‘Where is your “home” moreover now – what has become of it?’ Can the documents of the west, Walter Benjamin's famous ‘documents of civilization’, help us to understand and articulate the peripheralisation, the provincialisation, of the west?1 If we are at a moment, as Hamid Dabashi has recently put it, at which ‘“Europe” […] has exhausted its epistemic possibilities and has now positively imploded into itself’, can a European literary and cultural tradition shed any light on this implosion, or look to a refigured global scene that emerges from it?2 I will address this question here by attending to a faint echo that can be heard, passing between two of Henry James's later novels, The Ambassadors (1903) and The Golden Bowl (1904), an echo that reaches to our own time, and to the contemporary moment at which we are required to assess, again, the relation between barbarism and civilisation. Much have I travell'd in the realm of gold, And many goodly states and kingdoms seen; Round many western isles have I been Which bards in fealty to Apollo hold. Oft of one wide expanse had I been told That deep-brow'd Homer ruled as his demesne; Yet did I never breathe its pure serene Till I heard Chapman speak out loud and bold: Then I felt like some watcher of the skies When a new planet swims into his ken; Or like stout Cortez when with eagle eyes He star'd at the Pacific – and all his men Look'd at each other with a wild surmise – Silent, upon a peak in Darien.3 As soon as [Balboa] beheld the South Sea stretching in endless prospect below him, he fell on his knees, and lifting up his hands to Heaven, returned thanks to God, who had conducted him to a discovery so beneficial to his country, and so honourable to himself. His followers, observing his transports of joy, rushed forward to join in his wonder, exultation and gratitude. They held on their course to the shore with great alacrity, when Balboa advancing up to the middle in the waves with his buckler and sword, took possession of that ocean in the name of the king his master, and vowed to defend it, with these arms, against all his enemies.7 Her shawl and Chad's overcoat and her other garments, and his, those they had each worn the day before, were at the place, best known to themselves – a quiet retreat enough, no doubt – at which they had been spending the twenty-four hours, to which they had fully meant to return that evening, from which they had so remarkably swum into Strether's ken. (TA 424) This is a glancing reference to Keats's sonnet, but its significance deepens, as Adrian Poole, Bart Eeckhout, and Gert Buelens have noted, when this moment in The Ambassadors finds an echo in a related moment in The Golden Bowl.10 Keats's sonnet stirs in The Ambassadors at the critical moment of Strether's discovery, and it is at a similarly significant turning point in The Golden Bowl that the sonnet appears again, this time much more forcibly. The Golden Bowl, like The Ambassadors, is concerned, above all, wit
{"title":"A Revolution of the Screw: Peripheralising Europe","authors":"Peter Boxall","doi":"10.1111/criq.12751","DOIUrl":"https://doi.org/10.1111/criq.12751","url":null,"abstract":"‘Where is your “home” moreover now – what has become of it?’ Can the documents of the west, Walter Benjamin's famous ‘documents of civilization’, help us to understand and articulate the peripheralisation, the provincialisation, of the west?1 If we are at a moment, as Hamid Dabashi has recently put it, at which ‘“Europe” […] has exhausted its epistemic possibilities and has now positively imploded into itself’, can a European literary and cultural tradition shed any light on this implosion, or look to a refigured global scene that emerges from it?2 I will address this question here by attending to a faint echo that can be heard, passing between two of Henry James's later novels, The Ambassadors (1903) and The Golden Bowl (1904), an echo that reaches to our own time, and to the contemporary moment at which we are required to assess, again, the relation between barbarism and civilisation. Much have I travell'd in the realm of gold, And many goodly states and kingdoms seen; Round many western isles have I been Which bards in fealty to Apollo hold. Oft of one wide expanse had I been told That deep-brow'd Homer ruled as his demesne; Yet did I never breathe its pure serene Till I heard Chapman speak out loud and bold: Then I felt like some watcher of the skies When a new planet swims into his ken; Or like stout Cortez when with eagle eyes He star'd at the Pacific – and all his men Look'd at each other with a wild surmise – Silent, upon a peak in Darien.3 As soon as [Balboa] beheld the South Sea stretching in endless prospect below him, he fell on his knees, and lifting up his hands to Heaven, returned thanks to God, who had conducted him to a discovery so beneficial to his country, and so honourable to himself. His followers, observing his transports of joy, rushed forward to join in his wonder, exultation and gratitude. They held on their course to the shore with great alacrity, when Balboa advancing up to the middle in the waves with his buckler and sword, took possession of that ocean in the name of the king his master, and vowed to defend it, with these arms, against all his enemies.7 Her shawl and Chad's overcoat and her other garments, and his, those they had each worn the day before, were at the place, best known to themselves – a quiet retreat enough, no doubt – at which they had been spending the twenty-four hours, to which they had fully meant to return that evening, from