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Новый филологический вестник. 2020. №4(55). --
O.A. Dzhumaylo (Rostov-on-Don), O.N. Kokhan (Simferopol)
SPACE AND AFFECT: (RE)READING "FINGERSMITH" BY SARAH WATERS
Abstract. The paper explores non-representation strategies in Sarah Waters' novel "Fingersmith" (2002), which are specified through the introduction of 'estrangement', 'embodied readings', and of urban-specific mentality as an 'embodied practice' (Thrift, Auge). A strong connection between space and affect enables the idea of belonging as a key to characters' identities. Waters' use of "The Death of Nancy Sikes" theatrical episode as an opening to her story might be a self-conscious attempt to create the sensation of 'seeing' Victorian present through 'estrangement' (similar to Natasha Rostova's), and not merely pushing the reader to 'recognizing' Dickens's pastiche as part of postmodernist Neo-Victorian stylization. Special attention is given to Lant Street, historically known as the 'Mint', and infamous for its slums, crimes, and disorders, but perceived as familiar, organic, and homey by the character, who significantly differentiates it from the neighboring Clerkenwell. Apart from that, Waters does not only recreate Neo-Vic-torian past by staging it as a spectacle for the reader, but also makes them immerse into multiple nuances of body affects. Away from the exotic, yet happy, home locations ('anthropological places' of slums and a madhouse), the characters find themselves in 'non-places', given in a modernist manner (a perception of moving with a speed, a loss of ability to grasp the fragmented snapshots of modern urban life, and a crisis of reading and interpretation). All in all, it reinforces the reader's questioning their own self-identity set against a radical and exoticized alterity of neo-Victorian sensibilities.
Key words: non-representation strategies; estrangement; space and affect; Neo-Victorian; Sarah Waters; Fingersmith.
О.А. Джумайло (Ростов-на-Дону), О.Н. Кохан (Симферополь) Место и аффект: перечитывая роман Сары Уотерс «Тонкая работа»
Аннотация. В статье исследуются стратегии непрезентативности в романе Сары Уотерс «Тонкая работа» (2002) с опорой на интерпретацию опыта остране-ния (Шкловский), с одной стороны, и городской феноменологии, воплощенной в повседневных практиках (Трифт, Оже), с другой. Прочная связь между местом и аффектом дает понимание идентичности персонажей, проявляющей себя в чувстве глубокой причастности месту и людям. Введение Уотерс театрального эпизода «Смерть Нэнси Сайкс» как экспозиции к истории героини может интерпретироваться не только как семиотический знак (постмодернистский пастиш знаменитого романа Диккенса), но как буквальное погружение в викторианское «видение» через остранение (подобное опыту остранения в романе Толстого). Особое внимание уделяется улице Лэнт, исторически известной как улица трущоб, место обитания фальшивомонетчиков, мошенников и кормилиц сомнительной репутации.
Однако родной дом на этой улице оказывается подлинным «антропологическим местом», воспринимается персонажем как место заботы и противопоставляется соседнему району Клеркенуэлл. Кроме того, Уотерс не только воссоздает неовикторианское прошлое, предлагая его как спектакль, но и заставляет ощутить его как переживаемый героями телесный опыт. Помимо «антропологических мест», трущоб и сумасшедшего дома, герои оказываются в «не-местах», преподнесенных в модернистской манере (восприятие движения со скоростью, фрагментарных «снимков» городской жизни и др.). В целом, стратегии непрезентативности изменяют опыт восприятия романа современным читателем, провоцируя в нем новое чувство причастности повседневным практикам викторианцев.
Ключевые слова: стратегии непрезентативности; остранение; место и аффект; неовикторианская литература; Сара Уотерс; «Тонкая работа».
Contemporary British novel writer Sarah Waters is currently one of the most popular authors, who breaches the boundary between highbrow and popular fiction, and brings new accents to the carefully recreated scenery of historical genres of Neo-Victorian writing. Her Booker-nominated "Fingersmith" (2002) proves to be fresh and thought-provoking with every new attempt of interpretation. Multiple readings and (re)reading of it are already suggested by Onega, Miller, Yurttas, Palmer [Onega 2015; Miller 2008; Yurttas 2018; Palmer 2009], and other scholars, highlighting sophisticated ways of Waters' revisiting normalized ideas about Victorian gender, cultural practices, class boundaries, power institutions, and "the conventional understandings of the historical itself' [Kaplan 2007, 3].
