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Picture World: Image, Aesthetics, and Victorian New Media 图片世界:图像、美学与维多利亚时代新媒体
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2059151
R. Menke
of European salon gatherings in the long nineteenth century, and to consider identifiable connections to this musical tradition beyond this geographical and temporal scope. In addition to serving as an approachable introduction for readers unfamiliar with salon culture, the sixteen essays within the volume also display the wide variety of approaches and methodologies used by salon scholars, revealing the importance of salon studies for learning about musical culture in Europe and the United States. The volume’s extensive bibliography of primary and secondary sources is one of the first such published compilations of salon scholarship and is a useful survey of the work that has been done on the history of music salons. Though the editors make it clear that the scope of this volume is limited to western European salon traditions, many of the essays raise important questions about salon traditions that occurred beyond the geographical scope of this publication. Kusz’s study of Dohnányi’s salon, for example, briefly mentions the active salon culture Dohnányi encountered in Hungary before immigrating to the United States in 1949, raising questions about the nature of salon life in eastern Europe. Both Kusz’s essay and Katie A. Callam chapter on Clara Kathleen Rogers’s salon in Boston, Massachusetts, explore salons found in the United States. As these two case studies focus on salons in the eastern and southern United States, readers might wonder how salons in the central and western parts of the country compared to those in Tallahassee and Boston. In their introduction, Bunzel and Loges trace the centuries-long history of salon gatherings back to Ancient Greek symposia. Considering such vast temporal and geographical links, discussions of the impact and history of salon culture could clearly extend beyond western Europe and the United States. This volume, then, serves as a useful launching point for future studies that might take a more global approach to the study of salon culture both within and beyond the long nineteenth century.
19世纪漫长的欧洲沙龙聚会,并考虑到与这一音乐传统的可识别联系超出了这一地理和时间范围。除了为不熟悉沙龙文化的读者提供一个平易近人的介绍外,该卷中的十六篇文章还展示了沙龙学者使用的各种方法和方法,揭示了沙龙研究对学习欧美音乐文化的重要性。该卷广泛的一级和二级来源参考书目是最早出版的沙龙学术汇编之一,也是对音乐沙龙历史工作的有益调查。尽管编辑们明确表示,本卷的范围仅限于西欧沙龙传统,但许多文章提出了关于沙龙传统的重要问题,这些问题发生在本出版物的地理范围之外。例如,Kusz对Dohnányi沙龙的研究,简要提到了1949年移民美国之前,Dohnónyi在匈牙利遇到的活跃的沙龙文化,这引发了人们对东欧沙龙生活性质的质疑。Kusz的文章和Katie A.Callam关于Clara Kathleen Rogers在马萨诸塞州波士顿的沙龙的章节都探讨了美国的沙龙。由于这两个案例研究的重点是美国东部和南部的沙龙,读者可能会想,与塔拉哈西和波士顿的沙龙相比,美国中西部的沙龙如何。在他们的介绍中,Bunzel和Loges将长达数百年的沙龙聚会历史追溯到古希腊座谈会。考虑到如此广泛的时间和地理联系,关于沙龙文化的影响和历史的讨论显然可以延伸到西欧和美国之外。因此,这本书为未来的研究提供了一个有用的起点,这些研究可能会在漫长的十九世纪内外采用更全球化的方法来研究沙龙文化。
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引用次数: 0
Staging Dickens’s doubles: a tale of two actresses 上演狄更斯的替身:两个女演员的故事
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2052554
Kirsten M. Andersen
