摘要
在过去的二十年里,视觉文化成了学术界关注的课题之一。但是到底什么是视觉文化研究?它是一个新兴的领域,还是之前的跨学科研究的总结?它是一个独立研究课题,还是文化研究、传媒研究、艺术史和美学的分支?如果它已经成为独立学科,那么它与其他学科的界限在哪里?特别是与艺术史研究的界限在哪里?它是否应该在学术研究和教学机构里占有一席之地?这些问题也是作为这项研究的奠基人之一的WJ.T.米歇尔在2002年提出的,他曾经针对视觉文化研究的热潮及时指出了过分神话视觉文化研究的趋向,希望研究者们能够冷静对待这个学科,看到它的局限性也发现更多新的可能。
本文是国内第一篇系统探讨美国学者WJ.T.米歇尔的图像理论和视觉文化理论研究的博士论文,从这个意义上讲,这一选题是富有创新性和学术价值的。米歇尔的理论研究跨越了多个学科领域,他既是一位文学研究家,也是一位艺术史学家,并因提出“图画转向”’(pictorial turn)而闻名世界,至今他仍是一位不断发展自身思想的多产理论家。本文以米歇尔的图像理论为出发点,从早期的图像学研究到“图画转向”的提出,再到如今的视觉文化研究的新方向和教学实践,系统地解读和梳理了米歇尔的相关理论的发展变化。笔者在加强第一手英文资料细读的基础上进行了自己的思考和总结,得出了独立见解。论文采用系统梳理和深度开发相结合的方法,深入地分析背景、厘清概念、揭示内涵,做出宏观概括和客观评价。论文力求从米歇尔的图像理论和视觉文化理论研究的发展进程中,发掘其独到见解和开拓性贡献,发现其丰富理论资源的价值,引起国内学界对米歇尔的重视和关注,也希望对国内图像理论和视觉文化理论的发展有所启发和借鉴。
导论部分主要介绍了米歇尔的生平经历、理论背景、国内外研究现状及文章创新点。米歇尔是当代视觉文化研究领域的重要学者之一,并因提出“图画转向”而闻名,他主编的《批评探索》受到学术界的普遍认可和关注。米歇尔的著作《图像学》、《图画理论》和《图画想要什么》被称作“图像科学三部曲”,他的文章和著作多次获得奖项和资助,并被译成包括汉语在内的多种语言。米歇尔的著作和文章中涉及马克思、维特根斯坦、本雅明、古德曼、潘诺夫斯基、贡布里希、拉康等理论家,研究领域十分广泛。西方视觉文化研究分为英国学派和美国学派,米歇尔是美国学派的主要代表人物之一,并对国内的图像研究和视觉文化研究产生了重大影响。
第一章主要探讨了米歇尔的早期图像理论研究,即对形象、文本和意识形态的研究。米歇尔在1986年出版的《图像学》一书中想要解决“什么是形象、形象和词语的区别”等问题。他将此书称作“形象之书”,讨论图画、想象、感知、相似和模仿,书中除了一些简要的图表之外没有插图；他还将此书称作“视觉之书”,就像一个盲人作者写给一个盲人读者一样。这样一本关于图像学的文集,研究“图像”的“理性”,是一种双重意义上的“形象的修辞学”。米歇尔讨论了形象家族、心理形象、词句形象、相似物和图绘不可见之物等问题,并通过研究布莱克的合成艺术、古德曼的与符号学相关的形象性理论、莱辛的诗画理论、伯克的美和崇高的理论等来讨论形象与文本的关系,提出了形象文本辩证法。虽然米歇尔关注形象理论,但他从不去定义“形象”或“形象性”,他将文本的研究作为形象研究的陪衬和一个“重要的他者”,并将意识形态用于双重含义。
第二章主要探讨了米歇尔的中期图像学研究。“图像学”一词源于文艺复兴时期为艺术家提供参考的描述象征图像的小册子,潘诺夫斯基的图像学把艺术当作文化或心灵史的征兆,解读主题背后的文化意义。贡布里希则对图像学概念进行了修正,将图像学的雄心压缩,把作者意图作为图像学的阐释对象,确定作品唯一的可证明的意义。图像学已被许多学者看作是图像研究的第四阶段的任务,将其定义为文化史研究的一个分支,用来揭示视觉艺术中主题和题材的文化、社会和历史背景。米歇尔通过研究潘诺夫斯基和贡布里希的图像学,提出了“批判的图像学”,以区别于传统图像学。批判的图像学并不等同于形象的理论,它是关于形象的理论的理论,检验人们对形象一词的使用方式,有学者称其为“元理论”,但米歇尔认为“《图像学》不是一本真正哲学家的书,它是给作家、艺术家和批评家的文本,它不提供一个形象的新理论或是一个写作的新方法,而是提供了一系列广泛的和批评的反思,使我们解除一些关于形象的已确立的思考习惯,让我们重新审视它并更批判地使用它。”’这种批判地使用在书中体现为对贡布里希、莱辛、伯克和马克思的相关理论的分析。米歇尔还探讨了“元图像”,将自己的相关文章称作“关于图像的图像的文章”,即指向自身或指向其他图像的图像,用来表明什么是图像的图像。米歇尔的“生物图像”也是当代图像学的一个关键术语,这一概念的阐释是从人工智能、遗传基因、生物工程、数码复制等角度进行的。
