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图像霸权下的诗性诉求——从地震题材作品中获得的几点启示

The Poetic Appeal under Graphical Supremacy——Revelations from Works on the Genre of Temblor
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摘要 20世纪后期,传媒中图像占据了绝对中心地位,汶川地震突发后电视画面的"先声夺人"就是图像霸权的明证。在图像霸权下,诗歌并未走向终结,因为诗性是人类永恒的诉求,地震诗潮的出现打破了"诗歌死了"的谶言;另一方面,诗歌已处于边缘地带。但绘画应对摄影冲击的事件能给处于同样处境的诗歌以启示,地震中出现的图像类作品和文字类作品的"各司其职"、"相互融合",也将蕴含着诗歌腾飞的契机。 The image has occupied the absolutely dominant position in media in the late twentieth century, which can be evidently proved by the TV transmitted images after the outburst of Wenehuan Earthquake. Under the supremacy of image, poetry wouldn't finish her duty for it is an eternal appeal to human. The flourish of poetry after Wenchuan Earthquake has broken the allegation that poetry is dead. But poetry does stay at the edge of a cliff. We should learn from the actions the painting took when shocked by photographing. The situation of image and writing performing their own functions and with each other may imply the opportunity for poetry's rapid development. fusing
作者 唐寻
出处 《西南交通大学学报(社会科学版)》 2009年第6期68-71,共4页 Journal of Southwest Jiaotong University(Social Sciences)
关键词 图像霸权 诗歌 地震题材 精英意识 话语权 graphical supremacy poetry the genre of temblor elite awareness right of speech
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