Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907851
Reviewed by: Old English Tradition: Essays in Honor of J. R. Hall ed. by Lindy Brady Andrew Breeze Old English Tradition: Essays in Honor of J. R. Hall. Ed. by Lindy Brady. (Medieval and Renaissance Texts and Studies, 578) Tempe: Arizona Center for Medieval & Renaissance Studies. 2021. xxiv+ 339 pp. $90. ISBN 978–0–86698–636–6. Twenty-one items make up this tribute to Jim Hall of Mississippi, a scholar known for scrupulous work on Beowulf and the like. The results are serious and worthy, with professionalism everywhere. We start with an editorial note on how the contents 'were written and submitted in 2014'; then an Introduction by Fred C. Robinson (d. 2016) and bibliography of the honorand's publications; thereafter eighteen studies in five sections. First is 'Old English Poetics' with four pieces: Roberta Frank on the semantics of Old English wine 'friend' (and its cognates in Old Norse and Old Saxon); Jane Roberts on personification of Death in Guthlac and beyond; Katherine O'Brien O'Keeffe on The Wife's Lament-, Thomas Cable on new aspects of Old English metrics. Longer is 'Old English Christianity', a matter dear to the heart of Jim Hall. A. N. Doane expounds the iconography of Enoch in the Junius Manuscript of Genesis and Exodus; Frederick M. Biggs attends to Apparebit repentina' as source for Christ III; Paul E. Szarmach relates Alcuin of York to Latin homilies in Cambridge, Pembroke College, MS 25; Thomas D. Hill explains the eucharistic dance of angels mentioned in laws of King Cnut; R. D. Fulk edits (from Bodleian manuscripts) two Old English homilies, on the deadly sins and on Lent. Section 3, on Beowulf, has three contributions. A characteristic study by Eric Stanley (d. 2018) has as subject a possible confusion in the text of words for 'thrive' or 'determine' or 'intercede' or 'oppress'. Lindy Brady writes on the poem's 'swords [End Page 603] of doomed inheritance'; Howell Chickering offers clarification of its lines 3074–75. After that, codicology, with David F. Johnson on the Worcester 'tremulous hand' in a manuscript of the Old English Bede at the University Library, Cambridge; and Gregory Heyworth on ruinous attempts to elucidate the Vercelli Book with chemicals vis-à-vis better ones with modern technology. Last are observations on pioneer scholars of Old English: Daniel Donoghue on Junius and The Metres of Boethius; Carl T. Berkhout on Laurence Nowell and the Old English Bede; Dabney A. Bankert on how Benjamin Thorpe influenced Joseph Bosworth as lexicographer and as editor of the Old English Orosius (by an unknown Cornish cleric) and Gospels. John D. Niles provides a satisfying close on an unsigned essay of 1851 (about the Anglo-Saxon race) as 'very likely' by the poet Longfellow. Much progress is made here on Early English, reflecting that elsewhere (the Chronicle, Riddles, Battle of Brunanburh). Others may now take further what is to be found in this book. Here is one instance. While recommending it as useful for getting a se
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907869
Reviewed by: The Gastronomical Arts in Spain: Food and Etiquette ed. by Frederick A. de Armas and James Mandrell Rebecca Earle The Gastronomical Arts in Spain: Food and Etiquette. Ed. by Frederick A. de Armas and James Mandrell. Toronto: University of Toronto Press. 2022. vii+ 288 pp. $75. ISBN 978–1–4875–4052–4. Olla podrida was a complex stew, fashionable during the early modern era in Spain and elsewhere; the English called it an olio. It consisted of a great number of meats roasted and boiled, together with vegetables and other seasonings, which were then served on separate platters. The Gastronomical Arts in Spain is a bit of an olio. Individual chapters examine a diverse range of topics, from the symbolism of honey in medieval Spanish verse to the gastronomical writings of Manuel Vázquez Montal- bán (1939–2003). There is even a chapter on the olla podrida itself. As with an olio, the structuring principles are loose. According to the Introduction, the chapters are organized in 'three courses'—looking at foodstuffs, how and what to eat, and 'modern appetites and culinary fashions'—but unsurprisingly many contributors in all three sections touch on attitudes towards