文明互鉴视角下的独异能指及其艺术论启示  

The Concept of the Unary Signifier and Its Artistic Implications from the Perspective of Mutual Learning Between Civilizations

作　　者：刘宸 朱立元 LIU Chen;ZHU Liyuan

机构地区：[1]上海大学,上海200444 [2]复旦大学,上海200433

出　　处：《上海视觉》2024年第2期1-7,共7页Shanghai Vision

摘　　要：20世纪60年代初,拉康受中国书法与汉字启发,提出“独异能指”概念。中国文化促使拉康将“独异性”作为能指的根本特性,并发展出以“独异性”为要旨的主体认同理论。此外,拉康还以汉字为范例,强调文字想象力在审美活动中的创造价值,引导出一种以想象力为核心的艺术理论。这种艺术理论将有助于艺术鉴赏、促进新感官的培养并激发艺术实践中的创造性。故此,本文以“文明互鉴”为视角阐述拉康独异能指理论中的中国文化因子,并探索拉康的独异思想对中国艺术理论创新建构的重要价值。In the early 1960s,Lacan,inspired by Chinese calligraphy and Chinese characters,introduced the concept of the"unary signifier".Chinese culture led Lacan to regard"unary"as the fundamental characteristic of signifiers and advanced a theory of subjective identification.Additionally,Lacan used Chinese characters as an example to emphasize the creative value of imagination in aesthetic activities,thereby proposing an art theory with imagination as its core.The theory contributes to enhancing art appreciation,cultivating new sensibilities,and stimulating creativity in artistic practice.Therefore,this article examines the influence of Chinese cultural factors on Lacan's theory of the unary signifier and explores its significance for the innovative construction of Chinese art theory within the framework of"mutual learning between civilizations.

关 键 词：文明互鉴 拉康 独异能指 艺术理论 

分 类 号：H12[语言文字—汉语] J292.1[艺术—美术] G125[文化科学]