25. Ciocia, S. "Queer and Verdant": The Textual Politics of Sarah Waters" s Neo-Victorian Novels / Stefania Ciocia // Literary London: Interdisciplinary studies in the representation of London. – Vol. 5. – No. 2. – 2007. – Электронный ресурс. – Режим доступа: http://www.literarylondon.org/london-journal/september2007/ciocia.html.
26. Davies, C. The Ghost of Lily Painter / Caitlin Davies. – Hutchinson, 2011.
27. Dennis, A. "Ladies in Peril": Sarah Waters on neo-Victorian narrative celebrations and why she stopped writing about the Victorian era / Abigail Dennis // Neo-Victorian Studies. – Vol. 1. – No. 1. – 2008. – Pp. 41–52.
28. F. Anstey. London Music Halls / F. Anstey // Harper" s New Monthly Magazine. – January, 1891. – Электронный ресурс. – Режим доступа: http://www.victorianlondon.org/entertainment/londonmusichalls.htm.
29. Faulk, B. Music Hall & Modernity: The Late-Victorian Discovery of Popular Culture / Barry J. Faulk. – Ohio University Press, 2004.
30. Fox, E. The Somnambulist / Essie Fox. – Orion Books, 2011.
31. Gardner, L. Ladies as gentlemen: the cross-dressing women of Edwardian musical theatre / Lyn Gardner // The Guardian, Thursday 13 May 2010. – Электронный ресурс. – Режим доступа: http://www.theguardian.com/music/2010/may/13/cross-dressing-women-musical-theatre.
32. Griffin, K. Kitty Peck and the Music Hall Murders / Kate Griffin. – Faber & Faber, 2013.
33. Hadley, L. Neo-Victorian fiction and historical narrative: the Victorians and us / Louisa Hadley. – Palgrave Macmillan, 2010
34. Heilmann, A. and Llewellyn, M. Neo-Victorianism: The Victorians in the Twenty-First Century, 1999–2009 / Ann Heilmann and Mark Llewellyn. – Houndmills, Basingstoke: Palgrave Macmillan, 2010.
35. Hutcheon, L. A Poetics of Postmodernism: History, Theory, Fiction / Linda Hutcheon. – New York: 1988.
36. Hutcheon, L. Historiographic Metafiction: Parody and the Intertextuality of History / Linda Hutcheon // Intertextuality and Contemporary American Fiction; ed. by O" Donnell, P. and Con Davis, R. – Baltimore: Johns Hopkins University Press, 1989. – Pp. 3-32.
37. Kirchknopf, A. Rewriting the Victorians: modes of literary engagement with the 19th century / Andrea Kirchknopf. – McFarland, 2013.
38. Knowles, S. "Then You Wink the Other Eye": T. S. Eliot and the Music Hall / Sebastian D. G. Knowles. – ANQ: A Quarterly Journal of Short Articles, Notes and Reviews. – Vol. 11. – Issue 4. – 1998. – Pp. 20–32.
39. Kohlke, M.-L. The Neo-Victorian Sexsation: Literary Excursions into the Nineteenth-Century Erotic / Marie-Luise Kohlke // Inter-Disciplinary: Net eBook of Proceedings of the 3rd Global Conference on Sex and Sexuality, 2006. – Электронный ресурс. – Режим доступа: http://www.inter-disciplinary.net/ci/sexuality/s3/Kohlke%20paper.pdf.
40. Le Roy, G. Music Hall stars of the nineties / George Le Roy. – Williams, Lea & Co., 1952.
41. Letissier, G. The Crimson Petal and the White: A Neo-Victorian Classic / Georges Letissier // Rewriting/Reprising: Plural Intertextualities; ed. by G. Letissier. – Cambridge Scholars Press, 2009. – Pp. 126–137.
42. Major J. My Old Man: A Personal History of Music Hall / John Major. – Harper Press, 2012.
43. Mitchell, K. History and Cultural Memory in Neo-Victorian Fiction / Kate Mitchell. – Palgrave Macmillan, 2010.
44. Music hall character acts // Victoria and Albert Museum. – Электронный ресурс. – Режим доступа: http://www.vam.ac.uk/content/articles/m/music-hall-character-acts.
45. Neal, A. (Neo-)Victorian Impersonations: Vesta Tilley and "Tipping the Velvet" / Allison Neal // Neo-Victorian Studies. – Vol. 4. – No. 1. – 2011. – Pp. 55–76.
46. Onega, S. Interview with Peter Ackroyd / Susana Onega // Twentieth Century Literature. – Vol. 42. – No. 2. – 1996. – Pp. 208–220.
