Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911129
Reviewed by: The Penny Politics of Victorian Popular Fiction by Rob Breton Carolyn W. de la L. Oulton (bio) The Penny Politics of Victorian Popular Fiction, by Rob Breton; pp. vii + 234. Manchester: Manchester University Press, 2021, £85.00, $130.00, $29.95 paper. The Penny Politics of Victorian Popular Fiction rethinks the interactions among popular, commercial, and radical approaches during the 1830s and 1840s, including "the way penny literature pinched political content from radical papers" (2). Case studies include Jack Sheppard (1839–40), Sweeney Todd (1846–47), Varney the Vampire (1845–47), Mysteries of London (1844–46), and the Newgate Calendars, as well as journals including Howitt's (1847–48) and Douglas Jerrold's Shilling Magazine (1845–47). The penny press of this period has often been seen as cashing in on working-class readers' demand for violence and melodrama, while at the same time ultimately reinforcing middle-class ideology. Rob Breton, however, contends that the penny press engages with, and helps to create, broader and more ambivalent cultural and political confrontations than critics have hitherto recognized. The introduction subtly dissects generic strands and interpretive differences, while tracing connections among the various modes of writing. Breton's articulation of his own critical position is admirably precise, although readers less familiar with the history of the penny press would benefit from a more broad-brush overview of the genre and the current debates surrounding it. Here and in chapter 1, there is a tendency to assume an [End Page 344] in-depth knowledge of early Victorian commercial, popular, or political writing (a gap that the rest of the book addresses admirably). The trend for publishing across a spectrum of popular and radical journals creates a complex picture, and this perspective complements recent work by Alexis Easley (New Media and the Rise of the Popular Woman Writer, 1832–1860 [2021]) on women authors' engagement with new modes of literary production during the 1830s and 1840s. Breton writes authoritatively on cultural and political contestations, and provides a meticulous examination of where the party line is drawn both across and within journals. The combination of wide survey with sustained analysis of particular titles makes for some unexpected findings. While Sweeney Todd remains one of the most notorious serials of the period, it transpires that penny journals often depended for their success on irreproachably moral tales, with stories of improbable violence providing little more than occasional seasoning. Meanwhile journals such as Howitt's seemingly refereed their authors, including radical voices familiar from other publications, but only allowed them to assume a modified political stance. But notwithstanding these checks and compromises, shifts in Howitt's's editorial position over time can be seen in the journal's strategic "multiplication of audience" (182). Breton also notes that
书评:《维多利亚通俗小说的便士政治》，罗伯·布雷顿著;第vii + 234页。曼彻斯特:曼彻斯特大学出版社，2021年，85英镑，130.00美元，纸张29.95美元。《维多利亚通俗小说的便士政治》重新思考了19世纪30年代和40年代流行、商业和激进方法之间的相互作用，包括“便士文学从激进论文中获取政治内容的方式”(2)。案例研究包括杰克·谢泼德(1839-40)、斯威尼·托德(1846-47)、吸血鬼瓦尔尼(1845-47)、伦敦悬案(1844-46)和纽盖特日历，以及包括霍伊特(1847-48)和道格拉斯·杰罗德的《先令杂志》(1845-47)在内的期刊。这一时期的廉价出版社通常被视为利用了工人阶级读者对暴力和情节剧的需求，同时最终强化了中产阶级的意识形态。然而，罗伯·布雷顿认为，便士媒体参与并帮助创造了比评论家迄今为止所认识到的更广泛、更矛盾的文化和政治对抗。导言部分巧妙地剖析了通用线索和解释差异，同时追踪了各种写作模式之间的联系。布列塔尼对自己批判立场的表述非常准确，虽然不太熟悉便士出版社历史的读者可能会受益于对这种类型和当前围绕它的辩论进行更广泛的概述。在这里和第一章中，有一种倾向，假设对早期维多利亚时代的商业、流行或政治写作有深入的了解(本书其余部分令人钦佩地解决了这一空白)。流行和激进期刊的出版趋势创造了一幅复杂的画面，这一视角补充了亚历克西斯·伊斯利(Alexis Easley)最近的作品(新媒体和流行女作家的崛起，1832-1860[2021])，该作品探讨了19世纪30年代和40年代女性作家参与文学创作的新模式。布列塔尼在文化和政治争论方面有着权威的著述，并对党派在期刊内外的立场进行了细致的审视。广泛的调查与对特定标题的持续分析相结合，会产生一些意想不到的发现。虽然《理发师陶德》仍然是那个时期最臭名昭著的连载小说之一，但人们发现，廉价杂志的成功往往依赖于无可指责的道德故事，而不太可能发生的暴力故事只不过是偶尔的调味品。与此同时，诸如Howitt's之类的期刊似乎审查了他们的作者，包括其他出版物中熟悉的激进声音，但只允许他们采取修改后的政治立场。但是，尽管有这些制衡和妥协，Howitt的编辑立场随着时间的推移发生了变化，这可以从《华尔街日报》战略性的“受众倍增”中看出(182)。布列顿还指出，诸如劳埃德的《便士周刊》(1843年至1846年)《浪漫与普通兴趣杂记》(Penny Weekly Miscellany of Romance and General Interest)之类的出版物允许读者通过对主动投稿的高接受率来塑造杂志的方向。虽然“流行文学除了将不同类型混为一谈的倾向之外，并没有实验性”，但这本书很难将这种混为一谈。为了证明这一点，第一章阐述了“[纽盖特]日历的稳定滑溜，一种允许和鼓励解释性工作的说教信息的紧缩。”虽然所谓的“新门小说”只包括一小部分作品，但19世纪30年代马丁的《犯罪年鉴》(1837)等出版物以新的方式反映了“那个时代充满政治色彩的氛围”(30)。这种更广泛的背景创造了一些意想不到的联系，比如《编年史》中对海军鞭打行为的挑衅性攻击，使其与宪章派媒体保持一致。最终，《纽盖特日历》能够利用其耸人听闻的犯罪声誉，将政府滥用职权和官方行为，包括使用童工，描述为本质上的犯罪行为。布列塔尼提出了一个令人信服的理由，说明有必要超越一种影响模式——哪种文学模式在利用哪种文学模式——把注意力集中在文本在写作和阅读时相互对立时所能提供的机会上。不同模式的并置产生了新的解释可能性，当它们被视为互动和相互揭示，而不是简单地……
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Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911119
Reviewed by: The Ethical Vision of George Eliot by Thomas Albrecht Summer J. Star (bio) The Ethical Vision of George Eliot, by Thomas Albrecht; pp. x + 207. Abingdon and New York: Routledge, 2020, $127.50, $39.71 paper, $37.06 ebook. Thomas Albrecht's 2020 monograph The Ethical Vision of George Eliot comes at a timely moment in Eliot studies. While anniversaries of George Eliot's life and novels have prompted numerous conferences, special editions, and books in recent years, scholars also find themselves at a high and interesting watermark for debates on a particular issue: ethics. Albrecht's book is ambitious in its foray into this subject, particularly in its broad embrace of Eliot's writing (not limited to novels, but including essays, letters, [End Page 323] reviews, and translations as well). Even more impressive—and helpful—however, is the way he addresses the specific landscape of ethical