摘要
在艺术“分立”之后,特定媒介艺术的发展有两种方式:求“纯”或求“异”。求“纯”即通过发挥并强化特定媒介的“本位”特色来发展门类艺术;求“异”其实就是我们所说的跨界融合或跨媒介叙事问题。跨媒介叙事主要有三种基本类型:时间艺术与空间艺术之间的相互模仿;一种空间艺术与另一种空间艺术之间的相互模仿;一种时间艺术与另一种时间艺术之间的相互模仿。其中第一种是最主要的跨媒介叙事类型。无论是对于哪种情况的跨媒介叙事现象,我们都可以运用穆卡洛夫斯基的“前推”思想、雅各布森的“主导”思想,并结合巴赫金的“艺术时空体”理论而进行合理的解释。一切文学艺术作品都是艺术时空体,所谓跨媒介叙事无非是违反或背离艺术媒介的本质特性,在小说等时间艺术叙事中把本来处于“背景”位置的空间元素“前推”为“主导”元素,在绘画等空间艺术叙事中把本来处于“背景”位置的时间元素“前推”为“主导”元素。
After the“separation”of the arts,there are two ways to develop the arts of a particular medium:to seek“purity”or to seek“differences”.The so-called“purity”means to bring into play and strengthen the characteristics of a specific medium to develop the art as a category;the so-called“difference”is what we call cross-border integration or cross-media narrative.There are three basic types of cross-media narratives:the mutual imitation between temporal art and spatial art;the mutual imitation between one spatial art and another spatial art;and the mutual imitation between one temporal art and another temporal art.The first of the above three is the most dominant type of cross-media narrative.In any case,we can apply Mukarovsky’s concept of“foregrounding”and Jacobson’s concept of“dominant”and combine them with Bakhtin’s theory of chronotope to get a reasonable explanation.All literary and artistic works are chronotope,the so-called cross-media narrative is nothing but violating or deviating from the essential characteristics of the artistic medium,and the spatial element,originally in the“background”position,is foregrounded to become the“dominant”element,and in paintings and other spatial art narratives,the temporal element,originally in the“background”position,is foregrounded to become the“dominant”element.
出处
《思想战线》
CSSCI
北大核心
2024年第4期117-131,共15页
Thinking
基金
国家社会科学基金后期资助重点项目“跨媒介叙事研究”阶段性成果(20FZWA001)。
关键词
艺术分立
陌生化
前推
主导
艺术时空体
跨媒介叙事
“separation”of the arts
defamiliarization
foregrounding
dominant
chronotope
cross-media narrative
