走得更远澳大利亚档案中的维多利亚人轶事

IF 0.1 3区 文学 0 POETRY VICTORIAN POETRY Pub Date : 2024-07-25 DOI:10.1353/vp.2024.a933702
Jason Rudy
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Warwick Slinn, the editors of that volume, assembled provocative essays on Charles Harpur, Henry Lawson, and Eliza Hamilton Dunlop, among other important Australian poets, none of whom I recognized. I was on the verge of earning a doctorate in nineteenth-century British literature, with an especial focus on poetry, yet I knew nothing of what had been happening in nineteenth-century Australia—nor, as it happened, in any of Britain’s other colonial spaces. I was surprised, to say the least, with the shock we sometimes feel on realizing a vast ignorance. Until that moment, I hadn’t considered the extent to which my research, and indeed my whole education, had centered on the United Kingdom and the United States in a way that was exclusive of the world at large. Not even Canada had registered as a space perhaps warranting interest. (“Poor Canada,” I imagine the narrator of <em>Middlemarch</em> bemoaning.)</p> <p>I was dismayed, curious, and determined all at once. The feeling was not unlike that of discovering a new cuisine, and the <em>Victorian Poetry</em> Australian special issue was the equivalent of a banquet: I was hungry to devour it all. I invited some fellow Rutgers graduate students and a handful of faculty to discuss it. In an old house on the New Brunswick, New Jersey, campus, a building long ago bulldozed to make room for modern classrooms, we debated that volume’s Australian poems and poets in relation to the British and American writers we knew. I vaguely remember suggesting that one of Dunlop’s poems sounded a bit like early Tennyson (they were contemporaries in the 1830s). 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引用次数: 0

摘要

以下是内容的简要摘录,以代替摘要: 走得更远:二十年前,当被问及维多利亚诗歌领域的发展方向时,我的回答集中在方法论和一个术语--"文化新形式主义"--这似乎有助于将我自己的博士工作与该领域联系起来。我当时还很年轻,目睹了历史主义者、形式主义者和理论家之间的学科冲突(即 1980 年代所谓的文化战争)的后果,而将文化研究与形式主义方法联系起来似乎是摆脱困境、走向更广阔牧场的一条途径2。2002 年,梅雷迪斯-麦吉尔(Meredith McGill)在罗格斯大学组织了一次关于 "诗歌交通 "的会议,会议展示了跨大西洋框架下的学术研究和一系列方法,这些方法在很大程度上反映了文化与形式的交汇,我被深深吸引。大致受到麦吉尔 2002 年会议对话的启发,我们开始阅读西德尼-拉尼尔(Sidney Lanier)的《英语诗歌科学》(1880 年)和考文特里-帕特莫尔(Coventry Patmore)的《英语格律论》(1856 年)等诗歌论著以及 19 世纪的诗歌。在过去二十年中,对我的思想影响最大的学术成果有很多来自历史诗学小组,包括但不限于梅雷迪斯-马丁(Meredith Martin)对文化和诗歌形式的开创性研究《诗歌格律的兴衰》(The Rise and Fall of Meter,2012 年);查尔斯-拉波特(Charles LaPorte)对十九世纪宗教与诗歌的干预,《维多利亚诗人与变化中的圣经》(2011);特里西娅-卢腾斯(Tricia Lootens)对女诗人与种族的修正主义解读,《政治女诗人》(2017);以及弗吉尼亚-杰克逊(Virginia Jackson)和约皮-普林斯(Yopie Prins)合编的不朽之作《抒情理论读本》(2014)。5[尾页 521] 与麦吉尔会议大致相同的是,在我完成论文的同时,本刊出版了 2002 年春季特刊,主题为 "十九世纪澳大利亚诗歌"。梅格-塔斯克(Meg Tasker)和E-沃里克-斯林(E. Warwick Slinn)是该专刊的编辑,他们撰写了关于查尔斯-哈普尔(Charles Harpur)、亨利-劳森(Henry Lawson)和伊丽莎-汉密尔顿-邓洛普(Eliza Hamilton Dunlop)等重要澳大利亚诗人的论文,这些诗人我都不认识。我当时即将获得 19 世纪英国文学博士学位,尤其是诗歌方面的博士学位,但我对 19 世纪澳大利亚发生的事情一无所知,对英国其他殖民地的情况也是如此。至少可以说,我很惊讶,有时我们在意识到自己的巨大无知时会感到震惊。直到那一刻,我才意识到,我的研究,甚至我的整个教育,在多大程度上都是以英国和美国为中心,而对整个世界视而不见。甚至连加拿大也没有作为一个值得关注的空间。(我想象着《米德尔马契》的叙述者在哀叹 "可怜的加拿大")我感到沮丧、好奇,同时又下定决心。这种感觉就像发现了一种新的美食,而《澳大利亚维多利亚诗歌》特刊就相当于一场盛宴:我饥肠辘辘,恨不得一口吞下。我邀请了罗格斯大学的几位研究生同学和几位教师一起讨论。在新泽西州新不伦瑞克校园的一栋老房子里,我们讨论了这本特刊中的澳大利亚诗歌和诗人与我们所熟知的英国和美国作家之间的关系。我依稀记得,我曾提出邓洛普的一首诗听起来有点像早期的丁尼生(他们是 19 世纪 30 年代同时代的作家)。但即使在那时,我也感觉到现实更为复杂,一首诗 "听起来有点像 "另一首诗,也一定听起来有点不像另一首诗:它一定有自己独特的元素,值得考虑的不是衍生元素,而是产生它的空间的历史、地理、政治和文化所特有的元素。不过,这种阅读所需的专业知识还需要等待......
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Reaching Wider: Anecdotes from a Victorianist in the Australian Archive
In lieu of an abstract, here is a brief excerpt of the content:

