Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0289
Jo Mikula
Much ink has been spilled on the subject of the Decadents and Bloomsbury, both in academia and in popular culture. In Queer Kinship after Wilde: Transnational Decadence and the Family, Kristin Mahoney uses published works as well as personal archival material to “disinter” another artistic circle, one made of “queer and Decadent modernists who operated alongside and often in conversation with high modernism, but who thought, wrote, and made community in a slightly different fashion” (11). Mahoney’s unnamed circle is looser than those two well-established ones but traces a clear web of shared concerns among the early twentieth-century British and American artists it encompasses. In six chapters, each one devoted to an individual or couple, Mahoney explores the distinct ways in which her subjects drew on Decadence and cosmopolitanism as they theorized new forms of kinship. Her work participates in a larger movement, taken up by scholars like Jessica Feldman, Kate Hext, and Alex Murray, to challenge the disciplinary boundaries of Victorian and Modernist studies, calling us to see these periods as more porous and to recognize the continued influence of the Victorian period “long after the century turned” (8).Even as she makes this intervention in the field, Mahoney is careful to recognize that her radical subjects also remain in many ways “attached to and delimited by traditional structures of feeling,” embodying both “radical desires and conventional tendencies” (12). She retains an admirable commitment to seek out rather than to write over the many tensions embedded in the projects of transnational decadence. Such tensions emerge when artists seek out the cosmopolitan to liberate themselves from one set of oppressive power structures, and, in the process, reify another set of power structures through their interactions with other individuals, groups, or cultures. This is manifest in Oscar Wilde’s own predilection for sex with underage boys, often from the working class. It is also apparent in his Orientalist tendencies, both in the artistic realm and in the concrete realm as a sex tourist in Algeria. Mahoney explicitly acknowledges the “political and ethical shortcomings of the Decadent model” and seeks to at least name the places where her artists play out these shortcomings in their quest for liberated kinship (148). In doing so, she is responding explicitly to Kadji Amin’s recent call to “deidealize” queer studies with his reminder that “queer possibility” is also “inextricable from relations of power” (13).Our first entry point into the queering of kinship is Wilde’s son, Vyvyan Holland. The choice to begin here is a testament to the scope and function of the word “queer” in Mahoney’s project. As she notes, there is no evidence that Holland himself ever experienced or acted on same-sex attraction. “Queer” is an expansive and fluid term for Mahoney, one that in its broadest sense designates a nonnormative practice inflected with something “purpo
