【作者】 赵晓芳；

【导师】 王又平；

【作者基本信息】 华中师范大学 ， 中国现当代文学， 2008， 博士

【摘要】 本文从视觉文化的角度切入对世纪之交中国文学的图像化走势进行了考察,以把握在视觉文化时代文学图像化对文学的生存、发展所具有的意义和产生的影响。论文共分六个部分,各部分主要内容如下:绪论部分有两个内容。一是视觉文化视角的提出。首先介绍了本论题的研究背景和问题的缘起。消费社会的到来及消费文化的蔓延为视觉文化的兴起提供了温床;科学技术的发展特别是媒介技术的革新、大众传媒的崛起为视觉文化传播提供了媒体平台;人类本能的视觉需求以及视觉欲望的不断攀升为视觉文化的勃兴提供了内在驱力。文学在视觉文化的冲击下遭遇了生存困境,逐渐从中心向边缘退却,文学的图像化成为文学在视觉文化时代谋求生存与发展的一种途径和策略。然后对本文的主要理论概念“视觉文化”、“视觉性”进行了界定。视觉文化是以图像为基本表意符号、以大众媒介为主要传播介质、以视觉性为精神内核,与通过理性运思的语言文化相较而言的一种通过直观感知的图像文化形态。它既包括静态的图画,也包括动态的影像。视觉性是使物从不可见转为可见的运作的总体性。它既包括看与被看的结构关系,也包括生产看的主体的体制、话语之间复杂的相互作用,还包括构成看与被看的结构场景的视觉场。最后对视觉文化、视觉文化与文学的关系等问题的研究现状进行了梳理,在此基础上阐明了本文研究的意义及方法。二是对视觉文化与语言文化、视觉文化与大众文化两对相关理论范畴的辨析。由于表意媒介、审美对象、审美方式的差异导致了视觉文化和语言文化各有优长。视觉文化并不排斥语言文化,相反,它需要通过语言文化来深化其内涵、提升其品味,这为文学与图像的互动提供了理论依据。视觉文化与大众文化之间既有重合也有差异。从特定场所的视觉艺术到无所不在的大众文化,视觉文化经历了一个由雅到俗的泛化过程,并逐渐消弭雅俗界限。它既包容了一部分高雅的经典视觉艺术作品,也包容了当下以绘本、影视、广告、动漫为代表的大众文化样式。第一章,图像文本:文学的图像化趋势。本章基于文学期刊、文学出版以及小说的影视改编三大板块,从表层的物质形态描述文学的图像化趋势。主要表现为,文学积极摄取视觉文化中的视觉性因素:图片、照片、影视来丰富自身。文学期刊注重外观装帧设计、加大图片容量、增设视觉文化栏目。文学出版从专业图文书扩展到学术图文书最后蔓延到纯文学图文类系列丛书的策划出版。小说被改编成影视剧然后热销,小说进入影视文化产业链。除了图像对文学的单面影响之外,图像也为文学提供了新的艺术空间和审美质素,文字与图像、文学与影像艺术之间互动共生。文学对影视、动漫叙事技巧的借鉴使得文学作品呈现出动态的画面感、冲突的美学、奇幻的境界,丰富了文学的叙事技法和审美内蕴,增加了阅读的意趣和快感。当代图文小说中图与文的关系较之传统的“文中插图”发生了深刻变化,“图”一改以往对“文”的辅助、依附地位而与“文”并驾齐驱,以互释的方式共同承担文本叙事,营造出语-图互文和复调的审美效果,不仅具有文体创新意义,而且拓展了文学的叙事空间。第二章,文本图像:文学的图像化表征。本章基于“新生代”、“70后”、“上海怀旧”三种具体的文学现象,从深层的文化逻辑分析文学的图像化表征。图像文化的感官美学、平面美学、仿真美学对文学形成了潜在的浸润与渗透,从而使文学的审美趣味、精神气质发生悄然移位,文学的世俗化、大众化倾向日益明显。主要表现为三个方面:一是图像文化以直观感性的画面刺激人的欲望,这种感官美学对文学的渗透,导致了以身体感官、性意识的张扬为表征的欲望叙事在文学中的盛行。以朱文、韩东为代表的“新生代”作家将欲望的微观政治学运用于小说文本,通过本体性身体欲望的张扬对传统伦理道德及价值观实施颠覆和消解。其叙事策略是以“游走”和“体验”的方式来呈示欲望碎片和情绪之流。二是图像文化以蒙太奇画面叙事,时间意识消退、空间意识凸显,历史感丧失,这种平面美学对文学的渗透,导致了以感官碎片的铺陈和时尚元素的拼贴为表征的表象叙事的流行。以卫慧、棉棉为代表的“70后”作家通过虚化“父亲”、魅化“西方”(将西方的生活方式作为效仿和膜拜的对方)的方式造成历史记忆和民族记忆的缺席,同时沉湎于后殖民文化所带来的物质迷醉与感官沉沦。其叙事策略是打碎时间之链、拒绝深度意义,注重物质、感官铺陈的“精神分裂式”(詹姆逊语)写作。本体性的身体欲望和符号化的身体欲望是“新生代”和“70后”欲望书写的分野。三是图像文化以失去“原本”的虚幻“类像”带给人“超真实”的体验,这种仿真美学对文学的渗透,导致了以审美幻象营造真实氛围的历史怀旧类虚拟叙事的流行。以程乃珊、陈丹燕为代表的“上海怀旧”书写通过重温、复现三、四十年代的“老上海”历史风貌制造上海的都市“镜像”,以满足新兴中产阶级的文化认同心理和时尚怀旧情绪,从而假借历史怀旧而消费历史。其叙事策略是通过层层筛选和过滤。以亲临现场或以图为证的方式制造“老上海”的审美幻象。第三章,图像与权力:文学场域“看”的解析。本章基于“身体写作”、“小资写作”、“美女文学”三种世纪之交的热点现象,对文学场域中种种“看”的行为进行解析,企望深入“图像”背后揭示文学“视觉行为”形成的原因及其在结构文本叙事的瞬间所生发的隐秘机制。本章认为,在文学场域中,性别权力、消费权力、市场权力三种主导权力话语都利用图像的“眼球经济效应”大做文章,彼此纠结、缠绕乃至达成共谋。以林白、陈染为代表的“身体写作”力图通过女性意识的张扬逃脱男权文化的藩篱,但男权文化与市场权力、媒介权力达成共谋,利用“男性阅读”、商业篡改等方式将女性形象置于“被看”地位,并对女性作家进行男权文化的意识形态“询唤”使其认同男性的观看主体,因而出现了以卫慧、棉棉、木子美、九丹等为代表的“伪身体写作”,使女性重陷男权文化陷阱。以安妮宝贝为代表的“小资写作”作为“小资话语”之一种,经由消费意识形态的引导和大众媒介的引爆而暧昧出场。通过文艺情结、都市情结、西方情结三种情结的书写和优雅、浪漫、感伤三种情绪的渲染,“小资写作”营造了一个温情而忧伤的“小资”世界,勾勒出一种生活在国际化大都市消费前沿的“小资”所特有的“城市感性”,从而满足了“小资”身份认同和个性彰显的心理需求。作为文学与市场合谋的产物,“美女文学”现象从“美女作家”的命名、“美女文学”的写作配方到“美女文学”的包装、炒作等文学生产、传播、消费的各个环节都渗透了资本运作的商业逻辑,典型地体现出市场经济背景下文学的嬗变。在上述权力的纠结、共谋下,文学的审美意义被资本逻辑消解并重构:审美经验变成了欲望和快感的张扬,精神符号变成了消费符号对人的控制,文本的超越和批判价值日渐稀薄。第四章,图像的限度:读图时代的文学隐忧。本章从文学创作和文学阅读两个方面分析了读图时代的文学隐忧。从文学创作来看,图像时代,大量虚拟电子类像的“超真实”对文学的“艺术真实”构成消解,文化工业的“机械复制”对“文学原创”构成消解,从而使文学创作呈现出真实性和原创性匮乏的隐忧。疏离现实生活和真实情感体验的虚拟、臆想,缺乏个性风格的仿写、复制、拼贴、自我重复等现象在无论主流作家还是青春写手中都日益显现。从文学阅读来看,从纸质媒介到电子媒介的转化使传统的文学阅读者开始分化,读书被读屏、读网所取代,传统文学经典遭到冷落。从文学阅读到视像观看,读图时尚对读者的思维方式、审美趣味、主体地位进行了潜移默化的重塑,快餐文化和浅阅读开始盛行,读者的想象力和创造力被压抑、掠夺而呈钝化之势。结语部分对全文进行了回顾和总结,并指出,由于视觉文化还是一种正在发展中的文化,文学的图像化也还处于探索、起步阶段,致使文学在图像化的过程中出现一些文-图疏离、扬图抑文的不良倾向,背离了视觉文化精神。为了保证文学在图像社会向更健康积极的方向发展,使文与图之间形成一个良性互动的审美空间和格局,有必要达成两点共识:一是积极应对视觉文化时代的到来,建立全新的文学批评范式和话语体系。二是始终坚持文-图互动的视觉文化精神,以文学性的坚守来打破“镜城”的“虚”与“欲”,实现图像文本的审美增殖。更多还原

