本文選題：圖像時代 + “語—圖”　； 參考：《安徽大學》2015年碩士論文

【摘要】：無論西方還是中國,人類文明發(fā)展進程中的語言藝術與圖像藝術始終是學者們上下求索的論題。在西方哲學領域,柏拉圖、亞里士多德對視覺的強調(diào)確定了“視覺中心主義”的傳統(tǒng)；20世紀60年代提出“語言學轉(zhuǎn)向”,開啟了西方現(xiàn)代哲學的新時期,語言成為了哲學反思自身傳統(tǒng)的起點和基礎；20世紀后半期,西方進入了消費社會,技術的不斷創(chuàng)新將人們快速拉入了圖像時代。在傳統(tǒng)文化語境和當代視覺文化語境中研究“象”與“像”,二者逐漸呈現(xiàn)交融之勢；圖像時代之“像”步入了影像化和擬像化,人類由讀“像”走向觀“像”,最終成為了超真實之“像”的組成部分；圖像時代的“象”“像”關系在意境的溝通下依然得以相連,在網(wǎng)絡文學世界中,二者實現(xiàn)了新時代的相合,而擬物的出現(xiàn),最終超越了“象”與“像”的存在。將“象”與“像”的關系置于圖像時代進行研究,首先要對中西傳統(tǒng)文化進行溯源,在東方“詩畫一律”與西方“詩畫異質(zhì)”的不同理念下,對“象”與“像”的概念和關系進行界定。其次對二者做古今之辯,視覺文化語境下的“象”與“像”呈現(xiàn)出新時代的交融之勢；當下圖像時代最顯著的特征是影像向擬像發(fā)生著轉(zhuǎn)變,一方面影像的泛濫引發(fā)了主體對客觀真實的懷疑,另一方面擬像的肆虐造成了審美與真實的悖論；時間碎裂、空間撕裂引發(fā)了圖像時代的“象”“像”交融,審美開始向日�；�、感性化轉(zhuǎn)變,遵循著快樂原則,為了不斷滿足脹裂的欲望,最終審美的快感走向了空虛之境。圖像時代的“像”走向了影像化和擬像化。面對碎裂的時空變化,人類膨脹的欲望只有在觀看的過程中才能得到片刻的滿足,通過觀看的方式試圖去占有無盡的時空,這導致了“像”的影像化,影像符號拋棄了受時空所限的靜觀體悟之“象”,讀“像”走向了觀“像”,一方面可以通過觀看來滿足膨脹的欲望,另一方面更加適應視覺的傳播時速。當接受者不斷通過觀看來試圖滿足不斷膨脹的欲望時,圖像時代的“看”亦是“被看”,所謂的欲望也是他者的欲望,鏡像階段的凝視主體在不斷地異化,“像”也超越了真實成為了擬像,人類從觀“像”者轉(zhuǎn)變?yōu)槌伞跋瘛闭?一方面在創(chuàng)制超真實之“像”,另一方面成為了超真實之“像”的組成部分。面對人類異化的命運,圖像時代的“象”“像”關系也在發(fā)生著新的變化。一方面溯源傳統(tǒng)文化,重新追求在意境溝通下的“象”“像”相連,以期詩意地棲居；另一方面網(wǎng)絡文學異軍突起,在網(wǎng)絡媒介的傳播下助力“象”與“像”的相合；同時擬物的出現(xiàn)不容忽視,它超越了“象”與“像”在圖像時代中的存在,人類與虛擬世界的交互性不斷深入。圖像時代的未來發(fā)展令我們拭目以待,“象”與“像”同人類的命運同生共長。
[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.
【學位授予單位】：安徽大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：H0-05

【參考文獻】

相關期刊論文 前10條

1 梅瓊林;;當代視覺文化緣起及本質(zhì)探析[J];東南學術;2009年06期

2 趙憲章;;傳媒時代的“語-圖”互文研究[J];江西社會科學;2007年09期

3 包兆會;;當代視覺文化背景下的“語-圖”關系[J];江西社會科學;2007年09期

4 李彥峰;;語圖視域中的詩畫關系研究[J];南京藝術學院學報(美術與設計版);2012年01期

5 高字民;;從影像到擬像——圖象時代視覺審美范式的變遷[J];人文雜志;2007年06期

6 曾軍;;從“視覺”到“視覺化”:重新理解視覺文化[J];社會科學;2009年08期

7 周憲;;現(xiàn)代性與視覺文化中的旅游凝視[J];天津社會科學;2008年01期

8 趙憲章;;“文學圖像論”之可能與不可能[J];山東師范大學學報(人文社會科學版);2012年05期

9 周憲;“讀圖時代”的圖文“戰(zhàn)爭”[J];文學評論;2005年06期

10 趙憲章;;語圖符號的實指和虛指——文學與圖像關系新論[J];文學評論;2012年02期

，

本文編號：1807266