【作者】 高字民；

【导师】 李西建；

【作者基本信息】 陕西师范大学 ， 文艺学， 2009， 博士

【摘要】 琳琅满目的图像和景观充斥了当代社会并前所未有地改变了当代人的生存体验和文化境遇。作为对此现实的理论回应,视觉文化遂成为当代文化研究最为显要的领域之一。早在上个世纪70年代,美国学者丹尼尔·贝尔就指出,当代文化正在变成一种视觉文化。另一位美国学者托马斯·米歇尔也认为,“图像转向”作为当代文化最重要的转向,已经把我们拉进了一个由视觉统率文化的图像时代。图像时代是人类借助视觉机器及其技术来“看”的时代。从摄影的发明开始,由镜头机械眼、电子眼拍摄的影像,就成为人类与世界视觉联系最重要的中介,并占据了人类视觉对象最核心的部分。由于自动生成的技术原理和达到“形是”的超逼真的视觉效果,影像划时代地改写了人类的视觉范式。真与美的混同,成为图像时代视觉文化最诡异的逻辑和最深刻的悖论。由此而言,这一时代的视觉范式在根本上就是一种视觉审美范式。纵观图像时代的视觉媒介的发展,从摄影到电影、电视再到数字虚拟影像和新媒体的发展历程,也是人类视觉审美范式的诡异性和悖论性不断加深的过程。伴随着这一过程,无论是当代社会的文化理论发展,还是普通人的现实生存体验都无不深受影响,并面临诸多的矛盾与问题。本文紧扣影像的技术美学特征,联系媒介文化发展的社会历史背景,立足观者主体的视觉审美心理,来多维地透视和剖析图像时代人类视觉审美范式的演变进程和内在逻辑。在方法上,论文把视觉媒介的技术分析、审美主体的心理分析和当代社会的文化分析三个方面有机结合。在具体论述中,又将现象描述、个案分析和逻辑思辨相结合,力图呈现出图像时代视觉审美范式发展演变的多侧面像,并以此为据,展开对当代社会文化现象的反思与批判。论文具体内容如下:第一章,论题核心概念的内涵界定和关系分析:什么是图像?什么是图像时代?什么是影像和拟像?他们之间是怎样的关系?什么是视觉审美范式?图像时代的视觉审美范式有什么特殊性?第二章,回顾前图像时代的两个重要的视觉对象——“像”与“象”。辨析它们的区别与联系,并结合造型艺术和文学艺术具体考察“像”与“象”所对应的视觉审美范式;第三至六章,进入图像时代,结合影像的技术美学变迁,具体描述视觉审美范式的演变历程,并剖析演变背后隐含的技术学逻辑和社会学逻辑。这一部分是论文的主体。依据影像依存的具体的视觉媒介形态,本文辨析了摄影、电影、电视相对应的视觉审美范式。辨析时既注意三者的相互区别,也不忽略它们演进过程中的内在联系。根据审美心理分析、媒介技术分析和社会文化分析三结合的方法论预设,这一部分在标题设定和论述分析时,都力求呈现出不同媒介阶段的视觉审美范式的三维立体像。第三到六章的标题分别为:第三章《定格写真:机械复制与摄影》:第四章《叙事造梦:文化工业与电影》;第五章《拼贴混成:大众传媒与电视》;第六章《超真实内爆:消费社会与拟像》。需要指出的是,各章的区分都是相对的,不能简单视为是几个阶段的机械式跃进。因为从影像到拟像,是一个复杂演化的、影像不断拟像化的过程。更具体点说,影像是实体,拟像则是一个形而上的逻辑。所以第六章,并没有把拟像对应于一个类似摄影、电影、电视那样的具体媒介。其实,早在摄影中,拟像就为自己埋下种子,当代数字虚拟影像不过是那枚种子绽放的最绚丽的花朵而已。第七章依据托马斯·库恩范式理论的原理,在前几章对不同媒介视觉审美范式具体描述分析的基础上,从影像技术、精神分析、现代性三个层面出发,深度发掘从影像向拟像转化过程中视觉审美范式演变的内在逻辑——包括媒介技术逻辑、审美技术逻辑和社会文化逻辑。第八章从视觉审美角度观照当代文化,反思世界全面拟像化这一“完美的罪行”及其带来的后果拟或机遇,并从“视觉生产力”和“视觉素养”两个视角探寻身陷拟像“围城”的当代人类的现实生存策略。在这一章,笔者立足视觉审美范式,力图对当代一些重要的视觉文化现象提出些许管见和批判。最后的余论,也是结语,结合网络、数字化、赛博空间、新媒体等发展的新动向,提出后图像时代的概念,并在此基础上展望、思考视觉文化的命运。通过对图像时代视觉审美范式的描述分析,本文认为,从影像到拟像,实际上是影像自身不断拟像化以及拟像逻辑不断向现实世界转化和泛化的过程。在此过程中,观者主体深受机器性媒介技术理性、工具理性和资本逻辑的控制,其审美在不自觉的状态中掉入了拟像的拟仿逻辑陷阱。只有深刻认识到这一点,我们才能为当代人冲破媒介镜像的围城和虚拟文化的蛛网找到现实的方法和路径。更多还原

