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題 名 | Broken Images:The Traditions of "Blazoning" Women in the "Yu-t'ai Hsin Yung" and "Hohe Minne" |
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作 者 | Linder,Birgit; | 書刊名 | Tamkang Review |
卷 期 | 24:2 民82.冬 |
頁 次 | 頁83-118 |
分類號 | 811 |
關鍵詞 | 情詩; 中國; 德國; 宮體詩; 女性角色; Blazoning; Love lyric; Sublimation; Eroticism; Petrarchism; Objectification; Troubadours; Artificial; Feminine image; |
語 文 | 英文(English) |
英文摘要 | This essay compares two traditions of highly stylized love Iyric: the German late medieval Des Minnesangs Fruehling, which is in the tradition of the troubadours and related to Renaissance Petrarchism, and Chinese Palace Style Poetry of the Liang Dynasty. In both cases “woman” is taken as the object of the poem and depersonalized into an abstract entity, thus being deprived of her concrete individuality. To this end the technique of “blazoning” is employed, whereby the various parts of the woman’s body are described in erotic or lurid detail: this is really a rhetorical taking control of the woman’s body by the male speaker (poet). But while the German Minnesang sublimates the feminine qualities into a life-enhancing ideal spiritual essence to be praised (revered) by the male speaker / poet, the Chinese Palace Style Poetry reduces the “woman” to a merely art-enhancing artificial object, a purely aesthetic and erotic object of desire for the decadent pleasure of the male aristocrats at court. |
本系統中英文摘要資訊取自各篇刊載內容。