how and what to eat, or discuss individual foodstuffs. What, then, do we learn? Ryan Giles examines the religious symbolism associated with honey and wax in Alfonso X's thirteenth-century Cantigas de Santa Maria. Carolyn Nadeau traces the emergence of a concept of 'Spanish' cuisine in the sixteenth century, in part by studying 'gastrotoponyms' (Alberto Capatti's term for recipe names that reference a specific place). John Slater's chapter on maize shows, inter alia, how nineteenth- and twentieth-century French and US scholarship on its origins ignored Spain's role in disseminating this now global crop. Fernando Serrano Larráyoz examines the dietary advice proffered in four sixteenth-century regimens, including one composed by the patient himself. Several chapters study representations of eating in Golden Age theatre, and James Mandrell considers anti-French sentiments in varied eighteenth-century sources, some linked to food. Íñigo Sánchez-Llama and Dorota Heneghan examine how two nineteenth-century authors (Mariano José de Lara and Benito Pérez Galdós) used food to advance their critiques of Spanish society. José Colmeiro's concluding chapter reviews the extensive gastronomic writings of Vázquez Montalbán. Most chapters focus on cookbooks and literary sources, which, some contributors suggest, led ordinary people to adopt elite attitudes towards food etiquette. As with an olio, the individual components are presented side by side, but on separate platters. The absence of a Conclusion reinforces the reader's sense that the chapters, interesting though they are, do not add up to something greater than the sum of their parts. As the editors themselves observe, 'we only seek to provide a taste of some of the many ways in which food, etiquette, medicine, and taste develop in Spain ove
《西班牙的美食艺术:食物和礼仪》由弗雷德里克·a·德·阿马斯和詹姆斯·曼德尔主编，丽贝卡·厄尔主编，《西班牙的美食艺术:食物和礼仪》。弗雷德里克·a·德·阿马斯和詹姆斯·曼德尔主编。多伦多:多伦多大学出版社，2022。Vii + 288页，售价75美元。ISBN 978-1-4875-4052-4。奥拉波德里达是一种复杂的炖菜，在现代早期的西班牙和其他地方很流行;英国人称之为奥利奥。它包括许多烤熟的肉，还有蔬菜和其他调味料，然后放在不同的盘子里。西班牙的美食艺术有点像一个孤岛。个别章节考察了各种各样的主题，从蜂蜜在中世纪西班牙诗歌的象征意义到曼努埃尔Vázquez蒙塔尔- bán(1939-2003)的美食著作。书中甚至有一章是关于花冠本身的。与奥利奥一样，其结构原则是松散的。根据引言，这些章节被组织成“三个课程”——看食物，怎么吃和吃什么，以及“现代食欲和烹饪时尚”——但不出所料，这三个部分的许多作者都触及了对如何吃和吃什么的态度，或者讨论了个别食物。那么，我们学到了什么呢?瑞安·贾尔斯在阿方索十世十三世纪的《圣玛利亚的颂歌》中考察了与蜂蜜和蜡有关的宗教象征。卡洛琳·纳多(Carolyn Nadeau)追溯了16世纪“西班牙”美食概念的出现，部分原因是研究了“美食地名”(Alberto Capatti对参考特定地点的食谱名称的术语)。约翰·斯莱特关于玉米的那一章，特别地，展示了19世纪和20世纪法国和美国关于玉米起源的学术是如何忽视了西班牙在传播这种现在全球作物中的作用的。Fernando Serrano Larráyoz研究了四种16世纪的饮食建议，包括一种由病人自己组成的饮食建议。有几章研究了黄金时代戏剧中饮食的表现，詹姆斯·曼德尔(James Mandrell)考虑了18世纪各种反法情绪，其中一些与食物有关。Íñigo Sánchez-Llama和Dorota Heneghan研究了两位19世纪的作家(Mariano jossore de Lara和Benito p rez Galdós)如何利用食物来推进他们对西班牙社会的批评。jossel Colmeiro的最后一章回顾了Vázquez Montalbán的大量美食著作。大多数章节都集中在烹饪书和文学资料上，一些撰稿人认为，这些书籍和文学资料使普通人对饮食礼仪采取了精英态度。与olio一样，各个组件并排呈现，但在单独的盘片上。结论的缺失强化了读者的感觉，即尽管章节很有趣，但它们加起来并不比各部分的总和更有意义。正如编辑们自己观察到的那样，“我们只是试图提供西班牙食物、礼仪、医学和品味随着时间的推移而发展的许多方式中的一些方式”(第20页)。打电话给我的,但我认为编辑集合应该提供读者某种编程概述以外的各个章节的配合非常松散的隐喻有三道菜的一餐饭。当然，就其本身而言，这本书成功地传达了长期以来西班牙文化中无处不在的食物，我从个别章节中学到了很多东西。(我还遇到了一些在牛津英语词典中没有出现的单词，比如'swivel'(第19页，129页)，它似乎是yesca或tinder的翻译。)与此同时，我对一些人的缺席感到惊讶。最引人注目的是，作者很少关注更大的帝国背景。“奴隶制”和“种族”没有出现在该指数中，但“糖”出现了。美国跨国公司的“新殖民主义”受到了一些关注，但是，除了斯莱特的章节，西班牙作为殖民大国长达几个世纪的历史只是切切性的。因此，西班牙的美食艺术给人的印象是，这段历史对西班牙人的饮食习惯或对食物的态度影响甚微。并非所有研究西班牙美食的学者都同意这一观点。总的来说，西班牙的美食艺术探索了一些……
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907873
Reviewed by: Attention and Distraction in Modern German Literature, Thought, and Culture by Carolin Duttlinger Anne Fuchs Attention and Distraction in Modern German Literature, Thought, and Culture. By Carolin Duttlinger. Oxford: Oxford University Press. 2022. xvii+ 437 pp. £90. ISBN 978–0–19–285630–2. The overabundance of self-help books about mindfulness and mental resilience underlines the topicality of in/attention in the twenty-first century. ADHD is now classified as a neurological condition and diagnosed in an increasing number of children and adults. Carolin Duttlinger's authoritative and scholarly study places the perceived crisis of attention in the longue dureé of this trope. Rather than singling out the contemporary economy of attention (Georg Franck, Ökonomie der Aufmerksamkeit: Ein Entwurf (Munich: Hanser, 1998)) or new modes of perception and modern subjectivity around 1900 (Jonathan Crary, Suspensions