图像时代中“象”与“像”的关系研究

发布时间：2018-04-26 19:06

本文选题：图像时代 + “语—图”　；参考：《安徽大学》2015年硕士论文

【摘要】：无论西方还是中国,人类文明发展进程中的语言艺术与图像艺术始终是学者们上下求索的论题。在西方哲学领域,柏拉图、亚里士多德对视觉的强调确定了“视觉中心主义”的传统；20世纪60年代提出“语言学转向”,开启了西方现代哲学的新时期,语言成为了哲学反思自身传统的起点和基础；20世纪后半期,西方进入了消费社会,技术的不断创新将人们快速拉入了图像时代。在传统文化语境和当代视觉文化语境中研究“象”与“像”,二者逐渐呈现交融之势；图像时代之“像”步入了影像化和拟像化,人类由读“像”走向观“像”,最终成为了超真实之“像”的组成部分；图像时代的“象”“像”关系在意境的沟通下依然得以相连,在网络文学世界中,二者实现了新时代的相合,而拟物的出现,最终超越了“象”与“像”的存在。将“象”与“像”的关系置于图像时代进行研究,首先要对中西传统文化进行溯源,在东方“诗画一律”与西方“诗画异质”的不同理念下,对“象”与“像”的概念和关系进行界定。其次对二者做古今之辩,视觉文化语境下的“象”与“像”呈现出新时代的交融之势；当下图像时代最显著的特征是影像向拟像发生着转变,一方面影像的泛滥引发了主体对客观真实的怀疑,另一方面拟像的肆虐造成了审美与真实的悖论；时间碎裂、空间撕裂引发了图像时代的“象”“像”交融,审美开始向日常化、感性化转变,遵循着快乐原则,为了不断满足胀裂的欲望,最终审美的快感走向了空虚之境。图像时代的“像”走向了影像化和拟像化。面对碎裂的时空变化,人类膨胀的欲望只有在观看的过程中才能得到片刻的满足,通过观看的方式试图去占有无尽的时空,这导致了“像”的影像化,影像符号抛弃了受时空所限的静观体悟之“象”,读“像”走向了观“像”,一方面可以通过观看来满足膨胀的欲望,另一方面更加适应视觉的传播时速。当接受者不断通过观看来试图满足不断膨胀的欲望时,图像时代的“看”亦是“被看”,所谓的欲望也是他者的欲望,镜像阶段的凝视主体在不断地异化,“像”也超越了真实成为了拟像,人类从观“像”者转变为成“像”者,一方面在创制超真实之“像”,另一方面成为了超真实之“像”的组成部分。面对人类异化的命运,图像时代的“象”“像”关系也在发生着新的变化。一方面溯源传统文化,重新追求在意境沟通下的“象”“像”相连,以期诗意地栖居；另一方面网络文学异军突起,在网络媒介的传播下助力“象”与“像”的相合；同时拟物的出现不容忽视,它超越了“象”与“像”在图像时代中的存在,人类与虚拟世界的交互性不断深入。图像时代的未来发展令我们拭目以待,“象”与“像”同人类的命运同生共长。
[Abstract]:Whether in the West or in China, language art and image art in the course of human civilization development are always the topics that scholars are seeking up and down. In the field of western philosophy, Plato and Aristotle's emphasis on vision confirmed the tradition of "visual centrism". In the 1960s, he put forward the "linguistic turn", which opened a new period of modern western philosophy. Language has become the starting point and foundation of philosophical reflection on its own tradition. In the second half of the 20th century, the West has entered the consumer society, and the continuous innovation of technology has rapidly drawn people into the image age. In the context of traditional culture and contemporary visual culture, the study of "image" and "image" gradually shows the trend of blending, the "image" of the image age has stepped into the "image" and the "impersonation", and the human beings have changed from "image" to "view". Finally, the relationship between "image" and "image" in the image age is still connected under the communication of artistic conception. In the world of network literature, the two have realized the new era, and the appearance of simulated objects. Finally, it transcends the existence of "elephant" and "elephant". To study the relationship between "elephant" and "image" in the image age, we should trace the origin of Chinese and western traditional culture, under the different ideas of "the same poetry and painting" in the east and "the heterogeneity of poetry and painting" in the west. The concept and relationship between "elephant" and "image" are defined. Secondly, in the context of visual culture, the "image" and "image" in the context of visual culture show the trend of blending with each other in a new era, and the most prominent feature of the present image age is that the image is changing from the image to the simulacrum. On the one hand, the flood of images leads to the main body's doubt of objective reality, on the other hand, the raging of simulacrum causes the paradox of aesthetics and reality, time fragmentation and space tearing lead to the blending of "image" and "image" in the image age. In order to satisfy the desire of expansion and crack, the aesthetic pleasure moves toward emptiness. In the image age, the "image" has moved towards the image and impersonation. In the face of the fragmentation of time and space, the human desire to expand can only be satisfied for a moment in the process of watching, trying to take possession of the endless space and time through the way of watching, which leads to the image of "image". The image symbol has abandoned the "image" which is limited by time and space, read "image" and "go to view". On the one hand, it can satisfy the expanding desire by watching, on the other hand, it can adapt to the speed of visual transmission. When the recipient constantly tries to satisfy the expanding desire through watching, the "see" of the image age is also "seen". The so-called desire is also the desire of the other, and the staring subject in the mirror stage is constantly dissimilating. "Xiang" has also transcended reality and become simulacrum. Human beings have changed from "like" to "image", on the one hand, they are creating super-real "like"; on the other hand, they have become part of super-real "image". Facing the fate of human alienation, the relationship between image and image is changing. On the one hand, tracing back to the traditional culture, the author repursues the connection of "elephant" and "image" under the communication of artistic conception, in order to inhabit poetically; on the other hand, the network literature is suddenly emerging, which helps to match the "image" and "image" under the spread of network media. At the same time, the appearance of simulated objects can not be ignored. It transcends the existence of "elephant" and "image" in the image age, and the interaction between human beings and virtual world is deepening. The future development of the image age makes us wait and see that "elephant" and "image" live together with the fate of mankind.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：H0-05

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