罗兰·巴尔特与可见性的转折点——走向非模仿影像

Roland Barthes and the Visibility Turn: For a Non-Mimetic Image

罗兰·巴尔特在《罗兰·巴尔特论罗兰·巴尔特》一书中,打破了现代思想家们共有的对于影像的禁忌:与对模仿的强烈批评所紧密联系的结构主义式的清教主义。巴尔特所带来的这种突破,主要是由于他将模仿与关于影像的视觉体系进行了分离。本文将巴尔特的这本著作置于现代性背景中,来探讨它的重要意义。另一方面,本文还将通过巴尔特同时代人对于影像的解读(比如福柯对于委拉斯凯兹的《宫娥》的解读),以及巴尔特早期与晚期关于影像的理论,即从《神话学》到《明室》,来分析《罗兰·巴尔特论罗兰·巴尔特》这本书。在分析中,我们可以发现巴尔特从青睐非形象化、拒绝模仿,到一种更为基本的有生命的/无生命的视觉范式的转变。这首先解释了他重视摄影胜过电影的原因,但最终在《明室》的第二部分关于女性机器人行为的讨论中,以及巴尔特对母亲童年时在冬日花园照片的可见性/不可见性在场的恋物关系中,这种转变被中性化了。

With Roland Barthes par Roland Barthes(1975),Roland Barthes broke a taboo on image shared by most modern thinkers:structuralist puritanism closely associated with a violent critique of mimesis.The breakthrough Barthes introduced derived primarily from his uncoupling of mimesis from the visibility regime of image.This research will explore the significance of this book by placing it in the context of modernity.It will also be read in relation to the works about image written by Barthes’s contemporaries(for example,Foucault on Velazquez’s Las Meninas).Moreover,it will be read alongside Barthes’earlier and later theories about image in his books from Mythologies to La Chambre Claire.A shift of Barthes is traced by this research from the rejection of mimesis in favour of non-figuration,to the emergence of a more fundamental visual paradigm of animacy/inanimacy.This shift initially accounts for his stated preference for photography over cinema,but it was ultimately neutralized,in the second part of La Chambre Claire,through Barthes’discussion of the female automaton sequence in Fellini’s Casanova,and its fetishistic relation to the invisible/visible presence of the"Winter Garden"photo of Barthes’mother as a child.