criticism of her works. Albrecht's view of Eliot's ethical thought is, as he writes, "dialectal" (20). Over the course of her career, two imperatives, as Albrecht claims, define Eliot's vision of ethical motive and action, and can be critically used to assess how that vision develops over time. These are the communion imperative and the difference imperative. The former is defined "as an ethics of connecting and communing with other persons across differences and apartness" (4). Such connecting—of, say, Dinah Morris with Hetty Sorrel in her cell, Dorothea with Rosamond, or even the reader with characters in the text—is grounded in the conceit of a general shared humanity, "the assumption that there is fundamental continuity between one-self and what is outside of oneself" (54). Counterpart to communion is the difference imperative. Albrecht describes this as "a love and potential connection based on recognizing and reverencing … the other's insularity, his or her essential remoteness from oneself, and recognizing one's own inability ever fully to comprehend his or her thoughts and feelings" (11). If these two imperatives resonate with readers from the start, it is for a critical reason that interests Albrecht as much as the tracing of these ideas through Eliot's writing. The communion and difference imperatives also correlate with two tendencies in Eliot studies, among critics from F. R. Leavis to the present, who have sought to define the nature of Eliot's ethics. While readers might take issue with some of Albrecht's sorting of scholars, even this arguability seems important. Just as Albrecht is claiming a movement toward the difference imperative, but still in relation to communion, so the ethical critics he considers fall into more general than hardline camps. What is helpful about the distinction between these critical tendencies (which is also mapped in a fairly linear way, over time) is the way it allows readers to see dialectic in action, as well as how trends in readers' perspectives are conditioned by changes in scholarly atmosphere. Albrecht hi
书评:《乔治·艾略特的伦理视野》，作者:托马斯·阿尔布雷希特;Pp. x + 207。阿宾登和纽约:劳特利奇出版社，2020年，售价127.50美元，纸质书39.71美元，电子书37.06美元。托马斯·阿尔布雷希特2020年的专著《乔治·艾略特的伦理视野》在艾略特研究中应运而生。近年来，乔治·艾略特生平和小说的周年纪念活动引发了无数的会议、特别版和书籍，学者们也发现自己在一个特殊问题上的辩论达到了一个有趣的高度:道德。阿尔布雷希特的书在这个主题上的尝试是雄心勃勃的，尤其是在广泛地拥抱艾略特的作品(不仅限于小说，还包括散文、信件、评论和翻译)。然而，更令人印象深刻——也更有帮助——的是他对她作品的伦理批评的具体描述。正如阿尔布雷希特所写，他对艾略特伦理思想的看法是“辩证的”(20)。正如阿尔布雷希特所说，在艾略特的职业生涯中，有两条准则定义了她对道德动机和行为的看法，并且可以批判性地用来评估这种看法是如何随着时间的推移而发展的。它们是共融命令和差异命令。前者被定义为“一种跨越差异和隔离与他人联系和交流的伦理”(4)。这种联系——比如，黛娜·莫里斯与她的牢房里的海蒂·索雷尔，多萝西娅与罗莎蒙德，甚至读者与文本中的人物——是建立在一种普遍的共同人性的自负之上的，“假设自我与自我之外的东西之间存在着基本的连续性”(54)。与共融相对应的是差异命令。阿尔布雷希特将其描述为“一种基于认识和尊重的爱和潜在的联系……对方的孤立，他或她与自己的本质疏远，以及认识到自己无法完全理解他或她的思想和感受”(11)。如果这两个命令从一开始就引起了读者的共鸣，那么阿尔布雷希特感兴趣的一个关键原因，就像通过艾略特的作品追踪这些思想一样。从里维斯(F. R. Leavis)到现在，艾略特研究中的两种倾向都试图界定艾略特伦理学的本质，而这种共通性和差异性也与之相关。虽然读者可能会对阿尔布雷希特对学者的分类提出质疑，但这种可论证性似乎也很重要。正如阿尔布莱希特声称，一场走向差异的运动势在必行，但仍与共融有关，因此，他认为，伦理批评者更倾向于一般，而不是强硬的阵营。这些批判倾向之间的区别(也以相当线性的方式绘制，随着时间的推移)是有帮助的，它允许读者看到辩证法的作用，以及读者观点的趋势如何受到学术氛围变化的影响。阿尔布雷希特本人非常明确地倾向于差异命令——这不仅是目前伦理批评家最主要的兴趣，也是艾略特后来的小说和散文最突出地代表的命令。命令之间的线性-如果也是-辩证的运动反映在Albrecht的书的结构中，特别是关注艾略特早期作品的章节(主要是Adam Bede[1859]和Westminster Review[1824-1914]的文章)。这些文本中关于现实主义的审美义务和伦理义务的论述是众所周知的;艾略特对扩大同情边界的呼吁，以及理想化的(艺术和社会)危险，是阿尔布雷希特迫切需要共融的基础。然而，这些章节中有趣的是，阿尔布雷希特如何展示艾略特自己在仅仅与交流保持一致时的不安。作为现实主义目标的更广泛的同情的产生被艾略特的理解所平衡，艾略特认为这不仅仅是通过模仿，反映现实世界，而是通过调解的视角，艺术家已经同情的视角。正如阿尔布雷希特在他对亚当·比德的讨论中所写的那样，“正如我一直在争论的那样，在有缺陷的镜子的形象中出现了一种矛盾心理。”这种矛盾的心理使……
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Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911123
Reviewed by: The Art of Ruskin and the Spirit of Place by John Dixon Hunt Christiana Payne (bio) The Art of Ruskin and the Spirit of Place, by John Dixon Hunt; pp. 286. London: Reaktion Books, 2020, $50.00, $50.00 paper, $50.00 ebook. John Ruskin drew constantly and compulsively throughout his life, only ceasing to do so after his final mental collapse in 1889. Several thousand of his drawings survive, covering the vast range of his interests. The Art of Ruskin and the Spirit of Place sets out to consider him as a topographer, responding to the spirit of a place—its genius loci. Familiar from the history of landscape gardening, this term can be appropriately applied to Ruskin's drawings, both because he was very much aware of the way geology, climate, and historical events shaped places, but also because the places he drew aroused his own deep emotions. Some of his favorite locations, such as Chamonix, were associated with happy travels in his youth with his parents; others, such as Abbeville and Venice, mingled pain and pleasure. They gave him pleasure in the achievements of the Gothic and early Renaissance builders and craftsmen, pain in the knowledge of the decay wrought by neglect and ill-judged renovation. Other landscapes, such as mountain peaks and passes, induced a melancholy born of the knowledge of the human tragedies they so often witnessed. John Dixon Hunt, Emeritus Professor of the History and Theory of Landscape at the University of Pennsylvania, is well placed to write on this topic. He has had a long and distinguished career as an authority on English literature and garden design. His biography of Ruskin, The Wider Sea: A Life of John Ruskin, was published in 1982 (the dust jacket erroneously dates it to 1992), and in 1985 he founded the academic journal Word & Image (1985–present), which focuses on the relationship between the visual and the verbal. In this book he sets out to show that Ruskin's drawings should be considered not merely illustrative