MODERN LANGUAGE REVIEW最新文献

英文中文

Animal Soundscapes in Anglo-Norman Texts by Liam Lewis (review) 盎格鲁-诺曼文本中的动物音景》，作者 Liam Lewis（评论）

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2024-01-01 DOI: 10.1353/mlr.2024.a916747

引用次数: 0

Borges and the Literary Marketplace: How Editorial Practices Shaped Cosmopolitan Reading by Nora C. Benedict (review) 博尔赫斯与文学市场：诺拉-本尼迪克特（Nora C. Benedict）所著的《编辑实践如何塑造世界性阅读》（评论

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2024-01-01 DOI: 10.1353/mlr.2024.a916754

引用次数: 0

Voyage et aventures en deux îles désertes des Indes orientales by François Leguat (review) 弗朗索瓦-勒盖特所著的《东方印度两个荒岛上的旅行与探险》（评论）

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2024-01-01 DOI: 10.1353/mlr.2024.a916746

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Self-Conscious Realism: Metafiction and the Nineteenth-Century Russian Novel by Margarita Vaysman (review) 自觉的现实主义：玛格丽塔-维斯曼著《元小说与十九世纪俄罗斯小说》（评论）

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2024-01-01 DOI: 10.1353/mlr.2024.a916758

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Residual Figuration in Samuel Beckett and Alberto Giacometti by Lin Li (review) 萨缪尔-贝克特和阿尔贝托-贾科梅蒂笔下的残留形象》，作者 Lin Li（评论）

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2024-01-01 DOI: 10.1353/mlr.2024.a916736

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'Sing me a lullaby': Tenderness and Trans Mothers in the Work of Camila Sosa Villada 为我唱摇篮曲卡米拉-索萨-比利亚达作品中的温柔与变性母亲

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2024-01-01 DOI: 10.1353/mlr.2024.a916730

Ben Bollig

ABSTRACT: This article examines Camila Sosa Villada's book Las malas (2019), a tale of trans or travesti sex workers in Córdoba, Argentina. Sosa is perhaps the most recognized trans writer in Argentina, and a notable feature of her writing is its portrayal of trans maternity. This essay addresses the depiction of tenderness in Sosa's work in the context of questions about motherhood and trans rights in contemporary Argentina. The formal and technical choices made in her work offer insights into the political potential of creative writing to destabilize literary genres while engaging in pressing debates about gender and human rights.

ABSTRACT: 本文研究了卡米拉-索萨-维拉达（Camila Sosa Villada）的作品《Las malas》（2019 年），这是一部关于阿根廷科尔多瓦的变性或 travesti 性工作者的故事。索萨可能是阿根廷最知名的跨性别作家，她的写作的一个显著特点是描写跨性别母性。本文从当代阿根廷的母性和变性权利问题出发，探讨索萨作品中的柔情描写。她的作品在形式和技术上的选择让人了解到创意写作的政治潜力，即在参与有关性别和人权的紧迫辩论的同时，破坏文学流派的稳定。

引用次数: 0

'Nous aimons les spectacles exotiques': Queerness, Jewishness, and the Performance of Normality in Proust's Recherche Nous aimons les spectacles exotiques》：普鲁斯特《追寻》中的同性恋、犹太情结和常态表现

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2024-01-01 DOI: 10.1353/mlr.2024.a916728

Eli Zuzovsky

ABSTRACT: The nexus between Jewishness, queerness, and performativity runs throughout Marcel Proust's A la recherche du temps perdu (1913–27). I argue that by foregrounding the theatricality of Jewishness and queerness, Proust reveals their social construction. In doing so, he destabilizes the concept of normality, exposing its factitiousness in a seemingly reformed society still dominated by exclusionary dictates. Examining instances of spectacle and unmasking, I demonstrate how the failure of the performance of normality challenges its myth of naturality. Proust's use of a dramatic lexicon to deconstruct identity offers a powerful response to the budding discourse of French fascism.

