Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909468
Reviewed by: Architecture and Urbanism in Viceregal Mexico: Puebla de los Ángeles, Sixteenth to Eighteenth Centuries by Juan Luis Burke Luis J. Gordo Peláez Juan Luis Burke, Architecture and Urbanism in Viceregal Mexico: Puebla de los Ángeles, Sixteenth to Eighteenth Centuries ( New York: Routledge, 2021). Pp. 232; 50 b/w illus. $170.00 cloth, $48.95 paper. The opening salvo of this study dismantles the myth that traditionally fashioned the Mexican city of Puebla as the quintessential Spanish colonial settlement devoid of Indigenous contribution to its urban design and built form. Architectural historian Juan Luis Burke argues that the Indigenous legacy and presence were deeply ingrained in early modern Puebla from the very conceptualization of the city. Through five chapters, the architectural history of New Spain's second largest city after the viceregal capital is scrutinized in a chronological sequence, [End Page 141] from its founding in 1531 to the baroque transformation of its built environment in the 1700s. The book starts with Puebla's founding and settlement, intended as a Spanish agrarian community embedded in a densely populated Indigenous land. As with other Spanish colonial urban experiments, Puebla emerged as an enterprise in which the state and the church joined forces. The negotiated nature of its early history is stressed in regard to its strategic location, its multiethnic population, and the roots and development of its urban form. By revisiting primary city accounts and historiography on early colonial Mexico and urban design, Puebla's incipient grid model is reassessed in light of the region's Indigenous presence and the pre-Hispanic planning and building traditions. Burke reevaluates the case of pre-Hispanic Cholula, one of the leading Indigenous centers in the area prior to the Spanish colonization, where urban form (along with enduring cultural practices) might have exerted some influence in the design and physical structure of colonial Puebla. A review of the history of royal instructions, urban ideals, and experiences also draws attention to the Franciscan missionaries, who were receptive to medieval theories on urban planning and instrumental in the city's identification with the heavenly Jerusalem, a move that resonated with similar evocations in other colonial cities. In Puebla, this was reinforced by an architectural Via Crucis that reimagined the Mexican city as Jerusalem. The dozen preserved chapel stations and their topographical reenactment comprise a fairly unknown and almost complete architectural ensemble that is here brought to light. Next, Burke traces the reception of Renaissance urban theory and classicizing forms in late sixteenth-century Puebla by delving into the vibrant and sprawling city's built environment, the patrons and architects involved in its shaping, and the images and books that circulated in this Novohispanic region. A "distinctive regional architectural tradition" is argued for Puebla, on
由:建筑和城市主义在墨西哥总督:普埃布拉德洛斯Ángeles, 16至18世纪由胡安·路易斯·伯克路易斯·j·戈多Peláez胡安·路易斯·伯克，建筑和城市主义在墨西哥总督:普埃布拉德洛斯Ángeles, 16至18世纪(纽约:Routledge, 2021年)。页。232;50桶/水。布170.00美元，纸48.95美元。本研究的开篇就打破了传统上将墨西哥普埃布拉市塑造成典型的西班牙殖民定居点的神话，这种神话缺乏土著对其城市设计和建筑形式的贡献。建筑历史学家Juan Luis Burke认为，从城市的概念化开始，土著遗产和存在就深深植根于普埃布拉的早期现代。通过五个章节，新西班牙仅次于总督首都的第二大城市的建筑史按时间顺序进行了仔细审查，从1531年的建立到18世纪建筑环境的巴洛克式转变。这本书从普埃布拉的建立和定居开始，作为一个西班牙农业社区嵌入人口稠密的土著土地。与其他西班牙殖民地的城市实验一样，普埃布拉成为一个国家和教会联合起来的企业。在其战略位置、多民族人口以及城市形式的根源和发展方面，强调了其早期历史的谈判性质。通过回顾早期殖民时期墨西哥和城市设计的主要城市记录和史学，根据该地区的土著居民和前西班牙人的规划和建筑传统，重新评估了普埃布拉的早期网格模型。在西班牙殖民之前，乔卢拉是该地区主要的土著中心之一，在那里，城市形式(以及持久的文化习俗)可能对殖民地普埃布拉的设计和物理结构产生了一些影响。回顾皇家指示、城市理想和经验的历史，也会注意到方济各会传教士，他们接受中世纪的城市规划理论，并在城市与天堂耶路撒冷的认同中发挥了重要作用，这一举动与其他殖民城市产生了类似的共鸣。在普埃布拉(Puebla)，建筑上的十字大道(Via Crucis)强化了这一点，将墨西哥城市重新想象为耶路撒冷。十几个保存完好的教堂站和它们的地形再现构成了一个相当不为人知的几乎完整的建筑整体，在这里被曝光。接下来，伯克追溯了16世纪晚期普埃布拉对文艺复兴时期城市理论和经典形式的接受，通过深入研究充满活力和扩张的城市建筑环境，参与其塑造的赞助人和建筑师，以及在这个新西班牙地区传播的图像和书籍。一个“独特的区域建筑传统”被认为是普埃布拉，一个使过时的欧洲中心阅读文艺复兴时期的建筑在伊比利亚-美洲世界(82)。相反，早期殖民时期的艺术形式和文化实践植根于跨大西洋的交流和变革背景，这在其建筑史上仍未得到充分研究。在普埃布拉(Puebla)，当地的工艺和劳动力在殖民城市的建设中被证明是必不可少的，在那里，当地的建筑商和泥瓦匠享有与墨西哥城截然不同的建筑专业的特权。波布拉诺对古典美学的热情在其他视觉、纪录片和建筑形式中得到了探索。特别令人感兴趣的是安达卢西亚人路易斯·拉加托(Luis Lagarto)的例子，他的圣经微缩画表明他对意大利语词汇的流利，以及对一种语言的接受能力，这种语言后来象征着西班牙君主制及其总督机构的帝国议程。耶稣会学院和palafxiana图书馆的藏书进一步丰富了讨论。伯克感兴趣的是维特鲁威建筑专著的两个16世纪版本中的注释，这些注释是由有建筑经验和熟悉古典建筑秩序的知情人士留下的。这些手写的证据表明，未知的读者对城市的紧急事项(首席建筑师)很感兴趣，比如水技术和基础设施。尽管它今天的状态残破不堪，Casa del Deán，大教堂分会负责人的住所，也是古典词汇扎根的一个显著例子。这所房子的设计师身份仍然不明。
