论“影像”化叙事在海派小说中的本土化走向——以新感觉派和张爱玲的小说创作为中心  

On the Localization of Visualization Narration in Shanghai-Style Novels——Focusing on Chinese Neo-sensualist Novels and Zhang Ailing's Novels

作　　者：冯勤[1] 

机构地区：[1]四川大学文学与新闻学院,四川成都610064

出　　处：《四川大学学报（哲学社会科学版）》2013年第4期130-136,共7页Journal of Sichuan University：Philosophy and Social Science Edition

基　　金：教育部人文社会科学研究2009年度一般项目"视觉文化与小说的影像化叙事"(09XJAZH003);四川大学中央高校基本科研业务费研究专项(Skgt201105)资助

摘　　要：在吸取电影艺术新的表现技法方面,围绕着"意象"营构这一核心,在三、四十年代的海派代表新感觉派及张爱玲的小说创作中,"影像"化叙事呈现出较为明显的差异性,存在着从表面外化到渐趋内化、由纯西化向中化嬗变的发展趋势。仅就电影的两大主要表现手段———蒙太奇与长镜头而言,新感觉派比较倾向于前者,而张爱玲则更看重后者,不同取向的背后虽不无时代背景、性别气质等外在因素,但其更为内在的因素却是各自的文化立场。在这一本土化进程中,长镜头尤其是固定长镜头及慢镜头等电影手法起了至关重要的作用。Shanghai-style writers reached a consensus on their understanding of new techniques developed in the film art and eagerly applied the borrowed techniques in their writing.However,in regard to the essential concept of ＂imagery＂,their visualization narratives showed marked differences.With this in mind,the author compares and contrasts the Chinese neo-sensualist novels regarded as the typical representatives of 1930s and Zhang Ailing＇s novels regarded as representative of 1940s in order to trace their transformation from an external style to an internal one and from the Western style to the Chinese one.As regards the film＇s two major means of expression—the montage and the long shot,Chinese neo-sensualist writers tend to favor the former,while Zhang Ailing is more at home with the latter.This difference is not unconnected with the historical background and the individual characters of the writers,but the decisive factor is their respective cultural positions.In the process of localization the most noteworthy is the crucial role played by the full-length shots,especially by the fixed long shots and slow motion.

关 键 词：海派小说 “影像”化叙事 新感觉派 张爱玲 本土化 

分 类 号：I207.42[文学—中国文学]