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Mapping Tenderness: Ocean Vuong and the Afterlives of Modernist Geography 测绘温柔:海洋之王和现代主义地理学的来世
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2026-02-04 DOI: 10.1111/lic3.70045
Kent Su

This paper examines Ocean Vuong's Night Sky with Exit Wounds (2016) through the lens of affective geography. It argues that Vuong reimagines modernist ideas of space through emotion and the body. He adopts techniques like fragmentation, montage, and disjunction but redirects them toward relation rather than separation. His poems use the bodily acts of breath and touch to connect moments and histories that could otherwise remain apart. The paper employs close readings of “Self-Portrait as Exit Wounds” and “On Earth We're Briefly Gorgeous” in two separate sections in order to demonstrate how Vuong turns themes of displacement into possibilities of intimacy. The notions of space in his work cannot be fixed or measured in the physical sense. Space instead is experienced through movement, sensation, and the body's awareness. The body becomes both map and memory, carrying history and rewriting it through tenderness. Vuong thus turns modernist geography inward, grounding it in queer and diasporic life. His poetry builds an emotional landscape where vulnerability fosters relation and belonging can exist even within fracture.

本文通过情感地理学的视角来审视汪洋的《带出口伤口的夜空》(2016)。它认为王通过情感和身体重新想象了现代主义的空间观念。他采用了碎片化、蒙太奇和分离等手法,但将它们重新导向关系而不是分离。他的诗使用呼吸和触摸的身体行为来连接时刻和历史,否则可能会分开。这篇论文将《作为出口伤口的自画像》和《在地球上,我们短暂地美丽》分成两个部分进行仔细阅读,以展示王如何将流离失所的主题转化为亲密关系的可能性。在他的作品中,空间的概念不能在物理意义上固定或测量。空间是通过运动、感觉和身体的意识来体验的。身体成为地图和记忆,承载历史,并通过温柔重写历史。因此,王将现代主义地理学转向内部,将其根植于酷儿和流散的生活中。他的诗歌构建了一种情感景观,在这里,即使在破裂中,脆弱也能促进关系和归属感的存在。
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引用次数: 0
Stanzas of Woe, Stanzas of Anger: Ann Yearsley and Poetry as Complaint and Instruction 《哀怨诗,愤怒诗:安·耶尔斯利与诗的抱怨与教导》
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2026-01-28 DOI: 10.1111/lic3.70043
Catherine Keohane

After servants of the former Bristol Mayor terrorized and beat her sons, Ann Yearsley found she did not have the money or clout to continue with an official legal complaint. She could, however, make her complaint in print, writing Stanzas of Woe (1790). This understudied short volume serves as a complaint against Levi Eames, as it details her and her sons' experiences with his servants as well as her emotional distress. This essay explores Yearsley's attempts to express her anger and sorrow, and to win public opinion. It argues that Stanzas of Woe is more than complaint: it is also didactic literature, offering instruction in human connections. If the anger percolating through the volume reflects Yearsley's hurt, her advocacy of connection seeks to teach Eames and other readers to engage in kinder treatment of others. After considering the structure of the volume and its place in Yearsley studies, the essay looks more closely at the title poem, analyzing how Yearsley mixes instruction with complaint. As a way of understanding the success of her complaint, the end of the essay looks at contemporary reviews of the volume.

