【摘要】：這是一個(gè)對(duì)“視覺(jué)”熱情空前高漲的時(shí)代�！拔铩钡牟粩嘭S裕、科技和媒介迅猛發(fā)展愈使人慣以視覺(jué)圖像去感知世界的變化與淵藪。視覺(jué)文化以直觀(guān)、快捷、多樣化表現(xiàn)樣態(tài)推衍著當(dāng)代文化呈圖像替代文字的發(fā)展態(tài)勢(shì),文化各個(gè)層面越加傾向于高度視覺(jué)化,即便本不具備視覺(jué)特征的文化也以視覺(jué)化方式表征。無(wú)處不在的視覺(jué)圖像刺激著人們對(duì)“物”最大限度的欲望,更創(chuàng)造了繁榮的“眼球經(jīng)濟(jì)”。消費(fèi)時(shí)代催生視覺(jué)文化,視覺(jué)文化繁榮消費(fèi)社會(huì)。然而文化轉(zhuǎn)型也就會(huì)有文化之危機(jī)。圖像雖豐富了眼球,卻也漸漸抽空了思維。人們思想愈空洞,就愈借“看”尋求充實(shí)；大嚼圖本食糧卻乏力找到適宜的語(yǔ)言來(lái)表白。人類(lèi)終究迷失在圖像的城里。因而當(dāng)下走出視覺(jué)圍城,回歸自然的視覺(jué)沖動(dòng),緩解“視覺(jué)”疲勞,還視覺(jué)以自由就成為美麗的精神訴求。嘗試與“看”的對(duì)象保持適宜距離,更多以靜觀(guān)閱讀面對(duì)審美客體,才能讓一切藝術(shù)之精髓在“看”與“思”中慢慢積淀。 論文共五章。引言部分概述視覺(jué)文化發(fā)展脈絡(luò)、當(dāng)下樣態(tài)及面臨的困境,并就其國(guó)內(nèi)外研究現(xiàn)狀做了簡(jiǎn)單梳理。國(guó)內(nèi)研究視覺(jué)文化多借鑒西方理論而少以鮮活的個(gè)案,這難免使視覺(jué)文化研究束之高閣,因而當(dāng)下性顯得尤為可貴。第一章內(nèi)容主要闡釋三個(gè)基本概念：文化、視覺(jué)及視覺(jué)文化。厘清三者關(guān)系旨在闡明視覺(jué)文化形成與轉(zhuǎn)向的內(nèi)在的可能性與必然性。第二章從縱向角度把握視覺(jué)范式的歷史轉(zhuǎn)向。視覺(jué)文化理論范式從模仿到機(jī)械復(fù)制再到擬像不但標(biāo)志文化樣態(tài)的轉(zhuǎn)變和形成,更意味著人類(lèi)思維范式的轉(zhuǎn)換。從理性、中心化的和有秩序的向感性的、碎片化和非中心化的視覺(jué)觀(guān)念歷程使得人類(lèi)視覺(jué)有了壓迫感,如今更多的是圖像感知人類(lèi),而非人類(lèi)在感知圖像。 第三、四章為論文的核心部分。第三章將視覺(jué)文化放置于消費(fèi)時(shí)代語(yǔ)境中進(jìn)行考量,處在“消費(fèi)”控制空間的人類(lèi)成為“物”最忠實(shí)的仆人,消費(fèi)神話(huà)正通過(guò)視覺(jué)文化震撼出場(chǎng)�？梢赃@樣說(shuō),消費(fèi)社會(huì)本身就是視覺(jué)文化滋生的溫床。將視覺(jué)文化與消費(fèi)社會(huì)關(guān)聯(lián)在一起理應(yīng)為“視覺(jué)消費(fèi)”,不但“看”什么、怎么“看”成為消費(fèi),就連“看”行為本身也是一種消費(fèi)。因而圖像時(shí)代因消費(fèi)的催化全面宣告來(lái)臨。視覺(jué)文化的視覺(jué)化、商業(yè)化、大眾化、虛擬化、欲望化及拼貼互文性諸多特點(diǎn)愈加使得視覺(jué)文化多元且復(fù)雜。也正因其上述的時(shí)代特征恰特提供了研究材料的豐富性。第四章從身體、時(shí)尚、旅游和電影四個(gè)角度選取當(dāng)下較為熱點(diǎn)的話(huà)題進(jìn)行個(gè)案分析。消費(fèi)社會(huì)語(yǔ)境下的身體被重視是視覺(jué)文化“看”之欲釋放的結(jié)果。特別是廣告中的身體更將其暴露和喚醒發(fā)揮到了極致；時(shí)尚存在必須依賴(lài)其可視的特點(diǎn),當(dāng)時(shí)尚與視覺(jué)圖像為舞就更顯時(shí)尚的魅惑,追逐時(shí)尚處也就時(shí)時(shí)體現(xiàn)著消費(fèi)者的審美趣味,趣味之高低將影響視覺(jué)文化的存在樣態(tài)；有時(shí)一張照片會(huì)勾起了人們對(duì)人文或自然景觀(guān)的視覺(jué)記憶,卻以碎片化方式儲(chǔ)藏在圖像中。此種碎片必將導(dǎo)致人類(lèi)對(duì)于景觀(guān)的深層含義解讀的缺失。電影自誕生就給人們帶來(lái)了前所未有的視覺(jué)沖擊,特別是奇觀(guān)電影,頭腦讓位于眼睛,美感讓位于快感,反思靜觀(guān)讓位于感官震驚。 然而這一切并非視覺(jué)文化事件的終結(jié)。第五章主要談及視覺(jué)文化的時(shí)代困境及其超越路徑。圖像審美泛化讓視覺(jué)“神經(jīng)饜足”；拼貼、惡搞往往成為藝術(shù)必用的表現(xiàn)手法；視覺(jué)感趨同讓世界成為地球村；靜觀(guān)式文字閱讀被震驚式圖像閱讀替代造成閱讀淺表化讓文字魅力漸漸塵封；虛擬的世界沒(méi)能讓人們溝通無(wú)極限,反而被逼狹進(jìn)14英寸大小的空間；人類(lèi)在“物品”極度豐盈卻填不平欲望溝壑的幸福幻象中里漸漸迷失了方向。迷失的人類(lèi)開(kāi)始試圖尋求出路。論文結(jié)語(yǔ)部分想要回答視覺(jué)文化困境之超越問(wèn)題,卻怎么也解決不了視覺(jué)文化與消費(fèi)社會(huì)孿生共存的難題。
[Abstract]:This is an era of unprecedented enthusiasm for "vision". With the continuous abundance of "things", the rapid development of science and technology and media, people are accustomed to perceiving the changes and abyss of the world with visual images. Visual culture, with its intuitive, fast and diversified expression, has evolved the development trend of contemporary culture that images replace words, and the more various levels of culture become. The ubiquitous visual images stimulate people's desire for "things" to the maximum extent, and create a prosperous "eyeball economy". The consumption age gives birth to visual culture and visual culture flourishes consumer society. There will be a cultural crisis. Images enrich our eyes, but gradually empty our minds. The more empty our minds are, the more we look for enrichment; the more we chew on pictures and grains, the less we find appropriate language to express ourselves. Man is lost in the city of images. Therefore, he is now out of the visual siege, returning to the natural visual impulse, and alleviating the visual impulse. "Fatigue" and "freedom of vision" are the spiritual appeals of beauty. Only by trying to keep a proper distance from the object of "seeing" and facing the aesthetic object with more meditative reading can all the essence of art accumulate slowly in "seeing" and "thinking".