Waters' work with Victorian gothic, crime and pornographic subgenres, is particularly meticulous. She plays with spectral co-presence of a dozen of sensational novel writers in her prose. Many literary critics point to the direct connections of Waters' novel with the famous "Adventures of Oliver Twist" (1839) and "Great Expectations" (1861) by Charles Dickens, and "Woman in White" (1860) by Wilkie Collins. The author herself in an interview talks about her "pantomime of Victorianism", the use of pastiche and stylizations. Aiming at creating of truthful "psychological landscape" [Dennis 2008, 41-52], she sustains the main principle of the rejection of the nostalgic element, which was justly noted by De Groot [De Groot 2013, 56-69]. It is noteworthy that the writer's excellent knowledge of literary canon from the period is also supplemented by a painstaking collection of historical documents of the Victorian era. In her interviews Waters, who received her doctorate as a historian, has repeatedly described her work on novels in the categories of traditional historical source research.
But still Waters claims to reenact the past, create a full scale picture of Victorian life not only with her impressively serious work with fictional and historical documents, but with what can be called a non-representation strategies, which might be specified in our research now by paying attention to "estrangement" episodes [Shklovsky 2015], to "embodied readings" [Keen 2007], and to an urban-specific mentality as an "embodied practice" [Thrift 2007, Auge 2000,
PleBke 2014]. Strong connection between space and affect enables the idea of belonging.
The "Fingersmith" narration is constantly switched from two female characters' points of view. The first one is given to a young woman named Sue, an orphan who was happily raised by Mrs Sucksby and Mr Ibbs in a locksmith's shop in notorious Lant Street to be married to a thief or a fencing-man. Sue agrees to help a conman known as 'Gentleman', when he asks her to play along in an elaborate scheme to steal money from a wealthy heiress Maud, who is living outside London. After a number of plot twists, Sue and Maud find themselves on Lant street again, but Sue's place is given to Maud, whose first-person narrative account reveals how miserable she feels there. At the end of the story Gentleman is accidentally killed by the young woman, and Mrs Sucksby is hanged, after taking the blame. Sue discovers that girls were switched at birth, and she is in fact the heiress, and Maud is Mrs Sucksby's daughter.
Lant Street in the Borough, is located in the slum area known as 'the Mint', which in the nineteenth century was infamous for its poor, overcrowded and insanitary conditions, as well as for crime and disorder. An important piece of social reporting, George Sim's "Horrible London" (1883), was based on the Mint. Long before this time a twelve-year-old boy, Dickens lodged here alone during his father's imprisonment in the Marshalsea debtor's prison, just a few streets away. And today the reader cannot help associating Charles Dickens with the novelist of London's slums, not only because most of London fiction is indebted to the author, but because he invented our conception of London's social diversity by providing a "controlling language through which the city can be read" [Balshaw, Kennedy 2000, 12].
But Waters is shaking this typical "depth model of historical time, [which] has been compressed into a single surface, so that the past has become a one-dimensional figure in the carpet, a thematic element in the syncretic pattern of a perpetual present" [Kaplan 2007, 3]. With this in mind, let us remember Victor Shklovsky's seminal work "Art as device" (1919) in which a hundred years ago he says:
"Automatization eats things, clothes, furniture, your wife, and the fear of war. "If the whole complex life of many people is lived unconsciously, it is as if this life had never been." And so this thing we call art exists in order to restore the sensation of life, in order to make us feel things, in order to make a stone stony. The goal of art is to create the sensation of seeing, and not merely recognizing, things; the device of art is the "en-strangement" of things and the complication of the form, which increases the duration and complexity of perception, as the process of perception is, in art, an end in itself and must be prolonged". [Shklovsky 2015, 162].
Thus, seeing (or fresh experience) is juxtaposed to mere recognizing.
