553 KB44 KB200720252017Peklar, Barbaraštevilka:1letnik:11str. 90-105ISSN:1854-9632COBISSID:64829282URN:URN:NBN:SI:doc-FE89I53VenZnanstvena založba Filozofske fakulteteArs et humanitasbeseda in podobafikcijafrancoska književnostGuillame de Lorrisliterarne študijeliterarni motiviNarcisov tolmunpesnitvepoosebitevsrednjeveška književnostteorija estetskega učinkaThe imaginary self-portrait in the poem Roman de la Rose|"Every portrait that is painted with feeling is a portrait of the artist, not of the sitter ... It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself," explains the painter who created the evolving portrait of Dorian Gray. Guillaume de Lorris, the author of the medieval poem Roman de la Rose, also presents his soul through the character of the ideal lover, so Amans is a kind of self-portrait. But unlike an ordinary self-portrait, this one does not present the author's personality. It is painted with words, and such an ekphrastic image is universal or influences the reader in ways that can be explained by the Iser's readerresponse theory. The poem enables the reader to feel love, and transforms him into the ideal courtly lover. As distinct from a painting, the invisible ekphrastic image in this text surpasses appearances and presents the reader with a hidden side of his soul. The object represented by ekphrasis does not exist in the outer world, therefore in the example examined here the reader's other self is brought into existence. In contrast to a painted self-portrait, which represents the identity of the author, since the picture and the pictured are identical, a word is a sign which refers to something else. A verbal self-portrait which expresses the author's feelings opens itself up to the reader, who has to complete the image with his imagination. This imaginary image then differs from the external appearance, because it reveals the associated feelings, enables the reader to feel what the author feels, and presents the reader with his other self. The imaginary self-portrait thus does not represent the actual self, but the self that is transformed or improved by the art of love"Vsak portret, ki ga slikaš z občutkom, je portret umetnika, ne modela ... Slikar ne odkriva njega, temveč na poslikanem platnu razkriva sebe," razloži tisti slikar, ki je naslikal spremenljiv portret Doriana Graya. Tudi Guillaume de Lorris, avtor srednjeveške pesnitve Roman de la Rose, skozi lik idealnega ljubimca predstavi svojo dušo, zato je Amant svojevrsten avtoportret. Vendar v nasprotju z običajnim avtoportretom ne zastopa avtorjeve osebnosti. Naslikan je namreč z besedami, taka ekfrazna podoba pa je univerzalna in ima na bralca poseben učinek, ki ga lahko bolje razumemo z Iserjevo teorijo estetskega učinka. Bralcu omogoča občutiti ljubezen ter tako njega samega preoblikuje v ideal dvornega ljubimca. Za razliko od slike nevidna ekfrazna podoba videz preseže in bralcu predoči skrito plat njegove duše. Natančneje, objekt, ki ga predstavlja ekfraza, v zunanjem svetu ne obstaja, torej v obstoj prikliče bralčev drugi jaz. V nasprotju z naslikanim avtoportretom, ki predstavlja (avtorjevo) identiteto, ker sta si slika in upodobljenec istovetna, je namreč beseda znak, ki se nanaša na nekaj drugega, zatorej se verbalni avtoportret, ki izraža avtorjeva čustva, odpira bralcu, da ga izpolni s svojo predstavo. Predstava, ki se od videza razlikuje po tem, da čustvo razkriva, bralcu omogoči začutiti avtorjeva čustva in mu tako predoči drugi jaz. To pomeni, da imaginarni avtoportret ne predstavlja dejanskega jaza, pač pa jaz, kot ga preoblikuje oziroma izpopolni umetnost ljubezniTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete