淡江大學覺生紀念圖書館 (TKU Library)
進階搜尋


下載電子全文限經由淡江IP使用) 
系統識別號 U0002-1708201519272400
中文論文名稱 攝影如文學生產:論班雅明的藝術形式
英文論文名稱 Photography as Literary Production: On Walter Benjamin's Art Form
校院名稱 淡江大學
系所名稱(中) 英文學系碩士班
系所名稱(英) Department of English
學年度 103
學期 2
出版年 104
研究生中文姓名 洪友仁
研究生英文姓名 You-Ren Hong
學號 699110317
學位類別 碩士
語文別 英文
口試日期 2015-06-22
論文頁數 85頁
口試委員 指導教授-陳佩筠
委員-鄧秋蓉
委員-吳佩如
中文關鍵字 攝影  技術  形式  攝影文學  班雅明 
英文關鍵字 Photography  Technik  Form  Photoliterature  Walter Benjamin 
學科別分類 學科別人文學語言文學
中文摘要 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。
英文摘要 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.
論文目次 Introduction...........................................1
Chapter One: The Problem of Technik in Photography...........................................11
I. Technik as Becoming in the Production of Photography...........................................11
The Concept of Technik............................14
Technik in the History of Photography.............17
The Growth of Form with the Progressive Technik...22
II. The Concept of Translation in the Technik.........27
Collective Body: Translation and Technik..........28
Reproducibility and Translatability...............33
Chapter Two: The Form of Photography: Pictures and Words.................................................38
Language in Photographic Representation...........39
A New Form: Photoliterature.......................45
The Structure of Form.............................51
Chapter Three: Allegorical Melancholy in Orhan Pamuk’s Istanbul: Memories and the City.......................56
Hüzün as Images of the City.......................58
Hüzün in Montage-reading..........................63
Hüzün: Allegorical Melancholy.....................67
Conclusion............................................73
Work Cited............................................81
參考文獻 Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. London: Vintage, 2000. Print.
---. Image Music Text. Trans. Stephen Heath. London: Fontana, 1977. Print.
Baudelaire, Charles. “The Salon of 1859.” The Mirror of Art: Critical Studies. Ed. and trans. Jonathan Mayne. New York: Doubleday Anchor, 1956. 227-33. Print.
Benjamin, Walter. The Arcade Project. Trans. Howard Eiland and Kevin McLaughlin. Cambridge: Harvard UP, 2002. Print.
---. “The Author as Producer.” Understanding Brecht. Trans. Anna Bostock. London: Verso, 1998. 85-103. Print.
---. “Little History of Photography.” Selected Writings Volume 2, 1927-1934. Trans. Rodney Livingstone, et al. Ed. Michael W. Jennings, et al. Cambridge: Harvard UP, 1999. 507-30. Print.
---. “On Scheerbart.” Selected Writings, Volume 4, 1938-1940. Trans. Edmund Jephcott, et al. Ed. Howard Eiland and Michael W. Jennings. Cambridge: Harvard UP, 2006. 386-88. Print.
---. The Origin of German Tragic Drama. Trans. John Osborne. London: Verso, 1998. Print.
---. “Outline of the Psychophysical Problem.” Selected Writings, Volume 1, 1913-1926. Ed. Marcus Bullock and Michael W. Jennings. Cambridge: Harvard UP, 2004. 393-401. Print.
---. “The Return of the Flâneur.” Selected Writings, Volume 2-1, 1927-1930. Trans. Rodney Livingstone, et al. Ed. Michael W. Jennings, at al. Cambridge: Harvard UP, 2005. 262-67. Print.
---. “The Task of the Translator.” Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken, 1968. 69-82. Print.
---. “The Work of Art in the Age of Its Reproducibility.” 2nd ed. Selected Writings, Volume 3, 1935-1938. Trans. Edmund Jephcott, et al. Ed. Howard Eiland and Michael W. Jennings. Cambridge: Harvard UP, 2006. 101-36. Print.
---. “The Work of Art in the Age of Its Reproducibility.” 3nd ed. Selected Writings, Volume 4, 1938-1940. Trans. Edmund Jephcott, et al. Ed. Howard Eiland and Michael W. Jennings. Cambridge: Harvard UP, 2006. 251-83. Print.
