It is fitting that this article emerged from a conference in which the orderly progression of speakers was continually modified by exchanges within the conference space, for these two ways of organizing information form the subject of this article. When we aim to recover Victorian women writers, we often imagine a particular case in a timeline, selecting and extracting in a tacit model of linear orderliness. This is particularly significant in what we might call “recovery feminism,” the practice of salvaging texts that have been lost to history. Recovery feminism has dominated Victorianist feminist criticism since its development in the late 1970s, and I practiced it enthusiastically in my first book,The Forgotten Female Aesthetes. In this article, I want to acknowledge what recovery feminism has given us, but I also want to delineate the profound and often unarticulated ways it continues to structure our work, often with unintended consequences. In order to explore alternative forms of feminism, I assess theories of influence and intertextuality, and I use Charlotte M. Yonge'sThe Heir of Redclyffe(1853) as an example that both thematizes this issue and acts as a case study of forms of feminist criticism. A viable feminist criticism, I contend, ought to be able to address a novel likeHeir, andHeiritself may be able to provide a model for how to do that. Such a model of feminist practice might actually resemble the simultaneous, atemporal, interactive model of the conference day. In the digital era, we occupy an alternative chronology, in which we envision ourselves not as strenuously excavating the last disintegrating relics of the past, but rather as choosing among multiple simultaneous virtual texts, severed from markers of time or space. What might be a feminist critical practice for the way we work now?

中文翻译：

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维多利亚时代的女权主义批评：康复工作和护理社区

这篇文章出自一次会议，会议空间内的交流不断地改变了演讲者的有序进展，因为这两种组织信息的方式构成了本文的主题。当我们旨在恢复维多利亚时代的女性作家时，我们经常想象时间轴中的一个特定案例，在一个默认的线性有序模型中进行选择和提取。这在我们所谓的“恢复女权主义”中尤为重要，即挽救已在历史中消失的文本的做法。自 1970 年代后期发展以来，复兴女权主义一直主导着维多利亚时代的女权主义批评，我在第一本书中热情地实践了它，被遗忘的女性美学家. 在这篇文章中，我想承认复兴女权主义给了我们什么，但我也想描述它继续构建我们的工作的深刻且经常不明确的方式，通常会产生意想不到的后果。为了探索女权主义的替代形式，我评估了影响和互文性理论，并使用了 Charlotte M. Yonge 的雷德克里夫的继承人（1853）作为一个例子，既将这个问题主题化，又作为女权主义批评形式的案例研究。我认为，一个可行的女权主义批评应该能够解决像这样的小说继承人， 和继承人它本身或许能够为如何做到这一点提供一个模型。这种女权主义实践模式实际上可能类似于会议日的同时、非时间、互动模式。在数字时代，我们占据了另一种年表，我们设想自己不是在努力挖掘过去最后瓦解的遗迹，而是在多个同时存在的虚拟文本中进行选择，与时间或空间的标记分离。对于我们现在的工作方式，什么可能是女权主义批判实践？