技术复制时代的艺术变革与审美救赎——论本雅明的艺术观及其现代性反思  

Artistic Change and Aesthetic Salvation in the Era of Technological Reproduction--On Benjamin's View of Art and Modernity Reflection

作　　者：李雷[1] 赵飞[1] LI Lei;ZHAO Fei(School of Literature,Capital Normal University,Beijing 100089,China)

机构地区：[1]首都师范大学文学院,北京100089

出　　处：《美育学刊》2023年第5期55-60,共6页Journal of Aesthetic Education

基　　金：国家社会科学基金艺术学项目“自媒体时代‘学院批评’的话语困境与转型策略研究”(21BA019)的阶段性成果。

摘　　要：技术理性批判是法兰克福学派的核心思想之一。区别于其他成员,法兰克福学派的边缘人物本雅明游走于犹太神秘主义与马克思主义之间,指出进入技术复制时代之后,随着传统艺术中的“灵韵”逐渐黯淡,传统的感知方式趋向于失效,“震惊”成为经验日渐萎缩的现代社会中的基本感知体验。以艺术领域为中介,本雅明试图从人与物、人与人、人与都市的关系入手揭示媒介技术在个体经验层面的影响,为价值断裂的现代社会寻求一条审美救赎之路。Criticism of technical rationality is one of the core ideas of the Frankfurt School.Unlike other members,Benjamin,a peripheral figure of the Frankfurt School,wandered between Jewish mysticism and Marxism,pointing out that as the“spiritual charm”in traditional art gradually faded,traditional perception methods tended to fail,and“shock”became the basic perception experience in modern society with shrinking experience.Taking the field of art as a medium,Benjamin attempted to reveal the impact of media technology on individual experience from the perspective of the relationship between people and things,people and people,and people and cities,in order to seek a path of aesthetic salvation for the modern society with broken values.

关 键 词：本雅明 技术复制 艺术 现代性 

分 类 号：J0[艺术—艺术理论]