Grand Tourists and Marginal Figures in Early Romantic Naples

早期浪漫那不勒斯的大游客和边缘人物

• 批准号: 2592826
• 金额: --
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2592826
• 关键词: Grand; Tourists; Marginal; Figures; Early

The construction of Italy as a European Other can be traced back to Montesquieu's climatic determinism, accounting for the Italian South's misgovernment, purportedly idle population, and characterisation as a frontier of the Grand Tour. Following this enduring imaginative geography, Naples has remained overshadowed by the core cities of the "golden triangle" (Venice, Florence and Rome). Academic interest in the city is now emerging, but Naples' role in the blossoming of a romantic sensibility deserves more attention. I intend to address this research gap and assess the hypothesis that marginal figures (e.g. the impoverished population of lazzaroni, Neapolitan women, the hermit of Mount Vesuvius) became central to the Romantic imagery. This will include an assessment of the Visitors' role in the creation and consumption of stereotypical views on Neapolitan society. My second hypothesis is that Naples conversely provided a liberating outlet for authors who were marginalised in their own society. From Sade's disdainful descriptions of ill-mannered street people to Lamartine's "happy lazzaroni", the Neapolitan poor are sometimes depicted as the lowest rungs of society, and sometimes picturesquely fascinating, as a new embodiment of the Noble Savage. The British Envoy to Naples, Hamilton, shares the widely acknowledged view that lazzaroni were "ready to set fire to public buildings as was Vesuvius itself" [1], making the volcano the synecdoche of their eruptive disposition. I will address the lacuna pointed out by Melissa Calaresu, who mentioned that "there does not yet exist an integrated study of the depiction of the poor in the Neapolitan landscape painting such as exists for English painting in the same period" [2]. I will also consider marginal female figures in understudied texts such as Latouche's Fragoletta, Lamartine's Graziella, or Gautier's Arria Marcella. Like the lazzaroni, representations of the Neapolitan women stemmed from stereotyped, exotic clichés, and call for postcolonial and gender-based approaches. In Arria Marcella, the protagonist becomes infatuated with the imprint of a Pompeian woman's breast set in lava. This marginal female figure buried for centuries lodged itself in the Romantic imagery. Latouche's Fragoletta features a hero whose hermaphrodite-esque attributes allude to a marginal sexual identity yet to be explored. In a third part, I will focus on the hermit on the slopes of Mount Vesuvius. Living in a retreat from society, he eventually becomes a central figure in the circuit of the Grand Tour. Chateaubriand, Staël, Stendhal and Dumas gave contrasting accounts on this figure, and the Album de l'Ermitage held at the Maison Chateaubriand will provide invaluable details. A crucial missing piece in the ever-expanding map of the Grand Tour, I will promote this archive in a digital, interactive blog surveying on-the-spot reactions from European Visitors. Finally, I will investigate how marginalised authors found in Naples both a refuge and an empowering outlet for expression. Hester Piozzi, who lost the esteem of her social circles after marrying an Italian music teacher, found an escape in Naples. The city is also an erotic outlet for marginalised, taboo desires. Fleeing from Paris in 1775 to avoid arrest, Sade's stay in Naples inspires his novel Juliette. The Marquis portrays the city as a libidinous place, where travellers are relieved of their moral and bourgeois constraints.

意大利作为欧洲的另一个国家的建设可以追溯到孟德斯鸠的气候决定论，解释了意大利南部的不当政府，据称的闲置人口，以及被描述为大巡回赛的前沿。随着这一持久的富于想象力的地理位置的形成，那不勒斯一直被“金三角”(威尼斯、佛罗伦萨和罗马)的核心城市所笼罩。学术界对这座城市的兴趣正在浮现，但那不勒斯在浪漫情感的萌芽中所扮演的角色值得更多关注。我打算解决这一研究差距，并评估边缘人物(例如，拉扎罗尼的贫困人口、那不勒斯妇女、维苏威火山的隐士)成为浪漫主义意象中心的假设。这将包括对游客在创建和消费对那不勒斯社会的刻板印象方面所起的作用的评估。我的第二个假设是，那不勒斯反过来为那些在自己的社会中被边缘化的作家提供了一个解放的出口。从萨德对没有礼貌的街头人的轻蔑描述到拉玛廷的“快乐的拉扎罗尼”，那不勒斯的穷人有时被描绘成社会的最底层，有时被描绘成令人着迷的画面，作为高尚野蛮人的新化身。英国驻那不勒斯特使汉密尔顿赞同广泛认可的观点，即拉扎罗尼“准备放火焚烧公共建筑，就像维苏威火山本身一样”[1]，使这座火山成为他们喷发的罪魁祸首。我将谈谈Melissa Calaresu指出的漏洞，她提到“还没有对那不勒斯风景画中穷人的描绘进行综合研究，就像同期英国绘画中存在的那样”[2]。我还将考虑未被研究的文本中的边缘女性人物，如拉图什的弗拉戈莱塔，拉马尔廷的格拉齐拉，或戈蒂埃的阿里亚·马尔塞拉。和拉扎罗尼一样，那不勒斯女性的表现源于刻板的、充满异国情调的陈词滥调S，并呼吁采取后殖民和基于性别的方法。在Arria Marcella中，主人公迷恋上了一位庞贝女人乳房上镶嵌在熔岩中的印记。这个被埋葬了几个世纪的边缘女性形象寄托在浪漫主义意象中。拉图切的《弗拉戈莱塔》以一位英雄为特色，其雌雄同体的属性暗示了一种有待探索的边缘性别身份。在第三部分，我将重点讲述维苏威火山山坡上的隐士。生活在远离社会的隐居中，他最终成为大巡回赛巡回赛的核心人物。夏多布里昂、斯塔·L、司汤达和大仲马在这一数字上给出了截然不同的描述，而在夏多布里昂庄园举办的《L的艾米塔奇》专辑将提供宝贵的细节。在不断扩大的大巡回赛地图中，这是一个关键的缺失部分，我将在一个数字、互动的博客中推广这个档案，调查欧洲游客的现场反应。最后，我将调查被边缘化的作家如何发现那不勒斯既是表达的避难所，也是增强表达能力的出口。海丝特·皮奥齐在嫁给了一名意大利音乐教师后，失去了社交圈的尊重，她在那不勒斯找到了一个避难所。这座城市也是边缘化、禁忌欲望的色情出口。1775年，萨德为了躲避逮捕而逃离巴黎，他在那不勒斯的逗留启发了他的小说《朱丽叶》。侯爵将这座城市描绘成一个性欲旺盛的地方，旅行者在这里摆脱了道德和资产阶级的束缚。