乔治·迪迪-于贝尔曼论巴塔耶、爱森斯坦与“形式的辩证法”  

Georges Didi-Huberman on Bataille, Eisenstein, and the “Dialectic of Forms”

作　　者：王新竹 Wang Xinzhu

机构地区：[1]华东师范大学中文系

出　　处：《电影艺术》2025年第2期128-135,共8页Film Art

摘　　要：迪迪-于贝尔曼结合巴塔耶的“形式的辩证法”,探讨其在《文献》中进行的图像实践,认为这一实践不同于走向合题的黑格尔辩证法,而是致力于症状、图像繁殖的辩证法,他称之为“无赖或顽童的辩证法”。“形式的辩证法”从“无形”对“人类形象”的破坏开始,使普遍形式走向图像的辩证运动,其目的在于产生新的认知模式。爱森斯坦“吸引力蒙太奇”与“形式的辩证法”都是一种对图像的辩证发展,二者的相通为迪迪-于贝尔曼后期阐发爱森斯坦奠定基础。Georges Didi-Huberman, drawing on Bataille's “dialectic of forms”(la dialectique des formes), explores his image practices in Documents.He argues that these practices differ from the Hegelian dialectic, which moves toward synthesis, and are instead dedicated to a dialectic of symptoms and image proliferation, which he describes as “la dialectique du chenapan, de la canaille”. The “dialectic of forms” begins with the disruption of the “human figure” by the “formless”(Informe), leading general form into the dialectical movement of images, with the aim of generating new modes of cognition.Didi-Huberman believes that Eisenstein's “montage of attractions” and Bataille's “dialectic of forms” both represent a dialectical development of images.Their convergence lays the foundation for Didi-Huberman's later exploration of the political dimensions of Eisenstein's cinema, particularly the dialectical transformation from “passion” to revolutionary “action.”

关 键 词：迪迪-于贝尔曼 巴塔耶 《文献》 爱森斯坦 蒙太奇 

分 类 号：TP3[自动化与计算机技术—计算机科学与技术]