which they had so remarkably swum into Strether's ken. (TA 424) This is a glancing reference to Keats's sonnet, but its significance deepens, as Adrian Poole, Bart Eeckhout, and Gert Buelens have noted, when this moment in The Ambassadors finds an echo in a related moment in The Golden Bowl.10 Keats's sonnet stirs in The Ambassadors at the critical moment of Strether's discovery, and it is at a similarly significant turning point in The Golden Bowl that the sonnet appears again, this time much more forcibly. The Golden Bowl, like The Ambassadors, is concerned, above all, wit","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"10 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135036930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Shut Your Eyes and See’: Time, Ekphrasis and Enargeia in James Joyce's Ulysses","authors":"Francis Haran","doi":"10.1111/criq.12750","DOIUrl":"10.1111/criq.12750","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"66 2","pages":"51-120"},"PeriodicalIF":0.2,"publicationDate":"2023-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136159034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Critical QuarterlyEarly View Original Article The rescue plot: Maritime encounter and the borders of Europe Chloe Howe Haralambous, Corresponding Author Chloe Howe Haralambous [email protected] Columbia University, New York, New York, USA Correspondence: Chloe Howe Haralambous, Columbia University, New York, NY, USA. Email: [email protected]Search for more papers by this author Chloe Howe Haralambous, Corresponding Author Chloe Howe Haralambous [email protected] Columbia University, New York, New York, USA Correspondence: Chloe Howe Haralambous, Columbia University, New York, NY, USA. Email: [email protected]Search for more papers by this author First published: 27 October 2023 https://doi.org/10.1111/criq.12743Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Early ViewOnline Version of Record before inclusion in an issue RelatedInformation
{"title":"The rescue plot: Maritime encounter and the borders of Europe","authors":"Chloe Howe Haralambous","doi":"10.1111/criq.12743","DOIUrl":"https://doi.org/10.1111/criq.12743","url":null,"abstract":"Critical QuarterlyEarly View Original Article The rescue plot: Maritime encounter and the borders of Europe Chloe Howe Haralambous, Corresponding Author Chloe Howe Haralambous [email protected] Columbia University, New York, New York, USA Correspondence: Chloe Howe Haralambous, Columbia University, New York, NY, USA. Email: [email protected]Search for more papers by this author Chloe Howe Haralambous, Corresponding Author Chloe Howe Haralambous [email protected] Columbia University, New York, New York, USA Correspondence: Chloe Howe Haralambous, Columbia University, New York, NY, USA. Email: [email protected]Search for more papers by this author First published: 27 October 2023 https://doi.org/10.1111/criq.12743Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Early ViewOnline Version of Record before inclusion in an issue RelatedInformation","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"51 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136261733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An Irish Childhood in the City of London","authors":"Colin MacCabe","doi":"10.1111/criq.12742","DOIUrl":"https://doi.org/10.1111/criq.12742","url":null,"abstract":"","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"65 3","pages":"78-116"},"PeriodicalIF":0.2,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134814538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>2010. Leafy mid-October in a university town. Early evening. Forty academics sitting in a ring for the Autumn Term meeting of CHE, the Campaign for Higher Education. ‘Hi, I'm Florence, I'm a Stipendiary Lecturer in Philosophy at Whichcote College and I'm also social media officer for CHE’. The introductions take five or six minutes. The Chair, a Racine scholar, speaks about developments during the summer vacation. The CHE response to the government White Paper was uploaded onto the Public University website. The successful proposal of a no-confidence vote in the Minister for Universities, David Willetts, received an encouraging amount of media coverage. Florence finds herself distracted from the Chair's remarks by a money spider that appears at the edge of her field of vision. It seems to be spinning a web between her fringe and the side of her head: putting out silk, abseiling from it while it guides the lines of the web – what are they called, Florence wonders, is it ‘radicals’, or ‘radials’? – with an extraordinarily delicate touch, as if it were trying to cocoon her head. Florence remembers that the word <i>gossamer</i> comes from ‘goose’ and ‘summer’, but why is that again – something to do with goose down, how light and wispy it is? The Chair has finished speaking and working group leaders are now making their reports. Florence smooths her hand over her hair and reports the number of Twitter and Facebook followers she has gained in the past three months. The Gladstone Professor of English thanks the Chair and the groups for their endeavours. The Chair thanks him back and asks if anyone has any other business. No hands come up. They should carry on lobbying their media contacts then, the Chair says, and getting the message out. Everyone leaves and goes their separate ways. Florence makes her way back through the college grounds alone.