Symptomatic Reading, Event, and Iconography: A Brief Discussion of Georges Didi-Huberman's Image-knowledge

Abstract

Abstract: As one of the most active art historians in France, Georges Didi-Huberman takes "event" as his theoretical basis, by which he makes possible the renewal of the critical tradition of Aby Warburg. Didi-Huberman is innovative because, on the one hand, he confirms Warburg's special epistemology that is situated within Walter Benjamin's horizon of event-truth implied in dialectic images, and, on the other, he legitimizes Benjamin's symptomatic reading of events by introducing Warburg's image-knowledge into iconographical studies. Didi-Hubermanian critical iconography has changed the look of contemporary French art history, disrupted the linear historical narrative of art in academic tradition, and ultimately opened up an iconographical path toward the archaeology of event-truth.

Key words: iconography, Georges Didi-Huberman, event, symptomatic reading, truth

Zhao Wen. Symptomatic Reading, Event, and Iconography: A Brief Discussion of Georges Didi-Huberman's Image-knowledge[J]. Theoretical Studies in Literature and Art, 2016, 36(6): 64-72.

References

Agamben,Giorgio.Mezzi senza fine:Note sul la politica.Torino:Bollati Boringhieri,1996.
吉奥乔·阿甘本:《潜能》,王立秋、严和来等译,沙明校。桂林:漓江出版社,2014年。[---.The Potential.Trans.Wang Liqiu,et al.,Cal.Sha Ming,Guilin:Lijiang Press,2014.]
Benjamin,Walter.Paris,capitale du XIXe siècle:le livre des passages(1927 1940).Trad.J.Lacoste.Paris:éditions du Cerf,1989.
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瓦尔特·本雅明:《德意志悲苦剧的起源》,李双志、苏伟译。北京:北京师范大学出版社,2013年。[Benjamin,Walter.The Origin of German Tragic Drama.Trans.Li Shuangzhi and Su Wei.Beijing:Beijing Normal University Press,2013.]
---:《启迪》,汉娜·阿伦特编,张旭东、王斑译。北京:三联书店,2008年。[---.Illuminations.Ed.Hannah Arendt.Trans.Zhang Xudong and Wang Ban.Beijing:SDX Joint Publishing Company,2008.]
Didi-Huberman,Georges.“Au pas léger de la servante:Savoir des images,savoir excentrique.”Faire des sciences sociales,I.Critiquer,sous la dir.P.Haag et C.Lemieux.Paris:éditions de l’école des hautesétudes en sciences sociales,2012.
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---.Confronting Images:Questioning the Ends of a Certain History of Art.Trans.John Goodman.University Park:Pennsylvania State University Press,2005.
---.“Film,essai,poème:La Rabbia de Pier Paolo Pasolini.”Les cahiers du musee national d’art modern124(2013):18 35.
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乔治·迪迪于贝尔曼:《看见与被看》,吴泓渺译。长沙:湖南美术出版社,2015年。[Didi-Huberman,Georges.What We See,What Concerns Us.Trans.Wu Hongmiao.Changsha:Hunan Fine Arts Publishing House,2015.]
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(1)对瓦萨里及其传统的详细批判可参看乔治·迪迪于贝尔曼:《在图像面前:某些艺术史的终结之问》(Devant l’image:Question posée aux fin d’une histoire de l’art,Les Editions de Minut)(1990年),见Didi-Huberman:Confronting Images,Questioning the Ends of a Certain History of Art.Trans.John Goodman(University Park:Pennsylvania State University Press,2005),73 84.
(2)潘诺夫斯基确立他的学术身份的真正意义的第一部著作即《观念:艺术理论中的一个概念》(Idea:A Concept in Art Theory)(1924年)。
(3)本雅明:《巴黎:十九世纪的首都》,乔治·迪迪于贝尔曼引用时对原文有调整,见迪迪于贝尔曼:《看见与被看》,吴泓渺译(长沙:湖南美术出版社,2015年),第183页。
(4)本雅明:《巴黎,十九世纪的首都》,迪迪于贝尔曼转引,见《看见与被看》,第183 84页。着重为我所加。
(5)吉奥乔·瓦萨里:《最杰出的画作、雕塑和建筑中的生活》卷四,参见G.Vasari,Les Vies des meilleurs peintres,sculpteurs et architectes(1550 1568),trad.dirigée par A.Chastel(Paris,Berger-Levrault,1981 1987)IV,qtd.in Didi-Huberman:“Au pas léger de la servante”,196.
(6)格拉迪沃本身就是这种姿态的直接命名,Gradiva是汉诺德在幻想中对Bertgang一词的“转译”---“格拉迪沃与伯特冈是等价的(Bertgang mit Gradiva gleichbedeutend ist)”,而这个对他恋人父名的转译,最终指向的是佐伊本人。
(7)“zoē,表达的是一切生物(动物、人或神)共享的生命这一直接事实,bios,则指某单一个体或群体所特有的生命形式或方式。”(Agamben,“Mezzi senza fine”13)
(8)本雅明:《想象的图像》,迪迪于贝尔曼转引,见《看见与被看》,第176页。着重为我所加。
(9)需要说明的是汉译本中阿甘本使用的“gesto”被译作“姿势”,在本文中统一译作“姿态”。

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Symptomatic Reading, Event, and Iconography: A Brief Discussion of Georges Didi-Huberman's Image-knowledge

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