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A Rite of Passage in Shakespeare’s LOVE’S LABOUR’S LOST: 5.2.786-806 莎士比亚《爱的徒劳》中的一段成人礼:5.2.786-806
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2023-01-02 DOI: 10.1080/00144940.2023.2214675
Kübra VURAL ÖZBEY
In the last scene of Love’s Labour’s Lost, after the news of the death of the King of France reaches the Princess, she immediately decides to return to her country, leaving King Ferdinand of Navarre behind. Although death disrupts the conventional ending of the comedy with a marriage ceremony, the idea of a happy union still lurks behind the Princess’s bargain with Navarre following the interim. Before their union, Navarre is asked to temporarily retire to a hermitage for one year and a day during the Princess’s mourning period (5.2.786-806). Ostensibly, at the heart of this contract lies a period of waiting for the postponed marriage in retreat. Concerning the closure of the play, “where the disruption invites us to find – not just witness – clarification,” G. Beiner claims that “[f]inding clarification is our task” (54). Accordingly, critics are at pains to explore the abrupt ending of the play deficient in terms of comedy conventions. What emerges here is that their interpretation ranges from the analysis of problematic generic form to topical readings of the play. Alternatively, a close reading of the Princess’s lines in 5.2.786-806 suggests that she initiates a rite of passage at the end of the play. This article intervenes in the Princess’s speech and pinpoints three stages of the passage implied in her lines. On the basis that comedy concludes with marriage rituals, Love’s Labour’s Lost is glossed unconventional. The debate about the ending of the play highlights that this play is fraught with a generic problem since the play dislocates and postpones the traditional ending. That is the reason why the play is regarded as “a failed comedy” (Chaney 41). The lack of comic resolution attaches a sense of incompleteness to the audience in that it represses “the desire for fulfillment of audience expectation rather than on anything in the text” (Montrose 157). Likewise, Amy L. Smith argues that the ending, “rather than reminding the audience that they have just watched a performance of a comedy, [...] reminds the audience that they have not” (17). H. https://doi.org/10.1080/00144940.2023.2214675
在《爱的徒劳》的最后一幕,当法国国王去世的消息传到公主的耳朵里后,她立即决定返回自己的国家,把纳瓦拉的费迪南国王留在了身后。尽管死亡打破了喜剧传统的以结婚仪式结束的结局,但在过渡时期公主与纳瓦拉的交易背后,仍然潜藏着幸福结合的想法。在他们结合之前,纳瓦拉被要求在公主的哀悼期间暂时退休到一个隐居的地方一年零一天(5.2.786-806)。表面上看,这份契约的核心是一段等待推迟婚姻的时间。关于戏剧的结尾,“混乱邀请我们去寻找——而不仅仅是见证——澄清,”G. Beiner声称“寻找澄清是我们的任务”(54)。因此,评论家们煞费苦心地探讨这部剧在喜剧惯例方面的突然结局。这里出现的是,他们的解读范围从对有问题的一般形式的分析到对戏剧的主题阅读。另一种选择是,仔细阅读5.2.786-806中公主的台词,我们会发现她在剧终时发起了一场成人仪式。这篇文章介入了公主的演讲,并指出了她的台词中隐含的三个阶段。在喜剧以婚姻仪式结束的基础上,《爱的劳动之失》被赋予了非传统的色彩。关于该剧结局的争论突出表明,该剧充满了一个普遍的问题,因为该剧打乱并推迟了传统的结局。这就是为什么该剧被认为是“一部失败的喜剧”(Chaney 41)。喜剧解决方案的缺乏给观众带来了一种不完整感,因为它压抑了“满足观众期望的欲望,而不是对文本中的任何东西的渴望”(Montrose 157)。同样,艾米·l·史密斯(Amy L. Smith)认为,结尾“不是提醒观众他们刚刚观看了一场喜剧表演,而是……]提醒观众他们没有”(17)。h . https://doi.org/10.1080/00144940.2023.2214675
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引用次数: 0
Circular External Fixator Removal in the Outpatient Clinic Using Regional Anaesthesia: A Pilot Study of a Novel Approach. 门诊使用区域麻醉去除环形外固定架:一种新方法的初步研究。
IF 0.8 3区 文学 0 LITERATURE Pub Date : 2023-01-01 DOI: 10.5005/jp-journals-10080-1582
Luke Michael Williams, Giles Stamps, Helen Peak, Shiv Kumar Singh, Badri Narayan, Simon Matthew Graham, Nicholas Peterson

Introduction: External fixator (EF) devices are commonly used in the management of complex skeletal trauma, as well as in elective limb reconstruction surgery for the management of congenital and acquired pathology. The subsequent removal of an EF is commonly performed under general anaesthesia in an operating theatre. This practice is resource-intensive and limits the amount of time available for other surgical cases in the operating theatre. We aimed to assess the use of regional anaesthesia as an alternative method of analgesia to facilitate the EF removal in an outpatient setting.

