凝視的場景:維克多˙柏根的攝影-文本(1976-1984)

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(1)Ѡ᡼ৣጄεᏢऍೌࣴ‫܌ز‬ ՋࢩऍೌўಔᅺγፕЎ. Ꮙຎ‫ޑ‬൑ඳǺᆢլӭΆ࢙ਥ‫ޑ‬ឪቹ-ЎҁȐ1976-1984ȑ Scenes of GazeǺVictor Burgin’s Photo-textȐ1976-1984ȑ. ࡰᏤ௲௤ ݅‫ ܴד‬റγ ࣴ‫ز‬ғ ݅٩٩ ύ๮҇୯ΐΜΎԃϤД.

(2) Ꮙຎ‫ޑ‬൑ඳǺᆢլӭΆ࢙ਥ‫ޑ‬ឪቹ.ЎҁȐ2:87.2:95ȑ! ᄔा! ߪଫ૎ഏᢌ๬୮ፖ෻ᓵ஼ᐊृऱፂ‫ڍ܌‬Ԧਹ௅ʻ˩˼˶̇̂̅ʳ˕̈̅˺˼́ʳʿʳ˄ˌˇ˄ˀʼΔᖐ९‫ܓ‬ ‫ش‬᥊ᐙፖ֮‫ࠀء‬ᆜ।ሒ‫ܒޅ‬ᨠ࢚Ζ‫֮ء‬ऱઔߒᒤ໮᠙ࡳ‫ˉˊˌ˄ ڇ‬ˀ˄ˌˋˇ ‫ڣ‬ၴΔ ψৄؑω ࡉψ֤უωࠟጟߓ٨ᣊীऱ᥊ᐙˀ֮‫܂ء‬੡‫׌‬૞ઔߒ֮‫ء‬Δࠀൕψ᥊ᐙˀ֮‫ء‬ωࡉ ψᕩီωࠟଡ૿‫ٻ‬Δ൶ߒਹ௅໌‫܂‬Ε஼ᐊፖ৵෼‫ီז‬ᤚ෻ᓵհၴऱᣂএΖʳ ‫ڇ‬ψ᥊ᐙˀ֮‫ء‬ωऱຝٝΔਹ௅ႃ࿨Ա‫ٺ‬ᣊฆᔆ֮‫ء‬Ε࢖‫ڼ‬յ֮ਐ௫Δᇢቹ ‫ؚ‬ధቹ֮ᨠ઎ऱክ฾ࡉಮ৸Δ༼ࠎቹ֮٦෼ऱ‫ڍ‬ጟ‫ױ‬౨Ζ‫ߓؑৄڇ‬٨៶‫ط‬ᐙቝፖ ֮‫ڗ‬հၴ൅ࠐऱᔹᦰ്ԺΔ࿇‫נ‬षᄎ‫ܒޅ‬ऱᜢଃΔࢮ‫ီנވ‬ᤚ٦෼હ৵ऱಮ৸Ε რᢝ‫ݮ‬ኪΖᙟထਹ௅෻ᓵᣂࣹྡྷរऱ᠏ฝΔ᥊ᐙˀ֮‫ء‬Ոດዬൕषᄎ࿨ዌ‫ܒޅ‬Δ ᠏‫ٻ‬壄壀։࣫൶ߒᐙቝ٦෼ऱྤრᢝΖ‫֤ڇڼڂ‬უߓ٨խΔ‫ߠױ‬ਹ௅ऴ൷ߨၞྤ რᢝΔ‫شܓ‬ᒳᖄኄቼΕ֤უᕩ࿨ऱᐙቝඖࠃΔ൶౉ߊࢤီᤚྤრᢝᇙऱಖᖋፖ֤ უΔႃ᧯٦෼‫ך‬የಮ৸ऱՖࢤ‫ݮ‬ွΔ֘ਠषᄎ፿ߢᎮࠥՀऱྤრᢝ࿨ዌΖᙟထ᥊ ᐙˀ֮‫ء‬ൕषᄎ़ၴࠩଡԳྤრᢝऱ໱ན‫ޓ‬૯Δ࿇෼ਹ௅ࡨึᣂࣹऱྡྷរΚီᤚ ٦෼Ζ‫ڼڂ‬࿝ृൕψᕩီω෻ᓵΔ֊Ե᥊ᐙˀ֮‫ޅࢬء‬ေऱ٦෼֮֏Ζൕ᧠ࢮ๕ ᜺։࣫ऱೢᗭࡉ᧐ढ‫ڤ‬ᕩီΕࢮࡽࢬᘯ‫הڇ‬Գհ഑უቝ‫נ‬ऱᕩီΕࠩແਲ։࣫٤ ན཈ီ࿨ዌऱषᄎᕩီΔ᤭ᤩီᤚ٦෼‫ڕ‬۶‫୴ދ‬ᨠृփ֨ऱྤრᢝᐥඨΔࠀ۞‫ݺ‬ փ֏൅ࠐ؅ᆃΔᎅࣔ‫᧯׌‬ᆖ‫ط‬ᎁ‫ٵ‬፿ߢ֮֏৬ዌՀऱᨠ઎Δข‫س‬٦෼஁ฆՀऱᦞ ԺᣂএΖʳ ʳ ʳ. ᜢᗖӷ! ᕩီΕ᥊ᐙˀ֮‫ء‬ΕৄؑΕ֤უΕ᧐ढʳ.

(3) Scenes of GazeǺ ǺVictor Burgin’s Photo-textȐ1976-1984ȑ Abstract Victor Burgin (1941- ), as a British artist and theorist, is renowned for conveying skepticism by juxtaposing photos and texts. This essay is mainly focused on the two selections of Burgin’s photo-text taken during 1976 to 1984, “City” and “Fantasy” series. The following argumentation will ground on two aspects: “photo-texts” and “gaze”, exploring the relationship between Victor Burgin’s writing, photo-text and postmodern visual theory. In “photo-text”, Burgin intended to demolish the conventions and myths by conglomerating hetero-texts and intertextuality and thus offered possibilities of the recurrence of images and words. In the changing scenes from social spaces to the unconsciousness of individuals, yet it is discovered that Burgin always focused on the culture of visual representation. Hence, I adopt “gaze” theory to analyze the representation of photo-text. The analysis will begin with Laura Mulvey’s psychoanalytic voyeuristic and fetishistic gaze, Jacques Lacan’s imagined gaze from the others, to Michel Foucault’s panoptic social gaze. I will hereto explain how visual representation reflects and internalizes viewers’ unconscious desire that led to their self-imprison. Meanwhile, I explain the difference of power states generated in the subjective viewing established on the cultural-linguistic constructions.. Keywords Gaze, Photo-text, City, Fantasy, Fetish.

(4) Ҟԛ ಃ΋ക ᆣፕ ………………………………………………………………………1 ಃ΋࿯ ࣴ‫୏ز‬ᐒᆶჹຝ ……………………………………………………………1 ಃΒ࿯ Ў᝘ӣ៝ᆶୢᚒ ……………………………………………………………7 ಃΟ࿯ ࣴ‫ز‬౛ፕᆶБ‫………………………………………………………… ݤ‬. 10. ಃΒക ឪቹЎҁ ……………………………………………………………….17 ಃ΋࿯ ࠤѱ൑ඳ …………………………………………………………………..19 ೸঴ৄؑΚπ૎ഏ ˊˉρʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞʳ˅˃ʳ ֆሁள۩Κπભഏ ˊˋρʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞʳ˅ˋʳ ༅ߢৄؑΚπ೯ढႼ ˊˋρʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞʳˆˆʳ ৄؑೠ൶Κ π‫࣓ߺڇ‬ρʳ ʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞʳˆˌʳ ಖᖋߨ༔Κ π‫ڇ‬௑೬ᘭ‫܄‬ρʳ ʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞʳˇˆʳ ՛࿨Κደሏृऱီມʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞʳˇˉʳ ಃΒ࿯ Єགྷ൑ඳ ………………………………………………………………… 50 ᐥඨऱ໱૿ᓳ৫ʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞˈ˃ʳ ྤრᢝհளΚ πࢮ‫ں‬ள塢ρʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞˈˆʳ ‫ؗ‬੖ْᐚऱਚࠃΚ π௑ࢮᆳ৑ρ π჋ࣥ֐ࠅρ πं໲ࠅρΞΞΞΞΞΞΞΞΞΞΞʳˈˊʳ ༈൓հढΚ πᖯρΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞʳˉˋʳ ՛࿨Κ֮‫ء‬խऱՖԳʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞʳˊˇʳ. ಃΟക Ꮙຎ൑ඳ ………………………………………………………...……. 76 ಃ΋࿯ ኅఈ൑ඳ …………………………………………………………………..77 ᧐ढऱ֏ߪʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞˊˋʳ უቝऱ‫ۯ‬ᆜʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞˋˉʳ ಃΒ࿯ ৡ౦൑ඳ …………………………………………………………………. 91 ྤࢬլ‫ڇ‬ʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞˌ˄ʳ ஁ฆհ‫چ‬ʳ ΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞΞˌˇʳ. ಃѤക ่ፕ ……………………………………………………………………. 97 ୖԵၗ਑ ……………………………………………………………………….. 102 ୖԵკ‫……………………………………………………………………… ހ‬.. 107.

(5) ಃ΋ക ᆣፕ ಃ΋࿯ ࣴ‫୏ز‬ᐒᆶჹຝ ᅝ‫ז‬षᄎᇙᐙቝྤࢬլ‫ڇ‬Δߪ๠ᐙቝ֮֏ऱழ‫ז‬Δ‫ݺ‬ଚ‫ڇ‬ԫ՛ழփ઎ࠩऱᐙ ቝΔ᎛ֺ‫س‬੒‫ڇ‬᥊ᐙ࿇ࣔհছऱԳԫ‫س‬հխࢬ઎ࠩऱᝫ‫ڍ‬1Δྥۖᇨ‫ڕ‬John Berger ‫ڇ‬πᨠ઎ऱֱ‫ڤ‬ρࢬߢψ‫ॺך‬όѝ࣮΋ঁܿՋǴ‫ॺך‬ᕴࢂӧ࣮ǵӧΑှܿՋ‫ךک‬ ॺ‫ޑ‬ᜢ߯ω2Δᨠ઎ፖ٦෼ຟਢᐖऑऱ֮֏৬ዌΖࠀ‫׊‬ᐙቝ۴ᙟထ፿ߢ֮‫נڗ‬෼Δ ྤழྤࠥઠຘ‫ֲڇ‬ൄ‫س‬੒խऱ‫ٺ‬ଡᐋ૿Δࠏ‫ߠࢬֲޢڕ‬ऱ໴ີᠧ፾ΕሽᐙΕሽီΕ ᐖ‫ܫ‬Ε஼ᤄ࿛Δຍࠄီᤚ໾տࡉ፿ߢྤ‫ݮ‬հխႚᎠԱਬࠄ௽ࡳრᢝ‫ݮ‬ኪΔ‫ګ‬੡ᖙ ‫ݫ‬।ሒऱ‫ܓ‬ᕴࡉ৬ዌ֮֏ऱு֨Δ‫ח‬࿝ृტࠩ‫࡛ړ‬ऱਢΔᐙቝΰ௽ܑਢ᥊ᐙαፖ ֮‫ڗ‬հၴऱᣂএਢ‫ڕ‬۶Λ‫ڇ‬ᅝ‫ז‬ᢌ๬ᇙᨠ࢚ࢤऱ᥊ᐙ-֮‫ء‬Δല᥊ᐙᐙቝፖ֮‫ڗ‬ ऱࠀᆜ‫ܧ‬෼Δਢ‫׼ڶܶܡ‬ԫጟᨠ઎ࡉᇭᤩऱٞቹΛ ᢅᥞ֣௽‫ڇ‬πᐙቝ-ଃᑗ-֮‫ء‬ρΰImage-Music-Textαԫ஼խᎅࠩᐙቝऱრᆠ ਢੌ೯լࡳऱΔ‫܀‬ਢᅝᐙቝԫலࠉॵऱ֮‫נڗ‬෼Δ༉ᄎലᐙቝऱრᆠࡳ᝵ ΰanchorαΖ3ྥۖ‫ڇ‬ᅝ‫ז‬ᢌ๬խΔᐙቝࡉ֮‫ڗ‬հၴऱᣂএࠀլ‫ڼڕ‬໢ొΔᅃׂࡉ ֮‫ڗ‬ၴऱյ೯ᣂএࠀլႛႛૻࡳ‫ڇ‬ٞቹ࢖‫ڼ‬ᎅࣔऱᛩᆏΔ‫ױ‬౨‫ڼ࢖ڇ‬რᆠլᒔ ࡳΕᚼਡΕྤऄ‫࠰ݔ‬ऱൣउՀΔข‫׼س‬ԫଡᓵ૪़ၴΔ࿇୶‫ߢהࠡנ‬؆հრΖ ‫᥽ڃ‬ᢌ๬࿇୶ᑪੌΔ൶ಘᐙቝፖ֮‫ڇڗ‬ᢌ๬ᖵ‫׾‬խऱ౧࿮Δ࿇෼ొᢌ๬ፖ᥊ ᐙऱ᝟२࿨‫אױٽ‬ಳᄩࠩԲԼ‫׈‬ધॣཚ‫᧯م‬੔Εዌ‫׌ګ‬ᆠΕሒሒ‫׌‬ᆠኙᐙቝऱ਋ ၀ப‫ش‬Δࡉ၌෼ኔ‫׌‬ᆠՕၦࠌ‫ش‬ᐙቝ໌‫܂‬Ζ4‫ڼ‬ழཚᢌ๬୮ၲࡨᇢ൶᥊ᐙຍ໾‫ޗ‬ ൅ࠐऱᄅ‫־‬क़ΖࠩԱ 60 ‫૿זڣ‬ኙ‫ݶ‬ຒ‫᧢ޏ‬խऱ‫੺׈‬Δᐙቝᓤ፹‫ݾ‬๬ऱཏ֗Δᢌ. 1. John Fiske, ്ᙘဎ࿛᤟Δπႚᐾฤᇆᖂ෻ᓵρΔ‫ק؀‬Κ᎛ੌΔ1995Ζ John Berger, ‫ܦ‬๙‫᤟ܩ‬Δπᨠ઎ऱֱ‫ڤ‬ρΔ‫ק؀‬Κຽ‫ض‬Δ2005Δ଄ 11Ζ 3 Roland Barthes, “Rhetoric of the Image”, Image, Music, Text, Stepher Heath trans., New York: Hill & Wang, 1977, pp. 38-40. 4 Rosalind E. Kruass, “Reinventing the Medium”, Critical Inquiry, Vol 25, No 2, Chicago : The University of Chicago, winter 1999, p. 289. 2. 1.

