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图像与文字作为人类有史以来的两大叙事符号,从未间断过彼此间的事实往来。进入图像时代后,两者争夺文化资源的事态进一步升级,围绕图文关系生成的知识场域更是引发当代文化研究热潮。鉴于图文关系的重要性,本文首先对图文关系进行了谱系学研究,说明两者关系的历史性转折有效促进了视觉艺术的繁荣发展;接着以图像真伪之辨为据,指出其间内蕴的视觉悖论是导致命名与指示、言说与状物、意指与模仿、读与看、词与物等传统表征关系瓦解的直接原因;最后旨在破除“图像转向”谬误之说,强调图文关系并非处于非此即彼的对峙状态,而是从未出现过真正意义上的关系断层。
As the two narrative symbols of mankind ever since, images and words have never stopped the factual intercourse between them. After entering the era of images, the situation of the two competing for cultural resources further escalated. The field of knowledge generated around the relationship between graphic and graphic is even more arousing the craze of contemporary cultural studies. In view of the importance of the relationship between graphic and graphic, this article first makes a pedigree research on the graphic-graphic relationship, which shows that the historical transition of the relationship between the two has effectively promoted the prosperity and development of visual arts. Secondly, according to the authenticity of the images, The visual paradox of Yun is the direct cause leading to the disintegration of the traditional characterization of naming and indication, speech and matter, meaning and imitation, reading and seeing, words and objects. Finally, the purpose is to get rid of the fallacy of “image shift ” , Stressing that the graphic and graphic relations are not in a state of confrontation that is neither of this and the other, but that there has never been a real fault in the relations.