Design and methods: This prospective case series evaluated the first 50 consecutive cases of EF removal in the outpatient clinic between 10/06/22 and 03/02/23. Regional anaesthesia using ultrasound-guided blockade of peripheral nerves was administered using 1% lidocaine due to its rapid onset and short half-life. Patients were assessed for additional analgesia requirements and then were asked to evaluate their experience and perceived pain using the visual analogue scale (VAS).

Results: Fifty patients were included in the study. The mean age was 46.8 years (range 21-85 years). About 54% of the patients were male patients (N = 27). Post-procedure, all patients indicated positive satisfaction ratings, each participant responded as either 'satisfied' (N = 6), 'very satisfied' (N = 24) or 'highly satisfied' (N = 20). In addition, 90% of the participants reported that they would opt for this method of EF removal again in future. The VAS for pain immediately following completion of the procedure was low, with a mean score of 0.36 (range 0-4), where a score of 0 = 'No pain', and 10 = 'worst pain possible'. The median score was 0.

Conclusion: We present the first description of outpatient EF removal using regional anaesthesia, with a prospective case series of 50 fully conscious patients from whom the EF was removed. This novel technique is likely to be cost-effective, reproducible, and safe. This technique reduces the burden of EF removal from an operating list and also improves the patient's experience when compared with other forms of conscious sedation. By eliminating the use of Entonox and methoxyflurane for sedation and analgesia, this technique also demonstrates a method of improving environmental sustainability.

How to cite this article: Williams LM, Stamps G, Peak H, et al. Circular External Fixator Removal in the Outpatient Clinic Using Regional Anaesthesia: A Pilot Study of A Novel Approach. Strategies Trauma Limb Reconstr 2023;18(1):7-11.

简介:外固定器(EF)装置通常用于复杂骨骼创伤的治疗,以及用于先天性和获得性病理的选择性肢体重建手术。随后的EF切除通常在手术室中全身麻醉下进行。这种做法是资源密集型的,限制了手术室其他手术病例的可用时间。我们的目的是评估局部麻醉作为一种替代镇痛方法的使用,以促进门诊环境中的EF去除。设计和方法:本前瞻性病例系列评估了22年6月10日至23年2月3日在门诊诊所连续切除EF的前50例病例。超声引导下阻滞周围神经的局部麻醉使用1%利多卡因,因为它起效快,半衰期短。对患者进行额外的镇痛需求评估,然后使用视觉模拟量表(VAS)评估他们的体验和感知疼痛。结果:50例患者纳入研究。平均年龄46.8岁(21 ~ 85岁)。男性患者约占54%(27例)。术后,所有患者均表现出积极的满意度评分,每个参与者的回答要么是“满意”(N = 6),要么是“非常满意”(N = 24),要么是“高度满意”(N = 20)。此外,90%的参与者报告说他们将来会再次选择这种方法去除EF。手术完成后立即疼痛的VAS评分较低,平均得分为0.36(范围0-4),其中得分0 =“无疼痛”,10 =“可能的最严重疼痛”。中位数为0。结论:我们提出了门诊使用区域麻醉去除EF的第一个描述,前瞻性病例系列包括50名完全清醒的患者,他们的EF被移除。这种新技术可能具有成本效益、可重复性和安全性。与其他形式的有意识镇静相比,这种技术减少了从手术清单中移除EF的负担,也改善了患者的体验。通过消除使用恩托诺和甲氧基氟醚镇静和镇痛,该技术也证明了一种改善环境可持续性的方法。如何引用本文:Williams LM, Stamps G, Peak H等人。门诊使用区域麻醉去除环形外固定架:一种新方法的初步研究。创伤肢体重建[j]; 2018;18(1):7-11。
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引用次数: 1
Claudia Rankine and Robert Lowell, Again 又是克劳迪娅·兰金和罗伯特·洛厄尔
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2022-10-02 DOI: 10.1080/00144940.2023.2166393
