【摘要】："攝影文學(xué)"已成為全球化的文化現(xiàn)象,"現(xiàn)代之象"—攝影在文學(xué)場(chǎng)域的介入促使我們以全新的視角重新審視文學(xué)、文學(xué)性以及文字表達(dá)的界限。但國(guó)內(nèi)研究過多關(guān)注數(shù)字時(shí)代下本體的"象",而忽略了以想象或者隱喻形式存在的、僅僅依靠文字媒介建構(gòu)的"象",忽略了攝影以潛移默化的方式影響文學(xué)的歷史性過程。誕生于19世紀(jì)法國(guó)的攝影術(shù)不斷改變著人們觀察、理解世界的方式,主導(dǎo)著視閾的變遷,并在感知、記憶、審美等層面上成為現(xiàn)當(dāng)代文學(xué)文本潛意識(shí)的參照。
[Abstract]:"Photographic Literature" has become a cultural phenomenon of globalization. The intervention of "Modern Image" in the field of literature urges us to re-examine the boundaries of literature, literariness and literal expression from a new angle of view. However, domestic research pays too much attention to the "image" of the ontology in the digital age, neglects the "image" which exists in the form of imagination or metaphor, and only relies on the word media to construct it, neglecting the historical process in which photography influences literature in a subtle way. French photography, born in the 19th century, constantly changes the way people observe and understand the world, dominates the change of visual threshold, and becomes the subconscious reference of modern and contemporary literary texts in the aspects of perception, memory, aesthetics and so on.
【作者單位】： 北京大學(xué);巴黎索邦大學(xué);
【分類號(hào)】：I565.06

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