肠的易读性:利希滕伯格对贺加斯的《妓女的历程》的排泄视觉

A. Mahler
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摘要

这篇文章揭露了乔治·克里斯托夫·利希滕贝格对威廉·霍加斯的《妓女的进步》的著名评论中猖獗但几乎不加掩饰的淫秽言论。它表明,利希滕伯格通过运用他所谓的疑病症解释学,在霍加斯的版画中发现了各种各样的粪便物品——便壶、灌肠剂、肛门拭子。这样的解释学遵循离题、隐喻关联和转喻联系来识别图像中的粪便对象,即使没有。在利希滕贝格看来,《妓女的进步》所产生的排泄物证明了他自己的疑病症,并威胁到他的解释的有效性。但他也把粪便学的主题与产生它的解释过剩对立起来:粪便面对着疑病症的解释者,面对着他自己的肉体死亡,因此面对着他作为一个人的解释能力的限制。因此,在利希滕贝格的概念中,粪便讽刺就像是一种愤世嫉俗的自我疗法,用来治疗解释性的傲慢。
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The legibility of the bowels: Lichtenberg’s excretory vision of Hogarth’s A Harlot’s Progress
This essay lays bare the rampant but thinly veiled scatology in Georg Christoph Lichtenberg’s renowned commentaries of William Hogarth’s A Harlot’s Progress. It shows that Lichtenberg finds all kinds of scatological objects – chamber pots, enemas, anal swabs – in Hogarth’s prints by applying what he calls the hermeneutics of hypochondria. Such a hermeneutics follows digressions, metaphorical associations, and metonymical connections to identify scatological objects in the images even where there are none. The resulting excremental vision of A Harlot’s Progress evidences, in Lichtenberg’s view, his own hypochondria and threatens the validity of his interpretations. But he also turns the scatological motif against the interpretive excess that produced it: excrement confronts the hypochondriacal interpreter with his own corporeal mortality and thus with the limits of his interpretive capacities as a human. Scatological satire therefore serves, in Lichtenberg’s conception, as something like a cynic self-therapy for interpretive hubris.
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