拜厄特《中国龙虾》对马蒂斯绘画的文学回释  

A.S.Byatt's Retranscription of Henri Matisse's Paintings into “Chinese Lobster”

作　　者：杨琳 Yang Lin(the Foreign Languages Institute,Huainan Normal University,Huainan 232038,China)

机构地区：[1]淮南师范学院外国语学院

出　　处：《外国文学研究》2024年第4期99-112,共14页Foreign Literature Studies

基　　金：国家社会科学基金西部项目“A.S.拜厄特小说的诗学观念研究”(22XWW007)。

摘　　要：A.S.拜厄特以亨利·马蒂斯的女体画为基底,在《中国龙虾》中架构起一个由读者、人物、马蒂斯以及作家共创的复式立体的跨媒介互文本空间。文本首先预设了读者能够从作为副文本的马蒂斯绘画中识辨出生命明暗色彩的对张式共存;其次,通过描绘人物运用极端后现代文化理论话语解码和编码马蒂斯画作进行研究与创作的模式,勾勒出其以图行事而致生命于险境的画面;继而在两位智性学者理辩马蒂斯绘画的间隙,彰显出看见鲜活具体的生活本身对于生命的重要意义。在从文学角度礼赞和回释马蒂斯艺术观念与实践的进程中,小说揭橥了艺术回流并关照生命的价值,表现出拜厄特对西方社会各种后现代文化话语裹挟和遮蔽生命真意这一现象的反思与批判。By taking Henri Matisse's painting of nude female bodies as the base, A. S. Byatt constructs in “Chinese Lobster” a complex, three-dimensional, intermedial intertextual space co-created by readers, characters, Matisse, and the writer herself. The text first presupposes that readers can identify the controversial coexistence of dark and bright colors of life from Matisse's paintings as paratext. And then, by delineating the modes in which the character applies extreme postmodern cultural theories into decoding and encoding Matisse's paintings to carry out her creation and research, Byatt presents how the character puts her life in danger by purely doing things with pictures. In addition, in the gaps between the intellectual debates of two scholars on Matisse's paintings, Byatt conveys her praise for Matisse's artistic display of the significance of seeing living and concrete life. Through the literary retranscription of Matisse's paintings, Byatt demonstrates the backflow illumination from art to life and her reflection and criticism on various Western postmodern cultural discourses that distort and obscure the true meaning of life.

关 键 词：A.S.拜厄特 《中国龙虾》 亨利·马蒂斯 看见 生命 

分 类 号：I561.074[文学—其他各国文学]