男诗人的女性自“我”：中世纪加利西亚-葡萄牙语吟唱诗
周星月博士
周星月博士是南方科技大学人文社会科学科学荣誉学会青年会士，主要研究英语和葡萄牙语现代诗歌与诗学，同时涉猎更广泛的罗曼语诗歌和中西比较诗学，曾多次在重要学术期刊发表论文，现有译作即将在巴西出版。
11月8日下午，同学们在周星月博士的带领下经历了一场文学与艺术的盛宴，从加利西亚-葡萄牙语吟唱诗中体味到中世纪的人文特色，内涵深刻，意蕴丰富。
究竟什么是男诗人的女性自“我”？讲座还未开始，好奇的同学们早已坐满了阶梯教室，充满热情。
讲座伊始，周博士并未直接进入加西利亚-葡萄牙语诗歌这一同学们不甚熟悉的主题，而是通过一个视频展示了伊比利亚半岛几千年来的历史文化变迁，为同学们做了一个概括而不失全面的知识背景铺垫。
周博士介绍，诗歌的创作者、受众者决定了诗歌风格、内容题材的选择，广泛的诗人阶层造就了奇特的加西利亚-葡萄牙语诗歌文化。吟唱诗大致可分为三大类：爱之歌聚焦于宫廷与骑士之爱；嘲讽诗表达出批判与反叛意味；友谊之歌则多以女性口吻歌咏男性的优秀品质。这种男诗人的女性自“我”正是吟唱诗十分值得深思的一大特征。周博士说，中世纪的伊比利亚半岛正经历着一场重大的社会文化变革。随着人们的本土意识觉醒，原本用于文字记录的拉丁语逐渐被本土语言所替代，民间流传的口头文学与歌谣开始成为书面记载。在文学转型的社会大背景之下，男性作者开始借用女性口吻来填补男性传统的缺乏。
同时，男性歌者为了取悦上层社会，需要创造出符合贵族审美的虚构女性人物进行“表演“，使得高级环境下生活的宫廷权贵从民间的淳朴乡土中获得差异感之下的独特满足。
由于男作者笔下的女性文学形象完全出于男性视角的想象，不乏一些过度的自我捧高。他们自我书写着希望从女性口中得到的安慰感，幻想女性只能依靠男性而活。这种“自恋“式诗歌深受男性听众的欢迎。男性在社会为女性构建出的既定框架内装出天真简单的声音进行着女性口吻的诗歌创作，既满足了上层阶级对于“自然”的恶趣味，又符合社会变革下的主流意识形态。
这样模拟出的女性口吻使诗歌显得温柔而纯粹，同时又含蓄地潜藏了一些隐喻。在反复递进的悠长曲调中，缓慢回环的叙事方式显露出男作者内心深处的怅然，暗含了他们对天真美好的品质的期待。针对这一复杂矛盾的吟唱诗特征，周博士提出了几点女性主义视角的批评，并留下了几个开放的问题以供探讨。
为了使同学们更好了解加西利亚-葡萄牙语诗歌的诗性与音乐性，周博士展示了一些经典的吟唱诗。它们简单的结构下，一行行文字质朴而动人。接着，她又播放了几首以传统吟唱诗为基础的现代改编乐曲，舒缓绵延的古老曲调被现代乐器赋予了新的生命。
其中，“少女在圣西门岛上等待情人“这一清新隽永的诗歌意向，给人以文学与艺术双重美学的感发。周博士解释道，“等待”这种来源于半岛文化中航行的传统，人类比之大海的渺小脆弱以及他们对于未来不可预知的茫然忧伤，都与女性的柔弱形象交织在一起，令人回味无穷。
讲座最后，同学们积极发表了他们关于女性主义批评、中葡传统诗歌中女性形象差异、以及文学创作中模糊性等问题的独特见解。周博士深入浅出的讲解分析使得同学们对中世纪吟唱诗有了新的认知。加利西亚-葡萄牙语吟唱诗的独特旋律回荡在每一位听众的心中，使人久久沉醉在这种中世纪异国文化的魅力之中。
学
生
感
言
这次讲座让我了解了一直感兴趣却没什么途径去研究的一块领域。男性诗人以女性口吻传达出他们的喜怒哀乐，传达出他们的悲欢离合，甚至形成了一种盛行的文学形式。老师讲得非常深入，在讲座上举例的诗和歌也非常吸引人。其中我最喜欢的是“The Song of Unarriving Lover”，舒缓的歌声像海浪一般摇晃，倾诉着等不到伊人的哀怮。这让我了解到一个不一样的诗歌风格，了解到一个更加浪漫、神秘的欧洲中世纪。
——徐悦（2019级经管学院、思廷书院）
纵然语言不通，音乐响起的一刻，还是唤起了跨越时间与空间的共鸣，仿佛回到11世纪的石屋内，遥望远处白色的浪花，思念征战在外的情人。“音乐是凡人与上帝沟通的语言”，此话果真不假。吟游诗人在作诗时可曾想到，1000多年后，10000公里以外，仍有人为他的曲调所感动？
——张照清（2018级经管学院、逸夫书院）
Dr. Zhou is currently a Junior Fellow at the Society of Fellows in the Liberal Arts, Southern University of Science and Technology (SUSTech). She specializes in modern poetry and poetics in English and Portuguese, with broader interests in poetry in Romance languages and Sino-Western comparative poetics. She has conducted archival research and published several articles, book reviews, and essays. Besides, Dr. Zhou has experimented with poetry translation and translating between Chinese, English, and Portuguese.
Early Galician-Portuguese lyric is known as cantiga, being one of the main traditions of medieval European lyric poetry. Dr. Zhou first gave the audience an overview of the history of the Iberian Peninsula through a short video clip of the ethnic-linguistic map. She clearly illustrated how cultural evolution and integration gradually formed the topic of Cantigas de Amigo.
There are three major genres of cantiga: “Song of Love,” “Song of a Friend,” and “Song of Satire and Slander”. Dr. Zhou selected some typical poems accompanied with English translation to help us better understand different features of these genres.
