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。
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.
关键词
迪迪于贝尔曼 /
姿势 /
激情 /
想象力 /
朗西埃
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Key words
Georges Didi-Huberman /
gesture /
pathos /
imagination /
Jacques Rancière
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