Introduction: Scottish Romanticism
Introduction: Scottish Romanticism
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简介：苏格兰浪漫主义
DOI：
10.1080/10509585.2016.1190101
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发表时间：
2016
影响因子：
0.2
通讯作者：
Pittock M
中科院分区：
文献类型：
--
作者：
Pittock M
民族浪漫主义思想当然是浪漫主义思想本身的核心，但尽管这一点在许多背景下得到广泛承认，但在 1945 年后时代，不列颠群岛内民族浪漫主义的界定变得模糊和不明确：事实上，在许多情况下，被忽略或压制。正如我在《苏格兰和爱尔兰浪漫主义》中所论证的那样，其原因与战后时期对浪漫主义和浪漫主义文学的赫尔德主义和社会观念的拒绝密切相关，转而支持统一的——但实际上相当狭隘的——美学定义。 1980年后浪漫主义时代历史主义和主题研究的发展是对这一趋势的重要纠正，但在许多方面并没有改变与不列颠群岛相关的浪漫主义批评的非国家化性质，也没有改变本科生课程，正如莎朗·拉斯顿(Sharon Ruston)在2006-2007年的开创性调查所显示的那样(希金斯和拉斯顿)。苏格兰的非国有化尤其不仅仅是关注“英国”作家的核心经典，并将查尔斯·马图林、玛丽亚·埃奇沃斯、苏珊·费里尔或西德尼·欧文森等不太知名的人物或女性推向边缘。这种情况是如此极端，以至于具有无可置疑的全球意义的作家被简单地排除在浪漫主义课程和研究的核心领域之外。沃尔特·斯科特爵士和罗伯特·伯恩斯爵士的影响遍及全球：然而，在 20 世纪 30 年代，伯恩斯在发表的文章数量方面通常在“七大”诗人中排名中游，但到了 1950 年代，他的情况出现了灾难性的衰退。在拉斯顿学习的时候，他并没有成为英国任何地方英语文学课程的核心部分，尽管他在苏格兰有一些存在：然而伯恩斯的印刷版有 23 个版本。这位诗人在伦敦铁路书摊上出售，同时被认为过于古怪，无法教授伦敦本科生，这几乎与现代主义一些伟大人物的情况相反。对斯科特来说，“伟大的未读”这句令人厌倦的俏皮话仍然被用来作为一个标签，以切断进一步的思考或任何证据的呈现，他是第一个从 1985 年开始全面重新编辑的苏格兰浪漫主义者：由此产生的毫不妥协的学术性和大部分精装版的《韦弗利小说》爱丁堡版已售出超过 100,000 册。今天，斯科特的市场明显地使其他一些被视为更“主流”的浪漫主义作家的市场相形见绌，就像威廉·圣克莱尔在《浪漫主义时期的阅读国家》中所巧妙地审视的那个时期一样。 20世纪30年代，斯科特准备去英国考取学校证书； 1989 年，英国一所主要大学向笔者询问如何向英语本科生教授斯科特。转变即将完成。
The idea of national Romanticisms is of course central to the idea of Romanticism itself, but while this is widely acknowledged in many contexts, in the post-1945 era the delineation of national Romanticisms within the British Isles became fuzzy and ill-defined: indeed in many cases, omitted or repressed. The reasons for this are, as I argued in Scottish and Irish Romanticism, strongly bound up with the rejection of a Herderian and social notion of Romanticism and Romantic literature in the postwar era in favor of a unified–but in fact quite narrow–aesthetic definition. The growth of historicist and thematic studies of the Romantic era in the post-1980 period was an important corrective to this trend, but in many respects did little to change the denationalized nature of Romantic criticism linked to the British Isles, nor indeed did it alter the undergraduate curriculum, as Sharon Ruston’s groundbreaking 2006–2007 survey showed (Higgins and Ruston). The denationalizing of Scotland in particular was not merely a matter of focusing on a core canon of “British” writers and pushing less well-known figures or women such as Charles Maturin, Maria Edgeworth, Susan Ferrier, or Sydney Owenson to the margins. It was so extreme that writers of unquestionable global significance were simply excluded from the core areas of Romantic curriculum and study. The influence of Sir Walter Scott and Robert Burns are felt in every part of the globe: yet while in the 1930s, Burns normally ranked in the middle of the pack of “Big Seven” poets by the number of articles published, by the 1950s he was in a catastrophic decline. At the time of Ruston’s study, he did not form a core part of the English literature curriculum anywhere in the UK, though he had some presence in Scotland: yet there were 23 editions of Burns in print. The poet was being sold on London railway bookstalls while being regarded as too outré to teach to London undergraduates, almost the reverse of the situation with respect to some of the great figures of Modernism. Scott, for whom the tired quip of the “Great Unread” is still utilized as a label to cut off further thought or the presentation of any evidence, was the first of the Scottish Romantics to be comprehensively re-edited from 1985: the resulting uncompromisingly scholarly and largely hardback edition of the Edinburgh Edition of the Waverley Novels has sold well in excess of 100,000 copies. The market for Scott today clearly and demonstrably dwarfs that for some other Romantic writers regarded as more “mainstream” as surely now as it did in the period which William St Clair has so ably examined in The Reading Nation in the Romantic Period. In the 1930s, Scott was set for School Certificate in England; in 1989, the present author was asked at a major UK university how Scott could be taught to English undergraduates at all. The shift was nigh on complete.
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