媒介隐喻:明治版画叙事与视觉文化中的现实主义

IF 0.2 0 LITERATURE
Jonathan E. Abel
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引用次数: 0

摘要

本文首先假设,用于讨论叙事和调解的隐喻的特殊性对理解它们很重要。例如,评论家前田爱认为,伴随明治视觉革命而来的文学范式转变,将森Ōgai著名的早期现实主义作品《舞女》(舞姬)视为将全景大厅的效果转化为文学。在他职业生涯的最后,Mori Ōgai在《大雁》(Gan)中的叙述者将他自己的叙事比作立体视觉。这两种不同的视觉医学启示暗示了两种不同的技术。然而,我认为,在第三种视觉媒介(利用全景营销和立体视觉技术的媒介)中,我们可以找到一种隐喻,暗示这两种现实主义模式之间的连续性,在Ōgai的早期职业生涯和他后来的作品之间,在前田的媒体理解和Ōgai自己的理解之间。这是理解Ōgai叙事的第三个隐喻,暗示他的叙事模式从来不是单调的,总是多音的,在表面上宣传一种美学,而在内部提供另一种美学。最后,这种观点提出了一种现代主义现实主义,它理解并表达了自身的局限性,因此更加现实。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Media as Metaphor: Realism in Meiji Print Narratives and Visual Cultures
This article begins with the assumption that the specificity of metaphors used to discuss narration and mediation matter for understanding them. For instance, arguing for a paradigm shift in literature concomitant with the visual revolution of Meiji, critic Maeda Ai saw Mori Ōgai’s famed early work of realism “Dancing Girl” (Maihime) as translating the effects of the panorama hall into literature. By the end of his career, Mori Ōgai’s narrator of Wild Geese (Gan) compares his own storytelling to stereoscopy. These two different visual medial affordances suggest two different techniques. However, I argue that it is in a third visual medium (one that draws on the marketing of panorama and the visual techniques of stereography) that we may find a metaphor suggesting a continuity between these two modes of realism, between Ōgai’s early career and his later opus, between Maeda’s medial understanding and Ōgai’s own. This third metaphor for understanding Ōgai’s narration implies his mode of narration is never flat, always polyphonous, and advertising one aesthetic on the surface while providing another within. In the end, this view suggests a modernist realism that understood and expressed its own limitations and was, therefore, all the more realistic.
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来源期刊
Childrens Literature
Childrens Literature LITERATURE-
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