在布里斯托尔前市长的仆人恐吓和殴打她的儿子之后,安·耶尔斯利发现她没有足够的钱或影响力来继续进行正式的法律投诉。然而,她可以把她的抱怨写在印刷品上,写《哀节》(Stanzas of Woe, 1790)。这部未被充分研究的短篇小说是对利瓦伊·埃姆斯的控诉,因为它详细描述了她和她的儿子们与他的仆人的经历,以及她的情感困扰。这篇文章探讨了耶尔斯利试图表达她的愤怒和悲伤,并赢得公众舆论。它认为《苦难诗节》不仅仅是抱怨:它也是说教文学,为人类关系提供指导。如果说贯穿全书的愤怒反映了耶尔斯利的伤痛,那么她对联系的倡导则试图教会埃姆斯和其他读者更友善地对待他人。在考虑了这本书的结构及其在耶尔斯利研究中的地位之后,本文更仔细地研究了这首标题诗,分析了耶尔斯利是如何将教学与抱怨混合在一起的。作为一种理解她的投诉成功的方式,文章的结尾看了当代的评论。
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引用次数: 0
Crip-Diasporic Cartographies: Non-Normative Geographies in Theresa Hak Kyung Cha's Dictée (1982) Crip-Diasporic制图学:Theresa Hak Kyung Cha的dicdicen(1982)中的非规范地理学
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2026-01-25 DOI: 10.1111/lic3.70044
Jiaying Chen

Moving beyond the critical binary between formalism and sociohistoricism that has polarized readings of Theresa Hak Kyung Cha's Dictée, this article specifies how Cha forges avant-garde formalism into a political instrument for diasporic expression. Synthesizing crip theory, new materialism, and affect theory, this article argues that Dictée functions as a performative cartography, mapping the diasporic condition as a specific mode of structural and somatic disablement. Integrating Asian American disability studies, this study analyzes this practice less as a representation of trauma and more as a mode of knowing grounded in the experience of being socially and linguistically disabled by normative national structures. It traces three interlocking layers: the unsettled temporalities of crip time, the material geography of the book as an archival body, and the affective terrains generated within the reader. In so doing, this reading offers Asian American literary studies a critical vocabulary for reframing formal difficulty as an embodied political strategy and expands postmodern geography by positioning the body as a primary site of historical inscription.

本文超越了形式主义和社会历史主义之间的二元对立,这两种对立已经导致了对特丽莎·哈克·金·查(Theresa Hak Kyung Cha)的《独裁》的两极分化解读,详细说明了查是如何将前卫的形式主义锻造成一种散居表达的政治工具的。综合crip理论、新唯物主义和情感理论,本文认为dictancie作为一种表现性的地图学,将散居状态描绘为一种结构和躯体残疾的特定模式。结合亚裔美国人的残疾研究,本研究分析了这种做法,而不是作为创伤的表现,更多的是作为一种认知模式,基于规范的国家结构在社会和语言上的残疾经验。它追溯了三个相互关联的层面:crip时代的不稳定的时间性,作为档案体的书的材料地理,以及在读者内部产生的情感地形。通过这样做,本阅读为亚裔美国文学研究提供了一种批判性的词汇,可以将形式困难重新定义为一种具体的政治策略,并通过将身体定位为历史铭文的主要地点来扩展后现代地理学。
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引用次数: 0
Romantic Temporalities 浪漫的短暂性
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2026-01-18 DOI: 10.1111/lic3.70042
Stephen Tedeschi

This essay reviews recent treatments of time and temporality in Romantic literary studies. The essay first tracks how critics' operative conceptions of time—and the Romantic conceptions of time they focus on—have changed over the last few decades as critical methods have changed and observes that critics have increasingly analyzed the central social and intellectual tensions of the Romantic period in terms of the interactions among multiple temporalities. The second section considers critical studies not only of literary treatments of time but also of the temporality of reading literature. The essay concludes with a proposal that time spent reading has a texture similar to time spent in the company of another person.

这篇文章回顾了最近浪漫主义文学研究中对时间和时间性的处理。这篇文章首先追踪了批评家们对时间的有效概念以及他们关注的浪漫主义的时间概念在过去几十年里是如何随着批评方法的改变而发生变化的,并观察到批评家们越来越多地根据多重时间之间的相互作用来分析浪漫主义时期的核心社会和智力紧张关系。第二部分不仅考虑了时间文学处理的批判性研究,而且考虑了阅读文学的时间性。文章最后提出,花在阅读上的时间与花在陪伴上的时间有相似的质感。
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引用次数: 0
Technologies of Observation and Unbearable Space: Cosmic Horror as Epistemological Accident in At the Mountains of Madness (1936) 观察技术与无法承受的空间:《在疯狂之山》(1936)中作为认识论偶然的宇宙恐怖
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2025-12-16 DOI: 10.1111/lic3.70041
Xinrui Zhu

