Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909460
Reviewed by: Strolling Players of Empire: Theater and Performances of Power in the British Imperial Provinces, 1656–1833 by Kathleen Wilson Julia Fawcett Kathleen Wilson, Strolling Players of Empire: Theater and Performances of Power in the British Imperial Provinces, 1656–1833 ( Cambridge: Cambridge Univ. Press, 2022). Pp. 481; 42 b/w and 13 color illus., 5 maps. $39.99 cloth. Theater, as one of my mentors is fond of saying, is good to think with. Kathleen Wilson's Strolling Players of Empire proves the wisdom of these words as it follows British plays across a ballooning British Empire—from Kingston to Calcutta and from Sumatra to St. Helena—to understand how they interacted with local histories and performance traditions in shaping assumptions about race, gender, power, and empire throughout the long eighteenth century (which Wilson defines as beginning in 1656, when Oliver Cromwell readmitted Jews to England, and ending in 1833, with the abolition of slavery across the empire). Containing her argument within the frame of the proscenium allows Wilson to cover an admirable swath of time and space, and the book offers a powerful example of how scholars might take up the recent challenges proffered by Lisa Lowe and Jodi Byrd (among others) to envision more global histories. The book also intervenes in recent debates about the origins of modern racial categories. Through a series of nuanced and complex readings of English plays and characters as they were adopted, adapted, revised, and resisted by provincial players, Wilson argues that race was never "only 'skin deep'" but was (and is) produced through complex performances of power, identity, and empire—and is no less real or ineradicable for being so (468). Wilson relies on performance studies to define performance as a "way of knowing" through a combination of mimesis, mimicry, and alterity—as a "repetition of a repetition, or a repetition with a difference" that "can never recapitulate original essence" (18, 19). This definition allows her to zero in on the ways in which British imperialists attempted to impose their cultural beliefs and behaviors on imperial subjects by forcing them to imitate a narrow definition of Britishness, but also how these same subjects both resisted and expanded that narrow definition by repeating these performances with significant differences. In exploring how the performance traditions and histories of the colonized reshaped what it meant to be British, Wilson "explore[s] the possibility that, in the eighteenth century at least, Britons, not the colonized, were the premier mimic men and that this propensity both aided and confounded the purposes of colonization" (16). Without downplaying the violence or cruelty of Britain's imperialist strategies, then, Wilson is careful to recognize the agency and contributions of colonial subjects in resisting and shaping the performances of Britishness that circulated throughout the globe. Strolling Players of Empire consists of
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909449
Elizabeth Maddock Dillon
Dancing in the Streets with Joseph Roach Elizabeth Maddock Dillon (bio) INTRODUCTION: THE MISSING PURITAN There are no Puritans in Cities of the Dead. That I say this at all is perhaps because Cities of the Dead has taught me to read in so many important ways, one of which is to attend to absence as much as presence.1 The absent Puritan in Joseph Roach's book speaks to the nature of the transformation he wrought, one that has helped to reorient the field of early American literary studies in ways that are not fully registered in our genealogies of the field. When I began my training as a graduate student in early American studies, the work of Sacvan Bercovitch stood at the forefront of the field. In particular, his book The Puritan Origins of the American Self (1975) served as both exemplar and roadmap: look to the Puritans as the starting point of American-ness, and trace from there to today, with stops at Jonathan Edwards, Benjamin Franklin, and Ralph Waldo Emerson along the way.2 Implicit in this methodology is a geography—one that places New England at the center of the field of study. This might make sense if you are a professor at Harvard, as was Bercovitch and others in the field before him, including founding figures of early American studies such as Perry Miller and F. O. Matthieson. Roach was a professor at Tulane University when he wrote Cities of the Dead, and the geography of New Orleans is writ large across the book. What does it mean to take New Orleans—and specifically the performances of Mardi Gras parades and jazz funerals—as a fulcrum of cultural history rather than the sermons of seventeenth-century New England Puritans? Well, it changes everything. The