图像理论的发展脉络史:从柏拉图到马克思主义  

The Main Lines of Development of Image Theory:From Plato to Marxism

作　　者：徐梓晗 秦露[1] XU Zihan;QIN Lu(Department of Literature and History,Party School of the Central Committee of C.P.C,Beijing 100091,China)

机构地区：[1]中共中央党校(国家行政学院)文史教研部,北京100091

出　　处：《陕西行政学院学报》2024年第4期39-44,共6页Journal of Shaanxi Academy of Governance

摘　　要：柏拉图“洞穴喻”中关于视觉与图像的讨论普遍被视为现代图像理论的起源。然而,其开启的西方视觉中心主义传统却限制了图像研究的广度与深度。尤其是面对20世纪初的图像新问题,传统的图像理论无法做出有效回应。基于此,一批学者将文化工业批判、意识形态、大众文化研究等内容引入图像研究中,形成了一种在实践视角下理解图像问题的新理论向度。不同于将图像理解为私人的、形而上学的、非物质的实体的倾向,马克思主义的图像理论致力于通过文化工业批判、意识形态理论及文化研究等更为综合的视角揭示图像所蕴含的历史性、现实性与革命性。The discussion of vision and images in Plato’s“Metaphor of the Cave”is generally regarded as the origin of modern image theory.However,the Western tradition of visual centrism that it initiated has limited the breadth and depth of image research.Especially in the face of the new problems of images in the early 20th century,the traditional image theory could not respond effectively.Based on this,a group of scholars introduced cultural industry criticism,ideology and popular culture research into image research,forming a new theoretical dimension for understanding image problems from the perspective of practice.Unlike the tendency to understand images as private,metaphysical and immaterial entities,Marxist image theory aims to reveal the historicity,reality and revolutionary nature of images through a more comprehensive perspective of cultural industrial critique,ideological theory and cultural research.

关 键 词：图像 西方马克思主义 视觉文化 现代性 后马克思主义 

分 类 号：G02[文化科学]