The Determination of Love
The Determination of Love
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爱的决心
DOI：
10.5871/jba/005.271
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发表时间：
2017
期刊：
影响因子：
--
通讯作者：
A. Brady
中科院分区：
文献类型：
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作者：
A. Brady
这篇文章探讨了爱情诗最激进、最反常的形式。它考察了爱的三种“决定”：首先，如何定义（决定）爱，因为真正的爱总是让人感到新奇和独特，但语言是一个重复的引擎，它可以使这些爱的表白看起来像是引用；第二，为什么爱执着于目标，包括灾难、天启和死亡，以及如何从这种执着中释放（决定）；第三，爱如何教会我们坚定地缩小我们所经历的世界和我们所渴望的世界之间的差距。爱情被诗人和哲学家描述为充实，也被描述为缺乏或饥饿；像聚变一样，像分裂一样；原创性的，连续的或重复的；作为时间的终结，或回到它的开始，在婴儿或原始经验的失去的天堂。爱情唤起人们对古老的理想体验的回忆。它与创造力和繁殖力有关。但它也促使诗人预见死亡的灾难或一切事物的毁灭。这种毁灭包括诗歌本身的终结。从莎士比亚、马维尔到雪莱、罗伯特·克里利，诗人都是冒着否定爱情的风险来肯定爱情的（对爱情的否定，也就是对他们自己的诗歌实践的否定）。为什么爱情诗如此沉迷于毁灭的幻想？在灾难时刻，爱情诗有什么用？如果艺术记忆——正如赫伯特·马尔库塞（Herbert Marcuse）所言——“激发了征服痛苦和永恒快乐的动力”，那么通过诗歌来回忆爱情，如何能帮助我们面对一个新的未来，尤其是在一个阻碍抒情和爱情本身的传统等级制度可以被推翻的未来呢？
This essay explores love poetry in its most militant and perverse forms. It examines three ‘determinations’ of love: first, how love is defined (determined), given that true love always feels new and singular, but language is a repetition engine which can make these professions of love seem quotational; second, why love is fixated on ends, including catastrophe, the apocalypse and death, and how it might be released (de-termined) from that fixation; and third, how love can teach us to be resolute (determined) to close the gap between the world we experience and the one we desire. Love has been described by poets and philosophers as fullness, and as lack or hunger; as fusion, and as splitting; as original, and as serial or repetitive; as the end of time, or a return to its beginnings in the lost paradises of infantile or primitive experience. Love provokes an anamnesis of an archaic experience of the ideal. It is associated with creativity and fecundity. But it also prompts poets to anticipate the catastrophes of death or the destruction of everything that is. That destruction includes the end of poetry itself. Poets from Shakespeare and Marvell to Shelley or Robert Creeley have affirmed love only through risking its negation (and with the negation of love, the negation also of their own poetic practice). Why is love poetry so drawn to the fantasy of destruction? What is the use of love poetry in times of catastrophe? If artistic remembrance—as Herbert Marcuse puts it—‘spurs the drive for the conquest of suffering and the permanence of joy’, how can remembering love through poetry help us to address a new future, particularly one in which the traditional hierarchies that encumber lyric and love itself can be overturned?