Pub Date : 2023-03-04DOI: 10.1080/10509585.2023.2181427
Jerrold E. Hogle
ABSTRACT We all acknowledge that the haunted house that saw an effulgence in Victorian English literature looks back to Horace Walpole’s The Castle of Otranto (1764), the first text to call itself A Gothic Story in its second edition (1765), and transplants its castle replete with fragmentary ghosts, recalling that these are haunted by Walpole’s prefaces to both editions that urge readers not to believe in the medieval supernatural that underwrites his tale’s apparitions. Yet the decades that intervene between eighteenth-century Gothic and later Victorian hauntings (what we still call the Romantic era) produce only occasional haunted houses, and what appears in this vein exhibits a struggle, rooted in Otranto, over which elements of the Walpolean Gothic to convert, reject, half-employ, or half-satirize. By analyzing examples from Charlotte Smith’s The Old Manor House and Coleridge’s “Frost at Midnight” to Walter Scott’s The Antiquary and Byron’s Don Juan, this article shows that such insecurity in the Romantic haunted-house motif epitomizes the fundamental relationship of the Gothic to the Romantic. Here Gothicized houses become microcosms for abjecting the unresolved tugs-of-war among conflicting but pervasive ideologies over and against which Romantic writing strives to build its imaginative, and even its ironical, resolutions.
摘要我们都知道，在维多利亚时代的英国文学中，鬼屋曾是一座辉煌的建筑，它追溯到霍勒斯·沃波尔（Horace Walpole）的《奥特兰托城堡》（the Castle of Otranto，1764），这是第一部在第二版（1765）中称自己为哥特式故事的文本，并移植了充满零碎鬼魂的城堡，回忆起沃尔波尔在这两个版本的序言中都萦绕着这些故事，这些序言敦促读者不要相信中世纪的超自然现象，而这正是沃尔波尔故事的幽灵。然而，在18世纪哥特式和后来的维多利亚时代（我们仍然称之为浪漫主义时代）之间的几十年里，只偶尔会出现鬼屋，而以这种方式出现的东西则表现出一场植根于奥特兰托的斗争，在这场斗争中，沃尔波式哥特式的哪些元素可以被转换、拒绝、半采用或半讽刺。本文通过对夏洛特·史密斯的《老庄园》、柯勒律治的《午夜霜冻》、沃尔特·斯科特的《古董》和拜伦的《唐璜》等作品的分析，表明浪漫主义鬼屋主题中的这种不安全感集中体现了哥特式与浪漫主义的根本关系。在这里，哥特化的房子成为了摒弃冲突但普遍存在的意识形态之间悬而未决的战争的缩影，浪漫主义写作努力建立其富有想象力甚至讽刺性的决心。
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Pub Date : 2023-03-04DOI: 10.1080/10509585.2023.2181480
Paolo Bugliani
ABSTRACT The history of the essay as a genre notoriously began in a very peculiar room: the library of Michel de Montaigne’s estate near Bordeaux. After many centuries, the form has passed through many other rooms, such as Robert Burton’s and Sir Thomas Browne’s libraries or the apartments of Sir Isaac Bickerstaff and Mr. Spectator, retaining an undeniable conjunction to the lodgings of its author. The house of the essayists has always been a place to which their readers were granted a special right of entry. This article aims to reflect on the spatial dimension of the English Romantic familiar essay as exemplified by the writings of Leigh Hunt and Charles Lamb. In particular, I will discuss the importance both writers attributed to the domestic interior as the most congenial scenario in which the essayistic act should be performed. Romantic essayists seemed to be more attuned with the early modern model of Montaigne. This allegiance is striking as the most frequent outlet through which essays in early nineteenth-century England were published was the same periodical press that during the eighteenth century seemed to have repudiated the private space of the parlor in favor of the socialized communal dimension of the coffee house.
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Pub Date : 2023-03-04DOI: 10.1080/10509585.2023.2181481
Carmen Casaliggi
ABSTRACT This article examines Roman art and architecture in Germaine de Staël’s Corinne, or Italy (1807) and considers interior and exterior descriptions of some of the houses, monuments, and palaces the author discusses in this novel. As these different types of buildings have only been read sporadically in relation to the novel, this article reassesses the relationship between the fictional house and some of the factual buildings, with the intention to problematize the ways in which Corinne houses an exposure to difference which in turn appears to shape Staël’s own literary identity. It emerges that the dichotomy between public and private, facts (actual buildings of Rome) and fantasies (fictional houses and their interiors), is fundamental for reassessing Staël’s aesthetic leanings.
本文考察了Germaine de Staël的《Corinne, or Italy》(1807)中的罗马艺术和建筑，并考虑了作者在这本小说中讨论的一些房屋、纪念碑和宫殿的内部和外部描述。由于这些不同类型的建筑在小说中只是偶尔被阅读，本文重新评估了虚构的房子和一些真实的建筑之间的关系，目的是对科琳的房子暴露于差异的方式提出问题，而这种差异反过来又似乎塑造了Staël自己的文学身份。公共和私人、事实(罗马的实际建筑)和幻想(虚构的房屋及其内部)之间的二分法是重新评估Staël审美倾向的基础。
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Pub Date : 2023-03-04DOI: 10.1080/10509585.2023.2181467
Diego Saglia
ABSTRACT This article maps the presence and import of orientalized domestic spaces in Romantic-period fiction by focusing on Phebe Gibbes’s Hartly House, Calcutta, T. S. Surr’s A Winter in London, Maria Edgeworth’s The Absentee and “The India Cabinet,” Mary Russell Mitford’s “Rosedale,” and Charles Lamb’s “Old China.” Ranging from the 1780s to the 1820s, this corpus allows us to identify a line of representations exoticizing the British house/home in order to throw into relief personal and collective projects, desires, and anxieties. By imagining orientalized domestic spaces, these works mirror the gradual diffusion of a taste for oriental interior decoration in Romantic-period Britain and, relatedly, the sociocultural pressures exerted by its imperial ventures in Asia. Thus, orientalized houses/homes function as fraught locations between East and West, as well as between word and space, or privacy and publicness. As this article demonstrates, by questioning exoticized domestic spaces from different angles, this fictional corpus problematizes Romantic-era appropriations of the East and the possibility of its containment and control inside a domestic sphere where familiarity and intimacy blend perturbingly with encroaching forms of alienness.
