【摘要】：從發(fā)生學角度觀察,現(xiàn)代圖像敘事緣自圖像傳統(tǒng)又超越了傳統(tǒng)圖像,哲學本體、社會制衡和媒體催生構成其三大邏輯支點。圖像敘事雖擁有形象的直觀性、符號的隱喻性以及理解的多義性等表達優(yōu)勢,但仍無法掩飾其敘事趣味淺表化、圖像話語權力化的雙重局限。應運而生的語圖互文詩學,以其動態(tài)性的沖突、互補、轉化和異質同構等運行機制,兼顧當下鮮活的文藝現(xiàn)實,順應文藝發(fā)展的基本規(guī)律,拓展文藝研究的多邊對話疆域,具有理念的集納性、方法的適用性和績效的周全性,彰顯了圖像時代文藝理論批評與時俱進的闡釋風范和面向未來的建設情懷。
[Abstract]:From the perspective of genomics, the modern image narrative originates from the traditional image and transcends the traditional image, philosophical ontology, social checks and balances and the birth of the media to form its three logical fulcrum. Although image narration has the advantages of image intuitionism metaphorical symbolism and understanding polysemy it still can not conceal the double limitation of its narrative taste superficial and image discourse power. With its dynamic conflict, complementation, transformation and heterogeneity, the language map intertextual poetics emerges as the times require, which takes into account the present living literary and artistic reality, conforms to the basic laws of literary and artistic development, and expands the multilateral dialogue territory of literary and artistic research. With the combination of ideas, applicability of methods and completeness of performance, the literary theory criticism in the image age is characterized by the hermeneutic style of keeping pace with the times and the feelings of future-oriented construction.
【作者單位】： 中南民族大學文學與新聞傳播學院;
【基金】：國家社科基金項目“新中國少數(shù)民族比較詩學體系建構研究(1949—2015)”(項目編號:16BZW183)的階段性成果之一
【分類號】：I0

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1 周國良;陳玲;;趙憲章教授論“文學與圖像”[J];華文文學;2012年02期

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本文編號：2209235