“后印象主义”的绘画技巧在伍尔夫短篇小说中的运用  

Post-Impressionism in Woolf's Shorter Stories

作　　者：许丽莹 

机构地区：[1]黑龙江工业大学外语系,黑龙江哈尔滨150001

出　　处：《四川外语学院学报》2006年第5期37-41,共5页Journal of Sichuan International Studies University

摘　　要：在伍尔夫早期创作的短篇小说《蓝与绿》、《邱园记事》和《墙上的斑点》中,作者融入了“后印象主义”的绘画技巧,通过运用色彩、形状等表现性的要素和奇异意象的并置,来表达叙述者主观情感和自我感受。摩尔和弗莱的影响使伍尔夫开始关注主观直觉的艺术价值和思维的“原始形式”。在这三篇短篇小说中,看的动作和小说叙事相结合,形成联觉的审美效果。伍尔夫用语言为材料,描绘了一幅幅充满感官直觉体验、表现“主观真实”与“原始形式”的“后印象主义”图画,这为她今后小说的创造提供了“实验场所”。In her early shorter stories, ＂Blue and Green＂, ＂Kew Gardens＂ and ＂The Mark on the Wall＂, Woolf has incorporated post-impressionist painting technique into her writing by using various colors, shapes and images, which express the narrator＇s subjective feelings. G. E. Moore and Roger Fry have greatly influenced Woolf who was able to see the artistic value of intuition and the power of ＂primitive forms＂. In these stories, the practice of seeing is combined with narrative composition, thus creating synaesthetic effect. Woolf, with the tool of language, experiments on the ＂primitive form＂ of subjective reality in a way that the post-impressionist painters do on their canvas. These short fictions imbued with post-impressionist spirit serve as ＂testing ground＂ for her future novels.

关 键 词：伍尔夫 “后印象主义” 意象并置 主观真实 

分 类 号：I516.074[文学—其他各国文学]