Introduction Recognition in the Odyssey typically hinges on a visual or visualizable sign of some sort. There are, however, three recognition scenes--between Odysseus and his dog, his Nurse, and his bow--which turn instead on nonvisual triggers. Touch occasions Eurycleia's recognition of her master, as it does Odysseus's reunion with his bow, while there are strong hints that his sharp sense of smell is what enables Argus to detect his master behind the ragged appearance of a beggar. These three scenes, based as they are on senses other than sight, expose the fissures in Odysseus's otherwise flawless disguise, and reveal his surprising vulnerability. As David Howes (2005, 10) observes in Empire of the Senses, how the senses are valued in any given society is not only culturally determined but also hierarchical: The senses are typically ordered in hierarchies. In one society or social context sight will head the list of the senses, in another it may be hearing or touch. Such sensory rankings are always allied with social rankings and employed to order society. The dominant group in society will be linked to esteemed senses and sensations while subordinate groups will be associated with less-valued or denigrated senses. In the West, the dominant group--whether it be conceptualized in terms of gender, class, or race--has conventionally been associated with the supposedly 'higher' senses of sight and hearing, while subordinate groups (women, workers, non-Westerners) have been associated with the so-called lower senses of smell, taste, and touch. The gendered social valuation of the senses in the Odyssey is in line with what Howes describes as typical for Western societies: sight and sound are allied with social prestige, while touch and smell are more prevalent among subordinate groups, particularly women and animals. Argus and Eurycleia mobilize these 'lower' senses during their interactions with Odysseus. Women, moreover, are often the first to notice bodily semata, perhaps because of their involvement in rituals of hospitality which brings them into close contact with the physical self. (1) And as weavers, women are practitioners of a supremely tactile art. (2) This may mark them as closer to 'nature' and supposedly less suited for positions of political power, but their tactile expertise is also what allows female characters in Homer to 'see through' the superficially altered appearances that confound their male counterparts. (3) Even Odysseus, a hero of metis (cunning) rather than bia (force), resorts to uncharacteristic aggression when he is confronted with Eurycleia's discerning touch. The forgotten senses of touch and smell thus reinforce, at the same time that they call into question, the Odyssey's gendered and political status quo. By pointing up the dangers of discovery that Odysseus barely escapes, such seemingly loose ends in the 'disguise' strand of the epic hint at alternative outcomes to the hero's nostos. Odysseus's is a homecoming whose precarious reliance on the dynamics of vision-centered reintegration could easily have been overwritten by a single sleight of hand or nose. Recognition and the Senses There are two main types of recognition in the Odyssey, each of which performs a distinctive narrative function. I refer to these as anagnorisis and noesis, even though those particular nouns do not occur in Homer. (4) Recognition scenes involving anagnorisis tend to be framed by a social relationship that requires reactivation. Through the agency of a visualizable sign (e.g., a particular bodily form [demas]-, the shape of the head, hands, or feet; a scar; a special token; or the smooth surface of a weapon), a connection is re-established between Odysseus and some member of his domestic inner circle. (5) The scar on his thigh is the sign (sema) that is most often summoned to confirm recognition (anagnorisis) of Odysseus; as such, it is an externalization of a durative social identity. …

