細節裡的魔鬼：論李渝小說的細節描述美學

兼具小說家與藝評家身分的李渝，始終遵循現代主義的創作美學，自揭「多重渡引」的創作觀；爾後梅家玲自《那朵迷路的雲》集結的塵封文獻中指出「視者」亦是其掌握的創作特色。本文再據此書提出「細節描述」是李渝的第三種敘述美學；並指出透過細節描述與搭配視者以渡引出多個故事，才能達到多重渡引的創作美學。專研美術史的李渝通過藝文互涉所展現的獨特性有二，其一是細節描述的隱喻美學，唯有自看似冗贅的細節抽絲剝繭，才能解析出小說的真義。其二，向上拔升是李渝細節描述的目標，企圖達到超越性別的昇華境界，以帶領讀者上昇。而耽迷美感的李渝正是透過細節描述的創作美學，以達成她心目中卓越文學典型的自我實踐。

Li Yu, who is also a novelist and art critic, has always followed the modernist creative aesthetics. She said that“multiple references”is her creative concept; later Mei Jialing pointed out from the dusty documents collected in“The Lost Cloud”that“seeing”is also a creative feature she masters. Based on this book, this paper proposes that“detailed description”is Li Yu’s third narrative aesthetics; and points out that through detailed description and matching the“viewer”to elicit multiple stories, multiple narratives can be achieved. Inspired by the creative aesthetics. Li Yu, who specializes in art history, shows that there are two unique characteristics of creation through the interaction of art and literature. The first is the metaphorical aesthetics of detailed description. Only by peeling away the seemingly redundant details can the true meaning of the novel be analyzed. significance. Second, upward promotion is the goal of Li Yu’s detailed description, in an attempt to reach a sublimation state that transcends gender and lead readers to rise. Li Yu, who is obsessed with beauty, uses the creative aesthetics of detailed description to achieve what she considers to be an excellent literary model of self-practice.