摘要
对琴和空间的描写,凝聚着琴与文学中性别叙事传统的构建,即存在着男性空间中的“琴-书房”图式和女性空间中的“琴-闺阁”图式。《聊斋志异》中的琴书写拓展了对存在于两性空间中性、情、色的“文学”表达,而其图像文本《聊斋图说》和《详注聊斋志异图咏》也借助“琴”符号构建了新的“聊斋”故事的性别空间。由此,我们既可以探索图像系统背后的创作观念和意图,同时也开启了一个跨媒介视域下的解读小说《聊斋志异》的新路径。
The description of Qin and space embodies the literary narrative tradition of genders, which points out the existence of "Qin-study" pattern in male space and "Qin-boudoir" pattern in female space. Then Qin writing in Strange Stories from a Chinese Studio expands sexual, sentimental and sensual interpretation of the male space and the female space.In Strange Stories from a Chinese Studio’s image works Liao Zhai Tu Shuo and Xiang Zhu Liao Zhai Zhi Yi Tu Yong, we can see that the cartographers of image texts also use the symbol of "Qin" to construct the gender spaces of new "Liaozhai stories". Thus, we can not only further explore the creative concept and intentions behind the image system, but also initiate a new way to interpret the novel Strange Stories from a Chinese Studio in a transmedia perspective.
作者
裴亚莉
王拓
PEI Ya-li;WANG Tuo(School of Chinese Language and Literature,Shaanxi Normal University,Xi’an Shaanxi,710119)
出处
《艺术百家》
CSSCI
北大核心
2022年第1期11-23,100,共14页
Hundred Schools In Arts
关键词
《聊斋志异》
琴
图像
性别空间
Strange Tales from a Chinese Studio
Qin
Images
Gender Spaces