Eric Weiskott
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引用次数: 0
Temporality in The Overstory by Richard Powers 理查德·鲍尔斯《Overstory》中的临时性
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2022-10-02 DOI: 10.1080/00144940.2022.2146477
L. DeLuca
In The Overstory by Richard Powers, there is a stark contrast between the temporality of trees and humans. Although Powers depicts trees as eternally static, he demonstrates how trees are enduring symbols used for memorialization. Contrastingly, Powers portrays humans as being temporary, both by nature individually and in their destructive behaviors as a collective; in both senses, Powers portrays humanity as operating in a quick-time, inhabiting a speedy temporal plane. In the convergence of these temporalities, which only occurs when humans get a glimpse of tree-time, humans are able to experience the stasis of trees, allowing them to live their lives more slowly. Powers depicts trees as enduring, so much so that they are often used as memorials. Powers describes Olivia five times as being called to aid “the most wondrous products of four billion years of life,” which underscores the ancient nature of trees (The Overstory, p.165;170;264;336;493). Through this repetition, one can see how the emphasis of the oldness of trees is often injected into scenes including Olivia, who is in tune with the presence of trees; it is as though her gift of understanding the strange presence makes the ancient legible. Moreover, Powers not only characterizes trees as old, but eternal as well. For example, when planting chestnuts, Nick thinks: “One day, my children will shake the trunks and eat for free” (The Overstory, p.6); this reveals his expectation that trees will survive long enough for his children to enjoy them, in spite of the environmental crisis occurring caused by pollution and global warming. Because of their enduring nature, trees are also used as sites of memorial: the Hoel Chestnut acts as a tombstone for John Hoel’s father as well as a marker for the time capsule, the mulberry tree becomes Winston Ma’s memorial, as this is where he commits suicide, and planting trees functions as commemoration for Ray and Dorothy’s relationship, as their yearly planting tradition stops when their relationship fails (The Overstory, p.10;13;41;168;211). It is therefore clear that the enduring nature of trees lends them to being tools of memorialization. https://doi.org/10.1080/00144940.2022.2146477
在理查德·鲍尔斯的《Overstory》中,树木和人类的时间性形成了鲜明的对比。尽管鲍尔斯将树木描绘成永远静止的,但他展示了树木是如何被用来纪念的永恒象征。相比之下,鲍尔斯将人类描绘成暂时的,无论是从个人的本性还是从集体的破坏行为来看;在这两种意义上,鲍尔斯都把人类描绘成在一个快速的时间里运作,居住在一个迅速的时间平面上。只有当人类瞥见树木的时间时,才会出现这些时间的趋同,在这种趋同中,人类能够体验到树木的停滞,从而使他们的生活更加缓慢。鲍尔斯将树木描绘成经久不衰的,以至于它们经常被用作纪念物。鲍尔斯五次将奥利维亚描述为“40亿年生命中最奇妙的产物”,这突出了树木的古老本质(the Overstory,第165页;170;264;336;493页);就好像她理解这种奇怪存在的天赋让古老的东西变得清晰可见。此外,鲍尔斯不仅将树木描绘成古老的,而且是永恒的。例如,在种植栗子时,尼克想:“有一天,我的孩子们会摇着树干免费吃”(the Overstory,第6页);这表明,尽管污染和全球变暖导致了环境危机,但他希望树木能存活足够长的时间,让他的孩子们享受它们。由于其经久不衰的性质,树木也被用作纪念场所:霍尔栗树既是约翰·霍尔父亲的墓碑,也是时间胶囊的标志,桑树成为马的纪念碑,因为他就是在这里自杀的,植树是为了纪念雷和多萝西的关系,因为当他们的关系失败时,他们每年的种植传统就停止了(The Overstory,第10页;13;41;168;211)。因此,很明显,树木的持久性使它们成为纪念的工具。https://doi.org/10.1080/00144940.2022.2146477
