Borders: Interracial Relationships in English Colonial Fiction”, Brigitte Glaser scrutinizes colonial literature set in South Asia and South East Asia with regard to its representations of interracial relationships. She first presents an overview of the relevant socio-cultural and historical background; in a second step, she zooms in on recurring scenarios and character constellations and analyzes male European protagonists who engage in interracial relationships out of loneliness or because of the irresistible exotic lure of the native women as well as female European characters who are often metaphorically linked to the nation. Laurie R. Cohen investigates two examples from the early 20th century, a caricature of Bertha von Suttner and a conflict within the League of German Women’s Societies on solidarity and patriotism, in order to reveal how women’s political strivings have been perceived. Cohen draws attention to the “abolitionist presence” (227) in both the women’s and the peace movement and negotiates the role of feminists and feminist pacifists as marginalized ‘Others’ in the public domain. Rüdiger Ahrens takes the reader to a quite different setting and context as he examines J. M. Coetzee’s novels Foe (1986) and Disgrace (1999) with an eye to the “ethical norms and ethnic frictions” – as the title of his essay promises. He focuses on characters “who live in the narrow zone of two worlds and two cultures” (241) as he situates both texts within their South African socio-cultural framework and reads them as rewritings of canonical texts, Daniel Defoe’s The Life and Strange Surprising Adventures of Robinson Crusoe (1719) and John Bunyan’s The Pilgrim’s Progress (1678) respectively. Lastly, Andrea Strolz critically examines Dionne Brand’s At the Full and Change of the Moon (1999) regarding its engagement with the cultural memory of the Middle Passage. Strolz specifically discusses how Brand presents the “history of the Middle Passage as a heterotopian site” (258). Racism, Slavery, and Literature comprises some convincing, well-argued, and thought-provoking contributions, but the collection in total lacks continuity, a solid framework, and in-depth analyses. The range of topics covered and the diverse perspectives and various subject-matters included attest to the great ambition behind the project. This volume, however, does not fully live up to this ambition, even though it offers a potpourri of ideas and interesting impulses for future transnational and interdisciplinary research on issues such as slavery, racism, ethnicity, and the nation.
《边界:英国殖民小说中的跨种族关系》一书中，布丽吉特·格拉泽仔细研究了以南亚和东南亚为背景的殖民文学对跨种族关系的表现。她首先概述了相关的社会文化和历史背景;在第二步中，她放大了反复出现的场景和人物星座，分析了欧洲男性主角，他们因为孤独而陷入跨种族关系，或者因为当地女性不可抗拒的异国情调的诱惑，以及欧洲女性角色，她们经常隐喻地与这个国家联系在一起。劳里·r·科恩(Laurie R. Cohen)调查了20世纪初的两个例子，一个是伯莎·冯·苏特纳(Bertha von Suttner)的漫画，另一个是德国妇女协会联盟(League of German Women’s Societies)内部关于团结和爱国主义的冲突，以揭示人们是如何看待女性的政治努力的。科恩提请注意妇女运动和和平运动中的“废奴主义存在”(227)，并就女权主义者和女权和平主义者在公共领域被边缘化的“他者”的角色进行了谈判。rdiger Ahrens将读者带到了一个完全不同的环境和背景中，他考察了J. M. Coetzee的小说《敌人》(1986)和《耻辱》(1999)，并着眼于“道德规范和种族摩擦”——正如他的文章标题所承诺的那样。他专注于“生活在两个世界和两种文化的狭窄地带”的人物(241)，因为他将这两个文本置于他们的南非社会文化框架中，并将它们作为经典文本的重写来阅读，分别是丹尼尔·笛福的《鲁滨逊漂流记》(1719)和约翰·班扬的《天路历程》(1678)。最后，安德里亚·斯特罗尔兹批判性地考察了迪翁·布兰德的《月圆月缺》(1999)，看它与《中间航道》的文化记忆的关系。斯特罗尔兹特别讨论了布兰德如何将“中间航道的历史作为一个异托邦地点”呈现出来(258)。《种族主义、奴隶制和文学》包含了一些令人信服、论证充分、发人深省的贡献，但总体上缺乏连续性、坚实的框架和深入的分析。所涵盖的主题范围、不同的视角和不同的主题事项证明了该项目背后的雄心壮志。然而，这本书并没有完全实现这一雄心壮志，尽管它为未来的跨国和跨学科研究提供了各种各样的想法和有趣的冲动，如奴隶制、种族主义、民族和国家。
