王孝勇

Hsiao-Yung Wang

巴赫汀、文字圖像、台北同志遊行、時空性、時空型、視覺語藝

本研究旨在就Bakhtin「時空型」概念的視覺語藝意識與實踐進行初探性的理論溯源和理論重構。首先，透過釐清Barthes 的視覺語藝觀，本研究勾勒出圖文競合性、符號系統性，以及對話互動性等視覺語藝特定的時空性。其次，本研究改從Bakhtin 的「時空型」概念出發，嘗試歸納演繹其視覺語藝意識為「從文字到圖像的意義拋物線」、「從循序到失速的符號系統性」、「從在地到全球的意識形態環境」（ideological environment）等三點，並以2014 年台北同志遊行的主視覺圖像作為例說。

This paper elaborates the visual rhetorical consciousness of Mikhail Bakhtin’s chronotope concept through theoretical problematization and theoretical reconstruction. First, it attempts to outline Barthes’ perspective on visual rhetoric and its time-space category by referring to the concurrent word-image, symbolic systematicity, and outer dialogicity. Second, an alternative approach is explored for grasping the dynamics and functions of visual rhetoric by articulating Mikhail Bakhtin’s chronotope concept. Furthermore, the visual rhetorical consciousness of chronotope could be defined as “the meaning parabola which projects from word to image,” “the symbolic system which proceeds from sequence to disorder,” “the ideological environment which struggles from the local to the global.” Finally, a preliminary analysis of the primary vision of the 2014 Taipei LGBT parade is conducted to valuate the effectiveness and persuasiveness embodied by specific visual rhetorical strategies.