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图书标签:

• 艺术史
• 叙事学
• 文学理论
• 视觉文化
• 文化研究
• 艺术哲学
• 图像学
• 媒介理论
• 叙事艺术
• 艺术批评

This book aims to be a guidance, showing a way of reading a literary text not only verbally but also visually. Through artistic terms and movements, the readers can see that a literary text can be enjoyed not only through the black words on the whitepapers. A solid and profound understanding of the visual arts can especially remind us how different and also, how difficult, when it comes to read a verbal painting.

　　For scholars, students, and also for people who are interested in the mutual development of visual and verbal narrative forms, this book is also innovative.

本书特色

　　"This book offers many literary occasions for thinking about the challenging and ever changing connections and disconnections of truth and beauty in their times and in their texts."
　　──Professor Rachel Bowlby, UCL

名人推荐

　　Rachel Bowlby(Professor of Comparative Literature,University College London)

好的，这是一份关于一本名为《Art and Narrative》的图书的详细简介，内容完全围绕该书的不存在的主题和结构展开，旨在提供一个充实且引人入胜的虚构描述。 --- 《Art and Narrative》：光影、结构与无声的故事——解构视觉叙事的新疆域 第一版序言：超越描绘的边界 《Art and Narrative》并非一本简单的艺术史或叙事理论专著。它是一次对“叙事性”这一核心人类体验进行深层哲学和美学拷问的探险。本书的核心论点在于：任何有组织的视觉艺术——无论是古典油画、现代雕塑，还是实验性电影——其存在本身即是一种语言，一种结构，它并非仅仅“描绘”一个故事，而是构建了一个与观众经验同步、甚至超前的、不可言喻的叙事场域。 我们习惯于将叙事等同于线性的时间轴和明确的人物冲突。然而，本书挑战了这种二元对立，转而探索那些潜伏在构图、色彩的张力、光线的处理、以及材料本身的纹理之中，那些“静止的叙事”（Static Narratives）。 本书的写作风格旨在模仿其探讨的艺术品：精确、多层次，并且要求读者积极参与到意义的“重构”过程中。我们不提供简单的答案，而是提供一套精密的分析工具，用以解剖那些视觉作品中自我完结的宇宙。 第一部：视觉语言的语法——结构的构建与解构 第一章：构图的句法学：空间作为时间 本章深入探讨了艺术作品中空间布局的语法。传统的艺术分析往往将构图视为一种平衡或美学安排。然而，《Art and Narrative》将其视为一种时间序列的编码。例如，从巴洛克时期的对角线运动到立体主义的平面重叠，这些视觉选择如何映射了人类认知中对事件的组织方式？