This article rereads H. P. Lovecraft's At the Mountains of Madness (1936) and argues that what has been called “cosmic horror” in the text is not, as it is traditionally understood, a form of metaphysical oppression in which humanity confronts an existential terror at its own insignificance before the universe. Rather, it is an “epistemological accident” that takes place inside the operational frame of modern science. By means of modern technologies of observation it deliberately forces itself into a position of observation that no human subject had previously occupied. Horror is no longer defined as some mysterious entity. It emerges instead as the recoil of scientific observation itself against the perceptual architecture of the observing subject. Lovecraft's cosmic horror can therefore be read as the self-collapse of the modern scientific subject under extreme spatial conditions. It is an epistemological catastrophe triggered in the field by technologies of observation, rather than a one directional threat imposed by an external other.

本文重读了h·p·洛夫克拉夫特(h.p. Lovecraft)的《在疯狂的山脉》(At the Mountains of Madness, 1936),并认为文中所谓的“宇宙恐怖”并不像传统理解的那样,是一种形而上的压迫形式,在这种压迫中,人类面对的是自身在宇宙面前无足轻重的存在主义恐怖。相反,它是发生在现代科学的操作框架内的“认识论偶然事件”。通过现代观察技术,它故意强迫自己进入一个观察的位置,这是人类主体以前没有占据过的。恐怖不再被定义为某种神秘的实体。相反,它是科学观察本身对观察主体的感知结构的反冲。因此,洛夫克拉夫特的宇宙恐怖可以被解读为现代科学主体在极端空间条件下的自我崩溃。这是一场由观察技术在现场引发的认识论灾难,而不是由外部其他因素施加的单向威胁。
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引用次数: 0
Mediterraneanism Meets Global Ethics: A Poetic and Material Analysis of The Island of Missing Trees 地中海主义与全球伦理:《消失的树木之岛》的诗意与物质分析
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2025-12-13 DOI: 10.1111/lic3.70038
Aina Vidal-Pérez

This article delves into discussions around the global novel through a poetic and material analysis of The Island of Missing Trees (2021) by British-Turkish writer Elif Shafak. Internationally acclaimed, the novel's central plot is a love story set in 1974 Nicosia (Cyprus) between Kostas, a Greek Cypriot, and Defne, a Turkish Cypriot, who secretly meet amidst the political violence of a divided city, against the backdrop of golden beaches, climbing bougainvilleas, and stuffed vine leaves. I argue that the narrative tension between locality and globality mediated by a cosmopolitan writer like Shafak is one of the fundamental strategies for the novel's global legibility, circulation, and reception. First, I analyze its narrative strategies—articulated through multiple points of view (including that of a fig tree), a multiscale narrative construction (temporal, spatial, but also non-human), and a picturesque production of the local (Cypriot) and the regional (Mediterranean)—to problematize the mechanisms of internationalization in the novel. Second, I question how the novel thematically participates in popular global discourses such as humanitarianism or environmentalism. Finally, I consider the circulation and reception assumptions around the novel in Western English-language media.

本文通过对英裔土耳其作家埃利夫·沙法克2021年的作品《消失的树之岛》的诗意和材料分析,深入探讨了围绕这部全球小说的讨论。在国际上广受赞誉,小说的中心情节是一个发生在1974年尼科西亚(塞浦路斯)的爱情故事,在一个分裂的城市的政治暴力中,希腊塞浦路斯人科斯塔斯(Kostas)和土耳其塞浦路斯人德内(Defne)秘密相遇,背景是金色的海滩,攀缘的三角梅(bougainvilleas)和填充的藤叶。我认为,像沙法克这样的世界主义作家所调解的局部性和全球性之间的叙事张力是小说在全球范围内的易读性、流通和接受的基本策略之一。首先,我分析了它的叙事策略——通过多个视角(包括一棵无花果树的视角)、多尺度的叙事结构(时间、空间,但也包括非人类的)、当地(塞浦路斯)和地区(地中海)的风景如画的生产来阐述小说的国际化机制。其次,我质疑这部小说如何在主题上参与人道主义或环保主义等全球流行话语。最后,我考虑了小说在西方英语媒体中的流通和接受假设。
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引用次数: 0
“English Literature After #MeToo: Global Perspectives”: Introduction “MeToo之后的英国文学:全球视角”:导论
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2025-11-23 DOI: 10.1111/lic3.70034
Kate Hext, Julie Choi

