论图像意识的特征、逻辑基础及局限
发布时间：2019-06-20 11:33
【摘要】：现象学中图像意识概念能够有效描述出观者"观看"图像的意识结构,能够作为图像意义呈现的基础。其图像意识结构分析具有偏重感知与强调图像主题恒定性的特点,能够有效展开对模仿传统中的艺术图像(包括现实主义流派)、日常生活中的图像、大多数技术图像意识的分析,并揭示图像意识的内在结构。但是,这一概念的有效性应用却面临着双重危险:其一是面临违背现象学的侧显复合体原则的危险,即事物的呈现是侧显复合体的;其二是现象学家自身并没有揭示出非题材(对象)立义的过程。此外它对于非对象性艺术图像的分析有效性难以得到支持。
[Abstract]:The concept of image consciousness in phenomenology can effectively describe the consciousness structure of the viewer's "viewing" image, and can be used as the basis for the presentation of image meaning. The analysis of image consciousness structure has the characteristics of emphasizing perception and emphasizing the constancy of image subject, and can effectively carry out the analysis of imitating traditional art images (including realistic schools), images in daily life, and most technical image consciousness, and reveals the internal structure of image consciousness. However, the effective application of this concept faces double dangers: one is the danger of violating the principle of phenomenological side-manifestation complex, that is, the presentation of things is side-display complex; the other is that the phenomenologist himself does not reveal the process of non-subject matter (object) meaning. In addition, it is difficult to support the effectiveness of the analysis of non-object art images.
【作者单位】： 上海大学哲学系;
【分类号】：J0-02
[Abstract]:The concept of image consciousness in phenomenology can effectively describe the consciousness structure of the viewer's "viewing" image, and can be used as the basis for the presentation of image meaning. The analysis of image consciousness structure has the characteristics of emphasizing perception and emphasizing the constancy of image subject, and can effectively carry out the analysis of imitating traditional art images (including realistic schools), images in daily life, and most technical image consciousness, and reveals the internal structure of image consciousness. However, the effective application of this concept faces double dangers: one is the danger of violating the principle of phenomenological side-manifestation complex, that is, the presentation of things is side-display complex; the other is that the phenomenologist himself does not reveal the process of non-subject matter (object) meaning. In addition, it is difficult to support the effectiveness of the analysis of non-object art images.
【作者单位】： 上海大学哲学系;
【分类号】：J0-02
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