我们通过分析文艺复兴早期“视域”（Vesica Piscis）的消失与重现，揭示了艺术家如何通过限制或扩展观众的视野，来控制叙事的节奏和信息释放的速率。 第二章：色彩的语义场：非线性的情感编码 色彩不仅仅是情绪的渲染剂，它是一种高度结构化的符号系统。本章引入了“色彩事件”（Chromatic Events）的概念，探讨特定色调组合如何绕过逻辑思维，直接与深层记忆和文化原型对话。从提香的“忧郁红”到蒙克的“焦虑黄”，我们细致地解构了这些色彩如何构建了一个独立于主题的叙事线索。我们将重点考察非西方艺术中色彩对“存在状态”的描述，而非对“行动发生”的描述。 第三章：材质的语篇：从泥土到永恒的触觉记忆 艺术品的物质性（Medium Specificity）被视为叙事的底层代码。一块粗粝的青铜、一块光滑的大理石、一层层堆叠的油彩，每一种材质都携带了其自身的“时间重量”。本章考察了材质如何参与到故事的构建中，例如，材质的侵蚀或保存状态如何暗示了叙事的主体（时间、死亡、记忆的不可靠性）。对日本“侘寂”美学中“不完美的时间标记”如何作为一种强大的叙事手段进行了深入的考察。 第二部：故事的幽灵——非人物叙事与缺席的力量 第四章：场景之外：未被描绘的行动（The Unpainted Action） 大多数艺术分析聚焦于画中所展示的内容。本书则将焦点转向了画框边缘之外、或画中人物凝视之处的“未被描绘的行动”。通过对拉斐尔和卡拉瓦乔作品中人物眼神方向的精确测量，我们揭示了艺术家如何利用视觉引导，迫使观众的想象力去“补完”那些被故意省略的关键情节。这些缺席并非空白，而是叙事张力的最大来源。 第五章：静物中的戏剧：无生命的物件的肖像 静物画（Still Life）通常被视为对物质生活的赞颂或对死亡的警示。本章提出了一个激进的观点：静物是一种关于“关系”的叙事。一堆水果的摆放、一只倾倒的酒杯，它们之间存在着一种瞬间的、未被命名的小型戏剧。我们考察了荷兰黄金时代静物画中，物件的排列如何构建了一个关于选择、欲望与幻灭的复杂叙事循环，而无需任何人物的介入。 第六章：空间作为角色：建筑环境的情感地形学 在许多艺术作品中，背景（如荒凉的风景、宏伟的废墟或拥挤的室内）超越了单纯的布景作用，成为了参与叙事的“角色”。本章分析了建筑和景观如何通过其自身的比例、光影关系，主动地“塑造”或“限制”其中人物的行为和命运。这种“环境决定论”的视觉表达，如何建立起一种比人物对白更深刻的宿命感叙事。 第三部：时间、循环与观众的参与 第七章：蒙太奇的静止：多重视角的叠加 传统电影理论中的蒙太奇强调的是时间片段的并置。本书则探讨了“静态蒙太奇”——即在一幅平面作品中，如何通过不同的风格、符号和视角（例如，同时出现的不同历史时期元素）的叠加，实现对复杂时间性的表达。我们通过分析中世纪手抄本的装饰性边框与中心图像的叙事冲突，展示了这种叠加如何产生一种超越线性阅读的“同时性”叙事体验。 第八章：循环与回归：非终结性的故事结构 许多艺术作品拒绝提供明确的结局。它们倾向于构建一种循环或不断回归的结构。本章考察了这种“非终结性”如何成为一种叙事策略。通过对某些仪式性艺术和抽象表现主义作品的分析，我们探讨了艺术家如何通过重复的图案、持续的张力或未解决的平衡，将观众锁定在一个持续的“此时此刻”的经验中，从而使叙事成为一种状态而非事件。 第九章：观众作为叙事者：阐释的伦理学 本书的终点在于邀请读者进行“共同创作”。如果视觉艺术的叙事是结构性的、而非描述性的，那么观众在填补空白、解读张力时所扮演的角色就至关重要。本章探讨了观看行为本身的伦理维度：我们是否有权用自己的时间经验去“完成”艺术家的沉默？最终，《Art and Narrative》旨在证明，最深刻的叙事并非被讲述出来的，而是被我们共同体验和重构出来的。 --- 《Art and Narrative》是献给所有对视觉意义的深层结构感到好奇的学者、艺术家和鉴赏家的一份必备指南。它将彻底改变你观看艺术的方式。

