用l.e.l.理解媒体:女性诗人、新媒体与彼特拉克式的凝视

IF 0.1 3区 文学 0 POETRY VICTORIAN POETRY Pub Date : 2023-06-01 DOI:10.1353/vp.2023.a907682
Christie Debelius
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Ultimately, though, the remediation of her painting back into verse ensures that she, unlike Laura, can still claim the poet’s speaking role. For Landon, this literary re-encounter with Petrarch is more than a simple homage. It represents one facet of a complex theory of gender and media in a media ecology saturated with texts that demanded visual— rather than oral or aural— engagement. Questions of intermediality, or the relationships among media, were a career-long fascination for Landon, who was one of the most prolific writers for “the nineteenth century’s newest media,” including annuals.3 Sometimes referred to as gift books, these ornately decorated periodical volumes placed engraved images side by side with text, creating a newly charged connection between visual and verbal media and “an increasingly visual bibliographic experience.” 4 Because of the central role that looking played in both writing for and reading these publications, the relationship between Petrarch and Laura remained an important frame for Landon’s understanding of this developing new medium. By examining Petrarchism’s role in Landon’s writing for annuals, this essay shows how Landon found within long-standing literary traditions a framework for understanding the workings of new media and their [End Page 245] implications for women writers. In her theory of media, Landon anticipated the work of present-day media theorists, whose explorations of the relationship between media and systems of power center on how our encounters with media technologies can be shaped by gendered power dynamics. In recent years, scholars of the nineteenth century have increasingly turned to approaches informed by media studies to revisit the works of women poets.5 Sarah Anne Storti advocates for the sophistication of Landon’s poetry specifically in these terms, suggesting that Landon ought to be viewed as “a brilliant media theorist and practitioner” who “leveraged an experimental role in early nineteenth-century print media to explore the affordances of representational art in an era of mass production” (Storti, p. 533).6 I follow Storti in using the language of “theory” to highlight both Landon’s sustained engagement with these ideas and the sweeping nature of the philosophy her poetry puts forth. For a writer working in the new medium of the annual, a medium whose production process required poets to write texts that would accompany engraved images, the writing of poetry depended on the artist’s ability to gaze upon an object and respond to what they saw. Harriet Linkin has shown how Landon carefully explores “the roles available to women in poetic tradition: either they function as the objectified beloved whose beauty fixates the male poet or they serve as the spontaneous performer who captivates her audience.”7 For Landon, though, it is not just poetic traditions that are complicit in the objectification of women in these roles: it is the media technologies that transmit and preserve these traditions as well. In this essay, I examine how the Petrarchan informs Landon’s exploration of the workings of new media in her 1828 poem “Verses” before turning to Landon’s “Corinne at the Cape of Misena” (1832)— inspired by Germaine de Staël’s wildly successful novel Corinne, or Italy (1807)—to show how Landon explores her position as a contributor to, and shaper of, new media.8 Written from the perspective of a woman poet...","PeriodicalId":54107,"journal":{"name":"VICTORIAN POETRY","volume":"104 1","pages":"0"},"PeriodicalIF":0.1000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Understanding Media with L.E.L.: Women Poets, New Media, and the Petrarchan Gaze\",\"authors\":\"Christie Debelius\",\"doi\":\"10.1353/vp.2023.a907682\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Understanding Media with L.E.L.: Women Poets, New Media, and the Petrarchan Gaze Christie Debelius (bio) At the beginning of Letitia Elizabeth Landon’s “The Improvisatrice” (1824), the poem’s titular speaker— a talented painter and poet-performer— sings of her first painting, a representation of the meeting between the Italian poet Petrarch and the beautiful, yet often silent, Laura.1 As she does so, she engages in a complex act of what media scholars call remediation, transposing one medium into another: employing her own assortment of artistic talents, the Improvisatrice transforms Petrarch’s poetry into painting and then back into poetry again when she ekphrastically describes her own work.2 By recounting her re-encounter with Petrarch, Landon’s speaker inserts herself into an established artistic tradition wherein women have conventionally played the role of silent objects to be gazed upon. Ultimately, though, the