</p><p>She joined CHE the previous academic year. When the government's plans to cut university funding were announced, she rearranged tutorials so some of her students could travel to London to join the protests; she ran a discussion group on the theme ‘Historicising Solidarity’ (which was not her choice of title); she discussed Stefan Collini's <i>London Review of Books</i> essays on universities at dinner parties. When she saw her students again, she was rather jealous that she hadn't been there with them occupying Millbank. She signed the open letter to the <i>Independent</i>, urging caution on the government. And yet a sinking feeling set in, not just that this was all doomed from the start (which was true), but that it was a kind of play-acting. For every triumphant speech, every rousing action, a new blow fell. Government policy was decided before the White Paper had even been published; her university immediately decided to charge the maximum tuition fees of £9,000 per year, and it had been decided already that this was going to come into force in 2012. All the campaigning, all the brilliant analyses
2010. 十月中旬，一个大学城枝繁叶茂。傍晚。在高等教育运动(CHE)的秋季学期会议上，40名学者围坐在一起。“大家好，我是佛罗伦斯，我是阿斯考特学院的领薪哲学讲师，同时也是CHE的社交媒体官。”介绍需要五到六分钟。主席，拉辛学者，谈论暑假期间的发展。教育部对政府白皮书的回应被上传到公立大学的网站上。对大学部长大卫·威利茨的不信任投票的成功提议得到了大量令人鼓舞的媒体报道。弗洛伦斯发现自己被一只出现在她视野边缘的钱蜘蛛分散了注意力。它似乎在她的刘海和头的两侧之间织成了一张网:吐出丝绸，当它引导着网的线条时，它就从上面滑下来——弗洛伦斯想知道它们被称为什么，是“激进的”还是“激进的”?——用一种异常细腻的触感，仿佛要把她的头包起来。弗洛伦斯记得“游丝”这个词是由“鹅”和“夏天”两个词组成的，但这又是为什么呢——和鹅绒有关，鹅绒是多么的轻盈和纤细?主席已发言完毕，各工作组领导人现在正在作报告。弗洛伦斯用手抚平头发，报告了过去三个月她在Twitter和Facebook上增加的粉丝数量。格莱斯顿英语教授感谢主席和小组的努力。主席回敬了他一声，并问他是否还有别的事要办。没有人举手。主席说，他们应该继续游说他们的媒体联系人，并将信息传播出去。每个人都离开，各奔东西。弗洛伦斯独自一人穿过校园返回。她于上一学年加入CHE。当政府宣布削减大学经费的计划时，她重新安排了辅导课，以便她的一些学生可以前往伦敦参加抗议活动;她组织了一个以“历史性团结”为主题的讨论小组(这不是她选择的标题);她在晚宴上讨论斯蒂芬·科里尼(Stefan Collini)的《伦敦书评》(London Review of Books)上关于大学的文章。当她再次见到她的学生时，她很嫉妒自己没有和他们一起占领米尔班克。她在致《独立报》的公开信上签了名，敦促政府谨慎行事。然而，一种不祥的感觉出现了，不仅从一开始就注定了这一切(这是真的)，而且这是一种戏剧表演。每一次胜利的演说，每一次鼓舞人心的行动，都是一次新的打击。政府的政策甚至在白皮书发表之前就已经决定了;她的大学立即决定收取每年9000英镑的最高学费，并且已经决定从2012年开始实施。所有的竞选活动，所有精彩的分析和抗议，所有斯蒂芬·科里尼的文章，都没有阻止甚至推迟政府计划的任何一部分。CHE赢得了争论，完全被击败了。“嗨,佛罗伦萨吗?她在学院的前门转过身来，发现格莱斯顿英语教授就在她身后五英尺的地方。她很惊讶他知道她的名字。他说:“我只是想说，我真的不了解Twitter的业务，但我们非常感谢你们在这方面所做的工作。”“主席和我想知道你是否愿意讨论一下在小组中扮演一个更重要的角色——就像在竞选活动中扮演一个公众形象一样?”回到阿斯科特吃晚饭时，弗洛伦斯坐在院长彼得·肖克罗斯旁边，后者正在和学生导师戴夫·斯特雷奇谈论一起被称为“刺猬门”的事件。上周的一天早上，住在前院的刺猬(学生们给它起名叫朱利叶斯，并推选它为青少年公共休息室的荣誉会员)被发现死在砾石小路的边上。很快就有消息称，他在前一天晚上两点半左右回到学校时被哈利·贾德·本特利踢了一脚。哈利什么都不记得了，但波特夫妇翻了一遍监控录像:朱利叶斯只顾自己的事，屏幕上出现了一个灰色的斑点，这时哈利沿着小路走了过来，狠狠地踢了他一脚，把他踢得在砾石地上打滑。院长传唤哈利参加纪律听证会。JCR已将“愿朱利叶斯安息”列入他们每周会议的议程;许多学生对这一事件感到不安，有传言说他们中的一些人正在寻求咨询。在哈利过去两年断断续续地采取学术特别措施之后，学生辅导老师已经厌倦了和他打交道，他倾向于直接把这件事交给警察。这是一种故意虐待动物的行为，仅仅因为它发生在大学里并不意味着法律不适用。但是院长说服了他，最重要的是让这件事保持低调。 然而，在这个过程中，她仍然是迷人的:仿佛她的美貌、自信和幽默使她导师的论点变得无关紧要。有传言说，她的模特经纪公司在她的总决赛之后为她推出了一些重要的广告。她是弗洛伦斯见过的最漂亮的女孩。弗洛伦斯隐约感到不高兴，院长知道韦都塔在和哈利约会，而她却不知道。弗洛伦斯说:“什么时候让他留在学校会成为这么大的麻烦，以至于他再有钱也不重要了?”他们看着她。“你知道吧，”院长说，“你的奖学金是由贾德-本特利夫妇的一笔巨额捐款资助的吧?”当我们让哈利进来的时候，他们给了我们10万美元来资助一个四年的教学职位。你认为我们是如何任命你的?三周后，当弗洛伦斯走近学院的大门时，她看到韦都塔走了出来。“你好，”弗洛伦斯说。“工作怎么样?”“很好。”周末的时候，因为航班取消，我被困在温哥华，但我还是及时赶回去上课了。“你在温哥华干什么?”“嗯，那是时装周，由于我这一周工作很忙，所以我能够接受一些邀请。”我肯定你太忙了，没时间做这种事。“也许我的请柬在邮寄时丢了，”弗洛伦斯说。事实上，弗洛伦斯对韦都塔感到有点害怕;这个姑娘似乎比弗洛伦斯觉得自己更成熟，对世界上的事情更有能力。韦都塔笑了笑，承认了这个玩笑。“我想无论如何我都要露面。派对是不会自己来的。“唔，我怀疑您错过了很多东西，”弗洛伦斯说道，然后觉得她应该保持一副家教的样子，“我希望您随身带了一些读物。””“当然。我还想说，谢谢你对哈利的理解。“哦，我其实什么也没做——”“不，他告诉我是你的干预才使他没有被开除。”他是感激。弗洛伦斯决定不纠正对事件的这种解释。“他还好吗?””“我不知道。我们没怎么联系过。他还是喝得很多。还有其他的东西。也许更多。“弗洛伦斯最不愿意做的就是和一个学生谈论另一个学生的吸毒问题。她说:“如果你能提醒他一些咨询方法，我会很感激的。”“老实说，他有时会吓到我。我们上周在skype上聊天，他的眼神死气沉沉的，然后他说:“你知道我是个彻头彻尾的疯子，对吧?”但是第二天早上，在这样的事情之后，他又会变得很可爱，很正常。说实话，听起来他现在比上大学的时候更容易被搞砸。“哦，天哪。”“问题出在他的父母身上。”大卫爵士人很好，但他总是不在家，他妈妈最近几年一直很沮丧，所以无论你什么时候去他家，都有一种可怕的消极攻击的气氛。他妈妈被关在乡下的豪宅里几十年了，因为无事可做而疯了，他们给哈利无限的钱，他最后开车去比斯特，和一群死党和士兵在这些可怕的酒吧里鬼混。“天哪，”弗洛伦斯说道。“他上学期在酒吧发生玻璃杯事件的时候，你在场吗?”“没有，但你知道，他不只是把杯子扔了。”他沾了一点，开始试图割伤自己。“是的，我确实听到了，”弗洛伦斯说道。剩下的学期和假期都平安无事地过去了。春季学期开始了。一天早上，弗洛伦斯还穿着睡衣，喝着一杯热巧克力，打开电子邮件，阅读jobs.ac.uk上的每日更新，上面告诉她学术界的新职位。如今，除了多哈的一所新大学，没有人在她的领域招聘;她打开链接，浏览详细信息，模糊地考虑着搬到中东去谈判一份免税工资，然后删除了这封邮件。她的另一条新消息来自CHE账户。这让她大吃一惊;自上学期以来，这个小组就安静下来了，或者至少，它没有引起她的注意。格莱斯顿教授建议她在竞选中发挥更大的作用，但她从未采取行动;她错过了秋季学期的最后一次会议和春季学期的第一次会议，并且不再更新Facebook和Twitter。亲爱的弗洛伦斯，很抱歉你最近没来。我想联系一下大卫·威利茨将于3月13日访问
{"title":"CHE","authors":"Matthew Sperling","doi":"10.1111/criq.12749","DOIUrl":"10.1111/criq.12749","url":null,"abstract":"<p>2010. Leafy mid-October in a university town. Early evening. Forty academics sitting in a ring for the Autumn Term meeting of CHE, the Campaign for Higher Education. ‘Hi, I'm Florence, I'm a Stipendiary Lecturer in Philosophy at Whichcote College and I'm also social media officer for CHE’. The introductions take five or six minutes. The Chair, a Racine scholar, speaks about developments during the summer vacation. The CHE response to the government White Paper was uploaded onto the Public University website. The successful proposal of a no-confidence vote in the Minister for Universities, David Willetts, received an encouraging amount of media coverage. Florence finds herself distracted from the Chair's remarks by a money spider that appears at the edge of her field of vision. It seems to be spinning a web between her fringe and the side of her head: putting out silk, abseiling from it while it guides the lines of the web – what are they called, Florence wonders, is it ‘radicals’, or ‘radials’? – with an extraordinarily delicate touch, as if it were trying to cocoon her head. Florence remembers that the word <i>gossamer</i> comes from ‘goose’ and ‘summer’, but why is that again – something to do with goose down, how light and wispy it is? The Chair has finished speaking and working group leaders are now making their reports. Florence smooths her hand over her hair and reports the number of Twitter and Facebook followers she has gained in the past three months. The Gladstone Professor of English thanks the Chair and the groups for their endeavours. The Chair thanks him back and asks if anyone has any other business. No hands come up. They should carry on lobbying their media contacts then, the Chair says, and getting the message out. Everyone leaves and goes their separate ways. Florence makes her way back through the college grounds alone.