莱辛《拉奥孔》中的时空观  

Space and Time in Lessing’s Laocoon

作　　者：张广奎[1] Zhang Guangkui(the School of Foreign Languages,Shenzhen University,Shenzhen 518060,China)

机构地区：[1]深圳大学外国语学院

出　　处：《外国文学研究》2020年第2期71-79,共9页Foreign Literature Studies

基　　金：国家社会科学基金重大项目“新马克思主义文论与空间理论重要文献翻译与研究”(15ZDB085)。

摘　　要：莱辛在《拉奥孔》中关于诗画界限的观点,打破了当时传统的欧洲诗画一致说。通过诗人维吉尔等在诗中关于拉奥孔的描述和作为绘画群雕"拉奥孔"的比较,诗画各自对情绪的不同处理,以及诗画内容和时空摹仿的讨论,莱辛较为全面地论述了诗画的界限和交互影响。从索雅的后现代空间理论出发,重新观照莱辛在《拉奥孔》中的诗画时空观,在媒体科技高度发达和后现代艺术及视觉诗歌蓬勃发展的背景下,莱辛诗画观仍具有一定的理论和实践意义;诗与画不仅具有最基本的物理空间和精神空间,同时也可以具有索雅开放的第三空间。索雅的空间理论为我们重新审视莱辛的诗画观提供了一个新的视角。Gothold Ephraim Lessing’s Laocoon breaks the traditional theory of consistency of painting and poetry.He thinks there should be limits between the two.Comparing Laocoon in poets’eyes,such as the description in Virgil’s Aeneid,with marble sculpture“The Laocoon and His Sons”,Lessing explores passion’s expression in the space of painting and poetry,as well as space’s and time’s“copy”from each other.Re-examining Lessing’s theory of space and time in painting and poetry from the point of Soja’s post-modern theory of“Third Space”,Laocoon still has great significance in theory and practice against the background of the development of media technology and the prosperity of postmodern arts and visual poetry.Either poetry or painting has both physical and spiritual space,while having Soja’s open“Third Space”.Soja’s spatial theory offers a new perspective and dimension to re-scrutinise Lessing’s theory in poetry and painting.

关 键 词：莱辛 拉奥孔 诗画 索雅 第三空间 

分 类 号：I0[文学—文学理论]