2013
吳欣怡、賴雯淑，『論雪潤．內夏特作品中的三重隱喻：以其劇情電影《Women Without
Men》為探究起點』，《藝術評論》(THCI)、第25期，125-159, 2013，台北：國立臺北藝術
大學， ARTS REVIEW, (2013)Taipei National University of the Arts
摘要
本文探討的焦點是藝術家雪潤‧內夏特（Shirin Neshat）作品中的符號及隱喻，採法國思想家
李克爾（Paul Ricoeur）的隱喻論述為方法，以內夏特的劇情電影《Women Without Men》為探
究起點，並將其早期攝影、實驗短片等作品與之並置觀察，透過詮釋學的途徑，對其長期慣用
的視覺符號與其相連性的隱喻意義做一完整的討論與詮釋，進而提出內夏特作品中的三重隱喻
。第一重：內夏特的視覺符號與其影像意義和社會真實之間的相互辯證；第二重：電影隱喻與
現象學的詩性意象之分析；第三重：隱喻真相的揭露。透過不斷往返檢視內夏特作品中的視覺
符號及隱喻，希冀對其隱喻構成有所掌握，並引發對當代伊朗女性處境及伊朗政治社會更多的
討論。
Abstract
This paper investigates the most frequently used visual elements in Shirin Neshat’s works.
Through a close reading of Neshat’s works and a dialogue with hermeneutics on metaphors, Paul
Ricoeur’s ”The Rule of Metaphor” is used as a primary methodology for this study. Discussions in
this paper are taken from a film called “Women Without Men”; as a starting point to describe the
threefold metaphor in Neshat’s works; (1) The visual elements and the evolving dialectic
between the meanings of image and the truth of social network in Neshat’s works. (2) An analysis
of metaphors and a phenomenology of poetic image in films. (3) The uncovering of the
metaphorical truth. Through inspecting Neshat’s visual elements and metaphors, it is the
researchers’ ; attempt to have a better understanding towards how metaphors are represented
and to generate further discussions on Iranian political issues and Iranian women’s rights.