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

D. G. Rossetti（1828-82）是19世纪最重要的原创艺术力量之一（Ruskin, Pater）：他的作品从1850年到1910年主导了英国的文化地理（McGann），并且仍然是独特的引人注目（Prettejohn）。他是拉斐尔前派（pre - raphaelites）的主要人物，拉斐尔前派是一个由艺术家和作家组成的公开的跨学科前卫团体。然而，对它们的研究并没有采用类似的跨学科方法：艺术历史和文学研究一直是分开的。尽管罗塞蒂的画家诗人身份，在他的作品的中心是30个艺术文学双重作品的核心，由于它们的形式（固有的跨学科性对分割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-特别是从单一学科的角度来看），这些作品仍然没有得到充分的研究。虽然罗塞蒂档案——他的全部作品的超媒体收藏，有助于结构化的搜索和分析——整理了30部双作品，并提供了简短的（个人）评论，但没有对形式、内容和观众-读者之间复杂的相互作用进行研究。尽管最近的作品将拉斐尔前派的绘画和诗歌（普莱特约翰、赫尔辛格、安德烈斯和唐纳利）重新结合起来。运用交织的艺术史（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，该博士将提供类似于双作品跨学科的原创奖学金。考虑到形式与内容之间的激烈辩证法，以及通过每个“一半”只能部分访问的双重作品维持和发展的特定欲望图像，只有通过连接图像和文本，我们才能恢复罗塞蒂复杂而未被探索的心理，哲学和美学参与和思想。通过“重建”——以最初构思和呈现的形式参与画-诗双重作品——可以完全恢复图像与文本之间的视觉-语言交流。受最近对罗塞蒂作品的性心理研究的影响（布伦，沃尔德曼），本博士将证明罗塞蒂关于欲望和不确定性之间关系的表述是自弗洛伊德以来发展起来的内部分裂主体理论的一种预测。纠正对简单地追踪跨学科心理学和美学概念的过度关注，本研究将使欲望-不确定性和图像-文本相互作用历史化，将罗塞蒂置于维多利亚时代心理美学的新兴领域（摩根，泰特）。独特的是，它还将关注观众-读者的观念和同时观看-阅读的体验。通过重新定位稳定与和解的缺失（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，反过来，提出了一个尚未建立的类似“观看自由”的概念，因此对艺术史学术具有重大意义。为了便于直接评估，几乎所有的双重作品都在英国（泰特美术馆）和美国（特拉华、福格美术馆）的公共收藏中：数字罗塞蒂档案馆还提供了双重作品组成部分的多个版本（有时是完全不同的），帮助初步修订研究。考虑到需要评估它们以及它们所处的复杂的文本关系网络，档案实地调查（由双重工作和观众-读者概念如何被理解和辩论的问题所激发）在大英图书馆、阿什莫尔图书馆、普林斯顿大学、耶鲁大学和特拉华州班克罗夫特收藏馆也将是必要的——利用他们重要的手稿材料。

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.