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| Title: | Questions du Figural de l'Hercule Gaulois dans le Champ Fleury (1529)
高盧赫克力士在《繁茂田野》的形象問題
Questions of the Figural of the Gallic Hercules in the Champ Fleury (1529) |
| Authors: | 薛鎵鋐
Hsueh, Chia-hung |
| Contributors: | 外國語文研究 |
| Keywords: | Dilemme figuratif;Renaissance Française;Histoire des théories linguistiques;Histoire culturelle
形象;圖象的模稜兩可;法國文藝復興;語言學理論史;文化史
Figural;Figurative dilemma;French renaissance;History of linguistic theories;Cultural history |
| Date: | 2023-12 |
| Issue Date: | 2024-04-12 11:54:44 (UTC+8) |
| Abstract: | Geoffroy Tory (1480-1533) est le premier Imprimeur royal sous le règne du François I^(er), son Champ fleury (1529) constitue un jalon de la Renaissance française. Dans cet ouvrage qui a pour objet principal la conception de l'orthotypographie, il dessine une figure de l'Hercule gaulois que la postérité considère comme le symbole du monarque français. Ce héros qui, mixte du demi-dieu grecque et de la divinité chtonienne, incarne la filiation de la civilisation classique et de la culture autochtone, provient d'un récit presque fantastique de Lucien de Samosate (ca. 125-ca. 192). La dimension du figural, qui s'impose progressivement dans les domaines des théories de l'image et de l'histoire de l'art, nous permet d'examiner la figurabilité troublante dans le récit de Lucien et les procédés de figuration employés par Tory. Les outils conceptuels tels la «temporalité impure» d'après Georges Didi-Huberman et le «dilemme figuratif» selon Luc Vancheri ont inspiré notre analyse. Cet article consiste à poser des questions sur l'image, et à renouveler le regard de celle-ci, en offrant un autre angle d'attaque historiographique sur le milieu culturel.
托立（Geoffroy Tory，1480－1533）是法蘭索瓦一世治下的首位皇家印刷人（Imprimeur royal），他的《繁茂田野》（Champ fleury, 1529）是法國文藝復興的指標性論著。在這本主要提出印刷字體造型探索的作品中，他繪製一幀後世咸認構成法國君主意象的高盧赫克力士（Hercule gaulois）圖片。這位英雄是希臘半神與高盧冥神的混合體，表徵古典文明與在地原生文化的淵源，其實出自琉善（Lucien de Samosate，約125－約192）一則近乎奇幻的故事。形象（le figural）的維度在晚近影像理論與藝術史研究中逐漸獲得重視，允許我們梳理琉善的敘事中令人不安的可造型性疑問（la figurabilité）與托立的圖象化策略。相關概念工具如迪迪－于貝爾曼（Georges Didi-Huberman）的「不純的時間性」（la temporalité impure）和馮歇里（Luc Vancheri）「圖象的模稜兩可」（le dilemme figuratif），都深具啟發性。本文希望針對圖像提出問題，藉此開展重新觀看的機會，並提供對於文化場域的另一種歷史考察。
Geoffroy Tory (1480-1533) was the first royal printer (Imprimeur royal) under the reign of François Iᵉʳ. His Champ fleury (1529) constitutes a milestone of the French Renaissance. In this work, the main object of which is the conception of orthotypography, he draws a figure of the Gallic Hercules which posterity considers to be a symbol of the French monarch. This hero comes from an almost fantastic story by Lucian of Samosata (ca. 125-ca. 192). He is a mixture of the Greek demi-god and the Gallic chthonic divinity and embodies the filiation of classical civilization and autochthonous culture. The dimension of the figural, which is gradually imposing itself in the fields of theories of image and art history, allows us to examine the disturbing figurability in Lucian’s story and the means of figuration employed by Tory. This article uses conceptual tools such as Georges Didi-Huberman’s “impure temporality” and Luc Vancheri’s “figurative dilemma” to analyze this image. It asks questions about the image and, in renewing its gaze, offers another angle of historiographical attack on its cultural milieu. |
| Relation: | 外國語文研究, 38, 127-160 |
| Data Type: | article |
| DOI 連結: | https://doi.org/10.30404/FLS.202312_(38).0005 |
| DOI: | 10.30404/FLS.202312_(38).0005 |
| Appears in Collections: | [外國語文研究] 期刊論文
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