition, "we have allowed Pointed Firs to fall into an abyss between nineteenth-century themes and twentieth-century technique."3 Jewett's writing has felt modern to us, but we have not clearly understood why. I want to suggest here that a closer examination of Jewett's use of literary pastoral in her experiment with the story cycle form reveals innovation that not only reinforces her place as a formative voice in the tradition of local color regionalism but also situates her work on the vanguard of Modernist fiction.4 To follow Pryse's inclination, reassessing Pointed Firs' technique means examining the key element defining the modern in the Modernist story cycle: the emergence of the protagonist's experience in a series of epiphanic moments, "the revelatory instant in which characters' perception of themselves or their position in the world is transformed."5 For the cycle's protagonist, these revelations occur as moments of connection with an [End Page 25] individual or idea in each story, linking together across the collection of episodes to build the protagonist's growing self-awareness. My assertion is that Jewett uses the story cycle form to ground her narrator's epiphanic experience in the framework of transformation typical of sixteenth-century pastoral drama. While it may seem archaic from a twenty-first-century perspective, pastoral is a richly varied genre, and Jewett's adaptation of literary pastoral is progressive, anticipating the development of twentieth-century story cycles using epiphanic moments as an organizing principle.6 Jewett draws particularly on Shakespearean pastoral, the hallmark of which is the transfiguring experi

以下是内容的简要摘录，以代替摘要：创新早期现代艺术：莎拉-奥恩-朱维特的《尖枞树之乡》中的田园循环与顿悟克里斯汀-L.-奥尔森（简历在古根海姆博物馆成立六十周年之际，该博物馆举办了希尔玛-阿夫-克林特（1842-1944 年）回顾展，成为该博物馆历史上参观人数最多的展览。艺术史学家称她的风格具有开创性，"与瓦西里-康定斯基（Wassily Kandinsky）和皮特-蒙德里安（Piet Mondrian）等更著名的男性艺术家长期以来广受赞誉的风格产生了共鸣 "1 ，"她的作品唤起了人们对现代主义及其发展的重新评价 "2 。她最著名的作品《尖杉之乡》（1896 年）在美国文学典籍中占有一席之地，其自然主义的敏锐性和对 19 世纪晚期阶级分化的细致入微的揭示令人钦佩。然而，朱厄特还可以向我们展示她那个时代的文学想象力。正如玛乔丽-普莱斯（Marjorie Pryse）在为 1981 年诺顿版所作的序言中指出的那样，"我们让《尖枞树》陷入了十九世纪主题与二十世纪技巧之间的深渊"。在此，我想说的是，仔细研究一下 Jewett 在其故事循环形式实验中对文学田园诗的运用，就会发现她的创新不仅巩固了她在地方色彩地域主义传统中的地位，还将她的作品置于现代主义小说的前沿。按照普莱斯的倾向，重新评估《尖杉树》的技巧意味着要审视现代主义循环故事中定义现代的关键因素：主人公在一系列顿悟时刻的经历，"人物对自身或其在世界中的地位的认知发生转变的启示性瞬间 "5。"5对于这个循环的主人公来说，这些启示发生在与每个故事中的某个 [结束语第 25 页] 个人或观念建立联系的时刻，在整个故事集中串联起来，建立起主人公不断增长的自我意识。我的论断是，朱维特利用故事循环的形式，将叙述者的顿悟体验建立在十六世纪田园戏剧典型的转变框架之上。虽然从 21 世纪的角度来看，田园诗似乎已经过时，但田园诗是一种变化丰富的体裁，朱维特对文学田园诗的改编是渐进的，预示着以顿悟时刻为组织原则的 20 世纪故事循环的发展。Jewett 特别借鉴了莎士比亚的田园诗，其特点是主人公在剧中的 "绿色世界"（一种孤立的自然环境，由其自身的一系列支配力量所界定）中的逗留体验。故事循环的框架使每个田园情节既相互独立，又不可分割，构成了更广阔的田园之旅的一部分，延伸至叙述者的阿卡迪亚之夏的整个故事弧线。深入理解《尖杉树》的田园风格，就能明确这种对叙述者顿悟的强调，以及她作为故事主人公在故事循环中的角色。8 虽然叙述者的声音在整个《尖杉树》中占据主导地位，但在这部作品的大部分批评史中，她的发展一直被低估。有分析倾向于将叙述者的功能解释为实用性的，而不是对朱维特的作品主题至关重要的，例如罗伯特-卢舍尔（Robert Luscher）对《尖峰冷杉》颇具影响力的解读，就将叙述者视为用来增强作品连贯性的一种手段："在记述叙述者拜访邓尼特兰亭的不同居民时......朱维特采用了游记的形式，利用叙述者的个性和时间框架（以及重复的人物和形象）将她的作品统一起来。他经常提到叙述者的突出地位，并将《尖杉树》称为 "故事序列"，这表明故事的连续性是以线性动力为基础的；他注意到故事是整体的，部分与整体之间存在相互作用，而且...

{"title":"Innovating the Early Modern: Pastoral Cycle and Epiphany in Sarah Orne Jewett's The Country of the Pointed Firs","authors":"Kristen L. Olson","doi":"10.1353/saf.2024.a932799","DOIUrl":"https://doi.org/10.1353/saf.2024.a932799","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Innovating the Early Modern:Pastoral Cycle and Epiphany in Sarah Orne Jewett's The Country of the Pointed Firs </li> <li> Kristen L. Olson (bio) </li> </ul> In its sixtieth anniversary year, the Guggenheim Museum ran a retrospective on Hilma af Klint (1842–1944) that became the most-attended exhibition in its history. Art historians called her style groundbreaking, \"resonant with the long-celebrated styles of more famous male artists like Wassily Kandinsky and Piet Mondrian,\"1 a \"body of work that invites a reevaluation of modernism and its development.\"2 Though Sarah Orne Jewett is more established than af Klint, her fiction tests similar boundaries. Her best-known work, The Country of the Pointed Firs (1896), has found a comfortable niche in the American literary canon, admired for its naturalistic acuity and its nuanced revelation of late-nineteenth-century class division. Yet Jewett has still more to show us about the literary imagination of her time. As Marjorie Pryse observes in her introduction to the 1981 Norton edition, \"we have allowed Pointed Firs to fall into an abyss between nineteenth-century themes and twentieth-century technique.\"3 Jewett's writing has felt modern to us, but we have not clearly understood why. I want to suggest here that a closer examination of Jewett's use of literary pastoral in her experiment with the story cycle form reveals innovation that not only reinforces her place as a formative voice in the tradition of local color regionalism but also situates her work on the vanguard of Modernist fiction.4 To follow Pryse's inclination, reassessing Pointed Firs' technique means examining the key element defining the modern in the Modernist story cycle: the emergence of the protagonist's experience in a series of epiphanic moments, \"the revelatory instant in which characters' perception of themselves or their position in the world is transformed.\"5 For the cycle's protagonist, these revelations occur as moments of connection with an [End Page 25] individual or idea in each story, linking together across the collection of episodes to build the protagonist's growing self-awareness. My assertion is that Jewett uses the story cycle form to ground her narrator's epiphanic experience in the framework of transformation typical of sixteenth-century pastoral drama. While it may seem archaic from a twenty-first-century perspective, pastoral is a richly varied genre, and Jewett's adaptation of literary pastoral is progressive, anticipating the development of twentieth-century story cycles using epiphanic moments as an organizing principle.6 Jewett draws particularly on Shakespearean pastoral, the hallmark of which is the transfiguring experi","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"99 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141754075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Notes on Contributors 撰稿人说明

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-07-23 DOI: 10.1353/saf.2024.a932803

In lieu of an abstract, here is a brief excerpt of the content:

Notes on Contributors

Kristen L. Olson is Associate Professor of English at Penn State University's Beaver Campus. Her recent book, The Patterns That Make Poetry, will be published by Routledge in 2024, and she is currently developing a monograph showing how visually informed patterns found in emblem books and devotional poetry influenced Milton's poetic design. She has published widely on sixteenth- and seventeenth-century poetics, as well as on works that share commonalities across temporal boundaries.

Dale Pattison is Associate Professor of English at Texas A&M University – Corpus Christi. His current book project, The Politics of Progress, argues that neoliberalism's reconfiguring of human subjectivity demands new approaches for understanding Western narrative traditions valorizing liberal individualism, personal freedom, and human agency. His most recent work has been published or is forthcoming in Critique: Studies in Contemporary Fiction, American Studies, and JNT: Journal of Narrative Theory.

Rochelle Rives is Professor of English at the Borough of Manhattan Community College, City University of New York. She is the author of two books, Modernist Impersonalities: Affect, Authority and the Subject (2012) and more recently, The New Physiognomy: Face, Form, and Modern Expression (2024).

Jay Shelat is Assistant Professor of English at Ursinus College, where he teaches courses in contemporary culture. His work can be found or is forthcoming in MELUS, Studies in American Fiction, TSLL, Avidly, and elsewhere. He is currently writing his first monograph, which explores how post-9/11 legal and social policy affect families of color.

Gale Temple is Associate Professor of English at the University of Alabama at Birmingham, where he specializes in early American literature and culture. His work has appeared in such venues as Studies in American Fiction, Arizona Quarterly, Textual Practice, J19, Leviathan, The Nathaniel Hawthorne Review, and ESQ. He is currently working on two book projects: a critical companion to life and writings of Nathaniel Hawthorne, and a monograph about early American literary and cultural portrayals of addiction.

