拯救与回归——本雅明现代艺术思想研究

发布时间：2018-06-26 07:12

本文选题：本雅明 + 现代艺术　；参考：《四川大学》2004年硕士论文

【摘要】：作为法兰克福学派的第一代成员(非正式成员)本雅明的思想同“正统”的法兰克福学派批判理论存在着较大的差异：不但在于早期基于宗教救世论的艺术观，同样也存在于后期对技术的乐观态度以及带有尚古倾向的文化理论。面对现代社会及现代艺术的大转变，他力图以一种积极的方式，将现实的不幸转变成获救的契机。因为在他看来，真理是客观存在的，只是它在“神圣器皿破碎”——总体性解体——以后以碎片的形式存在：体现在历史事件中，包括艺术品。艺术家的任务就是要将它们从历史的连续性中“爆破”出来，使之进入新的聚合——星座，即参照原初的总体性来重新定位，以便产生世俗的启迪，给人以超越异化，建立理想社会的动力。所以他认为现代艺术一方面在被接受过程中存在着唤醒大众、从而将从消极的接受者变为能动的革命同谋者的功能；另一方面，现代艺术将现实的荒谬、人的异化推向极端化、显现化，成为将世俗的历史推向终极的动力，以废墟召唤被拯救的瞬间。而他的批评风格是现象学的并置，从大量孤立的、具体的人、事或内容开始，然后将这些具体现象并列起来，使它们互相吸收，互相参证，最后从这些生动的、孤立的历史材料中获得辩证的抽象理论。在本雅明早期思想中，呈现出一种隐晦神秘而思辨的“真理—救赎”图景，图景背后隐含着深刻的真理内涵及认知方式的转换，这种转换使他把哲学理性丧失认识真理后呈现真理的任务交给了艺术，并在现实中找到了实现的可能性——“寓言”，即以异化的形式反异化。对这一现代艺术思想的理论前提的梳理，构成了本文第一部分的内容。本雅明在结束了形而上和语言哲学的思考后，越来越多地关注在世俗的世界如何实现救赎的问题，并把它作为自己在历史的危机关头所必须采取的伦理立场。他把在现实中重建人类本真经验的任务交给了艺术，通过现代艺术的自身变革所产生的震惊效果来对抗异化的现实，使人们重新获得经验真理的能力。对这一理论的阐释成为本文第二部分的内容。本雅明在其艺术思想的后期(1930年代)，他的全部事业在于努力从日常生活的动机中发现革命的基础。一方面对复制艺术持乐观态度，希望借助技术来对抗异化，以爆破日显危机的传统。另一方面，站在历史的废墟上，又希望通过“灵韵”来召唤一个完整的、更符合人性的精神空间，以期达到那种非异化状态下人和自然的冥契。对这一理论的考察便是本文第三部分的内容。关键词:本雅明现代艺术异化拯救
[Abstract]:As the first generation member of the Frankfurt School, Benjamin's thought is quite different from the "orthodox" critical theory of the Frankfurt School: not only lies in the early artistic view based on the theory of religious salvation. The same exists in the later optimistic attitude to technology and cultural theory with a penchant for ancient culture. In the face of the great transformation of modern society and modern art, he tries to turn the misfortune of reality into an opportunity to be saved in a positive way. Because in his view, truth exists objectively, but it exists in the form of fragments after the "breakup of the sacred vessel"-the totality of the vessel-in the form of fragments: embodied in historical events, including works of art. The artist's task is to "burst" them out of the continuity of history and bring them into the new convergent constellation, that is, to reposition them by referring to the totality of the original, in order to produce worldly enlightenment and transcend alienation. The power to build an ideal society. Therefore, he believes that modern art, on the one hand, has the function of arousing the masses in the process of being accepted, thus changing from a passive recipient to a dynamic revolutionary accomplice; on the other hand, modern art pushes the absurdity of reality and the alienation of human beings to the extreme. Manifesting becomes the motive force to push the secular history to the ultimate, the moment when the ruins call for salvation. And his critical style is the juxtaposition of phenomenology, starting with a large number of isolated, concrete people, things or content, then juxtaposing these concrete phenomena, so that they can absorb and prove each other, and finally from these vivid, Isolated historical material acquires dialectical abstract theory. In Benjamin's early thoughts, there is a mysterious and speculative picture of "truth-redemption", which implies the profound connotation of truth and the transformation of cognitive style. This kind of transformation makes him entrust the task of presenting truth after the loss of philosophical reason to art, and find the possibility of realization in reality-"fable", that is, anti-alienation in the form of alienation. Combing the theoretical premise of this modern art thought constitutes the content of the first part of this paper. After putting an end to metaphysical and linguistic philosophy, Benjamin paid more and more attention to the question of how to achieve redemption in the secular world. And regard it as an ethical position that one must take at a time of historical crisis. He gave the task of rebuilding the real human experience in reality to art, to confront the reality of alienation through the shocking effects of the transformation of modern art itself. The ability to regain the truth of experience. The explanation of this theory becomes the content of the second part of this paper. In the late days of his artistic thought (1930s), Benjamin devoted his entire career to trying to discover the basis of revolution from the motives of daily life. On the one hand, it is optimistic about the reproduction art, hoping to use technology to fight against alienation and to break up the tradition of crisis. On the other hand, standing on the ruins of history and hoping to summon a complete, more human spiritual space through "spirit rhyme", In order to achieve that kind of non-alienation of the state of man and nature. The investigation of this theory is the content of the third part of this paper. Keywords: Benjamin modern art alienation rescue
【学位授予单位】：四川大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：I01

【引证文献】