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引用次数: 0
摘要
本章以这位法国诗人最著名的颂歌“米尼翁,我是玫瑰……”为例,提出一个简单但重要的问题:如果我们(也)试图通过它来接近自然——或自然——它可能声称是模仿的,那么仔细阅读这样一首由“符号”组成的诗的障碍是什么?为了探究这一问题,亚瑟尝试了三种解读颂歌的方法。他首先探讨了书籍历史提供的文化/历史方法。第二种方法是寻找朗萨德的诗和早期现代植物学对玫瑰的讨论之间的联系。第三种方法,也是最后一种方法,通过借鉴当代植物理论(Jeffrey Nealon, Michael Marder, Luce Irigaray),努力超越作为文化人工制品的诗歌。
This chapter takes up the French poet’s most famous ode ‘Mignonne,
allons voir si la rose…’ in order to ask a simple but important question:
what are the barriers to close-reading a poem such as this one, a poem
made of ‘signs’, if we (also) try to access through it the nature—or Nature—
of which it perhaps claims to be an imitation? To explore such
a question, Usher experiments with three ways of reading the ode. He
first explores the cultural/historical approach offered by book history.
A second approach seeks out connections between Ronsard’s poem
and early modern botany’s own discussion of roses. The third and final
method strives to get beyond the poem as cultural artefact by drawing
on contemporary plant theory (Jeffrey Nealon, Michael Marder, Luce
Irigaray).