从通俗小说到《低俗小说》——论大卫·波德维尔的“谋杀诗学”  

From Popular Fiction to Pulp Fiction——Penetrating David Bordwell's Theory on “The Poetics of Murder”

作　　者：詹少尉 ZHAN Shaowei

机构地区：[1]中山大学中国语言文学系

出　　处：《电影理论研究（中英文）》2024年第3期83-93,F0002,共12页Journal of Film Studies

基　　金：国家社会科学基金西部项目“国际传播视域下新世纪少数民族题材电影的中华民族共同体认同建构研究”的阶段性研究成果(项目批准号:22XXW001)。

摘　　要：波德维尔在著作《谜题情节:通俗叙事与谋杀诗学》中,借用“中庸现代主义”一词说明高雅与通俗之间并没有泾渭分明的界限,悬疑小说便以其在叙事形式上的创新和对观众认知能力的挑战标识自身的艺术品性。悬疑小说的叙事核心,在于引导读者对谜题情节的推理;由此,该类型小说的三大流派分别形成了各自的谋杀诗学,并逐渐走向融合。与此同时,悬疑作家也在不断借鉴电影中的形式技巧,而以希区柯克、昆汀为代表的电影导演们则试图通过鲜明的风格致力于谋杀诗学的跨媒介转换。In his work PERPLEXING PLOTS: Popular Storytelling and the Poetics of Murder, David Bordwell employs the term“middlebrow modernism”to illustrate that there is no clear-cut boundary between elite culture and popular culture. Mystery novels distinguish their artistic qualities through innovations in narrative form and by challenging the audience's cognitive abilities. The narrative core of mystery novels lies in guiding readers' reasoning about puzzling plots. As a result, the three major genres of mystery novels have formed their respective poetics of murder and are gradually converging. Meanwhile, mystery fiction writers are constantly drawing on formal techniques from films, while film directors represented by Hitchcock and Tarantino are striving for cross-media transformation of The Poetics of Murder through distinctive styles.

关 键 词：波德维尔 谋杀诗学 通俗小说 《低俗小说》 谜题情节 跨媒介转换 

分 类 号：J905[艺术—电影电视艺术]