During 2013 the writings of the Pre-Raphaelites continued to inspire steady interest, as critics and scholars focused on the relationship between biography and literary creation, and the publication contexts and visual qualities of Pre-Raphaelite literature. As in past years, interest centered on the philosophical and religious nuances of Christina Rossetti's poetry, and in addition, Elizabeth Siddal's writing received rare and welcome critical scrutiny. The Rossettis and Elizabeth Siddal: Frances Dickey's The Modern Portrait Poem: From Dante Gabriel Rossetti to Ezra Pound (University of Virginia Press) outlines a trajectory of Victorian and modernist poems that explore complexities of individuality and selfhood. In chapter 1, "Portraiture in the Rossetti Circle: Window, Object, or Mirror," Dickey contrasts the "portrait poems" of the eighteenth and early nineteenth centuries, which assume a painting's intelligibility as an index of the soul, with Rossetti's two poems titled "The Portrait" and Swinburne's "Before the Glass," written in response to Whistler's "Symphony in White." Rossetti's "Portraits" offer contrasting approaches; whereas his sonnet "The Portrait" attributes subject-like capacities to the painting itself, subsuming both artist and subject within its beautiful surfaces, his 12-stanza interior monologue broods on the gap between portrait and memory, as the speaker's self dissolves into the mirroring portrait and his present identity into that of the past. Similarly Swinburne's poem denies any unified interiority to the woman represented in Whistler's painting, celebrating instead the many forms of reflection suggested by her image. Dickey notes that this "interspatial" sense of identity--formed between persons and between persons and objects--anticipates that of twentieth-century modernists, who valued "multivocality, non-narrativity, and a system of surface reflections" (46). Dickey's discussion of portrait poems of the 1860s and 70s might usefully have been supplemented by considering an alternate tradition of mirror/self-portrait poems by women such as Augusta Webster and Elizabeth Barrett Browning, however, and its swift historical slide from male Pre-Raphaelites to male modernists could benefit from attention to intermediary portrait/mirror poems by Michael Field, Mary Coleridge, and other fin de siecle poets. In Christina Rossetti's Gothic (Bloomsbury), Serena Trowbridge argues that poetry is "a form positioned to manifest elements of Gothic, since it is by nature fractured" (23) She interprets Rossetti's poetry as an expression of such a Gothic sensibility, seen as "a collective term for an assortment of tropes and styles," (1) which include preoccupation with death, the grotesque, and haunting. Although many of the features Trowbridge identifies as Gothic also fit well within other interpretive contexts, her readings provide an alternate approach to the many discussions of Rossetti's theology per se. In chapter 1, "The Spectrality of Rossettian Gothic," Trowbridge reviews theoretical insights on haunting, ghosts, and other spectral phenomena offered by Freud, Derrida, Terry Castle, Alison Chapman, and others, and applies these definitions to several Rossetti poems in which a speaker expresses terror at a haunting presence or crosses a tabooed threshold. She notes that Rossetti's ghost poems are most often "fragments of narrative--the thoughts of the speaker, or a ballad with a story only hinted at" (51-52). In chapter 2, "Early Influences: Rossetti and the Gothic of Maturin," Trowbridge argues for the importance of Rossetti's eight early poems based on novels by Charles Maturin. She observes that Maturin provided Rossetti with models of strong-minded heroines trapped in convents, torn between earthly and spiritual love, or suffering from their own as well as others' transgressions, all situations that recur repeatedly throughout her later works. Unlike their tormented or transgressive originals, however, Rossetti's Maturin-based heroines achieve redemption, and Trowbridge remarks that for Rossetti, "the shadow of the fallen world of the Gothic novel serves only to indicate the eternal glories of heaven" (87). …

中文翻译：

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拉斐尔前派

2013 年，拉斐尔前派的作品继续激发着稳定的兴趣，评论家和学者关注传记与文学创作之间的关系，以及拉斐尔前派文学的出版背景和视觉品质。与过去几年一样，人们的兴趣集中在克里斯蒂娜·罗塞蒂诗歌的哲学和宗教细微差别上，此外，伊丽莎白·西达尔的作品也受到了罕见且受欢迎的批判性审查。罗塞蒂和伊丽莎白·西达尔：弗朗西斯·迪基的现代肖像诗：从但丁·加布里埃尔·罗塞蒂到埃兹拉·庞德（弗吉尼亚大学出版社）概述了维多利亚时代和现代主义诗歌的轨迹，探索个性和自我的复杂性。在第一章“罗塞蒂圈中的肖像画：窗户、物体或镜子”中，迪基对比了“ 的绘画，而不是庆祝她的形象所暗示的多种反射形式。迪基指出，这种“跨空间”的认同感——在人与人之间以及人与物之间形成——预示着二十世纪现代主义者会出现这种感觉，他们重视“多声性、非叙事性和表面反射系统”（46）。然而，考虑到奥古斯塔·韦伯斯特和伊丽莎白·巴雷特·布朗宁等女性的镜像/自画像诗的替代传统，以及它从男性拉斐尔前派的快速历史滑落，迪基对 1860 年代和 70 年代肖像诗的讨论可能会有所补充男性现代主义者可以从关注迈克尔菲尔德、玛丽柯勒律治和其他世纪末诗人的中间肖像/镜子诗中受益。在克里斯蒂娜·罗塞蒂的哥特式（布卢姆斯伯里）中，塞雷娜·特罗布里奇 (Serena Trowbridge) 认为，诗歌是“一种定位于表现哥特式元素的形式，因为它本质上是破碎的”(23) 她将罗塞蒂的诗歌解释为这种哥特式情感的表达，被视为“各种比喻的集体术语和风格”（1），其中包括对死亡、怪诞和令人难以忘怀的关注。尽管特罗布里奇认为哥特式的许多特征也很适合其他解释语境，但她的阅读为罗塞蒂神学本身的许多讨论提供了另一种方法。在第 1 章“罗塞特哥特式的光谱”中，特罗布里奇回顾了弗洛伊德、德里达、特里城堡、艾莉森查普曼等人提供的关于困扰、鬼魂和其他光谱现象的理论见解，并将这些定义应用于罗塞蒂的几首诗，在这些诗中，演讲者对令人难以忘怀的存在表达恐惧或跨越禁忌的门槛。她指出，罗塞蒂的鬼诗通常是“叙事的片段——说话者的想法，或者只是暗示故事的民谣”（51-52）。在第 2 章“早期影响：罗塞蒂和马图林的哥特式”中，特罗布里奇论证了罗塞蒂基于查尔斯·马图林小说的八首早期诗歌的重要性。她观察到马图林为罗塞蒂提供了被困在修道院中、在世俗和精神之爱之间挣扎、或因自己和他人的过犯而受苦的意志坚强的女主人公的模型，所有这些情况在她后来的作品中反复出现。然而，与他们饱受折磨或越界的原作不同，罗塞蒂的 以马图林为基础的女主人公实现了救赎，特罗布里奇评论说，对于罗塞蒂来说，“哥特式小说堕落世界的阴影只是为了表明天堂的永恒荣耀”（87）。…