沈从文的图像转向:一项跨媒介的视觉文化研究  

Shen Congwen's Pictorial Turn: A Visual Cultural Study in the Cross-Media Perspective

作　　者：李军[1] 

机构地区：[1]中央美术学院人文学院,北京100102

出　　处：《华文文学》2014年第3期89-119,共31页Literatures in Chinese

摘　　要：从跨媒介研究的角度出发,通过穿越沈从文的文学、绘画和学术三方面的文化实践,可对沈从文的"转业"之谜提供一种基于图像阐释、文本细读和历史考证的新阐释和新论证。沈从文把五四新文化运动比喻成是一次针对"工具重造"的运动,他本人在工具方面的变革具有同样的意义。这一变革以沈从文在1934年用彩色蜡笔作画为标志,伴随着人生中的婚外恋情、文学创作中的色彩实验、战后政治评论中的审美乌托邦,中间贯穿着一条"图像转向"的红线,并最终导致沈从文晚年向"形象历史学家"的转型。这一"图像转向"和一个堪称"艺术家"的沈从文,将成为理解前期"作家"沈从文和晚期"学人"沈从文的桥梁。而其中透露的内在逻辑历程,存在着超越一时一地的政治和意识形态纷争的哲学深度和意蕴。From the perspective of Cross-media research, a scrutiny of Shen Congwen＇ s cultural practice across literature, fine art and scholarship can provide a new interpretation of Shen＇s professional transfer based on the interpretation of images, close reading of texts and historical research. Shen compared the May-fourth New Cultural Movement to a renewal of the tools, including the renewal of his own tools, which is marked by his adoption of the colored crayons in 1934, accompanied by an extramarital affair in his personal life, the color experiment in his literary writing, and the aesthetic Utopia in his post-war political reviews. The whole process implies a ＂pictorial turn＂ which motivated his transformation to an Image Historian in his later years. The pictorial turn and Sheu as an artist bridge the early Shen as a writer and the later Shen as a scholar. Its inherent logic manifests philosophical significance transcending the political and ideological struggles.

关 键 词：图像转向 工具重造 色彩实验 学术革命 色彩重现 

分 类 号：I206[文学—中国文学]