(6) ๬ၲࡨൕᄥഘߨ‫ٻ‬ԫ౳‫س‬੒Δ‫ڼ‬ழཚऱᨠ࢚ᢌ๬Εཏཏᢌ๬Ε‫چ‬ནᢌ๬Εೝ࿇ᢌ ๬࿛ຟൎᓳᢌ๬ࢬ඿।ሒऱᨠ࢚‫ߪء‬Δ၌။መ‫ီૹࢬװ‬ऱᢌ๬ढٙ‫ڤݮ‬Ζ‫ڼ‬ழᢌ ๬।ሒऱૹរ‫࣍ڇ‬լឰ‫ޣ‬ᄅ‫᧢ޣ‬ऱᄗ࢚।ሒΔ᥊ᐙऱ౉֧ࢤΕཏሙࢤऱ௽ᔆΔࠌ ൓᥊ᐙዬዬ‫ڇچ‬໾‫ޗ‬ऱ෗‫ش‬Εધᙕ।ሒխΔ‫ؚ‬ధԱᢌ๬‫ڤݮ‬ፖ໾‫ޗ‬ऱ੺ૻΔၲࢷ Ա᥊ᐙፖᢌ๬ऱီມΖ᥊ᐙൕ଺‫ء‬ધᙕᢌ๬ૠ྽խ௣؈ׂ੄ऱ՛ߡ‫ۥ‬Δԫᥬ‫ګ‬੡ ໌‫۩܂‬೯լ‫౒ࢨױ‬ऱ໾‫ޗ‬Ζ ࠡխൎᓳ۞‫ܒޅݺ‬Ε৸‫ە‬ᢌ๬۞ߪ‫ڕ‬۶৸‫ە‬Εტवࡉ‫ܧ‬෼ऱᨠ࢚ᢌ๬Δ،ऱ ৸‫ە‬រ‫࣍ڇ‬ᢌ๬‫س‬ขΕ୶ᥦΕᔭഇᖲࠫࡉᢌ๬‫ء‬ᔆऱ‫ܒޅ‬Δ‫ڼڂ‬،ᣌ៿ႚอᢌ๬ ऱढٙ।෼ֱ‫ڤ‬Δᇢቹൕᇞ࣋໾‫ޗ‬Εሎ‫ૻ܅ش‬৫ढᔆΔ੷۟ࠌ‫ش‬፿ߢ֮‫ࠐڗ‬।ሒ ᨠ࢚Ζ૎ഏᖂृ Tony Godfrey ࡳᆠᨠ࢚ᢌ๬լਢᣂ࣍‫ޗࢨڤݮ‬றΔۖਢᣂ࣍෻ ࢚Εრᆠࡉᄮຏऱᢌ๬Δࠀ‫ױ׊‬౨‫ڶ‬๺‫ڍ‬լ‫ٵ‬ऱ‫ڤݮ‬෗‫ٽ‬Δࠏ‫ֲڕ‬ൄ‫س‬੒ढ঴Ε ᅃׂΕ‫چ‬ቹΕᙕᐙΕቹׂΕ‫ڗ֮֗א‬Ζ5‫ڼڂ‬Օપൕ 1973 ‫ڣ‬ၲࡨᨠ࢚ᢌ๬୮ၲࡨ ‫ࡉڗףشܓ‬ᓿղ᥊ᐙહན౧࿮რᆠΔ‫ה‬ଚࠌ‫ش‬፿ߢ֮‫ࡉڗ‬ᐙቝΔ൶ಘ٦෼ਙएΔ ։࣫ࡉᇞዌ෼ኔढᔆ‫੺׈‬ऱ‫᧯׌‬ᆖ᧭ࡉ‫ۯ‬ᆜΖ6Russell Bowman མಾኙ 1950 ‫זڣ‬ ۟ 80 ‫ྂזڣ‬෼ऱቹ֮ࠀ૊ऱᢌ๬Δല֮‫ڗ‬ऱߡ‫ۥ‬։‫ګ‬քጟᣊীΚ‫ڤݮ‬ΕฤᇆΕ ࠀຫࢨᜤუΕඖࠃΕ፿ߢ࿨ዌऱ൶౉ΕषᄎࡉਙएေᓵΔຍጟቹ֮ࠀຫऱֱ‫ڤ‬Δ ‫ٵ‬ழ෰೯Գᣊऱؐ‫׳‬ᆰΔཅඵԱ௑ࣥਹ௑( Clement Greenberg )ࢬፂᥨऱ໾տొጰ ࢤፖᢄ྽ီᤚࢤΔۖൕဍ૎֏ऱ೏৫෼‫׌ז‬ᆠ᠏‫ٻ‬Օฒ֮֏ऱ໾տ෗ᠧΖ7‫ڼڂ‬ ᨠ࢚ࢤ᥊ᐙ-֮‫ء‬ऱᓭ‫س‬Δᨃᢌ๬ኔᔌլ٦‫׽‬ਢ๯ࡳᆠऱᢌ๬୮੒೯Δࢨ௽ࡳ໾ ‫ޗ‬Հ፹‫܂‬ढٙऱመ࿓Δۖ๯ီ‫܂‬ਢრᆠฤᇆ‫੺׈‬ᇙऱԫጟ٦෼ኔᔌΔࣁ᥊ृΕ๯ ᥊ृࡉᨠ઎ृΔຟലະԵ௽ࡳऱ‫ۯ᧯׌‬ᆜΔ֘ਠኙ‫੺׈‬ऱᎁवΖ8. 5. Tony Godfrey, Conceptual Art, London : Phaidon Press, 1998, p. 4. Neil Mulholland, The Cultural Devolution : Art in Britain in the late Twentieth Century, England : Ashgate, 2002, p. 31. 7 ֧۞མ֟ՏΔІ‫ݺ‬၇ਚ‫ڇݺ‬Κ॔॔ࢮ˙‫܌‬ᕙ௑ፖ௣၄֮֏ЇΔπፕՕ֮‫ୃ׾‬ᖂ໴ρΔร 58 ཚΔ 2003.05Δ଄ 261ΖRussell Bowman, “Words and Images: A Persistent Paradox,” Art Journal, Vol. 45, Winter 1985, pp. 335-343. 8 Victor Burgin, “Introduction”, Thinking photography, London: Macmillan Press, 1982, pp. 5-6. 6. 2.

(7) ‫׼‬ԫֱ૿ૉൕᐙቝ෻ᓵऱ࿇୶ࠐ઎Δ෼‫׌ז‬ᆠऱᐙቝ෻ᓵ‫׌‬૞ਢൕ᥊ᐙऱದ ᄭΕભᖂΕ‫ݾ‬๬࿇୶Ε໾‫଀ޗ‬ᄅࠐ৸‫ە‬᥊ᐙऱᢌ๬ࢤΔۖ 70 ‫זڣ‬ᘋದऱ৵෼‫ז‬ ᐙቝ෻ᓵΔঁਢല᥊ᐙ෻ᇞ੡ԫጟრᆠࡉ֮֏ฤᒘᇭᤩऱመ࿓Ζၲࡨൕሀ֮֏ऱ ‫ߩم‬រ‫װ‬৸‫ە‬᥊ᐙΔᣂࣹऱྡྷរ‫࣍ڇ‬᥊ᐙᐙቝऱ‫س‬ขΕ٦‫س‬ขΕཋ‫܉‬Ε൷‫گ‬Εᑓ ُΕೕທ࿛૿‫ٻ‬ऱᖲࠫ‫ش܂‬Ζ9լ֟ሀᏆ഑ऱᖂृΔࠏ‫ڕ‬ᢅᥞ֣௽ΕແਲΕࢮࡽ ࿛Δຟᣂࣹ࣍ီᤚ٦෼ऱംᠲΔ‫ה‬ଚ౑౑ൕ৵࿨ዌऱ৸‫נە‬࿇Δᎁ੡ٚ۶ᐙቝऱ რᆠຟլ‫׽‬ਢ‫ृ܂ڇ‬൳ࠫՀࢬ፹ທข‫س‬ऱΔۖਢ௅ᖕࠡ‫ה‬ᐙቝࢨฤᇆΔࡉ‫ޓ‬ᐖऑ ऱषᄎ֮֏৬ዌՀΔյ֮ᇭᤩՀऱ࿨࣠Ζ10‫ڼڂ‬ᨠ઎ᅝ‫ז‬ᢌ๬᥊ᐙΔࠡ٥ຏհ๠ ༉‫࣍ڇ‬ᐙቝრᆠຟࠐ۞‫ݺ‬ଚࢬᖑ‫ڶ‬ऱ֮֏वᢝΔ઎ࠩչᏖΕ‫ڕ‬۶઎Εᐙቝ‫ڕ‬۶ᤛ ࿇ࡉ‫ݮ‬Ⴟီᤚ఼‫ݧ‬Δ‫֗א‬ଡԳኙ‫੺׈‬ऱ෻ᇞΖ߷Ꮦ‫ڇ‬ຍᑌऱᢌ๬෻ᓵ౧࿮ՀΔᅝ ‫ז‬ᢌ๬୮‫ڕ‬۶ᖙ‫܂‬ᐙቝΛ‫ڕ‬۶ኙီᤚ֮֏೚‫ޅנ‬ေΛ‫ڕ‬۶‫א‬᥊ᐙ‫܂‬੡տᔆΔ։ܑ ཛ‫ࡉृ܂ٻ‬ᨠृֱࠟΔ൶ߒહ৵ऱ֮֏ฤᒘࡉრᢝ‫ݮ‬ኪΛ ‫֮ء‬ऱઔߒኙွЁፂ‫ڍ܌‬Ԧਹ௅ΰVictor Burgin, 1941-α‫ ٵڕإ‬70 ‫זڣ‬๺‫ڍ‬ ᢌ๬໌‫ࡉ܂‬෻ᓵऱ࿇୶ߨ‫ٻ‬Δ‫܌್ڇ‬৸‫׌‬ᆠ෻ᓵਮዌՀ11Δ࠹ࠩ壄壀։࣫ΕՖࢤ ‫׌‬ᆠࡉ৵࿨ዌ፿ߢᖂऱᐙ᥼Δ‫܂໌ڇ‬Ղ९ཚࠌ‫ش‬᥊ᐙፖ֮‫ࠀڗ‬ᆜऱ।෼‫ڤݮ‬Δᖐ ९ല‫׍‬઎Հյլઌեऱ᥊ᐙᐙቝࡉฆᔆ֮‫ࠀء‬ᆜΔᣌ៿ԫ౳ൄߠऱቹ֮ᇞᤩᑓ ‫ڤ‬Δ‫ڇ‬լ‫ٵ‬ऱრᆠᐳᚰՀΔ।ሒ‫ה‬ኙᐙቝΕᨠ઎ऱ‫ܒޅ‬Ζ ਹ௅‫࣍سנ‬૎ഏຳဗዿᐚΰSheffieldαΔฅᄐ࣍૎ഏ଩ཉ઄୮ᢌ๬ᖂೃ(The Royal College of Art, 1962-1965)ࡉભഏળᕙՕᖂ(Yale, 1965-1967)Δਢ 1960 ‫זڣ‬ ৵ཚ૎ഏᨠ࢚ᢌ๬ऱ٣۩ृհԫΔࠀ‫ߪ׊‬ଫ૎ഏᅝ‫ז‬ᢌ๬୮ࡉ෻ᓵ஼ᐊृऱᠨૹ. 9. Charlotte Cotton, The photography as contemporary art, Thames & Hudson, 2004, p. 191. ଖ൓ԫ༼ऱਢ૎ഏሽᐙཚ‫ע‬πᎬኟρ ΰScreenαΔ‫ ڇ‬1970 ‫֧זڣ‬տᑛ੊෻ᓵ࿯૎፿‫ފृᦰ੺׈‬ ዝૹ૞ߡ‫ۥ‬Ζຍٝ‫ע‬ढऱᒳᙀආ‫ش‬Ա‫ؗ‬੖ْᐚΕࢮࡽᨠ࢚‫ॳ֗א‬ቹႾ෻ᓵΔ෗‫ٽ‬壄壀։࣫ࡉՖࢤ ‫׌‬ᆠΔ۴ᙟထሽᐙΕ֮ᖂΕ֮֏ઔߒࡉୃᖂ࿛ࠡ‫܂ה‬঴ࡉ෻ᓵΔ٥‫ٵ‬ທ༉Ա૎ഏ৵࿨ዌ‫׌‬ᆠऱ֮ ֏ፖवᢝ‫ݮ‬ዌΖࠀ‫ ڇ׊‬70-80 ‫נזڣ‬෼լ֟ߪଫ໌‫ࡉ܂‬෻ᓵ஼ᐊᠨૹߪٝऱ‫ृ܂‬Δ‫ה‬ଚല‫ڼ‬෻ᓵ ऱ৸‫ە‬ሎ‫ڇش‬ᢌ๬ऱ໌‫܂‬ՂΔࠏ‫ ڕ‬Allan SekulaΕMartha RoslerΕVictor BurginΕMary KellyΕBarbara KrugerΕLaura Mulvey ࿛Ζ 11 ௽ܑਢ 1971 ‫ॳڣ‬ቹႾ(Louis Althusser)࿇।ऱ֮ີІრᢝ‫ݮ‬ኪࡉრᢝ‫ݮ‬ኪഏ୮ᖲᕴЇΔਹ௅ല ‫گ֮ڼ‬Ե‫ࢬה‬ᒳᐷऱπ৸‫ە‬᥊ᐙρԫ஼խΔലᐙቝऱ٦෼ီ‫܂‬ਢრᢝ‫ݮ‬ኪ೐ञऱ‫چ‬រΖ 10. 3.

(8) ߪٝΔ‫ה‬ऱ໌‫܂‬ኙᚨထ৵෼‫ז‬ᐙቝ෻ᓵऱ৸‫ە‬Δ‫܂‬঴ൄ࿨‫ٽ‬෻ᓵࡉᢌ๬ኔᔌ।ሒ ‫ࢤܒޅ‬Δࠀ‫׊‬९ཚ࿇।‫܂‬঴‫ڇ‬஼‫ע‬ΕઔಘᄎΕᢌ༔Εભ๬塢Ζ ‫᥽ڃ‬ਹ௅ऱᢌ๬ᖵ࿓Δ1960 ‫أזڣ‬ਹ௅ఎᖂભഏળᕙՕᖂΔ࠹ඒ࣍‫׌ૻ܅‬ ᆠᢌ๬୮ᕠߺཎΰRobert MorrisαࡉᇸᐚΰDonald JuddαΔཚၴ࠹ࠩભഏᨠ࢚ᢌ ๬ऱੑ៖Δ‫ ڇ‬1969 ‫ڣ‬१‫ڃ‬૎ഏΔ๯ီ੡૎ഏᨠ࢚ᢌ๬࿇୶ऱு֨ԳढΖ‫ה‬ᎁ੡ ᢌ๬ኔᔌᚨߨ‫נ‬௑ࣥ‫܄‬௑ࢬ‫׌‬ᖄऱ෼‫׌ז‬ᆠભᖂΔ‫ܒޅה‬ᢌ๬ᖲࠫऱ೸঴֏Εๅ ᠦֲൄ‫س‬੒౧࿮Δ֘ኙψ㻽ᢌ๬ۖᢌ๬ωࠌᢌ๬ๅᠦٚ۶षᄎฤᒘࡉኔᔌΔ෠੡ ଡԳ঴࠺ऱᙇᖗΔ᧢‫ګ‬ፖ೸঴ྤฆΖ‫ה‬ᎁ੡ᢌ๬რᆠ‫࣍ڇ‬ᆖ᧭ࢬ༼ࠎऱ֨ᨋ௃ਮ ࡉᨣ༊ढٙऱ௽ࡳ౧࿮࿨ዌΔ‫ދהۖڂ‬Ե‫ޅ‬ေ෻ᓵፖ֮֏ઔߒΖ12ຍࣔ᧩।෼‫ڇ‬ ‫شࠌה‬᥊ᐙ-֮‫ء‬ᣌ៿‫ܒޅ‬ᢌ๬ᖲࠫऱ໌‫۩܂‬೯ՂΔٞቹሀ။ᢌ༔ऱᛥ૿Δᨃᢌ ๬ፖֲൄ‫س‬੒հၴऱሶᎶ௣؈Ζ‫ה‬ᎁ੡᥊ᐙ-֮‫ء‬ਢտ‫ڇ‬೏్ᢌ๬፿ᓳࡉՕฒ໾ ᧯፿ߢհၴऱԫጟᄮຏֱ‫ڤ‬Δ‫ڼڂ‬լឰࠌ‫ࡉڗ֮ش‬ᐙቝࠀᆜऱ‫ڤݮ‬Δ‫܂໌ڇ‬խ‫ޅ‬ ‫ܒ‬৸‫ီە‬ᤚ֮֏ፖტवᑓ‫ڤ‬Δ൶‫ီޣ‬ᤚᐙቝऱ‫ء‬ᔆΖ ਹ௅ᎁ੡ᢌ๬੒೯ྤऄๅᠦ‫ץ‬໮‫ה‬ऱषᄎኔᔌࡉฤᒘΔ‫ڼڂ‬ᣄ‫א‬ๅᠦ௃࠷، ऱრᢝ‫ݮ‬ኪΖ13ࢬ‫ီૹהא‬ᢌ๬ऱ୶ᥦΕੌຏΕཋ‫܉‬Εႚᐾᛩᆏ࿛षᄎᖲࠫΔ‫ڂ‬ ‫הڼ‬ፖ‫׼‬ԫ‫ۯ‬ᨠ࢚ᢌ๬Օല Joseph Kosuth ထૹψᢌ๬ਢ‫א‬ᢌ๬੡ᢌ๬ω(Art is art as artʼΕ ψᢌ๬ೈԱᢌ๬հ؆չᏖຟլਢω ΰArt as art is nothing but artα Εൎᓳᢌ๬ ‫᧯ء‬ᓵࡉᎁᢝᓵऱୃᖂ։࣫࠷‫ٻ‬ৰլ‫ٵ‬Ζࠏ‫ ڇڕ‬1967 ‫ڣ‬ऱᨠ࢚‫܂‬঴πphotopathρ ΰቹ 1αΔਹ௅ࣁ᥊྽༔‫ࣨچ‬ऱᅃׂΔࠀ‫׊‬ലຍࠄ᥊ᐙᐙቝ‫ش‬ᄷᒔऱ֡՚ፖֵ‫ޗ‬ ऱ‫ۥ‬ᓳᓤ፹٨‫ࠐנٱ‬Δല 21 ്᥊ᐙຑᥛඈ٨၀‫ࣨچڇ‬ՂΔ‫࢕ݯ‬ፖ‫ࣨچ‬ᘜ੡ԫ᧯Δ ‫ګ‬੡ԫٙ௽ࡳ‫چ‬រऱᇘᆜ‫܂‬঴Δ໌ທᐙቝፖढ᧯‫ݙ‬ભԫી‫چ‬ઌ‫ٽ‬Ζ14ᄆ‫ق‬᥊ᐙ‫ח‬ 12. Victor Burgin, “Rules of Thumb”, in Alexander Alberro and Blake Stimson, Conceptual Art : A Critical Anthology, The MIT Press, Cambridge, 1999. pp. 251-253. Victor Burgin, “Situational Aesthetics”, 1969, in Charles Harrison and Paul Wood eds. , Art in Theory, 1900-1990 : An Anthology of Changing Ideas, Oxford, UK : Blackwell, 1993, pp. 883-885. 13 Victor Burgin , “Yes, Difference Again : What History Plays the first Time Around as Tragedy, It Repeats as Farce”, In Alexander Alberro and Blake Stimson, Conceptual Art : A Critical Anthology, Cambridge : The MIT Press, 1999, p. 429. 14 David Company, Art and Photography, Phaidon Press, 2007, p. 71.ࡉ Hal Foster & Rosalind E. 4.