{"title":"Architecture and Urbanism in Viceregal Mexico: Puebla de los Ángeles, Sixteenth to Eighteenth Centuries by Juan Luis Burke (review)","authors":"","doi":"10.1353/ecs.2023.a909468","DOIUrl":"https://doi.org/10.1353/ecs.2023.a909468","url":null,"abstract":"Reviewed by: Architecture and Urbanism in Viceregal Mexico: Puebla de los Ángeles, Sixteenth to Eighteenth Centuries by Juan Luis Burke Luis J. Gordo Peláez Juan Luis Burke, Architecture and Urbanism in Viceregal Mexico: Puebla de los Ángeles, Sixteenth to Eighteenth Centuries ( New York: Routledge, 2021). Pp. 232; 50 b/w illus. $170.00 cloth, $48.95 paper. The opening salvo of this study dismantles the myth that traditionally fashioned the Mexican city of Puebla as the quintessential Spanish colonial settlement devoid of Indigenous contribution to its urban design and built form. Architectural historian Juan Luis Burke argues that the Indigenous legacy and presence were deeply ingrained in early modern Puebla from the very conceptualization of the city. Through five chapters, the architectural history of New Spain's second largest city after the viceregal capital is scrutinized in a chronological sequence, [End Page 141] from its founding in 1531 to the baroque transformation of its built environment in the 1700s. The book starts with Puebla's founding and settlement, intended as a Spanish agrarian community embedded in a densely populated Indigenous land. As with other Spanish colonial urban experiments, Puebla emerged as an enterprise in which the state and the church joined forces. The negotiated nature of its early history is stressed in regard to its strategic location, its multiethnic population, and the roots and development of its urban form. By revisiting primary city accounts and historiography on early colonial Mexico and urban design, Puebla's incipient grid model is reassessed in light of the region's Indigenous presence and the pre-Hispanic planning and building traditions. Burke reevaluates the case of pre-Hispanic Cholula, one of the leading Indigenous centers in the area prior to the Spanish colonization, where urban form (along with enduring cultural practices) might have exerted some influence in the design and physical structure of colonial Puebla. A review of the history of royal instructions, urban ideals, and experiences also draws attention to the Franciscan missionaries, who were receptive to medieval theories on urban planning and instrumental in the city's identification with the heavenly Jerusalem, a move that resonated with similar evocations in other colonial cities. In Puebla, this was reinforced by an architectural Via Crucis that reimagined the Mexican city as Jerusalem. The dozen preserved chapel stations and their topographical reenactment comprise a fairly unknown and almost complete architectural ensemble that is here brought to light. Next, Burke traces the reception of Renaissance urban theory and classicizing forms in late sixteenth-century Puebla by delving into the vibrant and sprawling city's built environment, the patrons and architects involved in its shaping, and the images and books that circulated in this Novohispanic region. A \"distinctive regional architectural tradition\" is argued for Puebla, on","PeriodicalId":45802,"journal":{"name":"EIGHTEENTH-CENTURY STUDIES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135690183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909448
Kathleen Wilson
Cities of the Dead as Global History Kathleen Wilson (bio) Joseph Roach's famously generative study, Cities of the Dead: Circum-Atlantic Performance (1996), founded a new paradigm for performance, cultural, and historical studies, one that remains extravagantly transgressive of national, imperial, and hemispheric boundaries and yet astonishingly effective in materializing quotidian and unexpected demographic and cultural flows. (Calling this work "interdisciplinary" is quaint, as Eric Lott notes on the dustjacket.)1 That paradigm is circum-Atlantic performance, a tag that beckons to both its trans-hemispheric reach and mobility, triangulating between four continents (Europe, Africa, and the Americas), and to the many beings, practices, and lifeways, human and nonhuman, that constituted its hydrographical conditions of possibility. Performance in Roach's hands becomes a way of interrogating, and learning from, the messiness of cultural confrontations to see how popular and elite practices took shape in relation to each other, "repetitions with a difference" that consolidated settlements on other peoples' lands and created new kinds of societies in turn.2 From Thomas Betterton's funeral to King Zulu's Mardi Gras processions, song, speech, dance, and other bodily arts become through Roach's intercultural analysis a new kind of archive, marked by modes of kinesthetic communication and exchange whereby, to quote Victor Turner, "the ethnographies, literatures, ritual and theatrical traditions of the world" serve as the basis for "a new transcultural communicative synthesis through performance," a kind of global history of meaning-making.3 For this cultural and ethnohistorian of eighteenth-century Britain and the empire, Roach's study was quite simply the most important to appear on performance in the twentieth century, and since. Bringing together older anthropological and post-structural models with newer performance studies approaches, it helped reshape the interpretive terrain to which cultural and ethnohistorians of empire must attend. This terrain now includes the multiplicities of performances that clashed on the littorals of contested domains and that sometimes even vanquished brutality to modelnew ways of being and knowing.4 [End Page 5] The circum-Atlantic conjured by Cities of the Dead revealed an oceanic interculture marked by webs of slavery, forced labor, domination, and subordination that unfolded on four continents thanks to a single ocean and singular human trade, creating a new kind of geopolitical entity that reshaped ideas about transnational and transhemispheric history. The persistence of multiplicity in its intercultural spaces unmoored queries about origin from those merely of the nation-state and its supposedly indomitable will, and directed them instead to the stories of the struggles and triumphs of peoples who survived the murderous circuits of mercantile capitalism—and those who did not. Performance provides a unique perspec