of what he wrote, but as the evidence of practices that shaped his way of thinking and writing. They represent "one means of access to his astonishing imagination" (11). The chapters cover the relationship between drawing and writing in Ruskin's work, his idea of the picturesque, his education as a draughtsman, and his own teaching of drawing. There are separate chapters on Venice and on two of Ruskin's major concerns in landscape: geology and water, the latter including clouds and climate change. Hunt [End Page 331] emphasizes the importance of Ruskin's early experiences. On travels with his parents, he was encouraged to record his impressions both verbally and visually, leading to a constant interplay in his work between writing and drawing. In 1829, when he was ten, his father gave him a set of fifty minerals of the Lake District, beginning his lifelong interest in geology. For his thirteenth birthday, his father's business partner gave him Samuel Rogers's Italy, a Poem (1822), with
{"title":"The Art of Ruskin and the Spirit of Place by John Dixon Hunt (review)","authors":"","doi":"10.2979/vic.2023.a911123","DOIUrl":"https://doi.org/10.2979/vic.2023.a911123","url":null,"abstract":"Reviewed by: The Art of Ruskin and the Spirit of Place by John Dixon Hunt Christiana Payne (bio) The Art of Ruskin and the Spirit of Place, by John Dixon Hunt; pp. 286. London: Reaktion Books, 2020, $50.00, $50.00 paper, $50.00 ebook. John Ruskin drew constantly and compulsively throughout his life, only ceasing to do so after his final mental collapse in 1889. Several thousand of his drawings survive, covering the vast range of his interests. The Art of Ruskin and the Spirit of Place sets out to consider him as a topographer, responding to the spirit of a place—its genius loci. Familiar from the history of landscape gardening, this term can be appropriately applied to Ruskin's drawings, both because he was very much aware of the way geology, climate, and historical events shaped places, but also because the places he drew aroused his own deep emotions. Some of his favorite locations, such as Chamonix, were associated with happy travels in his youth with his parents; others, such as Abbeville and Venice, mingled pain and pleasure. They gave him pleasure in the achievements of the Gothic and early Renaissance builders and craftsmen, pain in the knowledge of the decay wrought by neglect and ill-judged renovation. Other landscapes, such as mountain peaks and passes, induced a melancholy born of the knowledge of the human tragedies they so often witnessed. John Dixon Hunt, Emeritus Professor of the History and Theory of Landscape at the University of Pennsylvania, is well placed to write on this topic. He has had a long and distinguished career as an authority on English literature and garden design. His biography of Ruskin, The Wider Sea: A Life of John Ruskin, was published in 1982 (the dust jacket erroneously dates it to 1992), and in 1985 he founded the academic journal Word & Image (1985–present), which focuses on the relationship between the visual and the verbal. In this book he sets out to show that Ruskin's drawings should be considered not merely illustrative of what he wrote, but as the evidence of practices that shaped his way of thinking and writing. They represent \"one means of access to his astonishing imagination\" (11). The chapters cover the relationship between drawing and writing in Ruskin's work, his idea of the picturesque, his education as a draughtsman, and his own teaching of drawing. There are separate chapters on Venice and on two of Ruskin's major concerns in landscape: geology and water, the latter including clouds and climate change. Hunt [End Page 331] emphasizes the importance of Ruskin's early experiences. On travels with his parents, he was encouraged to record his impressions both verbally and visually, leading to a constant interplay in his work between writing and drawing. In 1829, when he was ten, his father gave him a set of fifty minerals of the Lake District, beginning his lifelong interest in geology. For his thirteenth birthday, his father's business partner gave him Samuel Rogers's Italy, a Poem (1822), with","PeriodicalId":45845,"journal":{"name":"VICTORIAN STUDIES","volume":"67 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135448335","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 : 2023-01-01DOI: 10.2979/vic.2023.a911139
Reviewed by: The Moxon Tennyson: A Landmark in Victorian Illustration by Simon Cooke Richard L. Stein (bio) The Moxon Tennyson: A Landmark in Victorian Illustration, by Simon Cooke; pp. xvii + 236. Athens, Ohio: Ohio University Press, 2021, $80.00, $79.99 ebook. Simon Cooke's detailed account of the famous 1857 illustrated edition of Alfred Tennyson's works, "the Moxon Tennyson," as it has long been known in tribute to its organizer and publisher, sets out to "modernize" our understanding of the book (3). This means, in part, acknowledging the work of the "multiple hands" that contributed to its making, including the publisher, engravers, binding designer, and "the technicians who produced the material object" (34, 3). It also means recognizing the edition as a product of consumer culture, an elegant volume that helped create the market for lavish gift books in the decades to come. Primarily, modernization means reconsidering what often has been called (by me, among others) the Pre-Raphaelite Tennyson, replacing a traditional narrative of Pre-Raphaelite "dominance" of its visual contents with a balanced survey of a book "illustrated