空间书写的叙事法则——陀思妥耶夫斯基的文学绘图与现代性  

The Narrative Law of Space Writing——Dostoevsky's Literary Cartography and Modernity

作　　者：向洁茹 Xiang Jiru

机构地区：[1]嘉兴学院文法学院,浙江嘉兴314000

出　　处：《南京师范大学文学院学报》2023年第3期111-116,共6页Journal of School of Chinese Language and Culture Nanjing Normal University

基　　金：浙江省社会科学界联合会研究课题“陀思妥耶夫斯基空间书写中的身体经验与现代性反思研究”(2023B024)。

摘　　要：罗伯特·塔利提出的“文学绘图”概念结合了空间研究与叙事学,以之为视角,陀氏的空间书写在思想隐喻和叙事功能中的多重意蕴得以浮现。一方面,陀氏的文学绘图解构了其所属时代主流的“地图”式空间观,经由对主人公在彼得堡“行走”体验的描述,陀氏展现了彼得堡空间复杂的现代性维度。另一方面,出于对现代性语境的认知,陀氏在使用空间书写表征宗教主题时陷入了“绘图焦虑”,这也决定了作家在表现救赎主题时绘图策略的转变。不同于书写彼得堡空间时对主体性视角的强调,陀氏在描绘具有宗教救赎意味的自然风景时刻意转变了叙事视角,在与东正教圣像画类似的对主体性视角的搁置中,陀氏完成了对救赎主题的文学绘图。Robert Tally's concept of“literary cartography”combines spatial research and narra⁃tology,through such perspective,the multiple meanings of Dostoevsky's spatial writing in terms of metaphorical thinking and narrative function are revealed.Through his description of the protagonist's walking experience in St.Petersburg,Dostoevsky reveals the complex modern dimensions of St.Petersburg's space.On the other hand,due to his awareness of the context of modernity,Dostoevsky experiences“cartographic anxiety”when using spatial writing to represent religious themes.This al⁃so determines the transformation of the mapping strategy when representing the theme of redemption.Unlike the emphasis on the subjective perspective when writing St.Petersburg's space,Dostoevsky deliberately changes the narrative perspective when depicting natural landscapes with religious re⁃demption implications.In the suspension of the subjective perspective,similar to Orthodox icon painting,Dostoevsky 62.824.9 completes the literary mapping of the theme of redemption.

关 键 词：陀思妥耶夫斯基 空间书写 文学绘图 现代性 

分 类 号：I106.4[文学—世界文学]