摘要
西方传统意义上的“ekphrasis”既指一种古老的修辞现象(艺格敷词),亦指以被描述客体为叙述主题的一种特殊的诗歌体裁(叙画诗)。米歇尔(W.J.T.Mitchell)针对叙画诗中语词与图像的内在关系提出了“语象三角”一说,亦开启了诗人与被描述客体、语词与图像权力关系以外,来自读者的他者凝视。本文试图超越西方评论界传统的“诗画一致说”和“诗画异质说”之辩,结合东西方两种语境探讨叙画诗如何通过语象三角中的反叙画诗学——即一种古典修辞学的转向,以及建立在诗人与读者共知经验基础之上的形象文本多元视角建构——来消解叙画诗学中的他者威胁。
Ekphrasis is both a popular term in classical rhetoric,and a vital current in thetradition of Western poetry that refers to the literary representation of visual art possiblydating back to Homer.For W.J.T.Mitchell,the ambivalence surrounding ekphrasis ismore than a matter of generic differentiation;it is about rhetorical influence and power relations underlying what he calls“ekphrastic triangle”,a hermeneutic mechanism thatwould surmount the boundaries of the poet-art object and word-image interconnectedness toencounter the otherness of the reader's gaze.From a comparative perspective and with theperennial debate on the classical theory of ut pictura poesis and Lessing's spatial/temporaldichotomy as a point of departure,this article seeks an anti-ekphrastic solution to the deeply-rooted bias towards the visual in the Western critical tradition from Mitchell's“ekphrastictriangle”.The triangle arguably overcomes the ekphrastic ambivalence with a rhetoricalturn and a multiperspectival construction of the imagetext.
出处
《中国比较文学》
CSSCI
北大核心
2021年第2期73-85,共13页
Comparative Literature in China
基金
上海市浦江人才计划C类项目课题"西方诗电影与中国后新时期诗电影比较研究"(编号:2019PJC083)的阶段性成果。
关键词
语象三角
反叙画诗学
古典修辞学转向
形象文本
多元视角建构
ekphrastic triangle
anti-ekphrasis
the rhetorical turn
imagetext
multiperspectival construction
