歷史詩學視域下絲路影像中的張騫形象

歷史詩學視域下絲路影像中的張騫形象

Representations of Zhang Qian in Silk Road Audiovisual Media:A Historical Poetics Approach

作者: 張雍

关键词:張騫形象 絲路影像 複數小寫歷史多元共存 意識形態 Image of Zhang Qian; Silk Road Image; Plural Lowercase History; Plural Coexistence;Ideology

摘要:當代影像中張騫形象的不斷增殖與壇變，提出了一個亟待闡釋的詩學與政治命題。本文借助歷史詩學方法論，並拓展至影像歷史詩學的視域，旨在剖析張騫形象從文本到影像的轉換機制。研究發現:第一，影像中的張騫形象呈現多元共存格局，打破了歷史實在論下的單一真實標準;第二，影像通過聚焦西行途中的小人物，以複数小寫歷史的敘事策略，構成對單数大寫歷史的補充與對話;第三，張騫形象的生成與流通，始終伴隨著意識形態與社會能量的協商，其闡釋參照正從西方中心論轉向中國“天下”觀念，並最終在“人類命運共同體”視野中，蛻變為一個民心相通的文化象徵。

Abstract:The ongoing proliferation and transformation of Zhang Qian's image in contemporaryscreen media poses an urgent poetic and political problem in need of interpretation. Drawing on themethodology of historical poetics and extending it to the horizon of a historical poetics of screenmedia, this article aims to elucidate the mechanisms through which Zhang Qian's image is translatedfrom text to moving image. The study finds, firstly, that Zhang Qian is represented in a plural andcoexisting constellation that disrupts the singular criterion of truth presupposed by historicalpositivism. Secondly, by foregrounding minor figures encountered along the westward journey, thesescreen narratives deploy a strategy of plural, lowercase histories, thereby supplementing and enteringinto dialogue with a singular, capitalized History. Thirdly, the production and circulation of ZhangQian's image consistently involve negotiations between ideology and social energy: the interpretiveframe is shiftingfrom Western-centered paradigms toward a Chinese conception of tianxia("all-under-heaven"). Ultimately, within the horizon of "a community with a shared future formankind", Zhang Qian is relived as a cultural emblem of people-to-people connectivity.

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