Abstract

This article explores the competing models of gendered authorship emerging from Marie Corelli’s multiple print encounters with Olive Schreiner. Where Schreiner is cast by Corelli as the modish darling of a snobbish literary intelligentsia, who is beloved by critics and ignored by readers, Corelli herself emerges from her writings about Schreiner as the democratic author par excellence, a writer for the people rather than the press. In spite of the clear common ground that bridged their experience as celebrity authors, Corelli, in her writings about Schreiner, sought only to elucidate the ideological and artistic gulf that she identified as existing between them. As this essay will show, Corelli’s public resistance to Schreiner was a strike not only against an unfair male literary system of which she perceived Schreiner to be an arbitrary beneficiary, but also a rejection of the rhetoric of literary value that emerged in Britain during the fin de siècle. What Corelli failed to understand was that to be a woman writer at this time, however successful, was to occupy an ambiguous position within dominant, masculinist discourses of artistic distinction. A fuller exploration of Schreiner and Corelli’s positions within and experiences of the late-Victorian literary marketplace not only reveals the frailty of Correlli’s oppositional construction in real terms, but also signals the extent to which it was their shared status as women writers that was the key determinant shaping their respective experiences of professional authorship.

中文翻译：

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奥利夫·史莱纳（Olive Schreiner），玛丽·科雷利（Marie Corelli）与女性作家身份的焦虑

摘要

本文探讨了玛丽·科雷利（Marie Corelli）与奥利夫·史莱纳（Olive Schreiner）的多次印刷遭遇中出现的性别作者身份的竞争模型。科雷利（Corelli）将施莱纳（Schreiner）视为一个势利的文学知识分子的宠儿，她深受评论家的喜爱，却被读者所忽视，而科雷利（Corelli）自己从施莱纳的著作中脱颖而出，成为杰出的民主作家，是为人民而不是新闻界的作家。尽管有明确的共同点将他们作为名人作家的经历联系起来，但科雷利（Corelli）在她关于施莱纳（Schreiner）的著作中，只是试图阐明她认为在他们之间存在的意识形态和艺术鸿沟。正如本文所表明的那样，科雷利（Corelli）公开反对施莱纳（Schreiner）不仅是对不公平的男性文学体系的一次罢工，她认为施莱纳是任意的受益者，而且也拒绝了英国在鳍片时期出现的文学价值言论。 desiècle。科雷利无法理解的是，尽管成为一名女性作家，但无论如何成功，都在占主导地位的男性主义艺术话语中占据了模棱两可的位置。