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）构建艺术规约的理论体系，我们将艺术的审美机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）在证据质疑以及将歧义确立为意义生产手段层面的运作逻辑，我们选取由路易斯·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样本——该序列是超现实主义主体立场的典型代表。在上述序列中，通过荒诞元素的浮现，“幻影”与“自由”的语义内涵回应了审美艺术话语所特有的多元性，这种多元性正是在审美话语构型中生成的；即便在释义过程中，多义性仍占据主导地位。