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《妻子与女儿》是伊丽莎白·盖斯凯尔的最后一部小说,作品所呈现的现代性变革引发评论界各种解读,但对其理解仍受困于陈旧的方法。实际上,盖斯凯尔讲述的现代性变革的本质是印刷术与书籍普及影响下产生的两种知识生产体系的博弈,即浪漫型的知识生产与反浪漫型的知识生产之间的博弈。其中,浪漫型的知识生产以诗化表达、秘密与隐私叙事传达出一种具有颠覆性的个人主义诉求,它严重破坏了事物秩序和社会合法性,成为作者批判的对象;而反浪漫型的知识生产则以帝国的科考-殖民语汇、家政的法律与账簿叙事等知识论述建构出一种代表公共精神兴起的谱系学,它最终指向帝国秩序的巩固与认同。小说呈现的知识权力博弈是历史的文本投射,小说本身反过来又参与了帝国的观念构成。
Wives and Daughters, the last novel by Elizabeth Gaskell, revolutionized the modernity presented by the critics, leading to various interpretations by the critics but still stuck to the old ways of understanding. In fact, the essence of the modernity change described by Gaskell is the game between two kinds of knowledge production systems under the influence of printing and book popularization, that is, the game between the romantic knowledge production and the anti-romantic knowledge production. Among them, the romantic type of knowledge production conveys a subversive individualistic appeal with poetic expression, secret and private narrative, which seriously undermines the order of things and the social legitimacy and becomes the object of criticism; while the anti-romantic Knowledge production constructs a pedigree which represents the rise of public spirits from the expositions of the imperial science such as colloquialisms, laws of household politics and narration of account books. It ultimately points to the consolidation and identification of the imperial order. The power game of knowledge presented in the novel is a textual projection of history. The novel itself in turn participates in the constitution of the empire.