摘要：马塞尔-普鲁斯特的《追寻逝去的时光》（A la recherche du temps perdu，1913-27 年）贯穿了犹太性、同性恋和表演性之间的联系。我认为，通过强调犹太性和同性恋的戏剧性，普鲁斯特揭示了它们的社会构造。在此过程中，他颠覆了 "正常 "的概念，揭露了在一个看似改革的社会中，"正常 "仍被排斥性的指令所支配的事实性。通过考察奇观和揭开面具的实例，我展示了常态表现的失败是如何挑战其自然性神话的。普鲁斯特使用戏剧性词汇来解构身份，是对法国法西斯主义萌芽话语的有力回应。

引用次数: 0

Russia's Cultural Statecraft ed. by Tuomas Firsberg and Sirke Mäkinen (review) 《俄罗斯的文化治国之道》，托马斯·弗尔斯伯格和西尔克主编Mäkinen(评论)

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2023-10-01 DOI: 10.1353/mlr.2023.a907878

Reviewed by: Russia's Cultural Statecraft ed. by Tuomas Firsberg and Sirke Mäkinen Muireann Maguire Russia's Cultural Statecraft. Ed. by Tuomas Firsberg and Sirke Mäkinen. (Studies in Contemporary Russia) Routledge: New York and Abingdon. 2022. £29.95. xiv + 250 pp. ISBN 978–0–367–69436–4. This timely, wide-ranging collection surveys Russian cultural influence in the twenty-first century. In their Introduction, co-editors Tuomas Firsberg and Sirke Mäkinen argue plausibly that Joseph Nye's distinction between 'hard' and 'soft' power is ambiguous and over-used, since 'power' is not necessarily achieved by cultural influence; another common term, 'cultural diplomacy' (as used in another recent edited volume, Louise Hardiman's Courtly Gifts and Cultural Diplomacy: Art, Material Culture, and British-Russian Relations (Paderborn: Brill, 2023)), is confusingly adjacent to high-level ambassadorial exchanges. Therefore Firsberg and Mäkinen propose 'cultural statecraft' as an alternative term for cultural activity undertaken to further a given state's reputation or interests, without any guaranteed goal or outcome. The latter clarification is necessary because, as this volume testifies, there are few cultural fields or political zones where Russian cultural statecraft has in fact attained lasting success (with the possible exception of participation in the Eurovision Song Contest, which Mari Pajala and Dean Vuletic, in their chapter, call 'Russia's biggest success story in popular music as cultural diplomacy' (p. 179)). Even in regions where Russian aesthetic and educational opportunities were once eagerly accepted by students and other consumers, such as Africa, India, and Latin America, this influence has waned drastically since the fall of the Soviet Union. As statistics presented by Sirke Mäkinen in her separate essay 'Higher Education as a Tool for Cultural Statecraft' show, more than half of the international students attending Russian universities are citizens of former Soviet nations: student recruitment from Africa and the Middle East has plunged to single percentage points, while European and North American recruitment is fractional. This is because Russia's academic and scientific reputation no longer outweighs its widespread (and objectively accurate) perception as corrupt, inefficient, and monolingual. Under Vladimir Putin, the Russian state has actively attempted to recapture global hearts and minds through new (often hybridized) processes. In the new global knowledge hierarchy, the ability to sow misinformation—through, for example, the Kremlin's infamous troll farms—is more effective than teaching Tolstoy to farmers in Timbuktu could ever be. Firsberg and Mäkinen's Introduction examines key milestones in this transformation: the launch of the Russia Today (RT) television news channel in 2005; the creation of the Russkii Mir Foundation, dedicated to sponsoring Russian language-learning and Russophone culture across the globe, in 2007; Putin'