作者简介

林孜郁(Tzu Yu Allison Lin)

　　Dr Tzu Yu Allison Lin received her PhD in English and Comparative Literature, Goldsmiths, University of London. She teaches at Faculty of Education, Gaziantep University, Turkey. Dr Lin is the co-editor and the reviewer of several international journals. Her publications are journal articles and books, including London Poetics (Taipei: Showwe, 2016). Dr Lin is currently working on a new  book with several colleagues, which is about education in perspectives of cultural studies.

Acknowledgements
Preface
Chapter 1 ◆ Surrealism
Chapter 2 ◆ Impressionism
Chapter 3 ◆ Realism
Chapter 4 ◆ Symbolism
Appendix

 

Acknowledgements

　　I would like to thank Mr Michael Song, the President of Showwe Publisher, Taipei. Without his encouragement and strong support, it would be impossible to have this book published. I also want to thank Cecilia Hsu. As the Chief Editor, Ms Hsu gave many important and professional suggestions during the process of my writing.

　　This book aims to be a guidance, showing a way of reading a literary text not only verbally but also visually. Through artistic terms and movements, the readers can see that a literary text can be enjoyed not only through the black words on the white papers. A solid and profound understanding of the visual arts can especially remind us how different and also, how difficult, when it comes to read a verbal painting.

　　For scholars, students, and also for people who are interested in the mutual development of visual and verbal narrative forms, this book is also innovative. Through crossing the boundry, I sincerely hope that this research can make the readers to think about some fundamental questions such as ‘what is art’, and ‘what is literature’, as these questions can always inspire, and yet, challenge us.
 
Preface

　　John Keats’s famous poem, ‘Ode on a Grecian Urn’, published in 1820, explores the suspension of ordinary time. It does this in two ways in particular. On the one hand, the scenes depicted on the ancient vessel, and described in the poem, remain paused at the same points in the narratives that they suggest. Youthful desire is not fulfilled (but at the same time it is never thwarted, and it is never over). On the other hand, the vase itself remains as a real representative of an aesthetically prized culture from long ago. It is a solid object; it stands for ancient Greece. It always has done, and it always will.

　　Allison Lin’s engaging and delicately detailed little book is also preoccupied with doubled images: especially those that, like Keats’s poem, play on contrasts of loss and desire, of timelessness and temporal movement. In a certain way, Keats’s poem—which lies outside Lin’s book—could be said to form a template from which some later representations appear to take their different bearings; these differences then show up features that seem to be lacking, or at least not present, in the earlier work. I am thinking in particular of one of the poems that Lin cites in full, with a subsequent commentary: Richard Aldington’s ‘Eros and Psyche’. In this poem there are two statues seen in the suburb of Camden Town. One is of ‘Cobden’, in commemoration of a nineteenth-century political figure, and the other, ‘Eros and Psyche’, alludes to ancient Greek culture in the same way as Keats’s urn. The Greek statue is already relativised by its sharing of place with the representative of a particular moment in public history (but a moment that by now—by the time of the poem—has been more or less forgotten, since the speaker can’t remember who Cobden was). Both are statues; neither has priority, is seen alone. This then draws attention to an artificial isolation of the urn in Keats. Although in reality urns like the one the poem describes were carefully preserved and displayed in museums—inclouding London’s British Museum, in the same city as the statues of Aldington’s poem—that present-day situation, distant from its historical and geographical origins, is not a part of the ‘Ode’.

　　In other ways too, Aldington draws attention to a different type of contrast from those that are shown by Keats. The statue of Eros and Psyche has suffered from the disfiguring effects of real time and real-world exposure. It is dirty, ‘grimy’, and so is the surrounding atmosphere. In Camden Town the pair of gods is out of place. The poem describes the tranquil, mythical setting which should be theirs instead. That is to say, it depicts a scene which is shown as positive in value (this is where the lovers ought to be, not here on this ugly street) but is also, in the negative, a picture of what is not, is absent from the scene that the spectator observes.

　　The sense of disjunction in ‘Eros and Psyche’ is also explored through the situation of the speaker. Keats’s poet, addressing a ‘thou’ with familiarity, is not situated in any specific place or time. But Aldington’s is sitting on top of a double-decker bus; it is from this elevated but realistic vantage point, passing through the present day, that he sees the two artworks—and the other components of the local sights, its ‘square of ugly sordid’ shops’ and its underground station.

　　Aldington might seem at first sight, in a Victorian way, to be making a conventional kind of contrast between the beauties of classical civilisation and the sordid realities of the modern world; but that is not the case. Near the end of the poem, having drawn at length the picture of the perfect mythical place from which the present Eros and Psyche are separated, the speaker turns to one more world, this time the real conditions in which the statue would have been created. In this description, it is ‘the limbs that a Greek slave cut / In some old Italian town’.

