从“平滑感”到“异质性”:韩炳哲的审美救赎思想探析  

From“Smoothness”to“Heterogeneity”:An Analysis of Han Bingzhe’s Aesthetic Redemption Thought

作　　者：冉丽 刘可文[1] RAN Li;LIU Ke-wen(School of Liberal Arts,Guizhou Normal University,Guiyang 550025,Guizhou,China)

机构地区：[1]贵州师范大学文学院,贵州贵阳550025

出　　处：《贵阳学院学报（社会科学版）》2024年第4期72-77,共6页Journal of Guiyang University:Social Sciences

基　　金：国家社科基金项目“5G网络文化新形态对民族文化的影响及策略研究”(项目编号:20XMZ047)阶段性成果。

摘　　要：韩炳哲的审美救赎思想与法兰克福学派的审美救赎理论一脉相承,但具有鲜明的时代特点。韩炳哲直面当今数字社会的审美异化:具有“阻拒性”的他者在当代艺术和身体中的消失,审美距离和内在意义也随之消逝,审美进入“肯定性”的平滑状态。面对这一审美困境,韩炳哲认为“否定性美学”蕴含的“异质性”是审美救赎的核心,呼吁通过遮蔽和创伤重返艺术本质。但仅仅借助感性的审美救赎,无法真正解决数字时代的审美问题,仍不免走向乌托邦的迷途。Han Bingzhe’s aesthetic redemption thought is in line with the aesthetic redemption theory of the Frankfurt School,yet it has distinct characteristics of its time.Han confronts the aesthetic alienation in today’s digital society:the disappearance of the“resistant”other in contemporary art and the body,along with the disappearance of aesthetic distance and intrinsic meaning,leading to an“affirmative”state of smoothness in aesthetics.Faced with this aesthetic dilemma,Han believes that the“heterogeneity”contained in“negative aesthetics”is the core of aesthetic redemption,calling for a return to the essence of art through concealment and trauma.However,the sole reliance of sensual feeling for redemption of aesthetics cannot truly solve the aesthetic problems of the digital era and is still prone to the path of utopian illusions.

关 键 词：韩炳哲 审美救赎 平滑感 异质性 

分 类 号：I01[文学—文学理论]