威廉·邓巴的礼仪诗学

Q2 Arts and Humanities
D. Ard
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引用次数: 0

摘要

摘要:长期以来,威廉·邓巴被誉为中世纪后期最具技术天赋的诗人之一,他对通过挪用礼拜仪式文本而产生的抒情效果特别感兴趣。本文分析了在对邓巴的语料库进行分类时通常被分开的诗歌——戏仿、哀叹和沉思——以表明邓巴利用了礼仪中修辞能力强大的第一人称来理论化他自己诗歌声音的形成。此外,他还继承了15世纪的礼仪改编传统,包括约翰·奥德莱和威廉·利奇菲尔德等诗人。邓巴对礼拜仪式语言和形式的实验揭示了一个迄今为止未被承认的诗歌议程:扩大受礼拜仪式影响、语言混合的宗教歌词的受众和表演可能性。他以两种互补的方式追求这一议程:将双语宗教文化所需的语言转换理论化,正如我们在他的玛丽安国歌《圣母玛利亚的歌谣》中看到的那样,以及以独特的抒情模式重新编排礼拜仪式的日历节奏。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
William Dunbar’s Liturgical Poetics
Abstract:Long hailed as one of the most technically gifted poets of the later Middle Ages, William Dunbar held a special interest in the lyric effects that could be generated through the appropriation of liturgical texts. This essay analyzes poems that are usually separated in categorizing Dunbar’s corpus—parodies, laments, and meditations—to show that Dunbar exploits the rhetorically capacious first person of liturgy in order to theorize the fashioning of his own poetic voice. He does so, moreover, by building on a tradition of liturgical adaptation that he inherited from the fifteenth century, including poets such as John Audelay and William Litchfield. Dunbar’s experiments with liturgical language and form reveal a heretofore unacknowledged poetic agenda: to expand the audience and performance possibilities of liturgically inflected, linguistically hybrid religious lyrics. He pursues this agenda in two complementary ways: by theorizing the linguistic toggling required in a bilingual devotional culture, as we see in his Marian anthem “Ane Ballat of Our Lady”, and by recomposing the calendrical rhythms of liturgy in a distinctly lyric mode.
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来源期刊
Studies in the Age of Chaucer
Studies in the Age of Chaucer Arts and Humanities-Literature and Literary Theory
CiteScore
0.30
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