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Imitation and Deviation of the Nineteenth Century Literary Ballad (Alfred Tennyson and Charles Kingsley)

十九世纪文学歌谣的模仿与偏离（阿尔弗雷德·丁尼生和查尔斯·金斯利）

基本信息

批准号：
08610494
负责人：
NAKASHIMA Hisayo
金额：
$ 1.15万
依托单位：
Kyushu Kyoritsu University (1997-1998)Fukuoka Jo Gakuin University (1996)
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1996
资助国家：
日本
起止时间：
1996 至 1998
项目状态：
已结题

项目摘要

The purposes of this project are (1) to establish "A genealogy of the Literary Ballad" inherited from Thomas Percy, (2) to discuss the phases of imitation and deviation of the nineteenth century literary ballad, and (3) to consider the meanings of the imitation and the deviation in the nineteenth century context. Besides Tennyson and Kingsley, I have studied Lewis Carroll and John Davidson, concerning the important phases in the era, "Parody" and "Gothicism."1. The Existence of Readers reflected in Tennyson's Imitation : Tennyson imitates refrain and transformation of a proper noun into a pronoun. These techniques imply that he creates inherent audience like those who take part in the traditional ballad. As poets have lost audience since the industrialization of society, Tennyson's imitation shows a way to regain the lost audience.2. Kingsley's Imitation as a Criticism of the Age : Among elaborate imitators of the age, Kingsley simply imitates stories of the traditional ballad. His simple narratives, however, stem from his literary attitude to the works of the age. He confesses in his letter that he attaches much importance to objectivity, and criticizes the subjectivity of the literary ballad of the age.3. Parody Ballad as Self Caricature : The popularity of parody ballads in the nineteenth century implies that the Victorian era has an ability to caricature itself. Lewis Carroll makes several parody ballads from various scenes of traditional ballads to satirize the convention of the age. H.D.Traill makes a parody of Rossetti's two pieces one of which is an imitation of a traditional ballad. His parody makes a double deviation.4. Davidson's Gothic Ballad : Using a traditional figure of "Thomas the Rhymer, " Davidson makes a deviation from traditional to gothic. This embodies his artistic view on poetry where he believes poetry is an expression of the unconscious.

本项目的目的是(1)建立从托马斯·珀西那里继承下来的《文学歌谣谱系》，(2)讨论19世纪文学歌谣的模仿和偏离的阶段，(3)考虑模仿和偏离在19世纪语境中的意义。除了丁尼生和金斯利，我还研究了刘易斯·卡罗尔和约翰·戴维森，关于那个时代的重要阶段--戏仿和哥特主义。1.丁尼生《模仿》中反映的读者的存在：丁尼生模仿重复和将专有名词转化为代词。这些技巧意味着他创造了固有的受众，就像那些参与传统民谣的人一样。自从社会工业化以来，诗人已经失去了受众，丁尼生的模仿展示了一种重新获得失去的受众的方法。金斯利的模仿是对那个时代的批评：在精心设计的那个时代的模仿者中，金斯利只是简单地模仿传统民谣的故事。然而，他朴素的叙事源于他对时代作品的文学态度。他在信中承认，他非常重视客观性，并批评了当时文学歌谣的主观性。恶搞民谣：戏仿民谣在19世纪的流行意味着维多利亚时代有能力讽刺自己。刘易斯·卡罗尔从传统民谣的不同场景制作了几首戏仿民谣，以讽刺那个时代的习俗。H.D.Traill模仿了罗塞蒂的两首曲子，其中一首是模仿一首传统民谣。他的戏仿使人产生了双重偏离。戴维森的哥特式歌谣：戴维森使用了一个传统的人物--“韵律的托马斯”，从传统到哥特式。这体现了他对诗歌的艺术观，他认为诗歌是无意识的表达。