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Disjunctive Love: Philosophical Project and Poetic Experience in Donne's “The Ecstasy” 分离的爱:多恩《狂喜》的哲学构想与诗意体验
Pub Date : 2021-08-03 DOI: 10.5422/fordham/9780823294503.003.0002
J. Kuzner
Donne’s “The Ecstasy” explores a love which is as virtual as it is actual, creating a life of love that is as absorbing inside the poem as it is impossible outside it, and raising a question about how poetry can think about love distinctively. To address that question, this chapter compares a specific poetic form, the quatrain, with philosophical dialogues by Marsilio Ficino, Tullia d’Aragona, and Leone Ebreo. “The Ecstasy” shares with these dialogues in imagining love as a phenomenon of non-sovereignty, of giving up the wish for mastery over the self and control over the beloved, with a key difference residing in how non-sovereignty comes about. For Ficino, Tullia, and Leone, love assumes the form of what Bataille would call a project: an undertaking with an aim over which lovers have at least some control—in this case, a project of self-transformation by which lovers become more perfect. “The Ecstasy” sometimes also makes love into a project, but in other places, the poem’s quatrains turn love from a project into an experience: (again, in Bataille’s terms) an aimless encounter in which lover and beloved become entangled in incomplete yet excruciating ways, ways that forge a distinctly poetic non-sovereign love.
多恩的《狂喜》探索了一种既虚拟又真实的爱,创造了一种爱的生活,这种生活在诗中是如此吸引人,而在诗之外是不可能的,并提出了一个问题,即诗歌如何能够独特地思考爱情。为了回答这个问题,本章将一种特殊的诗歌形式——四行诗——与马尔西利奥·菲西诺、图利亚·德·阿拉戈纳和莱昂内·埃布雷奥的哲学对话进行比较。《狂喜》和这些对话一样,把爱想象成一种非主权的现象,一种放弃控制自我和控制所爱之人的愿望,关键的区别在于非主权是如何产生的。对菲西诺、图利亚和莱昂内来说,爱情呈现出巴塔耶所说的一种计划的形式:一项有目标的事业,情人至少在某种程度上可以控制——在这种情况下,这是一项自我改造的计划,情人通过它变得更加完美。《狂喜》有时也把爱变成一个计划,但在其他地方,这首诗的四行诗把爱从一个计划变成了一种经历:(再次,用巴塔耶的话说)一种漫无目的的相遇,在这种相遇中,爱人和被爱的人以不完整但痛苦的方式纠缠在一起,这种方式形成了一种独特的诗意的、非主权的爱。
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引用次数: 0
Acknowledgments 致谢
Pub Date : 2021-08-03 DOI: 10.2307/j.ctv1rdtx58.10
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引用次数: 0
Index 指数
Pub Date : 2021-08-03 DOI: 10.1515/9780823294534-010
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引用次数: 0
3. Forgetting to Love: Problems of Praise in Herbert’s “Th e Flower” 3.忘记去爱:赫伯特《花》中赞美的问题
Pub Date : 2021-08-03 DOI: 10.1515/9780823294534-004
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引用次数: 0
Index 指数
Pub Date : 2021-08-03 DOI: 10.2307/j.ctv1rdtx58.12
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引用次数: 0
6. Love and/or Lyric: Dickinson’s “I cannot live with You -” 6. 爱情和/或抒情诗:狄金森的《我不能和你一起生活》
Pub Date : 2021-08-03 DOI: 10.1515/9780823294534-007
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引用次数: 0
Love and/or Lyric: 爱和/或歌词:
Pub Date : 2021-08-03 DOI: 10.2307/j.ctv1rdtx58.9
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引用次数: 0
Obscure Love: 模糊的爱:
Pub Date : 2021-08-03 DOI: 10.2307/j.ctv1rdtx58.5
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引用次数: 0
Obscure Love: Virtual Masochisms in Philips's “Friendship's Mysterys” 晦涩的爱:飞利浦《友谊的奥秘》中的虚拟受虐狂
Pub Date : 2021-08-03 DOI: 10.5422/fordham/9780823294503.003.0003
J. Kuzner
This chapter discusses poetic obscurity in Katherine Philips’s “Friendship’s Mysterys.” Jeremy Taylor, the divine and friend of Philips, writes of how friendship must be useful and must help friends compensate for their shortfalls in being self-sufficient, sovereign over themselves and their affairs. In “Friendship’s Mysterys,” though, love becomes its own religion, sovereign unto itself, taking on a particular kind of “use” that to Taylor would be both heretical and useless: use that—obscurely and yet strikingly—becomes masochistic. “Friendship’s Mysterys” might even be said to combine competing forms of masochism: one, like that described by Michel Foucault, which emphasizes the shifting of control from one party to the other, and a second, like that described by Leo Bersani, which involves giving up control altogether. Such a multifaceted masochism can live only within the “useless” realm of obscure verse: verse filled with vague images, mysterious phrases and maneuverings, and action that seems to take place almost scenelessly. The chapter’s conclusion compares Philips’s vision of love with an antagonist named in Taylor’s discourse and often compared with the poet: Plato. While Plato tries to synthesize tensions of love, Philips maintains them, contenting herself with friendship’s mysteries.
本章讨论凯瑟琳·菲利普斯的《友谊的奥秘》中诗歌的晦涩。杰里米·泰勒(Jeremy Taylor)是菲利普斯的朋友和圣人,他写道,友谊必须是有用的,必须帮助朋友弥补他们在自给自足、对自己和自己的事务拥有主权方面的不足。然而,在《友谊的奥秘》中,爱成为了它自己的宗教,成为了它自己的主宰,呈现出一种对泰勒来说既异端又无用的特殊“用途”:这种用途——模糊而又引人注目——变成了受虐狂。《友谊的奥秘》甚至可以说是相互竞争的受虐形式的结合:一种是米歇尔·福柯(Michel Foucault)所描述的,强调控制权从一方转移到另一方;另一种是利奥·贝尔萨尼(Leo Bersani)所描述的,包括完全放弃控制权。这种多面性的受虐只能生活在“无用的”晦涩的诗歌领域中:诗歌中充满了模糊的形象,神秘的短语和手法,以及似乎几乎没有场景发生的行动。这一章的结束语将菲力普斯对爱情的看法与泰勒话语中提到的一个对手进行了比较,这个对手经常与诗人柏拉图进行比较。当柏拉图试图综合爱情的紧张时,菲力普斯维持着它们,满足于友谊的神秘。
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引用次数: 0
Green Love: 绿色的爱:
Pub Date : 2021-08-03 DOI: 10.2307/j.ctv1rdtx58.8
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引用次数: 0
期刊
The Form of Love
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