从“应和”到“灵韵”:忧郁的理想所催生的美学经验  

From“Correspondence”to“Aura”:The Aesthetic Experience Inspired by Spleenful Ideals

作　　者：童明 Toming Jun Liu(Xi’an Fanyi University;the Department of English,California State University,Los Angeles)

机构地区：[1]西安翻译学院 [2]加州州立大学洛杉矶分校英语系

出　　处：《外国文学研究》2022年第4期34-43,共10页Foreign Literature Studies

基　　金：Toming Jun Liu;Xi’an Fanyi University;the Department of English,California State University,Los Angeles;。

摘　　要：波德莱尔在《恶之花》和《巴黎的忧郁》等诗篇中展示了“应和”与“忧郁的理想”的关联;本雅明则在解读波德莱尔诗作的基础上,形成以美学经验抵御现代异化的理论,并以“灵韵”作为这个美学经验的符号。本雅明的“灵韵”在物我相通的“应和”中补充了内心时间的维度,海德格尔和博尔赫斯则进一步阐述了艺术中的第四维度。本雅明在《论波德莱尔若干母题》中所论及的波德莱尔、孟福特、柏格森、普鲁斯特、梵乐西等现代哲学家和艺术家,都属于叙述这个美学经验的阵列。波德莱尔的“应和”、本雅明的“灵韵”、艺术中的第四维度、抗衡异化的美学经验,暗暗应和着“栩栩然胡蝶也,蘧蘧然周也”的庄周梦蝶。由此可见,世界的文明体系异中有通,不约而“通”。Charles Baudelaire’s poems such as Flowers of Evil and Paris Spleen demonstrate how the idea of“correspondence”enhances his expression of“spleenful ideal,”while Walter Benjamin,based on his interpretation of Baudelaire,advances the theory of an aesthetic experience as resistance to modern alienation for which he proposes“aura”as a new symbol.The Benjaminian idea of“aura”is a reinvention of the human-to-object“correspondence”with an added internal(psychological)time dimension,which might be called the fourth dimension in art and was further explicated by Heidegger and Borges.Benjamin,in his“On Some Motifs in Baudelaire,”shows that the scope of the aesthetic experience as resistance to alienation includes not only Baudelaire,but also other artists and philosophers such as Mumford,Bergson,Proust,Paul Valery.Thus Baudelaire’s“correspondence,”Benjamin’s“aura,”the fourth dimension in art,and the aesthetic experience of“resistance to alienation”revitalize Zhuangzi’s butterfly dream,suggesting a trans-civilizational“correspondence”which invites further inquiry.

关 键 词：《恶之花》 《巴黎的忧郁》 应和 灵韵 现代美学 

分 类 号：I565.072[文学—其他各国文学]