Transitions and thresholds in the work of Maurice Sceve

我的研究将探索16世纪里昂诗人莫里斯·瑟夫作品中的过渡和门槛。现有的学术研究(特别是Hans Staub，1967年的开创性工作)提出了这样的观点，即运动的动力支撑着SCève的诗歌，这一运动始终进行到完成(1967：35-36)。我认为，在这种更广泛的目的论运动的范围内，过渡点或“门槛”点可能会成为通往沙耶夫诗学的富有成效的门户。我将研究，通过描绘处于觉醒、记忆和学习等过程中的不断演变或波动的状态，SCève如何与16世纪的认知行为概念、关于知识传输和接受的人文主义思想以及围绕睡眠和梦幻体验的好奇心相接触。古老的解梦艺术和认识论理论，如意大利天文学家和自称解梦大师吉罗拉莫·卡达诺(Girolamo Cardano，1501年至1576年)的艺术，在16世纪的法国很流行。例如，我的研究将询问，在德利(1544)、索尔赛(1547)和缩影(1562)中对进入和离开睡眠的通道的表示如何告知我们阅读这些文本的认识论和伦理学利害关系。在关注这些主题阈值的同时，我的研究将借鉴杰拉德·热内特(1987)的概念，即由副文本--即十四行诗和设计--设立的叙事阈值。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，因为我考虑了反映我们阅读SCève经验的主题、概念和结构上的门槛。继Michèle Clément努力修复SCève鲜为人知的作品(Microesme、Arion、Saulsaye)之后，我的项目也为更广泛的Scevian语料库提供了空间，通常仅限于Délie。

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.