This introductory essay sets out the relationship between #MeToo movement and higher education in a global context, arguing that teaching in universities is defined by what we term “Post-#MeToo Consciousness.” The essay explores the implications of this for teaching practice and the principles of English literary studies, opening questions about how it tacitly reshapes the discipline (vis authority, the canon, scholarly language), and asking how we can develop an effective global perspective on this fundamental, multivalent subject.

这篇介绍性文章阐述了全球背景下#MeToo运动与高等教育之间的关系,认为大学教学是由我们所说的“后#MeToo意识”来定义的。本文探讨了这对教学实践和英语文学研究原则的影响,提出了它如何默默地重塑这门学科(相对于权威、经典、学术语言)的问题,并询问我们如何才能在这一基础的、多价值的学科上形成有效的全球视角。
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引用次数: 0
Studies in the Period Illustration of Eighteenth-Century British Literature, 1935–2025 18世纪英国文学时期插画研究,1935-2025
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2025-11-14 DOI: 10.1111/lic3.70039
Sandro Jung

Excepting satiric illustration and the work of William Blake, this article will sketch the state-of-the-art pertaining to the study of the copper-engraved period illustration of 18th-century literature. It will outline the different phases of illustration studies within the British literary context of the past 90 years, concentrating particularly on the developments of the past 40 years. Focusing on the ways in which scholars have, in recent years, argued for the centrality and significance of illustrations in literary-historical narratives of 18th-century British literature, it will introduce the latest directions in the field. These include the role of illustrations in literary material culture and transnational book and text history, as well as extra-illustration practices and the recycling of illustrations, which demonstrate the pervasive reach of literary illustration in the 18th century.

除了讽刺插图和威廉·布莱克的作品,本文将概述有关18世纪文学铜刻时期插图研究的最新技术。它将概述插画研究的不同阶段在过去90年的英国文学背景下,特别集中在过去40年的发展。关注近年来学者们争论插图在18世纪英国文学的文学历史叙事中的中心地位和重要性的方式,它将介绍该领域的最新方向。其中包括插图在文学物质文化和跨国书籍和文本历史中的作用,以及插图外的实践和插图的回收,这些都表明了18世纪文学插图的普及程度。
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引用次数: 0
Careless Daisy, Incurable Jordan, and Dead Myrtle: Teaching The Great Gatsby in the Post-#MeToo Era 《粗心的黛西、无法治愈的乔丹和死去的桃金娘:在后#MeToo时代教授伟大的盖茨比》
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2025-11-07 DOI: 10.1111/lic3.70035
Soh Yeun Kim

This article examines the pedagogical challenges and strategies of teaching F. Scott Fitzgerald's The Great Gatsby within the intensified anti-feminist climate of post-#MeToo South Korea, where feminist perspectives face severe marginalization and active opposition. Korean college students typically admire Gatsby's self-made success and romantic idealism while uncritically accepting the novel's portrayal of female characters as morally deficient. Drawing from experiences teaching the novel at Korean universities between 2023 and 2024, this study analyzes how targeted pedagogical interventions—critically examining Nick Carraway's unreliable narration and implementing mock trials inspired by Azar Nafisi—created safe spaces for gender critique without provoking the anti-feminist backlash prevalent in Korean academic settings. By contextualizing the novel within both 1920s gender constraints and the contemporary Korean anti-feminist climate, these strategies helped students recognize the lack of voice afforded to female characters and structural limitations on their agency, thereby developing more nuanced interpretations of characters commonly dismissed as unworthy. Post-exercise reflections demonstrated students' emerging awareness of their previously unexamined gender biases when assessing literary characters. The findings demonstrate how literary pedagogy can foster critical consciousness about gender representation in environments where feminist discourse faces significant stigmatization, thereby offering insights for teaching canonical texts in similarly contested cultural contexts.