  • Reaching Wider: Anecdotes from a Victorianist in the Australian Archive
  • Jason Rudy (bio)

Twenty years ago, when asked where the field of Victorian poetry was headed, my answer focused on methodology and a term—“cultural neoformalism”—that seemed useful in situating my own doctoral work in relation to the field.1 I was just young enough to have witnessed the aftermath of disciplinary acrimony among historicists, formalists, and theorists (the so-called culture wars of the 1980s), and the yoking of cultural studies to formalist methods seemed like a way out of the woods and on to greener pastures.2 A Rutgers University conference organized by Meredith McGill in 2002 on “The Traffic in Poems” had showcased scholarship in a transatlantic frame and a range of methods that largely reflected this intersection of culture and form, and I was smitten.3

Not long after, I was invited to join a reading group on “Historical Poetics,” a coming together of nineteenth-century Americanists and Victorianists with interests in poetry and poetics.4 Roughly inspired by the conversations staged at McGill’s 2002 conference, we took to reading poetic treatises like Sidney Lanier’s The Science of English Verse (1880) and Coventry Patmore’s Essay on English Metrical Law (1856), alongside nineteenth-century poems, working from the belief that ideas about poetry are and have always been malleable and historically situated. A good amount of the scholarship most influential on my thinking over the past two decades has emerged from the Historical Poetics group, including but not limited to Meredith Martin’s pathbreaking study of culture and poetic form, The Rise and Fall of Meter (2012); Charles LaPorte’s intervention in nineteenth-century religion and poetry, Victorian Poets and the Changing Bible (2011); Tricia Lootens’s revisionist reading of women poets and race, The Political Poetess (2017); and the monumental Lyric Theory Reader (2014) assembled by Virginia Jackson and Yopie Prins.5 [End Page 521]

At roughly the same time as McGill’s conference, while I was finishing my dissertation, this journal published its Spring 2002 special issue on the topic “Nineteenth-Century Australian Poetry.” Meg Tasker and E. Warwick Slinn, the editors of that volume, assembled provocative essays on Charles Harpur, Henry Lawson, and Eliza Hamilton Dunlop, among other important Australian poets, none of whom I recognized. I was on the verge of earning a doctorate in nineteenth-century British literature, with an especial focus on poetry, yet I knew nothing of what had been happening in nineteenth-century Australia—nor, as it happened, in any of Britain’s other colonial spaces. I was surprised, to say the least, with the shock we sometimes feel on realizing a vast ignorance. Until that moment, I hadn’t considered the extent to which my research, and indeed my whole education, had centered on the United Kingdom and the United States in a way that was exclusive of the world at large. Not even Canada had registered as a space perhaps warranting interest. (“Poor Canada,” I imagine the narrator of Middlemarch bemoaning.)

I was dismayed, curious, and determined all at once. The feeling was not unlike that of discovering a new cuisine, and the Victorian Poetry Australian special issue was the equivalent of a banquet: I was hungry to devour it all. I invited some fellow Rutgers graduate students and a handful of faculty to discuss it. In an old house on the New Brunswick, New Jersey, campus, a building long ago bulldozed to make room for modern classrooms, we debated that volume’s Australian poems and poets in relation to the British and American writers we knew. I vaguely remember suggesting that one of Dunlop’s poems sounded a bit like early Tennyson (they were contemporaries in the 1830s). But even then, I sensed that the reality was more complicated, and that a poem that “sounded a bit like” another poem also must sound a bit unlike it: that it must have its own distinct elements worth considering not as derivative, but particular to the history, geography, politics, and culture of the space that produced it.

The kind of specialized knowledge required for that sort of reading would have to wait, though...

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来源期刊
CiteScore
0.10
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0.00%
发文量
7
期刊介绍: Founded in 1962 to further the aesthetic study of the poetry of the Victorian Period in Britain (1830–1914), Victorian Poetry publishes articles from a broad range of theoretical and critical angles, including but not confined to new historicism, feminism, and social and cultural issues. The journal has expanded its purview from the major figures of Victorian England (Tennyson, Browning, the Rossettis, etc.) to a wider compass of poets of all classes and gender identifications in nineteenth-century Britain and the Commonwealth. Victorian Poetry is edited by John B. Lamb and sponsored by the Department of English at West Virginia University.
期刊最新文献
Introduction: The Place of Victorian Poetry Keeping Faith in Victorian Poetry Reflections on Twenty Years in Victorian Poetry Victorian Women's Poetry and the Near-Death Experience of a Category Undisciplining Art Sisterhood
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