从语言到图像:中国诗歌的空间转换

From Word to Image: Space Transformation of Chinese Poetry

语言艺术具有空间特征,这是文学可以转换为图像的理论依据。诗歌空间是作者通过文学作品给读者营造一个以记忆为特征的想象空间,"言绘"和一般描写是其两种基本类型。"言绘"的语言艺术,美学特征是"如画",其生成为图像的例子不多,原因是它和人类的视觉经验比较贴近,本身即为以语言为媒介的"视觉艺术";在中国艺术史上,被大量转译为图像的是一般描写的诗歌。由于诗作缺乏相对稳定的观看点,画家构图的首要任务是确定视点。与诗人不同的是,画家选择的视点有向侧后方和斜前方移动两种情况,变第一人称言说为第三人称观看;以诗歌空间为参照,图像空间相应地会出现"膨胀"和"变形"两种结果。文学的视觉再现和文学批评的视觉标准应成为文学研究的基本问题之一,它可以把中西诸多文论范畴整合在一起,深化我们对文学本质的认识。

The spatial characteristics of the verbal arts is the root cause of Word imaging. Characterized by memory, literature space is an imagined space that the author produced for the readers. The diversity of objects of vision results from two main ways of language expression： description and word-painting, hence two corresponding literature space. Word-Painting is an imitation of the image in our retina. The speaker leads the readers to see what he has already seen from a relatively fixed angle of view. In the history of art, the examples of the visual arts created by language are quite few because as a visual art by the media of language, an imagined picture with definite literature space is close to human’s true vision, which, as the true visual experience of the poet, might contradict with the imagined one if the painter tries to visualize it. On the contrary, what attracts the interest of most painters is the general description, which visualized a lot of works. Compared with literature space, the change from the first person narrator to the third person narrator will cause ＂inflation＂ and ＂deformation＂ in the image space. Literary visual reproduction and visual standard of literary criticism should become one of the basic issues to be studied, because these issues can deepen our understanding of the essence of literature.