以下是内容的简要摘录，以代替摘要：作者简介克里斯汀-L-奥尔森（Kristen L. Olson）是宾夕法尼亚州立大学比弗校区的英语副教授。她最近出版的新书《诗歌的图案》（The Patterns That Make Poetry）将于 2024 年由 Routledge 出版，目前她正在撰写一本专著，展示徽章书籍和虔诚诗歌中的视觉图案是如何影响弥尔顿的诗歌设计的。她的著作广泛涉及十六世纪和十七世纪的诗学，以及跨越时空界限的共性作品。戴尔-帕蒂森（Dale Pattison）是德克萨斯A&M大学-科珀斯克里斯蒂分校的英语副教授。他目前的著作项目《进步的政治》（The Politics of Progress）认为，新自由主义对人类主体性的重构需要新的方法来理解崇尚自由个人主义、个人自由和人类能动性的西方叙事传统。他的最新作品已发表或即将发表在《批判》、《当代小说研究》、《美国社会科学》、《美国社会科学杂志》、《美国社会科学》、《美国社会科学杂志》、《美国社会科学杂志》等杂志上：当代小说研究》、《美国研究》和《JNT：叙事理论期刊》上发表或即将发表。Rochelle Rives 是纽约市立大学曼哈顿区社区学院的英语教授。她著有两本书：《现代主义的非人格化》（Modernist Impersonalities：Affect，Authority and the Subject》（2012 年）和最近出版的《The New Physiognomy》（新面相学）：面孔、形式和现代表达》（2024 年）。Jay Shelat 是厄西纳斯学院英语系助理教授，教授当代文化课程。他的作品发表于或即将发表于《MELUS》、《美国小说研究》、《TSLL》、《Avidly》等刊物。他目前正在撰写第一部专著，探讨 9/11 事件后的法律和社会政策如何影响有色人种家庭。盖尔-坦普尔是阿拉巴马大学伯明翰分校的英语副教授，专攻美国早期文学和文化。他的作品散见于《美国小说研究》、《亚利桑那季刊》、《文本实践》、《J19》、《利维坦》、《纳撒尼尔-霍桑评论》和《ESQ》等刊物。他目前正在撰写两个图书项目：一本关于纳撒尼尔-霍桑生平和著作的评论专著，以及一本关于美国早期文学和文化对成瘾的描述的专著。版权所有 © 2024 约翰斯-霍普金斯大学出版社 ...

{"title":"Notes on Contributors","authors":"","doi":"10.1353/saf.2024.a932803","DOIUrl":"https://doi.org/10.1353/saf.2024.a932803","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Notes on Contributors </li> </ul> Kristen L. Olson is Associate Professor of English at Penn State University's Beaver Campus. Her recent book, The Patterns That Make Poetry, will be published by Routledge in 2024, and she is currently developing a monograph showing how visually informed patterns found in emblem books and devotional poetry influenced Milton's poetic design. She has published widely on sixteenth- and seventeenth-century poetics, as well as on works that share commonalities across temporal boundaries. Dale Pattison is Associate Professor of English at Texas A&M University – Corpus Christi. His current book project, The Politics of Progress, argues that neoliberalism's reconfiguring of human subjectivity demands new approaches for understanding Western narrative traditions valorizing liberal individualism, personal freedom, and human agency. His most recent work has been published or is forthcoming in Critique: Studies in Contemporary Fiction, American Studies, and JNT: Journal of Narrative Theory. Rochelle Rives is Professor of English at the Borough of Manhattan Community College, City University of New York. She is the author of two books, Modernist Impersonalities: Affect, Authority and the Subject (2012) and more recently, The New Physiognomy: Face, Form, and Modern Expression (2024). Jay Shelat is Assistant Professor of English at Ursinus College, where he teaches courses in contemporary culture. His work can be found or is forthcoming in MELUS, Studies in American Fiction, TSLL, Avidly, and elsewhere. He is currently writing his first monograph, which explores how post-9/11 legal and social policy affect families of color. Gale Temple is Associate Professor of English at the University of Alabama at Birmingham, where he specializes in early American literature and culture. His work has appeared in such venues as Studies in American Fiction, Arizona Quarterly, Textual Practice, J19, Leviathan, The Nathaniel Hawthorne Review, and ESQ. He is currently working on two book projects: a critical companion to life and writings of Nathaniel Hawthorne, and a monograph about early American literary and cultural portrayals of addiction. Copyright © 2024 Johns Hopkins University Press ... ","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141754074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Walking Dead in a Dead New York: Family and the Specter of 9/11 in Zone One 死寂纽约中的行尸走肉：第一区的家庭与 9/11 阴影

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-07-23 DOI: 10.1353/saf.2024.a932802

Jay N. Shelat

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> The Walking Dead in a Dead New York:Family and the Specter of 9/11 in Zone One </li> <li> Jay N. Shelat (bio) </li> </ul> She is known as the Dust Lady. Marcy Borders walked out of the World Trade Center on September 11, 2001, coated from head to toe in the cinders of catastrophe, and was immortalized in Stan Honda's haunting photograph. Borders's shocked face reflects the horror and tragedy of the day, and the photo is a dystopian signifier of how 9/11 "usher[ed] in an era of new seriousness."1 Authors have always thematized the apocalyptic nature of the attacks. Don DeLillo, for instance, uses ash and dust as charnel confetti to welcome this new epoch in his 2007 novel Falling Man: "It was not a street anymore but a world, a time and space of falling ash and near night."2 The raining powder transforms the micro street into the macro world and inaugurates a living nightmare. This new age of terror, moreover, would go on to see the decimation of more than the New York City skyline: the Forever War decimates nations, homes, and families, and the conflict underscores how imperial, militaristic response goes hand in hand with the end of the world, or the end of a world. A popular theme in post-9/11 literature, apocalypse is an imminent menace of catastrophe that characterizes the present age. Take Kamila Shamsie's Burnt Shadows (2009), in which Hiroko survives the utter destruction of Nagasaki and watches her father transform into a hellish creature. And in Mohsin Hamid's Exit West (2017), protagonists Nadia and Saeed witness the razing of their home city, inaugurating their refugee, dystopian subjectivities. Extensive destruction doesn't only necessitate apocalypse, however. What we could term individualized apocalypse signals the end of the world for a person, an affective position that shouts, "For me this is the end of the world." The world continues to turn, yet a character remains suspended in the inertia of trauma. This is how Oskar feels when his father Thomas dies in the attacks in Jonathan Safran Foer's Extremely Loud [End Page 105] and Incredibly Close (2005); he is in never-ending suspended animation, where constant reminders of his earth-shattering loss reside in the objects that surround him. In this article, I not only treat apocalypse as a material event that has distinct physical attributes (gray ash, desolation, etc.), but I also consider it a subjective condition that limns the collapse of social and personal infrastructures.3 As Jessica Hurley and Dan Sinykin argue, "apocalypse mediates the unevenly distributed risks of the contemporary, social, political, and geophysical world. Race, gender, sexuality, disability, indigeneity, citizenship,

以下是内容的简要摘录，以代替摘要：死寂纽约的行尸走肉：第一区的家庭与 9/11 的幽灵杰伊-N-谢拉特（简历）她被称为 "尘女"。2001 年 9 月 11 日，玛西-博德斯走出世贸中心，从头到脚都沾满了灾难留下的灰烬，斯坦-本田在她的照片上留下了永恒的印记。博德斯震惊的脸庞反映了当天的恐怖和悲剧，这张照片是 9/11 事件 "开创了一个新的严肃时代 "1 的歇斯底里的象征。例如，唐-德里罗（Don DeLillo）在其 2007 年出版的小说《坠落的人》（Falling Man）中，用灰烬和尘埃作为烧焦的纸屑来迎接这一新时代："这不再是一条街道，而是一个世界，一个灰烬坠落、夜幕降临的时空 "2 。此外，在这个新的恐怖时代，被摧毁的不仅仅是纽约市的天际线："永远的战争 "摧毁了国家、家园和家庭，这场冲突凸显了帝国主义、军国主义的反应是如何与世界末日或一个世界的末日齐头并进的。天启 "是 "9-11 "事件后文学作品中的一个流行主题，是一种迫在眉睫的灾难威胁，是当今时代的特征。在卡米拉-沙姆西（Kamila Shamsie）的《烧焦的影子》（2009 年）中，博子在长崎的彻底毁灭中幸存下来，眼睁睁地看着自己的父亲变成了地狱生物。而在莫辛-哈米德（Mohsin Hamid）的《西出口》（Exit West，2017 年）中，主人公纳迪娅和赛义德目睹了家乡城市被夷为平地，开启了他们的难民、乌托邦主体性。然而，大面积的破坏并不只是世界末日的必要条件。我们可以称之为个人化的世界末日，它意味着一个人的世界末日，是一种情感立场，高喊着 "对我来说，这就是世界末日"。世界仍在继续转动，但一个人物却仍然悬浮在创伤的惯性中。这就是乔纳森-萨夫兰-福尔（Jonathan Safran Foer）的《极度喧嚣[尾页105] 和难以置信的接近》（Extremely Loud [End Page 105] and Incredibly Close，2005）中奥斯卡的父亲托马斯在袭击中丧生时奥斯卡的感受；他处于永无休止的悬浮状态，周围的事物不断提醒着他那惊天动地的损失。3 正如杰西卡-赫尔利和丹-辛伊金所言，"启示录对当代、社会、政治和地球物理世界中分布不均的风险进行了调解。种族、性别、性、残疾、原住民身份、公民身份和阶级决定了我们在灾难性暴力面前的脆弱性，无论速度是快是慢。"4 换言之，数百万人存在于世界末日的现实中。我通过研究世界末日中的家庭，考察科尔森-怀特海 2011 年的僵尸小说《第一区》中 9/11 的幽灵是如何萦绕在人们心头的，从而对这一现实有了直观的认识。亡灵小说在恐怖袭击后大受欢迎，因为这种体裁宣传了历史上的政治焦虑和苦难，即帝国主义和奴隶制，以及最近的9-11事件后 "我们与他们 "的种族二元对立。我对《第一区》的解读考虑的是，在僵尸横行的纽约，家庭和家园是如何在毁灭的悬崖边岌岌可危的。我认为，僵尸和 9/11 事件的各种提醒代表了小说中早已消逝的家庭动力，而 9/11 事件后的文学作品对家庭和家的怀旧赞美，我特别分析了那些揭示家庭在灾难后如何挣扎的场景（闪回）。我认为，尽管存在这种永恒的死亡，但家庭作为美国价值观和超能力的资本主义晴雨表依然存在，我还展示了怀特海如何在美国新政府利用白人异性恋的核心家庭为徒劳无益的例外主义国家重建项目提供支架时，批评家庭的政治化。这些在家庭与国家之间宣扬的种族化动力转化为叙事中迫在眉睫的僵尸威胁，我声称这些怪物不仅体现了永久性的家庭损失和历史创伤，还体现了...

