ABSTRACT

This paper was presented as a keynote lecture at a conference on ‘Elizabeth Bowen: Blurring Boundaries’, organised by Nicola Darwood and Nick Turner at the University of Bedfordshire, UK, at the end of the morning, just before the scheduled lunch-break, on 8 June 2019. This was only the third time we have had the pleasure of giving a joint paper on Bowen. (Previous occasions were at Goldsmith’s College, University of London, in December 1996, and at the University of Sussex, in May 2009.¹1 Andrew Bennett and Nicholas Royle, ‘Torn-Off Senses’, Angelaki 3:3 (1998), pp. 153–58; and ‘A Reassessment of Elizabeth Bowen’s Friends and Relations: The Quiet Catastrophe’, in Textual Practice, 27:1 (2013), pp. 69–87.) For ‘Demon Writing’ we decided to break with our usual practice (whereby we individually draft chapters before heavily revising and rewriting them collaboratively) and, instead, write and present the work as a dialogue or conversation. This published version retains the performative character of the original format but has been lightly revised in the wake of subsequent discussion and reflection.

摘要

本文是作为主题演讲的主题演讲，由英国Nicola Darwood和Nick Turner在英国贝德福德郡大学举办的“伊丽莎白·鲍恩：模糊的边界”会议上进行。会议于2019年6月8日举行。这只是我们第三次荣幸地发表关于Bowen的联合论文。（以前曾在1996年12月在伦敦大学的戈德史密斯学院和2009年5月在苏塞克斯大学上学^。11安德鲁·本内特和尼古拉斯·罗伊尔，《撕裂的感官》，安格拉基3：3（1998），第153-58页；和“重新评估伊丽莎白·鲍恩的朋友和关系：安静的灾难”，《文本实践》，27：1（2013），第69-87页。）对于“恶魔写作”，我们决定打破常规做法（因此，我们先逐篇起草章节，然后再进行大量修改和重新编写），而改为以对话或对话的形式提出和展示作品。该发布的版本保留了原始格式的性能特征，但在随后的讨论和反思之后进行了轻微的修订。