Bolton, Richard, ed. The Contest of Meaning: Critical Histories of Photography. Cambridge: MIT P, 1992. Print.
Bull, Stephen. Photography: Theoretical Snapshots. London: Routledge, 2010. Print.
Burgin, Victor. Thinking Photography. Houndmills: Macmillan, 1982. Print.
Derrida, Jacque. Copy, Archive, Signature: A Conversation on Photography. Ed. Gerhard Richter. Trans. Jeff Fort. Stanford: Stanford UP, 2010. Print.
---. Memoires Paul De Man. New York: Columbia UP, 1989. Print.
---. Psyche: Inventions of the Other, Volume 1. California: Stanford UP, 2007. Print.
Elo, Mika. “Walter Benjamin on Photography: Towards Elemental Politics.” Transformations 15 (2007): n. pag. Transformations. Web. 10 Oct. 2014.
Emerling, Jae. Photography: History and Theory. London: Routledge, 2012. Print.
Foucault, Michel. This is Not a Pipe. Trans. James Harkness, trans and ed. Berkeley: U of California P, 1983. Print.
Friedlander, Eli. Walter Benjamin: A Philosophical Portrait. Cambridge: Harvard UP, 2012. Print.
Gilloch, Graeme. Walter Benjamin: Critical Constellations. Cambridge: Polity, 2002. Print.
Habibi, Seyed Saeed. “Translation and the Messiah of Language.” International Journal of Comparative Literature & Translation Studies 3.2 (2015): 54-61. Print.
Kerr-Koch, Kathleen. Romancing Fascism: Modernity and Allegory in Benjamin, de Man, Shelley. New York: Bloomsbury, 2013. Print.
Leslie, Esther. Walter Benjamin: Overpowering Conformism. Sterling: Pluto, 2000. Print.
Mikulinsky, Romi. “Photography and Trauma in Photo-Fiction: Literary Montage in the Writings of Jonathan Safran Foer, Aleksandar Hemon and W. G. Sebald.” Diss. U of Toronto, 2009. Print.
Mitchell, W. J. T. Picture Theory: Essays on Verbal and Visual Representation. Chicago: U of Chicago P, 1994. Print.
Moholy-Nagy, László. “From Pigment to Light.” Photography in Print. Ed. Vicki Goldberg. New York: Simon and Schuster, 1981. 347-48. Print.
Novak, Daniel A. “Photographic Fiction: Nineteenth-Century Photography and the Novel Form.” Novel: A Forum on Fiction 43.1 (2010): 23-30. Print.
Osborne, Peter, ed. Walter Benjamin: Modernity. New York: Routledge, 2005. Print.
Owens, Craig. Beyond Recognition: Representation, Power, and Culture. Ed. Scott Bryson, et al. Berkeley: U of California P, 1992. Print.
Pamuk, Orhan. Istanbul: Memories and the City. New York: Vintage, 2006. Print.
Phillips, Christopher. “The Judgment Seat of Photography.” October 22 (1982): 27-63. Print.
Santesso, Z. Esra Mirze. “Vision and Representation: Photography in Orhan Pamuk’s Istanbul: Memories and the City.” The Comparatist 35 (2011): 152-60. Print.
Scholem, Gershom. Major Trends in Jewish Mysticism. New York: Schocken, 1995. Print.
Sontag, Susan. On Photography. New York: Rosetta, 2005. Print.
Steiner, Uwe. Walter Benjamin: An Introduction to His Work and Thought. Trans. Michael Winkler. Chicago: U of Chicago P, 2012. Print.
Szarkowski, John. The Photographer’s Eye. 1966. New York: Museum of Modern Art, 2007. Print.
Talbot, William Henry Fox. The Pencil of Nature. Project Gutenberg. Project Gutenberg, n.d. Web. 8 Nov. 2014.
Wolin, Richard. Walter Benjamin, an Aesthetic of Redemption. Berkeley: U of California P, 1994. Print.
論文使用權限
  • 同意紙本無償授權給館內讀者為學術之目的重製使用,於2015-08-24公開。
  • 同意授權瀏覽/列印電子全文服務,於2015-08-24起公開。


  • 若您有任何疑問,請與我們聯絡!
    圖書館: 請來電 (02)2621-5656 轉 2486 或 來信