last chapter of Cities of the Dead focuses explicitly on Mardi Gras and the parades of New Orleans jazz funerals. At one point in this chapter, Roach describes the "musical and kinesthetic vortex" of moving with the Second Line in a jazz funeral—the improvisational mass of marchers and dancers who join the parade as its energy collects and expands in the streets. He is not speaking hypothetically, but rather from within the vortex: "moving along with the packed crowd of the Second Line," he relates, "an elderly Second Liner politely touched my elbow to draw my attention to my untied shoelaces—a menace amid the flowing mass of dancing bodies, a literal faux pas" (279). Little of the book is written in the first person; accordingly, this brief, embodied moment stands out from the rest of the [End Page 13] text and invites us to pay attention. Let us start from here, then, and join Roach in the Second Line behind the jazz trombones and the carnival masquers as he traces their routes, touches elbows with elders, ties up his shoelaces to continue the dance without a false step. He is marking the steps of the masquers and musicians and adding a few of his own. He is a good dancer: a new choreography of criticism animates the change-making nature of his book. I aim to trace a few of h
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909450
Amy B. Huang
On Memory and Movement Amy B. Huang (bio) Cities of the Dead covers a lot of ground. As Joseph Roach incorporates his experience of walking in the city of New Orleans into his book, he also invites readers to move with him, giving us a sense of being grounded in this particular locale. But even as Roach focuses on New Orleans and London, he shows us that these are spaces of vast intercultures, and that moving within them calls up other moves. In his chapter "One Blood," which centers on Dion Boucicault's play The Octoroon; or, Life in Louisiana (1859), Roach explains that although Louisiana has been the site of policies that emphasize and reinforce monoculturalism, it is also a "plural frontier of multiple encounters."1 Indeed, the chapter carefully tracks the play's repeated ventures in exploring racial difference and liminality. Having first encountered this book in my first year as a graduate student in a Theater and Performance Studies program, I came to understand performance theory's emphasis on "twice behaved behavior" and the relationship between performance and reproduction through Roach's introduction of these concepts, and his linkage of them to specific contexts in the circum-Atlantic world. Cities of the Dead grounded and concretized performance studies for me, showing me the historical impact of how performance has offered substitution and reinvention (rather than exact reproduction), transmitting both memory and forgetting.2 I could see the stakes of surrogation, or the process of substituting to fill in gaps and vacancies, as Boucicault's wife, the white actress Agnes Robertson, delivered performances as an octoroon character, Zoe. Robertson's embodiment of Zoe sensuously enhanced The Octoroon's intrinsic investment in spectacularizing racial liminality as the play delinked Blackness from slavery, and showily substituted the figure of a suffering white woman for the catastrophes of the system of slavery.3 At the end of the play, Robertson's embodied surrogation of Zoe highlights the play's erasure and forgetting of Blackness.4 In further following the concept of racial liminality off the proscenium stage by looking, for example, at the performances by Mardi Gras Indians, Roach also sees how these Black performers [End Page 21] engaged in "masking Indian."5 Challenging early ventures of American theater historiography that emphasized the written word, and which often precluded the study of Indigenous dances and ceremonies, Roach makes clear the significance of orature, which includes "gesture, song, dance, processions, storytelling, proverbs, gossip, customs, rites, and rituals," forms that are "produced alongside or within mediated literacies of various kinds and degrees."6 Orature, Roach points out, can hold onto complex intercultural encounters and transmit knowledge and memory. Thus the Mardi Gras parade routes and the splendor of the costumes and performances place Indigenous and Black people in tight relation to each other, w
