Unremarkable as “the bridge … or the butcher’s wife”: pregnancy, illegitimacy, and realism in Ellen Wood’s A Tale of Sin

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Mary Elizabeth Leighton, Lisa Surridge
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Abstract

Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 The authors of this article gratefully acknowledge the editorial advice of Alexandra Wettlaufer and the NCC’s anonymous readers, as well as the research assistance of Joe Diemer.2 After Wood’s death on 10 February 1887, the last stories were published posthumously.3 The byline appears for Wood’s serial novel Bessy Rane in the Argosy’s table of contents for volume 10 (July–December 1870): iii.4 For the series’ setting, Wood drew on her own childhood experiences of growing up in Worcestershire (“Ellen Wood”).5 See Malone (Citation2000, 370).6 See Cox (Citation2023) Confinement.7 All further references to A Tale of Sin are to the Argosy serial.8 When Wood revised and expanded Parkwater for 1875 serialization in the Argosy (Allan Citation2011, 9), she substantially altered its plot details, showing her attention to audience and social context.9 See Dau and Preston (Citation2015).10 With studied irony, Wood uses her schoolboy voice to complain about the constraints imposed by imperious magazine editors: Johnny frequently laments the length limitations that require him to curtail his storytelling, at one point avowing “that’s all I can put in” (Wood Citation1870b, 58).11 The quotation is from Wood Citation1870b, 298.12 Notably, Wood never explains how Duffham came into possession of Mary Layne’s diary and says that Mrs. Layne failed to burn Susan’s letters to her mother, which made their way into Duffham’s hands.13 Ironically, Lady Chavasse bears the same surname as one of the most famous medical advice writers.14 Whereas in sensation fiction the em-dash typically represent unspeakable emotions, here it represents the pragmatic interruption of the doctor by the night bell.15 See, for example, “Misfortune,” the first panel in Augustus Egg’s Past and Present triptych (1858).16 See Pettitt (Citation2012), “Time Lag.”17 Hetty’s confession to Dinah in Adam Bede is another such example.18 His ignorance replays Carlton’s failure to recognize his infant son in Lord Oakburn’s Daughters.Additional informationNotes on contributorsMary Elizabeth LeightonMary Elizabeth Leighton is Professor of English at the University of Victoria, co-author of The Plot Thickens: Illustrated Victorian Serial Fiction from Dickens to Du Maurier (Ohio UP, 2019), co-editor of The Broadview Anthology of Victorian Prose 1832–1901 (2012), and former co-editor of Victorian Review (2006–2016). With Lisa Surridge, she is working on Great Expectations: Pregnancy in Victorian Fiction, a project that includes a co-edited collection of short articles on the Victorian Web titled Pregnancy and Childbirth in the Age of Victoria. With Andrea Korda and Vanessa Warne, she co-organizes Crafting Communities, an award-winning resource hub about nineteenth-century material culture for educators and makers.Lisa SurridgeLisa Surridge is Professor of English and Associate Dean of Humanities at the University of Victoria. She is author of Bleak Houses: Marital Violence in Victorian Fiction (Ohio UP, 2005); co-editor with Mary Elizabeth Leighton of the Broadview Anthology of Victorian Prose, 1832–1901 (2012) and of Victorian Review from 2006–2016; and author of articles on Charles Dickens, Elizabeth Gaskell, Mona Caird, Wilkie Collins, and the Brontës. With Mary Elizabeth Leighton, she is co-author of The Plot Thickens: Illustrated Victorian Serial Fiction from Dickens to Du Maurier (Ohio UP, 2019); they are currently working on Great Expectations: Pregnancy in Victorian Fiction, a project that includes a co-edited collection of short articles on the Victorian Web titled Pregnancy and Childbirth in the Age of Victoria.
艾伦·伍德的《罪恶的故事》中的怀孕、私生子和现实主义:与“桥……或屠夫的妻子”一样不起眼
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。注1本文作者感谢Alexandra Wettlaufer的编辑建议和NCC的匿名读者,以及Joe diemer的研究协助。伍德于1887年2月10日去世后,最后的故事在他死后发表伍德的连载小说《贝西·兰》的署名出现在《阿尔戈西》第10卷(1870年7月至12月)的目录中这部剧的背景是伍德自己在伍斯特郡长大的童年经历(“艾伦·伍德”)参见Malone (Citation2000, 370)参见Cox (Citation2023)《禁闭》。7所有关于《罪恶的故事》的后续引用都来自《阿戈西》系列当伍德为1875年的《Argosy》连载修改和扩充《Parkwater》时(Allan Citation2011, 9),她实质性地改变了它的情节细节,显示了她对观众和社会背景的关注参见Dau和Preston (Citation2015).10带着刻意的讽刺,伍德用她学生的声音抱怨专横的杂志编辑强加给他的限制:约翰尼经常哀叹长度的限制要求他缩减他的故事,有一次他承认“这就是我能写的”(Wood Citation1870b, 58)这句话出自Wood Citation1870b, 298.12,值得注意的是,Wood从来没有解释Duffham是如何得到Mary Layne的日记的,他说,Layne夫人没有烧掉Susan写给她母亲的信,而这些信最终落入了Duffham的手中具有讽刺意味的是,查维斯夫人与一位最著名的医疗建议作家同姓在感觉小说中,破折号通常代表难以言说的情感,而在这里,它代表了医生被夜铃打断的实用主义例如,请看奥古斯都·艾格(Augustus Egg)的《过去与现在》(1858)三联画中的第一幅画“不幸”参见Pettitt(引文2012),“时间滞后。《亚当·比德》中海蒂对黛娜的告白也是这样的例子他的无知重演了奥克本勋爵的女儿们中卡尔顿没能认出他的婴儿儿子。作者简介:玛丽·伊丽莎白·莱顿玛丽·伊丽莎白·莱顿是维多利亚大学的英语教授,《情节变厚:从狄更斯到杜穆里埃的插图维多利亚系列小说》(俄亥俄州,2019年)的合著者,《1832-1901年维多利亚散文选集》(2012年)的联合编辑,《维多利亚评论》(2006-2016年)的前联合编辑。她和丽莎·萨里奇(Lisa Surridge)正在合作《远大的期望:维多利亚时代小说中的怀孕》(Great Expectations: Pregnancy in Victoria Fiction),这个项目包括在维多利亚时代的网络上共同编辑的短篇文集《维多利亚时代的怀孕和分娩》。她与Andrea Korda和Vanessa Warne共同组织了Crafting Communities,这是一个屡获殊荣的资源中心,为教育工作者和创客提供有关19世纪物质文化的信息。丽莎·萨里奇(Lisa Surridge)是维多利亚大学的英语教授和人文学院副院长。她是《荒凉之屋:维多利亚时代小说中的婚姻暴力》(俄亥俄州,2005)的作者;与玛丽·伊丽莎白·莱顿(Mary Elizabeth Leighton)共同编辑了《Broadview维多利亚散文选集》(1832-1901)(2012年)和《维多利亚评论》(2006-2016年);并撰写了关于查尔斯·狄更斯、伊丽莎白·盖斯凯尔、莫娜·凯尔德、威尔基·柯林斯和Brontës的文章。她与玛丽·伊丽莎白·莱顿(Mary Elizabeth Leighton)合著了《情节变厚:从狄更斯到杜穆里埃的维多利亚系列插图小说》(Ohio UP, 2019);他们目前正致力于“伟大的期望:维多利亚时代小说中的怀孕”,该项目包括在维多利亚时代的网络上共同编辑的短篇文集,题为“维多利亚时代的怀孕和分娩”。
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
46
期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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