论《特别响,非常近》中的空白艺术  

On the Gap Art in the Novel Extremely Loud and Incredibly Close

作　　者：李顺春[1] 孔繁霞[2] LI Shun-chun KONG Fan-xia(School of Foreign Languages, Jiangsu University of Technology, Changzhou 213001, China School of Engineering, Nanjing Agricultural University, Nanjing 210031, China)

机构地区：[1]江苏理工学院外国语学院,江苏常州213001 [2]南京农业大学工学院,江苏南京210031

出　　处：《湖南科技大学学报（社会科学版）》2016年第5期36-42,共7页Journal of Hunan University of Science and Technology(Social Science Edition)

基　　金：2015年度江苏省社会科学基金项目(15WWB006);2015年度江苏省社科应用研究精品工程外语类课题(15jsyw-23)

摘　　要：学界大多从创伤视角阐释乔纳森·萨福兰·弗尔的后"9·11"小说《特别响,非常近》,然而,若在空白论的观照下,从语言空白、版式空白与结尾空白等三方面剖析该小说的空白艺术,则可提供"一种打破文本疆界和惯例束缚的全新视角"。语言空白的模糊性与多义性使小说文本达到言有尽而意无穷的审美效果,其最高形式——失语——更具有无言之美;一句话一页与空白页所呈现的版式空白实是"有意味的形式",亦成为可读更成为可写的文本;结尾空白含蕴极其丰富,既惊喜意外又发人深省。《特别响,非常近》中的空白是无象中的有象,无形中的有形,亦是一种召唤结构;而作为一种特殊的艺术表现形态,空白艺术则是阅读与审美的起点,更是艺术韵味与意义再造的源头活水。The academicians mostly analyze Jonathan Safran Foer＇ s post -9/11 fiction Extremely Loud and Incredibly Close from the perspective of trauma. However, this paper, based on the gap theories, studies the gap art employed in it in terms of such aspects as language gap, layout gap and ending gap, aiming to provide ＂a totally new dimension that breaks text boundaries and practices＂. Language gap caused by ambiguity and fuzziness implies ＂finite words, but infinite meanings＂, of which aphasia is the best form, the beauty of silence. Layout gap presented with a page with a sentence and blank pages are of ＂significant form＂, being readable and writable text. Ending gap is rich in meaning, surprising and thought -provoking. Gaps in Extremely Loud and Incredibly Close are something from nothing, tangible from the intangible, also a kind of appeal structure ; and as a special form of artistic expression, gap art is the starting point of reading and aesthetics, and the flowing water source of artistic aura and meaning reconstruction,

关 键 词：《特别响 非常近》 空白艺术 召唤结构 

分 类 号：I106[文学—世界文学]