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）
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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。
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 donna~1.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.
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 donna~1.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.
引文
Beauvoir,Simone de.The Second Sex.Translated by Constance Borde and Sheila Malovany-Chevallier.New York:Vintage Books,2011.
Culler,Jonathan.On Deconstruction:Theory and Criticism after Structuralism.Ithaca:Cornell University Press,2014.
Derrida,Jacques.Writing and Difference.Translated by Alan Bass.London and New York:Routledge,1978.
--.La voix et le phénomène,introduction au problème du signe dans la phénoménologie de Hussel.Paris:Presses universitaire de France,1968;Paris:Epimethée,1993.
--.“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.
Freud,Sigmund.“Fetishism”(1927).In The Complete Psychological Works of Sigmund Freud.Translated by James Strachey.London:Hogarth,1961.
Hagstrum,Jean.The Sister Arts:The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray.Chicago:University of Chicago Press,1958.
Heffernan,James A.W.Museum of Words:The Poetics of Ekphrasis from Homer to Ashbery.Chicago:University of Chicago Press,2004.
Krieger,Murray.Ekphrasis:The Illusion of the Natural Sign.Baltimore:The John Hopkins University Press,1992.
Mitchell,J.T.W.Iconology:Image,Text,Ideology.Chicago:University of Chicago Press,1968.
Petrarca,Francesco.Canzoniere,a cura di Marco Santagata.Milán:Mondadori,2004.
Santagata,Marco.I’frammenti dell’anima:storia e racconto nel Canzoniere di Petrarca.Bologna:Il mulino,2011.
1 Francesco Petrarca,Canzoniere,a cura di Marco Santagata(Milán:Mandadori,2004),CXXVII,vv.12-14:“Dico che perch’io miri/mille cose diverse attento et fiso/sol una donna veggio e’l suo bel viso.”
2 J.T.W.Mitchell,Iconology:Image,Text,Ideology(Chicago:The University of Chicago Press,1968),110.
3 Simone de Beauvoir,The Second Sex,trans.Constance Borde and Sheila Malovany-Chevallier(New York:Vintage Books,2011),138.
4 Jean Hagstrum,The Sister Arts:The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray(Chicago:University of Chicago Press,1958),18;Wendy Steiner,The Colors of Rhetoric(Chicago:University of Chicago Press,1982),42-43.
5 James A.W.Heffernan,Museum of Words:The Poetics of Ekphrasis from Homer to Ashbery(Chicago:The University of Chicago Press,1993),1.
6 Mitchell,Picture Theory(Chicago:The University of Chicago Press,1994),172-73.
7 Murray Krieger,Ekphrasis,The Illusion of the Natural Sign(Baltimore:The Johns Hopkins University Press,1992),11.
8“Auctor sacrae Scripturae est Deus,in cuius potestate est ut non solum voces ad significandum accomodet(quod etiam homo facere potest)sed etiam res ipsas.Et ideo,cum in omnibus scientiis voces significant,hoc habet proprium ista scientia quod ipsae res significatae per voces etiam significant aliquid.”Thomas Aquinas,Summa Theologiae,I,i,10.The English version is from Classic of Western Philosophy,8th Edition,ed.Steven M.Cahn(Indianapolis:Hackett Publishing Company,2012),466.
9 Krieger,Ekphrasis,The Illusion of the Natural Sign,49.
10 Ibid.,130.
11 Plato,Phaedrus,trans.Benjamin Jowett(London:Forgotten Books,2018),70.
12 Edmund Burke,A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful(1757),ed.James T.Boulton(South Bend:Notre Dame University Press,1968).Quoted from Mitchell’s Iconology:Image,Text,Ideology,130.
13 Mitchell,Iconology:Image,Text,Ideology,130.
14 In Pauline tradition,it says“for the letter killeth,but the spirit giveth life.”(Cor.II:3.6).Therefore,the invisible,transparent spirit,like the speaking word,guarantees lives;on the contrary,the visible word inscribed on the tablet,is petrified and leads eventually to stagnant fetishism.
15“Fetishism”(1927),in The Complete Psychological Works of Sigmund Freud,trans.James Strachey(London:Hogarth,1961),21:152-57.
