摘要
"语-图"关系认知是西方现代美学的重要问题,也是导致艺术史与艺术批评写作分野的界碑之一。一些学者认为,艺术作品可以被化约为语言;另一些则不同意。艺术写作在这种二元论之间振荡,且出现了一些试图超越"语-图"之辩的理论探索。T.J.克拉克在《瞥见死神:艺术写作的一次试验》中采用了日记体与弱化语言强势的表达,记录了自己对普桑画作的每日静观和深刻体验,字里行间体现出对绘画之物质性品质的重视。这一写作试验,既实现了"语-图"之争的和解,达到了艺术与语言的共鸣;又从根本上对那种脱离社会现实,忽略图像静观,标榜新颖理论,沦陷于不断膨胀的资本主义总体性及文化工业的"异化"的艺术写作现状,进行了批判,具有发人深省的意义。
The ＂word-image＂ relationship is an important subject of modern Western aesthetics. It represents the division between the writing of art history and that of art criticism. The bone of contention between the two writing camps is whether the art work can be reducible to words. Art writings vibrate between this dualism, and some try to transcend the ＂word- image＂ division in theory. In his The Sight of Death： An Experiment inArt Writing, T.J. Clark, by adopting the diary style without a strong style of language, recorded his daily viewing of Poussin＇s paintings and his deep contemplations. He stresses the materiality of painting, which the viewers should pay attention to. The writing experiment makes possible a peaceable settlement of the ＂word- image＂ disputes, and the resonance between art and language. Basically, such an experiment criticizes the present situation of art writing, which is divorced from social realities, neglecting image quality and visual analysis, and flaunting new theory, and is reduced to the ＂alienation＂ caused by capitalist totality and cultural industry.
出处
《文艺理论研究》
CSSCI
北大核心
2017年第3期149-155,共7页
Theoretical Studies in Literature and Art
