Abstract: Ekphrasis is both a popular term in classical rhetoric, and a vital current in the tradition of Western poetry that refers to the literary representation of visual art possibly dating back to Homer. For W. J. T. Mitchell, the ambivalence surrounding ekphrasis is more than a matter of generic differentiation; it is about rhetorical influence and power relations underlying what he calls “ekphrastic triangle”, a hermeneutic mechanism that would surmount the boundaries of the poet-art object and word-image interconnectedness to encounter the otherness of the reader's gaze. From a comparative perspective and with the perennial debate on the classical theory of ut pictura poesis and Lessing's spatial/temporal dichotomy as a point of departure, this article seeks an anti-ekphrastic solution to the deeply-rooted bias towards the visual in the Western critical tradition from Mitchell's “ekphrastic triangle”. The triangle arguably overcomes the ekphrastic ambivalence with a rhetorical turn and a multiperspectival construction of the imagetext.

Key words: ekphrastic triangle, anti-ekphrasis, the rhetorical turn, imagetext, multiperspectival construction

摘要： 西方传统意义上的“ekphrasis”既指一种古老的修辞现象(艺格敷词),亦指以被描述客体为叙述主题的一种特殊的诗歌体裁(叙画诗)。米歇尔(W. J. T. Mitchell)针对叙画诗中语词与图像的内在关系提出了“语象三角”一说,亦开启了诗人与被描述客体、语词与图像权力关系以外,来自读者的他者凝视。本文试图超越西方评论界传统的“诗画一致说”和“诗画异质说”之辩,结合东西方两种语境探讨叙画诗如何通过语象三角中的反叙画诗学——即一种古典修辞学的转向,以及建立在诗人与读者共知经验基础之上的形象文本多元视角建构——来消解叙画诗学中的他者威胁。

关键词: 语象三角, 反叙画诗学, 古典修辞学转向, 形象文本, 多元视角建构