研究論文

『論雪潤.內夏特作品中的三重隱喻:以其劇情電影《Women Without Men》為探究起點』

2013

吳欣怡、賴雯淑,『論雪潤.內夏特作品中的三重隱喻:以其劇情電影《Women Without
Men》為探究起點』,《藝術評論》(THCI)、第25期,125-159, 2013,台北:國立臺北藝術
大學, ARTS REVIEW, (2013)Taipei National University of the Arts

摘要
本文探討的焦點是藝術家雪潤‧內夏特(Shirin Neshat)作品中的符號及隱喻,採法國思想家
李克爾(Paul Ricoeur)的隱喻論述為方法,以內夏特的劇情電影《Women Without Men》為探
究起點,並將其早期攝影、實驗短片等作品與之並置觀察,透過詮釋學的途徑,對其長期慣用
的視覺符號與其相連性的隱喻意義做一完整的討論與詮釋,進而提出內夏特作品中的三重隱喻
。第一重:內夏特的視覺符號與其影像意義和社會真實之間的相互辯證;第二重:電影隱喻與
現象學的詩性意象之分析;第三重:隱喻真相的揭露。透過不斷往返檢視內夏特作品中的視覺
符號及隱喻,希冀對其隱喻構成有所掌握,並引發對當代伊朗女性處境及伊朗政治社會更多的
討論。

Abstract
This paper investigates the most frequently used visual elements in Shirin Neshat’s works.
Through a close reading of Neshat’s works and a dialogue with hermeneutics on metaphors, Paul
Ricoeur’s ”The Rule of Metaphor” is used as a primary methodology for this study. Discussions in
this paper are taken from a film called “Women Without Men”; as a starting point to describe the
threefold metaphor in Neshat’s works; (1) The visual elements and the evolving dialectic
between the meanings of image and the truth of social network in Neshat’s works. (2) An analysis
of metaphors and a phenomenology of poetic image in films. (3) The uncovering of the
metaphorical truth. Through inspecting Neshat’s visual elements and metaphors, it is the
researchers’ ; attempt to have a better understanding towards how metaphors are represented
and to generate further discussions on Iranian political issues and Iranian women’s rights.