革命的表述方法－以《壹玖壹壹：從鴉片戰爭到軍閥混戰的百年攝影史》為中心

Ways of Representing Revolution: A Study Focusing on China in Revolution: The Road to 1911

10.29425/JHIEA.201606_(10).0012

李瀟雨(Li Xiao-yu)

晚清攝影 ； 革命 ； 屈辱感 ； 歷史敘述 ； 意義改寫 ； Late Qing Photography ； revolution ； humiliation ； history narrating ； meaning adapted

東亞觀念史集刊

10期（2016 / 06 / 01）

271+273 - 317

繁體中文

二十世紀中國革命實踐的落潮，使「革命」從昔日的現實問題變成當代大眾傳播結構下的文化政治命題，而這一變化也直接使得「如何向大眾敘述革命」、「以什麼為原則和材料來組織革命敘事」、「怎樣普及被重構的革命意義」成為關鍵問題。本文以2011 年出版的攝影集《壹玖壹壹：從鴉片戰爭到軍閥混戰的百年攝影史》為例，考察通俗領域中文化產品論述辛亥革命的策略，探討在這類以晚清外國攝影師所拍的戰爭圖片作為材料的歷史論述中，編者如何通過構建文字解釋體系、篩選影像、並改寫其意義滿足新的主題要求。這種文化政治學的視野對於我們理解「後革命」時代的革命論述邏輯，把握歷史敘述、知識結構、文字與影像四者之間的複雜關係，具有重要的現實意義。

Revolution, a political reality in China in the 20th century, now becomes a cultural-political topic under the contemporary’s communicational framework. Under such circumstances, the most crucial question on revolution lies in its description logic, material organization and the method of presentation to the public. This article focuses on the photography album China in Revolution: The Road to 1911, investigating how Xinhai Revolution was represented in a vernacular cultural sphere, and discussing how the war photography shot by the foreigners in late- Qing was used as raw materials to construct the meta-historical definition of revolution, as well as how to produce the new themes by constructing the literary discussion structure, selecting photos and rewriting their original meaning. This cultural-political analysis could help us to understand the revolution narration in the post-revolution era and the complex relationship among history narration, knowledge structure, text description and photography.

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