{"title":"Current Trends in Narratology","authors":"M. Klepper","doi":"10.1515/ang-2012-0054","DOIUrl":"https://doi.org/10.1515/ang-2012-0054","url":null,"abstract":"Borders: Interracial Relationships in English Colonial Fiction”, Brigitte Glaser scrutinizes colonial literature set in South Asia and South East Asia with regard to its representations of interracial relationships. She first presents an overview of the relevant socio-cultural and historical background; in a second step, she zooms in on recurring scenarios and character constellations and analyzes male European protagonists who engage in interracial relationships out of loneliness or because of the irresistible exotic lure of the native women as well as female European characters who are often metaphorically linked to the nation. Laurie R. Cohen investigates two examples from the early 20th century, a caricature of Bertha von Suttner and a conflict within the League of German Women’s Societies on solidarity and patriotism, in order to reveal how women’s political strivings have been perceived. Cohen draws attention to the “abolitionist presence” (227) in both the women’s and the peace movement and negotiates the role of feminists and feminist pacifists as marginalized ‘Others’ in the public domain. Rüdiger Ahrens takes the reader to a quite different setting and context as he examines J. M. Coetzee’s novels Foe (1986) and Disgrace (1999) with an eye to the “ethical norms and ethnic frictions” – as the title of his essay promises. He focuses on characters “who live in the narrow zone of two worlds and two cultures” (241) as he situates both texts within their South African socio-cultural framework and reads them as rewritings of canonical texts, Daniel Defoe’s The Life and Strange Surprising Adventures of Robinson Crusoe (1719) and John Bunyan’s The Pilgrim’s Progress (1678) respectively. Lastly, Andrea Strolz critically examines Dionne Brand’s At the Full and Change of the Moon (1999) regarding its engagement with the cultural memory of the Middle Passage. Strolz specifically discusses how Brand presents the “history of the Middle Passage as a heterotopian site” (258). Racism, Slavery, and Literature comprises some convincing, well-argued, and thought-provoking contributions, but the collection in total lacks continuity, a solid framework, and in-depth analyses. The range of topics covered and the diverse perspectives and various subject-matters included attest to the great ambition behind the project. This volume, however, does not fully live up to this ambition, even though it offers a potpourri of ideas and interesting impulses for future transnational and interdisciplinary research on issues such as slavery, racism, ethnicity, and the nation.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"23 1","pages":"313 - 316"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86555393","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}
In Chapter 9 of James Joyce’s Ulysses (“Scylla and Charybdis”) Stephen Dedalus, quite often alter ego of the author, has to stand a discussion in the National Library in Dublin about life and art, in particular about Hamlet and Shakespeare’s biography. Stephen develops the seemingly absurd theory that Hamlet is Shakespeare, only to deconstruct it later on. Far from a mimetic conception of art, the author and his alter ego refute the assumption of many Shakespeare biographies – old and new – that Shakespeare’s art imitates his life. Nevertheless, Joyce’s innovative narrative technique – the presentation of consciousness – has been used so convincingly to give a life-like impression of his characters’ minds that its basic form and contents became very influential. It was for instance taken up by Antony Burgess, Shakespeare and Joyce critic, in his fictional Shakespeare biography Nothing Like the Sun. As Germaine Greer complains in her book Shakespeare’s Wife, the idea of Shakespeare’s biography and in particular his relationship to his wife Anne Hathaway, which the young artist Stephen Dedalus develops in this chapter, comes up in a number of contemporary Shakespeare biographies. One target of this paper is to point to Joyce’s Shakespearean biographical knowledge and his theoretical approach concerning life and art. Another one is to show the central function of the Hamlet-allusion within the structure of Ulysses. Only when assuming that Ulysses has a plot with beginning, middle and end, the function of the Hamlet-allusion – far from being accidental – becomes clear.