相反，她的作品是以她所写的艺术家的传记和个人痕迹为基础的。她追踪了劳伦斯思想的发展，认为他与妹妹异乎寻常的亲密关系使劳伦斯开始参与政治，先是妇女选举权，然后是印度从英国独立出来的运动。换句话说，“酷儿亲属关系实践产生了政治激进主义”(59)。在《王尔德之后的酷儿亲属关系》的第二部分，世界主义的实践呈现出一种新的形式，马奥尼考察了两个英国艺术家出国的案例，以重新思考他们的审美和亲属关系实践。她的第一个案例研究是已婚夫妇康普顿和费斯·麦肯齐，她强调了他们在卡普里岛的岁月是重塑他们的亲属关系和他们的世界主义颓废实践的核心。与此同时，她对更广泛的欧洲侨民社区进行了公正的评价，这些人经常光顾该岛，并将其视为自己怪异行为的避风港。康普顿和费思最终保住了他们的婚姻，根据他们在卡普里岛上接触到的奇怪的亲属关系，他们对婚姻进行了改造。马奥尼将其他学者对地中海的研究作为19世纪末和20世纪初酷儿想象的空间，作为逃避和性旅游的物理场所。绘制出麦肯齐家族留下的一些交流的地图是相当令人吃惊的。破碎的心，甚至死亡证明了他们重新想象亲情的努力。正如马奥尼所指出的，“把岛屿作为解放的工具……涉及整个岛屿及其人民的异国化和工具化，将外国空间视为可以从中挖掘快乐的地方和实现移居国外目的的工具”(99)。第四章讨论了作家哈罗德·阿克顿，重点介绍了他1932年至1939年在中国的经历，以及这次旅居对他一生的影响。20世纪20年代，阿克顿还是牛津大学的一名学生时，曾试图重振颓废派运动，并在伊夫林·沃(Evelyn Waugh)的《故园故园》(Brideshead Revisited)中被讽刺为著名的唯美主义者安东尼·布兰奇(Aesthete Anthony Blanche)。阿克顿在这本专著中表达了对家庭的一些最强烈的批评。根据马奥尼的说法，他带着这样的信念接近世界:“如果他想自由地、充分地与其他地方和传统交流，他必须是一个流动的、超然的、无根的单身汉”(129)。为了避免我们认为马奥尼在夸大阿克顿的信仰，她引用了阿克顿的一封信，信中他将“家庭义务的吸血鬼”称为对个人创造性和生产性生活的消耗，这是一个适合分析的哥特式隐喻(137)。她跟随阿克顿踏上了他的中国之旅，他最终在那里生活了七年，并在那里度过了他的余生。马奥尼对阿克顿小说《牡丹花与小马》的分析很可能会引发一场关于他与东方主义关系本质的辩论。正如马奥尼所表明的，世界主义是一种狡猾的做法;读者会觉得，也许没有结结性的方法来“解析东方主义和世界主义好奇心之间的区别”，尽管他们可能希望如此(148)。在这里，马奥尼让我们一睹阿克顿在中国时与之交流的当地人的风采。她叙述道，他与在北京国立大学工作的学生建立了“真正的亲密关系”，他“似乎被北京普遍存在的审美创新感所震撼”(139)。有人回忆起约瑟夫·a·布恩(Joseph a . Boone)的目标是“在适当的时候，将他的主要欧洲资料与从[a]中东档案中挑选的例子进行对话”，这些作品记录了同性欲望也许王尔德之后的《酷儿亲属》会受益于类似的尝试，即在不同的时刻取代其主要主题，并赋予非西方主题她暗指的声音以特权。马奥尼的项目在她关于美国作家和视觉艺术家理查德·布鲁斯·纽金特(Richard Bruce Nugent)的章节中达到了顶峰，该章节详细分析了纽金特在其职业生涯中对颓废派标准萨洛姆画的各种重新诠释。标题为“理查德·布鲁斯·纽金特的‘艺伎男’:哈莱姆颓废、多种族和乱伦幻想”，这一章确实巧妙而巧妙地处理了种族、性别、东方主义和性的交叉点。在这里，马奥尼超越了承认世界主义冲动中固有的张力，他认为纽金特在玩东方主义的比喻，是为了理解他自己作为一个美国黑人的经历，作为一个种族化和异国情调化的凝视的对象。这也许是本书中最引人注目的例子，一位艺术家为了自己独特的目的，对维多利亚晚期颓废主义的准则进行了反思和批判。书中最让人不舒服的部分是马奥尼的最后一章，一篇关于雕塑家埃里克·吉尔(Eric Gill)的令人不安的文章。
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Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0001
Albert D. Pionke
Nearly ready to join the cast of the Alice books, perhaps, at a tea party celebrating fifty years of Victoria’s reign, John Tenniel’s British Lion appropriately preens on the cover of this, the golden jubilee volume of the Victorians Institute Journal. Inside are articles that approach Victorian and Edwardian literature, art, and culture from the disciplinary perspectives of literary studies, economic history, philosophy, cultural history, and periodical studies. Novels, short fiction, poetry, lectures, criminal trials, and international news stories all receive critical and, at times, pedagogical attention.Both the Texts and Digital Deliverables sections also return with exciting new material. The former features part 1 of a new English translation and accompanying illustrated critical introduction of a Danish-language travel narrative written by a female painter originally from Poland, with part 2 to come next year. The latter includes profiles of two mature digitization efforts in Victorian poetry, the Digital Victorian Periodical Poetry project and the Periodical Poetry Index. Rounding out the volume are eight reviews of recent publications in the field.If this robust and diverse set of contributions makes this milestone anniversary issue a cause for celebration, then it is also an occasion for somber memorialization. Late last year, VIJ’s longtime co-editor, Dr. Maria K. Bachman, passed away after a long illness. The author of over two dozen peer-reviewed articles and book chapters and the recipient of Coastal Carolina University’s HTC Distinguished Teacher Scholar Lecturer Award (2012), George Mason University’s Distinguished Alumna of the Year Award (2012), and the Carnegie Foundation for the Advancement of Teaching South Carolina Professor of the Year Award (2006), Maria was also a prolific and generous collaborator, co-editing three collections of essays and three scholarly editions, in addition to her work on the journal. In fact, the three final articles in VIJ 50 were submitted in her memory by former colleagues and collaborators, appropriately making this golden jubilee issue of the journal to which she gave so much of her energy and attention also a Gedenkschrift in her honor.
