Abstract Inspired by the spatial turn in literary criticism, this article seeks to combine a traditional biographical approach of the versatile oeuvre of the late 19th Century Danish poet, painter and bon vivant Holger Drachmann (1846–1908), with a space-oriented perspective. One of the key concepts of the Scandinavian literature of the latter half of the 19th Century, the era of the so-called Modern Breakthrough, was to promote a literature that dealt with contemporary social issues; at the same time, many of the artists who adhered to this program turned their backs on everyday routine, by frequently travelling and living abroad for long periods. Especially Southern Europe, and in particular Italy was a favorite destination. In Drachmann’s oeuvre too, the lure of the South is omnipresent, but his initial infatuation with Italy shifts radically between his first (1867) and second (1876) journey to the country, from an Orientalist notion of Italy as an eroticised Nirvana, to a horrendously degenerate country. This case study proposes a spatial reading of one of Drachmann’s still well-known poems, ”Sakuntala” (1879), where the lure of travel, exoticism and erotic enticement are brought together in a poem, in which travel is a mere metaphor for the state of mind in which exotic landscapes morph into erotic spaces, while eroticist desire remains forever unfulfilled.

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“任何Længselej sove的客户” Holger Drachmann og den色情评论

摘要本文受到文学批评中空间转向的启发，力图将传统的传记文学方法与19世纪后期的丹麦诗人，画家和前锋霍尔格·德拉赫曼（Holger Drachmann）（1846-1908）的多方面作品结合起来，并以空间为导向。19世纪下半叶，即所谓的“现代突破”时代，斯堪的纳维亚文学的主要概念之一是提倡处理当代社会问题的文学。同时，许多坚持该计划的艺术家通过长期出国旅行和长期居住而放弃了日常工作。特别是南欧，尤其是意大利是最喜欢的目的地。在德拉赫曼的作品中，南方的诱惑无所不在，但是他最初对意大利的痴迷在他第一次（1867年）和第二次（1876年）前往该国的旅程之间发生了转变，从东方主义的意大利概念化为色情的涅磐，到一个堕落的堕落国家。本案例研究提出了对德拉克曼仍然著名的诗歌之一《萨肯塔拉》（Sakuntala，1879年）的空间解读，其中，旅行，异国情调和色情的诱惑被融合在一首诗中，其中旅行仅是隐喻。一种情境，在这种状态下，异国风情的景观变成了色情空间，而色情主义者的欲望永远无法实现。