第三章主要探讨了米歇尔近年来提出的“图画转向”及其视觉文化研究的新方向。“图画转向”是米歇尔首先提出来的,但他并不是要宣称现代是唯一的、前所未有的沉迷于视觉和视觉表现的时代,他的目的是认可“转向视觉或形象”成为共识。米歇尔明确地使用“转向”一词来概括这一文化变迁,更多地是指一种哲学方法在“语言学转向”之后的方法论转向。他指出“图画转向”出现的原因是由于音像时代、控制技术和电子复制时代形成了一种新的视觉仿像形式和幻觉主义,对形象的恐惧和对形象会摧毁其创造者的焦虑由来已久,正如形象本身一样古老。“图画转向”的价值在于他提出了一种学科领域内的号召,即把图像表征模式纳入学科研究视野中,这基于观看行为可能与阅读的形式是同等深奥的问题,而文本性的形式可能无法充分解释视觉经验或视觉能力。《图画转向》一文发表之后,米歇尔也多次论述了他对视觉文化的看法,形成了自己独特的研究方向。1998年出版的《最后的恐龙之书：一个文化图像的生命和时代》和2005年出版的《图画想要什么：形象的生命和爱》二本著作可以看作是米歇尔自身进行图画转向的结果。从此,米歇尔更加注重物质的、客观的和位于媒介之中的图画,由此转向了对图画生命、图画本体的研究,开启了视觉文化的新方向,这也意味着其研究范式与之前范式的断裂。但是,这并非一劳永逸地完成了对视觉文化理论的探索和建构,只是20世纪90年代以来他的视觉文化研究的起点。随着课程的开设、研讨会的举办和文集的出版,米歇尔写了一系列文章进行反思,并开展了两次重要辩论。最有影响力的文章莫过于《展示观看：视觉文化的批评》,文章指出了视觉文化的一系列谬误,即十个神话和八个反题,并提出了“展示观看”的教学方法。
结语部分总结了米歇尔图像理论和视觉文化理论研究的特点和意义。米歇尔的图像理论和视觉文化理论研究具有跨学科性,对图像和文本的研究跨越了文学、美学、心理学、符号学、艺术史、自然科学等多个领域,他的《图像学》和《图画理论》在把其他向度引入艺术史方面起到了非常重要的作用。米歇尔的“图画转向”理论的提出受到了国内外学术界的广泛关注,并引发了对“转向”理论的大讨论。此外,米歇尔对批判的图像学、元图像、生物图像、图腾和生命等关键词的论述也得到学术界的认可。
In the past twenty years, visual culture has been the focus of the academic circles. But what is visual culture study? Is it a new study field or a summary of related studies? Is it an unaided research subject or a branch of culture study, media study, art history and Aesthetics? If it is an unaided subject, what is the boundary with other subjects, especially with art history? Has it a clear definition? These questions are also asked by W.J.T. Mitchell in2002. He once pointed out that scholars should calmly deal with this subject and find its limitations and its new possibilities.
