BRITISH WOMEN WRITERS AND THE SHORT STORY, 1850-1930: RECLAIMING SOCIAL SPACE
BRITISH WOMEN WRITERS AND THE SHORT STORY, 1850-1930: RECLAIMING SOCIAL SPACE
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英国女作家和短篇小说，1850-1930 年：夺回社会空间
DOI：
10.1080/13688804.2015.1066155
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发表时间：
2015
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
夺回社交空间 (150)。在维多利亚时代和现代主义女性作家短篇小说中对性别和社会空间的探索中，她特别感兴趣的是突破界限的女性表现。不同类型的空间越界通过克鲁格的时间顺序讨论构建了我们的进步。从伊丽莎白·盖斯凯尔的《克兰福德》系列故事开始，她首先进入了老处女的客厅里的乡村生活，然后转向玛丽·伊丽莎白·布拉登和罗达·布劳顿的维多利亚中期的鬼故事，讲述了受惊扰的家。她的第三章转向乔治·埃格顿、夏洛特·缪和伊芙琳·夏普的世纪末黄皮书故事中描绘的城市社会空间，而第四章探讨了芭芭拉·贝恩顿和凯瑟琳·曼斯菲尔德在殖民空间中对布什女孩和牧羊人妻子的现代主义重新定位。最后，她通过弗吉尼亚·伍尔夫和吉恩·里斯对大都市中女性谈判和对抗的描述得出了自己的结论。同时，克鲁格的论点贯穿了短篇小说的多种形式和发展。她比许多其他十九世纪短篇小说批评家更早开始研究，并且在这样做时热衷于避免陷入这个或那个故事未能做到的事情中，相反，她阅读时着眼于它们提供的内容（12）。这对她的论点焦点产生了积极影响。她为克兰福德的短篇小说系列提供了理由，打破了乡村生活素描中产生的普遍期望；在鬼故事中找到“普遍的统一性”“对不可调和的事物的认识和失望”（69）；认为埃格顿和缪通过重新部署相关技巧来挑战印象派短篇小说；并表明贝恩顿和曼斯菲尔德在破坏殖民现实主义的过程中为现代主义短篇小说的发展做出了贡献。
Reclaiming Social Space (150). Within this exploration of gender and social space in Victorian and modernist women writersL short stories, her particular interest lies in the representation of women breaching boundaries. Different types of spatial transgression structure our progress through KruegerLs chronological discussion. Beginning with Elizabeth GaskellLs Cranford series of stories, she first takes in the spinsterLs drawing room of village life before moving on to the disturbed homes of Mary Elizabeth Braddon and Rhoda BroughtonLs ghost stories of the mid-Victorian period. Her third chapter turns to the urban social spaces portrayed in the fin-de-siècle Yellow Book stories of George Egerton, Charlotte Mew, and Evelyn Sharp whilst the fourth examines Barbara Baynton and Katherine MansfieldLs modernist repositioning of the Bush Girl and the DroverLs Wife in colonial spaces. Finally she draws her conclusions through Virginia Woolf and Jean RhysLs depictions of womenLs negotiations of and confrontations in the metropolis.At the same time, KruegerLs argument moves through a variety of the short storyLs forms and developments. She begins her study earlier than many other critics of the nineteenth-century short story and in doing so is keen to avoid becoming tied up in what this or that story fails to do, instead she reads Lwith an eye toward what they offerL (12). This impacts positively on the focus of her argument. She makes the case for CranfordLs short story series destabilising the generic expectations grown out of the village life sketch; finds Lgeneric unityL in the ghost storyLs Lacknowledgement of,[and] disappointment in, that which is irreconcilableL (69); argues that Egerton and Mew challenge the impressionistic short story through a redeployment of its associated techniques; and shows Baynton and Mansfield to contribute to the development of the modernist short story in their disruption of colonial realism.