16 Marco Santagata,I’frammenti dell’anima:storia e racconto nel Canzoniere di Petrarca(Bologna:Il mulino,2011),11.
17 Ibid.,91.
18 Jonathan Culler,On Deconstruction:Theory and Criticism after Structuralism(Ithaca:Cornell University Press,2014),228.
19 Marguerite R.Waller,Petrarch’s Poetics and Literary History(Amherst:The University of Massachusetts Press,1980),21.
20 John Freccero,“The Fig Tree and the Laurel:Petrarch’s Poetics,”Diacritics 5,no.1(1975):34-40.In the article,Freccero says that the laurel is:“...the emblem both of the lover’s enthrallment and of the poet’s triumph,is the antitype of Augustine’s fig tree,under which the saint’s conversion took place...,”34.
21 Gilles Deleuze,Kafka:Toward a Minor Literature(Minneapolis:University of Minnesota Press),22.
22 Freccero,“The Fig Tree and the Laurel:Petrarch’s Poetics,”30.
23 Jacques Derrida,Writing and Difference,trans.Alan Bass(London and New York:Routledge,1978),278-94.
24 The opening verse“Chiare fresche et dolci acque”refers to the river Sorgue and the myth of Aretusa.Petrarch used this allusion to create a scene of bathing.
25 Eugenio Garin,History of Italian Philosophy,trans.from Italian and ed.Giorgio Pinton(Amsterdam:Rodopi,2008),107.By the configure of Laura,the best analysis,I think,is Freccero’s article“The Fig Tree and the Laurel.”
26 Actually,in his book I fragmenti dell’anima,Santagata has been emphasizing that Petrarch tries to collect the scatters of his past,which Petrarch himself considered to be“bagatelle”(small things).
27 Santagata,I frammenti dell’anima,208.
28 Mitchell,Iconology:Image,Text,Ideology,110.
29 Jacques Derrida,La voix et le phénomène,introduction au problème du signe dans la phénoménologie de Hussel(Paris:Presses universitaire de France,1968),41-42.
30 Ibid.,103.
31 Jacques Derrida,“The Paeregon,”trans.Craig Owens,October 9(Summer,1979):3-41,the cited passage is from 24.
Culler,Jonathan.On Deconstruction:Theory and Criticism after Structuralism.Ithaca:Cornell University Press,2014.
Derrida,Jacques.Writing and Difference.Translated by Alan Bass.London and New York:Routledge,1978.
--.La voix et le phénomène,introduction au problème du signe dans la phénoménologie de Hussel.Paris:Presses universitaire de France,1968;Paris:Epimethée,1993.
--.“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.
Freud,Sigmund.“Fetishism”(1927).In The Complete Psychological Works of Sigmund Freud.Translated by James Strachey.London:Hogarth,1961.
Hagstrum,Jean.The Sister Arts:The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray.Chicago:University of Chicago Press,1958.
Heffernan,James A.W.Museum of Words:The Poetics of Ekphrasis from Homer to Ashbery.Chicago:University of Chicago Press,2004.
Krieger,Murray.Ekphrasis:The Illusion of the Natural Sign.Baltimore:The John Hopkins University Press,1992.
Mitchell,J.T.W.Iconology:Image,Text,Ideology.Chicago:University of Chicago Press,1968.
Petrarca,Francesco.Canzoniere,a cura di Marco Santagata.Milán:Mondadori,2004.
Santagata,Marco.I’frammenti dell’anima:storia e racconto nel Canzoniere di Petrarca.Bologna:Il mulino,2011.
1 Francesco Petrarca,Canzoniere,a cura di Marco Santagata(Milán:Mandadori,2004),CXXVII,vv.12-14:“Dico che perch’io miri/mille cose diverse attento et fiso/sol una donna veggio e’l suo bel viso.”
2 J.T.W.Mitchell,Iconology:Image,Text,Ideology(Chicago:The University of Chicago Press,1968),110.
3 Simone de Beauvoir,The Second Sex,trans.Constance Borde and Sheila Malovany-Chevallier(New York:Vintage Books,2011),138.
