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20世纪的“新修辞学”和视觉文化研究纷纷展开对“视觉修辞”问题的探讨。然而,既有的研究几乎围绕着罗兰·巴特的符号学范式展开讨论,忽视了图像自身的特质和视觉修辞的“视觉性”维度。在视觉艺术理论中,无论是始于文艺复兴的“画如修辞”说,还是20世纪由阿比·瓦尔堡所提出的“情感范型”概念,都论及了图像的修辞学维度,探讨艺术图像如何才能影响观者的观看经验和情感情绪,进而说服观者接受某种价值观念或采取某种实践行动。这些观点不仅丰富了有关视觉修辞问题的探讨,也为当下语境中的视觉文化研究带来了自我反思的契机,并提供了研究实践方面的启发。
In the 20th century, the study of “new rhetoric” and visual culture have started to probe into the issue of “visual rhetoric ”. However, the existing researches focus on the semiotics paradigm of Roland Barthes, ignoring the “visual” dimension of the image’s own characteristics and visual rhetoric. In the theory of visual art, both the rhetoric of image painting starting from the Renaissance and the concept of “emotion paradigm” proposed by Abi Walpo in the 20th century all deal with the rhetoric of images Learn dimensions, to explore how the art image can affect the viewer’s viewing experience and emotions, and then convince the viewer to accept some kind of value or take some practical action. These views not only enrich the exploration of visual rhetoric issues, but also bring opportunities for self-reflection in the study of visual culture in the current context and provide inspiration for research practice.