本雅明视觉思想辨正  

Distinguishing Right from Wrong of Benjamin's Visual Thought

作　　者：曾军[1] 

机构地区：[1]上海大学文学院,上海200444

出　　处：《学术界》2013年第2期60-69,269-272,共14页Academics

基　　金：上海市教委科研创新重点项目"当代中国社会转型中的视觉问题研究"(13zs073)支持

摘　　要：本雅明对视觉文化的思考中最重要的是从生产力发展的角度讨论视觉技术变革对艺术的影响。以(机械)复制技术为代表的视觉技术成为视觉文化来临的技术支撑,大众传媒技术已深刻影响到艺术(文学)写作技巧,作家也由此而成为作为生产者的作家;在机械复制技术主导之下,艺术发生了深刻的变化:一方面是传统艺术的新变,另一方面则是新艺术样式的出现(全景艺术),并由此引发整个艺术生产机制的变革。更为重要的是,本雅明将自己与超现实主义息息相通的艺术气质与马克思主义唯物辩证法相结合,形成独特的"意象的辩证法"的理论运思方式,将拱廊视为资本主义的纪念碑/废墟便是其最为经典的辩证意象。The most important part of Benjamin＇ s visual culture thought is to discuss the visual technology how to affect on the art because of the development of productivity. Visual technology, such as the （mechanical）reproduction technique, supported the visual culture coming, The mass media technology has deep influence on the arts （literature） writing skills.The writer, therefore, becomes writer as producers. Under the mechanical reproduction technology leading, arts had the profound changes ： on the one hand, the traditional art has new changes, and on the other, the emergence of new style arts, such as panoramic art, has lead to the transformation of the whole art production mechanism. More important is that Benjamin unified the Marxist materialist dialectics with surrealism, forming the unique ＂dialectical image＂ as his theory operational way. Arcade as capitalist monument/ruins is the most classical dialectical image.

关 键 词：本雅明 视觉思想 机械复制 全景艺术 辩证意象 

分 类 号：J0-02[艺术—艺术理论]