Introduction

Ekphrasis originated in ancient Greece, referring to a rhetorical technique that involves detailed descriptions of people, events, or objects, not limited to artworks. After the 1950s, the study of ekphrasis gained attention and was defined as "the verbal representation of visual representation." This paper adopts Cheng Xilin's definition, which refers to the verbal representation of artworks, characters, and scenes in literary works. In The Years, Annie Ernaux employs twelve photographs and two film clips to depict the passage of time and historical changes, echoing the verbal representation of ekphrasis. This paper explores how Ernaux integrates the "self" and the "other" in her work, offering a new perspective for research.

1. Verbalizing the Visual: Emotional Resonance Between "Self" and "Other"

This section examines the application of verbalizing the visual in The Years, emphasizing three key features: vivid narration, mental imagery transfer, and emotional impact. Through Ernaux's meticulous depictions of images—such as characters' clothing, expressions, and postures—mental imagery transfer is achieved, allowing readers to resonate with the text. Ernaux employs detailed adjectives and contrastive techniques to craft a lifelike portrayal of an elderly woman, enabling readers to sense the traces of time. Meanwhile, environmental descriptions—such as pale sunlight and withered grass—enhance the effect of mental imagery transfer, fostering empathy between readers and the protagonist. By using ekphrastic narration, the author connects personal memory with collective memory, merging readers and the author within the imagery and achieving emotional resonance.

2. Objective Description: The Blending of "Self" and "Other" Identities

This section explores how Annie Ernaux achieves the blending of "self" and "other" identities in The Years through unique narrative techniques. Ernaux employs impersonal narration and present tense to blur the boundaries between narrator and characters, creating a polyphonic structure that allows readers to identify with figures in the book, facilitating a fusion between author and reader. This narrative approach dissolves the subjectivity of images, making it easier for readers to immerse themselves in the narration and perceive the emotional shifts and inner worlds of the characters, thereby forging a connection with them. This technique not only enables readers to touch past scenes but also gives them a sense of personal experience, as if they themselves were the protagonists in the images.

3. Discovering the "Punctum": The Fusion of "Self" and "Other" Memories

This section discusses how ekphrasis in The Years achieves the fusion of "self" and "other" memories through the concept of the "punctum." Roland Barthes' notions of "studium" and "punctum" from Camera Lucida: Reflections on Photography are used to analyze the foundational cultural elements and overlooked details in images. Though minor, these details can evoke emotional resonance and awaken memories. In The Years, the author recreates era-specific clothing, hairstyles, and postures, showcasing French cultural traits while also serving as "punctums" that stir readers' emotions and recall the past. These "punctums" allow readers to see themselves or loved ones in the images, merging their memories with the author's and becoming the subjects of the imagery. Through descriptions of images, the author dissolves their subjectivity, inviting readers to engage with and relive bygone days.

Conclusion

This section highlights the pivotal role of images in The Years. Ernaux's vivid descriptive techniques evoke emotional resonance in readers, while dissolving the subjectivity of images to enhance objectivity, allowing readers to find their own identities within them. The "punctums" in the imagery awaken readers' memories, achieving the fusion of "self" and "other" memories. Ernaux's ekphrastic strategies transform images into vessels of emotional resonance, enabling readers to discover shared identities and memories with the author, realizing the blending of "I am the other." Despite the passage of time, the images in the book remain fresh, as readers can always find reflections of themselves within them.