【摘要】： 本文將依次展開對(duì)鮑曼現(xiàn)代性特征的論述:第一章重點(diǎn)論述知識(shí)分子實(shí)踐,知識(shí)分子作為現(xiàn)代性尤其是作為審美現(xiàn)代性的主體,它在遭遇現(xiàn)代性時(shí)所發(fā)生的角色轉(zhuǎn)換、地位變遷最生動(dòng)地揭示了現(xiàn)代性的有關(guān)特質(zhì),知識(shí)分子從現(xiàn)代性的立法者到后現(xiàn)代性的闡釋者,這個(gè)過程不是絕對(duì)的、干凈利落的。其實(shí),知識(shí)分子始終具有兩種角色,只不過在現(xiàn)代性中,立法者是主角;在后現(xiàn)代性中,闡釋者是主角。 在第二章里,通過展示鮑曼對(duì)大屠殺事件的透視,呈現(xiàn)出現(xiàn)代性潛隱的可能性�，F(xiàn)代性這柄雙刃劍,既能披荊斬棘、開拓進(jìn)步,也能自我損毀,開放出“惡之花”。對(duì)現(xiàn)代性的反思和批判之所以必要,不是來自外部,而是現(xiàn)代性內(nèi)在的需求和召喚。 第三章論述現(xiàn)代性內(nèi)部的矛盾糾結(jié),在后現(xiàn)代的視域中,鮑曼認(rèn)為現(xiàn)代性是變動(dòng)不居的,向未來的無限開放是現(xiàn)代性的本質(zhì)特征,但現(xiàn)代性永遠(yuǎn)是走在路上,永遠(yuǎn)是個(gè)尚未實(shí)現(xiàn)的計(jì)劃,它在解決矛盾的同時(shí)又在創(chuàng)造著自身新的矛盾,即同時(shí)產(chǎn)生著自身的“毒藥”和“解藥”。審美現(xiàn)代性以一種不肯茍且的否定性力量,對(duì)社會(huì)現(xiàn)代性補(bǔ)弊糾偏,實(shí)現(xiàn)后者肯定性的企圖。 第四章,重點(diǎn)論述現(xiàn)代性的流動(dòng)性特征,鮑曼用“液體”來隱喻現(xiàn)代性的流動(dòng)變化,在從沉重的、固態(tài)的現(xiàn)代性到輕靈的液態(tài)的現(xiàn)代性中,有一個(gè)顯著的變化是空間讓位于時(shí)間,即時(shí)間上的瞬時(shí)性和短暫性獲得生存機(jī)遇,成為時(shí)代之主題,而在空間上沉重的“持久性”則失去魅力和價(jià)值。經(jīng)濟(jì)上的這種變化必然會(huì)涉及到人們的社會(huì)心理,也會(huì)直接滲透進(jìn)人們對(duì)文化和文學(xué)的創(chuàng)造與接受過程。
[Abstract]:This paper will discuss the characteristics of Bowman's modernization in turn: the first chapter focuses on the practice of intellectuals, which, as the main body of modernization, especially as the subject of aesthetic modernization, has undergone the transformation of its role in the event of modernization. The status change most vividly reveals the relevant characteristics of modernity. the process of intellectuals from the legislator of modernization to the interpreter of post-modernism is not absolute and clean. In fact, intellectuals always have two roles, except that in modernization, the legislator is the protagonist, and in the post-modernism, the interpreter is the protagonist. In the second chapter, by showing Bowman's perspective on the massacre, it shows the possibility of modernization. Modernization, a double-edged sword, can not only cut thorns, open up progress, but also self-damage, open up the "flower of evil." The reason why the reflection and criticism of modernity is necessary is not from the outside, but from the inherent needs and calls of modernity. The third chapter discusses the internal contradiction and entanglement of modernity. in the perspective of postmodernism, Bowman believes that modernity is immutable, and the infinite opening to the future is the essential feature of modernity, but modernity is always on the road. It is always an unrealized plan, which not only solves the contradiction, but also creates its own new contradiction, that is, it produces its own "poison" and "antidote" at the same time. Aesthetic modernity, with a negative force that refuses to agree, corrects the disadvantages of social modernization and realizes the latter's affirmative attempt. The fourth chapter focuses on the liquidity characteristics of modernity. Bowman uses "liquid" to metaphor the flow change of modernity, from heavy, solid modernization to light liquid modernization. A significant change is that space gives way to time, that is, the transient and transient survival opportunities in time become the theme of the times, while the heavy "persistence" in space loses its charm and value. This economic change will inevitably involve people's social psychology, but also directly permeate the process of creation and acceptance of culture and literature.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：I0

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