“幽灵”似的画框——从“画框”看小说《微暗的火》中的后现代书写策略  

A"Spectral"Parergon—An Analysis of Postmodern Writing Strategies in Vladimir Nabokov's Pale Fire Through the Lens of the"Parergon"

作　　者：周韵 ZHOU Yun(Department of Foreign Language,Sichuan University,Chengdu Sichuan,610211,China)

机构地区：[1]四川大学外国语学院,四川成都610211

出　　处：《文化创新比较研究》2023年第29期15-19,共5页Comparative Study of Cultural Innovation

摘　　要：“诗如画”是纳博科夫艺术创作的一个重要特征,在《微暗的火》中,小说人物谢德的诗歌遗作《微暗的火》以纷繁的意向、缤纷的色彩呈现出如画的书写。虽然小说围绕着谢德的诗歌展开,主体部分却在于金波特为谢德诗歌所作的注释及索引。该文在将谢德的诗歌看作绘画的基础上,借用德里达的“画框”哲学,论述小说人物金波特的副文本撰写是对谢德诗歌的“加框”;但金波特的画框并不同于传统视野,尤其是康德的论述中“艺术品的附庸”,而具有独特的美学价值。纳博科夫通过让金波特为谢德作品加框这一行为,展现出其别具一格的、开拓性的后现代书写策略。"Ut picture poesis"is a significant feature of Vladimir Nabokov's artistic creation.In his novel Pale Fire,the posthumous poem Pale Fire by the character Shade is presented with intricate intentions and a vivid palette,resembling a painting.While this novel revolves around Shade's poetry,the core focus lies on Kinbote's annotations and indexation of Shade's poetry.This paper,by considering Shade's poetry as a form of painting,draws upon Derrida's philosophy of the"Parergon"to argue that the the subtext by the character Charles Kinbote is a process of"framing"Shade's poetry.However,Kinbote's framing is distinct from the conventional perspective,particularly in Kantian discourse on the"appendage of work of art",as it possesses a unique aesthetic value.Nabokov,by orchestrating Kinbote's act of framing Shade's work,unveils his distinctive and pioneering postmodern writing strategy.

关 键 词：画框 幽灵 后现代 纳博科夫 《微暗的火》 解构 

分 类 号：I712.074[文学—其他各国文学]