书评:《俄罗斯的文化治国之道》，作者:托马斯·弗尔斯伯格和西尔克Mäkinen缪琳·马奎尔《俄罗斯的文化治国之道》。作者:thomas first berg和Sirke Mäkinen。《当代俄罗斯研究》，劳特利奇:纽约和阿宾顿出版社，2022。£29.95。xiv + 250页。ISBN 978-0-367-69436-4。这及时，广泛的收集调查俄罗斯文化在二十一世纪的影响。在他们的介绍中，合著者托马斯·弗尔斯伯格和西尔克Mäkinen合理地认为，约瑟夫·奈对“硬”和“软”实力的区分是模糊和过度使用的，因为“权力”不一定是通过文化影响实现的;另一个常见的术语“文化外交”(在另一本最近编辑的书中使用，路易斯·哈迪曼的宫廷礼物和文化外交:艺术，物质文化和英俄关系(帕德博恩:布瑞尔出版社，2023年))，令人困惑地与高级别大使交流相邻。因此，first berg和Mäkinen提出“文化治国”作为文化活动的替代术语，以促进特定国家的声誉或利益，没有任何保证的目标或结果。后一种澄清是必要的，因为正如本书所证明的那样，很少有文化领域或政治领域，俄罗斯的文化治理实际上取得了持久的成功(可能除了参加欧洲歌唱大赛，Mari Pajala和Dean Vuletic在他们的章节中称之为“俄罗斯在流行音乐中作为文化外交的最大成功故事”)。即使在非洲、印度和拉丁美洲等学生和其他消费者曾经热切接受俄罗斯美学和教育机会的地区，这种影响也在苏联解体后急剧减弱。Sirke Mäkinen在她的另一篇文章《高等教育作为文化治国之道的工具》中提供的统计数据显示，在俄罗斯大学就读的国际学生中，有一半以上是前苏联国家的公民:来自非洲和中东的学生入学率下降了一个百分点，而来自欧洲和北美的学生入学率则微乎其微。这是因为俄罗斯在学术和科学上的声誉不再超过其普遍(客观准确)的腐败、低效和单一语言的印象。在弗拉基米尔•普京(Vladimir Putin)的领导下，俄罗斯政府一直在积极尝试通过新的(通常是混合的)进程重新赢得全球的人心。在新的全球知识等级体系中，散布错误信息的能力——例如，通过克里姆林宫臭名昭著的巨魔农场——比向廷巴克图的农民传授托尔斯泰更有效。firberg和Mäkinen的引言考察了这一转变中的关键里程碑:2005年今日俄罗斯(RT)电视新闻频道的推出;2007年，俄罗斯基金会成立，致力于在全球范围内赞助俄语学习和俄语文化;普京同年在慕尼黑的演讲挑战了美国的文化霸权;在海外设立各种名称中立的国家资助智库;2014年，俄罗斯文化部长弗拉基米尔·托尔斯泰(列夫·托尔斯泰的后代)的一份文件将大多数人类活动归他自己的部门管辖:“(文化)包括道德价值观、更广泛的公共教育、青年政策问题，以及我们所居住的城市和村庄。我们试图采取一种包罗万象的方法[…]”(引自第8页)。鉴于今天乌克兰领土被强行俄罗斯化，这些话听起来非常准确。《俄罗斯的文化治国方略》中的11篇文章是对普京政府如何或多或少(通常不太)成功地利用各种文化领域获得地缘政治影响力的案例研究。两位作者引用了许多相同的来源(奈和其他学者关于“软实力”;克里姆林宫官方媒体支持普京的观点)，并使用类似的方法方法(数据分析，包括对主要文化代理人和焦点群体的采访)。该卷受益于良好整合的交叉参考。莉娜·克里门科(Lina Klimenko)关于东欧有争议的苏联二战纪念碑的文章，与当前西方关于奴隶和殖民者雕像合法性的辩论形成了有趣的对比;值得注意的是，自这本书出版以来，她所描述的苏联士兵和爱国者的雕像都没有遭到严重破坏。在《俄罗斯文学将修复一切》一书中，安杰洛斯·西奥查里斯描述了最近由国家资助的计划……

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引用次数: 0

Blood of Others: Stalin's Crimean Atrocity and the Poetics of Solidarity by Rory Finnin (review) 《他人之血:斯大林的克里米亚暴行与团结的诗学》罗里·芬宁著(书评)

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2023-10-01 DOI: 10.1353/mlr.2023.a907875