by eight, rather than three, artists" (3). The result is impressive. The Moxon Tennyson: A Landmark in Victorian Illustration thoroughly considers all the contributing artists, analyzing all fifty-four engravings and exploring how they respond to and illuminate qualities of Tennyson's verse. Emphasizing those qualities (rather than, for instance, following an illustrator-by-illustrator or illustration-by-illustration approach) produces a new sense of the book's significance. Cooke considers particular examples and cumulative effects, connected patterns of illustration that comprise "an extended visual montage designed to complement and enrich the writer's messages in the form of a binary or dual text" (189). If "designed" seems too intentional (I will return to it below), the strategy is nuanced: reading illustrations in sequences, as related series of extended commentary. The sense of sequence produces some of the best readings of the book—of individual illustrations, groups of related images, even poems that require reconsideration in light of the emphases illustrations create. The Moxon artists were "remarkably unified in their approach to Tennyson's primary concerns and provide a coherent interpretation of key aspects of the verse" (55). Cooke reads back and forth between poems and images, not so much to determine the accuracy of visual details as to recognize elements of Tennyson's work that stimulated and profited from visual representation. Cooke organizes his book around those elements: motifs like time or light, medievalism or landscape, Englishness or gender. The illustrations highlight and explore these patterns in the poetry. Cooke's approach makes it possible to appreciate how even a painter like John Callcott Horsley, "often disparaged as the weakest of the Moxon [End Page 367] artists," develops an inte
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Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911138
Reviewed by: The Novels of Frances Hodgson Burnett: In "the World of Actual Literature" by Thomas Recchio Frances E. Dolan (bio) The Novels of Frances Hodgson Burnett: In "the World of Actual Literature", by Thomas Recchio; pp. vii + 230. London and New York: Anthem, 2020, $125.00, $40.00 paper, $40.00 ebook, £80.00, £25.00 paper, £25.00 ebook. As The Novels of Frances Hodgson Burnett: In "the World of Actual Literature" demonstrates, Frances Hodgson Burnett commands our attention not only as an enduringly popular children's author but also as a writer who defies categorizations that still structure curricula and bestseller lists. Born in Manchester, she emigrated with her widowed mother to Tennessee in 1865, when she was sixteen years old. Throughout her career, Burnett was as much an American writer as a British one. She wrote plays as well as novels and stories. Although she wrote more novels for adults than she did for children, those novels have been relatively little discussed. Thomas Recchio's book aspires to correct this oversight and to make the case for Burnett's worth as a serious novelist, a case that he argues has been stalled by her very success and visibility as a writer for children. The phrase in the book's subtitle, "in 'the world of actual literature,'" is one Recchio adopts from Burnett, and it suggests that children's literature is not actual literature, a dated assumption but still one against which the authors, teachers, and critics of children's literature must contend (23). Whether Burnett's adult fiction is actually more literary than her novels for children, the novels repay sustained attention. Recchio offers detailed readings of most of Burnett's fourteen adult novels (by his count), which he organizes into five roughly chronological clusters grouped by genre and topic (including British, mid-Victorian domestic realism in Burnett's first novels; regional American social realism in the 1880s; historical fiction in the 1890s; novels about transatlantic marriages in the early twentieth century; and, finally, her post-World War I modernist romances). Simply summarizing Recchio's structure suggests how Burnett wrote across genres and across periods. Recchio bookends his study by reading Burnett against Elizabeth Gaskell in the first chapter and T. S. Eliot in the last. Recchio is particularly concerned with challenging two widely repeated narratives about Burnett. First, he challenges the notion that critics lost respect for Burnett [End Page 365] following the boom and bust of her children's novel Little Lord Fauntleroy (1885–86), which was hugely popular upon its publication but later disdained as sentimental. While the novel has not stood the test of time quite as well as A Little Princess (1905) or The Secret Garden (1911), it also was not, he argues, a watershed in terms of critical reception of Burnett's work. Second, Recchio is at pains to argue that Burnett did not lose her creative ambition as a writer or shift he
