‘MERE SHADOWS IN THE WATER’: TRAVEL WRITING, FRESCO, AND FORM IN PICTURES FROM ITALY
‘MERE SHADOWS IN THE WATER’: TRAVEL WRITING, FRESCO, AND FORM IN PICTURES FROM ITALY
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“水中的影子”：来自意大利的游记、壁画和图片形式
DOI：
10.1093/english/efs042
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发表时间：
2012
期刊：
影响因子：
--
通讯作者：
B. Murray
中科院分区：
文献类型：
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作者：
B. Murray
本文从旅游、游记写作和艺术史的角度探讨了狄更斯自觉的旅行经历。众所周知，狄更斯不愿在《来自意大利的图片》中描述意大利艺术，理由是他自己缺乏专业知识。尽管有这种不情愿，但《图片》展示了他“对文本的坚持可视化”，并使“游客凝视”变得更加纯粹，这种凝视贪得无厌地捕捉和客观化了它所遇到的外国风景的视觉元素。对于狄更斯和其他许多人来说，意大利违反了分类学的排序、分类和连贯性;他的游记故意主观和印象派，充满了不精确的轮廓、模糊的愿景以及令人窒息的地方和物品的混乱列表。狄更斯是一位以细节过多而著称的作家，他的写作一反常态，强调形式和轮廓，而不是内容和细节。本文将其解读为一种超越形式的幻想，摆脱了难以形容的细节的噩梦。
This article explores Dickens's self-consciously desultory travelogue in the context of tourism, travel writing, and art history. Dickens was famously reluctant to describe Italian art inPictures from Italy, citing his own lack of expertise. Despite this disinclination though,Picturesdemonstrates his ‘insistent visualization of the textual’ and exemplifies the ‘tourist gaze’, which insatiably captures and objectifies the visual elements of the foreign landscapes it encounters. For Dickens and many others, Italy defied taxonomical ordering, categorization, and coherence; his travelogue is deliberately subjective and impressionistic, abounding with imprecise outlines, indistinct visions, and breathlessly jumbled listings of places and objects. Uncharacteristically for an author noted for the over-abundance of detail in his writing, Dickens emphasizes form and outline over content and detail, which this essay reads as a fantasy of transcendent form freed from the nightmare of indescribable detail.