Dickens’s fascination with the idea of the double has been an enduring focus of scholarly attention. In a 1959 article in The Dickensian, Lauriat Lane, Jr., contended that “[t]he archetypal figure of the double appeals to a fundamental human belief . . . that within every man are two beings, the saint and the sinner, eternally contending for control of the outer man” (1959, 47). Within every woman, there are also two beings, presumably, but Dickens’s female doubles “are usually constructed according to the imperatives of the male gaze,” reinforcing “stereotypes as for social acceptability” (Paganoni 2008, 73–74). Angelic figures like Esther Summerson and Lucie Manette are fixtures in the house and home – Esther guards the keys of the Jarndyce home, while Lucie sits “in the still house in the tranquilly resounding corner” (Dickens 2003, 218). Dickens contrasts these socially acceptable characters with women associated with the street; Lady Dedlock haunts the streets of London searching for her dead lover’s grave, and Madame Defarge takes to the streets during the storming of the Bastille. While Lucie winds the symbolic “golden thread” that binds her family together, Madame Defarge takes the domestic occupation of knitting and turns it into a symbol of violence. The resolution of the plots of Bleak House and A Tale of Two Cities depends on the expulsion of bad doubles: “the ascendancy of uncorrupted womanhood can only follow the expulsion of debased womanhood” (Nord 1995, 85). Dickens portrays women who can disguise and transform themselves as deviant or dangerous. For Dickens, female doubling is a threat to be managed. Dickens’s use of doubling reveals the formative influence of the theater, and of melodrama in particular. Like many scholars of the Victorian novel, Maria Cristina Paganoni argues that “the most vital expressions of current drama in a period where the theatrical technique declined are to be found in other genres,” such as the novel (2008, 57). Dickens certainly used the theater as a source of inspiration, but theatrical adaptations of Dickens’s novels, in turn, brought his stories to new audiences and infused his characters with new life. Scholarly considerations of doubling in Dickens have neglected the key role of theatrical adaptations in shaping audience reception of Dickens’s female characters. Actresses cast in double roles reinterpreted, and in some cases redeemed, Dickens’s dark female doubles. This essay draws attention to two actresses who played double roles in stage adaptations of Dickens’s novels: Madame Céline Céleste portrayed Madame Defarge and her sister Colette DuBois in Tom Taylor’s 1860 adaptation of A Tale of
狄更斯对替身概念的迷恋一直是学术界关注的焦点。在1959年《狄更斯》杂志上的一篇文章中,小劳里亚特·莱恩(Lauriat Lane,Jr.)认为,“双重人格的原型人物呼吁人类的一种基本信念……每个人的内心都有两个存在,一个是圣人,另一个是罪人,他们永远在争夺对外部人的控制”(1959,47)。在每个女人身上,大概也有两个存在,但狄更斯的女性替身“通常是根据男性凝视的需要构建的”,强化了“关于社会可接受性的刻板印象”(Paganoni 2008,73–74)。埃丝特·萨默森(Esther Summerson)和露西·马内特(Lucie Manette。狄更斯将这些社会可接受的人物与街头女性进行了对比;德洛克夫人在伦敦的街道上徘徊,寻找她死去的情人的坟墓,而德伐日夫人在巴士底狱的袭击中走上街头。当露西缠绕着象征性的“金线”将她的家人联系在一起时,德伐日夫人开始了编织家务,并将其变成了暴力的象征。《荒凉山庄》和《双城记》情节的解决取决于对坏替身的驱逐:“廉洁女性的崛起只能伴随着对堕落女性的驱逐”(Nord 1995,85)。狄更斯笔下的女性可以伪装和改造成离经叛道或危险的人。对狄更斯来说,女性替身是一种需要管理的威胁。狄更斯对替身的使用揭示了戏剧,尤其是情节剧的形成影响。像许多研究维多利亚时代小说的学者一样,玛丽亚·克里斯蒂娜·帕加尼认为,“在戏剧技巧衰落的时期,当前戏剧最重要的表达方式是在其他类型中找到的”,比如小说(2008,57)。狄更斯当然将戏剧作为灵感来源,但对狄更斯小说的戏剧改编反过来又将他的故事带给了新的观众,并为他的角色注入了新的生命。学术界对狄更斯作品中双重性的考虑忽略了戏剧改编在塑造观众对狄更斯女性角色接受度方面的关键作用。扮演双重角色的女演员重新诠释了狄更斯笔下的黑暗女性替身,在某些情况下,也弥补了这一点。这篇文章提请注意在狄更斯小说的舞台改编中扮演双重角色的两位女演员:塞琳·塞莱斯特夫人在汤姆·泰勒1860年改编的《美国传奇》中扮演德伐日夫人和她的妹妹科莱特·杜波依斯
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引用次数: 0
Communities of Care: The Social Ethics of Victorian Fiction 关怀社区:维多利亚时代小说的社会伦理
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2059148
M. Frawley
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引用次数: 6
Anglo-Irish representations and postcolonial discourse in J. S. Le Fanu’s “The familiar” j·s·勒·法努《熟悉的人》中的盎格鲁-爱尔兰再现与后殖民话语