</p><p>She joined CHE the previous academic year. When the government's plans to cut university funding were announced, she rearranged tutorials so some of her students could travel to London to join the protests; she ran a discussion group on the theme ‘Historicising Solidarity’ (which was not her choice of title); she discussed Stefan Collini's <i>London Review of Books</i> essays on universities at dinner parties. When she saw her students again, she was rather jealous that she hadn't been there with them occupying Millbank. She signed the open letter to the <i>Independent</i>, urging caution on the government. And yet a sinking feeling set in, not just that this was all doomed from the start (which was true), but that it was a kind of play-acting. For every triumphant speech, every rousing action, a new blow fell. Government policy was decided before the White Paper had even been published; her university immediately decided to charge the maximum tuition fees of £9,000 per year, and it had been decided already that this was going to come into force in 2012. All the campaigning, all the brilliant analyses ","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"66 3","pages":"72-94"},"PeriodicalIF":0.2,"publicationDate":"2023-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/criq.12749","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135884413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After reading this set of fascinating essays in cultural-political analysis, one is left with an overwhelming question: Is there any Europe that is not peripheral? Is Europe actually the continent where everything, everywhere and everyone is liminal? If so, has not Critical Quarterly brilliantly subverted its own special issue title ‘Peripheral Europes’? Tempting though it is to pursue this conceit, the sober truth is that most but not all of Europe sees itself, secretly fears itself and/or is seen by some other Europeans as peripheral, in one way or another. Witness the fact that there are few European countries in which people do not talk about ‘Europe’ as being, in some contexts, somewhere where they are not, but usually (unless they are British Eurosceptics) want to be. Logically, I cannot be in X and going to X at the same time, but this is the European condition. Today's Ukrainians, for example, insist passionately that their country belongs at the heart of Europe yet also habitually talk about going ‘to Europe’ when they cross their western frontier. Perhaps France alone has no doubt that it is fully and in all respects in Europe. In fact, France tends to believe that it is Europe. Belgium, Luxembourg and the Netherlands also have few doubts about their European belonging. Together with Germany, they constitute something that most Europeans recognise (albeit reluctantly) as some kind of a core Europe. This is, roughly speaking, the territory of Charlemagne's empire that coincided, twelve centuries later, with the bounds of the original European Economic Community. Here has been a persistent, although never exclusive, geographical locus of European economic, political and cultural power. Projects of European unification have usually gone out from here. Yet even Germany has in the past had major doubts about its full European belonging, witness the endless post-1989 reiteration of Thomas Mann's post-World War II observation that Germans should aspire to create a European Germany, not a German Europe. Indeed, in the tensions between its own western and eastern parts (where the geographical location and ascribed character of ‘the East’ has itself changed across history), Germany exhibits some of the internal schizophrenia that Gabriele Lazzari analyses in the relationship between the north and south of Italy. ‘Asia begins at the Elbe’, Konrad Adenauer is reputed to have quipped. Nonetheless, it is the central, eastern, south-eastern and southern parts of Europe (those apparently simple geographical terms themselves being the subject of constant redefinition) that most clearly at once challenge and exemplify the multiple dichotomies of what Daniella Gáti nicely describes as the Empire of the Binary. West/East, North/South, centre/periphery, coloniser/colonised, Christian/pagan – all these binaries are at once present and subverted in these parts. Gáti reminds us that early twentieth-century Hungarian culture polarised around two competing influ