47. Palmer, B. Are the Victorians Still with Us?: Victorian Sensation Fiction and Its Legacies in the Twenty-First Century / Beth Palmer // Victorian Studies. – Vol. 52. – No. 1: Special Issue: Papers and Responses from the Seventh Annual Conference of the North American Victorian Studies Association, held jointly with the British Association for Victorian Studies. – 2009. – Pp. 86–94.
48. Pettersson, L. Gendered spaces and theatricality in Peter Ackroy's "Dan Leno and the Limehouse Golem" / Lin Pettersson // At a Time of Crisis: English and American Studies in Spain; ed. by Martín Alegre, Melissa Moyer, Elisabet Pladevall. – Universitat Autònoma de Barcelona, 2012. – Pp. 170–175.
49. Rayne, S. Ghost Song / Sarah Rayne. – Pocket Books UK, 2009.
50. Sarah Waters explains why Great Expectations is her favourite classic. – Электронный ресурс. – Режим доступа: http://www.penguin.co.uk/nf/shared/WebDisplay/0117742_1_10,00.html.
51. Sawyer, T. Theatres Of Influence: The Remarkable Music Halls Of Robert Edwin Villiers / Terry Sawyer // Theatre Notebook. – 2008. – Vol. 62. – November 3. – Pp. 144–162.
52. Scott, D. "God Bless the Music Halls": Victorian and Edwardian Popular Songs / Derek B. Scott. – Электронный ресурс. – Режим доступа: http://www.victorianweb.org/mt/musichall/scott1.html.
53. Scott, D. The Sexual Politics of Victorian Musical Aesthetics / Derek B. Scott // Journal of the Royal Musical Association. – Vol. 119. – No. 1. – 1994. – Pp. 91-114.
54. Senelick, L. Politics as Entertainment: Victorian Music-Hall Songs / Laurence Senelick // Victorian Studies. – Vol. 19. – No. 2. – 1975. – Pp. 149–180.
55. Shakespeare, W. Twelfth Night: Or, What You Will / William Shakespeare. – Classic Books Company, 2001.
56. Shiller, D. Neo-Victorian Fiction: Reinventing the Victorians / D. Shiller; a dissertation … for the degree of Doctor of Philosophy. – Univ. of Washington, 1995.
57. Shiller, D. The redemptive past in the neo-Victorian novel / D. Shiller // Studies in the Novel. – Vol. 29. – Issue 4. – 1997. – Pp. 538–561.
58. Smith, M. Neo-Victorianism: An Introduction / Michelle J. Smith // Australasian Journal of Victorian Studies. – Vol. 18. – No. 3: Special Issue: Neo-Victorianism. – 2013. – Электронный ресурс. – Режим доступа: http://www.nla.gov.au/openpublish/index.php/AJVS.
59. The origins of Music Hall // Victoria and Albert Museum. – Электронный ресурс. – Режим доступа: http://www.vam.ac.uk/content/articles/t/the-story-of-music-halls.
60. Victorian Turns, NeoVictorian Returns: Essays on Fiction and Culture; ed. by Penny Gay, Judith Johnston, and Catherine Waters. – Newcastle upon Tyne: Cambridge Scholars Publishing, 2008. 61.Waters, S. Tipping the Velvet / Sarah Waters. – Riverhead Trade, 2000.
Примечания
1
Яркий пример – биография Бесси Беллвуд (Bessie Bellwood, 1856–1896), которая, как напишет Сара Уотерс в романе "Бархатные коготки", "зa четыре месяцa до своего дебютa свежевaлa кроликов нa улице Нью-Кaт" [7, с. 120].
2
"One self or another: music hall as a way of self-identification in Neo-Victorian fiction".
3
Напомним определение историографической метапрозы, данное Линдой Хатчеон (Linda Hutcheon): "Историографическая метапроза – разновидность постмодернистской литературы, которая отвергает стратегию переноса современных взглядов и убеждений на прошлое и манифестирует ценность и уникальность каждого отдельного исторического события. Историографическая проза также подчеркивает разницу между событием и фактом (понятием, которым, в основном, оперируют историки). Исторические документы – это знаки событий прошлого, которые историками преображаются в факты, и наше историческое знание – это лишь набор знаков, кодирующих то прошлое, которое однажды на самом деле существовало. Наконец, историографическая проза, используя паратекстуальные условности историографии, выводит на первый план и одновременно подвергает сомнению авторитетность и объективность исторических источников и их истолкования" [35, с. 122–123]. – Здесь и далее перевод мой, кроме тех случаев, в которых переводчик указан в библиографическом описании источника – Н.П.