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引用次数: 0
Heathcliff as the masculine counterpart of androgynous Catherine in Wuthering Heights 希斯克利夫是《呼啸山庄》中雌雄同体的凯瑟琳的男性形象
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2022-10-02 DOI: 10.1080/00144940.2023.2205578
Xihua Meng
Androgyny is first introduced to literary criticism by Virginia Woolf. She proclaims that “in each of us two powers preside, one male, one female; and in the man’s brain the man predominates over the woman, and in the woman’s brain the woman predominates over the man”.1 It is “an ideal plan of human soul, which surpasses traditional gender classification and possesses more active potentials”.2 “The nineteenth century saw an increasingly widespread and articulate statement of women’s claims”.3 Therefore, as a writer in the first half of the nineteenth century, it would have been impossible for Emily Brontë to compose a novel expressing her feminist ideas clearly and obviously, or to organize a campaign against the patriarchal system. She chose to expose her plea for equal rights by a smart textual strategy: making Catherine an androgynous character. Under the disguise of Heathcliff, a male character, Catherine fights against social prejudice and defends her right to equality. Emily is “clever, benevolent but very stubborn: ‘Stronger than a man, simpler than a child, her nature stood alone’”.4 Emily was not a standard Victorian woman, who was expected to be mild, obedient, elegant, and refined. In the Victorian era, it was difficult for women to start a literary career because they were believed to be the “angels in the house”.5 However, Emily and her sisters sought equality with men, even though the patriarchal system in the Victorian era oppressed women. But even in a feminine mind, the male counterpart cannot be suppressed forever. Emily Brontë showed this in Wuthering Heights, and Catherine reveals this in her actions. Catherine is mischievous, but confined by Victorian values. Though she receives a conventional genteel education, her androgynous character is formed during her rebellion against injustice toward women. As an androgynous girl, she performs the feminine and masculine parts of her personality on different occasions. Whenever Catherine’s rebellious spirit seeks revenge for unjust social conventions, Heathcliff comes to life. When Catherine wants to uphold https://doi.org/10.1080/00144940.2023.2205578
