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National Chung Hsing University Institutional Repository - NCHUIR > 中興大學 > 校內出版品 > 文學院 > 期刊-興大人文學報(原文史學報)  > 第28期 >  文藝復興女性書寫傳統的階級意識:愛米莉雅.藍能「庫恆莊園描寫」的自我之感

Please use this identifier to cite or link to this item: http://nchuir.lib.nchu.edu.tw/handle/309270000/141945

標題: 文藝復興女性書寫傳統的階級意識:愛米莉雅.藍能「庫恆莊園描寫」的自我之感
Class Consciousness in Jacobean Female Writing Tradition: Aemilia Lanyer's Sense of Self in "The Description of Cooke-Ham"
作者: 陳淑卿
Contributors: 陳淑卿
國立中興大學文學院
關鍵字: 敬獻詩;鄉村莊園詩;文學贊助制度;賢良婦女社群;階級意識;英國國教教義闡釋
日期: 1998-06
Issue Date: 2013-05-02 09:19:36 (UTC+8)
Publisher: 臺中市:國立中興大學文學院
摘要: 文學贊助制度在出版工業尚未發達的文藝復興時代,是文人文學生產的主要物質
情境。敬獻詩成為當時特有的文化產物,並蔚然成風。為了回報貴族挹助,文人書寫獻詩以
表忠誠,並間接鞏固文人的創作環境。然而敬獻詩固然是詩人稱頌貴族的文本場合,也是詩
人展現創作權威的論述領域。兩者之間的角力暗含階級衝突的張力。愛米莉雅.藍能的文學
創作,與她同時的詩人一樣,需仰賴貴族仕女的贊助。藍能挪用與移置敬獻詩中的次文類鄉
村莊園詩的書寫成規以呈現一以貴族仕女為首的女性社群,復插入一邊緣聲音以表達詩人之
階級焦慮。本文旨在探討藍能《庫恆描寫》一詩中女性意識與階級意識的衝突及其對應的詩
文佈局。藍能雖暫時化解她的階級焦慮卻無助於階級平等。然而藍能的詩在宣揚--女性意識
與主體的同時,復能表達內在於性別的階級問題,為後代平民婦女書寫與呈現中產階級女性
主體的先聲。
Like most of the literary figures in her times, Aemilia Lanyer's poetic
career is contingent upon the Jacobean patronage system, which preceded the
publishing industry to serve as the material condition for the production of
literary works. In returning the favor of their patrons, poets express their
gratitude through writing dedicatory poetry. The genre, however, is marked by an
innate tension between the poets' assertion of their writing authority and their
vindication of their patron's social and political supremacy. Lanyer's "The
Description of Cooke-ham," in its female rendition of the genre of dedicatory
poetry as well as that of country house poetry, reflects such tension in a female
version. In this essay I explore Lanyer's appropriation and displacement of
country house poetry conventions in order to establish a discursive space for a
community of good women, one that is constituted by her female patrons. The female
discursive space, however, is occupied by upper calss female subjects exclusively.
Thus, although Lanyer asserts cognitive female subjects, she unwittingly
strengthens the class hierarchy implicated in the genre. To be sure, praising the
patrons guarantees her social security as a writer. Yet it also erases her class
specificity as a commoner and banishes her outside the female community she helps
establish. Fully aware of her dilemma in writing a dedicatory poem, Lanyer turns
the poem into a battleground on which the struggle between her class/poetic
consciousness and her writerly obligation to her female patrons is played out. I
argue that Lanyer manages to "resolve" and suppress this contradiction through
the appeasement of the fractured, disrupting, uncertain voice in the margin by
means of the timely use of religious rhetoric. The "resolution" is a far cry from
an effective subversion of gender and class coercion. But the daring insertion
of the troubling voice of a gentlewoman in a dedicatory poem anticipates the
expression of class difference at the historical juncture when female consciousness
only starts to announce itself in the margin of mainstream literary scene.
Relation: 文史學報, Volume 28, Page(s) 327-344.
Appears in Collections:[依教師分類] 陳淑卿
[期刊-興大人文學報(原文史學報) ] 第28期
[依教師分類] 陳淑卿

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