{"title":"Cities of the Dead as Global History","authors":"Kathleen Wilson","doi":"10.1353/ecs.2023.a909448","DOIUrl":"https://doi.org/10.1353/ecs.2023.a909448","url":null,"abstract":"Cities of the Dead as Global History Kathleen Wilson (bio) Joseph Roach's famously generative study, Cities of the Dead: Circum-Atlantic Performance (1996), founded a new paradigm for performance, cultural, and historical studies, one that remains extravagantly transgressive of national, imperial, and hemispheric boundaries and yet astonishingly effective in materializing quotidian and unexpected demographic and cultural flows. (Calling this work \"interdisciplinary\" is quaint, as Eric Lott notes on the dustjacket.)1 That paradigm is circum-Atlantic performance, a tag that beckons to both its trans-hemispheric reach and mobility, triangulating between four continents (Europe, Africa, and the Americas), and to the many beings, practices, and lifeways, human and nonhuman, that constituted its hydrographical conditions of possibility. Performance in Roach's hands becomes a way of interrogating, and learning from, the messiness of cultural confrontations to see how popular and elite practices took shape in relation to each other, \"repetitions with a difference\" that consolidated settlements on other peoples' lands and created new kinds of societies in turn.2 From Thomas Betterton's funeral to King Zulu's Mardi Gras processions, song, speech, dance, and other bodily arts become through Roach's intercultural analysis a new kind of archive, marked by modes of kinesthetic communication and exchange whereby, to quote Victor Turner, \"the ethnographies, literatures, ritual and theatrical traditions of the world\" serve as the basis for \"a new transcultural communicative synthesis through performance,\" a kind of global history of meaning-making.3 For this cultural and ethnohistorian of eighteenth-century Britain and the empire, Roach's study was quite simply the most important to appear on performance in the twentieth century, and since. Bringing together older anthropological and post-structural models with newer performance studies approaches, it helped reshape the interpretive terrain to which cultural and ethnohistorians of empire must attend. This terrain now includes the multiplicities of performances that clashed on the littorals of contested domains and that sometimes even vanquished brutality to modelnew ways of being and knowing.4 [End Page 5] The circum-Atlantic conjured by Cities of the Dead revealed an oceanic interculture marked by webs of slavery, forced labor, domination, and subordination that unfolded on four continents thanks to a single ocean and singular human trade, creating a new kind of geopolitical entity that reshaped ideas about transnational and transhemispheric history. The persistence of multiplicity in its intercultural spaces unmoored queries about origin from those merely of the nation-state and its supposedly indomitable will, and directed them instead to the stories of the struggles and triumphs of peoples who survived the murderous circuits of mercantile capitalism—and those who did not. Performance provides a unique perspec","PeriodicalId":45802,"journal":{"name":"EIGHTEENTH-CENTURY STUDIES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135691643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909455
Jennifer Buckley
Abstract: This article argues that Daniel Defoe's tendency to write as a form of narrative cartographer predates his novels of the 1720s and owes much to his periodical writing in the early 1700s. Defoe's Review (1704–13) is an unusually peripatetic periodical, written while its author was travelling widely on the business of Robert Harley. Focusing on the periodical's early years (1704–5), this article explores how The Review acts as a repository for geospatial information. It uses correspondence and advertisements to consider how the periodical details the logistics of its publication and distribution, and how that distribution responds to changes in national infrastructure and politics.
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909464