{"title":"Afterword to the <i>Critical Quarterly</i> Special Issue ‘Peripheral Europes’","authors":"Timothy Garton Ash","doi":"10.1111/criq.12747","DOIUrl":"https://doi.org/10.1111/criq.12747","url":null,"abstract":"After reading this set of fascinating essays in cultural-political analysis, one is left with an overwhelming question: Is there any Europe that is not peripheral? Is Europe actually the continent where everything, everywhere and everyone is liminal? If so, has not Critical Quarterly brilliantly subverted its own special issue title ‘Peripheral Europes’? Tempting though it is to pursue this conceit, the sober truth is that most but not all of Europe sees itself, secretly fears itself and/or is seen by some other Europeans as peripheral, in one way or another. Witness the fact that there are few European countries in which people do not talk about ‘Europe’ as being, in some contexts, somewhere where they are not, but usually (unless they are British Eurosceptics) want to be. Logically, I cannot be in X and going to X at the same time, but this is the European condition. Today's Ukrainians, for example, insist passionately that their country belongs at the heart of Europe yet also habitually talk about going ‘to Europe’ when they cross their western frontier. Perhaps France alone has no doubt that it is fully and in all respects in Europe. In fact, France tends to believe that it is Europe. Belgium, Luxembourg and the Netherlands also have few doubts about their European belonging. Together with Germany, they constitute something that most Europeans recognise (albeit reluctantly) as some kind of a core Europe. This is, roughly speaking, the territory of Charlemagne's empire that coincided, twelve centuries later, with the bounds of the original European Economic Community. Here has been a persistent, although never exclusive, geographical locus of European economic, political and cultural power. Projects of European unification have usually gone out from here. Yet even Germany has in the past had major doubts about its full European belonging, witness the endless post-1989 reiteration of Thomas Mann's post-World War II observation that Germans should aspire to create a European Germany, not a German Europe. Indeed, in the tensions between its own western and eastern parts (where the geographical location and ascribed character of ‘the East’ has itself changed across history), Germany exhibits some of the internal schizophrenia that Gabriele Lazzari analyses in the relationship between the north and south of Italy. ‘Asia begins at the Elbe’, Konrad Adenauer is reputed to have quipped. Nonetheless, it is the central, eastern, south-eastern and southern parts of Europe (those apparently simple geographical terms themselves being the subject of constant redefinition) that most clearly at once challenge and exemplify the multiple dichotomies of what Daniella Gáti nicely describes as the Empire of the Binary. West/East, North/South, centre/periphery, coloniser/colonised, Christian/pagan – all these binaries are at once present and subverted in these parts. Gáti reminds us that early twentieth-century Hungarian culture polarised around two competing influ","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136295088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
all speech envelopes itself in the unspoken Glou. I haue a Letter guessingly set downe2 Say you want to send a letter. Easy: sign, seal, deliver (it's yours/theirs). But also say you're a poet, and one that's given close – occasionally obsessive – attention to the troubles of communication, and you understand language, even at its most off-handedly practical, as an obstacle as much as a vehicle. W. S. Graham is such a poet, and, for him, posting a letter was no simple matter. His poem ‘Letter X’, for instance, designates such a text ‘Our obstacle in common’, run through with personal signature but subject to the same stumbles as any written word.3 The contours of genre – the line that separates and connects letter and poem – are routinely pressed upon and disturbed by his writing: he treads tentatively along the fraught hyphen of a poem-letter, simultaneously blurring and keenly sharpening their distinctions. Or else, their forms get complexly imbricated, as letters suddenly delineate, becoming, for a turn, verse; or, elsewhere, poems take on the formal qualities of epistle, confusing the varying registers and timbres of private or public voice. As Angela Leighton puts it, ‘the urgent sense of an addressee is never far from Graham's poetic consciousness’.4 Graham, in other words, was well versed in letters and vice versa. And the letter is a form worth complicating, because, as Hermione Lee writes, ‘If you are using a letter in a biography, you must recognize the dangerousness of enlisting such a performance, and you must have some idea of what the performance entails’; and that ‘Of course literary autobiography can be read just as data of the life; but it is also evidence of what mattered to the subject, and a form of self-dramatisation or disguise’.5 Graham's genre-skipping words increase such dangers considerably, because his forms of ‘self-dramatisation and disguise’ extend to his most personal – and, as we'll see, most heartfelt – interactions. So, this article wishes to think through the problem of Graham's minute deceptions and micromanagement of his friends and readers, and how this occurs in his letters and letter-like poems. I'm terming this way of writing, of using the letter's unassumingness to enact kinds of control (both personal and critical), Graham's smalltalk – and Graham's talk can be small to the point of vanishing altogether. A Letter always feels to me like immortality because it is the mind alone without corporeal friend. Indebted to our talk to attitude and accent, there seems a spectral power in thought that walks alone6 I hate having to say anything which needs saying. I would rather write to someone I like when I've nothing to say (which I'm aware of) and just to let them hear my sweet voice.11 a feeling that the writer would rather be writing about some world made up from his head and not have to stick to those facts which have to be given over the pages to the people. – It's like me when I'm writing a letter. (NF, p.