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2054619
Richard Jorge Fernández
Relations of dominance in postcolonial and Gothic literatures are concomitant to the struggle between self and other, encompassing the different issues hidden behind a seemingly binary and simplistic tug of war. This antagonism is reflected in how the dichotomy self versus other is portrayed in Gothic literature. In such depictions, protagonists usually represent the self, while the other is “everything else in that world” (Day 1985, 19). Seen this way, Gothic literature would constitute an examination of how identities, both individual and shared, are formed. Colonial Gothic deploys this concept of self and other, placing it, however, under the dichotomy colonizer–colonized; this has a twofold effect on characters, who are first perceived as the monstrous other and then linked to the colonized subject. This binary relation just exposed is further complicated in the Irish case, however, which is, perhaps, better realized “as a triangle in which two of its vertices are fixed – Catholics/Irish and English – while the third vertex, that of the Anglo-Irish, gradually shifts positions from the English to the Irish one, following a creolization process in which they are both victims and victimizers” (Jorge 2019, 71). Other critics, among them Flannery (2013), have expressed their views that “the histories of colonialism in Ireland demand combined postcolonial and Gothic readings” (96). Through an examination of the context and by drawing a comparison to his earlier work The Purcell Papers (1850), the present essay demonstrates how J. S. Le Fanu deploys narrative construction and characterization in his In a Glass Darkly (1872) short narratives as represented in “The Familiar.” This analysis will unveil how his short ficitonsrepresent this in-between state of the Anglo-Irish class as colonizers but not quite while simultaneously fostering a cultural blending between the Catholic and the Protestant communities in an attempt to create a shared Irish identity.
后殖民和哥特文学中的支配关系与自我与他者之间的斗争相伴而生,包含了隐藏在看似二元和简单的拉锯战背后的不同问题。这种对立反映在哥特文学中对自我与他人的二分法的描绘上。在这样的描绘中,主角通常代表自我,而他者则是“那个世界上的其他一切”(Day 1985, 19)。从这个角度来看,哥特文学将构成一种对身份(无论是个人身份还是共有身份)如何形成的检验。殖民哥特式运用了自我和他者的概念,然而,将其置于殖民者-被殖民者的二分法之下;这对角色有双重影响,他们首先被视为怪物,然后与被殖民的主体联系在一起。然而,刚刚暴露的这种二元关系在爱尔兰的情况下更加复杂,也许更好的理解是“作为一个三角形,其中两个顶点是固定的——天主教徒/爱尔兰人和英国人——而第三个顶点,盎格鲁-爱尔兰人的顶点,在一个克里奥尔化的过程中,他们既是受害者又是加害人,逐渐从英国人转移到爱尔兰人的位置”(Jorge 2019, 71)。弗兰纳里(Flannery, 2013)等其他批评家认为,“爱尔兰的殖民主义历史需要后殖民和哥特的结合”(96)。通过对上下文的考察,并与他早期的作品《珀塞尔论文》(1850)进行比较,本文展示了j.s.勒法努在《黑暗的玻璃》(1872)中是如何运用叙事结构和人物塑造的,正如《熟悉的人》中所表现的那样。这一分析将揭示他的短篇小说是如何表现盎格鲁-爱尔兰阶级作为殖民者的这种中间状态,而不是同时促进天主教和新教社区之间的文化融合,试图创造一个共同的爱尔兰身份。
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引用次数: 0
Queer temporality in Victorian love and marriage poems 维多利亚婚恋诗中的时间性
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2057150
Pearl Chaozon Bauer, S. Kersh
The pressures of performing a happy married life become a macabre enactment. The two keep the “ghost” of marital unhappiness from their guests and Meredith names this dance of effrontery “Hiding the Skeleton.” Suggesting their game is a kind of social contagion, and hinting at its wide prevalence, the speaker exposes the ludicrousness of the couple’s interactions, sardonically enquiring, “Went the feast ever cheerfuller?” (line 2). The “game” or performance, in which the husband and the wife play, is strictly monitored by those in attendance. Meredith’s first-person speaker (the voice of the husband, in this sonnet) takes sarcastic glee in their superb demonstration. The sonnet concludes with the revelation that “Love” and “marriage” are long-dead corpses only revived by their game:
追求幸福婚姻生活的压力变成了一场可怕的演出。他们俩不让客人看到婚姻不幸福的“幽灵”,梅雷迪思把这种厚颜无耻的舞蹈命名为“隐藏骨架”。演讲者暗示他们的游戏是一种社会传染,并暗示其广泛流行,他揭露了这对夫妇互动的荒谬,讽刺地问道:“宴会更愉快了吗?”(第二行)。丈夫和妻子玩的“游戏”或表演受到在场人员的严格监控。梅瑞狄斯的第一人称说话者(在这首十四行诗中是丈夫的声音)在他们精湛的演示中带着讽刺的喜悦。这首十四行诗的结尾揭示了“爱情”和“婚姻”是早已死去的尸体,只有在他们的游戏中才能复活:
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引用次数: 0
Re-forming pleasure: working-class aesthetic experience in Émile Zola’s L’Assommoir 重塑快乐:埃米尔·左拉《阿索米尔》中的工人阶级审美体验
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2054610
Virginia Leclercq
Days after the attack on the Tuileries palace, home to a prisoner-king and a royal collection of art, the Republican Assembly passed an act that strikingly materialized the ideals of the Revolution by declaring the palace and its collections to be national property. And yet, the aesthetic pleasure newly available to the public at the Louvre was to become as regimented as any of Haussmann’s boulevards. Émile Zola’s L’Assommoir (1877) famously depicts the parade of a working-class wedding party across Paris as they make their way to the Louvre. Their visit to the museum intersects with critical debates about the politics of aesthetics and the move to cultivate Taste and regulate pleasure in the nineteenth century. While many critics have read the “uninformed” or “puerile” pleasure the characters take in the art on display at the Louvre as symptomatic of a society that seeks to maintain an aesthetic hierarchy, I instead read the Louvre as the site of shifting political and social forms that unsettle the marginalization or degradation of working-class aesthetic pleasure. Drawing on the work of Jacques Rancière, I argue that the novel enacts a formal redistribution of the discursive control of the aesthetic space of the Louvre. In contrast to the third-person omniscient narration that elsewhere seeks to impose order, the works of art in the Louvre are subject to ekphrastic description by the members of the wedding party. As these characters describe and comment on the works of art, the novel renders their discursive authority legitimate and invests their “uncultivated” pleasure with value. Importantly, this reading allows us to revisit a part of the novel that has traditionally been read as a failure of a larger, democratic cultural project and instead recuperate it. To do so requires a recalibration of our understanding of the formal principles at work in nineteenth-century novels. As the story goes, nineteenth-century novels developed sophisticated multi-plot narratives and a clear regime of forms, like the bildungsroman or the marriage plot, that would later be shattered and fragmented by the formless and impressionistic narratives of modernism. Yet this distinction – like many accounts of periodization – is built on a fragile foundation that assumes that the nineteenthcentury novel is in fact a form that privileges perspective and forward-driven narrative to lend it coherence. But what if this were not the case? Jacques Rancière, borrowing from Virginia Woolf, asks a version of this question in examining the “mode of linkage,” a phrase that we might take as a definition of form. In “The Thread of the
