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本文尝试从巴塞尔姆《在托尔斯泰博物馆》出发研究后现代小说的空间意识。詹明信把从现代到后现代的转变视为空间对时间取得了绝对的优势。时间性终结了,一切终止于身体和此刻。在小说中,拼贴技巧所营造的空间表象平面性的浮光掠影,反射着传统历史时间终结之后的“当下”的魅影。主体失去了时间的经验能力,由疏离异化走向分裂瓦解。主体死了,一切终止于身体。身体与物体的现象学转变及其直接感官性,都被置于文本中所营造的博物馆空间,身体在博物馆的想象空间和观看空间中实践着自己的空间审美。
This article attempts to study the spatial awareness of postmodern fiction from Basel’s “Tolstoi Museum”. Jimmy Chan regarded the shift from modernity to postmodernity as an absolute advantage over time. Time ended, everything ended in the body and at the moment. In the novel, the superficial glimpse of the spatial representation created by the collage technique reflects the phantom of “present ” after the end of traditional historical time. The subject lost the ability to experience time, from alienation to disintegration. The main body is dead, all end in body. The phenomenological changes of the body and the objects and their direct senses are placed in the museum space created by the text. The body practices its own space aesthetic in the imagination and viewing space of the museum.