Reading Dante Gabriel Rossetti's Aesthetic Poetry and Painting

但丁．加百列．羅塞蒂的美學詩歌與繪畫

黃瓊瑩(Chiung-ying Huang)

John Keats ； Dante Gabriel Rossetti ； Walter Pater ； Poetry ； Painting ； 濟慈 ； 但丁．加百列．羅塞蒂 ； 佩特 ； 詩歌 ； 繪畫

興大人文學報

64期（2020 / 03 / 01）

89 - 115

英文

This paper focuses on the gendering of the aesthetic realm, uncovering the literary unconscious of Walter Pater's response to La Gioconda, relating Pater's Mona Lisa passage to the Keatsian and Pre-Raphaelite vision of feminine power. In my interpretation of Pater's idea about Mona Lisa as the vampire, I focus more on Pater's desire to see female power in the process of his reading. The emphasis on female power in Keats and D. G. Rossetti strengthens the way in which aesthetic passion can be conveyed by a desire to capture the image of feminine beauty by means of language. I thus argue for an understanding of Aestheticism through the line of transmission between Romanticism, Pre-Raphaelitism, and Aestheticism. My study of the representation of aesthetic passion embodied in feminine form brings forth an interaction between two modes of aesthetic vision, the narcissistic and the passionate, which are particularly significant in the formation of Rossetti's poetry and painting.

本文著重於探討美學領域裡性別化的意象，從佩特不自覺地對《蒙娜麗莎》畫像的文學式回應，將佩特的《蒙娜麗莎》段落與濟慈和前拉斐爾學派作品中呈現的女性力量連結起來。針對佩特將蒙娜麗莎視為吸血鬼的概念，在我的詮釋裡，我更傾向關注佩特在讀畫的過程中所看到的女性力量。濟慈與但丁．加百列．羅塞蒂的詩歌，皆強調可以透過語言來捕捉女性之美，並藉此傳達對美學的熱忱。因此我主張透過浪漫主義，前拉斐爾學派主義和唯美主義之間的文學脈絡傳遞，來認識唯美主義。此研究從中提出了自戀和激情的美學意象，而這兩種意象的相互作用，在羅塞蒂的詩畫創作中特別具有重要意義。

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