Reviewed by: The Haydn Economy: Music, Aesthetics, and Commerce in the Late Eighteenth Century by Nicholas Mathew Caryl Clark Nicholas Mathew, The Haydn Economy: Music, Aesthetics, and Commerce in the Late Eighteenth Century ( Chicago: Univ. of Chicago Press, 2022). Pp. 243; 49 b/w illus. $45.00 cloth. Focusing on the mobility of Haydn's music within an emerging European economy, Nicholas Mathew's pathbreaking study traces the many ways aesthetics and economics developed in tandem during the second half of the eighteenth century. Unpacked in minute detail is Haydn's deep connectivity to commerce throughout his long and prolific career, enabling Mathew to move the discipline far beyond genre-based studies or traditional understandings of the composer's dealings with the marketplace. Organized into four main chapters—Commerce, Interest, Objects, and Work—the book traces Haydn's chronological trajectory from the feudal Esterházy court environments of Eisenstadt, Eszterháza, and Vienna in the 1780s; to London, the center of European capitalism in the 1790s; and back to Vienna again. The book concludes with a short Epilogue—Value—that places Haydn's last public appearance at a gala performance of The Creation in March 1808 within a broader sphere of interpersonal, media, and institutional exchange. The new economic history lens Mathew employs here foregrounds developments in economics, print media, material culture, and the dynamic world of commercial exchange—one of perpetual motion of people, goods, and liquidity. For a book about the growing interdependence of capitalism and the arts, it's curious that the main source of Britain's economic wealth arising from the transatlantic slave trade is touched on only tangentially. It seems that, for Mathew, Adam Smith's arguments in The Wealth of Nations (1776) about the inefficiency of "the invisible hand" (slave labor) had yet to infiltrate economic consciousness. In a dense introduction, Mathew outlines the methodological approaches of new materialisms underpinning the warehouse of information on offer here. Where past studies have explored "when, where and how music was commodified and consumed, or became intellectual property," he emphasizes "the material forms and protocols that made these things possible" (10). These include the rise of print culture and the public concert, with its attendant ticket sales, advertising, and merchandising, and "the many forms of mediation" they encompass: "infrastructures, such as concert rooms, booksellers' warehouses, and piano builders' workshops; rules, such as ticketing and music copyright; formats, such as the piano reduction [End Page 132] or the music magazine; and music-related genres, such as the concert review or the celebrity portrait" (10). As he observes, "Haydn designed music with an awareness of the things that mediated it," helping to create a media culture that was "more than the sum of its constituent technologies and techniques" (11). Along the way,
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909466
Reviewed by: Gamboa's World: Justice, Silver Mining, and Imperial Reform in New Spain by Christopher Albi Karen Stolley Christopher Albi, Gamboa's World: Justice, Silver Mining, and Imperial Reform in New Spain ( Albuquerque: Univ. of New Mexico Press, 2021). Pp. 256; 12 halftones, 1 map. $95.00 cloth, $29.95 paper. In this lively and informative book, Christopher Albi charts the life and career trajectory of the jurist Francisco Xavier de Gamboa (1717–1794), exploring the intersection of the law, the political economy of eighteenth-century New Spain (now Mexico), and Spanish Bourbon reformism. Albi situates his study of Gamboa—seven chapters, organized chronologically and each dedicated to a different phase of Gamboa's career—within the context of a resurgence of interest in colonial legal studies (for example, Bianca Premo's The Enlightenment on Trial [2017]). The cover blurb by Matthew Restall notes that Gamboa was "neither famous nor a nobody." Albi emphasizes that like his subject, he too will stake out a kind of middle ground, without arguing, on the one hand, that Spanish colonial law in the Americas was mere window dressing for imperial power nor, on the other hand, that it was overly and overtly oppressive. Rather, Albi wants to show that judicial administrators like Gamboa functioned in a spirit of pragmatic flexibility and attention to local custom that often put them at odds with enlightened Bourbon reforms that aimed to centralize Spain's administration of its overseas territories for economic and military gains. In the opening chapters, Albi lays out the attributes of Spanish law as it was understood and practiced in colonial Spanish America—grounded in Roman jurisprudence and deeply religious, drawing both on divine or natural law and Catholic canon law. Jurists in eighteenth-century Mexico would have been familiar with the Corpus Juris Civilis, a compendium of Roman law (also known as the ius commune), as well as the thirteenth-century Siete Partidas. Castilian judicial order was adapted to social and geographical realities in the Americas which mandated attention to local customs and underscored the importance of jurisdiction. Albi quotes Juan Solórzano Pereyra, author of Politica Indiana (1648) and the foremost legal authority at the time, who argued for a casuistic and pluralistic approach and emphasized that it was "better to adjust the law to suit local reality than to try to change reality to suit the law" (9). The genesis of Albi's project is his desire to challenge David Brading's portrait of Gamboa in Miners and Merchants in Bourbon Mexico, 1763–1810 (1971) as an opportunistic and servile representative of Mexico's merchant class. Albi emphasizes that in opposing certain elements of the Bourbon reforms (particularly those led by José de Gálvez, Visitador General 1765–1771 and Ministro de Indias 1776–1787), Gamboa's primary concern was to deliver Solórzano's vision of justice. Indeed, Gálvez functions in Albi's account as
