形象的祛魅——论本雅明的视觉思想  

Disenchantment of Images——Walter Benjamin on Visual Images

作　　者：周计武[1] 

机构地区：[1]南京大学艺术研究院,南京210093

出　　处：《上海大学学报（社会科学版）》2016年第4期132-140,共9页Journal of Shanghai University(Social Sciences Edition)

基　　金：教育部哲学社会科学研究重大课题攻关项目(12JZD019);国家社科基金青年项目(13CZW007)

摘　　要：视觉文化转向使视觉形象日益成为文化研究中的核心问题。形象之所以具有魔力是因为它拥有光韵。光韵具有不可接近的神圣性、此时此地的本真性和凝神静观的视觉性。在本雅明的形象思考中,以波德莱尔、普鲁斯特、卡夫卡等为代表的先锋艺术是一种形象被"祛魅"了的艺术,即"后光韵"艺术。"形象的祛魅"有两个层面的内涵:一是形象的去神圣化,即打碎笼罩在形象周围的神圣光环,使其人性化、世俗化;二是形象的去审美化,即打破美的形式规范,使形象变形、扭曲、夸张,以碎片化的形式呈现"片段的、谜一样的视觉形象"。The turning to visual culture has placed visual images into the core region of cultural studies. The enchantment of visual images is from aura, which is featured by impenetrability, sacredness, immediate- ness and authenticity. In Walter Benjamin＇ s thinking on visual images, the avant - garde art represented by such artists as Baudelaire, Proust and Kafka is the kind of art of disenchanted images, in other words, the art after the disappearance of aura. The disenchantment of images can be understood in two senses： firstly, it means the de - sacredation of art, that is to say, the shattering of the aura of sacredness and secularisation of the artefact; secondly, it means the de - aestheticization of art, that is to say, the breaking of the ideal of beauty and represent images in distorted and fragmented forms, bringing the＂fragmented enigma of visual ima- ges＂. In the post -aura era, by employing allegorical criticism, Benjamin attempted to link human liberation to nature＇ s recovery combine secular inspiration with empirical salvation, so as to restore the connection between man and nature, brotherhood of people, and equality in the interpersonal communication.

关 键 词：视觉文化转向 光韵 形象的祛魅 讽喻 拯救性批判 

分 类 号：J024[艺术—艺术理论]