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Trauma, Romance, and the Diasporic Memory Keepers of the Holodomor in Erin Litteken’s The Memory Keeper of Kyiv 创伤、浪漫和艾琳-利特金的《基辅记忆守护者》中大饥荒的散居记忆守护者
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-23 DOI: 10.4000/ejas.21013
Mateusz Świetlicki
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引用次数: 0
Justin Edwards, Rune Graulund, and Johan Höglund, editors. Dark Scenes from Damaged Earth: The Gothic Anthropocene Justin Edwards、Rune Graulund 和 Johan Höglund 编辑。受损地球的黑暗场景:哥特式人类世
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-07 DOI: 10.4000/ejas.21233
Jacob DeBrock
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引用次数: 0
Lauren Berlant, On the Inconvenience of Other People 劳伦-贝兰特,《论他人的不便
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-07 DOI: 10.4000/ejas.21266
Jake Sanders
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引用次数: 0
Marlon Ross, Sissy Insurgencies: A Racial Anatomy of Unfit Manliness 马龙-罗斯,《娘娘腔的叛乱》:不称职男人的种族剖析
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-07 DOI: 10.4000/ejas.21256
Marietta Kosma
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引用次数: 0
Kelli Moore, Legal Spectatorship: Slavery and the Visual Culture of Domestic Violence Kelli Moore,《法律旁观者》:奴隶制与家庭暴力的视觉文化
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-07 DOI: 10.4000/ejas.21198
Mary E. Booth
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引用次数: 0
Grant Wiedenfeld, Hollywood Sports Movies and the American Dream 格兰特-维登菲尔德,好莱坞体育电影与美国梦
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-07 DOI: 10.4000/ejas.21211
Rachel L. Carazo
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引用次数: 0
Laurence W. Mazzeno and Sue Norton, editors. Contemporary American Fiction in the European Classroom. Teaching and Texts Laurence W. Mazzeno 和 Sue Norton 编辑。欧洲课堂上的当代美国小说。教学与文本
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-07 DOI: 10.4000/ejas.21218
Cristina Chevereșan
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引用次数: 0
“In Honor, as in Limb, Unmarred”: Obsession with the “Whole” Body in Herman Melville’s Battle-Pieces and Aspects of the War 赫尔曼·梅尔维尔的《战场碎片与战争的方方面面》中对“整体”身体的痴迷
0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-09-12 DOI: 10.4000/ejas.20824
Vanessa Meikle Schulman
This article examines Herman Melville’s poetry collection Battle-Pieces and Aspects of the War (1866) using theories and concepts from the sphere of disability studies. Mobilizing evidence from Melville’s letters as well as close readings of the poems, I argue that Melville presented a complicated relationship to questions of bodily wholeness and autonomy in his written work, particularly in response to the political and existential stresses of the U.S. Civil War. Melville conceptualized Battle-Pieces as a chronological archive intended to redeem a narrative of wholeness and overcome a perceived weakness or deficiency in the body politic. However, the book’s fractured arc serves rather to highlight a lack of healing, both political and corporeal. Melville’s obsession with the “whole” body is apparent both in his unpublished, private writing and through close readings of the poems “Donelson,” “The College Colonel,” and others. Reading Battle-Pieces through the lens of disability studies makes visible the author’s conflicted responses to wounded bodies. Melville’s obsession with wholeness and healing was part of a larger national obsession—that of mending the rift between North and South by tending to the physical wounds of individual veterans—a historico-medical context that Melville scholars have largely ignored. Placing Melville’s poems within a larger conversation about medical intervention and the limits of the ‘disabled’ body as a symbol for national regeneration, in this article I show how Melville overtly engaged in ongoing debates about healing and nation-building in the aftermath of the Civil War.