The article is the first doctoral dissertation in our country to discuss W.J.T. Mitchell's iconological theories and visual culture theories. So the article has its novelty and learning value. W.J.T. Mitchell's theories are trans-disciplinary and he is not only a literary researcher, but also an art historian. He is famous for Pictorial Turn in the world. The article bases on W.J.T. Mitchell's iconological theories and studies his iconology, Pictorial Turn theory and visual culture studies. Also the article bases on first-hand English materials and gets the new ideas and results. The article analyzes the backgrounds, concepts and meanings of theories and tries to summarize and evaluate theories. So the academic circles in our country can pay attention to W.J.T. Mitchell and his theories and the article can devote to related studies in our country.
The first part of the article is Introduction. It introduces Mitchell's experiences, theory backgrounds, research status and innovateion points. Mitchell is one of the most scholars in the field of visual culture studies. He is famous for pictorial turn. Critical Inquiry, edited by Mitchell, is also famous and popular. The book Iconology and Picture Theory and What do Pictures Want are the most important works. His articles and books are translated into many languages, including Chinese. His studies include many theorists, such as Marx, Wittgenstein, Benjamin, Goodman, etc. He is one of scholars of American School in visual culture studies. He also affects Chinese academic circles. The article tries to contribute to Chinese visual culture studies.
The first chapter discusses W.J.T. Mitchell's iconological studies on image, text and ideology. The book Iconology was published in1986and it wants to answer the question of what is image, what is the difference between image and words, what is ideology, etc. Mitchell calls it the book of image and the book of visual. The book discusses logos of icons and the family of images, mental images, verbal images and likeness, etc. And also Mitchell discusses Blake, Goodman, Lessing and Burke.
The second chapter discusses Mitchell's iconology. Panofsky and Gombrich are the important schoars to study iconology. Through studying their theories, Mitchell pur forward Critical Iconology to make difference with traditional iconology. It is the theory of image theory and Mitchell calls it Meta-theory. Mitchell also discusses his Meta-icon and Bio-picture. They are both the key terms of modern iconology.
The third chapter discusses Pictorial Turn and new direction of visual culture studies. Mitchell first put forward the saying Pictorial Turn, but he didn't claim that modern times is the only times of visual expression. He uses Pictorial Turn to show the changes of culture. Pictorial Turn attributes to AV times, control technique and reprography times. Then Mitchell discusses visual culture and has his new direction. The famous books on it are The Last Dinosaur Book and What do Pictures Want. Then Mitchell put forward the teaching method of showing seeing.
The last part is conclusions. It concludes the characteristics and significance of Mitchell's iconological and visual culture theories. Mitchell's theories include many fields, such as literature, Aesthetics, psychology, semiotics, art history, etc. Iconology and Picture Theory make other fields into art history. His theory of pictorial turn is very famous and gives rise to discuss. His other key words are also popular in academic circles.
引文
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1此课程1999年秋天开课的提纲和参考资料在米歇尔教授的个人主页上科以查到,以小组讨论的形式开设,每周一次。
2 "What DoPictures Want?" Podcast Interview with Duncan Mackenzie and Terri Griffith,November 2006(笔者译)
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1小托马斯·肯纳利·沃尔夫,美国记者、作家。他的报道风格大胆,以侧用俚语、造词和异端的标点为特征。他对新闻运动影响深远。沃尔夫的作品通过描述当时的时尚文化,熟练的捕捉到当时社会上人们的心态,讽刺性地描写了美国社会。1968年的The Electric Kool-Aid Acid Test是他最著名的小说之一。