(9) Գข‫س‬ᙑᤚऱ‫ܧ‬෼֫ऄΔ‫ױ‬।૿‫چ‬ཙང،ऱਐ௫ढΔਹ௅ऱ໌‫ૹ܂‬រឭ‫ڇ‬ᖙ‫ݫ‬Ε ᣌ៿ီᤚᛩቼፖ൶ಘ۶ᘯᨠ઎ऱటኔΖ 1970 ‫ॣזڣ‬Δਹ௅ൕᢅᥞ֣௽ΰRoland Barthesαऱฤᇆᖂ෻ᓵࡉॳቹႾΰLouis Althusserαऱრᢝ‫ݮ‬ኪ෻ᓵΔ։࣫ᐙቝऱଥ᢯ฤᇆΔ൶౉᥊ᐙᨣ༊რᢝ‫ݮ‬ኪऱመ ࿓Δ‫܀‬լ‫ॳ࣍ٵ‬ቹႾऱਢΔਹ௅ലᢌ๬‫܂‬঴ီ੡ԫጟ֮‫ء‬Δࠀॺ‫ܧ׽‬෼‫ृ܂‬Δ‫ޓ‬ ‫ܶץ‬Աᦰृऱ೶ፖΔᢌ๬ኔᔌਢԫጟฤᇆሎ‫܂‬Ꮖ഑ऱኔᔌΖ15‫הڼڂ‬ၲࡨࠌ‫ش‬᥊ ᐙΕ֮‫ࠀڗ‬ᆜऱֱ‫܂໌ڤ‬Δப‫ش‬ᐖ‫ܒޅאףڤݮܫ‬Δലᐖ‫ܫ‬Εᨠ࢚ᢌ๬ࡉ᥊ᐙؓ ۩ࠌ‫ش‬Δᇢቹ፹ທᢰᒴե௫ΰfringe interferenceα౳ऱᢌ๬‫܂‬঴Δ‫ڕ‬ዮዳ౳ឫ೯ ‫ࡺۯ‬խ֨ऱᚘࠫࢤ໾᧯֮֏ࡉ‫ੌ׌‬ᢌ๬Ζ16ࠏ‫ ڇڕ‬1976 ‫ڣ‬ப‫ش‬ᐖ‫ڤݮܫ‬ऱဩᙰ ௧໴࿜ฃ‫܂‬঴πᖑ‫ڶ‬ρΰPossessionαΰቹ 2αΖ17ല᥊ᐙࡉ֮‫ڗ‬ឯ࠷ࠀᆜΔփ୲ਢ ߊՖઌᖑᅃׂΔ௧໴խऱቹׂՂֱᐊထψᖑ‫ڶ‬ኙ‫ࠐ܃‬䇣რ࠺ထչᏖΛω(What Does Possession Mean to You)ΔՀֱ಻ՂπᆖᛎᖂԳρᠧ፾Ղऱԫ੄֮‫ڗ‬ψ‫ۍ‬։հԮ ऱԳՑᖑ‫ۍڶ‬։հԶԼ؄ऱತขω(7% of our population own 84% of our wealth)Ζ 18. ਹ௅ലᢌ๬‫ܒޅ‬ኔᔌऴ൷൅ԵဩᙰΔ֮‫ڗ‬ᑑᠲ൅ᏆᦰृൕଡԳᐥඨऱ‫ڶ۾‬ᣂ. এΔࠩषᄎᆖᛎᐋ૿ኙತขࢬ‫ᦞڶ‬ऱუቝΔ‫ܒޅ‬ᇷ‫׌ء‬ᆠՀᏝଖऱ෗෤Ζ‫܀‬௅ᖕ ᑇᖕอૠ᧩‫്ق‬၀ऱኔᎾ‫ࠀش܂‬լՕΔᨠृऱ൷౏෻ᇞ৫‫܅‬Δਹ௅ൕ‫࣋ڼ‬ඵဩᙰ ኔᔌΔ᠏Եᢌ๬ᖲࠫᤉᥛ‫ה‬ऱᢌ๬෻ᓵፖኔᔌΖ19ຍٙ‫܂‬঴ਢਹ௅໌‫܂‬ᖵ࿓ऱԫ ଡ᠏‫މ‬Δ‫܀‬ਹ௅ս‫࣋آ‬ඵᗨᄕտԵषᄎऱᢌ๬ኔᔌ‫م‬໱Ζ. Krauss & Yve-Alain Bois, Art since 1900, London : Thames & Hudson, 2004, p. 590. 15 Victor Burgin, “Introduction”, Two Essays on Art Photography and Semiotics, London : Robert Self, 1976, p. 2. 16 ֧۞མ֟ՏΔІፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ─֮‫ء‬Κৄؑደሏፖ‫ֱچ‬ᨋࢤЇΔ π֮֏ઔߒρΔร 2 ཚΔ 2006.3Δ଄ 45ΖVictor Burgin, Between, Blackwell Publishers, 1986, p. 56. 17 ٥ᓤ‫ٱ‬ն‫്ۍ‬൑‫ۥ‬௧໴Δ്၀۟ Newcastle upon Tyne ؑխ֨ဩሐᛥՂΔࠀ‫ ڇ‬Studio International ‫࿆ע‬Ζ 18 The Economist, 15, January 1966. 19 Victor Burgin, Between, Oxford: Basil Blackwell, 1986, p. 21. 5.

(10) ቹ 1ΚπPhotopathρ. ቹ 2Κ πᖑ‫ڶ‬ρ(Possession,. (Photopath, 1967 ). 43×33 inches, 1976 ). 1970 ‫זڣ‬խཚࠩ 1980 ‫זڣ‬խཚΔ‫ڼ‬ழཚऱ෻ᓵ࿇୶હནΔൕ‫ؗ‬੖ْᐚࠩࢮ ࡽऱ壄壀։࣫Δ࿇෼‫ܑࢤࡉ᧯׌‬ऱ‫ݮ‬Ⴟ‫׌‬૞ਢຘመီᤚ٦෼ࡉ፿ߢΔ༼‫נ‬ᐙቝऱ ٦෼ೈԱ‫ܶץ‬ԱᓤᠧऱषᄎᦞԺሎ‫܂‬հ؆ΔՈਢࢤܑΕྤრᢝࡉᐥඨٌ៣ሎ‫܂‬Հ ऱขढΖ࠹‫ڼ‬ᐙ᥼ਹ௅ऱ෻ᓵ஼ᐊፖ໌‫܂‬ዬዬ᠏‫ٻ‬ႜ‫ٻ‬Ֆࢤ‫׌‬ᆠࡉ壄壀։࣫Δ൶ ಘ٦෼ਙएΖ20ࢬ‫ڼא‬ழཚਹ௅ऱߓ٨໌‫܂‬Ёৄؑࡉ֤უߓ٨᥊ᐙ-֮‫ء‬Δࡉ‫ࢬה‬ ᒳᙀ‫ڶ‬ᣂ᥊ᐙࡉ֤უऱᙇႃΔփ୲ຟ௽ܑᣂࣹࠟଡ૿‫ٻ‬Κࢤܑ஁ฆΕषᄎᦞԺ‫ڕ‬ ۶ຘመᨠ઎๯৬ዌࡉᅝ‫ؑৄז‬ᆖ᧭Ζ‫ڼ‬ழཚऱ᥊ᐙ֮‫ࠟڶڤݮء‬ᣊΚৄؑધኔ᥊ ᐙॵ‫ڗ֮ٱᦤࢨף‬ऱߓ٨Δ‫شܓ֗א‬ኄऱᕩᜍࡉฝᆜऱ᧤ᙀᑓ‫ڤ‬Δப‫ش‬ᒳᙀ෼‫ګ‬ ᐙቝΔࠏ‫ݦڕ‬೴‫܌ە‬ΰAlfred Hitchcockαऱሽᐙׂឰࡉ್փΰEdouard Manetα ऱ෼‫ז‬ᢄ྽࿛Δࠀ‫ڇ‬ԫலॵ‫ף‬Ղ֮‫ء֮ڗ‬Δ‫ܧ‬෼ᒳᖄ᥊ᐙऱᑌᎎΖ1990 ‫۟זڣ‬ վ‫אה‬ᙕቝᇘᆜ੡‫׌‬Δ๠෻༛ᛩᐙቝΰloopαࡉ٤ན᥊ᐙऱംᠲΔࠀ਍ᥛᨠኘৄ ؑΖ21‫ٵ‬ழ‫ה‬Ո‫ش‬壄壀։࣫෻ᓵ൶ߒৄ़ؑၴऱംᠲΖ22. 20. Victor Burgin, “The Absence of Presence”1984, in Charles Harrison and Paul Wood eds. , Art in Theory, 1900-1990 : An Anthology of Changing Ideas, Oxford : Blackwell, 1993, pp. 1097-1101. 21 མ֟ՏΔІፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ─֮‫ء‬Κৄؑደሏፖ‫ֱچ‬ᨋࢤЇΔ π֮֏ઔߒρ Δ ร 2 ཚΔ2006.3Δ 41-86 ଄Δ଄ 45Ζ 22 Victor Burgin, In/Different Spaces: Place and Memory in Visual Culture, University of California Press, 1996. 6.

(11) ጵᨠਹ௅ऱ໌‫܂‬ᖵ࿓ࡉ෻ᓵ஼ᐊߨ‫ٻ‬ԫऴ‫ڶ‬ထࣔ᧩ऱؓ۩ኙᚨᣂএΔࠀ‫׊‬ፖ ᐙቝီᤚ֮֏෻ᓵऱ࿇୶‫ڶ‬ထയ֊ऱຑᢀΖ௽ܑਢ1970‫זڣ‬խཚΔਹ௅ၲࡨ᠏‫ٻ‬ 壄壀։࣫෻ᓵ஼ᐊࡉ໌‫܂‬Δ࿝ृᎁ੡‫ڼ‬ழཚਹ௅ऱࠟጟᣊী᥊ᐙ-֮‫ء‬Δ‫إ‬।ሒ Աຍႈ᠏᧢ऱሁ࿓Δ‫ך‬։᧩‫ق‬Ա‫ה‬ኙီᤚᐙቝ٦෼ऱ࢏ᥛ৸‫ە‬Ζ‫֮ءڼڂ‬ലྡྷរ ࣋ᆜ‫ڇ‬1970‫זڣ‬խཚΔਹ௅ऱᐙቝ෻ᓵၲࡨᝬ‫ٻ‬ᄅᏆ഑ऱழၴរΔ‫܂ڇ‬঴ᒤ໮ᙇ ᖗՂ‫א‬ਹ௅‫ڇ‬1976-1984‫ڣ‬ၴࢬࣁ᥊Δ։ܑ‫ؑৄא‬ધኔࡉဠዌ֤უࠟጟᣊীऱߓ ٨᥊ᐙ-֮‫ء‬Δ‫܂‬੡։࣫ऱ֮‫ء‬Ζಾኙ‫ڼ‬ழཚ൶ಘਹ௅ऱᐙቝ෻ᓵ஼ᐊࡉ᥊ᐙ-֮ ‫܂໌ء‬հၴऱኙᇩΕᇭᤩᣂএΔ‫֗א‬ᐙቝፖ֮‫ء֮ڗ‬հၴऱյ֮ᣂএΔ൶ߒᐙቝ હ৵ि࿨ऱრᢝ‫ݮ‬ኪΕࢤܑΕီᤚྤრᢝࡉᦞԺ࿨ዌΖ. ಃΒ࿯ Ў᝘ӣ៝ᆶୢᚒ ʳ ʳ ਹ௅९ཚᣂࣹီᤚᐙቝ෻ᓵऱߨ‫ٻ‬Δ஼ᐊေᓵࡉ໌‫܂‬෻ᓵ࿇।‫ڇ‬ᠧ፾ཚ‫ע‬ խΔࠀ‫׊‬ᒳᙀፖီᤚᢌ๬෻ᓵ‫ڶ‬ᣂऱထ‫܂‬Ζ1982‫ڣ‬ᒳᙀऱπ৸‫ە‬᥊ᐙρ ΰThinking Photographyαፋྡྷಘᓵ᥊ᐙᐙቝ෻ᓵΕኔᔌፖ‫ޅ‬ေ࿛ᓰᠲΔ຃ઠ1970‫זڣ‬ऱؐ ੔‫م‬໱Εᣂ֨ၸ్Ε଀ࡎ೐ञΕᢌ๬୮ߡ‫֗אۥ‬ฤᇆᖂΕᔆጊᐊኔ‫׌‬ᆠΕ壄壀։ ࣫࿛ᓵរΖਹ௅ᇢቹ‫ނ‬᥊ᐙࡳ‫ڇۯ‬ႚᐾΕီᤚ֮֏‫֗א‬٦෼ਙए࿛რᆠለᐖऑऱ ሀઝᎾ෻ᓵ౧࿮խΖ஼խऱԶᒧ֮ີ(Կᒧਢਹ௅ᐷᐊ)ࢬऺ਍ऱ෻ᓵ‫م‬໱ፖ‫ޅ‬ေ ଅ௑լ‫ٵ‬Δ‫܀‬ຟᎁ੡᥊ᐙᐙቝ‫܂‬੡।რऱኔᔌΔਢ‫ڇ‬௽௘षᄎፖᖵ‫׾‬౧࿮ՀΔ੡ Ա௽ࡳ‫ؾ‬ऱۖ‫ګ‬ऱ௽ࡳ‫܂‬঴Ζਹ௅‫۞ڇ‬աऱԿᒧ֮ີխ࿇୶ߓ٨ઌᣂᨠរΔ௽ܑ ਢІ᥊ᐙΕ֤უΕ‫פ‬౨Ї(Photography, Phantasy, Function)ԫ֮ᎅࣔᨠ઎۩੡‫ߪء‬ ༉ᜓ‫ٽ‬Աრᢝ‫ݮ‬ኪΔ௽ܑਢ‫ה‬ൕ‫ؗ‬੖ْᐚհ壄壀։࣫ऱߡ৫ࠐ։࣫ᨠ઎ፖ٦෼Δ ᎅࣔᐙቝᨠ઎෰௫ࠩᗭෞࡉ᧐ढΔઌׂ༉‫חٵڕ‬Գಮ᧐ऱढ壀ΰfetishαΔਢ֊ ឰழ़ᗑఎऱൣტ‫ࣹދ‬ढٙΖ23 1986‫ڣ‬ऱπᢌ๬෻ᓵऱึ࿨Κ‫ޅ‬ေࡉ৵෼‫ז‬ρ ΰThe End of Art Theory: Criticism 23 Victor Burgin ed. , “Photography, Phantasy, Function”, Thinking Photography, London: Macmillan,1982, pp. 189-191. 7.