Amy B. Huang(传记片)《死亡之城》涵盖了很多领域。当约瑟夫·罗奇将他在新奥尔良市行走的经历融入到他的书中时，他也邀请读者和他一起移动，给我们一种扎根于这个特定地点的感觉。但即使罗奇关注的是新奥尔良和伦敦，他也向我们展示了这些是巨大的跨文化空间，在其中移动会引发其他移动。在以迪翁·布西柯(Dion Boucicault)的戏剧《奥克托伦》(The Octoroon)为中心的“一种血”一章中;在《路易斯安那州的生活》(1859)一书中，罗奇解释说，尽管路易斯安那州一直是强调和加强单一文化主义的政策所在地，但它也是一个“多元相遇的多元边界”。的确，这一章仔细地追溯了该剧在探索种族差异和阈限方面的反复冒险。我第一次接触这本书是在我读戏剧和表演研究课程的第一年，通过罗奇对这些概念的介绍，以及他将这些概念与大西洋沿岸世界的特定背景联系起来，我开始理解表演理论对“两次行为”的强调，以及表演与再现之间的关系。《死亡之城》为我奠定了具体的表演研究基础，向我展示了表演如何提供替代和再创造(而不是精确的复制)，传递记忆和遗忘的历史影响我可以看到替代的风险，或者替代填补空白和空缺的过程，就像布西柯的妻子、白人女演员艾格尼丝·罗伯逊(Agnes Robertson)饰演一个混血儿角色佐伊(Zoe)一样。罗伯逊对佐伊的演绎在感官上增强了《奥克托伦人》在引人注目的种族限制方面的内在投入，因为该剧将黑人与奴隶制分离开来，并华丽地用一个受苦的白人妇女的形象代替了奴隶制制度的灾难在戏剧的结尾，罗伯逊对佐伊的化身突出了戏剧对黑人的抹除和遗忘。4进一步遵循种族限制的概念，例如，通过观察狂欢节印第安人的表演，罗奇也看到了这些黑人表演者是如何“掩盖印第安人”的。罗奇对早期美国戏剧史学的研究提出了挑战，这些研究强调文字，往往排除了对土著舞蹈和仪式的研究。罗奇清楚地阐明了orature的重要性，其中包括“手势、歌曲、舞蹈、游行、讲故事、谚语、八卦、习俗、仪式和仪式”，这些形式“与各种各样和程度的媒介文学一起产生或在其中产生”。罗奇指出，自然可以保留复杂的跨文化接触，并传递知识和记忆。因此，狂欢节的游行路线以及华丽的服装和表演将土著和黑人紧密联系在一起，同时也为狂欢节的印第安人提供了自我塑造和与过去交流的机会。这样的表演提供了重要的重复和再创造模式;他们的研究大大拓宽了美国戏剧研究的范围和方法。作为一名戏剧和表演研究学者，《死亡之城》在我的教育中发挥了重要作用，它帮助我学会挑战那些巩固国家或时期界限的表演谱系。尽管罗奇要求读者仔细关注地点和时间，但我们也必须学会观察表演是如何跨越时空的，因为《同血》这一章追溯了引人入胜的种族界限人物，从布西柯的戏剧到狂欢节印第安人，再到斯托里维尔，再到普莱西诉弗格森案。尽管《死亡之城》没有进一步考虑其他跨文化接触，比如那些涉及欧美东方主义和中国移民的文化接触，但研究亚洲特征和亚洲流散流动也揭示了美国戏剧和表演的谱系。以边疆为中心的戏剧和表演，不仅抓住了天定命运的力量，而且往往助长了排华政策。虽然亚洲人在美国舞台上的表现尤其从19世纪开始蓬勃发展，但这种对亚洲角色的替代(通常以黄脸的形式)在被排斥和被遗弃的时期受到了极大的指责。当我最终开始学习时……
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909469
Reviewed by: Deep Mapping the Literary Lake District: A Geographical Text Analysis by Joanna E. Taylor and Ian N. Gregory Adam Sills Joanna E. Taylor and Ian N. Gregory, Deep Mapping the Literary Lake District: A Geographical Text Analysis ( Lewisburg: Bucknell Univ. Press, 2022). Pp. 290; 45 b/w and 62 color illus., 7 tables. $130.00 cloth, $49.95 paper. Reconciling traditional methods of close reading and analysis with those of the digital humanities and what Franco Moretti has termed "distant reading" is a fraught business to be sure, especially given the stakes for the future of English literary studies and the humanities in general. However, rather than argue for the merits of one approach over the other or highlight the respective tensions between them, Joanna Taylor and Ian Gregory instead attempt to forge a novel methodology in their compelling and engaging study, Deep Mapping the Literary Lake District: A Geographical Text Analysis, one that employs both close and distant reading, textual and digital analysis, in order to provide different, albeit complimentary, perspectives on Lake District writing from the seventeenth through the nineteenth centuries. Taylor and Gregory refer to this methodology as "multiscalar analysis," as it offers readers a means of moving back and forth between "macro- and micro-approaches," enabling them to engage with "both scales for the development of nuanced literary analysis" (5). Multiscalar analysis, as they argue, "defamiliarizes" the literary text by transforming it into something entirely new, a graph, a map, a chart, or other forms of digital representation, that require both computational analyses as well as more traditional methods of close reading in order to make sense of that data. It is an inherently interdisciplinary approach that serves to "productively destabilize our assumptions about a literary text, period, or genre" (6) and, in the process, forces us to ask new questions that challenge conventional ways of reading and established literary canons, thus broadening and diversifying the potential range of texts to be considered within the discipline of English literary studies. To that end, Taylor and Gregory have assembled a substantial body of writings about England's Lake District from 1622 to 1900, including, most notably, the works of the so-called Lake Poets: William Wordsworth, Samuel Taylor Coleridge, and Robert Southey, as well as those by Thomas De Quincy, John Ruskin, Robert Anderson, and Beatrix Potter, among others. The "Corpus of Lake District Writing" (CLDW) they construct also contains a wide variety of guidebooks, chorographies, travel narratives, and journals that provided the would-be tourist information about and broader access to the geography of the Lake District, highlighting its most significant and perhaps meaningful places to visit and offering a sense of what one might expect in terms of its affective and aesthetic impact on the visitor. In total, the CLDW comprises
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909453
Cecilia Feilla
Abstract: From 1789 to 1792, the issue of prostitution was absent from parliamentary debates, policy agendas, and journalism in France. This article looks to theater and pamphlet literature instead for examples that break the silence around prostitution, with special emphasis on the play, Le Serment civique des demoiselles fonctionnaires publiques du Palais-Royal (1791), in which prostitutes debate their status and duty in relation to a new Revolutionary decree on public workers. Using print and performance to intervene in public discourse and promote their interests, prostitutes of the Palais-Royal are shown as crafting a notion of citizenship based not on a discourse of natural rights, as prominent feminist activists of the period did, but rather based on their contribution to the public good as essential workers for the nation.
