現代繪畫中文本性之認知多模態探討

Abstract

本研究透過認知語言學的理論與多模態的分析方法，探索非再現性西洋現代繪畫的文本結構，檢測其中是否存在規律的文法象似性。許多學者將象似性視為極具代表性的文本特徵，為自然語言的重要結構規律之一，存在於多種文類中，包括詩文（Hiraga, 2005）與科學寫作（Halliday, 1990）。美中不足的是，如此重要的文法特徵目前很少在語言以外的模態中討論。為回應理論空缺，我們將多模態的文本納入象似性的認知探討。同時，為補足當前的認知研究甚少系統性分析表述意圖與創作形式皆高度自主、不受限作畫傳統或視覺參照物的現代繪畫，而多聚焦於應用取向、圖文比例較為平均的多模態文類探討，本研究取樣最具代表性的90張非再現性西洋現代繪畫，分為具象、半具象與抽象三組樣本，一一檢驗其象似性結構規律。 我們的模型融合並擴充了Hiraga (2005)與Kress and van Leeuwen (1996)的理論，適於分析繪畫的文本結構，並能涵蓋畫作與畫題的多模態混和(Blending)效應。我們的結果顯示，結構性的象似性 (Diagrammatic Iconicity)貫穿三種風格的繪畫樣本，是所有樣本都共享的文本特徵。我們也發現前人尚未觀察到的現象：在資訊結構的象似度上，非再現性的現代西洋繪畫文本和表達性的語言文本、應用類的多模態文本擁有迥異的規律原則。 本研究的貢獻有二。其一，我們以跨領域方法示範了象似性在視覺化文本中的分析，並證實非再現性西洋現代繪畫殊異於其他較常被討論的視覺化文類。其二，我們找到了繪畫樣本中共享的結構性表徵。以此而論，非再現性西洋現代繪畫文本確實具備高度符合認知規律的文本結構。透過本研究，我們將原本侷限於語言模態的討論與檢測，延伸至高度視覺化的多模態文本中。即使是風格各異、形式自由的前衛藝術類視覺文本，也擁有認知導向的文本性規律。非再現性西洋現代繪畫確實能被視作一種文本性穩定的多模態文類，以象似性為基礎，符合Halliday (1990)所定義的文本真實性。

This study investigates the “textuality” of modern Western paintings from a Cognitive Linguistic viewpoint. We focused on the examination of nonrepresentational Modern Western paintings, ranging from the figurative to the abstract, and studied how these paintings are arranged structurally. Specifically, we would like to see whether iconicity, an essential principle of linguistic grammar, could be found in the selected paintings. To find out, we combined the methodologies by Hiraga (2005) and Kress and van Leeuwen (1996), and proposed a model multimodal in nature. Our results show that principles of Diagrammatic Iconicity, which structurally shape the textual flows of the paintings, are the cognitive principles guiding our selected painting samples. Moreover, it is found that the textuality of nonrepresentational modern Western paintings, which is highly poetically expressive, can be uniquely distinguished from the visual texts previously studied, which are mostly applied and commercial-in-nature. This transdisciplinary thesis therefore highlights how cognitive principles interact with the compositions of multimodal texts. Most importantly, nonrepresentational modern paintings could be cognitively viewed as an entrenched text, “grammatically” arranged by various layers of Iconicity, fulfilling a ‘reality of text’ (Halliday, 1990).