本文运用残疾研究领域的理论和概念,考察了赫尔曼·梅尔维尔的诗集《战争的片段和方面》(1866)。我从梅尔维尔的信件中提取证据,并仔细阅读了他的诗歌,我认为梅尔维尔在他的作品中呈现了一种复杂的关系,即身体的整体性和自主性,特别是在回应美国内战的政治和存在主义压力时。梅尔维尔将战斗片段概念化为一个按时间顺序的档案,旨在弥补叙事的整体性,并克服政治体的弱点或缺陷。然而,这本书破碎的弧线更突出了政治上和肉体上都缺乏治愈。梅尔维尔对“整个”身体的痴迷,在他未发表的私人作品中,以及通过对《唐纳森》、《大学上校》等诗歌的仔细阅读,都很明显。通过残疾研究的视角阅读《战地碎片》,可以看到作者对受伤身体的矛盾反应。梅尔维尔对整体性和治愈的痴迷是一个更大的国家痴迷的一部分——通过照顾退伍军人个体的身体创伤来修补南北之间的裂痕——这是梅尔维尔学者在很大程度上忽视的历史医学背景。将梅尔维尔的诗歌置于一个更大的关于医疗干预和“残疾”身体作为国家再生象征的限制的对话中,在这篇文章中,我展示了梅尔维尔如何公开参与内战后关于治疗和国家建设的持续辩论。
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引用次数: 0
Melville and the Vortex Theory of Matter 梅尔维尔和物质漩涡理论
0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-09-12 DOI: 10.4000/ejas.20759
Paweł Stachura
The brief reference to the Cartesian vortex in Moby-Dick has already been discussed in numerous specialized articles, usually in terms of the history of ideas, e.g. in two articles by D. C. Leonard (1979; 1980). By itself, a vortex is an appropriate image for being immersed, obsessed, absorbed, and blended into objectivity, but the paper will focus on another, non-Cartesian vortex, which was emerging in the 1850s as the so-called vortex theory of matter. The point of this “hydrokinetic theory of matter” was that it was a “unitary continuum theory” of a “Universal Plenum,” conceived initially on the basis of Herman von Helmholtz’s work on hydrodynamics. In 1859, the German physicist demonstrated mathematically that stable vortex rings could exist indefinitely in a (theoretical) continuous elastic fluid, rather like the remarkably stable smoke rings blown by guns or as a smoking trick. For a time, the vortex atom was recognized as a very promising idea on the cutting edge of science. In literary fiction, the vortex atom translated into curious imagery of a claustrophobic universal plenum, matter and soul combined, organized by intermeshing vortices, and leaving no possible room for a hovering freedom in empty space. In a universe based on the vortex theory of matter, a subject is not in a vortex, but is itself a vortex, continuously meshing with other vortices, in a basket-like, tightly knit lattice that comprises everything. Melville’s imagery related to matter and vortices seems to be one of the early instances of the simultaneous fascination and dismay provoked by the vortex theory of matter in the second half of the nineteenth century, not among scientists, but among the non-scientific general audience. The article focuses on Clarel, comparing three different images of the vortex with imagery from contemporary popular scientific articles. Additional examples from Moby-Dick, Pierre, and Billy Budd are discussed as contexts illustrating the variety of meaning attached by Melville to the vortex.