{"title":"‘Yours truly saying with an invisible voice’: W. S. Graham's smalltalk","authors":"Jack Barron","doi":"10.1111/criq.12745","DOIUrl":"https://doi.org/10.1111/criq.12745","url":null,"abstract":"all speech envelopes itself in the unspoken Glou. I haue a Letter guessingly set downe2 Say you want to send a letter. Easy: sign, seal, deliver (it's yours/theirs). But also say you're a poet, and one that's given close – occasionally obsessive – attention to the troubles of communication, and you understand language, even at its most off-handedly practical, as an obstacle as much as a vehicle. W. S. Graham is such a poet, and, for him, posting a letter was no simple matter. His poem ‘Letter X’, for instance, designates such a text ‘Our obstacle in common’, run through with personal signature but subject to the same stumbles as any written word.3 The contours of genre – the line that separates and connects letter and poem – are routinely pressed upon and disturbed by his writing: he treads tentatively along the fraught hyphen of a poem-letter, simultaneously blurring and keenly sharpening their distinctions. Or else, their forms get complexly imbricated, as letters suddenly delineate, becoming, for a turn, verse; or, elsewhere, poems take on the formal qualities of epistle, confusing the varying registers and timbres of private or public voice. As Angela Leighton puts it, ‘the urgent sense of an addressee is never far from Graham's poetic consciousness’.4 Graham, in other words, was well versed in letters and vice versa. And the letter is a form worth complicating, because, as Hermione Lee writes, ‘If you are using a letter in a biography, you must recognize the dangerousness of enlisting such a performance, and you must have some idea of what the performance entails’; and that ‘Of course literary autobiography can be read just as data of the life; but it is also evidence of what mattered to the subject, and a form of self-dramatisation or disguise’.5 Graham's genre-skipping words increase such dangers considerably, because his forms of ‘self-dramatisation and disguise’ extend to his most personal – and, as we'll see, most heartfelt – interactions. So, this article wishes to think through the problem of Graham's minute deceptions and micromanagement of his friends and readers, and how this occurs in his letters and letter-like poems. I'm terming this way of writing, of using the letter's unassumingness to enact kinds of control (both personal and critical), Graham's smalltalk – and Graham's talk can be small to the point of vanishing altogether. A Letter always feels to me like immortality because it is the mind alone without corporeal friend. Indebted to our talk to attitude and accent, there seems a spectral power in thought that walks alone6 I hate having to say anything which needs saying. I would rather write to someone I like when I've nothing to say (which I'm aware of) and just to let them hear my sweet voice.11 a feeling that the writer would rather be writing about some world made up from his head and not have to stick to those facts which have to be given over the pages to the people. – It's like me when I'm writing a letter. (NF, p. ","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"163 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135900310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>At the end of World War II, a young officer from the British army was granted immediate demobilization to return to Cambridge in order to complete his degree, which had been interrupted by the war. He had enlisted in the army in 1941 at the age of 20 and had led a unit of four tanks as part of the Guards Armoured Division during the battle for Normandy. After successfully completing his undergraduate degree on his return to Cambridge, he took a job as a tutor with the Workers' Educational Association in the hope that it would also allow him time to write novels and literary criticism. Within 10 years, at the age of 35, he had finished his first major work of criticism. This was to become one of the most influential works of criticism in English of the latter half of the twentieth century, and along with other of his books was to play a decisive role in founding and shaping the academic field of Cultural Studies in the United Kingdom. The man was Raymond Williams, and the book was <i>Culture and Society 1780–1950</i>.