图像增殖:语言的式微与图像的狂欢——数字化时代审美文化的范式转型  

Incremental Images: The Weakening of Language and the Reveling of Image——transformation of paradigma of aesthetic culture in the digitalized era

作　　者：张邦卫[1] 

机构地区：[1]长沙理工大学中文系,湖南长沙410076

出　　处：《长沙理工大学学报（社会科学版）》2005年第2期92-96,共5页Journal of Changsha University of Science and Technology：Social Science

基　　金：湖南省哲学社会科学成果评审委员会课题"媒体诗学导论"(编号:0407020);湖南省教育厅资助项目"传媒诗学---揭开现代传媒与媒介文化的面纱"(编号:03C054)的成果之一。

摘　　要：当代的审美文化,在文化媒介转型的基础上已完成了从文字主导向图像主导,从语言艺术向图像文化转向的后现代转型,转型的原因是多方面的。语言的式微与图像的狂欢,是当代审美文化最明显的表征。但这并不意味着图像文化是未来审美文化的唯一表征,也不意味着语言艺术的不在场,未来的审美文化虽以图像文化为主导,但语言艺术对图像文化的补偿与拯救却是不可低估的。The contemporary aesthetic culture has experienced the postmodernist transformation of paradigms from word-orientation to image-orientation, from language art to image culture on the basis of the change of cultural media. There are various reasons for the change. The most evident symbol of the contemporary aesthetic culture is the weakening of the language and the reveling of images. However, that doesn't mean that image culture is the only symbol of the future aesthetic culture with the absence of the art of language. The future aesthetic culture, with image culture as the prevailing form, will, in turn, call for the compensation and salvation of the art of language.

关 键 词：数字化时代 审美文化 语言 图像 式微 狂欢 范式 

分 类 号：I206.6[文学—中国文学]