(12) and Postmodernityαࡉπհၴρ ΰBetweenα Δছृ‫گ‬ᙕԱਹ௅ኙ࣍ᐖ‫ܫ‬ΕሽᐙΕᢄ ྽Ε᥊ᐙ࿛ᄅᢌ๬෻ᓵऱ஼ᐊኔᔌΔ৵ृঞ‫گ‬ᙕԱ1975-1985‫ڣ‬ၴਹ௅ऱ᥊ᐙ-֮ ‫܂ء‬঴Ε๶ᓫΕ۞૪ΕॾٙΖ‫ش‬ψհၴω‫܂‬੡ࡎ‫ټ‬Δࣔ᧩‫چ‬ല‫ה‬ऱ໌‫ڇ࣋܂‬षᄎ ౧࿮ՀᐉီΔਢ‫ڇژ‬෼ኔፖ壄壀հၴऱ໾տΖ1987‫ڣ‬ፖJames DonaldΕCora Kaplan ٥‫ٵ‬ᒳᙀऱπ֤უऱ‫ݮ‬ዌρΰFormations of Fantasyα‫گ‬ᙕԱሎ‫ش‬壄壀։࣫෻ᓵΔ ൶ಘ֤უ‫ڇ‬ሽᐙΕီᤚᢌ๬ࡉ֮ᖂհ‫ش܂‬ऱᆖ֮ࠢີΖ1996‫נڣ‬ठπ‫ڇ‬/஁ฆ़ ၴΚီᤚ֮֏խऱ‫ࡉֱچ‬ಖᖋρΰIn/Different Spaces: Place and Memory in Visual Cultureαࡉπਬࠄৄؑρ ΰSome Citiesα Δছृ‫گ‬ᙕਹ௅਍ᥛࠌ‫ش‬壄壀։࣫ऱֱऄΔ ᣂᅃ᥊ᐙΕሽᐙΕৄ़ؑၴऱေᓵ֮ີΖ৵ृঞਢലਹ௅հছ‫ࢤܒޅ‬ऱ᥊ᐙ-֮ ‫ء‬ᝫ଺‫ګ‬ଡԳ‫ڃ‬ᖋሏಖΖ‫א‬Ղऱထ‫֘܂໌ࡉ܂‬ਠਹ௅ऱᐙቝ෻ᓵࡉ໌‫܂‬౧࿮ߨ ‫ٻ‬Δດዬཛ‫ٻ‬壄壀։࣫൶ಘᐙቝऱ‫᧯׌ࡉګس‬ऱီᤚྤრᢝΖ ʳ ʳ ᣂ࣍ਹ௅᥊ᐙ-֮‫ء‬ऱઌᣂઔߒ֮᣸ࠀլ‫ڍ‬ΔઌᣂઔߒՕຝ։੡ᠧ፾๶ᓫΕ ୶ᥦ֮ີࡉ२༓‫נڣ‬ठऱറထΖ‫ڍ‬ထᕠ࣍壄壀։࣫ΕਙएΕࢤܑრᢝ‫ݮ‬ኪ෻ᓵऱ ᇭᤩࡉৄ़ؑၴऱደሏ۩೯ֱࠟ૿Ζፖ‫֮ء‬ઔߒለઌᣂऱ֮ີΔଈ٣ਢམ֟Տऱ τፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ-֮‫ء‬Κৄؑደሏፖ‫ֱچ‬ᨋࢤυ Δ֮խ௽ܑಾኙಘᓵਹ௅‫ڇ‬ 1976 ‫ ۟ڣ‬1981 ‫ڣ‬ၴ፹‫܂‬ऱնٙৄؑߓ٨᥊ᐙ-֮‫ء‬հ௽ࡳ໱഑ᢌ๬Ζൕધኔ᥊ᐙ ‫ڤ‬პऱ౧࿮խ൶ಘਹ௅ऱ‫܂‬঴‫ڕ‬۶࿇ཀဩᙰ᥊ᐙऱଅ௑Εப‫ش‬ઠ༺๺‫ڍ‬ฆᔆ֮ ‫ء‬Δ‫ڕ‬۶ಭ᠏ီᤚ‫׌‬ᖄࢤΔႝ‫س‬Ա᥊ᐙ௃؆ऱඖࠃࡉᜤუ़ၴΖࠀൕ‫ֱچ‬ᨋࢤΕ ৄؑደሏृऱ‫ڍ‬ᐋრොࠐ൶ಘਹ௅ኙ࣍෼‫ࢤז‬ऱ֘৸ࡉ৵෼‫़ז‬ၴऱ‫ܒޅ‬Δࠀ‫׊‬ Ոፋྡྷᓵ૪ਹ௅ऱߊࢤᕩီΕषᄎ‫ޅ‬ေࡉ֤უᒳ៣Ζ24࿝ृᎁ੡‫ڼ‬ᒧ֮ີൕ़ၴ ‫܂‬੡֊ԵរΔ֧࿇‫ڍޓ‬ᔹᦰऱ‫ױ‬౨ࢤࡉᑗᔊΔࠀ‫׊‬Ո༼ࠎԱ᠆༄ऱઔߒᒵ౉Ζ ‫ڼ‬؆ᝫ‫ڶ‬ൕ壄壀։࣫෻ᓵऱߡ৫֊Եऱઌᣂ֮ີΔࠏ‫ ڕ‬Kate Linker ऱ֮ີ ІRepresentation and SexualityЇ25ൕࢮࡽऱ壄壀։࣫෻ᓵထ֫Δ൶ߒषᄎࡉႃ᧯ 24. མ֟ՏΔІፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ─֮‫ء‬Κৄؑደሏፖ‫ֱچ‬ᨋࢤЇΔ π֮֏ઔߒρ Δ ร 2 ཚΔ2006.3Δ 41-86 ଄Ζ 25 Kate Linker, “Representation and Sexuality”, in Brian Wallis ed. ,Art After Modernism:Rethinking 8.

(13) ྤრᢝ‫ݮ‬ႿՀऱᨠ઎Δ࿇෼ࢤܑࡉᦞԺऱ٦෼‫ۯ‬ᆜΖ۟࣍ Laura Mulvey ऱ֮ີ ІDialogue with SpectatorshipΚBarbara Kruger and Victor BurginЇ26Δ։࣫ਹ௅ 1983 ‫ڣ‬ऱ᥊ᐙ-֮‫ء‬πࢮ‫ں‬ள塢ρ ΰHôtel Latôneα Δਐ‫ࠡנ‬ሎ‫ش‬ᕩᜍࡉฝᆜऱီᤚ ᄗ࢚Δឆ໧ԫ໱ྤრᢝऱฝ೯ΔპஇऱᏣൣ౧࿮༉ቝኄቼऱឰါΕ၌෼ኔሽᐙᏣ ᅃ౳ऱᐙቝΔ‫ڇ‬઎‫ۿ‬լຑ຃ऱᔹᦰሁஉխΔඖ૪ԫଡլ‫ױ‬౨ऱᐥඨ֤უΖࠀലਹ ௅᥊ᐙ-֮‫ء‬խऱრᆠլຑ຃Εሂ೯ऱᐙቝຑ൷Δኙᚨࠩ၌෼ኔሽᐙխൄ‫נ‬෼ऱ ࡛፞֜ሂ൷֫ऄΔឆ໧ྤრᢝփ֨ᚘ‫ލ‬ऱᐥඨ໱ནΖຘመႃ᧯ऱྤრᢝ֤უΔ஢ ஦‫ۿ‬མઌᢝऱᆖ᧭ΔᛀီߊࢤᨠរՀऱྤრᢝΕ⿄໊ྡྷᐞΕ᧐ढൣᆏΔᎅ‫נ‬ਹ௅ ඿ధᇞ‫ᦞ׀‬Հឆ៲ऱߊࢤೕᇘΖ ូ࿨ઌᣂઔߒΔՕ‫ڍ‬ᔆጊਹ௅‫܂‬঴ፖ෻ᓵ࿨‫ٽ‬ऱᢌ๬ኔᔌΔᏁ૞௽௘वᢝહ ན‫װ‬෻ᇞΔᜱ෡ᢌ๬෻ᓵᄎࠌᢌ๬ະԵֆ‫֏ڤ‬Εᣄᇞऱ‫ٲ‬ᖲΖ27ऱᒔਹ௅‫ڰ‬ཚᨠ ࢚ᢌ๬୮ऱહནΔ໌‫܂‬ኔᔌ࢓࢓಻‫ٽ‬ထေᓵ஼ᐊ‫נ‬෼Δᖄી໌‫ٻߨ܂‬෻ᓵཕᢝ ֏Δᇭᤩፖუቝ़ၴ๯ૻࡳΔ൅‫ڶ‬ᖺদ෻ᓵ‫ۥ‬൑Ζ‫܀‬Ո‫ݺڼڂ‬ଚ‫ױ‬ൕਹ௅ऱ෻ᓵ ஼ᐊፖ໌‫܂‬խΔ࿇෼ 1970 ‫זڣ‬ᘋದऱီᤚᐙቝ֮֏෻ᓵࡉᢌ๬հၴऱ࿇୶౧ ࿮Δ‫֗א‬ᢌ๬୮‫ڕ‬۶૿ኙΕ‫گܮ‬᠏֏੡໌‫܂‬৸‫ە‬ऱੈᄭΖ ʳ ʳ ጵ‫אٽ‬Ղಘᓵ࿇෼ൕ 1970 ‫זڣ‬խཚၲࡨΔਹ௅ൕ‫ڰ‬ཚऱ್‫܌‬৸‫׌‬ᆠრᢝດ ዬ᠏‫ٻ‬壄壀։࣫ऱ൶౉Δ൶ߒᐙቝऱ٦෼ਙएࡉ‫᧯׌‬षᄎ֏‫ݮ‬Ⴟऱመ࿓Δ௽ܑਢ ٦෼હ৵ऱ‫ᦞ׀‬ᕩီΔࢬ‫ګݮ‬ऱ୬ࠫࡉ൳ࠫᑓ‫ڤ‬Ζຍᑌऱ෻ᓵહནՀਹ௅‫ڼڇ‬ழ ཚऱ໌‫ྡྷ܂‬រՈൕრᢝ‫ݮ‬ኪ࿨ዌፖၸ్ऱ‫ޅ‬ေΔ᠏‫ܑࢤٻ‬ፖᦞԺऱ։࣫Δᎅࣔ‫ה‬ ऱ᥊ᐙኔᔌᣂࣹ֨෻壄壀࿨ዌߡ‫س֚ޢڇۥ‬੒ᇙऱ‫ګݮ‬խऱ‫ۯچ‬Δ௽ܑਢ៶‫אط‬ ᥊ᐙᐙቝ੡խ֨ऱრᢝ‫ݮ‬ኪᖲࠫΖ‫ה‬ऱ᥊ᐙ-֮‫ء‬։ܑᣂࣹषᄎ෼ኔࡉ‫᧯׌‬ऱಖ Representation, New York : New Museum of Contemporary Art,1984, pp. 391-415. 26 Laura Mulvey, “Dialogue with Spectatorship: Barbara Kruger and Victor Burgin”, in Visual and other Pleasures, Bloomington : Indiana University Press, 1989, chapter11. 27 མ֟Տ‫ڇ‬Іፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ─֮‫ء‬Κৄؑደሏፖ‫ֱچ‬ᨋࢤЇԫ֮խ༼ࠩ Amelie JonesΕ Jessica Evans ‫ޅ‬ေਹ௅‫܂‬঴መ࣍෻ᓵ֏Δ੡৵෼‫ृ܂ז‬հ‫ڽ‬෡ტྡྷᐞΖಾኙψဍ૎‫׌‬ᆠωऱ‫ޅ‬ေΔ ਹ௅ऱ‫ڃ‬ᚨਢΔ‫ה‬ᎁ੡Օฒ֮֏ࡉ໾᧯‫֟ط‬ᑇሀഏٞᄐ‫׌‬୬‫ڍ‬ᑇ௣၄ृթਢဍ૎‫׌‬ᆠΖམ֟ՏΔ Іፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ─֮‫ء‬Κৄؑደሏፖ‫ֱچ‬ᨋࢤЇΔπ֮֏ઔߒρΔ ร 2 ཚΔ2006.3Δ41-86 ଄Δ଄ 46Ζ 9.

(14) ᖋΕ֤უΕྤრᢝሎ‫܂‬Δ‫ڕ‬۶߮ಱዶԵᨠ઎መ࿓Δࠥრ֘ਠߊࢤऱྤრᢝ֤უΕ ‫ڇܑࢤ֗א‬ᕩီՀ๯٦෼Εฤᒘ֏ऱመ࿓Ζ ࿝ृऱ೗๻ਢΔৄؑધኔߓ٨ऱ᥊ᐙ-֮‫ء‬Δ‫إ‬ਢ‫א‬ᅝ‫ז‬षᄎᨠኘऱֱ‫ڤ‬ኙ ᨠ઎৬ࠫ༼‫ܒޅנ‬Δ֤ۖუᒳᖄߓ٨᥊ᐙ-֮‫ء‬ঞਢᑓᚵԫଡྤრᢝ֤უ໱ནΔ ္ᎅᐙቝፖ‫᧯׌‬壄壀࿨ዌऱᣂএΔឆ໧᥊ᐙຍ઎‫ط۞ۿ‬ऱრᢝሎ‫܂‬ΔࠃኔՂ࠹ࠩ რᢝ‫ݮ‬ኪΕီᤚྤრᢝऱᐙ᥼Δ֘ਠषᄎ፿ߢऱྤ‫ݮ‬ႿທΖ‫ڼڂ‬ᓵ֮ല൶ߒࠟଡ ംᠲΚଈ٣Δਹ௅‫ڕ‬۶ሎ‫ش‬᥊ᐙࡉ֮‫ڗ‬ऱࠀᆜΕյٌ֮ᙑऱ໌‫ڤֱ܂‬Δࠀ‫׊‬ኙᚨ ထؓ۩࿇୶ऱ෻ᓵ஼ᐊΔ๠෻ီᤚᨠ઎Ε֮֏٦෼ऱംᠲΔ༼‫ܒޅנ‬ऱᨠរΖࠡ ‫ڻ‬Δਹ௅‫ڕ‬۶ല৵෼‫ז‬ऱီᤚ֮֏෻ᓵ൅Ե᥊ᐙ-֮‫ء‬ऱ໌‫܂‬խΔᇞᦰᐙቝ٦෼ હ৵ऱ࿨ዌΖ. ಃΟ࿯ ࣴ‫ز‬Б‫ݤ‬ᆶ౛ፕ ઔߒֱऄࡉີᆏ‫ڜ‬ඈՂᙇᖗ։ܑൕψ᥊ᐙ-֮‫ء‬ωࡉψᕩီω ΔՈ༉ਢൕ‫܂‬঴ ࡉ෻ᓵࠟଡ૿‫ٻ‬ऱ։࣫൶ಘሁஉ‫נ‬࿇Ζ ΋ǵឪቹ-Ўҁ ֮‫ء‬ऱᄗ࢚‫נ‬෼‫ ڇ‬1960 ‫זڣ‬৵ཚΔᙟ৵‫ګ‬੡৵෼‫ૹז‬૞‫ޅ‬ေᄗ࢚Ζψ֮‫ء‬ω ΰtextα‫ז‬।ԫଡრᆠऱ़ၴࡉ֮֏ኔᔌጻ࿮ऱ໱഑Δ௽ܑൎᓳᇭᤩᇞᦰࡉሀ֮ ‫֏֮ء‬ऱრᆠΖ28ᢅᥞ֣௽‫ڇ‬Іൕ‫܂‬঴֮ࠩ‫ء‬Їԫ֮༼ࠩψ֮‫ء‬ωፖψ‫܂‬঴ωऱ ೴։Δᎁ੡‫܂‬঴ਢ๯ࡳᆠ੡ढٙऱ෼ွ।૿Δ֮۟࣍‫ء‬ঞ๯ᎁ੡ਢԫଡֱऄᖂՂ ऱ੒೯Ꮖ഑Δਢ‫ط‬፿ߢዌ‫ګ‬ऱࢼွ़ၴΔ‫ڇڶ׽‬ᔹᦰ੒೯խթ‫אױ‬տԵ᧯ᄎΖ‫ڂ‬ ‫ء֮ڼ‬ਢԫٙ‫ࠓٽ‬Ա‫ृᦰࡉृ܂‬ऱ‫܂‬঴Δࠀ‫׊‬ឆ៲ᐖऑऱषᄎ֮֏௽ࢤΖ֮‫ء‬ᄎ լឰ‫ٌچ‬៣‫س‬ขΔ‫ٵ‬ԫ֮‫ࢨء‬լ‫ٵ‬౧࿮Հऱฆᔆ֮‫ء‬Δ࢖‫ڼ‬ၴᄎข‫س‬յ֮ᐳᚰΔ ᖿ࿇‫נ‬ᄅऱ‫־‬क़Δ‫ڼڂ‬ٚ۶֮‫ء‬ຟ‫ܶץ‬ԱٌՐኙᇩऱյ֮ࢤΰintertexualityα Δ༉ 28. ֮‫ء‬ΰtextαऱᨠ࢚Δ‫܌ط‬๙࿭ᆳ৑ΰJulia Kristevaαࡉ֣௽༼‫נ‬Ζ‫ش‬ψ֮‫ء‬ωऱᄗ࢚࠷‫ז‬ψ‫܂‬ ঴ωΰworkαΔൎᓳ֮‫ء‬ऱᇞᦰ്Ժ໌ທԱԫଡ‫سڶ‬ขࢤऱ़ၴΔ‫ڇृᦰڼڂ‬ᇙᙰᓭ‫س‬Δ‫ڼڇ‬հ ছऱ‫ޅ‬ေຟᛩ៥ထ‫ृ܂‬ፖ‫܂‬঴ऱᣂএΖ 10.

