《反对阐释》:苏珊·桑塔格的形式美学宣言  

Against Interpretation and Other Essays:Sontag′s Formal Aesthetic Manifesto

作　　者：曾阳萍[1] 

机构地区：[1]华侨大学外国语学院,福建泉州362021

出　　处：《福建教育学院学报》2006年第1期58-62,共5页Journal of Fujian Institute of Education

摘　　要：桑塔格的批评文集《反对阐释》虽然涉及广泛话题,归根结底不过一个主题——对把艺术等同于内容这一传统惯例的批判。这一主题尤为集中地体现在《反对阐释》、《论风格》、《“坎普”札记》以及《一种文化与新感受力》这四篇文章中。通过这些文章,桑塔格表达了她在新的语境下建构形式美学来感知艺术的理想。这一理想恰好有一种与六十年代的美国反主流文化运动相一致的自发性,所以人们往往只关注《反对阐释》激进的一面而忽略了桑塔格在其中对严肃性的推崇。事实上,桑塔格追求的是一种多元的文化感受力,一种在形式与内容、审美与道德之间努力求得恰当平衡的感受力。只是,在追求这种理想的价值评判标准的同时,桑塔格也为艺术设立了棘手的高标准。Although Sontag＇s collected work Against Interpretation and Other Essays covers a wide range of topics, these topics share a common theme, that is, to criticize the traditional practice in which a work of art is regarded as its content. This theme is best embodied in four essays, including Against Interpretation, Notes on ＂Camp＂, On Style and One Culture and the New Sensibility. Sontag expressed through these articles her ideal of constructing a formal aesthetics to feel works of art. Since this ideal happened to be of identical spontaneity with American countercuhural revolution of the 1960s, people tend to attach importance to the radical ideas the book exposed while neglecting the fact that Sontag also advocated seriousness in it. In fact, what Sontag pursued is a pluralistic cultural sensibility, a sensibility that tries to arrive at a proper balance between form and content, the moral and the aesthetic. However, the problem is, Sontag was setting a knotty high standard for art in the pursuit of this ideal value judgment.

关 键 词：桑塔格 反对阐释 形式 内容 感受力 

分 类 号：I106[文学—世界文学]