Abstract: As a pioneer in the contemporary interart/intermedial studies of the Nordic countries, Hans Lund clarifies the text and pictore relations into three types: combination, integration and transformation, and pays special attention to the ekpnhrasis and iconic projection in the works of transformation; he defines ekphrasis as a type of transformative text while distinguishes it from the iconic projection in terms of the ontological significance, and in particular, he takes the word and image relationship as being symbolic of man and the world relationship in the study of iconic projection texts. With the extension of interart poetics to the intermedial studies, Lund refines his paradigm to explore intermedial relations. Lund's innovative insights have made a significant impact on European and American academia and boosted the interart/intermedial studies. The triple framework of intermedial relations, however, is suitable for describing the static characteristics of the texts, but neither fully covers the dynamic evolution of the texts nor unfolds the interaction of multiple media within the text. This paradigm, for instance, fails to explain the word-image relations in Chinese traditional painting in which poetry, calligraphy, painting and seals are integrated and interactive. We need to modify Lund's paradigm and combine some Chinese scholars’ innovative insights to facilitate the intermedial studies of the more complex Chinese art and literature.

Key words: Hans Lund, interart studies, intermedial studies, history of scholarship

摘要： 汉斯·伦德是北欧国家较早进行跨艺术/跨媒介研究的学者。在跨艺术研究阶段,他将文学与图画艺术的关系归纳为三种类型:组合型、融合型以及转换型;他尤其关注转换型作品中的“艺格符换”和“图像投射”:他明确艺格符换的“转换型”文本特征,将艺格符换与图像投射在本体论上区别开来,又在图像投射文本研究中将语词和图像关系升华至人与世界的关系研究。随着跨艺术研究拓展到跨媒介研究,他又将三分法用于分析更宽泛的跨媒介现象。伦德的理论创见对欧美学界产生重大影响,推动跨艺术/跨媒介研究的发展。但他的三分法和跨媒介关系分类偏重于描述文本的静态特征,对文本的动态变化和文本内部多媒介的相互影响有所忽略,也未能揭示跨艺术/跨媒介转换的心理机制。我们可在其三分法范式的基础上,结合一些中国学者的创见,更科学准确地分析一些独具中国特色的文艺现象。

关键词: 汉斯·伦德, 跨艺术研究, 跨媒介研究, 学术史