克里斯托弗·阿尔比，《甘博亚的世界:新西班牙的正义、银矿开采和帝国改革》(阿尔伯克基:新墨西哥大学出版社，2021年)。页。256;12个半色调，1张地图。布95美元，纸29.95美元。在这本生动生动、内容丰富的书中，克里斯托弗·阿尔比描绘了法学家弗朗西斯科·哈维尔·德·甘博亚(1717-1794)的生活和职业轨迹，探索了法律、18世纪新西班牙(现墨西哥)的政治经济和西班牙波旁改革主义之间的交集。Albi将他对Gamboa的研究——七章，按时间顺序组织，每个章节致力于Gamboa职业生涯的不同阶段——置于对殖民法律研究兴趣复苏的背景下(例如，Bianca Premo的启蒙审判[2017])。Matthew Restall在封面上写道，Gamboa“既不是名人，也不是无名小卒”。阿尔比强调，就像他的主题一样，他也会提出一种中间立场，一方面，他不认为西班牙在美洲的殖民法只是帝国权力的幌子，另一方面，也不认为它是过度和公然的压迫。相反，阿尔比想要展示的是，像甘博亚这样的司法行政官是以一种务实的灵活精神和对当地习俗的关注来运作的，这往往使他们与开明的波旁改革相悖，波旁改革旨在集中西班牙对海外领土的管理，以获得经济和军事利益。在开篇的章节中，阿尔比列出了西班牙法律的属性，因为它在殖民时期的西班牙美洲被理解和实践——以罗马法律学为基础，具有深刻的宗教色彩，同时借鉴了神法或自然法和天主教教会法。18世纪的墨西哥法学家应该熟悉《民法大全》(Corpus Juris Civilis)，这是一部罗马法纲要(也被称为《公社法》)，以及13世纪的《政党法》(Siete Partidas)。卡斯蒂利亚的司法秩序适应了美洲的社会和地理现实，这就要求注意地方习俗并强调管辖权的重要性。阿尔比引用了胡安Solórzano佩雷拉(Juan Pereyra)的话，他是《印第安纳州政治》(Politica Indiana, 1648)的作者，也是当时最重要的法律权威，他主张一种多此一反和多元主义的方法，并强调“调整法律以适应当地现实比试图改变现实以适应法律更好”(9)。阿尔比的计划的起源是他想挑战大卫·布雷丁在《波旁时代的墨西哥矿工和商人》中对甘博亚的描绘。1763-1810(1971)作为墨西哥商人阶级的机会主义和奴性代表。阿尔比强调，在反对波旁改革的某些因素(特别是由jos·德·Gálvez, 1765-1771年的访问将军和1776-1787年的印度部长领导的改革)时，甘博亚的主要关注点是实现Solórzano的正义愿景。的确，Gálvez在Albi的叙述中充当了Gamboa的陪衬，特别是关于他们对听众的看法，听众是西班牙裔美国司法系统的支柱，其权威Gálvez希望削弱。Gamboa的故事很吸引人，Albi讲得很好。甘博亚的父亲是一位巴斯克裔商人，他的早逝使家庭陷入经济不稳定，并促使他的儿子通过参与银矿开采来追求社会经济稳定。甘博亚在圣伊尔德丰索皇家学院(Real college de San Ildefonso)接受耶稣会士的教育，这是一所历史上久负盛名的大学，为教会和世俗职位的学生做准备。他在墨西哥大学学习法律，然后在墨西哥城从事法律工作。阿尔比详细讨论了甘博亚最著名的案例，并得出结论:“在18世纪晚期，没有其他听审法官像甘博亚一样，在实践和法律上都了解新西班牙”(44)。这些知识使Gamboa认识到需要平衡社区、地方习俗和皇家立法，以确保刑事和民事司法的管理，而听众的自治是核心。1755年，甘博亚被派往马德里，代表巴斯克商人协会，或墨西哥领事馆。阿尔比表现出对巴斯克例外主义的某种敬畏——他们的勤劳、高贵，以及对两种宗教的吸引力……
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909451
Daniel O'Quinn
Exoriare Aliquis Daniel O'Quinn (bio) Perhaps the best way that I can describe Cities of the Dead is to say that, like other virtuoso performances, it stops you in your tracks. Despite the book's propulsive drive across fields, disciplines, locations, and historical moments, my experience of reading it is one of constant self-imposed interruption. My copy is full of marginal comments, sticky notes, dog-ears: physical signs of stopping to allow thought to catch up. What fascinates me is that when I go back to the book the relationship between these indicator marks and the text is never clear: rather than being signs of summation, realization, or skepticism, they are simply traces of the need to rest and testimony that I did indeed go on. I want to think about the need to rest in a book that is constantly moving by looking closely at the analysis of Purcell's Dido and Aeneas in "Echoes in the Bone," the book's crucial second chapter. This chapter is crucial because it sets the pattern for how Roach embeds his arguments on the effigy and on surrogation firmly in an eighteenth-century repertoire while addressing current social formations in the circum-Atlantic. It arguably sets the expectations for everything that follows; attending to its rhetorical structure, therefore, unlocks much of Roach's modus operandi. Cannily holding Purcell's music in reserve, Roach enters the opera via Nahum Tate's libretto to quickly establish, first, the importance of Geoffrey of Monmouth's History of the Kings of Britain to Tate's play Brutus of Alba, and, second, the degree to which the story of how Aeneas's grandson Brutus loves and leaves the Queen of Syracuse to found Britain echoes Aeneas's prior abandonment of the Queen of Carthage to found Rome. They are two origin stories set in parallel about two ostensibly comparable empires. But Tate's act of aligning Virgil and Geoffrey of Monmouth performs a historical sleight of hand: "The epic account of the Trojan Brute, with its echoes of Virgil, narrates the transoceanic movement out of the Mediterranean and into the Atlantic."1 Tate's alignment of these two stories rhetorically transfers the imperial vortex from one global system to another in a way that perfectly echoes Giovanni Arrighi's account of the shifting spatial [End Page 33] dynamics of capitalism in the seventeenth century; but it also radically alters both Dido and the ground underneath her feet.2 As Roach states, "Although Africa in fact plays a hinge role in turning the Mediterranean-centred consciousness of European memory into an Atlantic-centred one, the scope of that role largely disappears… Dido and Aeneas hinges on the narrative of abandonment, a public performance of forgetting."3 Throughout Cities of the Dead one can discern this kind of argumentative strategy. Roach frequently opens in obscurity—Tate's Brutus in Alba is not within most scholars' working repertoires—and then makes a crucial evidentiary alignment to a more well-known text. The en
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909454
Sara Furnal
