艺格敷词:文学如何回应图像?——理解西方语图关系的中国视角  

Ekphrasis:How Literature Responds to Images-Chinese Perspective on Understanding the Word——Image Relationship of the West

作　　者：高静 Gao Jing

机构地区：[1]南京大学艺术学院,江苏南京210093

出　　处：《天府新论》2025年第3期132-141,159,160,共12页New Horizons from Tianfu

摘　　要：作为一种回应图像的文学实践,艺格敷词是理解西方语图关系的关键线索。以“生动性”为核心质素,艺格敷词的再概念化过程及其辐射的现象范围,可以置于不同历史与文化语境中予以考量。基于西方模仿传统,艺格敷词被限定为一种语言对图像的描述形式,以语图互仿的姿态展现出语言与图像基于符号差异性的潜在联系。伴随着图像转向,艺格敷词的生成策略过渡到基于主体力量的视觉生成机制,使其可以与非具象性图像达成语图互惠,并发展为一种对图像的批评形式。立足于数字媒介语境,艺格敷词展现出极具张力的语图间性,可被视为一种言说自身的元语言活动。在中国“文学图像论”视域下,这一关系演变有其内在逻辑,西方艺格敷词概念的无限延展正是语言对图像不断“延宕”的必然结果。此视角有助于突破西方艺格敷词研究中以竞争模式为主导的话语范式,贡献具有中国理论特色的学术力量。As a literary response to images,ekphrasis offers a key approach to understanding the word–image relationship in the West.Centered on the rhetorical quality of“enargeia”,its reconceptualization process and scope of radiation can be explored across diverse historical and cultural contexts.Within the tradition of mimesis in the west,ekphrasis has been seen as the verbal description of images,presenting the potential connection between words and images based on symbolic differences through the posture of their mutual imitation.With the pictorial turn,however,ekphrasis has shifted toward a more subject-driven visual strategy,becoming reciprocal with non-representational images and developing into a form of critical practice.In the context of digital media,it reveals heightened word-image interality and functions as a self-reflexive,metalinguistic activity.From the perspective of Chinese“literary iconology”,this transformation follows its own internal logic:the indefinite expansion of the Western concept of ekphrasis reflects the inevitable“différance”of language in relation to the image.This perspective helps to break through the discourse paradigm dominated by the competitive mode in the study of Western ekphrasis,and contributes academic strength with Chinese theoretical characteristics.

关 键 词：艺格敷词 语图关系 模仿 语图间性 文学图像论 

分 类 号：I0[文学—文学理论]