摘要
福柯认为现代视看是建立在现代知识型的基础上的,它是一种侧重于生理感官的纯粹目光,与视看中的非视觉性相分离,而使视觉只是专注于看,并具有优先性。福柯在对《宫娥》进行分析时,通过拆解表象,寻找一种不受理论、理性和想象干扰的纯粹目光。然而,由于此作毕竟是古典时期的经典作品,最终使目光陷入到绘画之中,而背离了纯粹性。在马奈的相关作品的分析中,他仍以拆解表象的方式,将绘画还原为绘画-物,从而实现了观看对象的纯粹性。可是,纯粹目光一旦发生,便会产生一个悖论,那就是一方面要求目光的纯粹性;另一方面在这种观看体制中,我们既是观看的主体又是被观看的对象,最终成为了对象的语义物,并意识到了观看本身。最后,福柯在实物的厚度上思考绘画,把它放到目光真实的空间中,实现了视看的自我反观。从某种程度上说,这是对格林伯格的视觉现代性理论的纠正。
In Foucault＇s opinion, the ＂gaze＂, which is a kind of physical and pure one is based on modem episteme. It, at the same time, is separated from vision, focuses on the gaze and has priority. When Foucauh analysed Las Meninas, try to breakdown the representation in order to seek the pure gaze that was not disturbed by theory, rationality and image. However, this work was a classical work in classic periods, by which the gaze be caught in the vision, so that the gaze was not pure. In the analysis of Ma- net＇s works, Foucauh also used the the way of the breakdown of rpresentation to make the painting reduce the Material-Painting, which aim made the visual object be purity, however, there would be a paradox when the pure gaze happens. That is to say, on one hand, the purity need to be maintained, on the other hand, as spectators, we must forget ourselves in order to maintain purity. Therefore, in this system, we are both the subject and the object of the gaze. Finally, we become the prey of the gaze and recognize the gaze itself. Foucault explores paintings in the aspect of the thickness of objects. He puts the seeing in a real space. Foucauh tries to correct Greenberg＇s thoughts to a certain extent.
出处
《社会科学》
CSSCI
北大核心
2017年第10期185-191,共7页
Journal of Social Sciences
