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注释： ①比如十九世纪著名史学家、批评家麦考利(Thomas Macaulay)就在《爱丁堡评论》(Edinburgh Review)上撰文说它是“一堆前言不搭后语的奇思怪想，充满矫揉造作”(qtd.in Cristal B.Lake,"Bloody Records:Manuscripts and Politics in The Castle of Otranto",in Modern Philology,vol.110,No.4[May,2013],p.501; see also Thomas Babington Macaulay,Critical and Historical Essays Contributed to The Edinburgh Review,5 vols,Leipzig:Bernh,1850,vol.1,pp.192-193)。 ②详见黄梅《推敲“自我”：小说在18世纪的英国》，生活·读书·新知三联书店，2003年，第365-389页；苏耕欣《哥特小说——社会转型时期的矛盾文学》，北京大学出版社，2010年。 ③See Terry Eagleton,Marxism and Literary Criticism,Berkeley:University of California Press,1976,pp.20-27. ④Horace Walpole,The Castle of Otranto:A Gothic Story,edited with an Introduction by W.S.Lewis,London:Oxford University Press,1964,p.12.后文出自同一著作的引文，将随文标出该著名称首词和引文出处页码，不再另注。 ⑤David Punter,The Literature of Terror:A History of Gothic Fictions from 1765 to the Present Day,London:Longman,1996,p.55. ⑥Fred Botting,"In Gothic Darkly:Heterotopia,History,Culture",in David Punter,ed.,A New Companion to the Gothic,Hoboken:Wiley-Blackwell,2012,pp.13-14. ⑦J.E.Hogle and A.Smith,"Revisiting the Gothic and Theory:An Introduction",in Gothic Studies,11(2009),p.1. ⑧See Jerrold E.Hogle,"Introduction:The Gothic in Western Culture",in Jerrold E.Hogle,ed.,The Cambridge Companion to Gothic Fiction,Cambridge:Cambridge University Press,2002,p.3. ⑨保罗·兰福德《18世纪英国：宪制建构与产业革命》，刘意青、康勤译，外语教学与研究出版社，2008年，第176页。 ⑩这个真正的主人指的是被谋杀的先王阿方索，城堡内有他的雕像，后来雕像的体积不断膨胀，撑破了城堡，使其成为废墟。 (11)亨利八世娶哥哥的遗孀凯瑟琳为妻，之后凯瑟琳没能生下男性继承人，亨利八世便以《圣经》中说弟娶兄嫂者会无后代的说辞为由要求宣布两人婚姻无效。凯瑟琳坚持自己的王后身份，坚称婚姻有效；教皇也没有批准亨利八世这一请求。但亨利八世不顾教皇的反对，1533年与有私情的女侍官安妮·博林秘密结婚，罗马教皇由此宣布将亨利八世驱逐出教。作为报复，英格兰国会随即立法脱离罗马教廷，大主教克兰麦立刻宣布亨利与凯瑟琳的婚姻无效，与安妮·博林的婚姻合法。亨利八世一生共结婚六次，第三次婚姻得到了唯一的男性继承人、儿子爱德华·都铎。 (12)Paul Langford,Walpole,Horatio,fourth earl of Orford(1717-1797),in Oxford Dictionary of National Biography,Oxford University Press online,http://www.oxforddnd.com/view/article/28596[2011-08-22] (13)See Paul Langford,A Polite and Commercial People:England 1727-1783,Oxford:Oxford University Press,1989,p.110. (14)See Ellen Moers,Literary Women:The Great Writers,New York:Oxford University Press,1985,p.90. (15)David Punter,The Literature of Terror:A History of Gothic Fictions from 1765 to the Present Day,pp.218-219. (16)详见苏耕欣《哥特小说——社会转型时期的矛盾文学》，第8页。 (17)Maggie Kilgour,The Rise of the Gothic Novel,London:Routledge,1995,p.26. (18)Ellen Malenas Ledoux,Social Reform in Gothic Writing:Fantastic Forms of Change,1764-1834,New York:Palgrave Macmillan,2013,p.37. (19)David H.Richter,The Progress of Romance,Literary Historiography and the Gothic Novel,Columbus:Ohio State University Press,2015,p.70. (20)Qtd.in W.S.Lewis,"Introduction",in The Castle of Otranto:A Gothic Story,p.x. (21)Toni Wein,British Identities,Heroic Nationalisms,and the Gothic Novel 1764-1824,New York:Palgrave Macmillan,2OO2,p.49. (22)See Terry Eagleton,The Idea of Culture,London:Blackwell,2000,p.22. (23)See Robert A.Smith,"Walpole's Reflections on the Revolution in France",in Warren Hunting Smith,ed.,Horace Walpole:Writer,Politician,and Connoisseur,New Haven:Yale University Press,1967,pp.92-93. (24)Edmund Burke,Reflections on the Revolution in France and on the Proceedings in Certain Societies in London,London:Printed for J.Dodsley,1790,pp.44-45. (责任编辑：admin) |