迪迪于贝尔曼“图像的政治”:姿势、激情与想象力

文艺理论研究 ›› 2023, Vol. 43 ›› Issue (5): 124-132.

迪迪于贝尔曼“图像的政治”:姿势、激情与想象力

姜雪阳

出版日期:2023-09-25 发布日期:2023-11-15
作者简介:姜雪阳,华东师范大学中文系文艺学专业在读博士生,主要从事西方艺术理论与视觉文化研究。通讯地址:上海市闵行区东川路500号华东师范大学中国语言文学系,200241。电子邮箱:jxyybem@163.com。

Georges Didi-Huberman's “Politics of Images” and His Debate with Jacques Rancière on the Pathos of Images

Online:2023-09-25 Published:2023-11-15
About author:Jiang Xueyang, is a Ph.D. candidate in the Department of Chinese Language and Literature, East China Normal University. Her research interests include Western art theory and visual culture. Address: Department of Chinese Language and Literature, East China Normal University, 500 Dongchuan Road, Shanghai 200241, China. E-mail: jxyybem@163.com

摘要/Abstract

摘要： 乔治·迪迪于贝尔曼的图像理论对当下社会政治保持了极强的敏感度,自其策划名为“起义”的展览以来,多对人民“激情”的反抗姿势进行“视觉人类学”分析,并将图像视为人类欲望的赋型。“激情”(Pathos)与“想象力”是迪迪于贝尔曼的图像理论切入政治的两个关键视角,但法国哲学家雅克·朗西埃对迪迪于贝尔曼有关图像“激情”维度的解读提出了质疑。而迪迪于贝尔曼通过追溯这一概念的哲学渊源,强调其被动性的创伤属性,进而澄清了朗西埃对自己的误解。此外,他从“想象力”与政治融合的视角重新思考了朗西埃“感性的分配”这一美学政治的关键概念,指出“想象力”与政治的融合是唤起“激情”的关键,并进行图像的观看与图像的政治思考,以此获得“历史之眼”以确证历史的可读性。

关键词: 迪迪于贝尔曼, 姿势, 激情, 想象力, 朗西埃

Abstract: Georges Didi-Huberman's image theory maintains strong sensitivity to current social politics. Since his exhibition “Uprising”, Didi-Huberman has been making visual anthropological analysis of people's gestures of rebellion and considering images as an endowment of human desire. Pathos and imagination are two key perspectives through which Didi-Huberman's image theory enters politics, but Jacques Rancière questions his interpretation of the pathos dimension of images. In turn, Didi-Huberman clarifies Rancière's misunderstanding by tracing the philosophical origins of the concept while emphasizing its traumatic nature of passivity. In addition, he rethinks Rancière's key concept of the politics of aesthetics, “the distribution of sensible,” from the perspective of the fusion of imagination and politics, pointing out that the fusion of imagination and politics is key to the evocation of pathos. Through the viewing and political reflection of images, he obtains the “eye of history” to confirm the readability of history.

Key words: Georges Didi-Huberman, gesture, pathos, imagination, Jacques Rancière

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