Reviewed by:

• Affective Geographies: Cervantes, Emotion, and the Literary Mediterranean by Paul Michael Johnson
• Catherine Infante

IN THIS GROUNDBREAKING BOOK, Paul Michael Johnson reads Miguel de Cervantes’s works through the lens of affectivity and situates them within the context of the Mediterranean world. Whereas many past studies on the Mediterranean—from Fernand Braudel’s La Méditerranée et le monde méditerranéen à l’époque de Philippe II (Armand Colin, 1949) to Peregrine Horden and Nicholas Purcell’s The Corrupting Sea (Blackwell, 2000)— have principally depended on geography, climate, and economics to guide their inquiry, Johnson prioritizes the literatures of this region, specifically the work of Cervantes, to show that “literature, in particular, may be as influential in constructing the Mediterranean as are its geomorphological, climatic, or economic features” (4). As he clearly demonstrates, a focus on literature helps bring to light the complexity of emotions in early modernity that might otherwise be relegated to the margins or rendered invisible. Furthermore, his book seeks to recover the diversity of emotions that are present in Cervantes’s works. Instead of basing his study on one defining emotion of the Mediterranean, Johnson aims to investigate what he calls the “Mediterranean’s affective micro-(hi)stories,” the many life stories of Cervantine characters and other individuals that reflect the affective richness of the region (25). Finally, by putting critical approaches to the Mediterranean in dialogue with affect theory, always with an eye on Cervantes, the author aims to correct some misconceptions that have until now inhibited a robust discussion about the interdependence of a Mediterranean experience and an emotional one. This interdisciplinary approach allows Johnson to offer new and erudite readings of Cervantes’s fiction. Thus, his book contributes significantly not only to scholarship on Cervantes’s œuvre, but also to the field of Mediterranean studies as well as the history of emotion.

The book is divided into three parts with two chapters each and concludes with an afterword. Part 1 (“Casting Off”) introduces the theoretical framework by using a diverse variety of Cervantes’s fiction including poetry, prose, and theater, and putting it in conversation with a wide range of critical works on affect and the Mediterranean. Chapter 1 (Introduction) outlines the premise of the book and convincingly shows why the Cervantine corpus is [End Page 117] especially appropriate to undertake the task of analyzing affective structures in the Mediterranean. In particular, Johnson argues that “Cervantes’s engagement with affect is not only fundamental but fundamentally different” (13). Since Cervantes’s works frequently treat questions of emotion across a diverse terrain of cultural encounters and exchanges, his writings offer a fruitful vantage point from which to explore human relations and the multiplicity of affective responses that they inspire. While Johnson carefully incorporates a rich variety of Cervantine texts in his analysis, showing how the Mediterranean is present throughout, he justifies his focus on the author’s prose works because it is there, he contends, that emotions are most salient and developed. Readers of the Bulletin of the Comediantes, thus, will be particularly interested in how Johnson homes in on the theatricality of Cervantes’s prose to illuminate how emotions are expressed and performed by the characters in the texts.

Chapter 2 (“Connected (Hi)stories: The Cervantine, Literary, and Affective Mediterranean”) further extends his initial arguments by elucidating how the themes of his book, namely “Mediterranean, emotion, literature, Cervantes,” are all interconnected and how they cannot be considered solely in isolation (28). The chapter exposes how Cervantes’s fiction both reveals the complexity of these connections as well as destabilizes some common stereotypes about the Mediterranean world. Johnson, thus, reinforces that “a central proposition of this book is to interrogate the macro (Mediterranean framework) and the micro (emotions),” using the personal narratives of many characters interspersed throughout Cervantes’s literature as the common thread throughout the project (30). This chapter is one of the most attractive and suggestive of the study because it offers readers a roadmap for how they can approach these themes in other Cervantine texts, which could also be expanded...

