本文選題：農(nóng)民形象 + 意識(shí)形態(tài)�。� 參考：《山東師范大學(xué)》2014年碩士論文

【摘要】：對(duì)“農(nóng)民形象”進(jìn)行社會(huì)學(xué)解讀、意識(shí)形態(tài)分析、圖式類型演變歸納以及視點(diǎn)研究，是當(dāng)前學(xué)界針對(duì)農(nóng)民形象這一美術(shù)符號(hào)進(jìn)行研究所主要涉及的幾個(gè)方面。每一種審視問題的方法和角度，必然在揭示一些問題的同時(shí)也在遮蔽另外一些問題。由此，這為本文尋求另外一種理論視角對(duì)農(nóng)民形象進(jìn)行不同面向的學(xué)理分析提供了可能。 本文從話語理論出發(fā)，沿著“中國美術(shù)現(xiàn)代性”這一歷史性線索，重新回到形象生產(chǎn)的歷史語境，立足于不同歷史時(shí)期農(nóng)民形象的生成機(jī)制，以形象話語實(shí)踐和意識(shí)形態(tài)機(jī)制互證為視角，考察農(nóng)民形象所承載的意識(shí)形態(tài)訴求及創(chuàng)作主體對(duì)農(nóng)民形象的“想象”和表達(dá)。同時(shí)，立足于當(dāng)前“中國美術(shù)與國家形象”的研究課題，考察新中國美術(shù)史中的農(nóng)民形象與國家形象之間的互文表征關(guān)系。也就是說，本文的出發(fā)點(diǎn)不是研究“那個(gè)時(shí)代創(chuàng)造了什么樣的農(nóng)民形象”，而是研究“農(nóng)民形象這一美術(shù)符號(hào)系統(tǒng)表征了什么”的問題。即考察1949年以來不同歷史時(shí)期的中國美術(shù)是如何對(duì)農(nóng)民形象進(jìn)行想象和表達(dá)的，這種想象生成于怎么的文化意識(shí)形態(tài)，對(duì)農(nóng)民形象的塑造，又是以何種視覺形象的彰顯作為形象話語實(shí)踐的“意義”結(jié)果的。 本文共分為四個(gè)部分： 緒論部分，綜述了當(dāng)前學(xué)界對(duì)農(nóng)民形象的研究現(xiàn)狀，以理論視角進(jìn)行了歸納和分類，同時(shí)簡述了本文的研究方法和研究意義。 第一章，詳述了新中國美術(shù)在“十七年”和“文革”十年當(dāng)中對(duì)農(nóng)民形象進(jìn)行的形象塑造，闡釋了“社會(huì)主義新型農(nóng)民形象”與國家形象建構(gòu)的綜合文化關(guān)聯(lián)。新中國的成立，預(yù)示著對(duì)舊形象的告別，同時(shí)開啟了對(duì)新形象的塑造。在50—70年代發(fā)生于新中國這一特定歷史語境的形象話語實(shí)踐，建構(gòu)了一種全新的農(nóng)民形象：社會(huì)主義新型農(nóng)民。農(nóng)民形象在中/西、古/今的“斷裂”歷史語境中被塑造成一種全新的表意符號(hào)，承載著時(shí)代中人的想象和實(shí)踐，也在國內(nèi)國際環(huán)境中借農(nóng)民形象塑造的表意實(shí)踐，構(gòu)成了表征新中國國家形象的內(nèi)涵，以及在意識(shí)形態(tài)規(guī)約下進(jìn)行視覺化生產(chǎn)的話語表述形式。 第二章，以“現(xiàn)代性”為視角，論述了農(nóng)民形象在80年代中國美術(shù)的特殊歷史境況，闡述了80年代中國美術(shù)在對(duì)農(nóng)民形象這一視覺符號(hào)進(jìn)行表達(dá)的過程中所遭遇的矛盾和悖論。在80年代的文化語境里，中國美術(shù)現(xiàn)代性在傳統(tǒng)/現(xiàn)代、中國/西方二元對(duì)立的邏輯延展當(dāng)中呈現(xiàn)出頗有意味的表現(xiàn)形式和特點(diǎn)。而作為“新時(shí)期”的80年代對(duì)農(nóng)民形象的形象話語實(shí)踐，在與毛澤東時(shí)代美術(shù)中的農(nóng)民形象互為差異的形象彰顯中，表征了中國美術(shù)現(xiàn)代性之路的復(fù)雜面向。以“現(xiàn)代性”為視角考察80年代中國美術(shù)中的農(nóng)民形象，，可以深度解讀出中國美術(shù)在自塑與他塑、想象與實(shí)踐之間的互動(dòng)關(guān)系，進(jìn)而把握農(nóng)民形象在80年代的歷史情境當(dāng)中所彰顯的符號(hào)意涵。 第三章，論述了農(nóng)民形象在特定的時(shí)代語境當(dāng)中所面對(duì)的新的“用法”和“意義”。在90年代的全球語境里，“后殖民話語”和跨國資本對(duì)中國美術(shù)的選擇機(jī)制，使90年代以來的中國美術(shù)對(duì)農(nóng)民形象的表達(dá)，呈現(xiàn)出形象的多樣化、視角的多元化、審美訴求的復(fù)雜化等特點(diǎn)，構(gòu)成了新中國美術(shù)中描繪農(nóng)民形象最豐富也最具反思意味的形象實(shí)踐特征。 結(jié)語部分，對(duì)農(nóng)民形象在當(dāng)前歷史情境下所承載的意識(shí)形態(tài)功能和符號(hào)表征關(guān)系作了個(gè)人觀點(diǎn)的闡述。在全球化當(dāng)中，西方依舊作為主導(dǎo)權(quán)力話語的一方，以自身“有意味”的“眼光”和“趣味”觀看其他民族國家的藝術(shù)。如何在世界范圍內(nèi)進(jìn)行藝術(shù)交流，是以“文化自覺”進(jìn)行“民族文化身份”建構(gòu)的實(shí)踐訴求當(dāng)中必須思考的首要問題。在這里，不可能僅僅追求自身“民族”的特色，以“民族化”為目的自說自話。若想與西方強(qiáng)勢話語進(jìn)行對(duì)話，中國本土藝術(shù)就不得不先進(jìn)入世界文化這個(gè)“整體”，然后再言說自己的“故事”。對(duì)農(nóng)民形象的重塑和建構(gòu)，正可以使其作為一種獨(dú)特的文化符號(hào)而表征當(dāng)下“對(duì)話”語境中的權(quán)力關(guān)系。
[Abstract]:The sociological interpretation of the "peasant image", the analysis of ideology, the induction of the evolution of the schema type and the study of the point of view are the main aspects of the study of the artistic symbol of the peasant image at present. Therefore, this provides another theoretical perspective for the theoretical analysis of the farmers' image.
This paper, starting from the discourse theory, returns to the historical context of "the modernity of Chinese art", and returns to the historical context of the image production, based on the generation mechanism of the image of the peasants in different historical periods, and examines the ideological demands and creative subjects of the image of the peasants and people with the visual angle of the mutual evidence of the image discourse practice and the ideological mechanism. At the same time, based on the current research topic of "Chinese art and national image", this paper examines the intertextual representation between the image of farmers and the image of the country in the history of Chinese art. That is to say, the starting point of this article is not to study "what kind of peasant image created in that era", but the starting point of this article. The question of "what is the symbol system of the image of the peasant image" is studied. It is to examine how Chinese Fine Arts in different historical periods have been imagining and expressing the image of the peasants since the 1949. The result of the "meaning" of the practice of discourse.
