"图形表":德勒兹绘画现象学的核心概念
"Diagram":The Core Concept of Deleuze's Phenomenology of Painting
诸葛沂 1王海悦1
作者信息
摘要
文字与图像、话语与图形、文本与视觉之间的关系问题在20世纪下半叶以来备受艺术理论界关注,德勒兹以联结理论和艺术实践的路径来关注这一重要问题.德勒兹哲学关注运动和差异,强调艺术的感觉保存能力,批判"语音中心主义"和"逻各斯中心主义",其中,"图形表"(diagram)是贯穿其一生哲学和艺术写作的核心概念.本文认为,德勒兹的"图形表"的重要功能是解辖域化(deterritorialisation).本文试图通过分析"图形表"的概念、内涵与功能,结合德勒兹对弗朗西斯·培根绘画的批评写作,深入剖析德勒兹的绘画现象学.
Abstract
Since the second half of the 20th century,the relationship between text and image,discourse and figure,text and vision has attracted much attention in the field of art theory.Deleuze focuses on this important issue by connecting theory and art practice.Deleuze's philosophy focuses on movement and difference,emphasizes the sensory preservation capacity of art,and criticizes"phonocentrism"and"logocentrism,"in which"diagram"is the core concept of his philosophical and artistic writing throughout his life.This paper argues that the important function of Deleuze's"diagram"is deterritorialisation.This paper attempts to deeply analyze Deleuze's phenomenology of painting by analyzing the concept,connotation,function of"diagram"and combining his critical writing of Francis Bacon's painting.
关键词
德勒兹/"图形表"/培根/现象学Key words
Deleuze/'diagram'/Bacon/phenomenology引用本文复制引用
出版年
2024
NETL
NSTL
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