remediation of her painting back into verse ensures that she, unlike Laura, can still claim the poet’s speaking role. For Landon, this literary re-encounter with Petrarch is more than a simple homage. It represents one facet of a complex theory of gender and media in a media ecology saturated with texts that demanded visual— rather than oral or aural— engagement. Questions of intermediality, or the relationships among media, were a career-long fascination for Landon, who was one of the most prolific writers for “the nineteenth century’s newest media,” including annuals.3 Sometimes referred to as gift books, these ornately decorated periodical volumes placed engraved images side by side with text, creating a newly charged connection between visual and verbal media and “an increasingly visual bibliographic experience.” 4 Because of the central role that looking played in both writing for and reading these publications, the relationship between Petrarch and Laura remained an important frame for Landon’s understanding of this developing new medium. By examining Petrarchism’s role in Landon’s writing for annuals, this essay shows how Landon found within long-standing literary traditions a framework for understanding the workings of new media and their [End Page 245] implications for women writers. In her theory of media, Landon anticipated the work of present-day media theorists, whose explorations of the relationship between media and systems of power center on how our encounters with media technologies can be shaped by gendered power dynamics. In recent years, scholars of the nineteenth century have increasingly turned to approaches informed by media studies to revisit the works of women poets.5 Sarah Anne Storti advocates for the sophistication of Landon’s poetry specifically in these terms, suggesting that Landon ought to be viewed as “a brilliant media theorist and practitioner” who “leveraged an experimental role in early nineteenth-century print media to explore the affordances of representational art in an era of mass production” (Storti, p. 533).6 I follow Storti in using the language of “theory” to highlight both Landon’s sustained engagement with these ideas and the sweeping nature of the philosophy her poetry puts forth. For a writer working in the new medium of the annual, a medium whose production process required poets to write texts that would accompany engraved images, the writing of poetry depended on the artist’s ability to gaze upon an object and respond to what they saw. Harriet Linkin has shown how Landon carefully explores “the roles available to women in poetic tradition: either they function as the objectified beloved whose beauty fixates the male poet or they serve as the spontaneous performer who captivates her audience.”7 For Landon, though, it is not just poetic traditions that are complicit in the objectification of women in these roles: it is the media technologies that transmit and preserve these traditions as well. 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引用次数: 0

摘要

用英语理解媒体:在莱蒂西亚·伊丽莎白·兰登的《即兴》(1824)的开头,这首诗的名义演讲者——一位才华横溢的画家和诗人兼表演者——唱出了她的第一幅画,这幅画代表了意大利诗人彼特拉克和美丽但往往沉默的劳拉之间的相遇。当她这样做的时候,她参与了一种媒体学者称之为补救的复杂行为,将一种媒介转换为另一种媒介。她运用自己各种各样的艺术才能,将彼特拉克的诗歌转化为绘画,然后当她描述自己的作品时又转化为诗歌通过讲述她与彼特拉克的再次相遇,兰登的演讲者将自己插入了一个既定的艺术传统中,在这个传统中,女性通常扮演着被凝视的沉默对象的角色。然而,最终,她的绘画被修复成诗歌,确保了她,不像劳拉,仍然可以声称诗人的说话角色。对兰登来说,这次与彼特拉克在文学上的重逢不仅仅是一次简单的致敬。它代表了媒体生态中性别和媒体复杂理论的一个方面,这个生态中充斥着需要视觉参与而不是口头或听觉参与的文本。中间性问题,或媒介之间的关系,是兰登职业生涯中一直着迷的问题,他是“19世纪最新媒体”(包括年鉴)最多产的作家之一有时被称为礼品书,这些装饰华丽的期刊卷将雕刻的图像与文字并排放置,在视觉和口头媒体之间创造了一种新的联系,并“日益视觉化的书目体验”。由于外表在为这些出版物写作和阅读中都起着核心作用,因此彼特拉克和劳拉之间的关系仍然是兰登理解这种正在发展的新媒介的重要框架。通过考察彼得拉克主义在兰登年度写作中的作用,本文展示了兰登是如何在长期的文学传统中找到一个框架来理解新媒体的运作及其对女性作家的影响。在她的媒体理论中,兰登预测了当今媒体理论家的工作,他们对媒体与权力系统之间关系的探索集中在我们与媒体技术的接触如何被性别权力动力学塑造。近年来,19世纪的学者越来越多地转向媒体研究的方法来重新审视女性诗人的作品萨拉·安妮·斯托蒂(Sarah Anne Storti)特别在这些方面倡导兰登诗歌的复杂性,认为兰登应该被视为“一位杰出的媒体理论家和实践者”,他“在19世纪早期的印刷媒体中发挥了实验作用,探索了大规模生产时代代表性艺术的启示”(斯托蒂,第533页)我跟随斯托蒂使用“理论”的语言来强调兰登对这些思想的持续参与,以及她的诗歌所提出的哲学的全面本质。对于一个在年鉴这种新媒介中工作的作家来说,这种媒介的生产过程要求诗人写一些文字来陪伴雕刻的图像,诗歌的写作取决于艺术家凝视一个物体并对他们所看到的做出反应的能力。哈里特·林金(Harriet Linkin)展示了兰登是如何仔细探索“诗歌传统中女性的角色:她们要么是被物化的爱人,她们的美貌吸引着男性诗人,要么是自然而然的表演者,吸引着观众。”然而,对兰登来说,不仅仅是诗歌传统与女性在这些角色中的物化有共通之处:传播和保存这些传统的也是媒体技术。在这篇文章中,我研究了彼得拉克是如何在兰登1828年的诗歌《诗句》中揭示她对新媒体运作的探索,然后再转向兰登的《米塞纳角的科琳娜》(1832)——灵感来自杰曼·德Staël的大获成功的小说《科琳娜或意大利》(1807)——来展示兰登是如何探索她作为新媒体贡献者和塑造者的地位的从一个女诗人的角度写的……
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Understanding Media with L.E.L.: Women Poets, New Media, and the Petrarchan Gaze