{"title":"Hamlet, Shakespeare-Biographie und die Struktur des Ulysses","authors":"Therese Fischer-Seidel","doi":"10.1515/ang-2012-0006","DOIUrl":"https://doi.org/10.1515/ang-2012-0006","url":null,"abstract":"In Chapter 9 of James Joyce’s Ulysses (“Scylla and Charybdis”) Stephen Dedalus, quite often alter ego of the author, has to stand a discussion in the National Library in Dublin about life and art, in particular about Hamlet and Shakespeare’s biography. Stephen develops the seemingly absurd theory that Hamlet is Shakespeare, only to deconstruct it later on. Far from a mimetic conception of art, the author and his alter ego refute the assumption of many Shakespeare biographies – old and new – that Shakespeare’s art imitates his life. Nevertheless, Joyce’s innovative narrative technique – the presentation of consciousness – has been used so convincingly to give a life-like impression of his characters’ minds that its basic form and contents became very influential. It was for instance taken up by Antony Burgess, Shakespeare and Joyce critic, in his fictional Shakespeare biography Nothing Like the Sun. As Germaine Greer complains in her book Shakespeare’s Wife, the idea of Shakespeare’s biography and in particular his relationship to his wife Anne Hathaway, which the young artist Stephen Dedalus develops in this chapter, comes up in a number of contemporary Shakespeare biographies. One target of this paper is to point to Joyce’s Shakespearean biographical knowledge and his theoretical approach concerning life and art. Another one is to show the central function of the Hamlet-allusion within the structure of Ulysses. Only when assuming that Ulysses has a plot with beginning, middle and end, the function of the Hamlet-allusion – far from being accidental – becomes clear.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"66 1","pages":"19 - 33"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84927525","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}
borhood, represent counter-narratives and participate in the larger, national narrative about identity (What is an American?), and share what she calls “transnational connotations” (396): for instance, they have an international audience and establish transatlantic ties to Africa (and many other nations and countries). Juliane Schwarz-Bierschenk (Art. 16) opts for a geographic space, the Camino Real, rather than a monument, and argues that the two commemorative projects, the National Historic Trail (2000) and the Camino Real International Heritage Center (2005), situate the site within “the material context of a globalized economy and the cultural discourses of world heritage” (352). As a highly ambivalent borderlands symbol, the Camino Real allows for two possible readings for the future development: her optimistic reading highlights the possibility that the transitional space will be pulling the Americas together while her skeptical reading emphasizes the possibility that the Camino Real will be used to revive the nationalist Hispanic homeland concept and thus “ennoble exploitative economic relations by awarding them the cultural distinction of national and world heritage” (373). Like Schwarz-Bierschenk, Birgit Däwes (Art. 13) prefers a transnational view, rather than a national one in her essay on cinematic memorializations of Ground Zero. Arguing that a ‘glocal’ event like 9/11 requires transnational interpretations and angles, she devalues Oliver Stone’s World Trade Center (2006), as it promotes a homeland concept and a patriotic discourse of heroism. She favors, by contrast, Alain Brigand’s series of short films 11’09’01 (2002), especially the films made by Sean Penn and Alejandro González Iñárritu, and Wim Wender’s Land of Plenty (2004), for these cinematic reactions to 9/11 resituate the event in larger historical contexts and constitute “transnational contributions to the memory of 9/11” (303). The study’s various approaches to American memory studies are representative of the current set of ideas that are stimulated by the new concept of “transnational memory”. The referential objects display a spectrum from American to European aspects as well as the need for new descriptive modes and variations of literary and non-literary sources and media. Such diversity is also reflected in the international