双性同体最早是由弗吉尼亚·伍尔夫引入文学批评的。她宣称:“我们每个人都有两种力量,一男一女;在男人的头脑中,男人凌驾于女人之上,而在女人的头脑中,女人凌驾于男人之上它是“一种超越传统性别分类的人类灵魂的理想计划,具有更积极的潜力”“在19世纪,妇女的要求得到了越来越广泛和清晰的表述”因此,作为十九世纪上半叶的作家,艾米丽Brontë不可能写出一部清晰而鲜明地表达自己女权主义思想的小说,也不可能组织一场反对男权制度的运动。她选择用一种聪明的文字策略来表达她对平等权利的诉求:把凯瑟琳塑造成一个雌雄同体的角色。在男性角色希斯克利夫的伪装下,凯瑟琳反抗社会偏见,捍卫自己的平等权。艾米丽“聪明、仁慈,但非常固执:‘比男人坚强,比孩子单纯,她的天性是独立的’”艾米丽不是一个标准的维多利亚时代的女人,她被认为是温和、顺从、优雅和精致的。在维多利亚时代,女性很难开始文学生涯,因为她们被认为是“家里的天使”然而,尽管维多利亚时代的父权制度压迫女性,艾米丽和她的姐妹们还是寻求与男性平等。但即使在女性的头脑中,男性的对应物也不可能永远被压抑。爱米丽Brontë在《呼啸山庄》中表现了这一点,凯瑟琳在她的行动中表现了这一点。凯瑟琳淘气,但受限于维多利亚时代的价值观。虽然她接受的是传统的绅士教育,但她的雌雄同体性格是在反抗女性不公正的过程中形成的。作为一个雌雄同体的女孩,她在不同的场合表现出她个性中女性和男性的部分。每当凯瑟琳的叛逆精神寻求报复不公正的社会习俗时,希斯克利夫就活了过来。当凯瑟琳想要维护https://doi.org/10.1080/00144940.2023.2205578
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引用次数: 0
Symbolic Images of Butterflies in Nikos Kazantzakis’s Zorba the Greek 尼科斯·卡赞扎基斯的《希腊人左巴》中蝴蝶的象征意象
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2022-10-02 DOI: 10.1080/00144940.2023.2165433
W. Kim
Perhaps one of the most significant animal images employed by Nikos Kazantzakis in Zorba the Greek: The Saint’s Life of Alexis Zorba (1946) is that of butterflies—with the possible exception of a parrot in its cage. He makes repeated use of butterflies throughout the entire novel, one of the most wellknown works of modern Greek and world literature. Although the image of the caged parrot symbolically promotes a tragic view of the human condition, that of the butterflies has a variety of different meanings. In other words, the symbolic meanings of the butterflies vary greatly depending on the context in which the symbol is used. It explains, at least in part, that the images of the butterflies is not merely applicable to one particular character but to the various characters of the novel. Inarguably, Kazantzskis uses these images as a way to underscore the varied themes of the novel: the futility of human aspiration, spiritual rebirth, lost youth, human mortality, articitic creativity, among many other things. The image of butterflies is introduced early in Zorba the Greek. In Chapter 8, the rainy weather makes the unnamed first-person narrator, whom Alexis Zorba affectionately calls “Boss,” so emotional and sentimental that he feels almost like bursting into tears. He compares a drooping human soul to a rain-soaked butterfly: “These entirely sorrowful hours of light rain are sensual, as if your soul, a butterfly, were being drenched and thereby forced to sink into the ground” (107). All the bitter memories, hidden like rainwater in the depths of his mind, suddenly come to the surface. In this sentimental mood, the narrator goes on to say that lost hopes resemble “wingless butterflies reduced to worms that now creep over your heart’s essence, devouring it” (107). In this scene, the butterflies connote not only the human soul but also the futility of human aspiration. By contrast, the cocoon, inside which the pupa of many moths is protected, is closely related to the human body and its mundaneness. https://doi.org/10.1080/00144940.2023.2165433
