图像的谱系与视觉文化研究
|
摘要
视觉文化是通过可见的图像来表达、理解和解释事物的文化形态,因此,全面把握作为视觉文化最为基本表征方式的图像,无疑是视觉文化研究最为关键的环节。在考察"象"或"像"即"图像"(image)的基本语义的基础上,可把图像分为物象、属象、意象和道象等四种类型,并各具其精微的逻辑内涵。而遵照语词的意义即用法的方法论立场,可将其"家族谱系"分为六种相似的类型,即"图形"、"视觉"、"感知"、"精神"、"语词"和"影像"。视觉文化研究与图像学之间既相关又存在着差异关系。事实上,从艺术史学科衍生出来的视觉文化研究等同于"图像学"(science of the image),这种主要以当今影像之流为研究对象的图像学不同于潘诺夫斯基的"图像学"(iconology),虽然潘诺夫斯基的图像学研究方法成为视觉文化研究导论的起点,但它们在研究对象与方法论上显然存在着较大的差别。
Visual culture which represent its meaning based on the visible images is very popular today,we should understand the meaning of a image which is central to the dominant culture in the present.Firstly,we explored the fundamental connotation of a image and its logic meaning in the Hegel's represent theory,and then we divided a image into four type.Facing on the complicated meaning of a image,we made use of the anti-fundamentalism approach to map out the genealogy of a image which was in-vented by Wittgenstein according to the principle that the meaning of a word is its way of use.At last,we investigated the relationship between visual study namely science of the image and Panofsky's Iconology.As we know,those images produced by the modern vision machine are the object of visual study,while the traditional visual arts are the main object of Iconology,this resulted in different theory approaches by which they inspected the image respectively.
Visual culture which represent its meaning based on the visible images is very popular today,we should understand the meaning of a image which is central to the dominant culture in the present.Firstly,we explored the fundamental connotation of a image and its logic meaning in the Hegel's represent theory,and then we divided a image into four type.Facing on the complicated meaning of a image,we made use of the anti-fundamentalism approach to map out the genealogy of a image which was in-vented by Wittgenstein according to the principle that the meaning of a word is its way of use.At last,we investigated the relationship between visual study namely science of the image and Panofsky's Iconology.As we know,those images produced by the modern vision machine are the object of visual study,while the traditional visual arts are the main object of Iconology,this resulted in different theory approaches by which they inspected the image respectively.
引文
[1]饶龙隼:《晚周观念具象述论》,载《文学评论》,2009(1)。
[2]《现代汉语词典》,第1261—1262页,北京,商务印书馆,1994。
[3][德]黑格尔:《美学》,第二卷,第23页,朱光潜译,北京,商务印书馆,1995。
[4]W.J.T.Mitchell,Iconology,Image,Text,Ideology,Chicago&London:The University of Chicago Press,1986,p.5.
[1]陆谷孙主编:《英汉大辞典》,第943页,上海译文出版社,2007。
[2][法]笛卡儿:《探求真理的指导原则》,第63页,管震湖译,北京,商务印书馆,2005。
[3]任悦:《视觉传播概论》,第61页,北京,中国人民大学出版社,2008。
[1][德]黑格尔:《精神哲学——哲学全书》第三部分,第267—273页,杨祖陶译,北京,人民出版社,2006。
[2][3][4][日]岩城见一:《感性论——为了被开放的经验理论》,第1、2、2页,北京,商务印书馆,2008。
[5]W.J.T.Mitchell,Iconology,Image,Text,Ideology,p.9.
[1][6][英]维特根斯坦:《哲学研究》,第47—48页,李步楼译,北京,商务印书馆,1996。
[2][7]W.J.T.Mitchell,Iconology,Image,Text,Ideology,p.10.
[3]米歇尔在这种具体化的“图画”(picture)与上述普泛性的形象(image)之间做了一个区别:前者为一个建构起来的具体的客体或整体(框架、支柱、材料、颜料、制作),后者为观者提供虚拟和现象的外表;一个故意的再现行为(“画图或画画”)区别于并非完全自愿的甚或是被动的或自动的行为(“想象”);一种特定的视觉再现(“图画”的形象)区别于整个形象领域(词语的、声音的、精神的形象)。但如果表示在二维平面再现时,这两个术语概念可以交换使用。不过从概念的外延上看,图像显然包括在形象之内。
[4]Martin Jay,Downcast Eyes-The Denigration of Vision inTwentieth-century French Thought,California:Universityof California Press,1993,p.8.