roster of the contributing authors, who share a similar terminology (e.g., “transnational memory”, “lieu de mémoire”, “collective memory”, and “memories”) which in turn facilitates the reading and also the comparison of similar studies. However, as my summaries make clear, the complexity of the topic “memory” and its cultural variety raises questions about the delimitation of terms, such as “memory” and “remembrance”, as Edward T. Linenthal’s “Commentary Epilogue” (Art. 20) calls to mind. Such cautionary reminders need not deter from further research in this exciting new field, but are rather apt to provoke more exploratory studies that include
社区，代表反叙事，并参与更大的关于身份的国家叙事(什么是美国人?)，并分享她所谓的“跨国内涵”(396):例如，他们拥有国际受众，并与非洲(以及许多其他国家和国家)建立了跨大西洋联系。Juliane Schwarz-Bierschenk (Art. 16)选择了地理空间，而不是纪念碑，并认为两个纪念项目，国家历史步道(2000)和卡米诺雷亚尔国际遗产中心(2005)，将场地置于“全球化经济的物质背景和世界遗产的文化话语”(352)中。作为一个高度矛盾的边界象征，卡米诺雷尔为未来的发展提供了两种可能的解读:她的乐观解读强调了过渡空间将把美洲拉到一起的可能性，而她的怀疑解读则强调了卡米诺大道将被用来复兴西班牙民族主义家园概念的可能性，从而“通过授予他们国家和世界遗产的文化区别，使剥削性经济关系变得高尚”(373)。像Schwarz-Bierschenk一样，Birgit Däwes (Art. 13)在她关于电影纪念归零地的文章中更喜欢跨国视角，而不是国家视角。她认为，像9/11这样的“全球性”事件需要跨国的解释和角度，她贬低了奥利弗·斯通(Oliver Stone)的《世界贸易中心》(World Trade Center, 2006)，因为它宣扬了一种homeland概念和一种爱国主义的英雄主义话语。相比之下，她更喜欢阿兰·布里根(Alain Brigand)的系列短片《11’09’01》(2002)，尤其是西恩·潘(Sean Penn)和亚历杭德罗·González Iñárritu (Alejandro González Iñárritu)和维姆·文德(Wim Wender)的《丰裕之地》(Land of Plenty)(2004)，因为这些电影对9/11的反应将事件置于更大的历史背景中，构成了“对9/11记忆的跨国贡献”(303)。这项研究对美国记忆研究的各种方法代表了当前由“跨国记忆”这个新概念所激发的一系列思想。参考对象显示了从美国到欧洲的光谱，以及对文学和非文学来源和媒介的新描述模式和变化的需求。这种多样性也反映在投稿作者的国际名册上，他们使用类似的术语(例如，“跨国记忆”、“代替msammoire”、“集体记忆”和“记忆”)，这反过来又有助于阅读和比较类似的研究。然而，正如我的总结所表明的那样，“记忆”这个话题的复杂性及其文化多样性引发了关于术语界定的问题，比如“记忆”和“记忆”，正如爱德华·t·林塔尔(Edward T. Linenthal)的“注释后记”(Art. 20)所唤起的那样。这种警示性的提醒不必阻止对这一令人兴奋的新领域的进一步研究，而是更倾向于激发更多的探索性研究，包括对通用术语的解释潜力和局限性的看法。
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ally reliable. Purists may lament that the Middle French tense system has not always been directly transposed into English – both Grimbert and Chase frequently set actions in the past which the prosateurs narrate in the present –, but I agree with the translators that this is the right procedure to follow since it results in a far more readable text in the target language (see their comment to this effect in the “Translators’ Notes”, 19). There are a few archaisms which I might have been tempted to update – for example, ‘prithee’ (Chrétien de Troyes in Prose, 33, 37) for “si vous pri[e]” (Colombo Timelli, L’Histoire d’Erec, 125, 143) and ‘forbiddance’ (Chrétien de Troyes in Prose, 55) for “deffence” (Colombo Timelli, L’Histoire d’Erec, 185) –, but there are also many lively renderings here, in particular of the fight scenes, which students of Middle French translation will examine to their profit. The notes which accompany the English texts provide a laconic commentary on the translators’ work and alert readers to a variety of material and textual matters, frequently referring back to Colombo Timelli’s editions. Given that one of the aims of Chrétien de Troyes in Prose must be to make its texts accessible to those whose French is insufficient to allow them to consult the works in these very editions, it is perhaps unfortunate that more information was not provided about these matters here in English. This is particularly true as regards the few notes which point up specific translation difficulties. These are somewhat uneven in their coverage. We are told, for example, that the word Erec uses to refer to Guinevere – “maistresse” – is “a term that suggests that Erec considers Guenevere to have authority, to be an arbiter” (37 n. 9), but the wordplay on the count of Limors’s name is not made explicit, even though he first appears upon Enide’s evocation of Death (cf. 62). The translations in Chrétien de Troyes in Prose may thus best be regarded as texts which have been prepared for readers who are already at least to some degree “in the know”. Indeed, Grimbert’s and Chase’s English versions are keyed into Colombo Timelli’s editions page by page, an aid unlikely to have been designed for the purposes of an audience possessing absolutely no French. For scholars who rate their language competency somewhere nearer to that of the Middle French specialist than to that of the grand débutant, then, Chrétien de Troyes in Prose will constitute a useful research tool.