也许尼科斯·卡赞扎基斯在《希腊人左巴:亚历克西斯·左巴的圣徒生活》(1946)中使用的最重要的动物形象之一是蝴蝶——可能笼子里的鹦鹉除外。他在整部小说中反复使用蝴蝶,这是现代希腊和世界文学中最著名的作品之一。虽然关在笼子里的鹦鹉的形象象征性地促进了对人类状况的悲剧性看法,但蝴蝶的形象却有各种不同的含义。换句话说,蝴蝶的象征意义很大程度上取决于使用该符号的背景。它至少在一定程度上解释了蝴蝶的形象不仅仅适用于一个特定的角色,而是适用于小说中的各种角色。毫无疑问,卡赞兹斯基用这些形象来强调小说的各种主题:人类渴望的徒劳、精神的重生、逝去的青春、人类的死亡、艺术的创造力等等。蝴蝶的形象早在希腊人左巴(Zorba)那里就出现了。在第8章中,阴雨的天气让未具名的第一人称叙述者——亚历克西斯·左巴亲切地称他为“老板”——变得如此情绪化和多愁善感,几乎要哭出来。他把一个萎靡不振的人类灵魂比作一只被雨淋透的蝴蝶:“这些完全悲伤的小雨时刻是感性的,就好像你的灵魂,一只蝴蝶,被淋湿了,因此被迫沉入地下”(107)。所有苦涩的回忆,像雨水一样藏在他心灵深处,突然浮出水面。在这种感伤的情绪中,叙述者继续说,失去的希望就像“没有翅膀的蝴蝶变成了蠕虫,现在爬上你内心的本质,吞噬它”(107)。在这个场景中,蝴蝶不仅意味着人类的灵魂,也意味着人类愿望的徒劳。相比之下,蚕茧保护着许多飞蛾的蛹,它与人体及其世俗密切相关。https://doi.org/10.1080/00144940.2023.2165433
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引用次数: 0
Ted Hughes’s “The Jaguar” and Animal Ethics 泰德·休斯的《美洲虎》与动物伦理学
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2022-10-02 DOI: 10.1080/00144940.2023.2200155
Toshiaki Komura
Abstract In the twenty-first century, particularly post-2019, we are compelled to reexamine the ethical and philosophical grounds of human-centered thinking and to ponder earnestly about the moral dimensions of engaging with nonhuman animals. This essay explicates Ted Hughes’s “The Jaguar” as presenting a double-vision of human perspectives and animal perspectives in its portrayal of a jaguar in a zoo cage. On the one hand, the jaguar is depicted as a visionary, whose spiritual freedom is unconstrained by its physical captivity. On the other hand, the feline is shown to be a captive animal displaying signs of distress. The poetic ambiguity of “The Jaguar” prompts the reader to imagine what might be the jaguar’s state of “flourishing,” in light of Martha Nussbaum’s theory of capabilities approach to animal welfare. By revealing the complexity of what it means to think through animal perspectives, Hughes’s “The Jaguar” urges us to develop metacognition about how we see and understand nonhuman animals.
摘要在21世纪,特别是2019年后,我们不得不重新审视以人为中心的思维的伦理和哲学基础,并认真思考与非人类动物交往的道德层面。本文阐述了特德·休斯的《美洲豹》在描绘动物园笼子里的美洲豹时,呈现了人类视角和动物视角的双重视角。一方面,美洲豹被描绘成一个有远见的人,其精神自由不受其身体束缚的约束。另一方面,这只猫被证明是一只表现出痛苦迹象的圈养动物。根据玛莎·努斯鲍姆(Martha Nussbaum)关于动物福利能力方法的理论,《美洲豹》的诗意模糊促使读者想象美洲豹的“繁荣”状态。休斯的《美洲豹》揭示了从动物角度思考的复杂性,促使我们对如何看待和理解非人类动物形成元认知。
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引用次数: 0
A literal reading of the shadow in “Ligeia:” Coleridge’s remarks on Ghosts and Poe’s poetics of misdirection 解读《李盖亚》中的阴影——柯勒律治对鬼魂的评论与坡的误导诗学
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2022-10-02 DOI: 10.1080/00144940.2022.2164167
Pedro Madeira
The reader of Edgar Allan Poe’s “Ligeia” (1838) is called upon to decide whether the purported resurrection of the title-character is a bona fide miracle or a delusion. Before answering this question, however, one must first tackle the more fundamental challenge of establishing what the first-person narrator, the sole witness of these events, thinks happened. Given the lack of clear, unambiguous statements of fact in his report, this is no easy task. He suggests that his dead first wife Ligeia came back