Abstract: Scholars of Rousseau's Social Contract have focused primarily on the text's abstract principles of political right. This theoretical focus has come at the cost of serious consideration of practical aspects of Rousseau's thought, such as his views on bringing the political association into being and what Rousseau calls maxims of politics . One of his extended discussions about political practice occurs in Book IV of The Social Contract , yet this portion of the text largely has been ignored. My central claim is that Book IV merits serious attention since it changes Rousseau's project from one that uses political right merely to condemn institutions to a theory that uses right to identify latent possibilities for changing institutions. Further, this practical theory comes to light most clearly when one understands that he is in conversation with Montesquieu in Book IV on the topic of the Roman Republic.
{"title":"Rousseau's Rome: Book IV of The Social Contract and the Specter of Montesquieu","authors":"Sara Furnal","doi":"10.1353/ecs.2023.a909454","DOIUrl":"https://doi.org/10.1353/ecs.2023.a909454","url":null,"abstract":"Abstract: Scholars of Rousseau's Social Contract have focused primarily on the text's abstract principles of political right. This theoretical focus has come at the cost of serious consideration of practical aspects of Rousseau's thought, such as his views on bringing the political association into being and what Rousseau calls maxims of politics . One of his extended discussions about political practice occurs in Book IV of The Social Contract , yet this portion of the text largely has been ignored. My central claim is that Book IV merits serious attention since it changes Rousseau's project from one that uses political right merely to condemn institutions to a theory that uses right to identify latent possibilities for changing institutions. Further, this practical theory comes to light most clearly when one understands that he is in conversation with Montesquieu in Book IV on the topic of the Roman Republic.","PeriodicalId":45802,"journal":{"name":"EIGHTEENTH-CENTURY STUDIES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135690169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909457
Reviewed by: American Fragments: The Political Aesthetic of Unfinished Forms in the Early Republic by Daniel Diez Couch, and: Culture and Language at Crossed Purposes: The Unsettled Records of American Settlement by Jerome McGann Jordan Alexander Stein Daniel Diez Couch, American Fragments: The Political Aesthetic of Unfinished Forms in the Early Republic ( Philadelphia: Univ. of Pennsylvania Press, 2022). Pp. 281; 8 b/w illus. $69.95 cloth. Jerome McGann, Culture and Language at Crossed Purposes: The Unsettled Records of American Settlement ( Chicago: Univ. of Chicago Press, 2022). Pp. 272; 11 b/w illus. $95.00 cloth, $30.00 paper. The two monographs under review proceed at the intersection of material textual studies (sometimes elsewhere called book history or the sociology of texts) and formalist readings of genre. Both identify the implications of their focus well beyond genre. Both ask scholars in the field to read unfamiliar or non-canonical materials in relation to canonical materials that, each argues, can and ought to be [End Page 111] re-read in their light. Despite these parallel methods, each study makes a significant intervention that is not identical––neither readily complementary nor obviously incompatible––with the other's. Nothing, of course, necessarily compels anyone to consider these texts together. But it seems that the absence of any such imperative brings into focus a consequential limitation in two otherwise impressive monographs. After considering each on its own, then, let's consider their relation. Jerome McGann's Culture and Language at Crossed Purposes begins with the premise that for scholars of colonial North American literature, "nothing is more widely recognized than its 'practical' character" (3). That is to say, this study extends a line of thinking that presupposes the public and occasional value of colonial texts––sermons, speeches, narratives––rather than any more aesthetic value, especially in the modernist, "art-for-art's sake" sense. With this assumption in place, McGann's study draws attention to ways a history of multiple violated treaties with Native tribes haunts this colonial North American literature. This literature, the study argues, is tuned to a frequency where "the struggle to maintain social order under complex and dangerous conditions, and to persist in the struggle against all odds and in the continual experience of unsuccess and disappointment, nonfeasance and outright malfeasance" is everywhere in the background, a noise that can't be filtered out (13). Can't be, but also shouldn't be: the heart of Culture and Language at Crossed Purposes rallies around the idea that telling "impossible" truths and protecting human memories are the tasks of scholarly vocation (217). The historical dimension of this thesis astonishes with its force, and its imbricated development across eleven chapters and two interchapters points to some of the lengths Culture and Language at Crossed Purposes takes to demon
