卡尔维诺小说中的想象性和真实性语象叙事  

Notional and Actual Ekphrasis in Calvino’s Novels

作　　者：黎世珍 Li Shizhen(School of Chinese Language and Literature,Central China Normal University,Wuhan 430079,China)

机构地区：[1]华中师范大学文学院

出　　处：《外国文学研究》2025年第1期141-152,共12页Foreign Literature Studies

摘　　要：语象叙事一般可以分为想象性与真实性语象叙事两种类型,卡尔维诺的小说中有大量此类实践,其在展示不同类型语象叙事的形成机理和作用上卓有成效。在“观念的”想象性语象叙事中,小说通过描述以超现实主义方式存在的“双面人”使小说呈现奇幻性;在“虚构的”想象性语象叙事中,小说通过描述以现实主义方式存在的男爵形象隐喻现实;在“封闭的”真实性语象叙事中,小说通过将静态塔罗牌彩绘转换为动态场景激发出塔罗牌的“富余价值”;在“开放的”真实性语象叙事中,小说通过描述不受框架限制的场景呈现作家的不确定思考与感受,凸显语象叙事未来发展的新趋势。多种语象叙事实践展现了作家在调度视觉图像与文学语言、平衡想象与真实的非凡能力,也揭示了两种语象叙事的关联及独特性。Ekphrasis can generally be categorized into notional and actual ekphrasis.Italo Calvino’s novels demonstrate extensive experimentation with different types of ekphrasis,effectively illustrating their mechanisms and functions.In the“conceptual”notional ekphrasis,the novel employs surreal representations of a“double-faced man”to create a sense of fantasy.In the“fictional”notional ekphrasis,the novel is a metaphor for reality by depicting the baron character who exists in a realist manner.In the“closed”actual ekphrasis,the novel stimulates the“surplus value”of tarot cards by transforming static tarot card paintings into dynamic scenes.In the“open”actual ekphrasis,the novel presents the writer’s uncertain thoughts and feelings by describing unrestricted scenes,highlighting emerging trends in the future development of ekphrasis.These practices of multiple ekphrasis demonstrate the exceptional ability of writer in orchestrating visual imagery and literary language,balancing the imagination and reality,while also shedding light on the connection and uniqueness of the two kinds of ekphrasis.

关 键 词：伊塔洛·卡尔维诺 小说 想象性语象叙事 真实性语象叙事 

分 类 号：I20[文学—中国文学]