表面阅读纸作为女权主义参考书目

IF 0.1 4区艺术学 0 FILM, RADIO, TELEVISION

FILM CRITICISM Pub Date : 2022-08-01 DOI:10.1353/crt.2022.a899725

G. Wilson

{"title":"表面阅读纸作为女权主义参考书目","authors":"G. Wilson","doi":"10.1353/crt.2022.a899725","DOIUrl":null,"url":null,"abstract":"Abstract:This article models a mode of feminist bibliography by \"surface reading\" paper. Taking Ben Jonson's Sejanus His Fall (1605) as a case study, this article reads watermarks as reminders of paper's three-dimensional materiality, whose surfaces and depths model the more and less legible forms of labor which contribute to paper's making. Watermarks here become a creative and critical prompt to recover the interventions of John Spilman (the papermaker whose output was used for Sejanus), Spilman's workers, and especially his female ragpickers. This article fuses close reading of literary texts and archival sources with bibliography and theory to demonstrate fresh affordances of watermarks—both as they alter our reading of Sejanus and as they intervene more broadly in the affective and political models with which we read.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Surface Reading Paper as Feminist Bibliography\",\"authors\":\"G. Wilson\",\"doi\":\"10.1353/crt.2022.a899725\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:This article models a mode of feminist bibliography by \\\"surface reading\\\" paper. Taking Ben Jonson's Sejanus His Fall (1605) as a case study, this article reads watermarks as reminders of paper's three-dimensional materiality, whose surfaces and depths model the more and less legible forms of labor which contribute to paper's making. Watermarks here become a creative and critical prompt to recover the interventions of John Spilman (the papermaker whose output was used for Sejanus), Spilman's workers, and especially his female ragpickers. This article fuses close reading of literary texts and archival sources with bibliography and theory to demonstrate fresh affordances of watermarks—both as they alter our reading of Sejanus and as they intervene more broadly in the affective and political models with which we read.\",\"PeriodicalId\":42834,\"journal\":{\"name\":\"FILM CRITICISM\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2022-08-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"FILM CRITICISM\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/crt.2022.a899725\",\"RegionNum\":4,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"FILM CRITICISM","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/crt.2022.a899725","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}

引用次数: 0

摘要

摘要:本文以“表面阅读”论文为载体，构建了一种女性主义目录学模式。本文以本·琼森(Ben Jonson)的《Sejanus His Fall》(1605)为例，将水印解读为纸张的三维物性的提醒，其表面和深度模拟了纸张制造过程中或多或少易读的劳动形式。在这里，水印成为一种创造性和批判性的提示，让我们得以还原约翰·斯皮尔曼(John Spilman，他的产品被用于Sejanus)、斯皮尔曼的工人，尤其是拾荒女工的干预。这篇文章将文学文本和档案资料的细读与参考书目和理论融合在一起，展示了水印的新鲜启示——它们既改变了我们对塞亚努斯的阅读，也更广泛地干预了我们阅读时的情感和政治模式。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

查看原文本刊更多论文

Surface Reading Paper as Feminist Bibliography

Abstract:This article models a mode of feminist bibliography by "surface reading" paper. Taking Ben Jonson's Sejanus His Fall (1605) as a case study, this article reads watermarks as reminders of paper's three-dimensional materiality, whose surfaces and depths model the more and less legible forms of labor which contribute to paper's making. Watermarks here become a creative and critical prompt to recover the interventions of John Spilman (the papermaker whose output was used for Sejanus), Spilman's workers, and especially his female ragpickers. This article fuses close reading of literary texts and archival sources with bibliography and theory to demonstrate fresh affordances of watermarks—both as they alter our reading of Sejanus and as they intervene more broadly in the affective and political models with which we read.

求助全文

通过发布文献求助，成功后即可免费获取论文全文。去求助

来源期刊

FILM CRITICISM FILM, RADIO, TELEVISION-

CiteScore

0.20

自引率

0.00%

发文量

审稿时长

20 weeks

期刊介绍： Film Criticism is a peer-reviewed, online publication whose aim is to bring together scholarship in the field of cinema and media studies in order to present the finest work in this area, foregrounding textual criticism as a primary value. Our readership is academic, although we strive to publish material that is both accessible to undergraduates and engaging to established scholars. With over 40 years of continuous publication, Film Criticism is the third oldest academic film journal in the United States. We have published work by such international scholars as Dudley Andrew, David Bordwell, David Cook, Andrew Horton, Ann Kaplan, Marcia Landy, Peter Lehman, Janet Staiger, and Robin Wood. Equally important, FC continues to present work from emerging generations of film and media scholars representing multiple critical, cultural and theoretical perspectives. Film Criticism is an open access academic journal that allows readers to read, download, copy, distribute, print, search, and link to the full texts of articles, or use them for any other lawful purpose except where otherwise noted.