人生为本,艺术至上——《地狱变》与《道连·格雷的画像》时空叙事之比较  

Life is Fundamental,but Art is Supreme——A Comparative Study of Time and Space Narration between Zigokuhen and The Portrait of Dorian Gray

作　　者：贾思敏 祁晓冰 JIA Si-Min;Qi Xiao-bing(Literary College,Ili Normal University,Yining Xinjiang 835000)

机构地区：[1]伊犁师范大学中国语言文学学院,新疆伊宁835000

出　　处：《牡丹江大学学报》2021年第11期51-56,共6页Journal of Mudanjiang University

摘　　要：芥川龙之介的《地狱变》与王尔德的《道连·格雷的画像》都有画像情节,都通过静态的画像隐喻动态的人生。两部作品的时空叙事艺术都极为独特,并有相似之处。从时间上看,总体上都采用线性叙事,但故事的发展又都和画像变化同步,通过画像变化表现时光流逝,于是文本时间又呈现出非线性时间图像化叙事特点;从空间上看,都通过室内室外变化表现主体的迷失,通过画内画外人物复影表现人性的复杂与多样,营造了多层次的互为映像的空间场域,最终传达出作家的人生观与艺术观。Both Ryunosuke Akutagawa’s Zigokuhen and Oscar Wilde’s The Portrait of Dorian Gray have a plot of portrait,which alludes to a dynamic life through static portraits.The space-time narrative art of the two works is very unique,and there are similarities.In terms of time,linear narration is generally adopted,but the development of the story is synchronized with the change of the portrait which shows the passing of time,so the work also presents the characteristics of non-linear time pictorial narration.From the perspective of space,both of them express the loss of subjects through the changes of indoor and outdoor,and the complexity and diversity of human nature through the complex images of characters from inside and outside the paintings,thus creating a multi-level space field reflecting each other,and finally conveying the author’s outlook on life and artistic view.

关 键 词：《地狱变》 《道连·格雷的画像》 时空叙事 艺术至上 

分 类 号：I106.4[文学—世界文学]