</p><p>The manuscript as delivered in 1956 to the publisher Chatto and Windus by a then relatively unknown academic – a tutor in adult education – was considered too long, and an important appendix in which Williams discussed words which he considered significant in framing debates about culture and society was left out. Even so, his introduction to <i>Culture and Society</i> carries the subtitle: <i>The Key Words – ‘Industry’, ‘Democracy’, ‘Class’, ‘Art’, ‘Culture’</i>. Indeed, his encounter with the history of these words in the Oxford English Dictionary in the basement of the public library of Seaford more or less primed the book and became a cornerstone of his method of literary and cultural analysis. Some twenty years later, in 1976, these very words <i>Industry, Democracy, Class, Art,</i> and <i>Culture,</i> along with the excised appendix and further notes became the basis of a self-standing work, <i>Keywords: A vocabulary of Culture and Society</i> (revised and expanded in 1983), in which Williams provided two- or three-page accounts of 131words that he considered crucial to our understanding of culture and society, as well as the complicated relations between them. In this did both <i>Culture and Society</i> and <i>Keywords</i> not only inaugurate and help to shape the field of cultural studies, but they also prompted a particular and continuing thread of work in that field on the vocabulary of culture and society.</p><p>There have, indeed, been two substantial sequels within the tradition of enquiry that Williams inaugurated: <i>New Keywords: A Revised Vocabulary of Culture and Society</i><sup>1</sup> and <i>Keywords for Today: A 21st Century Vocabulary</i>.<sup>2</sup> Both books draw their inspiration directly and openly from Williams's original <i>Keywords</i> and see their purpose as building on his initial definitions and purpose in the light of social and cultural change over the intervening decades. Of course, the
在第二次世界大战结束时，一名来自英国军队的年轻军官被允许立即复员，回到剑桥大学完成他的学位，因为他的学位被战争打断了。1941年，20岁的他应征入伍，在诺曼底战役中，他率领一支由四辆坦克组成的部队，隶属于近卫装甲师。回到剑桥后，他成功地完成了本科学位，在工人教育协会找到了一份导师的工作，希望这也能让他有时间写小说和文学评论。不到10年，35岁的他完成了第一部重要的批评作品。这将成为20世纪后半叶英语批评中最具影响力的作品之一，与他的其他著作一起，在英国文化研究学术领域的建立和塑造中发挥了决定性的作用。这个人就是雷蒙德·威廉姆斯，这本书就是《文化与社会1780-1950》。1956年，一名当时相对不知名的学者——一名成人教育导师——将手稿交给了出版商Chatto and Windus，手稿被认为太长了，威廉姆斯在其中讨论了他认为对构建文化和社会辩论有重要意义的词汇，其中一个重要的附录被遗漏了。即便如此，他在《文化与社会》的导言中还是用了一个副标题:关键词——“工业”、“民主”、“阶级”、“艺术”、“文化”。事实上，在西福德公共图书馆的地下室里，他在《牛津英语词典》中遇到了这些词的历史，这或多或少为这本书奠定了基础，并成为他文学和文化分析方法的基石。大约二十年后的1976年，正是这些词，工业、民主、阶级、艺术和文化，连同删去的附录和进一步的注释，成为了一部独立著作的基础，《关键词:文化与社会词汇》(1983年修订和扩充)，在这本书中，威廉姆斯提供了两到三页的131个词的描述，他认为这些词对我们理解文化和社会，以及它们之间的复杂关系至关重要。在这方面，《文化与社会》和《关键词》不仅开创并帮助塑造了文化研究领域，而且还推动了该领域关于文化与社会词汇的一种特殊而持续的工作线索。事实上，在威廉斯开创的探究传统中，有两部实质性的续集:《新关键词:修订的文化和社会词汇》和《今天的关键词:21世纪的词汇》。2两本书都直接和公开地从威廉斯的原始关键词中汲取灵感，并将其目的视为建立在他最初的定义和目的之上，并考虑到其间几十年的社会和文化变化。当然，一些特定的词似乎能够概括一种文化、一个时代、一个地点或大量的写作，这种想法并不是威廉姆斯所独有的:这个普遍的想法历史悠久，也为其他学者所认同。Stubbs3指出了欧洲之前的传统——德国的schl<s:1> sselwørter和法国的mots clef(这两个词都被翻译成“关键词”)。的确，康拉德在《西方人的眼睛》中的叙述者——一位语言教师——当面对一份令人困惑的文件时，他发现自己希望找不到某个“关键字”——“一个可以站在所有单词后面的词”;这个词，如果不是真理本身，也许足以帮助我们发现道德，这应该是每一个故事的目标我把这些词称为“关键词”，有两种意义:它们是某些活动中的重要约束词及其解释;它们在某些思维形式中是重要的、指示性的词语。某些用法将看待文化和社会的某些方式联系在一起，尤其是在这两个最常见的单词中。在我看来，某些其他用途似乎在同一领域引发了一些问题和问题，我们都需要对此多加注意(第15页)但是，还有一种完全不同的工作传统，其中关键词的概念也以一种完全不同的方式至关重要，那就是语料库语言学——对非常大的文本(语料库)中的语言模式进行分析，主要是为了澄清与意义性质有关的问题，最终是语言本身的性质。英国语言学家J.R. Firth10(第11页)的一句话也许可以最好地概括它的激进出发点:“看一个词与谁交往，你就会知道它是什么”。或者正如维特根斯坦(第80,109页)所说:“一个词的意义就是它在语言中的用法”。 事实上，杰弗里斯和沃克将客观性、方法的透明性和可复制性作为其整个研究方法的标志性优点的总体主张，从多方面来看都是站不住脚的。他们依赖于未公开承认或解释的辅助假设；他们凌驾于自己的统计指标之上，而倾向于未加解释的解释程序；他们似乎没有意识到其统计方法的基石--即统计意义本身--现在已被公认的局限性：最后，杰弗里斯和沃克的《新闻中的关键词：新工党时期》存在一个奇怪的悖论。他们的目的是补充雷蒙德-威廉姆斯（Raymond Williams）在其著作《关键词》（Keywords）中所描述的工作：A vocabulary of culture and society》一书中的描述。但杰弗里斯和沃克的研究方法将威廉姆斯的工作重塑为，与其说是对文化关键词进行分析，不如说用他们的话来说，是将社会政治关键词分离出来，正如我们所见，这些关键词最初是通过统计方法确定的。杰弗里斯和沃克认为，这些社会政治关键词提供了布莱尔时代意识形态的轮廓，就像威廉斯 "试图捕捉战后意识形态的某些东西，目的是挑战这种意识形态并质疑他所讨论的关键词的意义 "一样。他之所以选择这些词，是因为从它们的历史和当前的用法（有时是相互矛盾的用法）来看，它们可能有助于推动我们对这些问题的理解，而这些问题正是《文化与社会》和《漫长的革命》的核心所在。他的关键词旨在作为思考的工具，而他思考的工具就是词语本身、词语的用途以及词语在实现长期革命和更美好未来的斗争中的用途。在这一点上，用鲍曼对桑塔亚纳的比喻来说，他的关键词与后续各卷都具有 "刀锋抵住未来 "的特质。 为了研究“语言中的用法”或“单词的陪伴”，语料库语言学检查了非常大的数据体(因为许多单词出现的频率非常小，所以你需要非常大的语料库来捕捉它们的行为规律)。