沉默的爱人和吟唱的诗人——《歌集》中的叙画诗和性别研究（英文）
The Muted Lover and the Singing Poet: Ekphrasis and Gender in the Canzoniere
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摘要: 叙画诗被称为“用语言再现来表现视觉再现”的一种诗歌类型，它主要反映了文字和图像之间的关系，而文字和图像的关系在性别研究中也有重要的意义：在叙画诗中，语言／男性主导着，甚至压迫着沉默的图像／女性。彼得拉克在他的《歌集》中对劳拉叙画诗式的描写有着非常强烈的“恋物”情结，劳拉时常被表现为零碎的物品：珍珠，黄金，玫瑰，雪等等。这类型叙画诗式的描述反应了诗人的野心——他想要“物化”他的爱人，使她成为一个永恒静止的，沉默的艺术品，以承受来自男性的凝视。因此劳拉并不是一个和彼得拉克互动的，活生生的爱人，她被转化成一个偶像，一个永远都得不到的物品，不断为诗人情欲的凝视所追踪。在彼得拉克“物化”劳拉的过程中，他成功地创造了世界上“唯一的女人”。然而，诗人意识到人类语言的空虚，他发现语言并不能代替劳拉的“在场”。劳拉的永恒缺席另一方面也不断刺激着诗人去寻找一系列的“能指”去替代她的在场，最终劳拉的女性形象在过剩的“能指”中被扭曲。Abstract: Ekphrasis,a poetic genre termed as the "verbal representation of the visual representation" that reflects the relationship between word and image,plays an important role in the field of gender study.In ekphrasis,word/ the male is said to dominate over or to suppress the silent image/the female. Petrarch's ekphrastic description of Laura has a strong tendency of fetishism in the Canzoniere.Laura is always presented in the poetry as some fragmental parts: pearl,gold,rose,snow,etc.This obsessively ekphrastic writing shows Petrarch's ambition and desire to "objectify" his lover,making her forever stagnant as a mute artwork that bears the gaze from the male.Unlike a lively lover that can interact with Petrarch,Laura is turned into an idol,an object out of reach but is always seized by the erotic gaze of the poet.In his project of objectifying Laura, the poet created his sol una donna1.However,realizing the insubstantiality of language,he found that his empty words of poetics could never bring Laura to her presence.The forever absence of Laura,in turn,stimulates his desire to create an infinite number of sign-substitutions that eventually distort the feminine image.
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Key words:
- ekphrasis /
- Petrarch /
- Canzoniere /
- gender /
- poetics
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[1] Beauvoir, Simone de. The Second Sex. Translated by Constance Borde and Sheila Malovany-Chevallier. New York: Vintage Books, 2011. [2] Culler, Jonathan. On Deconstruction: Theory and Criticism after Structuralism. Ithaca: Cornell University Press, 2014. [3] Derrida, Jacques. Writing and Difference. Translated by Alan Bass. London and New York: Routledge, 1978. [4] ——. La voix et le phénomène, introduction au problème du signe dans la phénoménologie de Hussel. Paris: Presses universitaire de France, 1968; Paris: Epimethée, 1993. [5] ——.“The Paeregon.” Translated by Craig Owens. October 9 (Summer, 1979): 3-41. Freccero, John,“The Fig Tree and the Laurel: Petrarch’s Poetics.” Diacritics 5, no. 1 (1975): 34-40. [6] Freud, Sigmund.“Fetishism” (1927). In The Complete Psychological Works of Sigmund Freud. Translated by James Strachey. London: Hogarth, 1961. [7] Hagstrum, Jean, The Sister Arts: The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray. Chicago: University of Chicago Press, 1958. [8] Heffernan, James A. W. Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago: University of Chicago Press, 2004. [9] Krieger, Murray. Ekphrasis: The Illusion of the Natural Sign. Baltimore: The John Hopkins University Press, 1992. [10] Mitchell, J. T. W. Iconology: Image, Text, Ideology. Chicago: University of Chicago Press, 1968. [11] Petrarca, Francesco. Canzoniere, a cura di Marco Santagata. Milán: Mondadori, 2004. [12] Santagata, Marco. I’frammenti dell’anima: storia e racconto nel Canzoniere di Petrarca. Bologna: Il mulino, 2011. -
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