Pub Date : 2021-04-21DOI: 10.1080/00144940.2021.1920354
Francisco J. Rozano-García
Abstract This study reexamines the case for Old Norse influence on the Old English poem Wulf and Eadwacer by considering the potential adaptation of Old Norse metrical grammar to the conventions of Old English verse, which results in the poem’s unusual structure, syntax, and diction. The case for Old Norse influence on the poem is reconsidered here in the light of recent studies of the imitative technique of the Old English poet, which hints at conscious adaptation of external traditions to the conventions of Old English verse, rather than at direct translation of an Old Norse source. Reappraisal of the possibilities of interpretation derived from hybrid composition technique reveals that the Wulf and Eadwacer poet worked within an adaptative process that accommodates Old English and Old Norse semantic possibilities while maintaining an aural esthetics that consciously imitates eddic verse.
摘要本研究通过考虑古挪威格律语法对古英语诗歌惯例的潜在适应，重新审视了古挪威语对古英语诗《Wulf and Eadwacer》的影响，这导致了这首诗不同寻常的结构、句法和措辞。根据最近对古英语诗人模仿技巧的研究，这里重新考虑了古挪威语对诗歌的影响，这暗示着外部传统有意识地适应古英语诗歌的惯例，而不是直接翻译古挪威语的来源。对混合作曲技术产生的解释可能性的重新评价表明，伍尔夫和伊德瓦瑟诗人在适应古英语和古挪威语语义可能性的过程中工作，同时保持有意识地模仿eddic诗歌的听觉美学。
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Pub Date : 2021-04-21DOI: 10.1080/00144940.2021.1920351
D. M. Powell
The cultural geography of Bret Harte’s mining camp fiction is complex. The Gold Rush occurred in the wake of the annexation of what would become the western United States following the conflict with Mexico of 1846–1848. The rush of economic immigrants to the region complicated an existing nexus of cultural and demographic tensions between colonists of various originations and tenures alongside the native peoples of the West Coast. In particular, the influx of white American settlers seeking social mobility tended to produce racialized social and legal codes with disproportionate negative impacts for black, Asian, and Native peoples’ access to public space, laws, and opportunities (Hsu 707). Harte, arriving in San Francisco in 1854 and working in varying capacities as a messenger, teacher, writer, and editor in and around the Bay Area (Scharnhorst 6, 10–13), recognized the moral problems endemic to the Americanization of California and tended to write about them without hesitation, from his damning Northern Californian editorial on the 1860 Wiyot Indian massacre to his 1870 send-up of anti-Chinese sentiment “Plain Language from Truthful James.” Even so, Harte was not restricted to writing in a vein of social protest. In his preface to The Luck of Roaring Camp and Other Sketches, he declared himself “a humble writer of romance” who intended to illustrate the “era of which Californian history has preserved the incidents more often than the character” of a people “replete with a certain heroic Greek poetry” (xx). His aim was to capture the spirit rather than the facts of Gold Rush-era California, and if doing so entailed spotlighting contemporary ills, so much the better. For example, in “The Luck of Roaring Camp,” Harte “made the diametrically opposed, provocative and evocative claim that a mining camp—the most maledominated, coarse, inveterately sinful and unchristian environment in America—could be the aptest earthly illustration of the heavenly kingdom, and an illegitimate child of mixed race its chief minister” (Nissen 381). Harte makes Roaring Camp into a new New Canaan, a mythology upon mythology that rests on the lawlessness and non-homogeny of its residents. In “Luck,”
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Pub Date : 2021-04-21DOI: 10.1080/00144940.2021.1920357
Yanbin Kang
Abstract Regarding “The Daisy follows soft the Sun -” (Fr161), the interpretive energy has been invested upon formulating the love relationship between the daisy and the sun, describing her humbleness, faithfulness, and masochistic attachment, her transformation from subservience to assertiveness or her assertion in disguise of humility. From a combined perspective of Daoism and Ralph Waldo Emerson, this essay argues that this poem features the course of nature, the transcendent moment that gravitates within, and an impersonal love. The poem dramatizes a process of returning to quietude characterized by stillness, darkness, and serenity. The Emersonian vein is clearly evidenced in the daisy’s posture of “[Sitting] shyly” at night, returning to solitude, and finding a rest within an edifying sentiment. The daisy-sunset love echoes Emerson’s spiritual love which presupposes a non-possessive attitude. This strand of theme intersects with softening the light, an idea which is essential for a flourishing state of being and interaction.