摘要:从1789年到1792年，卖淫问题在法国的议会辩论、政策议程和新闻报道中都缺席。本文着眼于戏剧和小册子文学，以寻找打破围绕卖淫沉默的例子，特别强调戏剧，Le Serment civique des demoiselles公车功能，du Palais-Royal(1791)，其中妓女辩论她们的地位和责任与新的革命法令有关。通过印刷品和表演来介入公共话语并促进她们的利益，皇家宫殿的妓女们正在塑造一种公民观念，这种公民观念不是基于自然权利的话语，而是基于她们作为国家必不可少的工人对公共利益的贡献，而不是像当时杰出的女权主义活动家那样。
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909470
Reviewed by: Against Better Judgment: Irrational Action and Literary Invention in the Long Eighteenth Century by Thomas Salem Manganaro Lauren Kopajtic Thomas Salem Manganaro, Against Better Judgment: Irrational Action and Literary Invention in the Long Eighteenth Century ( Charlottesville: Univ. of Virginia Press, 2022). Pp. 250. $95.00 cloth, $39.50 paper. The central question Thomas Manganaro takes up in this important and welcome book is this: how to write akrasia, a condition where an agent acts against their own better judgment. His opening example rewrites a scene from Defoe's Moll Flanders, where Moll lapses and returns to her trade as a thief; his closing example offers two versions of a scene from Shakespeare's Macbeth, showing how Macbeth's action of killing the king can be represented as intentional or irrational. The central contribution of Manganaro's book lies here, in working through how one's choices in representing irrational action can explain away or render mysterious the [End Page 146] phenomenon itself. While Manganaro reads several seventeenth- and eighteenth-century philosophers as denying or explaining away akrasia at the cost of losing a phenomenon we should seek to understand, he reads a suite of eighteenth-century writers of prose fiction, life-writing, and poetry as preserving the phenomenon through the invention of new literary forms. Manganaro uses akrasia as his primary case of irrational action, preferring it to Aristotelian "incontinence" and Augustinian "weakness of will," prominent in Christian frameworks. Akrasia is difficult to pin down, and that slipperiness is an important variable in the argument of this book. Manganaro offers a working understanding of akrasia as a condition of individual agency where one knows what would be the best thing to do, but either freely does not do it, or chooses to do something different, and less good (2). Akrasia is not bad action out of ignorance, nor is it inaction through constraint; akrasia is intentionally doing something you know to be worse than an alternative that is known and readily available. It is important for the history of treatments of this phenomenon, and for Manganaro's own treatment, that akrasia appear paradoxical. This paradoxicality is what attracts attempts to represent, explain, and understand the phenomenon. But these attempts run into an obstacle: explanation and understanding rely on representation, and representation of this phenomenon is a challenge. As Manganaro describes it, "the core difficulty lies in the fact that the piece of writing needs to maintain two seemingly contradictory truths at once: first, that the person believes that there is an available course of action that is better to pursue, and second, that the person freely and intentionally pursues a different course of action" (3). The representation of akrasia, then, requires special literary forms. But, and here lies the problem Manganaro finds with the philosophical approaches to
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909447
Lisa A. Freeman
Whose Memory?Whose Forgetting? Lisa A. Freeman (bio) When we consider the fields of Eighteenth-Century Studies and Theater and Performance Studies, it would be difficult to think of a scholarly book that has been more influential and more far-reaching than Joseph Roach's Cities of the Dead: Circum-Atlantic Performance, first published by Columbia University Press in 1996. The collection of short essays that comprise this roundtable are dedicated not only to celebrating the 25th Anniversary of the publication of this award-winning work, but also to illustrating the transformative impact it has had on scholarship across these intersecting fields both with respect to the conceptual apparatus and methods we use, and to the narratives we trace and the knowledges we produce.1 By way of offering a brief framing