| 摘要: | 提 要 但丁《新生》完成於1292-1294年間，被後人視為但丁首部重要的著作，同時也是義大利早期相當重要的散文文學作品之一。然而，相較於但丁另一部廣泛流傳的巨作--《神曲》，十九世紀前卻甚少有人對《新生》作深入的研究，更遑論曾有相關的插畫作品產生。1848年羅賽蒂完成的《新生》翻譯，被認為是《新生》首部完整出版的英譯本。 之後羅賽蒂並計畫展開一系列文本的插畫創作，雖然這樣的計畫並沒有真正被畫家所實踐，自1848?1879年間，羅賽蒂仍陸續創作了十六幅以《新生》為題材的畫作，這是繼中世紀以來首批《新生》圖像的出現。透過這些作品，除了重新向世人展現《新生》的價值與意義，畫家本身也為文本的再詮釋作出了貢獻。 本論文企圖要探討的是：羅賽蒂以何種方式從事《新生》題材的創作？而這樣的創作又向觀者呈現出什麼樣的意義？這些的問號，將藉由三個章節不同層次的闡述去尋求答案。 第一章將從畫家的相關背景出發，分別由家庭因素、但丁圖像脈絡與畫家身處的維多利亞時代，探討羅賽蒂選擇但丁題材創作的關連。第二章正式進入《新生》文本內容與羅賽蒂《新生》畫作的介紹，以畫作本身的技巧構組看羅賽蒂對此一題材的處理態度。第三章則進入畫家《新生》創作深層意含的探討，而分別由幾個角度著手進行。《新生》畫作雖以但丁的故事出發，卻以英文翻譯作為創作的起點，於但丁文本之外反映了羅賽蒂雙重文化認同的矛盾。 再者，在畫面主要情節之外，於畫作繁複的背景與繁衍的細節中，畫家也悄悄地延伸了個人的詮釋與想像，而增加了畫作解讀的複雜性。此外，由於《新生》特有的自傳體例，也由於羅賽蒂與但丁同名、自詡為但丁的特殊情感，當《新生》畫題與畫家的經歷間有了巧妙的呼應，或許畫家已將個人的經歷移情至畫面之中。 因此，透過畫家的手，觀眾看到的不再只是純粹但丁的《新生》，也可說是羅賽蒂的《新生》，其中混雜了畫家自身的體驗，亦滲入了個人的詮釋想像，使得觀者在觀看畫作的同時，也於無意間參與了畫家內心私密的世界。 Abstract Among the most important prose writings in early Italy, Dante’s Vita Nuova (1292-1294) is regarded as his first primary work. Nevertheless, compared with another popular work of the author, The Divine Comedy, there are much less researches on Vita Nuova until 19th Century, not to mention the illustrations. And the English edition of Vita Nuova, contributed by Gabriel Rossetti in 1848, is generally viewed as the first complete translation. Actually Rossetti was going to compose a series of illustrations to the text afterwards, which were never practiced however. Yet between 1848-1879, Rossetti had produced sixteen singular paintings based on Vita Nuova, and those works had been the first iconographs of the text since Middle Age. Those paintings not only revealed the value and significance of Vita Nuova to the public, but showed the reinterpretation of the text by the painter himself. The main issues of this thesis are as following: In which way did Rossetti represent the subject of Vita Nuova? And what meanings had these works brought forth to their audience? The answers to these question marks are described through three chapters on different levels. Chapter One starts with the background of the artist, including factors such as Rossetti’s family, the iconographical history of Dante, and the contemporary Victorian society, in order to trace the sources of Rossetti’s choice of the Dante-subject. Introducing both Dante’s text and Rossetti’s paintings of Vita Nuova, Chapter Two analyses Rossetti’s management about this subject according to the pictorial techniques and compositions. And Chapter Three explores the deep meanings of these Vita-Nuova paintings from various aspects. Based on Dante’s original story, the paintings begin with the English translation, thus reflect the ambiguity of Rossetti’s twofold-cultural identity. Besides the main plot of the picture, the painter stretches his own explanation and imagination of the text among the complicated background details within each picture, so that the difficulty of interpretation is increased. Moreover, because of the autobiographical genre of Vita Nuova, together with the specific emotion of the namesake of Dante and Rossetti, the artist has, perhaps, empathized his own experience into the pictures as long as the subject coincides. Therefore under the paintbrush of the artist, the audience sees not only the Vita Nuova of Dante but also that of Rossetti, which mixed up with personal experience, interpretation and imagination. While appreciating the artwork, the audience participates, unconsciously, in the private world of the artist at the same time. |
