现代交通、女性气质与早期电影院空间:青年卡夫卡的电影式书写  

Modern Traffic,Femininity and Early Cinema Space:The Cinematic Writing of the Young Kafka

作　　者：卢盛舟 Lu Shengzhou(School of Foreign Language Studies,Nanjing University,Nanjing,Jiangsu Province,China)

机构地区：[1]南京大学外国语学院,江苏南京210023

出　　处：《外国文学》2024年第5期53-64,共12页Foreign Literature

基　　金：中央高校基本科研业务费专项资金资助(2023300097)。

摘　　要：卡夫卡曾与电影结下一段“情缘”。本文以卡夫卡观影生涯中提及次数最多的丹麦影片《白奴血泪》为线索,从现代交通、女性气质和早期电影院空间三个方面探析青年卡夫卡在文学创作中的电影式书写:卡夫卡第一部长篇小说断片《理查德和萨穆埃尔》挪用了早期电影中频繁出现的火车与汽车意象,预示出维利里奥意义上的竞速感知和消失美学;小说女主人公杂糅了19世纪末20世纪初火车电影中“被侵犯的女性”和“被讨好的女性”这两种典型的女性气质;卡夫卡在文中由一场胁迫之旅的汽车空间联想到电影院空间,其后隐藏着早期电影院作为现代都市欲望空间的表征机制。上述三个主题散见于卡夫卡的早期创作,更相对集中地体现在其长篇小说《失踪者》中。Kafka had a love affair with cinema.This article takes the Danish film Die wei?e Sklavin,which Kafka mentioned most frequently in his movie-watching experience,as a clue to explore the cinematic writing of the young Kafka from three aspects:modern traffic,femininity and early cinema space.Kafka's first novel Richard und Samuel appropriates the imagery of trains and automobiles that frequently appeared in early cinema,and depicts the perception of dromology and the aesthetics of disappearance in Paul Virilio's sense avant la lettre;the novel's female protagonist combines the typical female images of “assaulted female” and “flattered female” in late 19th and early 20th century railway films;behind Kafka's association of car space in a forced journey to the cinema,there is hidden dispositif on the representation of the cinema as a modern space of urban desire.These three motifs are scattered throughout Kafka's early work and are embodied in his novel Der Verschollene in a more centralised way.

关 键 词：卡夫卡 早期电影 流动性 女性气质 表征性空间 

分 类 号：I521[文学—其他各国文学]