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首页> 外文学位 >Six Weeks---The New Man and the London Theatre Season of 1895: Henry James, Henry Irving, Oscar Wilde.
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Six Weeks---The New Man and the London Theatre Season of 1895: Henry James, Henry Irving, Oscar Wilde.

机译：六个星期-新人和1895年的伦敦剧院季：亨利·詹姆斯，亨利·欧文，奥斯卡·王尔德。

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摘要

During the first six weeks of 1895, an important turn in the gender wars of fin-de-siecle Britain affected Henry James, Henry Irving and Oscar Wilde, all of whom were involved in major theatrical productions. The preceding year was an unusually tolerant one for discussions and depictions of male homosexuality. But 1894 was also the year when the "New Man"---a figure hitherto overlooked by scholarship---entered popular discourse. Conjured by reactionary journalists as the effeminate counterpart of the supposedly masculine "New Woman," the New Man was a convenient tool of antifeminist propaganda. In the fall of 1894, the New Man appeared on stage in two New Woman comedies that continued into early 1895. By then, the New Man had evolved to signify doubt in the masculine ideal of the English gentleman. In mid-February, at the premiere of Wilde's The Importance of Being Earnest, a reporter used "New Man" to describe a klatch of well-heeled, real-life theatregoers who "astonished" him with their display of same-sex flirtation.;Henry James's Guy Domville opened at a moment of heightened gender anxiety, as represented in part by the New Man. The play's eponymous hero drew fire for rejecting his paternal heritage and spurning the traditional marriage plot. Critics castigated James as too "effeminate" for the stage, but the failure helped him resolve a crisis of gender and genre in his work, rejuvenating his fiction with new formulations of his "scenic method." Irving's King Arthur was a consummate expression of Victorian Arthurania and a spectacular reassertion of normative ideals. It linked a mythical chivalric heritage to nineteenth-century ideologies of manhood and imperialism, rebuffing calls for a "New Chivalry" free of misogyny and homophobia. Finally, this study relates Wilde's treatment of "art as the supreme reality and life as a mere mode of fiction" to the evolution of the New Man from fictitious straw man to high-society sophisticate. In Earnest, Wilde's masterpiece, fictions precede and create realities until all social intercourse is exposed as performative. The New Men at the premiere continued this process by regendering the play's parody of courtship rituals---but their remarkable public appearance also portended Wilde's disgrace and imprisonment.
机译：在1895年的头六个星期中，英国鳍尾蛇的性别战争发生了重要的转变，影响了亨利·詹姆斯，亨利·欧文和奥斯卡·王尔德，他们都参与了大型戏剧的制作。前一年是对男性同性恋的讨论和描述的异常宽容的一年。但是1894年也是“新人”（迄今为止被学者忽略的人物）进入流行话语的一年。被反动的记者们视为所谓的男性“新女人”的完美代表，“新男人”是反女权主义宣传的便捷工具。 1894年秋天，“新男人”在两部“新女人”喜剧中出现在舞台上，这些喜剧一直持续到1895年初。那时，“新男人”已经演变为对英国绅士的男性理想表示怀疑。 2月中旬，在王尔德的《认真的重要性》的首映式上，记者用“新人”来形容一群富有的，现实生活中的戏迷，他们通过同性调情“炫耀”他。亨利·詹姆斯（Henry James）的盖伊·多姆维尔（Guy Domville）在性别焦虑加剧的时刻开业，这在部分程度上以《新男人》为代表。该剧的同名英雄因拒绝其父辈的遗产并拒绝传统的婚姻情节而大受打击。批评者指责詹姆斯在舞台上“太过表现”，但失败却帮助他解决了工作中的性别危机和体裁危机，以新的“风景画法”使他的小说焕发青春。欧文的亚瑟王是维多利亚时代亚瑟里亚的完美表达，对规范理想的重新肯定。它把神话般的骑士精神与19世纪的男子气概和帝国主义思想联系起来，拒绝了没有“厌女症和同性恋恐惧症”的“新骑士精神”的呼吁。最后，这项研究将王尔德对“艺术作为至高无上的现实和生活作为一种纯粹的小说模式”的处理与“新人”从虚拟的稻草人到上流社会的成熟的演变联系起来。在王尔德的名作《认真》中，小说先行并创造了现实，直到所有社交活动都被公开为表演性的。首映礼上的新人通过重演该剧对求爱仪式的模仿来延续了这一过程-但是他们的杰出露面也预示了王尔德的耻辱和监禁。

著录项

  • 作者

    Kirshen, Doug.;

  • 作者单位

    Brandeis University.;

  • 授予单位 Brandeis University.;
  • 学科 Literature American.;Literature English.;Theater History.;Gender Studies.
  • 学位 Ph.D.
  • 年度 2013
  • 页码 308 p.
  • 总页数 308
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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