Slow Print: Literary Radicalism And Late Victorian Print Culture
Slow Print: Literary Radicalism And Late Victorian Print Culture
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慢印刷：文学激进主义和维多利亚晚期印刷文化
DOI：
10.1080/13688804.2013.876263
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发表时间：
2014
期刊：
影响因子：
0.4
通讯作者：
Chapman A
中科院分区：
文献类型：
--
作者：
Chapman A
作家兼计划生育活动家茱莉亚·道森（Julia Dawson）为维多利亚晚期最畅销的激进报纸《号角报》（Clarion）撰写了一个女性专栏。为了与他们的新新闻风格保持一致，她的目标是影响一种个人的、个性化的语气，以建立她与读者的关系。然而，道森选择用笔名写作，从而使自己脱离了她的读者。与此同时，写作时间和阅读时间之间具有破坏性的距离“常常是抱怨的来源”（290）。伊丽莎白·卡罗琳·米勒（Elizabeth Carolyn Miller）在维多利亚晚期的激进媒体中发现了许多矛盾之一，即一个作家在使用印刷形象的同时，又对印刷的距离效应感到沮丧。《慢印刷》探讨了19世纪末文学激进主义对资本推动的印刷生产的速度和丰富的反应，以及它的一些矛盾为现代主义开始出现奠定了基础的方式。虽然米勒不希望把激进的新闻界贬低为“现代主义的无名先驱”（299），但她成功地揭示了它对资本主义印刷生产模式的拒绝所起的作用。米勒的研究延伸到丰富的“世纪末”激进媒体的许多角落，从英国第一份主要的社会主义报纸《正义》（Justice），到塑造现代主义的《新时代》（New Age），例如，10期的《警报》（the Alarm）和即将出版的自由恋爱杂志《成人》（the Adult）。她协调了这些丰富的期刊材料，从威廉·莫里斯，公益组织和凯姆斯考特出版社开始。米勒探讨的一些最明显的矛盾出现在她对莫里斯的讨论中；她提出了一个问题，一个社会主义者怎么会反对印刷的过度生产，后来又反思了莫里斯在他的乌托邦小说中对口头的重视，这些小说的存在表明了口头的不足。在这本《缓慢印刷》中最广泛的章节中，米勒通过仔细而清晰地描绘莫里斯复杂的社会主义印刷政治来解决这些问题。乔治·萧伯纳和19世纪八九十年代的社会主义戏剧转向呈现出进一步的悖论。说到戏剧，印刷复制既是问题也是优势；它代表了资本主义的大规模生产，但同样提供了可获得性。萧伯纳希望他的剧本“为了家庭中不幸的囚徒”而出版（133）。米勒发现肖将印刷和戏剧结合在一起，这促使他解决了他们在观众中的差异，并最终引发了排他性的问题。尽管激进戏剧在《慢印》中作为一个新空间出现，但米勒对激进媒体中出现和讨论的诗歌的探索，侧重于“流派和形式的适度改编”（170）。她转向不太知名的作家，比如莫里斯的同志j·布鲁斯·格拉西尔和工人阶级的业余作家汤姆·马奎尔。再一次。
Writer and birth control campaigner Julia Dawson produced a women’s column for the Clarion, the best selling of late Victorian radical papers. In keeping with the tricks of their New Journalism style, she aimed at affecting a personal, individual tone to build her relationship with her readers. Yet Dawson chose to write under a pen name and thus in fact detached herself from her audience. At the same time the disruptive distance between the time of writing and the time of reading ‘was often a source of complaint’(290). This contradiction of a writer employing a print persona whilst at the same time being frustrated by print’s distancing effect is one of many contradictions Elizabeth Carolyn Miller finds within the late Victorian radical press. Slow Print explores literary radicalism’s response to the speed and profusion of capital fuelled print production at the end of the nineteenth century and the ways in which some of its contradictions prepared the ground from which modernism began to emerge. Whilst Miller does not wish to reduce the radical press to ‘an unsung herald of modernism’(299), she successfully reveals the part that its rejection of capitalist modes of print production played. Miller’s research extends into many corners of the copious fin de siècle radical press from the first major English socialist paper, Justice, to modernism-shaping New Age, taking in, for example, the 10 issue run of The Alarm and the free love journal The Adult on the way. She coordinates this wealth of periodical material beginning where one might expect with William Morris, Commonweal and the Kelmscott Press. Some of the most obvious contradictions Miller explores arise in her discussion of Morris; she raises the question of how a socialist could object to the overproduction of print, and later reflects on Morris’s placing of value on orality in his utopian novels, novels whose very existence points to orality’s insufficiency. Within this most extensive of Slow Printls chapters, Miller tackles these problems through careful and clear drawing of Morris’s complicated socialist print politics.George Bernard Shaw and the socialist theatrical turn of the 1880s and 1890s present further paradoxes. When it came to drama, print reproduction was both problem and advantage; it represented capitalist mass production but equally afforded accessibility. Shaw wanted his plays printed ‘for the sake of the unhappy prisoners of the home’(133). Miller finds Shaw merging print and theatre, which moved him to tackle their differences in audience, and ultimately led to questions of exclusivity. Whereas radical drama appears as a new space in Slow Print, Miller’s exploration of the poetry both featured and discussed in the radical press, focuses on ‘modest adaptations of genre and form’(170). She turns to lesser known writers, for example, Morris’s comrade J. Bruce Glasier and the working-class amateur Tom Maguire. Again