跨界思维与叙事学理论建构

Cross-border Thinking and Theoretical Construction of Narratology

跨媒介叙事作为当前文学艺术研究的热点问题,不应仅仅停留在具体作品的分析和阐释层面,而应加强跨媒介叙事的深层动因和学理研究,两者互为表里。龙迪勇在其深厚的空间叙事学研究基础上,认为空间叙事本质上是一种跨媒介叙事,模仿律和“出位之思”是跨媒介叙事的重要动因和学理,并通过深入透彻的作品分析,实现了个案与理论的完美结合。在此基础上,他提出了建构“艺术叙事学”的研究设想。从空间叙事到跨媒介叙事,再到艺术叙事,其实都是同一种“跨界思维”所结出的学术硕果,延伸的其实是同一条跨界探索之路,也是践行新文科、新艺科的积极探索。

As a hot issue in current literary and artistic research,cross-media narration should not only be limited to the analysis and interpretation of specific works,but should also strengthen the deep motivation and theoretical research of cross-media narration,which are intertwined.Based on his profound research on spatial narratology,Long Diyong believes that spatial narration is essentially a kind of cross-media narration,and that imitation and“Communication”are important motivations and theories for cross-media narration.Through in-depth and thorough analysis of works,he has achieved a perfect combination of case studies and theories.On this basis,he has proposed the research idea of constructing“artistic narratology”.From spatial narration to cross-media narration,and then to artistic narration,they are all academic achievements of the same“cross-border thinking”,and the extension is actually the same path of cross-border exploration,which is also an active exploration of practicing new liberal arts and new arts.