文化分期的“微观年表”——论詹姆逊的电影史观  

Micro Chronology of Cultural Stages--On Fredric Jameson's View of Film History

作　　者：张隽 Jun ZHANG(Fujian Institute of Education)

机构地区：[1]福建教育学院

出　　处：《马克思主义美学研究》2022年第2期368-380,478-479,共15页Research on Marxist Aesthetics

摘　　要：詹姆逊的文化分期论一直在其建构后现代主义思想体系的过程中发挥着重要作用,也是其坚持马克思主义历史化方法论的必然结果。在《意大利之存在》中,詹姆逊借助电影史这一“微观年表”详细阐释了三个文化分期的起源、特质、嬗变。在此基础上,詹姆逊将电影的现实主义视作改造非资产阶级的“政治无意识”;将电影的现代主义定性为艺术审美自律的投射;将电影的后现代主义诊断为主体消逝的后遗症。通过对电影史的分割与说明,詹姆逊使文化分期论获得了具象化的能力并极大地扩展了其适用范围。这也为马克思主义介入各类文化史提供了一个可行的路径,提高了马克思主义对各类文化史的言说能力。Jameson's theory of cultural stage has been playing an important role in his construction of postmodemnist theory.It is also an inevitable result of his adherence to Marxist historical methodology.In Existence of Italy,with the help of film history as a micro chronology,Jameson explains the origin,characteristics and evolution of three cultural stages in detail.On such a basis,Jameson regards films'realism as“political unconsciousness”which transforms the non-bourgeoisie into bourgeois,defines the modernism of films as the projection of artistic aesthetic self-discipline and diagnoses the postmodermism of films as a sequel of the disappearance of the subject.Jameson's division and explanation of film history gives the theory of cultural stage the ability of concretization and thus expands greatly the scope of its application.It also provides Marxism a feasible way to get involved in various cultural histories,improving the explanatory power of Marxism to those histories.

关 键 词：詹姆逊 文化分期论 “微观年表” 电影史 马克思主义 

分 类 号：J909.1[艺术—电影电视艺术]