《铜钵盂——侨批局演义》人物形象艺术留白
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摘要
《铜钵盂——侨批局演义》在人物形象的塑造上,笔墨吝惜,擅长艺术留白,给人物蒙上神秘面纱,同时使其更具个性品行,体现作者意欲通过人物形象留白传递某种精神、人文符号。涂抹艺术留白色彩的人物纷繁,可大致归为三类,一是死因未明,二是前路未卜,三是情节留白。留白使得读者在阅读文本时不连贯、难以流畅,阅读受阻,充分调动读者的好奇心理,引导读者出入小说氛围。读者的参与构成文本的开放性,令小说的被阐释空间更为广阔,为小说的解读提供无限的可能性。
In Tongboyu, instead of using major length to shape the character image, the author applies theart of blank-leaving to convey certain spirit and human symbol and to cast a layer of mysterious veil over thecharacter, which makes the character more vivid and unique. Characterization with the art of blank-leavingcan be divided into three types: first, unknown cause of death; second, unknown trend of the future; third,blank-leaving for plot developing. Blank-leaving makes readers feel little coherent in the course of reading sothat their enthusiasm and curiosity can be aroused, and thus it makes easier for readers to soak up the book'satmosphere. With the readers' participation, the interpretive space of the book gets bigger, which releases un-limited possibilities for people to understand the book.
In Tongboyu, instead of using major length to shape the character image, the author applies theart of blank-leaving to convey certain spirit and human symbol and to cast a layer of mysterious veil over thecharacter, which makes the character more vivid and unique. Characterization with the art of blank-leavingcan be divided into three types: first, unknown cause of death; second, unknown trend of the future; third,blank-leaving for plot developing. Blank-leaving makes readers feel little coherent in the course of reading sothat their enthusiasm and curiosity can be aroused, and thus it makes easier for readers to soak up the book'satmosphere. With the readers' participation, the interpretive space of the book gets bigger, which releases un-limited possibilities for people to understand the book.
引文
[1]郭小东.铜钵盂——侨批局演义[M].广州:羊城晚报出版社,2016.
[2]王硕.“留白”之道[D].沈阳:鲁迅美术学院,2013:2.
[3]何艳艳.论小说的空白艺术[D].呼和浩特:内蒙古师范大学,2009:6.
[4](美)海明威.海明威谈创作[M].董衡翼,编选.北京:生活·读书·新知三联书店,1985:4.
[5]桂哲.“空白”——艺术的灵魂[D].济南:山东大学,2009:16-17.
[6](德)沃尔夫冈·伊泽尔.审美过程研究[M].霍桂桓,译.北京:中国人民大学出版社,1988.
[2]王硕.“留白”之道[D].沈阳:鲁迅美术学院,2013:2.
[3]何艳艳.论小说的空白艺术[D].呼和浩特:内蒙古师范大学,2009:6.
[4](美)海明威.海明威谈创作[M].董衡翼,编选.北京:生活·读书·新知三联书店,1985:4.
[5]桂哲.“空白”——艺术的灵魂[D].济南:山东大学,2009:16-17.
[6](德)沃尔夫冈·伊泽尔.审美过程研究[M].霍桂桓,译.北京:中国人民大学出版社,1988.