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    題名: Photography as literary production : on Walter Benjamin's art form
    其他題名: 攝影如文學生產 : 論班雅明的藝術形式
    作者: 洪友仁;Hong, You-Ren
    貢獻者: 淡江大學英文學系碩士班
    陳佩筠;Chen, Pei-Yun
    關鍵詞: 攝影;技術;形式;攝影文學;班雅明;photography;Technik;Form;Photoliterature;Walter Benjamin
    日期: 2015
    上傳時間: 2016-01-22 14:39:12 (UTC+8)
    摘要: 攝影作為新潮的藝術形式下,許多研究不外乎著力在兩個分歧的架構:探討攝影的本質,以及由文化觀點定義攝影。根據唯物論的觀點,攝影媒介本身存在某種獨有的本質。藉由攝影的藝術形式表現,該本質將成為對於媒介美感的經驗。另一方面,若干攝影研究探求作品的內容展現文化意涵的方式,並結合不同的學科,將攝影與文化現象產生關連。攝影的本質與文化兩個探討方向對壘分明,我們進而發現形式與內容的矛盾。因此,本文所探討的是:一旦攝影與文學合作,是否能開創一種新的藝術形式,以化解形式與內容的衝突?本論文主要參考德國哲學家華特班雅明的論述,分為三個部分來探討攝影的藝術形式。
    第一章將探討「技術」此一概念在攝影創作的角色。班雅明認為若要化解形式與內容在文學上的對立,應從「技術」切入探究文學生產的過程。相同地,此概念在攝影作品的生產備受關注。此外,在藝術形式的發展與趨勢,「技術」亦扮演重要角色。
    第二章以攝影的形式出發,探討一種新的藝術形式:「攝影文學」。「攝影文學」同時包含了文字與圖像的表述。班雅明主張攝影作品應附上文字標題,此說明了何以「攝影文學」可作為一個新興的藝術形式,並有效反映政治目的。本章進一步討論此形式中文字與圖像間的獨特關係。
    第三章以土耳其作家奧罕帕慕克的作品《伊斯坦堡:一座城市的記憶》作為例子,討論「攝影文學」的形式表現。為了呈現伊斯坦堡特有的異國氛圍,帕慕克利用細膩的文字與感官的圖像,描述這座城市的「呼愁」。對帕慕克而言,「呼愁」並非是個人憐憫的主觀經驗。反之,這座城市的廢墟顯露文明與政治的動盪,瀰漫「呼愁」之情。這章將討論帕慕克如何利用文字與圖像所組成的「攝影文學」訴說伊斯坦堡的歷史衰落與「呼愁」。
    「攝影文學」不只展現了革新的表述方式,也逐漸形成一種當代的藝術形式,符合現代作者與讀者的喜好。隨著時代的潮流,所謂純粹形式的傳統概念需要重新審視。不同於傳統概念,「攝影文學」表現的形式有其值得關注的價值。
    In the history of photography, the discussions of photography have been centered on a sterile formula: nature and culture. The nature of photography suggests that the photographic medium has its own unique property. Such the unique property of photography lies in its self-evident form of representation in relation to the field of aesthetics. On the other side, the investigations of photography focusing on the aspects of cultural content include a great variety of theoretical studies. This formula leads us to further speculate the dichotomy between form and content in photography. Is it possible that a new form of photography, as a genuine art form, involves sociopolitical aspects and is associated with literary products? Divided into three chapters, this thesis intends to explore this new form of photography—photoliterature.
    In chapter one, I will explore the very role of technique in the production of photography. For Walter Benjamin, the sterile dichotomy of form and content in literary products can be surmounted due to the advanced technique. However, the problem of technique, as Benjamin suggests, should be tackled in terms of photographic representation. Besides, the growth of form in photography has the certain relation to the role of technique if we find the form appropriate to the tendency of our time.
    The second chapter concerns the new form in photography, that is, photoliterature, which concludes both photographs and words. First, I will elaborate Benjamin’s call for a written caption beneath the photographic reportage in order to evolve the form of photoliterature that can be politically useful with certain qualities. Second, the characteristic relation between text and image in this form has to be concerned since this form serves as a revolutionary art form.
    The last chapter examines Orhan Pamuk’s Istanbul: Memories and the City as the form of photoliterature. With textual narratives and graphic materials, this novel exposes a melancholic experience peculiar to Istanbul, namely hüzün. For Pamuk, hüzün is not purely derived from a subjective experience of compassion but from the ruins of the fallen city that reflect the political change in the history of Istanbul. For this reason, I intend to show how the relation between pictures and narrative forces us to reflect the changes in the history of Istanbul in this novel.
    Photoliterature, as Pamuk’s Istanbul exhibits the new way of representation, should be considered as a progressive form appropriate to our time. Since the form is proper to the taste of contemporary writers and readers, the traditional notion of fine art form has to be re-examined. Photoliterature that could reflect the political condition of our life has its quality as valuable as traditional art forms.
    顯示於類別:[英文學系暨研究所] 學位論文

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