在《白鲸》中对笛卡尔涡旋的简要引用已经在许多专门的文章中进行了讨论,通常是在思想史方面,例如在D. C. Leonard (1979;1980)。就漩涡本身而言,它是一种被沉浸、沉迷、吸收和融入客观事物的恰当形象,但本文将重点关注另一种非笛卡尔漩涡,它出现在19世纪50年代,即所谓的物质漩涡理论。这个“物质的流体动力学理论”的要点在于,它是一个“普遍全会”的“统一连续统理论”,最初是在赫尔曼·冯·亥姆霍兹关于流体动力学的工作的基础上构想出来的。1859年,这位德国物理学家用数学方法证明了稳定的旋涡环可以在(理论上)连续的弹性流体中无限期地存在,就像用枪吹出的非常稳定的烟圈或吸烟戏法一样。有一段时间,涡旋原子被认为是科学前沿的一个非常有前途的想法。在文学小说中,漩涡原子被翻译成一个幽闭恐怖的宇宙全体会议的奇特意象,物质和灵魂结合在一起,由相互交织的漩涡组织起来,在空旷的空间里不给盘旋的自由留下任何可能的空间。在一个基于物质涡旋理论的宇宙中,一个主体并不在涡旋中,但它本身就是一个涡旋,不断地与其他涡旋啮合,形成一个篮状的、紧密编织的晶格,包含了一切。梅尔维尔关于物质和漩涡的意象似乎是19世纪下半叶物质漩涡理论同时引起的迷恋和沮丧的早期例子之一,不是在科学家中,而是在非科学的普通观众中。本文以Clarel为中心,将三种不同的漩涡图像与当代科普文章中的图像进行比较。《白鲸记》、《皮埃尔》和《比利·巴德》中的其他例子被讨论为梅尔维尔赋予漩涡的各种意义的上下文。
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引用次数: 0
“A Cormorant of Libraries”: The Future-Past of Susan Howe’s “Melville’s Marginalia” “图书馆的鸬鹚”:苏珊·豪《梅尔维尔的旁注》的过去与未来
0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-09-12 DOI: 10.4000/ejas.20878
Mark Tardi
In his influential essay “The Translator as the Creator of the Canon,” Jerzy Jarniewicz outlines the characteristics of what he identifies as “but two of the most interesting species” of translator, the ambassador and the legislator. Building off of Jarniewicz’s framework (while also being indebted to Sasha Colby’s concept of a “poetics of excavation”), in this essay I propose a hybrid offspring of the ambassador and legislator—the excavator—through the example of American poet Susan Howe’s work “Melville’s Marginalia,” from her 1993 book The Nonconformist’s Memorial. Megan Williams asks, “How does Susan Howe’s use of Melville… reveal literary history and history itself to be a series of choices that must be rethought and rewritten? What are these choices, and where do they leave Howe’s work for posterity?” (106). It is Howe’s relationship to posterity that is of particular interest here. Whereas Williams and others take extraordinary care to analyze “Melville’s Marginalia” as a discrete text and to avoid making broader remarks about that text’s potential relationship to Howe’s oeuvre more generally, in my essay I consider how “Melville’s Marginalia” is consistent with a sustained effort by Howe to situate herself and her work within the frame of canonical literary figures. Moreover, by offering the contrast of poets such as Don Mee Choi, Sarah Mangold, and C. D. Wright, I suggest that Howe’s efforts, in fact, reveal and solidify the expansive versatility of canonical figures—such as Melville, Dickinson, and others—even if there is a clear critical dimension.
在他颇具影响力的文章《作为经典创造者的译者》中,耶日·贾尼维茨(Jerzy Jarniewicz)概述了他所认为的“两种最有趣的译者”——大使和立法者的特征。基于Jarniewicz的框架(同时也得益于Sasha Colby的“挖掘的诗学”概念),在这篇文章中,我提出了一个大使和立法者的混血后代——挖掘者——通过美国诗人Susan Howe的作品“梅尔维尔的边缘”的例子,从她1993年的书《不符合国教者的纪念》中。梅根·威廉姆斯问道:“苏珊·豪对梅尔维尔的使用如何揭示了文学史和历史本身是一系列必须被重新思考和重写的选择?”这些选择是什么?这些选择又将把豪的作品留给后人看吗?”(106)。豪与子孙后代的关系在这里尤为引人关注。虽然威廉姆斯和其他人非常小心地将《梅尔维尔的旁注》作为一个独立的文本来分析,并避免更广泛地评论该文本与豪作品的潜在关系,但在我的文章中,我认为《梅尔维尔的旁注》是如何与豪将自己和她的作品置于经典文学人物框架内的持续努力相一致的。此外,通过与唐·梅·崔、莎拉·曼戈尔德和c·d·赖特等诗人的对比,我认为豪的努力实际上揭示并巩固了典型人物的广泛多样性——比如梅尔维尔、狄金森等人——即使存在明确的批评维度。
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引用次数: 0
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European Journal of American Studies
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