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|標題:||「愛之真標的......極樂群島」:鄧約翰〈哀歌第14首:愛的巡航〉及其航海隱喻||作者:||曾建綱||關鍵字:||Donne;鄧約翰;Nautical metaphor;Seafaring expedition;New-found-land;Geography/landscape;Defamiliarisation;The female body;航海隱喻;海上探險;新天地;地理∕風景;陌生化;女體||出版社:||臺中市：國立中興大學文學院||Project:||興大人文學報, Volume 41, Page(s) 215-232.||摘要:||
英國詩人鄧約翰(John Donne, 1572-1631)在其早期詩作〈哀歌第14首：愛的巡航〉(Loues Progresse)中大用航海隱喻(nautical/navigational metaphor)，追其原委，乃知伊麗莎白一世(1558-1603)英國海權正值全盛，且鄧約翰亦曾兩度親身參與海外探險。鄧約翰將出海經驗溶入其詩作，而於〈哀歌第14首：愛的巡航〉中更是明顯。本詩大量運用地誌學、陌生化、變焦、海上航行等異於同代詩人之作風，對「女體」大加變形改造，將「女體」與帝王出巡並置，創造出奇佳之視覺效果－女體地理化、地理女體化。相較於同代之才子，鄧氏「合成」女體與地理，於隱喻式語言(metaphorical language)一項，遠勝同代詩人。
The nautical metaphors in Donne's "Loues Progesse" strongly demonstrate his use of geography and landscape. His heavy employment of nautical metaphors in this early poem is related to the England of his time when sea power and explorations were the most talked about issues. Donne himself was deeply involved in two of the expeditions of the time. In "Loues Progresse" one finds inventive elements such as topography, defamiliarisation, zoom in / out and journeying on the female body, which are employed here to present the poet's physical / erotic odyssey that is mostly imaginative. The poem treats the female body as geography and vice versa, transforming one with the other. With these artistic metamorphoses, Donne brings to the reader a highly visualised poem, in which his mastery over "Donnean" metaphorical language and palpable traces of the time are recorded. As a wit of the time, Donne tried to surpass his peers in creating highly metaphorical expressions; as a would-be courtier, he transplanted his own early military and social experiences unto the imaginative production.
|Appears in Collections:||第41期|
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