{"id":1328,"date":"2005-08-10T00:00:00","date_gmt":"1999-11-30T07:00:00","guid":{"rendered":"http:\/\/imagecoffee.net\/?p=1328"},"modified":"2005-08-10T00:00:00","modified_gmt":"1999-11-30T07:00:00","slug":"rosalind-krauss-a-note-on-photography-and-the-simulacralpart-ii","status":"publish","type":"post","link":"https:\/\/imagecoffee.net\/?p=1328","title":{"rendered":"Rosalind Krauss, \u201cA Note on Photography and the Simulacral\u201d(Part II)"},"content":{"rendered":"

<\/a>
Carol Square(ed), The Critical Image: Essay on Contemporary Photography<\/em>, Seattle: Bay Press, 1990. <\/span>
\u4e00\u74e2\u98f2\u6309 \uff1a\u672c\u7bc7\u6587\u7ae0\u662f\u95dc\u65bc\u651d\u5f71\u5f71\u50cf\u8207\u8996\u89ba\u6587\u5316\u7814\u7a76\u7684\u91cd\u8981\u5165\u9580 \u53c3\u8003\u8cc7\u6599\u3002 \u85c9\u7531\u9019\u7bc7\u5177\u6709\u6307\u6a19\u610f\u7fa9\u7684\u6587\u7ae0\u958b\u59cb\u3008\u6620\u50cf\u66f8\u9f4b<\/a>\u3009\u9019\u500b\u55ae\u5143\u7684\u8a2d\u7acb\uff0c\u4e26\u671f\u5f85\u80fd\u5c07\u66f8\u4e2d\u91cd\u9ede\u548c\u5927\u5bb6\u5206\u4eab\u3002\u4f46\u6709\u9452\u65bc\u6587\u7ae0\u7684\u5b8c\u6574\u6027\u8207\u7ffb\u8b6f\u4e0a\u7684\u554f\u984c\uff0c\u9084\u662f\u5efa\u8b70\u6709\u8208\u8da3\u7684\u8b80\u8005\u8a73\u7d30\u95b1\u8b80\u539f\u6587\u7ae0\uff0c\u4ee5\u514d\u9020\u6210\u65b7\u7ae0\u53d6\u7fa9\u7684\u72c0\u6cc1\u3002\u5728\u6587\u7ae0\u6458\u8981\u7d50\u675f\u5f8c\u4e00\u74e2\u98f2\u4e5f\u6703\u63a8\u85a6\u4e00\u4e9b\u76f8\u95dc\u53c3\u8003\u66f8\u76ee\u4f9b\u5927\u5bb6\u5ef6\u4f38\u95b1\u8b80\u3002<\/p>\n\n\n\n\n
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Rosalind Krauss, \u201cA Note on Photography and the Simulacral\u201d in The Critical Image<\/em>, Seattle: Bay Press, 1990, pp. 15-21.
\u7f85\u838e\u7433\u5fb7\u2027\u514b\u52de\u65af\uff0c\u3008\u8ad6\u651d\u5f71\u8207\u64ec\u771f\u7684\u7b46\u8a18\u3009\uff0c\u300a\u95dc\u9375\u5f71\u50cf\u300b\uff0c\u980115-21\u3002<\/p>\n

8. \u7d66\u9019\u9ebc\u500b\u72f9\u7a84\u7684\u793e\u6703\u529f\u80fd\u540c\u6642\u5730\u589e\u9032\u4e86\u4ee5\u53ca\u57fa\u672c\u4e0a\u9650\u5236\u4e86\u4e00\u822c\u4eba\u5728\u651d\u5f71\u4e0a\u7684\u5be6\u8e10\uff1a\u651d\u5f71\u7684\u4e3b\u984c (\u88ab\u8a8d\u70ba\u503c\u5f97\u62cd\u7684\u6771\u897f)\u662f\u6975\u7aef\u5730\u88ab\u9650\u5236\u548c\u53cd\u8986\u3002\u5b83\u7684\u914d\u7f6e (disposition)\u4e5f\u662f\u5982\u6b64\u3002\u6b63\u9762\u548c\u4e2d\u592e (\u653e\u9010\u8a18\u865f\u7684\u66ab\u6642\u6027\u548c\u5076\u7136\u6027)\u662f\u5f62\u5f0f\u4e0a\u7684\u6e96\u5247\u3002\u5e03\u723e\u8fea\u5384\u7e7c\u7e8c\u4ee5\u871c\u6708\u7167\u7247\u70ba\u4f8b\u8ad6\u8ff0\u4e4b\u3002(P.20)<\/p>\n

9. \u5e03\u723e\u8fea\u5384\u6c89\u601d\u201c\u610f\u8b58\u6216\u662f\u7121\u610f\u8b58\uff1f\u201d\u5728\u6240\u6709\u7684\u7167\u7247\u4e2d\uff0c\u9019\u4e9b\u5728\u827e\u83f2\u723e\u9435\u5854\u524d\u548c\u5176\u4ed6\u5728\u51f1\u65cb\u9580\u524d\u7684\u5408\u7167\u662f\u5176\u4f5c\u8005\u7684\u6700\u611b\u3002(P.20)<\/p>\n