4 Jean Hagstrum,The Sister Arts:The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray(Chicago:University of Chicago Press,1958),18;Wendy Steiner,The Colors of Rhetoric(Chicago:University of Chicago Press,1982),42-43.
5 James A.W.Heffernan,Museum of Words:The Poetics of Ekphrasis from Homer to Ashbery(Chicago:The University of Chicago Press,1993),1.
6 Mitchell,Picture Theory(Chicago:The University of Chicago Press,1994),172-73.
7 Murray Krieger,Ekphrasis,The Illusion of the Natural Sign(Baltimore:The Johns Hopkins University Press,1992),11.
8“Auctor sacrae Scripturae est Deus,in cuius potestate est ut non solum voces ad significandum accomodet(quod etiam homo facere potest)sed etiam res ipsas.Et ideo,cum in omnibus scientiis voces significant,hoc habet proprium ista scientia quod ipsae res significatae per voces etiam significant aliquid.”Thomas Aquinas,Summa Theologiae,I,i,10.The English version is from Classic of Western Philosophy,8th Edition,ed.Steven M.Cahn(Indianapolis:Hackett Publishing Company,2012),466.
9 Krieger,Ekphrasis,The Illusion of the Natural Sign,49.
10 Ibid.,130.
11 Plato,Phaedrus,trans.Benjamin Jowett(London:Forgotten Books,2018),70.
12 Edmund Burke,A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful(1757),ed.James T.Boulton(South Bend:Notre Dame University Press,1968).Quoted from Mitchell’s Iconology:Image,Text,Ideology,130.
13 Mitchell,Iconology:Image,Text,Ideology,130.
14 In Pauline tradition,it says“for the letter killeth,but the spirit giveth life.”(Cor.II:3.6).Therefore,the invisible,transparent spirit,like the speaking word,guarantees lives;on the contrary,the visible word inscribed on the tablet,is petrified and leads eventually to stagnant fetishism.
15“Fetishism”(1927),in The Complete Psychological Works of Sigmund Freud,trans.James Strachey(London:Hogarth,1961),21:152-57.
16 Marco Santagata,I’frammenti dell’anima:storia e racconto nel Canzoniere di Petrarca(Bologna:Il mulino,2011),11.
17 Ibid.,91.
18 Jonathan Culler,On Deconstruction:Theory and Criticism after Structuralism(Ithaca:Cornell University Press,2014),228.
19 Marguerite R.Waller,Petrarch’s Poetics and Literary History(Amherst:The University of Massachusetts Press,1980),21.
20 John Freccero,“The Fig Tree and the Laurel:Petrarch’s Poetics,”Diacritics 5,no.1(1975):34-40.In the article,Freccero says that the laurel is:“...the emblem both of the lover’s enthrallment and of the poet’s triumph,is the antitype of Augustine’s fig tree,under which the saint’s conversion took place...,”34.
21 Gilles Deleuze,Kafka:Toward a Minor Literature(Minneapolis:University of Minnesota Press),22.
22 Freccero,“The Fig Tree and the Laurel:Petrarch’s Poetics,”30.
23 Jacques Derrida,Writing and Difference,trans.Alan Bass(London and New York:Routledge,1978),278-94.
24 The opening verse“Chiare fresche et dolci acque”refers to the river Sorgue and the myth of Aretusa.Petrarch used this allusion to create a scene of bathing.
25 Eugenio Garin,History of Italian Philosophy,trans.from Italian and ed.Giorgio Pinton(Amsterdam:Rodopi,2008),107.By the configure of Laura,the best analysis,I think,is Freccero’s article“The Fig Tree and the Laurel.”
26 Actually,in his book I fragmenti dell’anima,Santagata has been emphasizing that Petrarch tries to collect the scatters of his past,which Petrarch himself considered to be“bagatelle”(small things).
27 Santagata,I frammenti dell’anima,208.
28 Mitchell,Iconology:Image,Text,Ideology,110.
29 Jacques Derrida,La voix et le phénomène,introduction au problème du signe dans la phénoménologie de Hussel(Paris:Presses universitaire de France,1968),41-42.
30 Ibid.,103.
31 Jacques Derrida,“The Paeregon,”trans.Craig Owens,October 9(Summer,1979):3-41,the cited passage is from 24.