视觉的辩证法

发布时间：2018-01-20 23:25

本文关键词： 视觉的辩证法文本图象时间模式空间模式虚象　出处：《华东师范大学》2004年硕士论文　论文类型：学位论文

【摘要】：20世纪后期以来，有关用“图象”来界定我们这个时代的主要特征的说法被不断地提出来。于是，“图象转向”、“图象时代”的说法逐渐成为一种普遍的共识，有人直接将后现代等同于“图象”占主导地位的时代。同时，在这些说法中，同样不难发现往往包含着一种关于文字与图象，文本模式与图象模式之间的二元对立。本文则认为，关于这样一种截然的对立是被夸大了。与其说它们是泾渭分明的，不如说它们是相互渗透、相互缠绕的。特别是在20世纪以来，文本的图象化成为一种普遍的趋势，文本日益成为“可看”的、成为视觉的对象。这样一种“文本的图象化”具有颠覆传统的将文本看作表意的和传达意识形态功能的力量。同时，这样一种文本的图象化、视觉化又往往和对“不可表现之物的表现”联系在一起，从而文本的空间化就不再传达某种具体的、确定的意识形态，而是一种对不可见性、不确定性、含混性的传达。这就构成了一种“可见与不可见”之间的辩证法。从文本的图象化中提炼出来的“视觉的辩证法”对那种视觉单向思维(即不加反思地将视觉置于优先地位，将他者对象化的做法)是一种有效的纠偏。 “视觉的辩证法”事实上不只是发生在西方后现代语境中的一个独特事件，它同时也是存在于传统中国文化语境中的一种思维方式。与西方人的思维方式是建立在时间模式上不同，中国人的思维方式是空间化的。时间模式为西方人提供意义，使人获得人的本质，与空间相比，西方人更加重视时间。时间模式使西方人获得一种强大的叙事能力，因此产生了西方发达的叙事文学。甚至可以说，西方文学对叙事、对虚构的热衷都是以《圣经》的完整的关于开头、中间、结尾的时间模式为原型的，其目的是为了使人从那样一种完整的时间结构中获得生命的意义。与农业文明息息相关的中国文化却产生了空间化的思维方式。这种思维方式源于中国先民对天地万象的观察。而中国人的生命意义也是通过空间化的方式获得的。这样一种空间化的思维方式使传统中国不可能产生出强大的叙事能力。因此，在传统中国文化中，叙事文学始终没有得到充分发展。中国文化也更不可能产生古希腊式的史诗。这样，与西方文学是通过时间模式得到组织的不同，中国文学是通过空间模式得到组织的。所以，传统中国的诗歌便总是意象化的，诗歌的形式因素往往是一系列空间、画面的并置。但这种并置并不是西方后现代语境中那样一种拼贴画式的充满张力的构成，画面与画面之间毋宁说虽断实连，中间有气息流动。因此，空间不是实体化的、僵死的空间，而是虚象的空间。虚象既不是抽象也不是具象，而是沟通天与地、人与神、可见世界与不可见世界之间的中介;虚象是中国传统审美方式的核心，同时它也是“视觉的辩证法”的一种独特的表达。虚象使传统中国文化始终自觉地将可见世界与不可见世界联系起来。中国诗歌、绘画总是试图通过那“可见的”去意识那“不可见”的，因而那“不可见”的总是比“可见的”要更本源，而“可见”正是从“不可见”那儿获得意义的。于是可以说文本作为一种空间构成，作为一种视觉存在，在西方后现代语境中和中国传统语境中各有其不同的意义。在西方，文本的空间化是作为对资本主义同质化时间的中断来体现其革命的意义的，具有颠覆理性中心主义和资产阶级意识形态的功能。在中国，文本的空间化则是其传统世界观的独特表达。通过“视觉的辩证法”，两种不同的“空间化”得到了联系。从某种意义上说，，“视觉的辩证法”是始终如一的对“不可见”的意识。正是这样一种意识才有可能将人从主体性幻觉，从人类中心主义中解救出来。
[Abstract]:Since the late twentieth Century, the "image" to define the main feature of our era has been constantly raised. Thus, the "image" to "image age" has become a general consensus, modern direct after the equivalent of "image" dominated era. At the same time in these ideas, it is not difficult to find, also often contains a text and image, two opposites between text pattern and image pattern. This paper argues that, on such a sharp contrast is exaggerated. Instead of saying they are clearly Jingwei, it is better to say that they are mutual penetration, mutual wound. Especially since twentieth Century, the image of the text has become a common trend, the text becomes "see", a visual object. This kind of "image" of the text is to subvert the traditional text As the ideographic and convey the ideological function of power. At the same time, such a text image, visual and often on "no performance of the performance" linked to the space to convey a specific text is no longer the determination of ideology, and is a kind of invisible, not deterministic, convey ambiguity. This constitutes a "visible" and "invisible" between the dialectics. Extracted from the image of the text in the "vision dialectics" in the visual way of thinking (i.e. without rethinking the vision in the primacy of the other, the object of practice) is a kind of effective rectification.
The "vision dialectics" is in fact not only occur in a unique event in the context of modern western, a way of thinking but also existed in the traditional China cultural context. And the western thinking pattern was built on time, Chinese thinking is the space time pattern. Provide meaning for westerners, so that people can get the essence of man, compared with space, Westerners paid more attention to time. Time mode makes Westerners gain a powerful narrative ability, resulting in a western narrative literature. It can even be said that the western literature on the fictional narrative, are keen to complete the Bible about the beginning, middle, end time model as the prototype, its purpose is to make people get from life as a full time in the structure of meaning is closely related with the agricultural civilization. This is China The space of thinking. This way of thinking from the ancestors of the world Chinese Vientiane observation. And Chinese the meaning of life is the way to get through space. Such a space of thinking so that the traditional China could not produce a strong narrative ability. Therefore, in the traditional Chinese culture. The narrative literature has not been fully developed. Chinese culture is also less likely to have ancient Greek epic.
This way is different from western literature in different time patterns. Chinese literature is organized through spatial patterns. Therefore, traditional Chinese poetry is always imaginary.
It is a series of spaces and the juxtaposition of the pictures. But this kind of juxtaposition is not one of the western post-modern contexts.
The fight is full of tension of collage type, between the picture is rather real break even, the middle atmosphere flow
Move. Therefore, the space is not solid, dead space, virtual space image. But neither smoke
The elephant is not a concrete image, but the earth and the earth, the man and the God, the world and the invisible world.
The dielectric image is the core of Chinese; traditional aesthetic style, at the same time, it is also a unique "vision dialectics"
The expression of the traditional cultural image. Chinese always consciously visible world and invisible world.
Come. Chinese poetry and painting always try to realize "invisible" by "visible", so
The "invisible" is always more primitive than "visible", and "visible" is from "invisible".
A child gains meaning.
So it can be said that text is a form of space, as a visual existence, in the western post-modern language.
There are different meanings in the Chinese traditional context. In the west, the spatialization of the text is the capital.
The interruption of the time of the homogenization of this doctrine embodies the significance of its revolution, and has the subversion of the centralism and the capital of the rational.
The function of the class ideology. In China, the spatialization of the text is the unique form of its traditional world outlook.
Through the "visual dialectics", two different kinds of "spatialization" have been linked.
In a sense, "the dialectics of vision" is a consistent sense of "invisible".
It is such a sense that it is possible to save people from the hallucination of the subjectivity and from the anthropocentrism.

【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：I01

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