本研究旨在就 Bakhtin「時空型」概念的視覺語藝意識與實踐進行初探性的理論溯源和理論重構。首先，透過釐清 Barthes 的視覺語藝觀，本研究將勾勒出圖文競合性、符號系統性，以及對話互動性等視覺語藝特定的時空性。其次，有鑑於 Barthes 的結構主義觀點無法確切掌握視覺語藝的時空性，本研究將改從Bakhtin 的「時空型」概念出發，嘗試歸納演繹出其視覺語藝意識為「從文字到圖像的意義拋物線」、「從循序到失速的符號系統性」、「從在地到全球的意識形態環境（ideological environment）」等三點。2014 年台北同志遊行的主視覺圖像如何實踐時空型的視覺語藝意識以重塑替代性的意識形態環境，則在相當程度上提供了適切的例說。

This paper aims to elaborate the visual rhetorical consciousness of Mikhail Bakhtin’sconcept of “chronotope” via theoretical problematization and theoretical reconstruction. First, it attempts to outline Barthes perspective on visual rhetoric and its time-space category by referring to the concurrent word-image, the symbolic systematicity, the outer dialogicity. Second, an alternative approach is explored for grasping the dynamics and functions of visual rhetoric by articulating Mikhail Bakhtin’s concept of “chronotope.” Furthermore, its visual rhetorical consciousness could be identified as “the meaning parabola which projects from word to image,” “the symbolic system which proceeds from sequence to disorder,” “the ideological environment which struggles from the local to the global.” Last but not least, primary vision of the 2014 Taipei LGBT parade would be analyzed preliminarily to evaluate the effectiveness and persuasiveness embodied by specific visual rhetorical strategies. How Bakhtin’s concept of “chronotope” to explain the potential or possible ideological struggle deployed by visual rhetoric might be interpreted empirically and extensively.