可靠的盟友。纯粹主义者可能会哀叹中古法语时态系统并不总是被直接转换成英语——格里伯特和蔡斯都经常把过去的行为设定在现在，而翻译者则在现在叙述——但我同意译者的观点，认为这是一个正确的程序，因为它会使目标语言的文本更具可读性(见他们在“翻译笔记”中对此的评论，19)。有一些古语，我可能会想要更新-例如，“prithee”(chremrien de Troyes in Prose, 33,37)表示“si vous pri[e]”(Colombo Timelli, L ' histoire d ' erec, 125,143)和“forbiddance”(chremrien de Troyes in Prose, 55)表示“defence”(Colombo Timelli, L ' histoire d ' erec, 185)，但这里也有许多生动的翻译，特别是打斗场景，从中法语翻译的学生将会研究他们的利益。英文文本的注释提供了对译者工作的简短评论，并提醒读者注意各种材料和文本问题，经常引用科伦坡·蒂梅利的版本。鉴于《特鲁瓦先生的散文》的目的之一必须是让那些法语水平不高，无法查阅这些版本作品的人能够读懂它的文本，也许很不幸的是，在英文版中没有提供更多关于这些问题的信息。对于指出具体翻译困难的少数注释尤其如此。它们的覆盖范围有些不均衡。例如，我们被告知，埃里克用这个词来指代格温内维尔——“女主人”——是“一个暗示埃里克认为格温内维尔有权威，是一个仲裁者的词”(37 n. 9)，但关于Limors名字的文字游戏并没有明确说明，尽管他第一次出现是在Enide召唤死亡的时候(参见62)。因此，《克拉西姆·德·特鲁瓦的散文》译本最好被看作是为那些至少在某种程度上已经“了解”的读者准备的文本。事实上，格里伯特和蔡斯的英文版一页一页地输入科伦坡·蒂梅利的版本，这种辅助不太可能是为完全不懂法语的读者设计的。对于那些认为自己的语言能力更接近中古法语专家的学者来说，《chremassien de Troyes in Prose》将是一个有用的研究工具。
{"title":"Racism, Slavery, and Literature","authors":"K. Gerund","doi":"10.1515/ang-2012-0055","DOIUrl":"https://doi.org/10.1515/ang-2012-0055","url":null,"abstract":"ally reliable. Purists may lament that the Middle French tense system has not always been directly transposed into English – both Grimbert and Chase frequently set actions in the past which the prosateurs narrate in the present –, but I agree with the translators that this is the right procedure to follow since it results in a far more readable text in the target language (see their comment to this effect in the “Translators’ Notes”, 19). There are a few archaisms which I might have been tempted to update – for example, ‘prithee’ (Chrétien de Troyes in Prose, 33, 37) for “si vous pri[e]” (Colombo Timelli, L’Histoire d’Erec, 125, 143) and ‘forbiddance’ (Chrétien de Troyes in Prose, 55) for “deffence” (Colombo Timelli, L’Histoire d’Erec, 185) –, but there are also many lively renderings here, in particular of the fight scenes, which students of Middle French translation will examine to their profit. The notes which accompany the English texts provide a laconic commentary on the translators’ work and alert readers to a variety of material and textual matters, frequently referring back to Colombo Timelli’s editions. Given that one of the aims of Chrétien de Troyes in Prose must be to make its texts accessible to those whose French is insufficient to allow them to consult the works in these very editions, it is perhaps unfortunate that more information was not provided about these matters here in English. This is particularly true as regards the few notes which point up specific translation difficulties. These are somewhat uneven in their coverage. We are told, for example, that the word Erec uses to refer to Guinevere – “maistresse” – is “a term that suggests that Erec considers Guenevere to have authority, to be an arbiter” (37 n. 9), but the wordplay on the count of Limors’s name is not made explicit, even though he first appears upon Enide’s evocation of Death (cf. 62). The translations in Chrétien de Troyes in Prose may thus best be regarded as texts which have been prepared for readers who are already at least to some degree “in the know”. Indeed, Grimbert’s and Chase’s English versions are keyed into Colombo Timelli’s editions page by page, an aid unlikely to have been designed for the purposes of an audience possessing absolutely no French. For scholars who rate their language competency somewhere nearer to that of the Middle French specialist than to that of the grand débutant, then, Chrétien de Troyes in Prose will constitute a useful research tool.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"22 1","pages":"310 - 313"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75578343","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}
Fulk, R. D. 1996. “Inductive Methods in the Textual Criticism of Old English Verse”. Medievalia et Humanistica 23: 1–24. Lapidge, Michael. 1991. “Textual Criticism and the Literature of Anglo-Saxon England”. Bulletin of the John Rylands Library 73: 17–45. Sisam, Kenneth. 1953. “The Authority of Old English Poetical Manuscripts”. Studies in the History of Old English Literature. Oxford: Clarendon P. 29–44.
