{"title":"实体光谱:《野草莓》中金属“倒叙”的语义共振(《Smultronstället》,1957年)","authors":"J. A. P. Pedreño, Aarón Rodríguez Serrano","doi":"10.51698/TRIPODOS.2019.44P105-120","DOIUrl":null,"url":null,"abstract":"Este articulo plantea una nueva lectura de la pelicula Fresas salvajes (Smultronstallet; Ingmar Bergman, 1957) a traves de la exploracion narratologica de dos procedimientos fundamentales en su cuerpo textual: el flashback y la metalepsis. La union de estos dos recursos origina el fenomeno del flashback metaleptico, cuya particular naturaleza pone de relieve, en tres escenas cruciales del relato, la influencia de los conflictos del presente en la reconstruccion del pasado: si bien en las dos primeras las cualidades metalepticas de las regresiones adoptan un sesgo excluyente en lo relativo a la clase de inscripcion del sujeto recordatorio dentro de las mismas, sera en la ultima remembranza cuando, una vez el personaje protagonista ha resuelto la crisis existencial que padecia, el sesgo se torna definitivamente inclusivo, indicio de la reconciliacion efectuada con respecto a sus experiencias preteritas. The Embodied Spectre: Semantic Implications of the Metaleptic Flashback in ‘Wild Strawberries’ (‘Smultronstallet’, 1957) This paper aims to carry out a new reading of the film Wild Strawberries (Smultronstallet; Ingmar Bergman, 1957) through a narratological exploration of two fundamental techniques used in the body of the work: the flashback and metalepsis. The joined use of these two techniques creates the phenomenon of metaleptic flashback, which, through its particular nature, sheds light on the influence of present conflicts on the reconstruction of the past in three crucial scenes within the story. While the metaleptic properties of the regressions in the first two cases take an exclusive focus with regard to the kind of involvement of the reminiscing individual within those scenes, in the last scene of remembrance, once the main character has resolved the existential crisis that he has been experiencing, the perspective becomes de finitively inclusive, a sign of his having reached a reconciliation with his past experiences.","PeriodicalId":44263,"journal":{"name":"Tripodos","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"El espectro corporeizado: resonancias semánticas del ‘flashback’ metaléptico en ‘Fresas salvajes’ (‘Smultronstället’, 1957)\",\"authors\":\"J. A. P. 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La union de estos dos recursos origina el fenomeno del flashback metaleptico, cuya particular naturaleza pone de relieve, en tres escenas cruciales del relato, la influencia de los conflictos del presente en la reconstruccion del pasado: si bien en las dos primeras las cualidades metalepticas de las regresiones adoptan un sesgo excluyente en lo relativo a la clase de inscripcion del sujeto recordatorio dentro de las mismas, sera en la ultima remembranza cuando, una vez el personaje protagonista ha resuelto la crisis existencial que padecia, el sesgo se torna definitivamente inclusivo, indicio de la reconciliacion efectuada con respecto a sus experiencias preteritas. The Embodied Spectre: Semantic Implications of the Metaleptic Flashback in ‘Wild Strawberries’ (‘Smultronstallet’, 1957) This paper aims to carry out a new reading of the film Wild Strawberries (Smultronstallet; Ingmar Bergman, 1957) through a narratological exploration of two fundamental techniques used in the body of the work: the flashback and metalepsis. The joined use of these two techniques creates the phenomenon of metaleptic flashback, which, through its particular nature, sheds light on the influence of present conflicts on the reconstruction of the past in three crucial scenes within the story. 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引用次数: 0
摘要
本文对电影《野草莓》(Smultronstallet;英格玛·伯格曼(Ingmar Bergman, 1957)通过对其文本主体的两个基本过程的叙事探索:闪回和metalepsis。这两种资源的结合产生了金属史诗闪回的现象,在故事的三个残酷的场景中,闪回的特殊性质突出了现在的束缚对过去重建的影响:虽然在前两个如愿metalepticas re-gresiones采用排斥性偏见在那种inscripcion提醒在相同的家伙,在最后的remembran-za时,一旦这个角色prota-gonista padecia解决存在的危机,变得包容性definiti-vamente偏见,表明对recon-ciliacion preteritas经验方面。《影子幽灵:狂野草莓闪回的语义含义》(Smultronstallet, 1957)本文旨在对电影《狂野草莓》(Smultronstallet, 1957)进行新的解读。Ingmar Bergman, 1957)通过narratological explo-ration of two关键技术用来in the body of work:闪回和metalepsis。这两种技术的结合创造了金属闪回现象,通过其特殊的性质,揭示了当前冲突对故事中三个关键场景中过去重建的影响。而metaleptic properties of the regressions in the first two cases take an规定专门聚焦to the kind of参与of the reminis-cing单独within这些scenes in the最后场景纪念日,11个主要查阅你解决existential危机that he has been expe-riencing, the perspective - finitively becomes,甚至到登录其已经达到和解与他过去的经验。
El espectro corporeizado: resonancias semánticas del ‘flashback’ metaléptico en ‘Fresas salvajes’ (‘Smultronstället’, 1957)
Este articulo plantea una nueva lectura de la pelicula Fresas salvajes (Smultronstallet; Ingmar Bergman, 1957) a traves de la exploracion narratologica de dos procedimientos fundamentales en su cuerpo textual: el flashback y la metalepsis. La union de estos dos recursos origina el fenomeno del flashback metaleptico, cuya particular naturaleza pone de relieve, en tres escenas cruciales del relato, la influencia de los conflictos del presente en la reconstruccion del pasado: si bien en las dos primeras las cualidades metalepticas de las regresiones adoptan un sesgo excluyente en lo relativo a la clase de inscripcion del sujeto recordatorio dentro de las mismas, sera en la ultima remembranza cuando, una vez el personaje protagonista ha resuelto la crisis existencial que padecia, el sesgo se torna definitivamente inclusivo, indicio de la reconciliacion efectuada con respecto a sus experiencias preteritas. The Embodied Spectre: Semantic Implications of the Metaleptic Flashback in ‘Wild Strawberries’ (‘Smultronstallet’, 1957) This paper aims to carry out a new reading of the film Wild Strawberries (Smultronstallet; Ingmar Bergman, 1957) through a narratological exploration of two fundamental techniques used in the body of the work: the flashback and metalepsis. The joined use of these two techniques creates the phenomenon of metaleptic flashback, which, through its particular nature, sheds light on the influence of present conflicts on the reconstruction of the past in three crucial scenes within the story. While the metaleptic properties of the regressions in the first two cases take an exclusive focus with regard to the kind of involvement of the reminiscing individual within those scenes, in the last scene of remembrance, once the main character has resolved the existential crisis that he has been experiencing, the perspective becomes de finitively inclusive, a sign of his having reached a reconciliation with his past experiences.