摘要
"摄影观念"不同于"摄影",是作为实践和影像的摄影在其散播和被接受过程中形成的、以陈述话语内在规律性为表征的概念网络。从"摄影"到"摄影观念"实现的不仅仅是概念上的位移和转换,还意味着(历史)分析和书写模式的变迁,尤其是对传统摄影史书写(以摄影技术史和影像艺术史为经典范式)的质询与解构,以及对被正统摄影史边缘化的对象——摄影影像观者的关注。本文力求在弗朗索瓦·布吕内创设的"摄影观念史"的理论框架之下,分析由保罗·爱德华兹、菲利普·杜布瓦和罗兰·巴特提出的三个摄影观念(史)阐释范式,聚焦某些高频概念的出现、变化、转换和复归,描绘构成摄影观念的概念网络,展示支配这些概念的规律性联结,以便建立一种重新思考摄影的方式。
The ideas of photography, different from photography, are constituted by a network of concepts that emerges out of its dissemination and reception, and features the regularity of the indicative discourses of photography as a practice and an image. The shift from photography to the concept of photography is not only a change in concepts, but also one in photographic historiography. This shift constantly questions and deconstructs the traditional history of photography, whose models closely follow technical progress or the beautiful images produced by great photographers, emphasizing the spectators/recipients of the photographic image that were marginalized in the mainstream history of photography. Within Fran9 ois Brunet’s theoretical framework of history of the concepts of photography, this article revisits the three cognitive paradigms of photography proposed by Paul Edwards, Philippe Dubois, and Roland Barthes, in order to delineate a network that constitute the concepts of photography and to explore a new way to think about photography.
作者
陆一琛
Lu Yichen(School of Foreign Languages,Soochow University,1 Shizijie Road,Gusu District,Suzhou 215006,Jiangsu Province,China)
出处
《文艺理论研究》
CSSCI
北大核心
2021年第4期188-196,共9页
Theoretical Studies in Literature and Art
关键词
摄影观念
摄影史
摄影认知范型
摄影理论
ideas of photography
history of photography
cognitive paradigm of photography
photography theories
作者简介
陆一琛,文学博士,苏州大学外国语学院讲师,主要从事当代法国文学、法国文学与视觉艺术比较研究。通讯地址:江苏省苏州市姑苏区十梓街1号苏州大学外国语学院,215006。电子邮箱:louise_19880207@hotmail.com。
