Representations

ABSTRACT Focusing upon the alienation-effects generated by technologies of duplication (portrait, mirror), this essay explores the enchantment of the double in Oscar Wilde's The Picture of Dorian Gray.

CHRISTOPHER CRAFT

Come See About Me: Enchantment of the Double in The Picture of Dorian Gray

‘‘The world contemplated with wonder so stupendous a work atchieved by oneman, while other countries had thought such undertakings  t only for whole academies,’’ James Boswell reported of the Dictionary of the English Language (1755); and David Garrick memorialized the eVort in rhyme: ‘‘And Johnson, well arm’d like a hero of yore, / Has beat forty French, and will beat forty more!’’ One would not know it from reading Boswell, but this was not the  rst heroic triumph of an individual English lexicographer. Almost thirty years earlier Ephraim Chambers described the Cyclopaedia (1728) as ‘‘a work so seemingly disproportionate to any single person’s experience, and which might have employed an academy.’’ In the Preface Chambers introduces his triumph as a matter of ‘‘concern.’’ ‘‘What adds to my apprehensions,’’ he continues, ‘‘is the scanty measure of time that could be employed in a performance, which a man’s whole life scarce appears equal to.’’ Boswell and Garrick may have taken Johnson’s own lead in the construction of his heroism. But in the Preface to the Dictionary Johnson followed Chambers, repeatedly stressing his accomplishment in terms of his ‘‘apprehensions’’ and observing that ‘‘a whole life cannot be spent upon syntax and etymology, and that even a whole life would not be suYcient.’’ That Johnson not only repeats Chambers’s ‘‘stance of the individual against the academy’’—which Robert DeMaria Jr. and Gwin Kolb assure us was conventional by 1755—but also reiterates the earlier lexicographer’s ‘‘whole life,’’ sits uneasily with what readers of the Preface to the Dictionary have always found so unusual and captivating about it: the personal, emotional presence of its author. So enticingly present is this particular lexicographer, Lawrence Lipking observes, that the reader of the Preface is liable to feel ‘‘a little Boswell stir within,’’ and be drawn to further details of Samuel Johnson’s life. We would not say the same about the Preface to the Cyclopaedia. For even if Johnson’s solitary lexicographer follows Chambers’s in performing ‘‘work so seemingly disproportionate to any single person’s experience,’’ he relates a kind of personal experience that Chambers’s lexicographer does not seem to have. Chambers  nds ‘‘diYculties enough’’ in constructing the Cyclopaedia’s system of knowledge; ‘‘the very bulk and dimensions of it confess

Ruth Mack

The Historicity of Johnson's Lexicographer

约翰逊词典的历史性

Nico Baumbach

Sameness-Machines

同质机器

Paloma Duong

Seizing the Memes of Extraction

抓住提取的模因

Stephen Best

Mia You

Damon Ross Young

Meme Aesthetics

模因美学

Seb Franklin

Value and Slavery, or the Longue Durée of the Analog-Digital Distinction

价值与奴役，或模拟-数字区分的长时段

James J. Hodge

“The Cure of Depression”

“抑郁症的治疗”

Abbreviation	Representations. (Berkeley).
Journal Impact	0.98
Quartiles(Global)	CULTURAL STUDIES(Q2)

ISSN	0734-6018, 1533-855X
h-index	39

Publication Information	Publisher: University of California Press，Publishing cycle: ，Journal Type: journal，Open Access Journals: No
Basic data	Year of publication: 1983，Proportion of original research papers: 100.00%，Self Citation Rate:11.10%， Gold OA Rate: 1.23%

Representations

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Come See About Me: Enchantment of the Double in The Picture of Dorian Gray

The Historicity of Johnson's Lexicographer

Sameness-Machines

Seizing the Memes of Extraction

Meme Aesthetics

Sameness-Machines

Seizing the Memes of Extraction

Meme Aesthetics

Value and Slavery, or the Longue Durée of the Analog-Digital Distinction

“The Cure of Depression”