摘要本文以菲比·吉伯斯（Phebe Gibbes）的《加尔各答的哈特利之家》（Hartly House，Calcutta）、T·s·苏尔（T.s.Surr）的《伦敦的冬天》（A Winter in London）、玛丽亚·埃奇沃斯（Maria Edgeworth）的“缺席者”（the Absentee）和“印度内阁”（the India Cabinet）、玛丽·拉塞尔·米特福德（Mary Russell Mitford）的《罗斯代尔》（Rosedale）和查尔斯·兰姆（Charles Lamb，这个语料库使我们能够识别出一系列使英国房屋/住宅异国情调的表现，以缓解个人和集体的项目、欲望和焦虑。通过想象东方化的家庭空间，这些作品反映了浪漫主义时期英国对东方室内装饰品味的逐渐扩散，以及其在亚洲的帝国企业所施加的社会文化压力。因此，东方化的房屋/住宅在东西方之间，在文字和空间之间，或在隐私和公共之间，都是令人担忧的位置。正如这篇文章所表明的那样，通过从不同角度质疑异国情调的家庭空间，这个虚构的主体质疑了浪漫主义时代对东方的挪用，以及它在一个熟悉和亲密与外来入侵形式交织在一起的家庭领域内被遏制和控制的可能性。
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Pub Date : 2023-03-04DOI: 10.1080/10509585.2023.2181455
G. Skinner
ABSTRACT Sarah Fielding’s The Countess of Dellwyn tells Charlotte Lucum’s story. Seventeen, beautiful, raised in rural seclusion, her father manipulates her into marrying sixty-five year old Lord Dellwyn, a decrepit, gout-ridden and wealthy peer whose political influence Mr. Lucum hopes to secure in order to revive his own career. Eschewing the potential for the sentimental approach more obvious in some of Fielding’s other work and in near-contemporary novels such as Frances Sheridan’s Memoirs of Miss Sidney Bidulph (1761) and others, the narrative voice of The Countess of Dellwyn maintains a distinctly critical distance from its heroine, remorselessly identifying her manifold errors in choices and conduct and resisting casting her as a victim, despite the parts played in her story by both her father and Lord Dellwyn himself. Key to the Countess’s downfall is her seduction by fashionable society, a seduction whose effects become most evident when the recently-married couple retire to Lord Dellwyn’s country seat at the London season’s end. In discussing the use to which the narrative puts Lord Dellwyn’s “noble ancient Castle,” swiftly and fashionably redecorated by the young Countess, this article considers how the novel employs houses as a counterpoint to the prevailing critique of its young heroine.
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Pub Date : 2023-03-04DOI: 10.1080/10509585.2023.2181407
Carmen Casaliggi, Francesca Saggini, Maximiliaan van Woudenberg
Opening the Gatehouse: On and Around “Housing Romanticism” Carmen Casaliggi , Francesca Saggini b,c and Maximiliaan van Woudenberg Department of Humanities, Cardiff Metropolitan University, Cardiff, UK; School of Literatures, Languages and Cultures, University of Edinburgh, Edinburgh, UK; Dipartimento di studi linguistico-letterari, storicofilosofici e giuridici, Università degli Studi della Tuscia, Viterbo, Italy; Humanities and Social Sciences, Sheridan Institute of Technology, Oakville, Canada; Clare Hall, Cambridge, UK
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Pub Date : 2023-01-02DOI: 10.1080/10509585.2023.2158542
Ashley L. Cohen
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Pub Date : 2023-01-02DOI: 10.1080/10509585.2023.2158551
Minsoo Kang
students created a pastiche or parody representing what they found to be most alive in Frankenstein and what fills in one of the novel’s textual gaps, elisions, ellipses, or unexplained secrets. They wrote a short preface describing the purpose and the intratextual conventions they reanimated. This activity enabled them to become active readers and inventive coauthors, adding to the Frankenstein legacy. Their work fostered inquiries into slippery authorship, modes of creation, textual doubling. They discovered that first-person narratives have distinct persuasive purposes, that Frankenstein has ghostwritten and corrected parts of Robert Walton’s journal, that the novel encourages readers to add to its incomplete form, to replicate, correct, and augment its textual body. About half the class wrote either a pastiche or parody imitating the novel’s epistolary form and narrative styles. The other half of the class created multi-media adaptations of Frankenstein. Both Ruston’s monograph and Hammerman’s collection help us to bridge the many conceptual curiosities generated by Frankenstein: the science of the early nineteenth century and its relevance to today’s science/technology; the unknowable about life and death; the qualities distinguishing human and nonhuman or posthuman. Both publications offer comprehensive surveys, accessible to undergraduates, of the Romantic-period’s scientific underpinnings and contemporary applications of the novel’s major themes. Both publications are particularly useful resources for those of us who routinely teach Mary Shelley’s novel and its numerous adaptations, parodies, and sequels. The open-endedness of Frankenstein continues to invite, as these publications demonstrate, additional speculation, application, and scholarship.
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