海男诗与画的互文性研究  

Intertextuality of Hai Nan’s Poetry and Painting

作　　者：佘画琴 汤晨光[1] She Huaqin;Tang Chenguang(School of Arts,Hunan Normal University,Changsha 410081,China)

机构地区：[1]湖南师范大学文学院,湖南长沙410081

出　　处：《洛阳师范学院学报》2021年第3期49-51,共3页Journal of Luoyang Normal University

摘　　要：海男作为女性文学和80年代先锋诗歌的代表人物,其在2013年开始学习与创作绘画作品,绘画成为她诗歌创作之外的另一种情感表达方式。其画作不是图像的独语,而是与诗歌创作相互交融,呈现出诗、画互文的特性。在海男的诗歌和绘画作品中,既能在绘画中融入诗歌的意象和语言,使绘画晕染着诗性,也能在诗歌中大胆运用绘画的光影、色彩和构图法来闪烁主体精神的灵光。As a representative of female literature and avant-garde poetry in the 1980s,Hai Nan began to learn to paint in 2013.Since then painting has become another expression of and multiple compensation for emotion besides her poetry creation.Her paintings are not only a display of images,but well integrated with her poetry,showing the intertextuality of poetry and painting.In her paintings and poems,she can not only integrate the images and language of poems into the paintings to make them tinged with poetry,but also boldly make use of the light and shadows,hues and composition of paintings to reflect the spiritual light of the subject.

关 键 词：海男 诗歌 绘画 互文性 

分 类 号：I207.25[文学—中国文学]