　　Jane Austen’s novel Pride and Prejudice, another of the texts that Lin dissects, was published a few years before Keats’s ‘Ode’. It comes from the same country, and the same period, but generically it lays out somewhat different markers of its literary world. Lin is interested in the novel’s analysis of different perceptions of reality—beginning, in many senses of that word, with the novel’s opening sentence which ironically sets up a ‘truth’ that is ‘universally acknowledged’. In its questionable determinacy, this has something in common, thematically too, with the enigmatically categorical declaration at the end of Keats’s poem, that ‘Beauty is truth, truth beauty - that is all / Ye know on earth, and all ye need to know.’

　　Lin’s own preferred version of realism leads her to focus on the portrait of Mr Darcy that hangs in Pemberley, his ancestral home. When Elizabeth Bennet is shown this image by an affectionate housekeeper, her previously negative judgement of the man is seriously modified for the better: from now on she starts to see him, like his lovely home, as a possible object of love. And indeed this more benign picture—this picture— is what the novel’s narrator, along with Elizabeth herself, will endorse as correct, as distinct from the more negative images of Darcy that have been visible up to this point. It’s a nice example of realism for Lin to choose, given the pathway of her own book, which moves through the largely visual modes of imagism (or surrealism) and impressionism, and ends with symbolism. Lin’s realism, in this instance, is not reality but a painting—a painting, that is, which is represented in a novel’s description of it in words. It is through such pictures, such artistic representations, that real lives are lived—in all their poignant divisions and rapprochements: between a here and an elsewhere, or between here and then and always. Art and Narrative offers many literary occasions for thinking about the challenging and ever changing connections and disconnections of truth and beauty in their times and in their texts.
 

Chapter 1 ◆ Surrealism
 
Through reading Walter Benjamin’s critical essay, ‘Surrealism: The Last Snapshot of the European Intelligentsia’, I would like to trace the key point of Surrealist aesthetics, particularly the juxtapositions of visual objects in the city of London. Richard Aldington’s two poems, London (May 1915) and Eros and Psyche, come to depict Surrealist image spheres, as their visual representations in words would show. The dialectical optic of the poet comes to reveal an allegorical synthesis, giving birth to new meanings. The city of London shows the irrational fusion of the opposites, in a way which a Surrealist reading of these two poems is able to construct a critical virtue.

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这本书简直是一场视觉和思想的盛宴！当我翻开《Art and Narrative》时，立刻就被那些精美的插图所吸引，它们不仅仅是画作，更像是精心编织的故事片段。作者以一种非常独特的方式，将艺术作品与叙事深度联系起来，让我看到了绘画、雕塑，甚至电影中的镜头语言是如何构建起引人入胜的故事线的。我尤其喜欢其中对几个著名画作的解读，作者抽丝剥茧地分析了色彩、构图、人物表情如何共同传递情感和叙事张力，这让我对以往习以为常的艺术品有了全新的认识。原来，每一笔色彩，每一个阴影，都可能是一个隐藏的线索，引领观者进入艺术家所构建的世界。我一直对艺术的叙事性充满好奇，但很多时候，这种解读往往停留在比较宏观的层面。而《Art and Narrative》则深入到了细节，它教会我如何去“读”画，如何从视觉元素中捕捉到那些细腻的情感流动和情节发展。这本书非常适合那些想要更深入理解艺术、探索艺术与故事之间神秘联系的读者。它不会让你枯燥地背诵历史，而是用一种充满启发性的方式，让你重新审视你所见过的每一件艺术品。

评分☆☆☆☆☆

我一直认为，艺术本身就是一种语言，而《Art and Narrative》这本书则为我提供了理解这种语言的绝佳指南。它并不是一本枯燥乏味的学术著作，而是通过引人入胜的案例分析，将艺术作品中蕴含的叙事力量展现得淋漓尽致。作者的笔触既有深度又不失趣味，他用通俗易懂的语言，揭示了艺术作品是如何通过视觉元素来构建故事，传达情感，甚至引发观众的思考。书中关于“情感的视觉化”的讨论尤其令我着迷，作者解释了艺术家是如何通过色彩的运用、线条的勾勒、光影的明暗来营造出特定的情绪氛围，从而将观众带入故事的情感核心。我常常会在阅读过程中停下来，回想自己曾经看过的那些艺术作品，并尝试用书中介绍的方法去解读它们，这无疑是一次非常愉快的智力探索。这本书让我明白，每一件艺术品都不是孤立存在的，它们都是一段段故事的浓缩，是艺术家与观众之间无声的对话。《Art and Narrative》不仅是一本艺术读物，它更是一次关于如何感受和理解世界的美好启迪。

