摘要
在讨论纳博科夫创作的"绘画性"时,值得关注的不仅仅是文本与图像这两种媒介的融合所产生的美学效果。在《说吧,记忆》中,纳博科夫通过记叙两类图像——"明信片"与"水彩画",反思了图像与记忆的关系。是借图像来记忆,还是将记忆变成图像,反映了O小姐与纳博科夫在面对流亡中的怀旧问题时所持的不同看法,该看法进而影响了二人在人生轨迹上的选择。通过将记忆编织成一幅绘有林中小径的图像,纳博科夫用艺术虚构跳出了回忆的"循环",绘出了充满希望的"螺旋"。
When addressing the problem of the painting attribute in Nabokov's work, one should look beyond the aesthetic effect of the integration between text and image. In Speak, Memory, with the narration of two types of picture, namely postcard and aquarelle, Nabokov probes the relationship between image and memory. Whether memorizing with the help of image, or turning the memory into image? Those two modes reflect Mademoiselle O and Nabokov's views towards the nostalgic problem in exile, respectively. And then their views facilitate two different choices in their courses of life. By means of painting his memory into an image with a forest trail, Nabokov steps out of the vicious "circle" of memory with the help of artistic fiction and ultimately draws a “spiral" filled with hope.
出处
《俄罗斯文艺》
CSSCI
2019年第2期23-30,共8页
Russian Literature & Arts