在庆祝维多利亚统治50周年的茶会上，约翰·坦尼尔(John Tenniel)的《英国狮子》(British Lion)几乎准备好加入《爱丽丝》系列丛书的演员行列了。里面是文章接近维多利亚和爱德华时代的文学，艺术和文化，从文学研究，经济史，哲学，文化史和期刊研究的学科角度。小说、短篇小说、诗歌、讲座、刑事审判和国际新闻报道都会受到批评，有时也会受到教学方面的关注。文本和数字可交付成果部分也带来了令人兴奋的新材料。前者的特色是新英文译本的第一部分，并附有插图，对一位来自波兰的女画家所写的丹麦语旅行叙事进行了批判性介绍，第二部分将于明年出版。后者包括维多利亚诗歌中两个成熟的数字化工作的概况，数字维多利亚期刊诗歌项目和期刊诗歌索引。本书还收录了八篇对该领域最新出版物的评论。如果这一系列强大而多样的贡献使这一里程碑式的周年纪念成为庆祝的理由，那么它也应该是一个阴郁的纪念场合。去年年底，VIJ的长期合作编辑玛丽亚·k·巴赫曼(Maria K. Bachman)博士在长期患病后去世。作为二十多篇同行评议文章和书籍章节的作者，以及海岸卡罗来纳大学HTC杰出教师学者讲师奖(2012年)，乔治梅森大学杰出校友奖(2012年)和卡内基基金会南卡罗来纳教授年度奖(2006年)的获得者，玛丽亚也是一位多产和慷慨的合作者，共同编辑了三本散文集和三个学术版本。除了她在杂志上的工作。事实上，VIJ 50的最后三篇文章是由她的前同事和合作者为纪念她而提交的，这恰如其分地使这本她付出了如此多精力和关注的杂志的金禧期也成为她的纪念纪事。
{"title":"Editor’s Note","authors":"Albert D. Pionke","doi":"10.5325/victinstj.50.2023.0001","DOIUrl":"https://doi.org/10.5325/victinstj.50.2023.0001","url":null,"abstract":"Nearly ready to join the cast of the Alice books, perhaps, at a tea party celebrating fifty years of Victoria’s reign, John Tenniel’s British Lion appropriately preens on the cover of this, the golden jubilee volume of the Victorians Institute Journal. Inside are articles that approach Victorian and Edwardian literature, art, and culture from the disciplinary perspectives of literary studies, economic history, philosophy, cultural history, and periodical studies. Novels, short fiction, poetry, lectures, criminal trials, and international news stories all receive critical and, at times, pedagogical attention.Both the Texts and Digital Deliverables sections also return with exciting new material. The former features part 1 of a new English translation and accompanying illustrated critical introduction of a Danish-language travel narrative written by a female painter originally from Poland, with part 2 to come next year. The latter includes profiles of two mature digitization efforts in Victorian poetry, the Digital Victorian Periodical Poetry project and the Periodical Poetry Index. Rounding out the volume are eight reviews of recent publications in the field.If this robust and diverse set of contributions makes this milestone anniversary issue a cause for celebration, then it is also an occasion for somber memorialization. Late last year, VIJ’s longtime co-editor, Dr. Maria K. Bachman, passed away after a long illness. The author of over two dozen peer-reviewed articles and book chapters and the recipient of Coastal Carolina University’s HTC Distinguished Teacher Scholar Lecturer Award (2012), George Mason University’s Distinguished Alumna of the Year Award (2012), and the Carnegie Foundation for the Advancement of Teaching South Carolina Professor of the Year Award (2006), Maria was also a prolific and generous collaborator, co-editing three collections of essays and three scholarly editions, in addition to her work on the journal. In fact, the three final articles in VIJ 50 were submitted in her memory by former colleagues and collaborators, appropriately making this golden jubilee issue of the journal to which she gave so much of her energy and attention also a Gedenkschrift in her honor.","PeriodicalId":499402,"journal":{"name":"Victorians Institute journal","volume":"69 19","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135061601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0159
Meri-Jane Rochelson
Abstract The late-nineteenth-century Russian nihilist movement was popularized by the portrait of Bazarov in Ivan Turgenev’s Fathers and Sons. But despite Turgenev’s nuanced and poignant portrayal, nihilism became associated with Russian revolutionary activities and especially terrorism. Discussions of the nihilist ethos were not limited to Russia but pervaded print culture in Western Europe. The orientalizing rhetoric of British journalism placed Russia firmly in the Eastern camp, so that it offered both the spectacle of exotic, retrograde monarchy and the equally fascinating or threatening vision of revolution in Europe. Revolutionary activities in Russia became part of the “dynamite theme” in British fiction of the fin de siècle, when terrorism also accompanied anarchist movements in continental Europe and Fenian bombings in support of Irish independence. Additionally, Russians became part of the London population through the immigration of Jews, a movement that increased significantly after around 1880. Russian dissidents themselves were welcomed in Britain after the Extradition Act of 1870. This article surveys a range of periodical writings, both reportage and fiction, in the last two decades of the nineteenth century. Periodical articles and stories reflect the pervasiveness and varied presentation of Russian revolutionary movements and ideas in late Victorian British publications.
{"title":"Russian Nihilists in British Periodicals, 1880–1900","authors":"Meri-Jane Rochelson","doi":"10.5325/victinstj.50.2023.0159","DOIUrl":"https://doi.org/10.5325/victinstj.50.2023.0159","url":null,"abstract":"Abstract The late-nineteenth-century Russian nihilist movement was popularized by the portrait of Bazarov in Ivan Turgenev’s Fathers and Sons. But despite Turgenev’s nuanced and poignant portrayal, nihilism became associated with Russian revolutionary activities and especially terrorism. Discussions of the nihilist ethos were not limited to Russia but pervaded print culture in Western Europe. The orientalizing rhetoric of British journalism placed Russia firmly in the Eastern camp, so that it offered both the spectacle of exotic, retrograde monarchy and the equally fascinating or threatening vision of revolution in Europe. Revolutionary activities in Russia became part of the “dynamite theme” in British fiction of the fin de siècle, when terrorism also accompanied anarchist movements in continental Europe and Fenian bombings in support of Irish independence. Additionally, Russians became part of the London population through the immigration of Jews, a movement that increased significantly after around 1880. Russian dissidents themselves were welcomed in Britain after the Extradition Act of 1870. This article surveys a range of periodical writings, both reportage and fiction, in the last two decades of the nineteenth century. Periodical articles and stories reflect the pervasiveness and varied presentation of Russian revolutionary movements and ideas in late Victorian British publications.","PeriodicalId":499402,"journal":{"name":"Victorians Institute journal","volume":"61 41","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135062574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0105
Marlene Tromp
Abstract Research suggests that we may engage in cultural self-deception to maintain community. More strikingly, we may be willing to tolerate grave violence by and against some individuals in order to strengthen social constructs that are perceived to benefit the broader community. Some social beliefs, such as faith in medicine and doctors, might have such a high value that, to preserve them, the community might engage in collective self-deception that lets someone get away with murder. Engaging in collective self-deception can foster high-value cultural narratives perceived (whether consciously or unconsciously) as more important to maintain, even at the cost of human lives. To explore this concept, this article examines the sensational Scottish Dr. Pritchard murders of the mid-1860s. Here, self-deception seemed to play a key role for the murderer, for the professionals associated with the case, and, just as significantly, at scale for the culture at large. Such inquiry has become increasingly important during a cultural moment in which we face new and constantly evolving lies on a massive social scale. As humanists, we have a responsibility to explore these questions in ways that will add our voices, insights, and methodologies to those of our colleagues in the social and natural sciences.
{"title":"The Social Work of Lying: Medicine and Murder in 1865","authors":"Marlene Tromp","doi":"10.5325/victinstj.50.2023.0105","DOIUrl":"https://doi.org/10.5325/victinstj.50.2023.0105","url":null,"abstract":"Abstract Research suggests that we may engage in cultural self-deception to maintain community. More strikingly, we may be willing to tolerate grave violence by and against some individuals in order to strengthen social constructs that are perceived to benefit the broader community. Some social beliefs, such as faith in medicine and doctors, might have such a high value that, to preserve them, the community might engage in collective self-deception that lets someone get away with murder. Engaging in collective self-deception can foster high-value cultural narratives perceived (whether consciously or unconsciously) as more important to maintain, even at the cost of human lives. To explore this concept, this article examines the sensational Scottish Dr. Pritchard murders of the mid-1860s. Here, self-deception seemed to play a key role for the murderer, for the professionals associated with the case, and, just as significantly, at scale for the culture at large. Such inquiry has become increasingly important during a cultural moment in which we face new and constantly evolving lies on a massive social scale. As humanists, we have a responsibility to explore these questions in ways that will add our voices, insights, and methodologies to those of our colleagues in the social and natural sciences.","PeriodicalId":499402,"journal":{"name":"Victorians Institute journal","volume":"61 34","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135062580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0029
René Van Woudenberg
Abstract Victorians read a lot, and they reflected on reading: Why read? What to read? Reading to what goal? After some stage setting, this article discusses four of John Ruskin’s thoughts on reading as expounded in Sesame and Lilies (1865) and that have never received much attention. (1) There are two species of books, “books of the hour” and “books of all time.” (2) The selection of which books to read is an ethical matter. (3) The norm for reading that readers should aim to comply with is the author’s meaning. (4) Readers should love the authors they are reading in order to understand them truly. This article discusses these claims and argues for a qualified endorsement of (1) in favor of (2), argues that (3) constitutes the commonsense view of reading, and defends it against various criticisms. The article finally argues against (4).
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Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0078
Ronald Schleifer
Abstract This article examines the formation of the discipline of “Economics,” emerging from “Political Economy,” in relation to the transformation of industrial (or “entrepreneurial”) capitalism into finance (or “corporate”) capitalism in the late nineteenth century. In so doing, it explores the creation of the structure and goals of the modern disciplines of higher education in the Euro-American Victorian era. The contrast between “classical” economics of Political Economy, which was individualist and “unincorporated,” and the discipline of “neoclassical” Economics articulated by Alfred Marshall at Cambridge (among others in the late nineteenth century), which was collaborative and “incorporated” in higher education, is notable as a reflection of intellectual and cultural values in the Victorian era. Thus, the article describes the renovations and innovations of institutions of higher education as part and parcel of the rise of corporate capitalism in the late nineteenth century, particularly in Britain and the United States. More specifically, it analyzes the collaborative understanding in the emerging discipline of Economics in the late nineteenth century; the anonymous understanding of knowledge in Economics; and the institutional understanding and structure of Economics as a discipline in the emerging consumerist culture of the late nineteenth century.
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Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0284
Andrew Petracca