审核人：

• 情感地理：塞万提斯、情感和地中海文学作者保罗·迈克尔·约翰逊
• 凯瑟琳·因凡特

在这本开创性的书中，保罗·迈克尔·约翰逊 (Paul Michael Johnson) 从情感的角度解读了米格尔·德·塞万提斯 (Miguel de Cervantes) 的作品，并将它们置于地中海世界的背景中。鉴于过去对地中海的许多研究——从 Fernand Braudel 的La Méditerranée et le monde méditerranéen à l'époque de Philippe II (Armand Colin, 1949) 到 Peregrine Horden 和 Nicholas Purcell 的The Corrupting Sea（布莱克威尔，2000 年）——主要依靠地理、气候和经济学来指导他们的研究，约翰逊优先考虑该地区的文学作品，特别是塞万提斯的作品，以表明“尤其是文学作品可能在构建地中海及其地貌、气候或经济特征”（4）。正如他清楚地表明的那样，对文学的关注有助于揭示早期现代性中情感的复杂性，否则这些情感可能会被置于边缘或变得无形。此外，他的书试图恢复塞万提斯作品中存在的情感多样性。约翰逊的研究不是基于地中海的一种定义性情感，而是旨在调查他所谓的“地中海的情感微观（hi）故事，”塞万廷人物和其他人的许多生活故事反映了该地区的情感丰富性（25）。最后，通过将地中海的批判性方法与情感理论进行对话，始终着眼于塞万提斯，作者旨在纠正一些迄今为止阻碍对地中海体验和情感体验相互依存进行有力讨论的误解。这种跨学科的方法使约翰逊能够对塞万提斯的小说提供新的和博学的解读。因此，他的书不仅对塞万提斯作品的学术研究做出了重大贡献，而且对地中海研究领域和情感史也有重大贡献。通过将批判性的地中海方法与情感理论进行对话，始终着眼于塞万提斯，作者旨在纠正一些迄今为止阻碍对地中海体验和情感体验相互依存进行有力讨论的误解。这种跨学科的方法使约翰逊能够对塞万提斯的小说提供新的和博学的解读。因此，他的书不仅对塞万提斯作品的学术研究做出了重大贡献，而且对地中海研究领域和情感史也有重大贡献。通过将批判性的地中海方法与情感理论进行对话，始终着眼于塞万提斯，作者旨在纠正一些迄今为止阻碍对地中海体验和情感体验相互依存进行有力讨论的误解。这种跨学科的方法使约翰逊能够对塞万提斯的小说提供新的和博学的解读。因此，他的书不仅对塞万提斯作品的学术研究做出了重大贡献，而且对地中海研究领域和情感史也有重大贡献。这种跨学科的方法使约翰逊能够对塞万提斯的小说提供新的和博学的解读。因此，他的书不仅对塞万提斯作品的学术研究做出了重大贡献，而且对地中海研究领域和情感史也有重大贡献。这种跨学科的方法使约翰逊能够对塞万提斯的小说提供新的和博学的解读。因此，他的书不仅对塞万提斯作品的学术研究做出了重大贡献，而且对地中海研究领域和情感史也有重大贡献。

全书分为三部分，每部分两章，最后附有后记。第 1 部分（“摆脱”）通过使用包括诗歌、散文和戏剧在内的各种塞万提斯小说来介绍理论框架，并将其与广泛的关于情感和地中海的批评作品进行对话。第 1 章（引言）概述了本书的前提，并令人信服地说明了 Cervantine 语料库为何是[End Page 117]特别适合承担分析地中海情感结构的任务。特别是，约翰逊认为“塞万提斯对情感的参与不仅是根本的，而且是根本不同的”（13）。由于塞万提斯的作品经常处理跨文化相遇和交流的不同领域的情感问题，他的作品提供了一个富有成效的有利位置，可以从中探索人际关系以及它们激发的情感反应的多样性。虽然约翰逊在他的分析中仔细地结合了丰富多样的塞万提语文本，展示了地中海是如何贯穿始终的，但他证明了他对作者散文作品的关注是合理的，因为他认为，情感是最突出和最发达的。喜剧演员公报的读者因此，他将对约翰逊如何通过塞万提斯散文的戏剧性来阐明文本中的人物如何表达和表现情感特别感兴趣。

第 2 章（“相互关联的（Hi）故事：塞万提斯、文学和情感地中海”）进一步扩展了他最初的论点，阐明了他的书的主题，即“地中海、情感、文学、塞万提斯”是如何相互关联的，以及如何不能孤立地考虑它们 (28)。这一章揭示了塞万提斯的小说如何既揭示了这些联系的复杂性，又打破了一些关于地中海世界的常见刻板印象。因此，约翰逊强调“本书的中心命题是审视宏观（地中海框架）和微观（情感）”，使用散布在塞万提斯文学作品中的许多人物的个人叙述作为整个项目的共同主线（30 ）。