从伦敦出发:铁路时代的海边阅读

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Nineteenth-Century Contexts-An Interdisciplinary Journal Pub Date : 2023-03-15 DOI:10.1080/08905495.2023.2195603
Mattie Armstrong-Price
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引用次数: 0

摘要

“在一个倾向于欺骗、遗忘和抛弃黑人资本主义主体的经济体中,黑人女性劳动力的价值就像坏账一样”(116)。这本书以奥斯卡·王尔德的结尾很好地概括了“酷儿”的多重含义。在1895年王尔德因“严重猥亵”而受审时,检方构建了一个“道德化的财务叙事”(156),在这个叙事中,作者因在艺术、珠宝、鲜花和香槟上的过度支出而被塑造成“奢侈的酷儿债务人”(159)。特别是,王尔德送给工薪阶层年轻人的许多金钱礼物似乎清楚地证明了性纠葛。当检方要求王尔德向一名年轻人付款的正当理由时,这位作家回答说:“因为他很穷,因为他没有钱,因为我喜欢他。还有什么比这更好的理由给一个人钱呢?”。正如这些为数不多的例子所表明的那样,《酷儿经济失调》提供了对熟悉作品的全新解读,同时也对维多利亚时代关于自助、个人主动、向上流动和财富积累的旧描述进行了大胆的反叙事。多宾斯笔下的一群与经济格格不入的人——骗子、破产者、挥霍者和废物,其中许多是女性——提醒我们,许多维多利亚时代的作家都同情那些被现代资本主义抛在后面或边缘化的人。这些作家设想了一种更人性化的替代品,以取代竞争驱动的经济体系,以及对利润和个人进步的无休止追求。尽管争论激烈,但《酷儿经济失调》是用清晰易懂的散文写成的。它还提供了批判理论、历史研究和文学文本细读之间的良好平衡。最终,多宾斯将经济人从尘封的基座上敲了下来,取而代之的是“关于资本主义生活的快乐、风险、福利和负债的更好、更混乱、更复杂的故事”(28)。
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Down from London: seaside reading in the railway age
“the value of Black women’s labor in an economy otherwise inclined to cheat, forget, and abandon Black subjects of capitalism as so much bad debt” (116). The book concludes with a coda on Oscar Wilde which nicely encapsulates the multiple meanings of “queer.” At Wilde’s 1895 trials for “gross indecency,” the prosecution constructed a “moralized financial narrative” (156) in which the writer was cast as “an extravagant queer debtor” (159) for his excessive spending on art, jewelry, flowers, and champagne. In particular, Wilde’s many gifts of money to working-class youths seemed clear proof of sexual entanglements. When the prosecution demanded a valid reason for Wilde’s payments to one young man, the writer replied: “Because he was poor, because he had no money and because I liked him. What better reason is there for giving a person money than that?” (160) Here, as elsewhere in his writings, Wilde rejects a rational system of exchange based on set values or what a person deserved. As these few examples make clear, Queer Economic Dissonance offers fresh readings of familiar works while also developing bold counter-narratives to the old Victorian accounts of self-help, individual initiative, upward mobility, and wealth accumulation. Dobbins’ cast of economic misfits—frauds, bankrupts, spendthrifts, and wastrels, many of them women —reminds us that many Victorian writers were sympathetic to those persons left behind or marginalized by modern capitalism. These writers imagined more humane alternatives to an economic system driven by competition and a seemingly endless quest for profit and personal advancement. Although densely argued, Queer Economic Dissonance is written in clear, accessible prose. It also provides a nice balance of critical theory, historical research, and close readings of literary texts. Ultimately, Dobbins knocks homo economicus off his dusty pedestal, replacing him with “better, messier, more complex stories of the pleasures, risks, perks, and liabilities of capitalist life” (28).
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
46
期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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Unremarkable as “the bridge … or the butcher’s wife”: pregnancy, illegitimacy, and realism in Ellen Wood’s A Tale of Sin Fictions of depersonalization: inauthentic feeling at the fin-de-siècle Postsecularism, burial technologies, and Dracula Anthony Trollope: an Irish writer A club of “murder-fanciers”: Thomas De Quincey’s essays “On Murder” and consuming violence in Blackwood’s Edinburgh Magazine
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