中文翻译：

---

奥德赛中的识别和被遗忘的感官

简介 Odyssey 中的识别通常取决于某种视觉或可视化标志。然而，有三个识别场景——在奥德修斯和他的狗、他的护士和他的弓之间——而是通过非视觉触发。触摸使欧律克莉亚认出了她的主人，就像奥德修斯与他的弓重逢一样，同时强烈暗示他敏锐的嗅觉使阿古斯能够在乞丐衣衫褴褛的外表下发现他的主人。这三个场景基于视觉以外的感官，暴露了奥德修斯原本完美无瑕的伪装中的裂缝，并揭示了他令人惊讶的脆弱性。正如大卫·豪斯 (David Howes) (2005, 10) 在《感官帝国》中所观察到的，在任何特定社会中，感官的价值不仅取决于文化，还取决于等级：感官通常按层次结构排序。在一个社会或社会环境中，视觉将成为感官列表的首位，而在另一个社会或社会环境中，它可能是听觉或触觉。这种感官排名总是与社会排名相结合，并被用来管理社会。社会中的主导群体将与受人尊敬的感官和感觉相关联，而从属群体将与价值较低或贬低的感官相关联。在西方，占主导地位的群体——无论是从性别、阶级还是种族的角度来概念化——通常都与所谓的“高级”视觉和听觉联系在一起，而从属群体（女性、工人、非西方人）与所谓的低级嗅觉、味觉和触觉有关。《奥德赛》中感官的性别社会评价与豪斯所描述的西方社会的典型特征一致：视觉和听觉与社会声望相关，而触觉和嗅觉在下属群体中更为普遍，尤其是女性和动物。阿古斯和欧律克莉亚在与奥德修斯的互动中调动了这些“低级”感官。此外，女性往往最先注意到身体的 semata，这可能是因为她们参与了热情好客的仪式，这使她们与身体自我密切接触。(1) 作为织布工，女性是极致触觉艺术的实践者。(2) 这可能标志着他们更接近“自然”，据说不太适合担任政治权力职位，但他们的触觉专业知识也是荷马中女性角色“看透”的原因 表面上改变的外表让他们的男性同行感到困惑。(3) 甚至奥德修斯，一个梅蒂斯（狡猾）而不是偏见（力量）的英雄，当他面对欧律克莉亚敏锐的触觉时，也会诉诸不同寻常的侵略。因此，被遗忘的触觉和嗅觉强化了奥德赛的性别和政治现状，同时也引发了质疑。通过指出奥德修斯几乎没有逃脱的发现危险，史诗的“伪装”链中这种看似松散的结尾暗示了英雄nostos的替代结果。奥德修斯是一个归乡者，他对以视觉为中心的重新整合动态的不稳定依赖很容易被一个手或鼻子的花招所覆盖。识别和感官在奥德赛中有两种主要的识别类型，每一个都具有独特的叙事功能。我将这些称为 anagnorisis 和 noesis，即使这些特定名词在荷马中没有出现。(4) 涉及失认症的识别场景往往由需要重新激活的社会关系构成。通过可视化符号（例如，特定的身体形态 [demas]-，头、手或脚的形状；疤痕；特殊标记；或武器的光滑表面）的作用，连接被重新-建立在奥德修斯和他的国内核心圈子的一些成员之间。(5)他大腿上的疤痕是最常被召唤来确认奥德修斯的识别(anagnorisis)的标志(sema)；因此，它是一种持续性社会身份的外化。… 即使这些特定名词在荷马中没有出现。(4) 涉及失认症的识别场景往往由需要重新激活的社会关系构成。通过可视化符号（例如，特定的身体形态 [demas]-，头、手或脚的形状；疤痕；特殊标记；或武器的光滑表面）的作用，连接被重新-建立在奥德修斯和他的国内核心圈子的一些成员之间。(5)他大腿上的疤痕是最常被召唤来确认奥德修斯的识别(anagnorisis)的标志(sema)；因此，它是一种持续性社会身份的外化。… 即使这些特定名词在荷马中没有出现。(4) 涉及失认症的识别场景往往由需要重新激活的社会关系构成。通过可视化符号（例如，特定的身体形态 [demas]-，头、手或脚的形状；疤痕；特殊标记；或武器的光滑表面）的作用，连接被重新-建立在奥德修斯和他的国内核心圈子的一些成员之间。(5)他大腿上的疤痕是最常被召唤来确认奥德修斯的识别(anagnorisis)的标志(sema)；因此，它是一种持续性社会身份的外化。… 一种特殊的身体形态 [demas]-，头、手或脚的形状；疤痕; 一个特殊的令牌；或武器的光滑表面），奥德修斯和他的家庭核心成员之间重新建立了联系。(5)他大腿上的疤痕是最常被召唤来确认奥德修斯的识别(anagnorisis)的标志(sema)；因此，它是一种持续性社会身份的外化。… 一种特殊的身体形态 [demas]-，头、手或脚的形状；疤痕; 一个特殊的令牌；或武器的光滑表面），奥德修斯和他的家庭核心成员之间重新建立了联系。(5)他大腿上的疤痕是最常被召唤来确认奥德修斯的识别(anagnorisis)的标志(sema)；因此，它是一种持续性社会身份的外化。…