变种反抗:奥比的心灵妥协或者,三指杰克

IF 0.1 3区 文学 Q4 Arts and Humanities
Yasser Shams Khan
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摘要

摘要:本文探讨了世纪之交伦敦舞台上用来描绘殖民世界的情节戏剧的某些基本方面。由于情节剧是喜剧、悲剧、哑剧和感伤主义的混合体,各种构图策略的并置打开了对约翰·福塞特成功的哑剧《欧比》的解释;或《三指杰克》(1800年),以及后来威廉·默里在1830年改编的情节剧。作为种族情节剧的例子,这些戏剧通过将情节剧的原型人物置于道德模糊,戏剧概念化的殖民空间中,打破了情节剧典型的传统道德极性。舞台装置和表演只是情节戏剧戏剧性的两个方面,它们被用来重现殖民世界。本文的基本论点是探讨这些戏剧中的相反拉力。一方面,观众在剧终对反叛者被驱逐的宣泄式庆祝,通过激发集体的爱国主义情绪,巩固了他们对英帝国意识形态的认同,从而巩固了观众作为英帝国主义者的民族认同。另一方面,画面和音乐描绘了一个奴隶殖民地的殖民社会秩序和反抗奴隶的英雄壮举,开辟了一个可能批评大英帝国冒险的空间。情节剧形式中的这些相反的驱动力被重新表述为一种“精神妥协”,在这种妥协中,反叛行为被认可为具有激发英雄反抗幻想的戏剧性潜力,但最终在庆祝帝国和殖民秩序重建的更大的意识形态框架中妥协。本文提供了对帝国的流行文化认知的见解,间接地阐明了18世纪末和19世纪初帝国建设的更大的历史进程。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Variant Rebellions: Psychic Compromise in Obi; or, Three-Fingered Jack
Abstract: This paper explores certain fundamental aspects of melodramatic theatricality used to depict the colonial world on the London stage at the turn of the century. As melodrama was a hybrid of comedy, tragedy, pantomime, and sentimentalism, the juxtaposition of a variety of these compositional strategies opens up the interpretation of John Fawcett's successful pantomime Obi; or Three-Fingered Jack (1800) and its later 1830 melodramatic adaptation by William Murray. As examples of racial melodramas, these plays disrupt the otherwise conventional moral polarity typical of melodramas by situating archetypal melodramatic characters in a morally ambiguous, theatrically conceptualized colonial space. Stage apparatus and performance were but two aspects of melodramatic theatricality that were deployed to recreate the colonial world. The basic argument in this paper explores the contrary pulls within these plays. On the one hand, the spectators' cathartic celebration of the rebels' expulsion at the end of the play entrenches their identification with British imperial ideology by arousing collective feelings of patriotism, thus consolidating the national identity of spectators as British imperialists. On the other hand, the visuals and the music that depict the colonial social order of a slave colony and the heroic feats of the rebel slave opened up a space of possible critique of British imperial ventures. These contrary drives within the melodramatic form are reformulated in terms of a "psychic compromise" in which the act of rebellion is endorsed for its dramatic potential to arouse fantasies of heroic revolt but is ultimately compromised in a larger ideological frame that celebrates the empire and the reconstitution of colonial order. This paper offers insights into the popular cultural perception of the empire, obliquely illuminating the larger historical processes of empire building during the late eighteenth and early nineteenth centuries.
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来源期刊
EIGHTEENTH CENTURY-THEORY AND INTERPRETATION
EIGHTEENTH CENTURY-THEORY AND INTERPRETATION LITERARY THEORY & CRITICISM-
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