「指涉」與「重建」:達彌施藝術符號學的課題

No Thumbnail Available

Date

2019

Journal Title

Journal ISSN

Volume Title

Publisher

Abstract

本研究旨在探討達彌施對兩個課題的處理:「指涉」與「重建」,以此兩個觀察點,發現藝術符號學的特性。達彌施的思考是混融在不同範圍上的,包含對繪畫表達的重新觀看、認識,以及對於方法論的檢討。本研究從「指涉」與「重建」兩種問題開展,即嘗試以不同的觀察重心,相對於單一重心,以涵蓋藝術符號學中不同片段的思考,指出此一理論的觀點與定位。 本文的四個章節,分析了達彌施所論的四個議題:〈論繪畫理論〉、〈論再現〉、〈論繪畫空間〉、〈論句法〉。〈論繪畫理論〉分析了達彌施對傳統繪畫理論的檢討,進而發現繪畫問題與方法論問題的並置探討,是引出不同視角,並阻斷唯一見解形成的手段;〈論再現〉則發現了達彌施對主要問題的重新設定,其面對「再現」,以表達問題作為重心,離開它所涉及的形上學問題,藉此讓整體符號學的探討脫離特定問題框架限制;〈論繪畫空間〉分析達彌施對指涉的直接勾勒,發現此一勾勒超乎對繪畫的詮釋,而更是一種方法論的演示,展現了相對實在的切入方法,有別於一般看法聚焦於假設性因素。它因而更能發現繪畫空間呈現的微妙因素;〈論句法〉則歸納達彌施對形成意義過程的看法:「指涉」既非繪畫本身的規律,也不是一種解讀規則可以概括的,而是兩者的交會結果。 研究發現,勾勒「指涉」與「重建」思考方式並非兩個分開的問題,而是形成達彌施藝術符號學的主要工作:即超越各種認知模式,並且發現繪畫表達超乎設想的變化幅度。
This study serves to delineate Damisch’s treatise on two subject matters: “Designating” and “Reconstruction”, and to reveal the methodological features of Semiology of Art from this perspective. Damisch’s discourse is a fusion of various inquiries, mainly, experimenting alternative outlooks on pictorial expression, as well as examining the method of theories. Initiated with the questionings associated with “Designating” and “Reconstruction”, this study is an attempt to bring into play different aspects, instead of viewing from a single point of view, by means of which, to examine different parts of Damisch’s discourse, and to reveal its arguments as well as its position among different theories. The four chapters in this thesis are analyses of issues elaborated by Damisch: ‘On Theories of Painting’, ‘On Representation’, ‘On Pictorial Space’, ‘On Syntax’. ‘On Theories of Painting’ is an analysis of Damisch’s critique on traditional theories of painting. It points out that Damisch’s juxtaposition of paintings and theories as subjects, is a means of opening up different viewpoints, counteracting the intensification of a predominant viewpoint. The second chapter, ‘On Representation,’ clarifies Damisch’s setting of the main issue. Confronting the idea of representation, Damisch shifts from its metaphysical issue to a semiotic one, thus setting the semiotic inquiry free from certain preconditions. ‘On Pictorial Space’ is an analysis on Damisch’s depiction of designation. It is revealed that Damisch’s depiction is a demonstration of a new approach towards painting, rather than a mere interpreting process. The depiction demonstrates arelatively ‘realist’ way a of seeing, unlike the common approach, which focuses on the hypothetical aspects. It thus brings to light more subtle aspects of pictorial space. Eventually, ‘On Syntax’ synthesizes Damisch’s view on the signifying process: “designating” is neither a self-contained function of the painting itself, nor could it be equalized to the functioning of the spectator’s consciousness, it is instead, the blend of the two factors. It is revealed in this study, that the delineation of “designating” and the “reconstruction” of ways of thinking are not two separate tasks, but rather form the main task of Damisch’s Semiology of Art: that of exceeding epistemological modes, and to unveil the unpredictable variations of pictorial expression.

Description

Keywords

余伯特˙達彌施, 指涉, 重建, 藝術符號學, 雲的理論, Hubert Damisch, Designating, Reconstruction, Semiology of Art, Theory of Cloud

Citation

Collections