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语言和图像的关系,在中西方都是一个由来已久的论题,但中西方在这一问题上的思维传统各有偏重——西方更注重二者的背离,中国更注重二者的共生。然而语图的共生与背离实则不可剥离而论,共生以背离为基础,背离以共生为旨归。尤其在语图共同创造的艺术作品中,意义建构和解构的双向运动将这种不可剥离的关系体现得更为突出:一方面,语言和图像在其各自所指的漂浮链上直接意指,共同建构;另一方面,语言和图像从其阅读方式的对抗,到审美风格和艺术价值的龃龉,再到其多义的舍弃和撕扯,全方位地完成二者意义间的相互解构。意义的建构只发生于二者意义交互生成的局部,并总以解构为前提和基础。语言和图像因其言说方式、阅读方式的不同始终保持着背离关系,在整体上并不能构成一个明确的最终意义。因而语图综合艺术的意义生成呈现出复杂的网状结构。
The relationship between language and image is a long-standing topic both in China and the West. However, the tradition of thinking between China and the West has its own emphasis on this issue - the West places greater emphasis on the divergence between the two and China attaches more importance to the symbiosis between the two. However, the dialectic symbiosis and deviation from the reality can not be peeled off in theory, the symbiosis is based on the deviation, deviation from the purpose of symbiosis. Especially in the works of art jointly created by the language diagrams, the two-way movement of meaning construction and deconstruction embodies such an inextricable relationship: on the one hand, language and image mean directly in their respective floating chains, On the other hand, language and image, from the confrontation of their reading style to the obscurity of aesthetic style and artistic value, to their polysemy abandonment and tear, accomplish the mutual deconstruction of the two meanings in all aspects. The construction of meaning occurs only in the part where the two meanings are generated interactively, and always takes the deconstruction as the premise and foundation. Language and image have always maintained a departure from the relationship because of their speaking style and reading style, and can not form a definite final meaning as a whole. Therefore, the meaning of the synthesis of the language map shows a complex network structure.