扩展视域中的凝视

本文旨在考察一个在当代绘画和视觉性研究中颇为重要的术语：＂凝视＂（le regard）。凝视从萨特到拉康的概念衍变,说明二者在一些关键层面上仍具有某种概念的封闭性,在颠覆中心化主体的同时,仍残留了主体视点中心,导致视觉被描述为受到了凝视的威胁。而西田几多郎和西谷启治则对主体进行了更为彻底的移除,用＂空＂（sūnyatā）的概念将凝视置于一个扩展的视域,由此引发了大量的概念转换,尤其是在有关威胁和主体应置身何处的问题上。

In this paper, Norman Bryson exams an important term in contemporary discussions of painting and visuality： ＂the Gaze＂ （le By tracing the concept as it passes from Sartre to Lacan, he argues to their conceptual enclosure, both have actually retained point, desp portrayal of regard）. that, due subject＇s standtheir radical decentering of the subject, which results in a vision as menaced at that vestigial center. Then proceeds by introducing the theoretical development of Nishida and Nishitani, two Japanese scholars whose direction of thought, with a new term from Eastern culture：＂sunyata＂ （blankness, emptiness or nihility ） , displaces the subject much more thoroughly in the field of vision, and relocates the Gaze in an expanded field where a number of conceptual transformations become necessary, especially concerning the aspect of menace and the question of where the subject resides.