Andrea de Jorio's La mimica degli antichi investigata nel gestire napoletano ('Gestural Expression of the Ancients in the light of Neapolitan gesturing'), was first published in Naples in 1832. It soon became famous for its descriptions and depictions of Neapolitan gestures, but it is only with the recent expansion of scholarly interest in gesture that its true importance has come to be recognised. It is the first book ever written which presents what is, in effect, an ethnographic study of gesture. Treating gesture as a culturally established communicative code, analogous to language, the book sets out to describe, with reference to an explicitly defined cultural group, the gestural expressions of ordinary people as these are used in everyday life. It also deals with numerous issues important for any semiotics of gesture, such as the question of the relationship between physical form and meaning, the problem of how to present a description of the gestural repertoire of a community in a consistent manner, the importance of context for the interpretation of gesture, how gestures may be combined, how they develop as metaphorical expressions, among many others. Andrea de Jorio (1769-1851) was a cleric and a Canon of the Cathedral of Naples, but he was also an archaeologist and a curator at the Royal Borbonic Museum (today the National Archaeological Museum) in that city. He was an expert on Greek vases and intimately involved in all aspects of archaeology then developing in relation to the excavations at Herculaneum, Pompeii, Pozzuoli, Cuma and other sites within the district of Naples. He believed that the ordinary people of Naples had preserved in their culture the traditions of the ancient Greek founders of the city. For this reason he supposed that an understanding of contemporary gestural expression would be useful in interpreting the gestures and bodily postures depicted in the frescoes, mosaics, sculptures, and painted vases of Greco-Roman antiquity that had come to light from the excavations near Naples and elsewhere. Thus he was led to describe the gesturing of contemporary Neapolitans as fully as possible. Adam Kendon has added annotations to his translation so that the book is fully accessible to the modern reader. He has also written a long essay which provides an account of de Jorio's life and work and shows how his book is related to the cultural and intellectual climate of the Naples of his day. It gives a detailed analysis of de Jorio's views on gesture, and it also discusses gesture use in relation to the culture and ecology of daily life in Naples at that time. There are three detailed bibliographical appendices.
这是一部极具内省力量的作品,它迫使我不断地去审视自己与“地方感”之间的关系。作者笔下的那不勒斯,与其说是一个地理名词,不如说是一种心理状态的具象化——充满了矛盾、激情与宿命感。我很少读到哪本书能将“坚韧”与“脆弱”这两种看似对立的情感状态描绘得如此和谐共存。阅读过程中,我清晰地感觉到自己被拉入了一种强烈的共情漩涡,角色们的选择、犹豫和最终的妥协,都让我对自身处境有了更深一层的反思。这本书的叙事视角转换得极为巧妙,时而宏观如神祇俯瞰,时而又微小到紧贴着人物的呼吸,这种视角的跳跃,极大地丰富了作品的层次感和空间感。它不是一本轻松的读物,它要求你投入情感、投入思考,但正是这种深度的互动,让最终的阅读体验变得异常丰富和令人难忘。它像一面镜子,映照出的不仅是故事中的世界,也有我们自身在面对历史与变迁时的复杂心绪。
评分从文学技法的角度剖析,这部作品的语言风格呈现出一种奇特的张力:既有古典文学的庄重典雅,又毫不避讳地吸收了现代主义文学中那种破碎、间歇性的表达方式。这种混搭并没有产生冲突,反而形成了一种独特的“时代错位感”,完美地契合了故事中那些跨越世纪的母题。特别是在描绘那些宏大叙事下的微小个体的挣扎时,作者总是能找到那个最精准、最富有冲击力的意象。比如,某次对特定物体的描写,寥寥数语,却能瞬间构建起一个复杂的心理景观,那种“此时无声胜有声”的艺术效果被拿捏得炉火纯青。对我个人而言,这本书的结构节奏感非常强烈,它仿佛是一部音乐作品,有清晰的主旋律,也有精妙的变奏和对位,高潮的铺陈缓慢而坚定,最终的释放干净利落,不拖泥带水。读完后,书中的某些句子像刻刀一样,在我的记忆里留下了清晰的印记,这是真正能够经受时间考验的作品的特质。
评分坦白说,最初翻开这本书时,我对它抱持着一种审慎的怀疑态度,毕竟要驾驭如此宏大而又充满地域特色的背景,稍有不慎就会落入刻板印象的窠臼。然而,作者的笔触却是如此的稳健与老辣。书中对于那不勒斯特定的文化符号和风土人情的描摹,绝非蜻蜓点水式的观光客视角,而是一种深入骨髓的理解与体认。你几乎能闻到港口弥漫的咸湿空气,听到老城里此起彼伏的叫卖声。这种地域性的真实感,为整个故事搭建了一个坚不可摧的基石。更令人称道的是,尽管背景如此鲜明,人物的命运和情感纠葛却具有极强的普适性,这使得作品在扎根于本土的同时,又具备了超越地域的感染力。结构上,它像一个精密的钟表,每一个齿轮——无论是历史的回溯,还是当下的冲突——都咬合得天衣无缝,驱动着故事向一个必然却又意想不到的终点汇聚。这是一部需要耐心去品味的作品,它的价值不在于其表面的故事线,而在于其深厚的文化底蕴和对人性复杂性的精准捕捉。
评分这部作品的叙事节奏简直像是那不勒斯夏日午后慵懒的微风,舒缓却又暗流涌动。作者对文本细节的把控达到了令人咋舌的地步,每一个场景的铺陈,都仿佛是一幅精心构图的油画,色彩浓郁,层次分明。特别是对于人物内心世界的挖掘,那种细腻入微的描摹,让人在阅读时仿佛能亲手触摸到角色皮肤下的情绪脉络。我尤其欣赏作者在语言运用上的那种信手拈来的古典韵味,即使是描述最日常的片段,也流淌着一种不经意的诗意。整本书读下来,感觉像经历了一场漫长而充实的旅程,它没有用那种急促的、抓人眼球的情节来强迫读者前进,而是用一种沉静的力量,引导你自然而然地深入到故事的核心。这本书的魅力在于它的“留白”,它给了读者足够的空间去想象、去感受,去填补那些未被言明的空白,这正是优秀文学作品的标志。它不是一本让你一口气读完就丢在一边的快消品,而是那种需要你反复咀嚼,每次重读都能发现新亮点的佳作。
评分这本书给我带来了一种久违的智识上的愉悦感。它不仅仅是简单地叙述一个故事,更像是一场精心策划的、关于“存在”与“表达”的哲学探讨,只是它巧妙地将这些深奥的议题包裹在了引人入胜的叙事之中。我特别留意到作者在处理时间线时的那种高超技巧——过去与现在并非简单的交替,而是像两条河流汇入同一片海洋,相互映照,彼此定义。这种复调式的叙事结构,要求读者必须保持高度的专注力,但随之而来的回报是巨大的:你对角色动机的理解会变得立体而多维。某些关键性的场景,读罢后需要我合上书本,静坐良久,去梳理脑海中那些碎片化的信息和情感冲击。这种需要“主动参与”的阅读体验,是如今很多流水线产品所不具备的。它挑战了读者的认知边界,迫使我们重新审视那些我们习以为常的观念,从这个角度看,它是一次彻底的智力冒险。
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