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自18世纪莱辛发表《拉奥孔一论诗与画的界限》以来,“拉奥孔”一词不再仅限于拉奥孔群像雕塑或维吉尔的史诗,它成为考察文学与艺术关系的代名词。文学与艺术这两个门类,同在文艺复兴时期获得自律。随后的历史长河中,文学思潮与艺术运动又表现出同步性。诗与画,其界限和通联被无数学人探讨过。阿兰·巴丢的“事件哲学”独辟蹊径,揭示真理的出场路径。伊格尔顿将“事件”与文学联系在一起探讨,提供了理解文学的新视角。本文将“事件”进一步引申至艺术空间,从“事件”这一角度,阐释艺术的一个重要维度,并论证诗与画、文学与艺术在这一维度上的深层关联。
Since the 18th century, Lessing published “Laocoon’s Criticism on the Boundary of Poetry and Painting”, the term “Laocoon” is no longer confined to Laocoon’s group sculpture or Virgil’s epic. It has become a study of literature and art Synonymous with relationship The two categories of literature and art are self-disciplined during the Renaissance. Subsequent long history, the trend of literature and art movement showed synchronization. Poetry and painting, the boundaries and communication has been discussed by countless people. Alain Baguio’s “Philosophy of Incident” is inventive and reveals the path to truth. Eagleton explored “events” in connection with literature, providing a new perspective on understanding literature. This article further extends “event ” to the art space, explains an important dimension of art from the perspective of “event ” and demonstrates the deep connection between poetry and painting, literature and art in this dimension.