Transitions and thresholds in the work of Maurice Sceve

我的研究将探讨过渡和阈值在16世纪的里昂诗人莫里斯·斯科蒂夫的工作。现有的学术研究（尤其是汉斯·施托布（Hans Staub） 1967年的开创性工作）提出了这样一种观点，即动态的运动支撑着斯科尔斯特的诗歌，这种运动总是进行到完成（1967:35-36）。我认为，在这种更广泛的目的论运动范围内的过渡或“门槛”点可能作为进入斯科尔斯特诗学的富有成效的门户。我将通过描绘诸如清醒、记忆和学习等过程中的进化或波动状态，来研究sc<e:1>是如何与16世纪的认知行为概念、关于知识传播和接受的人文主义思想、以及围绕睡眠和梦境体验的好奇心相结合的。古老的解梦艺术和认识论理论，如意大利天文学家、自称解梦者的吉罗拉莫·卡尔达诺（1501-1576）的理论，在16世纪的法国很流行。例如，我的研究将会问，在dsamlie (1544), Saulsaye（1547）和Microcosme（1562）中，进入和离开睡眠的过程的表现是如何告知我们阅读这些文本的认识论和伦理风险的。在关注这些主题阈值的同时，我的研究将借鉴格姆萨德·吉内特（1987）关于由旁文本建立的叙事学阈值的概念——即围绕着sc<e:1>作品的十四行诗和设计。我采用了一种混合的方法，将叙事学理论（Genette）和社会文化思想结合在一起，考虑影响我们阅读sc<e:1>体验的主题、概念和结构阈值。继mich<e:1>•克里默斯特（mich<e:1>•克里默斯特）努力修复sc<e:1>斯鲜为人知的作品（《Microcosme》、《Arion》、《saulsay》）之后，我的项目也为更广泛的scevian语料库提供了空间，而这些语料库往往仅限于d<e:1>斯特。

My research will explore transitions and thresholds in the work of sixteenth-century Lyonnais poet Maurice Scève. Existing scholarship (notably seminal work by Hans Staub, 1967) has advanced the idea that a dynamic of movement underpins Scève's poetry, a movement which is always carried through to completion (1967: 35-36). I argue that transitional or 'threshold' points within the scope of such wider teleological movements may act as fruitful portals into Scève's poetics. I will examine how, by depicting evolving or fluctuating states of being in processes such as waking, remembering, and learning, Scève engages with sixteenth-century conceptions of cognitive acts, with humanist ideas concerning the transmission and reception of knowledge, and with curiosity surrounding sleep and oneiric experience. The ancient art of dream interpretation and epistemological theories, such as those of Italian astronomer and self-professed dream-interpreter Girolamo Cardano (1501-1576), were in vogue in sixteenth-century France. My research will ask, for instance, how representations of the passage into and out of sleep in Délie (1544), Saulsaye (1547), and the Microcosme (1562), inform our reading of the epistemological and ethical stakes of these texts. While attending to these thematic thresholds, my study will draw on Gérard Genette's (1987) conception of the narratological threshold established by paratexts - namely the sonnets and devises that bookend Scève's works. I adopt a hybrid methodological approach, drawing together narratological theory (Genette) and socio-cultural ideas, as I consider the thematic, conceptual, and structural thresholds that inflect our experience of reading Scève. Following Michèle Clément's efforts to rehabilitate Scève's lesser-known works (Microcosme, Arion, Saulsaye), my project also gives space to a wider scevian corpus, too often restricted to Délie.