鲁迅小说的叙述空间与绘画  

The Narrative Space in Lu Xun's Fiction and Painting

作　　者：许祖华[1] 

机构地区：[1]华中师范大学文学院,湖北武汉430079

出　　处：《山东师范大学学报（人文社会科学版）》2011年第4期26-36,共11页Journal of Shandong Normal University(Humanities and Social Sciences)

基　　金：作者主持研究的国家社会科学基金项目"鲁迅小说的跨艺术研究"(项目编号:08BZW070)的阶段性成果

摘　　要：鲁迅小说叙述空间有多种类型,既有固定叙述空间,也有移动叙述空间;既有相对固定叙述空间,也有绝对固定叙述空间;既有二元对立的移动叙述空间,也有二元互动型移动叙述空间与圆形移动叙述空间。鲁迅小说叙述空间的形态虽然丰富多彩,但从艺术作用和功能来看,都是为了将叙事限定在一定的范围之内,这一点与绘画的艺术空间设置,特别是画框的作用与功能颇为相似。鲁迅小说叙述空间设置的方式主要有两种:一种是焦点式,一种是散点式。这两种叙述空间设置的方式,分别对应着绘画常用的焦点透视法与散点透视法。鲁迅小说这两种叙述空间设置方式的运用,使鲁迅小说具有了绘画般的艺术魅力。The narrative space in Lu Xun＇ s fiction consists of a lot of different types, including the settled and the moving narrative spaces; the relatively fixed and the absolutely settled ones; and again the dualistic oppositional moving narrative spaces, the dualistic interactive moving ones, and the circular moving ones as well. Despite the above variety of narrative spaces in Lu Xun＇ s fiction, they all function to confine narration to cer- tain artistic sphere. This is similar to the space arrangement of painting, especially the use of painting frames to a considerable extent. There are two kinds of arrangements of narrative spaces in Lu Xun＇s fiction： one is the focusing type, and the other is the splattering type. The two ways of arrangements correspond to the focus perspective and splattering perspective in painting respectively. By using the two arrangements, the artistic charm in Lu Xun＇s fiction is as bright as that in painting.

关 键 词：鲁迅小说 叙述空间 画框 焦点式 散点式 

分 类 号：I210.6[文学—中国文学]