【Abstract】 The dissertation investigates the pictorial trend of Chinese Literature at the turn of the century from visual culture perspective in order to hold the influence of the pictorialization of literature on the existence and development of literature in the era of visual culture.The dissertation has six parts. The following is the main content:The introduction shows two subjects. The first subject puts forward the perspective of the visual culture. Firstly, it introduces the academic background of the problem researched. The coming of the consume society and the spread of the consume culture provides the breeding ground for the rise of the visual culture. The development of science and technology especially the mass media provides a distribution platform for the visual culture’s dissemination. Human instinctive visual demand and desire provides internal driving power for the visual culture’s development. Literature encounters survival dilemma under shock of the visual culture. After falling off from center to edge, the pictorialization of literature is the strategy to survival and development for literature. Secondly, it points out two key words: "Visual Culture" and "Visuality". Visual Culture is a image culture form compared with the language culture which regards the picture as the basic symbol expressing the meaning, the mass media as the main medium and the visuality as the core. It includes both the static picture and the dynamic image. Visuality is a visual mechanism that makes the things from invisible to visible. It concludes not only structural relation of seeing and being seen but also interaction between system and discourse which produce the subject of viewing and visual field of seeing and being seen as well. Finally, it combs the current situation studied on this proposition and expounding the study method and meaning of this dissertation. The second subject differentiates and analyzes the relevant theory category of visual culture and language culture, visual culture and mass culture. Visual culture is different from language culture, but they are not incompatible. On the contrary, visual culture needs to deepen intension and promote taste by means of language culture. There is something not only in common but also in difference between visual culture and mass culture. Compared with mass culture, the content of visual culture is more abundant. It concludes both classical visual artistic works and some mass culture modes represented by drawing books, movie Tv, advertisement and cartoon. All those show that visual culture has dispelled the demarcation line between elite’s culture and popular culture.The first chapter is the research about the "picture text". It has explained the pictorialization of literature materially from three respects of literature periodical, literary publishing and the adaptation from the novels to movies & TV plays. Literature actively absorbs visual factors such as picture, photo, movie TV from visual culture to rich itself. Literature periodicals pay more attention to the graphic design of front cover, increase more pictures and set up column about visual culture. In the literary publishing circle, "picture books" are liked by many readers and occupy the half of the market. The novels are adept to movies & TV plays and sell well. It has entered the industry chain of film-television culture. In addition, pictures provide art space and aesthetic characteristics for the literature. Literary works show dynamic sense of frame, aesthetic of conflict and realm of wonderfulness by means of drawing lessons from narrative skills of film-television and cartoon, which increases reading pleasure and sentiment. Compared with the