古老的娘娘腔

Tom Sapsford
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引用次数: 0

摘要

这一章将古代抒情诗和阿提卡古喜剧中提到的女性化男性的早期描绘与柏拉图在公元前4世纪初的《高尔吉亚篇》中第一次使用kinaidos这个词联系起来。通过比较阿纳克瑞翁对一个假装贵族奢华的下层小贩阿伽通(Artemon, PMG 388)和阿里斯托芬笔下的阿伽通(Agathon,在《Thesmophoriazusae》中,阿伽通模糊了两性和文本类型之间的区别)的描述,文章认为,这些女性化的主要意义在于她们跨越和混淆概念二元的能力。阿尔忒弥恩的柔弱因其虚伪的本质而变得可笑,暴露了他以前卑微的背景和现在拙劣的富裕;然而,阿伽通的精英女性气质,与雅典的平民男性形成了对立,因此变得不规范。最后,它重新评估了柏拉图在《高尔吉亚篇》中简短提到的“kinaidoi的生活”的意义,提出如果将kinaidos视为一种贪吃的生物,那么kinaidos不仅可以被视为过度生活的例子,而且可以被视为脏话的例子。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Ancient Effeminates
This chapter connects earlier portrayals of effeminate men mentioned in archaic lyric poetry and Attic Old Comedy to the first extant use of the word kinaidos in Plato’s Gorgias at the beginning of the fourth century BCE. By comparing Anacreon’s presentation of a certain Artemon (PMG 388), a lowlife hawker who feigns aristocratic luxury, with Aristophanes’ Agathon, who in the Thesmophoriazusae blurs distinctions between both sexual genders and textual genres, it argues that the principal significance of these effeminates is their ability to cross and confuse conceptual binaries. Artemon’s effeminacy becomes laughable for its counterfeit nature, revealing his former lowly background and now badly performed affluence; Agathon’s elite effeminacy, however, stands in opposition to the man of the demos in Athens and thus becomes non-normative. Lastly, it re-evaluates the significance of Plato’s brief mention of the “life of the kinaidoi” in the Gorgias (494e) to propose that, if viewed as an appetitive creature, the kinaidos can be read as an example not only of excessive living but also of foul speaking.
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