The Study Of Agamben’s Image Theory

Agamben is well-known for his political thoughts.Less attention has been paid to his literary studies in China.And the research on the image theory in his academic studies is even rarer.How does Agamben define images?What ideas are used to cut into its image research?How did his image theory spread out in-depth?Both need to be further described and cleaned up.In contemporary society,how will the problems faced by the image be solved in the environment where the image is located?Are the questions raised by Agamben in his image theory relevant?Is the solution feasible?There is still room for further discussion.This thesis is composed of three parts:introduction,main text,and conclusion.Among them,the main text consists of four chapters,the main contents of which are:The first chapter is to sort out the rich meaning of Agamben’s "image".This sorting will remind us:Agamben’s image theory is a theory from image to image.There is a complementary relationship between image and text signature.From image to video,it is a kind of presentation of culture and history.It is necessary to grasp the theory of imaging by researching multiple disciplines such as mythology,anthropology,psychology,sociology,film research,and media research.Agamben’s theory has been influenced by Abi Warburg,Walter Benjamin,Friedrich Theodore Fisher,Paracelsus,Guy Debord,etc.The second chapter is the analysis of the composition of Agamben’s image theory and its cultural significance.In Agamben’s image theory,images are composed of time and memory.Interpreting the past,present,and future of images helps humans inherit and transcend traditions.Image is a legacy of social memory,and the image is passed on through social memory.The image is originally inanimate,but the combination with people has allowed the image to undergo artificial interpretation and interpretation,infused with human understanding,making the image accompany people’s thoughts and emotions,and reviving the historical memory contained in the image.Bring the image to life.Therefore,images are also a way of human cultural inheritance.The third chapter is a concentrated analysis of the "nymph" as an image.Through careful reading and study of Agamben’s "nymph",we can draw the basic conclusion:the nymph is a kind of spirit in Western mythology,and is also an image and prototype in paintings and literary works.As a symbol of the image,the nymph is a manifestation of the spiritual polarity of the Dionysus in Western civilization.Simultaneously,the fairy also embodied the profound spiritual conflict between humanities and religion in the 15th century.Stripping away the superficial mythological features,the nymph is the most apparent reflection of the historical subject.The fourth chapter discusses the practical significance of Agamben’s video theory in conjunction with the contemporary development of video theory.Agamben’s image theory reminds people:At the beginning of the invention of photography,the different postures of humans in images were the embodiment of vitality.In modern society,images are reduced to consumer displays.At the beginning of the invention of photography,it was considered a sinful technology,which allowed the freedom of artistic creation to return from God to human hands.In a capitalist society,media installations make images a part of community,and media installations capture sinful behaviors to dissolve the overall connection between humans and the whole community.Therefore,for contemporary people,various effective hand gestures must be used to resist the inhibition of sinful behavior by media devices.