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包郵 塑造神圣:“珍珠”詩(shī)人與英國(guó)中世紀(jì)感官文化
豆瓣評(píng)分8.3。本書(shū)聚焦復(fù)興運(yùn)動(dòng)詩(shī)人“珍珠”的僅存手稿，梳理并書(shū)寫了一部形成于圖文互動(dòng)過(guò)程中的文學(xué)感官史。
作者：包慧怡
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塑造神圣:“珍珠”詩(shī)人與英國(guó)中世紀(jì)感官文化 版權(quán)信息
- ISBN：9787552024715
- 條形碼：9787552024715 ; 978-7-5520-2471-5
- 裝幀：簡(jiǎn)裝本
- 冊(cè)數(shù)：暫無(wú)
- 重量：暫無(wú)
- 所屬分類：>
塑造神圣:“珍珠”詩(shī)人與英國(guó)中世紀(jì)感官文化 本書(shū)特色
The senses and their understanding by the medieval laity is an exciting arena in which many authors of the golden age of Middle English vernacular literature exercised their exegetical ability and literary craftsmanship. This book examines the representation of the divine by the anonymous fourteenth-century Pearl-poet, through a close reading of his three “scriptural” Middle English poems, Cleanness, Patience and Pearl, against the background of the culture of sensorium in late medieval England.
14世紀(jì)中古英語(yǔ)頭韻復(fù)興運(yùn)動(dòng)中的翹楚詩(shī)人“珍珠”的全部作品僅有一份手稿存世（大英圖書(shū)館柯頓·尼祿A.x手稿）。本書(shū)立足于對(duì)《珍珠》手稿中三首基于經(jīng)文的長(zhǎng)詩(shī)（《清潔》《堅(jiān)忍》《珍珠》）之中古英語(yǔ)原文的訓(xùn)詁和細(xì)讀，研究“珍珠”詩(shī)人對(duì)神性的理解，并探討詩(shī)人對(duì)中世紀(jì)感官文化及相關(guān)思想史背景的反芻。
The senses and their understanding by the medieval laity is an exciting arena in which many authors of the golden age of Middle English vernacular literature exercised their exegetical ability and literary craftsmanship. This book examines the representation of the divine by the anonymous fourteenth-century Pearl-poet, through a close reading of his three “scriptural” Middle English poems, Cleanness, Patience and Pearl, against the background of the culture of sensorium in late medieval England.
In this book, individual corporeal senses and general ideas about sensory perception will be investigated, as well as the non-physical senses. By bringing the Pearl-poet’s treatment of the sensorium－both of God and of humans－into the focus of attention, Dr Bao illustrates how human interpretation of sense-perceptible signs, and their decision to regulate sensory experience accordingly, play a significant role in the poet’s “vernacular theology”, and in the spiritual life of late medieval English laity.
14世紀(jì)中古英語(yǔ)頭韻復(fù)興運(yùn)動(dòng)中的翹楚詩(shī)人“珍珠”的全部作品僅有一份手稿存世（大英圖書(shū)館柯頓·尼祿A.x手稿）。本書(shū)立足于對(duì)《珍珠》手稿中三首基于經(jīng)文的長(zhǎng)詩(shī)（《清潔》《堅(jiān)忍》《珍珠》）之中古英語(yǔ)原文的訓(xùn)詁和細(xì)讀，研究“珍珠”詩(shī)人對(duì)神性的理解，并探討詩(shī)人對(duì)中世紀(jì)感官文化及相關(guān)思想史背景的反芻。
無(wú)論在理論或?qū)嵺`層面,感官及對(duì)感官認(rèn)知的態(tài)度在中世紀(jì)人道德、宗教、情感模式的形成中都扮演關(guān)鍵的角色，深入研究感官文化的一個(gè)重要途徑就是文學(xué)作品。本書(shū)每一章節(jié)聚焦《珍珠》手稿的一部作品，研究其中示例人物如何通過(guò)規(guī)范自己的感官經(jīng)驗(yàn)，將“抑肉揚(yáng)靈”的古典感官論中被貶抑的“身體感官”轉(zhuǎn)化為一種通往救贖的路徑。本書(shū)還將通過(guò)探討“內(nèi)感官”“精神感官”“神秘感官”等概念在文本中的呈現(xiàn)，比較中世紀(jì)感官論與現(xiàn)代感官論的關(guān)鍵差異。作者在語(yǔ)文學(xué)—文學(xué)解讀的基礎(chǔ)上，同時(shí)考察8—15世紀(jì)手抄本中對(duì)感官的圖像學(xué)表述，試圖梳理并書(shū)寫一種形成于圖文互動(dòng)過(guò)程中的文學(xué)感官史。
塑造神圣:“珍珠”詩(shī)人與英國(guó)中世紀(jì)感官文化 內(nèi)容簡(jiǎn)介
14世紀(jì)中古英語(yǔ)頭韻復(fù)興運(yùn)動(dòng)中的翹楚詩(shī)人“珍珠”的*作品僅有一份手稿存世（大英圖書(shū)館柯頓·尼祿A.x手稿）。本書(shū)立足于對(duì)《珍珠》手稿中三*基于經(jīng)
