摘要
對偶具有均衡、調和與韻律的豐富意涵，卻時常與對稱相提並論，可惜了對偶在視覺設計上異同對照的趣味性。因此本研究利用文學對偶龐大語系的基礎與特色，根據文學對偶所提出的定義與分類，深入瞭解文學對偶的形式與內容，進而找出文學對偶與視覺對偶之間的關聯性，並釐清對偶與對稱的差異。置入Saussure的符號學與雙軸理論、丹麥學者Louis Hjelmslev的符號表達概念與Roland Barthes的意陳作用進行符號轉譯，整理出視覺對偶的轉譯模式，再透過個案的分析，導出視覺對偶的四種表達面形式，包含單圖顛倒、單圖分割、雙圖並置與雙圖鑲嵌，對應正對、反對、串對三種內容面，產出12種視覺對偶的表現類型，進而套用至情侶裝的圖像創作。
並列摘要
Antithesis in rhetoric achieves balance, harmony and rhythm. Unfortunately, it is often confused with "symmetry" and the interest in the echoing and contrasting visual design of antithesis is often lost. In view of which, this research makes an attempt to explore the forms and contents of antithesis in literary rhetoric through studies on the basis and characteristics of the vast applications in literature based on the associated definitions and classifications, identify the connections between antithesis in rhetoric and visual designs, and clarify the differences between antithesis and symmetry. In the studies, theories of several scholars, including Saussure’s semiotics and double articulation theories, Denmarkian scholar Louis Hjelmslev’s glossematics and Roland Barthes’s signification, were devised for semiotic interpretation; through which, we derived a translation model for visual antithesis. Through further case study, we outputted four forms of expression, including reverted single image, dissected single image, parallel double image and embedded double image, which are then linked to three forms of content, right pairing, reversed pairing and streamed pairing, to produce 12 representations of visual antithesis. The final images are then used for the design of apparel for couples.
參考文獻
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延伸閱讀
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