(15) ‫֣ڕ‬௽ࢬߢ֮‫ء‬ਢψ΋ঁӭࡋ‫ޜ‬໔ǴҗӚᅿߚচബ‫ޑ܄‬ЎӷҬᙃǵናᔐǵᑼӝǶ ЎҁࢂவคኧЎϯύЈ஥ٰ‫ޑ‬ЇЎጓᙃ‫ނ‬ȐtissueȑωΖ29 ‫ڇ‬ፂ‫ڍ܌‬Ԧਹ௅ऱ໌‫܂‬ᖵ࿓խΔ᥊ᐙፖ֮‫ڗ‬ऱࠀᆜԫऴਢ‫ૹה‬૞ऱ।෼֫ ऄΖਹ௅མ༼ࠩψ΋૓த‫ޑـ‬ឪቹᆶЎӷ٠࿼ၮҔ൩Ⴝࢂϕ࣬๏ϒਣࢎǴ٬ҔЎ ӷѐຑፕቹႽǴ‫ٯ‬ӵ๏ϒ΋٤ᚐѦ‫ૻޑ‬৲ᇥܴ೭٤ቹႽ‫ޑ‬৖Ңϣ৒Ǵ‫ޣ܈‬ҔቹႽ ٰှញЎҁǵᇥ΋ঁࡺ٣ωΖ30ኙ‫הڼ‬ᇢቹᣌ៿ຍႈ‫ګ‬๵Δ֘᠏ຍጟᑑᄷΔ࿇ൺ ᐙቝࡉ֮‫ڗ‬հၴࢬ൅ࠐ്Ժऱ‫ױ‬౨ࢤΖਹ௅‫ ڇ‬1976-1984 ‫ڣ‬ၴऱ໌‫܂‬ΔঁፋႃԱ ‫ٺ‬ᣊ֧֮Δૹᐊࢨ‫ޏ‬ᒳ֮‫ڗ‬Δࢨආ‫ش‬ฝᆜΕᕩᜍΕப‫ش‬ऱᐙቝᒳඈֱ‫ڤ‬Δٌյਐ ௫ฆᔆ֮‫ء‬Δ‫ڶ‬՛ᎅΕᐖ‫֮ܫ‬ூΕৄؑᖵ‫׾‬Ε壄壀։࣫ூࠏΕແਲᓵ૪Εᢌ๬‫׾‬Ε ሽᐙΕ壀ᇩ࿛Δჸ಻ထৄؑಖᙕࡉ֤უᒳᖄऱ᥊ᐙᐙቝΔٌᙑઠ༺஼ᐊΕյઌᇭ ᤩΔሂๅ‫נ‬ધኔ᥊ᐙࡉႚอඖࠃऱ౧࿮Ζ‫ۖڂ‬࿝ृᇢൕ֮‫ء‬෻ᓵΕյ֮։࣫ऱߡ ৫Δಾኙਹ௅‫ך‬የյ֮ࢤऱߓ٨᥊ᐙ-֮‫ء‬ၞ۩ᔹᦰΔཚৱᖿ࿇‫ڍޓ‬ցऱಘᓵፖ ኙᇩ़ၴΖ31 ‫ڇۖڂ‬รԫຝٝψ᥊ᐙ-֮‫ء‬ωΔආ‫ش‬ψ֮‫ࢤء‬ω ΰtextualityαࡉψյ֮ࢤω ΰintertexualityαऱ‫ޅ‬ေᄗ࢚Δᇞᦰਹ௅ऱ᥊ᐙࡉ֮‫ࠀڗ‬ᆜऱߓ٨໌‫܂‬Δലࠡီ ‫܂‬რᆠ‫ૹڍ‬յ௫Ε‫אױ‬լឰิ‫ٽ‬ΕࣈᇞΕᔹᦰऱψ᥊ᐙ-֮‫ء‬ωΰphoto-textαΖൕ ሀ֮֏ΕઌյኙᇩΕᇭᤩऱߡ৫Δଷᛀࠡխऱᓤᠧฆᔆ֮‫ء‬౧࿮ࡉࠡ‫ה‬ኙᚨထ໌ ‫܂‬ऱ෻ᓵ஼ᐊΔ։࣫ਹ௅ऱ෻ᓵ஼ᐊፖ໌‫܂‬հၴऱኙᇩᣂএΔ‫֗א‬ᨠ઎֮‫ڗ‬ፖ᥊ ᐙᐙቝၴऱઌਠ஁၏Δ‫ڕ‬۶൅ᏆᨠृၞԵ‫׼‬ԫଡ؆໱़ၴΖࠀ‫׊‬൶ߒਹ௅‫ڕ‬۶‫ܓ‬ ‫ش‬ψ᥊ᐙ-֮‫ء‬ωኙᐙቝΕࢤܑΕᦞԺऱᨠ઎༼‫ܒޅנ‬Δ‫ڕ‬۶ല壄壀։࣫‫ڤ‬ऱီ ᤚ෻ᓵ൅ԵᐙቝऱኔᔌΖ. 29. Roland Barthes, Stephen Heath trans, “The Death of the Author”, Image-Music-Text, London : Fontana, 1977, p. 146. 30 Victor Burgin, Between, Oxford: Basil Blackwell, 1986, p. 57. 31 յ֮ࢤΰintertexualityαਐࠟଡࢨࠟଡ‫א‬Ղ֮‫ء‬ၴ࿇‫س‬ऱᣂএΔრᆠ࢓࢓ਢ‫ڇ‬ፖࠡ‫ٌء֮ה‬յ ೶ᅃΕਐ௫ऱመ࿓խ㶷‫س‬Ζኣ੢ᘏᒳထΔπᣂ᝶ဲ 200–֮ᖂፖ‫ޅ‬ေઔߒऱຏ‫ဲش‬ნᒳρΔ‫ק؀‬Κ ຽ‫ض‬Δ2003Δ଄ 145Ζ‫֮ءڇ‬խঞਢൎᓳլጥਢ۶ጟᐙቝࢨ֮‫ء‬ຟլ‫ࠉ׽‬ᘸ۞աΔՈࠉᘸࠡ‫ה‬ᐙ ቝࡉ֮‫ࢬء‬᥋൅ऱრᆠΖ 11.

(16) ‫א֮ء‬Հല։ܑൕψৄؑ໱ནωࡉψ֤უ໱ནωࠟጟᣊীऱಘᓵ‫נ‬࿇Ζ ψৄؑ໱ནωਢਹ௅࠹ᝮছ࢓ᑛભৄؑள۩໌‫܂‬ΔࣁՀऱધኔ᥊ᐙΔॵ‫ࢨף‬ ᦤ‫ٱ‬Ղ֮‫ڗ‬Δ္ᎅထᣂ़࣍ၴಖᖋΕᅝ‫ؑৄז‬ᆖ᧭ࡉኙࢤܑΕᦞԺ࿛რᢝ‫ݮ‬ኪᨠ ઎ऱ‫ܒޅ‬Ζ‫ڼ‬ຝٝ‫܂‬঴‫ץ‬ਔ‫ך‬የฤᇆയᒘऱπ૎ഏ 76ρΰUK 76, 11panels, each 40×60 inches, 1976α Εࡷ‫ྤڕ‬რᢝऱள࿓հπભഏ 77ρ ΰUS 77, 12 panels, each 40×60 inches, 1977α Εᣂ࣍ਹࣥऱৄؑ༅ߢհπ೯ढႼ 78ρ ΰZoo 78, 8 diptychs, each 32×36 inches, 1978α Εೠ൶ৄؑᨋᏒፖಖᖋऱπ‫࣓ߺڇ‬ρ ΰIn Lyon , 3 triptychs, each panel 20×26 inches, 1980α Ε‫ך‬የᖵ‫׾‬ಖᖋፖৄؑᆖ᧭უቝऱπ‫ڇ‬௑ᅗᘭ‫܄‬ρ ΰIn Grenoble, English vertion, 5 panels, each 20×24 inches, 1981α Ζಾኙຍքٙߓ٨‫܂‬঴Δ‫֮ء‬ᇢ ထൕਹ௅ደሏृ౳ऱီມΔၞ۩ৄؑ᥊ᐙ-֮‫ء‬ऱյ֮։࣫Ζ ψ֤უ໱ནωঞਢਹ௅ப‫ش‬ΕᒳᖄΕิ‫ٽ‬Εဠᚵԫଡ‫ڕ‬ኄቼ౳਋၀ऱਚࠃ໱ ནΔԫலॵ‫ף‬Ղኄᦕ౳ऱ֮‫ڗ‬ΔᑓᚵྤრᢝΕኄቼࡉ֤უऱᐥඨᒳ៣Ζ‫ڼ‬ຝٝ‫܂‬ ঴‫ץ‬ਔ‫ؗא‬੖ْᐚ壄壀։֮࣫ᖂ‫܂‬঴ઌᣂհՖࢤ‫ڗټ‬੡‫ټ‬ऱπ௑ࢮᆳ৑ρ ΰGradiva,7 panels, each 20×24 inches,1982αΕπ჋ࣥ֐ࠅρΰOlympia, 2 triptychs, each panel 20×24 inches,1982α Ε πं໲ࠅρ ΰPortia, height 20 inches,1984α Ζᝫ‫ࠌڶ‬ ‫ش‬ኄՠ‫܂‬ऱᕩᜍࡉฝᆜऱီᤚ।෼Δ‫ܧ‬෼֤უፖྤრᢝٌ៣ऱᐥඨ໱ནհπࢮ‫ں‬ ள塢ρ ΰHôtel Latône, 20 panels, each 20×24 inches,1983α Ε‫֗א‬ப‫ش‬ሽᐙࡉᢌ๬‫׾‬ ਐ௫ऱπᖯρΰThe Bridge, each panels 30 inches in height,1984αΔնٙߓ٨‫܂‬঴Ζ ‫ڼڇ‬ຝ։ᇢൕ‫ؗ‬੖ْᐚऱ壄壀։࣫ᄗ࢚ࡉ֮‫ء‬Δᇞᦰᐙቝᨠ઎ऱྤრᢝᐋ૿Ζ‫א‬ Ղຍࠟጟ઎‫ۿ‬૮ฆᣊীऱ᥊ᐙ-֮‫ء‬Δຟጹጹᛩ៥ထᅝ‫سז‬੒ൣቼࡉီᤚ֮֏Δ ࢬ।᥻ऱრᢝ‫ݮ‬ኪΔ‫ܒޅ‬Գᣊฤᇆ৬ዌದऱᨠ઎ᐙቝᑓ‫ࡉڤ‬ᐥඨੌ೯Ζ. 12.

(17) ΒǵᏉຎ൑ඳ รԲຝ։ψᕩီ໱ནωΔঞᇢൕψᕩီω֮֏෻ᓵऱߡ৫༼‫נ‬ᇭᤩΖ ଈ٣Δᕩီऱᄗ࢚๯᤭૪࣍ီᤚ֮֏ᅝխΔ‫׌‬૞ᎅࣔᨠ઎ऱᣂএ‫ڕ‬۶๯‫ܧ‬ ෼Δᕩီᄗ࢚ᘋದፖੌ۩‫׌‬૞ᇿ৵෼‫ז‬෻ᓵ‫֗א‬षᄎ෻ᓵऱઔߒ‫ڶ‬ᣂΖൕ 1960 ‫זڣ‬ऄഏᖂृແਲऱ֧‫ش‬ᎅࣔψྤࢬլ‫ڇ‬ωऱᦞԺီᒵΕࢮࡽऱᢴቝၸ੄։࣫‫׌‬ ᧯ᎁ‫ٵ‬Δࠩ 1970 ‫זڣ‬Ֆࢤ‫׌‬ᆠ壄壀։࣫ൕီᤚ٦෼൶ಘࢤܑ஁ฆऱᨠ઎Ζψᕩ ီωᎅࣔԫጟຘመ‫ה‬Գሒࠩ۞‫ݺ‬የߩፖᎁ‫ٵ‬ऱᨠ઎ᐥඨΔࠡխ઎ፖ๯઎ऱᣂএΔ ຘ᥻լኙ࿛ऱᦞԺᣂএΖ32 ီᤚᢌ๬‫܂‬੡ԫጟᄗ࢚ऱᄮຏΔਹ௅ऱࠟጟᣊী᥊ᐙ-֮‫ء‬Δլጥਢᅝ‫ৄז‬ ؑ‫س‬੒໱ནࢨᒳ៣ྤრᢝ֤უߓ٨᥊ᐙ-֮‫ء‬Δຟ௫֗Աᐙቝᨠ઎ऱփ৬ᖲࠫΖ ൕषᄎᣂএࠩ壄壀ᐋ૿‫ٻ‬փ൶ߒᐙቝ‫ګس‬ऱ࿨ዌΔຍՈ‫ګ‬੡ਹ௅۞աᗑ௽ऱ৵෼ ‫ז‬᥊ᐙ෻ᓵΖ‫֮ءڇڼڂ‬խආ‫ࠟش‬ጟψᕩီω ΰgazeαऱᄗ࢚Ё։ܑਢ壄壀։࣫ ‫ࡉڤ‬ແਲ‫ڤ‬ऱᨠ઎෻ᓵΔࠐ༴ᢄΕࡳ‫ۯ‬ᨠ઎ီᤚᢌ๬ऱመ࿓Δ൶ߒࣁ᥊ृΕ๯᥊ ृΕᨠ઎ृऱᕩီહ৵‫܉‬የ൳ࠫΕवᢝΕᦞԺΕᐥඨऱ࿨ዌΔ‫ڕ֗א‬۶ኙᚨਹ௅ ኙ࣍᥊ᐙ෻ᓵऱ઎ऄࡉ‫܂‬঴ऱኔᔌΖ ൕ壄壀։࣫ऱߡ৫Δऄഏ壄壀։࣫ᖂृࢮࡽΰJacques Lacanα‫ڇ‬ψᢴቝၸ੄ω ऱ։࣫խΔᎅࠩᅝ᚛৘૿ኙ۞‫ݺ‬ऱᢴቝΔᄎ࿇୶‫נ‬ԫጟუቝऱᕩီΔၞۖኙᚨ৬ ዌ‫ݺ۞נ‬რᢝΔྥۖຍଡ۞‫ݺ‬ऱ‫ګݮ‬ਢԫጟᎄᢝΔਢԫଡฆ֏ऱመ࿓Δ‫ڂ‬੡‫ڼ‬ழ ऱ۞‫ݺ‬ਢຘመԫଡ‫ך‬የ‫ृה‬ณ٠ऱ໱഑Δլឰ೶ᅃထ‫ה‬Գऱ‫ݮ‬ွࡉᨠរΔࠐ৬‫م‬ ದᎁ‫ٵ‬ᣂএΔࠀ‫׊‬ข‫س‬ψ٬Ծρག᝺ଆٰࢂзΓᅈཀ‫ޑ‬ǵॶளང‫ޑ‬ω33ऱ۞᧐֤ უΔ‫א‬ሒࠩ۞‫ݺ‬ऱ‫ݙ‬ᖞࢤፖ۞‫ࢤ׌‬Ζ34 32. Margaret Olin, “Gaze”, in Robert S. Nelson and Richard Shiff ed. , Critical Terms for Art History, The University Of Chicago Press, 2003, pp. 325-329. 33 Jacques Lacan, Jacques-Alain Miller ed. , Alan Sheridan trans.The Four Fundamental Concepts of Psycho-Analysis, , New York and London : Norton & Company, 1978, p. 257. 34 ᢴቝၸ੄ਢਐքࠩԼԶଡִՕऱ᚛৘‫ڇ‬ᢴছऱ֘ᚨΖຍଡழཚऱ᚛৘ᝫ‫ࠠآ‬ໂᗑ‫۩م‬೯ऱ౨ ԺΔ‫ڇה‬ᢴছॣ‫ࠩߠڻ‬Ա۞աऱᐙቝΔߠࠩԱ۞ա‫ݙ‬ᖞऱ ᧯Δၲࡨ‫ီش‬ᤚ‫װ‬৬ዌΕუቝ۞‫ݺ‬Δ 13.

