ABSTRACT

Ginevra is one of Shelley’s most overlooked poems, possibly because of its status as fragment. The present study aims to interpret the poem as a manifestation of Shelley’s consciousness. To that end, I analyse Ginevra through two frames – that of the biographical and that of the intrapsychic, focusing particularly on the mechanisms of shame, revenge, and desire. My discussion argues that what is at stake in interpreting Ginevra is Shelley’s severed relationship with Emilia Viviani whom he had elevated to a status of sanctity in Epipsychidion. The method of the paper is to trace the double structure of Shelley’s consciousness – his awareness of Emilia’s marriage and imagined inconstancy, his private state of despair and public state of disgrace. How these aspects of Shelley’s experience were transformed into art is the paper’s subject. Freud’s theory of fetishism, Kernberg’s theory of narcissism and Christopher Bollas’s ideas of transitional objects inform my argument.

摘要

Ginevra是雪莱最容易被忽视的诗歌之一，这可能是因为它作为片段的地位。本研究旨在将这首诗解读为雪莱意识的体现。为此，我通过两个框架——传记框架和内心框架来分析Ginevra，特别关注羞耻、报复和欲望的机制。我的讨论认为，解释Ginevra的关键在于雪莱与 Emilia Viviani 的断绝关系，他在Epipsychidion 中将她提升到了神圣的地位. 论文的方法是追溯雪莱意识的双重结构——他对艾米莉亚的婚姻和想象中的反复无常的意识，他私下的绝望状态和公开的耻辱状态。雪莱经历的这些方面如何转化为艺术是论文的主题。弗洛伊德的恋物癖理论、克恩伯格的自恋理论和克里斯托弗博拉斯的过渡性客体思想为我的论点提供了依据。