10. \u9673\u898f (Stereotype)\u4f7f\u9019\u5be6\u8e10\u6210\u70ba\u5bd3\u8a00 (allegory)\u6216\u8868\u610f\u7b26\u865f (ideogram)\u3002\u74b0\u5883\u5247\u662f\u5b8c\u5168\u5730\u8c61\u5fb5 (symbolic)\uff0c\u548c\u6240\u6709\u500b\u5225\u7684\u6216\u5076\u7136\u7684\u7279\u4e2d\u4e26\u6b78\u985e\u70ba\u80cc\u666f\u3002\u5e03\u723e\u8fea\u5384\u8a55\u8ad6\u9053\uff0c\u5728J.B.\u7684\u6536\u85cf\u4e2d\uff0c\u9664\u4e86\u4e0d\u53d7\u6642\u9593\u9650\u5236\u7684\u8a18\u865f\uff0c\u5df4\u9ece\u4ec0\u9ebc\u90fd\u6c92\u6709\uff0c\u9019\u662f\u4e00\u500b\u6c92\u6709\u6b77\u53f2\u7684\u5df4\u9ece\uff0c\u6c92\u6709\u5df4\u9ece\u4eba(\u9664\u4e86\u5c11\u8a31\u610f\u5916\u4e4b\u5916)\uff0c\u7c21\u8a00\u4e4b\uff0c\u6c92\u6709\u4e8b\u4ef6\u3002(P.20)<\/p>\n

11. \u5e03\u723e\u8fea\u5384\u8072\u7a31\uff0c\u651d\u5f71\u5145\u6eff\u4e86\u53e6\u4e00\u500b\u529f\u80fd\uff0c\u660e\u78ba\u5730\u8aaa\uff0c\u5c6c\u65bc\u4e00\u500b\u793e\u6703\u7684\u7d22\u5f15(index)\u3002(\u9019\u662f\u5c6c\u65bc\u7a2e\u65cf\u548c\u968e\u7d1a\u4e0a\u548c\u5176\u4ed6\u5340\u5225\u4e0d\u540c\u7684\u5be6\u8e10\u3002)(PP. 20-21)<\/p>\n

12. \u5e03\u723e\u8fea\u5384\u5805\u6301\u651d\u5f71\u7684\u8a00\u8aaa\u501f\u7528\u4e86\u7cbe\u7dfb\u85dd\u8853 (high art)\u7684\u89c0\u5ff5\uff0c\u4f46\u662f\u9019\u662f\u5f92\u7136\u7684\ufe54\u56e0\u70ba\u9019\u7a2e\u501f\u7528\u50c5\u9020\u6210\u4e86\u6982\u5ff5\u4e0a\u7684\u6df7\u6dc6\u3002\u9019\u88abPierre Schneider\u5c0dFrancois Hers\u548c\u99ac\u8482\u65af\u7684\u4f5c\u54c1\uff0c\u651d\u5f71\u8207\u7e6a\u756b\u4e0a\u7684\u6bd4\u8f03\u6240\u6311\u8d77\u7684\u77e5\u8b58\u4efd\u5b50\u7684\u4e0d\u5b89\u6240\u78ba\u8a8d\u3002\u4e26\u4e14\u5e03\u723e\u8fea\u5384\u5206\u6790\u5176\u4ed6\u85dd\u8853\u7684\u5404\u7a2e\u7f8e\u5b78\u7684\u55ae\u4f4d\u53bb\u8b49\u660e\u651d\u5f71\u7684\u6a5f\u68b0\u5929\u6027\u4f7f\u5b83\u5011\u4e0d\u5408\u9069(\u501f\u7528\u7cbe\u7dfb\u85dd\u8853\u7684\u89c0\u5ff5)\u3002(P.21) <\/p>\n

13. \u651d\u5f71\u7684\u8907\u88fd\u6027\u8207\u539f\u5275\u6027\u4e4b\u9593\u7684\u77db\u76fe\uff1a\u7f8e\u5b78\u4e0a\u4e0d\u540c\u7684\u53ef\u884c\u6027\u662f\u5f9e\u5167\u90e8\u5d29\u584c\uff0c\u4e26\u4e14\u539f\u5275\u6027\u662f\u4f9d\u8cf4\u4e0d\u540c\u7684\uff0c\u89c0\u5ff5\u4e0a\u7684\uff0c\u60f3\u6cd5\u4e0a\u7684\u5d29\u584c\u3002(P.21)<\/p>\n

14. \u651d\u5f71\u89e3\u69cb\u4e86\u201c\u4e0d\u540c\u201d\u7684\u53ef\u884c\u6027\uff0c\u5728\u539f\u4f5c\u548c\u8907\u88fd\u9593\uff0c\u5728\u5176\u7b2c\u4e00\u500b\u60f3\u6cd5\u4ee5\u53ca\u5176\u5974\u96b8\u822c\u7684\u6a21\u4eff\u8005\u4e4b\u9593\u3002(P.22)<\/p>\n