弗朗西丝·霍奇森·伯内特的小说:在“现实文学的世界”中，作者:托马斯·雷奇奥Pp. vii + 230伦敦和纽约:Anthem, 2020, 125美元，40美元纸质版，40美元电子书，80英镑，25英镑纸质版，25英镑电子书。正如弗朗西丝·霍奇森·伯内特的小说:在“真实文学的世界”中所展示的那样，弗朗西丝·霍奇森·伯内特不仅是一位经久不衰的受欢迎的儿童作家，而且是一位不按课程和畅销书排行榜进行分类的作家。她出生在曼彻斯特，1865年她16岁时随丧偶的母亲移民到田纳西州。在她的整个职业生涯中，伯内特既是一位美国作家，也是一位英国作家。她既写小说也写剧本。虽然她为成人写的小说比为儿童写的小说多，但这些小说相对来说很少被讨论。托马斯·雷奇奥(Thomas Recchio)的书渴望纠正这种疏忽，并证明伯内特作为一名严肃小说家的价值。他认为，伯内特作为一名儿童作家的成功和知名度，阻碍了她的价值。书的副标题中的短语“在‘真实的文学世界’”是雷奇奥从伯内特那里引用的，它表明儿童文学不是真实的文学，这是一个过时的假设，但仍然是儿童文学的作者、教师和评论家必须反对的。无论伯内特的成人小说是否真的比她的儿童小说更具文学性，她的小说都值得持续关注。雷奇奥详细阅读了伯内特的14部成人小说中的大部分(根据他自己的统计)，他将这些小说按类型和主题大致按时间顺序分成了五组(包括伯内特第一部小说中的英国、维多利亚中期的家庭现实主义;19世纪80年代美国地区社会现实主义;19世纪90年代的历史小说;二十世纪早期关于跨大西洋婚姻的小说;最后是她在一战后的现代主义爱情小说)。简单地总结一下《雷奇奥》的结构，就能看出伯内特是如何跨流派、跨时期写作的。雷奇奥在第一章读伯内特和伊丽莎白·盖斯凯尔，在最后一章读t·s·艾略特，以此结束他的学习。雷奇奥特别关注挑战关于伯内特的两种被广泛重复的叙述。首先，他挑战了评论家对伯内特失去尊重的观念，因为她的儿童小说《小爵爷方特勒罗伊》(1885-86)在出版时大受欢迎，但后来被鄙视为感怀。虽然这部小说没有像《小公主》(1905)或《秘密花园》(1911)那样经受住时间的考验，但他认为，就评论界对伯内特作品的接受而言，它也不是一个分水岭。其次，雷奇奥煞费苦心地指出，伯内特并没有失去作为一名作家的创作抱负，也没有把她的注意力只转移到利润上，而是一直投入到美学成就上，直到她的职业生涯结束。他认为，如果说有什么变化的话，那也不是在伯内特本人身上，而是在人们对她作为通俗小说女作家的看法上，她是一个被贬低的群体。雷奇奥认为，人们越认同她的性别，她就越难以赢得尊重。让我特别关注一下关于历史小说的那一章，“历史梦境与阶级变迁:从一位有品质的女士到瓦尔德赫斯特夫人的方法。”正如雷奇奥所指出的那样，伯内特在写浪漫故事的时候，对它们的传统并不感兴趣，通常更关注女性主角，而不是男性或夫妻。这一点对于《品质淑女》(1896)中非凡的女主角克洛琳达·怀尔德威尔来说尤其如此，当代评论家以色列·赞格威尔称赞她“尼采式的个人主义”(1994)。雷奇奥认为这部小说是“一次思想实验”，“不是一部哲学小说，而是一部历史小说，在时间上有足够的距离，可以毫无保留地处理社会敏感材料”(94)。雷奇奥正确地放弃了历史不准确的问题，赋予历史小说更有趣的功能，用过去来……
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Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911120
Reviewed by: The Figure of Christ in the Long Nineteenth Century ed. by Elizabeth Ludlow Alison Jack (bio) The Figure of Christ in the Long Nineteenth Century, edited by Elizabeth Ludlow; pp. xvii + 276. London: Palgrave MacMillan, 2020, £79.99, $119.99, $89.00 ebook. The Figure of Christ in the Long Nineteenth Century is a rich collection of responses to the complex question of the significance of Jesus Christ in creative contexts across the long nineteenth century. The interdisciplinary range is extensive, covering multiple genres of literature and the visual arts, and the critical tools used to explore the topic are equally diverse. Throughout, contributors resist easy responses to the question and chart shifting, nuanced positions in illuminating ways. Elizabeth Ludlow offers an overview of her edited volume in the first chapter, which highlights the structure and approach of what is to follow. The chapters are organized roughly in chronological order, under eight thematic sections made up of two chapters each. The themes covered offer a clear indication that this volume is seeking understandings of Christ in contexts that are both well-trodden and novel. The eight sections are entitled: "William Blake and Visionary Revelation"; "Textual and Visual Fragmentation and the Form of the Vortex"; "The Incarnation and the Redemptive Role of Art"; "The [End Page 325] Figure of Christ in Tractarian Theology"; "The Ecological Jesus and the Good Shepherd"; "Figures of Christ in the Victorian Novel"; "Renewing the Social Order and Imagining the Church of the Future"; and "Christological Fictions of the Late Nineteenth Century." Within these sections, the work of canonical figures such as George Eliot and Elizabeth Gaskell is well represented, but so too is the less well-known work of writers such as Felicia Hemans ("Casabianca" [1826]), Gerald Massey (Voices of Freedom and Lyrics of Love [1851]), Marie Corelli (The Master-Christian [1900]), and Edmund Gosse (The Secret of Narcisse: A Romance [1892]). Many of the chapters draw on the recently published work of major scholars of Victorian studies. A good example of this is Emma Mason's chapter on Christina Rossetti's ecological perspective, which offers an accessible and focused development of aspects of her 2018 volume, Christina Rossetti: Poetry, Ecology, Faith. Here Mason argues persuasively that Rossetti's fascination with Christ's Sermon on the Mount, and the phrase "consider the lilies" (Matthew 6:28) in particular, offers a case study that illuminates Rossetti's ahead-of-her-time approach to Christ as ecological hero (149). As Mason asserts, in her poetry, "Rossetti ultimately elevates Jesus as a being who is both human and lily, and who directs the former to consider the latter as an epitome of compassion and peace" (151). The language of flowers is transformed into a Christological call to defend the weak against those in power. A particular strength of the volume is its determinedly dialogical ra
《漫长的十九世纪的基督形象》，伊丽莎白·勒德洛编辑;第17 + 276页。伦敦:Palgrave MacMillan出版社，2020年版，79.99英镑，119.99美元，电子书89.00美元。《漫长的19世纪中的基督形象》是对耶稣基督在整个漫长的19世纪的创作环境中的重要性这一复杂问题的丰富回答。跨学科的范围是广泛的，涵盖了多种类型的文学和视觉艺术，用于探索这个主题的关键工具也同样多样化。在整个过程中，贡献者拒绝简单地回答问题，并以启发性的方式改变和微妙的立场。伊丽莎白·勒德洛(Elizabeth Ludlow)在第一章中概述了她编辑的卷，强调了接下来的结构和方法。这些章节大致按时间顺序组织，分为八个主题部分，每个部分由两章组成。所涵盖的主题提供了一个明确的指示，这卷是寻求理解基督的背景下，既老生常谈和新颖。这八个部分的标题是:“威廉·布莱克与异象启示”;“文本与视觉的碎片化与漩涡的形式”“艺术的化身与救赎作用”《特拉克托主义神学中的基督形象》;“生态耶稣和好牧人”;“维多利亚时代小说中的基督形象”;“更新社会秩序与想象未来教会”;以及《19世纪晚期的基督小说》在这些章节中，乔治·艾略特和伊丽莎白·盖斯凯尔等权威人物的作品得到了很好的代表，但也有一些不太知名的作家的作品，如费利西亚·赫曼斯(《卡萨利亚卡》[1826])、杰拉尔德·梅西(《自由之声》和《爱的歌词》[1851])、玛丽·科雷利(《基督教徒大师》[1900])和埃德蒙·戈斯(《Narcisse的秘密:浪漫故事》[1892])。许多章节借鉴了维多利亚时代研究的主要学者最近发表的作品。一个很好的例子是艾玛·梅森(Emma Mason)关于克里斯蒂娜·罗塞蒂(Christina Rossetti)生态视角的章节，该章节对她2018年出版的《克里斯蒂娜·罗塞蒂:诗歌、生态、信仰》(Christina Rossetti: Poetry, Ecology, Faith)一书的各个方面进行了深入而集中的阐述。在这里，梅森令人信服地论证了罗塞蒂对基督在山上的布道的迷恋，尤其是“想想百合花”(马太福音6:28)这句话，提供了一个案例研究，阐明了罗塞蒂对基督作为生态英雄的领先方法(149)。正如梅森在她的诗中所断言的那样，“罗塞蒂最终将耶稣提升为一个既是人又是百合花的存在，并引导前者将后者视为同情与和平的缩影”(151)。花朵的语言被转化为基督的召唤，以保护弱者对抗当权者。这本书的一个特别之处在于它在其贡献中坚定地采用对话而不是对立的方式。多个章节指的是卷中其他章节的各个方面，这表明编辑在后勤方面的努力令人印象深刻。在这个卷内讨论中，一个特别值得注意的线索是威廉·霍尔曼·亨特(William Holman Hunt)的画作《世界之光》(the Light of the World, 1851-53)中对耶稣的描绘中女性和男性的综合。这幅画装饰了书的封面，耶稣神秘的脸引人注目地捕捉到了基督化身的引人注目但又虚幻的表现，这是十九世纪和现在的作家们共同努力的。很少有人试图达成一个既定的观点，观点的多样性受到赞扬，而不是受到质疑。利安·沃特斯(Leanne Waters)在她的“维多利亚晚期小说中的基督儿童、情感和情节戏剧模式”一章中，都强调并证明了这本书的功能之一是探索19世纪基督论的多样性和重要范围，并认识到，“19世纪不是一个充满怀疑和叛教的时代，而是一个充满竞争、异类信仰(和活跃的非信仰)体系的时代。”这里的章节允许读者探索沃特斯所说的“宗教重新谈判”，这是在整个19世纪进行的所有混乱和复杂，而不是被迫进入一个……
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Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911121
