《黑暗的心》中的幽闭空间与风景的“再发现”  

Claustrophobic Space and the Rediscovery of Landscape in Conrad’s Heart of Darkness

作　　者：乔修峰[1] Qiao Xiufeng(the Institute of Foreign Literature,Chinese Academy of Social Sciences,Beijing 100732,China)

机构地区：[1]中国社会科学院外国文学研究所

出　　处：《外国文学研究》2024年第1期105-115,共11页Foreign Literature Studies

基　　金：国家社会科学基金一般项目“约翰·罗斯金风景思想研究”(19BWW054)。

摘　　要：风景在康拉德的《黑暗的心》中并不是一个突出的因素,但在马洛非洲之行的最后一段旅程中,热带丛林风景构成的幽闭空间却对视觉形成了明显的挑战。马洛不断受挫的观景体验,既抵制了制图学对非洲大地的“绝对”控制,凸显了非洲丛林风景的崇高感,也颠覆了欧洲以透视法为基础的风景再现方式。马洛在观看非洲风景时,放弃了鸟瞰的方式,采用了甲虫的视角。这种有限的视角反而使他摆脱了认知层面的幽闭空间,从非洲丛林的“黑暗”中感受到了崇高的意味。马洛对非洲风景的这种“再发现”,不仅有助于重估小说中与殖民和帝国相关的话题,也有助于反思现代人的风景观看方式。Natural landscape is not prominent in Joseph Conrad’s Heart of Darkness,but in the last part of Marlow’s upriver journey,the claustrophobic space formed by the African jungle repeatedly frustrates his vision of the landscape.This frustration can be viewed as a challenge to the dominance of cartography over the African land,a cause for the sublimity of the African jungle,and a denial of the European perspective-based representation of landscapes.By forcing Marlow to take a beetle’s rather than a bird’s-eye view of the“Dark Continent”,the claustrophobic space helps him to find out“another image of Africa”,which not only sheds new light on postcolonial interpretations of this novella,but also provokes a reconsideration of our modern ways of sightseeing.

关 键 词：康拉德 《黑暗的心》 幽闭空间 风景 观看 

分 类 号：I561.074[文学—其他各国文学]