{"title":"Selected Poetry and Prose of Evariste Parny, in English Translation with French Text, éd. Françoise Lionnet; trad. Peter Low et Blake Smith","authors":"Guilhem Armand","doi":"10.3138/ECF.33.4.602","DOIUrl":"https://doi.org/10.3138/ECF.33.4.602","url":null,"abstract":"","PeriodicalId":54037,"journal":{"name":"NINETEENTH-CENTURY LITERATURE","volume":"33 1","pages":"602-604"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46914662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The enactment of everyday democratic practice in early childhood settings supports children to practise being active agents in their own lives. Through learning to take action on matters of importance, practising collaboration and listening, and seeing that their ideas matter and have significance, children are positioned to become engaged citizens. This article follows the work of four teachers at one centre, sharing four episodes of their teaching where democratic practice is evident
{"title":"Democratic practice in early childhood education: A world of possibilities for the young child","authors":"Olivera Kamenarac","doi":"10.18296/ECF.0090","DOIUrl":"https://doi.org/10.18296/ECF.0090","url":null,"abstract":"The enactment of everyday democratic practice in early childhood settings supports children to practise being active agents in their own lives. Through learning to take action on matters of importance, practising collaboration and listening, and seeing that their ideas matter and have significance, children are positioned to become engaged citizens. This article follows the work of four teachers at one centre, sharing four episodes of their teaching where democratic practice is evident","PeriodicalId":54037,"journal":{"name":"NINETEENTH-CENTURY LITERATURE","volume":"25 1","pages":"14-19"},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44855712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-01DOI: 10.1525/ncl.2021.76.1.92
Maxwell Sater
Maxwell Sater, “Hardy's Trees: Ecology and the Question of Knowledge in The Woodlanders” (pp. 92–115) This essay attends to one of the stranger episodes in Thomas Hardy’s fiction: the inexplicably linked deaths of John South and the elm tree outside his house. I argue that this subplot is of central importance to The Woodlanders (1887) and to Hardy’s ecological thinking more generally. Hardy posits an episode that resists narrative accommodation: simply, it does not make sense. Its senselessness, I contend, indexes a broader discomfort with, and rejection of, what Stanley Cavell would call relations of knowing as the foundation of ecology. By reading The Woodlanders alongside Cavell, I suggest that Hardy develops an ecological mode of relation dependent neither on knowledge of nor on continuity with nonhuman worlds but, rather, on a negotiation of the epistemological and ontological limits inhering between, in this instance, humans and trees. For Hardy, humane ecological relations are possible in spite of those limits; in fact, seeking to transcend them, as the elm tree plot parodically demonstrates, can be counterproductive.
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{"title":"Granville Sharp and the Zong Massacre: Sharp’s Uncovered Letter to the British Admiralty, ed. Michelle Faubert","authors":"Cassander L. Smith","doi":"10.3138/ECF.33.3.453","DOIUrl":"https://doi.org/10.3138/ECF.33.3.453","url":null,"abstract":"","PeriodicalId":54037,"journal":{"name":"NINETEENTH-CENTURY LITERATURE","volume":"33 1","pages":"453-455"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46184208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Écrire en Europe. De Leibniz à Foscolo, éd. Nathalie Ferrand","authors":"Michael J. Mulryan","doi":"10.3138/ECF.33.3.472","DOIUrl":"https://doi.org/10.3138/ECF.33.3.472","url":null,"abstract":"","PeriodicalId":54037,"journal":{"name":"NINETEENTH-CENTURY LITERATURE","volume":"33 1","pages":"472-474"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42852595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-01DOI: 10.1215/0041462X-8912260
Shawn Normandin
The title of John Ashbery’s 1965 poem “Clepsydra” alludes to Charles Baudelaire’s “L’Horloge,” from Les Fleurs du mal, and reading Ashbery’s poem as a response to “L’Horloge” helps refine our understanding of his place in literary history, a process this essay pursues by considering “Clepsydra” in relation to influential readings of poetry offered by some of Ashbery’s major contemporaries (Marjorie Perloff, Paul de Man, and Harold Bloom). Exemplifying the allegorical mode of modernism that the young Ashbery resists, Baudelaire’s poem manifests the triumph of linear time; “Clepsydra” imagines time as circular flow, averting allegorical time chiefly by means of prosopopoeia and metalepsis. The most old-fashioned of allegorical devices, prosopopoeia abounds in “Clepsydra,” but Ashbery repeatedly endeavors to counteract it, and metalepsis by its nature resists linearity. Despite the poem’s astonishing inventiveness, however, in the poem the resilience of allegory and of linear time is ultimately reaffirmed.
