症状阅读、事件与图像学--略谈乔治·迪迪-于贝尔曼的“图像知识”

Symptomatic Reading,Event,and Iconography:A Brief Discussion of Georges Didi-Huberman's Image-knowledge

作为当代最为活跃的法国艺术史家之一,乔治·迪迪于贝尔曼以"事件"为其重要的理论基础,并以之为重要的话语支点,在艺术史研究中复兴了阿比·瓦尔堡的批评传统。迪迪于贝尔曼的理论创新在于在本雅明辩证图像的真理观语境中,使阿比·瓦尔堡的"记忆知识"的独特认识论得以确证,同时在阿比·瓦尔堡的学术路径中,使本雅明对图像真理事件的症状阅读获得方法论上的合法性。乔治·于贝尔曼的这一"批判的图像学"解读方式,相当程度上改变了法国当代艺术史的地形,扰乱了学院传统中的"线性叙事",使艺术史图像学研究走向了一种"真理—事件"的考古学。

As one of the most active art historians in France, Georges Didi-Huberman takes ＂event＂ as his theoretical basis, by which he makes possible the renewal of the critical tradition of Aby Warburg. Didi-Huberman is innovative because, on the one hand, he confirms Warburg＇s special epistemology that is situated within Walter Benjamin＇s horizon of event-truth implied in dialectic images, and, on the other, he legitimizes Benjamin＇s symptomatic reading of events by introducing Warburg＇s image- knowledge into iconographical studies. Didi-Hubermanian critical iconography has changed the look of contemporary French art history, disrupted the linear historical narrative of art in academic tradition, and ultimately opened up an iconographical path toward the archaeology of event-truth.