Reviewed by: Censorship and the Representation of the Sacred in Nineteenth-Century England by Jan-Melissa Schramm Christopher Hilliard (bio) Censorship and the Representation of the Sacred in Nineteenth-Century England, by Jan-Melissa Schramm; pp. xii + 266. Oxford: Oxford University Press, 2019, £74.00, $99.00. Plays were subject to official censorship in Britain until 1968. The Lord Chamberlain vetoed some plays outright and demanded changes to many others before granting a license. One of the rules of theater censorship, grounded in the traditions of the Lord Chamberlain's office rather than any express provision in the statutes of 1606 and 1737 that still authorized the licensing of plays at the beginning of the nineteenth century, was a prohibition on representations of divinity. This ban spilled over into plays based on biblical stories that did not explicitly feature God or Christ. The Lord Chamberlain was not guided by public opinion, but many nineteenth-century critics without a stake in the licensing system expressed variations on Elizabethan and Jacobean concerns about the sensuous power of drama and countervailing Elizabethan and Jacobean objections that representing the sacred on stage, with all-too-human actors impersonating Christ or scriptural figures, was inescapably trivializing and blasphemous. The Reformation's expulsion of God and the Bible from the English stage persisted through the nineteenth century alongside the profusion of fictional and poetic treatments of biblical subjects, including bestselling novels like Lew Wallace's Ben-Hur (1880), flagrantly subtitled "A Tale of the Christ," and Marie Corelli's Barabbas: A Dream of the World's Tragedy (1893). The novelist Hall Caine told one of the periodic and largely inconsequential inquiries into theater censorship that, in an age of mass literacy, "a delicate scene in a novel is immeasurably more dangerous than it could be on stage. … The novel gets very much closer to the reader than the scene on stage gets to its spectator" (Caine qtd. in Schramm [End Page 327] 196). Jan-Melissa Schramm is interested in "exactly what the Victorians still found provocative about dramatic form" (10). Despite its title, Schramm's Censorship and the Representation of the Sacred in Nineteenth-Century England is not primarily about censorship (or self-censorship). Her guiding themes are, first, the larger Protestant cultural complex militating against the theatrical representation of the sacred—or the biblical—and the ways this complex was challenged by the mid-nineteenth-century revival of religious ceremonies by the Tractarians and newly emancipated Catholics; and, second, the ways dramatic conventions and Catholic traditions registered in the Victorian novel. Critics wary of Catholicism, like Anna Jameson in Sacred and Legendary Art (1848), began to consider the recuperation of pre-Reformation Catholic forms of beauty. Playwrights and those who might anachronistically be called cultural hist
《19世纪英国的审查制度与神圣的表现》作者:Jan-Melissa Schramm;Pp. xii + 266牛津:牛津大学出版社，2019,74.00英镑，99美元。直到1968年，英国的戏剧都受到官方的审查。张伯伦勋爵直接否决了一些戏剧，并在颁发许可证之前要求对其他许多戏剧进行修改。戏剧审查的规则之一，是禁止神的表现，这一规则是基于张伯伦勋爵办公室的传统，而不是在1606年和1737年的法规中明确规定的，这些法规在19世纪初仍然授权戏剧的许可。这一禁令蔓延到基于圣经故事的戏剧中，这些故事没有明确地以上帝或基督为主角。张伯伦不受公众舆论的引导，但许多与许可制度无关的19世纪评论家表达了伊丽莎白和雅各比时代对戏剧感官力量的不同看法，并反驳了伊丽莎白和雅各比时代的反对意见，认为在舞台上表现神圣，让太过人性的演员模仿基督或圣经人物，是不可避免的轻视和亵渎。宗教改革将上帝和《圣经》逐出英国舞台的行为持续了整个19世纪，与此同时，大量对《圣经》主题的虚构和诗歌处理也层出不穷，包括卢·华莱士(Lew Wallace)的《宾虚》(Ben-Hur, 1880)和玛丽·科雷利(Marie Corelli)的《巴拉巴:世界悲剧之梦》(Barabbas: A Dream of The World’s Tragedy, 1893)等畅销小说。小说家霍尔·凯恩(Hall Caine)在一次针对戏剧审查制度的定期调查中说，在一个大众识字的时代，“小说中的微妙场景比舞台上的危险得多。”小说离读者的距离比舞台上的场景离观众的距离要近得多”(凯恩)。in Schramm [End Page 327] 196)。简-梅丽莎·施拉姆感兴趣的是“维多利亚时代对戏剧形式的挑衅”。尽管书名如此，施拉姆的《审查制度和19世纪英国神圣的表现》主要不是关于审查制度(或自我审查)的。她的指导主题是，首先，更大的新教文化综合体与神圣或圣经的戏剧表现相抵触，以及这种综合体受到19世纪中期宗教仪式复兴的挑战，这些复兴是由特拉克特派和新解放的天主教徒发起的;第二，戏剧传统和天主教传统在维多利亚时代小说中的体现。对天主教持谨慎态度的批评家，如Anna Jameson在《神圣与传奇艺术》(Sacred and Legendary Art, 1848)一书中，开始考虑宗教改革前天主教美的复兴。剧作家和那些可能在不合时代的情况下被称为文化历史学家的人开始问，对基督的戏剧表现能否在不陷入偶像崇拜或贬低的情况下，利用化身的共鸣。施拉姆这本书的核心是对宗教改革前的戏剧——切斯特、考文垂和韦克菲尔德/托纳利神秘戏剧循环——的恢复。这场复兴涉及各种各样的古物学家和学者，以及激进的威廉·霍恩(William Hone)，他在亵渎诽谤的指控(因为发表使用礼拜仪式形式的政治模仿)被无罪释放后，对英国模仿的历史进行了研究。这使他对狂欢节产生了兴趣，并开始编辑中世纪的游行和戏剧。施拉姆将神秘剧作为艺术的复兴追溯到剧作家和学者亨利·哈特·米尔曼，他为神秘剧的神圣与世俗的混合辩护，认为这是白话化过程的一部分。米尔曼对它们对19世纪观众的影响感到不安，其中可能包括非信徒;1860年(77年)，在奥伯拉默高(Oberammergau)看了《激情》(Passionsspiele)后，他改变了主意，决定“即使是《新约》中的事件也可以在舞台上得到有力和尊重的对待”。巴伐利亚激情歌剧每十年演出一次。施拉姆有一章讲述了1850年至1890年(从安娜·玛丽·霍伊特到杰罗姆·k·杰罗姆)观看每一场演出的英国游客，以及他们对所目睹的一切的反思。英国人对奥伯阿默高戏剧的讨论，以及威廉·普尔、弗雷德里克·詹姆斯·弗尼瓦尔在维多利亚晚期的创作……
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Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911110
Reviewed by: Colonial Law in India and the Victorian Imagination by Leila Neti, and: Disaffected: Emotion, Sedition, and Colonial Law in the Anglosphere by Tanya Agathocleous Laura Lammasniemi (bio) Colonial Law in India and the Victorian Imagination, by Leila Neti; pp. xi + 230. Cambridge: Cambridge University Press, 2021, £75.00, $103.00, $29.99 paper, $29.99 ebook. Disaffected: Emotion, Sedition, and Colonial Law in the Anglosphere, by Tanya Agathocleous; pp. xx + 211, Ithaca, New York: Cornell University Press, 2021, $125.00, $26.95 paper, $17.99 ebook. How were colonial laws depicted in Victorian press, literature, and cartoons? How did these cultural depictions shape the British colonial project, and what impact did they have on the ways in which imperial legal expansion was imagined? Recently, two important books have been published that explore these questions, as well as the cultural and literary dimensions of British colonial expansion and the expansion of colonial law in the Indian context: