《金盾》与C.S.刘易斯的中世纪寓言理论  

The Golden Targe and C.S.Lewis's Theory on Medieval Allegory

作　　者：包慧怡 Huiyi Bao(English literature,University College;College of Foreign Languages and Literature,Fudan University)

机构地区：[1]爱尔兰都柏林大学英语系 [2]复旦大学英语系

出　　处：《中世纪与文艺复兴研究》2019年第1期114-128,共15页Medieval and Renaissance Studies

摘　　要：中世纪文学语境中充斥着“象征”与“寓言”两种程式。两者都对应着甚至是来源于一种将世界及其中万物理解成“面具”的思维习惯,仿佛万物的意义从来不在于表象。这种倾向至晚可以追溯到基督教早期教父的四重解经法,在中世纪经院哲学的智识氛围中被强化。现代研究中世纪象征一寓言程式的代表学者赫伊津哈、刘易斯和艾柯中,只有刘易斯在《爱的寓言》中坚决为两者划清了界限,也是刘易斯对“寓言”的定义引领我们更接近了通常支配中世纪寓言诗的修辞手法。以中古苏格兰语写作的诗人威廉·邓巴尔的《金盾》是具有代表性的寓言诗文本。本文拟通过对《金盾》的细读,考量刘易斯寓言理论的价值,以期更好地理解中世纪寓言体的修辞效果。Symbolism and allegory are two major rhetorical devices used throughout the medieval poetic corpus.Both correspond to and even originate from a way of thinking that tends to perceive the world and everything in it as a"mask"as if the surface is always deceptive.Among modern scholars on medieval symbolism and allegory,including Johan Huizinga,C.S.Lewis and Umberto Eco,only Lewis,in his Allegory of Love,clearly differentiates the functioning process of symbolism from that of allegory.Moreover,it is Lewis'definition of allegory that brings us closer to the essence of allegorical poetry as a literary genre,of which The Golden Targe,written in Middle Scots by William Dunbar,is a fine example.This paper will examine Lewis'allegory theory through detailed analysis of The Golden Targe,in the hope of better understanding allegory as an influential medieval rhetorical device.

关 键 词：中古苏格兰语 中世纪 寓言 邓巴尔 C.S.刘易斯 

分 类 号：G63[文化科学—教育学]