introduction, I want to take a quick look backward before going forward with an account of Cities's impact on our period of study and its indelible imprint on the shape of critical work today. Some might say that Roach's study of embodied performance across what he deftly termed, drawing on the influential work of Paul Gilroy, the "Circum-Atlantic" has traveled an almost immeasurable distance from his own dissertation work, conducted at Cornell University so many years ago, on "Vanbrugh's English Baroque: Opera and the Opera House in the Haymarket."2 But those of us who are attentive students in the field can recognize in Roach's ever erudite work the expansive, interdisciplinary sway of a touchstone figure like John Vanbrugh, whose own career both straddled and intermingled the disciplines of drama, music, and architecture. Even more, we can trace the Baroque as an influence on the style and substance of Roach's capacious mode of thought, specifically the emphasis on repetition with a difference and the ability to discern those variations with a fine-tuned acuity that understands ornamentation as an embodied expression of the incongruous conditions of human life. Indeed, little noted in this respect is a statement which Roach sets out in the penultimate sentence of his original preface that substantially grounds the work and insights of Cities of the Dead in the unruly and voracious world of eighteenth-century [End Page 1] cultural production and consumption. Explaining that the "topoi of memory as performance" which recur across his book take their inspiration from "the aesthetic tangibility of live performances," he makes a deliberate point of clarifying: "I use the word aesthetic in what I understand to be its eighteenth-century meaning: the vitality and sensuous presence of material forms."3 For Roach, then, it is important that when we talk about the long, deep, and wide influence of eighteenth-century culture, ideology, and thought on the shape of things today—for better and for worse—we also engage its embrace of an aesthetic that was felt in and expressed through bodies in performance. Eschewing the kind of cold formalism evacuated of hu
谁的记忆?谁的遗忘?当我们考虑18世纪研究和戏剧与表演研究的领域时，很难想象有一本学术著作比约瑟夫·罗奇的《死亡之城:环大西洋表演》更有影响力、更深远。这本书于1996年由哥伦比亚大学出版社首次出版。本次圆桌会议的短篇文集不仅是为了庆祝这部获奖作品出版25周年，也是为了说明它对这些交叉领域的学术产生的变革性影响，包括我们使用的概念工具和方法，以及我们追踪的叙述和我们产生的知识在提供一个简短的框架介绍之前，我想先快速回顾一下《城市》对我们研究时期的影响，以及它对当今批判性工作形态的不可磨灭的影响。有人可能会说，罗奇对体现表演的研究，与他多年前在康奈尔大学(Cornell University)完成的论文《范布鲁的英国巴洛克:干草市场上的歌剧和歌剧院》(Vanbrugh’senglish Baroque: Opera and the Opera House in the Haymarket)相比，他巧妙地借鉴了保罗·吉尔罗伊(Paul Gilroy)颇具影响力的作品《环大西洋》(the Circum-Atlantic)，已经走了几乎不可估量的距离。但是，我们这些在这一领域认真学习的人可以从罗奇的博学多才的作品中看出约翰·凡布鲁(John Vanbrugh)这样的试金石人物的广泛的、跨学科的影响，凡布鲁的职业生涯既跨越又混合了戏剧、音乐和建筑等学科。更重要的是，我们可以追溯到巴洛克风格对罗奇广阔思维模式的风格和实质的影响，特别是强调有差异的重复，以及用一种微调的敏锐度来辨别这些变化的能力，这种敏锐度将装饰理解为人类生活中不协调状况的具体化表达。事实上，在这方面，很少有人注意到罗奇在其原序言的倒数第二句中提出的一项声明，这一声明实质上是将《死亡之城》的工作和见解建立在18世纪不守规矩和贪婪的文化生产和消费世界的基础上。他解释说，在他的书中反复出现的“作为表演的记忆的话题”的灵感来自于“现场表演的审美触感”，他故意澄清:“我使用美学这个词是在我理解的十八世纪的意义上:物质形式的活力和感官存在。”因此，对于罗奇来说，重要的是，当我们谈论18世纪文化、意识形态和思想对今天事物形态的长期、深刻和广泛的影响时，无论好坏，我们也要考虑到它对美学的拥抱，这种美学是通过表演中的身体来感受和表达的。罗奇避开了那种冷漠的形式主义，这种形式主义在某些方面已经引起了人们的注意，他提醒我们，而且确实不断地让我们回到一系列场景中，在这些场景中，人类身体的触觉存在和人类意识、记忆和遗忘的明显印记，无论是在创造美丽的事物还是在声称发明新事物的过程中，都深深牵涉到人类非凡的暴力和人类动荡的帝国场景中。更重要的是，正如他令人信服地证明的那样，这些全球性的历史事件的后果和痕迹，今天仍然在我们的舞台和街道上上演和上演。在这方面，具体的表演构成了一个接触和谈判的动觉领域，是罗奇在他令人惊叹的著作中出色地描述为替代和替代的迭代动力学的一个过程，或者正如他雄辩地概括的那样，“记忆和遗忘的社会过程，众所周知，就是文化。”在《死亡之城》中，罗奇取得了非凡的成就。如果不打破该领域的一系列重大僵局，他的作品也不可能对批评话语产生如此巨大的影响。首先，我们可以……
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909463
Reviewed by: My Life's Travels and Adventures: An Eighteenth-Century Oculist in the Ottoman Empire and the European Hinterland by Regina Salomea Pilsztynowa Daniel O'Quinn Regina Salomea Pilsztynowa, My Life's Travels and Adventures: An Eighteenth-Century Oculist in the Ottoman Empire and the European Hinterland, ed. and trans. by Władysław Roczniak ( Toronto: Iter Press, 2021). Pp. 305. $53.95 paper. Scholars in a wide range of fields should be grateful both to Władysław Roczniak and to the Iter Press for bringing this fine critical edition of Regina Salomea Pilsztynowa's extraordinary memoir My Life's Travels and Adventures to an English-speaking audience. A