伟德国际集团系列讲座
2017年第26讲总第496讲
讲座题目：The Enigma of Velázquez in Vignettes: Las Meninas, Graphic Novel
委拉斯开兹之谜：源自名画杰作《宫女》
主讲人：Conxita Domènech
美国怀俄明大学助理教授
主持人：袁浩副教授
讲座时间：6月19日周一下午14:00-16:00
讲座地点：校本部E512
主讲人简介：
She is an assistant professor at University of Wyoming, doing a lot of research about Spanish culture and literature. Her main publications include:El Segundo Quijote (1615): Nuevas interpretaciones cuatro siglos después, Letras hispánicas en la gran pantalla: De la literatura al cine, La Guerra dels Segadors en comedias y en panfletos ibéricos: Una historia contada a dos voces (1640–1652). And main awards on academic achivement include:Extraordinary Merit Award in Teaching, Extraordinary Merit Award in Research, Excellence in Teaching Award.
讲座简介：
In the first chapter of The Order of Things (1966), Michel Foucault (1926–84) recreates with words Las Meninas (1656) by Diego Velázquez (1599–1660). Foucault describes, interprets, reflects, and makes a reading of the dwarves, the Princess Margaret Theresa, the canvas, the maids of honour, the mirror, and the Kings, and, above all, transports lyrically and conceptually the painting to the paper. Therefore, the reader/observer reads the words of the philosopher and, simultaneously, observes the painting of the artist or, at least, keeps the picture in mind while reading the words of Foucault. This painting-paper movement, or rather, art-literature, goes even further in the graphic novel Las Meninas (2014) by Santiago García and Javier Olivares. The writer and the cartoonists, respectively, tell in words and in pictures the story of an enigmatic painting and painter. And, not only that: they also built a paper museum in which the works of Peter Paul Rubens (1577–1640), José de Ribera (1591–1652), Pablo Ruiz Picasso (1881–1973), Salvador Dalí (1904–89), and Equipo Crónica (1964–81), among many other artists, are displayed. This paper museum of García and Olivares is inspired by the Baroque logic: the painting within the painting; exhibits objects that question appearance: the mirror that tells the truth and lies at the same time (Hauser, 1965: 120); promotes an epistemological reflection of reality: "the reason of the unreason" and "this life is but a dream / and dreams are only dreams"; and is presented as a space of dialogue with a wide network of connections (Sarduy, 1972: 175): combinations of genres, shapes, colors, lights, and shadows.
翻译：
在物质秩序第一章（1966年）中，米歇尔·福柯（Michel Foucault，1926-84）用Diego Velázquez（1599-1660）的单词Las Meninas（1656）重现。福柯描述、解释、反映和解读了矮人、玛格丽特·特里萨公主、帆布、荣誉勋爵、镜子和国王，最先将这幅画在理论上运输到纸上。因此，读者阅读哲学家的话，同时观察艺术家的绘画，或至少在阅读福柯的话时记住这一点。这幅画或者更确切的是艺术文学，在圣地亚哥加西亚和哈维尔·奥利瓦雷斯的图形小说"Las Meninas"（2014）中也是如此呈现。作家和漫画家分别用文字和图片讲述了一位神秘的绘画家的故事。而且，不仅如此：他们还建立了一个纸质博物馆，其中Paul Paul Rubens（1577-1640），Joséde Ribera（1591-1652），Pablo Ruiz Picasso（1881-1973），萨尔瓦多·达利（1904-89））和EquipoCrónica（1964-81）等展出。这个加西亚和奥利瓦雷斯博物馆的灵感源于巴洛克式的逻辑：绘画中的绘画；展现物品的外观：同时讲述真相和谎言的镜子（Hauser，1965：120）；促进认识论对现实的反思："不合理的原因"和"这个生活只是一个梦想，梦想只是梦想"；并被呈现为与广泛的连接网络（Sarduy，1972：175）的对话空间：类型，形状，颜色，灯光和阴影的组合。
