被误读的先锋诗学——桑塔格批评理论之批评

发布时间：2018-01-19 05:29

本文关键词： 苏珊.桑塔格反对阐释新感受力先锋诗学　出处：《学术月刊》2009年11期 　论文类型：期刊论文

【摘要】：20世纪纪60年代,苏珊.桑塔格将新感受力作为通向新意义的新途径,并赋予这种个体性审美追求以个人解放的政治意义,这使桑塔格的批评理论成为先锋诗学的重要代表。这种批评理论不仅与注重作品的思想内涵、强调艺术的伦理效果的传统批评分庭抗礼,它不计后果的行动本色也完成了从审美判断到生命自决的跨越,成为自由意志的体现。但在艺术普世价值被简化为大众价值的文化商业化过程中,新感受力的两大特征:审美非个体性与非情感性,恰恰成了先锋诗学被文化商业蓄意误读的一个重要原因。桑塔格的诗学困惑不仅在特定历史语境中具有普遍性,而且体现了从现代主义向后现代性转型的先锋派诗学的一种文化张力。新感受力中包含的行动至上和永恒的现实感依然是桑塔格留给美学领域的财富。
[Abstract]:On 60s of 20th century Susan Sontag regarded the new sensibility as a new way to the new meaning and endowed the individual aesthetic pursuit with the political significance of individual liberation. This makes Sontag's criticism theory an important representative of pioneer poetics, which not only competes with the traditional criticism, which pays attention to the ideological connotation of works and emphasizes the ethical effect of art. Its reckless action also completed the leap from aesthetic judgment to life self-determination, and became the embodiment of free will, but in the process of cultural commercialization, the universal value of art was simplified to popular value. The two major characteristics of new sensibility: aesthetic non-individual and non-emotional. It is an important reason that pioneer poetics is deliberately misread by culture and commerce. Sontag's poetics confusion is not only universal in the specific historical context. Moreover, it embodies a cultural tension of the avant-garde poetics from modernism to postmodernity. The action supremacy and the eternal sense of reality contained in the new feeling are still the wealth left by Sontag to the field of aesthetics.
【作者单位】：浙江大学传媒与国际文化学院;
【分类号】：I06
【正文快照】： 无论出自赞成还是反对,作为批评家的桑塔格都被当作20世纪60年代美国文化运动的标志性人物。的确,从《反对阐释》到《关于“坎普”的札记》,总是以一种“好战”姿态出现的桑塔格让人领教了她敏锐的艺术感知力。这种倚重掠轻、化怪异为神奇的勇力,以及隐匿了性别的傲慢文风,进

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