富尔克，r.d. 1996。古英语诗歌文本批评中的归纳方法。中世纪与人文学报23:1-24。Michael Lapidge, 1991。“文本批评与盎格鲁-撒克逊英格兰文学”。《图书馆学报》73:17-45。肯尼斯·西萨姆1953。《古英语诗歌手稿的权威》古英国文学史研究。牛津:Clarendon P. 29-44。
{"title":"Language and Culture in Medieval Britain: The French of England, c.1100– c.1500","authors":"D. Schultze","doi":"10.1515/ang-2012-0031","DOIUrl":"https://doi.org/10.1515/ang-2012-0031","url":null,"abstract":"Fulk, R. D. 1996. “Inductive Methods in the Textual Criticism of Old English Verse”. Medievalia et Humanistica 23: 1–24. Lapidge, Michael. 1991. “Textual Criticism and the Literature of Anglo-Saxon England”. Bulletin of the John Rylands Library 73: 17–45. Sisam, Kenneth. 1953. “The Authority of Old English Poetical Manuscripts”. Studies in the History of Old English Literature. Oxford: Clarendon P. 29–44.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"180 1","pages":"161 - 165"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80104296","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}
sever Christian persons from their ‘beautiful’ lives, and the seven spiritual heroes of this tale are not so much martyrs or confessors as they are the griefand memory-bearers of a way of spiritual life under attack” (85). This is shrewd, but Joy’s final interpretation of the sleepers’ dual relationship to the city of Ephesus, which changed appreciably throughout their slumber, is more difficult to follow and accept: “But the only thing that can knit the two Ephesuses together is Malchus himself, and his six companions, who, in their reawakened persons – in both body and soul – and also in their textual figuration, mark the place of an historical excess that opens the dimension of the more, of the unincorporable infinite enclosed within the singular self who has touched reality and become real, and whose understanding of the world is indispensable to that world’s completeness” (91). Robin Norris, who edited Anonymous Interpolations and wrote its thoughtful introduction (1–12), is the author of the final essay, “Reversal of Fortune, Response, and Reward in the Old English Passion of St. Eustace” (97–117). Before the martyrdom that takes place in the last seventy-five lines of the story, the events of the Passion of St. Eustace resemble those of a secular romance, and this has led scholars to question its generic integrity. Norris argues persuasively that the Passion is a coherently constructed saint’s life, and that the theme holding it together is tristitia, the sin of excessive sorrow in response to worldly suffering. After demonstrating the prevalent place of this sin in Old English homiletic literature, she provides considerable evidence that the translator altered the Latin exemplar to deemphasize the sorrow of Eustace and his family: “Such alterations in the midst of an otherwise faithful translation indicate that the Old English translator shares the Anglo-Saxon homilists’ concern with the capital sin of excessive sorrow [...]. These homiletic themes, including humility as an appropriate response to adversity and the heavenly reward such an attitude can earn, also permeate the passion’s conclusion, unifying the text as a whole” (111). Norris’s article is praiseworthy for its lucidity and substance. Before moving on, please look again at the price of this anthology and understand that it is not a typographical error. Since 1978, thirty-five useful books have been published as “Subsidia” to the Old English Newsletter, and most of them are still available for less than the cost of a modest lunch. The series has been a welcome anomaly throughout an era of increasingly expensive scholarly materials, and the slim book under review is certainly worth what is asked for it.