The most traditional history of the novel proclaims that the genre progressed inward. Exit the caricatures of the eighteenth and early nineteenth centuries, enter the interiority of George Eliot that culminates in James Joyce and Virginia Woolf. If only we could map the history of the novel so neatly, replies S. Pearl Brilmyer in her new monograph, The Science of Character: Human Objecthood and the Ends of Victorian Realism. Brilmyer takes John Stuart Mill’s failed science, “ethology,” or “the particular and circumstantial processes through which character takes shape,” as her starting point (1). Although ethology never gained traction in the scientific community, Brilmyer asserts that it has a home in literature, “especially as transformed in the hands of realist authors at the turn of the twentieth century” who cultivate a “narrative science of human nature” (4).Brilmyer claims this narrative science relies on late Victorian writers cultivating a “dynamic materialist” approach to character (16). Character is found not in interiority but in materiality; matter is not inert but dynamic—resulting in “a new characterological paradigm, in which the human being no longer stood above the physical world but rather was a particularly complex knot in a webbed reality” (16–17). Brilmyer’s argument depends on Eve Kosofsky Sedgwick’s conception of “weak theory” to postulate a theory of character based on particular descriptive instances (43). Here, Brilmyer begins to navigate the thorny path of claiming that the novel develops alongside, and even theorizes, the humanistic sciences, that literary character theorizes human character. To her credit, Brilmyer avoids some of the sharper thorns along this path, for example, by sidestepping the anachronistic Object-Oriented Ontologists whose thought might seem dynamic materialist. Instead, Brilmyer references the science and philosophy of the nineteenth and early twentieth centuries, with Mill, George Henry Lewes, Charles Darwin, Arthur Schopenhauer, and Karl Marx being the most frequent touchstones alongside other important thinkers like Sigmund Freud, Friedrich Nietzsche, and William James.With the exception of chapter 4, which I will turn to shortly, each chapter of The Science of Character analyzes a single author in conjunction with an impressive array of nineteenth-century philosophical and scientific texts; however, it can be difficult to keep track of Brilmyer’s claim about the author. Chapters 1 and 2 both examine George Eliot, while chapters 3 and 5 engage Thomas Hardy and Olive Schreiner, respectively. The introduction and the coda are essential to understanding the general argument and how it complicates the traditional history of the novel. In these chapters, Brilmyer argues that writers from the 1870s to the 1920s replaced interiority as the hallmark of realist character with a new “materialist set of ideals,” namely plasticity, impressibility, spontaneity, impulsivity, relationality, and vitality (6
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Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0299
Sharon Weltman
An exciting work of research that is partly a story of the investigative process itself, Strangers in the Archive: Literary Evidence and London’s East End by Heidi Kaufman both documents and theorizes the tension between insider and outsider status in Victorian depictions of the East End. Kaufman documents archival materials offering traces of what the East Enders themselves thought and wrote about their neighborhoods as insiders within their community but marginalized by ethnicity, class, gender, education, religion, and civic liberties. Their accounts offer glaring contrasts to the more canonical, readily available, and largely negative representations of the East End by well-known figures such as Charles Dickens and Henry Mayhew, who are outsiders in the East End community, but much better connected to the privileges of mainstream English culture according to the same categories. After first presenting the construction of our still pervasive but stereotyped and incomplete notions of the East End, this book brings to light a robust set of previously unknown collections of materials by Victorian East Enders themselves. One goal is to augment their “voices of dissent, dissonance, and resistance, many of which have been occluded by narratives from the periodical press and popular novels that tend to flatten the East End’s qualities with images depicting universal poverty and pervasive crime” (5). Another is to reveal a burgeoning but overlooked intellectual culture thriving within the generally reviled community. These aims are accomplished in the