(18) ࢮࡽ‫ش‬ᢴቝၸ੄ࠐᎅࣔ۞‫ݺ‬ऱ‫ݮ‬ွਢ‫ڕ‬۶๯‫ה‬Գऱᕩီࢬ৬ዌެࡳΔ‫ה‬ᎅࠩ ψᏉຎӧຎ᝺‫ޑ‬ሦୱϐѦǴԶ‫߾ך‬೏ᢀ࣮Ǵཀࡘࢂ‫ࢂך‬΋൯კႽ……ӧനు‫څ‬ǵ ຎ᝺‫ޑ‬ቫԛǴΏࢂೀӧნѦ‫ޑ‬Ꮙຎࣚ‫ۓ‬Α‫ך‬ωΖ35ຘመ‫ृה‬ऱณᅪࡉฤᇆሎ‫܂‬Δ ᖂ฾‫ृהش‬઎ৱΕᎁᢝ۞աऱֱ‫ࠐڤ‬઎ৱΕᎁᢝ۞աΔᤛ࿇۞‫ݺ‬ኙ۞‫ݺ‬෻უᎁ‫ٵ‬ ऱუቝΔၞۖᝬԵ፿ߢွᐛၸ੄Ζຍᎅ‫נ‬Ա‫᧯׌‬ፖ‫ृה‬ऱ৬ዌᣂএխΔუቝऱᕩ ီࢬ‫ފ‬ዝऱૹ૞ߡ‫ۥ‬Ζࢮࡽ‫ ڇ‬1978 ‫נڣ‬ठऱπ壄壀։࣫ऱ؄ଡഗ‫ء‬ᨠ࢚ρ36ΰThe Four Fundamental Concepts of Psycho-analysisαԫ஼խΔ٦‫ࣔڻ‬ᒔലψᕩီωࡳ ᆠ੡۞‫ृהࡉݺ‬հၴऱਬጟᢴਠᣂএΔψᕩီωլ‫׽‬ਢ‫૿ڗ‬Ղࢬ‫ܧ‬෼ऱΚ๯‫ה‬Գ ઎ࠩΕࢨࣹီܑԳऱრ৸ΔՈਢ๯‫ה‬Գऱီມࢬᐙ᥼Δԫጟᐥඨ‫୴ދ‬ऱणኪΖ37 ࢮࡽᎅࠩψ‫ـ࣮ך‬д‫҅ޣ‬ӧ࣮‫ך‬Ǵ೭ኬ‫ޑ‬Єགྷᆶᇤ᛽Ǵ٬‫ך‬ஒ೭ঁд‫ޑޣ‬Ꮙຎϣ ϯǴᡂԋԾρჹࡑԾρ‫ޑ‬БԄǴ٩ྣགྷႽձΓᢀ࣮‫ޑך‬БԄǴ࣮ࡑԾρǵऊ‫״‬Ծ ρǶགྷႽ‫ޑ‬Ꮙຎឦ‫ܭ‬д‫ޣ‬Ǵ‫ॺך‬όᘐӦଞჹ჆Юǵό‫ى‬ϐೀ‫׫‬৔གྷႽǴ၂კၲ‫ډ‬ ֹ᏾Ǵ‫ॺך‬ኅఈ๱ǴགྷႽ൩ࢂటఈ‫ޑ‬ЍኖǴԖᜢཀ᛽ࠠᄊ‫ޑ‬གྷႽаϷຝቻд‫ޑޣ‬ ៾࠶ωΖ38ᅝ۞‫ݺ‬ຘመຍᑌऱუቝേኟ‫׊ࠀڇژ‬٦෼ΔᕩီࡉᦞԺঁ൓‫ګݮא‬Ζ ᧠ࢮ๕᜺ΰLaura Mulveyαലࢮࡽऱ෻ᓵղ‫א‬ឩ‫ך‬Δ‫ڇ‬Іီᤚ‫ݶ‬ტፖඖࠃሽ ᐙЇΰVisual Pleasure and Narrative Cinemaαԫ֮༼‫ࢤߊנ‬ᕩီऱ෻ᓵΖ‫ش֧ڔ‬ ‫ؗ‬੖ْᐚऱ⿄໊ൣ࿨ࡉࢮࡽऱᢴቝၸ੄ᄗ࢚Δᎅࣔਬࠄᨠ઎ऱழࠥΔ‫إ‬ਢषᄎ৬ ዌ‫ܑࢤࡉࢤ᧯׌‬რᢝ‫ګݮ‬ऱᣂ᝶Ζ༼‫ڇנ‬ሽᐙխऱՖࢤ‫ݮ‬ွਢ๯ߊࢤऱψᕩီω ࢬ৬ዌЁᗨᄕ‫چ‬ᗭီΰvoyeurismαࡉ᧐ढ‫ڤ‬ऱီᤚ‫ݶ‬ტΰfetishistic scopophiliaαΖ 39. რ࠺ထՖࢤ๯ড়᧯֏ࠀ‫׊‬ႉൕ࣍൳ࠫፖ‫࡛ړ‬ऱᕩီհՀ40Δข‫נس‬ψζΓࢂቹ. ᢴቝၸ੄ਢԫଡᣂ᝶ࢤऱᎁवၸ੄Ζ᚛৘ຏመኙᢴխऱᐙቝऱᎁ‫ٵ‬Δॣ‫ޡ‬ኙ۞աऱ ᧯༳༽Աԫ ଡ‫ݙ‬ᖞऱტᤚΖ‫܀‬،ਢԫψუቝऱωၸ੄Δᄎ‫໊⿄ڂ‬ऱஎ᥈ທ‫ࢆࢍْګ‬ཎൣ࿨ऱ࿨‫ۖޔ‬ၞԵՀԫ ଡψ፿ߢऱωၸ੄Ζ(ߠ Jacques Lacan, Ecrits : A Selection, New York : Norton, 1977, pp. 1-7.) 35 Jacques Lacan, EcritsΚA Selection, New York : Norton, 1977, p. 106. 36 Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, Jacques-Alain Miller ed. , Alan Sheridan trans. , New York and London : Norton & Company, 1978. 37 ኣ੢ᘏᒳထΔπᣂ᝶ဲ 200–֮ᖂፖ‫ޅ‬ေઔߒऱຏ‫ဲش‬ნᒳρΔ‫ק؀‬Κຽ‫ض‬Δ2003Δ଄ 122Ζ 38 Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, Jacques-Alain Miller ed. , Alan Sheridan trans. , New York and London : Norton & Company, 1978, p. 195. 39 Laura Mulvey, Visual and Other Pleasures, New York : Macmillan, 1989, pp. 14-26. 40 Ibid. p. 16. 14.

(19) ႽǴ‫ت‬ΓЬᏤຎጕω41ΔߊࢤЯ‫׌‬೯ΕՖࢤЯ๯೯ऱࢤܑ௃ਮΖ42ຍᦞԺऱ୶෼ ‫إ‬ਢ‫ᦞ׀‬षᄎྤრᢝࢬਮዌದऱᕩီΔ‫ ڕإ‬John Berger ᨠኘֱ۫ᢄ྽ႚอࡉ෼ ‫ז‬ᐖ‫ܫ‬Δᎅ‫נ‬Ֆࢤψᢀ࣮Ծ‫ي‬ӵӕ೏࣮ω ΰWomen watch themselves being looked atα 43. ऱ࿨ዌΔኙᚨਹ௅‫ڇ‬᥊ᐙ-֮‫ء‬խࠥრႿທऱՖࢤЁ๯ᨠ઎ଫ๯൳ࠫऱኙွΖ 壄壀։࣫ऱψᕩီωਢൎᓳࢤܑ஁ฆΕषᄎ፿ߢီᤚ৬ዌࡉྤრᢝฉᇾΖۖ. ແਲΰMichel Foucaultαঞਢൕֱ۫௽ࡳᖵ‫׾‬խΔ࿇෼Գᣊ‫᧯׌‬ਢຘመਜ୶ԫጟ षᄎᦞԺऱᕩီΔᆖ‫ط‬௽ࡳषᄎ໱഑৬ዌۖ‫ګ‬Ζ‫֮ءۖڂ‬ᇢቹຑ࿨ແਲࡉ壄壀։ ࣫‫ڤ‬ऱᕩီᄗ࢚Δ൷‫ٽ‬षᄎፖ‫ݮ᧯׌‬ዌऱᨠ઎ᖲࠫΖ ແਲ‫ڇ‬πᜯ‫ݩ‬᠔ᖂऱᓭ‫س‬ρΰThe Birth of The Clinicαࡉπ๵ಝፖᡕፆΚ጑ ጂऱᓭ‫س‬ρΰDiscipline and Punishαࠟ‫ء‬஼խଳ़࣫ၴΕ᠔᛭ፖᡕፆ᧯ࠫΔᎅࣔ ຍࠄլ‫᧯ࠠױ‬஦኷ऱࠃढΔຟ‫ط៶אױ‬ψᕩီωຍጟီᤚ֏ऱ৬ࠫመ࿓Δᆖመ‫׌‬ ᧯ࡉ٦෼հၴլឰ‫چ‬յઌ೶ᅃΕᓳᖞΕᔞᚨΔലࠡ᧢‫ګ‬ԫଡ‫ױ‬༳༽ऱড়᧯ढٙΔ ጹയ‫چ‬๵ᒤԳᣊߪ᧯Ε۩੡ࡉ٦෼Ζ‫ڇ‬ແਲऱᓵ૪ࢍՀΔψᕩီω༉‫ٵڕ‬ԫጟპ ᨠऱᦞԺΔထ‫ټ‬ऱࠏ՗ਢ‫ڇ‬π๵ಝፖᡕፆρխΔແਲಘᓵԫጟᡕፆᖲࠫᄎᨃႉࣚ ऱߪ᧯ਢ࠹ࠩ۞աऱ๵ಝΖ‫ط៶ה‬։࣫٤ན཈ီΰthe panopticonα጑ጂ৬ᗰΔᎅ ࣔ२‫ז‬ਙࢌᖲࠫ‫ڕ‬۶ຘመ‫ߠױ‬ፖլ‫ߠױ‬ऱ๻ૠࡉྤࢬլ‫ڇ‬ऱψᕩီωΔਜ୶‫֭נ‬ ಻ࢤऱ፿ߢΔ‫ݮ‬ႿპᨠᦞԺΖຍጟ጑ጂ़ၴऱ಻ᆜᨃ጑ီፖ๵ಝऱ‫פ‬౨࿇ཀ່Օ யԺΔ‫ڂ‬੡‫ڇ‬጑ጂխऱ‫ح‬Գ๯ኧࢍऱᨠ઎Δথྤऄ‫ڃ‬ᚨ጑ီृऱ‫ؾ‬٠Δۖ጑ီृ ౨ᨠߠԫ֊Δথլ๯ᨠ઎Ζ44‫ڼڂ‬ຍྤ‫ݮ‬ऱᕩီᄎփ֏Ꭾࠥ‫حڇ‬Գ֨խΔᎈ࿇‫ح‬ Գข‫س‬ԫጟრᢝ‫ݮ‬ኪΚ෡ॾ‫ה‬ԫऴ๯጑ီထΔ‫ڼڂ‬ሒࠩ‫ح‬Գऱ۞‫ݺ‬጑൳Δᒔঅᦞ Ժ൓‫۩۞א‬ሎ‫܂‬Ζຍጟီᤚࢤऱະ߽Δ‫ڶ‬ய‫سچ‬ข‫נ‬षᄎ఼‫ݧ‬Δࠀ‫ڼڇ׊‬ແਲ‫ڃ‬ ᚨԱࢮࡽऱუऄΔࢬᘯ‫ृהڇ‬հ഑უቝ‫נ‬৩ᨋ౳ऱᕩီΖ. 41. Ibid. p. 19. Ibid. p. 19. 43 John Berger, Way of Seeing, London : Penguin, 1972, p. 45, 47. 44 Michel Foucault, Discipline and Punish : The Birth of the Prison, New York : Vintage Books, 1995, p. 200.. 42. 15.

(20) ແਲ༼ࠩψᓵ૪ωਢฤᇆፖኔᔌऱຫ૪ߓอΔᓵ૪‫אױ‬ਐ‫ࠃנ‬ढਢ‫ڕ‬۶๯৸ ‫ە‬Ε।૪ΕਮዌΕ٦෼ࡉ۩೯Ζᓵ૪ऱᖙ‫ݮ܂‬Ⴟ‫ڕ੺׈‬۶๯ԱᇞΕࠃढ‫ڕ‬۶࠹಻ ᆜΔၞۖൕຍጟ఼‫ݧ‬խ‫س‬ข‫נ‬Գᣊ‫֗᧯׌‬ኙ࣍۞‫ݺ‬ऱტवΖ45‫ڇڼڂ‬ψᕩီωऱ ٦෼ՀΔီᤚࢤऱᐙቝՈ‫אױ‬ਢԫጟᓵ૪Δ،ᨃչᏖ‫ߠױ‬ΕչᏖլ‫ߠױ‬ΕչᏖ๯ ࣁՀΕչᏖ๯ඍඵΔ‫֗א‬չᏖਢψᐙቝऱᙇᖗωહ৵ሇ៲ऱᦞԺਮዌΔ௽ܑਢߪ ੡ߊࢤᢌ๬୮ऱਹ௅‫ڕ‬۶ૹᄅ৸‫ڇە‬Ֆࢤᐙቝऱ٦෼ംᠲΖ ጵ‫אٽ‬ՂΔ‫ڇ‬รԲຝٝψᕩီ໱ནωΔቫᇢຘመࢮࡽऱᢴቝၸ੄Εྤრᢝ፿ ߢ࿨ዌΕᢅࢮ๕᜺ऱ᧐ढ‫ܑࢤڤ‬ᕩီࡉແਲಘᓵྤࢬլ‫ڇ‬ऱᦞԺᕩီᨠរΔᨠ઎ ᇭᤩਹ௅ࠥრᆖᛜՀऱ᥊ᐙ-֮‫ء‬Δൕৄ֤ؑࠩუ໱ནऱ‫ޓ‬૯Δ‫ܒޅ‬ᐙቝऱᨠ઎ ፖ٦෼Δ൶ߒီᤚऱྤრᢝ፿ߢΔ࿇෼ီᤚ֮֏٦෼ऱఽയΖ. 45. ኣ੢ᘏᒳထΔπᣂ᝶ဲ 200–֮ᖂፖ‫ޅ‬ေઔߒऱຏ‫ဲش‬ნᒳρΔ‫ק؀‬Κຽ‫ض‬Δ2003Δ଄ 84-87Ζ 16.

(21) ಃΒക ឪቹ-Ўҁ Ўҁࢂҥᡏฝ‫ޑ‬Ȑuif!tufsfphsbqijdȑ Ǵࢂᄬᙃр‫ޑ‬Լ౛ǹх֖౦፦ϡ નᆶ౦፦ᢀᗺǴྍ‫ܭ‬Ӛᅿόӕ಄ዸ‫ޑ‬ᐱ੝ಔӝǶ᠐‫ޣ‬ȐӧЎҁύȑǾǾ ࣮‫ډ‬ӭϡǵόёϯऊǵόೱೣԶ౦፦‫ޑ‬ϡનᆶᢀᗺǶ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!ɡᛥើЃ੝57 ! ፂ‫ڍ܌‬Ԧਹ௅ऱ໌‫܂‬ᖵ࿓խΔ᥊ᐙፖ֮‫ء‬ऱࠀᆜԫऴਢ‫ૹה‬૞ऱ।෼֫ऄΖ ‫ ڇ‬1971-76 ‫ڣ‬ၴΔਹ௅༉ၲࡨப‫ֲش‬ൄ‫س‬੒խऱᐖ‫ڤݮܫ‬Δലԫ౳ဩՂࢨᠧ፾Ղ ᆖൄ‫ߠױ‬ऱᐙቝ֮‫ڗ‬࿨ዌΔૹᄅ٦፹࿯ղᄅऱփ୲Ζຍࠄ‫܂‬঴ᣌ៿଺‫ڶ‬ᐖ‫ܫ‬ᐙቝ ฤᒘऱਝࡳಛஒΔ‫ܒޅ‬፿ߢፖቹቝհၴऱᔹᦰ‫ګ‬๵Δ‫֗א‬ᨠृ᜔ਢԫ࠺൷࠹ऱ฾ ክΖਹ௅ല᥊ᐙ-֮‫ء‬ᆜ࣋‫ڇ‬լ‫ٵ‬ऱᛩቼ౧࿮խΔࠏ‫ڕ‬ലೕᇘ‫ګ‬ᐖ‫ܫ‬ऱᨠ࢚ᢌ๬ ࣋ၞᠧ፾଄ၴΕဩሐՂࢨലᐖ‫ܫ‬౳ऱ‫܂‬঴࣋ၞᢌ༔Δ៶‫ڼ‬ᇞዌ‫ܒޅ‬መ৫ऱᇷ‫׌ء‬ ᆠΕᢌ๬ᖲࠫփ؆ऱრᢝ‫ݮ‬ኪΔ‫֗א‬෼‫׌ז‬ᆠထૹ‫ڤݮ‬।૿ऱ壄૎‫׌‬ᆠભᖂΖਹ ௅‫ࠀشܓ‬ᆜԫலऱ֮‫ڗ‬࿇‫נ‬ᢰᒴե௫ΰfringe interferenceαऱᜢଃΔᇢቹ‫ڇ‬ቹ֮ հၴข‫נس‬ᄅऱ࿜ฃრᆠΔ‫ڕ‬ዮዳ౳ཋ࿇‫נ‬ᄅऱ‫ڃ‬ᛯԺၦΖ47 ‫ٵ‬ᑌΔ‫ ڇ‬1976-84 ‫ڣ‬ၴऱৄؑࡉ֤უߓ٨ऱ᥊ᐙ-֮‫ء‬ΔՈਢආ‫ش‬ᐙቝ‫֮ף‬ ‫ڗ‬ऱֱ‫ڤ‬Δ‫ڇ‬ᐙቝԫߡᦤ‫ڇࢨٱ‬ᐙቝ؆ᢰ़‫ػ‬๠ॵ‫ڗ֮ף‬Ζ֮‫ڗ‬ፖᐙቝᆖመ壄യ ‫ڜ‬ඈΔ‫׍‬઎հՀࠀྤ௽௘ऴ൷ᣂᜤΔቝਢኄᦕ౳ឰါሿᅷΔ‫۞ٺ‬ലᦰृ֧‫ٻ‬᎟᎛ ऱ‫ֱה‬Δፖᦰृཚৱ֮‫ࠎ༼ڗ‬ቹቝᎅࣔΔࢨृ༼ࠎٚ۶ಛஒᒵ౉ऱཚඨઌ֘ΔᏁ ૞‫ڍޓ‬ऱ৸ၦթ౨ᇞၲࠡխऱቹ֮ᣂᜤΖ‫ٵڕ‬ਹ௅۞૪Κ ᆶ‫ځ‬ᇥࢂቹႽᆶЎҁ‫ޔޑ‬ௗჹᔈೱ่ǴόӵᇥࢂቹႽཀကೱ่ᆶЎҁཀကೱ ่ϐ໔‫ޑ‬ೱ่ǾǾᜪ՟၃ǴཀကЬाวғӧཀကᆶཀကϐ໔‫ޑ‬όᘐೱ่Ƕ59!. 46. Roland Barthes, Stephen Heath trans, “From Work to Text”, in Image-Music-Text, p. 159. ਹ௅༼ࠩ fringe ֺದ margin ‫ࠠޓ‬੒೯ࢤࡉ‫װ‬խ֨ऱᄗ࢚Δ‫ޓ‬౨ᎅࣔ‫ה‬ሏߨ‫ڇ‬ᢌ๬Εᐖ‫ܫ‬Εધ ᙕΕ෻ᓵ࿛Ꮖ഑ૹᦤհ๠Δኔᔌ֮֏፹ທऱ۩೯ΖVictor Burgin, Between, p. 56. 48 Victor Burgin, Between, p. 82.. 47. 17.