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1爱德蒙·们克.崇高与美—伯克美学论文选：关于崇高和美的观念的起源的哲学探讨[M].上海：三联书店,1990,第35-36页
2爱德蒙·伯克.崇高与美—伯克美学论文选：关于崇高和美的观念的起源的哲学探讨[M].上海：三联书店,1990,第35-36页
3爱德蒙·伯克.崇高与美—伯克美学论文选：关于崇高和美的观念的起源的哲学探讨[M].上海：三联书店,1990,第146页
1 Wendy Steiner.The Color of Rhetoric [M]. Chicago:University of Chicago Press,1982, P5(笔者译)
1(美)W.J.T.米歇尔.图像理论[M].陈水国,胡文征，译.北京：北京大学出版社,2006,第77页,N1
2(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第82页
1(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第82-83页
2 Mitchell, W.J.T. Word and Image, in edited by Robert S. Nelson and Richard Shiff. Critical Terms for Art History, Chicago and London:The University of Chicago Press,1996, P48,中译《文字与图像》见《新美术》2007(4),朱平译
1 Mitchell, W.J.T. Word and Image[J].in edited by Robert S. Nelson and Richard Shiff, Critical Terms for Art History, Chicago and London:The University of Chicago Press,1996, P15(笔者译)
1 Mitchell, W.J.T. Word and Image[J]. in edited by Robert S. Nelson and Richard Shiff, Critical Terms for Art History, Chicago and London:The University of Chicago Press,1996, P16(笔者译)
2 Mitchell, W.J.T. Word and Image[J]. in edited by Robert S. Nelson and Richard Shiff, Critical Terms for Art History, Chicago and London:The University of Chicago Press,1996, P20(笔者译)
1 Raymond Williams. Marxism and Literature. Oxford:Oxford University Press,1977, P1(笔者译)
1 (美)潘诺夫斯基.视觉艺术的含义[M].傅志强译.辽宁人民美术出版社,1987,第36页
2(美)温尼·海德·米奈.艺术史的历史[M].李建群,译.上海人民出版社,2007,第214页
1(美)潘诺夫斯基.视觉艺术的含义[M].傅志强.译.辽宁人民美术出版社,1987,第17页
1(美)迈克尔·安·霍莉.潘诺夫斯基与美术史基础[M].易英译,湖南美术出版社,1991,第134页
1 Mitchell, W.J.T. Iconology:Image, Text, Ideology [M]. Chicago:University Of Chicago Press,1987, P101(笔者译)
1 Gombrich. Image and Code:Scope and Limits of Conventionalism in Pictorial Representation [J]. in Image and Code. ed. Wendy Steiner, Ann Arbor:University of Michigan Studies in the Humanities, No.2,1981(笔者译)
1 Philostratus. Imagines [M].translated by A. Fairbanks, Loeb Classics Series. Harvard University Press, Cambridge, Massachusetts,1931
2 Mitchell, W.J.T. lconology:Image, Text, Ideology [M]. Chicago:University Of Chicago Press,1987, P9(笔者译)
1 Hans Belting. Image, Medium, Body:A New Approach to Iconology [J]. Critical Inquiry, Vol.31, No. 2, 2005, P303(笔者译)
2迈克尔·安·霍莉.潘诺夫斯基与美术史基础[M].易英译,湖南美术出版社,1992,第154-165页
1 Guilio Carlo Argan. Ideology and Iconology [M]. translated by Rebecca West, Critical Inquiry, Vol.2, No.2, Winter,1975
2 Mitchell, W. J. T. The language of Images [M]. Chicago and London:The University of Chicago Press,1980, P4(笔者译,阿尔甘的文章在第17页)
3 Mitchell, W.J.T. Iconology:Image, Text, Ideology [M]. Chicago:University Of Chicago Press,1987, P155(笔者译)
4 Mitchell, W.J.T. Iconology:Image, Text, Ideology [M]. Chicago:University Of Chicago Press,1987, P1(笔者译)
1 Mitchell, W. J. T. Iconology and Ideology:Panofsky, Althusser and the Scene of Recognition. in edited and with and Introduction by David Downing and Susan Bazargan. Image and Ideology in Modern/Postmodern Discourse. Albany:State University of New York Press,1991, P322(笔者译)
2 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P100(笔者译)
3(美)潘诺夫斯基.图像学研究[M].戚印平、范景中译,上海三联书店,2011,第1页
4(美)潘诺夫斯基.图像学研究[Ml.戚印平、范景中译,上海三联书店,2011,第1页
5(美)W.J.T米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第17页
1(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第18页
2(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第18页
3 Althusser. Ideology and Ideological State Apparatuses(Notes toward and Investigation). in Lenin and Philosophy, translated by Ben Brewster, New York:Monthly Review Press,1971, P127-186(笔者译)
3(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第20页
4(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第25页
1 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press.2006,P6(笔者译)
