摘要
今天方兴未艾的"视觉文化"并不属于柏拉图和亚里士多德以降的理性主义传统,反之它标举感性,致力于开拓久被传统哲学忽略的直觉认知。由是观之,《当代中国的视觉文化研究》应是现代社会文化转型深入分析的一个样板。周宪认为视觉文化可以代表革命时代理想主义向消费时代快感主义文化的转变,居伊·德波早在1967年即已刊行的《奇观社会》一书,简直就是今日视觉社会的先知预言。比较伊文思和霍尔主编的《视觉文化读本》,后者强调文化研究麾下的图像研究受惠于符号学,故而以经典符号学文献开篇,暗示图像就是一种"语言";前者则在宽阔的国际视野中凝聚了强烈的中国意识。在国际相关学术话语中,这将是我们自己发出的可贵的声音。
Visual culture today does not belong to the rational narratives from Plato and Aristotle. Instead, it promotes sensation and explores the intuitive recognition neglected by traditional philosophy. In this regard, A Study of Contemporary Chinese Visual Culture is an index for autonomy of the modern social cultural transformation. For Zhou Xian, visual culture nowadays is not only the realization of Guy Debord's prediction of Society of Spectacle, but also a representation of the transition from revolutionary idealism to sensational pleasure of the consumer age. If Jessica Evans and Stuart Hall's Visual Culture: The Reader indicates that any study of the image conducted under the impact of cultural studies is indebted to semiotics, A Study of Contemporary Chinese Visual Culture with its strong Chinese conscience, articulates a rare voice of our own.
出处
《上海文化》
CSSCI
2018年第8期110-114,共5页
Shanghai Culture