Water's novel starts with a curious memory of visiting a theatre by Sue. "Oliver Twist"s' theatre performance was outstanding all through the nineteenth century. Sue Zemka's paper "The Death of Nancy Sikes,' 1838-1912" gives a
detailed overview of history of the stage production and its effects, which were famously electrifying and 'controversial enough to get the play banned in the 1840s and popular enough to draw audiences well into the 1870s' [Zemka 2010, 30]. The piece 'Sikes and Nancy' reenacted shocking violence and strung out on emotion, communing with the similarly strung-out emotions of its audience. In spite of the obvious fact that the scene was perceived as somewhat down the road and mimetic, the two-penny play begot that powerful 'seeing' effect even for ragtag viewers, thieves included. Apart from affective involvement as such there's an estrangement in Sue's words and a memory of the impact which this theatrical performance produced:
"The play was Oliver Twist. I remember it as very terrible. I remember the tilt of the gallery, and the drop to the pit. I remember a drunken woman catching at the ribbons of my dress. I remember the flares, that made the stage very lurid; and the roaring of the actors, the shrieking of the crowd. They had one of the characters in a red wig and whiskers: I was certain he was a monkey in a coat, he capered so. Worse still was the snarling, pink-eyed dog; worst of all was that dog's master - Bill Sykes, the fancy-man. When he struck the poor girl Nancy with his club, the people all down our row got up. There was a boot thrown at the stage. A woman beside me cried out,
'Oh, you beast! You villain! And her worth forty of a bully like you!'
I don't know if it was the people getting up - which made the gallery seem to heave about; or the shrieking woman; or the sight of Nancy, lying perfectly pale and still at Bill Sykes's feet; but I became gripped by an awful terror. I thought we should all be killed. I began to scream, and Flora could not quiet me. And when the woman who had called out put her arms to me and smiled, I screamed out louder" [Waters 2003, 3-4].
We find, that striking experience of Dickens's "Oliver Twist" theatrical performance by Sue is somewhat similar to Natasha Rostova's first impression of theatre in "The War and Peace" by Tolstoy, which is called estrangement and "consists in not calling a thing or event by its name but describing it as if seen for the first time, as if happening for the first time. While doing so, he also avoids calling parts of this thing by their usual appellations; instead, he names corresponding parts of other things". [Shklovsky 2015, 163].
What is Waters doing to make it fresh? What we are claiming here is that Waters' use of this very theatrical episode as an opening to her story is her self-conscious attempt to make something striking for today's reader: to create the sensation of 'seeing' Victorian present, and not merely 'recognizing' Dickens's pastiche.
Now instead of being focused on a search for interpretable meaning in textual representations, significations and discursive forms of identity formation, preferred by critics, let us use non-representational theory, which connects embodied knowledge (questions of being and doing) and the worlds of affect and emotion that shape the intentions and behaviors of people [Thrift 2007] with spatial practice, everywhere apparent and yet, paradoxically, left largely untouched. Emphasis is placed on studying processes of becoming, recognizing
that the world is always in the making, and that such becoming is not always discursively formed. Far more than intellectual conception, sensual perception makes it possible to establish orientation in the urban realm and constitutes a vital force in the construction of identity. Interestingly, the novel starts with declaration of belonging to people and place: "I was Mrs Sucksby's child, if I was anyone's; and for father I had Mr Ibbs, who kept the locksmith's shop, at Lant Street, in the Borough, near to the Thames." Let's be back to Sue's memory of theatrical performance, which she finds 'formative' for herself; the performance 'configures' her life experience well before the appearance of Gentleman: "This is the first time I remember thinking about the world and my place in it" [Waters 2003, 3].