{"title":"The Walking Dead in a Dead New York: Family and the Specter of 9/11 in Zone One","authors":"Jay N. Shelat","doi":"10.1353/saf.2024.a932802","DOIUrl":"https://doi.org/10.1353/saf.2024.a932802","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> The Walking Dead in a Dead New York:Family and the Specter of 9/11 in Zone One </li> <li> Jay N. Shelat (bio) </li> </ul> She is known as the Dust Lady. Marcy Borders walked out of the World Trade Center on September 11, 2001, coated from head to toe in the cinders of catastrophe, and was immortalized in Stan Honda's haunting photograph. Borders's shocked face reflects the horror and tragedy of the day, and the photo is a dystopian signifier of how 9/11 \"usher[ed] in an era of new seriousness.\"1 Authors have always thematized the apocalyptic nature of the attacks. Don DeLillo, for instance, uses ash and dust as charnel confetti to welcome this new epoch in his 2007 novel Falling Man: \"It was not a street anymore but a world, a time and space of falling ash and near night.\"2 The raining powder transforms the micro street into the macro world and inaugurates a living nightmare. This new age of terror, moreover, would go on to see the decimation of more than the New York City skyline: the Forever War decimates nations, homes, and families, and the conflict underscores how imperial, militaristic response goes hand in hand with the end of the world, or the end of a world. A popular theme in post-9/11 literature, apocalypse is an imminent menace of catastrophe that characterizes the present age. Take Kamila Shamsie's Burnt Shadows (2009), in which Hiroko survives the utter destruction of Nagasaki and watches her father transform into a hellish creature. And in Mohsin Hamid's Exit West (2017), protagonists Nadia and Saeed witness the razing of their home city, inaugurating their refugee, dystopian subjectivities. Extensive destruction doesn't only necessitate apocalypse, however. What we could term individualized apocalypse signals the end of the world for a person, an affective position that shouts, \"For me this is the end of the world.\" The world continues to turn, yet a character remains suspended in the inertia of trauma. This is how Oskar feels when his father Thomas dies in the attacks in Jonathan Safran Foer's Extremely Loud [End Page 105] and Incredibly Close (2005); he is in never-ending suspended animation, where constant reminders of his earth-shattering loss reside in the objects that surround him. In this article, I not only treat apocalypse as a material event that has distinct physical attributes (gray ash, desolation, etc.), but I also consider it a subjective condition that limns the collapse of social and personal infrastructures.3 As Jessica Hurley and Dan Sinykin argue, \"apocalypse mediates the unevenly distributed risks of the contemporary, social, political, and geophysical world. Race, gender, sexuality, disability, indigeneity, citizenship,","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"93 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141754184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Intemperate Women: Female Inebriates, Temperance Fiction, and Nineteenth-Century Medicine 无节制的女人女性醉酒者、节制小说和十九世纪医学

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-07-23 DOI: 10.1353/saf.2024.a932798

Gale Temple

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Intemperate Women:Female Inebriates, Temperance Fiction, and Nineteenth-Century Medicine </li> <li> Gale Temple (bio) </li> </ul> <h2>I. Introduction</h2> Some of the most influential scholarship on nineteenth-century American temperance fiction has focused on the ambivalent complicity of temperance plots with the repressive norms of a burgeoning middle-class social order. In other words, if it's true that the middle class "forged itself" through the "collective repression of alcohol," then we might view the fictional drunkard's relentless thirst as a potentially redemptive expression of desire for the repressed or as-yet-unrealized intimacies and associations that middle-class normalcy only ever imperfectly foreclosed.1 Michael Warner, for example, reads Whitman's Franklin Evans (1842) as a tentative map for a gay urban subculture that could not "be openly avowed" but that was "nevertheless coming to expression."2 Similarly, Christopher Castiglia connects the allure of the barroom in temperance fiction to the promise of "intemperate sociality," or the unsanctioned pleasure of intimate communion with other men, free from the systematized humiliation, pressure, and competition of the corporatized public sphere.3 Although Glenn Hendler focuses on the figure of the "reformed and transformed drunkard" rather than the symbolic allure of the tavern, he nevertheless connects the Washingtonian temperance movement's emotionally overwrought public bonding rituals to "new social formations only then being preliminarily experienced by the white working-class men and artisans who largely made up the movement."4 For Hendler, male homosociality and drink were symbolically interchangeable, and the Washingtonians promoted sobriety and class solidarity by fulfilling the former desire while demonizing the latter. [End Page 1] In readings such as these, temperance fiction invites the critic to trace the imposition of repressive middle-class norms, but more pertinently to interpret the drunkard's misguided impulses and predilections as powerful symbols for what would ultimately evolve into recognizable (and more self-affirming) countercultural, sexually transgressive, or class-affiliated male associations. In what follows, I'll argue that this formula for reading temperance fiction—in which the drunkard's desire serves either as a foil for the norms of proper citizenship or an encrypted expression of forbidden longing—applies imperfectly when the central character is not a man, but rather a respectable woman who falls victim to drink. I'll focus primarily on Mary Spring Walker's The Family Doctor: Or, Mrs. Barry and Her Bourbon (1868), a rare temperance novel that dramatizes the alcoholic demise of a formerly genteel and exemp

以下是内容的简要摘录，以代替摘要： Intemperate Women:Female Inebriates, Temperance Fiction, and Nineteenth-Century Medicine 盖尔-坦普尔（Gale Temple）（简历） I. 引言关于 19 世纪美国节制小说的一些最有影响力的学术研究集中于节制情节与新兴中产阶级社会秩序的压抑规范之间的矛盾共谋关系。换句话说，如果中产阶级确实是通过 "对酒精的集体压抑 "来 "锻造自身"，那么我们可以将小说中酒鬼的无尽渴求视为一种潜在的救赎，表达了对被压抑或尚未实现的亲密关系和联系的渴望，而中产阶级的正常生活只是不完美地阻止了这种渴望。2 同样，克里斯托弗-卡斯蒂利亚（Christopher Castiglia）将节制小说中酒吧间的诱惑力与 "无节制社交 "的承诺联系在一起，或者说是与其他男性亲密交流的未经许可的愉悦，摆脱了公司化公共领域系统化的羞辱、压力和竞争3。尽管格伦-亨德勒（Glenn Hendler）关注的是 "改过自新的酒鬼 "这一形象，而非酒馆的象征性诱惑，但他还是将华盛顿节制运动中情绪激动的公共联谊仪式与 "新的社会形态联系在一起，而这些新的社会形态当时只是由白人工人阶级男子和工匠初步体验到的，他们在很大程度上构成了这一运动 "4。"4在亨德勒看来，男性同性社交和饮酒在象征意义上是可以互换的，华盛顿人通过满足前者的欲望，同时妖魔化后者，从而促进了清醒和阶级团结。[在诸如此类的解读中，节制小说邀请批评家追溯压抑性中产阶级规范的强加，但更贴切的是，将酒鬼误入歧途的冲动和偏好解释为强大的象征，最终演变为可识别的（和更自我肯定的）反文化、性越轨或阶级附属的男性协会。在下文中，我将论证这种阅读节制小说的公式--酒鬼的欲望要么是对正当公民规范的衬托，要么是对被禁止的渴望的加密表达--在中心人物不是男人，而是受人尊敬的女人沦为酒鬼的情况下并不完美。我将主要关注玛丽-斯普林-沃克的《家庭医生》：或者，巴里夫人和她的波旁酒》（1868 年），这是一部罕见的戒酒小说，描写了一位昔日风度翩翩、堪称楷模的贤妻良母酗酒致死的故事。她一生出版了五部戒酒小说，还在《基督教倡导者》和《纽约福音传道者》等杂志上发表了一些短篇作品。除了 1870 年在加拿大和英国重印的《家庭医生》（1868 年）外，她还写了《威洛比牧师和他的酒》（1869 年）、《街道两边》（1870 年）、《在酒馆里沉沦》（1871 年）和《白袍》（1872 年）。沃克的这五部小说都以康涅狄格州为背景，主题都是不负责任的权威人士，他们对酒精使用的鼓吹在社区中引起反响，影响到那些通常不被认为是节制改革主要对象的人，如妇女和儿童。丽兹-巴顿（Lizzie Barton）是故事的叙述者，她受雇为克拉丽莎-巴里夫人（Clarissa Barry）做女仆，克拉丽莎-巴里夫人是一位美丽而娇弱的女性，她患有莫名的焦虑症和疲劳症，这些症状影响了她履行社会和家庭角色的能力。镇上新来的医生--傲慢迂腐的夏普医生--给巴里夫人开了波旁酒作为 "兴奋剂"，这在 19 世纪中叶是一种常见的医疗做法7 。巴里夫人的悲惨结局在主题上与莉兹对自己社会经济地位提升的胜利描述相得益彰。她嫁给了自己青梅竹马的恋人，一位勤奋工作的基督徒兼戒酒斗士弗兰克-斯坦利（Frank Stanley）。

