作为“视觉艺术家”的莎士比亚 以《哈姆莱特》为例
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摘要
<正>莎士比亚将语言叙事与视觉效果的互动看作是戏剧创作的一种有效方法,寻找非语言交流、"可见语言"[visible speech]的视觉化途径,从而超越语言的局限,赋予作品新颖、丰富、深刻的内涵,凸显作品核心主题,塑造生动而复杂的人物形象,增强
引文
1 Johan Huizinga,Translated by F.Hopman,The Waning of the Middles Ages:A Study of the Forms of Life,Thought,and Art in France and the Netherlands in the Fourteenth and Fifteenth Centuries,Penguin Books,1990,pp.139-140.
2 Norbert Wolf,Albrecht Dürer:The Genius of the German Renaissance,Taschen,2013,p.52.
3[英]莎士比亚著、朱生豪译,《理查二世》,载《莎士比亚全集》(3),译林出版社,1998年,第520页。
4 Gail Kern Paster,“The Pith and Marrow of Our Attribute:Dialogue of Skin and Skull in Hamlet and Holbein’s The Ambassadors”,Textual Practice 23(2),2009,p.260.
5 Elaine Shefer(ed.),“Death,”in Helene E.Roberts,Encyclopedia of Comparative Iconography:Themes Depicted in Works of Art,Fitzroy Dearborn Publishers,1998,p.233.
6 Michael O’Connell,The Idolatrous Eye:Iconoclasm and Theater in Early-Modern England,Oxford University Press,2000,p.4.
7[英]莎士比亚著、朱生豪译,《哈姆莱特》,载《莎士比亚全集》(8),第385页。以下本剧引文仅注明场次。
8同注4。
9 Roland Mushat Frye,“Ladies,Gentlemen,and Skulls:Hamlet and the Iconographic Traditions”,Shakespeare Quarterly,Vol.30,No.1(Winter,1979),pp.15-16.
10 Bridget Gellert,“The Iconography of Melancholy in the Graveyard Scene of‘Hamlet’”,Studies in Philology,Vol.67,No.1(Jan.,1970),pp.57-58.
11[英]莎士比亚著、朱生豪译,《冬天的故事》,载《莎士比亚全集》(7),译林出版社,1998年,第297页。
12[英]莎士比亚著、朱生豪译,《皆大欢喜》,载《莎士比亚全集》(2),译林出版社,1998年,第128页。
13 Frances K.Barasch(ed.),“Hamlet versus Commedia dell’Arte,”in Michele Marrapodi,Shakespeare and Renaissance Literary Theories:Anglo-Italian Transactions,Ashgate publishing Limited,2011,p.109.
14 Alison Thorne,Vision and Rhetoric in Shakespeare:Looking through Language,Macmil an Press Ltd.,2000,Preface XII.
15 Michael O’Connell,The Idolatrous Eye:Iconoclasm and Theater in Early-Modern England,Oxford University Press,2000,p.125.
16 John Dixon Hunt,“Pictura,Scriptura,and Theatrum:Shakespeare and the Emblem”,Poetics Today,Vol.10,No.1,Art and Literature I(Spring,1989),pp.155-156.
17 Erwin Panofsky,Galileo as a Critic of the Arts,Springer Science and Business Media,1954,pp.13-14.
18 Svetlana Alpers and Paul Alpers,“Ut Pictura Noesis?Criticism in Literary Studies and Art History”,New Literary History,Vol.3,No.3,Literary and Art History(Spring,1972),p.444,p.458.
19 Richard Woodfield(ed.),The Essential Gombrich:Selected Writing on Art and Culture,Phaidon Press,1996,p.355.
20[英]贡布里希著、范景中、杨思梁译,《理想与偶像:价值在历史和艺术中的地位》,广西美术出版社,2013年,第107页。
21[古希腊]亚里士多德著、陈中梅译,《诗学》,商务印书馆,1996年,第47页。
2 Norbert Wolf,Albrecht Dürer:The Genius of the German Renaissance,Taschen,2013,p.52.
3[英]莎士比亚著、朱生豪译,《理查二世》,载《莎士比亚全集》(3),译林出版社,1998年,第520页。
4 Gail Kern Paster,“The Pith and Marrow of Our Attribute:Dialogue of Skin and Skull in Hamlet and Holbein’s The Ambassadors”,Textual Practice 23(2),2009,p.260.
5 Elaine Shefer(ed.),“Death,”in Helene E.Roberts,Encyclopedia of Comparative Iconography:Themes Depicted in Works of Art,Fitzroy Dearborn Publishers,1998,p.233.
6 Michael O’Connell,The Idolatrous Eye:Iconoclasm and Theater in Early-Modern England,Oxford University Press,2000,p.4.
7[英]莎士比亚著、朱生豪译,《哈姆莱特》,载《莎士比亚全集》(8),第385页。以下本剧引文仅注明场次。
8同注4。
9 Roland Mushat Frye,“Ladies,Gentlemen,and Skulls:Hamlet and the Iconographic Traditions”,Shakespeare Quarterly,Vol.30,No.1(Winter,1979),pp.15-16.
10 Bridget Gellert,“The Iconography of Melancholy in the Graveyard Scene of‘Hamlet’”,Studies in Philology,Vol.67,No.1(Jan.,1970),pp.57-58.
11[英]莎士比亚著、朱生豪译,《冬天的故事》,载《莎士比亚全集》(7),译林出版社,1998年,第297页。
12[英]莎士比亚著、朱生豪译,《皆大欢喜》,载《莎士比亚全集》(2),译林出版社,1998年,第128页。
13 Frances K.Barasch(ed.),“Hamlet versus Commedia dell’Arte,”in Michele Marrapodi,Shakespeare and Renaissance Literary Theories:Anglo-Italian Transactions,Ashgate publishing Limited,2011,p.109.
14 Alison Thorne,Vision and Rhetoric in Shakespeare:Looking through Language,Macmil an Press Ltd.,2000,Preface XII.
15 Michael O’Connell,The Idolatrous Eye:Iconoclasm and Theater in Early-Modern England,Oxford University Press,2000,p.125.
16 John Dixon Hunt,“Pictura,Scriptura,and Theatrum:Shakespeare and the Emblem”,Poetics Today,Vol.10,No.1,Art and Literature I(Spring,1989),pp.155-156.
17 Erwin Panofsky,Galileo as a Critic of the Arts,Springer Science and Business Media,1954,pp.13-14.
18 Svetlana Alpers and Paul Alpers,“Ut Pictura Noesis?Criticism in Literary Studies and Art History”,New Literary History,Vol.3,No.3,Literary and Art History(Spring,1972),p.444,p.458.
19 Richard Woodfield(ed.),The Essential Gombrich:Selected Writing on Art and Culture,Phaidon Press,1996,p.355.
20[英]贡布里希著、范景中、杨思梁译,《理想与偶像:价值在历史和艺术中的地位》,广西美术出版社,2013年,第107页。
21[古希腊]亚里士多德著、陈中梅译,《诗学》,商务印书馆,1996年,第47页。