论《波音顿的珍藏品》和《阿斯彭文稿》中的画意书写美学思想  

On the Aesthetic Thought of Picturesque in The Spoils of Poynton and The Aspern Papers

作　　者：黄美娜[1] 王跃洪[2] HUANG Meina;WANG Yuehong(School of Translation Studies,Qufu Normal University,Rizhao 276826,China;College of Foreign Languages,University of Shanghai for Science and Technology,Shanghai 200093,China)

机构地区：[1]曲阜师范大学翻译学院,山东日照276826 [2]上海理工大学外语学院,上海200093

出　　处：《上海理工大学学报（社会科学版）》2021年第2期149-155,共7页Journal of University of Shanghai for Science and Technology：Social Sciences Edition

基　　金：山东省社科基金一般项目(16CZWJ17)。

摘　　要：亨利·詹姆斯将18世纪末至19世纪中期在建筑、绘画、园艺等领域中流行的画意书写美学理念跨媒介性地运用到了小说叙事中。以詹姆斯的《波音顿的珍藏品》和《阿斯彭文稿》为例进行比较研究,探讨詹姆斯画意书写的创新之处。研究发现詹姆斯在这两部小说叙事中借鉴了画意书写派常用的透视缩短、色调对比以及衰败古旧的理念,把小说创作成具有双重视角张力之美的、透露着浪漫主义感伤情愫的画作。画意书写是詹姆斯尝试图像叙事的重要表现方式,他突破了传统画意书写以自然景物为中心的做法,转向人文场景,专门探讨人与艺术的关系。Henry James employed the aesthetic concept of picturesque prevailing in fields of architecture,painting and gardening from the late 18 th to mid-19 th century in his novelistic narration as an intermedia attempt in fiction writing.This paper aims to explore his breakthroughs of using the picturesque in The Spoils of Poynton and The Aspern Papers through a comparative study.In these two novellas James displayed the pictureque concepts of foreshortening,varied colors,and ruin and decay in construction of the architecture-centered scenes which the romance-type plot entailed.He endowed his fiction with a pictorial form to manifest an admirable kind of tension arising from the double perspectives and overflowing with romantic sentiments at the same time.James’s picturesque is his primary attempt in ekphrasis representation.He breaks the picturesque convention of focusing on the natural landscapes and shifts to humanity scenes instead,focusing on man’s relation to art particularly.

关 键 词：亨利·詹姆斯 《波音顿的珍藏品》 《阿斯彭文稿》 画意书写 浪漫主义感伤情愫 

分 类 号：I106.4[文学—世界文学]