阿奇博尔德-马歇尔的 "令人啼笑皆非的矛盾杂烩":作为乌托邦闹剧的乌普西多尼亚

IF 0.4 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Utopian Studies Pub Date : 2023-11-01 DOI:10.5325/utopianstudies.34.3.0418
P. Sinnema
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引用次数: 0

摘要

卡尔-马克思在《十八日勃鲁梅尔》开篇中尖锐地指出,"世界历史上一切重大的事实和人物,第一次是作为悲剧出现的,第二次则是作为闹剧出现的",这一观点或许可用于对自成一类的文学闹剧的重新思考,而本文中的这一流派则是一部长期被忽视的乌托邦小说作品,即阿奇博尔德-马歇尔的《乌普西多尼亚》(1915 年)。尽管《乌普西多尼亚》目前受到的漠视可以说是咎由自取,但本文的主要兴趣并不在于从美学角度重新审视这部小说,而在于阐明马克思称之为 "严肃小丑 "的创作机制。乌普西多尼亚》不断颠覆资本主义的原则和关系,自然而然地邀请读者重温马克思,而马克思的诙谐赌局可能是马歇尔自己的闹剧情节和手法的一把钥匙,它植根于返回和重复,而这正是闹剧本身的基本手法。
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Archibald Marshall’s “Motley Mixture of Crying Contradictions”: Upsidonia as Utopian Farce
Karl Marx’s acerbic observation in the opening lines of The Eighteenth Brumaire that “all facts and personages of great importance in world history occur the first time as tragedy, the second as farce” may be profitably applied to a reconsideration of literary farce sui generis, a genre represented in this article by a long-neglected work of utopian fiction, Archibald Marshall’s Upsidonia (1915). Although Upsidonia’s current disregard is arguably undeserved, the article’s chief interest is not to reclaim the novel on aesthetic grounds but to illuminate the mechanics of what Marx would call its “serious buffoonery.” In its persistent reversal of capitalist principles and relations, Upsidonia naturally invites readers to revisit Marx, whose mordant gambit may serve as a key to Marshall’s own farcical plot and praxis, rooted in return and repetition, the essential maneuvers of farce itself.
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来源期刊
Utopian Studies
Utopian Studies HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.40
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发文量
27
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