of Perceptions: Attention, Spectacle, and Modern Culture (Cambridge, MA: MIT Press, 2001)), her study covers the far-reaching discourse on attention from the late eighteenth century to the present day, straddling pedagogy, anthropology, experimental psychology, sociology, psychoanalysis, psychotechnics, philosophy, and aesthetics. At the core of this vast transdisciplinary enquiry is her discerning engagement with modernism in the writings of Kafka, Musil, Benjamin, and Adorno, and in Weimar culture more broadly. Chapter 1 lays a historical foundation by touching on Enlightenment debates of self-care in writings by Georg Friedrich Meier, Kant, and Karl Philip Moritz, who advocated practice, alertness, targeted distraction, or self-observation. Against this backdrop she then explores the paradigm change in nineteenth-century experimental psychology; attention was now subjected to quantification in the laboratory. However, while William James, Hermann von Helmholtz, and Wilhelm Wundt aimed to turn attention into a scientific phenomenon, their experiments with measuring devices ultimately highlighted the fickleness of attention; inflected by various environmental factors, it was unstable and flipped over into distraction. Moving on to modern debates about psychic life in the writings of Ribot, Nordau, Simmel, and Freud, Chapter 2 illuminates how the debate on attention contributed to the modern reconceptualization of subjecthood: by contrast to the anthropocentric subject of the Enlightenment, modern subjectivity was in need of continual 'Reizschutz' against the threat of sensory overload. Chapter 3 shows that Kafka's engagement [End Page 638] with attention as a challenge facing Kafka the writer as well as his protagonists was influenced by Johann Friedrich Herbart's and Gustav Lindner's dynamic theory of the mind. An internationally established Kafka expert, Duttlinger skilfully explores Kafka's profound ambivalence towards attention across a wide range of fictional and non-fictional texts, including his report for the Workers' Insura
《现代德国文学、思想和文化中的注意力与分心》作者:卡罗琳·杜特林格安妮·富克斯卡罗琳·杜特林格著。牛津:牛津大学出版社，2022。17 + 437页，90英镑。ISBN 978-0-19-285630-2。过多的关于正念和心理弹性的自助书籍强调了21世纪注意力的话题性。多动症现在被归类为一种神经系统疾病，越来越多的儿童和成人被诊断出患有这种疾病。卡洛琳·杜特林格的权威和学术研究将人们感知到的注意力危机置于这一比喻的漫长过程中。而不是挑出当代注意力经济(乔治·弗兰克，Ökonomie der Aufmerksamkeit: Ein Entwurf(慕尼黑:Hanser, 1998))或1900年左右的感知和现代主体性的新模式(乔纳森·克拉里，感知的悬悬性:注意力，景观和现代文化(剑桥，马萨诸塞州);麻省理工学院出版社，2001))，她的研究涵盖了深远的话语关注从18世纪晚期到现在，横跨教育学，人类学，实验心理学，社会学，精神分析，心理技术，哲学和美学。她对卡夫卡、穆西尔、本雅明和阿多诺的作品以及更广泛的魏玛文化中的现代主义进行了敏锐的研究，这是她跨学科研究的核心。第一章通过触及乔治·弗里德里希·迈耶、康德和卡尔·菲利普·莫里茨的著作中关于自我照顾的启蒙辩论奠定了历史基础，他们主张练习、警觉、有针对性的分心或自我观察。在此背景下，她接着探讨了19世纪实验心理学的范式变化;注意力现在在实验室进行定量分析。然而，虽然威廉·詹姆斯、赫尔曼·冯·亥姆霍兹和威廉·冯特的目标是把注意力变成一种科学现象，但他们用测量设备进行的实验最终突出了注意力的反复无常;受各种环境因素的影响，它是不稳定的，并转向分心。接下来是里博特、诺道、齐美尔和弗洛伊德的著作中关于精神生活的现代辩论，第二章阐明了关于注意力的辩论如何促成了主体性的现代重新概念化:与启蒙运动的人类中心主义主体相比，现代主体性需要持续的“Reizschutz”来对抗感官超载的威胁。第三章表明，卡夫卡对注意力的投入是作家卡夫卡和他的主人公面临的挑战，这受到了约翰·弗里德里希·赫尔巴特和古斯塔夫·林德纳的心灵动态理论的影响。作为国际知名的卡夫卡专家，杜特林格通过大量虚构和非虚构的文本，包括他为工人保险研究所撰写的报告，巧妙地探讨了卡夫卡对注意力的深刻矛盾心理。第四章分析了心理技术在魏玛德国的普遍性。虽然雨果·梅斯特伯格和威廉·斯特恩在第一次世界大战之前就已经推广了心理技术，但在战争期间，能力倾向测试被军方用于招募飞行员或无线运营商时，它才开始受到重视。但在魏玛德国，它成为心理学的主要学科，心理技术的第一个主席于1921年在柏林技术学院Universität成立。心理技术获得了巨大的社会共鸣，因为人们认为它能使社会更有生产力、更公平。然而，与这个社会梦想相反，能力倾向测试强化了现代职场的纪律制度，同时也影响了蓬勃发展的广告业和消费者心理;因此，对注意力的激烈争夺突显了它作为一种珍贵经济资源的地位。本章以齐格弗里德·克拉考尔(Siegfried Kracauer)对心理技术的反对以及他对分散注意力作为大众文化主要特征的敏锐分析作为结语进行了精彩的讨论。第五章追溯了Musil对心理技术作为一种认知自我训练方法的全心认可，以及他未能将《人的本性》的写作过程泰勒化。虽然Musil仍然致力于认知优化，但他的小说利用心理技术取得了不同的效果，从探索心理阈值状态到使读者摆脱根深蒂固的统觉习惯。第六章探讨心理技术在流行自助书籍中的社会影响。忽略阶级、性别、种族和年龄作为促成或阻碍个人成功的主要因素的作用，Duttlinger表明，这种类型的文学被抓住了……
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907833
Lachlan Hughes
Abstract: This article examines Dante's allusion in the opening lines of Purgatorio to Ovid's account in the Metamorphoses of the song contest between the Muses and the Pierides. It argues that the Ovidian episode's pervasive concern for transition, seen in its many embedded and digressive tales, informs and amplifies Dante's negotiation of the textual border between Inferno and Purgatorio . In particular, it claims that the nymph Arethusa, whose journey from the underworld to 'see the stars again' occupies the lowest level of embedded narration in Ovid's poem, serves as an important but hitherto unacknowledged model for the pilgrim's arrival in Purgatory.
