绘画世界和多孔墙

Sara H. Lindheim
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摘要

普罗提乌斯的第四部也是最后一部挽歌也戏剧化地描绘了人们在画地图时所产生的焦虑。秩序和控制的虚假承诺,能够决定什么是“内”,什么是“外”,什么是“罗马”,什么是“非罗马”,以奥古斯都时代的地图的名义回归,年轻的妻子阿雷莎(Arethusa)在挽歌4.3中参考了这幅地图,在挽歌4.4中,塔佩亚(Tarpeia)的越界故事中,关于早期罗马周围的城墙。Propertius将地图上的细线与新城市的坚固边界交织在一起,直到他回顾性地重建了多孔边界的问题,将其视为罗马的原始问题,这个问题不仅随着奥古斯都时代的帝国扩张而出现,而且在城市的早期就已经存在了。
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Painted Worlds and Porous Walls
Propertius’ fourth and final book of elegies also dramatizes the anxieties that emerge when one draws a map. The false promise of order and control, of being able to determine what is “in” and differentiate it from what is “out,” what is “Roman” as opposed to what is “non-Roman” returns in the guise of an Augustan-era map that the young wife, Arethusa, consults in elegy 4.3 and of the walls around early Rome in Tarpeia’s story of transgression from elegy 4.4. Propertius intertwines cartographic fines with the fortified boundaries of the new city, until he retrospectively reconstructs the problem of porous limits as an originary one for Rome, one that does not solely spring up with the imperial expansion of the Augustan age but always already existed at the very beginnings of the city.
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Sine fine On the Road Again Conclusion Painted Worlds and Porous Walls What’s Love Got To Do With It?
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