{"title":"Intemperate Women: Female Inebriates, Temperance Fiction, and Nineteenth-Century Medicine","authors":"Gale Temple","doi":"10.1353/saf.2024.a932798","DOIUrl":"https://doi.org/10.1353/saf.2024.a932798","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Intemperate Women:Female Inebriates, Temperance Fiction, and Nineteenth-Century Medicine </li> <li> Gale Temple (bio) </li> </ul> <h2>I. Introduction</h2> Some of the most influential scholarship on nineteenth-century American temperance fiction has focused on the ambivalent complicity of temperance plots with the repressive norms of a burgeoning middle-class social order. In other words, if it's true that the middle class \"forged itself\" through the \"collective repression of alcohol,\" then we might view the fictional drunkard's relentless thirst as a potentially redemptive expression of desire for the repressed or as-yet-unrealized intimacies and associations that middle-class normalcy only ever imperfectly foreclosed.1 Michael Warner, for example, reads Whitman's Franklin Evans (1842) as a tentative map for a gay urban subculture that could not \"be openly avowed\" but that was \"nevertheless coming to expression.\"2 Similarly, Christopher Castiglia connects the allure of the barroom in temperance fiction to the promise of \"intemperate sociality,\" or the unsanctioned pleasure of intimate communion with other men, free from the systematized humiliation, pressure, and competition of the corporatized public sphere.3 Although Glenn Hendler focuses on the figure of the \"reformed and transformed drunkard\" rather than the symbolic allure of the tavern, he nevertheless connects the Washingtonian temperance movement's emotionally overwrought public bonding rituals to \"new social formations only then being preliminarily experienced by the white working-class men and artisans who largely made up the movement.\"4 For Hendler, male homosociality and drink were symbolically interchangeable, and the Washingtonians promoted sobriety and class solidarity by fulfilling the former desire while demonizing the latter. [End Page 1] In readings such as these, temperance fiction invites the critic to trace the imposition of repressive middle-class norms, but more pertinently to interpret the drunkard's misguided impulses and predilections as powerful symbols for what would ultimately evolve into recognizable (and more self-affirming) countercultural, sexually transgressive, or class-affiliated male associations. In what follows, I'll argue that this formula for reading temperance fiction—in which the drunkard's desire serves either as a foil for the norms of proper citizenship or an encrypted expression of forbidden longing—applies imperfectly when the central character is not a man, but rather a respectable woman who falls victim to drink. I'll focus primarily on Mary Spring Walker's The Family Doctor: Or, Mrs. Barry and Her Bourbon (1868), a rare temperance novel that dramatizes the alcoholic demise of a formerly genteel and exemp","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141754166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Making the Modern City: Architecture and the Literary Imagination in Steven Millhauser's Martin Dressler 打造现代城市：史蒂文-米尔豪泽的《马丁-德雷斯勒》中的建筑与文学想象

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-07-23 DOI: 10.1353/saf.2024.a932801

Dale Pattison

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Making the Modern City:Architecture and the Literary Imagination in Steven Millhauser's Martin Dressler </li> <li> Dale Pattison (bio) </li> </ul> In Delirious New York, Rem Koolhaas's beloved architectural history of turn-of-thecentury Manhattan, the architect-theorist argues that fantasy and eroticism reside at the heart of the twentieth-century American metropolis. For Koolhaas, the emerging technologies and architectures of modernity enabled new forms of social life that would define our relationship to cities throughout the twentieth century. Part of the appeal of Koolhaas's book is its playful framing of modernist traditions of architecture and urban planning as grounded in the erotic imagination. Cities, Koolhaas argues, are intrinsically sites of imaginative possibility, and no city embodies this quality more completely than the modern American metropolis. Published in 1978, Delirious New York emerged at a particular historical moment when architectural theory began to account for the erotic potential of built environments. In essays published between 1975 and 1983, for instance, the Swiss-French architect Bernard Tschumi writes extensively on transgression as a principle fundamentally embedded in built space; the pleasure of architecture, according to Tschumi, resides in the individual's ability to subvert an architectural program—the set of behaviors ascribed to a built space—by creatively inhabiting that space and transgressing the architect's "rules" of space.1 The intensely regimented and programmatic spaces that make possible these erotic transgressions are, not coincidentally, the architectures of modernity; indeed, the utopian belief that architecture could discipline individuals into "radiant life," to use Le Corbusier's term, was foundational to architecture of the period. Largely unaccounted for in these conceptions of modern architecture, however, are the social dimensions of built space. Even as these architectures of modernity—the skyscraper, the avenue, and the elevator shaft, for instance—thrust city dwellers into new [End Page 79] erotic and transgressive postures, they also served to connect people in ways that would contribute to an emergent modern public. Kate Marshall's recent work on the medial networks of modernity, embodied most visibly in modernist literature through the spatial locus of the corridor, describes how the architectures of modernity—built on a logic of communication—helped to produce new forms of social life. While Marshall focuses explicitly on American literature written during the modern period, in this essay I am interested in exploring how contemporary literary imaginaries of the modern city frame the emergence of the modern public. Perhaps more than any other time in urban histo

以下是内容的简要摘录，以代替摘要：打造现代城市：史蒂文-米尔豪泽的《马丁-德雷斯勒》中的建筑与文学想象戴尔-帕蒂森（简历）在雷姆-库哈斯（Rem Koolhaas）所钟爱的关于世纪之交曼哈顿的建筑史《谵妄的纽约》（Delirious New York）中，这位建筑理论家认为，幻想和色情是 20 世纪美国大都市的核心所在。在库哈斯看来，现代性的新兴技术和建筑使新的社会生活形式成为可能，这将决定整个二十世纪我们与城市的关系。库哈斯这本书的魅力之一在于，它将现代主义建筑和城市规划传统俏皮地归纳为以色情想象为基础。库哈斯认为，城市本质上是想象可能性的场所，而没有哪个城市比美国的现代大都市更能完全体现这种特质。谵妄的纽约》出版于 1978 年，它出现在一个特殊的历史时刻，即建筑理论开始对建筑环境的情色潜力进行解释的时刻。例如，瑞士裔法国建筑师伯纳德-楚米（Bernard Tschumi）在 1975 年至 1983 年间发表的文章中广泛论述了 "僭越"（transgression）这一建筑空间的基本原则；楚米认为，建筑的乐趣在于个人通过创造性地栖息于建筑空间并僭越建筑师的空间 "规则"，从而颠覆建筑程序--即赋予建筑空间的一系列行为--的能力。事实上，借用勒-柯布西耶（Le Corbusier）的说法，建筑可以约束个人 "焕发生命光彩 "的乌托邦信念是当时建筑的基础。然而，在这些现代建筑的概念中，建筑空间的社会维度在很大程度上未被提及。这些现代建筑--摩天大楼、林荫大道和电梯井--将城市居民推向新的色情和越轨姿态的同时，也以有助于形成现代公众的方式将人们联系在一起。凯特-马歇尔（Kate Marshall）最近关于现代性媒介网络的研究，通过走廊的空间位置在现代主义文学中得到了最明显的体现，她描述了建立在交流逻辑上的现代性建筑是如何帮助产生新形式的社会生活的。马歇尔明确关注现代时期的美国文学，而在这篇文章中，我则有兴趣探讨当代文学对现代城市的想象如何构架现代公共的出现。与城市历史上任何其他时期相比，1973 年后的新自由主义时代或许更能代表想象城市生活以及捕捉其能量、潜力和前景的关键时间点。事实上，二十一世纪之交出版的许多小说都将现代城市视为社会重塑的重要象征--在此期间，现代主义对社会生活的珍视受到了新自由主义私有化逻辑的挑战。从托尼-莫里森（Toni Morrison）的《爵士乐》（1992）到科尔森-怀特海德（Colson Whitehead）的《直觉者》（1999），再到迈克尔-查邦（Michael Chabon）的《卡瓦列和克雷的奇幻历险》（2000），最后到史蒂文-米尔豪泽（Steven Millhauser）的《马丁-德雷斯勒：一个美国梦想家的故事》（1996）（本文的主题），大量当代小说都将现代城市想象为社会生产的重要空间。2 基础设施只有在失灵时才会显现出来，因此，失灵的基础设施--新自由主义公共生活的一种状态--成为社会解体以及支撑社会的公共承诺的明显提示。在劳伦-贝兰特看来，社会的侵蚀必须通过对 "公地 "的新表述来应对，这就需要有能够 "维持从链条中产生的变异 "的形式和基础设施，而这些链条已经对那些暴露在紧缩制度下的人造成了伤害。4 在想象现代城市时，米尔豪泽和莫里森等当代小说家在现代性建筑中找到了能够应对旨在解构社会的新自由主义政策和本体论的形式。这些文本公开关注现代城市的建筑环境。

