摘要
鲁迅短篇小说《离婚》以其丰富的叙事层次与多元的阐释空间,吸引了赵延年、丁聪、范曾等六位画家创作出风格各异的插图。画家通过黑白对比、肢体语言、环境符号、连环叙事与写意留白等视觉策略,再现了小说中的阶级压迫、性别规训与权力结构,并由此在图文之间形成补充、竞争与缝隙三类互动关系。图像并非被动复刻文字内容,而是具备独立表意功能的艺术再创作,它在呈现“最富有孕育性那一顷刻”的过程中,还会因媒介差异与画家的主体意识而产生“图文缝隙”。这一具体个案的图文互分析,基于赵宪章的“语-图”互文理论,为《离婚》“语-图”关系研究提供实践参照。
With rich narrative layers and plural interpretive possibilities,The Divorce,a short story by Lu Xun(1881-1936),has attracted six illustrators-including Zhao Yannian,Ding Cong and Fan Zeng-to produce stylistically diverse works.Employing visual strategies such as black‑white contrast,body language,environmental symbols,sequential narrative,and impressionistic blank‑leaving,the illustrators re-present the class oppression,gender discipline and power structures depicted in the story.Three types of interaction-complementarity,competition and gaps-emerge between the text and the images.Rather than passively reproducing the written content,the illustrations constitute independent artistic re-creations with their own signifying functions.In the process of re-presenting“the most fertile instant,”gaps between text and image inevitably arise due to medium specificity and the illustrators’subjective interpretations.Based on Zhao Xianzhang’s theory of verbal‑pictorial intertextuality,this study systematically examines the mechanisms through which images reconstruct textual meaning from five distinct dimensions.
作者
刘旋
卢军
Liu Xuan;Lu Jun(School of Literature,Liaocheng University,Liaocheng,Shandong Province 252059,China)
出处
《楚雄师范学院学报》
2026年第1期72-82,共11页
Journal of Chuxiong Normal University
基金
国家社会科学基金项目“鲁迅回忆录整理与‘鲁迅’形象的建构研究”(20BZW182)。
关键词
鲁迅
《离婚》
图像阐释
文本重构
“语-图”互文理论
Lu Xun(1881-1936)
The Divorce
visual interpretation
textual reconstruction
verbal‑pictorial intertextuality
