从观察者角度论《到灯塔去》中的窗与画  

Viewing the Window and the Painting in To the Lighthouse from the Perspective of the Observers

作　　者：彭石玉[1] 胡佩珊 Peng Shiyu;Hu Peishan(school of foreign languages and master supervisor at Wuhan Institute of Technology,Wuhan 430205,China)

机构地区：[1]武汉工程大学外语学院

出　　处：《外国语文研究》2023年第3期39-46,共8页Foreign Language and Literature Research

基　　金：武汉工程大学研究生创新基金(项目编号CX2021396)阶段性研究成果。

摘　　要：英国女作家弗吉尼亚·伍尔夫与现代视觉艺术渊源深厚。意识流小说《到灯塔去》包含了印象主义/后印象主义绘画、造型描述等语图元素,这是她将语言与视觉相结合的一次实验。在小说中,角色的视角切换自如,他们通过眼睛主动观察进行思考。其中,“窗”是观察者的通道,也是一个虚实结合的意象;同时,《到灯塔去》也是一本自传小说。女画家莉丽对外部世界的感知来源于伍尔夫本人对现实生活的观察,因此在众多角色之中,莉丽是最重要的一位观察者,她的视角具有现代性。造型描述(ekphrasis)是文字对视觉的再现,伍尔夫对莉丽《母子图》的描绘是一种抽象的造型描述,它突破了文学传统意义上的造型描述专注于描述具体的静物/艺术品的局限。The British female writer Virginia Woolf had been remaining a close relationship with modern visual arts.Adopting the approach of stream-of-consciousness,To the Lighthouse is a verbal-visual experiment containing language-image elements such as impressionist/post-impressionist drawing technique and ekphrasis.Characters’point of view switches actively and smoothly,which empowers them to think through observing by bare eyes.In the story,“Window”is not only a tunnel for watching,but also an image with physical and virtual meanings.To the Lighthouse is also an autobiographical novel,in which Woolf made Lily,the female painter,feels what the writer herself feels in reality.Therefore,of all the characters,Lily plays the most significant role as a modern observer.Ekphrasis is the verbal representation of visual image,and customarily,it was utilized to depict still life and art works in a concrete way.However,the description of Lily’s abstract painting in this novel breaks the traditional usage of Ekphrasis.

关 键 词：弗吉尼亚·伍尔夫 《到灯塔去》 视觉艺术 造型描述 观察者 

分 类 号：I561.074[文学—其他各国文学]