What is striking here is the paradoxical conclusion about her home place as 'heaven'. Thus, this orientation towards otherness - violence and terror - in Sue's mind is placed as outcoming from another location Clerkenwell, not Borough, where she peacefully lives with Mrs Sucksby and Mr Ibbs. A bit later the reader will suspect Mrs Sucksby, baby farmer with a spoonful of gin in hand, in infant-killings, and Mr Ibbs in forgeries. Perhaps the reader even knows about Lant Street's extreme poverty and criminality explored by urban historians. Perhaps, he remembers that similar criminals of Oliver Twist are from Spitalfields, Field Lane, Whitechapel, Bethnal Green. Still it is more important to envisage the opposites of somatic/emotional and literary/intellectual navigation here and observe that genuinely happy experience of Sue's domestic life on Lant Street is remarkably persistent throughout her story. Let us look how she gives this idea with the help of sensual 'Proustian' details:
"I wondered how near to the Borough was Clerkenwell; and how quick the way would seem, to a man with a stick. <.. .> Then there came a whistle. Bill Sykes never whistled so sweet. The lips were Mr Ibbs's. He had been out for a hot meat pudding for his and Mrs Sucksby's supper.
'All right?' I heard him say. 'Smell the gravy on this...'
Then his voice became a murmur, and I fell back. I should say I was five or six years old. I remember it clear as anything, though. I remember lying, and hearing the sound of knives and forks and china, Mrs Sucksby's sighs, the creaking of her chair, the beat of her slipper on the floor. And I remember seeing - what I had never seen before - how the world was made up: that it had bad Bill Sykeses in it, and good Mr Ibbses; and Nancys, that might go either way. I thought how glad I was that I was already on the side that Nancy got to at last. - I mean, the good side, with sugar mice in" [Waters 2003, 7].
The attachment and belonging to the place and people, she genuinely loves, is also in her wish to step Mrs Sucksby's way of infants farming, her childish enchantment of thieves, who are "better than magicians. For out from their coats and sleeves would come pocket-books, silk handkerchiefs and watches; or else jewelry, silver plate, brass candlesticks, petticoats'. [Waters 2003, 8].
Totally different estrangement perspective is Maud's one, who first sees the hosts of Lant street, looking disgusting if not devilish: "She [Mrs Sucksby]
holds a bundle: now she puts it down and struggles from her seat, and the bundle gives a shudder. This is more astonishing than the lighted brazier, the coat of fur - it is a sleeping, swollen-headed baby in a blanket" [Waters 2003, 312]. This shift of points of view is a constant trick in the novel, as Waters focalizes the narrative through the eyes of Sue and Maud, who both dramatically leave their home locations. Making their home sites, which ironically are socially marginal places of poverty (Borough slums) and misery (Maud's birthplace is a madhouse), to be cherished by the characters as places of comfort and care, Waters is never tired of 'estrangement' effect based on minute observation of social otherness and involuntary absorption into it. Mark Augé characterizes 'anthropological place' as localized, occupied, familiar, organic, historical and meaningful to its occupants and visitors, "a space where identities, relationships and a story can be made out" [Augé 2000, 8]. Place, here, is associated with prolonged fixities and practices of dwelling.
Waters is a cultural anthropologist as well, when she inscribes words explicitly referencing intimate bodily functions carefully avoided in nineteenth-century novels. "Such references to chamber pots, bodily fluids such as menstrual blood, privy, amniotic water, and sex function not so much to correct Victorian novels' discomfort with the body than to contrast the way both periods represent the body. <...> For a lady to share her bed with a maid, as Sue and Maud do, was considered normal. Such acts, unthinkable within postmodern daily life, do not appear in the novelistic discourse of the nineteenth century" [Yurttas 2018, 130].
What is always fresh in Waters's novels is how she makes her reader ponder into the sensual feeling her characters' experience: how it is to be a female prisoner of Millbank ("Affinity"), to find your hair to be sawn, or washed with vinegar, or done with sugary water ("Fingersmith"), but the objective of it is not just making the 'stone stony' (in Shklovsky's words) but to convey a specific way of belonging of her character to a place and to certain people.
"The dress was not mine, either; but I found the seams that Dainty had made, and smelled them. I thought that her needle had left the scent there, of John Vroom's dogskin coat.
I thought of the soup that Mrs Sucksby would have made, from the bones of that pig's head; and it was quite as strange as I knew it would be, to imagine them all sitting eating it, perhaps thinking of me, perhaps thinking of something else entirely. I lay and shivered, and longed with all my heart for Mrs Sucksby, Lant Street, home" [Waters 2003, 62].