The talk mainly focused on the most original and peculiar genre, "Songs of a Friend", which is “Cantigas de Amigo” in Portuguese. Male poets, including Dom Dinis, Martim Codax, and Mendinho, usually compose in women's voices, describing male characters from a female perspective. A distinct metric going through the whole poem, the final sentence of each section repeats progressively in similar rhythms and melodies. The stories are told tortuously like ocean waves under innocent, simple topics.
Why were the poems written in the female voice? Dr. Zhou analyzed this question and made some explanations. According to the ethic-linguistic map, the Iberian Peninsula had been experiencing the most significant social revolution in medieval Europe, as well as the literary transformation. Local dialects that had been used only by the uneducated or female started to be considered valuable as a result of the awakening of indigenous consciousness. Those native, verbal words and songs began to be recorded in written forms, while Latin had been the only language of writing in the past. Moreover, cantiga were performances for upper classes that required “actresses”. Nobles were interested in local, natural culture which were strange to them, seeking for satisfaction to some extent.
With this background, male poets developed a way of composing in female voice to compensate for the lack of male traditions. Different from the previous characters, those fictive female images were created out of male's imagination, catering for male audiences. They sometimes lift men to such a ridiculously high status that women should live depending on man, which reflects the male narcissism. In their imagination, females were restricted to some fixed figures: ideal, innocent, or noble, according to the aesthetics of social mainstream. Cantigas didn't have strong emotions, expressing something lost in heart. They revealed the humans’ inner thoughts of pursuing self-perfection.
Dr. Zhou left a chain of open questions. Had there been any females indeed writing this kind of poem? Had the real female voices been covered up by "faked" females created by males? Had there been any possibility of males expressing themselves through their work?
At the end of the lecture, Dr. Zhou shared some musical pieces from modern rendition and fado interpretation of cantigas to contemporary Brazilian music as an extension. In beautiful melodies, students aired their views actively from different aspects, ranging from feminism to female images in Chinese poetry.
Students appreciated the lecture so much that a big round of applause broke before it ended. Through Dr. Zhou’s introduction, the peaceful cantigas and deep meaning behind them brought the audiences a feast of literature and art.
文案：陈韵清（2019级人文社科学院、祥波书院)
季长城（2019级理工学院、逸夫书院）
摄影：杨羽嘉（2018级人文社科学院、逸夫书院)
排版：庞晓燕（HSS Office）
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