杜伊勒里宫是一位被俘国王和一批皇家艺术品的所在地,在遭到袭击几天后,共和国议会通过了一项法案,宣布杜伊勒丽宫及其藏品为国家财产,惊人地实现了革命的理想。然而,卢浮宫新向公众提供的美学乐趣却变得像奥斯曼的任何一条林荫大道一样严格。埃米尔·左拉(Émile Zola)的《L'Assommoir》(1877年)著名地描绘了工人阶级前往卢浮宫时,在巴黎各地举行的婚礼游行。他们对博物馆的访问与关于美学政治的批判性辩论以及19世纪培养品味和调节快乐的举措交织在一起。虽然许多评论家认为卢浮宫展出的艺术中人物所享受的“无知”或“幼稚”的快乐是一个寻求保持审美等级制度的社会的症状,但我认为卢浮宫是一个政治和社会形式不断变化的地方,它扰乱了工人阶级审美快乐的边缘化或退化。根据雅克·兰齐埃的作品,我认为这部小说正式重新分配了对卢浮宫美学空间的话语控制。与其他地方试图强加秩序的第三人称全知全能叙事不同,卢浮宫的艺术作品受到婚礼派对成员的口头描述。当这些人物描述和评论艺术作品时,小说赋予了他们话语的权威合法性,并赋予了他们“未经开垦”的快乐以价值。重要的是,这种阅读让我们能够重新审视小说中传统上被视为一个更大的民主文化项目失败的部分,并对其进行修复。要做到这一点,我们需要重新调整对19世纪小说中的形式原则的理解。随着故事的发展,19世纪的小说发展出了复杂的多情节叙事和清晰的形式体系,比如成长小说或婚姻情节,这些叙事后来被现代主义的无形式和印象派叙事所打破和割裂。然而,这种区别——就像许多关于分期的描述一样——是建立在一个脆弱的基础上的,这个基础假设19世纪的小说实际上是一种赋予视角和前瞻性叙事以连贯性的形式。但如果事实并非如此呢?雅克·兰齐埃(Jacques Rancière)借用弗吉尼亚·伍尔夫(Virginia Woolf)的话,在研究“联系模式”时提出了这个问题的一个版本,我们可以将这个短语视为形式的定义
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引用次数: 0
Classes, manners, transformations: popular sociology in periodical literature (1830–1850) 阶级、举止、转变:期刊文学中的大众社会学(1830-1850)
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2057149
C. Schwab
In 1835, Madrid-based writer Mariano José de Larra characterized the recent outburst of journalistic enterprises across Europe as both a “síntoma” [“symptom”] and an “escuela indispensable... de la vida moderna” (Larra 1835a, 1475) [“indispensable school... of modern life”]. Indeed, the rise of the press in the first half of the nineteenth century was deeply connected to the social, political, and economic transformations of the time. The revolutions of the eighteenth and nineteenth centuries, migration from the land to the city, and the social effects of technological and economic innovation favored the awakening of a sociological consciousness among increasingly large population groups, particularly in European metropolises (Osterhammel 2009, 25–82). On the other hand, the continuous relaxation of censorship, new technologies of paper production and print, and the transformation of reading practices promoted the explosion of print products across Europe and beyond. The periodical press soon would constitute a major forum to discuss the radical changes of the social and cultural world. “[H]abiendo periódicos” [“with the existence of newspapers”], Larra writes in his characteristically satirical tone, “no es necesario estudiar” [“there is no need to study”] because they provide all kinds of (useful and rather pointless) information (Larra 1835a, 1475). Newspapers, according to Larra (1476), tell us about political events and the theatre playbill, discuss what a Tory is and what a Whig is, and if Spain is or is not to be considered a progressive country. “Convengamos, pues” [“Let us agree, then”], he continues, “en que el periódico es el grande archivo de los conocimientos humanos, y que si hay algún medio en este siglo de ser ignorante, es no leer un periódico” (1476) [“that the newspaper is the great archive of human knowledge, and that if there is any way of being ignorant in this century, it is to not read a newspaper”]. The journalistic pursuit of social observation is in a unique way reflected in countless “sociographic” writings that, especially in the 1830s and 1840s, depicted new professions and technologies, social types, institutions, and cultural routines of the transforming societies. Propagating the inspection of the surfaces of the social universe, these “sketches of manners,” “esquisses de mœurs,” or “cuadros de costumbres,” as they were called in