subsequent chapters through a series of case studies of separate and distinct archives that are interestingly linked through unexpected historical circumstances. In addition, Kaufman has created a corresponding set of digital archives (https://eastendarchives.net) to continue her intervention in the prevailing reductive views of the East End and to demonstrate how building freely accessible online archives can offset enduring damage.The introduction lays out the project’s unusual focus on what might seem an obscure topic (though one I’m very interested in myself): the difficulty in learning with any certainty much about an early Jewish woman writer, in this case the first Anglo-Jewish novelist, Maria Polack. She is the linchpin that unites all the apparently disconnected parts of this investigation. What often begins as a seemingly fruitless exertion becomes the story itself when a small archival victory (such as finding Polack’s name mentioned as the author of a passage recited by a schoolgirl) becomes the breakthrough that signifies not just a detail about Polack but the beginning of a whole trend: in this example, discovering that supposedly ignorant East End Jewish schoolgirls—stereotypically perceived as poverty-stricken and unschooled—routinely received institutional scholastic accolades for their performances of poetry. Indeed, recounting such moments as part of the book’s project makes Kaufman’s
从内部看，这个社区充满了艺术家、作家和学生，而不是像人们普遍认为的那样，这个地区的居民只不过是肮脏的妓女、杀手和小偷。考夫曼一再邀请读者分享她的兴奋和喜悦，当一个看似死胡同变成发现和惊讶的时刻。书中剩下的三个主体章节突出了这样的时刻，每个章节都聚焦于她在传统档案中发现的失败，经过反思，这成为了一条以意想不到的方式开启她的调查之路，并导致了一种新的档案调查。第二章描述了她对波拉克的小说在大英图书馆的版本和其他现存的副本(世界范围内只有少数)中存在的一个双文本差异的困惑:不同的标题页和打印的订阅列表。这表明，在被商业出版商选中之前，这部小说的出版是由一群通过预购来支持这部作品的人资助的。考夫曼意识到，这份名单记录了波拉克的支持者和可能的熟人，包括犹太社区内外的富裕家庭。利用在线可视化和绘图工具，考夫曼创建了一个在线档案，区分了各种因素(例如所有订阅者与女性订阅者)，一目了然地模拟了波兰克影响的特殊性和广度。在这里，考夫曼扩展了我们对地理范围的理解，这可能是对如此晦涩的文学贡献的期望。第三章同样讲述了一个偶然的时刻:与艾玛·莱昂斯(Emma Lyons)的后裔的偶然相遇。莱昂斯是第一位自称为盎格鲁犹太人的女诗人，她的《杂诗》(Miscellaneous Poems)发表于1812年。这对考夫曼很重要，因为艾玛·莱昂斯·亨利是波拉克小说的订阅者。这一章还包括考夫曼与这位诗人的远亲在前往牙买加参加一个慈善墓地修复任务途中的对话，详细描述了她通过新认识获得一个令人兴奋的发现的过程:获准查看艾玛·里昂(Emma Lyon)的兄弟a·s·里昂(a . S. Lyons)保存的一套日记(他住在离波拉克只有几个街区的地方)。这些日记几代人都保存在一个很小的私人家庭档案中。a·s·里昂在1839年移民到金斯顿之前，在伦敦东区的日常生活中展现了一幅独特而又非常私人的画面。这一发现激发了考夫曼的灵感，他创建了一个在线档案，不仅将这些日记中关于伦敦东区的故事数字化，还将许多相关的文本、可视化、播客和地图数字化。第四章详细描述了考夫曼努力了解波拉克社区所提供的教育机会的故事，这使她发现了19世纪50年代关于位于波拉克社区的犹太人孤儿收容所的激烈争议。该案件涉及虐待儿童、掩盖事实和虚假指控的指控，教师、学生、管理人员和作者在一系列调查、惩罚和各级免罪中提供了证据和反证。这个引人入胜的案例研究再次显著地记录和扩大了我们对伦敦东区学术生活的理解，让我们接触到那些被遗忘的声音——有些断断续续，有些博学——并为局外人对该地区的描述所提供的平坦视野增添了巨大的细微差别。《维多利亚学院期刊》的读者会发现，考夫曼的《档案中的陌生人:文学证据和伦敦东区》是一份宝贵的资源，可以更全面地了解19世纪英国人的生活。它扩展了我们对女性作家网络的认识，同时令人信服地纠正了当代出版物和随后的学术对伦敦东区社区的无情负面描述。因为考夫曼讲述了一个学术发现的个人故事，这本书的吸引力比历史学家、英语教授和犹太研究学者更广泛地传播了读者，邀请了所有那些对将档案理论化感兴趣的人，他们认为档案是“投机性的学习场所，或者是一种从公共和私人空间的材料碎片中诞生的小说”(163)。它还作为一个有意义的数字人文贡献，创建了两个连接的在线档案，极大地扩展了考夫曼在研究和撰写本书的过程中发现的材料的可访问性。不是每个人都会发现数字地图对他们自己的研究有用，但我肯定会在我的研究中使用这本书和它的数字档案，因为我更深入地研究其他作者，这些作者可能亲自认识波拉克，也可能不认识，但他们肯定与考夫曼在这里生动地展示的网络中的一些人有过互动。
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Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0130
Keaghan Turner
Abstract A. J. Raffles—fashionable man-about-town, international cricket star, and amateur cracksman—was E. W. Hornung’s most famous and longest-lived creation, appearing in twenty-six tales between 1898 and 1909. A prolific writer of novels, short fiction, and poetry, Hornung is remembered today as Arthur Conan Doyle’s brother-in-law and Raffles as an inverted Sherlock Holmes. Throughout his criminal career, Raffles risks his life to collect forbidden objects—a disordered version of Victorian collecting culture. Through three stories that locate Raffles within various repositories of “extraordinary” objects, this article analyzes how late Victorian crime fiction engages central issues of modernity by interrogating the emotional power material objects exert over human subjects. Excavating the objects embedded in the tales and attending to Raffles’s role as a collector suggest that the adventures address more serious issues at the center of modern life, including fragmented identities, compulsive consumption, and the overlapping narratives surrounding material objects displayed in cultural institutions and pervasive media coverage. The tales are as much about collecting as about safecracking, with Raffles sharing more in common with the avid collector than with the average cracksman. The article takes special note of the parallel emotional experience of reading about collecting and collected objects.
