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: 2635268
• 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: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2635268
• 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.

将意大利建构为欧洲的他者，可以追溯到孟德斯鸠的气候决定论，解释了意大利南部的政府管理不善，据称人口闲置，以及被描述为大旅游的前沿。在这一经久不衰的富有想象力的地理位置之后，那不勒斯一直被“金三角”（威尼斯、佛罗伦萨和罗马）的核心城市所掩盖。学术界对这座城市的兴趣正在兴起，但那不勒斯在浪漫主义情感的蓬勃发展中所扮演的角色值得更多关注。我打算解决这一研究空白，并评估边缘人物（例如lazzaroni的贫困人口，那不勒斯妇女，维苏威火山的隐士）成为浪漫主义意象的核心的假设。这将包括评估访问者在创造和消费关于那不勒斯社会的陈规定型观念方面的作用。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士的蔑视描述到拉马丁的“快乐的lazzaroni”，那不勒斯穷人有时被描绘成社会的最底层，有时又被描绘成美丽迷人的高贵野蛮人的新化身。英国驻那不勒斯大使汉密尔顿同意一个广为人知的观点，即拉扎罗尼“准备放火烧公共建筑，就像维苏威火山本身一样”[1]，使火山成为他们喷发倾向的代名词。梅丽莎·卡拉雷苏（Melissa Calaresu）指出，“那不勒斯风景画中对穷人的描绘还没有像同一时期的英国绘画那样的综合研究”。我也会考虑一些未被充分研究的文本中的边缘女性人物，如拉图什的《弗拉戈莱塔》、拉马丁的《格拉齐拉》或戈蒂埃的《阿里亚·马塞拉》。像拉扎罗尼一样，那不勒斯妇女的代表性源于刻板的、异国情调的陈词滥调，并呼吁采用后殖民和基于性别的方法。在《阿里亚·马塞拉》中，主人公迷恋上了一个庞贝女人的乳房在熔岩中留下的印记。这个被埋没了几个世纪的边缘女性形象在浪漫主义的意象中占据了一席之地。拉图什的《弗拉戈莱塔》以一个英雄为特色，他的雌雄同体的属性暗示了一个边缘的性别身份，但还有待探索。在第三部分中，我将集中讨论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的核心人物。夏多布里昂、斯塔尔、司汤达和大仲马对这一数字给出了截然不同的描述，在夏多布里昂之家举办的《埃尔米塔日相册》将提供宝贵的细节。在不断扩大的大旅游地图中，这是一个关键的缺失部分，我将在一个数字化的互动博客中推广这个档案，调查欧洲游客的现场反应。最后，我将探讨如何边缘化的作家发现在那不勒斯的避难所和一个授权的表达出口。海丝特·皮奥齐在嫁给一位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逃避的地方。城市也是边缘化的禁忌欲望的色情出口。1775年，萨德为了躲避逮捕而逃离巴黎，在那不勒斯的逗留激发了他的小说《朱丽叶》。侯爵把这座城市描绘成一个性欲旺盛的地方，在这里，旅行者可以摆脱道德和资产阶级的束缚。