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本文将叙事学研究方法与复合模式的研究方法相结合,针对西蒙·沙马编导的一部关于艺术史的电视系列片中雅克-路易·大卫专辑的脚本与画面关系的特点,探讨故事的复合模式讲述方式及其特点。笔者希望引发人们进一步思考的是:在多大程度上,故事讲述不仅是可用资源及其相互作用以及读者、听众/观众通过多种模式和媒介加以理解的产物,同时也是受到时代和文化制约的叙事成规的产物。文章认为:正是在这个意义上,艺术的话语支撑着我们“观看”某一幅绘画的方式;语言既冲击、也配合着我们的视觉建构。在具体的电视作品中,艺术的话语只是艺术故事中的一部分,而正在展开的故事也只是从一个特定角度讲述的故事。西蒙·沙马所选择的语言,既适合于特定场景和画作的描绘,也适合于按照对应的语境和可能的原因以及显然的结果对历史事件和个人行动进行叙述,促使他做出这种选择的,既有戏剧意识,也有在不同叙事层面和模式之间建立联系的需要。重构历史的目的就是为了强化这一述行特征。
This article combines the research methods of narratology with the research methods of compound patterns. In the light of the script-picture relationship of Jacques-Louis David’s album in a series of films about art history directed by Simon Sharma, Compound mode narration and its characteristics. The author hopes to arouse people’s further thinking about the extent to which storytelling is not only a product of the available resources and their interactions, as well as the understanding of readers, listeners / spectators through multiple modes and media, but also narratives conditioned by the times and cultures Routine product. The article argues that it is precisely in this sense that the discourse of art supports the way we “see” one piece of painting; the language attacks both and also with our visual construction. In concrete TV works, the discourse of art is only a part of the art story, and the story being started is just a story from a specific point of view. The language chosen by Simon Sharma is both adapted to the portrayal of a particular scene and painting and to the narration of historical events and personal actions according to the context and probable cause as well as the obvious result, The choice is both drama-conscious and the need to connect between different narrative levels and models. The purpose of reconstructing history is to reinforce this feature of the book.