If home locations, infused with the feeling of personal intimate belonging as well as social (marginal) habits, help to create a particular identity of Sue and Maud, it is interesting to observe how Waters creates a specific perception of London urbanity and its otherness felt by the girls and transmitted to the reader. A present-day reader's act of flânerie within the novel is recreated in the temporal gap between the twenty-first century reader and the nineteenth-century
narrator [Kohlke 2008; Pettersson 2013]. At the same time, by approaching the nineteenth century from a contemporary standpoint the reader gazes at the past adopting both voyeuristic and corporal attitudes of the narrator. Thus, Waters not only recreates a historical past by staging it as a spectacle for the reader, but also making him or her immerse into multiple nuances of body affects. If it is a theatre, it is an immersive theatre.
There is a wonderful episode which is reminding more of modernist writing: it gives a perception of moving with a speed, a loss of ability of grasping the fragmented snapshots of modern urban life, and a crisis of reading and interpretation of the perceived. Here is Maud in the train, arriving to Paddington:
"Now there are so many smuts upon the glass they show like faults in the fabric of my veil. The train begins to rise. I don't like the sensation. We begin to cross streets -grey streets, black streets - so many monotonous streets, I think I shall never be able to tell them apart! Such a chaos of doors and windows, of roofs and chimneys, of horses and coaches and men and women! Such a muddle of hoardings and garish signs: Spanish blinds. - Lead Coffins. - Oil Tallow & Cotton Waste. Words, everywhere. Words, six-feet high. Words, shrieking and bellowing: Leather and Grindery. - Shop To Let. -Broughams & Neat Carriages. - Paper-Stainers. - Supported Entirely. - To Let! - To Let! - By Voluntary Subscription. -
There are words, all over the face of London. I see them, and cover my eyes. When I look again we have sunk: brick walls, thick with soot, have risen about the train and cast the coach in gloom. Then comes a great, vast, vaulting roof of tarnished glass, hung about with threads of smoke and steam and fluttering birds. We shudder to a frightful halt. There is the shrieking of other engines, a thudding of doors, the pressing passage -it seems to me - of a thousand, thousand people.
'Paddington terminus,' says Richard. 'Come on'." [Waters 2003, 308].
The urban here must be seen as "transdiscursive" [Shields 1996, 234] in the sense of being produced and producing its own texture of representations -material, social and mental forms and practices. Auge suggests that 'anthropological place' is undergoing a transformation in an increasingly modern Western world characterized by a speed-up of communications, an excess of images and simultaneous events. Thus, he coins the term non-lieux or non-places for "the spaces of circulation, communication and consumption, where solitudes coexist without creating any social bond or even a social emotion" [Auge 1996, 178].
In her illuminating essay Yurttas claims about "the novel's masquerading" identity all through Waters's novel: "Waters's postmodern novelistic language - a type of stylizing language, in Bakhtin's terms - mirrors the Victorian heterosexual male novelists' language while testing its validity for exploring female experience and transforming the language whenever it proves inadequate" [Yurttas 2018, 111-112]. We are not against making Waters sophisticated postmodernist writer, but what is also at stake in the novel is not the idea of identity as such but the idea of belonging. Sue, no matter what she is called at any particular moment, never forgets about her belonging to Lant Street and her
affective bond to Mrs Sucksby. The most dramatic moment in the novel is when Sue is asking in despair who she is when she watches Mrs Sucksby's stroking Maud in the window of her own room. Her self-presentation is always "I was Mrs Sucksby's child, if I was anyone's; and for father I had Mr Ibbs, who kept the locksmith's shop, at Lant Street, in the Borough, near to the Thames". There is neither a "pantomime of Victorianism", nor a masquerade of affection. In final episodes Sue knows that she does not belong to the Lant Street by birth, but the place becomes the cite of her memory and identity.
The register shift from representational to nonrepresentational reading sustains a space for not mere analytical habits of mind, but for a blend of cognitive and affective capacities, linked to bodily responses that reinforce reader's questioning about his own self-identity set against a radical and exoticized alterity of neo-Victorian sensibilities.
