What is the world-historical importance of Jane Austen? An old maid writes with the detachment of a god. Here, the stigmatized condition of a spinster; there, a writer's unequalled display of absolute, impersonal authority. In between, the secret work of Austen's style: to keep at bay the social doom that would follow if she ever wrote as the person she is. For no Jane Austen could ever appear in Jane Austen. Amid happy wives and pathetic old maids, we see no successfully unmarried woman, and, despite the multitude of girls seeking to acquire "accomplishments," no artist either. What does appear is a ghostly No One, a narrative voice unmarked by age, gender, marital status, all the particulars that make a person - and might make a person peculiar.The Austen heroine must suppress her wit to become the one and not the other, to become, that is, a person fit to be tied in a conjugal knot. But for herself, Austen refuses personhood, with all its constraints and needs, and disappears into the sourceless anonymity of her style. Though often treasured for its universality, that style marks the specific impasse of a writer whose self-representation is impossible without the prospect of shame. D.A. Miller argues this case not only through the close reading that Austen's style always demands, but also through the close writing, the slavish imitation, that it sometimes inspires.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
細讀的走火入魔。
评分細讀的走火入魔。
评分主要讀第二章“No One is Alone”。兩種“style”，大S是全能、中性的敘事，簡練的文風；小s是人物的品味、纔智，是一係列潛意識的shame arrangement，最終會被步入婚姻的女主拋棄，但拋棄本身也應該像同誌圈的flamboyance、realness那樣理解。對於二者關係，似乎它們都是對（主流社會內的）邊緣地位的抗議——奧斯丁是一位成功的老處女，作品既包含瞭對社會規範的認可（成功），也暗藏瞭很多shame arrangement(老處女)。個人認為如果把酷兒標簽貼在Miller的分析上，酷兒也未免太中産陽光，上層同誌對奧斯丁沒有興趣（像福斯特嫌棄奧斯丁太“姑婆”），而下層同誌亦無緣接觸，影響到的是那些渴望進入主流的邊緣群體，他們既有必要也有條件展現realness。
评分主要讀第二章“No One is Alone”。兩種“style”，大S是全能、中性的敘事，簡練的文風；小s是人物的品味、纔智，是一係列潛意識的shame arrangement，最終會被步入婚姻的女主拋棄，但拋棄本身也應該像同誌圈的flamboyance、realness那樣理解。對於二者關係，似乎它們都是對（主流社會內的）邊緣地位的抗議——奧斯丁是一位成功的老處女，作品既包含瞭對社會規範的認可（成功），也暗藏瞭很多shame arrangement(老處女)。個人認為如果把酷兒標簽貼在Miller的分析上，酷兒也未免太中産陽光，上層同誌對奧斯丁沒有興趣（像福斯特嫌棄奧斯丁太“姑婆”），而下層同誌亦無緣接觸，影響到的是那些渴望進入主流的邊緣群體，他們既有必要也有條件展現realness。
评分細讀的走火入魔。
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