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Pub Date : 2021-03-09DOI: 10.1080/00144940.2021.1891015
Jingjing Zhao
Matthew Arnold wrote the poem “Haworth Churchyard” in 1855, seven years after Emily Bront€e’s death. The poem is a moving tribute stimulated by her sister Charlotte Bront€e’s death, at a time when Arnold was not very active poetically. Remarking upon the achievements of more than one female writer, Arnold had nevertheless shaped the ending of the poem to resonate with the ending of Emily’s novel Wuthering Heights: the plover is heard on the moors, Yearly awake to behold The opening summer, the sky, The shining moorland – to hear The drowsy bee, as of old, Hum o’er the thyme, the grouse Call from the heather in bloom! ... the rain Lashes the newly-made grave. Unquiet souls! (Arnold, 429) It is not difficult to see that these lines echo the last lines of Wuthering Heights: I sought, and soon discovered, the three headstones on the slope next the moor ... I lingered round them, under that benign sky: watched the moths fluttering among the heath and hare-bells; listened to the soft wind breathing through the grass; and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth. (Bront€e, 300)
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Pub Date : 2021-03-04DOI: 10.1080/00144940.2021.1891013
W. Kim
One of the most distinguished American scholars of the mid-20th century, F. O. Matthiessen was fascinated by that strange, suggestive phrase “soiled fish of the sea” in Herman Melville’s fifth novel White-Jacket. Matthiessen was so taken with the phrase that in his American Renaissance: Art and Expression in the Age of Emerson and Whitman, he provided a metaphysical and detailed interpretation of the fish. The phrase turned out to be, however, a mere typographical error of “coiled fish of the sea,” the mistake that an unimaginative typesetter inadvertently created, not Melville. The renowned textual scholar Fredson Bowers demonstrates this as an apposite illustration of the extent to which textual criticism is a most important and fascinating branch of study. This scholarly episode clearly shows that it is all too easy, without a reliable text, to build a scholarly castle in the air. This particular issue related to textual criticism is, by and large, not solely applicable to classic literary works but also to what has been oxymoronically called “modern classics”. It is all too easy to forget that more recently published works are not free from typographical error and mistakes. Harper Lee’s To Kill a Mockingbird (1960), inarguably one of the best-known (and most widely read) books in the United States, provides an excellent illustration of how extremely difficult it is to establish a reliable, authoritative text. First published in 1960 by J. B. Lippincott, the book has sold more than 40 million copies globally, and continues to sell more than a million copies a year and has been translated into more than 40 languages. Unfortunately, however, the novel contains a few textual errors, which have been overlooked by literary critics and scholars. The two standard texts of To Kill a Mockingbird are a hardcover 40th Anniversary edition published by HarperCollins in 1999 and a paperback Harper Perennial Modern Classics edition published in 2002 by HarperCollins—including a mass market paperback edition published in 1982 by Warner Books, replaced by Hachette Book Group in 1988 and the electronic version of the text published in 2014 by HarperCollins. In Harper
作为20世纪中期最杰出的美国学者之一，F.O.Matthiessen被赫尔曼·梅尔维尔的第五部小说《白夹克》中那句奇怪的、暗示性的短语“海上脏鱼”迷住了。Matthiessen对这句话非常着迷，以至于在他的《美国文艺复兴：爱默生和惠特曼时代的艺术与表达》中，他对鱼进行了形而上学和详细的解释。然而，这个短语只是“大海中的盘鱼”的印刷错误，这是一个缺乏想象力的排版师无意中创造的错误，而不是梅尔维尔。著名的文本学者Fredson Bowers证明了这一点，恰当地说明了文本批评在多大程度上是一个最重要和最迷人的研究分支。这段学术插曲清楚地表明，如果没有可靠的文本，在空中建造一座学术城堡太容易了。这个与文本批评有关的特殊问题，总的来说，不仅适用于经典文学作品，也适用于被矛盾地称为“现代经典”的作品。人们很容易忘记，最近出版的作品并非没有印刷错误。哈珀·李（Harper Lee）的《杀死一只知更鸟》（To Kill a Mockingbird，1960）无疑是美国最著名（也是阅读量最大）的书之一，它很好地说明了建立一个可靠、权威的文本是多么困难。这本书由J.B.Lippincott于1960年首次出版，在全球售出了4000多万册，并继续每年售出100多万册，已被翻译成40多种语言。然而，不幸的是，这部小说包含了一些文本错误，这些错误一直被文学评论家和学者所忽视。《杀死一只知更鸟》的两个标准文本是哈珀柯林斯1999年出版的40周年精装版和哈珀柯林斯2002年出版的哈珀百年现代经典平装版，其中包括华纳图书1982年出版的大众市场平装版，1988年被哈切特图书集团取代，2014年由哈珀柯林斯出版的电子版文本。在Harper
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Pub Date : 2021-02-22DOI: 10.1080/00144940.2021.1891011
J. Hwang
The experimental nature of Myung Mi Kim’s first book Under Flag still defines her poetry as “too obscure” (Huang 86). This response is not exaggerated as the narratives of Korean immigrants, a substantial part of the book, are always obfuscated in fragments. Yet the obscurity of Kim’s poems also invites readers to reassemble pieces, fill in the gaps, and reconstruct a narrative, albeit incomplete, from various points of view. An example can derive from a contemporary understanding of “borders” that appears twice in the title poem, “Under Flag.” Borders have conventionally been deemed fixed and territorial, serving to divide a nation-state from others, to ensure sovereignty and national security, and to shape national identity and character. The migration and mobility, however, reindicates borders as the business of not only nation-states but also migrants who may find themselves as others inside territory. While migrants’ status reveals that “borders can be anywhere” (Rumford 13), borders also offer an opportunity for connection. The presence of borders leads us to recognize people outside the territory, interact with them, and influence each other. Under Flag embodies the complexity of borders to both divide and connect by focusing on the Korean War, frequently referred to as the “forgotten” war. Kim’s use of fragments can then be understood as a way to show the insufficient recognition of border-crossing effects in American society and thereby to reassess American heritage and history from the perspective of a Korean immigrant who experiences multiple borders. The notion “borders” cannot be overlooked at the beginning of “Under Flag”:
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Pub Date : 2021-02-16DOI: 10.1080/00144940.2021.1891014
Sarah Yoon
Four months before the publication of the short story “The Masque of the Red Death” in Graham’s Magazine, Edgar Allan Poe’s wife contracted tuberculosis. While singing at the piano, nineteen-year-old Virginia began coughing up blood (Quinn 347-48; Silverman 178-81). In the following months, Poe took to drinking heavily, which led to a period of alcoholic amnesia in June 1842 (Silverman 184; Kennedy 24, 45). “The Masque of the Red Death,” published in May 1842, bears the traces of Poe’s despair over his wife’s illness and his deepening dependence on alcohol. In this short story, the masque is brought to an abrupt end with the appearance of the Red Death, who lays low the revelers and dancers. Remarkable for its color symbolisms, this short story also reveals how the physical symptoms of diseases can provide visual cues to explore the unknown processes of transmission and infection. The color symbolisms can also be associated with the symptoms of epidemic diseases throughout nineteenth-century Europe and America. In the nineteenth century, tuberculosis (or consumption) was a widespread killer, leading to more deaths than cholera and smallpox combined (Byrne 1). Pulmonary tuberculosis caused a fifth of all deaths in England in the first decades of the nineteenth century, with deaths declining from 1830 (Byrne 12). In America, tuberculosis caused up to an estimated fourth of all deaths in the nineteenth century (Silverman 182). Katherine Byrne writes that, during this period, tuberculosis was “the biggest single killer of men and women in their physical and productive prime ... those aged between fifteen and thirty-five” (12). Both Poe’s parents likely died from tuberculosis in the early 1810s, shortly after his birth (Kennedy 19). Besides tuberculosis, cholera epidemics also spread through Europe and America from the early 1830s. Cholera had earlier struck Europe in 1832 before spreading to Canada and America in 1833. The various symptoms of these diseases invite literary exploration through color symbolism, which is a marked feature of Poe’s “The Masque of the Red
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Pub Date : 2021-02-16DOI: 10.1080/00144940.2021.1891012
Meichen Liu
Abstract This paper explores the cliquish behavior of the group of friends and acquaintances in Ernest Hemingway’s The Sun Also Rises, arguing that sexual dysfunction is portrayed as part of a larger malaise of dysfunctional tribalism which affects social dynamics in the modern world.
摘要本文探讨了欧内斯特·海明威（Ernest Hemingway）的《太阳照常升起》（the Sun Also Rises）中一群朋友和熟人的拉帮结派行为，认为性功能障碍被描绘成影响现代世界社会动态的功能失调部落主义的一个更大问题的一部分。
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Pub Date : 2020-12-23DOI: 10.1080/00144940.2020.1868390
Hannah Claire Dillashaw
Abstract The protagonist in Mary Wilkins Freeman’s short story “A Poetess” has a complex relationship with her poetry and how others perceive it. This relationship can be analyzed and understood through the actions of her pet canary and how it behaves in certain instances.
{"title":"“‘Aint Never Done Anything but Sing”: Understanding Betsey through Her Canary","authors":"Hannah Claire Dillashaw","doi":"10.1080/00144940.2020.1868390","DOIUrl":"https://doi.org/10.1080/00144940.2020.1868390","url":null,"abstract":"Abstract The protagonist in Mary Wilkins Freeman’s short story “A Poetess” has a complex relationship with her poetry and how others perceive it. This relationship can be analyzed and understood through the actions of her pet canary and how it behaves in certain instances.","PeriodicalId":42643,"journal":{"name":"EXPLICATOR","volume":"79 1","pages":"1 - 3"},"PeriodicalIF":0.1,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00144940.2020.1868390","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49212118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-23DOI: 10.1080/00144940.2020.1868389
Qin Lin
Abstract Although sources for parts of the plot of Ben Jonson’s The Alchemist, particular scenes, specific speeches, and its use of the language of alchemy have been suggested, critics have ignored the connections between the play and Francis Bacon’s The Advancement of Learning. This article argues that Jonson’s dramatization of astrology, magic, and alchemy in The Alchemist is probably informed by Bacon’s ideas about the three distempers of learning in his The Advancement of Learning.
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