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Pub Date : 2021-03-01DOI: 10.1525/NCL.2021.75.4.527
V. Smith
Vanessa Smith, “Wasted Gifts: Robert Louis Stevenson in Oceania” (pp. 527–551) This essay takes some letters from Robert Louis Stevenson’s travels in the South Seas as a starting point to rethink both Stevenson’s South Seas oeuvre and the Victorian cross-cultural encounter. Reengaging with Marcel Mauss’s classic theorization of gift exchange, the essay suggests that Stevenson’s encounters with Oceanic systems of exchange were experienced in terms not of cultural dominance, but of ontological lack. The practices of gifting to which Stevenson found himself subject in the Marquesas, Tuamotus, and Tahiti rendered both British etiquette and largesse ineffectual. The essay relates Stevenson’s growing sense of the complexities of Oceanic gifting to the tendency of his metropolitan readers to understand his South Seas “exile” as a waste of his own gifts. Focusing in particular on The Wrecker (1892) and “The Bottle Imp” (1891), it proposes that Stevenson deployed his expanded understanding of what Oceanic gifting entailed to replenish his fiction in both structural and figurative terms, even as he was forced to acknowledge those failures of reciprocation that continued to inform its production.
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Pub Date : 2021-03-01DOI: 10.1525/NCL.2021.75.4.555
M. Stetz
{"title":"Review: Nineteenth-Century Literature in Transition: The 1880s, by Penny Fielding and Andrew Taylor","authors":"M. Stetz","doi":"10.1525/NCL.2021.75.4.555","DOIUrl":"https://doi.org/10.1525/NCL.2021.75.4.555","url":null,"abstract":"","PeriodicalId":54037,"journal":{"name":"NINETEENTH-CENTURY LITERATURE","volume":"75 1","pages":"555-558"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42134620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-01DOI: 10.1525/NCL.2021.75.4.441
Chris Townsend
Chris Townsend, “‘The Very Music of the Name’: Uncertainty as Aesthetic Principle in Keats’s Endymion” (pp. 441–472) It is well known that John Keats thought that true poets were those who are capable of being in “uncertainties, Mysteries, doubts” without feeling the need to reach after solid facts. And “uncertainty” is a recurrent term in his 1818 poem Endymion and its preface. But what does it mean for the figure of Endymion to follow an “uncertain path,” and what role do experimental poetics play in that experience of not knowing? This essay reflects on three aspects of the rhythms of Endymion—the relation of line to sentence, the transformative quality of the poem’s rhymes, and the rhythmical malleability of the name “Endymion” itself—to argue that what Keats’s early critics were hostile to in his poem was precisely what he strove to produce: a poetics of uncertainty. By turning close attention to the local effects of Keats’s rhythms, and by mounting an argument about the structure of his thinking that concerns the shape of his verses, I also want to reopen a perennial question in both Formalist and New Historicist branches of Keats scholarship: whether it makes sense to think of Keats as a “political” or “ideological” poet, and of what that might mean in relation to his aesthetics.
Chris Townsend，“The Very Music of The Name”：不确定性是济慈Endymion的美学原则（第441–472页）众所周知，约翰·济慈认为真正的诗人是那些能够处于“不确定性、神秘性和怀疑”中而不必去追求实实在在的事实的人。“不确定性”是他1818年的诗歌《无尽》及其序言中反复出现的一个术语。但是，对于Endymion这个人物来说，走一条“不确定的道路”意味着什么？实验诗学在这种不知道的经历中扮演了什么角色？本文从三个方面对《恩底米翁》的韵律进行了反思——行与句的关系、诗歌韵律的变革性以及“恩底米昂”这个名字本身的节奏延展性——以论证济慈早期评论家对其诗歌的敌意正是他努力创造的：一种不确定性的诗学。通过密切关注济慈节奏的局部影响，并就济慈的思想结构展开一场与诗歌形状有关的争论，我还想重新打开济慈学术的形式主义和新历史主义分支中一个长期存在的问题：将济慈视为“政治”或“意识形态”诗人是否有意义，以及这对他的美学可能意味着什么。
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Pub Date : 2021-03-01DOI: 10.1525/NCL.2021.75.4.473
A. Coté
Amy Coté, “‘A Handful of Loose Beads’: Catholicism and the Fictional Autobiography in Charlotte Brontë’s Villette” (pp. 473–494) This essay considers the influence of confession as a Catholic liturgical sacrament and as a literary genre informing the fictional autobiography in Charlotte Brontë’s Villette (1853). In her earlier novel Jane Eyre (1847), Brontë used the tradition of Protestant spiritual autobiography as a literary genre focused on the individual’s spiritual development. Villette, written as it was at the height of a wave of anti-Catholic sentiment in England in the 1840s and 1850s, has understandably been read as a nationalistic rebuke of Catholicism. This essay complicates this narrative, and shows how Brontë looks to Catholic liturgical traditions, most notably the sacrament of confession, to trouble the generic conventions of the Protestant spiritual autobiography and, by extension, of fictional autobiography.
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