{"title":"Christine Elsweiler. Laȝamon’s Brut Between Old English Heroic Poetry and Middle English Romance: A Study of the Lexical Fields ‘Hero’, ‘Warrior’ and ‘Knight’","authors":"J. Roberts","doi":"10.1515/ang-2012-0038","DOIUrl":"https://doi.org/10.1515/ang-2012-0038","url":null,"abstract":"sever Christian persons from their ‘beautiful’ lives, and the seven spiritual heroes of this tale are not so much martyrs or confessors as they are the griefand memory-bearers of a way of spiritual life under attack” (85). This is shrewd, but Joy’s final interpretation of the sleepers’ dual relationship to the city of Ephesus, which changed appreciably throughout their slumber, is more difficult to follow and accept: “But the only thing that can knit the two Ephesuses together is Malchus himself, and his six companions, who, in their reawakened persons – in both body and soul – and also in their textual figuration, mark the place of an historical excess that opens the dimension of the more, of the unincorporable infinite enclosed within the singular self who has touched reality and become real, and whose understanding of the world is indispensable to that world’s completeness” (91). Robin Norris, who edited Anonymous Interpolations and wrote its thoughtful introduction (1–12), is the author of the final essay, “Reversal of Fortune, Response, and Reward in the Old English Passion of St. Eustace” (97–117). Before the martyrdom that takes place in the last seventy-five lines of the story, the events of the Passion of St. Eustace resemble those of a secular romance, and this has led scholars to question its generic integrity. Norris argues persuasively that the Passion is a coherently constructed saint’s life, and that the theme holding it together is tristitia, the sin of excessive sorrow in response to worldly suffering. After demonstrating the prevalent place of this sin in Old English homiletic literature, she provides considerable evidence that the translator altered the Latin exemplar to deemphasize the sorrow of Eustace and his family: “Such alterations in the midst of an otherwise faithful translation indicate that the Old English translator shares the Anglo-Saxon homilists’ concern with the capital sin of excessive sorrow [...]. These homiletic themes, including humility as an appropriate response to adversity and the heavenly reward such an attitude can earn, also permeate the passion’s conclusion, unifying the text as a whole” (111). Norris’s article is praiseworthy for its lucidity and substance. Before moving on, please look again at the price of this anthology and understand that it is not a typographical error. Since 1978, thirty-five useful books have been published as “Subsidia” to the Old English Newsletter, and most of them are still available for less than the cost of a modest lunch. The series has been a welcome anomaly throughout an era of increasingly expensive scholarly materials, and the slim book under review is certainly worth what is asked for it.","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"107 1","pages":"293 - 297"},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79330211","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}
{"title":"Vorbemerkung der Herausgeber","authors":"Stephan Kohl, M. Middeke, Gabriele Rippl, H. Zapf","doi":"10.1515/ANGL.2011.091","DOIUrl":"https://doi.org/10.1515/ANGL.2011.091","url":null,"abstract":"","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2011-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81159068","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}
{"title":"[Review of the book Love and ethics in Gower's 'Confessio Amantis' by Peter Nicholson]","authors":"Sebastian Sobecki","doi":"10.1515/ANGL.2006.484","DOIUrl":"https://doi.org/10.1515/ANGL.2006.484","url":null,"abstract":"","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"19 1","pages":"508-510"},"PeriodicalIF":0.2,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76838157","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}
{"title":"[Review of the book Creation, migration, and conquest, by Fabienne Michelet] : Imaginary geography and sense of space in old English literature.","authors":"Sebastian Sobecki","doi":"10.1515/ANGL.2006.605","DOIUrl":"https://doi.org/10.1515/ANGL.2006.605","url":null,"abstract":"","PeriodicalId":43572,"journal":{"name":"ANGLIA-ZEITSCHRIFT FUR ENGLISCHE PHILOLOGIE","volume":"33 1","pages":"628-629"},"PeriodicalIF":0.2,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79741563","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}
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