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| 論文名稱 | Collecting as a Cultural Practice in Arthur's Court |
| 研討會開始日期 | 2012-10-26 |
| 研討會結束日期 | 2012-10-27 |
| 所有作者 | 郭如蘋 Ruby Ju-ping Kuo |
| 作者順序 | 第一作者 |
| 通訊作者 | 是 |
| 研討會名稱 | "Infinite riches in a little room": Collecting as a Cultural Practice and Literary Theme in Antiquity, the Middle Ages and Renaissance |
| 是否具有對外公開徵稿及審稿制度 | 是 |
| 研討會舉行之國家 | NATTWN-中華民國 |
| 研討會舉行之城市 | Taichung |
| 發表年份 | 2012 |
| 所屬計劃案 | 無 |
| 可公開文檔 |
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| 可公開文檔 | |
| 可公開文檔 |
[摘要] :
收藏此一習俗自古即令人類著迷，其因在於吾人能將無窮之富集於一室。亞瑟王傳奇之愛好者收集了相關題材，使得文化之財富得以延續。然而，讀者對於亞瑟王宮廷內究竟有哪些收藏所知多少呢？收藏之為習俗似乎與一特定的地點息息相關。甚而連寫作的行為都需要與特定地點產生密切的連結。馬羅里爵士為英國收藏亞瑟王題材第一大家，他便是在微小的牢房裡完成其大作《亞瑟之死》。不過，以亞瑟王的宮廷而言，收藏與地點間的關係卻是個問題，因為其宮廷的本質是流動的，即所謂的巡迴宮廷。是否這意味著收藏作為一習俗不存在於亞瑟宮廷呢？假使亞瑟王的確有其收藏品，那麼在長期處於旅行中的狀態下，他是如何管理其收藏品？讀者又要如何評估其收藏品的質與量呢？在亞瑟王的收藏品當中，值得一提的便是著名的「圓桌」。以量而言，它是「一」，以質而論，它是「無窮」。此一物品可供展示，而圍繞在它周圍的圓桌武士便成了亞瑟王的收藏品。在重建亞瑟王宮廷中收藏習俗是如何發展的過程中，可以發現收藏此一行為的物質面與非物質面。本論文旨在探討透過馬羅里的再現，圓桌與圓桌武士如何作為亞瑟王之收藏品、收藏與空間的關係以及此一收藏習俗對整個歐洲傳統之貢獻為何。
[英文摘要] :
The practice of collecting has fascinated humanity since infinite riches can be stored in a little space. Lovers of Arthurian legend collect Arthurian materials and stories so that cultural riches are inherited. Yet, how much do we know about what Arthur has actually collected in his court? The practice of collecting and a fixed location seem intimately related to each other. Even the act of composing needs to be attached to the idea of a fixed location. In England, Sir Thomas Malory was the first prominent collector of Arthurian legends, and he composed his masterpiece, Le Morte Darthur, in a micro space as condensed as a prison cell. However, in Arthur’s court, collecting and geography becomes a problematic issue because his courts are itinerary courts, which simply cannot be pinned down, though there are names assigned to various courts. Does this mean the practice of collecting is an impossible phenomenon in the Arthurian court? If Arthur’s court has a floating nature, how can he manage his collection if there is any, be the collecting a conscious or unconscious act? How can we access the quantity of Arthur’s collection? Or, should quality serve as a criterion as equally meaningful as quantity does? For example, the Round Table is only one in quantity, yet its qualitative significance cannot be overestimated. The object is meant to be displayed, and the Round Table knights who sit around it seem to be collectible agents too. Their cooperation shows a unique combination. On the other hand, Arthurian “objects,” such as Excalibur, stories of adventure, the Hart, eccentricities, and names, to name just a few, reject to be pinned down to a location because they are scattered around Europe. While reconstructing the development of the collecting practice in Arthur’s court, one will find both material and immaterial dimensions of collecting. This paper aims to explore, in Malory’s representation of Arthur’s court, what collection Arthur has, the nature of the royal collecting, the interplay between collection and space, and the contribution of the collecting practice to the preservation of European tradition.