Reviewed by: Blood of Others: Stalin's Crimean Atrocity and the Poetics of Solidarity by Rory Finnin Katya Jordan Blood of Others: Stalin's Crimean Atrocity and the Poetics of Solidarity. By Rory Finnin. Toronto: University of Toronto Press. 2022. xiv+ 352 pp. $80. ISBN 978–1–4875–0781–7. In recent years, the question 'Chei Krym?' ('To whom does Crimea belong?') has become a litmus test for differentiating Russian political liberals from conservatives. [End Page 641] It has inspired two neologisms which have since become viral slogans: 'Krymnash' ('Crimea is Ours') expresses satisfaction with Russia's brash annexation of Crimea, and 'Ikhtamnet' ('They aren't there') captures Russia's refusal to admit to a military presence outside its own borders, as in Crimea and Donbass. These linguistic phenomena reflect both Russia's contemporary imperial ambitions and its long-standing interest in neighboring territories, not least the Crimean peninsula. Rory Finnin's new book demonstrates the lengths to which some Russian rulers are willing to go in order to realize that interest. Yet Finnin's monograph also shows the power of resistance and solidarity exercised by the Crimean Tatars in defiance of Russia's colonizing presence. Blood of Others offers a compelling reading of Crimean dissident literature in the context of Stalin's genocidal policies. It spans nearly two and a half centuries of Russian imperialism—from Empress Catherine II's annexation of Crimea in 1783 to the precarious situation on the peninsula today. Finnin's monograph appeared in March 2022, just one month after Russian troops officially crossed the border of sovereign Ukraine, and eight years after Russia had annexed Crimea for the second time. As he shows, both events, although celebrated in state media as a reunification or even a 'return home', remain both politically and culturally controversial in Russia. Finnin aims to understand 'the textual conditions' for those 'inconsistent, infrequent, even rare' moments 'when the work of the imagination makes us more attuned and responsive to the welfare of strangers' (pp. 8–9). Deriving his methodology from comparative literary analysis, he conceptualizes past events as 'vibrational phenomena organizing and reorganizing human relationships across cultural surfaces' (p. 9). He avoids representing any form of cultural nationalism in isolation, instead striking a delicate balance between critical analysis of historical events and intimate narration of private lives. In order to show just how deeply impersonal political decisions can affect individuals and shape the fates of generations, Finnin opens his narrative with the story of Liliia Karas, an ethnically Jewish woman displaced to Siberia from Kharkhiv during Hitler's invasion of the Soviet Union. In 1963 she returns to Kharkiv, where she meets the poet Boris Chichibabin, whose readings sent 'shivers up her spine' (p. 3). Their private lives are among many to be shaped by the actions of Hitl

书评:《他人之血:斯大林的克里米亚暴行与团结诗学》作者:罗里·芬宁·卡蒂亚·乔丹《他人之血:斯大林的克里米亚暴行与团结诗学》罗里·芬宁著。多伦多:多伦多大学出版社，2022。Xiv + 352页，80美元。ISBN 978-1-4875-0781-7。近年来，“Chei Krym?”(“克里米亚属于谁?”)已经成为区分俄罗斯政治自由派和保守派的试金石。它激发了两个新词，并成为了广为传播的口号:“Krymnash”(克里米亚是我们的)表达了对俄罗斯鲁莽吞并克里米亚的满意，“Ikhtamnet”(他们不在那里)表达了俄罗斯拒绝承认在自己的边界之外存在军事存在，比如在克里米亚和顿巴斯。这些语言现象既反映了俄罗斯当代的帝国野心，也反映了它对邻国领土(尤其是克里米亚半岛)的长期兴趣。罗里•芬宁(Rory Finnin)的新书展示了一些俄罗斯统治者为了实现这种利益而愿意付出的努力。然而，芬宁的专著也展示了克里米亚鞑靼人反抗俄罗斯殖民统治时所表现出的抵抗和团结的力量。《他人之血》在斯大林种族灭绝政策的背景下，为克里米亚持不同政见者的文学作品提供了令人信服的阅读。它跨越了近两个半世纪的俄罗斯帝国主义——从1783年凯瑟琳二世皇后吞并克里米亚到今天半岛的不稳定局势。芬宁的专著出版于2022年3月，就在俄罗斯军队正式越过主权国家乌克兰边境一个月后，俄罗斯第二次吞并克里米亚八年之后。正如他所展示的，这两件事，尽管在官方媒体上被庆祝为统一，甚至是“回家”，但在俄罗斯政治和文化上仍然存在争议。芬宁的目标是理解那些“不一致的、不常见的、甚至罕见的‘时刻’，当想象力的工作使我们对陌生人的福利更加协调和反应”的“文本条件”(第8-9页)。他的方法论来源于比较文学分析，他将过去的事件概念化为“跨文化表面组织和重组人际关系的振动现象”(第9页)。他避免孤立地表现任何形式的文化民族主义，而是在对历史事件的批判性分析和对私人生活的亲密叙述之间取得了微妙的平衡。为了展示非个人的政治决定是如何深刻地影响个人和塑造几代人的命运，芬宁以莉莉娅·卡拉斯的故事开始了他的叙述。莉莉娅·卡拉斯是一名犹太妇女，在希特勒入侵苏联期间从哈尔科夫流离失所到西伯利亚。1963年，她回到哈尔科夫，在那里她遇到了诗人鲍里斯·奇奇巴宾(Boris Chichibabin)，他的阅读让她“脊背发冷”(第3页)。他们的私生活受到希特勒、斯大林和赫鲁晓夫行为的影响。芬宁在书的后面又提到了奇奇巴宾的故事，并将其与克里米亚鞑靼人的悲惨命运交织在一起。这种同时在两个不同的尺度上关注事件的能力——个人和国家，私人和公共——使得阅读体验引人入胜，尽管主题很难。芬宁分析了许多克里米亚本土或与克里米亚有关的作家和艺术家的作品，从普希金(其1837年的诗歌《巴克奇萨莱喷泉》(the Fountain of Bakchisarai)到奥斯曼知识分子纳米克·凯马尔(Namik Kemal)、克里米亚鞑靼小说家根吉兹·达奇(Cengiz Dagci)、乌克兰作家莱西娅·乌克兰卡(Lesia Ukrainka)等许多人。芬宁有意打破传统的、将文学分为“规范与非规范、官方与非官方、高与低、中心与边缘”的二元观点，挑战了“在民族国家的边界，我们与民族谓词的束缚”(第9页)划定分析路线的趋势。尽管如此，他的重点仍然是克里米亚的命运。将历史上居住在克里米亚的其他民族的文化遗产排除在外，比如希腊人、卡拉特人、亚美尼亚人和罗姆人。引言部分概述并解释了芬宁的理论方法，专著的主体部分分为三个部分。第一部分“占有”描述了叶卡捷琳娜二世早期的殖民尝试，以及普希金对俄罗斯克里米亚神话化的贡献。Finnin平衡……