traditional "illustrated edition", contemporary "picture books" changes relationship between pictures and characters. In the past, pictures were recognized as "assistant" to characters. Now, pictures go side by side with characters .They shoulder the duty of literary narrative commonly, which build the polyphony aesthetic effect of the interaction of "language-picture".The second chapter is the research about the "text picture". It has explained the pictorialization of literature spiritually from three kinds of literary phenomena of "new generation", "the fictions written by the writers bom in 70s stepped" and "nostalgia for shanghai". Image culture stinking the sensory aesthetics, the spatial aesthetics and the simulation aesthetics has a potential and penetrative influence on literary creation. It results in change quietly of aesthetic taste and spiritual temperament of literature. Literature presents more and more popularization and secularization trend. The sensory aesthetic which stimulates people’ desire by means of intuitive and perceptual pictures infiltrating into literature has brought prevalence of desire narrative in "new generation". Take Zhu Wen, Han Dong for example, they apply micro-politics of desire to literary creation to overturn and clear up the traditional ethical morals and values by means of stinking inherent body desire. The narrative strategy is to experience stream of emotion and desire through migration. The spatial aesthetic which uses montage to narrate and stresses on space consciousness but desalinates time consciousness infiltrating into literature has brought prevalence of superficiality narrative in "the fictions written by the writers born in 70s stepped". Take Wei Hui, Mian Mian for example, they disenchant "Father" but enchant "West" and indulge in material and sensory stimulation, which lead to absence in historical memory and national memory. "Schizophrenic writing" that breaks the chain of time, rejects deep meaning and pays more attention to describe the material and sensory is its narrative strategy. The simulation aesthetics which brings people super-real feeling by producing many illusive simulations infiltrating into literature has brought prevalence of virtual narrative in "nostalgia for shanghai". Take Cheng Naishan , Chen Danyan for example, they describe the mirror image of city of Shanghai by means of reappearing the style and features of the 1930s-shanghai which to meet the rising bourgeoisie’s culture-identity and reminiscent mood. The narrative strategy is that writers arrive at the historical site or use old photos to build scene feeling after selection and filtration.The third chapter discusses the relationship between the picture and the power in the literature field. It has analyzed the ways of seeing in Chinese literary field at the turn of the century based on three kinds of literary hot spots of "Body writing", "Petty bourgeoisie writing" and "Beauty writing" in order to reveal Visuality that is hidden in all literary visual behaviors. In literary field, gender power, consume power and market power all makes full use of picture’s "eyeball economic effect" to realize their ideological purposes. "Body writing" led by Lin Bai, Chen Ran tries to escape the control of the man right culture by means of showing the feminism consciousness. But the man right culture gets entangled with market power and media power to let the female images keep being seen by means of reading as a man and commercial tamper. Besides, it calls other female writers