心理学“图形—背景”视域下的提喻法在博物馆的辩证运用

Synecdoche’s Dialectic Application in Museum from the Psychology Persective of "Figure-Ground" Theory

提喻作为一种修辞格手法在以展品还原人类文化面貌的博物馆中尤为常用,它包括两方面,即一对逆向思维:提个体喻整体、提整体喻个体,但以往的研究更强调前者的运用而忽略后者。两者区别于从'概念域'中选取'基体'的角度不同,致使观众认知切入的焦点相异,适用于不同展览:'基体'为个体的手法可用于文化人类学理念下的展览,将代表性的文物个案作为民族整体政治权利、文化认同的表征;而'基体'为整体的手法可用于阐释隐晦问题等'难以言说的历史',或文物不足的展览之中。前者通过提喻以中立温和的方式处理争议性问题,后者将个案放于大背景下进行解读暗示,弥补实物的不足。本文引入格式塔心理学家的'图形—背景'理论,并通过丹麦心理学家Rubin提出的'人脸/花瓶'图来辩证分析提喻的两种思维在博物馆展品信息构建过程中的工作机制。

As a rhetoric device,Synecdoche is especially common used in the museums which aim at restoring human cultural.It contains two aspects,in another word,a pair of reverse mindsets:comparing the part to the whole and comparing the whole to the part.However,the previous studies emphasised more on the former but latter.The distinction lies in the angle of choosing'base'from the'conceptual domain',causing the different focus of audiences’cognition.These two aspects can be used in different exhibitons:when the'base'is the part,It can be applied in the exhibiton that under the logic of cultural anthropology,in which it put the typical cultural relics as the characterization of ethnic’s political rights and cultural identity;The another can be used in interpreting obscure issues like some'unspeakable histories',or the exhibitons which are lack of items.The former solves the contested issues by a neutral and mild way;The latter put the individual case into the huge background to hint the theme as well as to compensate the lack of items.In this paper,the'Face/Vase Illusion',which was proposed by Rubin,a Danish Psychologist,for the Gestalt Psychologist’s'Figure-Ground'Theory,is introduced to analyse the working mechanism of synecdoche’s two mindsets in museum exhibits’meaning construction.