從詩語革命到電影詩學：論俄國未來主義和形式主義的視覺性

Abstract

在文學理論的研究領域裡，俄國形式主義通常都被視為以科學方法處理文學內在問題的倡導者。他們為文學研究樹立了新紀律，主張文學研究必須以文學本身為目標，必須是一種獨立自主的活動，而不是其他學科的附庸。與主流學界所呈現的上述形象恰恰相反，本研究發現，俄國形式主義者對「文學性」的理解和定義，其實與20世紀初新興的電影影像邏輯和立體未來主義的視覺實驗，有著緊密的歷史因緣。因此，本文嘗試透過大量的史料鉤沈和文本分析，將俄國形式主義的理論觀點重新置放在立體未來主義和構成主義等蘇俄左翼前衛藝術運動的語境中，進行再解讀；希望藉此點明，俄國形式主義在文學研究領域裡所推動的範式轉移運動，與蘇俄左翼前衛藝術工作者在電影和繪畫等視覺藝術領域所進行的實驗創作之間的歷史轇轕。最終，本文希望初步闡明，包含在俄國形式主義文學理論中獨特的視覺經驗或視覺性；並在結語部分進一步指出，隱含在蘇俄左翼前衛藝術理論和實踐中的文化政治意涵。

Russian formalism is often considered as the pioneer in its scientific approach to problematic intrinsic to literature. In proposing literary studies as an autonomous field of research that aims for literature itself, rather than a subordinate of other subjects and purposes, the Russian formalists had established a new discipline, or guiding principle for literary studies. Contrary to such a stance generally held by academic mainstream, the present study situates the Russian formalists in a different position. Actually, there had been substantial exchange, historically, between Russian formalists' primary concerns of ”literariness/literality,” and the newly arisen cultural logic of cinematic images in early 20th century as well as the visual experiments of Cub-futurism. This paper reconsiders such historical converges and exchanges by ways of textual analysis, and in revisiting a great number of historical documents hitherto overlooked. In doing so, I attempt to offer a re-reading of Russian formalist theory by contextualizing its place in Soviet-Russian leftist avant-garde art movement, specifically that of Cub-futurism and Constructivism. Contextualization effort such as this should point out the close historical ties existed between the Russian formalists' quest for a paradigm shift in the domain of literary studies on one hand, and on the other the creative experimentations undertook by Soviet-Russian leftist avant-garde artists in various fields of visual arts, such as painting and film making. Lastly, my study aims to elucidate, albeit tentatively, the unique visual experience, or ”visuality” inherent in Russian formalist literary theories. Following this, the paper concludes with a discussion of the cultural-political significance that underlies leftist avant-garde art theories and practices in Soviet Russia.