welcome reminder of the degree to which "eighteenth-century studies" remains focused on Western Europe and its colonial holdings, Pilsztynowa's narrative lies at the crossroads of Slavic and Ottoman studies. Dated 1760, her manuscript was written during the author's second lengthy stay in Istanbul. Despite its explicit framing as an injunction to piety, the memoir seeks to both entertain and edify her readers by blending a fast-paced account of her lengthy sojourns in the Ottoman Empire, Russia, and the Balkans with a broad array of anecdotes and historical vignettes. It was first published in Poland in the early twentieth century by a male scholar as a warning against women's emancipation. The text itself provides an ample rebuttal to any such paternalism. The very text in which Pilsztynowa writes herself into existence demonstrates that the ostensible protections provided by marriage are at best a fantasy and at worst an alibi for men's traffic in women and their property. Her memoir starts in 1732 with her forced marriage at age 14 to a Polish oculist named Jacob Helpir and her immediate transplantation to Istanbul. Her husband is imprisoned almost immediately after the death of a patient and over the next few pages Pilsztynowa proves herself to be an adept negotiator, a quick study in the medical arts (although we are never far away from sorcery and sheer luck), and an able operator in the multi-linguistic, multi-faith society of Istanbul and the war-torn Balkans. The same chapter is also chock full of anti-Semitic episodes (throughout the book, Jewish doctors and pharmacists conspire to destroy her and her practice), accounts of purchasing prisoners as slaves (something of a hostage broker, she buys Christians from the Ottomans and Ottomans from the Russians with the intent of selling them back to their families), and scenes of marital abandonment and abuse (her husbands and other male companions can be counted on to steal from her at every turn). In the opening thirty pages, the reader is confronted with so many types of narrative discourse that one is forced to adjudicate between what is legend, what is pure fabrication, and what is ostensibly accurate reporting. Roczniak's illuminating annotations and appendices allow the reader not only to keep track of her wildly peripatetic itine
《我一生的旅行与冒险:一位18世纪奥斯曼帝国与欧洲腹地的眼科医生》，作者:丹尼尔·奥奎因·雷吉娜·萨洛米亚·比尔什蒂诺瓦，《我一生的旅行与冒险:一位18世纪奥斯曼帝国与欧洲腹地的眼科医生》，编译。作者:Władysław Roczniak(多伦多:Iter出版社，2021)。305页。53.95美元。各个领域的学者都应该感谢Władysław rozniak和Iter出版社，感谢他们将Regina Salomea Pilsztynowa非凡的回忆录My Life’s Travels and Adventures的优秀评论版带给了讲英语的读者。Pilsztynowa的叙述处于斯拉夫和奥斯曼研究的十字路口，这是对“18世纪研究”仍然集中在西欧及其殖民地的程度的一个可喜的提醒。她的手稿写于1760年，是作者在伊斯坦布尔的第二次漫长逗留期间写的。尽管其明确的框架是对虔诚的训诫，但这本回忆录通过将她在奥斯曼帝国、俄罗斯和巴尔干半岛的长时间旅居的快节奏叙述与广泛的轶事和历史小插曲相结合，寻求娱乐和启发她的读者。20世纪初，一位男性学者在波兰首次发表了这篇文章，作为对妇女解放的警告。文本本身提供了对任何这种家长式作风的充分反驳。Pilsztynowa写的这篇文章表明，婚姻提供的表面上的保护充其量是一种幻想，最坏的情况是男人买卖女人和她们的财产的不在场证明。她的回忆录从1732年开始，她14岁时被迫嫁给了一位名叫雅各布·赫尔皮尔的波兰眼科医生，并立即被移植到伊斯坦布尔。在接下来的几页中，她证明了自己是一个熟练的谈判者，对医学艺术的快速研究(尽管我们从来没有远离巫术和纯粹的运气)，以及伊斯坦布尔多语言，多信仰社会和饱受战争蹂躏的巴尔干半岛的一个能干的操作员。同一章也充满了反犹太的情节(整本书中，犹太医生和药剂师密谋摧毁她和她的诊所)，关于购买囚犯作为奴隶的描述(有点像人质经纪人，她从奥斯曼人那里买基督徒，从俄罗斯人那里买基督徒，打算把他们卖给他们的家人)，以及婚姻遗弃和虐待的场景(她的丈夫和其他男性伴侣可以指望每次都从她那里偷东西)。在开篇的三十页中，读者面对如此多类型的叙事话语，以至于人们不得不在哪些是传说，哪些是纯粹的虚构，哪些是表面上准确的报道之间做出判断。罗兹尼亚克富有启发性的注释和附录不仅能让读者了解她疯狂的旅行路线，还能了解她的叙事修饰。作为一个没有波兰回忆录文学经验，对该地区冲突历史只有初步了解的读者，我发现编辑的指导非常有帮助。引言令人钦佩地总结了这个难以驾驭的文本和她复杂的旅程，然后提供了一个关于如何在斯拉夫研究中阅读Pilsztynowa的作品的谱系。在被当作人生不该做的事情的典范之后，它已经成为思考那个时期女性写作的重要文本。不像玛丽·沃特利·蒙塔古夫人或伊丽莎白·克雷文夫人的旅行作品，这本书不可避免地会与之比较，我的一生的旅行和冒险是一个女人的作品，她虽然是小绅士的一员，但靠她的智慧和专业技能在国外生活了近30年。相比之下，蒙塔古和克雷文的经历都更狭隘，风险也小得多。被困在永恒战争的世界里，Pilsztynowa的生活常常取决于她相当可疑的治疗的结果，或者取决于她在各种统治者的法庭上为自己辩护的能力，或者与一群……
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909456
