The ＂Pictorial＂ or ＂Iconic Turn＂ is a central issue in the contemporary theory of images and visual cultural studies. Should the theories concerning the ＂Iconic Turn＂ and formulated in the last 20 years by schol...The ＂Pictorial＂ or ＂Iconic Turn＂ is a central issue in the contemporary theory of images and visual cultural studies. Should the theories concerning the ＂Iconic Turn＂ and formulated in the last 20 years by scholars such as Gottfried Boehm, William Mitchell, Hans Belting be taken as critical theories of crisis？ Is the currently experienced ＂turn towards images＂ （and their progressive rehabilitation after a long standing philosophical and theological rejection） a sign and symptom of some crisis of people＇s relation with images, language and, generally speaking, with the representation forms of reality？ The main hypothesis of this essay envisages two sets of problems： first, the analysis of the relation between the possible idea of turning point and the concept of crisis; secondly, the thorough investigation of the relation connecting the iconic turn to the project of ＂critical iconology＂ or ＂critique of visual culture,＂ as outlined by Hans Belting and William Mitchell. From the interpretation of the ＂Iconic Turn＂ as situation of crisis and aesthetic, anthropological, and epistemological transformation follows the need for the sciences of image to provide a ＂critical iconology＂ in order to be able to theoretically reformulate the ideological and political presuppositions of some dominant contemporary forms of visual representation.展开更多
The article deals with the question of the possibility of a new interpretation of Picasso’s picture entitled Crucifixion, which was created in the context of the art paradigm shift in the 1930s when the master focuse...The article deals with the question of the possibility of a new interpretation of Picasso’s picture entitled Crucifixion, which was created in the context of the art paradigm shift in the 1930s when the master focused his attention to the return to painting as a reference framework of myth and religion. But this return was only a turning point towards a modern understanding of the world and art from other sources. It should be noted that the problem of pictorial turn nowadays has a strong impact on the postmodern theology, which encompasses various cultural traditions, and also quite opposite philosophical attitudes. The article shows, thus, the inner relationship and connection between painting art and the search for transgression in the language that was the idea of Bataille. In the first part of this article, author tries to show the consequences of Bataille’s thinking of transgression; the second part has attempted to articulate the problems of interpretation of Picasso’s canvas Crucifixion; and concluding remarks is an attempt to review the emphasis on relationship with pictorial turn and transformations in the notion of contemporary art concerning the body as a sovereign event of the freedom and sacrifice.展开更多
文摘The ＂Pictorial＂ or ＂Iconic Turn＂ is a central issue in the contemporary theory of images and visual cultural studies. Should the theories concerning the ＂Iconic Turn＂ and formulated in the last 20 years by scholars such as Gottfried Boehm, William Mitchell, Hans Belting be taken as critical theories of crisis？ Is the currently experienced ＂turn towards images＂ （and their progressive rehabilitation after a long standing philosophical and theological rejection） a sign and symptom of some crisis of people＇s relation with images, language and, generally speaking, with the representation forms of reality？ The main hypothesis of this essay envisages two sets of problems： first, the analysis of the relation between the possible idea of turning point and the concept of crisis; secondly, the thorough investigation of the relation connecting the iconic turn to the project of ＂critical iconology＂ or ＂critique of visual culture,＂ as outlined by Hans Belting and William Mitchell. From the interpretation of the ＂Iconic Turn＂ as situation of crisis and aesthetic, anthropological, and epistemological transformation follows the need for the sciences of image to provide a ＂critical iconology＂ in order to be able to theoretically reformulate the ideological and political presuppositions of some dominant contemporary forms of visual representation.
文摘The article deals with the question of the possibility of a new interpretation of Picasso’s picture entitled Crucifixion, which was created in the context of the art paradigm shift in the 1930s when the master focused his attention to the return to painting as a reference framework of myth and religion. But this return was only a turning point towards a modern understanding of the world and art from other sources. It should be noted that the problem of pictorial turn nowadays has a strong impact on the postmodern theology, which encompasses various cultural traditions, and also quite opposite philosophical attitudes. The article shows, thus, the inner relationship and connection between painting art and the search for transgression in the language that was the idea of Bataille. In the first part of this article, author tries to show the consequences of Bataille’s thinking of transgression; the second part has attempted to articulate the problems of interpretation of Picasso’s canvas Crucifixion; and concluding remarks is an attempt to review the emphasis on relationship with pictorial turn and transformations in the notion of contemporary art concerning the body as a sovereign event of the freedom and sacrifice.
