Sterne Digital Library

斯特恩数字图书馆

• 批准号: AH/S002154/1
• 负责人: Helen Williams
• 金额: $ 25.79万
• 依托单位: Northumbria University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FS002154%2F1
• 关键词: Sterne; Digital; Library

How we think about literary history has typically been shaped by what we think the 'important' books are, and who wrote them. Although scholars have sought to challenge ideas of canonicity by asserting the place of 'lesser' works - those produced by marginal groups, for instance, or which do not make significant claims on what we deem to be 'good' literature - these recuperations have often been positioned in opposition to so-called canonical works. A more revealing approach to how literary cultures have flourished in the past can be shaped by considering the symbiotic relations between apparently 'important' and 'lesser' works as realised through the dynamic processes of adaptation. Creatively recycling a popular text into new forms, media and modes (the visual, performance, material culture) invigorates the inherent connections and differences between the marginal and the central in stimulating new ways. The processes of literary adaptation are deep-rooted and hold many significant literary examples, from Philip Sidney to J.K. Rowling. Yet eighteenth-century readers exuberantly refashioned texts into alternative artistic forms against the back-drop of an emergent celebrity culture and a rapidly expanding book trade. Popular works in this period enjoyed a lively, reciprocal relationship with the adaptations they inspired. Texts became substance for public consumption and regurgitation in new forms, as readers turned creators by producing their own versions of famous works. Laurence Sterne (1713-68) was one of the most popular and successful writers of his day. His idiosyncratic novels, 'The Life and Opinions of Tristram Shandy, Gentleman' (1759-67) and 'A Sentimental Journey through France and Italy' (1768), were wildly successful and inspired a host of 'Sterneana': creative responses in word, image, and performance. Whilst other popular texts from this period inspired creativity, none experienced adaptation as prolific or diverse as Sterne's. Sterne's first readers found his fiction to be strikingly 'novel' in every sense, from 'Tristram Shandy's' erratic story-telling, playful typography, and bawdry, to 'A Sentimental Journey's' ambiguous mixture of erotic humour and touching pathos. Both novels generated sequels, imitations, continuations, song, drama, and visual and material culture at home and abroad; 'Tableau Sentimental de la France' by 'Yoryck' (1792), for instance, uses Sterne's sympathetic traveller to critique post-Revolutionary France. Sterne continues to fascinate readers: his books have never gone out of print; there is a steady flow of visitors to his home, Shandy Hall; artists, writers, and musicians still produce their own creative interpretations of his idiosyncratic works. Experimental visual representation of narrative was pioneered by Sterne and abounds in Sterneana. The SDL will be the first digital resource to experiment with digitally encoding visual narrative like engraved lines, white space and non-verbal typographic marks. The main aim of this project is to use 'Sterneana' as a case study for examining the dynamic culture of eighteenth-century adaptation. Its objectives are to create the Sterne Digital Library, a digital resource combining Sterne's fiction with lesser-known and hitherto marginalised Sterneana, allowing users to search across them and identify their synergies and explore the wider implications afterlives hold in literary culture. It will be illuminated by explanatory texts compiled by world-leading scholars which introduce, elucidate, and encourage new routes towards exploring it. Hosted on Cambridge Digital Library, an open-access platform, it will bring new audiences to treasures of Cambridge University Library (CUL) and the Laurence Sterne Trust at Shandy Hall (LST) that are unmatched in number or scope.

我们对文学史的看法通常取决于我们认为“重要”的书籍是什么，以及谁写了它们。尽管学者们试图通过主张“次要”作品的地位来挑战正统性的观念--例如那些由边缘群体创作的作品，或者那些对我们认为是“好”的文学没有重大要求的作品--这些复原作品往往被定位为与所谓的正统作品相对立。一个更能揭示文学文化在过去是如何繁荣的方法，可以通过考虑通过动态的适应过程实现的明显的“重要”和“次要”作品之间的共生关系来形成。创造性地将流行文本转化为新的形式、媒体和模式（视觉、表演、物质文化），激发边缘与中心之间的内在联系和差异，激发新的方式。文学改编的过程是根深蒂固的，有许多重要的文学实例，从菲利普·西德尼到J. K.罗琳然而，在新兴的名人文化和迅速扩张的图书贸易的背景下，18世纪的读者们热情地将文本改造成另一种艺术形式。这一时期的流行作品与它们所激发的改编作品之间存在着一种活跃的、互惠的关系。文本成为大众消费和新形式回流的物质，因为读者通过制作自己版本的名著而成为创作者。劳伦斯·斯特恩（1713-68）是他那个时代最受欢迎和最成功的作家之一。他的独特小说《项狄传》（The Life and Opinions of Tristram Shandy，Gentleman，1759- 1767）和《法国和意大利的感伤之旅》（A Sentimental Journey through France and Italy，1768）大获成功，激发了一系列“Sterneana”：在文字、图像和表演上的创造性反应。虽然这一时期的其他流行文本激发了创造力，但没有一个经历过像斯特恩那样多产或多样化的改编。斯特恩的第一批读者发现他的小说在任何意义上都是惊人的“小说”，从《项狄传》的古怪的故事讲述，俏皮的排版，和淫秽，到《感伤之旅》的色情幽默和感人的悲怆的模糊混合物。这两部小说都在国内外产生了续集、模仿、续作、歌曲、戏剧以及视觉和物质文化;例如，约里克的《法国感伤画面》（1792年）利用斯特恩同情的旅行者来批评革命后的法国。斯特恩继续吸引读者：他的书从未绝版;有一个稳定的游客流到他的家，香迪大厅;艺术家，作家和音乐家仍然产生自己的独特作品的创造性解释。叙事的实验性视觉表现是由斯特恩开创的，并在斯特内阿纳大量存在。SDL将是第一个尝试数字编码视觉叙事的数字资源，如雕刻线条，白色空间和非语言印刷标记。 这个项目的主要目的是使用“Sterneana”作为一个案例研究，研究十八世纪适应的动态文化。它的目标是创建斯特恩数字图书馆，这是一个数字资源，将斯特恩的小说与鲜为人知且迄今被边缘化的Sterneana相结合，允许用户搜索它们并确定它们的协同作用，并探索文学文化中更广泛的来世影响。它将由世界领先的学者编写的解释性文本进行阐释，这些文本介绍、阐明并鼓励探索新的途径。它托管在剑桥数字图书馆（一个开放获取平台）上，将为新的观众带来剑桥大学图书馆（CUL）和劳伦斯斯特恩信托基金会（LST）的宝藏，这些宝藏在数量和范围上都是无与伦比的。

项目成果

Autopathography and the Bramine's Journal

自病理学和布拉明日记

• 发表时间: 2022
• 期刊: The Shandean
• 作者: Helen Williams

Laurence Sterne and the Eighteenth-Century Book

劳伦斯·斯特恩和十八世纪的书

• 发表时间: 2021
• 作者: Williams

A Festschrift in Honour of Peter de Voogd

纪念彼得·德·沃格德的节日文集

• 发表时间: 2022
• 作者: Special Issue Of The Shandean Journal

1650-1850 - Ideas, Aesthetics, and Inquiries in the Early Modern Era (Volume 28)

1650-1850 - 近代早期的思想、美学和探究（第 28 卷）

• DOI: 10.36019/9781684484652-004
• 发表时间: 2023
• 作者: Williams H

Neo-Georgian Fiction: Reimagining the Eighteenth Century in the Contemporary Historical Nove

新格鲁吉亚小说：在当代历史小说中重新想象十八世纪

• 发表时间: 2021
• 作者: M-C. NEWBOULD