由于数字和计算技术的出现，这种对超大语料库工作的感知需求得到了额外的推动:因此，正如目前所使用的那样，语料库语言学使用的是通常由统计学支持的计算分析。语料库语言学计算和统计方法的一个重要组成部分是将语料库中具有特殊突出意义的词(关键词)在其各自的上下文中分离出来。基本上，一个软件程序(最受欢迎的是AntConc，见Antony,12或Wordsmith，见Scott13)被用来将语料库中的单词排序成一个列表，例如，按频率(或者，就这一点而言，按字母顺序)，并应用统计程序(如对数似然评分或卡方或t检验)来确定目标语料库中特定单词的频率与另一个语料库(选择用于参考或比较目的)中相同单词的频率是否存在相对和比例差异。如果统计程序表明，相对频率的差异在技术意义上是显著的，14则该词被认为是目标语料库中的关键字。如果一个词在文本中出现的次数至少与用户指定的最小频率相同，那么这个词就是关键字，并且当将其在文本中的频率与参考语料库中的频率进行比较时，其统计概率可以通过适当的过程....计算出来小于或等于用户指定的p值语料库语言学从其激进的出发点出发，已经成为语言系统研究的一个主要趋势。事实上，它的一些追随者认为它带来了语言学中的哥白尼革命——从对语言直觉的内省研究转向对语言行为的经验观察，从对语言结构本质的推断转向从大量数据中积累归纳。它已被广泛应用于文学研究、语言教学和司法语言学等相关领域，其中语料库语言学的一种特殊工具——统计显著关键词的识别——在一些详细的研究中被采用。(例如，参见Bondi和scott。17关于孤立使用关键字的度量标准的一些批判性反思，也参见:Gabrielatos和Marchi18;Pojanapunya和Watson Todd)因此，乍一看，语料库语言学对关键词的计算和统计方法与雷
{"title":"Habeas Corpus? Cultural Keywords, Statistical Keywords, and the Role of a Corpus in their Identification","authors":"Martin Montgomery, Carol Ting","doi":"10.1111/criq.12734","DOIUrl":"10.1111/criq.12734","url":null,"abstract":"<p>At the end of World War II, a young officer from the British army was granted immediate demobilization to return to Cambridge in order to complete his degree, which had been interrupted by the war. He had enlisted in the army in 1941 at the age of 20 and had led a unit of four tanks as part of the Guards Armoured Division during the battle for Normandy. After successfully completing his undergraduate degree on his return to Cambridge, he took a job as a tutor with the Workers' Educational Association in the hope that it would also allow him time to write novels and literary criticism. Within 10 years, at the age of 35, he had finished his first major work of criticism. This was to become one of the most influential works of criticism in English of the latter half of the twentieth century, and along with other of his books was to play a decisive role in founding and shaping the academic field of Cultural Studies in the United Kingdom. The man was Raymond Williams, and the book was <i>Culture and Society 1780–1950</i>.</p><p>The manuscript as delivered in 1956 to the publisher Chatto and Windus by a then relatively unknown academic – a tutor in adult education – was considered too long, and an important appendix in which Williams discussed words which he considered significant in framing debates about culture and society was left out. Even so, his introduction to <i>Culture and Society</i> carries the subtitle: <i>The Key Words – ‘Industry’, ‘Democracy’, ‘Class’, ‘Art’, ‘Culture’</i>. Indeed, his encounter with the history of these words in the Oxford English Dictionary in the basement of the public library of Seaford more or less primed the book and became a cornerstone of his method of literary and cultural analysis. Some twenty years later, in 1976, these very words <i>Industry, Democracy, Class, Art,</i> and <i>Culture,</i> along with the excised appendix and further notes became the basis of a self-standing work, <i>Keywords: A vocabulary of Culture and Society</i> (revised and expanded in 1983), in which Williams provided two- or three-page accounts of 131words that he considered crucial to our understanding of culture and society, as well as the complicated relations between them. In this did both <i>Culture and Society</i> and <i>Keywords</i> not only inaugurate and help to shape the field of cultural studies, but they also prompted a particular and continuing thread of work in that field on the vocabulary of culture and society.</p><p>There have, indeed, been two substantial sequels within the tradition of enquiry that Williams inaugurated: <i>New Keywords: A Revised Vocabulary of Culture and Society</i><sup>1</sup> and <i>Keywords for Today: A 21st Century Vocabulary</i>.<sup>2</sup> Both books draw their inspiration directly and openly from Williams's original <i>Keywords</i> and see their purpose as building on his initial definitions and purpose in the light of social and cultural change over the intervening decades. Of course, the ","PeriodicalId":44341,"journal":{"name":"CRITICAL QUARTERLY","volume":"66 2","pages":"18-50"},"PeriodicalIF":0.2,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/criq.12734","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135817061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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