由丹尼尔·迪兹·库奇的《美国碎片:共和国早期未完成形式的政治美学》和《交叉目的的文化和语言:美国定居的未解决记录》(杰罗姆·麦克甘，乔丹·亚历山大·斯坦，丹尼尔·迪兹·库奇，《美国碎片:共和国早期未完成形式的政治美学》(费城:宾夕法尼亚大学出版社，2022)。页。281;8 b/w。布69.95美元。杰罗姆·麦克甘，文化和语言在交叉目的:未解决的美国定居点的记录(芝加哥:芝加哥大学出版社，2022)。页。272;11 b/w。布95美元，纸30美元。这两本专著是在材料文本研究(有时在其他地方被称为书史或文本社会学)和体裁的形式主义阅读的交叉点上进行的。两者都明确了他们的关注点远远超出了类型的含义。两者都要求该领域的学者阅读不熟悉的或非规范的材料，与规范材料的关系，每个人都认为，可以而且应该在他们的观点下重新阅读。尽管有这些平行的方法，但每项研究都做出了重要的干预，这些干预与其他研究并不相同——既不容易互补，也不明显不相容。当然，没有什么能强迫任何人把这些文本放在一起考虑。但是，似乎没有任何这样的必要性，这两本令人印象深刻的专著中出现了一个相应的限制。在分别考虑了它们之后，让我们来考虑它们之间的关系。杰罗姆·麦克甘(Jerome McGann)的《文化与语言的交叉目的》(cultural and Language at cross Purposes)一书以这样一个前提开始:对于研究北美殖民文学的学者来说，“没有什么比它的‘实用’特征更被广泛认可的了”(3)。也就是说，这项研究扩展了一种思维方式，即假定殖民文本——说教、演讲、叙事——具有公共和偶然的价值，而不是美学价值，尤其是在现代主义的、“为艺术而艺术”的意义上。有了这个假设，麦克甘的研究让人们注意到，与土著部落多次违反条约的历史如何困扰着北美殖民文学。该研究认为，这些文献被调谐到一个频率，即“在复杂和危险的条件下维持社会秩序的斗争，坚持与所有困难作斗争，在不断经历失败和失望、不作为和完全渎职的情况下”无处不在，这是一种无法过滤掉的噪音(13)。不可能是，但也不应该是:《文化与语言的交叉目的》一书的核心观点是，讲述“不可能”的真相和保护人类记忆是学术职业的任务(217)。这篇论文的历史维度以其力量令人惊讶，它在十一章和两章间的错综复杂的发展表明，《文化与语言的交叉目的》用了一定的篇幅来论证早期北美文本和教规中存在和缺失的东西。本研究的结尾处是探索kaswentha历史的章节，在这里，kaswentha被认为是条约制定背后的核心仪式，一种起源于易洛魁人(豪德诺桑人)的仪式，其程序早于17世纪的欧洲定居(10)。中间几章重读了经过充分研究的殖民文本——包括约翰·温斯洛普、科顿·马瑟、安妮·布拉德斯特里特、本杰明·富兰克林和托马斯·杰斐逊的作品——从中梳理出经常出现的具体违反条约的情况，得出了有趣而新颖的结果。特别值得注意的是富兰克林的《对开本条约》(Treaty Folios)的短章节间——这些小册子文本印刷了土著和定居者之间条约讨论的过程，尽管并非没有扭曲。值得注意的部分原因是对不太常被研究的文本的研究，例如富兰克林的自传，这是下一章的主题。重读北美殖民时期的经典文学作品，考虑到历史确实与它们有关，但并没有明确地与它们联系在一起，《文化与语言的交叉目的》为学者们提供了一个尝试理解“我们不知道我们不知道什么”的实验(5)。这项研究的意图是完全和彻底的令人钦佩的，即使它在执行过程中偶尔有些紧张。这种张力的一部分是叙事的组织复杂性，其令人印象深刻的嵌套和移动部分。还有一个是……
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909467
Reviewed by: Offensive to pious ears: Obscenity and censorship in eighteenth-century Spanish and New Spain poetry by Elena Deanda-Camacho Irene Gomez-Castellano Elena Deanda-Camacho, Ofensiva a los oídos piadosos: Obscenidad y censura en la poesía española y novohispana del siglo XVIII [ Offensive to pious ears: Obscenity and censorship in eighteenth-century Spanish and New Spain poetry] ( Madrid: Iberoamericana; Frankfurt: Vervuert, 2022). Pp. 272. €46.00 cloth. This book provides a fresh approach to the topic of obscenity and the Inquisition in the Spanish-speaking eighteenth century. Comparing texts that were deemed "offensive to pious ears" in New Spain (colonial Mexico) and Spain, Elena Deanda-Camacho puts together a culturally relevant cluster of texts that have been extensively studied by dieciochistas but not paired in this way. In this rich context of interpretations, the originality of Deanda's approach lies in the comparative/transatlantic perspective and the archival work related to inquisitorial practices across the Atlantic that she deftly employs for her reading. As Deanda states, her book is written from the vantage point of Transatlantic Studies, since "Spain, in the eighteenth century, was not only the [Iberian] Peninsula but a whole Empire" (15, my translation here and elsewhere). Deanda's writing style is elegant and sassy at the same time, entertaining, not afraid of polemic, and very contemporary, so the book is a pleasure to read even if one does not agree with some of her propositions regarding classical texts, such as the brutal medieval Carajicomedia or Meléndez Valdés's delicate Besos de amor. Deanda reviews foundational inquisitional texts and the changing ideas surrounding the role of the inquisitor. Exploring reactions to canonical texts like Fernando de Rojas's Celestina or King Solomon's Song of Songs, Deanda offers an eye-opening discussion of the modus operandi of inquisitorial censors. Especially interesting is the review of the different indexes of forbidden books and the process by which books ended up there. Deanda situates in the Index of Sandoval the first connection of the notion of the sacred, love, and obscenity, and notes how texts such as Ovid's Ars Amatoria were allowed in Latin "due to their elegance" (53) since that was the language of the inquisitorial reader. The same text was censored in Spanish. This introduces the fundamental question of class and race as factors [End Page 139] that are attached to the notion of obscenity in early modern Spain and the colonial territory of New Spain. Deanda argues that "lascivious propositions" were the most prosecuted from then on. Chapter 1 is an utterly brilliant introduction to the notion of obscenity and another enlightening discussion of the notion of censorship. Following Deleuze's The Fold, Deanda states that "obscenity and censorship exist in a relationship of fold, they are the two faces of the same coin … I argue that obscenity and censorship, even w
由:对虔诚的耳朵的冒犯:18世纪西班牙语和新西班牙诗歌中的淫秽和审查艾琳戈麦斯-卡斯特拉诺埃琳娜迪安达-卡马乔，Ofensiva a los oídos piadosos:淫秽和审查poesía española y novohispana del siglo XVIII[对虔诚的耳朵的冒犯:18世纪西班牙语和新西班牙诗歌中的淫秽和审查](马德里:伊比利亚美洲;法兰克福:Vervuert, 2022)。272页。€46.00布。这本书提供了一个新的方法，淫秽的话题和宗教裁判所在讲西班牙语的十八世纪。Elena Deanda-Camacho比较了新西班牙(殖民墨西哥)和西班牙被认为“冒犯虔诚的耳朵”的文本，将一组文化相关的文本放在一起，这些文本已经被dieciochistas广泛研究，但没有以这种方式配对。在这种丰富的解读背景下，迪安达方法的独创性在于比较/跨大西洋视角，以及她在阅读中巧妙运用的与跨大西洋探究实践相关的档案工作。正如迪安达所说，她的书是从跨大西洋研究的有利位置写的，因为“西班牙，在18世纪，不仅是[伊比利亚]半岛，而且是一个完整的帝国”(15，我在这里和其他地方的翻译)。迪安达的写作风格优雅而时髦，有趣，不害怕争论，而且非常现代，所以即使你不同意她关于古典文本的一些主张，比如残酷的中世纪卡拉伊科米迪亚或梅尔·瓦尔德斯·瓦尔德萨斯精致的《爱的Besos de amor》，这本书也是一种乐趣。迪安达回顾了基本的调查性文本和围绕调查官角色的不断变化的想法。迪安达探讨了人们对费尔南多·德·罗哈斯的《塞莱斯蒂娜》或所罗门王的《雅歌》等经典文本的反应，对调查审查的手法进行了令人大开眼界的讨论。特别有趣的是对禁书的不同索引的回顾，以及书籍最终进入禁书的过程。迪安达在《桑多瓦尔索引》中指出了神圣、爱和淫秽概念的第一次联系，并指出奥维德的《爱的世界》等文本是如何“由于它们的优雅”而被允许用拉丁语写成的(53)，因为拉丁语是调查性读者的语言。同一文本的西班牙语版遭到审查。这就引入了阶级和种族的基本问题，作为在早期现代西班牙和新西班牙殖民领土上的淫秽概念的因素[End Page 139]。迪安达认为，从那时起，“淫荡的主张”被起诉最多。第一章非常精彩地介绍了淫秽的概念，并对审查制度的概念进行了另一次启发性的讨论。在德勒兹的《褶皱》之后，迪兰达指出，“淫秽和审查存在于一种褶皱的关系中，它们是同一枚硬币的两面……我认为淫秽和审查，即使它们看起来是对立的，本质上是由它们与另一个术语的关系来定义的”(28)。迪安达追溯了君主制和宗教裁判所之间建立的联盟，并描述了“calificadores inquisitoriales”的职业化(31)。迪安达创建了一个案例研究来阐明这些过程，他选择分析安东尼奥·阿尔比奥尔(Antonio Arbiol)的《婚姻之恋》(Estragos de la lujuria)，这是一本新婚夫妇指南，“综合了前现代时期西班牙人对性的表达和压抑”(55)。Deanda展示了在Arbiol的文本中，女性的身体及其服装配饰是“lujuria”的化身(56)。女性被认为是令人厌恶的，令人反感的，并且被引起读者厌恶的感官因素所包围。迪安达将这种涉及性别的讨论与更广泛的问题联系起来，比如围绕戏剧的争论，但她也回到了审判官文本的结构，声称“当分析Estragos de la lujuria时，对Arbiol的恐惧似乎就像他欲望的内衣……他以忧郁的喜悦召唤出芬芳的乳沟，荧光素脚，大胆的舞蹈，只是为了把它们从自己身上驱逐出去，让它们离开，保护自己免受它们的力量”(64)。在第二章中，迪安达从三个有利的角度探讨了匿名的卡拉基媒体(1519):色情，妓女普查和生殖器……