文的長(zhǎng)詩(shī)（《清潔》《堅(jiān)忍》《珍珠》）之中古英語(yǔ)原文的訓(xùn)詁和細(xì)讀，研究“珍珠”詩(shī)人對(duì)神性的理解，并探討詩(shī)人對(duì)中世紀(jì)感官文化及相關(guān)思想史背景的
反芻。
無(wú)論在理論或?qū)嵺`層面,感官及對(duì)感官認(rèn)知的態(tài)度在中世紀(jì)人道德、宗教、情感模式的形成中都扮演關(guān)鍵的角色，深入研究感官文化的一個(gè)重要途徑就是文學(xué)作品
。本書(shū)每一章節(jié)聚焦《珍珠》手稿的一部作品，研究其中示例人物如何通過(guò)規(guī)范自己的感官經(jīng)驗(yàn)，將“抑肉揚(yáng)靈”的古典感官論中被貶抑的“身體感官”轉(zhuǎn)化
為一種通往救贖的路徑。本書(shū)還將通過(guò)探討“內(nèi)感官”“精神感官”“神秘感官”等概念在文本中的呈現(xiàn)，比較中世紀(jì)感官論與現(xiàn)代感官論的關(guān)鍵差異。
作者在語(yǔ)文學(xué)—文學(xué)解讀的基礎(chǔ)上，同時(shí)考察8—15世紀(jì)手抄本中對(duì)感官的圖像學(xué)表述，試圖梳理并書(shū)寫一種形成于圖文互動(dòng)過(guò)程中的文學(xué)感官史。
塑造神圣:“珍珠”詩(shī)人與英國(guó)中世紀(jì)感官文化 目錄
Table of Contents
Acknowledgements iiiList of Abbreviations v
CHAPTER ONE: Introduction1
I. General Introduction and Aims of Research 1
II. The Pearl-Poet and the Medieval Sensorium4
III. Historical and Ecclesiastical Milieu 9
IV. Contemporary Religious Writings 19
V. Ambiguous Divinity: The Pearl-Poet’s Representation 33
CHAPTER TWO:Cleanness: The Dialectics of Visio Dei, and Ocular Scepticism 40
I. Theme, Structure and Sources 40
II. God Seeing and Being Seen: The Dialectics of Visio Dei 52
III. Seeing, Touching and Believing: Sensorial Scepticism 72
IV. Conclusion 88
CHAPTER THREE:Patience: Auditory Epiphanies and the Dialogics of Interaction 91
I. Overview and Sources 91
II. The Epiphany of the Ear 98
III. Jonah’s Voice 116
IV. Conclusion 139
CHAPTER FOUR:Pearl: The Sensory Itinerary towards Jerusalem 145
I. Descent in the Erber: Corporeal Perception154
II. Advance in the Terrestrial Paradise: Spiritual Perception 169
III. Ascent toward the Heavenly City: Mystical or Psychosomatic Perception 188
IV. Conclusion 205
CHAPTER FIVE: Conclusion211
Bibliography 222
Acknowledgements iiiList of Abbreviations v
CHAPTER ONE: Introduction1
I. General Introduction and Aims of Research 1
II. The Pearl-Poet and the Medieval Sensorium4
III. Historical and Ecclesiastical Milieu 9
IV. Contemporary Religious Writings 19
V. Ambiguous Divinity: The Pearl-Poet’s Representation 33
CHAPTER TWO:Cleanness: The Dialectics of Visio Dei, and Ocular Scepticism 40
I. Theme, Structure and Sources 40
II. God Seeing and Being Seen: The Dialectics of Visio Dei 52
III. Seeing, Touching and Believing: Sensorial Scepticism 72
IV. Conclusion 88
CHAPTER THREE:Patience: Auditory Epiphanies and the Dialogics of Interaction 91
I. Overview and Sources 91
II. The Epiphany of the Ear 98
III. Jonah’s Voice 116
IV. Conclusion 139
CHAPTER FOUR:Pearl: The Sensory Itinerary towards Jerusalem 145
I. Descent in the Erber: Corporeal Perception154
II. Advance in the Terrestrial Paradise: Spiritual Perception 169
III. Ascent toward the Heavenly City: Mystical or Psychosomatic Perception 188
IV. Conclusion 205
CHAPTER FIVE: Conclusion211
Bibliography 222
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塑造神圣:“珍珠”詩(shī)人與英國(guó)中世紀(jì)感官文化 作者簡(jiǎn)介
