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Weeping for Dido最新文献

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Boys performing women (and men) 男孩表演女人(和男人)
Pub Date : 2019-02-05 DOI: 10.23943/princeton/9780691170800.003.0004
M. Woods
This chapter looks at passages that beg for performance and at evidence for the recitation by boys of emotional scenes, often with female characters. The manuscripts discussed fit squarely into an already established pedagogical tradition that begins long before and continues long after the “middle” ages. The chapter addresses the medieval teaching of literature from a transhistorical as well as historical perspective and in ways that encourage comparison with other periods. It begins with a translation in The Loving Subject: Desire, Eloquence, and Power in Romanesque France. The poem, thirty lines long, falls into three parts. The first describes the narrator's emotional state and the boy who will try to distract him. Then comes the description of the boy's performance of the lament, which is artificial in a positive sense.
这一章着眼于那些要求表演的段落,以及男孩背诵情感场景的证据,这些场景通常与女性角色有关。所讨论的手稿完全符合已经建立的教学传统,这种传统在“中世纪”之前很久就开始了,并在“中世纪”之后很长时间内仍在继续。这一章从超历史的角度和历史的角度讨论中世纪的文学教学,并鼓励与其他时期进行比较。它从《爱的主题:罗曼式法国的欲望、口才和权力》的翻译开始。这首诗有三十行,分为三部分。第一个描述了叙述者的情绪状态和试图分散他注意力的男孩。然后是对男孩的悲歌表演的描述,这在积极的意义上是人为的。
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引用次数: 0
Works Cited 作品的引用
Pub Date : 2019-02-05 DOI: 10.2307/j.ctv4g1r82.10
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引用次数: 0
Acknowledgments 致谢
Pub Date : 2019-02-05 DOI: 10.2307/j.ctv4g1r82.4
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引用次数: 0
Memory, Emotion, and the Death of a Queen 记忆、情感与女王之死
Pub Date : 2019-02-05 DOI: 10.2307/j.ctv4g1r82.7
M. Woods
This chapter deals with the attractive and doomed Dido as medieval manuscripts reveal their emphasis on her emotions, a focus illuminated by modern research on memory. It begins with Augustine's boyhood obsession with Virgil's Aeneid. While Augustine had a dismissive reaction to Virgil's hero Aeneas, he had an obsessive boyhood identification with Dido and her emotional pain. Augustine called his own memorizing of Aeneas's wanderings a forced process (cogebra), but appears to remember Dido effortlessly, indeed almost against his will, and he associates that memory with strong emotions, particularly his reaction to her death. Augustine's rhetorically powerful sequence of words associated with weeping and death fixes his own emotional reaction in our minds, as Dido became fixed in his.
这一章讨论迷人的和注定要失败的蒂多,因为中世纪的手稿揭示了他们对她的情感的强调,这一焦点被现代记忆研究所阐明。它始于奥古斯丁童年时期对维吉尔的《埃涅伊德》的痴迷。虽然奥古斯丁对维吉尔的英雄埃涅阿斯有一种轻蔑的反应,但他对狄多和她的情感痛苦有一种痴迷的童年认同感。奥古斯丁称他自己对埃涅阿斯漫游的记忆是一个强迫的过程(cogebra),但似乎毫不费力地记住了蒂多,实际上几乎违背了他的意愿,他把这种记忆与强烈的情感联系在一起,尤其是他对她的死的反应。奥古斯丁强有力的修辞序列与哭泣和死亡有关,将他自己的情感反应固定在我们的脑海里,就像蒂朵被固定在他的脑海里一样。
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引用次数: 0
Boys Performing Women (and Men): 表演女人(和男人)的男孩:
Pub Date : 2019-02-05 DOI: 10.2307/j.ctv4g1r82.9
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引用次数: 0
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Weeping for Dido
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