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907856
Reviewed by: Laurence Sterne and the Eighteenth-Century Book by Helen Williams Shaun Regan Laurence Sterne and the Eighteenth-Century Book. By Helen Williams. Cambridge: Cambridge University Press. 2021. x+ 217 pp. £75. ISBN 978–1–108–84276–1. In this illuminating and often ingenious monograph, Helen Williams extends our understanding of the most striking visual and textual features of Sterne's Tristram Shandy, as they would have appeared to readers of its first edition (published in five instalments between 1759 and 1767). Six chapter-length case studies present forensic analyses of the novel's material and graphic devices: its 'manicules' (printed images of pointing hands); textual interpolations (notably the 'Abuses of Conscience' sermon in Volume 11); black, marbled, and other illustrated pages; and playful manipulation of catchwords and footnotes. If some of the textual effects under consideration here might easily seem small-scale, Williams's focus is nevertheless broad as well as narrow, as she situates these features in relation to an array of contemporary discourses and objects ranging from literary fiction to botanical illustrations, funereal iconography, and medical wrappers. Such novel contextualizations generate fascinating accounts of Sterne's creative practice with textual design, which confirm the author's close involvement in the printing and illustration of his narrative. A key aspect of Williams's method lies in separating particular devices into their constituent parts, her superb discussion of [End Page 611] the marbled page being a case in point. Before turning to the technique of marbling itself, Williams shows how unexpected any coloured page would have been, at a time when even the most prestigious works of literature rarely ventured beyond a touch of red ink to enliven a title-page, and always highlighted the (expensive) inclusion of colour as a distinctive selling point. As Williams observes, 'to include coloured ink and not advertise the fact', as Sterne does, constituted 'a lavish act of book design' (p. 105). The chapter goes on to present a complex contextual web—of medical packaging, obstetrics, and eighteenth-century rhinoplasty—as informing the meaning of the marbled page, situated as it is within an instalment of Tristram Shandy concerned with Tristram's safe delivery and the emasculating, nose-crushing efficacy of Dr Slop's forceps. Elsewhere, a chapter on the interpolated sermon shows how Sterne comically reverses the conventions of printed plays by placing the 'main dialogue', rather than stage instructions, within square brackets (p. 94). Throughout the study, Williams is not afraid to take analytical risks, pinpointing precursors that initially seem tangential but which ultimately reveal the provenance of particular effects. This is not least the case in a final chapter that aligns Trim's famous 'flourish', and the diagrammatic lines used to convey Tristram's narrative progress, with developing conventions
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907865
Reviewed by: Contemporary Fiction in French ed. by Anna-Louise Milne and Russell Williams Maeve McCusker Contemporary Fiction in French. Ed. by Anna-Louise Milne and Russell Williams. Cambridge: Cambridge University Press. 2021. xii+ 289 pp. £75. ISBN 978–1–108–47579–2. Anna-Louise Milne and Russell Williams have brought together in this superb collection some of the most commanding voices writing on contemporary fiction in French today. In their Introduction, the editors establish the inclusive parameters of their project: over twelve chapters, the diffracted, polycentric land- and cityscapes of contemporary fictions are showcased and celebrated, and the binaries of centre/periphery, metropole/ex-colony, French/Francophone undermined. Indeed, this commitment to decentring is palpable even in the volume's internal architecture. The collection opens with Edwige Tamalet Talbayev's 'Mediterranean Francophone Writing', a bracing incipit which identifies the Mediterranean as a decentring paradigm enabling us to understand 'new forms of social and cultural transactions which bypass the usual pattern of dominance between France and its ex-colonies' (p. 