(22) რᆠਢᔹᦰհ৵ऱขढΔ‫܂‬঴ऱᇞᦰലᄎ᠏‫ृᦰٻ‬ଡԳᖵ‫׾‬Εषᄎ֮֏Ε壄壀ᐋ ૿Δ‫ڼڂ‬რᆠᇞᦰਢၲ࣋ऱΔ‫ך‬የ౨೯ࢤΔਹ௅ᎁ੡Ȩ᛬ೌբࠔ‫ک‬౛ፕਜቪ٠ό ૈ࣬٠ፕǴѬࢂќ΋ᅿЎҁ‫ޑ‬ᇙ೷Ǵ᛬ೌ‫ޑ‬ЎҁᗲϿ஥Ԗྎ೯‫ޑ‬໼ӛȩǶ49 ᥊ᐙ-֮‫ء‬Ⴊፋ‫ٺ‬ጟฆᔆ֮‫ء‬Δ༉ቝਹ௅ᎁ੡᥊ᐙᐙቝ‫ڶ‬ԫጟല‫ٺ‬ጟᆖ᧭࿨ ‫ٽ‬ದࠐऱᦅԺΚ ёа஥๏‫ॺך‬΋ᅿӭϡ‫ޑ‬࿶ᡍǴёаஒӚᅿόӕ‫ޑ‬٣‫ܫނ‬ӧӕ΋ቫԛǴόᆅ ࢂғࢲύಒ༾ᅥ٣‫ࢂ܈‬ख़ा٣ҹǾǾ੝ձࢂٗ٤Ӹӧ‫੿ܭ‬ჴғࢲШࣚ࿶ᡍ ‫૶!!!ޑ‬Ꮻ‫ک‬ЄགྷǴΨ҅ࢂ‫ך‬բࠔύനགྷೀ౛‫ޑ‬Ƕ61!! ‫ڇڼڂ‬ຍԫີᆏխΔᇢൕψৄؑωࡉψ֤უωࠟଡᣊীᐋ૿ऱ֮‫ء‬ᔹᦰ։࣫ ‫נ‬࿇Δ൶ߒਹ௅‫ڕ‬۶៶ৄؑᐙቝऱધᙕΔ൶౉ᐙቝऱಖᖋΕრᢝ‫ݮ‬ኪࡉಮ৸Ζ‫א‬ ֗‫הڇ‬ᒳᖄ֤უߓ٨ऱ᥊ᐙહ৵Δ‫ڕ‬۶៶ထᕩᜍΕฝᆜࠐૹᐊᐙቝࡉ֮‫ڗ‬Δ৬ዌ ԫଡྤრᢝऱ壄壀‫੺׈‬Ζ‫ڇ‬ຍࠟጟ઎‫ۿ‬૮ฆᣊীऱ᥊ᐙ-֮‫ء‬ΔࠃኔՂথጹጹᛩ ៥ထਙएΕषᄎΕ֮֏ΕࢤܑΕᖵ‫׾‬Ε֨෻壄壀੒೯࿛ΔԳᣊฤᇆ৬ዌದऱᨠ઎ ᐙቝᑓ‫ྤࡉڤ‬რᢝऱᐥඨੌ೯Ζ. 49 50. Victor Burgin, Between, p. 81. Victor Burgin, Between, p. 135. 18.

(23) ಃ΋࿯ ࠤѱ൑ඳ ࠤѱࢂঁፕॊǾǾ‫ॺך‬໻໻җՐӧࠤѱ္य़Ǵӧ‫ځ‬ύᅐ‫؁‬ǵᢀំǴ൩ࢂ ӧፋፕԾρ‫ࠤޑ‬ѱǴፋፕ‫ॺך‬ೀ‫ࠤޑي‬ѱǶ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!ɡᛥើЃ੝62! ৄؑਢଡᓵ૪Δ៶ထԳଚऱᨠ઎ΕધᙕΕಘᓵΕ஼ᐊۖ௬෼Ζۖ᥊ᐙԫऴਢ ધᙕΕ‫ڃ‬ᖋԫஆৄؑऱ່ࠋຜஉΔࠃኔՂৄؑࡉ᥊ᐙऱ࿇୶‫ڶ‬ထയ֊ऱᣂএΖ1839 ‫ڣ‬ऄഏԳሒ።ዿ࿇ࣔ᥊ᐙऱ‫ٵ‬ழΔՈਢֱ۫षᄎၲࡨᆖᖵ෼‫ז‬ຟؑ֏ऱழཚΔ᥊ ᐙऱᓭ‫س‬ፖ෼‫ؑৄז‬༓‫׏‬ਢമࡎ‫ڤ‬ऱઌሖΔ᥊ᐙಖᙕԱᅝழ᠏᧢խऱৄؑ૿ᎎࡉ ৄؑԳऱ‫س‬੒ᑓ‫ڤ‬Ε֨෻णኪΔԫଡ෼‫ࢤז‬᠏᧢խऱᖵ‫׾‬໱ནΖ52 ‫ڼ‬؆Δ᥊ᐙऱᨠ઎ᆖ᧭Ո᧯෼Աԫጟ෼‫ࢤז‬ऱటኔᆖ᧭Ζ෼‫سؑৄז‬੒ऱီ ᤚᆖ᧭Δࠏ‫ݶڕ‬ຒΕሂ೯Εຑጿլ࿪ऱੌ೯ԳᑪΔֱ‫ٻ‬ტऱᙑ႖ጹ്Δ᜗ဎ੠‫ؾ‬ ᤌณऱტࡴࠨᖿࡉᎈ༝Δᙑᆵٌᠧ‫ڕ‬೪ᙀ౳ऱ‫ٱ‬ွΖᐚഏषᄎᖂ୮ Simmel ‫୲ݮ‬ ຍპ‫ݎ‬ტ࠹Δቝਢψ‫ז‬ೲᙯඤ࣬ௗ‫ޑ‬ቹႽǴᕓ໔΋ᑂ‫ޑ‬ύᘐৡ౦ག‫ڙ‬Ǵ‫ک‬όයԶ ၶ‫ئޑ‬ਗ਼‫ڈ‬ᐟǵཀѦགωΖ53ຍጟ෼‫ࢤז‬ऱৄؑ‫س‬੒ᆖ᧭Δઌᅝ၀२ৄؑ᥊ᐙࢬ ൅ࠐ‫ڍ‬ᑌტ࠹Δ᥊ᐙ٦෼ՀऱৄؑΔ‫ך‬የழၴ़ၴᚘᜍՀऱຒ৫ტΔ༉ቝं௽ဒ ዿൕଡԳᆖ᧭᧯ஔࠩ෼‫ࢤז‬༉ਢመྀऱ᠏‫މ‬Εᛳၴऱ࿍ᑉΕጅᅷऱೝྥΖ54෼‫ז‬ ࢤ൅ࠐ‫ݶڕ‬ᅃ౳ೂ೯ऱ‫ٱ‬ွଅནΔՈቝఄႁࣔ࿝Հᘜ‫ٽ‬Ա෗ᠧΕᅷါΕ࿍ᑉࡉ‫ך‬ የᔼ᧫ΰshockαࠨᖿऱᛳၴಖᖋΖྥۖຍጟტࡴ᧢֏Ոᖿ࿇ԱԳᣊळ‫ؾ‬ಳ‫ޣ‬ᐥ. 51. Roland Barthes, “Semiology and the Urban”, 1986, in M. Gottdiener & Alexandros Ph. Lagopoulos eds. , The City and the Sign : An Introduction to Urban Semiotics. New York : Columbia University Press. ‫᤟ؖݳ׆‬ΔІฤᇆᖂፖຟؑЇΔ π़ၴऱ֮֏‫ڤݮ‬ፖषᄎ෻ᓵᦰ‫ء‬ρ Δ‫ק؀‬Κ֮ࣔ஼‫ݝ‬Δ1994Δ ଄ 533Ζ 52 ᥽ᙖΔπৄؑ।ൣΚԲԼ‫׈‬ધຟؑᐙቝρΔ‫ۂ‬ᤕԳ‫נا‬ठषΔ2003Δ଄ 5Ζ 53 ψthe rapid telescoping of changing images, pronounced differences within what is grasped in a glance, and the unexpectedness of violent stimuliωin Georg Simmel, “The Metropolis and Mental Life”, On Individuality and Social Forms, Donald Levine ed. , Chicago: University of Chicago Press, 1971, p.325. 54 ं௽ဒዿΔພ‫᤟ڜݛ‬Δπ1846 ‫ڣ‬ऱ‫ޥ‬ᚊρΔெࣥΚᐖ۫ஃՕΔ2002Δ଄ 424Ζ 19.

(24) ඨऱᑨ౨Δࡉ۞‫߻ݺ‬ᓡঅᥨհՀऱ຾ֵტࡉ؈ᖋ఑Ζ55ۖຍጟৄؑఐᐛΕ֮ࣔ఑ ଢᆢ‫ٵ‬ᑌՈ‫נ‬෼‫ؑৄڇ‬᥊ᐙ‫׾‬ᅝխΖ ᥊ᐙ༉ቝਢԫ૿ᢴࢨ࿗Δ֘ਠ۞ߪࢨ༼ࠎԱլ‫ٵ‬ऱ૿‫֊ٻ‬Եᨠ઎෼‫ؑৄז‬Δ ൕৄؑ᥊ᐙ‫׾‬խ઎ߠৄؑऱ᧢֏ᘋಐΕឆയߡᆵΕભᣝፖ঩ღΔ෼‫ؑৄז‬༓‫׏‬ਢ ຘመ،۞աऱᐙቝԱᇞ۞աΖۖຍैৄؑધኔଅᑪऴࠩ 1960Ε70 ‫זڣ‬ሒࠩ೏୽Δ ᙟထՕฒႚ໾Εሽီऱ࿇ࣔཏ֗Δৄؑ᥊ᐙၲࡨߨ‫׼ٻ‬ԫጟધᙕհ؆ऱ৸‫ە‬ኔ ᔌΖ56 ਹ௅‫ ڇ‬1976-1981 ‫ڣ‬ၴຬᥛ࿇।Աߓ٨‫ؑৄא‬੡‫׌‬ᠲऱ᥊ᐙ-֮‫ء‬Ёπ૎ഏ 76ρ Ε πભഏ 77ρ Ε π೯ढႼ 78ρ Ε π‫࣓ߺڇ‬ρ Ε π‫ڇ‬௑೬ᘭ‫܄‬ρ Ζຍࠄ‫܂‬঴ऱփ୲ਢਹ ௅࠹ᝮሏߨᑛભ‫ࣁࢬچٺ‬᥊ऱৄؑધኔ᥊ᐙΔࠀ䖗‫ףॵࢨٱ‬Ղ֮‫ء֮ڗ‬Ζ‫ה‬ᝩၲ Աԫ౳ᨠ٠ড়ᕩီऱནរΕሁᒵΔ‫װ‬༈‫ߡؑৄބ‬ᆵऱಖᖋΕԳᣊ٥‫ٵ‬ऱൣቼΖ‫ڇ‬ ‫ה‬壄ᄷऱ᥊ᐙ‫ݾ‬๬ՀΔ‫נ‬෼൅‫ڶ‬ધኔଅ௑ऱৄؑ໱ནΖլ‫࣍ٵ‬໢ొऱધኔᐙቝΔ ਹ௅‫ڇ‬᥊ᐙ-֮‫ء‬խઠ༺ထᨠ࢚ࢤऱ֮‫ڗ‬ඖ૪Δኙਠ۞‫ݺ‬෻ᇞΕਉൺࢤܑᨠ઎ऱ ஁ฆࡉषᄎ‫ܒޅ‬ऱီມΖਹ௅ߪ੡ԫଡᅝ‫ཾז‬ड࣍‫چٺ੺׈‬ऱᢌ๬୮Δ਍ᥛ‫چ‬ள ۩ฝᆜΕᣂᅃᅝ‫ؑৄז‬ᢰᒴൣቼΔ‫ה‬ऱ᥊ᐙ-֮‫ء‬।ሒኙ࣍ᐙቝ‫੺׈‬ऱ‫ܒޅ‬Δ‫ڇ‬ ߨߨೖೖհၴΔ៶֮‫ࢼڗ‬ᠦ‫נ‬უቝፖటઌΕᣌ៿֭಻ࢤऱᦞԺᕩီΖ. ୘ࠔࠤѱǺȠम୯ 76ȡ ৄؑ‫ךߪء‬የԱԳᣊൣቼऱ‫ࢤᦰױ‬Δԫஆৄؑ༉ቝਢԳᣊ‫੺׈‬ऱᜍᐙΖᢅᥞ ֣௽‫ڇ‬ІฤᇆᖂፖຟؑЇ(Semiology and the Urban)ԫ֮ᎅࠩԳᣊऱ़ၴਢ墌༄ რᆠऱΔ‫ה‬࿝Հऱψ壀ᇩᖂω༉ીԺ࿇ൺࠀᇞᦰৄؑᇙ‫ٺ‬ጟฤᇆΔඊၲᐋᐋಮ৸Δ ሐ‫נ‬ψৄؑ‫ء֮ڕ‬ωऱᔹᦰఽയΖ57‫ߓؑৄڇ‬٨ऱ᥊ᐙ-֮‫ء‬խΔਹ௅‫ؑৄא‬໱ན 55. Graeme Gilloch, Myth and Metropolis: Walter Benjamin and the City, Cambridge: Polity, 1996, pp. 18-19. 56 ˚̅˸̇˶˻˸́ʳ˚˴̅́˸̅ʿʳ˗˼̆˴̃̃˸˴̅˼́˺ʳ˪˼̇́˸̆̆ˍʳ˖˻˴́˺˸ʳ˼́ʳ̇˻˸ʳ̇̊˸́̇˼˸̇˻ˀ˶˸́̇̈̅̌ʳ˔̀˸̅˼˶˴́ʿʳ˧˻˸ʳ˝̂˻́ʳ˛̂̃˾˼́̆ʳ ˨́˼̉˸̅̆˼̇̌ʳˣ̅˸̆̆ʿʳ˅˃˃ˆˁ 57 Roland Barthes, “Semiology and the Urban”, 1986, in M. Gottdiener & Alexandros Ph. Lagopoulos eds. , The City and the Sign : An Introduction to Urban Semiotics. New York : Columbia University 20.

