波德里亚艺术理论研究

发布时间：2018-03-12 19:39

本文选题：让·波德里亚　切入点：拟像的等级　出处：《南京大学》2015年博士论文　论文类型：学位论文

【摘要】：本文把散见于让·波德里亚学术生涯各阶段的重要著作及相关篇章中,他关于艺术(含摄影与诗歌这两种非绘画艺术)的论述与观点,加以较为系统的梳理、整合与讨论。作者认为,波德里亚理论著作中关于艺术的讨论,可大致涵盖在“人”与“物”这两个宽泛的名词之下。首先,此处的“人”是西方人文主义传统意义上的人,“物”包含“物性”,不仅指物,不仅存在于物中,也存在于艺术作品中,存在于“人”身上。其次,波德里亚把艺术纳人讨论对象,意在搭建自己的哲学与社会学理论框架,意在批判性地分析资本主义社会,并尤其对由媒介技术所主导与形塑的当代资本主义文化景观.予以毫不留情的剖解。论文共分四章,以波德里亚对艺术进行重要观照的四种主要理论来讨论他在理论阐述中关于艺术的重要分析,以及艺术作品在他的理论建构中的角色与地位。第一章是用波德里亚拟像的等级理论,把艺术发展史看作一种“符号复制”形式不断演变发展的过程,以此来重新审视西方自文艺复兴以来的艺术进程中,几次重大的革命性转折。这种转折在波德里亚的理论体系中,表现为艺术作品与真实世界之间关系的演变。波德里亚把复制的技术看作为一种媒介,这种媒介不仅不断拓展着社会空间的疆域,同时也改变着社会关系和社会权力的结构。第二章是用波德里亚的超美学与文化碎形模式的概念,来谈论当代“艺术的终结”。波德里亚认为,当代社会的全面内爆,使得真实与意义冲破了原有的形而上学界限,各种社会能量都以无序散射的方式向各个方向渗透,美学能量也逃不脱这一由媒介“拟真”所造成的当代命运,传统艺术作为审美价值载体的身份被解除,波德里亚由此认为,当代艺术已经“无效”。第三章是关于波德里亚的摄影实践与摄影观。摄影是波德里亚理论写作的镜像,是他对自己在理论写作中所主张的客体策略的实践。波德里亚是反“摄影史”照片的,他的照片中都是物,他认为有人的肖像的照片,充满了意义,而他在自己的摄影实践中正是要驱除意义,以抵达“激进的他性”。第四章则是用波德里亚的“象征交换”概念来阐发一种诗学理论,即作为价值毁灭的诗歌。波德里亚的象征交换,来自对莫斯“礼物”概念与索绪尔“易位书写”概念的嫁接,同时也参照了巴塔耶关于“耗费”的“一般经济学”。可以说,波德里亚的诗学理论,来自他把“象征交换”行为放在诗歌中的检验。他的这一诗学理论是“反语言学”的,也就是反与西方政治经济学关于积累与剩余价值的论述同时同构的“语言的政治经济学”。
[Abstract]:In this paper, we sort through the important works and relevant chapters of Jean Baudrillard's academic career, and his views on art (including photography and poetry, which are two kinds of non-painting arts), are systematically combed out. Integration and discussion. The author believes that the discussion of art in Baudrillard's theoretical works can be broadly covered by the two broad terms of "man" and "thing". "Man" here is a person in the traditional sense of western humanism. "thing" contains "materiality", which not only refers to things, exists not only in things, but also in works of art, in "people". Baudrillard aimed to set up his philosophical and sociological theoretical framework and critically analyze capitalist society. In particular, the contemporary capitalist cultural landscape, dominated and shaped by media technology, is unsparingly dissected. The paper is divided into four chapters. To discuss his important analysis of art in his theoretical elaboration with the four main theories in which Baudrillard takes an important view of art. And the role and status of art works in his theoretical construction. The first chapter takes the history of artistic development as a process of continuous evolution and development of the form of "symbol reproduction" by using the hierarchical theory of the Impressions of Baudrillard. In this way, we can re-examine several major revolutionary changes in the process of art in the West since the Renaissance. This kind of turning point is in the system of Baudrillard's theory. The evolution of the relationship between works of art and the real world. Baudrillard regards the technology of reproduction as a medium, which not only expands the boundaries of social space, At the same time, it also changes the structure of social relations and social power. The second chapter is to talk about the end of contemporary "art" with the concept of Baudrillard's super-aesthetic and cultural fragmentation model. So that reality and meaning break through the original metaphysical boundaries, all kinds of social energy are scattered disorderly to each direction, aesthetic energy can not escape from the media "pseudo truth" caused by the contemporary destiny. The identity of traditional art as the carrier of aesthetic value has been lifted, so Baudrillard thinks that contemporary art has been "invalid". Chapter three is about the photography practice and view of Baudrillard. Photography is the mirror image of Baudrillard's theoretical writing. It was his practice of the object strategy he advocated in his theoretical writing. Baudrillard was anti-photographic, his photographs were full of objects, and he thought that portraits of people were full of meaning. In his photography practice, he was trying to exorcise meaning in order to reach the "radical otherness." in chapter 4th, he elucidated a poetic theory with the concept of "symbolic exchange" of Baudrillard. That is, poetry of value destruction. Baudrillard's symbolic exchange comes from grafting the concept of Moss's "gift" with Saussure's "translocation writing," and referring to Batayette's "general economics" on "cost." Baudrillard's theory of poetics comes from his test of "symbolic exchange" in poetry. His poetic theory is "anti-linguistic". That is, "political economy of language", which is isomorphic to western political economics about accumulation and surplus value at the same time.
【学位授予单位】：南京大学
【学位级别】：博士
【学位授予年份】：2015
【分类号】：J0

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