European Journal of English Studies ( IF 0.694 ) Pub Date : 2021-03-16 , DOI: 10.1080/13825577.2020.1876608 Marie-Luise Kohlke 1
ABSTRACT
The Long Nineteenth Century has proven exceedingly hospitable to creative artists’ historical re-imaginings. Yet the tendency of neo-Victorian works to focus on the nineteenth century’s darker traumatic aspects troubles conceptualisations of ideal hospitality’s crucial link with ethics. This article explores what I term neo-Victorianism’s curious ‘inhospitable hospitality,’ using Michel Faber’s The Crimson Petal and the White (2002) as a case study to expose troubling gender biases and hierarchies of ‘otherness’ at the heart of hospitality. Hospitality, I contend, is predicated on inhospitality, accounting for neo-Victorian violations of ‘otherness’ and inviting us to question our own liberal subjectivity.
中文翻译:
新维多利亚主义的热情好客:以米歇尔·法伯(Michel Faber)的《绯红色的花瓣和白人》为例
摘要
事实证明,十九世纪很久以前对创意艺术家的历史重塑非常好客。然而,新维多利亚时代的作品倾向于集中在19世纪黑暗的创伤方面,这给理想的款待与伦理的关键联系的概念化带来了麻烦。本文以米歇尔·法伯(Michel Faber)的《绯红色的花瓣与怀特》(The Crimson Petal and the White,2002)为例,探讨了我所说的新维多利亚主义好奇的“热情好客的待客之道”,以揭示令人不安的性别偏见和待客之道的“其他”阶层。我认为,款待是基于不礼貌,是对新维多利亚时代对“他人性”的侵犯的解释,并邀请我们质疑我们自己的自由主观性。