The introduction summarizes the development of visual culture, the present situation and the difficulties faced by it, and makes a simple comb of its research status at home and abroad. Rong mainly explains three basic concepts: culture, vision and visual culture. The purpose of clarifying the relationship between them is to clarify the inherent possibility and inevitability of the formation and turn of visual culture. The transformation and formation of human thinking paradigm means the transformation from rational, centralized and orderly to perceptual, fragmented and non-centralized visual concept makes human vision have a sense of oppression.
In the third chapter, the visual culture is considered in the context of the consumption age. The human being in the control space of consumption becomes the most faithful servant of the object. The consumption myth is coming out through the visual culture. It can be said that the consumer society itself is the hotbed of the visual culture. Consciousness culture and consumption society should be connected as "visual consumption", not only "see" what, how to "see" become consumption, even "see" behavior itself is a kind of consumption. Therefore, the image age is coming because of the catalysis of consumption. Visualization, commercialization, popularization, virtualization, desire and collage of visual culture intertextuality. Chapter Four chooses the hot topics from four perspectives: body, fashion, tourism and film to make a case study. In the context of consumer society, the body is valued as the "look" of visual culture. To release the results, especially in the advertisement of the body more exposed and aroused to the extreme; fashion existence must rely on its visual characteristics, then fashion and visual images for dancing more fashionable charm, the pursuit of fashion also reflects the aesthetic taste of consumers from time to time, the level of interest will affect the existence of visual culture. Sometimes a photograph can evoke people's visual memory of a human or natural landscape, but it is stored in a fragmented form in the image. Such fragments will inevitably lead to the loss of human understanding of the deep meaning of the landscape. The beauty of the eye is in the sense of pleasure.
Chapter 5 mainly talks about the dilemma of visual culture and its transcendence path. The aesthetic generalization of images makes visual "nervous contentment"; collage and spoof often become the necessary means of expression for art; the convergence of visual sense makes the world a global village; the silent reading of words is shocked by the map. For example, the superficiality of reading caused by the substitution of reading has reduced the charm of words to dust; the virtual world has not allowed people to communicate limitlessly, but has been forced to narrow into 14 inches of space; human beings have gradually lost their way in the illusion of happiness in which "objects" are extremely rich but fill the Gulf of desire. Lost human beings have begun to seek a way out. The concluding remarks of this paper try to answer the transcendence of the visual culture dilemma, but they can not solve the problem of the twin coexistence of visual culture and consumer society.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：G0

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