图像与反叙事侵入——罗莎琳·克劳斯的结构主义批评  

Image and the Intrusion of Antinarrative:Rosalind Krauss' Structuralist Criticism

作　　者：沈语冰[1] 陶铮[1] 

机构地区：[1]浙江大学美学与批评理论研究所

出　　处：《文艺理论研究》2015年第2期17-24,共8页Theoretical Studies in Literature and Art

摘　　要：罗莎琳·克劳斯在上世纪七十年代末到八十年代经历了"结构主义"转向,将图像纳入"结构"的系统,对图像的形式系统内部的差异性和共时性的强调,与格林伯格目的论式的对现代主义本质的叙说区分开来,并将论说拓展至后现代主义的畛域。她避免将图像诉诸"意图"、"起源"、"作者身份"等概念,试图提升易受忽视的结构主义批评的方法论地位。如果我们不以"反叙事仍然是某种叙事"的本质主义观点来看待克劳斯的研究,那么她的批评方法将显露出一种"历史瞬间的意识"的价值。During the late 70's to 80's in the last century,Rosalind Krauss had a structuralist turn of mind which had brought image into 'structural'system,and she emphasized the difference and the synchronicity within formal system of images. Her discussions were quite distinct from the modernist narratives of Clement Greenberg,extending to the field of postmodernism.Krauss tried to detach image from the concepts such as 'intention','origin'and 'authorship'so as to promote the status of structuralism criticism. If Krauss' research is viewed not from the essentialist perspective that views antinarrative to be a kind of narrative,Krauss' approach of criticism may exhibit some value in the consciousness of historical instant.

关 键 词：结构主义 反叙事 后现代主义 罗莎琳·克劳斯 

分 类 号：J110.9[艺术—艺术理论]