标题: “诡态写实主义”---Uelsmann的诡态摄影蒙太奇
Grotesque Realism--- Uelsmann's Grotesque Photomontages
作者: 赵顺良
Chao Shun-liang
国立交通大学外国语文学系
关键字: 诡态;嘉年华;卑下化;冶金术;重生;大地;宇宙的;Grotesque;carnival;degradation;alchemy;regeneration;earth;cosmic
公开日期: 2010
摘要: 本计画的目的有二。首先,本人试图說明Jerry Uelsmann(生于1934年)的诡态摄影图像可作为Bakhtin“诡态写实主义(grotesque realism)”的范例,其要点乃为“死亡-更新-繁殖(death-renewal-fertility)”。其次,藉由达成以上目的,本人将推翻Bakhtin的論点,亦即“诡态写实主义”为中古/文艺復兴诡态艺术—而非浪漫/现代诡态艺术—的特色。Bakhtin认为,诡态写实主义的特色,与嘉年华的特色雷同,在于将所谓高尚与理想的观念降级至物质身体的层次以达到死亡与重生。如此的降级行为所产生的并不是负面、毁坏与骇人的身体,而是允许身体超越自身的局限,结合宇宙(cosmic)及普遍的元素—如土、水、火、空气、山、海、河等等—因而具备更新与重生的正面力量。换言之,诡态写实主义代表着“孕含生命、再次生产的死亡”,藉此标示着生命凌驾死亡,欢笑战胜恐惧。Bakhtin主张,诡态写实主义所具备的深层正面力量乃为中古/文艺復兴诡态艺术的特点,可見于Pieter Bruegel the Elder的画作以及法国作家Rabelais的小說Gargantua and Pantagruel(出版于1532年),后者尤其充满了重生之死亡的诡态意象。在浪漫/现代诡态艺术裡,Bakhtin强调,这种再生力量被减至最低或完全消失:降级不再创造出一个身体的坟墓以供重生而是“一个可怕、与人類離異的世界。”本人将說明,Uelsmann的诡态摄影图像可作为Bakhtin对于浪漫/现代诡态艺术的(负面)观点的一个反例。受到Réne Magritte的影响,Uelsmann经常将身体与自然现象—如树、河、山、岩石等等—结合,藉此以创造广大的(cosmic)身体,在其中死亡不是否定生命而是生命循环的一部份。而结果即为,诚如Phillip Prodger在論及Uelsmann的图像所言,“恐怖融合了惊叹;毁坏的威胁成了希望的象征。”简言之,结果即为重生的死亡(a birth-giving death),此乃Bakhtin“诡态写实主义”观念的精髓。
The purpose of this project is two-fold. First, I seek to argue that the grotesque photomontages of Jerry Uelsmann (b. 1934) serve to illustrate Bakhtin’s notion of “grotesque realism,” the gist of which is “death-renewal-fertility.” Second, in so doing, I aim to argue against Bakhtin that grotesque realism is proper to the medieval/Renaissance grotesque rather than to the Romantic/modern grotesque. For Bakhtin, grotesque realism, like carnival, features the degradation or debasement of all that is high, exalted, and ideal to the material bodily level for death and rebirth. Such a downward movement does not produce a body that is negative, destructive, and terrifying; instead, it creates a body that transgresses the limits of its isolation to merge with cosmic and universal elements—earth, water, fire, air, mountains, rivers, seas, etc.—and thus has the power to renew and regenerate. Grotesque realism, so to speak, represents “pregnant death, a death that gives birth” and therefore marks the triumph of life over death, of laughter over fear. The deeply positive power of grotesque realism, Bakhtin maintains, is typical of the medieval/Renaissance grotesque as seen in Pieter Bruegel the Elder’s paintings and, notably, Rabelais’s Gargantua and Pantagruel (first published in 1532), a novel full of grotesque images of pregnant and regenerating death. Such regenerating power, Bakhtin emphasises, is reduced to a minimum or completely lost in the Romantic/modern grotesque: degradation does not dig a bodily grave for a new birth but instead engenders “a terrifying world, alien to man.” Uelsmann’s grotesque photomontage, I shall show, serves as a counter example of Bakhtin’s (disparaging) view of the Romantic/modern grotesque. Influenced by Réne Magritte, Uelsmann shows a pronounced tendency to connect human bodies with natural phenomena—trees, rivers, mountains, rocks, etc.—and thereby creates cosmic bodies, ones in which death is not a negation of life but part of life as a whole. The result, as Phillip Prodger writes of Uelsmann’s images, is that “horror is infused with wonder; the treat of destruction becomes an emblem of hope.” The result is, so to say, a birth-giving death, the sine qua non of Bakhtin’s idea of “grotesque realism.”
官方说明文件#: NSC99-2410-H004-238
URI: http://hdl.handle.net/11536/100700
https://www.grb.gov.tw/search/planDetail?id=2169033&docId=348498
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