REFERENCES (RUSSIAN)
1. Augé M. Paris and the Ethnography of the Contemporary World // Parisian Fields / ed. by M. Sheringham. London, 1996. P. 175-181.
2. Augé M. Airports // City A-Z / ed. by S. Pile, N. Thrift. London, 2000. P. 8-9.
3. Balshaw M., Kennedy L. Urban Space and Representation. London, 2000.
4. De Groot J. "Something New and a Bit Starling": Sarah Waters and the Historical Novel // Sarah Waters, Contemporary Critical Perspectives / ed. by K. Mitchell. London, 2013. P. 56-69.
5. Dennis A. "Ladies in Peril": Sarah Waters on Neo-Victorian Narrative Celebrations and Why She Stopped Writing about the Victorian Era // Neo-Victorian Studies. 2008. № 1:1. P. 41-52.
6. Kaplan C. Victoriana: Histories, Fictions, Criticism. Edinburgh, 2007.
7. Keen S. Empathy and the Novel. Oxford, 2007.
8. Kohlke M.-L. Sexsation and the Neo-Victorian Novel: Orientalising the Nineteenth Century in Contemporary Fiction // Negotiating Sexual Idioms: Image, Text, Performance / ed. by M.-L. Kohlke and L. Orza. Amsterdam; New York, 2008. P. 53-77.
9. Miller K.A. Sarah Waters's "Fingersmith": Leaving Women's Fingerprints on Victorian Pornography // Nineteenth-Century Gender Studies. 2008. № 4.1. URL: http://www.ncgsjournal.com/issue41/miller.html (дата обращения 02.05.2020).
10. Onega S. Pornography and the Crossing of Class, Gender and Moral Boundaries in Sarah Waters' "Fingersmith" // Études britanniques contemporaines. 2015. № 48. URL: http://journals.openedition.org/ebc/2053 (дата обращения 02.05.2020).
11. Palmer B. Are the Victorians Still with Us?: Victorian Sensation Fiction and Its Legacies in the Twenty-First Century // Victorian Studies. 2009. Vol. 52. № 1. P. 86-94.
12. Pettersson L. "The Private Rooms and Public Haunts": Theatricality and the City of London in Michel Faber's The Crimson Petal and the White // What Happens Now: Twenty-First Century Fiction / ed. S. Adiseshiah and R. Hildyard. Basingstoke, 2013. P. 97-114.
13. Pleftke N. The Intelligible Metropolis Urban Mentality in Contemporary London Novels. Bielefeld, 2014.
14. Shields R. A Guide to Urban Representation and What to Do About It: Alternative Traditions of Urban Theory // Representing the City / ed. by A. King. London, 1996. P. 227-252.
15. Shklovsky V. Art as Device. Trans. by A. Berlina // Poetics Today. 2015. № 36(3). P. 151-173.
16. Thrift N.J. Non-representational Theory: Space, Politics, Affect. London, 2007.
17. Waters S. Fingersmith. London, 2003.
18. Yurttas H. Masquerade in "Fingersmith" // Journal of Narrative Theory. 2018. № 48(1). P. 110-135.
19. Zemka S. The Death of Nancy "Sikes", 1938-1912 // Representations. 2010. Vol. 110. № 1. P. 29-57.
REFERENCES (Articles from Academic Journals)
1. Dennis A. "Ladies in Peril": Sarah Waters on Neo-Victorian Narrative Celebrations and Why She Stopped Writing about the Victorian Era. Neo-Victorian Studies, 2008, no. № 1:1, pp. 41-52. (In English).
2. Miller K.A. Sarah Waters's "Fingersmith": Leaving Women's Fingerprints on Victorian Pornography. Nineteenth-Century Gender Studies, 2008, no. 4.1. Available at: http://www.ncgsjournal.com/issue41/miller.html (accessed 02.05.2020). (In English).