through ideology in order to make them identify the male as watching subjects. The result of the call is that "pseudo-body writing" represented by Wei Hui, Mian Mian, Mu Zimei and Jiu Dan prevails in the literary circles and women fall in masculine culture trap. "Petty bourgeoisie writing" represented by Anne Baby is guided by consumptive ideology and exploded by mass media and then emerges vaguely. It builds a warm and dolorous "petty bourgeoisie world" by writing three kinds of complexes of literature, city, west and creating three kinds of emotions of elegant, romance, sentiment and describes the spicial "urban sensibility" of petty bourgeoisie who live in the international metropolis as well, which meets the petty bourgeoisie’s psychological demands of identity and individuality expression. As a collusive product of literature and market, "beauty writing" from naming, writing to packaging and sensationalization permeates business logic and embodies the evolution of the literature under the circumstance of market economy typically. Under the entanglement and conspiracy of powers above mentioned, the aesthetic significance of literature is eliminated and reconstructed by capital logic. Pleasure and desire replace aesthetic experience and consumption symbols replace spirit symbols to control people, which makes literature’ transcending value and criticism value fade gradually.The fourth chapter analyzes the literary secret worries from two aspects of literary writing and literary reading in read-image era. As far as writing is concerned, hyperreality made by virtual electronic simulations deconstructs the artistic reality. Mechanical reproduction coming from culture industry conflicts with literary original creation. All these result in deficiency of reality and originality. Literature is far away from real life and true feelings, which leads to literary phenomena of imitative writing, copy, collage and self-repetitions prevail not only among main aspect writers but also youth writers. In literature reading, because of transformation from paper medium to electronic medium, traditional literary readers begin to differentiate and reading screen and network replaces reading books and then traditional literary classics are neglected. From reading books to watching visuals, traditional readers’ thinking mode, aesthetic taste and subject position are rebuilt, which results in that fast food culture and superficial-reading begin to popularize and readers’ creativity and imagination are oppressed and deprived.The last part is the review and conclusion. It points out that because the visual culture is a developing culture and the literature pictorialization has been in the researching and starting stage, there is the ill-tendency of pictures deviating from characters or pictures oppressing characters that appears in the process of the literature’ image conversion. For the healthy development of literature in the image society and forming a aesthetic space that there is a favorable interaction between characters and pictures, it must arrive two-point consensus: firstly, we should be positive to cope with the coming of the age of visual culture and establish completely new paradigm and discourse systems of literary criticism. Secondly, we must always not only adhere to the spirit of visual culture that pictures and characters are interactive but also guard securely literariness to breakthrough mirror-city’ illusiveness and desire, which can bring the proliferation of aesthetic of picture text.更多还原