as a ghost to kill, or perhaps hasten the death, of her already debilitated successor, Rowena, maybe by dropping some mysterious fluid, which he is not sure he saw, in her wine. Four nights later, during Rowena’s wake, which was held in the same room, her corpse seems to be gradually replaced by Ligeia’s body throughout a weird succession of incomplete reanimations. Finally, the narrator tells us, Ligeia “advanced bodily and palpably” from Rowena’s bed of death, although he admits she shrunk “from my touch” before he could quite get a hold of her (Poe 329, 330). Yet, despite all these inconsistencies, the narrator’s supernatural explanation remained virtually unchallenged until 1944, when Roy P. Basler contended that the wonders he mentions “must be understood as (...) hallucinations” (368). In 1973, however, G. R. Thompson argued that it was impossible to “know anything the narrator has told us is ‘real,’” and that therefore, in order to appreciate the full effect of the tale, the reader was required to “think one theory and feel the other” (97, 103). This matched that writer’s overall assessment of Poe, who he thought had attempted to convey a sense of “despair over the ability of the mind to know anything,” thereby taking the Romantic distrust of rationality to new and unheard-of extremes (69). https://doi.org/10.1080/00144940.2022.2164167
埃德加·艾伦·坡(Edgar Allan Poe)的《利盖亚》(Ligeia)(1838年)的读者被要求决定标题人物的复活是真正的奇迹还是妄想。然而,在回答这个问题之前,我们必须首先解决更根本的挑战,即确定这些事件的唯一目击者、第一人称叙述者认为发生了什么。鉴于他的报告中缺乏明确、毫不含糊的事实陈述,这不是一项容易的任务。他暗示,他死去的第一任妻子Ligeia以鬼魂的身份回来,杀死或加速了她已经衰弱的继任者Rowena,也许是在她的葡萄酒中滴下了一些神秘的液体,他不确定自己看到了这些液体。四个晚上后,在同一个房间里举行的罗薇娜的守灵仪式上,在一系列奇怪的不完全复活过程中,她的尸体似乎逐渐被利盖亚的尸体所取代。最后,讲述者告诉我们,Ligeia从Rowena的死亡之床上“身体明显地向前推进”,尽管他承认在他完全抓住她之前,她“从我的触摸中”退缩了(Poe 329330)。然而,尽管有这些不一致之处,叙述者的超自然解释几乎没有受到质疑,直到1944年,罗伊·P·巴斯勒认为他提到的奇迹“必须被理解为(…)幻觉”(368)。然而,在1973年,G.R.Thompson认为,不可能“知道叙述者告诉我们的任何事情都是‘真实的’”,因此,为了欣赏故事的全部效果,读者必须“思考一种理论,感受另一种理论”(97103)。这与这位作家对爱伦·坡的总体评价相匹配,他认为爱伦·坡试图传达一种“对头脑知道任何事情的能力感到绝望”的感觉,从而将浪漫主义对理性的不信任带到了前所未有的新极端(69)。https://doi.org/10.1080/00144940.2022.2164167
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引用次数: 0
Ambiguity in Yeats’s “the Hosting of the Sidhe” 叶芝《席德的主持》中的歧义
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2022-10-02 DOI: 10.1080/00144940.2023.2184678
Thomas Dilworh
The host is riding from Knocknare and over the grave of clooth-na-Bare; caoilte tossing his buring hair, and Niamh calling Away, come away: Empty your heart of its mortal dream, The winds awaken, the leaves whirl round, Our cheeks are pale, our hair is unbound, Our breasts are heaving, our eyes are agleam, Our arms are waving, our lips are apart; And if any gaze on our rushing band, We come between him and the deed of his hand, We come between him and the hope of his heart. The host is rushing ‘twixt night and day, and where is there hope or deed as fair? caoilte tossing his burning hair, and Niamh calling Away, come away.