This article is divided into four parts:
In the introduction part, it summarizes the current research situation on the image of farmers in the academic circles, generalizes and classifies them in a theoretical perspective, and gives a brief account of the research methods and significance of this paper.
In the first chapter, the image of the new Chinese art in the ten years of "seventeen years" and "the Cultural Revolution" is described, and the comprehensive cultural association of the "new socialist peasant image" and the construction of the national image is explained. The establishment of new China indicates the farewell to the old image and the creation of the new image at the same time in 50 - The image discourse practice, which took place in the particular historical context of the new China in 70s, constructed a new peasant image: a new socialist farmer. The image of the peasant was shaped into a new ideographic symbol in the historical context of the middle / West and the ancient / modern "fracture", carrying the imagination and practice of the people in the time generation, and in the domestic and international circles. The ideographic practice, shaped by the image of the peasants, constitutes the connotation of the characterization of the new China and the discourse expression of the visual production under the ideological stipulation.
The second chapter, from the perspective of "Modernity", expounds the special historical situation of the Chinese Fine Arts in the 80s, and expounds the contradictions and paradoxes encountered in the process of the expression of the visual symbols of the peasants' image in the 80s. In the cultural context of 80s, the modernity of Chinese art is in the traditional / modern, China / West. In the logic extension of Fang Eryuan's opposition, the form and characteristics of the expression of the image of the peasants in the "new period" in 80s showed the complex orientation of the road of the modernity of Chinese Fine Arts in the image of the peasant image in the art of Mao Zedong. To examine the image of farmers in Chinese Fine Arts in 80s, we can deeply understand the interaction between Chinese art in self plastic and his plastic, imagination and practice, and then grasp the symbolic meaning of the peasant image in the historical situation of 80s.
The third chapter discusses the new "usage" and "meaning" of the farmers' image in the specific context of the times. In the global context of the 90s, the "post colonial discourse" and the selection mechanism of transnational capital to Chinese fine arts have made the expression of Chinese Fine Arts in the form of peasant images diversified and visual angle of view since 90s. Pluralism and the complexity of aesthetic appeals constitute the most abundant and most reflective practical characteristics of farmers in the art of new China.
In the concluding part, the author makes a personal view of the ideological function and symbolic representation of the peasant image in the current historical situation. In the globalization, the west is still a party of the dominant power discourse, and looks at the art of other nationalities in the world with its own "meaningful" "eye" and "interest". Artistic communication within the scope is the first question that must be considered in the practice appeal of "cultural identity" in the construction of "national cultural identity". Here, it is impossible to pursue the characteristics of its own "nationality", and speak itself for the purpose of "nationalization". If you want to talk to the strong words of the west, Chinese local art is We have to first enter the "whole" of the world culture, and then talk about his own "story". The reconstruction and construction of the image of the peasants can be made as a unique cultural symbol to characterize the power relationship in the context of the present "dialogue".
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J209.2

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