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引用次数: 0

British Children's Literature and Material Culture: Commodities and Consumption 1850–1914 by Jane Suzanne Carroll (review) 《英国儿童文学与物质文化:1850-1914年的商品与消费》作者:简·苏珊娜·卡罗尔

4区文学 0 LANGUAGE & LINGUISTICS

MODERN LANGUAGE REVIEW

Pub Date : 2023-10-01 DOI: 10.1353/mlr.2023.a907859

Reviewed by: British Children's Literature and Material Culture: Commodities and Consumption 1850–1914 by Jane Suzanne Carroll Catherine Butler British Children's Literature and Material Culture: Commodities and Consumption 1850–1914. By Jane Suzanne Carroll. (Perspectives on Children's Literature) London: Bloomsbury Academic. 2022. xi+ 189 pp. £85. ISBN 978–1–350–20178–1. British Children's Literature and Material Culture is an invaluable exploration of an aspect of children's literature that is often overlooked, even though (or perhaps because) it lies in plain sight. That aspect is the world of material objects by which the characters of that literature are surrounded and with which they are in constant interaction: furniture, tools, clothes, and so on, both handcrafted and [End Page 616] mass-produced. The material world has numerous aspects, the distinctions between which are often undefined: from physical objects subject to no laws but those of physics, to manufactured goods bearing the stamp of human labour and intent, to commodities owned and exchanged for money or social currency. This is the complex territory that Jane Suzanne Carroll sets out to map. The book begins with the Great Exhibition of 1851, an event apparently planned without reference to the possibility of child visitors. The lack of official materials precipitated a flurry of books attempting to educate children about the objects and to advise them on the best way to appreciate and interact with the various displays—mentally and emotionally, if not physically. The Exhibition was a new kind of experience for adults, too, and the quasi-religious hush of the crowds that trailed daily through the Crystal Palace (itself a name evoking fairy tale) witnessed to a general uncertainty about the proper relationship to be taken to manufactured goods. 'It-narratives', in which inanimate objects tell their story from manufacture to dissolution (or some portion thereof), arguably have a history at least as old as the Exeter Book riddles, but Carroll's focus in her second chapter is on nineteenth-century examples for children, which often combined factual information (for example, about processes of manufacture) and moral content (such as object lessons in fortitude or valuing one's possessions)—narrative functions not always in harmony. This is a fascinating account of a neglected literature and does much to illuminate the material surroundings of nineteenth-century homes of all classes, as well as the nature and immense scale of manufacturing in British factories and workshops. (However, the clearly erroneous claim of Asa Briggs that by 1900 '500 million tons of pins were being made weekly in Britain' (p. 65)—which amounts to fifteen tons of British-made pins annually for every human being on the planet—should probably not have been repeated without comment.) In an especially intriguing chapter, Carroll draws parallels between the nineteenth-century popularity of table-turning spiritual

