托马斯·德·昆西与《海盗》的文学复兴

Victor Plahte Tschudi
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引用次数: 0

摘要

罗马建筑的特点是广为人知的。然而,是这些蚀刻作品的文学创作,而不是蚀刻作品本身,确保了它们的名声。本文将皮拉内西的重塑追溯到英国浪漫主义作家托马斯·德·昆西。德昆西对皮拉内西监狱的重大“误解”——卡塞里——从根本上重新开启了这个系列的现代风格。通过给它们贴上“梦想”的标签,这些蚀刻版画似乎反映了无意识,并指出了建筑看似无休止的扩张,它们预示着城市的反乌托邦。楼梯被看见了;在那里,又出现了神志不清的皮拉内西,忙着他那充满抱负的工作;等等,直到未完成的楼梯和绝望的皮拉内西都消失在大厅上方的黑暗中。6
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Thomas De Quincey og den litterære gjenskapingen av Piranesi
of Roman architecture are widely known. However, it was the literary recreation of these etchings, not the etchings themselves, that secured their fame. This article traces the reinvention of Piranesi back to the English Romantic Thomas De Quincey. De Quincey’s significant ‘misinterpretations’ of Piranesi’s prisons – the Carceri – relaunched the series as modern in fundamental ways. By labelling them ‘dreams’, the etchings appeared to reflect the unconscious, and by pointing out the architecture’s seemingly endless expansion, they foreshadowed urban dystopia. of stairs is descried; and there, again, is the delirious Piranesi, busy on his aspiring labours: and so on, until the unfinished stairs and the hopeless Piranesi both are lost in the upper gloom of the hall. 6
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