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”

短名	Representations. (Berkeley).
Journal Impact	0.98
国际分区	CULTURAL STUDIES(Q2)
期刊索引	SCI Q3中科院 4 区

ISSN	0734-6018, 1533-855X
h-index	39
国内分区	社会学(4区)社会学文化研究(4区)

涉及主题	历史哲学艺术政治学法学地理文学类社会学计算机科学物理语言学认识论心理学考古美学
出版信息	出版商: University of California Press，出版周期: ，期刊类型: journal，开源期刊: 否
基本数据	创刊年份: 1983，原创研究文献占比: 100.00%，自引率:11.10%， Gold OA占比: 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”