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语象叙事(ekphrasis)被视为艺术表现的一种方式、体裁、隐喻,或文艺理论中一个重要的概念与阐释工具。它似乎一夜之间成了评论界的宠儿,充斥在各种文艺期刊、会议论文与专著文集中。该词在西方有着源远流长的历史,其含义也在近2000年的发展中不断演变,至今仍未有定论。在其诸多定义中,以米切尔的影响最大。他从心理认知的角度,阐述了语象叙事的三个认识层次,将其界定为“视觉再现的文本再现”。今天学界对该词使用值得反思的几个问题是,这一术语的理论边界该有多大?文学研究中的ekphrasis与绘画艺术等所使用的该词是否应有区别?叙事理论的空间转向与ekphrasis有无关联?语图之间是什么关系?等等。本文拟从上述方面对西方语象叙事的历史、定义与问题做一梳理。
Ekphrasis is regarded as a form of artistic expression, genre, metaphor, or an important concept and interpretation tool in literary theory. It seems overnight became the darling of critics, filled in a variety of literary periodicals, conference papers and monographs. The term has a long history in the West, its meaning has also evolved in nearly 2000 years of development, so far there is no conclusive. Among its many definitions, Mitchell has the greatest impact. From the perspective of psychological cognition, he elaborates the three levels of understanding of the narrative of the language and defines it as “the reproduction of the text of visual representation.” What are the theoretical boundaries of this term? How should ekphrasis in literary studies differ from the word used in the field of graphic arts? The spatial shift of narrative theory and that of ekphrasis Is there any relationship between language diagrams? This article intends to sort out the history, definition and problems of the narration of western language from the above aspects.