论约翰·阿什伯利“图说诗”的多元同构

Plurality in John Ashbery's Ekphrases

传统的图说诗是模仿艺术的延伸,是自然主义、现实主义式的再现,肯定了视觉艺术与语言艺术在再现过程中的对等性、稳定性,也确保了再现双方的二元等级关系。然而,约翰·阿什伯利却以传统的图说诗样式进行着一种后现代式的多元同构。阿什伯利的图说诗不再是单纯模仿绘画的镜子,更没有走向绘画的反面去颠覆、战胜绘画。这既是对传统的坚守,又是对先锋的追求;既模仿了视觉形象,又展示了幻觉意境;既道出了自我的声音,又彰显了他者的存在。以此为基础,阿什伯利最终超越了对诗歌和绘画关系的简单思考,将后现代社会的多元化态势展露无遗。

Tradition has it that ekphrasis derives from the mimetic art, a naturalistic and realistic representation which ensures the stable reciprocity and the binary relation between the visual and literary art during the representing process. However, John Ashbery＇s ekphrases manifest pluralism typical of postmodernity, which deviates from the conventional representation while not revolting or reversing the original paintings. They embody a hybridity of tradition and avant-garde, vision and illusion, self and other, that transcends the mere meditation on the nexus between poetry and painting, and ultimately points to the pluralist existence of the postmodern age.