《英国儿童文学与物质文化:商品与消费1850-1914》作者:简·苏珊娜·卡罗尔·凯瑟琳·巴特勒简·苏珊娜·卡罗尔著。《儿童文学透视》，伦敦:布鲁姆斯伯里学术出版社，2022。ISBN 978-1-350-20178-1。《英国儿童文学与物质文化》是对儿童文学的一个方面的宝贵探索，这个方面经常被忽视，即使(或者可能是因为)它很明显。那个方面是物质对象的世界，文学中的人物被包围在其中，并与之不断互动:家具、工具、衣服等等，无论是手工制作的还是批量生产的。物质世界有许多方面，它们之间的区别往往是不明确的:从不受物理定律约束的物理对象，到带有人类劳动和意图印记的制成品，再到拥有和交换货币或社会货币的商品。这是Jane Suzanne Carroll着手绘制的复杂领域。这本书从1851年的大展览开始，这次展览的计划显然没有考虑到儿童参观者的可能性。官方资料的缺乏催生了一大批书籍，这些书籍试图教育孩子们关于这些物品的知识，并建议他们以最好的方式欣赏和与各种展品互动——即使不是身体上的，也是心理上和情感上的。对成年人来说，这个展览也是一种新的体验，每天在水晶宫(水晶宫本身就是一个让人想起童话故事的名字)内尾随而来的人群近乎宗教般的安静，证明了人们对与制成品的正确关系的普遍不确定。“It-narratives”是指无生命的物体讲述它们从制造到解体(或其中的一部分)的故事，可以说它的历史至少和埃克塞特书的谜语一样古老，但卡罗尔在第二章中关注的是19世纪的儿童例子，这些例子通常结合了事实信息(例如，关于制造过程)和道德内容(例如，关于坚韧或重视个人财产的实物教训)——叙事功能并不总是和谐的。这是对一种被忽视的文学作品的引人入胜的描述，并在很大程度上阐明了19世纪各阶层家庭的物质环境，以及英国工厂和车间的制造业的性质和巨大规模。(然而，阿萨·布里格斯明显错误的断言——到1900年为止，“英国每周生产5亿吨别针”(第65页)——这相当于地球上每个人每年生产15吨别针——也许不应该不加评论地重复。)在一个特别有趣的章节中，卡罗尔将19世纪流行的转桌招魂术、商品拜物教与莫尔斯沃思夫人的《布谷鸟钟》(1877)等儿童幻想作品中的动画或会说话的人工制品进行了比较。虽然这些人工制品并不是一种创新(想想《白雪公主》中的会说话的镜子)，但它们确实在这一时期激增，部分原因是它们在刘易斯·卡罗尔的《爱丽丝》系列小说中的出现，这些书确实显示出一些招魂术的影响。卡罗尔在书的最后一个实质性章节中探讨了这些物品脱离人类控制的可能性，它们会像冢母一样变得独立，甚至对它们的主人怀有敌意。用“从万国博览会到大战”这样的短语作为本书的副标题肯定很诱人，但卡罗尔指出，虽然万国博览会确实是消费主义新时代的先兆，但在第一次世界大战之前，人们对这种展览的觉醒有可能使它们变得不切实际，1914年在诺丁汉举行的世界博览会因缺乏兴趣而失败就是明证。当然，那一年并没有标志着消费时代的结束，但卡罗尔的书优雅地描绘了一段漫长的文化调适期，这段时期贯穿了人的一生。卡迪夫大学版权所有©2023现代人文研究协会

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