Reviewed by:

• Conrad and Languageed. by Katherine Isobel Baxter and Robert Hampson
• Jennifer Janechek (bio)

Katherine Isobel Baxter and Robert Hampson's Conrad and Languageis a wide-ranging and comprehensive treatment of a central topic in Conrad studies—that of Conrad's understanding of, and wrestling with, language, both as a symbolic system and as a national or regional tongue. With eleven chapters, an introduction, and an afterword, it approaches this subject from divergent and yet complementary methodologies—from affect studies (Josiane Paccaud-Huguet) to disability studies (Baxter) to critical terrorism studies (Andrew Glazzard). The collection might rightly be divided into two sections, with the first six chapters addressing Conrad's exploration of the relationship between word and thing—of the ability (or inability) of language to accurately represent experience—and the next five chapters focusing on Conrad's multilingualism. Thus, although the editors claim in their introduction that the chapters in this volume follow in the tradition of Jeremy Hawthorn and Martin Ray by "approach[ing] the topic of 'Conrad and Language' not from the perspective of comparative linguistics or stylistics, but rather in terms of that 'more than commonly developed consciousness of language', which produced 'an awakened philosophical curiosity about language,'" only the first six chapters really do so (6). The final five chapters follow more closely the trajectory established by the pioneering work of René Rapin, Irmina Pulc, and other scholars who mapped Conrad's negotiation between the various languages he spoke or had in his consciousness. To be sure, these chapters extend beyond the domain of pure linguistic analysis, as they establish telling connections between Conrad's "macaronic" tendencies (his habit of oscillating between languages while writing) and larger concerns of cosmopolitanism, transnationalism, [End Page 189]and colonialism, and they are quite valuable in the new angles they adopt in examining "Conrad's existence within and between multiple languages" (Baxter and Hampson 8). Taken together, the chapters in this volume offer a well-rounded and innovative study of Conrad's personal and artistic preoccupation with language.

In his afterword, Laurence Davies identifies two common threads that run throughout the essays: first, he notes an attention to ethics—either the ethics of speech and writing or the ethics of interpretation; second, he detects an awareness "not so much of absence as of incompleteness, loss and imperfection" with regard to language (206, 208). To these I would like to add the following three themes: double voicings in Conrad's texts, Conrad's self-consciousness about his readers, and Conrad's struggle between desiring rigorous linguistic precision and his mistrust of language. These topics are certainly not new to Conrad studies, but they are approached with innovative methodologies that render the content and form of analysis very unique indeed.

Many of the authors correctly discern a linguistic doubleness in Conrad's works. In his examination of Conrad's use of nautical language, Hampson argues that by using mild swear words, substitutes, blanks, and inventive language to represent less palatable swear words, Conrad "offers a double-voiced text: an irreproachable text for the delicate or juvenile reader and a readily translatable text for those with stronger nerves" (19). For his part, John Attridge locates a dualism within Conrad's stylistic imagination between a desire to represent concrete sensory experiences and an interest in more abstract concerns, a dualism that creates a slippage between material and metaphysical worlds (53, 61). Yael Levin also notices a doubling at the narrative level with a dichotomy consistently drawn between the character who acts and the character who remembers and narrates (68). According to Levin, this doubling—and concomitant collapsing of the distance between subject and object—demonstrates Conrad's refashioning of subjectivity along modernist lines, where the subject is no longer cohesive and impregnable but instead is perpetually open to invasion by the language of the other (70). One of the most original pieces is Christopher GoGwilt's chapter on how Conrad probes the transcription, transliteration, and translation of Malay into the Romanized print form of English, which exposes...