【Abstract】 The world today is flooded with all sorts of dazzling pictures and spectacles, which has dramatically changed people’s living experience and cultural circumstances. As a theoretic feedback, researches on visual culture have become the most distinct and significant field in today’s cultural studies. As early as 70’s in 20th century, Daniel Bell, a famous scholar in the U.S, claimed that contemporary culture was changing into a sort of visual culture. W.J.T. Mitchell, another celebrated scholar considered that a Pictorial Turn, as the most important turn in culture nowadays, has led the contemporary society into an era of Picture.In the era of Picture, people view the world by visual machines and visual technologies. Since the invention of photography, images that were shot by camera lens, mechanical eye or electronic eyes have become the final key visual objects and the most important visual intermediary connecting people and the world. Based on the technical principle of automatic producing and the super-verisimilitude effects, images have brought an epoch-making shift in the visual paradigm of human. The confusion of reality and beauty has become the weirdest logic and the most profound paradox of the visual culture in the era of Picture. In this sense, the visual paradigm in this era is in fact an aesthetic Paradigm. In other words, the development of the visual media in this era, from photography to movie, then to TV, and finally to the digital image of virtuality and new media, is also deepening of the paradox of human’s visual paradigm. Meanwhile, this would certainly cause a series of contradictions and problems and exert a tremendous influence on the improvement of the contemporary cultural studies.Based on the technical-aesthetic features of image and the development of media culture, this dissertation focuses on the subject’s aesthetic sense in the visual course, and analyses the logic and law of evolution of the visual aesthetic paradigm. As for methods, this dissertation on one hand combines the technical analysis of visual media with the psychological analysis of aesthetic subject and the cultural analysis of contemporary society, while on the other hand; it combines phenomena description with case studies and logic thinking. The dissertation aims to draw a multi-dimension profile of the evolution of human’s visual aesthetic paradigm in the Era of Picture. Based on this, the dissertation criticizes and makes reflections on some phenomena concerning visual culture in our society. The content of this dissertation is as follows:Chapter 1 gives definition to the key words of the paper, and analyses their relations, such as "what is picture", "What is the era of picture?" "What is image and simulacrum?" "their relations" "the visual aesthetic paradigm" "What special features do these paradigms in the Era of Picture has?"Chapter 2 reviews two important visual objects, the drawing picture and literary image in the Pre-picture Era, and analyses their distinctions and connections, then discusses the corresponding visual aesthetic paradigm of drawing picture and the literary image respectively in light of the practice of plastic art and literature.Chapter 3 to chapter 6 describes the evolution of the visual aesthetic paradigms in the era of picture and analyses the technology logic and sociology logic behind it. This part is the main body of the dissertation. According to the patterns and developments of the visual media, this paper analyses the features of visual aesthetic paradigms of photography, movie and TV, and then reveals their distinctions and connections. By combining the analysis of aesthetic experience of the visual subjects with the analysis of media technique and that of social culture, this part draws a profile of the visual aesthetic paradigms in the Era of Picture.Title for each chapter in this section is as follows: chapter 3.Photography, the fixed and faithful representation and mechanical reproduction; chapter 4,Movie, the storyteller, the dream maker and cultural industry; chapter 5, The pastiche TV and mass culture; chapter 6, The hyperreal and implosive simulacra and the consumer society. These chapters unfold the different steps of development of the visual aesthetic paradigm in the Era of Picture. But the change from image to simulacrum is not a mechanical variation, but a complicated evolution. In other words, image is a concrete object to eyes; however, simulacrum is an abstract logic of the developing trend of pictures in the Era of Picture. Accordingly, in chapter 6, no concrete comparison to visual media, i.e. photography, movie and TV is made as simulacrum is concerned. In fact, as early as the age of photography, simulacrum had sowed their seeds in the field of images. The digital image of virtuality is the most beautiful flower that has grown up from the seeds of simulacra.In chapter7, based on the descriptions and ananlysis from chapter 3 to chapter 6 and according to the theory of paradigm of Thomas S. Kuhn, this dissertation summarizes the inner logic of the evolutionof the visual aesthetic paradigmduring the course that the images transfers to simulacra.Chapter 8 concerns the contemporary culture in the view of visual aesthetic. In light of visual productive force and visual literacy, this paper criticizes some typical cultural phenomena and tries to provide some advice to people in the Era of Picture. In the ending part, this dissertation scans the更多还原