Reviewed by: The Limits of Familiarity: Authorship and Romantic Readers by Lindsay Eckert, and: Sister Novelists: The Trailblazing Porter Sisters, Who Paved the Way for Austen and the Brontës by Devoney Looser Stephanie Insley Hershinow Lindsay Eckert, The Limits of Familiarity: Authorship and Romantic Readers ( Lewisburg, PA: Bucknell Univ. Press, 2022). Pp. 258; 6 b/w, 3 color illus. $120.00 cloth, $34.95 paper. Devoney Looser, Sister Novelists: The Trailblazing Porter Sisters, Who Paved the Way for Austen and the Brontës ( New York: Bloomsbury, 2022). Pp. 576; 16 pp. insert. $30.00 cloth. How did Romantic writers imagine their readers? How did Romantic readers imagine those writers? Scholars working in book history and on print culture, on celebrity and on reception have illuminated our understanding of the relationships between artists, their intimates, and their admirers. It is no longer considered anachronistic to talk of the "fandoms" that grew around certain illustrious figures; rather, historicizing such subcultures is understood to be a mission worthy of serious study. The two books under consideration in this review tackle these questions via different genres and at different scales. Lindsay Eckert's The Limits of Familiarity: Authorship and Romantic Readers is a monograph, a study of the thorny subject of "familiarity" in Romantic-era writing and culture. Devoney Looser's Sister Novelists: The Trailblazing Porter Sisters, Who Paved the Way for Austen and the Brontës is a biography—the first, somehow—of Jane and Maria Porter, prolific writers whose names were well known in Regency parlors as both celebrated authors and as subjects of rumor and speculation. Eckert offers an expansive view of the era, treating both the usual suspects (like Wordsworth and Byron) and those less often analyzed in their own right (like Lady Caroline Lamb or Hazlitt-as-novelist). Zooming in on a single case, Looser shapes the scattered but extensive correspondence between Jane and Maria Porter into an immersive account that tracks a single family but also, given the sisters' many famous and infamous correspondents, opens up to capture their broader milieu. Read together, [End Page 107] Looser and Eckert give us a complex, enticing picture of Romantic celebrity—one that expands the terrain beyond the stories we're used to. Eckert argues that successful authorship in the Romantic era depended on the careful navigation of challenging expectations about how best to establish connections—in and outside of the printed text—between authors and readers. One way to think of Eckert's study is as a prehistory of parasocial relationships (though this is not a term she employs). Social media has, as countless op-eds have warned us, encouraged fans to foster unhealthy relationships to celebrities they have never actually met (and likely never will meet). The seemingly direct access granted by social media can appear to flatten hierarchies (or, put more optimistically, to d
书评:熟悉的极限:作者和浪漫的读者林赛·埃克特，和:姐妹小说家:开拓性的波特姐妹，谁铺平了道路奥斯汀和Brontës由Devoney松散斯蒂芬妮·英斯利·赫什诺林赛·埃克特，熟悉的极限:作者和浪漫的读者(刘易斯堡，宾夕法尼亚州:巴克内尔大学出版社，2022)。页。258;6 b/w, 3色灯。布$120.00，纸$34.95。Devoney Looser，姐妹小说家:开创性的波特姐妹，为奥斯汀和Brontës铺平了道路(纽约:布鲁姆斯伯里出版社，2022年)。页。576;16页插入。布30.00美元。浪漫主义作家如何想象他们的读者?浪漫主义读者是如何想象这些作家的呢?研究书籍历史、印刷文化、名人和接待的学者们阐明了我们对艺术家、他们的密友和崇拜者之间关系的理解。谈论围绕某些杰出人物形成的“狂热”不再被认为是不合时宜的;相反，将这些亚文化历史化被认为是一项值得认真研究的任务。在这篇评论中考虑的两本书通过不同的体裁和不同的尺度来解决这些问题。林赛·埃克特的《熟悉的极限:作者和浪漫的读者》是一本专著，研究了浪漫主义时代写作和文化中“熟悉”这个棘手的主题。Devoney Looser的小说姐妹:开创性的波特姐妹，为奥斯汀和Brontës铺平了道路，这是一本传记——不知怎么的，第一本——简和玛丽亚波特的传记，多产的作家，他们的名字在摄政时期的客厅里众所周知，既是著名的作家，也是谣言和猜测的对象。埃克特对那个时代提供了一个广阔的视角，他既研究了通常被怀疑的人物(如华兹华斯和拜伦)，也研究了那些很少被单独分析的人物(如卡罗琳·兰姆夫人或作为小说家的黑兹利特)。《松散》聚焦于一个单一的案例，将简和玛丽亚·波特之间零散而广泛的通信，塑造成一种沉浸式的叙述，既追踪了一个家庭，又考虑到这对姐妹之间有许多著名和臭名昭著的通讯者，从而开阔了视野，捕捉到了她们更广阔的环境。一起读，卢泽和埃克特为我们描绘了一幅浪漫主义名人的复杂而迷人的画面——它扩展了我们所熟悉的故事之外的领域。埃克特认为，在浪漫主义时代，成功的创作依赖于对如何最好地在作者和读者之间——在印刷文本内外——建立联系的挑战期望的谨慎导航。看待埃克特的研究的一种方式是将其视为准社会关系的史前史(尽管这不是她使用的术语)。正如无数专栏文章警告我们的那样，社交媒体鼓励粉丝与他们从未见过的名人建立不健康的关系(很可能永远不会见面)。社交媒体提供的看似直接的访问似乎可以使等级扁平化(或者，更乐观地说，民主化)，允许前所未有的进入艺术家的个人生活，使私人生活公开。我们已经学会称这些关系为“副社会”，尽管这个词是1956年由D. Horton和R. R. Wohl创造的，但它感觉只适合21世纪。埃克特揭示了这个概念的一个更早的谱系，展示了浪漫主义作家如何通过培养与读者的亲密印象来塑造自己的名人，同时，试图避免被指责为不得体的过度熟悉。以那些给拜伦写信的粉丝为例。他的诗歌似乎以一种新的方式回应了观众的反应，不仅产生了个人通信或直接针对读者的外观，而且将这种表面上的通信转化为艺术。埃克特向我们展示，这个诗意的项目之所以大胆，主要是因为它打破了社会和阶级界限的限制，而这些界限是熟悉理论试图控制的。埃克特提到了“熟悉度”，这是一个过度确定的术语，在这个时期，它的多重棘手的价码同样有用。这个术语比乍看起来要复杂得多。“熟悉”一词不仅可以让人联想到家庭生活的亲密，还可以描述一种假设老朋友之间的轻松交谈的写作风格。(“熟悉的信”就是这种风格的例证，但各种印刷体裁越来越吸引……
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Pub Date : 2023-09-01DOI: 10.1353/ecs.2023.a909473