Understanding Media with L.E.L.: Women Poets, New Media, and the Petrarchan Gaze Christie Debelius (bio) At the beginning of Letitia Elizabeth Landon’s “The Improvisatrice” (1824), the poem’s titular speaker— a talented painter and poet-performer— sings of her first painting, a representation of the meeting between the Italian poet Petrarch and the beautiful, yet often silent, Laura.1 As she does so, she engages in a complex act of what media scholars call remediation, transposing one medium into another: employing her own assortment of artistic talents, the Improvisatrice transforms Petrarch’s poetry into painting and then back into poetry again when she ekphrastically describes her own work.2 By recounting her re-encounter with Petrarch, Landon’s speaker inserts herself into an established artistic tradition wherein women have conventionally played the role of silent objects to be gazed upon. Ultimately, though, the remediation of her painting back into verse ensures that she, unlike Laura, can still claim the poet’s speaking role. For Landon, this literary re-encounter with Petrarch is more than a simple homage. It represents one facet of a complex theory of gender and media in a media ecology saturated with texts that demanded visual— rather than oral or aural— engagement. Questions of intermediality, or the relationships among media, were a career-long fascination for Landon, who was one of the most prolific writers for “the nineteenth century’s newest media,” including annuals.3 Sometimes referred to as gift books, these ornately decorated periodical volumes placed engraved images side by side with text, creating a newly charged connection between visual and verbal media and “an increasingly visual bibliographic experience.” 4 Because of the central role that looking played in both writing for and reading these publications, the relationship between Petrarch and Laura remained an important frame for Landon’s understanding of this developing new medium. By examining Petrarchism’s role in Landon’s writing for annuals, this essay shows how Landon found within long-standing literary traditions a framework for understanding the workings of new media and their [End Page 245] implications for women writers. In her theory of media, Landon anticipated the work of present-day media theorists, whose explorations of the relationship between media and systems of power center on how our encounters with media technologies can be shaped by gendered power dynamics. In recent years, scholars of the nineteenth century have increasingly turned to approaches informed by media studies to revisit the works of women poets.5 Sarah Anne Storti advocates for the sophistication of Landon’s poetry specifically in these terms, suggesting that Landon ought to be viewed as “a brilliant media theorist and practitioner” who “leveraged an experimental role in early nineteenth-century print media to explore the affordances of representational art in an era of mass production” (Storti, p. 533).6 I follow Storti in using the language of “theory” to highlight both Landon’s sustained engagement with these ideas and the sweeping nature of the philosophy her poetry puts forth. For a writer working in the new medium of the annual, a medium whose production process required poets to write texts that would accompany engraved images, the writing of poetry depended on the artist’s ability to gaze upon an object and respond to what they saw. Harriet Linkin has shown how Landon carefully explores “the roles available to women in poetic tradition: either they function as the objectified beloved whose beauty fixates the male poet or they serve as the spontaneous performer who captivates her audience.”7 For Landon, though, it is not just poetic traditions that are complicit in the objectification of women in these roles: it is the media technologies that transmit and preserve these traditions as well. In this essay, I examine how the Petrarchan informs Landon’s exploration of the workings of new media in her 1828 poem “Verses” before turning to Landon’s “Corinne at the Cape of Misena” (1832)— inspired by Germaine de Staël’s wildly successful novel Corinne, or Italy (1807)—to show how Landon explores her position as a contributor to, and shaper of, new media.8 Written from the perspective of a woman poet...
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来源期刊
CiteScore
0.10
自引率
0.00%
发文量
7
期刊介绍: Founded in 1962 to further the aesthetic study of the poetry of the Victorian Period in Britain (1830–1914), Victorian Poetry publishes articles from a broad range of theoretical and critical angles, including but not confined to new historicism, feminism, and social and cultural issues. The journal has expanded its purview from the major figures of Victorian England (Tennyson, Browning, the Rossettis, etc.) to a wider compass of poets of all classes and gender identifications in nineteenth-century Britain and the Commonwealth. Victorian Poetry is edited by John B. Lamb and sponsored by the Department of English at West Virginia University.
期刊最新文献
Introduction: The Place of Victorian Poetry Keeping Faith in Victorian Poetry Reflections on Twenty Years in Victorian Poetry Victorian Women's Poetry and the Near-Death Experience of a Category Undisciplining Art Sisterhood
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