發(fā)布時間：2018-04-11 04:11

  本文選題：指意 + 物質(zhì)手段�。� 參考：《文藝研究》2017年07期

【摘要】：底面、邊框和透視,常常被我們當成圖像中透明的或想當然的成分,或者使圖像—符號的意義生產(chǎn)得以可能的結(jié)構(gòu)性元素,實際上它們是有價值的能指,參與作品整體意義的建構(gòu)。與一般的非模仿性元素相比,它們具有明顯不同的特征:首先,它們普遍存在,是所有繪畫的基本要素;其次,它們是一種總體性構(gòu)架,不可置換,在意義的生產(chǎn)過程中是一種支配性策略;再次,它們具有可操作性,通過擺弄不同的變體,產(chǎn)生不同的語義。作為藝術(shù)家最簡單、最基本的物質(zhì)手段,藝術(shù)家要苦心經(jīng)營、充分挖掘其各自的指意效能,以面對每一項表意實踐的緊迫性。圖像對每一個表意難題的解決都蘊含著絲毫不亞于文字表意的智慧。圖像會思考,它使我們面對圖像,又超越圖像,去把握那些不可言喻之物。
[Abstract]:The bottom, the border, the perspective, are often treated as transparent or taken for granted in images, or structural elements that make possible the production of image-symbol meaning, and they are in fact valuable signifiers.Participate in the construction of the overall meaning of the work.Compared with the general non-imitative elements, they have distinct characteristics: first, they are universal and are the basic elements of all paintings; secondly, they are a general framework that cannot be replaced.It is a dominant strategy in the process of meaning production. Thirdly, they are operable and produce different semantics by playing with different variants.As the simplest and most basic material means of artists, artists should work hard to fully tap their respective signifying efficacy in order to face the urgency of each ideographic practice.The resolution of every ideographic problem by images contains the same wisdom as that of words.Images think, they make us face images, and beyond images, to grasp the unspeakable.
【作者單位】： 南京大學藝術(shù)研究院;
【基金】：國家社科基金重大項目“當代西方前沿文論研究”(批準號:14ZDB087)成果
【分類號】：J0
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本文編號：1734366