爱欲与诺伊斯:对中世纪法国宫廷爱情文学的认知研究Don A. Monson(书评)

IF 0.1 4区 文学 0 LITERATURE, ROMANCE
Miao Li
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引用次数: 0

摘要

《爱欲与诺伊斯:中世纪法国宫廷爱情文学的认知途径》,作者:唐·A·蒙森,缪莉·蒙森,唐·A·爱欲与诺伊斯:中世纪法国宫廷爱情文学的认知途径。布瑞尔,2022年。ISBN 978-90-04-50448-6。369页。作为第一个将现代认知研究应用于中世纪爱情文学的研究,Monson的专著体现了作者在这一领域的开创性努力。宫廷诗歌自12世纪出现以来,一直是文学学者和公众着迷的主题。安德烈亚斯·卡佩拉努斯试图编纂《爱》中的宫廷主题,现代学者加斯顿·帕里斯和C.S.刘易斯提出了“宫廷爱情”理论,在20世纪上半叶被广泛接受。然而,后来的学者,如d.w.罗伯逊,Jr.对这种范式提出了挑战,他说“宫廷之爱”是研究中世纪文本的障碍。女权主义学者甚至谴责“宫廷之爱”是父权制的产物。当“宫廷之爱”泄气时,认知科学逐渐进入文学研究领域,尽管它对中世纪文学的影响微乎其微。蒙森的工作,通过将一些认知研究的结果应用于中世纪爱情文学的语库,扩展了他在早期文章中所进行的分析,表明认知理论可以填补关于“宫廷爱情”的恶名所留下的理论空白。我们对人类性心理的理解有助于确定生物普遍性和文化特殊性对中世纪诗歌爱情的相对贡献,中世纪诗歌爱情是这一文学的主要主题。认知科学阐明了各种宫廷思想和情感的表达方式,并根据它们与相互欲望和圆满机制的关系提出了宫廷主题和诗歌体裁的新顺序。通过对宫廷范例的放大,它有助于我们理解中世纪宫廷体裁的演变,根据蒙森的说法,这是一个根据人类认知过程发展起来的流动而灵活的系统。在基于三种宫廷“超流派”(抒情、叙事和说教)的认知分类的指导下,构成了讨论爱情的基本实用情境,Monson建议深入研究出现在12世纪和13世纪法国古欧西坦、古法语和中世纪拉丁文学“宫廷爱情”语库中的常见宫廷主题。他雄辩地论证了这些超级体裁之间的逻辑关系与它们在中世纪法国文学中的时间顺序发展和人类认知过程的发展相对应。抒情模式代表了一种自我意识的初始认知操作,导致爱的表达,叙事模式提供了解释过去事件的参考功能,教学模式指导未来的行为。反宫廷的戏仿和讽刺的加入完成了宫廷文学的全部范围。从人类认知过程的角度创新性地追溯了宫廷文学主题、超体裁(抒情、叙事、说教)和子体裁的演变,这项工作将激励未来的学者认识到认知方法所具有的巨大潜力。它将吸引广大读者的兴趣,包括但不限于文学和社会科学学者,对中世纪爱情诗歌感兴趣的读者,以及任何寻求更好地理解人类基本爱情体验的人。[End Page 209]加拿大卡尔加里大学(AB)版权所有©2023美国法语教师协会
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Eros and Noesis: A Cognitive Approach to the Courtly Love Literature of Medieval France by Don A. Monson (review)
Reviewed by: Eros and Noesis: A Cognitive Approach to the Courtly Love Literature of Medieval France by Don A. Monson Miao Li Monson, Don A. Eros and Noesis: A Cognitive Approach to the Courtly Love Literature of Medieval France. Brill, 2022. ISBN 978-90-04-50448-6. Pp. 369. As the first study to apply modern cognitive research to medieval love literature, Monson’s monograph reflects the author’s pioneering efforts in this field. Courtly poetry, since its appearance in the twelfth century, has been a subject of fascination for literary scholars and the public. Andreas Capellanus attempted to codify the courtly themes in De amore and modern scholars Gaston Paris and C.S. Lewis proposed the theory of “courtly love,” widely accepted during the first half of the twentieth century. However, later scholars such as D. W. Robertson, Jr. challenged this paradigm by stating that “courtly love” was an impediment to the study of medieval texts. Feminist scholars even denounced “courtly love” as a product of patriarchy. When “courtly love” was deflated, cognitive science gradually found its way into literary studies, despite its minimal impact on medieval literature. Monson’s work, extending the analysis undertaken in his earlier articles by applying some of the results of cognitive research to the corpus of medieval love literature, suggests that cognitive theory can fill the theoretical void left by the disrepute regarding “courtly love.” Our understanding of human sexual psychology helps to determine the relative contributions of biological universality and the cultural specificity to medieval poetic love, the principal theme of this literature. Cognitive science clarifies the modes of expression for various courtly ideas and emotions and proposes a new ordering of courtly themes and poetic genres in terms of their relationship to the mechanisms of reciprocal desire and consummation. Through amplification of courtly paradigms, it facilitates our understanding of the evolution of medieval courtly genres, which, according to Monson, is a fluid and flexible system developed in accordance with human cognitive processes. Guided by a cognitive taxonomy based on three courtly “hyper-genres” (lyric, narrative, and didactic) constituting basic pragmatic situations for the discussion of love, Monson proposes an in-depth look at common courtly themes appearing in the corpus of Old Occitan, Old French, and medieval Latin literature of “courtly love” of the twelfth- and thirteenth-century France. He eloquently demonstrates that the logical relationships between these hyper-genres correspond to their chronological development in medieval French literature and the development of human cognitive processes. The lyric mode represents an initial cognitive operation of self-awareness leading to the expression of love, the narrative mode provides a referential function of explaining past events, and the didactic mode guides future behavior. The inclusion of anti-courtly parody and satire completes the full range of courtly literature. An innovative retracing of the evolution of the courtly literature themes, the hyper-genres (lyric, narrative, didactic) and subgenres in the perspective of human cognitive processes, this work will inspire future scholars to realize the considerable potential that the [End Page 208] cognitive approach holds. It will capture the interest of a wide audience, including but not limited to literary and social sciences scholars, readers interested in medieval love poetry, and anyone who seeks to better understand the fundamental human experience of love. [End Page 209] Miao Li University of Calgary (AB), Canada Copyright © 2023 American Association of Teachers of French
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来源期刊
FRENCH REVIEW
FRENCH REVIEW LITERATURE, ROMANCE-
自引率
0.00%
发文量
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期刊介绍: The French Review is the official journal of the American Association of Teachers of French and has the largest circulation of any scholarly journal of French studies in the world at about 10,300. The Review publishes articles and reviews in English and French on French and francophone literature, cinema, society and culture, linguistics, technology six times a year. The May issue is always a special issue devoted to topics like Paris, Martinique and Guadeloupe, Québec, Francophone cinema, Belgium, Francophonie in the United States, pedagogy, etc. Every issue includes a column by Colette Dio entitled “La Vie des mots,” an exploration of new developments in the French language.
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