本文選題：圖像時(shí)代 + “語(yǔ)—圖”��； 參考：《安徽大學(xué)》2015年碩士論文

【摘要】：無(wú)論西方還是中國(guó),人類(lèi)文明發(fā)展進(jìn)程中的語(yǔ)言藝術(shù)與圖像藝術(shù)始終是學(xué)者們上下求索的論題。在西方哲學(xué)領(lǐng)域,柏拉圖、亞里士多德對(duì)視覺(jué)的強(qiáng)調(diào)確定了“視覺(jué)中心主義”的傳統(tǒng)；20世紀(jì)60年代提出“語(yǔ)言學(xué)轉(zhuǎn)向”,開(kāi)啟了西方現(xiàn)代哲學(xué)的新時(shí)期,語(yǔ)言成為了哲學(xué)反思自身傳統(tǒng)的起點(diǎn)和基礎(chǔ)；20世紀(jì)后半期,西方進(jìn)入了消費(fèi)社會(huì),技術(shù)的不斷創(chuàng)新將人們快速拉入了圖像時(shí)代。在傳統(tǒng)文化語(yǔ)境和當(dāng)代視覺(jué)文化語(yǔ)境中研究“象”與“像”,二者逐漸呈現(xiàn)交融之勢(shì)；圖像時(shí)代之“像”步入了影像化和擬像化,人類(lèi)由讀“像”走向觀“像”,最終成為了超真實(shí)之“像”的組成部分；圖像時(shí)代的“象”“像”關(guān)系在意境的溝通下依然得以相連,在網(wǎng)絡(luò)文學(xué)世界中,二者實(shí)現(xiàn)了新時(shí)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(guān)系置于圖像時(shí)代進(jìn)行研究,首先要對(duì)中西傳統(tǒng)文化進(jìn)行溯源,在東方“詩(shī)畫(huà)一律”與西方“詩(shī)畫(huà)異質(zhì)”的不同理念下,對(duì)“象”與“像”的概念和關(guān)系進(jìn)行界定。其次對(duì)二者做古今之辯,視覺(jué)文化語(yǔ)境下的“象”與“像”呈現(xiàn)出新時(shí)代的交融之勢(shì)；當(dāng)下圖像時(shí)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(duì)客觀真實(shí)的懷疑,另一方面擬像的肆虐造成了審美與真實(shí)的悖論；時(shí)間碎裂、空間撕裂引發(fā)了圖像時(shí)代的“象”“像”交融,審美開(kāi)始向日�；�、感性化轉(zhuǎn)變,遵循著快樂(lè)原則,為了不斷滿(mǎn)足脹裂的欲望,最終審美的快感走向了空虛之境。圖像時(shí)代的“像”走向了影像化和擬像化。面對(duì)碎裂的時(shí)空變化,人類(lèi)膨脹的欲望只有在觀看的過(guò)程中才能得到片刻的滿(mǎn)足,通過(guò)觀看的方式試圖去占有無(wú)盡的時(shí)空,這導(dǎo)致了“像”的影像化,影像符號(hào)拋棄了受時(shí)空所限的靜觀體悟之“象”,讀“像”走向了觀“像”,一方面可以通過(guò)觀看來(lái)滿(mǎn)足膨脹的欲望,另一方面更加適應(yīng)視覺(jué)的傳播時(shí)速。當(dāng)接受者不斷通過(guò)觀看來(lái)試圖滿(mǎn)足不斷膨脹的欲望時(shí),圖像時(shí)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(shí)成為了擬像,人類(lèi)從觀“像”者轉(zhuǎn)變?yōu)槌伞跋瘛闭?一方面在創(chuàng)制超真實(shí)之“像”,另一方面成為了超真實(shí)之“像”的組成部分。面對(duì)人類(lèi)異化的命運(yùn),圖像時(shí)代的“象”“像”關(guān)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(shī)意地棲居；另一方面網(wǎng)絡(luò)文學(xué)異軍突起,在網(wǎng)絡(luò)媒介的傳播下助力“象”與“像”的相合；同時(shí)擬物的出現(xiàn)不容忽視,它超越了“象”與“像”在圖像時(shí)代中的存在,人類(lèi)與虛擬世界的交互性不斷深入。圖像時(shí)代的未來(lái)發(fā)展令我們拭目以待,“象”與“像”同人類(lèi)的命運(yùn)同生共長(zhǎng)。
[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(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：H0-05

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