当摄影遇见文字:《盲刺客》中的“摄影书写”  

Growth Narrative and Ethical Reflections in Never Let Me Go

作　　者：吕晓潇[1] HU Zuoyou;LU Yifan(School of Foreign Studies,Hefei University of Technology,Hefei 230601,China)

机构地区：[1]山东科技大学外国语学院,山东青岛266590

出　　处：《山东科技大学学报（社会科学版）》2024年第5期106-112,共7页Journal of Shandong University of Science and Technology(Social Sciences)

基　　金：山东省社会科学规划项目(17CWWJ03)。

摘　　要：后现代语境下,摄影被赋予了复杂的指意系统,给阐释留下多元空间。在《盲刺客》中,阿特伍德将摄影巧妙融入叙事,使之成为串联核心主题的重要隐喻。摄影以转喻形式构成一种记忆诗学,是主人公回顾与反思家族历史的记忆媒介;照片着色与“左手”写作都代表一种超现实主义视角,在探索女性精神依存及主体生成的同时,书写了象征自由与创造的“另一个宇宙空间”;摄影的幽灵性则凸显主人公的写作回忆录是一个与死者协商的过程。阿特伍德通过“摄影书写”唤起读者对被遗忘或压抑记忆的关注,引导读者以多元视角重构历史认知,并认识到摄影艺术所蕴含的解放潜能,同时揭示历史与未来的辩证关系,启迪人们只有在对过去的理解和反思中才能寻找到未来的希望。In Never Let Me Go,Kazuo Ishiguri abandons the conventional linear time pattern and instead adopts a wavelike temporal structure that alternates between the present and the past,allowing the characters to shuttle back and forth between memories and reality,and driving the plot through emotional ups and downs.Clones live in a society fraught with punishment and stringent regulations.Despite their evolution from self-awareness to ideological enlightenment,they cannot evade the suppression of their right to life stemming from spatial isolation and oppressive politics.The integration of the temporal structure and narrative initiation in the novel seamlessly bridges the past and the present,mingling dreams with reality.This facilitates the transition of characters and events from the shore of“reality”to the shore of“past”and vice versa.The non-linear narrative crafted by wavelike time progression highlights the confrontation between goodwill and malice,hope and despair,growth and stagnation,prompting readers to reflect on the existence and meaning of human beings in the postmodern society.

关 键 词：《盲刺客》 摄影书写 记忆 身份 历史 

分 类 号：J905[艺术—电影电视艺术]