灵韵消散之后——艺术生产与审美经验的跨媒介重建  

After the Disappearance of Aura:Intermedial Reconstruction of Art Production and Aesthetic Experience

作　　者：刘毅 Liu Yi

机构地区：[1]南京大学艺术学院,南京210046

出　　处：《南京社会科学》2020年第12期125-132,148,共9页Nanjing Journal of Social Sciences

基　　金：国家社科基金艺术学重大项目“艺术学理论的跨媒介建构及其知识学研究”(20ZD26);国家社科基金艺术学青年项目“19-20世纪德语国家艺术史学传统与核心概念研究”(18CA164)的阶段性成果。

摘　　要：本雅明的灵韵论是对大工业生产背景下艺术状况的总体解说,而由此形成的"由机械复制导致艺术灵韵消散"的学术命题也成为理解现代、后现代直至当代艺术的重要理论参照。本文沿着本雅明的思路,即从技术与艺术的关联性出发,分析在灵韵消散之后艺术所经历的变化与其特性,并且结合当下语境与艺术现状,试探性地讨论"后—机械复制时代"艺术生产与审美经验的逻辑(跨媒介性)重建。Benjamin’s theory of aura presents the artistic achievements under the background of massive industrial production on the whole,wherein the academic subject that"mechanical reproduction causes the disappearance of artistic aura"has become the important theoretical reference to understand modern,post-modern and contemporary art.This paper bases on the idea of Benjamin and starts from the relationship between technology and art to analyze the changes and characteristics of art after the disappearance of aura,combines with the current language surroundings and artistic situation to discuss the logical(Intermediality)reconstruction of artistic production and aesthetic experience in the"age of post-mechanical reproduction".

关 键 词：跨媒介性 艺术生产 审美经验 灵韵 

分 类 号：I01[文学—文学理论]