Hanna Dymel-Trzebiatowska
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引用次数: 0

摘要

本文讨论了2016年由挪威著名艺术家作家Gro Dahle和插画家Svein Nyhus撰写的备受争议的挪威绘本《乌贼》(Blekkspruten)如何从视觉和语言上叙述乱伦这一禁忌主题。这对夫妇之前在他们的书中讨论过许多有争议的主题,比如家庭暴力、性别差异和精神疾病,但这一次,这个主题在儿童书籍中呈现似乎特别有问题。由于达勒和尼胡斯都明确主张“所有年龄段的文学”(allalderlitterur)的概念,《Blekkspruten》的隐含读者群也包括年轻的、没有经验的读者。分析的重点是艺术家让孩子们熟悉乱伦的模式,答案是文本和图像中呈现的复杂的隐喻信息。他们怀孕,但微妙的意象和复杂的互动使孩子们有可能讲述困难,具有挑战性的主题。此外,调查回应了Dorte Karrebæk的建议,将更多的反思放在插画家的作品中,作为一个连续体。它将Nyhus在Blekkspruten的插图与他以前的作品并置,展示了他新的艺术解决方案(不同的线条,形状和颜色)以及之前使用的一些视觉符号(打开或关闭的容器,猴子玩具,钥匙)。他们反复出现在一种访谈的、自我指涉的游戏中,经常参与开放式结局的构建,并暗示不可能给出明确的答案。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
O tym, jak dzieciom opowiedzieć o wszystkim. Moc metafory w norweskiej książce obrazkowej „Blekkspruten” Gro Dahle i Sveina Nyhusa
The article discusses how the taboo theme of incest is narrated both visually and verbally in the controversial Norwegian picturebook Blekkspruten (The Squid) from 2016, authored by the famous Norwegian artists Gro Dahle, a writer, and Svein Nyhus, an illustrator. The duo had previously tackled numerous contentious themes in their books, such as domestic abuse, gender disparity and mental illness, but this time the subject seems particularly problematic to present in a children’s book. Since both Dahle and Nyhus explicitly advocate a concept of allalderlitteratur (literature for all age groups), the implied readership of Blekkspruten includes young, inexperienced readers, too. The analysis focused on the mode in which the artists acquainted children with incest, and the answer was the intricate metaphorical message rendered both in the text and in the images. Their pregnant, yet subtle imagery and sophisticated interaction made it possible to narrate the difficult, challenging theme for children. Furthermore, the investigation responds to Dorte Karrebæk’s suggestion to devote more reflection to the illustrators’ work as a continuum. It juxtaposes Nyhus’ illustrations from Blekkspruten with his previous works, showing both his new artistic solutions (different lines, shapes and colours) and references to some visual symbols employed before (open or closed containers, a monkey toy, a key). They recur in an intervisual, self-referential play, often participating in construction of open endings and implying the impossibility of giving unequivocal answers.
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