本文選題：視覺中心 + 失明與遮蔽�。� 參考：《武漢理工大學(xué)學(xué)報(社會科學(xué)版)》2011年05期

【摘要】：帕慕克有多種便利條件調(diào)用視覺這一手段在作品中張揚其文學(xué)個性,但他用"失明"完成了對當(dāng)下視覺產(chǎn)品極度發(fā)達的時代的背離,堅定地表明自己的美學(xué)立場———對視覺的拒斥;帕慕克更能調(diào)用各類視覺元素,如顏色、照片等來構(gòu)建自己的文學(xué)世界,但他放棄了豐富多彩的顏色,而只用黑、白兩色作為這個世界的底色。帕慕克對視覺美學(xué)的有意違反,正是對"視覺中心"時代的視覺美學(xué)的一次反撥,殊有意味。
[Abstract]:Pamuk has a variety of conveniences to invoke vision, which makes his literary personality known in his works, but he uses "blindness" to complete a departure from the era when visual products are extremely developed. Firmly stating his aesthetic stand-rejecting vision; Pamuk is better able to use all kinds of visual elements, such as colors, photographs, etc., to build his literary world, but he gives up colorful colors and uses only black. White is the background of the world. Pamuk's intentional violation of visual aesthetics is a counterattack on visual aesthetics in the era of "visual center".
【作者單位】： 武漢大學(xué)文學(xué)院;
【分類號】：B83

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