“Tombatism的触摸”:Mary Lamb、Mary Shelley、Charles Dickens和儿童在墓地阅读

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Victoriographies-A Journal of Nineteenth-Century Writing 1790-1914 Pub Date : 2022-07-01 DOI:10.3366/vic.2022.0453
J. Gardner
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引用次数: 0

摘要

这篇文章是关于玛丽·兰姆在短篇小说《伊丽莎白·维利尔斯》中对一个在墓碑上读书的孩子的描写的意义;或莱斯特夫人学校的《水手叔叔》(1809年)。也许文学作品中最著名的读墓场景是在《远大前程》(1860-1)的开头,皮普从直系亲属的墓碑上占卜他们的性格。然而,玛丽·雪莱在《福克纳》(1837)中使用过类似的场景,兰姆在《伊丽莎白·维利尔斯》中更早使用过。或者水手叔叔。我的观点是,兰姆的文字在他死后仍然有一种隐藏的存在,因为雪莱和查尔斯·狄更斯继续翻译着孩子在父母墓碑上读书的形象。每位作者还记录并传播了贫困儿童接受教育的一种做法。此外,坟墓作为一个童年的家,在那里死去的父母继续教育他们的孩子。
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A ‘touch of Tombatism’: Mary Lamb, Mary Shelley, Charles Dickens, and Children Reading in Graveyards
This essay is about the significance of Mary Lamb’s portrayal of a child reading from a gravestone in the short story ‘Elizabeth Villiers; or The Sailor Uncle’ from Mrs. Leicester’s School (1809). Maybe the most famous tomb-reading scene in literature is that of Pip divining the personalities of his immediate family from their gravestone at the opening of Great Expectations (1860–1). However, a similar scene had been used previously by Mary Shelley in Falkner (1837) and earlier still by Lamb in ‘Elizabeth Villiers; or The Sailor Uncle’. My argument is that Lamb’s text continued to have a hidden, posthumous existence as Shelley and Charles Dickens went on to translate that image of a child reading from their parent’s gravestone. Each author also records and transmits a practice used by poor children to gain an education. Furthermore, the grave acts as a childhood home where dead parents continue to educate their children.
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来源期刊
CiteScore
0.30
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发文量
32
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