论N．古德曼相似论及其视觉怀疑主义  

On Nelson Goodman's Perspective on Resemblance and His Visual Skepticism

作　　者：殷曼楟[1] 

机构地区：[1]南京大学哲学系,南京210046

出　　处：《南京社会科学》2017年第12期119-124,143,共7页Nanjing Journal of Social Sciences

基　　金：国家社科基金一般项目“分析美学视域下的图像再现转向视觉再现研究”(15BZX126)的阶段性成果

摘　　要：所谓相似性触及了当下艺术及美学研究中三个颇为重要的理论范式:语言学及知识生产的认知理论、视觉文化研究、视科学研究。在分析美学家纳尔逊·古德曼的美学中,相似性是他反思图像理论的突破口。而他的相似论自问世之日起,便引起了大批图像研究者的争相讨论。在这场论争中,不但相似性的视觉基础主义立场得到了彻底清理,奠定了古德曼有关图像再现的符号系统论主张;而且基于相似性批判的视觉怀疑主义也受到了广泛审查,发展出了从视知觉角度重解相似性的图像再现理论模式。从而,相似性从其传统美学的面孔转型为一个现代美学问题。So-called resemblance relates to three paradigms of contemporary art and aesthetic theories; they are linguistics and cognitive theory of knowledge production, visual culture studies, and vision sciences. Nelson Goodman, who was an analytic aesthetics, reflected on images theory by criticizing the traditional opinion of the resemblance. His perspective on resemblance has inspired a lot of discussion in the field of image studies. In this debate, visual foundationalism and its conven- tional view of resemblance were elaborated which laid the foundation for Goodman＇ s symbols theory on picture representation. Meanwhile, the visual skepticism based on the criticism of resemblance was also under scrutiny. The researchers have been engaged in the visual perception theory on pic- ture representation. Theories of resemblance have transformed into modern ones.

关 键 词：相似性 古德曼 图像再现 

分 类 号：I0-02[文学—文学理论]