Colonial Law in India and the Victorian Imagination (2021) by Leila Neti and Disaffected: Emotion, Sedition, and Colonial Law in the Anglosphere (2021) by Tanya Agathocleous. Both books focus on the Victorian imagination, legal or cultural, and Neti's book in particular reveals the limits of that imagination when it comes to colonial law and judiciary. In Colonial Law in India and the Victorian Imagination, Neti reads carefully selected appeal cases heard in the Judicial Committee of the Privy Council together with a series of classic Victorian literary texts such as Great Expectations (1861) by Charles Dickens to analyze three distinct themes: criminality, temporality of caste, and adoption and inheritance. By reading judgments as text and focusing on the narratives within judgments and colonial law, she is able to show us the cultural connotations of these laws and their long-lasting impact. In relation to the first theme, Neti explores different representations of criminality in the wake of colonial legal expansion. As laws and notions of punishment in colonial India became unmoored from those in England, so did ideas and imagination regarding criminality. Indian criminality, such as that in Philip Meadows Taylor's Confessions of a Thug (1839), was represented as inherent and irredeemable, whereas English criminality, represented by Magwitch from Great Expectations, was more humanized, with the potential for redemption and rehabilitation. These perceptions of criminality had, of course, wider ramifications in justifying the colonial project and in the denial of legal and other forms of subjecthood to those colonized due to the "inability of the Indian to develop into the citizen" (90). This notion of subjecthood and relation to one's family as much as to the state that governs us comes to the fore again in the final theme, adoption and inheritance. Yet, as compelling as the ideas of subjecthood and belonging are, I must focus on the second theme:
《印度的殖民法和维多利亚时代的想象》，莱拉·内蒂著;《不满:英语圈的情感、煽动和殖民法》，塔尼娅·拉玛斯涅米著;《印度的殖民法和维多利亚时代的想象》，莱拉·内蒂著;Pp. xi + 230剑桥:剑桥大学出版社，2021年，75英镑，103.00美元，纸本29.99美元，电子书29.99美元。《不满:英语世界的情绪、煽动和殖民法》，坦尼娅·阿加托克勒斯著;pp. xx + 211，伊萨卡，纽约:康奈尔大学出版社，2021年，125.00美元，纸质书26.95美元，电子书17.99美元。维多利亚时代的报刊、文学作品和漫画是如何描述殖民地法律的?这些文化描述是如何塑造英国殖民计划的?它们对帝国法律扩张的想象方式有什么影响?最近，出版了两本重要的书，探讨了这些问题，以及英国殖民扩张的文化和文学维度以及印度背景下殖民法的扩张:Leila Neti的《印度的殖民法和维多利亚时代的想象》(2021)和Tanya Agathocleous的《不满:英语圈中的情感、煽动和殖民法》(2021)。这两本书都聚焦于维多利亚时代的想象，无论是法律还是文化，而内蒂的书尤其揭示了这种想象在殖民地法律和司法方面的局限性。在《印度的殖民法和维多利亚时代的想象》一书中，内蒂精心挑选了枢密院司法委员会审理的上诉案件，并结合查尔斯·狄更斯的《伟大的期望》(1861)等一系列维多利亚时代的经典文学作品，分析了三个截然不同的主题:犯罪、种姓制度的暂时性、收养和继承。通过将判决书作为文本阅读，并关注判决书和殖民法中的叙事，她能够向我们展示这些法律的文化内涵及其持久的影响。关于第一个主题，内蒂探讨了殖民法律扩张后犯罪的不同表现形式。随着殖民地印度的法律和惩罚观念与英国的法律和观念的分离，关于犯罪的观念和想象也随之改变。印度人的犯罪行为，如菲利普·梅多斯·泰勒的《一个暴徒的自白》(1839)，被描绘成固有的、不可救药的，而英国人的犯罪行为，如《远大前程》中的马格韦契，则更为人性，具有救赎和改造的潜力。当然，这些对犯罪行为的看法在为殖民计划辩护以及由于“印第安人无法发展成为公民”而否认被殖民者的法律和其他形式的主体性方面产生了更广泛的影响(90)。这种主体性的概念以及与家庭的关系以及与统治我们的国家的关系在最后一个主题，收养和继承中再次出现。然而，尽管主体性和归属感的观点令人信服，我必须关注第二个主题:种姓制度的暂时性。正是在这些关于时间性的章节中，内蒂对维多利亚时代的文学、文化和法律研究领域做出了重要贡献。她认为，由于殖民地法院以司法决策和他们自己的决定为中心，他们远离了习俗和当地历史。法院“实质上使印度人对过去的概念变得无关紧要，同时也确保未来将继续受到英国决定的逻辑的影响”(119)。通过这一强有力的观察，内蒂展示了殖民地的法律扩张如何超越了法律移植，增加了司法机构的权力，最终导致了整个法律和政治体系的转变。特别是，它允许英国人制造印度教传统，一个新的种姓历史，并改变对时间性的看法。对被称为普通法体系基石的缓慢的法律先例的分析，以及它改变集体想象的方式，然后根据威尔基·柯林斯的《月光石》(1868)来阅读。有时，《月光石》被内蒂对时间性和先例主义的出色解读所遮蔽，但这反映了她对时间性的观察的重要性，而不是文学分析中的任何弱点。表面上看，塔尼娅·阿加托克勒斯的《不满:英语世界的情感、煽动和殖民法》……
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Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911125
Reviewed by: Ordinary Masochisms: Agency and Desire in Victorian and Modernist Fiction by Jennifer Mitchell Alison M. Downham Moore (bio) Ordinary Masochisms: Agency and Desire in Victorian and Modernist Fiction, by Jennifer Mitchell; pp. x + 216. Gainesville: University Press of Florida, 2020, $85.00. Jennifer Mitchell's Ordinary Masochisms: Agency and Desire in Victorian and Modernist Fiction systematically applies the sexological category of masochism to eight nineteenth- and twentieth-century literary works, following the recent trend in literary studies of using such terms to parse fiction referring to the torturous aspects of love and attraction. Doing so, though, risks reducing the intricacies, subtleties, and plenitude of Victorian portraits of paradoxical motive, internal conflict, and sensory tension. While masochism and sadomasochism were downgraded in the Diagnostic Statistical Manual of the American Psychiatric Association in 2013 in the view that such things were no longer to be considered necessarily pathological, masochism is still held to have exquisite heuristic value among literary scholars influenced by Gilles Deleuze's ahistorical reading of the historian and novelist Leopold von Sacher-Masoch in the 1967 essay Coldness and Cruelty. From the 1940s to the 1970s, masochism became an important concept for Austrian and German psychoanalysts migrating to the United States, and in the 1980s and 1990s it re-emerged as an object of American feminist critique before blossoming as a symbol of postmodern sexuality in Anglophone critical theory. Mitchell leans on all these [End Page 335] twentieth-century iterations of the concept of masochism, "ahistorically" reading it back onto works of Victorian fiction (33). Intriguing though the idea is of a"transhistorical lineage of masochistic subjectivities," this book provides little sense of how writers such as Charlotte Brontë and George Moore could have engaged in an "anticipation of clinical discourse," how Brontë "theorizes masochism even before it is named," or even more anachronistically, how Octave