在美杜莎与宁芙之间——论阿甘本的图像理论

发布时间：2018-04-05 15:08

本文选题：美杜莎　切入点：宁芙　出处：《文艺理论研究》2015年06期

【摘要】：图像诞生于一种记忆的技艺,即图像最终实现了从我们有限的当下去联系一个业已失去的过去的可能性。但最初的图像如同被美杜莎双瞳石化的僵死之物,为我们固化了一个我们无法用自己的有限性去穿透的过去。实际上,阿甘本并不认为,图像的存在是对我们过去的彻底石化,恰恰相反,在石化的图像之中存在着某种缝隙,让我们以辩证的方式衔接图像成为可能,此即本雅明意义上的辩证图像,不过阿甘本最关心的不是图像衔接,而是在这个缝隙中,实现一种诗性的创生,即一种宁芙式创生的可能性,也唯有如此,我们才能在美杜莎的双瞳之下找到自己独特的将图像创生为一个未来的图景。
[Abstract]:Images are born out of a memory technique in which images finally realize the possibility of connecting a lost past from our limited time.But the original image, like a frozen object petrified by Medusa's double pupil, solidifies a past that we cannot penetrate with our own finiteness.In fact, Forrest Gambon does not think that the existence of images is a complete petrifaction of our past. On the contrary, there is a gap in the images of fossilization, which makes it possible for us to connect images in a dialectical way.This is the dialectical image in the sense of Benjamin, but Forrest Gambon is most concerned not with image cohesion, but with the possibility of realizing a poetic creation, that is, a kind of Ningfu-style creation, in this gap.We can find our own unique image creation as a future picture under Medusa's double pupil.
【作者单位】：南京大学哲学系;
【分类号】：J04

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