从性别话语权解读贺拉斯《颂诗集》诗四首  

Interpreting Four Poems of Horace’s “Odes” from the Perspective of Gender Discourse

作　　者：李会芹 LI Huiqin

机构地区：[1]北京语言大学人文社科学部 [2]伊犁师范大学外国语学院

出　　处：《国外文学》2020年第2期116-124,159,共10页Foreign Literatures

基　　金：北京语言大学校级重大项目的阶段性成果(中央高校基本科研业务费专项资金,项目批准号:19ZDJ05)

摘　　要：古罗马爱情诗歌不乏聚焦女性人物的抒情写作,贺拉斯在其抒情诗歌中的角色常从冷眼旁观者到爱情参与者、从个人领域到公众领域、从政治叛逆者到军政的追捧者之间来回切换。女性如何在贺拉斯的诗歌中发声始终是一个隐性存在的主题,但他终究未允许女性有自主抉择的机会。本文将结合贺拉斯《颂诗集》中以"吕底娅"(Lydia)命名的四首诗歌,揭示贺拉斯抒情诗中的隐晦内涵,女性曾试图争夺话语权却终遭压制,而男性诗人始终是其诗歌中不可被取代话语权和主动权的人物。贺拉斯的《颂诗集》中屡屡致女性人物,本文认为诗人通过对诗歌中人物身份的掌控,以及以女性为文本的诗歌书写,揭示了无论公共领域或私人领域中均存有激烈的性别权力冲突,诗人会对抗并控制任何反对他的力量。There are numerous ancient lyrical poetic writings with female characters. In his lyric poetry,Horace often switches back and forth from cold-eyed observers to people in love,from the public field to the private field,from political rebels to supporters of civilian or military rulers. Based on four poems addressed to "Lydia "in Horace ’s odes,this paper tries to show the hidden connotations of Horace ’s lyrics. Although trying to fight for women’s rights,they are finally suppressed by the male poets who hold the irreplaceable power of discourse in their poems all the time. This paper argues that the poet constantly utilizes female figures to control the identity of the characters in the poems.

关 键 词：贺拉斯 《颂诗集》 女性人物 话语权 权力冲突 

分 类 号：I106.2[文学—世界文学]