Huiyi Bao (PhD, University College Dublin) is Assistant Professor at the Department of English, Fudan University. Her research focuses on Old and Middle English poetry, and on the textual-pictorial engagement in illustrated medieval manuscripts. She is the author of one monograph in Chinese, The Art of Middle English Lyrics (2018), and of more than ten peer-reviewed journal articles both in English and in Chinese. Medievalist, poet and literary translator, she has published two books of poetry, A Pagan Book of Hours (2012) and I Sit on the Edge of the Volcano (2016); one book of essays, Annal of the Emerald Isle (2015); and one book of criticism, Scriptorium (2018). She is the translator of twelve books from English to Chinese, including Complete Poems by Elizabeth Bishop, Ariel by Sylvia Plath, Good Bones by Margaret Atwood, and Immram and Isle: Works of Four Contemporary Irish Poets. She was awarded the China Bookstore Prize, DJS-Poetry East West Award, and Literature Ireland Translator’s Bursary. She taught at Trinity College Dublin before joining Fudan, and is currently vice-director of the China-Australia Creative Writing Centre (CAWC) at Fudan, and editor-in-chief of Homings and Departures: Selected Poems from Contemporary China and Australia (2018).Huiyi Bao (PhD, University College Dublin) is Assistant
Professor at the Department of English, Fudan University. Her research
focuses on Old and Middle English poetry, and on the textual-pictorial
engagement in illustrated medieval manuscripts. She is the author of onemonograph in Chinese, The Art of Middle English Lyrics (2018), and of
more than ten peer-reviewed journal articles both in English and in
Chinese. Medievalist, poet and literary translator, she has published
two books of poetry, A Pagan Book of Hours (2012) and I Sit on the Edge
of the Volcano (2016); one book of essays, Annal of the Emerald Isle
(2015); and one book of criticism, Scriptorium (2018). She is the
translator of twelve books from English to Chinese, including Complete
Poems by Elizabeth Bishop, Ariel by Sylvia Plath, Good Bones by MargaretAtwood, and Immram and Isle: Works of Four Contemporary Irish Poets.
She was awarded the China Bookstore Prize, DJS-Poetry East West Award,
and Literature Ireland Translator’s Bursary. She taught at Trinity
College Dublin before joining Fudan, and is currently vice-director of
the China-Australia Creative Writing Centre (CAWC) at Fudan, and
editor-in-chief of Homings and Departures: Selected Poems from
Contemporary China and Australia (2018).
包慧怡，本科畢業(yè)于復(fù)旦大學(xué)英文系，愛(ài)爾蘭都柏林大學(xué)英文系中世紀(jì)文學(xué)博士，現(xiàn)為復(fù)旦大學(xué)英文系講師。研究古英語(yǔ)與中古英語(yǔ)詩(shī)歌，及中世紀(jì)手抄本中的圖文互動(dòng)。著有學(xué)術(shù)專著《中古英語(yǔ)抒情詩(shī)的藝術(shù)》（2018），在國(guó)內(nèi)外核心期刊發(fā)表學(xué)術(shù)論文十余篇。已出版詩(shī)集《我坐在火山的最邊緣》(2016)、《異教時(shí)辰書(shū)》(2012)，文學(xué)評(píng)論集《繕寫室》(2018)，散文集《翡翠島編年》(2015)；并出版譯著十二種，包括伊麗莎白·畢肖普詩(shī)集《唯有孤獨(dú)恒常如新》、西爾維婭·普拉斯詩(shī)集《愛(ài)麗爾》、瑪格麗特·阿特伍德散文詩(shī)集《好骨頭》《島嶼和遠(yuǎn)航：當(dāng)代愛(ài)爾蘭四詩(shī)人選》等。獲中國(guó)首屆書(shū)店文學(xué)獎(jiǎng)、DJS—詩(shī)東西評(píng)論獎(jiǎng)、愛(ài)爾蘭文學(xué)交流會(huì)國(guó)際譯者獎(jiǎng)。曾任教于都柏林圣三一學(xué)院，現(xiàn)任復(fù)旦大學(xué)中澳創(chuàng)意寫作中心副主任，主編有《歸巢與出發(fā)：中澳當(dāng)代詩(shī)選》(2018)。
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