{"title":"Making the Modern City: Architecture and the Literary Imagination in Steven Millhauser's Martin Dressler","authors":"Dale Pattison","doi":"10.1353/saf.2024.a932801","DOIUrl":"https://doi.org/10.1353/saf.2024.a932801","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Making the Modern City:Architecture and the Literary Imagination in Steven Millhauser's Martin Dressler </li> <li> Dale Pattison (bio) </li> </ul> In Delirious New York, Rem Koolhaas's beloved architectural history of turn-of-thecentury Manhattan, the architect-theorist argues that fantasy and eroticism reside at the heart of the twentieth-century American metropolis. For Koolhaas, the emerging technologies and architectures of modernity enabled new forms of social life that would define our relationship to cities throughout the twentieth century. Part of the appeal of Koolhaas's book is its playful framing of modernist traditions of architecture and urban planning as grounded in the erotic imagination. Cities, Koolhaas argues, are intrinsically sites of imaginative possibility, and no city embodies this quality more completely than the modern American metropolis. Published in 1978, Delirious New York emerged at a particular historical moment when architectural theory began to account for the erotic potential of built environments. In essays published between 1975 and 1983, for instance, the Swiss-French architect Bernard Tschumi writes extensively on transgression as a principle fundamentally embedded in built space; the pleasure of architecture, according to Tschumi, resides in the individual's ability to subvert an architectural program—the set of behaviors ascribed to a built space—by creatively inhabiting that space and transgressing the architect's \"rules\" of space.1 The intensely regimented and programmatic spaces that make possible these erotic transgressions are, not coincidentally, the architectures of modernity; indeed, the utopian belief that architecture could discipline individuals into \"radiant life,\" to use Le Corbusier's term, was foundational to architecture of the period. Largely unaccounted for in these conceptions of modern architecture, however, are the social dimensions of built space. Even as these architectures of modernity—the skyscraper, the avenue, and the elevator shaft, for instance—thrust city dwellers into new [End Page 79] erotic and transgressive postures, they also served to connect people in ways that would contribute to an emergent modern public. Kate Marshall's recent work on the medial networks of modernity, embodied most visibly in modernist literature through the spatial locus of the corridor, describes how the architectures of modernity—built on a logic of communication—helped to produce new forms of social life. While Marshall focuses explicitly on American literature written during the modern period, in this essay I am interested in exploring how contemporary literary imaginaries of the modern city frame the emergence of the modern public. Perhaps more than any other time in urban histo","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141754071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Afterword: On Exhuming an Early American Ecogothic 后记：关于早期美国生态哥特式的挖掘

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-03-27 DOI: 10.1353/saf.2023.a923104

Tom J. Hillard

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Afterword: On Exhuming an Early American Ecogothic </li> <li> Tom J. Hillard (bio) </li> </ul> <blockquote> “Yet one day the demons of America must be placated, the ghosts must be appeased, the Spirit of Place atoned for. Then the true passionate love for American Soil will appear. As yet, there is too much menace in the landscape.” —D. H. Lawrence, Studies in Classic American Literature (1923)1 </blockquote> In the early 2000s, back when I was a doctoral student at the University of Arizona, tinkering with ideas that I then thought of as “dark nature” or “gothic nature,” I could scarcely have imagined, twenty years later, the publication of this special issue of Studies in American Fiction. The thought of such a range of scholars, from around the world, contributing their ideas to the flourishing field of the “ecogothic” was beyond anything that I could have dreamed. Back then, ecocriticism itself was still something of an emerging field, and one by no means yet widely embraced by the academy—so in those early explorations of the shadowy corners of ecocriticism and gothic literature, which itself had long been a marginalized area of study, my work then often felt fairly far afield. I relate all this because, as one of the earliest proponents of the mutually entwined study of ecocriticism and the gothic, I’ve observed the field develop with a watchful eye, and thus it is with particular excitement that I greet this current issue, rich as it is with its varied approaches to the ecogothic. The essays herein collectively demonstrate the range and versatility of what ecogothic studies has become, and they show its applicability to a broad swath of literary texts. In Matthew Sivils’s apt words from the introduction to this volume, “Once we start looking, the ecogothic seems to sprout up everywhere.”2 Indeed, in the past half-decade or so in particular, ecogothic scholarship has proliferated, and the [End Page 275] ecogothic itself seems to be found everywhere among us. Moreover, nothing suggests that any of this will slow anytime soon. From an academic point of view, I see this as a very good thing. (Though from the point of view of a human being living on this planet, it’s perhaps less comforting to realize one may be living in a gothic tale!) As the field of ecogothic studies has grown—matured, even—the once amorphous definition of “ecogothic” has become clearer and, I think, more refined. As waves of critics continue to fine tune their usage of the term, it seems to be being applied in two primary ways: as a critical approach or way of studying a text, and as a quality of a literary work itself. That is, one can bring an “ecogothic lens” to a text, and at the same time, that text itself can

以下是内容的简要摘录，以代替摘要：后记：汤姆-J.-希拉德（Tom J. Hillard）（简历） "然而，总有一天，美国的恶魔必须得到安抚，幽灵必须得到安抚，地方精神必须得到补偿。到那时，人们才会真正热爱美国的土地。然而，这片土地上还存在着太多的威胁"。-D.H. 劳伦斯，《美国经典文学研究》（1923 年）1 2000 年代初，我还是亚利桑那大学的一名博士生，当时我还在摸索 "黑暗自然 "或 "哥特式自然 "的概念，我几乎无法想象二十年后《美国小说研究》这一特刊的出版。来自世界各地的众多学者为 "生态哥特 "这一蓬勃发展的领域献计献策，这是我做梦也想不到的。当时，生态批评本身还是一个新兴领域，还没有被学术界广泛接受，因此在早期探索生态批评和哥特文学的阴暗角落时，我的工作常常让人感觉相当遥远，而哥特文学本身长期以来一直是一个边缘化的研究领域。我之所以讲述这些，是因为作为生态批评与哥特文学研究相互交织的最早倡导者之一，我一直在关注着这一领域的发展，因此，我怀着特别激动的心情迎接本期杂志的出版。本期刊载的文章共同展示了生态哥特研究的范围和多变性，并显示了其对大量文学文本的适用性。用马修-西维尔斯（Matthew Sivils）在本卷序言中的一句话来说："一旦我们开始寻找，生态哥特式似乎就会如雨后春笋般出现。"2 的确，尤其是在过去的半个多世纪里，生态哥特式学术研究如雨后春笋般涌现，生态哥特式[尾页 275]本身似乎在我们中间随处可见。而且，没有任何迹象表明这种现象会很快减缓。从学术角度看，我认为这是一件好事。(不过，从生活在这个星球上的人类的角度来看，意识到自己可能生活在哥特式故事中，也许就不那么令人欣慰了！）。随着生态哥特式研究领域的发展--甚至可以说是成熟--"生态哥特式 "这个曾经模糊不清的定义变得越来越清晰，我认为也越来越完善。随着一波波批评家不断调整他们对这一术语的用法，它似乎被用于两个主要方面：作为研究文本的一种批评方法或方式，以及作为文学作品本身的一种品质。也就是说，人们可以用 "生态哥特视角 "来审视文本，与此同时，文本本身也可以包含生态哥特元素，如情节、背景、主题等。西维尔斯在本期导言中对 "生态哥特 "不断演变的用法和含义做了详尽的阐述，因此我无需在此赘述。我也不认为有必要对这个词的含义或应该有的含义提出任何主张。鉴于生态哥特研究仅在过去五年中就大量涌现，我们很难说它在未来几年中会朝着什么方向发展。此外，鉴于我自己无法预见生态哥特学目前的流行程度，我也不会假装知道最新一代的学者会把它引向何方（尽管我知道我会热切地关注它的发展）。因此，在这篇后记中，我不打算做预言家，而只是对哥特研究领域，特别是生态哥特研究提出一些小看法，以便提出一些我认为可能有用的未来发展建议。在阅读本特刊的引言时，我被西维尔斯关于生态哥特学术 "浪潮 "的敏锐观察所震撼。他指出，"生态哥特学的第一波浪潮是认识到哥特式传统在环境想象中的普遍而深刻的融合"，然后他假设 "第二波浪潮很可能是关于人类位置（或者说......）的后续启示"。

