發(fā)布時(shí)間：2018-02-28 03:15

  本文關(guān)鍵詞： 本雅明 寓言 批評(píng) 現(xiàn)代性 現(xiàn)代藝術(shù) 靈韻 救贖 革命　出處：《浙江大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：大部分的本雅明研究著作都將“靈韻”作為其藝術(shù)救贖論的著眼點(diǎn),本文則將寓言式批評(píng)視作其藝術(shù)救贖觀念的主線。通過(guò)對(duì)本雅明一些著作的詳細(xì)解讀,本文力圖梳理其寓言式批評(píng)思想發(fā)展的脈絡(luò),并在同時(shí),結(jié)合審美現(xiàn)代性問(wèn)題,對(duì)寓言式批評(píng)產(chǎn)生的背景、原因和革命救贖意義進(jìn)行思考。本雅明的寓言式批評(píng)產(chǎn)生于他對(duì)整個(gè)現(xiàn)代社會(huì)的反思研究。在他看來(lái),人們代代相傳的傳統(tǒng)經(jīng)驗(yàn)包含了本真性的碎片,傳統(tǒng)藝術(shù)的靈韻就是以此為基礎(chǔ)的。但歷史的現(xiàn)代化進(jìn)程使得現(xiàn)代人的傳統(tǒng)經(jīng)驗(yàn)變得貧乏。他指出,任何靈韻危機(jī)的時(shí)代都是傾向于寓言式表達(dá)的時(shí)代。現(xiàn)代藝術(shù)作品的特點(diǎn)在于其蕩除了任何歷史進(jìn)步的幻想、拒絕任何古典藝術(shù)作品所呈現(xiàn)的和解假象,它們揭示現(xiàn)代社會(huì)的狀況,追求震驚效果。這些作品自身呈現(xiàn)出寓言的特性。當(dāng)本雅明以它們作為批評(píng)的對(duì)象時(shí),他的批評(píng)以革命為目標(biāo)。根據(jù)本雅明的論述,傳統(tǒng)藝術(shù)與現(xiàn)代藝術(shù)正好處于藝術(shù)價(jià)值的兩極：前者體現(xiàn)崇拜儀式的價(jià)值,后者體現(xiàn)展覽的價(jià)值。寓言式批評(píng)的目標(biāo)就是發(fā)掘展覽價(jià)值中包含的革命救贖力量。
[Abstract]:Most of Benjamin's research works regard "spirit rhyme" as the starting point of his art redemption theory, while this article regards parable criticism as the main line of his artistic redemption idea. This paper tries to sort out the development of his fable criticism, and at the same time, combined with the aesthetic modernity, the background of the fable criticism. The reason and the meaning of revolutionary salvation are considered. Benjamin's fable criticism comes from his reflective study of the whole modern society. In his view, the traditional experience passed down from generation to generation contains fragments of authenticity. The spirit of traditional art is based on this. But the process of modernization of history makes the traditional experience of modern people become poor. Any age of spiritual crisis is one that tends to fable expression. A modern work of art is characterized by its illusion of any historical progress and its rejection of the illusion of reconciliation presented by any classical work of art, They reveal the state of modern society and seek shock effects. These works are fable in their own way. When Benjamin takes them as the object of criticism, his criticism aims at revolution. According to Benjamin, Traditional art and modern art are at the two poles of artistic value: the former embodies the value of worship ceremony and the latter embodies the value of exhibition. The goal of fable criticism is to explore the revolutionary redemption power contained in the value of exhibition.
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：I06

【引證文獻(xiàn)】

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1 盧e，

本文編號(hào)：1545515