ABSTRACT This essay engages the world of the nineteenth-century naval novel, considering how the ‘wooden world’ presented in such narratives came to shape a unique representational order. Taking Captain Frederick Marryat’s The King’s Own (1830) as primary evidence, it is argued that naval novels depict the man-of-war as a place where the things – and men – of the parlour and marketplace find themselves reconstituted as components of the ‘Service’. This alternate order emerges in one of the most exhilarating features of high-seas thrillers: their recurrence to dense, largely un-translated nautical terminology. Such language foregrounds the man-of-war as a purely functional assemblage of parts, inviting the subject to die and become reborn as an object of state. At one level, this project was distinctly British. At the same time, the British fixation on naval gadgetry resonates with American and French naval novels of the period, cooperating in what arguably became a transnational militarism. Such narratives prepare the way for a modern ideological strategy by which warfare becomes ennobled on the basis of its economic sanctity.

中文翻译：

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战争物品：十九世纪海军小说中的主体和客体

摘要本文着眼于19世纪海军小说的世界，考虑到在此类叙事中呈现的“木制世界”是如何形成独特的表征秩序的。以弗雷德里克·马里亚特（Frederick Marryat）上尉的《国王的自己》（The King's Own，1830年）为主要证据，有人认为，海军小说将战人描绘为一个客厅和市场的事物和人发现自己重新构成“战争”的组成部分的地方。服务'。这种交替的顺序出现在公海惊险者最令人振奋的特征之一中：它们重现了密集的，很大程度上未翻译的航海术语。这样的语言将战争人物作为零件的纯粹功能性组合作为前景，从而使对象死亡并重生为国家的对象。一方面，这个项目显然是英国人。同时，英国对海军小工具的关注与当时的美国和法国海军小说产生了共鸣，并在可能成为跨国军国主义的领域进行了合作。这些叙述为现代意识形态战略铺平了道路，在这种战略思想中，战争基于其经济上的神圣性而变得崇高。