'Venus surrounded by mirrors, reflecting her in different views': desire, uncertainty, and the viewer-reader in D. G. Rossetti's double-works

D. G.罗塞蒂（1828-82）是世纪最重要和最具原创性的艺术力量之一（罗斯金，佩特）：他的作品在1850年至1910年期间主导了英国的文化地理（麦甘），并仍然具有独特的吸引力（普雷特约翰）。他是拉斐尔前派的主要人物--一个公开宣称的跨学科的先锋派艺术家和作家团体。然而，对它们的研究并没有采用跨学科的方法：艺术史和文学学术一直被隔离。尽管罗塞蒂是画家兼诗人，在他的全部作品的中心是一个核心的30艺术-文学双作品，仍然欠研究，由于他们的形式（固有的跨学科性对分裂的艺术历史和文学学术提出了重大的结构性挑战）和内容（欲望的形成是复杂的，不稳定的，不确定的-特别是当从单一学科的角度来看时）。罗塞蒂档案馆（Rossetti Archive）是他的全部作品的超媒体集合，便于结构化搜索和分析，它整理了30部双作品，并提供了简短的（个人）评论，但没有关于形式、内容和观众-读者之间复杂相互作用的研究。这是尽管最近的工作团聚拉斐尔前派绘画和诗歌（Prettejohn，赫尔辛格，安德烈斯和唐纳利）。部署交织的艺术历史（理论，图像，形式主义和唯物主义），文学（文本，符号学和档案）和哲学（本体论和认识论）方法，这个博士学位将提供类似于双作品的跨学科原创奖学金。鉴于形式和内容之间的强烈辩证关系--以及由一部双重作品维持和发展的欲望的特定图像，只有通过每一个“一半”才能部分地进入--只有通过桥接图像和文本，我们才能恢复罗塞蒂复杂而未被探索的心理学、哲学、通过“重建”--通过以最初构思和呈现的形式与图画-诗歌双作品相结合--视觉-可以完全恢复图像和文本之间的语言交换。受最近罗塞蒂的工作（布伦，沃尔德曼）性心理研究的影响，这个博士学位将证明罗塞蒂的愿望和不确定性之间的关系的制定是一个预期的内部分裂的主题自弗洛伊德开发的理论。纠正过度关注简单地跟踪心理和美学概念跨学科，这项研究将历史化的欲望不确定性和图像-文本的相互作用，定位罗塞蒂在维多利亚时代的心理美学（摩根，泰特）的新兴领域。独特的是，它还将关注观众-读者的观念和同时观看-阅读的经验。通过重新定位缺乏稳定性和和解（以不确定和未实现的欲望的形式）作为解释双重作品的关键，本研究发展了“读者自由”的概念，并反过来提出了一个尚未建立的“观众自由”的类似概念，从而对艺术史研究产生了重大影响。几乎所有的双作品都在英国（泰特美术馆）和美国（特拉华州，福格）的公共收藏中，可以进行直接评估：数字罗塞蒂档案馆还提供了双作品组成部分的多个（有时是完全不同的）版本，有助于初步的修订研究。鉴于需要评估它们以及它们所处的文本关系的复杂网络，在大英图书馆、阿什莫林、普林斯顿、耶鲁以及--利用它们重要的手稿材料--特拉华州的班克罗夫特收藏中，档案实地考察（由如何理解和辩论双重工作和观众-读者概念的问题所激发）也是必要的。

D. G. Rossetti (1828-82) was one of the most important and original artistic forces of the 19th century (Ruskin, Pater): his work dominated the cultural geography of England from 1850 to 1910 (McGann) and remains uniquely compelling (Prettejohn). He was the principal figure of the Pre-Raphaelites-an avowedly cross-disciplinary avant-garde group of artists and writers. Studies on them, however, have not been marked by a comparably interdisciplinary methodology: art-historical and literary scholarship has remained consistently segregated.Despite Rossetti's painter-poet status, at the centre of his oeuvre is a core of thirty art-literature double-works that remain understudied due to their form (the inherent interdisciplinarity presents a significant structural challenge to divided art-historical and literary scholarship) and content (the formulation of desire is complex, unstable, and indeterminate - especially when approached from a single disciplinary perspective). While the Rossetti Archive - the hypermedia collection of his complete works that facilities structured search and analysis - collates the thirty double-works and provides brief (individual) commentaries, no research on the complex interplay between form, content, and the viewer-reader exists. This is despite recent work reuniting Pre-Raphaelite painting and poetry (Prettejohn, Helsinger, Andres and Donnelly). Deploying interwoven art-historical (theoretical, iconographic, formalist, and materialist), literary (textual, semiotic, and archival), and philosophical (ontological and epistemological) methodologies, this PhD will deliver original scholarship analogous to the double-works' interdisciplinarity. Given the intense dialectic between form and content - and with the particular images of desire sustained and developed by a double-work only partially accessible via each 'half' - it is only by bridging image and text that we can recover Rossetti's sophisticated and unexplored psychological, philosophical, and aesthetic engagement and ideas.Through 'reconstruction' - by engaging with the picture-poem double-works in the form they were originally conceived and presented - the visual-verbal exchange between image and text can be fully recovered. Influenced by recent psychosexual studies of Rossetti's work (Bullen, Waldman), this PhD will demonstrate that Rossetti's formulation of the relationship between desire and uncertainty is one that anticipates theories of the internally-divided subject developed since Freud. Correcting the overfocus on simply tracing psychological and aesthetic concepts across disciplines, this research will historicise the desire-uncertainty and image-text interplay, situating Rossetti in the emerging field of Victorian psychological aesthetics (Morgan, Tate). Uniquely, it will also concern itself with the idea of the viewer-reader and experience of concurrent viewing-reading. By repositioning the absence of stability and reconciliation (in the form of uncertain and unfulfilled desire) as key to interpreting the double-works, this research develops the concept of 'readerly freedom' and, in turn, proposes an - as yet unestablished - analogue concept of 'viewerly freedom' and thus has major implications for art-historical scholarship. Enabling direct assessment, almost all the double-works are in public collections in the UK (Tate) and US (Delaware, Fogg): the digital Rossetti Archive also provides multiple (sometimes radically different) versions of the double-works' components, aiding initial revisional research. Given the need to assess them alongside the intricate network of textual relationships within which they sit, archival fieldwork (animated by questions of how the double-work and viewer-reader concepts have been understood and debated) will also be necessary at the British Library, Ashmolean, Princeton, Yale, and - utilising their significant manuscript material - Delaware's Bancroft Collection.