Mirbeau "mimics many of what Deleuze claims as the core components of masochism" (16, 41, 56, 97). The chapters on Brontë's Villette (1853), Moore's A Drama in Muslin (1886) and D. H. Lawrence's The Rainbow (1915) are those most likely to interest readers of this journal, while those on Jean Rhys's Quartet (1928) and on Ian McEwan's The Comfort of Strangers (1981) fall outside the Victorian era. Mitchell's claim is that all these works are related through their common inheritance of a masochistic genealogy, which also includes two renowned French works, Mirbeau's The Torture Garden (1899) and Pauline Réage's The Story of O (1954), as well as Sacher-Masoch's novel Venus in Furs (1870), which originally inspired the Viennese psychiatrist Richard von Krafft-Ebing's slanderous medical neologism of 1886, using Masoch's name. There are several references to the "literary roots" of masochism and "t
《普通受虐狂:维多利亚和现代主义小说中的能动性和欲望》，作者:詹妮弗·米切尔;p. x + 216。盖恩斯维尔:佛罗里达大学出版社，2020年，85美元。詹妮弗·米切尔的《普通受虐狂:维多利亚和现代主义小说中的代理和欲望》系统地将受虐狂的性学范畴应用于八部19世纪和20世纪的文学作品，遵循了最近文学研究的趋势，即使用这些术语来解析涉及爱情和吸引力的折磨方面的小说。然而，这样做可能会降低维多利亚时代对矛盾动机、内部冲突和感官紧张的刻画的复杂性、微妙性和丰富性。虽然受虐和施虐在2013年美国精神病学协会的诊断统计手册中被降低了，认为这类事情不再被认为是必然的病态，但受吉尔·德勒兹(Gilles Deleuze)对历史学家和小说家利奥波德·冯·萨切尔·马索克(Leopold von Sacher-Masoch) 1967年的论文《冷酷与残忍》(cold and Cruelty)的非历史解读的影响，受虐在文学学者中仍然被认为具有出色的启发性价值。从20世纪40年代到70年代，受虐成为移居美国的奥地利和德国精神分析学家的一个重要概念，在20世纪80年代和90年代，它再次成为美国女权主义批评的对象，然后在英语批评理论中作为后现代性行为的象征开花结果。米切尔依靠所有这些20世纪对受虐狂概念的重复，“非历史地”把它读回维多利亚时代的小说作品(33)。虽然“受虐狂主观性的跨历史谱系”这个想法很有趣，但这本书几乎没有提供像夏洛特Brontë和乔治摩尔这样的作家是如何参与“临床话语的预期”的，Brontë是如何“在受虐狂被命名之前就将其理论化”的，甚至更过时的是，Octave Mirbeau是如何“模仿德勒兹所声称的许多受虐狂的核心组成部分”的(16、41、56、97)。关于Brontë的《维莱特》(1853)、摩尔的《穆斯林戏剧》(1886)和d·h·劳伦斯的《彩虹》(1915)的章节最有可能引起读者的兴趣，而关于让·里斯的《四重奏》(1928)和伊恩·麦克尤恩的《陌生人的安慰》(1981)的章节则不属于维多利亚时代。米切尔的说法是，所有这些作品都是通过共同继承受虐谱系而联系在一起的，其中还包括两部著名的法国作品，米尔博的《酷刑花园》(1899年)和波琳·雷姆萨奇的《O的故事》(1954年)，以及萨赫-马索克的小说《穿皮衣的维纳斯》(1870年)，该小说最初启发了维也纳精神病学家理查德·冯·克拉福-埃宾在1886年使用马索克的名字创造了诽辱性的医学新词。有几处提到了受虐狂的“文学根源”和“文学与性学之间的牢固联系”(14,85)。但目前尚不清楚米切尔认为这种联系的本质是什么。这肯定比性学家仅仅将已经在知名文学作品中充分塑造的性类型正式化要复杂得多。我们被告知，“文学作品想象变态，伪科学作品编纂变态”(89)。但这并不能说明文学和性学是如何参与米歇尔·福柯所谓的“话语的刺激”(Histoire de la sexualit， vol. 1 [Gallimard, 1976]， 25)。几本重要的学术著作确实探讨了性精神病学将虐待狂和受虐狂描述为病态与19世纪小说作品之间的关系，尤其是罗曼娜·伯恩的《审美性:施虐受虐的文学史》(2013)和尼克劳斯·拉吉尔的《鞭子的赞美:觉醒的文化史》(2007)。《普通受虐狂》的核心主张也可能被置于更大的国际学术运动中，该运动探索了19世纪文学作品在阐述现代性可能性方面的重要概念工作，这些可能性被性科学家命名、分类和临床研究。米切尔承认，维多利亚时代对痛苦、死亡、疾病、残疾和痛苦的审美化也出现在哥特式和颓废派的小说和诗歌中。但奇怪的是，她并没有把这些早期的流派作为可能影响……
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Pub Date : 2023-01-01DOI: 10.2979/vic.2023.a911131
Reviewed by: Victorians on Broadway: Literature, Adaptation, and the Modern American Musical by Sharon Aronofsky Weltman Sara E. Lampert (bio) Victorians on Broadway: Literature, Adaptation, and the Modern American Musical, by Sharon Aronofsky Weltman; pp. ix + 321. Charlottesville and London: University of Virginia Press, 2020, $75.00, $37.50 paper, $37.50 ebook, £67.95, £34.50 paper, £28.60 ebook. Over the second half of the twentieth century, Victorian literature found new life in the Broadway musical. In this fascinating study, Sharon Aronofsky Weltman demonstrates how conceptions of the Victorian have been informed by the Broadway musical, which in turn reveals the theatricality of much Victorian literature. While musicals since the 1940s interpreted a range of texts, Dickensian characters and concerns recur, such that conceptions of the Victorian have become thoroughly Dickensian. Even as musicals adapting Victorian texts use them to speak to contemporary issues, Weltman shows, they more often blunt the social critiques of their originals or offer audiences a comforting sense of superiority relative to the distant Victorian past—with important exceptions. In Victorians on Broadway: Literature, Adaptation, and the Modern American Musical, the musical emerges as a major site of interpretation of Victorian literature and culture that draws on a longer history of adaptation and intertextuality. Each chapter focuses on a different musical, beginning with One Touch of Venus (1943), which took an 1885 novel as source material, but rejected a Victorian setting and [End Page 348] "establish[ed] its identity as a thoroughly Modern musical," unlike those that followed (47). From The King and I (1951) to Jane Eyre: The Musical (2000), musicals embrace their Victorian settings even as they engage contemporary concerns, raising questions about the cultural work of historical literary adaptation and the ways the stage is distinct from film. Victorians on Broadway is part of a scholarly turn toward more "rigorous academic analysis" of Broadway musicals, which are often "the only live theater most Americans ever see," a further argument for their scholarly importance (13). Weltman shows musicals to be theoretically complex and intertexual, "meta-theatrical" in ways that trouble conceptions of the "middlebrow" as "critically uninteresting" and peripheral stuff (230). Broadway musicals offer interpretive insights into Victorian literature, particularly in the way they have exploited its inherent theatricality in the choice of scenes and characterizations. These choices led to the most significant contribution of the Broadway musical, its thorough equation of the Victorian with the Dickensian, beginning with the runaway success of Oliver! (1968) and reaching a peak in the metatheatrical The Mystery of Edwin Drood (1985). Oliver! achieved a major departure from a century of adaptations of Dickens's novel that further influenced the direction of musical theater.
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