A. J.莱佛士是E. W. Hornung最著名、最长寿的创作人物，他在1898年至1909年间出现在26个故事中。霍农是一位多产的小说、短篇小说和诗歌作家，今天人们记得他是阿瑟·柯南·道尔的姐夫，而莱佛士则是一个颠倒的福尔摩斯。在他的犯罪生涯中，莱佛士冒着生命危险收集违禁物品——这是维多利亚时代收藏文化的混乱版本。通过将莱佛士置身于不同的“非凡”物品仓库中的三个故事，本文分析了维多利亚时代晚期的犯罪小说是如何通过质问物质物品对人类主体施加的情感力量来涉及现代性的核心问题的。挖掘故事中嵌入的物品，关注莱佛士作为收藏家的角色，表明这些冒险涉及现代生活中心更严重的问题，包括支离破碎的身份、强迫性消费，以及围绕文化机构和无处不在的媒体报道中展示的物质物品的重叠叙述。这些故事既与收藏有关，也与破解保险箱有关，莱佛士与狂热的收藏家有更多的共同点，而不是普通的破解者。文章特别注意到关于收藏和被收藏物品的阅读的平行情感体验。
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Pub Date : 2023-11-01DOI: 10.5325/victinstj.50.2023.0221
Julia Kuehn, David D. Possen
Abstract Polish-born, trained in Germany, with a studio in Rome and a second home in Denmark following her marriage to sculptor and academician Jens Adolf Jerichau, Elisabeth Jerichau-Baumann (1818–81) was a true nineteenth-century cosmopolite. She painted Europe’s elite and counted Princess Alexandra, Hans Christian Andersen, Ibsen, the Grimm brothers, and Dickens among her well-wishers. She was invited by Queen Victoria to Buckingham Palace, and her portrait of Alexandra remains in the Royal Collection today. Her travelogue Brogede Rejsebilleder (Motley Images of Travel; 1881) is centered around two journeys to “the Orient” (Constantinople and Smyrna), undertaken in 1869–70 and 1874–75. The present chapters, translated by David D. Possen and introduced by Julia Kuehn, are Jerichau-Baumann’s record of the first of two journeys to Constantinople, in 1869–70. The chapters are published in two parts—“Public Spaces” and “The Harem”—in consecutive numbers of the VIJ. The painter vividly describes the sites of and life in Constantinople. Jerichau-Baumann’s temporary friendship with the young Princess Nazlı Hanım would lead to a number of paintings now considered emblematic of and unique in (female) Orientalist art. Nazlı would become a well-known literary salon hostess and arts supporter in Istanbul, Paris, Cairo, and Tunis.
出生于波兰，在德国接受教育，在罗马有一个工作室，在嫁给雕塑家和学者延斯·阿道夫·杰里乔(Jens Adolf Jerichau)后在丹麦有了第二个家，伊丽莎白·杰里乔·鲍曼(1818-81)是一个真正的19世纪的世界主义者。她画了欧洲的精英人物，并把亚历山德拉公主、安徒生、易卜生、格林兄弟和狄更斯列为她的祝福者。她应维多利亚女王的邀请来到白金汉宫，她为亚历山德拉画的肖像至今仍保存在皇家收藏中。她的游记《旅行杂色》(Brogede Rejsebilleder;1881)围绕着两次前往“东方”(君士坦丁堡和士麦那)的旅行展开，分别发生在1869年至1870年和1874年至1875年。本章由大卫·d·波森(David D. Possen)翻译，朱莉娅·库恩(Julia Kuehn)介绍，是杰里乔·鲍曼(Jerichau-Baumann)对1869年至1870年两次君士坦丁堡之旅中的第一次旅行的记录。这些章节分为两部分——“公共空间”和“后宫”——以VIJ的连续编号出版。画家生动地描绘了君士坦丁堡的遗址和生活。杰里乔-鲍曼与年轻的纳兹利亚公主Hanım的短暂友谊将导致许多绘画现在被认为是(女性)东方艺术的象征和独特。纳兹拉后来成为伊斯坦布尔、巴黎、开罗和突尼斯著名的文学沙龙女主人和艺术支持者。
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