17). This post-postcolonial conviction complements Charles Forsdick's interrogation of the shifting borders between French, Francophone, and world literature. Forsdick traces, in the interval between three manifestos, Pour une littérature voyageuse (1992), Pour une littérature-monde (2007), and 'Nous sommes plus grands que nous' (2017), the increasing prominence of the transnational and the translingual writer. Simon Kemp's After the Experiment', on the much-vaunted return to the story/subject/world in French fiction after 1980, argues that experimentation and play remain nonetheless crucial in terms of narration and genre. Russell Williams analyses the anxious, occasionally exuberant embrace of American culture (crime fiction, cinema, music) by a wide range of novelists, while Laurence Grove's essay charts a series of revolutions catalysed by the graphic novel. Helena Duffy examines works by 'Russophile' authors Andreï Makine and Antoine Volodine, showing how uncomfortable political realities (notably of the Putin era) are sidestepped in their fiction in favour of the nostalgic tropes of the classic nineteenth-century Russian [End Page 625] novel. Taking as her springboard the 'orientation' process enshrined in French post-16 education, Anna-Louise Milne brings a welcome consideration of class and cultural capital in astute close readings of Ernaux, Kaplan, and Guène. In 'Fictions of Self' Shirley Jordan zeroes in on Jacques Roubaud and Marie Ndiaye, whose 'restless experimentation' (p. 166) exploits the elasticity of truth and fiction in life-writing. Jordan concludes that, while the truth/fiction binary so prevalent in 1990s scholarship 'has lost some of its critical purchase' (p. 165), the particular appeal of self-fictionalization in women's writing is often rooted in trauma. Max Silverman also consi
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907876
Reviewed by: Nabokov Noir: Cinematic Culture and the Art of Exile by Luke Parker Roman Utkin Nabokov Noir: Cinematic Culture and the Art of Exile. By Luke Parker. Ithaca, NY: Cornell University Press. 2022. xiii+ 272 pp. $47.95. ISBN 978–1-50176652–7. Luke Parker masterfully blends literary criticism and history of film in his book on Vladimir Nabokov's wide-ranging engagement with cinema. Nabokov Noir shows how the experience of filmgoing, participating in film production, and contending with the narrative possibilities of film converge into a pivotal force in Nabokov's famously transnational career. Although Nabokov is the book's central figure, Parker situates his inter-war œuvre and his tactics of self-promotion in the broad discursive environment of 'cinematic culture' and 'the art of exile', reminding the reader that 'Nabokov's coming-of-age paralleled the linguistic and conceptual working out of cinema' (p. 65). 'Cinematic culture' here stands for a historicized [End Page 643] understanding of a cultural environment profoundly influenced by the burgeoning film industry. Parker frames film as 'the art of exile' because it 'supplied the means not only of thinking through and representing exile but of surviving it' (p. 185). A statement Parker makes about the role of film in The Luzhin Defense can be applied to Parker's own project: whereas in the novel 'Nabokov brings into focus questions of celebrity, international markets, the role of the print media, the power of spectacle, and the variety of occupations open to Russian émigrés' (p. 93), Parker methodically elucidates all those aspects in Nabokov Noir. Accordingly, Parker discusses film's impact on literary poetics not in isolation but with equal attention to the pragmatic considerations of a given novel's adaptability for the screen. Supported by impressive archival research, Parker traces Nabokov's 'strategic involvement with the promotional apparatus of the international movie industry', aiming to 'reconstruct a practical answer to the paradox of exile' (p. 119). It is Parker's focus on exile and his use of archival materials that make the book such a qualitative leap forward from the earlier generation of scholars who have written on Nabokov and film. Parker is less interested in the formal aspects of film influences and the impact of cinematic devices on fiction and essays. He tells instead the story of Nabokov's career trajectory from Berlin to New York, via Paris and London, as a journey thoroughly conditioned by film as artistic medium and a form of popular entertainment. Consisting of four chapters, an Introduction, a Coda, and an Appendix, Nabokov Noir is as much about Russian émigré culture as it is about Nabokov. The first two chapters reveal both familiar and forgotten émigrés, such as Georgy Gessen, Pavel Muratov, Andrei Levinson, Vladislav Khodasevich, and Evgeny Znosko-Borovsky, as astute film critics grappling with the significance of cinema for the émigré cultural identi
