當代視覺藝術隱喻及其意義創造與闡釋：論Hermine Feinstein, Michael Parsons與Dan Serig之觀點

Metaphors in Contemporary Visual Arts and their Meaning Creation and Interpretation–On the Conceptions of Hermine Feinstein, Michael Parsons, and Dan Serig

隱喻在藝術創作與藝術批評扮演關鍵之角色，近年來許多學者皆投入於隱喻之議題，其中Hermine Feinstein, Michael Parsons與Dan Serig是當前此領域之重要學者。基於前述之認識，本文之目的包括四方面：（一）分析Feinstein之視覺藝術隱喻觀點；（二）分析Parsons之視覺藝術隱喻觀點；（三）分析Serig之視覺藝術隱喻觀點；以及（四）提出關於當代視覺藝術隱喻中意義創造與闡釋之考慮。綜合上述三者之觀點，Feinstein主張視覺藝術隱喻即思想之過程與產物，且能產生意義之建構；Parsons提出融合隱喻之功能；Serig強調視覺藝術隱喻即思考與工作過程，含跨領域之闡釋，且衍生性隱喻可創造新意義。基於此，本文提出兩項考慮：其一，相關藝術理論應用之必要性；其二，相關藝術派典應用之必要性。 The metaphor plays a crucial role in art production and art criticism. In recent years, there have been scholars devoted to the issue of metaphor. Hermine Feinstein, Michael Parsons, and Dan Serig are the important ones in the field nowadays. Based on the above-mentioned understanding, the objectives of this article are fourfold: (a) to analyze Feinstein's conception of metaphor in visual arts; (b) to analyze Parsons's conception of metaphor in visual arts; (c) to analyze Serig's conception of metaphor in visual arts; and (d) to provide considerations about the meaning creation and interpretation of metaphor in visual arts. In sum, Feinstein maintains the metaphor in visual arts as process and product of thought, generating meaning construction; Parsons proposes the function of mixed metaphors; Serig emphasizes metaphor as thinking and working process, involving cross-domain interpretations, and generative metaphors to create new meanings. Finally, two considerations are provided as: (a) the necessity of the application of related art theories; and (b) the necessity of the application of related art paradigms.