Research On Zhao Xianzhang’s View Of The Relationship Between Image And Literature

In the current ’ media era ’,literature is facing the challenge of modern media.The relationship between literature and image is a realistic problem that must be faced in the field of literary theory research in the current era.Zhao Xianzhang,a researcher of formal aesthetics,is a frontier scholar in the study of the relationship between literature and image in China.Zhao Xianzhang ’s research on the relationship between pictures and texts is based on his formal aesthetics research,and takes it as an extension of formal aesthetics research.Zhao Xianzhang applied his formal aesthetic research principles to his literary theory research,which highlights his literary position as a literary theory researcher.Zhao Xianzhang’s study of the relationship between language and image has formed a relatively complete and systematic theory of the relationship between literature and image,which can be said to be the representative of the study of the relationship between image and text in China.The first chapter of this paper introduces the reason why Zhao Xianzhang’s literary research thought and formal aesthetics research turn to the study of graphic relationship.Combing Zhao Xianzhang ’s theory of formal aesthetics research is helpful to understand the guiding role of his formal aesthetics research on his graphic relationship research.Zhao Xianzhang has been exploring the aesthetic,aesthetic subjectivity and historical balance of literary research on the way of formal aesthetics research,that is,Marxist aesthetic research method.Zhao Xianzhang made it clear that in order to maintain the most basic attributes of literature,literary research must start from specific objects rather than any subjective needs,which gives him a basis for combining semiotics as the main method with phenomenological methods in the study of graphic relations.The study of literary form should find a way out in the philosophical resources of formal aesthetics.The second chapter analyzes the method of Zhao Xianzhang’s literary image theory research,that is,how he focuses on the relationship between language and image from the perspective of the symbolic function and relationship of language and image,and how he can start from the specific work object and transcend the specific work to rise to theoretical research.Zhao Xianzhang focuses on the symbolic function and relationship between language and image.It is the difference in the generation mechanism and meaning of language and image that leads to the different aesthetic pursuit of literary works and paintings,and the two sides achieve irreplaceable achievements in different fields.Directly inspired by Foucault ’s view of language and image,Foucault ’s study of the relationship between language and image goes beyond the problem of ’ representation ’ and goes deep into the philosophical issues of ’presence and absence ’,’ visible and invisible ’,’visible and retellable ’.This is the key to the unprecedented change of the relationship between language and image in the’image era’.The study of Zhao Xianzhang ’s graphic relationship does not avoid this philosophical problem,and can go deep into the underlying philosophical problems from the theoretical analysis of specific objects.The third chapter compares and analyzes the study of the relationship between Zhao Xianzhang and Foucault.Both scholars have studied the relationship between language and image.Both scholars ’ research focused on paintings related to words.Foucault believes that painting and language share the same knowledge in the same period.Zhao Xianzhang’s analysis of the ’ ethical ’ perspective of Chinese painting reveals that the ’ ethical ’ perspective is also the manifestation of the image symbol obeying the traditional Chinese knowledge.Zhao Xianzhang believes that Chinese painting allows ’ invisible ’ existence in the form of blank ’,while Foucault ’s analysis of Manet’s painting is in stark contrast to it.Chinese painting ’Blank ’ maintains the relationship between the freedom of language ’ statement ’ and the content of the image.The relationship between language and image in modern western countries emphasizes the"fracture " between painting and language.This pursuit is undoubtedly influenced by postmodernism which denies the definite meaning and implies the crisis of new language hegemony.Both researchers ’ theories show that the reason why images can be related to text and literature is the ’ image ’ of the image itself and people’s ’ image thinking ’.Compared with images,the advantage of text symbols lies in the imitation of invisible objects.At present,literature should give full play to the advantage of the text itself to imitate the ’ invisible ’ things,and turn to the personal feelings and thoughts of the images.The existence of the image itself is not to compete with the text,but to help the text free itself from the burden of trying to accurately ’ reproduce ’ the ’ memories ’ faced by the narrator,and focus on the transmission of unique thinking itself.