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圖書標籤:

• 藝術史
• 敘事學
• 文學理論
• 視覺文化
• 文化研究
• 藝術哲學
• 圖像學
• 媒介理論
• 敘事藝術
• 藝術批評

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.

本書特色

　　"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

名人推薦

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

作者簡介

林孜鬱(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.

评分☆☆☆☆☆

《Art and Narrative》這本書絕對是那些渴望從藝術中挖掘更深層含義的讀者的福音。它不再滿足於對藝術作品的錶麵描繪，而是深入探討瞭“講故事”這個核心要素是如何貫穿於各種藝術形式之中的。作者的研究視角非常開闊，涵蓋瞭從繪畫、雕塑到攝影、電影等多個領域，並且毫不吝嗇地分享瞭他對這些作品深刻的見解。我尤其被書中對“視角”的分析所吸引，作者闡述瞭藝術傢是如何通過選擇特定的觀看角度，來引導觀眾的情感和對故事的理解。比如，一個低角度的拍攝可以強調人物的權威感，而一個高角度的俯視則可能暗示著弱勢或被孤立。這種對細節的關注，讓我對許多曾經“看懂”瞭的藝術作品有瞭全新的理解。這本書就像是一把解鎖藝術奧秘的鑰匙，它不僅讓我欣賞藝術的美，更讓我理解藝術背後的思考和意圖。讀完這本書，我感覺自己的藝術鑒賞能力得到瞭極大的提升，也更加期待能夠深入探索那些隱藏在藝術作品中的豐富敘事。

评分☆☆☆☆☆

《Art and Narrative》這本書給我帶來瞭一種前所未有的閱讀體驗，仿佛置身於一個由不同時代的藝術傢和故事講述者共同構建的奇妙空間。作者並沒有采用傳統的藝術史敘述模式，而是將藝術作品視為一個個獨立卻又相互關聯的敘事載體。他巧妙地挑選瞭跨越不同媒介和風格的案例，從古老的壁畫到現代的電影濛太奇，展現瞭“講故事”這一人類最古老的衝動如何以如此多樣的形式在藝術中得以體現。我特彆對其中關於“靜止的敘事”的討論印象深刻。作者解釋瞭如何通過捕捉一個瞬間，如何通過人物的姿態、眼神的交流，以及背景的細節，來暗示過去發生的故事和未來可能的發展。這讓我意識到，即使是看似靜止的藝術形式，也蘊含著無窮無盡的敘事潛力。這本書的語言也十分優美，富有哲思，讀起來既像是學術探討，又像是和一位博學的朋友在進行一場深入的對話。它鼓勵讀者主動去參與到藝術的解讀過程中，去發現屬於自己的故事。對於任何對藝術和敘事抱有興趣的人來說，《Art and Narrative》都是一本不容錯過的佳作，它會顛覆你對藝術的固有認知，讓你看到藝術更深層、更具生命力的那一麵。

评分☆☆☆☆☆

我一直認為，藝術本身就是一種語言，而《Art and Narrative》這本書則為我提供瞭理解這種語言的絕佳指南。它並不是一本枯燥乏味的學術著作，而是通過引人入勝的案例分析，將藝術作品中蘊含的敘事力量展現得淋灕盡緻。作者的筆觸既有深度又不失趣味，他用通俗易懂的語言，揭示瞭藝術作品是如何通過視覺元素來構建故事，傳達情感，甚至引發觀眾的思考。書中關於“情感的視覺化”的討論尤其令我著迷，作者解釋瞭藝術傢是如何通過色彩的運用、綫條的勾勒、光影的明暗來營造齣特定的情緒氛圍，從而將觀眾帶入故事的情感核心。我常常會在閱讀過程中停下來，迴想自己曾經看過的那些藝術作品，並嘗試用書中介紹的方法去解讀它們，這無疑是一次非常愉快的智力探索。這本書讓我明白，每一件藝術品都不是孤立存在的，它們都是一段段故事的濃縮，是藝術傢與觀眾之間無聲的對話。《Art and Narrative》不僅是一本藝術讀物，它更是一次關於如何感受和理解世界的美好啓迪。

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這本書簡直是一場視覺和思想的盛宴！當我翻開《Art and Narrative》時，立刻就被那些精美的插圖所吸引，它們不僅僅是畫作，更像是精心編織的故事片段。作者以一種非常獨特的方式，將藝術作品與敘事深度聯係起來，讓我看到瞭繪畫、雕塑，甚至電影中的鏡頭語言是如何構建起引人入勝的故事綫的。我尤其喜歡其中對幾個著名畫作的解讀，作者抽絲剝繭地分析瞭色彩、構圖、人物錶情如何共同傳遞情感和敘事張力，這讓我對以往習以為常的藝術品有瞭全新的認識。原來，每一筆色彩，每一個陰影，都可能是一個隱藏的綫索，引領觀者進入藝術傢所構建的世界。我一直對藝術的敘事性充滿好奇，但很多時候，這種解讀往往停留在比較宏觀的層麵。而《Art and Narrative》則深入到瞭細節，它教會我如何去“讀”畫，如何從視覺元素中捕捉到那些細膩的情感流動和情節發展。這本書非常適閤那些想要更深入理解藝術、探索藝術與故事之間神秘聯係的讀者。它不會讓你枯燥地背誦曆史，而是用一種充滿啓發性的方式，讓你重新審視你所見過的每一件藝術品。

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說實話，剛拿到《Art and Narrative》的時候，我有些擔心這本書會不會過於晦澀難懂，畢竟“藝術”和“敘事”這兩個詞匯本身就帶有一點距離感。然而，我的顧慮很快就被拋到瞭九霄雲外。作者以一種極其平易近人的方式，將復雜的藝術理論和敘事技巧娓娓道來，讓我這個非專業人士也能輕鬆理解。他通過大量生動的例子，將抽象的概念具象化，讓我仿佛親眼見證瞭那些藝術作品是如何被創造齣來，又是如何與觀眾建立起情感連接的。書中對不同文化背景下藝術敘事方式的對比也非常有趣，它揭示瞭人類在講述故事時共通的模式，以及在地域和文化差異下産生的獨特錶達。我特彆喜歡書中關於“留白”和“未完成”的討論，作者解釋瞭為什麼有時候“不說完”反而更能激發觀眾的想象力，這種“留白”的藝術手法在敘事中同樣至關重要。這本書不僅僅是一本關於藝術的書，它更是一本關於如何理解和感受世界的書。它教會我用更敏銳的眼睛去觀察，用更開放的心態去感受，去發現那些隱藏在日常生活中的“敘事”。