书评:《黑色纳博科夫:电影文化与流亡艺术》作者:卢克·帕克·罗曼·乌特金卢克·帕克著。伊萨卡，纽约州:康奈尔大学出版社，2022。13 + 272页，47.95美元。ISBN 978-1-50176652-7。卢克·帕克在他关于弗拉基米尔·纳博科夫与电影的广泛接触的书中巧妙地将文学批评和电影史结合在一起。《黑色纳博科夫》展示了看电影、参与电影制作以及与电影叙事可能性抗争的经历如何汇聚成纳博科夫著名的跨国职业生涯中的一股关键力量。虽然纳博科夫是本书的中心人物，但帕克将他的战争期间œuvre和他的自我推销策略置于“电影文化”和“流亡艺术”的广泛话语环境中，提醒读者“纳博科夫的成长与电影的语言和概念工作并行”(第65页)。“电影文化”在这里代表着对受蓬勃发展的电影工业深刻影响的文化环境的一种历史化的理解。帕克将电影定义为“流亡的艺术”，因为它“不仅提供了思考和表现流亡的手段，而且提供了生存的手段”(第185页)。帕克在《卢津的防御》中关于电影角色的陈述可以应用到帕克自己的项目中:而在小说“纳博科夫将名人、国际市场、印刷媒体的角色、景观的力量以及向俄罗斯的的人开放的各种职业”(第93页)中，帕克在《黑色纳博科夫》中有条不紊地阐明了所有这些方面。因此，帕克不是孤立地讨论电影对文学诗学的影响，而是同样关注特定小说对屏幕适应性的实用主义考虑。在令人印象深刻的档案研究的支持下，帕克追溯了纳博科夫“与国际电影工业推广机构的战略参与”，旨在“重建流亡悖论的实际答案”(第119页)。正是帕克对流放地的关注和对档案材料的使用，使得这本书与上一代研究纳博科夫和电影的学者相比有了质的飞跃。帕克对电影影响的形式方面以及电影装置对小说和散文的影响不太感兴趣。相反，他讲述了纳博科夫从柏林到纽约，途经巴黎和伦敦的职业生涯轨迹，作为一段完全被电影作为艺术媒介和大众娱乐形式所制约的旅程。《黑色纳博科夫》由引言、结语和附录四章组成，既是关于纳博科夫的，也是关于俄罗斯的移民文化的。书的前两章揭示了人们熟悉的和被遗忘的一些人，如格奥尔基·格森、帕维尔·穆拉托夫、安德烈·列文森、弗拉季斯拉夫·霍达塞维奇和叶夫根尼·兹诺斯科-博罗夫斯基，他们是敏锐的影评人，努力探讨电影对人类文化认同的重要性。帕克阐明了纳博科夫和他的同伴们是如何试图回答与法国人、德国人，以及在某种程度上苏联文化制作人一样的关于电影的基本问题的:“电影是艺术还是娱乐，是文化适应的力量还是消散的力量，是文学的天然盟友还是寄生虫，是深刻的民族主义还是固有的世界主义”(第71页)。书中讨论的主要纳博科夫文本是诗歌《Kinematograf》(1927)、短篇小说《The Assistant Producer》(1943)、小说《Mashen’ka》(1926)、《Zashchita Luzhina》(1930)，以及最重要的《camera obskura》(1934)。我在这里引用这些标题的原文，主要是因为，正如帕克所说，在翻译过程中发生的转换往往相当于重写，因此有必要参考正在分析的版本。这一翻译过程在书的最后两章中得到了深刻的体现，这两章分别将《Camera obskura》翻译为《Chambre obscure》(法语翻译杜西娅·埃加兹，1934年)、《Camera Obscura》(英国翻译维尼弗雷德·罗伊，1936年)和《laugh in the Dark》(纳博科夫自己在美国出版的英文版，1938年)。通过分析这部小说在不同语言和国家的重复，帕克重建了纳博科夫从欧洲到美国的路线。在这个过程中，我们学会了如何……
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907874
Reviewed by: Chekhov's Children: Context and Text in Late Imperial Russia by Nadya L. Peterson Melissa L. Miller Chekhov's Children: Context and Text in Late Imperial Russia. By Nadya L. Peterson. Montreal and Kingston: McGill-Queen's University Press. 2021. xiii+ 402 pp. can $75. ISBN 978–0–228–00625–1. Nadya L. Peterson's book is a unique and welcome addition to Chekhov scholarship. Firmly anchored in theories of child-rearing and pedagogy which emerged during the nineteenth century, Peterson's study provides the first full-length analysis of Chekhov's child characters. In so doing, she also exposes the nuanced role human development plays in Chekhov's art as a whole. Part i, 'The Child in Chekhov's Time', richly describes the three most important critical lenses through which children were understood in the second half of the nineteenth century, while Part ii, 'The Child in Chekhov', uses these lenses to examine children and their emerging personhood within Chekhov's creative work. The three chapters that comprise Part i, 'The Child Imagined: The Literary Canon', 'The Humanization Project: Pro/Contra', and 'The Child Examined: Pedagogical Psychology', successively offer literary, pedagogical, and psychological approaches to childhood. In many ways, the background presented in Part i exceeds the boundaries of Chekhov studies: it introduces readers not only to the literary models of childhood that [End Page 640] inspired Chekhov, such as memoirs and fiction by Leo Tolstoy, Sergei Aksakov, and I. A. Goncharov, but also to the research of many Russian pedagogues, child development specialists, and psychologists unfamiliar to most Anglophone readers. Alongside the work of more familiar figures, such as Vissarion Belinsky and N. I. Pirogov, Peterson also investigates scholarly contributions from such thinkers as K. D. Ushinsky, N. Kh. Vessel', I. A. Sikorsky, P. F. Kapterev, and perhaps most notably, two ground-breaking women in the field of Russian child studies, Maria Manasseina and E. N. Vodovozova. Part ii contains five chapters charting the evolution of Chekhov's child characters from his emergence as a writer for the penny press