{"title":"Afterword: On Exhuming an Early American Ecogothic","authors":"Tom J. Hillard","doi":"10.1353/saf.2023.a923104","DOIUrl":"https://doi.org/10.1353/saf.2023.a923104","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Afterword: On Exhuming an Early American Ecogothic </li> <li> Tom J. Hillard (bio) </li> </ul> <blockquote> “Yet one day the demons of America must be placated, the ghosts must be appeased, the Spirit of Place atoned for. Then the true passionate love for American Soil will appear. As yet, there is too much menace in the landscape.” —D. H. Lawrence, Studies in Classic American Literature (1923)1 </blockquote> In the early 2000s, back when I was a doctoral student at the University of Arizona, tinkering with ideas that I then thought of as “dark nature” or “gothic nature,” I could scarcely have imagined, twenty years later, the publication of this special issue of Studies in American Fiction. The thought of such a range of scholars, from around the world, contributing their ideas to the flourishing field of the “ecogothic” was beyond anything that I could have dreamed. Back then, ecocriticism itself was still something of an emerging field, and one by no means yet widely embraced by the academy—so in those early explorations of the shadowy corners of ecocriticism and gothic literature, which itself had long been a marginalized area of study, my work then often felt fairly far afield. I relate all this because, as one of the earliest proponents of the mutually entwined study of ecocriticism and the gothic, I’ve observed the field develop with a watchful eye, and thus it is with particular excitement that I greet this current issue, rich as it is with its varied approaches to the ecogothic. The essays herein collectively demonstrate the range and versatility of what ecogothic studies has become, and they show its applicability to a broad swath of literary texts. In Matthew Sivils’s apt words from the introduction to this volume, “Once we start looking, the ecogothic seems to sprout up everywhere.”2 Indeed, in the past half-decade or so in particular, ecogothic scholarship has proliferated, and the [End Page 275] ecogothic itself seems to be found everywhere among us. Moreover, nothing suggests that any of this will slow anytime soon. From an academic point of view, I see this as a very good thing. (Though from the point of view of a human being living on this planet, it’s perhaps less comforting to realize one may be living in a gothic tale!) As the field of ecogothic studies has grown—matured, even—the once amorphous definition of “ecogothic” has become clearer and, I think, more refined. As waves of critics continue to fine tune their usage of the term, it seems to be being applied in two primary ways: as a critical approach or way of studying a text, and as a quality of a literary work itself. That is, one can bring an “ecogothic lens” to a text, and at the same time, that text itself can","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"234 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140323597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Vanishing South: Race and the Ecogothic in Ambrose Bierce and Charles Chesnutt 消失的南方安布罗斯-比尔斯和查尔斯-切斯纳特笔下的种族与生态哥特

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-03-27 DOI: 10.1353/saf.2023.a923094

Kevin Corstorphine

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> The Vanishing South: Race and the Ecogothic in Ambrose Bierce and Charles Chesnutt </li> <li> Kevin Corstorphine (bio) </li> </ul> Ambrose Bierce (1842–c.1914), known in his lifetime as an acerbic journalist and author of short stories, can easily be seen as a singular figure. His work is sometimes read for its vivid and brutal portrayal of the Civil War (in which he fought for the Union army) and sometimes through its deserved place in the canon of American “weird” fiction. It bridges the gap between Poe and Lovecraft in its blend of the gothic, the supernatural, and science fiction. Bierce’s disappearance, seemingly after traveling into Mexico at the age of 71, is prefigured in his fiction by strange tales of mysterious vanishings. Similarly, the story of Charles W. Chesnutt (1858–1932) is overshadowed by his crucial place in African American literary history as a writer who offered both fantastical and realist portrayals of Black life in the Reconstruction era. Here, I argue that both authors, specifically in Bierce’s “The Difficulty of Crossing a Field” (1888) and Chesnutt’s The Conjure Woman (1899), engage in their fiction with an ecological perspective that simultaneously decenters and reasserts the specificity of racial experience in their time. I contend that the racial truths within gothic fiction have been neglected due to their narrative displacement onto the environment, highlighting the crucial need for further attention to race within ecocriticism. Social constructions of race are irrelevant in the context of the natural world, but manage to produce separate spheres of experience that might seem fantastical were their consequences not so real. Despite their overlapping careers, the authors are not usually considered in terms of their shared concerns. In doing so, I argue that they provide an important insight into the relationship between “nature” and racial categorization at the crucial juncture in American social and political life at which they wrote. It is appropriate, given the fantastical nature of how we have divided humans into races and how we have constructed the notion of a definable nature, that [End Page 55] supernatural fiction is the means by which this insight is achieved. Here, I examine the intersection of ‘nature’ and race through a comparative analysis of Bierce’s short story and several of Chesnutt’s, focusing on “Mars Jeems’s Nightmare,” “Po’ Sandy,” and “The Goophered Grapevine.” <h2>Race, the Supernatural, and the Gothic</h2> Bierce’s “The Difficulty of Crossing a Field,” published in the San Francisco Examiner in 1888, consists of fewer than eight hundred words and recounts one bizarre incident, without explanation and with barely any context. A plantation owner called Williamson gets up

以下是内容的简要摘录，以代替摘要：消失的南方：安布罗斯-比尔斯（1842-c.1914 年）生前以尖刻的记者和短篇小说作家而闻名，他很容易被视为一个独特的人物。他的作品有时因其对南北战争生动而残酷的描写（他曾在南北战争中为联邦军作战）而为人所津津乐道，有时则因其在美国 "怪诞 "小说中当之无愧的地位而为人所津津乐道。它融合了哥特式、超自然和科幻小说的元素，在坡和洛夫克拉夫特之间架起了一座桥梁。比尔斯 71 岁时似乎在墨西哥旅行后失踪，这在他的小说中被神秘消失的奇怪故事所预示。同样，查尔斯-W-切斯纳特（Charles W. Chesnutt，1858-1932 年）在美国黑人文学史上的重要地位也被掩盖了，因为他是一位对重建时期黑人生活进行幻想和现实主义描写的作家。在这里，我认为这两位作家，特别是在比尔斯的《穿越田野的困难》（1888 年）和切斯纳特的《女魔术师》（1899 年）中，都以一种生态学的视角来创作小说，这种视角同时去伪存真，重申了他们那个时代种族经验的特殊性。我认为，哥特小说中的种族真相因其叙事上的环境转移而被忽视，这凸显了在生态批评中进一步关注种族问题的迫切需要。种族的社会建构在自然世界的语境中无关紧要，但却设法产生了独立的经验领域，如果其后果不是如此真实，这些领域可能会显得虚幻。尽管他们的职业生涯有所重叠，但人们通常不会从他们共同关注的问题的角度来考虑他们。我认为，在他们写作的那个美国社会和政治生活的关键时刻，他们为 "自然 "和种族分类之间的关系提供了重要的见解。鉴于我们是如何将人类划分为不同种族以及我们是如何构建可定义的自然概念的，超自然小说是实现这种洞察力的手段。在此，我将通过对比尔斯的短篇小说和切斯纳特的几篇短篇小说的比较分析，研究 "自然 "与种族的交集，重点是 "马尔斯-杰姆斯的噩梦"、"波'桑迪 "和 "果腹的葡萄藤"。种族、超自然和哥特式比尔斯的《穿越田野的困难》发表于 1888 年的《旧金山考察者报》，全文不到八百字，叙述了一件离奇的事件，没有任何解释，也几乎没有任何背景。一位名叫威廉姆森的种植园主起身走到附近的一块田地，向监工安德鲁传达一个信息。在穿过他自己的房子和花园与安德鲁和一队奴隶正在劳作的田地之间的空地时，他消失了。最近的目击者是邻居阿莫-沃伦和他的儿子詹姆斯，还有马车夫和一个叫萨姆的被奴役者。拉车的马匹绊了一下，他们一时分神，失去了威廉姆森的踪影，而威廉姆森却再也没有出现。故事的前半部分是以第三人称讲述的，后半部分则转为以第一人称沃伦的视角提供法律证词。故事的结构与比尔斯的许多其他短篇小说并无二致，包括《该死的东西》（1893 年），该小说同样采用了法律调查的形式，不过在这个故事中，死人的尸体是存在的，而杀死他的生物却消失了，似乎从一开始就看不见。比尔斯表现出对过去的迷恋：有一种逝去的时代几乎成为神话的感觉，它本身（就像欧洲哥特式小说以中世纪为背景一样）适合超自然小说。在《穿越田野的困难》中，前铃铛时期的南方发挥了类似的作用，既是异国情调，又是熟悉的时代背景，与切斯纳特的地方色彩风格有着明显的相似之处......

{"title":"The Vanishing South: Race and the Ecogothic in Ambrose Bierce and Charles Chesnutt","authors":"Kevin Corstorphine","doi":"10.1353/saf.2023.a923094","DOIUrl":"https://doi.org/10.1353/saf.2023.a923094","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> The Vanishing South: Race and the Ecogothic in Ambrose Bierce and Charles Chesnutt </li> <li> Kevin Corstorphine (bio) </li> </ul> Ambrose Bierce (1842–c.1914), known in his lifetime as an acerbic journalist and author of short stories, can easily be seen as a singular figure. His work is sometimes read for its vivid and brutal portrayal of the Civil War (in which he fought for the Union army) and sometimes through its deserved place in the canon of American “weird” fiction. It bridges the gap between Poe and Lovecraft in its blend of the gothic, the supernatural, and science fiction. Bierce’s disappearance, seemingly after traveling into Mexico at the age of 71, is prefigured in his fiction by strange tales of mysterious vanishings. Similarly, the story of Charles W. Chesnutt (1858–1932) is overshadowed by his crucial place in African American literary history as a writer who offered both fantastical and realist portrayals of Black life in the Reconstruction era. Here, I argue that both authors, specifically in Bierce’s “The Difficulty of Crossing a Field” (1888) and Chesnutt’s The Conjure Woman (1899), engage in their fiction with an ecological perspective that simultaneously decenters and reasserts the specificity of racial experience in their time. I contend that the racial truths within gothic fiction have been neglected due to their narrative displacement onto the environment, highlighting the crucial need for further attention to race within ecocriticism. Social constructions of race are irrelevant in the context of the natural world, but manage to produce separate spheres of experience that might seem fantastical were their consequences not so real. Despite their overlapping careers, the authors are not usually considered in terms of their shared concerns. In doing so, I argue that they provide an important insight into the relationship between “nature” and racial categorization at the crucial juncture in American social and political life at which they wrote. It is appropriate, given the fantastical nature of how we have divided humans into races and how we have constructed the notion of a definable nature, that [End Page 55] supernatural fiction is the means by which this insight is achieved. Here, I examine the intersection of ‘nature’ and race through a comparative analysis of Bierce’s short story and several of Chesnutt’s, focusing on “Mars Jeems’s Nightmare,” “Po’ Sandy,” and “The Goophered Grapevine.” <h2>Race, the Supernatural, and the Gothic</h2> Bierce’s “The Difficulty of Crossing a Field,” published in the San Francisco Examiner in 1888, consists of fewer than eight hundred words and recounts one bizarre incident, without explanation and with barely any context. A plantation owner called Williamson gets up","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"234 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140323874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

