{"title":"“爱的真正形式”:玛丽·沃斯女士(1587-1631)诗歌中彼特拉克传统的转变","authors":"Tomáš Jajtner","doi":"10.1515/pjes-2016-0001","DOIUrl":null,"url":null,"abstract":"Abstract The following article deals with the transformation of the Petrachan idea of love in the work of Lady Mary Wroth (1587-1631), the first woman poet to write a secular sonnet sequence in English literature, Pamphilia to Amphilanthus. The author of the article discusses the literary and historical context of the work, the position of female poets in early modern England and then focuses on the main differences in Wroth’s treatment of the topic of heterosexual love: the reversal of gender roles, i.e., the woman being the “active” speaker of the sonnets; the de-objectifying of the lover and the perspective of love understood not as a possessive power struggle, but as an experience of togetherness, based on the gradual interpenetration of two equal partners.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"“The True Forme of Love”: Transforming the Petrarchan Tradition in the Poetry of Lady Mary Wroth (1587–1631)\",\"authors\":\"Tomáš Jajtner\",\"doi\":\"10.1515/pjes-2016-0001\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract The following article deals with the transformation of the Petrachan idea of love in the work of Lady Mary Wroth (1587-1631), the first woman poet to write a secular sonnet sequence in English literature, Pamphilia to Amphilanthus. The author of the article discusses the literary and historical context of the work, the position of female poets in early modern England and then focuses on the main differences in Wroth’s treatment of the topic of heterosexual love: the reversal of gender roles, i.e., the woman being the “active” speaker of the sonnets; the de-objectifying of the lover and the perspective of love understood not as a possessive power struggle, but as an experience of togetherness, based on the gradual interpenetration of two equal partners.\",\"PeriodicalId\":402791,\"journal\":{\"name\":\"Prague Journal of English Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2016-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Prague Journal of English Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1515/pjes-2016-0001\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Prague Journal of English Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/pjes-2016-0001","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 1
摘要
本文探讨了英国文学史上第一位创作世俗十四行诗《Pamphilia》到《Amphilanthus》的女诗人玛丽·沃斯夫人(Lady Mary Wroth, 1587-1631)对彼得拉坎式爱情观念的转变。本文首先探讨了作品的文学和历史背景,以及近代早期英国女性诗人的地位,然后着重分析了劳斯在处理异性恋主题方面的主要差异:性别角色的逆转,即女性成为十四行诗的“主动”说话者;爱人的去物化和爱的视角不被理解为一种占有欲的斗争,而是一种团结的体验,基于两个平等伙伴的逐渐相互渗透。
“The True Forme of Love”: Transforming the Petrarchan Tradition in the Poetry of Lady Mary Wroth (1587–1631)
Abstract The following article deals with the transformation of the Petrachan idea of love in the work of Lady Mary Wroth (1587-1631), the first woman poet to write a secular sonnet sequence in English literature, Pamphilia to Amphilanthus. The author of the article discusses the literary and historical context of the work, the position of female poets in early modern England and then focuses on the main differences in Wroth’s treatment of the topic of heterosexual love: the reversal of gender roles, i.e., the woman being the “active” speaker of the sonnets; the de-objectifying of the lover and the perspective of love understood not as a possessive power struggle, but as an experience of togetherness, based on the gradual interpenetration of two equal partners.