15. \u4f8b<\/a>\u5982\u8f9b\u8482\u2027\u96ea\u66fc (Cindy Sherman)\u7684\u4f5c\u54c1\uff1a\u9673\u898f\u7684\u9023\u7e8c\uff0c\u5f71\u50cf\u518d\u751f\u7522\u4e86\u5df2\u662f\u8907\u88fd\u54c1\u7684\u6771\u897f\u3002(P.22)<\/p>\n

16. \u5982\u679c\u8f9b\u8482\u2027\u96ea\u66fc\u62cd\u7684\u5c0d\u8c61\u662f\u6a21\u7279\u5152\u7684\u8a71\uff0c\u5979\u7684\u4f5c\u54c1\u5c31\u6210\u70ba\u85dd\u8853\u5bb6\u6982\u5ff5\u7684\u5ef6\u7e8c\uff0d\u85dd\u8853\u5bb6\u5177\u6709\u548c\u4e16\u754c\u4fdd\u6301\u8ddd\u96e2\uff0c\u4e26\u4e14\u5177\u6709\u5728\u4e16\u754c\u7684\u524d\u9762\u7684\u610f\u8b58\uff0c\u4e00\u7a2e\u4e86\u89e3\u4e16\u754c\u4e26\u8a55\u65b7\u5b83\u7684\u610f\u8b58\uff0c\u5982\u679c\u662f\u9019\u6a23\uff0c\u96ea\u66fc\u5c31\u662f\u5efa\u69cb\u4e86\u4e00\u500b\u5c0d\u5927\u773e\u6587\u5316\u7684\u8ae7\u64ec(Parody)\u3002(P.23)<\/p>\n

17. \u64ec\u50cfSimulacrum\uff1a
\u57fa\u7763\u6559\u7684\u96b1\u55bb\uff1a\u4e0a\u5e1d\u85c9\u7531\u4ed6\u81ea\u5df1\u7684\u5f62\u8c61\u5275\u9020\u4eba\uff0c\u56e0\u6b64\u539f\u521d\u7684\u4eba\u662f\u771f\u5be6\u7684\u8907\u88fd\uff0c\u5728\u4eba\u985e\u58ae\u5165\u7f6a\u60e1\uff0c\u9019\u5167\u5728\u548c\u4e0a\u5e1d\u7684\u5f62\u4f3c\u5df2\u7d93\u65b7\u88c2\uff0c\u800c\u4eba\u985e\u6210\u70ba\u4e00\u500b\u5047\u7684(\u932f\u8aa4\u7684) \u8907\u88fd\uff0c\u4e00\u500b\u64ec\u50cf\u3002(P.24)<\/p>\n

18. \u6211\u5011\u4e0d\u662f\u88ab\u771f\u5be6(reality)\u5305\u570d\u800c\u662f\u88ab\u771f\u5be6\u7684\u73fe\u8c61(reality effect)\u5305\u570d\uff0c\u4e5f\u5c31\u662f\u6240\u8b02\u7684\u4eff\u88fd\u7684\u7522\u54c1\u548c\u7b26\u865f\u5305\u570d(\u5f8c\u7d50\u69cb\u4e3b\u7fa9\u8005)\u3002(P.24)<\/p>\n

19. \u651d\u5f71\uff0c\u5982\u540c\u5176\u4e0d\u78ba\u5b9a\u7684\u4f4d\u7f6e\uff0c\u662f\u4e00\u500b\u932f\u8aa4\u7684\u8907\u88fd\u3002(P.24)<\/p>\n

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\u5ef6\u4f38\u95b1\u8b80\uff1a<\/strong> <\/p>\n

Pierre Bourdieu, Un Art Moyen :Essai sur les Usages Sociaux de la Photographie<\/a><\/em>, Paris: Editions de Minuit, 1965.<\/p>\n

Pierre Bourdieu, Shaun Whiteside(trans), Photography, a Middle-brow Art<\/em><\/a>, Stanford: Stanford University Press,1990.<\/p>\n

Nicholas Mirzoeff(Ed), The Visual Culture Reader<\/em><\/a>, London: Routledge, 2002.<\/p>\n

Jessica Evans and Stuart Hall(ed), Visual Culture :The Reader<\/em><\/a>, London: Sage, 1999.<\/p>\n

\u7f85\u5d17\u3001\u9867\u931a\u7de8\uff0c\u300a\u8996\u89ba\u6587\u5316\u8b80\u672c\u300b\uff0c\u6842\u6797\uff1a\u5ee3\u897f\u5e2b\u7bc4\u5927\u5b78\u51fa\u7248\uff0c2003\u3002<\/p>\n

\u5168\u6587\u5b8c<\/p>\n","protected":false},"excerpt":{"rendered":"

Carol Square(ed), The Critical Image: Essay on Contempo… <\/p>\n

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