(De)composing Gothicism: Disturbing the (eco-) Gothic in Shirley Jackson's We Have Always Lived in the Castle (De)composing Gothicism：雪莉-杰克逊《我们一直住在城堡里》中的（生态）哥特式扰乱

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-03-27 DOI: 10.1353/saf.2023.a923097

Amy LeBlanc, Leah Van Dyk

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> (De)composing Gothicism: Disturbing the (eco-) Gothic in Shirley Jackson’s We Have Always Lived in the Castle </li> <li> Amy LeBlanc (bio) and Leah Van Dyk (bio) </li> </ul> While Shirley Jackson’s novels often use gothic elements (including omens, large and stately houses, a supernatural presence, and horror), We Have Always Lived in the Castle differs from other texts in Jackson’s body of work: the last completed novel before her death in 1965, it is one of few works with a first-person protagonist, Merricat Blackwood, who subverts gothic tropes by being less victim than victimizer.1 From Merricat’s first appearance, we learn of her fondness for the death-cap mushroom,2 a highly toxic fungus that is responsible for the majority of fatal mushroom poisonings each year: she explains, “My name is Mary Katherine Blackwood. I am eighteen years old, . . . I like my sister Constance . . . and Amanita phalloides, the death-cup mushroom. Everyone else in my family is dead.”3 From the very beginning, Merricat embodies the intersections of gothic and natural imagination, equating her sinister love of poisonous mushrooms to the maintenance of her quiet, sheltered life with Constance. In Castle, the ecogothic arises through spectral environments, eco-sickness, vengeful natures (both human and more-than-human), and uncanny bodies and spaces. Using ecocritical theorists such as Helen Houser and Sarah Jaquette Ray alongside gothic criticism of Jackson, we seek to explore the interconnections and importance of the ecogothic in Castle, examining how eco-sickness narratives “carry us from the micro-scale of the individual to the macro-scale of institutions, nations, and the planet” and paying close attention to the use of fungus in the novel as a metaphor for—and simultaneous agent against—these places, structures, and bodies.4 While the role of the gothic in Jackson’s work is frequently examined, it is Castle’s grounding in the environmental as gothic that makes it a unique study in Jackson’s oeuvre. Jackson’s environmental influences allow [End Page 121] for new frameworks through which to read places, structures, and bodies as being gothic in and of themselves. The liminal space of Merricat and Constance’s isolated home and garden, and the transgressions and interconnections of this natural space in their lives, insist on an ecogothic reading of this short yet complex text. In using fungi as the focal point of our discussion, supported by considerations of plants and nature more generally, we seek to make explicit the importance of the environment to the Blackwood sisters’ usurpation of the gothic space and transgression of gothic literary expectations.

以下是内容的简要摘录，以代替摘要：(De)composing Gothicism：尽管雪莉-杰克逊的小说经常使用哥特式元素（包括预兆、庄严的大房子、超自然存在和恐怖），但《我们一直住在城堡里》与杰克逊作品中的其他文本有所不同：我们一直住在城堡里》是杰克逊 1965 年去世前完成的最后一部小说，也是少数几部以第一人称梅里卡特-布莱克伍德为主人公的作品之一。1从梅里卡特的第一次出场，我们了解到她对死亡帽蘑菇2 的喜爱，这是一种剧毒真菌，每年大多数致命的蘑菇中毒事件都与这种真菌有关：她解释说："我叫玛丽-凯瑟琳-布莱克伍德，今年 18 岁，......"。我今年十八岁，......。我喜欢我姐姐康斯坦丝......和死亡杯状蘑菇 Amanita phalloides。我家里的其他人都死了。"3 从一开始，梅里卡特就体现了哥特式与自然想象力的交集，她将自己对毒蘑菇的险恶爱好等同于维持她与康斯坦丝安静、隐蔽的生活。在《城堡》中，生态哥特式通过幽灵环境、生态疾病、复仇的自然（包括人类和超人类）以及不可思议的身体和空间而产生。我们利用海伦-豪泽（Helen Houser）和萨拉-贾奎特-雷（Sarah Jaquette Ray）等生态批评理论家以及杰克逊的哥特式批评，试图探索《城堡》中生态哥特式的相互联系和重要性，研究生态病症叙事如何 "将我们从个人的微观尺度带到机构、国家和地球的宏观尺度"，并密切关注小说中真菌作为这些地方、结构和身体的隐喻--同时也是反对这些地方、结构和身体的媒介。虽然哥特式风格在杰克逊作品中的作用经常被研究，但《城堡》将环境作为哥特式风格的基础，使其成为杰克逊作品中独一无二的研究。杰克逊的环境影响为我们提供了新的框架，通过这些框架，我们可以将地点、结构和身体本身视为哥特式。梅里卡特和康斯坦丝与世隔绝的家和花园的边缘空间，以及这一自然空间在她们生活中的僭越和相互联系，都坚持了对这一短小而复杂的文本进行生态哥特式解读。我们将真菌作为讨论的焦点，并辅以对植物和自然的更广泛的思考，力求明确环境对于布莱克伍德姐妹篡夺哥特式空间和超越哥特式文学期望的重要性。正如海伦-豪泽（Helen Houser）所写，我们研究并区分 "在生态病态[或生态哥特式]小说中，人类与超越人类的世界不仅相互作用，更重要的是，它们是共生的 "5。《城堡》中自然世界（尤其是真菌和植物世界）的入侵不仅破坏了哥特式体裁，而且瓦解了人们对哥特式主人公、性别角色和病态空间的期待。安东尼-卡马拉（Anthony Camara）在其关于末世文学中真菌变化的文章中写道，真菌 "加入了文学怪物的行列"，因为它呈现出 "极端的形态可塑性 "6 ，触动了我们对未知、无法归类和危险的焦虑。特别是在杰克逊的作品中，真菌是哥特文学的有效象征--它扎根于大地，充满腐朽的生长--通过梅里卡特对Amanita phalloides的亲近，卡塞尔（去）构成了哥特式的期望和焦虑。雪莉-杰克逊和卡塞尔的哥特式起源雪莉-杰克逊 1916 年出生于旧金山，成年后的大部分时间与丈夫斯坦利-埃德加-海曼、四个孩子和无数只猫一起在纽约和佛蒙特州度过。7 杰克逊最著名的作品是恐怖、心理紧张、文学悬疑和家庭喜剧，包括《彩票》、《汉萨曼》和《山庄闹鬼》等名作。在杰克逊自己的作品、众多传记（包括露丝-富兰克林的《闹鬼的生活》）以及杰克逊书信集（由她的儿子劳伦斯-杰克逊-海曼编辑）的出版之间，我们认识了一位既能让读者感到恐怖，又能让读者感到...

{"title":"(De)composing Gothicism: Disturbing the (eco-) Gothic in Shirley Jackson's We Have Always Lived in the Castle","authors":"Amy LeBlanc, Leah Van Dyk","doi":"10.1353/saf.2023.a923097","DOIUrl":"https://doi.org/10.1353/saf.2023.a923097","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> (De)composing Gothicism: Disturbing the (eco-) Gothic in Shirley Jackson’s We Have Always Lived in the Castle </li> <li> Amy LeBlanc (bio) and Leah Van Dyk (bio) </li> </ul> While Shirley Jackson’s novels often use gothic elements (including omens, large and stately houses, a supernatural presence, and horror), We Have Always Lived in the Castle differs from other texts in Jackson’s body of work: the last completed novel before her death in 1965, it is one of few works with a first-person protagonist, Merricat Blackwood, who subverts gothic tropes by being less victim than victimizer.1 From Merricat’s first appearance, we learn of her fondness for the death-cap mushroom,2 a highly toxic fungus that is responsible for the majority of fatal mushroom poisonings each year: she explains, “My name is Mary Katherine Blackwood. I am eighteen years old, . . . I like my sister Constance . . . and Amanita phalloides, the death-cup mushroom. Everyone else in my family is dead.”3 From the very beginning, Merricat embodies the intersections of gothic and natural imagination, equating her sinister love of poisonous mushrooms to the maintenance of her quiet, sheltered life with Constance. In Castle, the ecogothic arises through spectral environments, eco-sickness, vengeful natures (both human and more-than-human), and uncanny bodies and spaces. Using ecocritical theorists such as Helen Houser and Sarah Jaquette Ray alongside gothic criticism of Jackson, we seek to explore the interconnections and importance of the ecogothic in Castle, examining how eco-sickness narratives “carry us from the micro-scale of the individual to the macro-scale of institutions, nations, and the planet” and paying close attention to the use of fungus in the novel as a metaphor for—and simultaneous agent against—these places, structures, and bodies.4 While the role of the gothic in Jackson’s work is frequently examined, it is Castle’s grounding in the environmental as gothic that makes it a unique study in Jackson’s oeuvre. Jackson’s environmental influences allow [End Page 121] for new frameworks through which to read places, structures, and bodies as being gothic in and of themselves. The liminal space of Merricat and Constance’s isolated home and garden, and the transgressions and interconnections of this natural space in their lives, insist on an ecogothic reading of this short yet complex text. In using fungi as the focal point of our discussion, supported by considerations of plants and nature more generally, we seek to make explicit the importance of the environment to the Blackwood sisters’ usurpation of the gothic space and transgression of gothic literary expectations.","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140323593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Pulped and Reduced, Dried Out and Flattened: the Horrors of Aborted Agency in "The Yellow Wallpaper" 被榨干、被还原、被晾干、被压扁："黄壁纸 "中流产机构的恐怖