through the development of his more mature work. A particular strength of this section is Peterson's robust framework for understanding the ways in which Chekhov's stories for the small press responded to typical genre expectations for pieces that appeared in such publications. Insightful close readings of less commonly studied stories such as 'Naden'ka N.'s Summer Holiday Schoolwork', 'The Big Event', and Chekhov's handwritten and hand-illustrated tale for the children of his friends, entitled 'Soft-Boiled Boots' ('Sapogi vsmiatky', an idiomatic phrase meaning 'nonsense') appear in dialogue with interpretations of more prominent Chekhov stories featuring young protagonists, such as 'Van'ka' and 'Sleepy'. As Chapter 7, 'Farewell to Childhood: The Steppe', eloquently argues, Chekhov's novella about the nine-year-old Ego
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907838
Reviewed by: Literary Beginnings in the European Middle Ages ed. by Mark Chinca and Christopher Young Wendy Scase Literary Beginnings in the European Middle Ages. Ed. by Mark Chinca and Christopher Young. (Cambridge Studies in Medieval Literature) Cambridge: Cambridge University Press. 2022. xii+ 339 pp. £75. ISBN 978–1–108–47764–2. The contributors to Literary Beginnings in the European Middle Ages were asked to address the question 'When and how did literature begin in your vernacular?' (p. xi). The essays, covering literatures from Arabic to Welsh, address this brief in different ways. Some speculate on the social, linguistic, and material conditions that shape literary emergence. Stephen G. Nichols's Foreword sets the scene with a case study of the famously multilingual Strasbourg Oaths (ce 842), in which multilingualism, Nichols suggests, marks 'sociocultural hierarchies, a phenomenon that becomes ever more pronounced with the subsequent advent of court culture' (p. 3). Laura Ashe argues that the emergence of Old English literature was 'reliant on the highest levels of society for both audience and patronage' (p. 77), whereas Middle English appeared 'in a strange combination of ephemerality, necessity, and ambition' (p. 84). Fritz van Oostrom tells the story of early Dutch literature in terms of language contact—which he suggests 'may well be a fundamental condition for any literary beginning' (p. 137). Denis Hult reflects on the conditions that led to the establishment of a French literary tradition in England 'at least a generation' before the foundation of one on the Continent (p. 118). Roberta Frank's lively essay on Scandinavia describes beginnings as a hybrid of European models of textuality and local traditions. Other contributors focus on terms and categories. For Mark Chinca and Christopher Young the beginnings of German literature depend on what one means by 'literature'. For Sarah Kay, 'beginnings' are recognizable only in hindsight, and are different from 'openings' that have many possible futures—or none. Occitan literature begins 'only after several centuries of openings' (p. 165). Marina S. Brownlee asks what counts as 'Spain' when cultural and political boundaries are shifting and porous. Certain chapters are concerned with the history of literatures for which there is no or little contemporaneous evidence. Barry Lewis's chapter on Irish and Welsh reconstructs the earliest literary activity in Irish using later evidence and cautious inference, but 'the evidence is too fragmentary' (p. 64) for this method to work for Welsh. K. P. Clarke treats fragments of early Italian vernacular poetry as evidence for literary beginnings, contrasting these serendipitous survivals (e.g. a fragment used as a book cover) with three songbooks from c. 1300 that mark the end of the beginning. Simon Franklin outlines the problematic evidence for a tradition of East Slavonic court literature. The Tale of Igor's Campaign 'laments the passing of a gol