本文考察了后#MeToo韩国的反女权主义氛围中教授f·斯科特·菲茨杰拉德的《了不起的盖茨比》的教学挑战和策略,在韩国,女权主义观点面临严重的边缘化和积极的反对。韩国大学生一般都羡慕盖茨比的白手起家和浪漫理想主义,而不加批判地接受小说中对女性角色的刻画,认为她们道德上有缺陷。根据2023年至2024年间在韩国大学教授这部小说的经验,本研究分析了有针对性的教学干预——批判性地审视尼克·卡罗威不可靠的叙述,并实施受阿扎尔·纳菲西启发的模拟审判——如何为性别批评创造了安全的空间,而不会引发韩国学术环境中普遍存在的反女权主义反应。通过将小说置于20世纪20年代的性别约束和当代韩国的反女权主义氛围中,这些策略帮助学生认识到女性角色缺乏发言权,她们的能动性受到结构性限制,从而对那些通常被视为不值得的角色进行更细致入微的解读。练习后的反思表明,在评价文学人物时,学生们逐渐意识到自己以前未曾考虑过的性别偏见。研究结果表明,在女权主义话语面临严重污名化的环境中,文学教育学如何培养对性别表现的批判意识,从而为在同样有争议的文化背景下教授经典文本提供了见解。
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引用次数: 0
Happiness in the Long Eighteenth Century 漫长的十八世纪的幸福
IF 0.2 3区 文学 0 LITERATURE Pub Date : 2025-11-05 DOI: 10.1111/lic3.70037
Alexander Hobday

In this article, I offer a thematic overview of differing conceptions of happiness in the long 18th century. These conceptions are hedonism, subjectivism, and eudaemonism. Philosophers today term these ‘the big three’, meaning that most theories of happiness can be described in terms of one or other of them. Broadly speaking, it can be argued that, during the Middle Ages, happiness was generally conceived of in eudaemonistic terms. Wellbeing involved living in accordance with one's essence, which was to say, living as God intended. Happiness was seen to be closely related to virtue and piety. To live well meant to live in the right way. From the 17th century onwards, medieval eudaemonism was profoundly challenged by a range of socio-economic, intellectual, and cultural factors. These provided an impetus to conceive of happiness in terms of hedonism and/or subjectivism. Aside from offering an overview of scholarship relevant to these historical themes, an additional focus of this review is to describe how different literary forms contributed to the proliferation of these forms of happiness. Furthermore, towards the end of the review, I offer a discussion of contemporary debates about wellbeing, highlighting the relevance of the 18th century to those seeking to grapple with the nature of the good life in the present day.

在这篇文章中,我对漫长的18世纪不同的幸福概念进行了主题概述。这些概念分别是享乐主义、主观主义和幸福主义。今天的哲学家将这三种理论称为“三大”,这意味着大多数关于幸福的理论都可以用其中一种或另一种来描述。从广义上讲,可以认为,在中世纪,幸福通常是用幸福主义的术语来构想的。幸福包括按照自己的本质生活,也就是说,按照上帝的意愿生活。幸福被认为与美德和虔诚密切相关。活得好意味着以正确的方式生活。从17世纪开始,中世纪的幸福主义受到一系列社会经济、知识和文化因素的深刻挑战。这些都推动了人们从享乐主义和/或主观主义的角度来看待幸福。除了提供与这些历史主题相关的学术综述之外,本综述的另一个重点是描述不同的文学形式如何促进这些形式的幸福的扩散。此外,在评论的最后,我对当代关于幸福的辩论进行了讨论,强调了18世纪与当今那些寻求与美好生活的本质作斗争的人的相关性。
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引用次数: 0
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