ABSTRACT

This article brings Petrarch’s (1304–74) lyric poetry into dialogue with Barthes’s notion of “idiorrythmie” (idiorrhythmy) as outlined in his lecture course Comment vivre ensemble (How to Live Together). It explores both the idiorrhythmic aspects of Petrarchan desire and the traits of lyric utterance through which they are expressed, with a focus on canzone 126 of Petrarch’s Rerum vulgarium fragmenta (Fragments of Vernacular Things). The article begins with a study of Barthes’s exposition of idiorrhythmy: its medieval origins in the monastic communities of Mount Athos and the productively unstable and improvised character of the “living together,” and apart, that it implies. Most significant for the analysis that follows is idiorrhythmy’s relationship to eros, Barthes’s idea that idiorrhythmy preserves a space for the body’s desires in opening to interruptions, deviations, and digressions. The remainder of the article offers a close reading of Petrarch’s Rvf 126, focusing on one image in the poem that, like Barthes’s idiorrhythmy, is rooted in fantasy and embraces errancy: the image of a flower that turning and falling around the poet’s beloved seems to speak of love.

摘要

这篇文章将彼特拉克 (1304–74) 的抒情诗与巴特在其讲座课程Comment vivre ensemble（如何共同生活）中概述的“idiorrythmie”（idiorrhythmy）概念进行对话。它探讨了彼特拉克的愿望既idiorrhythmic方面，并通过它们表达的抒情话语的特点，重点是canzone彼特拉克的126 Rerum vulgarium fragmenta（白话事物的片段）。这篇文章首先研究了巴特对特异节律的阐述：它起源于阿索斯山修道院社区的中世纪，以及它所暗示的“共同生活”和分开的生产不稳定和即兴的特征。接下来的分析最重要的是特异节律与爱欲的关系，巴特认为特异节律为身体的欲望保留了一个空间，以向中断、偏差和离题开放。文章的其余部分仔细阅读了彼特拉克 (Petrarch) 的Rvf 126，重点关注这首诗中的一个意象，该意象与巴特的自律性一样，植根于幻想并拥抱错误：一朵花的意象围绕着诗人的心爱的人转动和落下，似乎谈爱。