论本雅明的“政治的审美化”批评模型的意义——兼论意大利未来主义  

On Benjamin's Critical Model of “Aestheticization of Politics” via an Analysis of Italian Futurism

作　　者：周韵[1] 

机构地区：[1]江苏教育学院外语系

出　　处：《文艺理论研究》2013年第4期195-202,共8页Theoretical Studies in Literature and Art

摘　　要：在《机械复制时代的艺术品》的后记中,本雅明把意大利未来主义和法西斯主义等同起来,纳入了"政治的审美化"模型加以批评,引发了当代有关先锋派和法西斯主义关系的争议。本文试图重新考察本雅明的"政治的审美化"批评模型,描述和分析这一批评模型产生的现代性语境及其所包含的现代性洞见,强调这一批评模型的有效性以及对于当代文化批评的意义。然后,通过解读意大利未来主义的审美规划,揭示这个运动的先锋派特征及其与法西斯主义结盟的现代性根源,修正和扩展本雅明有关先锋派和法西斯主义关系的批评。In the epilogue of ＂The Work of Art in the Age of Mechanical Reproduction＂, Walter Benjamin developed a critical model of ＂aesthetieization of politics＂ in which Italian Futurism is criticized as fascism, which has resulted in heated debates on the relationship between the avant - garde and fascism. This paper attempts to revisit Benjamin＇ s critical model of ＂aesthetieiza- tion of politics＂ by describing and analyzing the context of modernity in which the model is formed in hope of disclosing Benja- min＇ s insights into modernity. The paper tries to justify the model＇ s critical effectiveness for the avant - garde and the contempo- rary culture. The paper then proceeds to re - examine the aesthetic project of Italian Futurism with the aim to reveal its avant- garde features and its modernity -rooted association with fascism. The paper concludes with a revision and extension of Benja- min＇ s critique on the relationship between the avant - garde and fascism.

关 键 词：先锋派 政治的审美化 意大利未来主义 

分 类 号：B516[哲学宗教—外国哲学]