纯粹的目光——福柯对视看现代性的认知

发布时间：2018-05-06 19:45

本文选题：视看现代性 + 目光　；参考：《社会科学》2017年10期

【摘要】：福柯认为现代视看是建立在现代知识型的基础上的,它是一种侧重于生理感官的纯粹目光,与视看中的非视觉性相分离,而使视觉只是专注于看,并具有优先性。福柯在对《宫娥》进行分析时,通过拆解表象,寻找一种不受理论、理性和想象干扰的纯粹目光。然而,由于此作毕竟是古典时期的经典作品,最终使目光陷入到绘画之中,而背离了纯粹性。在马奈的相关作品的分析中,他仍以拆解表象的方式,将绘画还原为绘画-物,从而实现了观看对象的纯粹性。可是,纯粹目光一旦发生,便会产生一个悖论,那就是一方面要求目光的纯粹性;另一方面在这种观看体制中,我们既是观看的主体又是被观看的对象,最终成为了对象的语义物,并意识到了观看本身。最后,福柯在实物的厚度上思考绘画,把它放到目光真实的空间中,实现了视看的自我反观。从某种程度上说,这是对格林伯格的视觉现代性理论的纠正。
[Abstract]:Foucault believes that modern view is based on the modern knowledge type. It is a pure eye which focuses on the physiological senses, and is separated from the visual non vision, and makes the vision focus on the view, and has the priority. In the analysis of "the palace >", Foucault seeks out a kind of theory, reason and imagination by dismantling the imagery. However, it is the classical work of the classical period, after all, the classical works of the classical period, and finally make the eye fall into the painting, but deviate from the purity. In the analysis of the related works of MANET, he still restores the painting to the painting and the object in the way of dismantling the appearance. There will be a paradox that requires the pureness of the eye on the one hand; on the other hand, in this viewing system, we are both the subject and the object that we are watching, and eventually become the object's semantics, and realize the view itself. Finally, Foucault thinks of painting in the thickness of the object and puts it in the eye. In the space, the self reflection of seeing and seeing is realized. To a certain extent, this is a correction to Greenberg's theory of visual modernity.

【作者单位】：四川美术学院公共课教学部;
【分类号】：J205

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