摘要
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.
作者
刘坛茹
刘京晶
LIU Tan-ru;LIU Jing-jing(Aesthetic Education Research Center,Anhui Normal University,Wuhu 241002,Anhui,China)
出处
《兰州文理学院学报(社会科学版)》
2024年第5期1-6,共6页
Journal of Lanzhou University of Arts and Science(Social Sciences Edition)
基金
国家社科基金重大项目“中国古代空间叙事体系研究”(23&ZD278)。
关键词
空间叙事
跨媒介叙事
艺术叙事
出位之思
跨界思维
spatial narrative
cross-media narrative
artistic narrative
Communication
cross-border thinking