评分☆☆☆☆☆

《Art and Narrative》这本书给我带来了一种前所未有的阅读体验，仿佛置身于一个由不同时代的艺术家和故事讲述者共同构建的奇妙空间。作者并没有采用传统的艺术史叙述模式，而是将艺术作品视为一个个独立却又相互关联的叙事载体。他巧妙地挑选了跨越不同媒介和风格的案例，从古老的壁画到现代的电影蒙太奇，展现了“讲故事”这一人类最古老的冲动如何以如此多样的形式在艺术中得以体现。我特别对其中关于“静止的叙事”的讨论印象深刻。作者解释了如何通过捕捉一个瞬间，如何通过人物的姿态、眼神的交流，以及背景的细节，来暗示过去发生的故事和未来可能的发展。这让我意识到，即使是看似静止的艺术形式，也蕴含着无穷无尽的叙事潜力。这本书的语言也十分优美，富有哲思，读起来既像是学术探讨，又像是和一位博学的朋友在进行一场深入的对话。它鼓励读者主动去参与到艺术的解读过程中，去发现属于自己的故事。对于任何对艺术和叙事抱有兴趣的人来说，《Art and Narrative》都是一本不容错过的佳作，它会颠覆你对艺术的固有认知，让你看到艺术更深层、更具生命力的那一面。

评分☆☆☆☆☆

《Art and Narrative》这本书绝对是那些渴望从艺术中挖掘更深层含义的读者的福音。它不再满足于对艺术作品的表面描绘，而是深入探讨了“讲故事”这个核心要素是如何贯穿于各种艺术形式之中的。作者的研究视角非常开阔，涵盖了从绘画、雕塑到摄影、电影等多个领域，并且毫不吝啬地分享了他对这些作品深刻的见解。我尤其被书中对“视角”的分析所吸引，作者阐述了艺术家是如何通过选择特定的观看角度，来引导观众的情感和对故事的理解。比如，一个低角度的拍摄可以强调人物的权威感，而一个高角度的俯视则可能暗示着弱势或被孤立。这种对细节的关注，让我对许多曾经“看懂”了的艺术作品有了全新的理解。这本书就像是一把解锁艺术奥秘的钥匙，它不仅让我欣赏艺术的美，更让我理解艺术背后的思考和意图。读完这本书，我感觉自己的艺术鉴赏能力得到了极大的提升，也更加期待能够深入探索那些隐藏在艺术作品中的丰富叙事。

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说实话，刚拿到《Art and Narrative》的时候，我有些担心这本书会不会过于晦涩难懂，毕竟“艺术”和“叙事”这两个词汇本身就带有一点距离感。然而，我的顾虑很快就被抛到了九霄云外。作者以一种极其平易近人的方式，将复杂的艺术理论和叙事技巧娓娓道来，让我这个非专业人士也能轻松理解。他通过大量生动的例子，将抽象的概念具象化，让我仿佛亲眼见证了那些艺术作品是如何被创造出来，又是如何与观众建立起情感连接的。书中对不同文化背景下艺术叙事方式的对比也非常有趣，它揭示了人类在讲述故事时共通的模式，以及在地域和文化差异下产生的独特表达。我特别喜欢书中关于“留白”和“未完成”的讨论，作者解释了为什么有时候“不说完”反而更能激发观众的想象力，这种“留白”的艺术手法在叙事中同样至关重要。这本书不仅仅是一本关于艺术的书，它更是一本关于如何理解和感受世界的书。它教会我用更敏锐的眼睛去观察，用更开放的心态去感受，去发现那些隐藏在日常生活中的“叙事”。