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909471
Reviewed by: Narrative Mourning: Death and Its Relics in the Eighteenth-Century British Novel by Kathleen M. Oliver Mark Fulk Kathleen M. Oliver, Narrative Mourning: Death and Its Relics in the Eighteenth-Century British Novel ( Lewisburg, PA: Bucknell Univ. Press, 2020). Pp. 207; 7 b/w illus. $34.95 paper, $120.00 cloth. Studies such as Thomas W. Laqueur's The Work of the Dead: A Cultural History of Mortal Remains (2015) and Phillipe Ariès's The Hour of Our Death: The Classic History of Western Attitudes Toward Death over the Last One Thousand Years (1981) have provoked cultural reappraisals of our changing relation to death and dying in the West. Kathleen M. Oliver's book picks up the challenge of these studies, particularly relating them to the changing theories and practice of death in the eighteenth century as read through major and minor novels of the period. Oliver's analysis centers on close readings of Samuel Richardson's Clarissa (1748) and The History of Sir Charles Grandison (1753); Sarah Fielding's The Adventures of David Simple (1744), Familiar Letters between the Principal Character in David Simple (1747), and Volume the Last (1753); Henry Mackenzie's The Man of Feeling (1771); and Ann Radcliffe's The Mysteries of Udolpho (1794). Building her study around the changing cultural dynamics concerning death between 1748 and 1794, Oliver argues that the eighteenth century evinces "a world of epistemological uncertainty," as ideas of an embodied soul transform into the view of a "consciousness that transcends time and place and body" (161). Oliver's study uses the notion of relics and relicts as the centerpiece to her understanding of the changing dynamics around death in these novels. The word "relic" evokes the medieval relic, which was a physical piece from a saint that was expected to carry holy power, including the power of healing, and became an important emblem of a system of religious power. Oliver uses the term "relict" to denote physical remnants of the dead more generally; in practice, the distinction between relict and relic is often elided. In her study of the eighteenth century, the relic/relict moves from a remnant that carries with it power from the decedent to a thing that merely invokes the memory of the person who is gone. Oliver traces the change she sees from relic/relicts as objects that continue to embody the dead [End Page 149] to objects merely of remembrance in the novel to John Locke's arguments in An Essay Concerning Human Understanding (1689) that the soul is not necessarily connected to the body and can exist apart from it. Locke's formulations take time to displace older ideas of the soul suffusing the body and its remnants, becoming instead represented by the ever-present ghosts of the gothic novel. Clarissa represents the earliest manifestation of the idea of the relic/relict, being a text that references a time when these had some power and prescience that could shape the lives of the living. While they m
由:叙事哀悼:死亡及其遗迹在十八世纪英国小说凯瑟琳M.奥利弗马克富尔克凯瑟琳M.奥利弗，叙事哀悼:死亡及其遗迹在十八世纪英国小说(刘易斯堡，宾夕法尼亚州:巴克内尔大学出版社，2020)。页。207;7桶/桶。纸34.95美元，布120.00美元。托马斯·w·拉克尔的《死者的工作:人类遗骸的文化史》(2015)和菲利普·阿里斯的《我们死亡的时刻:过去一千年来西方死亡态度的经典历史》(1981)等研究，引发了我们对西方不断变化的死亡和死亡关系的文化重新评估。凯瑟琳·m·奥利弗(Kathleen M. Oliver)的书接受了这些研究的挑战，特别是将它们与18世纪主要和次要小说中不断变化的死亡理论和实践联系起来。奥利弗的分析集中在仔细阅读塞缪尔·理查森的《克拉丽莎》(1748)和《查尔斯·格兰迪森爵士的历史》(1753)上;莎拉·菲尔丁的《大卫·Simple历险记》(1744)、《大卫·Simple》主要人物之间的熟悉信件》(1747)和《最后一卷》(1753);亨利·麦肯齐的《有感情的人》(1771);以及安·拉德克利夫的《乌道尔弗之谜》(1794)。奥利弗围绕着1748年至1794年间关于死亡的不断变化的文化动态展开了她的研究，她认为，18世纪证明了“一个认识论不确定性的世界”，体现灵魂的观念转变为“超越时间、地点和身体的意识”的观点(161)。奥利弗的研究将遗物和遗存的概念作为她理解这些小说中围绕死亡的变化动态的核心。“遗物”这个词让人联想到中世纪的遗物，它是来自圣人的实物，被认为具有神圣的力量，包括治愈的力量，并成为宗教权力体系的重要象征。奥利弗用“遗留物”这个词来泛指死者的身体残余物;在实践中，遗留物和遗物之间的区别常常被忽略。在她对十八世纪的研究中，遗物/遗留物从一个承载着来自死者的权力的遗迹变成了一个仅仅唤起对逝者记忆的东西。奥利弗追溯了她所看到的变化，从遗物/遗存作为继续体现死者的物体(End Page 149)到小说中仅仅是纪念的物体，再到约翰·洛克在《关于人类理解的文章》(1689)中的论点，即灵魂不一定与身体相连，可以脱离身体而存在。洛克的构思需要时间来取代灵魂弥漫于身体及其残余物的旧观念，取而代之的是由哥特式小说中永远存在的鬼魂来代表。《克拉丽莎》代表了“遗物/遗存”概念的最早表现形式，作为一篇文章，它引用了一个时代，当这些人有一些力量和先见之明，可以塑造活着的人的生活。虽然它们可能不像圣徒的遗物那样拥有幽灵般的力量，但克拉丽莎的遗赠戒指(有些带有她的头发，有些没有)成为她道德判断的等同物，也是一种承诺她死后继续存在于她所爱的人的生活中的方式。奥利弗追溯了发环的历史，并展示了它们在理查森写作时期的意义变化，表明它们确实存在于中世纪所理解的遗迹/遗迹和仅仅作为纪念符号的遗迹/遗迹之间。奥利弗最深刻、最有见地的阅读涉及《大卫·Simple》系列小说和《乌道尔福之谜》。虽然这部小说是按时间顺序写的较晚，但奥利弗对乌多尔弗的分析在她的研究中被放在较早的位置，作为两个框架文本之一，另一个是克拉丽莎。她的研究突出了围绕死亡的物质文化观念变化的两个方面:一方面是肖像和微缩画，另一方面是蜡像。奥利弗提供了一个复杂的历史使用的微型，特别是作为礼物，然后成为一个残余的死者自己。把这幅微型画放在一个人的心脏附近……
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