现代性是“镜”，还是“花”？——论罗哈斯《裸视：中国现代性之倒影》的“视野”

文艺理论研究 ›› 2014, Vol. 34 ›› Issue (6): 191-200.

现代性是“镜”，还是“花”？——论罗哈斯《裸视：中国现代性之倒影》的“视野”

林玮

北京师范大学文学院；美国杜克大学东亚系

出版日期:2014-11-25 发布日期:2014-12-07
作者简介:林玮，北京师范大学文学院与美国杜克大学东亚系联合培养博士学位候选人，文艺美学专业，主要从事文艺传播、文化产业研究。

Is Modernity a Mirror or a "Flower"?: On the "Vision" of Rojas's The Naked Gaze: Reflections on Chinese Modernity

Lin Wei

the School of Chinese Language and Literature, Beijing Normal University (Beijing 100875, China); Department of Asian & Middle Eastern Studies, Duke University

Online:2014-11-25 Published:2014-12-07
About author:Lin Wei is a Ph.D. candidate in the School of Chinese Language and Literature, Beijing Normal University (Beijing 100875, China) and Department of Asian & Middle Eastern Studies, Duke University, with research interests in aesthetic theory, art communication and cultural industries.

摘要/Abstract

摘要： 视觉文化的核心命题是通过视觉来摆置自我与世界的位置。罗哈斯以晚清至当代的文艺为研究对象，建构了一套对镜自照的主体、观众和小他者(object a)并存的三维视觉结构，对中国现代性进行了视觉的解读。在他看来，作为视觉对象的身体既是镜面屏幕，也是镜中的幻象，它使视觉的欲望（小他者）有了具体的表征渠道；而相互交织的时空关系则可以使视觉从个体欲望进入社会文化语境中。由此而言，视觉文化视野中的现代性问题，其实质是对日常生活“看”的经验的反思。通过“看”，主体欲望的小他者藉以存在，自我与世界的位置关系也得以明晰。视觉现代性既是“镜”，也是“花”，是生活世界本身；视觉文化应是一种存在论的生活哲学。

关键词: 视觉, 现代性, 小他者, 生活哲学

Abstract: The essential issue of visual culture is to position the self and the world through vision. Rojas's subject of research is the literature and arts in the late Qing Dynasty to modern period, and he attempts a visual interpretation of Chinese modernity through constructing a three-dimensional visual system, in which the self-mirroring subjects, audience and object co-exist. He maintains that the body, as a visual object, is both a mirror-like screen, and the unreal image in the mirror, which provides the subject of visual desire as the other with a concrete channel of presentation. Through the interrelationship between time and space, vision as an individual desire can enter sociocultural context. It can be concluded that modernity in the field of visual culture is essentially the reflection of the experience of "looking" in everyday life. Through "looking," the other can exist and the relative position of the self and the world may become clear. Therefore, visual modernity is both a "mirror" and the "flower" in the mirror, which forms the everyday life itself, while visual culture should be regarded as a life philosophy of ontology.

Key words: vision, modernity, the others, life philosophy

林玮. 现代性是“镜”，还是“花”？——论罗哈斯《裸视：中国现代性之倒影》的“视野”[J]. 文艺理论研究, 2014, 34(6): 191-200.

Lin Wei. Is Modernity a Mirror or a "Flower"?: On the "Vision" of Rojas's The Naked Gaze: Reflections on Chinese Modernity[J]. Theoretical Studies in Literature and Art, 2014, 34(6): 191-200.

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