達利的「偏執狂批判」研究

Abstract

理性主義主宰著西方人文思維體系，致使與理性主義所牴觸的情感面向不斷地被遏止壓抑，過於單一化的價值判斷，使人類文明面臨窒礙難行的危機；法國革命的時代背景下應運而生的浪漫主義，代表著解放幾世紀以來所否定的情感、所不見容的多元意念。

異於常人思考或舉止怪異的藝術家、創作者，外界常以瘋狂的原罪加諸其上，而精神分析看待瘋狂並非是負面的，達利更假借瘋狂作為自身創作的核心意念，發展「偏執狂批判」方法，別於超現實主義團體的自動技法，全然以意識主導，一旦所見影像卻又受到情感的衝擊，就會扭曲實際的物像，以相應於「內在模式」。在意像創造的同時，達利著重於詮釋文本的書寫，企圖將其物像偏執聯想的過程合理化，這合理化的依據並非是理性邏輯，而是感性直覺。

筆者自達利生命史與創作表現觀察到，一九二九年達利提出的「偏執狂批判」方法，作為其創作觀念與實踐技法，達利終生創作一以貫之，其創作文本卻呈現超時空的豐富性。無論是影像的原創性與複製性、多重閱讀影像的可能性、大眾文化滲透潛意識，或是對陰性異質的推崇，玩味神聖與褻瀆的一體兩面，達利的「偏執狂批判」創作，不能再以二分思維判定現代性或後現代性，達利將其「力比多」不斷擴延，持續吸納各時代的哲思精華，直覺選擇生活中的影像，轉換並體現於跨領域創作中，造就達利無所不在的藝術成就。As Rationalism has dominated human thoughts in the West for centuries, this leads to the ceaseless repression upon sensations, contradictory to rationalism, to the simplification of value judgments, to the crisis of the human civilization. Born of the French Revolution, Romanticism represents the liberation of the negated emotions for centuries, and of the intolerant multiple ideologies.

The public often regards the artists, who think unusually or behave eccentrically, as the insane. However, the madness isn’t negatively valued in the psychoanalytic studies; moreover, Salvador Dalí employs the madness as the core concept of his own creations, and develops the ‘paranoiac-critical’ method. Differed from the automatism of the Surrealist group, Dalí allows his conscious to predominate during creation. Once the visible image is affected by sensations, the actual image will be distorted to accord with the ‘inner model’. While the image is making, Dalí emphasizes on the writing of interpretive texts, and intends to reason the process of associating paranoiaclly with the image. This reasoning is not based on rationality and logics, but on sensations and intuitions.

From Dalí’s life history and creation expression, the author observes that the ‘Paranoiac-Critical’ method which Dalí brought up in 1929 as his creation idea and the practical technique has been continuously employed in Dalí’s lifetime creations. In his creation texts, it can be found the intention that Dalí has to transcend the third dimension. In Dalí’s art are also reviewed the issues on the originality and the duplication of the images, the multiple possibilities of image reading, the immersion of mass culture into human unconscious, or the high valuation to the femininity and the heterogeneity, and the play on the sacred /the profane. Therefore, Dalí’s ‘ Paranoiac-Criticism’ cannot be judged according to the dualism as the modernity or the postmodernity any more. Dalí overflows constantly his ‘libido’, continues to absorb the philosophical elites of all times, and selects intuitionally the images in the daily life, converting and embodying them in his interdisciplinary creations, accomplishing Dalí’s ubiquitous artistic achievement.