审核人：

• 康拉德（Conrad）和《语言》（Language）编辑。凯瑟琳·伊索贝尔·巴克斯特（Katherine Isobel Baxter）和罗伯特·汉普森（Robert Hampson）
• 珍妮弗·简切克（生物）

凯瑟琳·伊索贝尔·巴克斯特（Katherine Isobel Baxter）和罗伯特·汉普森（Robert Hampson）的康拉德和语言是对康拉德研究中的中心话题的广泛而全面的处理，康拉德将语言作为一种符号系统以及作为一种国家或地区的语言来理解和进行角力。它用11章，引言和后记从不同而又互补的方法论中研究了这个主题，从情感研究（乔希恩·帕考德-休格特）到残疾研究（巴克斯特）再到关键恐怖主义研究（安德鲁·格拉扎德）。该集合可能正确地分为两部分，前六章论述了康拉德对单词与事物之间关系的探索（语言的能力（或无能力）准确地表示经验），而接下来的五章则着重于康拉德的多语言论。因此，尽管编辑在引言中声称本卷中的各章遵循杰里米·霍索恩（Jeremy Hawthorn）和马丁·雷（Martin Ray）的传统，并不是从比较语言学或文体学的角度“接近”“康拉德和语言”主题，而是“比一般的语言意识更重要的术语”引起了“关于语言的唤醒的哲学好奇心”，“只有前六章确实如此（6）。最后五章更紧密地遵循了RenéRapin，Irmina Pulc和其他学者的开拓性工作所建立的轨迹，这些学者绘制了Conrad在他讲过的或他意识中使用的各种语言之间的谈判情况。可以肯定的是，这些章节超出了纯语言分析的范畴，[第189页]和殖民主义，它们在检验“康拉德在多种语言之内和之间的存在”时所采用的新角度（在Baxter和Hampson 8中）非常有价值。总而言之，本卷中的各章对康拉德对语言的个人和艺术爱好进行了全面而创新的研究。

劳伦斯·戴维斯（Laurence Davies）在其后言中指出了贯穿本文的两个共同点：首先，他注意到对道德的关注-言语和写作道德或解释道德；其次，他发现关于语言的意识“与其说是不完整，丢失和不完美，不如说是缺席”（206、208）。在这些基础上，我想添加以下三个主题：康拉德著作中的双重发音，康拉德对读者的自我意识以及康拉德在渴望严格的语言精确性和对语言的不信任之间的挣扎。这些主题对于Conrad研究而言当然不是新事物，但可以通过创新的方法论来探讨，这些方法的确使分析的内容和形式确实非常独特。

许多作者正确地辨别了康拉德作品中的语言双重性。汉普森在对康拉德使用航海语言的考察中认为，通过使用温和的咒骂词，替代品，空格和发明性语言来表示较不友好的咒骂词，康拉德“提供了双重发音的文本：对于精致或幼稚的人来说，这是无可指责的文本。读者和易于翻译的文本，供神经质较强的人使用”（19）。约翰·阿特里奇（John Attridge）在康拉德（Conrad）的风格想象力中将二元论定位在代表具体感官体验的欲望和对抽象问题的兴趣之间，二元论在物质世界和形而上世界之间产生了滑脱（53，61）。耶尔·莱文（Yael Levin）还注意到，在叙事层面上翻了一番，在扮演角色的角色与记住并叙述的角色之间始终存在二分法（68）。根据莱文（Levin）的说法，主体和客体之间距离的加倍以及随之而来的崩溃，证明了康拉德沿着现代主义路线对主体性的重新塑造，主体不再具有凝聚力和牢固性，而是永久地受到对方语言的侵扰（ 70）。最原始的作品之一是克里斯托弗·高格威尔（Christopher GoGwilt）的一章，内容是康拉德（Conrad）如何将马来语的转录，音译和翻译探究为罗马化的英语印刷形式，从而揭示了... 主体与客体之间距离的加倍以及随之而来的崩溃，证明了康拉德沿着现代主义路线对主体性的重新塑造，其中主体不再是凝聚力和不可渗透的，而是永久地受到对方语言的侵扰（70）。最原始的作品之一是克里斯托弗·高格威尔（Christopher GoGwilt）的一章，内容是康拉德（Conrad）如何将马来语的转录，音译和翻译探究为罗马化的英语印刷形式，从而揭示了... 主体与客体之间距离的加倍以及随之而来的崩溃，证明了康拉德沿着现代主义路线对主体性的重新塑造，其中主体不再是凝聚力和不可渗透的，而是永久地受到对方语言的侵扰（70）。最原始的作品之一是克里斯托弗·高格威尔（Christopher GoGwilt）的一章，内容是康拉德（Conrad）如何将马来语的转录，音译和翻译探究为罗马化的英语印刷形式，从而揭示了...