《火山情人》中肖像画的凝视  

The Gaze of Portrait in Volcano Lover

作　　者：李静[1] 张以欣 LI Jing;ZHANG Yixin(School of Foreign Languages and Cultures,Chongqing University,Chongqing 401331,China;School of Foreign Languages,Lanzhou University of Technology,Lanzhou 730050,China)

机构地区：[1]重庆大学外国语学院,重庆401331 [2]兰州理工大学外国语学院,兰州730050

出　　处：《重庆交通大学学报（社会科学版）》2019年第5期73-78,共6页Journal of Chongqing Jiaotong University:Social Sciences Edition

基　　金：中央高校基本科研业务费项目“苏珊·桑塔格研究”(106112016CDJSK04JD03)

摘　　要：《火山情人》的女主角埃玛起初是一个肖像画模特,嫁给骑士后跻身上流社会,骑士便请许多著名的肖像画家为她画像。肖像画在小说中是非常重要的主题,模特埃玛被置于对象的位置,从而巩固了他者的地位。内化了男性凝视的埃玛积极主动地配合画家作画,而画家则在主观意识的作用下充分利用观者骑士的凝视,完成了一幅自主的肖像画。作为主体的肖像又变成了凝视,向观者敞开,唤醒观者的“自我”。Emma,the heroine of Volcano Lover,was originally a portrait model,and later married to the Cavaliere.The Cavaliere invited many famous portrait painters to paint for her.It can be said that portraits are a very important subject in the novel,and the model Emma is placed in the object position,thus consolidating the status of her as the other.Having internalized the male gaze,she actively cooperated with the painter who portraited her,and the painter took full advantage of the viewer s gaze under the influence of his subjective consciousness,and finally completed an autonomous portrait.The portrait as the subject eventually becomes the gaze,opening to the viewer and awakening the viewer s“self”.

关 键 词：《火山情人》 肖像画 凝视 

分 类 号：I01[文学—文学理论]