1 John Rajchman. The forward to Thierry de Duve, "Pictorial Nominalism. translated by Dana Polan, Minneapolis: University of Minnesota Press,1991,P,xvi (笔者译)
2(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社，2006,第27页
3(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第28页
4中译本《图像理论》将这三者译为“观者、生产者和再现客体”
1(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第48页
2(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第48页
3中译本《图像理论》将“凝视”译为“注视”,而中译本《词与物》则将凝视译为“目光”
1 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P19(笔者译)
1(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第3贞
2(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第8页
1 Rosalind Krauss. Welcome to the Cultural Revolution [J]. October, Vol.77, Summer,1996, P84(笔者译)
1 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P343-348(笔者译)
2 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P343(笔者译)
3 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P349(笔者译)
4(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第4页
5(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第5-7页
6(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第4页
1(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第5页
2 Mitchell, W.J.T. konology:Image, Text, Ideology [M]. Chicago:University Of Chicago Press,1987, P158(笔者译)
3 Mitchell, W.J.T. Iconology:Image, Text, Ideology [M]. Chicago:University Of Chicago Press,1987, P6(笔者译)
4(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第39页
5(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第27-29页
6(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第70-71页
7 Thomas Dacosta Kaufmann. Response to "Visual Culture Questionnaire[J].October, Vol.77, Summer,1996, P46(笔者译)
8米歇尔2001年发表的《展示观看》中米歇尔称自己教授该课程有十年之久,因此该课程开始的时间应不早于1991年,见What do Pictures Want?[M].Chicago:University of Chicago Press,2005, P336
1 Mitchell, W.J.T. Interdisciplinarity and Visual Culture [J]. Art Bulletin, Vol.77, No.4, Dec.1995, P543(笔者译)
2 Margaret Dikovitskaya. Visual Culture:The Study of the Visual after the Cultural Turn[J]. London:The MIT Press,2006,P239(笔者译,此处米歇尔将视觉文化称为一个学科,这与其“交叉学科”的一贯表述不同,但这出于口头采访,可能是口误或采访者的笔误)
3 Margaret Dikovitskaya. Visual Culture:The Study of the Visual after the Cultural Turn[J]. London:The MIT Press,2006,P242(笔者译)
1 Mitchell, W.J.T. What do Pictures Want? [M]. Chicago:University of Chicago Press,2005, P356(笔者译)
2(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第4页
3 Mitchell, W.J.T. Iconology:Image, Text, Ideology [M]. Chicago:University Of Chicago Press,1987, P1(笔者译)
3(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第4页
1(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第4页
2(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第7页
1此提纲中译可参见周宪的《视觉文化的转向》,第19页
2 Mitchell, W.J.T. What is Visual Culture?[J]. in edited by Joanne Morra and Marquard Smith, Visual Culture, Vol.1, What is Visual Culture Studies? London:Routledge,2006, P299(笔者译)
3 Mitchell, W.J.T. What is Visual Culture? [J]. in edited by Joanne Morra and Marquard Smith, Visual Culture, Vol.1, What is Visual Culture Studies?London:Routledge,2006, P299(笔者译)
4 Mitchell, W.J.T. What is Visual Culture? [J]. in edited by Joanne Morra and Marquard Smith, Visual Culture, Vol.1, What is Visual Culture Studies?London:Routledge,2006, P301(笔者译)
1 Mitchell, W.J.T. What is Visual Culture?[J].in edited by Joanne Morra and Marquard Smith, Visual Culture, Vol.1, What is Visual Culture Studies?. London:Routledge,2006, P301(笔者译)
2 Mitchell, W.J.T. What is Visual Culture? [J].in edited by Joanne Morra and Marquard Smith, Visual Culture, Vol.1, What is Visual Culture Studies?. London:Routledge,2006, P307(笔者译)
3 Mitchell, W.J.T. Interdisciplinarity and Visual Culture[J].Art Bulletin, Vol.77, No.4, Dec.1995, P540(笔者译)
1 Mitchell, W.J.T. Interdisciplinarity and Visual Cultum[J]. Art Bulletin, Vol.77. No.4, Dec.1995, P541(笔者译)
