《拉奥孔》之后:文学研究的视觉维度

After Laocoon:Visual Dimension of Literature Study

莱辛出版《拉奥孔》之后,众多中西学者转而探索文学的"内部形式",开拓了文学作品的视觉再现这一新问题域。文学作品能够再现人类视觉经验的学理原因在于,视觉是语言之源,由于语言符号最基本的功能是代替眼之所见,语言艺术就能再现目之所及。语言行为和视觉经验的结合物是描写,作者可将观看世界获得的印象用语言文字"复印"出来,诱导读者的视觉经验参与在脑海中虚构一幅"文学图画",使其成为文学作品的"目击者"。这幅虚构"图画"的形式特征是具有空间纵深感或视错觉感。从"摹仿论"和"再现说"的内容可推论,视觉经验是文学作品的重要来源,"反常化"和"意境"等理论建立的是文学批评的视觉标准。由于"文学是语言的艺术",视觉再现在文学作品中广泛存在的事实可促使研究者辨析"文学是可视的艺术"这一命题是否具有合理性。

After the publication of Lessing＇s Laocoon, many scholars across western and eastern world began to approach the ＂internal form＂ of literature, introducing a new problem domain： the visual reconstruction of literature works. The logic behind human visual reconstruction by literature works is that language stems from vision,because the basic function of linguistic symbols is to replace vision, language arts can reconstruct what eyes can see. The combination of language behavior and visual experience is description. The author can ＂xerox＂ the image they acquired from the world by words, which can incite the readers＇ visual participation in the visualization of ＂literature picture＂. In this process, the readers find themselves in the position of ＂witnesses＂. The formal feature of the visualized ＂picture＂ is its feeling of depth and visual illusion. From ＂the theory of imitation＂ and ＂the theory of reconstruction＂, it can be deduced that visual experience is the significant source of literature works, and the theories of abnormality and image is the visual standard of literature criticism. Since ＂literature is the art of language＂, the extensive existence of visual reconstruction may help the researchers to analyze the rationality of the proposition ＂literature is a visual art＂.