“我们独一无二的莎士比亚是这些刻板评论家的绊脚石”:18世纪关于莎士比亚的辩论中的英国和德国女性

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
G. Golinelli
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引用次数: 0

摘要

在1673年上演的《荷兰情人》的序言中,阿芙拉·贝恩(Aphra Behn)为自己作为剧作家的职业辩护,声称女性与莎士比亚之间有着强烈的亲缘关系:“我们都很清楚,不朽的莎士比亚戏剧(他所犯的罪并不比女性所犯的罪多得多)比约翰逊的作品更能取悦世人。”从莎士比亚被认为无知的特点——他的“小拉丁语,少希腊语”2来看,贝恩的话不仅暗示了莎士比亚缺乏知识与缺乏女性之间的联系,而且也成为了17世纪最后几十年以来,英国女性在促进莎士比亚成为一个文化人物方面所扮演的重要角色的象征,莎士比亚应该在英国得到更仔细的讯问,正如我们今天所熟知的,在国外。从那时起,莎士比亚一直被视为一个国家乃至全球的象征人物。对他的接受、挪用和批评的分析,一直有助于探索语言、思想和模式如何穿越时空,获得新的政治文化意义,并成为不同文化之间交流-文化转移的重要因素。在这方面令人信服的是最近的
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Our inimitable Shakespeare is a Stumbling-block to the whole Tribe of these rigid Criticks”: English and German Women in Eighteenth-Century Debates on Shakespeare
In the preface to the Dutch Lover, performed in 1673, Aphra Behn justifies her profession as dramatist claiming a strong affinity between women and Shakespeare: “We all well know that the immortal Shakespeare’s Plays (who was not guilty of much more of this than often falls to women’s share) have better pleas’d the World than Jonson’s works”1. Drawing from Shakespeare’s presumed ignorance, his “small latine, and less Greek”,2 Behn’s words not only suggest an association between Shakespeare’s lack of knowledge and that of women, but also become emblematic of the significant role that English women would play, from the last decades of the seventeenth century onwards, in the promotion of Shakespeare as a cultural figure that deserved to be more carefully interrogated in England and, as today we well know, abroad. Since then, Shakespeare has continued to be seen as a national but also global emblematic figure. The analysis of his reception, appropriation and criticism has always been helpful in exploring the way in which languages, ideas and models travel through time and space, acquiring new political-cultural meanings, and becoming important elements of exchange ‒ Kulturtransfer‒ between different cultures. Compelling in this respect are the recent
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