THINKING ON ART IN DISCOURSE ANALYSIS: AN ANALYSIS IN THE PHANTOM OF LIBERTY

Abstract In order to think the statute of art based on Discourse Analysis (DA), we undertake the theorizing of the aesthetic regime of arts as Aesthetic Discursive Formation (ADF). To exemplify the functioning of this discursive formation (DF) regarding the questioning of evidences, as well as the establishment of the equivoque as a means of meaning production, we propose the analysis of a sequence from the movie The Phantom of Liberty, written by Luís Buñuel and Jean-Claude Carrière, which is representative of the surrealist subject-position. In the mentioned sequence, through the emergence of absurd, the meanings of phantom and liberty respond to a multiplicity that is characteristic of the aesthetic artistic discourse such as it emerges in the ADF, establishing polysemy as dominant process, even within the paraphrastic processes.

摘要 为基于话语分析（Discourse Analysis，DA）开展艺术规范维度的理论思考，我们将艺术的审美体制理论化为审美话语构型（Aesthetic Discursive Formation，ADF）。为阐释该话语构型（Discursive Formation，DF）在证据质询以及以歧义作为意义生产手段的建构层面的运作逻辑，我们选取路易斯·布努埃尔与让-克洛德·卡里埃尔联合编剧的电影《自由的幻影》中的一段序列作为分析对象——该序列是超现实主义主体立场的典型代表。在上述序列中，通过荒诞元素的呈现，“幻影”与“自由”的语义指向呈现出多重样态，这契合了审美话语构型（ADF）中涌现的艺术审美话语的典型特征；即便在释义过程中，多义性仍作为主导性的意义生成过程得以确立。