Having con?rmedthat there was a Gothic craze during the 1790s, we cannow ask, further, why did it happen? Once again literary history provides uswith a piece of received wisdom:the Gothic explosion was collateral damage from the French Revolution. The most famous version of this opinioncomes from the Marquis de Sade, who argued that the Gothic novels of Radcliffe and Lewis were “the necessary fruits of the revolutionary tremorsfelt by the whole of Europe.”3 According to Sade’s view, the bloody horrors of the revolution pushednovelists to new extremes of imaginary violence, as they strove to compete with the shocking reality. William Hazlitt’sway of putting matters strikes me as more balanced. Radcliffe’s romances“derived part of their interest, no doubt, from the supposed tottering stateof all oldstructures at the time.”4 Equating the Gothic with the FrenchRevolution was a contemporary, rather than a retrospective phenomenon,as we can see from the currency of the smearingpun “the terrorist systemof novel writing” employedby reviewers during the latter half of the 1790s(Clery, Rise of Supernatural Fiction, pp. 147–48). The reviewers knew fullwell that Gothic terror derived from the Burkean cult of the sublime, as theDissenting critic Anna LaetitiaAikin famously explainedin her essay, “Onthe Pleasure Derivedfrom Objects of Terror.” The recourse to the sublimeadopted by Radcliffe and her school was partly a desire to exploit contemporary aesthetic fashions andpartly an attempt to pitch their work towardthe high endof the literary market, for sublimity andterror were associated with tragedy and epic, the two most prestigious literary forms – a strategy that would later pay off handsomely for William Wordsworth. By linkingBurke’s terror with Robespierre’s in the limitedcase of romances by womenwriters, critics strippedthe Gothic of its high literary pretensions, implicitly accusing its authors of being social incendiaries, while ?guring themas literary sansculottes: in other words, as a semiliterate mob. One needsto be careful about overstating the case. The adjective “terrorist” smeared,but it also condescended by making “terror” writers the object of a risiblepun. The smear worked, not because writers of “hobgoblin romance” weredangerous, but because they palpably were not.
这个就是JJ里面的第一段。但是分了三段来考。熟读熟读啊大家！
-- by 会员 xiaxiaqin (2011/12/19 14:05:44)
唉，还想冲一下的，尼玛690啊。。。
放狗，数学，我觉得至少一半的JJ，不是JJ的都爆简单，但是尼玛50啊！！！！
阅读：妇女地位、英国文学、树的年轮，哈有那个政府控制量的那篇。英国文学真心难啊！文章我看懂了，有原文，但是尼玛题还是做不来啊，别说做对了，题目都有没看懂的。就不误导大家了。
逻辑。。。木有碰到JJ
作文，已经失忆了。
第一时间就给大家汇报下没有换库！！！特别是数学！！！前两天有危言耸听说数学部分换了。。。
然后我慢慢再想想。
-- by 会员 xiaxiaqin (2011/12/19 13:35:20)
我看的也是这个。。完全迷糊啊 ~~~楼主还记得有什么题不 ~~~或者做题时主要应该把握什么？？
Having con?rmedthat there was a Gothic craze during the 1790s, we cannow ask, further, why did it happen? Once again literary history provides uswith a piece of received wisdom:the Gothic explosion was collateral damage from the French Revolution. The most famous version of this opinioncomes from the Marquis de Sade, who argued that the Gothic novels of Radcliffe and Lewis were “the necessary fruits of the revolutionary tremorsfelt by the whole of Europe.”3 According to Sade’s view, the bloody horrors of the revolution pushednovelists to new extremes of imaginary violence, as they strove to compete with the shocking reality. William Hazlitt’sway of putting matters strikes me as more balanced. Radcliffe’s romances“derived part of their interest, no doubt, from the supposed tottering stateof all oldstructures at the time.”4 Equating the Gothic with the FrenchRevolution was a contemporary, rather than a retrospective phenomenon,as we can see from the currency of the smearingpun “the terrorist systemof novel writing” employedby reviewers during the latter half of the 1790s(Clery, Rise of Supernatural Fiction, pp. 147–48). The reviewers knew fullwell that Gothic terror derived from the Burkean cult of the sublime, as theDissenting critic Anna LaetitiaAikin famously explainedin her essay, “Onthe Pleasure Derivedfrom Objects of Terror.” The recourse to the sublimeadopted by Radcliffe and her school was partly a desire to exploit contemporary aesthetic fashions andpartly an attempt to pitch their work towardthe high endof the literary market, for sublimity andterror were associated with tragedy and epic, the two most prestigious literary forms – a strategy that would later pay off handsomely for William Wordsworth. By linkingBurke’s terror with Robespierre’s in the limitedcase of romances by womenwriters, critics strippedthe Gothic of its high literary pretensions, implicitly accusing its authors of being social incendiaries, while ?guring themas literary sansculottes: in other words, as a semiliterate mob. One needsto be careful about overstating the case. The adjective “terrorist” smeared,but it also condescended by making “terror” writers the object of a risiblepun. The smear worked, not because writers of “hobgoblin romance” weredangerous, but because they palpably were not.
这个就是JJ里面的第一段。但是分了三段来考。熟读熟读啊大家！
-- by 会员 xiaxiaqin (2011/12/19 14:05:44)
-- by 会员 柚子茶 (2011/12/19 14:12:30)