Graphic Characterization and Visual Narrative in The History of Little Goody Two-Shoes(1765)  

《两只小好鞋的故事》(1765)中的图像刻画与视觉叙事

作　　者：Russell Palmer 拉塞尔·帕默(复旦大学外国语言文学学院)

机构地区：[1]the College of Foreign Languages and Literature,Fudan University,Shanghai 200433,China

出　　处：《外国文学研究》2024年第6期12-26,共15页Foreign Literature Studies

摘　　要：Focusing on The History of Little Goody Two-Shoes(1765),John Newbery's longest and most famous work of children's fiction,this article offers a corrective to previous scholarship that has routinely overlooked the significance of woodcut illustrations to characterization and narrative construction in early children's fiction.Unlike most eighteenth-century fiction,illustration was integral to Newbery's children's books,conceived at the onset,not added as embellishment to later editions.Routinely described as too small to be important or reduced to discussions of didacticism and ideology only,the cheap woodcuts contained in eighteenth-century children's fiction enabled reader-viewers of differing literacy levels to comprehend and imaginatively take part in narratives.In Goody Two-Shoes,illustrations elaborate,specify,and extend characterizations of Margery,while also engendering a means of maintaining a child-centric tale for young audiences in the face of an ever-aging protagonist.This article demonstrates how woodcuts enable the reader-viewer to construct a narrative that extends beyond what is written.《两只小好鞋的故事》(1765)是约翰·纽伯里创作的最长也是最知名的儿童小说。以往的研究时常忽略版画插图在早期儿童小说中对人物刻画以及叙事建构的重要作用,而本文聚焦于纽伯里的这部儿童文学作品中的版画,对以往研究提出反驳。与大多数18世纪小说不同,插图是纽伯里儿童文学的重要组成部分,形成于作者构思作品之时,而非在后期版本中作为点缀加入。18世纪儿童小说中的廉价版画常被认为微不足道,或仅被视为说教及思想意识的载体,其实,这些版画让不同文化水平的读者-观众得以理解并从想象层面参与到叙事中。《两只小好鞋的故事》中的插图丰富、具体化并延伸了女主人公玛杰里的人物形象,同时也在主人公逐渐长大的故事里维持了以儿童为中心的叙事方式。本文体现了《两只小好鞋的故事》中的版画如何使读者-观众通过图像刻画构建视觉叙事,而这一叙事超越了文字本身。

关 键 词：eighteenth century print culture graphic narrative children's literature ILLUSTRATION 

分 类 号：I561.078[文学—其他各国文学]