“她的泪随露珠落在黄昏”:维多利亚时代诗歌与拉斐尔前派绘画的互文对话

Rocío Moyano Rejano
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摘要

摘要本文旨在分析丁尼生同名诗中玛丽安娜这个角色的语言对话和互文对话,以及随后约翰·埃弗雷特·米莱的一幅画中玛丽安娜的形象表现。玛丽安娜这个角色来自莎士比亚的喜剧《以牙还牙》,该喜剧于1623年出版在《第一对开本》中。相比之下,1832年,丁尼生勋爵(Lord Tennyson)在他的同名诗《玛丽安娜》(Mariana)中介绍了这个角色,她是一个不断哀叹自己与社会缺乏联系的女人。丁尼生将她塑造成一个“悲剧性”的女主人公,从悲观的角度来描写她。跨形性的过程需要一个反向短语的转换阶段,通过这个阶段,莎士比亚的源文本变成了另一个文本,丁尼生的诗。这两个文本之间的互动后来变成了两种视觉表达。在这样做的过程中,这两个文本后来被转移到约翰·埃弗雷特·米莱的绘画中。米莱与丁尼生诗歌和莎士比亚戏剧的互文对话涉及到一个反向措辞的过程。本文将以此为切入点,分析米莱的艺术表现中《玛丽安娜》这首诗与其视觉表现之间的语言对话和互文对话。
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“Her tears fell with the dews at even”: The Ekphrastic and Intertextual Dialogue between Victorian Poetry and Pre-Raphaelite Painting
Abstract This paper seeks to carry out an analysis of the ekphrastic and intertextual dialogue in the character of Mariana in both Alfred Lord Tennyson’s homonymous poem and its subsequent pictorial representation in a painting by John Everett Millais. The character of Mariana is taken from Shakespeare’s comedy, Measure for Measure, which was published in the First Folio in 1623. By contrast, in 1832, Lord Tennyson introduces the character in his homonymous poem, “Mariana”, as a woman who continuously laments her lack of connection to society. Through interfigurality, Tennyson opts to present her as a “tragic” heroine and she is depicted from a pessimistic perspective. The process of interfigurality entails a conversion stage of reverse ekphrasis through which Shakespeare’s source text is turned into another text, Tennyson’s poem. This interaction between both texts is later turned into two visual expressions. In doing so, both texts are later transferred into John Everett Millais’s painting. Millais’s intertextual dialogue with Tennyson’s poem and Shakespeare’s play involves a process of reverse ekphrasis. Taking this approach, this paper will analyse the ekphrastic and intertextual dialogue between the poem “Mariana” and its visual representation in Millais’s artistic manifestations.
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