4区文学 0 LITERATURE, AMERICAN

STUDIES IN AMERICAN FICTION

Pub Date : 2024-03-27 DOI: 10.1353/saf.2023.a923095

Simon C. Estok

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Pulped and Reduced, Dried Out and Flattened: the Horrors of Aborted Agency in “The Yellow Wallpaper” </li> <li> Simon C. Estok (bio) </li> </ul> Charlotte Perkins Gilman’s “The Yellow Wallpaper” pushes its readers to see beyond what is visible, both metaphorically and literally, at the same time calling into question what it means to see the unseen and what it means not to see it. Haunted by pasts that refuse to remain in the past, the ecogothic dimensions of the story become more pronounced the deeper the reader peers in. At the center of the story is paper, and obviously it is the visions the narrator has from the paper that generate the plot. These visions and the plot they generate in turn reveal to the reader things that might otherwise be unseen—including, most obviously, the subjugation of the narrator under patriarchal authority. They reveal far more than this, however. Like the images in a 3D movie or a stereogram, there are things in this story that are in front of but not easily visible to the reader, at least not the way that the narrator’s suffering is—experiences that bob and float in the long stream of sexism that returns and haunts the narrative. Indeed, the story exposes more than simply human relationships and histories, relationships and histories that reside in the very paper itself. This essay builds on the foundational work of scholars such as Dawn Keetley, Matthew Wynn Sivils, Elizabeth Parker, and Michelle Poland1 on vegetal agency while exploring the explicitly entangled complexities of the truncated agencies of nature and women in “The Yellow Wallpaper.” I argue that this story pushes the reader to think beyond the convenient anthropocentric and ecophobic notions of a vengeful nature toward a more balanced understanding of vegetal agency, an understanding of plants on their own terms. It is in our continuing failure to do so and through our thwarting of the agency of the vegetal world that the magnitude of ecogothic horror takes form in this story. [End Page 75] Defining the ecogothic is a relatively new endeavor. Arguably, the first volume to explore the ecogothic was the 2013 collection Ecogothic, edited by Andrew Smith and William Hughes. This impressive collection does indeed provide “a starting point for future discussions,”2 as the editors hope it will, and it does so as much by what it omits as by what it covers. The most notable and surprising omission is any serious discussion of ecophobia. It is one thing to follow Timothy Clark in “tracing different conceptions of nature and their effects throughout the history and cultures of the world,”3 but it is quite another to misperceive (or, worse yet, ignore) the roots of the ecogothic. To be perfectly clear: no ecophobia, no ecog

以下是内容的简要摘录，以代替摘要：黄壁纸》中的 "纸浆化"、"还原"、"风干 "和 "扁平化"：流产机构的恐怖 Simon C. Estok (bio) 夏洛特-帕金斯-吉尔曼的《黄壁纸》以隐喻和字面的方式促使读者超越可见的事物，同时对 "看见看不见的东西 "和 "看不见它 "的含义提出质疑。故事的生态哥特式维度被那些拒绝停留在过去的往事所困扰，读者越是深入其中，这种维度就越明显。故事的中心是纸，显然，正是叙述者从纸上看到的幻象引发了情节的发展。这些幻象及其引发的情节反过来又向读者揭示了一些本来可能看不到的东西--其中最明显的包括叙述者在父权制下的屈从。然而，它们揭示的远不止这些。就像 3D 电影或立体图中的图像一样，故事中有些东西就在读者眼前，但读者却不容易看到，至少不像叙述者所遭受的痛苦那样--这些经历在性别歧视的长河中晃动、浮动，而性别歧视又在叙述中回荡、纠缠。事实上，这个故事所揭示的不仅仅是人与人之间的关系和历史，而是存在于纸张本身的关系和历史。本文在道恩-基特利（Dawn Keetley）、马修-怀恩-西维尔斯（Matthew Wynn Sivils）、伊丽莎白-帕克（Elizabeth Parker）和米歇尔-波兰（Michelle Poland1）等学者关于植物机构的基础研究成果的基础上，探讨了《黄壁纸》中被截断的自然机构和女性机构明确纠缠在一起的复杂性。我认为，这个故事促使读者超越以人类为中心和仇视生态的报复性自然的便捷观念，对植物的能动性有一个更平衡的理解，即从植物自身的角度来理解植物。正是由于我们一直未能做到这一点，也正是由于我们挫败了植物世界的能动性，生态哥特式恐怖才在这个故事中形成。[生态哥特式的定义是一项相对较新的工作。可以说，第一部探讨生态哥特的作品是 2013 年由安德鲁-史密斯和威廉-休斯编辑的《生态哥特》（Ecogothic）文集。正如编者所希望的那样，这本令人印象深刻的文集确实为 "未来的讨论提供了一个起点 "2 ，而它所做到的，既在于它忽略了什么，也在于它涵盖了什么。最值得注意和最令人吃惊的疏漏是对生态恐惧症的任何严肃讨论。追随蒂莫西-克拉克（Timothy Clark）"追溯世界历史和文化中不同的自然观及其影响 "3 是一回事，但误解（或者更糟糕的是，忽视）生态畸形的根源则是另一回事。明确地说：没有生态恐惧症，就没有生态哥特。汤姆-希拉德（Tom Hillard）在 2013 年发表的《从塞勒姆女巫到布莱尔女巫》（From Salem Witch to Blair Witch）和 2010 年发表的《"向黑暗深处窥探"：关于哥特式自然的论文》（"Deep Into That Darkness Peering"）一文中，对生态恐惧症理论化的轻蔑态度一目了然：在这篇文章中，他建议要开始分析生态恐惧症，"我们不需要再寻找用于研究文学作品中的恐惧的丰富多样的批评方法"。"4 然而，用希拉德自己的话来说，"不需要再看得更远 "似乎 "过于规范化，可能会令人窒息，而且老实说，不太可能发生"。在他们的 "导言：道恩-基特利（Dawn Keetley）和马修-怀恩-西维尔斯（Matthew Wynn Sivils）在他们编辑的合集《十九世纪美国小说中的生态哥特》（Ecogothic in Nineteenth-Century American Fiction）中的 "导言：生态哥特的方法"（"Introduction: Approaches to the Ecogothic"）一文中，对 "生态哥特 "的根源和范围进行了更为细致入微、在许多方面也更为坦诚的讨论："6他们解释说，"在最广泛的层面上，生态哥特式不可避免地与生态恐惧症交织在一起，这不仅是因为生态恐惧症对自然的表述会像哥特式一样充满恐惧和害怕，而且还因为生态恐惧症源于人类未能......

{"title":"Pulped and Reduced, Dried Out and Flattened: the Horrors of Aborted Agency in \"The Yellow Wallpaper\"","authors":"Simon C. Estok","doi":"10.1353/saf.2023.a923095","DOIUrl":"https://doi.org/10.1353/saf.2023.a923095","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Pulped and Reduced, Dried Out and Flattened: the Horrors of Aborted Agency in “The Yellow Wallpaper” </li> <li> Simon C. Estok (bio) </li> </ul> Charlotte Perkins Gilman’s “The Yellow Wallpaper” pushes its readers to see beyond what is visible, both metaphorically and literally, at the same time calling into question what it means to see the unseen and what it means not to see it. Haunted by pasts that refuse to remain in the past, the ecogothic dimensions of the story become more pronounced the deeper the reader peers in. At the center of the story is paper, and obviously it is the visions the narrator has from the paper that generate the plot. These visions and the plot they generate in turn reveal to the reader things that might otherwise be unseen—including, most obviously, the subjugation of the narrator under patriarchal authority. They reveal far more than this, however. Like the images in a 3D movie or a stereogram, there are things in this story that are in front of but not easily visible to the reader, at least not the way that the narrator’s suffering is—experiences that bob and float in the long stream of sexism that returns and haunts the narrative. Indeed, the story exposes more than simply human relationships and histories, relationships and histories that reside in the very paper itself. This essay builds on the foundational work of scholars such as Dawn Keetley, Matthew Wynn Sivils, Elizabeth Parker, and Michelle Poland1 on vegetal agency while exploring the explicitly entangled complexities of the truncated agencies of nature and women in “The Yellow Wallpaper.” I argue that this story pushes the reader to think beyond the convenient anthropocentric and ecophobic notions of a vengeful nature toward a more balanced understanding of vegetal agency, an understanding of plants on their own terms. It is in our continuing failure to do so and through our thwarting of the agency of the vegetal world that the magnitude of ecogothic horror takes form in this story. [End Page 75] Defining the ecogothic is a relatively new endeavor. Arguably, the first volume to explore the ecogothic was the 2013 collection Ecogothic, edited by Andrew Smith and William Hughes. This impressive collection does indeed provide “a starting point for future discussions,”2 as the editors hope it will, and it does so as much by what it omits as by what it covers. The most notable and surprising omission is any serious discussion of ecophobia. It is one thing to follow Timothy Clark in “tracing different conceptions of nature and their effects throughout the history and cultures of the world,”3 but it is quite another to misperceive (or, worse yet, ignore) the roots of the ecogothic. To be perfectly clear: no ecophobia, no ecog","PeriodicalId":42494,"journal":{"name":"STUDIES IN AMERICAN FICTION","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140323869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0