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沃波尔的焦虑和愿景:《奥特朗托城堡》中哥特想象的政治解读(4)


    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)