图像与符号

【作者】 刘晋晋；

【导师】 王宏建；

【作者基本信息】 中央美术学院 ， 美术学， 2014， 博士

【摘要】 二十世纪哲学中出现了语言学转向。符号学随之兴起。在艺术史和视觉文化理论中，符号学成为了重要的方法论。但是形象或图画是否是一种符号这一问题还未被充分解决。在二十世纪90年代随着图画转向和图像转向的提出，语言学转向和符号学转向被抵制，形象研究中的反符号学研究成为了理论研究的焦点。在这种思潮之下，形象不是被看做一种特殊的符号，而是重新获得了自己的独立和自治的身份。本文意在澄清符号和形象之间的关系，并期望这种澄清能有助于解答“什么是一个形象？”这个基本的艺术理论和形象研究问题。本文的第一部分细读并分析了潘诺夫斯基、夏皮罗、马林、圣-马丁等早期的和结构主义的符号学艺术史家的相关著述。第二部分分析了当代最有影响力的符号学艺术家诺曼·布列逊的理论发展以及前辈理论家对他的影响；当代最重要的视觉符号学和文化批评学者米克·巴尔的《阅读“伦勃朗”》及其后结构主义符号学理论；以及二人在艺术史界激起的争论。第三部分分析和对比了米切尔、波姆等人的图画转向和图像转向，以及埃尔金斯的反符号学研究。通过调查符号学艺术史和反符号学研究双方的学术史，本文提出符号在形象中的存在依赖于观者主观的授予。人可以把形象看做符号，也可以拒绝符号学视角，把形象看做自身的在场和呈现。由此本文对艺术理论、文学理论和哲学中的一些流行的观点进行了重新评估和批评。更多还原

【Abstract】 In twenty century, linguistic turn has happened in history of philosophy. As aresult, Semiotics emerges in Art history and Visual culture studies. However, it is stilla question that whether image or picture is a kind of sign. In1990s’, Pictorial turn andIconic turn has been coined. Image study attempts to resist Linguistic turn andsemiotic turn, and begins to focus on Antisemiotic study. By this view, image is notconsidered as a kind of special sign, but retrieved themselves’ independence andautonomous identity. This thesis intends to clarify the relation between image andsign, and hopes that this search could help to answer the key issue of art theory andimage study that “what is an image?”.Part one of this thesis try to analyses some articles from proto-semiotic andstructuralist semiotic art historians, such as Erwin Panofsky, Meyer Schapiro, JuliaKristeva, Louis Marin, Fernande Saint-Martin. Part two try to research: the theories ofthe most influential semiotic art historian, Norman Bryson, and the effects heaccepted from his predecessors; Mieke Bal’ reading “Rembrandt” and other herpoststructuralist semiotic theories, who was the most important visual semiotic andculture critical scholar in today; and controversies provoked by both of scholars indomain of Art history. Part three analyses and contrasts the difference andresemblance between Pictorial and Iconic turn which respectively raise by W.J.T.Mitchell and Gottfried Boehm, and researches other theories effected by them, such asJames Elkins’Antisemiotic.By tracing the history of semiotic art history and Antisemiotic study, this thesisconcluded that only viewers’ subjective authorization make the sign existing in image.Viewers could either regard image as signs, or reject this semiotic perspective andregard it as its own presence and present. Thereby, this thesis revalues and criticizessome of current views in art theory, literary theory and philosophy.更多还原