(25) ‫܂‬੡ࠡᢌ๬ኔᔌऱ໱഑Δࠌ‫ش‬᥊ᐙᐙቝ໌ທԫଡխտऱ़ၴΕ৬ᗰԱԫଡ઎൓ߠ ऱৄؑ‫چ‬ནΔࠀ‫׊‬஼ᐊਉൺឆ៲‫ؑৄڇ‬।ွહ৵ऱฤᒘΕᐥඨࡉ༅ߢΖ ఄႁࣔ(Walter Benjamin)‫ڇ‬Іᖲඳᓤ፹ழ‫ז‬ऱᢌ๬‫܂‬঴ЇᇙΔ༼ࠩॳ௽ໃ ΰEugène Atget, 1857-1927αࣁ᥊ऱ֣ᕟဩᙰΔቝਢ‫ح‬ᆞ෼໱ԫᑌΚ߷ࠄఎՀ‫ح‬ ᆞᒵ౉Εढᢞऱᅃׂࠠ‫ڶ‬ԫጟឆയऱਙएრᆠΖ58ఄႁࣔਐ‫נ‬᥊ᐙऱ༅ߢ‫ݾ‬๬Δ ୶‫ق‬ԫଡԳᣊۚณլ౨઎ߠऱาᆏΔᨃ෼ኔᛳၴ෼‫ݮ଺נ‬Δ᥊ᐙऱᓤ፹‫ݾ‬๬‫ߪء‬ ༉ެࡳຍጟᢌ๬‫ڤݮ‬༿᥻ࠃኔऱਙएრᆠΖఄႁࣔᝫᎅࠩ᥊ᐙᄎലৄؑ।૿֊ ၲΔ୶෼ढᔆ೸঴‫ڕ‬۶֏‫ګ‬ᐒᏹΔᡜ᥻Գፖ೸঴ऱงᠦणኪΔԫ‫הڕ‬ᇭᤩं௽ဒ ዿऱ෼‫ז‬ᇣΔ֘ਠऱ‫ݶ‬ຒ᧢֏ՀऱৄؑནᨠΔ‫ݼ‬ᤜᇷ‫׌ء‬ᆠऱ‫س‬ขֱ‫ނڤ‬Գ‫ޔ‬ᗻ ‫ڇ‬ᣤ௑ऱषᄎ։ՠհխΔࢬ‫ࠃڶ‬ढຟ๯೸঴‫ݮ‬ွࢬ‫ޔ‬ᗻΕࠀ‫ࠉ׊‬ᅃ೸঴Ꮭଖ‫װ‬ေ ឰԫ֊Δֲൄ‫س‬੒խऱԳᎾյ೯ຟዶຘထٌ࣐ऱᣂএΖ59ۖຍᑌऱ෼‫ז‬ൣቼ‫إ‬ਢ π૎ഏ 76ρ᥊ᐙ-֮‫ࢬء‬૞‫ܒޅ‬ऱΖ π૎ഏ 76ρ ΰUK76α60ߓ٨ឆ໧ࢤ‫ܒޅچ‬ᅝ‫ז‬ᇷ‫׌ء‬ᆠषᄎऱؑ໱᧤ᙀΖ61ଈ ٣Δቹ 3-1 ਢࣁ᥊ԫଡ៬ᔹᠧ፾ऱՖࢤહᐙΔ‫ڇإڔ‬ᨠ઎ᠧ፾փ଄խԫ‫ۯ‬ભᣝՖ ࢤऱߪᐙΔჸ಻Ղԫ੄ඖࠃ֮‫ڗ‬Δψ᝾ჸ࣮๱ࡂϣ‫ޑ‬ζηϖΜϩϩដǴӧื߻Ӵ ҅೏΋ၰआՅ‫ޑ‬Ӏ‫ྣؽ‬৔Ǵ٠ऀ๱΋ҹեૅ΢Պ‫ک‬଎գဵ……ቶ֋‫ک‬ᇨൽϐ ໔ωΖ62ൕ֮‫ء֮ڗ‬խ൓वᤞኘ‫ڇإ‬ೢᗭࡉ጑ီԫ‫ۯ‬ՖԳΔኙᅃ᥊ᐙխऱՖԳ‫إ‬ Press. ‫᤟ؖݳ׆‬ΔІฤᇆᖂፖຟؑЇΔ π़ၴऱ֮֏‫ڤݮ‬ፖषᄎ෻ᓵᦰ‫ء‬ρ Δ‫ק؀‬Κ֮ࣔ஼‫ݝ‬Δ1994Ζ Walter BenjaminΔ๺ጽੳ᤟Δ τᖲඳᓤ፹ழ‫ז‬ऱᢌ๬‫܂‬঴υ Δ π०‫ٻ‬ᨋ٠௣ຓऱ‫זڣ‬ρ Δ‫ק؀‬Κ‫؀‬ ᨜᥊ᐙՠ‫܂‬৛Δ1999Δ଄ 69-70Ζ 59 Walter BenjaminΔ്‫ࣟڳ‬Εᠿ֮‫᤟س‬Δ π࿇ሒᇷ‫׌ء‬ᆠழ‫ז‬ऱ‫އ‬ൣᇣԳΚᓵं௽ဒዿρΔ‫ק؀‬Κ ᜭᢜΔ2002Δ଄ 221-225Ζ 60 ਹ௅‫ ڇ‬1976 ‫ڣ‬㻽ഏ୮ष೴࿇୶ૠ྽ࡉՠ‫ܽ܂‬ΰnational community development project and Coventry workshopαࢬၞ۩ऱૠ྽Δࣁ᥊ॵ२ऱՠᐗΔ‫܂‬੡‫ע‬ढࢨ֮ٙࠌ‫ش‬Ζ‫ףڣٵ‬Ղ֮‫ڗ‬৵Δ ‫ڇ‬଩ཉᢌ༔ΰLondon galleryα୶‫נ‬Δ٥Լԫ്᥊ᐙ֮‫ء‬Ζ 61 མ֟ՏΔІፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ─֮‫ء‬Κৄؑደሏፖ‫ֱچ‬ᨋࢤЇΔ଄ 57Ζ 62 ଺֮੡ψPolice who watched a woman's home for fifty minutes saw her illuminated by a red light in the window dressed in a low-cut top and a mini-skirt. Mr. Justice Boreham said that if anyone had been asked : What is that young lady doing in that get-up and in that light? the clear answer would have been : She is soliciting. Lord Widgery said he thought that the magistrates had misdirected themselves on the law by thinking they had to choose between advertising and soliciting.ωఄႁࣔ‫ڇ‬ಘᓵ෼‫ࢤז‬ ழΔ༼ࠩՕৄؑऱມ᨟णኪΔࠀ‫֧׊‬૪ᎅࠩψࠢীऱᄕᦞഏ୮Δᤞኘࡉൎ࿋ਢ᥋֫‫܂ٽ‬ऱω Δຍ ᣊ‫ۿ‬ແਲ࿝Հऱ։࣫Δ‫س‬੒խࠩ๠ዶຘထ጑ီऱᦞԺณᅪΖWalter BenjaminΔ്‫ࣟڳ‬Εᠿ֮‫᤟س‬Δ. 58. 21.

(26) ‫ڇ‬ᨠ઎ԫঞᐖ‫ܫ‬ΔࢨृԫଡભᣝՖԳऱᐙቝΔ‫ٵ׏ۿ‬ᑌᎅထီᤚᐙቝࠠ‫ڶ‬ᖿ࿇෡ ᐋუቝࡉ඿ඨऱ౨ԺΔࠀ‫׊‬ᄆ‫ق‬ထ෼‫ז‬Գኙ೸঴ᐖ‫ܫ‬ᐙቝऱശਈ֨෻Δ।෼‫נ‬ԫ ጟ෡ະΕާಮΔലᐖ‫ܫ‬Ⴟທऱભ‫ݮړ‬ွᅝ‫܂‬ਢ۞‫ݺ‬ᎁ‫ٵ‬ऱՠࠠΔլឰփ֏ऱ࿨࣠ ൅ࠐ௣၄ऱ‫ַྤة‬ቼΖቹ 3-2 ࣁ᥊ԫ‫ڇۯ‬ᢴছઠထփ۪Εᠨ֫ࢮထᘟ՗ऱՖࢤߪ ᐙΔ֮‫္ء֮ڗ‬ᎅຍਢଡ‫׽‬ᄎլឰᓤ፹ၸ్ऱषᄎΔȨࢌ΋໘ቫ‫ޑ‬Γॺ೏ॐр፤ Ծρ‫ٮ‬ѱ൑‫܌‬ሡǴ೏ॐவ٣‫཮ޗ‬ᒪక‫ޑ‬πբǴ……೏ॐख़ፄ೦ጁԶୌᆙဈ஥ȩ Ƕ63. ቹ 3-1ΚUK 76, 40×60. ቹ 3-2ΚUK 76, 40×60. ቹ 3-3ΚUK 76, 40×60. inches, 1976. inches, 1976. inches, 1976. ೸঴ৄؑਢ‫ش‬෻ࢤૠጩऱຄኞ‫੺׈‬Δᝑߒ‫ݾ‬౨։ՠΕറᄐ֏Εߓอ֏Εᑑᄷ ֏Δઌᅝֆ‫إ‬থՈ‫ܐ‬ᎩྤൣΖ࣍ਢࢬ‫ڶ‬ऱࠃढຟ‫אױ‬๯֏પ‫ګ‬੡ጩ๬ംᠲΔ壄ᒔ լܶᒫऱዶຘࠩ‫س‬੒ᇙऱ‫ٺ‬ጟᣂএխΔຍ༉ቝఄႁࣔᨠኘᇷ‫׌ء‬ᆠՀ೸঴ሎ‫܂‬ऱ ᧤ᙀᄎࠌԳऱტᤚխᑐࡹൕ࣍ԫጟᓤᠧऱಝᒭΔԫ‫܌್ڕ‬ཎ‫୲ݮ‬ՠᐗ‫س‬ขᒵऱฆ ֏໱૿ψӧҔᐒᏔπբ‫ޑ‬ਔংǴπΓॺᏢ཮Αፓ᏾Ծρ‫୏ޑ‬բǴаߡӕ΋ᅿԾ୏ ϯ‫ޑ‬಍΋‫ک܄‬όଶྂ‫୏ޑ‬բߥ࡭΋ठω Ε ψǾ٠ߚࢂπΓ٬Ҕമ୏π‫ڀ‬ǴԶࢂമ୏ π‫ڀ‬٬ҔΓω Ζ64ຍጟᄅऱषᄎᣂএፖመ‫۞װ‬࿯۞ߩΕ໌ທ‫س‬ขऱႚอ֫ՠᄐΰ‫ڕ‬ ቹ 3-3α Δ൅ࠐኲྥլ‫ٵ‬ऱ‫ࡎس‬णኪΔ‫ء֮ڗ֮ڕإ‬ऱᑑᠲψ‫ױ‬ᔾऱ๻ૠω൅ࠐऱ ༼ംΔߒຶୌԫጟ‫س‬ขֱ‫ڤ‬թ౨൅ࠐ෻უऱ঴ᔆঅᢞΛ. π࿇ሒᇷ‫׌ء‬ᆠழ‫ז‬ऱ‫އ‬ൣᇣԳΚᓵं௽ဒዿρΔ‫ק؀‬ΚᜭᢜΔ2002Δ଄ 220Ζ ଺֮੡ψWHAT ARE YOU GETTING UP TO? There is a whole class of people compelled to rent themselves on the market to those willing to hire them, who are compelled to do all society's unwanted work, on pain of starvation, whose only role in production is that of ancillary tools, whose production is organised for waste to create profits for a few , who are compelled to reproduce their own continued poverty, who are being asked to tighten their belts.ω៬᤟ආ۞མ֟ՏΔІፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ─֮ ‫ء‬Κৄؑደሏፖ‫ֱچ‬ᨋࢤЇΔ଄ 59Ζ 64 ್‫܌‬ཎΔ πᇷ‫ء‬ᓵρ ΔਹࣥΔ1932Δ଄ 404Δ402Ζ‫گ‬Ե‫ ڇ‬Walter BenjaminΔ്‫᤟ࣟڳ‬Δ π࿇ሒᇷ ‫׌ء‬ᆠழ‫ז‬ऱ‫އ‬ൣᇣԳρΔ‫ק؀‬ΚᜭᢜΔ2002Δ଄ 222Ζ 63. 22.

(27) ቹ 3-4ΚUK 76, 40×60. ቹ 3-5ΚUK 76, 40×60. ቹ 3-6ΚUK 76, 40×60. inches, 1976. inches, 1976. inches, 1976. ᇷ‫׌ء‬ᆠՀऱ௣၄ؑ໱᧤ᙀΔ‫׍‬઎հՀᖑ‫ڶ‬๺‫ط۞ڍ‬ᙇᖗऱᦞ‫ܓ‬Δ‫ࠡ܀‬ኔ‫ޢ‬ ԫጟᙇᖗຟ‫ך‬የওૻΔؑ໱Ղ‫ך‬የრᢝ‫ݮ‬ኪऱᐖ‫ܫ‬ᐙቝլឰ‫چ‬੡ՕฒੑᆰΔ༉ቝ ᖏ໱౳‫׌‬୬ΕࠫપԱ௣၄ृऱൣტࡉრ‫ݳ‬Ζߪະ‫ܓפ‬༛ᛩऱԳᣊΔࢭ࠹ထᣄ‫א‬၌ ။ऱྤԺტΔࠀ‫ګ‬༉Աᣄ‫א‬।ሒऱે༠Δ༉ቝਹ௅ࣁ᥊ԫ‫ۯ‬Ֆࢤ‫ڇ‬၌్ؑ໱‫گ‬Ꭼ ‫؀‬ছΔ૿ྤ।ൣ‫چ‬࿛ৱඈၷ࿨െΰቹ 3-4αΔ֮‫ء֮ڗ‬ᐊထǴȨдӵӕ୘ࠔҢΓǴ Ψᒿ๱‫ٮ‬ሡচ߾ຑሽдΓǶऩд‫ঁޑ‬Γࠔ፦όᄣᎍǴд߾‫ׯ‬ᡂࠔ፦Ƕ……д‫ޕ‬ၰ ӧ‫ޑॺך‬ຬѱ‫္཮ޗ‬Ǵд‫ޑ‬Κໆ೏গღԶԋࣁѱ൑‫ޑ‬Γ፦ǴԶѱ൑‫ޑ‬๓ᡂ߾ࢂд Ӹӧሽॶ‫ޑ‬നಖቩղ‫ޣ‬ȩǶ65षᄎ఼‫ݧ‬৬ዌԫ୚ਗᙇΕෟޮऱሎ‫܂‬࿓‫ݧ‬Δᄎലլ ‫ٽ‬௑ऱᐒ঴ଵೈΔኙլᔞᚨऱመᐞΕ‫٭‬঴ࢼᛀࡉ‫گڃ‬ՀਮΔ෼‫ז‬षᄎ༉ቝਢԫය Գᣊᗴᙇऱ‫س‬ขᒵΔԳՈ‫ګ‬੡ᑑᄷ֏ΕৱᏝۖࣿऱྤଡࢤ೸঴Δ‫ڂ‬੡ଡԳऱؑ໱ Ꮭଖࢨ௣၄ΔެࡳଡԳऱᏝଖრᆠࡉ‫ۯ‬ᆜΔࠀ‫׊‬௣၄֫੄Ո‫ګ‬੡۞‫ڇژݺ‬ऱ‫ؾ‬ ऱΖྥۖ‫ڶ‬ழଢ௣၄ࡉ፹ທ‫ٵ‬ᑌࠌԳ຾ᅤΔൕԫ്ࣁ᥊޳߫፹ທՠᐗൣቼऱᅃׂ խ‫᧯ױ‬ᄎΰቹ 3-5α Δԫඈ೏్޳߫‫س‬ขᒵࡉԫඈଏଈՠ‫܂‬ऱ޳߫ՠԳΔહ৵޳߫ 65. ଺֮੡ψCUT THE COST OF LIVING. He presents himself as the goods and values others to the extent, they are in demand. If his personal qualities aren't selling well, he changes them. Smart man. He knows his value is not made up of qualities and abilities, he actually has, but by his success in a competitive market, with ever-changing conditions. Super man. He knows that in our super market society even his own powers are taken from him to become hostages in the market-place whose caprices are the final judges of his value.ω៬᤟ආ۞མ֟ՏΔІፂ‫ڍ܌‬Θਹ௅ऱ᥊ᐙ─֮‫ء‬Κৄؑ ደሏፖ‫ֱچ‬ᨋࢤЇΔ଄ 57-59Ζ‫א‬Ղࠟ੄֮‫ء֮ڗ‬ΰု 19Ε20α Δፖ್‫܌‬৸ಘᓵฆ֏ऱࡎᠲ‫ڶ‬ᣂΔ ‫ࠐش‬༴૪໎೯ृ‫ࠢײڇ‬ᇷ‫׌ء‬ᆠषᄎऱ‫ࡎس‬णኪΚ໎೯ृྤऄፖ۞աऱ໎೯ࡉ໎೯ข঴ᖞ‫ٽ‬Δࠀ ‫׊‬໎೯ृऱ໎೯ࡉ໎೯ข঴ਢᗑ‫࣍م‬໎೯ृհ؆Δཛထ໎೯ृઌᑅኙऱֱ‫ٻ‬᠏֏ऱመ࿓ΔᖄીԳ ऱ‫س‬੒๯۞աࢬ໌ທऱࠃढ൳֭ࠫ಻ΔԳ๯ড়᧯֏Ζ‫ݺڼڂ‬ଚᄎ઎ࠩ‫ࢬء֮ڗ֮੄ࠟڕ‬༴૪ऱԳ ᣊणኪΚԳ‫ڇژ‬ऱᏝଖፖ೸঴‫ٵ‬ᆠΔࠀࠉ‫ڼ‬༛ᛩΕૹᓤຆᒡΖ೶‫ ە‬Karl MarxΔْ௧‫᤟ڙ‬ΔІᖄ ᦰЇΔπ1844 ‫ڣ‬ᆖᛎᖂୃᖂ֫ᒚρ Δழ໴Δ1990Ζ‫ڼ‬؆ൕ್‫܌‬৸ऱ೸঴ਈढඒΔലढ঴ശ೏֏ऱ ᄗ࢚Δࠩ᧠ࢮ๕᜺։࣫ߊࢤ᧐ढ‫ڤ‬ऱᕩီΔᨠ઎ቹ 3-4 ‫ח‬ԳᜤუࠩՖࢤ‫ڇ‬ᇷ‫׌ء‬ᆠؑ໱Δࡷ‫ڕ‬೸ ঴౳๯‫נץؚ‬ഇΖઌᣂಘᓵߠ Victor Burgin, “Perverse Space”, In/Different Spaces: Place and Memory in Visual Culture, University of California Press, 1996, p. 67. 23.