3. Onega S. Pornography and the Crossing of Class, Gender and Moral Boundaries in Sarah Waters' "Fingersmith". Études britanniques contemporaines, 2015, no. 48. Available at: http://journals.openedition.org/ebc/2053 (accessed 02.05.2020). (In English).
4. Palmer B. Are the Victorians Still with Us?: Victorian Sensation Fiction and Its Legacies in the Twenty-First Century. Victorian Studies, 2009, vol. 52, no. 1, pp. 86-94. (In English).
5. Shklovsky V. Art as Device. Poetics Today, 2015, no. 36(3), pp. 151-173. (In English).
6. Yurttas H. Masquerade in "Fingersmith". Journal of Narrative Theory, 2018, no 48(1), pp. 110-135. (In English).
7. Zemka S. The Death of Nancy "Sikes", 1938-1912. Representations, 2010, vol. 110, no. 1, pp. 29-57. (In English).
(Articles from Proceedings and Collections of Research Papers)
8. Augé M. Paris and the Ethnography of the Contemporary World. Shering-ham M. (ed.). Parisian Fields. London, 1996, pp. 175-181. (In English).
9. Augé M. Airports. Pile S, Thrift N. (eds'). City A-Z. London, 2000, pp. 8-9. (In English).
10. De Groot J. "Something New and a Bit Starling": Sarah Waters and the Historical Novel. Mitchell K. (ed.). Sarah Waters, Contemporary Critical Perspectives. London, 2013, pp. 56-69. (In English).
11. Kohlke M.-L. Sexsation and the Neo-Victorian Novel: Orientalising the Nineteenth Century in Contemporary Fiction. Kohlke M.-L., Orza L. (eds.). Negotiating Sexual Idioms: Image, Text, Performance. Amsterdam; New York, 2008, pp. 53-77. (In English).
12. Pettersson L. "The Private Rooms and Public Haunts": Theatricality and the City of London in Michel Faber's The Crimson Petal and the White. Adiseshiah S., Hildyard R. (eds.). What Happens Now: Twenty-First Century Fiction. Basingstoke, 2013, pp. 97-114. (In English).
13. Shields R. A Guide to Urban Representation and What to Do About It: Alternative Traditions of Urban Theory. King A. (ed.). Representing the City. London, 1996, pp. 227-252. (In English).
(Monographs)
14. Balshaw M., Kennedy L. Urban Space and Representation. London, 2000. (In English).
15. Kaplan C. Victoriana: Histories, Fictions, Criticism. Edinburgh, 2007. (In English).
16. Keen S. Empathy and the Novel. Oxford, 2007. (In English).
17. Pleßke N. The Intelligible Metropolis Urban Mentality in Contemporary London Novels. Bielefeld, 2014. (In English).
18. Thrift N.J. Non-representational Theory: Space, Politics, Affect. London, 2007. (In English).
Olga A. Dzhumaylo, Southern Federal University.
Doctor of Philology, Associate Professor at the Department of Theory and History of World Literature. Research interests: contemporary British literature, confessional writing and confessional culture, intermediality.
E-mail: oadzhumaylo@sfedu.ru
ORCID ID: 0002-0002-1217-5567
Olga N. Kokhan, VI. Vernadsky Crimean Federal University.
Lecturer at the Foreign Languages Department No. 2, Institute of Foreign Philology. Research interests: contemporary British literature, Neo-Victorian writing, space and place studies.
E-mail: olgakokhan03@mail.ru
ORCID ID: 0000-0002-4000-9865
Джумайло Ольга Анатольевна, Южный федеральный университет.
Доктор филологических наук, доцент кафедры теории и истории мировой литературы. Научные интересы: современная британская литература; исповедаль-ность в художественной литературе и культуре; интермедиальность.
E-mail: oadzhumaylo@sfedu.ru
ORCID ID: 0002-0002-1217-5567
Кохан Ольга Николаевна, Крымский федеральный университет им. В.И. Вернадского.
Преподаватель кафедры иностранных языков № 2 Института иностранной филологии. Научные интересы: современная британская литература, неовикторианская литература, исследования пространства в художественном тексте.
E-mail: olgakokhan03@mail.ru
ORCID ID: 0000-0002-4000-9865
