| 英文摘要 |
Henry James’s writings of city are both effable and ineffable. He registers a blueprint of precise cityscapes as the effable and generates a production of psychological mediations within large picturesque appearances as the ineffable. These two expressions find no contradiction in each other since they have been incorporated in James’s specific characters whose urban consciousness and mental assessments are concerned with such a labyrinthine metropolis. The Princess Casamassima is James’s most comprehensive, most sensitive and most encompassing pictures of London. Hardly giving a totalizing recognition of urban landscapes, James renders London primarily as “an origin of consciousness,” in reflection of both the underlying social and psychological preoccupations of its spectators. With a sympathetic eye, James addresses essential themes and scenes of pleasure and anxiety, wealth and poverty, possibilities and impossibilities for a way to encounter a spatial expression of urban social relationships. James’s angles of London, whether background or foreground, are engaged with a delicate observation of contrasts and conflicts. |
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