从表面上看嫉妒:卡斯蒂廖内、莱昂·巴蒂斯塔·阿尔贝蒂与胡安Boscán《Capítulo》中的伊菲igenia神话

IF 0.3 0 LITERATURE, ROMANCE
Jason Mccloskey
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引用次数: 0

摘要

在Juan Boscan的《Capitulo》中,诗的声音将表达嫉妒痛苦的策略与古典艺术家在著名神话画中使用的方法进行了比较。在他描绘伊菲革涅亚牺牲的艺术作品中,蒂曼提斯用头巾遮住了受害者父亲阿伽门农的脸。不幸的是,这首诗中嫉妒的复杂表现及其与文艺复兴艺术理论的关系也被掩盖了。然而,最近由Steven Wagschal和Javier Lorenzo所做的研究,对“Capitulo”的这些和其他重要方面,如自我表现和措辞,进行了前景和检验。除此之外,本研究还借鉴了Wayne Rebhorn对Il Cortegiano的研究,探讨了这首诗如何以一种视觉导向的方式描绘伊菲igenia的神话,这种方式唤起了15世纪意大利艺术理论家Leon Battista Alberti所表达的信条。我认为,这种描述策略产生了一种情感上引人注目和同情的肖像,抒情的声音充满了嫉妒,反映了卡斯蒂尔乔内著名论文中阐述的思想。最后,这篇阅读文章认为,尽管有明确的说法,“卡皮图洛”确实讽刺地通过诉诸掩蔽的修辞手段,把嫉妒的脸放在了脸上。《Capitulo》由385行terza rima组成,表达了一个爱人向他的爱人描述因得不到回报的关注和爱而造成的痛苦的悲伤。然而,在详细描述了各种各样的情感之后,嫉妒的独特痛苦经历出现了,诗歌的声音声称只能通过类比来近似这种情感的影响。有了这个比较
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Taking Jealousy at Face Value: Castiglione, Leon Battista Alberti, and the Myth of Iphigenia in Juan Boscán’s “Capítulo”
In Juan Boscan’s “Capitulo,” the voice of the poem compares the strategy used to express the pain of jealousy to the method employed by a classical artist in a famous mythological painting. In his artwork depicting the sacrifice of Iphigenia, Timanthes concealed the face of the victim’s father, Agamemnon, with a hood. Unfortunately, the complex representation of jealousy in the poem and its relation to Renaissance art theory has also remained covered up. However, recent studies by Steven Wagschal and Javier Lorenzo help to foreground and examine these and other significant aspects of “Capitulo,” such as self-representation and ekphrasis. Drawing additionally on Wayne Rebhorn’s study of Il Cortegiano, this study explores how the poem portrays the myth of Iphigenia in a visually oriented way evocative of precepts expressed by the fifteenth-century Italian art theorist Leon Battista Alberti. I contend that this descriptive strategy produces an emotionally compelling and sympathetic portrait of the lyric voice stricken with jealousy that reflects ideas articulated in Castilgione’s famous treatise. Finally, this reading argues that, despite explicit claims otherwise, “Capitulo” does ironically put a face on jealousy by appealing to the rhetorical device of occultatio. Consisting of 385 lines of terza rima, “Capitulo” expresses the laments of a lover who describes to his beloved the suffering caused by unreciprocated attention and affection. Yet when, after describing a variety of emotions in detail, the uniquely painful experience of jealousy arises, the poetic voice claims only to be able to approximate the effects of such an emotion by analogy. With this comparative
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