[5][德]海德格尔:《现象学之基本问题》,第91页,丁耘译,上海译文出版社,2008。
[1]W.J.T.Mitchell,Iconology,Image,Text,Ideology,p.11.
[2]Quoted in Nicholas Mirzoeff,An Introduction to Visual Culture,London&New York:Routledge,2005,p.4.
[3][4]Malcolm Bamard,Approaches to Understanding VisualCulture,Macmillan Press Ltd,p.5、p.2,2001.
[5]Margaret Dikovitskaya,The Study of the Visual after theCultural Turn,New York:The MIT Press,2005,p.3.
[1]Matthew Rampley,(ed)Exploring Visual Culture,Edinburgh University Press,pp.11—12,2005.
[2][6][美]潘诺夫斯基:《视觉艺术的含义》,第37、39页,傅志强译,沈阳,辽宁人民出版社,1987。
[3][4]W.J.T.Mitchell,Picture Theory,Chicago&London:The University of Chicago Press,p.2、p.1,1994.
[5]在德语中,图像学的名称是“Bildwissenschaft”,见W.J.T.Mitchell,Picture Theory,p.2.
[1]W.J.T.Mitchell,Picture Theory,p.16.
[2]《现代汉语词典》,第1261—1262页,北京,商务印书馆,1994。
[3][德]黑格尔:《美学》,第二卷,第23页,朱光潜译,北京,商务印书馆,1995。
[4]W.J.T.Mitchell,Iconology,Image,Text,Ideology,Chicago&London:The University of Chicago Press,1986,p.5.
[1]陆谷孙主编:《英汉大辞典》,第943页,上海译文出版社,2007。
[2][法]笛卡儿:《探求真理的指导原则》,第63页,管震湖译,北京,商务印书馆,2005。
[3]任悦:《视觉传播概论》,第61页,北京,中国人民大学出版社,2008。
[1][德]黑格尔:《精神哲学——哲学全书》第三部分,第267—273页,杨祖陶译,北京,人民出版社,2006。
[2][3][4][日]岩城见一:《感性论——为了被开放的经验理论》,第1、2、2页,北京,商务印书馆,2008。
[5]W.J.T.Mitchell,Iconology,Image,Text,Ideology,p.9.
[1][6][英]维特根斯坦:《哲学研究》,第47—48页,李步楼译,北京,商务印书馆,1996。
[2][7]W.J.T.Mitchell,Iconology,Image,Text,Ideology,p.10.
[3]米歇尔在这种具体化的“图画”(picture)与上述普泛性的形象(image)之间做了一个区别:前者为一个建构起来的具体的客体或整体(框架、支柱、材料、颜料、制作),后者为观者提供虚拟和现象的外表;一个故意的再现行为(“画图或画画”)区别于并非完全自愿的甚或是被动的或自动的行为(“想象”);一种特定的视觉再现(“图画”的形象)区别于整个形象领域(词语的、声音的、精神的形象)。但如果表示在二维平面再现时,这两个术语概念可以交换使用。不过从概念的外延上看,图像显然包括在形象之内。
[4]Martin Jay,Downcast Eyes-The Denigration of Vision inTwentieth-century French Thought,California:Universityof California Press,1993,p.8.
[5][德]海德格尔:《现象学之基本问题》,第91页,丁耘译,上海译文出版社,2008。
[1]W.J.T.Mitchell,Iconology,Image,Text,Ideology,p.11.
[2]Quoted in Nicholas Mirzoeff,An Introduction to Visual Culture,London&New York:Routledge,2005,p.4.
[3][4]Malcolm Bamard,Approaches to Understanding VisualCulture,Macmillan Press Ltd,p.5、p.2,2001.
[5]Margaret Dikovitskaya,The Study of the Visual after theCultural Turn,New York:The MIT Press,2005,p.3.
[1]Matthew Rampley,(ed)Exploring Visual Culture,Edinburgh University Press,pp.11—12,2005.
[2][6][美]潘诺夫斯基:《视觉艺术的含义》,第37、39页,傅志强译,沈阳,辽宁人民出版社,1987。
[3][4]W.J.T.Mitchell,Picture Theory,Chicago&London:The University of Chicago Press,p.2、p.1,1994.
[5]在德语中,图像学的名称是“Bildwissenschaft”,见W.J.T.Mitchell,Picture Theory,p.2.
[1]W.J.T.Mitchell,Picture Theory,p.16.