2 Mitchell, W.J.T. Interdisciplinarity and Visual Culture[J]. Art Bulletin, Vol.77, No.4, Dec.1995, P541(笔者译)
3 Mitchell, W.J.T. Interdisciplinarity and Visual Culture[J]. Art Bulletin. Vol.77, No.4, Dec.1995, P541(笔者译)
4 Mitchell, W.J.T. Interdisciplinarity and Visual Culture[J]. Art Bulletin, Vol.77, No.4, Dec.1995, P543(笔者译)
1 Marquard Smith. Visual Culture Studies:Interviews with Key Thinkers[J]. Los Angeles:SAGE,2008, P200-201(笔者译)
2 Thomas Crow. Response to Visual Culture Questinnnaire[J].October, Vol.77, Summer,1996, P34(笔者译)
3 Thomas Dacosta Kaufmann. Response to Visual Culture Questinnnaire[J].October, Vol,77, Summer,1996, P48(笔者译)
4 Michael Ann Holly. Saints and Sinners[J]. October, Vol.77, Summer,1996, P39-41(笔者译)
5 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P339(中译可参见章戈浩编《可见的思想》,山东文艺出版社,2008,P5)
1“神话”和“反题”译自What Do Pictures Want?:The Lives and Loves of Image, P342-344(笔者译)
2 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P344(笔者译)
1 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P344(笔者译)
1 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P42-44(笔者译)
2 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P47-48(笔者译)
1 Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M]. Chicago:University Of Chicago Press,2006,P32-33(笔者译)
1 Mitchell,W.J.T. The Last Dinosaur Book: The Life and Times of a Cultural Icon [M]. Chicago:University of Chicago Press,1998,P7(笔者译)
1 Mitchell, W.J.T. The Last Dinosaur Book The Life and Times of a Cultural Icon[M]. Chicago:University of Chicago Press,1998.P72(笔者译)
1(美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006,第3页
1 Mitchell, W.J.T. What is Visual Culture?[J]. in edited by Joanne Morra and Marquard Smith, Visual Culture, Vol.1, What is Visual Culture Studies?, London:Routledge,2006, P299(笔者译)
[1](英)德波拉·切利.艺术、历史、视觉、文化[M].杨冰莹,梁舒涵等,译.南京：江苏美术出版社,2010
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[9](英)迈克·费瑟斯通.消解文化—全球化、后现代主义与认同[M].杨渝东,译.北京：北京大学出版社,2009
[10](法)罗兰·巴特.罗兰·巴特文集：符号学原理.[M].李幼燕,译.北京：中国人民大学出版社,2008
[11](美)阿瑟·阿萨·伯杰.眼见为实—视觉传播导论(第三版)[M].张蕊,韩秀荣,李广才,译.南京：江苏美术出版社,2008
[12](德)马丁·海德格尔.林中路[M].孙周兴,译.上海：上海译文出版社,2008
[13](英)理查德·豪厄尔斯.视觉文化[M].葛红兵等,译.桂林：广西师范大学出版社,2007
[14](美)丹尼尔·贝尔.资本主义文化矛盾[M].严蓓雯,译.南京：江苏人民出版社,2007
[15](德)莱辛.拉奥孔[M].朱光潜,译.安徽教育出版社,2006
[16](匈)巴拉兹.电影美学[M].何力,译.北京：中国电影出版社,2006
[17](美)W.J.T.米歇尔.图像理论[M].陈永国,胡文征,译.北京：北京大学出版社,2006
[18](美)尼古拉斯·米尔佐夫.视觉文化导论[M].倪伟,译.南京：江苏人民出版社,2006
[19](德)沃尔夫冈·韦尔施.重构美学[M].陆扬,张岩冰,译.上海：上海译文出版社,2006
[20](英)丹尼·卡瓦拉罗.文化理论关键词[M].张卫东,张生,赵顺宏,译.南京：江苏人民出版社,2006
[21](英)约翰·斯道雷.文化理论与通俗文化导论[M].杨竹山,郭发勇,周辉,译.南京：南京大学出版社,2006
[22](英)特里·伊格尔顿.文化的观念[M].方杰,译.南京：南京大学出版社,2006
[23](美)约翰·费斯克.解读大众文化[M].杨全强,译.南京：南京大学出版社,2006
[24](英)特里·伊格尔顿.后现代主义的幻象[M].华明,译.北京：商务印书馆,2005
[25](美)弗雷德里克·杰姆逊.后现代主义与文化理论—北大学术演讲之四[M].北京：北京大学出版社,2005
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[27](法)吉尔·德勒兹.时间-影像[M].谢强等,译.长沙：湖南美术出版社,2004
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[29](德)瓦尔特·本雅明.机械复制时代的艺术作品[M].王才勇,译.北京：中国城市出版社,2002
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[31]陈永国.视觉文化研究读本[M].北京：北京大学出版社,2009
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[39]陶东风,和磊.文化研究[M].桂林：广西师范大学出版社,2006
[40]王宁.文学理论前沿(第三辑)[M].北京：北京大学出版社,2006
[41]《艺术学》编委会.后现代思考：艺术的本质与未来(艺术学第3卷第1辑)[M].学林出版社,2006
[42]朱立元.当代西方文艺理论[M].上海：华东师范大学出版社,2005
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[1]Mitchell, W.J.T. Critical Terms for Media Studies [M]. Chicago:University Of Chicago Press,2010
[2]Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images [M], Chicago:University Of Chicago Press,2006
[3]Mitchell, W.J.T. Landscape and Power [M]. Chicago:University Of Chicago Press,2002
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[1]E-Composvol.12, no.1 (2009), and the title of the interview is "Como cacar (e sercacado por) imagens" ("How to hunt (and be hunted by) images"):entrevista com W.J. T. Mitchell by Rose Melo Rocha and Daniel Portugal.
