Homosociality and the Aesthetic in Henry James's Roderick Hudson
Homosociality and the Aesthetic in Henry James's Roderick Hudson
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亨利·詹姆斯的罗德里克·哈德森中的同性社会性和美学
DOI：
10.1525/ncl.2003.57.4.512
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发表时间：
2003
期刊：
影响因子：
--
通讯作者：
Michèèle Mendelssohn
中科院分区：
文献类型：
--
作者：
Michèèle Mendelssohn
在亨利詹姆斯的《罗德里克哈德逊》（1875）中，雕塑家罗德里克哈德逊和他压抑的、精神分裂的赞助人罗兰·马利特之间的关系表明了艺术和生活之间的联系。在这篇文章中，我探讨了詹姆斯小说中同性欲望的动态和美学关注之间迄今未被注意的联系。我认为，小说的审美反映在其代表同性恋社会债券和天主教。对罗兰·马利特来说，审美化的天主教和同性恋化的赞助人-艺术家关系是缓解他心理和性分裂的手段。赞助让无所事事的罗兰成为一个远离的创造者，并完善他的审美欲望。此外，赞助权赋予了社会和合同认可的“观看权”，罗兰可以通过观看他的病房和他的作品来满足他的观影倾向。因此，小说中的赞助人与艺术家的关系可以被解读为对俾格米翁和加拉提亚神话的同性演绎，这是詹姆斯在罗德里克哈德逊之前的故事中排练过的主题。
In Henry James's Roderick Hudson (1875), the connection between art and life is made manifest by the relationship between the sculptor Roderick Hudson and his repressed, psychically split patron, Rowland Mallet. In this essay I explore the heretofore unnoticed connections between the dynamics of same-sex desire and the aesthetic concerns of James's novel. I argue that the novel's aesthetic is mirrored in its representation of homosocial bonds and Catholicism. For Rowland Mallet aestheticized Catholicism and the homoeroticized patron-artist relationship are means of palliating his psychological and sexual fragmentation. Patronage allows the idle Rowland to become a creator at a remove and to consummate his aesthetic desires. Moreover, patronage confers a socially and contractually sanctioned "right to sight," whereby Rowland can satisfy his scopophilic tendencies by watching his ward and his works. The patron-artist relationship in the novel can therefore be read as a same-sex enactment of the myth of Pygmalion and Galatea, a motif that James had rehearsed in stories preceding Roderick Hudson.