主人正骑着马从诺克纳雷出发,越过克洛斯那巴尔的坟墓;caoilte甩着他那埋着的头发,Niamh叫道,走开:清空你的心,让它做一个凡人的梦,风醒了,树叶旋转,我们的脸颊苍白,我们的头发没有束缚,我们的乳房起伏,我们的眼睛闪闪发光,我们的手臂挥舞,我们的嘴唇分开;如果有人注视我们的狂奔,我就在他和他手上的行为之间,我在他和他的心中的希望之间。主人日夜奔波,哪里还有希望或公平的行为呢?caoilte甩着他燃烧的头发,Niamh叫Away,走开。
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引用次数: 0
“Of coyotes and werewolves: Bret Easton Ellis’ Less Than Zero” “关于郊狼和狼人:布雷特·伊斯顿·埃利斯的《小于零》”
IF 0.1 3区 文学 0 LITERATURE Pub Date : 2022-10-02 DOI: 10.1080/00144940.2022.2164168
Todd Giles
To date, Bret Easton Ellis’ 1985 Less than Zero has understandably lacked an ecocritical reading due to its explicit depiction of sexual violence, over-thetop consumerism, rampant drug use, vapid characters, and crippling alienation. Ellis scholarship tends, in various ways, to examine LTZ as an exploration of the emptiness of our consumption-ridden mass-media world, whether it is Freese’s entropy and the “MTV novel” (1990), Sahlin’s “existential dilemma” (1991), Young’s exploration of place in a world without moral imperatives (1992), Annesley’s “blank fiction” (1988) and, most recently, Dehghan and Sadjadi’s Baudrillardian look at consumption and media (2021). However, when we consider the numerous references to the “wild” encroaching the boundaries protecting the carefully manufactured Garden of LA in the form of tree-felling winds, torrential rains, home-destroying mudslides, scorching temperatures, and cat-eating coyotes, Ellis’s novel can be read not only as a condemnation of constructing our Western Eden in the first place, but also as a point of contact for considering Clay’s (and our) place in the posthuman world. I argue that Clay, the novel’s narrator, finds himself adrift in a world where long-accepted distinctions between inside/outside and domesticated/wild are no longer tenable in an LA which, by the 1980s, had long since lost the farmland buffer that kept the wilds of desert and mountains at bay. Without this manufactured agricultural zone shielding metropolitan LA, a new space was created in which the perceived culture/nature boundaries are traversed, heightening Clay’s sense of alienation. These crossings are most prevalent where the wild and the urban intersect in areas of flux and transition known as ecotones. According to Irene Klaver, “An ecotone is an interface between two ecosystems and is often a more complex ecosystem by combining the previous two into a new third, with its own processes and species” (46). And, https://doi.org/10.1080/00144940.2022.2164168
到目前为止,布雷特·伊斯顿·埃利斯(Bret Easton Ellis)1985年的《小于零》(Less than Zero)缺乏生态批判的阅读,这是可以理解的,因为它对性暴力、过度消费、猖獗的吸毒、乏味的角色和严重的异化进行了明确的描述。埃利斯的学术倾向于以各种方式将LTZ视为对我们消费猖獗的大众媒体世界空虚的探索,无论是弗里斯的熵和“MTV小说”(1990年)、萨林的“生存困境”(1991年)、杨对一个没有道德要求的世界中的位置的探索(1992年)、安妮斯利的“空白小说”(1988年),Dehghan和Sadjadi的Baudrillardian对消费和媒体的看法(2021)。然而,当我们考虑到“野生”以砍伐树木的风、暴雨、摧毁家园的泥石流、灼热的气温和吃猫的郊狼的形式侵占了保护精心制作的洛杉矶花园的边界时,埃利斯的小说不仅可以被解读为对建立我们的西部伊甸园的谴责,同时也是考虑克莱(以及我们)在后人类世界中的地位的一个联络点。我认为,小说的叙述者克莱发现自己漂泊在一个长期接受的内部/外部和驯化/野生之间的区别在洛杉矶已经站不住脚的世界里,到20世纪80年代,洛杉矶早已失去了阻止沙漠和山脉荒野的农田缓冲区。如果没有这个人造农业区来保护洛杉矶大都市,一个新的空间就被创造出来了,在这个空间里,感知到的文化/自然边界被跨越,这加剧了克莱的疏离感。这些交叉点在被称为交错带的流动和过渡地区的野生和城市交叉处最为普遍。根据Irene Klaver的说法,“交错带是两个生态系统之间的界面,通常是一个更复杂的生态系统,通过将前两者结合成具有自身过程和物种的新的第三个生态系统”(46)。和https://doi.org/10.1080/00144940.2022.2164168
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