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视觉性在《野草》文学空间的构建中起到至关重要的作用。本文力图揭示《野草》中梦境筑造作为文学空间构建的隐喻,进而通过对梦的呈现材质的分析展开对文学再现方式的媒介特性的探讨。在木刻版画这一特殊的视觉媒介的导引下,《野草》展现的文学空间拒绝单一的依赖时间线的诠释方式,提供了木刻版画式的空间性解读的可能性,对叙事效果产生破坏。借助强大的视觉语言工具,文中隐藏的佛教意象显影,冲破叙事的控制达成视觉性的反叛。企图跨越文学和视觉艺术的阈限,在诗的空间内完成画之使命,《野草》展现出鲁迅对文学空间视觉性塑造的一场瑰丽的试验。
Visualization plays a crucial role in the construction of “weeds” literary space. This paper seeks to reveal the dreamland construction in Weeds as a metaphor for the construction of literary space, and then explores the media characteristics of the literary reproduction through the analysis of the material presented by dreams. Guided by the special visual medium of woodblock print, the space of literature represented by Weeds refuses a single way of interpretation that depends on the timeline, providing the possibility of spatial interpretation of woodblock prints and damaging the narrative effect. With powerful visual language tools, the hidden image of the Buddhist image was developed and the visual rebellion was broken through the control of the narrative. In an attempt to cross the limits of literature and visual arts, the mission of painting was accomplished within the space of poetry. “Wild Grass” demonstrated Lu Xun’s magnificent experiment on the visual shaping of literary space.