[2]"Interview with Professor WJTMitchell," Budapest, Petofi Museum of Literature, October 29th,2008.
[3]"Threatenedby the imageless image." Metropolism
[4]"The Future of the Image," adialogue with Jacques Ranciere at Columbia University on April 23rd,2008Page 291
[5]"The lie of the land." byDana Gilerman haaretz.com
[6]"What is the Digital Humanities? Response to plenary session at the 2007 Modern Language Assocation."
[7]"On the Edge of CriticalThinking-An Interview with W. J. T. Mitchell" Interview with Lydia H. Liuconducted at the Wissenschaftskolleg zu Berlin April 27,2005
[8]"W.J.T. Mitchell:Chicago's renaissance manrScholar's written about dinosaurs, fetishes. Spike Lee", by Julia Keller,Chicago Tribune, December 31,2006.
[9]Interviewwith Asbjern Granstad and Φyvind Vagnes from,Image [&] Narrative, inthe issue "Battles around Images:Iconoclasm and Beyond", November 2006
[10]"What DoPictures Want?" Podcast Interview with Duncan Mackenzie and Terri Griffith,November 2006
[11]"Echoes of aChristian Symbol" (on the Abu Ghraib torture photographs), Chicago Tribune, Sunday, June 27,2004, Section 2, p.1,3.
[12]"Essays into the Imagetext:An Interview with W. J. T.Mitchell"
[13]"An Interview with W. J. T.Mitchell," by Margarita Dikovitskaya
[14]"Interview with W. J. T.Mitchell --The Last Dinosaur Book," an interview by the Seminary Co-op Bookstore
[15]"Golden Memories--Interview with Sculptor RobertMorris," by W. J. T. Mitchell, ArtForum, April 1994
[16]"TheLast Formalist, or W. J. T. Mitchell as Romantic Dinosaur," by OrrinWang
[17]"The Panic of the Visual:A Conversation with Edward W. Said," byW. J. T.Mitchell
[18]"Pictures Want To Be Kissed," interview with W. J. T.Mitchell, Iconic Turn Lecture Series, Burda Academy of theThird Millennium, Munich(click for PDF version)
[19]"Revolution and YourWardrobe:Fashion and Politics in the Photography of JaneStravs," by W. J. T. Mitchell
[20]"Translator translated (interview with Homi Bhabha)," by W. J. T.Mitchell
[21]"What Happened to the Essay?" Anunpublished e-mail interview with Julia Keller, Cultural Affairs Reporter of theChicago Tribune
[22]"Words and Pictures in the Age of the Image," interview with Andrew
McNamara,Queensland University of Technology, Australia,1996.
[23]Journal of Visual Culture (website), http://www.journalofvisualculture.org/
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[1]张斌宁.从视滛到奇观—新时期以来中国电影阶段性影像特征的视觉文化研究.中国传媒大学,2010
[2]赵晓芳.视觉冲击与浸润下的文学图景.华中师范大学,2008
[3]高燕.视觉隐喻与空间转向.复旦大学,2005
[4]徐巍.视觉文化语境中的八九十年代小说创作.复旦大学,2004
[5]丁莉丽.共谋与斗争：视觉文化时代的影视风景.浙江大学,2004