Reviewed by: Painting with Fire: Sir Joshua Reynolds, Photography, and the Temporally Evolving Chemical Object by Matthew C. Hunter Rebecca Marks Matthew C. Hunter, Painting with Fire: Sir Joshua Reynolds, Photography, and the Temporally Evolving Chemical Object ( Chicago: Univ. of Chicago Press, 2019). Pp. 304; 20 color and 68 b/w illus., 1 table. $54.00 cloth. "Elemental art history": this is how Matthew C. Hunter, in the closing pages of Painting with Fire: Sir Joshua Reynolds and the Temporally Evolving Chemical Object, describes the scope of his book (184). Painting with Fire offers a [End Page 134] multifaceted and enthusiastic study of the science behind British art from the seventeenth to the nineteenth centuries. While Hunter's work centers around Reynolds, its remit is much wider, starting with the discovery of artificial phosphorus in the 1600s and progressing chronologically all the way to the rise of photography in the 1800s. It is "elemental" not only because of Hunter's interest in "Chymistry," but also because of the technical nature of his research, which breaks down his sources into their most elementary mechanics (43). Painting with Fire is certainly a history of art, if not a conventional work of "art history," since it pays closer attention to techniques and methodologies than it does to critical or visual analysis. This is certainly not a bad thing, for Hunter's interdisciplinary approach reflects the thematic purview of his thesis, which—like previous publications by Jon Klancher (2013), Magdalena Bushart and Freidrich Steinle (2015), Hunter himself (2013, 2015), and most recently Stephanie O'Rourke (2021)—explores the interplay between sciences and the humanities in the Enlightenment period. While Hunter's book broadly falls into the category of history, it also has a philosophical undercurrent. Throughout, Hunter sustains a close focus on the eponymous theme of "temporality," and the various questions which it might raise about the preservation of paintings. For example, the front cover of the book—a close up of Reynolds's decayed, flaking Portrait of James Coutts (1771)—exemplifies what Hunter means by the "temporally evolving chemical object" named in his title. The corrosion of this particular work, Hunter tells us, is the result of chemical experiments Reynolds undertook in his studio and used on his canvases, in the hope of creating new painterly effects and, ironically, ensuring their longevity. It is a painting that reflects the ways in which Enlightenment artists looked to the sciences in order to advance and legitimize their discipline, even though such efforts were not always successful. Informed by publications by Jordan Bear (2015), Robin Kelsey (2015), and Tanya Sheehan and Andrés Mario Zervigón (2015), another one of Hunter's goals in Painting with Fire is to disrupt how we think about the history of photography, a medium which, more than any of the other fine arts, relies on chemical and mechanical processe
丽贝卡·马克斯·马修·c·亨特，用火绘画:约书亚·雷诺兹爵士，摄影，以及时间进化的化学物体(芝加哥:芝加哥大学出版社，2019)。页。304;20色和68亮度。， 1表。布54.00美元。“元素艺术史”:这是马修·c·亨特在《用火绘画:约书亚·雷诺兹爵士和时间进化的化学物体》的最后几页中描述他的书的范围(184)。《火之画》对17世纪到19世纪英国艺术背后的科学进行了多方面的热情研究。虽然亨特的作品以雷诺兹为中心，但其范围要广泛得多，从17世纪人工磷的发现开始，一直到19世纪摄影术的兴起。它是“基本的”，不仅是因为亨特对“化学”的兴趣，而且还因为他的研究的技术性质，这将他的来源分解为最基本的力学。《以火绘》当然是一部艺术史，如果不是传统的“艺术史”作品，因为它更关注技术和方法，而不是批判性或视觉分析。这当然不是一件坏事，因为亨特的跨学科方法反映了他论文的主题范围，就像Jon Klancher (2013)， Magdalena Bushart和Freidrich Steinle(2015)，亨特本人(2013年，2015年)以及最近的Stephanie O'Rourke(2021年)的先前出版物一样，探讨了启蒙时期科学与人文科学之间的相互作用。虽然亨特的书大致属于历史范畴，但它也有哲学的暗流。在整个过程中，亨特一直密切关注“时间性”的同名主题，以及它可能引发的关于绘画保存的各种问题。例如，这本书的封面——雷诺兹的《詹姆斯·库茨的肖像》(1771年)的特写——体现了亨特在书名中所说的“暂时进化的化学物体”的含义。亨特告诉我们，这幅特殊作品的腐蚀是雷诺兹在他的工作室里进行的化学实验的结果，并在他的画布上使用，希望创造新的绘画效果，具有讽刺意味的是，确保它们的寿命。这幅画反映了启蒙运动的艺术家们为了推进和合法化他们的学科而寻求科学的方式，尽管这种努力并不总是成功的。通过Jordan Bear (2015)， Robin Kelsey (2015)， Tanya Sheehan和andr s Mario Zervigón(2015)的出版物，Hunter在Painting with Fire中的另一个目标是破坏我们对摄影历史的看法，这是一种比任何其他美术更依赖于化学和机械过程的媒介。他反驳了传统观点，认为摄影技术的真正起源早在19世纪之前，可以追溯到雷诺兹，甚至更远，可以追溯到17世纪晚期的皇家学会的工作室。此外，与通常的时间顺序不同，亨特提出了绘画可能在哪里结束，摄影可能在哪里开始的问题。他认为，这种转变并不像以前想象的那么简单，它被许多原始相机和原始摄影形式所混淆，比如暗箱(雷诺兹拥有并经常使用的一种)、“机械图片”(136)和其他形式的复制图像制作。在作品的结尾，《以火作画》无疑成功地证明了启蒙运动时期标志着绘画艺术观念的转变。与我们对摄影的看法类似，这一时期的绘画也越来越以科学和机械的方式被理解，反映了工业革命之前知识分子和政治话语的更广泛变化。《用火绘画》按时间顺序分为四部分，每一部分都以介绍本章主题的历史轶事开始。第一部分涵盖了1680年左右在皇家学会进行的一些化学和视觉实验。在这里，亨特对人造……的发现特别感兴趣。
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