4
Ярким примером использования такого приема могут служить эпиграфы, предваряющие главы в романе Дж. Фаулза "Любовница французского лейтенанта". Далее, авторов неовикторианского романа интересует не только история, но и специфика исторического знания. Как мы узнаем о прошлом, насколько достоверны эти знания, можно ли говорить об объективности исторической науки – такие вопросы явно или косвенно присутствуют в любом неовикторианском произведении. Дана Шиллер отмечает: "Автор неовикторианского романа, реконструируя викторианское прошлое, одновременно ставит под сомнение ту уверенность, с которой мы говорим об этом прошлом" [56, c.4]. В связи с этим неовикторианскому роману присущ пародийный дискурс – но пародируется не история, а методология исторической науки и уверенность современного человека в абсолютной истинности исторического знания, которым он обладает.
5
"(Re)interpretation, (re)discovery and (re)vision".
6
Дословно – угольная дыра, яма. Так назывался люк доставлялся в угольный подвал жилого дома. на Стрэнде. Это заведение существует и сегодня – паб предлагает блюда английской кухни, эль, а также музыкальные представления по вечерам.
7
"Imagined real".
8
Подробнее об этом см. в статье: Sebastian D. G. Knowles, "Then You Wink the Other Eye": T. S. Eliot and the Music Hall [38].
9
Ситком – ситуационная комедия (sitcom, situation comedy), разновидность комедийной радио– или телепрограммы. Как правило, представляет собой цикл эпизодов, связанных постоянным кругом основных персонажей и местом действия.
10
Слова из популярной в конце XIX века песни (о которой, в частности, П. Акройд упоминает в книге "Лондон. Биография") "Бах-трах – вот мы и снова тут как тут!" ("Slap Bang, Here We Are Again"). Исполнял ее актер мюзик-холла Альфред Вэнс (1838–1888) – один из известнейших lions comiques своего времени.
11
"I had only one wish in my life, and that was to see the music-hall" [13, c. 15].
12
"It had an odour all of its own, too, with its mixture of spices and oranges and beer; it was a little like the smell of the wharves down Southwark way, but so much richer and more potent" [13, c. 15].
13
"The customers sat at several old wooden tables with their food and drink in front of them, while three waiters in black-and-white check aprons were being harassed by continual calls for more pickled salmon, or cheese, or beer" [13, c. 17].
14
"…much more glorious and iridescent" [13, c. 19].
15
"A boy came out from the wings, and at once the spectators began to whistle and stamp their feet in anticipation. He had the strangest face she had ever seen; it was so slim that his mouth seemed to stretch from one side to the other, and she was sure that it must have continued around his neck; he was so pale that his large dark eyes seemed to shine out, and to be gazing at something beyond the world itself" [13, c. 19].
16
"…it was as if she had been banished from some world of light" [13, c. 20].
17
"…it was like being expelled from some wonderful garden or palace" [13, c. 52].
18
Подробнее об этом см. в статье: Sebastian D. G. Knowles, "Then You Wink the Other Eye": T. S. Eliot and the Music Hall [38].
19
Джозеф Гримальди (1778–1837) – английский комический актер, разработавший в своем творчестве основные составляющие жанра клоунады. Среди многих нововведений Гримальди – привлечение публики к участию в представлении. Есть версия, что именно Гримальди является прототипом "грустного клоуна", явившегося на прием к врачу – персонажа широко распространенного в англоязычном мире анекдота.
20
"In my old life I had seen things darkly, but now they were most clear and brilliant" [13, c. 52].
21
"Its walls were painted with life-size figures of actors and acrobats, and I imagined myself as one of the pictured here, sauntering along the fresco with my blue gown and yellow umbrella, singing my own especial song for which the world loved me. But what song could it be?" [13, c. 72].
22
"As I danced upon the stage, I had the most pleasurable sensation that I was stamping upon her grave. How I exulted!" [13, c. 105].
23
"My old self was dead and new Lizzie, Little Victor" s daughter with the rotten cotton gloves, had been born at last" [13, c. 106].
24
Комик-слэнгстер – амплуа, близкое к образу кокни; комический актер, говорящий исключительно на сленге.
25
"But what a picture I made in the mirror – I had become a man, from tip to toe, and there might have been a slangster comedian standing there; it was a perfect piece of business" [13, c. 150].
26
"I could be girl and boy, man and woman, without any shame. I felt somehow that I was above them all, and could change myself at will" [13, c. 153].