书评:《欧洲中世纪文学的开端》，作者:马克·钦卡和克里斯托弗·杨，温迪·斯凯斯。马克·钦卡和克里斯托弗·杨主编。(剑桥中世纪文学研究)剑桥:剑桥大学出版社，2022。12 + 339页，售价75英镑。ISBN 978-1-108-47764-2。《欧洲中世纪文学的开端》一书的撰稿人被要求回答这样一个问题:“你的母语文学是何时以及如何开始的?”(第11页)。这些论文涵盖了从阿拉伯语到威尔士语的文献，以不同的方式论述了这一要点。一些人推测形成文学的社会、语言和物质条件。斯蒂芬·g·尼科尔斯(Stephen G. Nichols)的前言以著名的多语言斯特拉斯堡宣誓(公元842年)的案例研究为背景，尼科尔斯认为，多语言标志着“社会文化等级，随着宫廷文化的出现，这种现象变得越来越明显”(第3页)。劳拉·阿什(Laura Ashe)认为，古英语文学的出现“依赖于社会最高阶层的观众和赞助”(第77页)。而中古英语则“以一种短暂性、必要性和野心的奇怪组合”出现(第84页)。Fritz van Oostrom从语言接触的角度讲述了早期荷兰文学的故事，他认为“这可能是任何文学开端的基本条件”(第137页)。丹尼斯·霍特(Denis Hult)反思了导致法国文学传统在英国“至少一代人”之前在欧洲大陆建立起来的条件(第118页)。罗伯塔·弗兰克(Roberta Frank)关于斯堪的纳维亚半岛的生动文章将其描述为欧洲文本模式和当地传统的混合体。其他贡献者则关注术语和类别。对于马克·钦卡和克里斯托弗·杨来说，德国文学的起源取决于人们对“文学”的定义。对莎拉·凯来说，“开始”是事后才知道的，与“开始”不同，“开始”有很多可能的未来，或者没有未来。欧西坦文学“只是在几个世纪的开放之后才开始”(第165页)。玛丽娜·s·布朗利(Marina S. Brownlee)问，当文化和政治界限不断变化、漏洞百出时，什么才算“西班牙”。某些章节关注的是没有或很少有同时代证据的文学史。巴里·刘易斯关于爱尔兰和威尔士的章节使用后来的证据和谨慎的推断重建了爱尔兰最早的文学活动，但是“证据太零碎了”(第64页)，这种方法不适用于威尔士。K. P. Clarke将早期意大利白话诗歌的碎片作为文学起源的证据，将这些偶然的幸存(例如用作书籍封面的碎片)与大约1300年的三本歌曲集进行对比，这些歌曲集标志着开始的结束。西蒙·富兰克林概述了东斯拉夫宫廷文学传统的可疑证据。《伊戈尔战役的故事》“哀叹罗斯统一力量的黄金时代的逝去”(第290页)，但手稿(显然)在18世纪90年代被发现，并于1812年在莫斯科被烧毁。它可能是伪造的。也许最激动人心的章节要求把文学的起源(End Page 580)理解为“一个更广泛的相互联系的中世纪欧洲文学系统的一个动态部分”(第267页)，正如Panagiotis a . Agapitos在他对中世纪希腊文学研究中的白话和学术类别的批评中所说的那样。Julia Verkholantsev在关于捷克语和克罗地亚语的精彩章节中使用了Iurii Lotman的文学模型作为一个动态的符号学系统，提出它提供了一种超越围绕民族(方言)语言文学原则组织的历史的方法。然而，这种系统化的方法并非没有问题，正如大卫·华莱士在《后记》中提醒我们的那样:寻求一种文学系统可能导致一种“全盘叙事”(第302页)，这种叙事将文化中心和外围常态化。人们希望未来的一些著作能够在适当考虑华莱士的警告的同时，找到遵循Verkholantsev和Agapitos所模拟的议程的方法。尽管《欧洲中世纪的文学起源》旨在打破我们对民族语言的统一概念(第18页)和文学直到今天都有不间断的历史的想法(第19页)，但这本书是围绕现代民族语言组织的……
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Pub Date : 2023-10-01DOI: 10.1353/mlr.2023.a907871
Reviewed by: Poetry and the Question of Modernity: From Heidegger to the Present by Ian Cooper Rüdiger Cörner Poetry and the Question of Modernity: From Heidegger to the Present. By Ian Cooper. Abingdon and New York: Routledge. 2020. 235 pp. £104. ISBN 978–0–367–89427–6. In poetry of all times, and in literary modernism in particular, language and the word as such find themselves exposed in their essence. Therefore, poetry remains [End Page 633] an indispensable indicator of how language is rated both in aesthetic and in social terms. With Ian Cooper's latest monograph, Poetry and the Question of Modernity, which is nothing short of a landmark achievement in contemporary poetology, we can trace the roots of this perception of poetry, namely in what I would call Heidegger's existential verbalism. In it, and through it, the word attained a particular defining status of what Being constitutes in poetical contexts. The (modern) poet regards Being always as an act of Saying, while the philosopher considers verbal emanations of Being as surrogates of pure' existence. Perhaps this is one of the reasons why modern philosophers are, by and large, poor poets, Heidegger very much included, and why poets are often more than respectable thinkers. Cooper's investigation into the nature of poetic Being as part of Heidegger's philosophical presence in Paul Celan and, more surprisingly, Seamus Heaney, Les Murray, as well as David Jones, complements his first monograph, The Near and Distant God: Poetry, Idealism and Religious Thought from Hölderlin to Eliot (London: Routledge, 2008). This is mainly evident in the last chapter of his new study, which is devoted to 'Poetry, Religion, and the Overcoming of Enlightenment', where he can also draw on his expertise as co-editor of the Cambridge University Press series 'The Impact of Idealism: The Legacy of Post-Kantian German Thought' (2013). But Cooper is right not to employ the overused concept of 'reception' in this context, for he is primarily interested in the workings of Heideggerian thought in contemporary poetry. Arguably, Cooper might have used the word 'analogy' more often when discussing Heideggerian traces, particularly in the works of Heaney and David Jones given their usage of language, which can be regarded, in places, as analogous to Heidegger's conception of language and Being. This is particularly important given the absence of an actual engagement of these poets with Heidegger's texts. Admittedly, there were poets who even wrote on Heidegger but did not allow his approach to thought to impregnate their poetry. The most famous case in mind is Ingeborg Bachmann, who is curiously absent in Cooper's study. It would have been of genuine interest, given his supreme insight into the 'mechanisms' of Heidegger's poetology of thought, most prominently expressed in his reflections on Hölderlin, to compare, say, Celan's various takes on Heidegger with Bachmann's strikingly formalistic approach to his conception of
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