Grand Tourists and Marginal Figures in Early Romantic Naples

意大利作为欧洲他者的构建可以追溯到孟德斯鸠的气候决定论，它解释了意大利南部的政府不善，据称是无所事事的人口，以及被描述为大旅行的边界。随着这种持久的富有想象力的地理位置，那不勒斯仍然被“金三角”的核心城市（威尼斯，佛罗伦萨和罗马）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缺口，并评估边缘人物（如贫穷的拉扎罗尼人口、那不勒斯妇女、维苏威火山隐士）成为浪漫主义意象中心的假设。这将包括评估游客在创造和消费对那不勒斯社会的刻板印象方面的作用。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。从萨德对粗鲁的街头人的轻蔑描写到拉马丁的“快乐的懒人”，那不勒斯的穷人有时被描绘成社会最底层，有时又被描绘成富有魅力的“高贵野蛮人”的新化身。英国驻那不勒斯特使汉密尔顿（Hamilton）赞同一种广为接受的观点，即拉扎洛尼人“准备像焚烧维苏威火山一样焚烧公共建筑”，因此火山成了他们爆发倾向的喻喻。我将解决Melissa Calaresu指出的空白，她提到“目前还没有对那不勒斯山水画中穷人的描绘进行综合研究，就像同一时期的英国绘画一样”b[2]。我还将考虑未被充分研究的文本中的边缘女性形象，如拉图什的《Fragoletta》、拉马丁的《Graziella》或戈蒂埃的《Arria Marcella》。和拉扎罗尼一样，对那不勒斯妇女的描绘也源于刻板的、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·玛塞拉》中，主人公迷恋上了一个庞贝女人的乳房镶嵌在熔岩上的印记。这个被埋没了几个世纪的边缘女性形象在浪漫主义意象中扎根。拉图什的《弗拉戈莱塔》塑造了一个雌雄同体的主人公，暗示了一种有待探索的边缘性别身份。在第三部分中，我将把重点放在维苏威火山山坡上的隐士身上。生活在一个远离社会的地方，他最终成为了大巡回赛的核心人物。夏多布里昂、Staël、司汤达和杜马对这个数字给出了截然不同的描述，在夏多布里昂之家举办的《埃米塔奇画册》将提供宝贵的细节。在不断扩大的大旅行地图中，这是一个重要的缺失部分，我将在一个数字互动博客中推广这个档案，调查欧洲游客的现场反应。最后，我将探讨被边缘化的作家如何在那不勒斯找到一个避难所和一个赋权的表达出口。赫斯特·皮奥齐在嫁给意大利音乐教师后失去了社交圈的尊重，在那不勒斯找到了避难所。这座城市也是被边缘化的禁忌欲望的色情出口。1775年，为了避免被捕，萨德逃离巴黎，在那不勒斯的生活激发了他的小说《朱丽叶》。侯爵将这座城市描绘成一个淫荡的地方，在这里，游客可以摆脱道德和资产阶级的束缚。

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.