重读《拉奥孔》:符号学观照下的诗画之界限反思

Re-reading Laocoon: An Examination of Boundaries Between Literature and Painting from the Perspective of Semiotics

在莱辛看来,诗和画作为两种不同的艺术符号,除它们之间在艺术上的共通外,存在更多界限。在符号学的视域下,诗和画由于各自表意因素的偏向不同,导致它们的情感表达自由度大小有所差异;在组合方式和聚合轴上选择的幅度不同,它们创作要求及相应的难度亦有不同;在"出位之思"的摹仿技巧上的各异,使得它们可以通过对彼此的巧妙摹仿,突破各自体裁的限制,达到良好的艺术效果。尽管莱辛对古希腊的古典审美原则的推崇极具启蒙意义,但仍然有一定的片面性。

In the eyes of G. E. Lessing,literature and art of painting and sculpture are two different art symbols,and there are more boundaries than similarities between them. From the perspective of Semiotics,one can see that because the two forms of art show their different preference in expressing meaning,their thematic choices are different. Their creation requirements vary as the way of compounding,which presents respectively in transversal configuration and vertical selection,differs. Moreover,they acquire an inner accessibility to each other,and thus be able to push the limit and win critical acclaim by artistic imitation. While Lessing＇s appreciation for the aesthetic principles of the ancient Greece are one-sided,in spite of its enlightening significances.