27
"I was still in my own particular private theater, this garish spot beneath the gas lamps, and here I must perform. But, at first, let it be behind the curtain…" [13, c. 27].
28
""Большие надежды" впечатляют меня все больше и больше с каждым новым прочтением; в романе есть такие моменты, от которых просто невозможно устать"
29
"…a slender, white-faced, unremarkable-looking girl, with the sleeves of her dress rolled up to her elbows, and a lock of lank and colourless hair forever falling into her eye, and her lips continually moving to the words of some street-singer" s or music-hall song" [61, c. 4].
30
"Whitstable was all the world to me, Astley" s Parlour my own particular country, oyster– juice my medium" [61, c. 4].
31
"…for eighteen years I never doubted my own oyster-ish sympathies, never looked far beyond my father "s kitchen for occupation, or for love" [61, c. 4].
32
"The Palace was a small and, I suspect, a rather shabby theatre; but when I see it in my memories I see it still with my oyster-girl" s eyes – I see the mirror-glass which lined the walls, the crimson plush upon the seats, the plaster cupids, painted gold, which swooped above the curtain. Like our oyster-house, it had its own particular scent – the scent, I know now, of music halls everywhere – the scent of wood and grease-paint and spilling beer, of gas and of tobacco and of hair-oil, all combined. It was a scent which as a girl I loved uncritically; later I heard it described, by theatre managers and artistes, as the smell of laughter, the very odour of applause" [61, c. 6].
33
"The Palace was an old-fashioned music hall and, like many such places in the 1880s, still employed a chairman. This, of course, was Tricky himself: he sat at a table between the stalls and the orchestra and introduced the acts, and called for order if the crowd became too rowdy, and led us in toasts to the Queen. He had a top-hat and a gavel – I have never seen a chairman without a gavel – and a mug of porter. On his table stood a candle: this was kept lit for as long as there were artistes upon the stage, but it was extinguished for the interval, and at the show's close" [61, c. 12].
34
"All unwillingly I opened my eyes – then I opened them wider, and lifted my head. The heat, my weariness, were quite forgotten. Piercing the shadows of the naked stage was a single shaft of rosy limelight, and in the centre of this there was a girl: the most marvellous girl – I knew it at once! – that I had ever seen. <…> She wore a suit – a handsome gentleman" s suit, cut to her size, and lined at the cuffs and the flaps with flashing silk. There was a rose in her lapel, and lavender gloves at her pocket. From beneath her waistcoat shone a stiff-fronted shirt of snowy white, with a stand-up collar two inches high. Around the collar was a white bow-tie; and on her head there was a topper. When she took the topper off – as she did now to salute the audience with a gay "Hallo!" – one saw that her hair was perfectly cropped" [61, c. 17].
35
"At first she answered as I thought an actress should – comfortably, rather teasingly, laughing when I blushed or said a foolish thing. Gradually, however – as if she was stripping the paint from her voice, as well as from her face – her tone grew milder, less pert and pressing. At last – she gave a yawn, and rubbed her knuckles in her eyes – at last her voice was just a girl's: melodious and strong and clear, but just a Kentish girl's voice, like my own" [61, c. 32].
36
""We are at the heart of London," said Mr Bliss as she did so, "the very heart of it. Over there" – he nodded to the Alhambra – "and all around us" – and here he swept his hand across the square itself – "you see what makes that great heart beat: Variety! Variety, Miss Astley, which age cannot wither, nor custom stale." Now he turned to Kitty. "We stand," he said, "before the greatest Temple of Variety in all the land"" [61, c. 66].
37
"I had passed perhaps seven minutes before that gay and shouting crowd; but in those few, swift minutes I had glimpsed a truth about myself, and it had left me awed and quite transformed. The truth was this: that whatever successes I might achieve as a girl, they would be nothing compared to the triumphs I should enjoy clad, however girlishly, as a boy. I had, in short, found my vocation" [61, c. 121].
38
"Every name seemed to offer me some new and marvellous version of myself; it was like standing at the costumier" s rail and shrugging on the jackets" [61, c. 123].
39
"…it was my new capacity for pleasure – for pleasure in performance, display and disguise, in the wearing of handsome suits, the singing of ribald songs – that shocked and thrilled me most" [61, c. 125].
40
"In fact, the world of actors and artistes, and the gay world in which I now found myself working, are not so very different. Both have London as their proper country, the West End as their capital. Both are a curious mix of magic and necessity, glamour and sweat. Both have their types – their ingenues and grandes dames, their rising stars, their falling stars, their bill-toppers, their hacks…" [61, c. 203].