1835年,马德里作家马里亚诺·何塞·德·拉拉(Mariano Joséde Larra)将最近欧洲各地新闻企业的爆发描述为“症状”和“现代生活中不可或缺的学校”。事实上,十九世纪上半叶新闻界的兴起与当时的社会、政治和经济变革有着深刻的联系。十八世纪和十九世纪的革命、从土地到城市的移民,以及技术和经济创新的社会影响,有利于在越来越多的人口群体中唤醒社会意识,尤其是在欧洲大都市(Osterhammel 2009,25-82)。另一方面,审查制度的不断放松、纸张生产和印刷的新技术以及阅读实践的转变,推动了印刷产品在欧洲及其他地区的爆炸式增长。期刊出版社很快将成为讨论社会和文化世界根本变化的主要论坛。“[H]abiendo periódicos”[“随着报纸的存在”],Larra用他特有的讽刺口吻写道,“没有必要研究”[“没有必要学习”],因为它们提供了各种(有用且毫无意义的)信息(Larra 1835a,1475)。据Larra(1476)报道,报纸告诉我们政治事件和戏剧账单,讨论什么是保守党,什么是辉格党,以及西班牙是否被视为进步国家。“Convengamos,pues”[“那么,让我们同意吧”],他继续说道,“在这个世纪,如果有任何无知的方式,那就是不读报纸”]。新闻界对社会观察的追求以一种独特的方式反映在无数“社会图形”作品中,尤其是在19世纪30年代和19世纪40年代,这些作品描绘了转型社会的新职业和技术、社会类型、制度和文化惯例。传播对社会世界表面的检查,这些“礼仪草图”、“esquisses de mœurs”或“cuadros de costubres”,正如它们在
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引用次数: 0
Objects of desire: art and triumph in Oscar Wilde’s An Ideal Husband 欲望的对象:王尔德《理想丈夫》中的艺术与胜利
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2057155
T. Groff
Throughout Oscar Wilde’s fiction and drama, objects carry symbolic weight, foil the plots of antagonists, and signal the sexual desires of Wilde’s characters. The Picture of Dorian Gray (1891) figures the transformative power of life’s experiences in a portrait of the protagonist; The Importance of Being Earnest (1895) confirms familial standing and identity through a handbag; and An Ideal Husband (1895) defuses a blackmail attempt when one of its protagonists recognizes a bracelet at an opportune moment. In addition to serving as valuable conceits, objects function as key signifiers, with Wilde regularly allowing objects to serve as extensions of characters themselves. Often, this act of extension is as much about definition as it is about substitution, as with Madame de Ferrol, in The Picture of Dorian Gray, whom Lord Henry describes as “an édition de luxe of a bad French novel” when “she is in a very smart gown” (2007, 175), a quip recycled in Lady Windermere’s Fan (1892), when Dumby refers to Mrs. Erlynne as “an édition de luxe of a wicked French novel, meant specially for the English market” (1995b, 26). The qualifier at the end of Dumby’s statement is important to note. With it, Wilde suggests that he is indeed crafting characters with scandalous sexualities, ones that are as potentially shocking to the British public as the decadent French “yellow book” of the era – like J.-K. Huysmans’s A Rebours – but codified in a way that allows them to be presented on stage for British theatergoers. My analysis begins with the assumption that objects – in the form of both props and conversational referents – do indeed signal the individual drives, including the sexual and political ambitions, of Wilde’s characters. An Ideal Husband lends itself to a close reading of its objects because Wilde revised it specifically for print following his incarceration. As Joel H. Kaplan and Sheila Stowell (1994) explain, the play “is unique in the extent to which it attempts to create for a reading public a sense of visual immediacy” due to Wilde’s addition of “lengthy stage directions ensuring that thematic points would be made by stylistic and sartorial means” (27). An Ideal Husband perhaps offers more to the reader than the theatergoer. In addition to being analytically rich thanks to Wilde’s persistent visual cues, the play invites further analysis because its dialogue and stage directions are rife with a surprising number of references to objects with sexually and politically charged meanings, from Rococo paintings to yellow books. These objects not only offer insight into the sexual identities of characters, but they also carry striking political implications.
