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题名: 融合內外在因素以理解視覺意象的觀賞活動
Fusion Factors for Constructing Understanding Visual Images
作者: 鄭明憲
贡献者: 美術學系
关键词: 審美與理解;融合;互動的閱讀;類型與非類型的閱讀
Aesthetic understanding;Fuse;Interactive reading;Generic and non-paradigm reading
日期: 2013-03
上传时间: 2015-06-15T09:26:44Z
出版者: 彰化師範大學文學院
摘要: 在獲取視覺文本意涵的觀看過程上有許多不同的主張。這些主張都各有其獨特看法與思考重點。這些主張的論點可以分成兩類。一類是意義在不同的角色上,這類主張大抵從文本就是閱讀的對象、文本的創制者原始意念、以及觀賞者等三項來探討意義的建構。另有一類是以觀賞活動的背景或脈絡來陳述,也就是從這三者共有或是獨顯的時代歷史、空間背景來討論。本文試圖在此類鉅觀觀點外,以比較微觀的角度討論觀賞圖像當下的真實情境與美感經驗。本文先分析讀者反應理論各學者論點的差異,再以觀賞者的特性來解構讀者為尊的主張。之後以觀賞過程的活動來建立融合的觀賞架構。探究結果發現每次的觀賞都是不同的審美活動及經驗,但無論是可歸類或是不可歸類出類型的觀賞,都以融合觀賞者、視覺意象的表現特徵、以及時空背景和觀賞當下的生活與心境等謂之「它者」的諸多元素,進行相互影響的觀賞及感受審美的經驗。本文提出探討觀賞活動的三個基本層面:因素面、角色面與狀態面。本研究的結論認為:任何的觀賞都必經歷類型與非類型的觀看活動。在觀看的過程中唯有融合背景因素、觀者心靜與動機的融合,才能理解作品以獲得意義。
Assumptions of making meaning from a visual text has been varied, with each of it laying emphasis on different thoughts. These assumptions can be divided into two main categories. First, meaning is constructed through viewing text itself, viewing author’s intention, and viewing the reader, the so-called roles. Second, meaning is described through the historical background of the viewing activities, i.e., we discuss the temporal and spatial elements of the text, author, and reader. In addition to the above macro-perspectives, this paper also attempts to discuss, from micro-perspectives, what really happens and what aesthetic feeling has been experienced during the viewing process. This paper first analyzes the differences of various reader’s-response theories, then deconstructs reader as the primary character of readership through the characteristics of viewing, and finally seeks to establish a more harmonious viewing structure through the activities of viewing process. After the exploration, I discover that viewing of every time produces different aesthetic activity and experience, but whatever category there is, viewing seeks to interweave the viewer, qualities of the visual images, the emporal-spatial background, life and mindset—called “the other”—during viewing. This paper broaches three basic aspects of discussing viewing activities: Elements, roles, and modes. The conclusion of this study is that all viewing must experience viewing activities which can or cannot be categorized. In the viewing process, only through interweaving background elements, viewing mindset and motives can one begin to understand art works and make meaning from them.
關聯: 彰化師範大學文學院學報, 7: 183-204
显示于类别:[文學院學報] 第七期


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