在奥斯卡·王尔德的小说和戏剧中,物品具有象征意义,衬托了对手的情节,并表明了王尔德笔下人物的性欲。《多里安·格雷的画像》(1891)在主人公的画像中描绘了生活经历的变革力量;《认真的重要性》(1895)通过手提包确认了家庭地位和身份;《理想的丈夫》(1895)中的一位主人公适时认出了一只手镯,从而化解了勒索企图。除了充当有价值的自负之外,物体还充当关键的能指,王尔德经常允许物体充当角色本身的延伸。通常,这种延伸行为既是关于定义,也是关于替代,就像《多里安·格雷的画像》中的德·费罗尔夫人一样,亨利勋爵将其描述为“一部糟糕的法国小说的奢华版”,当时“她穿着一件非常时髦的礼服”(2007175),这是《温德米尔夫人的扇子》(1892)中重复的一句俏皮话,当时邓比指的是德费罗尔女士。Erlynne是“一部邪恶的法国小说的奢华版,专门针对英国市场”(1995年b月,26日)。邓比发言末尾的限定词很重要。王尔德认为,他确实在塑造具有丑闻性取向的角色,这些角色可能会像那个时代颓废的法国“黄皮书”一样让英国公众感到震惊,比如J·K·胡斯曼的《反弹》,但以一种允许他们在舞台上为英国观众呈现的方式进行了编纂。我的分析始于这样一个假设,即对象——以道具和会话指称的形式——确实表明了王尔德笔下人物的个人驱动力,包括性和政治野心。《理想的丈夫》有助于仔细阅读其作品,因为王尔德在入狱后专门为印刷品修改了这本书。正如乔尔·卡普兰(Joel H.Kaplan)和希拉·斯托维尔(Sheila Stowell)(1994)所解释的那样,由于王尔德增加了“冗长的舞台指示,确保主题点将通过风格和服装手段提出”(27),该剧“在多大程度上试图为阅读大众创造视觉即时感,这是独一无二的”。《一个理想的丈夫》也许能为读者提供比观众更多的东西。由于王尔德坚持不懈的视觉线索,这部剧除了分析丰富外,还邀请了进一步的分析,因为它的对话和舞台指导中充斥着大量具有性和政治意味的物品,从洛可可绘画到黄书。这些物品不仅提供了对人物性身份的洞察,而且还具有引人注目的政治含义。
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引用次数: 0
Stylistic Virtue and Victorian Fiction: Form, Ethics, and the Novel 风格美德与维多利亚时代小说:形式、伦理与小说
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-03-15 DOI: 10.1080/08905495.2022.2059149
Jesse Rosenthal
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引用次数: 2
Below the line: extinction, late style, late Romanticism 这条线下面是绝迹,晚期风格,晚期浪漫主义
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2022-01-01 DOI: 10.1080/08905495.2021.2023342
Brecht de Groote
In light of a recent surge of interest in the literature of extinction, critics have begun to revisit the concept of late style first theorised by Adorno. As they return lateness to critical circulation, they often anchor the concept in Romantic writing. In contrast to the small-r romantic interpretation of late work often favoured by such work, in which biography and affect predominate, the present article contends that late-Romantic writing actually resists personalised readings. Instead, late-Romantic texts seek to disarticulate a personalising perspective in imagining themselves posterior to an ending that is utterly irrecuperable. Moreover, while readings of texts instinct with late temporality have recently focused on themes of individual or global extinction, the article argues that such concerns should be acknowledged to interlock with, perhaps even figure forth, meditations on the waning of Romantic ideas and ideals from the 1820s forward. Tracing the ways in which late-Romantic writing constructs for itself a sense of periodicity by paradoxically noting its disintegration, the article offers brief readings of Wordsworth, Mary Shelley, Byron, Hazlitt, and Trelawny.
鉴于最近对灭绝文学的兴趣激增,评论家们开始重新审视阿多诺首次提出的晚期风格概念。当他们将迟到回归评论界时,他们经常将这一概念锚定在浪漫主义写作中。与这类作品中传记和情感占主导地位的对晚期作品的小规模浪漫主义解读相反,本文认为晚期浪漫主义写作实际上抵制个性化阅读。相反,晚期浪漫主义文本试图在想象自己在一个完全无法抗拒的结局之后,脱离一种个性化的视角。此外,尽管最近对具有晚期时间性的文本本能的解读集中在个人或全球灭绝的主题上,但这篇文章认为,应该承认这种担忧与对19世纪20年代以来浪漫主义思想和理想衰落的思考是相互关联的,甚至是相互联系的。这篇文章通过矛盾地注意到其解体,追溯了晚期浪漫主义写作为自己构建周期感的方式,并简要阅读了华兹华斯、玛丽·雪莱、拜伦、黑兹利特和特里劳尼。
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Nineteenth-Century Contexts-An Interdisciplinary Journal
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